Category: Film Review

While the world anticipates the release of a new “Ghostbusters” sequel this summer, the comedy “Extra Ordinary” comes out of nowhere to actually deliver all kinds of supernatural happenings and consistently hilarious comedy. Co-writers/directors Mike Ahern and Enda Loughman present an Irish take on demonic problems, but instead of going wild with visual effects and sheer noise, the duo plays everything with a terrific dryness, enjoying the weirdness of the material instead of trying to emphasize all levels of quirk. “Extra Ordinary” isn’t a massive production, but it uses its moments well, creating a snowballing sense of the absurd while tending to the genre aspects of the story, finding a near-perfect balance of outrageousness and subtlety. It’s a special film with a large imagination, and Loughman and Ahern do whatever they can to protect the project’s stealthy charms. Read the rest at Blu-ray.com

Four years ago, director Gavin O’Connor and actor Ben Affleck tried to do something different with the thriller genre with “The Accountant.” The attempt was admirable but the execution was flawed. The pair reteams for “The Way Back,” which hopes to bring something different to the underdog sports movie, adding some grit to formula that’s typically about broad highs and lows. The partnership is more effective the second time around, and while Brad Ingelsby’s screenplay isn’t entirely concentrated on providing dramatic hospital corners, O’Connor endeavors to supply deep feeling to the proceedings, while Affleck delivers one of his very best performances, tasked with playing a profoundly depressed and angry man, while still working to keep the character open for inspection. “The Way Back” is no classic, but there’s power in small moments and performances, rising above cliché to provide a sincere study of burning introspection. Read the rest at Blu-ray.com

While “Corpus Christi” is a study of faith as it takes many forms, it’s more surprising as a tale of survival, tracking the ways of a juvenile murderer as he experiences an awakening of sorts while perpetuating fraud on a small Polish town. Director Jan Komasa and screenwriter Mateusz Pacewicz don’t have an original idea with the feature, but they have distinct execution, endeavoring to inspect the evolution of a troubled teen as he’s immersed in a community that’s possibly more distorted than he is, finding purpose while trying to stay out of sight. “Corpus Christi” is unexpected in the way it looks at crime and punishment, taking great care to be mindful of character nuance and reaction, while the general misdirection of the movie is thrilling in a way, maintaining distance from cliché that’s right there for the taking, heading to a more profound sense of feeling instead. Read the rest at Blu-ray.com

“Escape from Pretoria” is based on the true story of Tim Jenkin, who, in 1979, joined two other inmates on a mission to break out of a South African prison. The event occurred during a politically charged time in the country’s history, and the act itself was viewed as an ultimate statement of defiance during an era of violent divide. Co-writer/director Francis Annan isn’t afraid of exploring the tension of South Africa during a volatile decade, but he’s also attentive to thriller cinema, keeping “Escape from Pretoria” involving as portrait of corruption and gripping as a prison escape extravaganza, dealing with all sorts of near-misses and sweaty momentum, making the feature livelier than it initially appears. The effort is never preachy or throttled by unnecessary asides, going full charge as a nail-biting ride of impossible planning and luck, with Annan finding the thrills and chills in Jenkin’s tale of survival. Read the rest at Blu-ray.com

Writer/director Michael Winterbottom has always held a great interest in highlighting troubled times, with economic disparity a popular topic of his pictures. With “Greed,” Winterbottom does away with any sort of subtlety, instead going for the throat with his vision of a billionaire celebrating his 60th birthday, with his grotesque life opened up for study as a decadent party is planned. The material has its comedic moments, but Winterbottom is aiming for a more sobering depiction of the haves and have nots, constructing a briskly paced overview of financial manipulation, workplace abuse, and the blind absurdity of privilege, reteaming with frequent collaborator Steve Coogan to assess the ruination of lives as the few retain everything while the many fight for survival. Read the rest at Blu-ray.com

