Author: BO

“Shut In” doesn’t have any sort of originality or energy. It’s a PG-13 programmer meant to fill a gap in a release schedule, and should be treated with such disposability, as I doubt even the creators of the feature sat through it twice. It’s paint-by-number filmmaking from director Farren Blackburn, who has a chance to shake up the thriller genre here, capable of adding some surprises and deep psychological wounds to the effort, to help charge up its motivations and eventual descent into household chases. But Blackburn doesn’t do anything with “Shut In” besides play it as obviously and painfully dull as possible, generating possibly the most uneventful movie of 2016. It just lies down on the screen and expects viewers to do all the work. Read the rest at Blu-ray.com

Denis Villeneuve makes a specific type of movie. The director of “Prisoners,” “Enemy,” and “Sicario,” Villeneuve takes his fondness for the stillness of cinema to the sci-fi realm, assuming command of “Arrival,” which is an adaptation of a short story by Ted Chiang (scripted by Eric Heisserer). While the picture is technically an alien invasion tale, “Arrival” strives to be much more than the average disaster film. It’s intelligent and challenging, questioning time itself between exhaustive examinations of language and meaning. It’s introspective instead of demonstrative. It’s a fine effort, but incomplete, and that’s the way Villeneuve likes it. He’s a made a feature that enjoys questions, not answers, taking on the grand spectacle of visiting aliens in towering spaceships with more of an episodic approach, creating a viewing experience that’s filled with as much frustration as it is with awe. Read the rest at Blu-ray.com

It’s that time in the average movie year when a production emerges before Thanksgiving to claim a release date, hoping to be the film that captures the Christmas spirit so profoundly, popularity carries the effort until the New Year. I’m not sure “Almost Christmas” has a shot at sizable box office, but it wins the war of quality, sort of, emerging as a perfectly pleasant, perfectly obvious holiday distraction that isn’t nearly as Christmasified as it could be, but still delivers all the decent laughs and warm fuzzies expected from this style of entertainment. Writer/director David E. Talbert (“First Sunday,” “Baggage Claim”) isn’t reinventing the wheel with “Almost Christmas,” but he’s brought an eager cast and a mild sense of chaos, looking to celebrate the season with the widest possible audience. Read the rest at Blu-ray.com

Marketing for “The Monster” sells the film on the strength of its director, Bryan Bertino, who helmed “The Strangers,” a sleeper hit at the box office. And yet, “The Strangers” came out eight years ago, raising interest in what Bertino has been up to in the interim, with another production, “Mockingbird,” coming and going in 2014. “The Monster” isn’t likely to revive a fledgling career, but it does provide an unexpected viewing experience. Using genre elements and formula to buttress a mother/daughter story of mutual bitterness melting in the presence of a genuine threat, Bertino aims high with this violent chiller, but the material’s quest to be a profound study of dysfunction always outshines its horror ambitions. It’s a slow effort, painfully so at times, but the reward is a sharp psychological study that ends up being the most interesting conflict in the movie. Read the rest at Blu-ray.com

“Rainbow Time” is a Duplass Brothers production, which means that conflicts aren’t going to be resolved with weapons, but with long confessions and emotional vulnerability. It’s the second directorial effort from Linas Phillips, who last helmed “Bass Ackwards,” remaining in the indie hot zone for his latest, which details the intensity of family relationships and the frustration of shrouded sexual desires. Also contributing a colorful supporting performance, Philips maintains command of “Rainbow Time,” which periodically threatens to float away as art-house fluff, only to restore urgency with a keen sense of physical and emotional need. It’s a comedy too, often a hilarious one, but as with most Duplass-ian projects, appreciation for the picture’s layers of hurt require patience, allowing Phillips time to mix the brew of dysfunction, looking for the right consistency of anxiety. Read the rest at Blu-ray.com

The easiest way to describe “Operator” would be to compare it to Spike Jonze’s “Her,” which explored the relationship between a lonely man and his operating system. “Operator” isn’t the same picture, but it’s similarly interested in the ways of connection to the artificial world, with its lure of control and its promise of loyalty. Co-writer/director Logan Kibens collects provocative ideas and fascinatingly warped characters and finds compelling ways to tie big ideas to intimate encounters. His take on technological obsession does away with most sentimentality and darkly comic pursuits to spotlight a scenario where a lack of self-control divides a man from the women he loves, only this distraction emerges in the form of a voice, and one that just happens to belong to his wife. Read the rest at Blu-ray.com

