Posted in: Disc Reviews by Brent Lorentson on November 16th, 2017
John Wick was an action film that seemed to sneak up on everyone. Sure, it had a great trailer, but I don’t think anyone expected just how great it actually was. What made it so effective weren’t just the well-choreographed fights and the stylish look of the film, but it was the characters who while over the top, were also ones the audience could relate to. Atomic Blonde is helmed by half the directing team that gave us the first John Wick, and from what the trailers first teased us with, I came into it with hopes we’d get something special. While on the surface I can’t say that this film surpasses John Wick, what it does is stand alone for being a culturally and socially important film as it delivers not just the ultimate badass female in an action film, but I believe the first that belongs in the LBGT community. It’s a big deal what this character represents, but how does the rest of the film fare throughout the fistfights and shootouts?
It’s the fall of 1989 in Berlin when we are introduced to Lorraine Broughton (Charlize Theron). She’s bruised and battered as she enjoys an ice bath. The Cold War is coming to a close as the Berlin Wall is closer than ever to coming down. She is an agent with MI:6 and is being debriefed by her superior, Eric Gray (Toby Jones), and a member of the CIA, played by John Goodman. The debriefing is a combative one. Obviously we can tell she’s been through hell, and she begins to tell her story from the previous days as she attempted to complete her mission.
Posted in: No Huddle Reviews by Gino Sassani on November 16th, 2017
"I'm going to tell you a story. Maybe it'll sound familiar. There was this kid. Sixteen, alone and running for his life. He couldn't see them but he could hear them getting closer. They had guns, crossbows. They were hunting him. It came on the night of the full moon. Something came at him. Something bit him, and it changed his life. It changed everything."
And it's all about to change once again. Teen Wolf started in 1985 as a horror/comedy film featuring then-rising Michael J. Fox as a high school basketball player who discovers that he's a werewolf. It was one of those awkward coming of age films with a lycanthrope twist. Then in 2011 Jeff Davis adapted the name for an MTV original drama series. The concept went from comedy to straight horror akin to shows like The Vampire Diaries. Now six years later the show is coming to a close with these, the final 10 episodes of its run. But this will not be the end. The franchise is already slated for a reboot and will return to television again shortly. I don't know much about the tone or connection of that show to either the series or original film. I guess we're all about to find out together. Until then we have 10 more episodes to sort through as Teen Wolf ends with exactly 100 episodes.
Posted in: Disc Reviews by J C on November 15th, 2017
“My verses full of curses cuz I'm stuck in dirty Jersey.”
Between 8 Mile and Hustle & Flow, we’ve seen —and heard — our share of hip-hop underdogs. But we’ve never seen one quite like Killa P, aka Patricia Dombrowski…aka “Piggy Azalea” to the haters who want to take shots at her appearance. Either way, she is the white, overweight, wannabe female rapper at the center of Patti Cake$, a Jersey-set indie that became a sensation at the Sundance Film Festival earlier this year.
Posted in: Tuesday Round Up by J C on November 14th, 2017
They say that blondes have more fun, and Charlize Theron certainly seemed to be having a blast kicking all manner of butt in Atomic Blonde. With the action hit arriving at UpcomingDiscs HQ this week, we are absolutely in for a treat ourselves! Thanks to Universal, we will soon have our take on the UHD release of Atomic Blonde (4K). Elsewhere, MPI Media Group tries to cover up for an Indiscretion. And a little later this week, we'll have a review of the latest superhero smackdown when Justice League arrives in theaters.
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: The Reel World by Gino Sassani on November 13th, 2017
"We are all in the gutter, but some of us are looking at the stars."
Going to see Wonderstruck is like going to see two movies at the same time. It's a rather clever narrative that tells somewhat parallel stories from two different ages. There is a story that happens in Minnesota in 1977, while the other takes place in 1929 New Jersey. It isn't hard to know which period you happen to be in, because they are filmed with distinct styles that match the environments of each time and place. The film is often beautiful to look at. But it's an ambitious course that does not always embrace the audience. As the two stories begin to make some sense to us as a whole, the narrative starts to disappoint somewhat. Have you ever tried to follow someone to a destination that only they know how to reach? It's up to the lead driver to glance backward from time to time to make sure the following car is still with them. Director Todd Haynes might not be my first choice in that lead car. He's not necessarily very good at making sure we're still with him. The closer he gets to his destination, the more frustrated and anticlimactic it all becomes.
Posted in: The Reel World by J C on November 11th, 2017
I have to start by talking about the mustache. You've probably already seen the outrageous facial hair Kenneth Branagh rocks as Hercules Poirot, the brilliant Belgian detective who appeared in 33 Agatha Christie novels (including 1934's “Murder on the Orient Express”). But it is truly a sight to behold on the big screen! Up close, it looks like a fake, ridiculously twirly mustache has been layered on top of an even longer fake, ridiculously twirly mustache. I bring this up because the two things that truly separate this sumptuous, all-star take on Poirot's most famous case from previous (and superior) adaptations are the film's eye-popping production values and...well, Branagh's mustache.
“My name is Hercule Poirot, and I am probably the greatest detective in the world.”
