Posted in: The Reel World by Brent Lorentson on July 12th, 2024
We are living in the era of the “legacy sequel”, it seems all sorts of properties that began in the late 70s or 80s are getting sequels and for the most part they have been rather successful at the box office. This is the part that frustrates me with streaming services, a film like Beverly Hills Cop: Axel F has been gestating for years, it even went to becoming an a TV series that failed to take off but after the success of Top Gun: Maverick, Ghostbusters: Afterlife, and the Creed films it seems Hollywood execs have decided maybe a new Beverly Hills Cop film might be a good idea after all. Then factor that this summer isn’t all that stacked with tent-pole films you’d think Netflix would take a chance and give Axel Foley his time on the big screen like he deserves, but nope this new film is exclusive to Netflix and while I get their motivations, I still think they are stupid for missing out on the potential added income, just like they’ll most likely forego releasing the film on physical media. It is an interesting time in film and I don’t feel it is a good thing, streaming may be huge but most of the films that are direct to streaming whether it is Netflix, Prime, Apple and so on…most of these films just are not very good and unfortunately it seems audiences are fine with settling for mediocrity. Sure there have been a few gems that are good but this reminds me of the days on VHS with the straight to video market, sure some were good but the majority of the films were crap. So where does this new adventure with Axel Foley land? Well sort of in the middle.
The film opens up with Axel (Eddie Murphy) some how still employed with the Detroit PD and he is on an undercover operation at a hockey game and it should come as no surprise that things go wrong. We get a car chase with Murphy in a snowplow causing havoc as some familiar songs from the earlier films play as though to remind us what franchise we are watching. I got to address how this just didn’t work for me, as much as I love the classic songs it just felt forced and I immediately started to worry if this is how the rest of the film would go. It was great seeing Paul Reiser reprising his role now as Deputy Chief Friedman. Man this had me missing Gilbert Hill chewing out Foley, it seems so minor but he was part of the dynamic that made the previous films fun (at least the portions in Detroit) but I wasn’t ready to throw in the towel on the film yet.
Posted in: Disc Reviews by Brent Lorentson on July 9th, 2024
When you look back at 2004, it’s a little hard to imagine just how big an impact Anchorman: The Legend of Ron Burgundy would have on the film industry. I’m not trying to say the film invented anything new with this fun, satiric comedy, but what it did do was launch the careers of many and really helped make comedy fun and raunchy for a while, and more importantly, profitable at the box office. I mean, this film is stacked with stars. Sure, there’s Will Ferrell front and center, but this is had a pre-40 Year-Old Virgin Steve Carell, Paul Rudd, Christina Applegate, Kathryn Hahn, Seth Rogan, David Koechner, Fred Willard, and numerous others who are in the background or just make cameos. Seriously, this might be the best comedic cast put together of all time, and when you dive into the extras, you get a glimpse at just how talented everyone is. The film may be 20 years old, but it holds up. I’ve seen the film at least a dozen times, and it still makes me laugh. So what makes this film so special?
The film is about Ron Burgundy (Ferrell), who is San Diego’s top news anchor in the 1970’s. He’s a mixed bag of charming and is full of bravado and simply believes every woman would be honored to have him take them to bed. To Will Ferrell’s credit, if anyone else was playing this role, I feel the character would be despised, but Ferrell manages to make him seem more like a loveable buffoon. Surrounding Burgundy are his Channel 4 news team, Brian Fantana (Paul Rudd) as the suave man-on-the-street reporter, Champ Kind (David Koechner) as the sports reporter, and Brick Tamland (Steve Carell) as the weather reporter. The chemistry these four have is something special, and they play so well off one another. Seriously, I don’t know how they got through some of these scenes without constantly breaking character. The team though is in for a rude awakening when their news director, Ed Harken, wants to inject some diversity to the team and so enters Veronica Corningstone (Christina Applegate), a transfer to their news station who is vying for a reporter job. Corningstone wants to be the first female lead anchor, and, well, let's just say the rest of the news team doesn’t feel a woman belongs behind the news desk.
Posted in: Disc Reviews by Brent Lorentson on July 5th, 2024
“I will not accept a life I do not deserve.”
