Category: Film Review

It takes something special to compete in the world of criminal entertainment. Television has the market covered, delivering shows of extreme quality or, when that fails, impressive repetition. For a movie to even approach the genre, it needs an irresistible hook, something to offer audiences used to a certain formula of cops vs. bad guys. “Night Hunter” doesn’t have such a fingerprint, but writer/director David Raymond (making his helming debut) has his moments with the material, masterminding a mild rhythm of violence that promises possible greatness ahead. Unfortunately, editing has crippled the screenplay’s grand vision for its characters, and Raymond can’t resist complete stupidity for his finale, giving in to a level of ridiculousness the rest of the picture is actively trying to avoid. Read the rest at Blu-ray.com

“Satanic Panic” is a film that’s all over the place when it really doesn’t have to be. Screenwriter Grady Hendrix attempts to blend extreme horror with silly comedy, aiming for a darkly hilarious take on black magic, offering bits of shock and slapstick to help swat down expectations for a simple genre ride. Trouble is, the picture is certainly gross at times, but never funny, flailing whenever it feels the need to be wacky to help settle an audience that might not be so welcoming to a feature that’s solely interested in horror. “Satanic Panic” isn’t a mess, but it’s mostly uninspired, and from casting to one-liners, it falls short of its potential to be a brutal B-movie that’s willing to go to some strange places when detailing the ways of a coven on the prowl for their virginal sacrifice. Read the rest at Blu-ray.com

Jillian Bell has made a name for herself in the world of comedy. She’s an improviser with a lightning-fast wit, quickly becoming the highlight of iffy projects such as “22 Jump Street,” “Rough Night,” and “Office Christmas Party.” Bell already made a positive impression in last month’s “Sword of Trust,” but her work in “Brittany Runs a Marathon” brings her into the dramatic big leagues, offering a daringly vulnerable performance that allows writer/director Paul Downs Colaizzo a chance to reach some uncomfortable places of behavior and self-realization. The helmer (making his debut) is certainly interested in making a funny movie with “Brittany Run a Marathon,” but the feature is most compelling examining inner doubt and defeat, allowing Bell to reach new heights as an actress in one of the year’s top performances. Read the rest at Blu-ray.com 

“The Fanatic” takes a look at the delicate relationship between star and admirer, where admiration morphs into obsession. The feature is co-scripted and directed by Fred Durst, lead singer of the band Limp Bizkit, and someone who probably knows everything there is to know about toxic fandom, joined by star John Travolta, who undoubtedly has his own horror stories concerning interactions with the general public. “The Fanatic” is too extreme to register as a suitable thriller, but there’s a lived-in quality to the movie that’s intriguing, as Durst taps into the distorted yearn of loneliness and infatuation, pulling dynamic work out of Travolta, who’s rarely this committed to a part. The endeavor is rickety at times, with a few surges of ridiculousness, but it remains enjoyably uneasy and terrifyingly real about life in Los Angeles, with Durst finally making a real cinematic impression with his third helming effort. Read the rest at Blu-ray.com

Marketing a small indie film to the masses isn’t easy, but the push for “Before You Know It” makes it look like a charming New York City neuroses comedy, similar in style and tone to Noah Baumbach and Woody Allen. The feature has funny business, but co-screenwriters/stars Jen Tullock and Hannah Pearl Utt (who also directs) are more invested in dramatic texture, always on the hunt for human moments when it comes to the trials of maturation and family. This isn’t a slight picture, but a carefully considered one, with deep emotion under its sitcom-ready plot, with Utt working hard to maintain concentration on her characters, treating their concerns seriously while enjoying their somewhat charged interactions. Read the rest at Blu-ray.com

Noomi Rapace is an intense actress. She rarely plays light roles that offer a peek at the sunnier side of cinematic fantasy. Instead, she takes on the gut-rot parts that have her screaming in pain or suppressing emotion to such a degree, her ears wiggle. Rapace has been on a tear with darker material in recent years, acting herself into a frenzy in “Close,” “What Happened to Monday,” and “Rupture.” She continues her career riot with “Angel of Mine,” which asks the talented thespian to portray possible madness in escalating offerings of distress. Screenwriters Luke Davies and David Regal have plenty of agony for Rapace to work her hands through, and she’s a magnetic lead for the picture, which has some issues with pace and the potency of reveals, but rarely falters when it comes to the primal scream Rapace provides without hesitation. Read the rest at Blu-ray.com

Shot three years ago, “Jacob’s Ladder” is finally seeing the light of day after spending time gathering dust on a shelf. Of course, we’ve been here before, as the picture is a remake of a 1990 Adrian Lyne movie, and one of his better ones too, offering viewers a nightmarish glimpse of limbo, tackling the ravages of war, the deception of government, and the private pain of one man battling his eroding reality. It’s an outstanding feature. The 2019 do-over isn’t, far from it, putting David M Rosenthal (“How It Ends”) in charge of reworking a challenging premise for a modern audience used to jump scares and CGI-laden freak-outs. While certain plot elements have been changed to add some freshness, the majority of the endeavor is the same. If you’ve seen the original “Jacob’s Ladder,” you already know what’s going to happen. If you’ve never seen “Jacob’s Ladder,” why on earth would you start with this version? Read the rest at Blu-ray.com

