Category: Film Review

Larry Clarke is a longtime character actor, working his way around the industry for the last two decades, appearing in such shows as “The Shield,” “Bones,” and “The Secret Life of the American Teenager.” Perhaps searching for a little more control in his career, Clarke makes his debut as a writer/director with “3 Days with Dad,” which takes a look at the whirlwind of family issues that arises when a tolerated patriarch is about to die. Clarke doesn’t arrive empty handed, calling in favors to make his first feature something special, and he’s quick to offer the spotlight to other thespians who don’t normally receive opportunities to shine in major roles. Chaos mostly drives “3 Days with Dad,” but Clarke achieves a lived-in feel to the dramedy, doing well with his talented cast and observations of household antagonisms. Read the rest at Blu-ray.com

World cinema focus turns to Mexico City for “This is Not Berlin,” which tracks the development of two teenagers trying to grow up too fast, too soon. To help soften the blow of technology, co-writer/director Hari Sama dials the clock back 35 years, returning to a time when innocence was attacked by specific forms of influence. It’s a coming-of-age drama with a keen sense of the city, delivering a specific place and time that’s periodically more interesting than the characters. Sama can’t push the material over troubling road blocks of melodrama, but “This is Not Berlin” is evocative and intermittently emotive, locating the heart of adolescent pain and the difficulties of finding one’s way in a predatory world. Read the rest at Blu-ray.com

While it deals with feelings of isolation and disillusionment, “The Harvesters” is immediately striking due to its setting, bringing viewers to the world of Afrikaner farmers in South Africa, where cultural pressure and changing times are making it difficult for families in a troubled part of the world. Writer/director Etienne Kallos isn’t making a political picture, but he doesn’t exactly ignore the cultural strain, which helps the film to tighten its grip as it explores the difficulties facing a young man caught in a troubling position of guardianship while working through his own issues. “The Harvesters” is an unsettling feature at times, but also intensely atmospheric, as Kallos often shows more interest in the cinematic qualities of his endeavor than he does characterization, which grows choppier as the movie unfolds. Read the rest at Blu-ray.com

Many filmmakers have attempted to adapt the essentials of the 1818 novel, “Frankenstein,” trying to remain respectful of author Mary Shelley’s original work while embarking on narrative detours to best fit their movie’s mood or setting. The basics are nothing new, but writer/director Larry Fessenden attempts to achieve a modern understanding of Shelley’s nightmare, going the low-budget route with “Depraved,” looking to pull together a gothic chiller with limited resources. The effort is commendable, and Fessenden has something to say about the human experience as it exists today in a cruel world, but he certainly takes his time to say it, working very deliberately with a picture that could use a few boosts of urgency, giving the central crisis a real cinematic grip. Read the rest at Blu-ray.com

2017’s “It” (now known as “It: Chapter One”) surprised a lot of people by becoming such a smash success, ruling the box office, dominating pop culture, and transforming September into a viable release month for blockbusters. The movie had plenty of momentum, arriving as an adaptation of a 1986 Stephen King novel, which already inspired a television mini-series from 1990, but director Andy Muschetti worked very hard to make his “It” something special, giving “Chapter One” expected lashes of horror, but also high adventure, coated in the warm glaze of childhood heroism. The picture was wonderful, but left itself open for a continuation, and now “It: Chapter Two” is here to finish off the tale, reuniting with the Losers’ Club as the now-fortysomethings make their last stand against evil. Muschetti returns as well, cooking up another high-energy, heavy-heart funhouse tour of clown-based terror and troubled minds. Read the rest at Blu-ray.com

1982’s “The Dark Crystal” is a masterpiece. It’s fantasy filmmaking on a whole different level, with co-director Jim Henson (sharing duties with Frank Oz) digging deep into his bag of tricks to test the art of puppetry, creating a world out of strange creatures and hostile encounters without a single human character to be found. It was a tremendous achievement at the time, but only a middling box office performer, taking years to develop a loyal audience who’ve remained at the ready for a sequel, feeling disappointment when The Jim Henson Company couldn’t get a production off the ground after multiple attempts. Enter Netflix and their deep pockets, spending a small fortune to revive the brand name with “The Dark Crystal: Age of Resistance,” which is actually a prequel to the original movie, embarking on a ten-episode mission to widen the world of Thra, replacing Henson’s sorely missed creative bravery and heavenly sense of screen artistry with Louis Leterrier, the man who gave the world “Clash of the Titans,” “Now You See Me,” and “Grimsby.” Read the rest at Blu-ray.com

“Vita & Virginia” strives to bring a directness to the mental health issues that swarmed around writer Virginia Woolf. While it’s not a bio-pic, the feature is enlightening when it comes to an understanding of what drove the literary titan during her most creatively fertile period, tracking the inspiration and development of her 1928 novel, “Orlando,” which, according to the screenplay by Eileen Atkins and Chanya Button (who also directs), was born from an ill-fated love affair that, while profound, never quite took flight in the way Woolf wanted. An adaptation of a 1992 play by Atkins, “Vita & Virginia” tries to get to the core of obsession and motivation, arranging a reasonably fascinating understanding of Woolf’s compulsions and how they disrupted her life. Read the rest at Blu-ray.com

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