Posted in: The Reel World by Gino Sassani on May 6th, 2018
"Goodtime Charlie's got the blues."
Every once and again a film comes along that you can't quite find the right label to describe. It doesn't want to fit in any particular genre or category. Andrew Haigh appears to be the kind of director who thrives on that kind of a film. He received a well-deserved Oscar nomination for 45 Years, and while I don't expect there will be any Oscar notice for Lean On Pete, it's the kind of film that deserves more attention than it's likely to get, including at the box office. When I first saw Lean On Pete at a press screening, it was anticipated to open earlier and wider than what has actually come to pass. In an already crowded early summer blockbuster season, I can understand the trepidation that your local Cineplex might have taking up screens for such a small marvel when there are literally larger Marvels eating up box office dollars. My hope is that the film will find an audience even among the blockbuster crowd. After all, as good as dessert tastes, there are some yummy nutritious items to be found in the cinematic ala carte of the spring/summer season. Lean On Pete is just such a film and worth the time to make what will be an extra effort to see it. If you’re in Tampa, you should check it out at the newly renovated Tampa Theatre, where you can revel in a one-of-a-kind, nearly-100-year-old theater experience and take in a warm film that serves as a wonderful balance to the action most of us are anticipating over the next few months. Bon appetit.
Posted in: Disc Reviews by Jeremy Butler on May 4th, 2018
For Dylan O’Brien, it just seems like his start just keeps getting bigger and bigger. Going from the awkward best friend on MTV’s Teen Wolf to becoming a leading man on the silver screen, he has shown charm and charisma normally only seen in veterans. Another great way a star distinguishes himself is to get attached to a franchise, something he has done with the Maze Runner trilogy. Of course, Maze Runner: The Death Cure spells the end of that run; given his performance in the film, it does not spell the end to his rise. An entertaining and engaging conclusion to the franchise, Maze Runner: The Death Cure follows former glader turned revolutionary Thomas as he continues his battle against his former employers WCKD, the corporation that is exploiting children in order to utilize their immunity to the Flare, a virus that has caused dystopian society. Filled with action and infused with heart, the film is possibly the first book adaptation that guys will be able to get behind.
Following the events of Maze Runner: The Scorch Trials, Thomas is betrayed by Teresa (Kaya Scodelario), the person he trusted most in the world, and begins working with revolutionary group, the Right Arm. Teresa’s betrayal also resulted in the capture of Thomas’ friend Minho (Ki Hong Lee). Partnering with fellow Maze survivors, Newt (Thomas Brodie-Sangster) and Frypan (Dexter Darden), Thomas sets out to recover Minho from WCKD’s stronghold, the last known city in existence. Gaining entry to the city’s fortified walls will be a challenge in itself, and the group will be forced to rely on a familiar face that they don’t completely trust. Time is of the essence as they attempt to reach Minho before WCKD’s experiments leave him a shell of himself. On the other side of the wall, Teresa deals with the consequences of her choices and finds her resolve shaken as she is forced to question if she chose the right side.
Posted in: No Huddle Reviews by Dan Holland on May 4th, 2018
Often times, biographical documentaries are release posthumously, essentially immortalizing the spirit of the subject. In the case of Shadowman, street artist Richard Hambleton remained alive to be featured in the documentary and see his work be shared at a number of festivals before his death in October of 2017. Now, thanks to Storyville Films, you can take a look at the life and work of Richard Hambleton, as he emerges from the shadows – so to speak. Quite figuratively working in the shadows of other giants such as Andy Warhol, Keith Haring, and Jean-Michel Basquiat, Richard Hambleton is quite the understated artist. This documentary explores his life and his art, and more importantly, how the two communicate with one another.
Perhaps the most fascinating aspect of this documentary is the way in which we actually get to see footage of Hambleton working on his pieces, and just the pieces themselves. Every bit of his art is awe inspiring, so much so that it looks unbelievable. That is, until you see him do it right in front of you. One of the most breath-taking sequences shown in this documentary features Hambleton being filmed by someone at night, creating one of his famous “shadowmen” on the side of a wall in New York. The swiftness and accuracy of getting this piece to completion is astounding. Unfortunately, this was the only known clip of him creating one of these figures, so the documentary uses it more than once. While it is fun to watch, the way in which they use it the second time seems more like a lazy bit of “filler footage” rather than something that carried weight in the rhetoric of the film.
Posted in: No Huddle Reviews by J C on May 3rd, 2018
“It’s not hard to go from genius to laughingstock.”
Close your eyes and imagine someone just said the word “genius” to you. (And also pretend like you can’t see the familiar, wild-haired figure on the DVD cover art that accompanies this review.) What person comes to mind when you hear that word? I’m willing to bet it’s Albert Einstein, the German-born Jewish theoretical physicist who developed the theory of relativity. That’s what makes Einstein the perfect inaugural subject for Genius, National Geographic’s anthology series that also doubles as the cable channel’s first stab at scripted drama.
Posted in: Disc Reviews by Gino Sassani on May 1st, 2018
"We just shoot you. Less paperwork."
