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“You have a convenient way of remembering things.”

Buried somewhere deep in The Adderall Diaries — a hybrid family drama and true crime thriller centered around a blocked writer — there’s an interesting exploration of how the past isn’t necessarily set in stone and how two people can recall the same exact event in divergent ways that serve their needs. Unfortunately, the film almost entirely muddles that message beyond recognition, and we’re left with a movie that is neither convenient nor particularly memorable.
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If you recognize the name Jeremy Butler, it’s because you’ve seen it hundreds of times…200 times, to be exact.

When he’s not busy out there defending us from the bad guys… he’s defending us from bad movies.

Please join me in congratulating Jeremy Butler for 200 Reviews!

I have just binge-watched 34 ½ hours of television. That’s 47 episodes and two seasons’ worth. That’s a lot more episodes than most TV shows today. The binge was season three and season four of an acclaimed series from 1991 to 1996. It received eight Emmy nominations, and it is considered the first demographic hit because of its strong female viewership. It revels in all the glories of wonderful Winnetka, Illinois. The deceased father of the Reed sisters named them Alex, Teddy, Georgie, and Frankie. The father was obviously expecting boys and was severely disappointed. If you haven’t guessed yet, the show was Sisters.
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Konstantinos Koutsolitas is a visual effects supervisor for American films like Guardians of the Galaxy and 300: The Rise of an Empire. You might have guessed by his name that he is Greek, so it is natural that his first directing effort would be Greek. The Winter is about a struggling writer who tries to hide his failures that he left behind in London from his noisy and intrusive family. Dimitri Gounaras (Vangelis Mourikis) moves back to the deserted ancestral home of his father, which has been abandoned for some time. There is madness in the house, or perhaps just in members of his family, and there are ghosts lurking, real or imagined.
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With The Choice, there have now been 11 movies based on the work of mega-selling author Nicholas Sparks. (Eat your heart out, John Grisham.) However, I’m pretty sure that even the most ardent Sparks fan/apologist caught on to the author’s formula about 8 or 9 tearjerkers ago, and practically every one of those clichés is in full force here. But while The Choice calls back to the most successful Sparks adaptation, the movie also explores a less glamorous side of romance that we’re not used to seeing on screen.
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The setup is actually quite elegant in its simplicity: a man protects his house — and the terrified little girl who bursts into it one day — from a cold-blooded killer. Despite becoming a bit tedious in its middle section and a little improbable during the finale, Standoff absolutely lives up to its title. The movie is carried by a pair of strong lead performances and subtly effective stylistic touches from its first-time director.
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Ever since Narc and Training Day became critical and financial successes, it seems everyone has tried to follow the formula of corrupt cops and their partners trying to do the right thing.  Factor in the society outlook on dirty cops; Badge of Honor at first glance would appear to be a sure-fire hit. Unfortunately, it’s a misfire that never seemed to have much of a chance. When we first meet Jessica (Mena Suvari), she is a beat cop who is called in with her partner checking in \on a domestic disturbance report.  Things get out of hand, and her partner overreacts with extreme force and beats a suspect. 
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Say Uncle. That’s U.N.C.L.E., otherwise known as the United Network Command for Law and Enforcement. Starting in 1964, The Man From U.N.C.L.E. was one of a flurry of shows to take advantage of the new James Bond craze. It featured many of the same elements as the super-spy films. You had sophisticated spies in tuxedos. There were plenty of gadgets. And there were constant threats of world domination, mostly from the evil counter organization, THRUSH. The two top spies for the good guys were Napoleon Solo (Vaughn) and Illya Kuryakin (McCallum). The Bond references were never subtle and always intentional. Ian Fleming himself consulted on the show and named Napoleon Solo after a Bond character. Together Solo and Kuryakin would travel around the globe, saving the world from almost certain doom.
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Ever since Twilight and The Hunger Games have taken off to become successful young-adult franchises, it would seem studios have scooped up just about every young-adult property in hopes of catching this magic (or money) in a bottle.  While these cash-cow franchises continue to pop up, it sadly seems these dystopian titles lack the quality of their predecessors and bring nothing new to the screen either.  When it comes to The 5^th Wave, we are given a little hope that perhaps this time, now that the villains are aliens, that we may get something new; unfortunately, this is a wave that smacks its audience in the face with more of the same old story we’ve been tired of for some time.
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I Believe In Unicorns is a small independent movie that few people will see. It’s the kind of film experience people don’t see much of because the culture is saturated with pre-packaged product. That’s probably a bad thing. The film is by writer/director Leah Meyerhoff, and one of the stars is her mother, Toni. Leah doesn’t have much of a resume aside from a number of shorts, one of which is included on the DVD. Twitch is an early inspiration for the feature film. In both versions, Toni plays a wheelchair-bound woman cared for by her teenage daughter. This is clearly a very personal project for Leah and Toni, who is afflicted with MS.
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As soon as you see the opening credits to The Last House, you have a pretty idea that you’re not in Kansas anymore, which was quite strange for me, since I’m supposed to be in Florida. Director Sean Cain lets you know up front that the film will challenge your ability to keep up. It doesn’t help that you get an intercut of actor Ezra Buzzington spouting some kind of philosophy that makes no sense, partly because you can’t  understand everything he’s even saying. Sadly, the film doesn’t come with subtitles, so it appears that Cain just doesn’t want you to get comfortable at all. Well… mission accomplished. So, is that a good thing or a bad thing?
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“A long time ago in a galaxy far far away…”