The “I Am” documentary series doesn’t have it easy, offered less than 90 minutes to cover the entire lives of their subjects, with many of these people in possession of incredible personal histories. After installments such as “I Am Richard Pryor” and “I Am MLK Jr.” comes “I Am Patrick Swayze,” which arrives on the 10th anniversary of his death. With Swayze, there’s plenty of ground to cover, with the man a dancer, a cowboy, a singer, and an actor, filling a full life of achievements and desires. Director Adrian Buitenhuis (“I Am Paul Walker,” “I Am Sam Kinison”) encounters yet another challenge of storytelling, faced with the enormity of Swayze’s accomplishments and the lasting magic of his presence. While it’s unfortunate there’s not more time to dig into the details of Swayze’s experience, Buitenhuis gets most of the way there, supporting his picture with engaged and emotional interviews with family, friends, and co-workers who have a lot to say about the late star. Read the rest at Blu-ray.com 

It wouldn’t take much for “Angel Has Fallen” to become the best installment in a most unlikely franchise. The adventures of Mike Banning, powerhouse Secret Service agent, began in 2013’s “Olympus Has Fallen,” and continued with 2016’s “London Has Fallen,” with the pictures primarily out to create a cartoon realm for the heroic character, keeping him battered but never broken, always ready for a rah-rah-America pose to light up the crowds. The series has found its audience, but anything resembling a creative achievement has been missing. “Angel Has Fallen” isn’t a complete break from the “Fallen” formula, but the writing isn’t obsessed with jaw-pumping acts of aggression, preferring, for the first time, to treat Mike as a human being between scenes of bodily harm. There’s something more interesting going on in the movie, which provides a decent adrenaline shot of action while still managing some tender areas of fragility. Read the rest at Blu-ray.com

With their last feature, 2014’s “Devil’s Due,” directors Matt Bettinelli-Olpin and Tyler Gillet were chasing a trend, assigned to create a found-footage movie that was a pure paint-by-numbers affair. The partners seemed to be surviving that one just to get a picture made in Hollywood. With “Ready or Not,” the duo might be starting a trend, finding a semi-fresh avenue to explore when it comes to cinematic frights, bringing an especially violent round of Hide and Seek to the multiplex, courtesy of screenwriters Guy Busick and R. Christopher Murphy. Learning from their mistakes, the helmers avoid playing expected notes of horror, instead working very carefully to keep “Ready or Not” unpredictable as it samples bodily harm and family antagonisms. The third act isn’t as sturdy as it could be, but the movie is dynamite sicko entertainment, having a blast with ghastly events and demented characters. Read the rest at Blu-ray.com

Writer/director Bart Freundlich once worked with actors Julianne Moore and Billy Crudup repeatedly, boosting the thespian potential of offerings such as “The Myth of Fingerprints,” “World Traveler,” and “Trust the Man.” The helmer took a little break from these collaborations for recent efforts such as “The Rebound” and “Wolves,” but Freundlich has returned to his senses, reuniting with Moore and Crudup for “After the Wedding,” which is a remake of a 2006 Susanne Bier picture that starred Mads Mikkelsen. These are big shoes to fill, but Freundlich has the power of his performers (joined by Michelle Williams), who help to carry a somewhat overstuffed drama that takes on more painful events than it can comfortably handle. Read the rest at Blu-ray.com

Writer/directors Tyler Nilson and Michael Schwartz dare to turn “The Peanut Butter Falcon” into semi-sweet picture, ending up in comforting areas of friendliness despite delivering a plot that encounters plans of revenge and broken spirits. There’s a crowd-pleasing element to much of the movie, which details an unexpected partnership, but the helmers don’t dunk the endeavor in syrup. “The Peanut Butter Falcon” earns much of its sentiment, with Nilson and Schwartz riding excellent casting and evocative locations to a satisfying sit. The title promises unrelenting quirk, but the film isn’t lost to a case of the cutes, earning emotion with a sensitive understanding of friendships and loss to go with its periodical offerings of oddity. Read the rest at Blu-ray.com

Making his feature-length directorial debut, Mike Gan (who also scripts) returns to a source a major employment and criminal woe in cinema: the gas station. “Burn” examines an overnight shift for a particularly disturbed employee, who’s forced to deal with her own psychological limitations as she’s confronted with a violent situation, and Gan is tasked with using a tight location to explore an unfolding nightmare for all involved. The premise is familiar, but Gan scores big with suspense for the first hour of the movie, creating appealing agitation and intimidation as a small criminal idea expands into a hellish survival situation. There’s a lot of confidence to “Burn,” and a smart casting find in lead Tilda Cobham-Hervey, who carries the picture with exceptional commitment. Read the rest at Blu-ray.com

