Author: BO

For her directorial debut, Lauren Miller Rogen takes a page out of the Adam Sandler playbook, writing a script that permits her to cast family members (husband Seth Rogen) and visit vacation destinations. It’s a smart way to do business, but much like Sandler, the cast and crew are having more fun than the audience. “Like Father” is confused work from Rogen, who previously co-scripted the phone sex comedy “For a Good Time, Call,” and gently dials down her capacity for raunchy business to make a film that’s aiming to please a wide audience, hoping to extract some tears, trigger some belly laughs, and elicit sighs as she enjoys the playground of a massive cruise ship and naturalistic pleasures of Jamaican locations. Rogen’s not trying to do much more than exist with pure formula, and “Like Father” is as vanilla as entertainment gets. I hope Rogen enjoyed the sun, because her movie is a drag. Read the rest at Blu-ray.com 

For her directorial debut, Lauren Miller Rogen takes a page out of the Adam Sandler playbook, writing a script that permits her to cast family members (husband Seth Rogen) and visit vacation destinations. It’s a smart way to do business, but much like Sandler, the cast and crew are having more fun than the audience. “Like Father” is confused work from Rogen, who previously co-scripted the phone sex comedy “For a Good Time, Call,” and gently dials down her capacity for raunchy business to make a film that’s aiming to please a wide audience, hoping to extract some tears, trigger some belly laughs, and elicit sighs as she enjoys the playground of a massive cruise ship and naturalistic pleasures of Jamaican locations. Rogen’s not trying to do much more than exist with pure formula, and “Like Father” is as vanilla as entertainment gets. I hope Rogen enjoyed the sun, because her movie is a drag.  Read the rest at Blu-ray.com

Just when you though the multiplex was safe from a YA adaptation, here comes “The Darkest Minds,” which seeks to turn Alexandra Bracken’s trilogy of books into a brand new franchise for the milking, with studio 20th Century Fox trying to find a new area of fandom to delight after “The Maze Runner” came to a conclusion earlier this year. What’s initially appealing is the employment of Jennifer Yuh Nelson as director, working her way out of the animated realm after helming the last two “Kung Fu Panda” sequels, now in charge of a potential blockbuster that has big plans for future chapters. Sadly, “The Darkest Minds” is the most cartoon movie she’s made, showing very little mastery of human behavior and basic storytelling needs, keeping this first shot fired a resounding dud. Read the rest at Blu-ray.com 

“The Spy Who Dumped Me” is a cheeky title parodying 1977’s “The Spy Who Loved Me,” which was Roger Moore’s third and arguably best screen outing as James Bond (and the title of a 1962 Ian Fleming novel). And that’s it for cleverness with this action comedy, which tries very hard to be a blunt instrument of lame gags, screeching performances, and poor direction. For helmer Susanna Fogel, her mission to make a consistently underwhelming movie is a screaming success, as “The Spy Who Dumped Me” never gets going when it comes to funny business or smashmouth pursuits, remaining in a brutal purgatory of limp improvisational volleying and feeble espionage activities. There’s hope with the casting of Kate McKinnon, a wonderfully talented comedian, but this turns out to be her “Corky Romano.”  Read the rest at Blu-ray.com

It’s only natural to find filmmakers gravitating towards stories about artificial intelligence, with concerns about the creation of synthetic humans developing into headline news. For screenwriters Richard Greenberg and Drake Doremus (who also directs), the strange landscape of A.I. provides inspiration for “Zoe,” which isn’t a tech thriller or a doomsday event, instead taking a look at the manufacturing of companionship and feelings for a future society that’s gone numb to the ways of organic connection. It’s timely work and the writers have a fantastic idea to develop, especially when examining how humans would choose to create a partner instead of find one. “Zoe” gets most of the way there, but Doremus doesn’t know when to quit with this drama, which eventually spirals out of control, losing concentration on the very ideas that offered it originality and intriguing reflection on trends of loneliness.  Read the rest at Blu-ray.com

While controversial and on the quickie side, 1987’s “Billionaire Boys Club” (which aired on NBC) managed to catch the ambiance of the 1980s by sheer proximity to the true crime details of a 1983 murder that inspired the production. 2018’s “Billionaire Boys Club” looks like a collection of baby-faced actors playing dress-up, straining to sell the wonders of the decade with a well-worn story of drugs, lies, and greed. Co-writer/director James Cox has been unsuccessful in true crime before, with 2003’s tepid “Wonderland,” and his streak of mediocrity continues here, fumbling through scenes of financial swindling, broheim swagger, and venomous confrontations, with the big screen take somehow less cinematic than the television film.  Read the rest at Blu-ray.com

