Posted in: Disc Reviews by J C on September 20th, 2012
They say blood is thicker than water. Both of those substances are on display in Brawler, which cannily stages its bloody, illegal fights on a New Orleans riverboat. The film’s plot was inspired by a real-life pair of feuding brothers who infamously came to blows, but the Big Easy practically shares top billing with the squabbling siblings.
At the start of Brawler, we get to see Charlie (Nathan Grubbs) and Bobby (Marc Senter) Fontaine in separate fights. Those fights also serve as a shorthand introduction into their personalities: older brother Charlie has a more workmanlike approach, while Bobby is a ruthless showboat. Charlie and Bobby are the sons of a legendary fighter who we never get to see.
Posted in: Disc Reviews by J C on September 12th, 2012
Less than 100 years ago, the Mexican government declared war on the Catholic Church. This movie tells the story of the ensuing conflict known as Cristiada (also called the Cristero War), which took place between 1926 and 1929. In showing us all the different ways war can affect a country and all the different ways rebels can contribute to a cause, the movie sort of forgot to tell us why the Mexican government declared war on the church in the first place.
For Greater Glory is told from the perspective of the brave souls who stood up to the oppressive Mexican government led by President Plutarco Elias Calles (Ruben Blades). This includes members of the non-violent National League for the Defense of Religious Liberty like real-life figure Anacleto Gonzalez Flores (Eduardo Verastegui) and a woman named Adriana (Catalina Sandino Moreno). The men and women who take up arms to join the cause — including a flashy, badass rebel named Victoriano “El Catorce” Ramirez (Oscar Isaac), who earned his nickname by single-handedly killing 14 men — are known as Cristeros.
Posted in: Disc Reviews by J C on September 3rd, 2012
"A military mystery that lasted 2,000 years."
White Vengeance assumes a certain level of knowledge about ancient Chinese history that, except for all you ancient Chinese history scholars reading this review, most of us don’t have. As a result, the film’s disorienting opening act had me constantly backtracking to figure out who was who, and why they were betraying or trying to assassinate each other. In other words, I started to feel like getting to the end of this ambitious movie might take a little under 2,000 years.
Posted in: Disc Reviews by Gino Sassani on August 27th, 2012
When you see a cast that includes names like Robert DeNiro and Forest Whitaker, you have justifiable high expectations for a solid experience. Add 50 Cent to the mix and past experience will tell you that not even a teaming of Robert DeNiro and Al Pacino can save the picture. The rapper-turned-actor has certainly found himself cast with enough Academy Award power that the transition should have been more successful than it has been. The fact is that 50 Cent hasn't appeared to have learned anything from rubbing elbows with so many Oscar statues. Freelancers is another example of a bad actor bringing down considerably better talent to a less than mediocre range.
Malo (50 Cent) is a street kid who has had a few scrapes with the law growing up. He's a child of the streets, but he and two of his street friends managed to clean up their lives enough to enter the police academy. Now he's graduated and following in his dead father's footsteps. He's immediately taken under the wing of his father's old partner Captain Joseph Sarcone (DeNiro). Suddenly he skips directly to plainclothes and introduced to his "birthright", a world of elite corrupt cops led by Sarcone.
Posted in: Disc Reviews by J C on August 21st, 2012
There’s obviously nothing funny about the atrocities committed by some of history’s most notorious tyrants. So why have these men proven to be such a surprisingly fertile source of comedy? Whether it’s (Puppet) Kim Jong-il crooning forlornly about being lonely (actually “ronery”) in Team America: World Police or Adolf Hitler being saluted by a chorus line of high-stepping stormtroopers in The Producers, there’s certainly a precedent for mocking these reviled figures. With The Dictator, Sacha Baron Cohen appears to be taking his patented inappropriateness to a new level.
Cohen — the English actor, comedian and professional provocateur — stars as Admiral General Haffaz Aladeen, ruler of the oil-rich and fictitious Republic of Wadiya. (Muammar Gaddafi and Saddam Hussein are clearly major influences.) The trick to making this sort of (potentially-abhorrent) comedy seems to be focusing on the outrageous personalities of these tyrants, rather than all the horrible things they’ve done. As a result, Aladeen is racist, sexist and too many other negative “-ists” to list, but the movie portrays him as a bearded buffoon who isn’t even remotely dangerous. (Though try telling that to the dozens of people Aladeen orders to be executed over trivial offenses.) When he is summoned by the United Nations to address concerns about his country’s nuclear program, Aladeen travels to New York, where he embarks on a life-changing journey involving a boyish feminist (Anna Faris), a severed head and a few celebrity cameos.