Writer/director Richard Bates Jr. enjoys making dark comedies. He’s presented his fandom in “Suburban Gothic,” and showed real imagination with 2016’s “Trash Fire,” his last picture. Returning to the range of bloodshed and satire, the helmer aims for millennial rage with “Tone-Deaf,” which surveys an older generation growing weary of American youth and all their issues, while a twentysomething tries to find her comfort zone in a world that relishes any chance to deprive her of stability. Bates Jr. can’t stick the landing, but “Tone-Deaf” is devilishly hilarious for the first two acts, diving into murky psychological waters to trigger some spooky and surreal stuff for genre fans, but also retaining a defined sense of humor, with amusing amplification of common generational issues, having a good time poking a stick at people of all ages. Read the rest at Blu-ray.com

“Hot Air” hopes to tap into current frustrations with partisan politics and cultural divide by telling the story of a conservative radio host who finds himself while dealing with a family emergency. Unfortunately, screenwriter Will Reichel isn’t making a satire or a particularly pointed take on the nature of media manipulation, instead going all ooey gooey with material, which is just short of a Disney movie. There should be more of an edge to the endeavor, which surveys intentionally broad personalities and the nature of show business when it comes to the selling of political discourse, but Reichel aims to make something very soft, eschewing laughs and reality to create a tale about a hard man confronting his traumatic past with help from a young woman. “Hot Air” makes an early promise for comedy, but doesn’t stay interested in farce for very long. Read the rest at Blu-ray.com

Perhaps it’s friendship or blackmail that keeps them together, but actor Marlon Wayans doesn’t make a move without his primary collaborator, director Michael Tiddes. In six years, the duo has made four features together (“A Haunted House,” “A Haunted House 2,” “Fifty Shades of Black,” and “Naked”), which is an impressive professional run. It’s only a shame none of them are any good, with most of these efforts Ten Worst List-worthy, hammering audiences with some of the laziest comedy around, working to sell Wayans as some type of master physical comedian. The pair returns to duty with “Sextuplets,” which adds to their cringe-inducing filmography and continues their formula of pinching ideas from other movies/comedians, this time lifting from Eddie Murphy with this light riff on his multi-character “Nutty Professor” world. Read the rest at Blu-ray.com 

Two years ago, “47 Meters Down” enjoyed a movie release miracle, rescued from a DTV fate by Entertainment Studios, who purchased the film on the day of its DVD debut, with the company trying to cash in on shark fever at the cinema. The plan worked, with “47 Meters Down” managing to find an audience, keeping the subgenre alive for another season. This summer, the real aquatic action remains with alligators (from July’s excellent thriller, “Crawl”), but the suits aren’t about to leave money on the table, returning to the deep with “47 Meters Down: Uncaged,” which has nothing to do with the first picture, merely taking its title and sharks for another underwater joyride. Co-writer/director Johannes Roberts returns as well, newly empowered to dump character work and suspense, focused primarily on making a cheap scare machine that’s brainless and joyless, sticking with limp exploitation basics. Read the rest at Blu-ray.com

“Gwen” isn’t a horror film, but it’s one of the most unsettling pictures of the year. Writer/director William McGregor mounts a Welsh nightmare of poverty and instability, taking the titular character down a dark path of responsibility in the period piece. The feature isn’t something that jumps out at the viewer, it’s a slow-burn affair that details the gradual destruction of land and sanity, only McGregor has defined dramatic goals for the work, refreshingly trying to tell a story, not simply submerge the audience in extended, shapeless agony. “Gwen” is small in scale but quite effective, vibrating with a dark energy that keeps it on edge, while lead performances know exactly what to do when depicting dire circumstances, keeping characterizations alive. Read the rest at Blu-ray.com 

Writer/directors Gene Stupnitsky and Lee Eisenberg have their special approach to comedy, and they’ve stuck with it throughout their career, crafting a bomb in “Year One,” and finding surprising success with “Bad Teacher.” They like the crude stuff, avoiding the fine-tuning of jokes to have characters endlessly curse or deal only in sex jokes, recycling their two ideas ad nauseam. However, these patience-testers usually deal with adults working through rowdy content. “Good Boys” brings the world of R-ratedness to three 12 year olds, gifting them opportunities to…endlessly curse and deal only with sex jokes. The helmers aren’t aiming high with their latest endeavor, with “Good Boys” a sloppy collection of bad ideas sold haphazardly, with the production mostly aiming to be as vulgar as possible, hoping hilarity is found in the idea that pre-teens are delivering all the naughtiness. That concept works for a minute, but Stupnitsky and Eisenberg still have to fill the remaining 89. Read the rest at Blu-ray.com

Director Julius Onah didn’t exactly win over a nation of film fans with his last picture, “The Cloverfield Paradox,” delivering a muddled, tiresome chapter in a developing sci-fi world, making sure to disappoint as many people as possible. It was a significant whiff with a hotly anticipated title, so perhaps the stripped down, theatrical presentation of “Luce” is a deliberate move back to basics, putting his camera into rooms, not the far reaches of space, to best examine guarded behavior slowly chipped away by painful truths. “Luce” (co-scripted by Onah and J.C. Lee, adapting his play) is a provocative study of parental protection and racial realities, staying tight on difficult situations of accusation, unearthing suspense much like a traditional thriller, only Onah stays with dialogue exchanges and subtle ways of acting, finding a fascinating rhythm of unease from unlikely sources. Read the rest at Blu-ray.com