In 2022 writer and director Ti West gave horror fans the gift of the one/two horror punch of the films X and Pearl. From those two films came the rise of Mia Goth, who has since become horror royalty, and since the rumors began to rumble about a third film in this horror series, it has been hard to not get excited. Ever since the announcement of MaXXXine and hearing the cast of the film, it’s been the horror film I’ve been most looking forward to. I’ve been a big fan of Ti West ever since 2009 when I saw The House of the Devil. I adore that film, to the point where I have a Mondo poster of it hanging in my living room, and then he did The Innkeepers, which for me cemented his awesomeness, and that he wasn’t simply a fluke. When you look at his filmography and you watch his films, you can see the man has talent, but for some reason he’s not a bigger name in the industry. But I feel like that’s going to change soon, and it seems like A24 knows that West can deliver the goods, especially when you consider that they are releasing the film over 4th of July weekend, typically a spot meant for huge tentpole movies … or am I just being delusional?
Posted in: Disc Reviews by Brent Lorentson on July 3rd, 2024
In 2004 when Team America: World Police was released, Trey Parker and Matt Stone were already well established in the film industry as the guys who created South Park. They had even dipped their toes into doing live action films like Orgazmo and BASEketball, but what the industry knew them for was their animated series South Park that began back in 1997 and is still going strong on Comedy Central. The duo isn’t afraid to take chances, whether it’s insulting celebrities (after all, part of their charm is being equal opportunity offenders) or creating their musical for the stage, The Book of Mormon, so was it a big surprise they’d want to do an action adventure film entirely with puppets? The film is very much a parody of the action films of the 90’s and early 00’s that were produced by Jerry Bruckheimer. In case you are unfamiliar with his name, he produced the mega hits like Top Gun, The Rock, Con-Air, and Pearl Harbor. But what this film was also tapping into was the over-the-top patriotic attitudes that the media projected. I mean, everything needed to be patriotic in a post 9-11 world. Not that there is anything wrong with patriotism, but with the amount of people that were cashing in on it, looking back, well, you can see where it wouldn’t be too hard to parody the country. Then you throw in how many believed our country was getting involved in global issues we had no business being in; well, it’s no surprise where the title “World Police” came from. This film showed that Parker and Stone were not afraid to take some major political swings, but at the same time they wanted people to be able to laugh at the absurdity of it all, because that’s just who they are. Needless to say, if you are easily offended, this movie is not for you.
Team America is a group of elite fighters who have their secret base hidden within Mount Rushmore, like something you’d see out of some old James Bond film. Spottswoode (voiced by Daran Norris) leads the group and hands out the missions like a hybrid of Mr. Phelps from Mission Impossible and Bosley from Charlie’s Angels. In the opening scene we meet the team, the all-American former quarterback, Joe (voiced by Trey Parker), the martial arts expert, Chris (voiced by Matt Stone), the psychologist, Lisa (voiced by Kristen Miller), the psychic/empath, Sarah (voiced by Masasa Moyo), and then there’s Carson (also voiced by Parker); they’ve come to Paris to stop a terrorist attack … by stopping this really means shoot and kill everyone and destroy the city in the process (you know, like we’re used to seeing superheroes do in every battle they have). In the process, Carson is killed, which leaves an opening on the team.
Posted in: Disc Reviews by Gino Sassani on July 2nd, 2024
The films of the 1960's and 1970's began an era of what have been called exploitation films. There are many examples of films that pushed the R to X boundaries and have been referred to as Sexploitation films. Today we might call them soft porn, and examples of those early films includes Daughter Of The Sun (1963) and The Twilight Girls (1961). There were also films that took advantage of a certain aspect of black culture in the 70's and made to appeal to the young, "hip" blacks of the decade but also became quite popular with the mainstream audiences. Films from that genre include iconic movies like the Shaft and Dolemite franchises. There's another of these kinds of films that hasn't gotten quite the attention and aren't as well remembered. That group of films from mainly the 60's were called Hicksploitation. These films provided heavy stereotyping like the Blacksploitation films did, but of the ways of the south. Common themes were incest and child brides, moonshining, and inbred hillbillies. While television picked up on the fad and made these stereotypes more charming and lovable with shows like The Beverly Hillbillies and Green Acres, the depictions in these films flaunted the Hayes Code and other censor attempts because of the setting. It sounds crazy, but it was acceptable to have these taboos presented in rural South locations that could not be gotten away with in any "civilized" Northern location. Now Film Masters has discovered two of these films and restored them for our personal libraries.
