The Reel World

“When someone is shooting at you, you know their intentions.”

Submarines have had their own fascinations since Leonardo da Vinci first designed one. Jules Verne took us 20,000 Leagues Under The Sea and used a fantastical submarine to inspire and dazzle readers for centuries. Even television has gotten into the act as Irwin Allen took us on a Voyage To The Bottom Of The Sea. But it’s the cinema that truly captured the idea of submarine warfare, from the German classic Das Boot to the equally classic Run Silent Run Deep. Modern films like Crimson Tide and The Hunt For Red October took advantage of modern f/x technologies to bring us even closer to the perilous depths.
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By John Delia, Jr

In Johnny English Strikes Again, English brings back his hilarious antics. The world’s security is threatened by an internet thief, and there is only one person who can save us all. This clumsy, blundering character who always manages to get the job done, even though it may not be with the intentions he set out to perform, is back in action. The greatest British agent of all time, Johnny English, is back, and he brings us more slapstick comedy than ever.
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When Robert Redford first announced that The Old Man and the Gun was going to be the last film he was going to be acting in, it became a film that shot to the top of my must-see list.  Since that announcement he’s backed off on his comment, but if this were his last film, this would be one heck of a way to close out an amazing career. What writer and director David Lowery has delivered here is sort of a love letter to all of Redford’s greatest hits, and by the time the credits end, well, you simply know you’ve watched something special.  It’s a film from another era, when special FX didn’t come out of a camera, and cinema just was different.
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“I always knew he’d come back. In this town, Michael Myers is a myth. He’s the Boogeyman. A ghost story to scare kids. But this Boogeyman is real. An evil like his never stops, it just grows older. Darker. More determined. Forty years ago, he came to my home to kill. He killed my friends, and now he’s back to finish what he started, with me. The one person who’s ready to stop him.”

I was 17 years old when John Carpenter released The Shape, aka Michael Myers, on the world in 1978. It was a milestone film. Of course we didn’t know we were watching something that would become so culturally huge.
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I was quite reluctant to attend the screening for The Oath. My reluctance wasn’t based on my willingness to see the film. People like us will go to any kind of a movie. I love films. My issue was the impression I received from the trailer. The film appears to be ripped from today’s political climate and quite possibly to be a close parody of the actual present political situation. No matter on what side of that issue I might personally happen to fall, we here at Upcomingdiscs try our best to keep our politics out of our work. It’s not fair to fellow writers for them to be brushed with any other writer’s ideals, and it’s simply unnecessary to create a hostile environment here for any of our readers or staff. So I approached the screening with the caveat that I might not actually review the film. When the studio agreed to those terms, I set out to experience The Oath. I’ll give you a little “inside baseball” into the movie review business.
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“That’s one small step for (a) man. One giant leap for mankind.”

July 20th, 1969. If you were alive and even somewhat old enough to be aware of your surroundings, you likely still remember that date. There are many such dates in history; unfortunately so many of them revolve around tragic events like 9-ll or the attack on Pearl Harbor. But on that night I was eight years old, and I know exactly where I was. I was watching Walter Cronkite on television as he brought us the first landing on the surface of the moon. Today that’s a bittersweet memory.
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These days when the studios are cutting together trailers to promote their upcoming films, I feel one of the number one complaints people have is that the trailer gives too much away, so why bother shelling out the cash to see it on the big screen?  When it comes to the trailer for Bad times at the El Royale, it gives you a glimpse at what is to come, but the result is something clever and ambitious, but unfortunately feels a bit too familiar.  This is the second feature film from writer and director Drew Goddard, who first made a splash onto the screen with his hit film Cabin in the Woods.  While I enjoyed his first romp that played with many of horror’s stereotypes, I still felt the film fell a bit flat.  Unfortunately, though I enjoyed this fun little noir film he’s put together, I feel it too falls a bit flat, but mostly this is due to its 140 minute runtime.
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When I was in elementary school, R..L. Stine was the author all the kids were reading.  For me Goosebumps was sort of a gateway that opened me up to horror, and I’ve been a bit obsessed with the genre ever since.  If you were a kid of the 80’s, I don’t think it’s possible for you to not know who R..L. Stine is. Even if you somehow never managed to read one of his books, there was also the successful TV series that came out in the early 90’s.  For years I would have said Stine would always be the most successful writer for kids. Well, that all changed once a certain wizard hit the scene and changed pop culture.
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“Eyes. Lungs. Pancreas. So many snacks. So little time.”

