Category: Film Review

After a successful run on MTV (with 222 episodes), “Beavis and Butt-Head” was ready for the big screen, and creator Mike Judge accepted the challenge, producing “Beavis and Butt-Head Do America” in 1996. While not a blockbuster, the animated film did decent business, making enough money to guarantee a sequel. And then a follow-up never happened, with Judge moving on to other projects, while Beavis and Butt-Head were placed on the list of pop culture treasures from the 1990s. 26 years later, Judge is finally ready to deal with a long-form offering of Beavis and Butt-Head shenanigans again, bringing the destructive dimwits into their own future with “Beavis and Butt-Head Do the Universe.” The hand-drawn animation is gone, and this endeavor isn’t meant for multiplexes, but Judge (joined by directors John Rice and Albert Calleros) still has a firm grasp on his breakthrough creation, finding ways to freshen old jokes and give the eponymous characters more confusion to deal with in their distinctly primitive ways. Read the rest at Blu-ray.com

There’s always a moment before watching a Baz Luhrmann film where one forgets one is about to watch a Baz Luhrmann film. And then it begins, and some sort of insanity is immediately established, promising a cinematic ride for viewers that’s engineered to leave them breathless. This feeling of being overwhelmed struggled to survive in the helmer’s last endeavor, 2013’s “The Great Gatsby,” but Lurhmann is back to his old mischievous ways with operatic excess in “Elvis,” which isn’t a bio-pic of the legendary singer, but more of a comic book-style extravaganza about the icon and his extended struggle with his manager, Col. Tom Parker. “Elvis” is a lot, which is just the way Lurhmann likes it, blasting the screen with extraordinary visuals, acting, and pure energy, trying to replicate Elvis’s whirlwind life and his confusion when dealing with the business elements of his extraordinary career. It’s a 159-minute-long picture, and Lurhmann uses his run time to generate a hurricane of emotion and information, attempting to treat the story of Elvis Presley as a pop tragedy with a side of sensorial assault. Read the rest at Blu-ray.com

It’s difficult to make a movie about the end of the world when there’s very little budget to power the production. “Revealer” is the latest attempt to highlight an apocalyptic event without actually showing much of anything, with director Luke Boyce basically sticking to two sets while the screenplay (by Michael Moreci and Tim Seely) suggests a major event is happening around the globe, forcing viewers to use their imagination as a much smaller dramatic event unfolds indoors. The chance to go big with the endeavor isn’t possible, but Boyce looks to do something with a very little he has to work with, investing in cinematographic ideas and terrific casting to bring this strange take on the chaos of the Rapture to life. “Revealer” doesn’t add up to much, but it retains effective moments of conflict and mystery to get the feature through some slower patches of limp exposition. Read the rest at Blu-ray.com

Careers can be a strange thing. Director Scott Derrickson was last seen on screen with 2016’s “Doctor Strange,” offered a chance to do something different with the MCU, tasked with introducing one of their most challenging characters. And he did an excellent job doing so, bringing the Master of the Mystic Arts to life with a wonderfully cinematic and mercifully approachable origin tale that also represented his biggest box office success to date. Derrickson didn’t capitalize on the moment and now, six years later, there’s “The Black Phone,” which doesn’t find the helmer building on his “Doctor Strange” triumph, but returning to horror itches last scratched in 2012’s “Sinister” and 2014’s “Deliver Us from Evil.” It’s a small-scale creeper, an adaptation of a Joe Hill short story, which puts pressure on the production to develop enough material to fill a feature-length run time. “The Black Phone” has a few sharper points of potential, but Derrickson and co-writer C. Robert Cargill don’t have enough here to bring this supernatural story to a full boil. Read the rest at Blu-ray.com

“Gatlopp” is very clearly modeled after “Jumanji,” with both pictures focusing on the hellraising unleashed when a mysterious board game is discovered, and eager players are ready to spend some time in heavy competition. “Jumanji” offered animal stampedes, life or death situations of survival, and constant pressure from the unknown force driving the dark magic. “Gatlopp” has heavy drinking, an enormous amount of improvisation, and pace-killing dramatics. Screenwriter/co-star Jim Mahoney (“Klaus,” “The Main Event”) tries to make something meaningful about friendship with the material, laboring to blend gameplay horrors with a serious examination of relationships. The blend doesn’t gel, leaving the feature frustratingly uneven and wildly overacted. It’s a movie about a malevolent board game, but the fun factor is severely limited by material that refuses to snowball into a madcap, constantly surprisingly good time. Read the rest at Blu-ray.com