Posted in: Disc Reviews by William O'Donnell on July 26th, 2012
After a family moves into a new home, they are taken hostage by a group of hitmen who are searching for money that has been stolen from a crime-boss. The film's title, “Aggression Scale,” refers to a psychological evaluation that measures the tendency for an individual to act in aggressive ways that may harm others. This applies to our hero Owen, the son of the family, whose violent/survivalist tendencies are worrisome and detrimental in all situations except this one, where he may be the savior of the family.
Many other reviews, including those quoted on the DVD box art, refer to this as a hyper-violent version of Home Alone. This is in reference to the sort of traps the Owen sets out to harm the hitmen. Granted, the climactic final trap does have a couple nods in that direction (with the use of nails and Jacks as booby traps) but Owen's devices are less comical and complex (save for the aforementioned climactic trap) and more brutal and reminiscent of something Rambo might construct. I suppose the comparisons are made less because of the traps, but more the cat-and-mouse game being played between a child and a group of career criminals. Since Owen never speaks, the communication between these two parties is purely through acts of violence upon each other. This bare bones dynamic saves us some groans from any redundant, cheesy banter...which I appreciate.
Posted in: Disc Reviews by Gino Sassani on July 3rd, 2012
"Squeal like a pig..."
It's one of those lines that you know even if you've never seen Deliverance. The line and film have entered our pop culture and have been referenced in hundreds of films that followed. Along with the iconic rendition of Dueling Banjos, taken from the traditional piece Feuding Banjos, well... you might feel like you've seen the film even if you haven't. Deliverance is a film about Americana that has itself become a large part of Americana. Most of us have found ourselves in a situation where we start hearing those familiar notes in the back of our heads. The truth is, they just don't make them like this anymore.
Posted in: Disc Reviews by Gino Sassani on June 20th, 2012
"I'm a consulting detective of some repute. Perhaps you've heard of me? My name is Sherlock Holmes."
In 1887, readers of the popular periodical Beeton’s Christmas Annual were to receive quite a special treat. There wasn’t much fanfare or hype to the event. Inside the pages of the magazine was a story called A Study In Scarlet. It was a detective story, perhaps like many published before, except for the detective himself, a certain Mr. Sherlock Holmes. Together with his faithful companion and chronicler Dr. Watson, Holmes would win the hearts of those holiday readers. It might have been an ordinary day, but the world was about to change. Sherlock Holmes would become the most famous detective in the world. His stories would remain in print nearly 130 years later. Over 100 films would be made featuring the character. There would be television shows and cartoon spoofs. No other character has appeared in more productions. When his creator dared to kill the beloved detective in order to move on to newer stories, his very life was threatened. It would seem that Doyle was on the verge of becoming a victim much like those in his stories. There was only one man who could save him from such a grim fate, and he did just that. It was Sherlock Holmes himself.
Posted in: Disc Reviews by M. W. Phillips on June 14th, 2012
“A deadly car accident took place at North Point last night; a bus lost control and left two dead and eight injured.”
Every day accident fatalities happen all over the world. These deaths are so obviously accidental that the authorities hardly think twice about them. In director Cheang Pou-Soi’s Accident a team of four assassins, Brain (Louis Koo), Fatty (Suet Lam), Uncle (Fung Shui-Fan) and Woman (Michelle Ye), each a master of the art of the invisible kill, stage their assassinations so perfectly as to appear to be simply “accidents” even under the closest scrutiny.
Posted in: Disc Reviews by Gino Sassani on June 12th, 2012
"Before my father died, he said that the worst thing about growing old was that other men stopped seeing you as dangerous. I've always remembered that, how being dangerous was sacred, a badge of honor. You live your life by a code, an ethos. Everyone does. It's your shoreline. It's what guides you home. And, trust me, you're always trying to go home."
It would be easy to dismiss Act Of Valor as either a recruiting tool piece of propaganda or yet another in an endless line of war films attempting to capture some form of authenticity. It would be easy, if you haven’t seen the film. I can promise you that no matter what your views on war or the military in general, the one thing you simply won’t be able to do is dismiss Act Of Valor.
