Posted in: Disc Reviews by Michael Durr on June 26th, 2011
When my webmaster asked if I would like to rehash my dvd review for Priscilla: Queen of the Desert for the new blu-ray edition, I jumped at the chance. After all, I did love the movie. But in this blu-ray era, this was strangely the first time I had to do this. I wrote that review almost four years ago to the day. As many would argue, my writing has changed considerably in that time. But without further adieu, let us take a look back at the review.
From the DVD:
Posted in: Disc Reviews by David Annandale on June 24th, 2011
The second version of Cornell Woolrich’s novel “Waltz Into Darkness” (previously filmed as François Truffaut’s Mississippi Mermaid), this is a decidedly steamier version, especially here, in its unrated form.
Cuban plantation owner Antonio Banderas advertises for a wife, and the woman who answers his ad is, he believes, plain but pure. Who shows up, however, is the beautiful but duplicitous Angelina Jolie, who has larceny rather than matrimony on her mind. Her scam runs smoothly at first … but she hasn’t counted on the depth of Banderas’ obsession with her.
Posted in: Disc Reviews by William O'Donnell on June 20th, 2011
Brendan Fraser plays Mo, a man who has the special power of a “silver tongue” which means he has the ability to bring characters and elements from books into the real world by reading their stories out loud. There is a serious catch to this power. Someone from the real world must go into the book in exchange. Mo discovered this by accidentally reading his wife into a story called Inkheart while pulling three of its characters out. Nine years after this event, and with his daughter and a couple of heroic literary characters at his side, he finally tracks down a copy of the rare book to try and bring her back.
The mashing of literary references does not get its legs until the monstrous climax of the film. Until then, the adventure seems a bit light and lacking in the essential energy to gain our full interest. There are also issues with establishing the mood of the film. The disappearance of Mo's wife seems tragic at times, as indeed the loss of a loved one should be, but at other s\times it simply seems like a reference in their fantastic quest amongst outrageous characters of fiction. No character seems to get enough times to dwell on the uncanny, such as an author meeting one of his characters face to face, or the heartbreaking, such as the aforementioned disappearance.
Posted in: Disc Reviews by Gino Sassani on June 8th, 2011
"People scare better when they're dyin'"
Mention the name Sergio Leone and you immediately think of Clint Eastwood and their Man With No Name trilogy. The truth is that Leone was the master of the spaghetti western and largely responsible for making Clint what he is today. When the Italian director decided to try his hand at Hollywood, he was welcomed with open arms, except they weren't interested in anything but an American copy of a spaghetti western. Leone had something else in mind. He had a "been there, done that" attitude about the westerns and wanted to do an epic called Once Upon A Time In America. But Hollywood was hearing none of that. So they compromised. If Leone delivered a stylistic western, the studio would spring for the epic he wanted to make. The result of that parlay turned out to be Once Upon A Time In The West.
Posted in: Disc Reviews by Michael Durr on June 5th, 2011
Many times when you see a trailer over and over, one has to ask themselves: Do they really want to see the movie or is repetition to the point of acceptance playing its fatal card? In the case of Legend of the Fist: Return of Chen Zhen, I had seen the trailer several times in front of Ip Man and the sequel. I wasn’t sure if I was anxious for the movie, so much that I really wanted to see Donnie Yen go absolutely crazy with his kicks and amazing martial arts.
The First World War is going on across Europe. The Allied Forces aren’t doing so well. In 1917, one hundred and fifty thousand workers were dispatched by the Chinese government to help the Allied Forces. Each of these workers were given a wristband for identification and the imprint left behind by these markers were symbols of survival. These workers fought and also did manual labor on the lines. We join the story with a mighty blast as we start our story in France.
Posted in: Disc Reviews by Gino Sassani on June 2nd, 2011
"People do not give it credence that a young girl could leave home and go off in the wintertime to avenge her father's blood. But it did happen."
Just like the book that both this and the 1969 John Wayne film were taken from, the film opens with the sad story of a young girl who has come to Fort Smith to see that justice is done for her father. The words were written by Charlie Portis, a journalist who went on to write a truly great American novel: True Grit.