As everyone knows, Buzz Lightyear is a character from the “Toy Story” franchise, with his stern, slightly clueless militaristic style acting as a perfect foil for his cowboy pal, Woody. “Lightyear” isn’t a solo picture for the Space Ranger, and it’s not a prequel to “Toy Story.” Opening information positions this endeavor as the film Andy saw in 1995 that made him go crazy for the toy, giving him a movie adventure to trigger his imagination and tax his mother’s bank account. It’s an incredibly odd way to set-up a semi-origin story for the character, but this weirdness is just the taste of the bizarre happenings in the effort, which turns to time travel as a way to complicate Buzz’s experience with exploration and rescue. “Lightyear” remains in step with Pixar Animation storytelling formula, but they make some unexpectedly knotted choices with the screenplay, potentially keeping it just out of reach for younger audiences. Read the rest at Blu-ray.com

Two titans of the Spanish film industry, Penelope Cruz and Antonio Banderas haven’t spent much time together in front of a camera. In fact, in 2019’s “Pain and Glory,” writer/director Pedro Almodovar used time to keep them apart, creating a divide as generations worked out the troubles in their lives. For “Official Competition,” Banderas and Cruz are face-to-face, joined by co-star Oscar Martinez in this comedy about the insanity of movie actors and directors and their ludicrous requirements when it comes to preparing a feature for production. It’s a send-up of egos and irritation, but writer/directors Mariano Cohn and Gaston Duprat don’t go broad with the material, trying to be sneaky with their sense of humor, going sly when it comes to making fun of the process. “Official Competition” is hilarious and refreshingly simple, giving the cast room to play as they inhabit insufferable people trying to make magic for the camera, learning to loathe one another during the ramp-up to the first day of shooting. Read the rest at Blu-ray.com

Director Joseph Kosinski has exclusively made large-scale movies during his career. He’s taken on the Grid (“Tron: Legacy”), dealt with the future (“Oblivion”), celebrated firefighting heroism (“Only The Brave”), and recently restored the world’s need for speed (“Top Gun: Maverick”). He has an eye for spectacle, but his latest, “Spiderhead,” doesn’t carry the potential for explosive visuals. It’s a chiller and character study that largely takes place inside a single building, with writers Paul Wernick and Rhett Reese adapting a short story about the pressures of manipulation and submission inside a prison engaging in chemical modifications of human behaviors. The feature is mostly about disturbing mind games and quieter moments of connection, and Kosinski handles it exceptionally well, carefully constructing a suspenseful and fascinating examination of control, putting his faith into casting to summon a heavy level of unease. Read the rest at Blu-ray.com

“Father of the Bride” was originally a 1949 novel by Edward Streeter, but it’s much better known as a 1950 film adaptation starring Spencer Tracy. There was a 1991 version of the original story as well, with Steve Martin hired to play a dad trapped between duties tied to his daughter nuptials and his true feelings about the whole affair, caught up in the whirlwind of spending and planning. Both features did quite well with the central concept, finding humor in different ways as they dealt with separate eras of parenthood. It worked twice, so why not again, with the new “Father of the Bride” stripping away everything but the basic concept of paternal panic, with Andy Garcia tasked to portray the eponymous character, who faces slightly different challenges of stability in this cozy, amusing third at-bat for the brand name. Read the rest at Blu-ray.com

“The Phantom of the Open” explores the true story of Maurice Flitcroft, who experienced a vocational epiphany in 1975, looking to become a professional golfer in his mid-40s, despite never having played the game before. It was an obsession that brought him to the qualifying round of the 1976 British Open, where he shot a score of 121, with many labeling him the worst golfer in the history of the sport. The material (an adaptation of a 2010 biography by Scott Murray and Simon Farnaby, who also provides the screenplay) is ripe for a mockumentary-type of approach, but director Craig Roberts (“Just Jim,” “Eternal Beauty”) doesn’t take the bait, preferring to be sincere with this study of tattered dreams, blending inherent comedy concerning Maurice’s lack of natural talent with a more heartwarming understanding of his family life, ultimately working towards sweetness, which is unexpected and not always welcome in this entertaining study of determination and delusion. Read the rest at Blu-ray.com