Alien invasion stories are plentiful these days. Just last week there was the Australian actioner “Occupation,” and now there’s “Extinction,” which arrives with working parts from other, better movies, and it carries a Big Idea to separate itself from the pack, but it doesn’t know quite what to do with it. The screenplay isn’t very strong with secrets and enticing characterization, and director Ben Young isn’t seasoned enough to launch eye-popping spectacle, keeping the picture fairly pedestrian until it’s time to clarify exactly what’s going on. Such reveals bolster other productions, but “Extinction” begins lethargically and remains there for 90 minutes, giving viewers familiar sights and sounds before making the foolish assumption that they’re going to be interested in a potential franchise with a story that barely supports a single film.  Read the rest at Blu-ray.com

We’re currently in this wonderful era where the wants and needs of adolescent girls are being represented honestly on the big screen. There was “Edge of Seventeen” and “Lady Bird,” and now “Eighth Grade,” which offers a snapshot of even younger concerns, but emerges as the most authentic of the group, which is no small feat. Writer/director Bo Burnham endeavors to capture the moment junior high wonder becomes high school hell, and he doesn’t miss a beat with this small but special picture. The helmer is making a comedy, but one with deep pathos and care for its lead character, who’s a uniquely positive creation despite suffering setbacks in mental health. Burnham avoids cliché in a remarkable way, preferring to dig his own groove of cinematic emphasis and rich characterization, giving audiences time with a typically unrepresented age, now free of Disney Channel glitter and Larry Clark grime. Read the rest at Blu-ray.com

Director Garth Davis won accolades and reasonable box office for his last feature, “Lion,” which detailed a young man on a special emotional and spiritual journey. Now Davis tackles unfinished business with the Bible, examining a more famous story of self-inspection, giving the saga of Jesus a special spin with “Mary Magdalene,” which sets out to right the titular woman’s wronged reputation, isolating her origin story, giving her a modern appreciation in line with current filmmaking trends. Davis doesn’t do explosive, keeping this drama extremely mild, aiming more for poeticism and reflection than prolonged suffering, approaching familiar stories from the Bible with a more artful perspective. “Mary Magdalene” isn’t a fiery collection of characters and their struggles to define faith, with Davis keeping the effort crawling along, electing to make something visually appealing and insular than traditionally dramatic.  Read the rest at Blu-ray.com

2015’s “Mission: Impossible – Rogue Nation” brought the longstanding franchise to full attention, with writer/director Christopher McQuarrie trying to leave his fingerprints on the evolving series by stretching the spy game and upping the suspense factor, bringing classic Hollywood reverence to modern blockbustering. “Rogue Nation” supplied some of the finest set pieces the big screen brand name has produced since its debut in 1996, but it also suffered from iffy plotting and pacing, with McQuarrie excited to launch the sequel but unsure how to land it. With “Mission: Impossible – Fallout,” McQuarrie is determined to show his work, creating an extended climax that will likely blow audiences away. The rest of the movie isn’t bad either, with Tom Cruise and the IMF unit continuing their impressive cinematic hustle for a new adventure that’s the most bruising to date, and the most cohesive in years. Read the rest at Blu-ray.com 

“Puzzle” presents a story that’s been done many times before, examining the awakening of a bored homemaker as she finds inspiration beyond daily duties and finds attraction to another man. It’s the stuff of Lifetime Television, where such primal urges are approached with a superficial treatment. “Puzzle” offers blue-collar New York stasis, marital shackles, and parental concern, but screenwriters Oren Moverman and Polly Mann remain attentive to the subtleties of distress and the first steps of liberation, creating a drama that’s tinged with quirk (taking place in the world of competitive puzzle assembly) but always interested in difficult spaces of communication and messy acts of empowerment. It might sound cutesy, but “Puzzle” has a real soul and interest in the working parts of its personalities, largely refusing the easy route of melodrama to capture deadening routine shattering into a hundred little pieces.  Read the rest at Blu-ray.com

