Category: Film Review

We’ve already been here in 2016 with the release of the French production “Marguerite,” which used elements from the life and career of Florence Foster Jenkins to inspire its own tale of askew musical performance and heartfelt delusion. It was a fine picture, but more of a restrained take on the subject than what director Stephen Frears provides with “Florence Foster Jenkins,” which emphasizes the fluttery bewilderment of a woman who loved to sing, but simply couldn’t carry a tune. Frears plays his version of the story to the back row, but it’s not an unappealing approach, especially when there’s a legend like Meryl Street in the titular role, and a charming turn from Hugh Grant that effectively erases most of the nonsense he’s been involved with over the last decade. Read the rest at Blu-ray.com

While it’s a flawed movie, “Edge of Winter” offers one of the most unique takes on paternal custody issues I’ve seen in quite some time. It’s dressed up as a survival picture set in the deep snow, but the feature emerges with a different goal at the halfway mark, switching tone and dramatic goals in a surprisingly severe manner. “Edge of Winter” doesn’t always know what kind of story it wants to tell, and its narrative thinness tends to hurt it in the end, but there are elements here that work, from performance to locations, keeping the film engrossing as it figures out where exactly it wants to go. Read the rest at Blu-ray.com

There are few individuals who’ve guided the direction of popular entertainment in the same manner as Norman Lear. The writer/producer is responsible for seismic shifts in television tastes, massaging shows like “All in the Family” and “Maude” into the national conversation, challenging viewers with difficult subject matters while winning them over with bellylaughs. His extraordinary accomplishments have been noted and rewarded time and again, but “Norman Lear: Just Another Version of You” hopes to be a little more than just an average victory lap. Directors Heidi Ewing and Rachel Grady endeavor to cut through a few layers of rehearsed behavior, trying to expose a man who worked hard to achieve his dreams, managing early adversity and industry trials to emerge as one of Hollywood’s most important contributors. Read the rest at Blu-ray.com

While it details a striking section of World War II history, “Anthropoid” uses a strange mixture of stillness and aggression to explore the dramatic potential of the story. Co-writer/director Sean Ellis appears to have an appreciation for factual events depicted here, making an effort to understand the true cost of rebellion, especially when faced with an impossible task, but the feature forgoes a lean, tightly edited summary of spirit. Instead, “Anthropoid” is frustratingly motionless, only sparking to life when it observes graphic violence. The tale has been told before (in multiple movies, and there’s a competing project due for release next year), but Ellis can’t conquer familiarity, with the work redundant and clichéd. Read the rest at Blu-ray.com

Barry Sonnenfeld hasn’t enjoyed the most consistent directorial career, but there’s always been a level of dignity even with his unbearable duds. Somehow, the he manages out out-stink his 1999 disaster “Wild Wild West” with “Nine Lives,” which not only represents a career low point for the helmer, but for everyone involved. Brought to screens by Luc Besson’s action factory Europa Corp., “Nine Lives” is a misguided attempt to pad the financial year with a family comedy about a human trapped inside a cat’s body. Those expecting cat video-style antics and syrupy domestic worries are going to be disappointed, as the production is more interested in attempted murder schemes and feline urination, putting in the least amount of effort imaginable. Perhaps Sonnenfeld is in serious trouble with the underworld, or maybe he’s been kidnapped by Frenchmen, forced to manage one of the worst movies of 2016. Guys, I’m starting to worry. Read the rest at Blu-ray.com

It’s hard not to feel a little depressed about the state of the R-rated comedy. Instead of using the restrictive rating to engage in adult situations with a sharper sense of humor, most filmmakers would rather take the easy route, going for gross-outs and dim, profanity-laden improvisation to secure laughs. “Amateur Night” is the latest example of silliness soured by bad ideas, finding writer/directors Lisa Addario and Joe Syracuse (who previously scripted the moronic “Parental Guidance”) working to generate a madcap tone of disasters and near-misses for their feature, only to depend on cheap jokes to snap the viewer out of slumber. “Amateur Night” isn’t wild or funny. It would rather spray its characters with vaginal fluid than dream up a killer punchline. Read the rest at Blu-ray.com

Establishing the DC Cinematic Universe with last spring’s “Batman v. Superman: Dawn of Justice,” the company appeared ready to build on the expansive introduction, utilizing the myriad of characters that populated the Zack Snyder extravaganza. Instead of sequels and spin-offs (those come next year), the DCU takes a brief detour with “Suicide Squad,” looking to have a little fun with its rogues gallery before the brand gets down to business. Writer/director David Ayer (“Sabotage,” “Fury”) cherry picks obscure and cult villains to fill out this askew men-on-a-mission feature, but darkly comic delights and superhero cinema thrills are in short supply, as much of the movie is far too leaden and devoid of personality to leave a lasting mark. “Suicide Squad” is being sold as a wild romp, but the actual picture is quite tame and glacial, watching Ayer get lost quickly as he sorts out motivations, histories, and priorities with his half-realized gang of painted and tangled misfits. Read the rest at Blu-ray.com

