Author: BO

In his last movie, 2010’s “Blue Valentine,” writer/director Derek
Cianfrance studied an intimate world of relationship deterioration,
focusing on the hearts and minds of two characters retracing their
mistakes. With “The Place Beyond the Pines,” the helmer opens his scope
up to move across generations, yet the core of the picture remains
quietly meditative, continuing his quest to explore human fallibility
and the yearn to right wrongs. It’s an impressively imagined effort with
a sweeping arc of drama to help carry it through three stories of
emotional disruption, and its ambition is almost worth a recommendation
alone. It eventually falls apart, perhaps by design, but Cianfrance
shows interesting new sides to his filmmaking ability with his latest
feature, while continuing to indulge a thespian permissiveness that’s
embarrassing to watch at times. Read the rest at Blu-ray.com

“Mental” is mental, living up to the potential of its title with a wild,
uninhibited display of psychological fractures and grotesque comedy.
The picture marks the return of writer/director P.J. Hogan to the
screen, who long ago helmed the cult hit “Muriel’s Wedding” before
embarking on a deflating Hollywood career that included “My Best
Friend’s Wedding,” 2003’s “Peter Pan,” and “Confessions of a
Shopaholic.” Revisiting his Australian roots, Hogan summons a tidal wave
of mischief and manic activity with “Mental,” straddling a thin line
between insanity and compassion. Hilarious but a tonal bucking bronco,
the effort is perhaps best reserved for viewers in the mood for a
runaway mine cart viewing experience, willing to absorb all the chaos
Hogan happily provides. Read the rest at Blu-ray.com

Tyler Perry makes two types of films: comedies and melodramas. He'll
usually blend the genres to give his audience the most bang for their
buck, but he's resolute in his directorial range, with "Temptation:
Confessions of a Marriage Counselor" his most combustible picture to
date, even out-heaving "For Colored Girls." A biblical parable dressed
up as an unruly Perry extravaganza, the feature does a commendable job
with fiery tempers and silky acts of seduction, showing signs of life as
a cheap thrill for an audience more than happy to interact with the
screen. Expectedly, Perry can't maintain the insanity for long,
eventually drowning the effort in severity to make a chilling
impression. Still, "Temptation," when it's just overheated and not
apocalyptic, is engaging enough to pass, generating sufficient
hullabaloo without taxing Perry's pedestrian moviemaking skills. Read the rest at Blu-ray.com

"Phil Spector" opens with a bizarre disclaimer the places the events in
the film in a state of limbo, unable to comment on the murder trial of
the titular musical titan and unwilling to give the man an exhaustive
exploration of his life and times. It's an ephemeral picture, taking a
thin slice from the chaos of Spector's legal woes and savoring each
bite. It's also the latest work from powerhouse writer David Mamet,
lending the feature a pair of lungs to ease its odd quest to remain a
satellite in Spector's orbit for 90 minutes, making no judgments and no
pleas about a divisive individual flailing as he fights for his freedom. Read the rest at Blu-ray.com

In 2009, director Stephen Sommers brought “G.I. Joe: The Rise of Cobra”
to multiplexes, tasked with turning the popular cartoon series and toy
line from the 1980s into a viable franchise for a new generation. He
failed miserably, masterminding a leaden, nitwit film that actively
ignored what made the original creation such a delight to a generation
of kids. Rewarded with lackluster but passable box office returns, a
sequel was ordered up. Now we have “G.I. Joe: Retaliation” from helmer
John M. Chu, and while there was an enormous opportunity to
course-correct the series, the follow-up is essentially more of the same
nondescript action and unappealing characterizations as before.
Although some baby steps are made to please the hardcore fan base,
“Retaliation” doesn’t show the level of production bravery required to
make this brand name mean something on the big screen. Read the rest at Blu-ray.com

Purists will likely scoff at the suggestion, but it’s hard to discount
the “Twilight” DNA in the foundation of “The Host.” Both projects
originate from author Stephenie Meyer, who made a killing with her
sparkly vampires saga and has now moved over to sci-fi for her latest
effort, once again cooking up a love triangle template to hang prolonged
moments of swoon and physical contemplation on. It’s undeniably
derivative and about as thrilling as “Twilight” was, returning to a
droning ambiance of indecision to fashion a first step forward in a
burgeoning franchise for a young audience aching for a new fixation now
that Meyer’s original moneymaker has concluded. Read the rest at Blu-ray.com

