Category: Film Review

Stalker cinema is a difficult subgenre to pull off. There should be a balance of intensity and intimacy as both sides of the conflict comprehend a break from normalcy, generating a level of helplessness as matters deteriorate, especially for those being targeted by evil. “Just Breathe” is the directorial debut for Paul Pompa, and he doesn’t have a lot of money to sell an unfolding nightmare for the characters. He also handles the screenplay, which lacks an inventive attempt to create a sinister viewing experience capable of riling up viewers. “Just Breathe” feels more like a T.V. movie, and while it contains R-rated material, the endeavor doesn’t seem especially dangerous, following flat antagonisms and formulaic writing. Read the rest at Blu-ray.com

Few people actually saw “This Is Spinal Tap” when it was originally released in 1984. The feature came and went, attracting some positive reviews and cult appreciation, leaving the real exposure of the film to home video and cable airings, where a fanbase developed, while the intimacy of domestic viewings certainly helped to process director Rob Reiner’s clever approach to faux documentary moviemaking. 41 years later, and the picture is a bona fide classic, one of the greatest comedies of all time, and stars Christopher Guest, Michael McKean, and Harry Shearer have certainly kept the brand name alive, releasing albums, making TV specials, and even touring as Spinal Tap, doing an incredibly impressive job extending the illusion with tremendous wit and good-natured fun. And now there’s “Spinal Tap II: The End Continues,” which is an official sequel, bringing Reiner and the guys back to the big screen for a fresh round of heavy metal tomfoolery, assembling a valentine to the aging band while putting them through the wringer of comedic misfortune again in this slight but very funny follow-up. Read the rest at Blu-ray.com

Box office fortunes took a bit of a dip for 2022’s “Downton Abbey: A New Era,” finding the sequel battling pandemic moviegoing habits while trying to offer fans of the television show and a popular 2019 film some cinematic comfort food during a troubling time. Thankfully, such marketplace challenges didn’t stop creator Julian Fellowes, who returns to his franchise once again with “Downton Abbey: The Grand Finale,” which is meant to be the last chapter of the series, which began 15 years ago. At least, that’s the general idea for the picture, as it seeks to address a changing of the guard within the Crawley Family, inspiring Fellowes to craft a proper “Downton Abbey” story and big screen event that deals with closure and new beginnings. “The Grand Finale” restores dramatic vitality to the saga, delivering a generally well-balanced understanding of community interests and character fears, while still retaining all the melodrama and manners Fellowes is known for. Read the rest at Blu-ray.com

Whatever master plan writers Jess Fuerst and Pablo Fenjves and director Brad Furman (“The Lincoln Lawyer,” “The Infiltrator,” “Runner Runner”) originally had in mind for “Tin Soldier” hasn’t made it to the final edit. Actually, I’m not sure one could even consider this feature as “edited,” as it carries no shape or filmmaking rhythm. Heck, it barely makes any sense. Intent isn’t easy to decode, but it appears Furman wanted to take a big swing in the realm of thriller cinema, striving to create an epic tale of doomsday cult activity, veteran affairs, and rescue action, trying on a little world-building for size. “Tin Soldier” (which was shot three years ago) might’ve been something wild in its original form, but it no longer resembles a functional picture, showing signs of severe reediting and rethinking, emerging as more of a salvage job than a completed endeavor, and someone, somewhere simply gave up on it in the end. Even for bad movie lovers, this one is a pretty dire viewing experience. Read the rest at Blu-ray.com

Author Walter Mosley, normally lauded for his command of mysteries, takes a turn into the darkness of the human soul in “The Man in My Basement,” which is an adaptation of his 2004 novel. Mosley handles screenwriting duties, tasked with transforming a largely internalized journey of guilt into something cinematic, joined by Nadia Latif, who makes her directorial debut with the effort. “The Man in My Basement” is challenging work, and also more of a theatrical experience as two characters spend time discussing the horrors of their lives. Pacing isn’t always present in the endeavor, but strong performances and periodic hits of emotionality support the odyssey into madness. The film isn’t for all audiences, remaining specialized work for those with an interest in a dissection of human misery, and the movie finds plenty of psychological poison to highlight as a seemingly simple rental agreement between two men becomes a battle for sanity. Read the rest at Blu-ray.com