The Marvel Venom character started simply enough with a desire to change the look of Spider-Man’s costume in the 1980’s. Spider-Man along with a collection of Marvel’s heroes were abducted by a character called The Beyonder to fight on a battle planet. It’s much like the iconic Planet Hulk story, which was used for the recent Thor film. When Spider-Man returns to Earth, he has a new black and white suit that he found in space. For quite a while the new look for the Web Crawler caused a debate in Marveldom about the hero’s new look.
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When I first heard that Bradley Cooper would be making his directing debut with A Star is Born, honestly, I kind of groaned.  It’s not because I didn’t believe he’d have the chops; after all, he’s worked with many successful directors over the span of his career. I groaned because I believed the world didn’t need yet another remake of the film.   This will be the fourth incarnation of the film, and while many can debate on which version is their favorite, the film was pretty much a relic I felt should have stayed in the past.  I mention this and want to also put out there even after some of the trailers I had caught for the film; my excitement level was pretty low going into this.
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by John M. Delia, Jr.

Our life experiences influence what we do in our future, and what our parents experience could also influence how we are as well. And in tragedy and death, we experience large amounts of loss that could also transfer to our unborn offspring. Lastly, we experience many ups and downs throughout our lifetime, and how we react to those good or bad experiences make up who we are and how strong our will is to survive. Keep moving along knowing that there will be good life experiences, even though you will always have many hurdles to overcome, as we see in Life Itself.
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Children’s fairy tales have taken a new drift with the film The House with a Clock in Its Walls.  Packed with exciting action adventure, the movie, based on the book by John Bellairs, envisions the story with an incredible amount of CGI.  You could almost call the film animated, but that’s a good thing here as things go bump in the night, magic forms the basis, and solving the mystery becomes the prominent focus for older youngsters. Orphaned due to a car crash that took his parents, young Lewis Barnavelt (Owen Vaccaro) gets invited to live at his Uncle Jonathan’s (Jack Black) magical mansion. He’s a bit fearful of the old house with its grand stairway and many mysterious rooms, but Lewis sort of likes the flamboyance of the magician turned warlock.  There he’s introduced to Jonathan’s neighbor and best friend Florence Zimmerman (Cate Blanchett), who assures Jonathan that he will enjoy living with his uncle.
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“Predators don’t just sit around making hats out of rib cages. They conquered space.”

In 1987 Predator became somewhat of a milestone film for many reasons. The movie would anchor a franchise thanks mostly to a wonderfully original Stan Winston creature design and the performance of Kevin Peter Hall under the suit. Both Winston and Hall have since passed, but the alien hunter that they created together is still going strong. The film also featured two stars who would later go on to become governors of their states. Arnold Schwarzenegger and Jessie Ventura made their mark in politics. The film also featured Rocky’s Carl Weathers. It also featured Shane Black in a small role that might not have contributed to the blossoming franchise then, but he has made his own impact by writing and directing the latest installment of that franchise The Predator.
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There is something about the words “based on a true story” that seems to have a certain effect on us and seems to alter our perception of a film.  Then there is something about a true crime story that seems to excite us even more; at least for me, I enjoy these films where we get a glimpse of the seedy underbelly of society. So when White Boy Rick comes along to tell the tale of the youngest FBI informant who also happened to be an arms dealer and drug kingpin, well, this is the kind of film I tend to get excited about.  When I first saw the trailer, it had me thinking this could be a hodgepodge of American Hustle, Blow, and Goodfellas all wrapped into one. Unfortunately, though the film has some great talent and oodles of potential, the result is a good-looking mess on the screen.
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The favor, a paramount commitment of friendship. Everyday friends engage in this covenant, without batting an eye. But what if that favor had lasting consequences? That is how this story begins, and it rapidly descends into a tale of love, loyalty, murder, and revenge. Anna Kendrick and Blake Lively join together for a quirky and campy mystery entitled A Simple Favor that I actually must admit that I enjoyed more than I was expecting to. I mean, obviously, Blake Lively is a captivating beauty, and Anna Kendrick is the embodiment of the girl next door. Not to mention no one does that quirky charming persona like Kendrick. However, if I had to pick who was the more entertaining of the two, I would have to give a slight edge to Lively, for reasons that I will soon elaborate on. A Simple Favor is based off a book of the same name. I’m not sure how closely the film followed the book, but I imagine that the audience will not be disappointed with the film.
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Social media, along with our growing number of mobile devices, are dominating our lives. Today it’s how we shop. It’s how we communicate. Hell, it’s how we date. For many of us, our devices have become how we see and experience the world around us. The new electronic culture has also changed our movie experience, as more and more films and television shows are going directly to our devices instead of our television and multiplex screens. It’s also changed the way films are made. Recently, I reviewed a film shot completely on an iPhone. It should come as no surprise that a film would come along that tells its entire story through the lenses of these devices.
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Too often the word classic is overused and often misunderstood. When I hear or read a critic calling a new film a classic, my blood boils a bit. I often say that the only thing wrong with instant gratification is that it takes too damn long. It takes the endurance of time to define a classic. There must be some lasting effect on a culture. The 1973 Steve McQueen and Dustin Hoffman film Papillon fits that description, in my not-so-humble opinion. It’s a film that had a strong impact upon me when I saw it so many years ago and is one of a dozen films I try to watch at least once a year or so. Because of those vivid images that remain with us so long, classics are bad choices for a remake unless there is truly something more that can be done with the material.
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Ever since Jaws splashed onto the screen back in 1975, Hollywood has been attempting to follow its success, and though some films have been valiant efforts, nothing seems to come close to the Spielberg classic.  Sure, effects have come a long way over the years,  and through the Hollywood magic of special effects they can create a more realistic looking shark, but to be fair, many of the film’s more memorable moments don’t even have the shark on screen.  When I first heard about The Meg, it was going to be in the hands of Eli Roth of Cabin Fever and Hostel fame. This seemed to be like a good pairing that would result in a blood-fest filled with shark carnage that would leave shark fans pleased, but eventually the studio decided to pass, and the project seemed almost dead in the water.
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Ever since Do the Right Thing came out in 1989, Spike Lee has been a director critics and fans have kept an eye on. Over the span of his career he’s done everything from music videos with Michael Jackson, documentaries, television shows — but mostly he’s made his claim to fame in film. His films have been all over the place. As critical and box office successes, Inside Man to this day may be his biggest success financially, but of all his films it is the one that feels the least like a Spike Lee film.  The man has a distinct visual style; most of his films take place in New York, but the typical thing you’ll find in his films is the “black culture” and the topic of race relations.  With his latest film Blackkklansman, Lee ventures into some familiar territory, but for the first time in quite a while he delivers a movie with a strong message but also manages to be entertaining.
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“If anyone wants to clap, now is the time to do it.”

