Category: Film Review

The ironies, confusion, and tragedy of war are inspected in “A Perfect Day,” but the feature isn’t quite the level of homework it initially appears to be. It’s the English-language debut of director Fernando Leon de Aranoa (“Mondays in the Sun”), and he brings a funky vibe to the effort, which makes a creative choice to keep semi-light to best appreciate the frustrations felt by the characters. “A Perfect Day” benefits from the spring in its step, gifted a capable cast skilled enough to find nuances of reaction as the story moves from stop to stop, never remaining static for very long. Read the rest at Blu-ray.com

After portraying a reserved, humbled homeless man in last autumn’s “Time Out of Mind,” Richard Gere takes on a different, more loquacious type of pain in “The Benefactor.” Delivering an unusually amplified performance, Gere is the focal point for the drama, which shaves off significant turns of plot to lay low as a compelling character study. Making his feature-length debut is writer/director Andrew Renzi, and he delivers more than a few captivating moments here, wisely concentrating on Gere’s manic spirit to cover well-worn ground as the screenplay explores the savagery of addiction and abuses of power. It rarely makes a substantial impression, yet “The Benefactor” is alive, powered by a special nervous energy that can only emerge from Gere. Read the rest at Blu-ray.com

“Moonwalkers” provides an hour of spirited, cheeky comedy and violent shenanigans, but it doesn’t remain there for its final 30 minutes. If you’ve seen the documentary “Room 237,” the plot of “Moonwalkers” is going to be familiar, playing around with the concept that Stanley Kubrick produced and directed footage of the Apollo 11 mission to the moon, allowing the U.S. Government to cover for a problematic space program. Director Antoine Bardou-Jacquet has a terrific visual sense for his effort, but when it comes to sustaining pace, he’s not as successful. However, when the movie finds its footing, it’s agreeably oddball, delivering two solid acts of humor and madness that covers for a botched landing. Read the rest at Blu-ray.com

It takes a film like “Norm of the North” to fully appreciate what big-budget animated pictures from major studios actually accomplish. Instead of wonderfully designed characters and a heartfelt tale, “Norm of the North” offers a cruelly plasticized viewing experience for family audiences, basically refusing to challenge its origin as an 80-minute-long babysitter for exasperated parents who will settle for anything to keep wee ones pacified. With flat voice work, crude humor, and a story that doesn’t make any sense, the feature, save for one bright spot, is punishment, subjecting moviegoers to the bare minimum of effort. Read the rest at Blu-ray.com

The weight of the world and its myriad of connections are felt in “Anesthesia,” a multi-character odyssey of misery orchestrated by writer/director/co-star Tim Blake Nelson (his first helming gig since 2009’s “Leaves of Grass”). There’s an idea here concerning human denial that’s inherently powerful, examined through the actions of fallible characters scrambling for meaning in their lives, but Nelson generally swats away natural behavior in favor of a more theatrical presentation. Stiff and unsatisfying, “Anesthesia” doesn’t snap together profoundly, straining to reach a sophisticated examination of desperation and confusion while it offers tedious dramatics typically found in a Lifetime Movie. Read the rest at Blu-ray.com

With “400 Days,” writer/director Matt Osterman attempts to revive a “Twilight Zone” atmosphere with a severely limited budget. More of a puzzler than a horror effort, the feature works to define psychological strain during extraordinary circumstances, teasing a deeper exploration of madness and close-quarter tensions to come. For reasons not entirely understood, Osterman pulls most of his punches, working to bend a compelling tale of extended isolation into a “Hills Have Eyes” sequel, which absolutely demolishes the appeal of the picture. “400 Days” isn’t strong stuff to begin with, but a few bewildering creative choices made by the production take a comfortably average thriller and reduces it to tone-deaf junk. Read the rest at Blu-ray.com

Early January is a strange time of year at the multiplex. Believing that certain audiences are tired of Oscar bait and blockbusters, Hollywood usually sends out a tiny horror picture to shake up the marketplace, with quality low on the list of production priorities. This year’s alternative is “The Forest,” a low-budget ghost story that gives “Game of Thrones” actress Natalie Dormer an opportunity to carry her own film. Sadly, Dormer is no match for the general lethargy and monotony of the movie, which spends half its run time trying to explain its premise, and the other half avoiding any satisfying payoff. The month of mediocrity strikes again, issuing another horror extravaganza that’s not interested in supplying real scares. Read the rest at Blu-ray.com

The director of “Wings of Desire” and “Paris, Texas,” Wim Wenders has kept his distance from fiction filmmaking in recent years, immersing himself in documentary work (including “Pina” and “The Salt of the Earth”) to provide artistic clarity. “Every Thing Will Be Fine” is his first dramatic effort in nearly a decade, and the feature unfortunately reflects such rustiness. Trying to capture the curvature of the Earth, Wenders gets lost in his own creation, lacking concentration on the basics of human response as gorgeous cinematography gradually becomes his only reason to keep hanging around a seriously undercooked production. Read the rest at Blu-ray.com

It’s going to be difficult for Scott Eastwood to have an acting career that isn’t always compared to his father, Clint. However, he’s not making it easy for himself by starring in “Diablo,” a modern take on a spaghetti western that finds the famous progeny brandishing guns and squints as co-writer/director Lawrence Roeck plays with his interests in the genre. “Diablo” has a few tricks up its sleeve and a familiar face in the lead role, but it doesn’t piece a convincing mystery together, sloppily revealing its hand long before the feature reaches its climax, leaving Eastwood to do all the heavy lifting with little inspiration to work with. Read the rest at Blu-ray.com