The director of “I Am Legend” and four chapters in “The Hunger Games” saga, Francis Lawrence certainly loves his stories of dystopian desperation with a little bit of gamesmanship blended into the despair. He’s fully practiced on the subject, and returns to the way of agony in “The Long Walk,” an adaptation of a 1979 Stephen King book, which followed the painful ways of a walking contest involving young men and a totalitarian government using violence and glory to maintain control over the masses. It’s a bleak study of endurance with a defined King curveball, slipping into the macabre on occasion as characterization takes center stage. “The Long Walk” has its issues, but Lawrence certainly isn’t taking the assignment lightly, creating a brutal, pitiless viewing experience that occasionally hits extremely hard with its visuals and performances. Read the rest at Blu-ray.com

“Twinless” is the second film from writer/director/actor James Sweeney, who previously helmed 2019’s “Straight Up.” It’s a sophomore effort that plays with remarkable confidence at times, putting Sweeney to a difficult tonality test as he mounts a dark comedy about wounded people and their messy emotional survival skills. It’s the story of two men finding each other in a world of pain, making an unlikely connection that’s challenged by unusual outside forces as the central bond strengthens. Sweeney maintains attention to character and mood with “Twinless,” taking a few risks with unlikability to explore a particularly troubling story and the personalities that populate it. It’s a surprising endeavor, and one that’s well-written and crafted, but also superbly performed, as Sweeney is joined by Dylan O’Brien in the feature, and he’s never been better, portraying two defined people inadvertently dealing with issues involving the same man, generating a fascinating inspection of trust and obsession in an excellent picture. Read the rest at Blu-ray.com

Most boxing movies follow a distinct formula. It’s the “Rocky” way, following fighters as they experience challenges and troubles on the road to Fight Night, which is usually offered as a major climatic event, paying off all the psychological study and training insanity. “The Cut” is a boxing picture that has very little interest in the sport itself, with screenwriter Justin Bull drawn to a highly specific element of verification, the weigh-in, to inspire a descent into madness as an aging pugilist does everything possible to make sure he qualifies for an important match. It’s a unique look at desperation and manipulation, with Bull using the ugly side of training and business dealings to inspire a tough look at suffering. Director Sean Ellis (“Anthropoid,” “The Cursed”) is tasked to make an offering about pain, but “The Cut” is attentive to character history and relationships, helping to pull the feature away from simple sports film intensity. Read the rest at Blu-ray.com

“The Threesome” doesn’t have it easy when it comes to tonality. Screenwriter Ethan Ogilby (a “Simpsons” vet) intends to send viewers on a turbulent ride of emotions and life complications in the picture, tracking the increasing pressure facing a young man who’s managed to father two babies after a night of sexual adventuring, finding himself in a strange place as he tries to support everyone in his life. The premise is ripe for a farcical approach, but the writer doesn’t commit to a film filled with zaniness. Ogilby attempts to be a bit more sincere with the endeavor, and director Chad Hartigan (“Little Fish,” “Morris from America”) supports the vision with a sensitive understanding of the central crisis. “The Threesome” maintains its indie cinema textures, but there’s also a crowd-pleasing element to the offering that’s handled well, creating an inviting viewing experience while exploring a troubling situation. Read the rest at Blu-ray.com

Screenwriters Kyle Marvin and Michael Angelo Covino found their way to some notice in 2020’s “The Climb,” where they explored the complications of life and love while following a study of male friendship. The duo returns with “Splitsville,” and they don’t stray far from their dramatic interests, once again inspecting the difficulties of partnerships and connections, this time involving married couples trying to make sense of a newfound curiosity around the ways of open relationships. Marvin and Covino (who also directs) have something slightly wacky in mind for the feature, but they also try to blend in emotionality and perhaps a bit of reality as they construct a semi-farce. “Splitsville” is funny and very strange, following a screenplay that’s attempting to share bizarre behaviors and relationships, out to remain approachable while dealing with thorny issues of jealousy and control. It’s a fascinating tonal tightrope walk at times. Read the rest at Blu-ray.com

