Category: Film Review

When “Rad” opened in March 1986, almost nobody bought a ticket to see it. The feature was unable to topple stiff competition in the form of “Police Academy 3: Back in Training” and “Pretty in Pink,” quickly kicked out of theaters and sent to home video, primed to be lost on the shelves of rental stores. However, something happened to “Rad” that was, well, radical. The movie found an audience on the small screen, developing a cult following as the film made its way to cable, strengthening admiration for this weird little endeavor out to celebrate the new ways of BMX competition. Director Michael Kirsch employs this fandom to inspire the creation of “A Rad Documentary,” which is the first (and likely only) breakdown of the production process on the picture, collecting interviews from a handful of people who participated in the shoot. “A Rad Documentary” isn’t quite as tightly ordered or probing as this type of informational journey usually goes, but it’s out to deliver a firm appreciation of the 1986 release, and Kirsch definitely has enthusiasm for all things “Rad.” Read the rest at Blu-ray.com

Jesse Armstrong is best known for his work as the creator of “Succession,” a critically lauded television show that collected many awards and some level of viewership during its run. Armstrong uses his newfound power to step into the director’s chair, making his helming debut with “Mountainhead,” which was reportedly shot just a few months ago, making a speedy run to its streaming debut. And there’s a good reason for such a quick turnaround, as the material (also credited to Armstrong) examines a handful of tech billionaires and influencers gathering for a weekend of fun, only to end up in a position of world domination. The screenplay hopes to turn headline news into a chamber piece, and Armstrong comes armed with a few disturbing ideas to get the picture on its feet. “Mountainhead” has its provocative moments and ideas, but there isn’t much of a film here. It’s more of a theater piece, and while it commences with attitude and timeliness, Armstrong kills the endeavor with a semi-incomplete, tonally uneven conclusion, which is one of the great third-act wipeouts in recent memory. Read the rest at Blu-ray.com

2010’s “The Karate Kid” remake was a monster hit. The dramatic achievement of the picture is certainly open for debate, but audiences showed up to see Jackie Chan and Jaden Smith recreate the martial arts magic of the wonderful 1984 original film. Weirdly, there was no sequel, especially with a brand name that’s happy to go franchise with anything, including a cult television series, “Cobra Kai,” that ended earlier this year. “Karate Kid: Legends” isn’t really a continuation of the 2010 or 1984 feature, as screenwriter Rob Lieber (who did fine work with 2014’s “Alexander and the Terrible, Horrible, No Good, Very Bad Day”) is tasked with creating a blend of the old and the older, trying to make something new out of the tight formula the series is known for. The production is in a hurry to get through the details of the plot, but “Legends” is energetically directed by Jonathan Entwistle and charmingly performed by the cast, who help to make the unavoidable predictability of it all actually quite enjoyable. Read the rest at Blu-ray.com

Bono has a healthy ego. He’s been part of the band U2 for nearly 50 years, experiencing all kinds of incredible creative and financial success, even achieving a level of political influence as his charitable interests intensified. Nobody thinks more highly of Bono than Bono, and it’s precisely this theatricality that powers all of “Stories of Surrender,” which brings the singer’s one-man show to screens under the care of director Andrew Dominik (“Blonde,” “Killing Them Softly,” and “The Assassination of Jesse James by the Coward Robert Ford”), who seems to understand the best way to present the performer. Bono’s been big for most of his career, offered a chance to physically interpret sections of his 2022 memoir for an audience at a New York City theater, and this cinematic experience is strictly reserved for fans. However, there’s artistry from Dominik and passion from Bono, collaborating on an emotional journey of achievement and loss that goes a bit beyond the U2 Story, and music supports the odyssey, offering a fresh perspective on old songs. Read the rest at Blu-ray.com

“Gonzo Girl” is a tale about author Hunter S. Thompson that’s trying to avoid becoming a tale about Hunter S. Thompson. The movie is an adaptation of a book by Cheryl Della Pietra, who detailed her experiences with “Walker Reade,” a madman writer running out of creative gas after decades on the move. Listed as an “essentially true” story of an unexpected relationship and writing challenge, the picture hopes to present a different side of Thompson without actually using the details of his life. Making her feature-length directorial debut is actress Patricia Arquette, who tries to understand both sides of the emotional standoff as a young woman is sent to deal with Reade and his particularly forceful ways. “Gonzo Girl” isn’t “Fear and Loathing in Las Vegas,” “Where the Buffalo Roam,” or even “The Rum Diary,” looking to peel back a few layers of insanity and understand the unique pressures emerging from what’s meant to be a babysitting assignment. Read the rest at Blu-ray.com