Two years ago, Cooper Raiff made his feature-length directing debut with “Shithouse.” It was an awful title slapped on a sensitive story of loneliness and human connection, identifying the young filmmaker as someone to watch. Raiff has returned with “Cha Cha Real Smooth,” which continues his career interest in bad titles for decent movies, providing a puzzling label for an intimate tale of a twentysomething man trying to figure out the world at a most emotionally complex time in his life. Raiff has a way with the softer side of characterization and interactions, endeavoring to create a study of confusion and defense mechanisms slowly lowered by the sheer power of attraction. “Cha Cha Real Smooth” isn’t anything too distinct, but it carries itself with confidence and Raiff has a troubling-yet-wonderful way of steering his writing right into cliché, only to dodge disaster at the last second, adding a few surprises along the way. Read the rest at Blu-ray.com

“Brian and Charles” was initially introduced to movie fans in 2017, with director Jim Archer and screenwriters David Earl and Chris Hayward creating a short film about a lonely Welsh man who constructs a robot out of household items to become his companion, though the relationship quickly transforms into something more parental. There was potential to develop the production, and now there’s a feature-length endeavor from the trio, who work to give “Brian and Charles” a fresh start on the big screen. It’s an oddball concept, but well cared for in the hands of Earl and Hayward, who also star as the eponymous duo, bringing a special life to the effort, which is sold as something goofy in the first act, only to reveal an unexpected sweetness, along with a terrific sense of humor. Archer pumps the picture full of charm and maintains timing, making it a rare success when translating a small idea into something bigger, without losing its inherent appeal. Read the rest at Blu-ray.com

Movies rarely detail the lives of women of a certain age, and sexuality seems to be strictly off-limits unless used in a cartoonish way or deployed as a cruel punchline. “Good Luck to You, Leo Grande” hopes to change this perception in some small way, presenting a story of a woman trying to work past decades of insecurity and fear, hoping to embark on a carnal adventure with a younger man capable of providing an hour or two of excitement, which she has never experienced before. Screenwriter Katy Brand goes to places few other productions go, looking to be sensitive yet open about the mysteries of behavior and doubt when dealing with the business of pleasure, using a potentially uncomfortable situation between a prostitute and client to explore raw emotions as games of conversation commence. “Leo Grande” isn’t exactly captivating, as director Sophie Hyde is basically making a filmed play, but there’s vulnerability presented here that’s remarkable to behold at times. Read the rest at Blu-ray.com

Screenwriters Erik Patterson and Jessica Scott (“Another Cinderella Story,” “Deep Blue Sea 2”) make a very specific choice to use the experience of postpartum depression to inspire their horror endeavor, “Abandoned.” It’s nothing new for the genre to pull elements of real-world despair to fuel a cinematic experience about the feeling of hopelessness, but it takes a truly gifted storyteller to pull off such a tonal high-wire act. Patterson and Scott aren’t the pair to generate a deep understanding of pain while creating opportunities for frights, making “Abandoned” a troubling picture to watch in ways its creators likely didn’t intend. A genuine fear factor isn’t conjured during the excessive run time, with most of the effort devoted to scenes of distress, while the central mystery is a fairly bland understanding of supernatural influence. The project has a potent idea for an honest study of pain, but the production isn’t brave enough to do something different with all the crushing darkness it collects. Read the rest at Blu-ray.com

2015’s “Jurassic World” was a major production, but its success wasn’t guaranteed, arriving 14 years after the “Jurassic Park” series petered out. The feature was hoping to reignite interest in the world of dinosaurs and DNA headaches, to see if viewers were still open to watch CGI-laden chaos featuring fearsome beasts. The experiment worked, with audiences making it the highest-grossing installment of the series, giving the brand name a fresh sense of urgency. It wasn’t the most creatively daring effort, but “Jurassic World” was tremendous fun and visually arresting, setting up a new trilogy focusing on the trials of a planet inhabited by both dinosaurs and humans. 2018’s “Jurassic World: Fallen Kingdom” inched the series in this direction, trying out different locations and stakes to maintain dramatic momentum. And now “Jurassic World: Dominion” arrives to provide a payoff…but it doesn’t, really, with co-writers Emily Carmichael and Colin Trevorrow (who also returns to direct after his work on “Jurassic World”) keeping things familiar while trying to stage a grand finale. That’s not to suggest “Dominion” is dull, far from it at times, but nostalgia and repetition tend to dominate this endeavor, which goes through the “Jurassic Park” motions, with big dino action always more engaging than the same old war of genetic control. Read the rest at Blu-ray.com