It’s somewhat surprising that there hasn’t been a plethora of movies and shows about the life and times of former Toronto mayor Rob Ford. The self-destructive man (who passed away in 2016) and his creepily abusive ways seem like a proper fit for an exploratory screenplay looking to understand how such an unstable man achieved incredible power, and remained there despite ample evidence of improprieties. “Run This Town” will have to do for now, with writer/director Ricky Tollman not interested in a bio-pic of Ford, instead using the controversies surrounding his abhorrent behavior to examine issues of race, privilege, employment, and sexual harassment. It’s a big bag of topics to sort through, and while Tollman puts the pedal to the metal in terms of cinematic style to keep the feature interesting, there’s a limit on how much “Run This Town” can actually process and remained a focused tale. The helmer doesn’t always succeed with his storytelling, but he’s made a lively endeavor about a profoundly disturbing situation. Read the rest at Blu-ray.com

“The Banker” dramatizes the true story of Joe Morris and Bernard Garrett, two black men who challenged the white real estate and banking system during the 1950s and ‘60s, creating financial opportunities for those normally refused such chances to better their lives. It’s an interesting story, but it’s not an especially thrilling film, with co-writer/director George Nolfi (“The Adjustment Bureau,” “Birth of the Dragon”) perhaps the wrong person for the job. Instead of creating a riveting understanding of the central mission from Morris and Garrett, Nolfi generates a television movie account of the story, aiming for a softer, audience-friendly understanding of the challenges the men faced while trying to do the impossible. Thespian emphasis saves the picture, with the actors striving to make their scenes count while Nolfi works to dilute the material, robbing it of real power. Read the rest at Blu-ray.com

Certainly the topic of “Ghostbusters” and its unusual production history has been covered quite a bit through featurettes, magazine articles, and books, which have all delved into the minutiae of the creative labor required to manufacture one of the biggest film releases of 1984, and one of the most beloved movies of all time. Directors Anthony and Claire Bueno appear to recognize such an informational challenge, making very careful moves to help their documentary, “Cleanin’ Up the Town: Remembering Ghostbusters,” become something special for fans who’ve been handed almost everything over the last 36 years. Being a homegrown project for the duo, who’ve been carefully crafting the picture for the last 12 years, there are certain limitations in play when it comes to the full breadth of access to the world of “Ghostbusters,” but what’s here is often stunning, collecting interviews, evidence, and anecdotes to best celebrate the feature’s genesis. While there’s plenty here that’s familiar, there’s even more from the Buenos that reignites passion for “Ghostbusters” and the extraordinary effort to bring the picture to life. Read the rest at Blu-ray.com

Directors Lisa Barros D’Sa and Glenn Leyburn don’t take it easy on their audience with “Ordinary Love.” It’s a tough sit, charting the progression of a breast cancer diagnosis shared between a loving couple who’ve already been through enough hell during their life together, newly attacked by a discovery that pulls them through the gears of the medical industry and the pushes the limits of their emotional health. With such a subject matter, D’Sa and Leyburn have a distinct creative challenge, tasked with making the odyssey compelling despite the inherent discomfort of it all. Mercifully, “Ordinary Love” is a thoughtful study of a relationship tested and reinforced, with screenwriter Owen McCafferty making sure to communicate the little moments of feeling without burying the whole thing in melodrama. It’s heartbreaking, but never calculating, paying close attention to character as it paints a larger portrait of health care and partnership. Read the rest at Blu-ray.com

Universal Pictures spent a lot of time and money trying to revisit their horror history, hoping to trigger a new wave of creature features with expensive productions such as “Dracula Untold” and, most recently, 2017’s “The Mummy.” Unable to make something significant happen at the box office, the studio now turns to Blumhouse Productions to produce a hit, leaning on their frugal nature and fright film formula to resurrect “The Invisible Man” for contemporary audiences. Made for roughly half of Tom Cruise’s salary for “The Mummy,” “The Invisible Man” isn’t big on visual effects or flashy set pieces. It’s a Blumhouse endeavor, and they really only do long walks in dark hallways and the occasional bit of unsavory business. And that’s what they provide with the new release, which goes the minimalist route, with writer/director Leigh Whannell keeping to mild psychological freak-outs as he aims to rework the titular menace for 2020. Read the rest at Blu-ray.com