Jay Duplass was once an indie cinema darling, directing features with his brother, Mark, winning critical approval with offerings such as “The Puffy Chair,” “Baghead,” and “Cyrus.” The men went their separate ways, sending Jay to television for the last 13 years, but he returns to screens with “The Baltimorons,” reuniting with his old creative path, making another small picture about big feelings that’s not too concerned with structure. Personality dominates the endeavor, putting stars Michael Strassner and Liz Larsen to work portraying two lonely people finding each other on Christmas Eve, setting out to understand emotional wounds and lift their spirits as they experience a bit of burgeoning relationship joy while making their way around Baltimore. “The Baltimorons” retains the old Duplass charm and odd sense of humor, delivering a somewhat shapeless but inviting examination of unlikely attraction on a particularly eventful night. Read the rest at Blu-ray.com

Director Darren Aronofsky made something of a career comeback with 2022’s “The Whale,” where he found critical and commercial success while remaining trapped in a single location with a desperate individual. The helmer expands his scope for “Caught Stealing,” which follows a crime story all over New York City, putting author Charlie Huston to work adapting his own 2004 novel, following the exploits of a character who can’t escape trouble he wants no part of. There are chases and violent confrontations to keep the picture on the move, allowing Aronofsky opportunities to flex his filmmaking muscles and explore the main character’s surroundings. There’s a maze of supporting players and motivations to follow, but “Caught Stealing” mostly remains in motion, also providing a bit more emotional depth than expected as Aronofsky aims to provide an exciting ride of danger and odd encounters while touring NYC neighborhoods. Read the rest at Blu-ray.com

1984’s “The Toxic Avenger” is likely the most profitable film ever made by Troma Entertainment. And they will remind you of their breakthrough picture as much as possible, putting the “superhero from New Jersey” in everything they do, and they’ve sequelized the stuffing out of it, launching three additional tales for “Toxie” and his misadventures in Tromaville. There was even a Saturday morning cartoon show (“Toxic Crusaders”) and accompanying toyline. However, B-movie ideas rarely die, and writer/director Macon Blair is feeling inspired to do a Troma film of his own, reviving “The Toxic Avenger” for a new generation of crazy movie fanatics. The 1984 release was made on a shoestring budget and worked to offend its audience with extreme violence and comedy. The update (which isn’t a remake) tries to replicate the viewing experience with a lot more polish. Blair captures the insanity of the source material, and he’s having fun, perhaps too much so, as editing isn’t as sharp as it could be. However, Toxie returns in a new form, successfully reworking the Troma way. Read the rest at Blu-ray.com

Writer/director Angus MacLachlan made an industry splash with his debut feature, 2005’s “Junebug.” It was a tiny indie production that managed to wow critics and attract an art-house audience, even taking such goodwill to the Academy Awards, where Amy Adams was nominated for Best Supporting Actress. MacLachlan couldn’t quite match this initial success with subsequent endeavors (including 2010’s “Stone”), but the helmer returns to solid dramatic ground with “A Little Prayer,” which carries some “Junebug” energy as it takes a somber but satisfying look at various relationships hit with certain unfathomable realities when secrets are exposed. The writing doesn’t pursue a melodramatic tone, staying intimate with the characters as they process their changing lives, and MacLachlan has a strong cast to detail emotional drain, hitting potent moments of performance with material that gives the ensemble room to work. Read the rest at Blu-ray.com

Warren Adler’s 1981 novel, “The War of the Roses,” has already been adapted for the screen. Director Danny DeVito had his way with the source material for a 1989 picture, committing to a pitch-black comedy that played to his strengths as a visual filmmaker, also giving stars Michael Douglas and Kathleen Turner meaty roles to work with, portraying a divorcing couple looking for ways to destroy each other as they handle the process of separation. And now it’s Jay Roach’s turn with Adler’s tale of domestic horror, trying to find a balance between the crushingly real and the absurd in “The Roses,” written by Tony McNamara. The helmer offers a very interesting take on the battleground nature of the plot, pushing for tremendous wit and sharp performances in a feature that’s almost reluctant to explore the most marketable element of the story. There’s only a brief war in “The Roses,” but Roach manages to find pieces of unnerving emotional authenticity during his quest for exaggeration, maintaining some surprises. Read the rest at Blu-ray.com