It sure does seem like it was a long time ago since Star Wars was actually very good. It doesn’t matter if you thought Empire or Jedi was the last good film; few people that I’ve encountered mentioned the more recent trilogy in the same sacred breath as those original films. Star Wars gave us swashbuckler adventure in the spirit of the early serials. Then it was about a mythical epic story that swept a generation into its colorful universe. What George Lucas created in the late 1970’s will never die.
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I really hope that Tyson is getting a hefty sum for this series. It is the only justification I can come up with for him being part of a series that does not cast his intelligence in the best light. A cross between Scooby and Family Guy in my opinion, Tyson leads a cast that includes his adopted Asian daughter, a ghost (and that’s not the weirdest member), and a talking pigeon as he travels around the world solving mysteries. Yes, you read correctly, mysteries. When it comes to needing a mystery solved, Tyson is not the first name to come to mind, but I suppose that was the point.
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There is something to be said about cult celebrities: if you are a fan, you will watch any movie in which they have a role. In the case of 4Got10, you get Danny Trejo and Dolph Lundgren.  In addition to these cult giants, you have the prolific Johnny Messner (Tears of the Sun, Anacondas: The Hunt for the Blood Orchid) delivering a strong performance in the lead role. If you are a fan of action thrillers, this film is already off to a great start.
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by Dustin P. Anderson

Our story follows a sexually confused young girl, Lydia, who is going to an all-girls school in Britain. Lidia has a strong relationship with a girl named Abbie, to the point where the girls are rarely seen apart. Abbie discovers that she is pregnant and starts fainting at random points throughout her day. After the two girls act out in class they both wind up in detention, but the girls must be excused because Lydia is not feeling well. Lydia dies on their way out of detention. The school starts mourning the loss of Lydia, but everyone begins worrying when Abbie starts having fainting spells like Lydia did before she died.
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The Gallows starts off with a camcorder video shot of a high school play from 1993 in which a horrible accident occurs. It is immediately followed by video footage from 2013 that is labeled police evidence. That tips us off, if we didn’t know, that this is found-footage material. The found footage genre has grown substantially since the phenomenally success of The Blair Witch Project in 1999. One of the reasons that The Blair Witch Project was so successful is that the concept was fresh at the time. It isn’t any longer.
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At first, Eaters looks like a pretty fun horror film. The cover depicts a well-dressed figure in a scarecrow-like mask and a bowler hat. Above him in typical horror font, the title is displayed, followed by a tagline that reads: “Prepare to meet a new breed of killer”. First impressions are everything, and this is promising a lot. After watching the film, I’ve come to realize that the title, Eaters, is very misleading. In fact, I’m almost positive that not a single person ate anything in the entire film. The film follows a group of five young adults taking a road trip through the desert. Complications arise at a rest stop, where one of the young women goes missing after running into a gang of drug-smuggling bikers.
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All right, my first addition for this year’s 31 Nights of Terror. Always a very exciting time, as ‘tis the season to jump out of your shoes. Unfortunately, that is not the case with The Invoking 2. I know it is bad form to jump into a franchise (assuming that two films can make a franchise) without seeing the film that came before it, sort of like beginning a novel in the middle instead of at the beginning. Have no fear, though, as I suspect that watching its predecessor is not a prerequisite for the watching of this disc. Clearly an anthology series, the runtime is made up of several different tales of death that give off sort of a campfire-ghost-tale vibe. So the premise of this collection is very fitting; it is not, however, scary.
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“Before we start, I want you to know something…I’m not a rat.”

I could get into *a lot* of trouble if anybody found out I was talking to you. After all, there is absolutely, positively nothing worse than a rat, a point that is made crystal clear in Black Mass. But I’m putting my neck on the line here because I figured you’d want to know this fact-based crime drama marks the welcome return of Johnny Depp, who has spent the better part of the past decade in the Magic Kingdom loony wilderness.
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What a great time it was to be a teen in the late 1970’s. No, I’m not referring to disco music. It was a great time to go to the movies. It was the culmination of the perfect date, and Hollywood was riding the beginning of a trend that remains alive and healthy today. I’m talking, of course, about the slasher film. You could argue that Hitchcock started the ball rolling in 1961 with Psycho, but it would be decades before that film would find its true audience and plethora of imitators. Although The Texas Chainsaw Massacre and Halloween came before Friday The 13^th, can it be argued that any horror film franchise is as widely known?
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by Dustin P. Anderson

This is a documentary on the growing concern for the rising number of African-American children being born into unwed households. The film’s title 72% is a statistic of how many African-American single mothers are currently living in America. The documentary asks scholars and television personalities for their take on the growing crisis among the community. I feel I must make this quick addendum: as a white male I can only take this movie for how I saw it and how it made me feel. I am aware that I am not necessarily the target audience intended for this documentary, but it was a good watch besides.
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I remember seeing a trailer for this movie a few months back and feeling underwhelmed. It was one of those experiences where you see a trailer and feel like through that contact alone that you can determine the entire course of the movie. Fortunately, I have no trouble admitting when I am wrong, and that was the case for Clouds of Sils Maria. I didn’t have any clue what I was in for, and though slow pace of the film and the ever-changing landscape did get a bit tedious at times, the film possessed a story that I can only describe as life imitating art. Ironic, given that the film covers the story of a renowned actress being asked to return to a play that made her famous but this time in an older role, another once upon a time playing the younger one.
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