Posted in: Disc Reviews by Gino Sassani on November 10th, 2017
Hans Zimmer has composed the music for some of the most iconic films of the last 20 years. That list includes Gladiator, The Dark Knight Trilogy, Crimson Tide, Pirates Of The Caribbean, Dunkirk, and even some of The Lion King. He's the go-to composer for directors like Ridley Scott and Christopher Nolan. His music is on par with household names like John Williams. I own a few scores that I've felt compelled enough to pick up over the years, and one of my favorites has been Gladiator for some time. When I heard that Eagle Rock Entertainment was going to release a Blu-ray containing a tour stop of this incredible music live, I was quick to sign up to review. Still, I had little idea what to expect. A veteran of many rock concerts since the 1970's, I've never really watched or attended a concert dedicated to film scores before. Would it be more like going to the symphony to hear the likes of Bach or Mozart, or would it be something more akin to a progressive rock band with orchestral elements like ELO? The answer came down somewhere in between, and it turned out to be the most unique concert experience I've had the pleasure to review.
The concert begins more like a rock concert. Zimmer comes out, not to direct, but to play along with the other musicians. He ends up on piano, guitar, and a few other instruments before the show concludes. In the start the music is rather fast and furious. The stage is lined with an eclectic array of instruments played by a decidedly international collection of musicians. There are a couple of violins and an electric cello. But there are also several drum sets, electric bass, and a couple of electric guitars to round out the sound. And for the first few tracks taken from Driving Miss Daisy, Sherlock Holmes and Madagascar, the concert resembles a Jeff Lynne-assembled rock concert more than anything else. The band goes from one piece to another with nary a pause or introduction. In fact many tracks throughout the concert run together, and you might want to keep the track list (provided on a nice insert) handy to follow along. After this first high-energy performance, Zimmer finally stops to chat a moment with the audience. That's when the back curtain is lifted, and we discover that there is a full orchestra tucked away behind the "band" along with an extensive choir. That's when the concert moves into the more classical feel for such films as Thin Red Line, Angels And Demons, and, of course, selections from Gladiator. But there remains a bit of an edge to the music, provided by that front line of spotlighted musicians.
Posted in: Disc Reviews by Brent Lorentson on November 10th, 2017
When it comes to Victorian era serial killers, Jack the Ripper is pretty much a household name. Whether you know much about the terror he caused in White Chapel, all these years later you still know the name and what he did. With The Limehouse Golem, the filmmakers create a more sinister serial killer and deliver a Hammer-esque murder mystery. I’m all for a dark murder mystery, and when a film is channeling other successful films like Seven and From Hell, you’d imagine that you’d be witnessing a terrifying gory spectacle. The result, however, left me frustrated, as the film seems to pull from other films but never quite presents an engaging story to go along with the quirky mix of characters.
When we meet Lizzie (Olivia Cooke), she is being accused of murdering her husband. As the film progresses, we get to see how her story unfolds and her aspirations to be a theatrical star. Her tale intertwines with the rise of a brutal serial killer who has been terrifying the city of London who has been dubbed The Golem. To attempt to squash rising fears and solve the murders, Inspector Kildare (Bill Nighy) is assigned the case. Kildare is paired with a young detective George Flood (Daniel Mays), who attempts to update Kildare with all the evidence of the case. It seems Flood and his fellow officers were inept in gathering evidence, as Kildare seems to uncover some fairly obvious clues of his own. What ties Lizzie to Kildare is the possibility that she is being charged with murdering Kildare’s prime suspect. All the evidence seems to point to Lizzie’s dead husband, so he goes to her to hear her story. Of course things are more complicated than they originally seem.
Posted in: The Reel World by J C on November 10th, 2017
“Maybe it’s all psychological.”
The Killing of a Sacred Deer takes its title from the tragedy “Iphigenia at Aulis” by the Greek dramatist Euripides. I’ve published more than 800 reviews for this site, and that’s almost definitely the most pretentious opening line I’ve ever written. That might sound like an insult, but it’s actually quite fitting for this deeply unsettling movie, which uses a series of grandiose and idiosyncratic flourishes to explore one of the oldest and simplest concepts known to mankind: “an eye for an eye.”
Posted in: Disc Reviews by Gino Sassani on November 8th, 2017
"I'm about to commit a moving violation."
When I go to a Pixar film, I always find myself in a situation where I'm predisposed to love the movie. There have been so many greats like Toy Story and Monsters Inc and so few horrible examples like Ratatouille. So I never really expect a Pixar film to be bad, and Cars 3 certainly wasn't bad. There are more than a few things to love about the latest collaboration between Disney and their Pixar division. The animation company also continues to push the boundaries of digital animation technology. You can expect some very nice emotional moments. It's also nice to revisit old friends from previous movies. Cars 3 has all of that, but it still falls a bit short when you compare it to the impressive library of movies Pixar has brought to the Magic Kingdom table. It will certainly be the Cars film that adults will be able to relate to the most. The best that could be said for the effort is that it neatly caps that particular franchise in the stable and will allow the talent led by John Lassiter to turn their attentions elsewhere. I'm really looking forward to The Incredibles sequel. I'm even looking forward to Toy Story 4. But was anyone really anticipating Cars 3?
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