“Tim Travers & the Time Traveler’s Paradox” began life as a short film, one of several created by writer/director Stimson Snead. The helmer looks to expand his vision with a feature-length study of time travel and oneness, inspiring Snead to develop more of a story to support his central concept of time traveling insanity and all the danger and confusion it creates. Perhaps the material was best left as a brief display of moviemaking cleverness, as Snead clearly has difficulty trying to maintain humor and contemplation with the effort, which means to be a fun time with the eye-crossing ways of science fiction and violent comedy, but comes off as a chore to sit through. Snead has his production achievements on such a tiny budget, but “Tim Travers & the Time Traveler’s Paradox” isn’t the roller coaster ride it initially promises to become, growing too cumbersome and repetitive as it unfolds. Read the rest at Blu-ray.com

Four years ago, Netflix attempted an ambush in film releasing, generating three features based on the “Fear Street” book series, created by YA writing machine, R.L. Stine. The three movies were released over the course of three weeks, introducing viewers to time jumps and troubles in the towns of Sunnyvale and Shadyside. The horror offerings found their target audience of genre fans and teenagers, and the brand returns for a new era of terror in “Fear Street: Prom Queen,” which brings the story to 1988 to examine more adolescent nightmares in school and social relationships. The picture is a throwback to slasher entertainment of long ago, putting co-writer/director Matt Palmer in charge of bratty characters, plenty of bloodshed, and a soundtrack filled with hits of the era. “Prom Queen” isn’t a revelatory viewing experience, but as junk food entertainment for the small screen, Palmer tries to keep the effort gory and passably pained as it deals with a lot of personalities and motives in a short amount of time. Read the rest at Blu-ray.com

Since 2019, director Guy Ritchie has been on a professional tear, overseeing the creation of multiple films, most delivering a satisfying sense of style and attitude while the helmer makes do with mid-range budgets. Such sharpness is immediately dulled in “Fountain of Youth,” which is Ritchie’s attempt to make a monster-budgeted adventure movie for all ages. Not helping the cause is screenwriter James Vanderbilt (“Independence Day” Resurgence,” “White House Down,” 2022’s “Scream”), who liberally lifts tone and ideas from the “National Treasure” and Indiana Jones films, out to generate a globetrotting adventure epic with plenty of puzzling and physical challenges to fill the run time. “Fountain of Youth” is a highly derivative endeavor, and Ritchie doesn’t shake up the formula, delivering a dull take on blockbuster moviemaking, pulling back on his recently revitalized sense of humor and intensity. Read the rest at Blu-ray.com

Paul Reubens passed away in 2023, lost to a cancer battle that lasted for six years, and fought in almost complete privacy. His death was a complete shock to fans, who were left to wonder about Reubens’s private life and reflect on his legacy as an actor, including his decades portraying Pee-wee Herman to massive success. “Pee-wee as Himself” is a documentary by director Matt Wolf (“Teenage,” “Spaceship Earth”) that’s out to process Reubens’s history and pop culture domination, with the subject himself sitting for 40 hours of interviews to help guide the two-part film, providing fresh access to most areas of his life. Pee-wee Herman was a magical force on big and small screens, and Wolf achieves an acceptably deep understanding of Reubens’s career quest, keeping the star talking, focusing on “perspective” when taking in the expanse of his professional accomplishments, family experiences, and private adventures. “Pee-wee as Himself” truly captures the complexity of the performer and his personal struggle with identity. Read the rest at Blu-ray.com

Soon after their attempt to turn “Snow White” from an animated film into a live-action event, Disney is back in theaters with “Lilo & Stitch,” which is an adaptation of the 2002 animated picture. The original feature was exactly the modest hit the company needed at the time, helping to restore some cartoon mojo for Disney, but Stitch proved to be a most popular character, going on to become a major merchandise staple and beloved creature creation. There have been sequels, video games, a television show, and even a theme park attraction out to keep the brand name alive, making a live action experience the natural way forward. However, “Lilo & Stitch” is a little different from other remakes, with most of its original appeal emerging from hyperactive animated high jinks and elastic visuals. Director Dean Fleischer Camp (“Marcel the Shell with Shoes On”) doesn’t bring much creative verve to the update, and while casting mostly works, the cartoonishness of it all doesn’t translate well to the real world. Read the rest at Blu-ray.com

