Posted in: No Huddle Reviews by Brent Lorentson on August 7th, 2024
For horror fans, the past couple of years have been pretty great with the amount of quality films we’ve been getting. Now, for the amount of good films we’ve gotten, there should be no surprise that there have been some duds along the way. This year I’m feeling like Night Swim is the worst of the bunch. As for Tarot, I have to admit I went into this one with pretty low expectations, but the trailer had enough in it for me to want to still give it a try. While I missed it in theaters, this weekend I caught it on Netflix, and I’ve got to say, it’s better than I expected, but still it left me wanting more. The film opens up with a group of friends renting a mansion in the middle of nowhere to celebrate their friend’s birthday. When they run out of beer, they search the home looking for more to drink but end up finding more than they bargained for when they find a door telling them to Keep Out … but this is a horror movie, so of course they open the door that leads to a creepy basement filled with creepy artifacts. When they find a deck of tarot cards, Haley (Harriet Slater), the tarot expert of the group, volunteers to give everyone a reading, and of course curses them all in the process. It is a very simple setup, and it is effective for this kind of horror film. Sure, it is a twist on the Final Destination franchise, as we see them each die how their tarot reading told. I was totally on board for this direction … but the directors got in the way of themselves by showing us (the audience) too much and too soon.
What makes the Final Destination films work so well is that the villain is death itself, and it is something we don’t get to see; instead we see the environments of the characters turned into deathtraps. In Tarot death for these kids takes the form of their final card drawn, whether it is a magician, a jester, or whatever character is on the card. To make it worse, I hated the look of all these “death” characters brought to life. Then there is of course the character that is there to explain why the cards are cursed and who is behind it all, and that is fine, but again, this just felt like a wasted character.
Posted in: The Reel World by Gino Sassani on July 26th, 2024
"Welcome to the MCU. You're joining at a bit of a low point."
When Disney acquired 20th Century Fox, the Marvel fanbase was instantly overflowing with questions. Of course, Fox held the film rights to a ton of Marvel characters and stories. So we were immediately trying to figure out how The MCU (Marvel Cinematic Universe) was going to integrate these characters into the one big beautiful world. The first bit of news concerned The Fantastic Four. We had a couple of pretty good films, but the last one was absolutely horrible. Now we have a cast and release date, so we're all eager to see how that's going to come together. What other Marvel staples will be included? The same is true of The X-Men and to a lesser extent characters like Blade, which so far looks like a huge mess in the making. For me the biggest question was, what about Deadpool? I mean, this potty-mouthed anti-hero does not fit in with the kind of films or reputation of parent company Walt Disney. Surely Deadpool was truly dead. If they did bring him back, there was no way they'd greenlight an R film loaded with F-bombs, bloody gore, and a lot of potshots at the company itself. No freakin' way! Guess what? WAY.
Posted in: Disc Reviews by Gino Sassani on July 26th, 2024
“You got everything money can buy, except what it can’t. It’s pride. Pride is what got you here. Losing is what brung you back. But people like you, they need to be tested. They need a challenge.”
There have been a ton of boxing films. They’ve been popular going back to the silent era. Most of them have many of the same themes. But there was always something about Rocky that stood out above all of the rest. That “something” can’t really be described or defined. As the Supreme Court once said about the definition of obscenity: “I can’t define it, but I know it when I see it.” That’s all you can say about Rocky. Some might call it heart. That’s about as good a word for it as anything else. Rocky himself would call it “stuff in the basement”. It almost demeans it to put a word on it at all. Whatever you call it, you don’t necessarily see it in Rocky … you feel it.
Posted in: Disc Reviews by Gino Sassani on July 26th, 2024
"This is the story of one of America's great unsung heroes. I mean, you've seen him, but you never knew who he was. You've cheered for him and cried for him, and women have wanted to die for him. But did he ever get any credit, or the girl? No! He's what we call the "stuntman", and the reason I'm talking so fondly about him is, well, because it's me, Colt Seavers. Anyway, picture work isn't wall-to-wall employment, so maybe you wonder how a guy keeps his head together. Well, one way is to wait by the phone ... and wait, and wait. The other is to take an occasional job with the court system of the United States of America, where a man is considered innocent until proven guilty. Unfortunately, sometimes a lot of these people get out of jail on what we call bail, and they'd run like hell ... and that's where I come in. I sometimes pick up rent money trying to find them and bring them back to justice." - Television series open.