“Chi-Raq” represents a return to form for co-writer/director Spike Lee. The last decade has been tough for the once mighty helmer, with recent releases (“Da Sweet Blood of Jesus,” “Red Hook Summer”) forgotten soon after their initial release, while his last studio effort, the wretched “Oldboy,” almost killed his career. “Chi-Raq” revives Lee’s distinctive interests in social commentary and satire, taking on gun and thug culture with a blistering overview of Chicago as it slowly succumbs to brutality. Submitting his finest work since the 1990s, Lee is inspired and alert for a change, displaying renewed interest in the world around him. The mischief and outrage presented here is outstanding. Read the rest at Blu-ray.com

It’s important to note that “Yosemite” is based on a few short stories conceived by James Franco and writer/director Gabrielle Demeestrere. The picture doesn’t have shape, it has ideas and moments, with only a vague tethering of characters to help acclimate audiences to the experiences at hand. Demanding a more fluid moviegoing mind, “Yosemite” is ideal for those who enjoy atmosphere and a distant sense of conflict, with Demeestrere handling the material as test of exploration, not necessarily drama. It’s an interesting effort with a clear portrait of pre-adolescent curiosity, but it’s not something to be viewed casually, as the feature’s patience with tone takes some getting used to. Read the rest at Blu-ray.com

“Absolutely Anything” is dripping with promise. Its main source of curiosity is a Monty Python mini-reunion, with the comedy troupe members contributing voice work to portray a race of malevolent aliens. It’s also the first feature film directed by Python vet Terry Jones in nearly two decades (1996’s “The Wind in the Willows” being his last effort). And the movie marks the final screen work of icon Robin Williams, who participates as the voice of a dog. “Absolutely Anything” has a lot going for it, including an enthusiastic lead performance from Simon Pegg, yet Jones doesn’t quite know how to manage all the quirk and slapstick of the picture, which never comes together as completely as it could, disappointing on multiple levels. Read the rest at Blu-ray.com

Charlie Kaufman is an acquired taste. He’s a filmmaker who loves to build puzzles out of human misery, and he’s collected a cult following with screenplays for “Being John Malkovich,” “Adaptation,” and “Eternal Sunshine of the Spotless Mind.” It’s been awhile since Kaufman made a movie, with 2008’s “Synecdoche, New York” (his directorial debut) his last endeavor, failing to attract much attention from understandably fatigued audiences. Kaufman returns with “Anomalisa,” but he’s moved over to the animated realm, co-helming (with Duke Johnson) a stop-motion feature that doesn’t stray far from his dramatic interests, once again boarding a downward spiral into depression and delusion, only here the characters participate in a more defined universe of unreality while Kaufman strives to keep the tale achingly authentic. Read the rest at Blu-ray.com

“James White” is an endurance test for any filmgoer, tasked with watching irrational characters slowly but completely lose control while experiencing medical and caretaking ordeals. It’s a not a picture that encourages a recommendation, but it’s not devoid of artistry and dramatic firepower. However, to find an observational position with the feature requires exceptional patience with writer/director Josh Mond, who embraces a peeled-skin atmosphere of despair and antagonism, making any appreciation of the effort’s accomplishments difficult. “James White” provides a viewing experience that’s unlike many movies, and it’s reserved only for those choosing to be submerged in darkness alongside the titular character. Read the rest at Blu-ray.com

When it was released in the summer of 1991, “Point Break” was only a modest hit for 20th Century Fox, failing to catch fire during a crowded moviegoing season. Its reputation developed on home video, where appreciation grew for Kathryn Bigelow’s spirited directorial approach and expert management of the promised “100% pure adrenaline.” These days, some people (like me) consider the feature to be one of the best actioners of the 1990s, with stars Keanu Reeves and Patrick Swayze turning in amazingly vibrant work in a picture that celebrates the impossible with a special Southern California glow. And now there’s a remake, trying to cash in on a title that’s more of a secret code for film nerds and “Hot Fuzz” fans. Predictably, it falls short of the original’s magic, but what’s most disconcerting about the new “Point Break” is how little it understands what made the first pass work so well. Character names are the same and the mission is familiar, but the lights are off in this do-over, glumly trying to capture the same electricity with roughly 90% less adrenaline. Read the rest at Blu-ray.com

Writer/director Todd Haynes has an affinity for period pieces. He’s been consistently remarkable building cinematic time machines, but “Carol” is his most convincing depiction of the past, overseeing an exceptional production team that turns every moment into cinematic poetry, with touchable textures and screen artistry that makes the feature hypnotic. But there’s more to “Carol” than exquisite craftsmanship, finding a crushing tale of longing and repression rippling underneath guarded exteriors, with Haynes reviving Cate Blanchett’s thespian authority, while guiding Rooney Mara to the best performance of her career. Juggling tone and drama with outstanding precision, Haynes emerges with his best work since 1998’s “Velvet Goldmine.” Read the rest at Blu-ray.com

One year ago, writer/director Alejandro Gonzalez Inarritu emerged from a bout with career repetition to debut “Birdman.” The one-take drama went on to capture art-house imaginations and grab Oscar gold, winning the Best Picture prize last winter. Instead of soaking up enormous success, the helmer plunges back into a nightmarish professional challenge with “The Revenant,” taking on the enormity of the man vs. nature conflict by making nature, and all its fury, the star of the effort. Blistering, raging, and ideally mind-boggling, this is a feature that wears its production hardship like a badge of honor, sending Leonardo DiCaprio through the spanking machine of the great outdoors to portray a man shredded by the elements and inhabitants. Unlike many productions that gift themselves importance, “The Revenant” simply becomes a viewing event. Read the rest at Blu-ray.com