Perhaps something has happened to Wes Anderson. The writer/director was once in touch with his cheeky side, making lively pictures that retained his meticulous sense of visual design without becoming mummified by his vision. Recent efforts such as “The French Dispatch” and “Asteroid City” reflect a refinement in his particular moviemaking manner, but his humor has eroded over the years, now firmly committed to creating deadpan operas involving all-star casts, absolutely devouring period settings in the process. The helmer returns with another overbaked offering in “The Phoenician Scheme,” which maintains the Anderson way in sound and vision, but visibly struggles to become the darkly comedic romp the filmmaker imagines it to be. A great cast and sharp technical credits do their thing, but “The Phoenician Scheme” doesn’t show signs of life, slowly stiffening up with material that’s more concerned with Anderson’s cinematic fetishes than taking viewers on a wild ride of faces and places. Read the rest at Blu-ray.com

Two years ago, YouTubers-turned-filmmakers Danny and Michael Philippou made a splash with their directorial debut, “Talk to Me.” It was a “haunted hand” picture that attracted media heat and some box office attention, delivering a small-scale fright film that either managed to terrify viewers with its tense atmosphere or fall short of expectations with its ridiculous premise and underwhelming performances. The siblings have returned to scary business in “Bring Her Back,” which trades the unquestioned mysteries of a cursed severed hand for a story of manipulation and grief, sold through the semi-tight grip of a possession tale. The Philippous have a much better script this time around (credited to Danny Philippou and Bill Hinzman), and a more engrossing set-up for macabre happenings. The pair don’t stick their landing in full, but “Bring Her Back” has two acts worth of mystery that connects, generating needed uneasiness as grimness floods the endeavor. Read the rest at Blu-ray.com

Writer/director Laura Piani makes her feature-length directorial debut with “Jane Austen Wrecked My Life,” which carries a title that makes the movie seem like a brash British comedy, in the vein of “Bridget Jones’s Diary.” However, this is a French production, and one that enjoys picking at the little details of heartache when dealing in love and, more importantly, the creative process. Piani makes a wonderful first impression with the film, refreshingly dialing down hysterics to create a simple but real study of a woman trying to locate clarity in confusing times, challenged to find her voice in many ways. “Jane Austen Wrecked My Life” has a sense of humor, landing many laughs along the journey, but it’s also sensitive work wonderfully supported by Camille Rutherford’s charming lead performance. Read the rest at Blu-ray.com

Jon Avnet was once the director of “Fried Green Tomatoes,” but those days are long gone. The helmer has struggled in his career, making movies that didn’t completely work (“Up Close and Personal”) and others that utterly failed (“Righteous Kill,” “88 Minutes,” and “Three Christs”). Avnet restores some of his storytelling skills for “The Last Rodeo,” which isn’t challenging material in the least (he shares a writing credit with Derek Presley and Neal McDonough), but an easygoing underdog story that deals directly with family issues and relationships. Surprises are limited, actually nonexistent, but there’s a bit of heart to the material and a feel for a troubled soul confronting the mistakes in his life, seeking redemption on the back of a bull. “The Last Rodeo” is in definite need of a tighter edit, but Avnet delivers a semi-sturdy character examination with tasteful sports world action. Read the rest at Blu-ray.com

Death and relationships. They pair together pretty easily for most filmmakers, providing fertile dramatic ground to explore. Writer/director Julia Max makes her feature-length helming debut with “The Surrender,” which takes a surreal look at the pains of personal loss and frayed interactions during a difficult time, also adding a few elements of horror to maintain appeal for genre fans. It’s a tale of communication in many ways, offering a real-world understanding of tensions rising between a mother and daughter who are facing an unbearable situation, and Max hits a few potent notes of confusion along the way. “The Surrender” doesn’t become a riveting chiller or a devastating understanding of grief, but it has some effective sequences when it remains closer to a human experience. Unreality presented here seems better suited for a short film. Read the rest at Blu-ray.com