"She's cheated. Tried to steal my money. That's what I get for a wife."
Posted in: No Huddle Reviews by Jeremy Butler on July 2nd, 2024
“I have a ghost to bust.”
When Afterlife was initially announced back in 2021, my thoughts were: why do we keep messing with things instead of preserving them? Ghostbusters was an iconic film franchise that already suffered one failed attempt at reboot. So when I went to see Afterlife, I was expecting the law of diminishing returns to be in effect. However, to my mind, Afterlife, with its homage to the dearly departed Harold Ramis and inclusion of the original crew, was not a reboot, but a continuation. It worked, and brought with it some of the nostalgia from the franchise’s original run. Now as expected, one good turn deserves another, and we now have Ghostbusters: Frozen Empire. Once again, we were at risk of destroying a good thing, but thankfully we had the right people at the helm who were able to blend the old with the new, which is no surprise given that the film was co-written by the son of the franchise’s original director. Additionally, not only does the film maintain credibility by bringing back the entire cast of Afterlife such as Mckenna Grace, Paul Rudd, Carrie Coon, and Finn Wolfhard; it also reaches back in time and brings together the original crew in the form of Bill Murray, Dan Aykroyd (who also credited with the original story idea), Ernie Hudson, Annie Potts, and William Atherton. Throw in new cast members like Silicon Valley’s Kumail Nanijiani and Patton Oswalt, and you’ve got yourself a party.
Posted in: The Reel World by Jeremy Butler on June 29th, 2024
It’s the little things I supposed. When forced to confront the prospect of your own death, what will you do with the time you have left. Some fight against their own extinction. Some seek help from a higher power. While some cling to the past and seek comfort in their treasured memories. In a Quiet Place: Day One we see a bit of all three. While Day One marks the third installment in the Quiet Place franchise, it serves as the prequel for the series showcasing how the world went silent after sightless aliens with sharp hearing and impenetrable armor plating take over the planet and attack the human population. For me, this is a welcome addition to the franchise because while watching the first two films, one of my recurring thoughts was I would like to see how the world went quiet. Imagine my excitement when I this movie was announced. In my mind, I figured the prequel would continue to follow the Abbott family. However, Day One is comprised of a predominantly new cast, with the exception of Djimon Hounsou, who was introduced in the second film. While I was initially disappointed, I got over it quickly as new blood provides a new opportunity to expand the story rather than restricting yourself. Lupita Nyong'o, Joseph Quinn, and Alex Wolff represent our new additions to the franchise, and they don’t disappoint.
We’ve seen the result of the invasion. Now see how it began. The film centers around Nyong'o’s character Sam, as she finds herself trapped in New York City during the early stages of an invasion by alien creatures with ultra-sensitive hearing. As the central character, Nyong'o is our lens into this situation. A loner type with a pessimistic outlook of the world (there is a justifiable reason for outlook that I won’t spoil for you), she elects to go it alone. Obviously, that won’t do. It is in this vein that we are introduced to Quinn’s character, Eric. While their pairing was inevitable and expected, their endgame was not and leads me back to my opening statement. When faced with the prospect of your own death, what will you value the most. While I can’t fault what Sam and Eric valued, it truly embodies that opening sentence.
Posted in: Disc Reviews by Brent Lorentson on June 29th, 2024
In 1993 when this film came out, 1962 just seemed like another time that as a teenager I just couldn’t wrap my head around. While the kids in Matinee were excited about these giant monster films, I could sort of relate, as I was getting into horror myself, but instead of atomic bugs, I was getting into the slasher heavy hitters like Freddy Krueger and Jason Voorhees. So a film about kids spending most of their time at a movie theater was something I could relate to easily, and as I got older I simply continued to appreciate the film more as I consumed more films from the past and grew to appreciate filmmakers like Val Lewton, William Castle, Roger Corman, and Lloyd Kaufman, the guys who knew how to turn a cheap film into an event experience through a variety of marketing gimmicks. The idea of ambulances being staged outside a theater because audience members may faint or having people in costume lunge at unsuspecting guests. These innovators make going to the movie theater an experience even if the movie wasn’t all that great … and now 30 years after the release of Matinee, I find myself bitten by the bug of nostalgia. I can’t help but miss how I used to consume movies, either spending an entire day at the multiplex sneaking into R rated films or hitting the video store and grabbing a bunch of videos to watch with friends. Now we have streaming, and it just isn’t the same. The movie theaters may not have the sticky floors that we all hated, and to be fair I do like the stadium seating, but it’s just not the way it used to be, and with ticket prices skyrocketing along with crazy rates at the concession stands, well, it isn’t too hard to understand why people want to believe the theater experience is dying.