Lee Majors performed a pretty solid television hat trick in his television career. Over three decades he starred in three iconic television shows that defined him for three successive generations. In the 1960's he was Heath Barkley on the TV western The Big Valley. Like the Cartwrights in the more popular series Bonanza, the Barkleys faced all of the elements of the Wild West, and Lee Majors was there for it all. From 1965 to 1969 he was in 112 episodes of the hit show. Then the 1970's arrived, which was the decade in which I became acquainted with Majors as Steve Austin, "a man barely alive" until a secret government organization made him "better than he was" as The Six Million Dollar Man. He was "reassembled with a bionic arm, eye, and two legs. It made him "stronger ... faster ..." I spent many a summer afternoon running in slow motion and making that "chichichi" sound as a young boy. The Six Million Dollar Man ran from 1974 to 1978 and went 99 episodes, a couple of spin-offs, and several television movies. The show has been kicked around in Hollywood for decades with several attempts to make it a film franchise, often updated to The Six Billion Dollar Man. I guess a million bucks just doesn't go as far as it used to. Now it takes $126 million to put Majors' third series on the big screen. That happens to be the role of Hollywood stuntman-turned-action-hero Colt Seavers, and it ran from 1981 to 1986 and another 112 episodes. If you're keeping score at home, that's an amazing 323 + episodes of television over three decades. And now it's Colt who beats Steve and Heath to the big screen in The Fall Guy, directed by David Leitch and starring Ryan Gosling in Majors' Colt Seaver role and Emily Blunt as his co-star, playing Jody Moreno, originally played by Heather Thomas. But is this a movie that audiences are going to fall for?
Posted in: No Huddle Reviews by Jeremy Butler on July 26th, 2024
“What can I say? I like playing with my food.”
I have to say, I was expecting more blood. When the cast speaks out and calls the film “the bloodiest thing they’ve ever worked on in terms of volume,” or “the most traumatic experiences,” and the director describes it as “just a bloodbath,” I guess I was just expecting it to be pouring down from the walls. However, that was really not the case. In truth, I barely noticed a difference between this and your typical horror film. Granted, other horror films have less exploding vampires, which I assume was the reason for the film earning its gory reputation. I suppose that is to the film’s credit; the ability to use close to 30,000 liters of fake blood, and I was no more disturbed than watching any other traditional vampire films. Aside from that surprise, I have no complaints about Abigail, a reimagining of the Universal horror classic Dracula’s Daughter starring Melissa Barrera, Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud, and Giancarlo Esposito. For Angus Cloud, this serves as his final role due to his passing in July 2023. Also noteworthy was that production wasn't completed until months after his death due to the SAG-AFTRA strike. However, Cloud had managed to film all of his scenes before production was shut down.
Posted in: Disc Reviews by Sean Boelman on July 23rd, 2024
When a new 4K restoration of the 1993 Palme d’Or winner Farewell My Concubine — the first Chinese film to ever take home the top prize at the Cannes Film Festival — debuted at the 2023 Toronto International Film Festival, physical media collectors were waiting for the announcement that it would be released through the Criterion Collection. Well, fans did not have to wait long, as the Academy Award nominee for Best Foreign Language Film is being released by Criterion on both 4K and Blu-Ray, and this gorgeous restoration alone makes this edition worth picking up. That’s not even to mention the quality of the movie itself, which is considered a seminal film in Chinese cinema for both its content and form.
Based on the novel of the same name by Lilian Lee, Farewell My Concubine follows a decades-long friendship between two boys who meet at an opera training school in Peking in 1924, growing up through some of the most tumultuous times in Chinese history. Lee and Wei Lu use the story of a love triangle to frame this exploration of identity, cultural expression, and other themes that serve both as a cultural time capsule and a commentary on issues that are unfortunately still relevant today.
Posted in: The Reel World by Jeremy Butler on July 20th, 2024
“You don’t run from your fears. You ride ‘em.”