Love and desire hit normal adolescent roadblocks in “Being 17,” the latest from co-writer/director Andre Techine (“Thieves,” “Wild Reeds”). The 73-year-old helmer is an unlikely source for adolescent woes, but Techine taps into something very personal and primal with the picture, which attacks displays of universal dysfunction with raw passion, gifting the feature real spirit as it inspects teenagers and their personal battles. “Being 17” isn’t the sharpest work from Techine — it actually doesn’t even have an ending. What the director gets absolutely right here are those abyssal feelings and paralyzing concerns that touch everyone’s life, treating arcs of attraction and friendship with the concentration and realism they deserve.  Read the rest at Blu-ray.com

In the movie business’s never-ending quest to find tales of heroism to exploit, especially military ones, the tale of the USS Indianapolis is finally realized. A story of combat, disaster, and shark attacks, the WWII adventure was referenced during a key scene in “Jaws,” providing the kind of real-world horror that identifies the root of the human experience: life and death. Decades later, we have “USS Indianapolis: Men of Courage,” a dramatization of the disaster that sunk the ship and stranded hundreds of the crew in open water. With Spielberg long gone, the production has to make do with director Mario Van Peebles, who has experience with “Jaws” (albeit a supporting role in “Jaws: The Revenge”), but little training with war extravaganzas. And this inexperience is obvious throughout the clumsy, cheapie “Men of Courage.” Read the rest at Blu-ray.com

Last year, there was “Strange Magic,” which welcomed audiences into a fantasy realm populated with magical creatures who communicated through jukebox musical hits. Now there’s “Trolls,” which is basically the same movie, only with more adorable protagonists, a more marketable soundtrack, and a famous brand to exploit for its debut feature. Thankfully for “Trolls,” nobody saw “Strange Magic,” giving the new release an opportunity to impress with its attempt to create a cinematic world for a toy that’s been around since 1959. Keeping to the basics of animated endeavors, the film doesn’t color outside the lines, delivering big songs and heart for family audiences, but not much originality. Read the rest at Blu-ray.com

After kicking off “Phase Three” of the Marvel Cinematic Universe with last summer’s superhero battle royal, “Captain America: Civil War,” Marvel Studios returns to experimental mode with “Doctor Strange.” Attempting to establish a comic book character that’s different from the costumed savior norm, the producers try to bring a little magic to multiplexes, messing with time and space to give the titular warrior a unique widescreen space to show off his capabilities. Much like 2015’s “Ant-Man,” “Doctor Strange” isn’t based on a household name, requiring a little invention from the production to make the weird world of Stephen Strange something special. While the feature recycles Marvel origin story formula, it’s a mostly successful and visually dazzling introduction for the wizard, who fits in comfortably with the ongoing brand name world-building, making him a welcomingly oddball avenger. Read the rest at Blu-ray.com

It’s been a full decade since Mel Gibson last directed a film, with 2006’s “Apocalypto” a challenging adventure story that miraculously managed to attract an audience. It was a follow-up to 2004’s “The Passion of the Christ,” a global phenomenon that cemented Gibson’s taste in extreme violence and depictions of abyssal faith, promising a helming career filled with unusual tales of survival and heroism. But then…other stuff happened, forcing Gibson to keep away from the camera after “Apocalypto.” He returns with a vengeance with “Hacksaw Ridge,” a stunningly vivid World War II tale that merges heavenly belief with earthbound horror, exploring the resolve of one man to serve his country without picking up a weapon. It’s an exceptional picture and Gibson’s finest work to date, gracefully but forcefully sharing faith-based interests without resorting to preachiness, putting Godly trust to the test on a merciless battlefield. Read the rest at Blu-ray.com

“Trash Fire” does a terrific job of misdirection, retaining thematic wholeness while basically offering two different movies, or at least two genre experiences. Written and directed by Richard Bates Jr. (“Suburban Gothic,” “Excision”), the picture examines relationship dysfunction, first on a small, relatable scale, but soon inflating its menace to horror film proportions, introducing scares and a monstrous villain. “Trash Fire” is an unusual feature, mixing moods and offering dark comedy to brighten a grim subject matter. Bates Jr. brings a satisfying level of disturbance to the effort, keeping the audience sufficiently unnerved even with unknown turns of plot, while sustaining its rather lucid take on a terrible relationship. Read the rest at Blu-ray.com