There are awful jobs everywhere, but there’s something particularly nasty about employment as a social media content moderator. Such a gig requires staff to study reported videos, determining if these clips break site rules, leaving them open to a full day of watching human misery and extreme behavior. “American Sweatshop” examines the psychological toll of this position, taking a fictionalized look at a character who’s trying to keep herself together after witnessing a particularly haunting video, feeling the violence slowly seep into her system, preventing her from living a normal life. Director Uta Briesewitz steps carefully with the offering, creating a compelling visual odyssey for the main character, whose confusion is a key part of Matthew Nemeth’s screenplay. “American Sweatshop” isn’t always a cohesive endeavor, teasing genre turns and skating over a more direct understanding of the business, but it offers a unique overview of a mental decline, which is capably captured in Lili Reinhart’s lead performance. Read the rest at Blu-ray.com

“Griffin in Summer” is the filmmaking debut for writer/director Nicholas Colia, who expands on his 2017 short, “Alex and the Handyman,” which explored a tale of obsession between a boy and his older object of desire. Such concentration remains in the movie, with Colia escalating the main character’s experiences in the arts and his management of family issues, also adding in some heavy Wes Anderson influences as the endeavor often resembles bits and pieces of 1998’s “Rushmore.” “Griffin in Summer” rides into a few rocky areas of tone and language when dealing with the romantic focus of a 12-year-old boy, but Colia handles these swings of intensity reasonably well. He also has a charming lead in Everett Blunck, who does an amazing job with a tricky character, offering full commitment to the passion of the personality and the screenplay’s direct understanding of hidden desire. Read the rest at Blu-ray.com

An action comedy about a talented getaway driver pulled into a criminal situation that worsens by the moment. Surely 2017’s “Baby Driver” had some influence on the screenplay for “Eenie Meanie,” and likely helped to get the project into production. Shawn Simmons (a television writer making his directorial debut) isn’t quite as flashy a filmmaker as Edgar Wright, but he finds periodic rhythm for the picture, which examines a few points of pressure on a young woman who’s endured a troubled upbringing, trying to find peace while new challenges in life and love come to disrupt everything. “Eenie Meanie” submits a formulaic descent into crime world happenings and heist planning, and dramatic consistency isn’t always there. Simmons ultimately wants something a little more sincere out of the endeavor, which isn’t easy to achieve, but the feature finds periodic clarity in the world of stunts and the understanding of broken hearts. Read the rest at Blu-ray.com

Author Richard Osman struck literary gold with his 2020 novel, “The Thursday Murder Club,” creating a premise and a mystery that attracted plenty of readers. He expanded his world with three sequels, and Hollywood has come calling, with Steven Spielberg’s Amblin Entertainment producing the first of likely many features based on the book series. Director Chris Columbus oversees the endeavor, working with screenwriters Katy Brand and Suzanne Heathcote to bring the material to the screen, and they have an advantage with the cast, finding Helen Mirren, Celia Imre, Pierce Brosnan, and Ben Kingsley inspired choices to portray a collection of senior citizens who get easily charged up around crime, newly tasked with solving a murder that directly involves their retirement village. “The Thursday Murder Club” is exactly as easy on the senses as one expects it to be, creating viewer-pleasing entertainment with reliable talent and enough scripted turns to keep the picture in motion. Read the rest at Blu-ray.com

“What We Hide” has the atmosphere of a YA novel, examining the particular battle of a teenager trying to keep her little sister close after they attempt to hide the death of their drug addict mother from outside interests. Dan Kay makes a return to feature-length filmmaking after 2001’s “Way Off Broadway,” and while he’s struggled as a screenwriter in the intervening years (including “Pay the Ghost” and the ghastly “I.T.”), he finds the right tone for his latest endeavor, which carries a welcome gentleness at times, paying attention to emotionality. “What We Hide” has its less successful ideas, but Kay finds room for characterization to develop and he’s gifted a strong performance from star Mckenna Grace, who works to find some nuance in the lead role, bringing needed depth to scenes of distress. Read the rest at Blu-ray.com