Posted in: Disc Reviews by J C on February 17th, 2013
“You think football builds character? It does not; football reveals character.”
The open secret about sports movies is that they’re not really about sports. Most of the great ones use the games people play as a dynamic arena to tell universal stories about struggle, underdogs overcoming impossible odds, greatness and redemption. You don’t have to know a nose guard from a mouth guard to enjoy a football movie. By that same token, Undefeated may chronicle a grueling real-life high school football season, but I wasn’t surprised to see it play out like a lot of fictional sports flicks.
Posted in: Disc Reviews by Jeremy Butler on February 15th, 2013
“What’s the matter? Don’t you like role-playing?”
I was on the verge of writing this film off as another zombie flick hoping to capture on the popularity brought about by the AMC series The Walking Dead, but then….BAM! It brought forth a plot twist that veered it away from all other zombie movies and grabbed my attention. It was no longer a zombie film; it was much more interesting.
Posted in: Disc Reviews by J C on February 12th, 2013
The image of what a bully looks and sounds like has changed drastically in recent years. When you and I were growing up, a “bully” was probably someone who looked like this and demanded your lunch money. Mean Girls came out less than 10 years ago; but if Tina Fey were trying to get the exact same movie made today, she’d probably have to deal with notes from a nervous studio exec worried that the Burn Book would drive one of the characters to suicide.
Bully — director Lee Hirsch’s heartbreaking and intensely-personal project — has lofty aspirations. In presenting five affecting stories of abuse that don’t necessarily involve black eyes or bloody noses, the documentary seeks to eradicate bullying by inspiring and educating the current generation of elementary, middle and high school students.
Posted in: Disc Reviews by J C on February 9th, 2013
I didn’t know what to make of this Pig/1334 double bill when I took it on as my latest assignment. All I had to go on were the aggressively grotesque images on the Blu-ray case. I wasn’t yet familiar with the work of Dutch filmmaker Nico B. or former Christian Death frontman Rozz Williams. I did a bit of research, mostly because I wanted to make sure I wasn’t being handed a real-life version of the videotape from The Ring. (Surely, there would be a less drastic way of informing me my services were no longer required on this site.) What I uncovered instead was an intriguing and haunting back story.
Pig is a 23-minute short co-directed by Nico B. and Williams, a pioneer of deathrock. (Unfortunately, I didn’t have access to too many deathrock records when I was growing up in Puerto Rico.) The short was filmed in 1997 and tells the story of a pig-masked serial killer (Williams) who ritualistically murders an unidentified man (James Hollan) in an abandoned house in the middle of Death Valley. Williams never saw the completed product because he hanged himself on April 1, 1998, shortly after finishing work on the soundtrack. (Pig premiered in Los Angeles in January 1999.)
Posted in: Disc Reviews by J C on February 7th, 2013
You don’t usually get too many legendary (and wildly polarizing) filmmakers coming off the biggest hit of their careers — unadjusted for inflation, of course — at age 77. Yet that’s exactly where Woody Allen found himself with To Rome with Love, his pleasant, witty, not-at-all-groundbreaking follow-up to Midnight in Paris. The writer-director originally named this film The Bop Decameron before changing it to Nero Fiddled. I’m guessing somebody (smartly) figured the suddenly buzzworthy director’s next film should have a less esoteric title; and if there was a way to incorporate a European city into the name, even better.
Luckily, the film’s more genetic moniker is actually a much better fit for this simple, engaging collection of stories set in the Eternal City. The movie is comprised of a series of parallel vignettes, but I really wish the director had found a clever way to connect these stories beyond the fact that they’re each set in contemporary Rome.
Posted in: Disc Reviews by Gino Sassani on February 6th, 2013
"All this has happened before and will all happen again. But this time it happened in London. It happened on a quiet street in Bloomsbury. That corner house is the house of the Darling family, and Peter Pan chose this particular house because these were people who believed in him..."
In 1953 with a little help from some Walt Disney magic, generations of children, and adults, of course, would learn to believe in the boy who never grew up. Peter Pan began in the imagination of writer J. M. Barrie. He appeared in a number of works from the Scottish author beginning in 1902 with The Little White Bird. The character had always been a favorite of Walt Disney himself, and it was originally intended as his second animated feature following Snow White. It became quickly apparent that the technology wasn't quite where he needed it to be to tell the story he wanted to tell. It was put on a shelf, but never forgotten. The rights to the character were willed to the children of a Children's Hospital in London, and it was from there that Walt managed to obtain the film rights for the animated feature we have today. Peter Pan has enjoyed success in pretty much every medium possible. There have been hugely popular stage productions where Peter was usually played by a woman. The character has appeared in film, music, comics, television, radio plays and, of course, printed form. He's an endearing and certainly enduring character who has now added high-definition Blu-ray to the list.