“Wrong” is an offering of absurdity from writer/director Quentin
Dupieux. The picture exists in a dreamscape of uninhibited conversations
and ridiculous occurrences, yet it’s par for the course for the helmer,
who made his international introduction with 2010’s “Rubber,” a movie
about the adventures of a tire that rolled around the southwest killing
people with telekinetic powers while a group of onlookers slowly
succumbed to the effects of poisoned turkey. “Rubber” was an acquired
taste but showed great imagination and a reverence for the bizarre.
“Wrong” returns Dupieux to a position of oddity, although his latest
enjoys a slightly more human touch. Read the rest at Blu-ray.com

The premise of “Starbuck” (A French-Canadian production) promises a
wacky time at the movies, dealing with accidental fatherhood, delayed
adolescence, and persistent loserdom. Perhaps other filmmakers would’ve
leaned into the potential of the tale, but co-writer/director Ken Scott
is hunting for something more meaningful with this tender blend of
mischief and maturation. A few laughs are offered during the feature,
yet “Starbuck” aims for more thoughtful storytelling, doing whatever he
can to separate expectations of slapstick from the effort’s gradual
influx of concern, eventually forming a warm, sugary feel of humanity
that’s a more inviting viewing experience than the exterior of the
picture promises. Read the rest at Blu-ray.com

“Family Weekend” doesn’t travel very far as a comedy, and it isn’t
nearly as touching as the screenwriter would like to believe. It’s a
picture stuck in mediocrity, attempting to form something heartwarming
with a premise that demands a consistent blast of acid. A forceful lead
performance from Olesya Rulin manages to take command of the movie, but
her concentration is supported by a production that’s overwritten and
tonally unsteady, in need of a more judicious editor and a game plan to
approach the steady erosion of marriage with a profound hit of honesty,
not just a sitcom-style presentation of forced therapy. Read the rest at Blu-ray.com

“A Resurrection” will most likely be remembered as one of the last
screen appearances for Michael Clarke Duncan, the behemoth actor who
tragically passed away last autumn. It’s especially important to
celebrate his role as Duncan is the best thing about “A Resurrection,”
brightening up the picture with the ten minutes of screen time he has,
showing more comfort and range than anyone else in this dreary, cheapy
effort. With intentions to build a ghostly whodunit, the movie falls
asleep instead, as writer/director Matt Orlando doesn’t show the kind of
invention necessary to snap scares into position, working to shatter
the suffocating monotony that pins the feature down. Read the rest at Blu-ray.com

When there’s no creativity to be found, shock value always rears its
ugly head. “InAPPropriate Comedy” is the latest picture to mistake
crudeness for cunning, trying to nab attention through bad behavior and
wretched use of comedy’s current crutch: interminable improvisation.
It’s racist, gross, and vulgar, and for all the time the production put
into constructing this movie (though that could be debated), there’s not
a single laugh to be found. “InAPPropriate Comedy” strains to be
outrageous, but it’s a corpse from the get-go, making the ensuing 75
minutes of screen time an extreme chore to sit through. The feature
doesn’t offend, it just bores. Read the rest at Blu-ray.com

After their stab at epic storytelling with last holiday's "Rise of the
Guardians," Dreamworks Animation reduces the heat on the big movie
sweepstakes with "The Croods," a production that's willing to be silly
and sincere, employing a cartoon ambiance of pinballing people and
exaggerated body language to produce a considerable amount of laughs,
while also tending to the demands of heart that squeezes every family
film offering released these days. Toppling cliche to make a deep
impression as a fulfilling offering of entertainment, "The Croods" is
superbly constructed, dazzlingly animated, and genuinely hilarious, with
a spirited mood of adventure and a pleasing read of maturation. Read the rest at Blu-ray.com

"Olympus Has Fallen" is one of the dumbest films I have ever seen. And I've watched all of Tyler Perry's movies. Read the rest at Blu-ray.com

I'm willing to give writer/director Harmony Korine the special
consideration he requires when he makes a movie. He's an impish artist,
prone to deep free dives into excess while treating stupidity as sport.
He's created interesting pictures during his career, including "Gummo"
and "Julien Donkey-Boy," though even his best work has a way of feeling
like an endless night spent inside an art-school drunk tank, surround by
oddities as nausea sets in early. His latest is "Spring Breakers,"
currently sucking up blog buzz for the provocative way it parades around
former Disney Channel stars in various stages of undress and
intoxication. I wish there was more to the viewing experience than
gyrating flesh and deep inhales, but Korine is trapped in a shtick coma,
attempting to collect random images, poorly-defined fears, and swinging
bare breasts and form it all into cinematic poetry. Read the rest at Blu-ray.com