The Reel World

"The wizarding and non-wizarding worlds have been at peace for over a century. Grindelwald wants to see that peace destroyed." 

Back in the early days of the internet before videos went "viral", there was a Thanksgiving cartoon about a chef who needed to serve too many people with a small turkey. So to compensate, he kept stuffing that sucker until it eventually exploded. Watching the latest entry in the J.K. Rowling Wizarding World, I was very much reminded of that early video. There's an attempt to make the running time a bit leaner than we've typically seen with these films. It's just barely over two hours, making it one of the shortest running times in the series when you include the Harry Potter films.

Steve McQueen has established himself as a rather talented director. 12 Years A Slave was one of the better films of 2013 and one of the few times I happened to agree with the Oscars’ choice for Best Picture. When he tackled the heist format I expected something unique, and I wasn't at all disappointed. McQueen managed to put a clever spin on a tired genre and provide us with a superior and inspired cast. It wasn't all completely his idea, of course. The film is based on a Canadian miniseries that goes back to the 1980's. That doesn't mean he hasn't found a way to imprint the material with his own style and bold choices. There's a lot to love about Widows, but I have pretty low expectations for this film at the box office. More on that later. Let's get down to it, shall we?

“For the record, I am a better Dorthy Parker than Dorthy Parker.”

Looks like Melissa McCarthy is attempting to branch out from her usual branch of raunchy comedy. Or at least she is dipping her toe in the water of such an idea, as Can You Ever Forgive Me is not without its raunch. Based on  the novel by Lee Israel, a known literary forger said to have forged over 400 false letters from notable writers, McCarthy plays the character and brings the comical quips that she has became famous for. Paired with Richard E Grant, the two work off one another with positive results. Probably one of the best examples of a non-romantic pairing I’ve seen this year.

By John Delia Jr.

The fabled story of the Nutcracker has many experiences, from plays, to musicals, to theater, and to operas; it has entertained us all for a century. What if these stories are real, and these Christmas toys really do have a world of their own? That would be a tale we all would love to hear. Enter Disney's The Nutcracker and the Four Realms. After the death of their mother, Clara (Mackenzie Foy), Fritz (Tom Sweet), Louise (Ellie Bamber), and their father, Mr. Stahbaum (Matthew Macfadyen), must endure the Christmas holidays without her. Struggling to move on with the events of the season, Mr. Stahbaum pushes them all to attend the annual event at Drosselmeyer’s house.

"Is this the real life or is this just fantasy?"

I think even Queen's biggest fans might have trouble distinguishing between the two in the Freddie Mercury/Queen biopic Bohemian Rhapsody. And that's absolutely okay. If you look at the film's trailers, the movie looks less like a bio-film and more like a celebration, and that's exactly the kind of experience you're going to have from beginning to end. I'm sure that a lot of film and Queen fans shared more than a little skepticism over the project. I know that I certainly did. But all of that magically disappeared when the first trailer hit the internet and we all watched in amazement as actor Rami Malek appears to be channeling the manic spirit of Queen front man Freddie Mercury down to the smallest of detail.

"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.

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.

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.

"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.

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.