Posted in: Disc Reviews by J C on February 6th, 2013
Can a scumbag also be considered a hero? Lance Armstrong fans probably mull that question each time a new, unsavory revelation about the now-disgraced cyclist comes to light. The issue was addressed in 1992’s Hero, which starred Dustin Hoffman as a low-life who saves a group of passengers on a crashed airplane. Flight also takes to the not-so-friendly skies to examine whether it’s possible to reconcile a lifetime of destructive behavior with an extraordinary act of valor.
You wouldn’t necessarily guess that from the film’s punchy trailer, which painted Flight as a cynical gloss on the Sully Sullenberger story. (The movie’s protagonist even has a similarly folksy, alliterative name: Whip Whitaker.) Instead, Flight is an R-rated drama that presents one of the most unflinching portrayals of drug and alcohol addiction you’re likely to ever see in a mass-appeal film from a big-time director and starring one of the world’s most famous movie stars.
Posted in: Disc Reviews by J C on February 3rd, 2013
“I’ve changed a lot. I’m not the same woman.”
Early on in Luis Buñuel’s surrealist gem, a mild-mannered older gentleman named Mathieu douses a beautiful, battered woman with a bucket of water as she desperately attempts to board the train he’s riding. His fellow passengers are stunned, but also understandably intrigued. What possible sequence of events could’ve led Mathieu to this cold and cartoonish gesture? It’s an irresistible hook, and Mathieu proceeds to regale the other travelers — and, by extension, the movie’s audience — with the tale of “the foulest woman who ever lived.”
Posted in: Disc Reviews by J C on January 31st, 2013
No matter how much you hated Prometheus — parts of it were startlingly dumb, but people who seriously talk about it like it’s the worst film of all time need to take a deep breath — Ridley Scott has a pretty strong case to be included on any list of Top 10 Living Directors. His work has helped redefine genres (Alien, Blade Runner, Gladiator) given us indelible images (that final still from Thelma & Louise) and even provided a few smaller-scale delights (Matchstick Men is my favorite of this group). So I’m proposing we take a quick break from trashing his last movie to discuss his very first one.
The Duellists follows a pair of officers in Napoleon’s Army during the early part of the 19th century. The film opens in Strasbourg with the mercurial Lt. Feraud (Harvey Keitel) critically injuring the mayor’s nephew during a duel. An even angrier general orders the dutiful Lt. D’Hubert (Keith Carradine) to place Feraud under arrest. Feraud is an avid duelist and thinks he did nothing wrong, so he feels insulted by D’Hubert's accusation. The fact that Feraud is with a woman when D’Hubert arrives to arrest him only adds to his embarrassment. Naturally, Feraud has no choice but to challenge D’Hubert to a duel.
Posted in: Disc Reviews by Jeremy Butler on January 30th, 2013
How exactly do you make a superhero movie without the powers? Answer: Have them wake up with their powers being stripped from them. All Superheroes Must Die is a superhero tale that from the title you can tell is fated not to end in the traditional way that superhero films end: with the righteous prospering and the wicked suffering. What the film title doesn’t let you know, however, is how underwhelming the film is. It does have an interesting startup, I’ll give it that. Our heroes: Charge (Jason Trost, writer/director), The Wall (Lee Valmassy, THE FP), Cutthroat (Lucas Till, X-Men First Class), and Shadow (Sophie Merkley) wake up in an abandoned town (I have to be honest; I didn’t understand many of the chosen monikers). Seeing each other comes as a shock to each of the heroes as the once-powerful unit has been separated for what the audience is forced to assume is years. Personal issues forced them apart, and now a common enemy has brought them back together: Rigshaw, a methodical sociopath with an axe to grind against the group, especially Charge, who was thought to be responsible for his supposed downfall.
Rigshaw has created a complex series of trials for the team heroes to go through, the objective for them to experience what it is like to be on the losing side for once; a series he has aptly named Role Reversal. To survive the game and save lives, the heroes will have to get past their differences and work together, but will they be able to let go of the past and work together, or will their past be the deciding factor in their destruction?