While it’s difficult to forecast just how well “Teen Titans Go! To the Movies” is going to go over with ticket-buyers, the picture will likely find two distinct audiences: those who live, eat, and sleep the “Teen Titans Go!” franchise, and those who wanted to get out of the heat for a chunk of time watching a hyperactive cartoon about marginalized superheroes. It’s the big screen debut for the popular Cartoon Network series (which began its run in 2013), with producers hoping to cash in on comic book cinema fever by stretching a show that runs 11 minutes into a cheeky blockbuster that runs 90 minutes. The strain to fill the feature with stuff to do is evident throughout, but there’s a defined sense of humor on display that helps “To the Movies” get to where it wants to go, triggering sensible chuckles and a boatload of superhero cameos and references that should make it the second most pointed at picture of 2018 (placing right behind “Ready Player One”).  Read the rest at Blu-ray.com

If you’ve ever experienced any sort of conflict with a neighbor, the Icelandic production “Under the Tree” will most certainly trigger some level of PTSD. Co-writer/director Hafsteinn Gunnar Sigurosson is endeavoring to make a dark comedy out of this saga of warring couples living inside tight spaces, but he’s especially skilled at detailing the madness of suburban hostilities and the escalation of minor quibbles into all-out war. “Under the Tree” has some laughs along the way, but it mostly remains in a state of shock, picking up on human behavior when unimaginable stress is introduced, with Sigurosson playing a chess game with rattled characters, working his way to perhaps the most fitting conclusion of the film year. It’s uneasy work and wonderfully so, getting under the skin as it slowly works its way into madness.  Read the rest at Blu-ray.com

They don’t make ‘em like Larry Cohen anymore. The veteran helmer of such cult classics as “It’s Alive” and “The Stuff” is a man from a different age, when moviemakers went out into the world and just made features, often without asking permission. Cohen used New York City as his own personal playground, forging a career that celebrated the DIY spirit and satisfied genre appetites. “King Cohen: The Wild World of Filmmaker Larry Cohen” is a valentine to the creative force, using interview time with Cohen and his friends, family, and frequent collaborators to explore a wily oeuvre that transformed a guy from New York into a one-man movie studio, creating crazy pictures that were made with smarts and surprises when budgets weren’t immediately available.  Read the rest at Blu-ray.com

Even if the whole thing doesn’t quite come together as forcefully as it should, “Dead Night” does have a great deal of inviting peculiarity. Screenwriter Irving Walker has a decent idea to develop, approaching slasher cinema from two perspectives, while adding some monstrous events to keep things comfortably growly and gross. And there’s help from actress Barbara Crampton, who seems to be having genuine fun in a villainous role, giving the feature some needed eccentricity. “Dead Night” is minor, running only 76 minutes, but there are many technical achievements to enjoy, and director Bradford Baruh (making his debut) certainly has potential as a genre helmer, displaying appreciation for gruesome events and moody settings.  Read the rest at Blu-ray.com

I’ve stated it in previous reviews and I’m reiterating it here: I believe David Spade is a funny guy. The snarky comedian usually does well on talk shows, and his television output has been mostly successful, while recent forays into literature have permitted him time to explore a more autobiographical path to humor, putting a personal stamp on traumatic events and humiliations, always preserving the silliness of every situation. I like David Spade, but I loathe most of his movies, which never take advantage of his timing and successfully translate his stage persona. “Father of the Year” is his latest endeavor (working once again with Adam Sandler’s Happy Madison Productions), and while it isn’t his worst picture (that honor goes to the wretched “Joe Dirt 2”), it’s pretty close, watching Spade stumble through a no-budget comedy for Netflix (apparently financed by Postmates, who enjoy a huge plug in the feature) that requires no punchlines, reactions, or acting. Just pratfalls. So many pratfalls.  Read the rest at Blu-ray.com

With a title like “Hot Summer Nights,” certain promises are made by the production, and they’re not kept by writer/director Elijah Bynum. The idea here seems to be a modern revival of the 1950’s greaser drama, exploring bad boy concerns in a recognizable setting, with Bynum hoping to inject as much style as possible while wrestling with a smaller budget. Lusty business is staged and generally falls apart in “Hot Summer Nights,” with the rest of the feature weighed down by tedious subplots and an overall turn to hysterics in the finale. Bynum is a first-time filmmaker and it shows, getting the movie all worked up with potential, only to suddenly lose interest in the job at hand, with the screenplay piling on clichés just to connect the dots.  Read the rest at Blu-ray.com