I should caveat this review by stating upfront that this is a standalone sequel. Which means that Twisters, while existing in the same universe as the 1996 film of the same name (minus the “s”), it has little or no narrative connection to its predecessor. And yet, I found many parallels between this film and its predecessor, which gave it the feel of a modern-day retelling rather than a sequel. This is not necessarily a bad thing, especially if you loved the original film. In that case, these similarities may invoke feelings of nostalgia. Then again, it could also feel like a cut-and-paste job. For me, I err on the side of nostalgia, as while I did detect multiple similar themes, they seem more like homages than reproductions. This film also serves as a good follow-up for Daisy Edgar-Jones after her leading role in Where the Crawdads Sings. Then there is Glenn Powell, who right now is inescapable with notable performances in Top Gun: Maverick, Devotion, Anybody But You, and most recently Hit Man, all films that he’s done in the last two years. Rounding out the cast, we have Anthony Ramos (Transformers: Rise of the Beasts), Kiernan Shipka (The Chilling Adventures of Sabrina), Daryl McCormack (Peaky Blinders), and most notably for me, the soon-to-be Superman, David Corenswet in a very un-Clark-Kent-like role.
Posted in: No Huddle Reviews by Gino Sassani on July 19th, 2024
"We made a film - the one I'm going to show you now. Actually, Jason was the one who wanted to make it. Like that cameraman from Channel 10, he wanted to upload it so that people, you, could be told the truth. The film was shot with a Panasonic HDX-900 and an HBX-200. I did the final cut on Jason's laptop. I've added music occasionally for effect, hoping to scare you. You see, in addition to trying to tell you the truth, I am hoping to scare you so that maybe you'll wake up. Maybe you won't make any of the same mistakes that we made. Anyway, here it is, Jason Creed's The Death of Death."
It’s ironic that 28 Days Later and the Dawn of the Dead remake (which was originally a George Romero film), have jump-started Romero’s long-running “Dead” series that started in 1968 with Night of the Living Dead. Since 28 Days Later and the Dawn remake were released, Romero has released two new installments: Land of the Dead in 2005 and now Diary of the Dead in 2007.
Posted in: Disc Reviews by Sean Boelman on July 16th, 2024
Given that Glauber Rocha is considered one of the most important filmmakers in the history of Brazilian cinema — and Latin American cinema in general — it’s surprising that it took this long for one of his films to be released by the Criterion Collection. The filmmaker’s sophomore feature, Black God, White Devil, one of his most acclaimed works, takes the honor of being his first movie to get the Criterion treatment. Black God, White Devil is considered one of the most influential films of the Cinema Novo movement, which happened in Brazilian cinema as a reaction to other social filmmaking movements like Italian neorealism and the French New Wave. In Criterion’s recent quest to expand the label’s Latin American cinema offerings — Victims of Sin and Soy Cuba are notable recent releases — the Cinema Novo movement marks a necessary addition.
The Western follows a Brazilian ranch hand who, after killing his oppressive boss, goes on the run with his wife, leading them to a group of bandits and a messianic figure who preaches violence and revolt. Like many Latin American films of the era, Black God, White Devil is focused heavily on socioeconomic issues.
Posted in: The Reel World by Gino Sassani on July 12th, 2024
"Change of plans. Now that we know the whole world will be watching, we need a backup plan."
I went into Fly Me To The Moon expecting something like Capricorn One, and I ended up seeing a film that reminded me more of Wag The Dog. The Woody Harrelson role might have been the clincher here. The change was actually a fortuitous one, and in spite of my relative loathing for rom-com syrup, I ended up having a pretty good time and liking the sleeper film more than I had any right to expect. It's not perfect, and I don't expect that it will climb on anyone's classic lists in the next decade or so. But the mishmash film presentation ends up having a pretty wide appeal, and you could do worse than spend a couple of hours here amid what's been an overall rather disappointing slate of films for 2024. There's a little something for everyone here. You have the requisite rom-com essentials, pieces of a rather nice political thriller, and a trip down memory lane for all of us who are old enough to remember that hot summer day in 1969 when everything changed. At least they did for a certain 8-year-old. But what if there had been a contingency plan?
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