If he were alive today, A.A. Milne would likely find a reason to smile these days. Perhaps he is. Winnie The Pooh has made quite a bit of a comeback in recent years. Last year we saw the impact the creation had on his son, the real Christopher Robin, in the sentimental Goodbye, Christopher Robin. This year Disney continues its recent trend of bringing many of its classical animated features back for live-action remakes using the wonderful world of computer-generated f/x and motion capture performances.
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When a disease begins targeting and killing children, you fear the future of the generation. However, when the children who survive develop dangerous abilities, you fear for yourself. That is the situation that Ruby Daly finds herself in. To compound her issues, not only does she have powers that she can’t control, but among the powerful, her abilities are among the rarest and strongest. Amandla Stenberg stars in this film based on a young adult novel series. Anyone else sensing a franchise in works? Unfortunately, despite the vacuum let behind by Twilight, Hunger Games (which our star was a part of), and the recently ended Maze Runner, I’m not so sure that The Darkest Minds will be the vehicle to fill the gap. Overall it was a solid opening, but I left the film with more than a few unanswered questions.
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“Your mission should you decide to accept it. Isn’t that the thing?”

And that has been the thing. Since 1966 Mission Impossible has plotted out nine seasons of television and six movies, thrusting Tom Cruise into an action hero icon. Cruise and company have taken their time with these films. It’s been over 20 years, and we’re only on the sixth entry. For the first five films, each of the Missions have been directed by a different director, from John Woo, who directed the second and worst of the films, through J.J. Abrams, who turned the ship around with the third, which was also his first feature film, to Christopher McQuarrie, who becomes the first director to repeat in the series of films.
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A cool little film with a lot of mixed messages, Eighth Grade tells the story of a young girl entering her teenage years. Nicely acted and directed, the movie works on the heartstrings and leaves you with a feel-good sentiment. If you can remember the years when your next step would be high school, you may be surprised by the film that very little has changed. There’s one more week of eighth  grade, and Kayla Day (Elise Fisher) finds herself full of angst mixed with hope as she deals with what she leaves behind and looks forward. A lot is taking place including her last band practice, Kennedy’s birthday swim party, and upcoming High School Shadowing Day.  It’s also the announcement of class superlatives that precedes graduation day.
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Dwayne Johnson appears to be a pretty busy guy. In addition to the HBO series Ballers about to enter its fourth season, Johnson puts out a couple or more films a year. We’re not talking about small independent films, but rather huge high-budget and big f/x films. Next year will see Jungle Cruise and Jumanji 2,  following with San Andreas 2, Suicide Squad 2, Black Adam and a remake of Big Trouble In Little China, all arriving in the next couple of years. This year saw Rampage, which comes to home video next week. It’s a busy life for Dwayne Johnson, who appears to have dropped “The Rock” from his name. I sure hope it didn’t hit anyone on the head. Now he’s starring in Skyscraper, which shamelessly combines elements of Die Hard and The Towering Inferno. In Skyscraper, Johnson shows us that he’s intent on hanging around for a while… this time from 220 stories high.
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