“Disappearance at Clifton Hill” supplies a lot of strange atmospheres for what’s trying to be a murder mystery. Co-writer/director Albert Shin appears to be inspired by “Twin Peaks,” aiming for border oddity with a collection of idiosyncratic characters and their unusual jobs. The production also takes inspiration from the world of true crime podcasts, embracing the slow showcase of twists and turns as a seemingly simple act of violence becomes a hundred different motivations and backstories. At the very least, “Disappearance at Clifton Hill” strives to be something, with Shin constructing a winding journey into a specialized situation of guilt, aiming to deliver a particular detective story that’s not entirely compelling, but has moments of inspiration, especially in casting and while setting a broadcast mood of sleuthing. Read the rest at Blu-ray.com

While many fans of 1998’s “The Big Lebowski” want a sequel to the cult hit, they’re going to have to settle for “The Jesus Rolls,” which represents star John Turturro’s attempt to do something with his character from the Coen Brothers’ picture, revisiting the bowling ball-licking, convicted pedophile for a spin-off. The Coens don’t have anything to do with the new production, and there’s a good reason for that, with Turturro trading the Brothers’ clockwork filmmaking skills for an episodic, wandering endeavor that’s actually a remake of “Going Places,” a 1974 Bertrand Blier movie. Turturro is clearly having a blast with this chance to roll around in Euro cinema mood, chasing any and all whims, but his enthusiasm doesn’t translate into a fascinating feature. Instead of inspired whimsy, “The Jesus Rolls” is a mostly leaden affair that’s distanced from “The Big Lebowski” in style, humor, and personality. It’s indulgent work, intentionally so, and never as entertaining as Turturro believes. Read the rest at Blu-ray.com

A fine movie could be made out of the life and times of actress Jean Seberg, but “Seberg” isn’t it. Writers Joe Shrapnel and Anna Waterhouse have eschewed the promise of a bio-pic to focus on the 1960s, where the subject was tormented by the U.S. Government after going public with her support of the Black Panthers and associated black charities, showing pride in racial harmony during a time of country divide. It’s a potent decade for Seberg, and while the film grasps the growing paranoia surrounding the public figure’s movements, it also endeavors to explore the emotional weariness that gradually takes down an F.B.I. agent assigned to shadow her every move. “Seberg” eventually ceases to be about Seberg, adding a thick layer of confusion when it comes to decoding the ultimate purpose of the feature, which tries to sympathize with the predator and the prey without providing much depth into either character’s inner life. Read the rest at Blu-ray.com

It’s debatable if the world actually needs another adaptation of the Jane Austen novel, “Emma,” as the 1815 book has been revisited on stage and screen numerous times, while reworks are just as common, perhaps most famously found in 1995’s “Clueless.” The ‘90s were a big decade for the source material, with 1996 providing two versions alone, including a box office hit starring Gwyneth Paltrow, which secured a sort of “Austenaissance” during the decade, encouraging producers to revisit her bibliography with hopes to meet audience demand. And now director Autumn de Wilde (a music video maestro who’s done fine work with Jenny Lewis) and screenwriter Eleanor Catton (making her debut) feel the need to return to this world of social positioning, rumor, and romantic near-misses. They offer “Emma” (stylized as “Emma.”), which endeavors to revive all the costume drama luxury and aching hearts for fans of the original work, while presenting the whole thing with extreme attention to technical credits. There’s a reason for that as well, as the new take on old material isn’t fresh, offering sameness all around, with visual extremes easily to most interesting element of the production. Read the rest at Blu-ray.com

There have been several screen adaptations of the 1903 Jack London novel, “The Call of the Wild,” dating back to a silent film released in 1923. Even Charlie Brown and Snoopy had their way with the source material in 1978. For the 2020 version of the story, director Chris Sanders remains in a cartoon realm of sorts, merging heavy amounts of CGI with human actors to explore the animal instinct of London’s celebrated book. The director of “How to Train Your Dragon” and “The Croods,” Sanders knows his way around CG animation, and he’s quite good with adventure as well, giving his take on “The Call of the Wild” an enjoyable feel of naturalistic glorification and Alaskan peril, finding a fresh way to communicate London’s appreciation of instinct and survival. Read the rest at Blu-ray.com