I don’t mean to be so bleak, especially when Matinee is far from being a downer; instead it is a charming love letter to a time where as a kid things would have been so simple, but for adults the terror of an atomic missile strike kept many parents in fear. Gene Loomis (Simon Fenton) is your typical kid, but with his father being in the military his family bounces around a lot, and while his father is deployed he feels the need to be “the man of the house” and look after his mom and his little brother. This new deployment has them brought down to the Florida Keys, and at the worst time imaginable, during “he Cold War, and when the Russians are threatening to drop atomic bombs on the States. We see how the kids are prepping with bombing drills and folks around town are emptying out the store shelves (a scene oddly reminiscent to when the COVID panic recently struck and the nation was in a panic over toilet paper). Gene is eager to simply just leave the base and find his sanctuary at the local theater and just watch movies all day. It’s at the movies he happens to run into one of his idols, Lawrence Woolsey (John Goodman), who has come to town to premiere his new film, a B-monster movie called MANT, and he’s going to be presenting the film in what he calls “Atomic Vision”.
Posted in: Disc Reviews by Gino Sassani on June 25th, 2024
"Somebody went to a lot of trouble here, and I want to find out, lawsuit or no lawsuit. I'm not the one who's supposed to be caught with his pants down."
The word "classic" gets thrown around a lot. Everybody has their own list. I get that. Whenever someone starts listing films from the last year or so, I just smile and take it with a grain of salt. Because I know they don't know what they're talking about. I don't know how many years it takes to be a classic. Is it 10 ... 20 … or even 30 years? Well, how about 50 for a nice round number? The film has certainly stood the test of time. That's one of those things you can't say about a film under a decade or two old.
Posted in: No Huddle Reviews by Brent Lorentson on June 25th, 2024
It’s been about 10 years since Richard Linklater gave us Boyhood, which for me may not be my personal favorite of his films, but it is the one that certainly got the attention of the Academy Awards. Linklater is a director I’ve always been a fan of. It’s hard to really describe his filmography other than to say it is diverse, but at the heart of all his films they are about the characters. It’s no surprise that his new film Hit Man is once again a film about the characters and definitely has more heart than violence, even if the central character is supposed to be a contract killer. The film is loosely based on a true story and was written by Richard Linklater and Glen Powell, who also stars in the film, and my first reaction is this is immediately shooting to the top of my list of my favorite films I’ve seen this year. Though this film has some familiar tropes, I have to say it is a breath of fresh air. A film without CGI, it isn’t an established IP; it’s just a good story that is carried by great performances and was fun start to finish. The first impression I got from the film as the credits rolled is that it reminded me of the fun and cool crime films of the 90s. To be even more specific, this reminded me of Grosse Point Blank and Out of Sight if the films had a love child and for an extra splash of cool blended in Confessions of a Dangerous Mind, but some how it still manages to be its own thing.
Glen Powell plays Gary Johnson, who is a college professor in New Orleans. On the side he works with the police department as a simple tech guy … that is until he’s put in the position where he has to go undercover and pose as a hit man when the department’s “hit man” is put on a 120-day suspension. To everyone’s surprise it turns out Gary is really good at pretending to be a professional killer, and he is given the full-time gig for as long as the under cover agent, Jasper (Austin Amelio) is under suspension. Gary takes the new job seriously and starts to research the people who are wanting to hire him as a hit man, and he takes on a persona he feels best suits the hit man they are looking for. We get to see Gary take on a wide variety of looks and personalities, and if this was all the film was I would have been happy, but things take a bit of turn when Gary is confronted by Madison (Adria Arjona), a woman looking for someone to kill her husband. The identity Gary uses with Madison is Ron, and under this persona Gary seems to find this untapped confidence and manages to convince Madison to not go through with hiring him for the hit. While this may seem like a bust for the undercover unit, Gary seems to enjoy acting like Ron, and he kind of runs with this personality.
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