Posted in: Disc Reviews by Archive Authors on May 25th, 2011
I’m kicking myself. Martin Scorcese’s The Color of Money has long been a favorite of mine, but for some reason I never knew it was a sequel to The Hustler, a film 25 years older and three times better.
Starring a young Paul Newman (Road to Perdition) in a role that earned him his second Oscar nomination, The Hustler is about a cocky pool player hustling his way to the top. When “Fast Eddie” Felson (Newman) challenges undefeated straight-pool champ Minnesota Fats (Jackie Gleason,…Requiem for a Heavyweight) to a high stakes game, the talented young hustler shows he has the skills to be the best, but self-destructs toward the end of the 25-hour marathon match. Left near-penniless and without the managing partner who helped him get started in the seedy world of pool hustling, Eddie faces an uphill struggle to regain his confidence. Shacking up with smart, attractive and similarly self-destructive Sarah (Piper Laurie, Carrie) proves to be a decent diversion while Eddie wallows in misery, but while he uses her as a crutch, he becomes the cause of her destruction when he agrees to play for Bert Gordon (George C. Scott, Patton), a ruthless, greedy manager, and brings her along when they hit the road.
Posted in: Disc Reviews by Gino Sassani on May 21st, 2011
"Do you believe in Sin?"
The Exorcist was one of the most chilling films ever made. William Friedkin used subliminal images as well as those quite famous scenes of Linda Blair being taken over by Satan himself. Ever since that time filmmakers have been trying to cash in on the phenomenon. Exorcism movies have become almost a sub-genre in the horror field. There have been everything from no-budget to mega-budget attempts. There have been both sequels and prequels to the original film. Some of these efforts have been truly worthy films with effective moments and compelling plots and performances. None have come close to the original film. The Rite is another attempt to create a modern version of The Exorcist. It's not a bad film at all, but it's not even close.
Posted in: Disc Reviews by Michael Durr on May 19th, 2011
When I got to college, I had no idea what I wanted to be. I had signed up for computer science so I could go on to be a video game programmer. The truth is, I placed that as my major because I did not know what else to put. As luck would find it, five years later would get me a degree in Finance which I have never used in the professional world. But there was one thing in college I knew for sure. I wanted nothing to do with any fraternity and I am guessing Brotherhood is not going to change this opinion.
We start off the story with four frat guys in a van (if that van was down by a river, I’m out of here). Frank (played by Jon Foster), the pledge leader puts on a mask and runs out to rob a convenience store and comes back. He demonstrates that he wouldn’t ask the pledges to do anything he wouldn’t first. The other three are noticeably frightened because they think they will be arrested. Eventually one of the pledges decides to do it and when they hit the next store, he completes his task quickly.
Posted in: Disc Reviews by William O'Donnell on April 25th, 2011
Dicky Eklund was the pride of Lowell, Massachusetts. While he constantly reminds the neighbourhood of his glorious fight against Sugar Ray Leonard, he has descended into a crack addiction that is breaking his family apart, and hindering the training of his up-and-coming brother, Mickey. As Micky inches closer to big opportunities in the fighting world, he must also battle the demons his family place upon him.
Part sports movie, and part character drama, this film's story is the sort of underdog tale that will be familiar to Rocky fans, and being a boxing film, it is readily susceptible to being compared to that series. If I may start with a focus on the sports movie angle, it diverges from the Rocky series most obviously by having less focus on the training (no big musical montages here) and the 'big' fights. Another divergence involving the fights this film has, one that is even more important to me,is a difference in how the actual fights were choreographed. I have never cared for the simplistic trading of head-shots, with little blocking, in the Rocky films. The Fighter has blood and blocking the way a true fight would have. The camera quality changes to something hand held looking when inside the ring with Micky and Dicky, and there are frequent flashes to the real life fight of Eklund vs Leonard, both of which help to make it seem like Mark Walhberg (who plays Mickey) is in an actual bout.