Posted in: Disc Reviews by J C on January 30th, 2014
Collision is ostensibly about a honeymooning couple who gets stranded in the desert, and how the harsh, unforgiving terrain shines a light on their many secrets. But the coolest thing about this thriller — besides the spectacularly violent car crash that sets the plot in motion and gives the film its title — is how the story could've been told from any of the marooned characters' perspectives. I just wish writer/director David Marconi hadn't taken the most winding, contrived road possible to arrive at his destination.
Posted in: Disc Reviews by Gino Sassani on January 29th, 2014
"My name is Flint Lockwood. My whole life I always wanted to be a great inventor just like my hero. It was like Chester V. was speaking directly to me using the language of science."
In 2009 Sony Pictures had finally learned to use the language of science when it comes to the world of animation. I'm talking the computer-animated feature film. Of course, they've been in the game for a while, but it was with the release of Cloudy With A Chance Of Meatballs that this reviewer believes they delivered on the kinds of things that Pixar and Dreamworks have been delivering
Posted in: Disc Reviews by Gino Sassani on January 29th, 2014
"This evening I finally met Count Dracula. He is younger than I expected, although his behavior and his demeanor seem to somehow contradict his appearance."
Dracula and vampires in general have taken on many appearances and personalities over the years. He has been portrayed as the suave European gentleman and a vicious gaunt creature best left to the shadows. Lately vampires have taken on the angst and yearnings of adolescence. Dracula has been around since 1897 when Bram Stoker wrote his groundbreaking novel.
Posted in: Disc Reviews by Brent Lorentson on January 29th, 2014
Creator David Simon (The Wire and Generation Kill) has never been a show runner concerned about cliffhangers or plot twists; instead he thrusts his viewers into the day-to-day life of the everyday Joe and shows that real life generates more conflict than most fiction can ever deliver. Ever since I first watched The Wire I’ve considered myself a fan of Simon’s work, and I feel it could be argued that what Simon did with The Wire is a large factor in why we have the quality of television that we do today
Posted in: Disc Reviews by Archive Authors on January 29th, 2014
Journalism today is in disarray. I say that not because there aren’t many, many passionate journalists who want to do the best job possible. I say it because there are just many, many, many more bloggers who don’t know how live up to those standards or why it’s even important. The internet changes everything in the music industry, the movie industry, and the media industry. That doesn’t necessarily mean it’s a bad thing. It just means that it’s chaotic, and it often seems like no one is in control
Posted in: Disc Reviews by Gino Sassani on January 28th, 2014
"One … two… Freddy’s coming for you, three… four… better lock the door, five… six… grab your crucifix, seven… eight better stay up late, nine....ten … Never Sleep Again."
Freddy is one of the more memorable monsters from the slasher era that also brought us the Halloween and Jason films. Freddy might have been born in the mind of Wes Craven, but he grew and developed in the knife-wielding hands of Robert Englund. Granted, not all of these films are equal in quality. The first and third are the best story-wise, while the last might be the most unpredictable and original.
Posted in: Disc Reviews by J C on January 24th, 2014
In the 1990s, the French action films of Luc Besson (La Femme Nikita, Leon: The Professional) and Euro-centric offerings like John Frankenheimer’s Ronin provided a sleeker, more exotic alternative to the outsize, muscle-bound exploits of Stallone, Schwarzenegger and Van Damme. Besides movies with the words “Fast” or “Furious” in their title, American action flicks have mostly moved away from lo-fi, knucklehead thrills and turned to PG-13 heroes in CGI adventures. Meanwhile, European filmmakers have stayed in their stylish, car/foot-chase-loving lane. The result is entertaining yarns like The Prey/La Proie, which stands out thanks to its thuddingly simple action movie pleasures.
Posted in: Disc Reviews by J C on January 22nd, 2014
Location, location, location! The notion that a desirable geographic spot can make a huge difference isn’t exclusive to the world of real estate. Take, for instance, Crossing Lines. At first glance, the show fits comfortably alongside any number of American police procedurals that feature curiously attractive cops and a fresh set of dead bodies each week. It’s a formula that’s worked for decades, so it’s hard to argue for a complete overhaul. The best fans can hope for are clever tweaks to help new shows stand out from the crowded cop show lineup. Crossing Lines accomplishes this by taking all the fake corpses you’ve seen on New York and L.A. streets and scattering them across Europe.
Posted in: Disc Reviews by J C on January 16th, 2014
“They’re gonna laugh at you. They’re all gonna laugh at you.”
The idea of remaking/reimagining/refurbishing a horror classic may have been laughable at one point, but now it’s just business as usual. Then again, I happen to think this is an especially good time to revisit 1976’s Carrie. With all the attention bullying has gotten in the media these last few years, the supernatural story of a high school outsider pushed to her violent breaking point seems particularly timely
Posted in: Disc Reviews by J C on January 16th, 2014
“This song of the Man and his Wife is of no place; you might hear it anywhere at any time.”
The aching simplicity of the story in Sunrise is the reason the silent film remains thoroughly watchable almost 90 years after its release. It’s also why the movie will remain thoroughly watchable another 90 years from now. Then again, the reason F.W. Murnau’s 1927 effort goes beyond simply remaining watchable — and enters masterpiece territory — has less to do with what the story is and much more to do with how it’s told.