2016’s “The Boy” wasn’t a major hit, but the low-budget feature enticed enough people into multiplexes to turn a profit, giving producers the idea to return to the brand name. They took their time, but “Brahms: The Boy II” is finally ready for exhibition, and the idea seems to be a gentle reworking of the central concept to feed future sequels and spin-offs, giving the material a “Conjuring”-style marketplace trajectory. Director William Brent Bell and screenwriter Stacey Menear return to duty, and why wouldn’t they? The teat-pulling vibe is in full effect during “Boy II,” which trades corporeal terror for a supernatural hoedown in the English countryside, laboring to revive the basic terror beats of the original effort while inventing dark magic to keep things interesting. Of course, nothing in the picture is interesting, but that doesn’t stop the filmmakers, who serve up jump scares and loose mythology while presenting a more mean-spirited take on violence, which is almost exclusively focused on children and animals. Read the rest at Blu-ray.com

Actress Miranda Tapsell enjoyed a breakthrough role in “The Sapphires,” a 2012 musical comedy that didn’t stick its landing, but it managed to make Tapsell memorable. The Australian native returns to screen power with “Top End Wedding,” which also marks her screenwriting debut, gifting herself the lead role in a slightly zany but mostly heartfelt appreciation for married life and cultural reflection. There have been many Aussie wedding comedies, and while Tapsell and co-writer Joshua Tyler don’t score with huge laughs, they create a consistently engaging viewing experience that embraces formula, and also remains mindful of character, trying to dig into unusual personalities as they craft what’s more of an Australian adventure than a celebratory romp with oddball types and mishaps. Read the rest at Blu-ray.com

Screenwriter Peter Hoare isn’t trying to move the world with “Standing Up, Falling Down.” Instead, he offers a small-scale relationship drama about an unlikely friendship developing between two aimless men struggling with private issues, bonding over a shared sense of humor. The material has very little wow factor, but it’s sincere, and that’s most important with a picture like this, which tends to do its best when aiming to be meaningful instead of volcanically dramatic. “Standing Up, Falling Down” has its humor, and it’s very funny at times, but director Matt Ratner (making his debut) is more attentive to chemistry, letting his actors interpret Hoare’s vision for camaraderie and personal inventory, resulting in a mild but effective dramedy. Read the rest at Blu-ray.com

Zoey Deutch deserves a lot of credit for trying to do something with her acting career in recent years. She’s worked in teen cinema and romantic comedies, but with last year’s “Zombieland: Double Tap,” Deutch went full-tilt silly, exposing impressive timing and a sense of adventure when it came time to bring weirdness to a somewhat stale feature. She’s back in “Buffaloed,” which supplies her with a true acting challenge, tasked with portraying an absolutely manic human being while also being attentive to the quirks of Brian Sacca’s screenplay, which plays around in the sobering world of debt collection. “Buffaloed” is amusing, and director Tanya Wexler gives it an appealing velocity, rarely slowing down with skin-crawling displays of predatory criminal behavior. And she has Deutch, who gives the part her all, submitting her finest performance to date, keeping characterization compelling and mischief spinning at top speed. Read the rest at Blu-ray.com

Michael Cristofer hasn’t directed a film for nearly twenty years. He was briefly active with a success in the cable movie “Gia,” but stumbled when trying to move to the big screen, guiding messy efforts such as “Body Shots” and “Original Sin,” unable to deliver the hits required to keep his career going. With “The Night Clerk,” Cristofer returns to duty, and he remains in line with previous cinematic interests, once again mounting a mystery of sorts with this hidden camera version of “Rear Window.” However, instead of summoning Hitchcockian thunder, Cristofer creates a tepid ride of temptation and obsession, striving to add a little real-world unsteadiness to the screenplay’s formula. “The Night Clerk” isn’t a creative wipeout, but there’s always a feeling it could be better, often skipping chances to tighten its grip on the audience to deal with feeble character business. Read the rest at Blu-ray.com