When Hollywood attempts to bring author Philip Roth to the screen, much is usually missing in the translation. Recent years have delivered “The Human Stain” and “Elegy,” but it’s “Indignation” that truly balances the nuances of literature with the intimacy of film. It’s directed by James Schamus, who’s making his helming debut after decades of producing and studio leadership accomplishments, including guardianship of “Brokeback Mountain,” while his writing credits include “The Ice Storm” and “Crouching Tiger, Hidden Dragon.” It’s amazing that it has taken this long for Schamus to move behind the camera, but the reward is “Indignation,” which handles with exquisite patience and craftsmanship, locating all the Roth-ian ills of the world without sacrificing pure storytelling and a mesmerizing concentration on blistering confrontation. Read the rest at Blu-ray.com

For his second directorial endeavor, comedian Mike Birbiglia returns the world of funny business he explored in 2012’s “Sleepwalk with Me,” this time shining a spotlight on the realm of improvisation and the neuroses involved with such a taxing performance art. Stepping away from autobiographical touches, Birbiglia (who also scripts) sets out to create a dramedy about intimacy and competition, but the plot sometimes gets in the way of pure behavior, which “Don’t Think Twice” captures with outstanding realism. The scratchy rub between acting and feeling is inspected to satisfaction in the picture, which highlights Birbiglia’s comfort with actors and his knowledge of denial. While his vision is blurred at times, “Don’t Think Twice” is accomplished work, clearly identifying the helmer’s creative growth. Read the rest at Blu-ray.com

“Five Nights in Maine” is reserved for viewers who can appreciate the fine art of the gut-wrenching drama. It’s tough stuff, masterminded by writer/director Maris Curran, who takes a messy look at the stages of grief and troubled communication, giving actor David Oyelowo and Dianne Wiest plenty of space to figure out how to play charged reactions. It’s an interestingly spare effort trying to find a spot in today’s flashy movie marketplace, demanding patience from the audience as it gradually reaches a mournful purging, but Curran does stick the landing, rewarding those curious enough to study broken people in exploratory mode with an exceptionally acted, smarty scripted drama that packs a wallop. Read the rest at Blu-ray.com

It was never going to be easy for John F. Kennedy Jr. The son of a beloved American president, and one who died in such a grisly manner, JFK Jr. was saddled with global expectations just before he turned three years old, destined to live a life of intense scrutiny and privilege as part of the country’s royal family. “I Am JFK Jr.” is a documentary that looks at the life and time of John F. Kennedy Jr., with director Derik Murray granted access to home movies and photographs, along with close friends and associates, trying to sharpen focus on a man who lived his life in the public eye, trying to make the most of a strange situation of notoriety and destiny. Read the rest at Blu-ray.com

There’s a new generation of psychological horror filmmakers coming into view who all favor the same elements of movie construction. There has to be colorless, flavorless digital cinematography. Gorging on natural light is a must. A synth score must groan throughout the feature, surging with shapelessness when tensions rise. And performances aren’t achieved through acting, but editing, with directorial influence more important to the production. “Sun Choke” plays many of the same indie cinema cards as it builds a tale of nightmarish control and splintered reality, with writer/director Ben Cresciman more enamored with the visual edge of the picture than its potential as a chiller. Read the rest at Blu-ray.com

Making an industry splash with the screenplay for “The Hangover,” writers Jon Lucas and Scott Moore strive to raise a similar type of hell with “Bad Moms,” trying to offer a female audience their own style of raunchy comedy. The idea is fun, and the trials of motherhood provide endless inspiration for punchlines, but “Bad Moms” doesn’t want to put in the effort. A dismal offering of R-rated shenanigans, the feature almost makes to the end without a single laugh, with Moore and Lucas relying on their established brand of lowbrow comedy to skate by. Miscast and frequently insufferable, the picture only stands up straight when dealing with the daily routine of parenting and all the anxieties it triggers. The rest is just numbing stupidity, unsure if it wants to indulge wish fulfillment in full or take its loopy characters seriously. Read the rest at Blu-ray.com