Abel “The Weeknd” Tesfaye really wants to be an actor. Being a successful singer isn’t enough, reaching chart-topping highs and attracting significant media attention. Becoming a thespian seems to be his new goal, though he’s probably not going to achieve it if he keeps picking projects like “Hurry Up Tomorrow.” While the film is being sold to the public as some type of psychological thriller, co-writer/director Trey Edward Shults (“Krisha,” “It Comes at Night,” and the little-seen “Waves”) isn’t making something like that. The endeavor is more surreal and meandering than a simple ride into a broken mind, and it’s incredibly determined to sell Tesfaye’s dramatic range, along with his music. The offering is a valentine to the greatness of The Weeknd “persona” and musical accomplishments, finding the script more of an afterthought as Shults is tasked with staying tight on the star as he hopes to deliver a powerhouse performance. “Hurry Up Tomorrow” accomplishes extraordinarily little dramatically, strictly made for those who share the same appreciation for The Weeknd as Tesfaye does. Read the rest at Blu-ray.com

In 2023, “Mission: Impossible – Dead Reckoning Part One” was released, facing stiff, ultimately overpowering competition from “Barbie” and “Oppenheimer.” The sequel’s box office potential wasn’t reached, but as an offering of blockbuster filmmaking, star Tom Cruise and director Christopher McQuarrie delivered a real epic supported by excellent technical credits and a ripping pace. However, production woes on “Part Two” failed to sustain the adrenaline rush, and there’s not even a “Part Two” anymore, as “Mission: Impossible – The Final Reckoning” finally arrives to provide a monster payoff in length (170 minutes) and big screen spectacle, once again finding Cruise and McQuarrie on a quest of their own to make sure viewers are left completely wowed by this endeavor, which is possibly the final “Mission” movie, at least for quite some time. “The Final Reckoning” isn’t nearly the fist-pumping viewing experience “Dead Reckoning” provided, but it does the trick, keeping the production devoted to huge thrills and character peril as Ethan Hunt accepts one last mission to save the world. Read the rest at Blu-ray.com

It comes as some shock to realize that the original “Final Destination” was released 25 years ago, emerging as a potent box office player during the horror cycle of the era. It comes as a surprise to understand the last chapter, “Final Destination 5,” came out 14 years ago, and while ticket sales were down, profitability didn’t seem to be threatened. However, New Line Cinema didn’t ask for more, letting the series conclude while genre fans moved on to new obsessions. With the successful revival of “Scream” currently grinding out sequels, it’s time for other older franchises to be revived, inspiring the creation of “Final Destination Bloodlines,” which returns the saga of Death and his sick games of torment to theaters, looking to unite old and new fans as a tightly choreographed massacre is rejuvenated, possibly for many more years to come. That’s not to suggest “Bloodlines” is a thrilling feature, but it’s definitely enthusiastic at times when it comes to orchestrating bodily harm to maintain brand name appeal. Read the rest at Blu-ray.com

From the directors of “Swamp Shark,” “Ghost Shark,” “Trailer Park Shark,” and “Nightmare Shark” comes “A Breed Apart,” which, weirdly, doesn’t feature any sharks. It remains an animal attack picture, this time using rabid dogs on a tropical island to fuel B-movie pleasures. The production is also something of a remake, building on the premise of 2006’s “The Breed” to inspire a new take on canine-based horror, updated for the social media generation. Helmers Griff and Nathan Furst (who also script) have a design for craziness, but they don’t have much money to pull off the visually ambitious endeavor, which aims to generate a dog-pocalypse situation of survival featuring a cast of humans running away from ferocious animals. Sadly, “A Breed Apart” looks painfully cheap, almost unfinished at times, and getting a sense that a fear factor isn’t going to happen in the offering, the Fursts turn to campiness, and that doesn’t work at all. Read the rest at Blu-ray.com

Directors Josh Gordon and Will Speck have been involved in comedies throughout their entire career. Responsible for the silliness of “Blades of Glory,” “Office Christmas Party,” and “Lyle, Lyle, Crocodile,” the helming team hasn’t really expanded their storytelling horizons, sticking with what works. For “Long Distance” (a.k.a. “Distant”), Speck and Gordon take on a sci-fi story from screenwriter Spenser Cohen, though they don’t completely lose their sense of lightness with the movie. “Long Distance” is a tale of survival, featuring a few heated acts of self-preservation, but it endeavors to remain upbeat with its two main characters, who develop an emotional bond as they physically get closer to each other while stranded on a hostile planet. There’s warmth to be found for those who crave it, but what Cohen really has in the material is a short story, and that’s not enough to truly command attention in this misfire. Read the rest at Blu-ray.com