Most of us like a good heist film. It's fun to watch clever crooks work out complicated plans and then execute them. It's not hard to root for the crooks if they're likable enough characters. With me I almost have a kind of reluctant respect for criminals who are able to outsmart sophisticated systems. There's something about the perfect crime that fascinates a film lover like me. Logan Lucky was one of the better heist films I've seen in years, and I was ready to spend an hour and a half being impressed by ingenious crooked plan that runs like clockwork once again. What I ended up with was a horribly overlong 2 hours and 20 minutes. And the only thing that was running like clockwork was my impatience to get to the end. Logan Lucky was clever and a lot of fun. Den Of Thieves? Let's just say I was not amused.
Posted in: Disc Reviews by Michael Durr on April 26th, 2018
Like probably most folk out there in the real world, I learned everything I know about foreign diplomats from television and film. They dress in expensive suits, usually have a drinking or smoking problem, and harbor some immense secret that could bring about the fall of a whole country or even the world. They don't have friends or associates, instead they have pawns that they move around a theoretical chess board for influence and money. Finally, they would sell out their own grandmother if it meant a little more information at the bargaining table. Today, I review Backstabbing for Beginners, a movie that deals with UN Diplomats and the country of Iraq. Somehow, I don't think my opinion is going to change.
The New York skyline, September 2003. We are at the Wall Street Journal building and Michael Sullivan (played by Theo James) has a story to tell. We fade to black and then see an Iraqi propaganda piece before arriving at the United Nations Building in October of 2002. Michael has been called in for an interview, actually the fourth time he's tried to find work as a diplomat.
Posted in: The Reel World by Gino Sassani on April 26th, 2018
"Thanos Is Coming..."
Whenever a filmmaker is doing a middle film in a trilogy, or merely a film that's intended to be a companion film in a series, they often talk about attempting to capture The Empire Strikes Back. For years it's been the standard-bearer for anyone trying to end a blockbuster with a cliffhanger knowing it might be years before the ending is resolved for the audience. That's harder to do today than it was in the 1980's. I often say that the only thing wrong with instant gratification is that it simply takes too darn long. The Avengers: Infinity War is exactly that kind of film. It ends with huge elements left up in the air, but at least we'll only have to wait a year for its resolution. After watching how Anthony and Joe Russo have handled this nearly impossible task, I think the bar has now shifted. In Empire Strikes Back lexicon, let's just say the Russos just pulled out a huge chunk of carbonite, and future filmmakers will be using this as an example of how to pull of that herculean task in the future. The Avengers: Infinity War is finally here, and it pretty much lives up to all of my expectations. Now my expectations are going to need a bigger boat.
Posted in: Disc Reviews by John Delia on April 26th, 2018
Several movies have been released over the past three decades that defend the press or show the importance of the media to inform the public. This is one of them that for the most part does reveal the inner sanctum of one newspaper as it deals with exposing the government for wrong decisions leading to the death of thousands in the Vietnam War. While the script does reveal the sadness of human life losses that could have been avoided, unfortunately the film uses it to glorify newspapers using old news.
A platoon starts taking heavy fire in a wooded area, and the body bags start to fill at a high rate. It’s the Vietnam War in 1966, and Assistant Secretary of Defense Daniel Ellsberg (Matthew Rhys) has just returned from a bloodbath after an ambush by the Viet Cong. Inserted as a military strategist under the Pentagon’s Assistant Secretary of Defense for International Security Affairs John McNaughton, he’s observing the war firsthand.
Posted in: Tuesday Round Up by J C on April 24th, 2018
We are breaking the bank with this week's Round Up! Well...not us exactly. I think we'll leave the actual criminal activity to the dangerous crooks and elite cops who clash in Den of Thieves, Universal's action/drama sleeper hit. Elsewhere, Shout! Factory pages Doctor Detroit, Liongate offers some lessons in Backstabbing for Beginners, IndiePix gets some shuteye with Henry Miller Asleep & Awake, and Time Life hosts a star-studded jam session with Rock & Roll Hall of Fame: In Concert. Meanwhile, Fox and National Geographic kick off their anthology series with the most famous smarty-pants of them all, Genius: Einstein.
Oh, and there is one more thing...a little later this week, we'll be posting our review of a scrappy little underdog flick that goes by the name of Avengers: Infinity War. (Here's hoping it finds an audience.) Before you run off until next week, here's for your customary reminder: if you’re shopping for anything on Amazon and you do it through one of our links, it’ll help keep the lights on here at UpcomingDiscs. See ya next week!
Posted in: Disc Reviews by Michael Durr on April 23rd, 2018
As I was working on this review, I came across a term that might just turn out to be a new pet-peeve. I am referring to the term or phrase, "Dated". This term is often used with movies that could have only existed and made in that time period. It gets used even more when it involves a comedy, especially one with jokes or concepts that could only occur in a certain decade. What's worse is that it is almost never used in a positive light, it solely exists to be negative and demeaning. Well, perhaps I can slowly change the connotation of that reference as I explore Doctor Detroit on Blu-Ray. Is it dated? Perhaps, but unlike other dated comedies of the 80's, it is wonderfully so.
A little Devo hits our speakers, hey it's the theme from Doctor Detroit. Except we are in Chicago. Professor Clifford Skridlow (played by Dan Aykroyd) is power walking down the street through everything in his path. It doesn't matter if it is a kissing couple, children playing or even speeding cars. He stops (and power walks in place) next to a swanky car driven by Diavolo (played by T.K. Carter). In the back is Smooth Walker (played by Howard Hesseman) and his four ladies of the night.
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