Stories about the Midwest tend to include a lot of misery. There’s something about this area of America where joy doesn’t reside, at least according to filmmakers, who tend to use the region as a way to study small-scale tales of depression and hardship. “Small Town Wisconsin” is no different, with screenwriter Jason Naczek examining the difficulties of a man who’s struggled with vices and mistakes his entire life, encountering a family divide that threatens to permanently break him. Naczek makes a clear effort to keep the material approachable, aiming to provide a character study concerning everyday struggles and long-term challenges. The material is very graceful when it comes to approaching ruinous behavior, and while “Small Town Wisconsin” is dark, it’s far from impenetrable, striving to give viewers an emotional journey with the main character and the many issues of his life that need to be addressed during a most stressful period of self-reflection. Read the rest at Blu-ray.com

Screenwriters George Powell and Daniel Adams (who also directs) endeavor to explore the story of Boston’s 1974 desegregation busing experience, bringing viewers to a heated point in American history. The potential for a dramatic inspection of racial hostility and parental fears is there for the taking, but Powell and Adams aren’t interested in such a conventional read of real-world horror, weirdly doing their best to avoid a direct understanding of the central event. Instead, “The Walk” is primarily about South Boston inhabitants working out personal antagonisms and managing secrets, aiming to be more of a family drama than a snapshot of regional woes. It’s an odd creative choice, and the first of many from Powell and Adams, who seem to be under the impression that viewers are more interested in the love life of a 17-year-old girl than the march to a particularly volatile day one of the controversial busing experience. Read the rest at Blu-ray.com

Co-writer/director Jesse V. Johnson appears to understand the competition in the B-movie market. He works to create a more character-based actioner in “White Elephant,” which doesn’t offer wall-to-wall violence, like many low-budget features do, supplying more of an emotional journey for the lead character – a man caught between his underworld duties and loving memories of his late wife. The effort to give the endeavor a little more dramatic texture is appreciated, but solemnity doesn’t automatically make the picture compelling. Johnson works to bring some bang to the film with his scenes of conflict, but he’s also in charge of a terrible screenplay that’s built with cliches and blank personalities, making it extremely difficult to get involved in the knotted world of crime bosses, enforcers, bad cops, and PTSD-wrecked warriors. Read the rest at Blu-ray.com

“The Vanishing” was a 1988 Dutch production that surprised viewers when it was released. While it initially appeared to be a standard mystery concerning the whereabouts of a kidnapped woman and the husband desperate to find her, the feature ended up in some extremely dark places, including a sinister ending that’s one of the all-time greats in disturbing cinema. Hollywood eventually remade the picture in 1993, which didn’t work (making a key mistake by altering the resolution), and they seem to be trying again with “Last Seen Alive,” which isn’t an official reworking of “The Vanishing,” changing just enough to avoid a lawsuit. Once again, here’s a tale of a man driven to extremes while looking for his missing wife, only here the lead actor is Gerard Butler, which all but guarantees any sort of psychological nuance and suspenseful activity isn’t going to be part of the viewing experience. Read the rest at Blu-ray.com

Adam Sandler wants his own “Rocky,” and he achieves that goal in many ways with “Hustle.” It’s a basketball underdog story that returns the actor to a more dramatic role, building on his career-best work in “Uncut Gems” with another take on obsession, this time involving talent scouting for the NBA and all the difficulties of the position. There’s a defined feel-good quality to the effort, but director Jeremiah Zagar (“We the Animals”) and screenwriters Will Fetters and Taylor Materne actively work to introduce some emotionality to the endeavor, focusing on the characters and their growing frustrations and fears. “Hustle” has defined energy and an almost overwhelming love for basketball, and while it gets sugary on occasion, the picture remains as real as possible for this type of entertainment, also presenting Sandler with another chance to showcase his newfound command of seriocomic performances, making his moments count in the feature. Read the rest at Blu-ray.com