2007’s “The Bourne Ultimatum” was an electrifying final chapter in the Jason Bourne saga, rewarding faithful viewers with a sense of closure and plenty of heated action, giving star Matt Damon another reason to pummel enemies and evade capture. Another chapter wasn’t necessary, and after a problematic spin-off (2012’s “The Bourne Legacy”), the franchise is back up and running with “Jason Bourne.” There was a nine year wait for the fourth installment of this disoriented spy saga, and such substantial patience isn’t rewarded. “Jason Bourne” is a shockingly leaden picture that’s content to retread instead of innovate, conscious of audience expectation when it comes to the titular character stalking and silencing those out to kill him. All this time to cook a full cinematic meal, and director/co-writer Paul Greengrass insists on reheating leftovers. Read the rest at Blu-ray.com

“Nerve” attempts to bring online life to the big screen in a credible way, at least for its first act. Screenwriter Jessica Sharzer (adapting a novel by Jeanne Ryan) has big ideas to share on the state of the internet, taking on anonymity, groupthink, and cruelty when it comes to teenagers and their computerized lives, and the feature manages to at least establish the impulse generation, overseeing a compelling introduction of kids addicted to online fame. But in the care of directors Henry Joost and Ariel Schulman, “Nerve” loses its titular gumption right when it gets going, growing moreobsessed with Disney Channel-style social circle hysterics than the greater evil of a life lived in service of a faceless audience. Read the rest at Blu-ray.com

Quietly, writer/director Taika Waititi has built an impressive filmography of comedy releases. With “Eagle vs. Shark,” “Boy,” and “What We Do in the Shadows,” Waititi has showcased outstanding timing and creativity, displaying growing confidence with every effort. This experience is funneled into “Hunt for the Wilderpeople,” an adaptation of author Barry Crump’s 1986 book, “Wild Pork and Watercress,” which provides Waititi with a chance to display his growing command over disparate moods. Silly with a side of heartache, “Hunt for the Wilderpeople” isn’t Taititi’s best work, but it’s impressively executed, making time for broad antics and intimate exchanges without unraveling into a mess of ideas, with Waititi doing an impressive job of storytelling management. Read the rest at Blu-ray.com

A French production set in America, “Phantom Boy” is the latest effort from directors Jean-Loup Felicioli and Alain Gagnol, whose previous collaboration, 2010’s “A Cat in Paris,” rode its popularity all the way to an Oscar nomination for Best Animated Film. Returning to their signature style, the team takes on the world of crime-fighting and the supernatural with “Phantom Boy,” which offers an unexpected combination of comedy, heartbreak, and thrills. It’s a superhero origin story in a way, but executed with charming style and human characters, playing broad with villains and near-misses to have some fun in the midst of heavy turns of fate. It’s a delightful picture, but its greatest asset is its as-is approach, refusing melodrama despite ample opportunity to wallow in misery. Read the rest at Blu-ray.com

“Into the Forest” takes on the survival genre from a different angle. Death and destruction are set aside to focus on the long march to doom, focusing on the plight of sisters facing the ultimate challenge in their protected lives. It’s based on a novel by Jean Hegland and the feature retains its literary approach, with writer/director Patricia Rozema preserving the “life goes on” aspects of the story, building events with the momentum of a reader burning through chapters. “Into the Forest” is particularly irksome at times, but the core viewing experience is sustained by Rozema, who handles mounting anxiety and the long apocalyptic waiting game competently, maintaining a feel for the end of the world as it visits those already off the grid. Read the rest at Blu-ray.com

Rob Burnett is best known to comedy nerds as the former head writer of “Late Night with David Letterman,” enjoying a long career with the television legend, masterminding some of the weirdest jokes and most inspired material. For his second directorial effort, Burnett attempts to find a balance between light and dark with “The Fundamentals of Caring,” an adaption of the Jonathan Evison book, “The Revised Fundamentals of Caregiving.” While the material explores laughs, often the uncomfortable kind, it’s also fairly heavy stuff, dealing with physical disabilities and personal loss. While Burnett doesn’t provide a full cinematic meal with “The Fundamentals of Caring,” he juggles tone surprisingly well, managing to keep the feature afloat where other helmers would fail within the first act. Read the rest at Blu-ray.com

The world feels smaller these days, creating unique tension when it comes to the ways of free speech. With social media and organizational efforts clouding the national dialogue, it doesn’t take much for someone to be offended these days, finding comedy a frequent target of disdain. The documentary “Can We Take a Joke?” explores the closing gap between thought and action, with director Ted Balaker trying to understand why personal expression is under attack by an unusual enemy, bringing in a host of comedians, experts, and bewildered interviewees to better understand the changing boundaries of provocative comedy and its current position in a most sensitive world. Read the rest at Blu-ray.com