“Battle Cry”

Judas Priest
Epic Records
Rated: Not Rated
DVD Running time: 94 minutes

Our Score: 4 out of 5 stars

Judas Priest’s tour in support of their 17th studio album was one of the most extensive of the group’s entire career- consisting of 130 shows in 33 countries and offering a set-list that touched upon selections from nearly all of their classic albums. Fans can now relive the live Priest experience through “Battle Cry”. Recorded live on August, 1st 2015 at Germany’s Wacken Festival in front of 85,000, the live performance is available on 15 track audio CD as well as DVD and Blu-Ray which both feature an additional 3 tracks shot in Poland on December 10th 2015.

Though not the first live concert performance release from metal gods Judas Priest it is however the first live release from the band to cover material from practically every album including “Redeemer of Souls”. Everything a hardcore Priest fan could want is here and more! From such classic tracks as “Metal Gods” and “Victim of Changes” to newer tracks like “Battle Cry” and “Redeemer of Souls”. You serious get a little bit of everything with this release. One track missing that I had hoped would make the cut was that of the song “Love Bites” off of “Defenders of the Faith”. The band performed this song for the first time since 1986 during the opening night of the “Redeemer of Souls” tour in Rochester, NY and continued playing it off and on throughout the tours run. Despite my own personal favorite missing the stunning visuals and immense crowd and staging made me quickly forget about that one minor detail as there was just so much to take in. The band made a really great decision by selecting the Wacken Festival as it is really proving to be one of if not thee most premier heavy metal festival.

This release will make a great addition to any metal fans collection especially if they were able to catch one of the bands shows from this tour. It would have been nice though if they came packaged as a CD/DVD combo giving you both an audio and video option all in one purchase. It also would have been cool to include some behind the scenes footage from the tour along with the 3 additional tracks being the tour was such a large undertaking for the band. Minus those few small things and you have great live release.

DVD/Blu-Ray Track Listing:

1.) (Intro) Battle Cry
2.) Dragonaut
3.) Metal Gods
4.) Devil’s Child
5.) Victims of Changes
6.) Halls of Valhalla
7.) Turbo Lover
8.) Redeemer of Souls
9.) Beyond the Realms of Death
10.) Jawbreaker
11.) Breaking the Law
12.) Hell Bent for Leather
13.) Hellion
14.) Electric Eye
15.) You’ve Got Another Thing Coming
16.) Painkiller
17.) Living After Midnight

Bonus tracks:

18,) Screaming for Vengeance
19.) The Rage
20.) Desert Plains

Starring: Ben Affleck, Henry Cavilll and Amy Adams
Directed By: Zack Snyder
Rated: PG-13
Running Time: 153 Minutes
Warner Bros. Pictures

Our Score: 2.5 out of 5 Stars

Over the past decade, Marvel has slowly built one of the most highly anticipated cinematic franchises, with each installment garnishing rave reviews and even more acclaim from fans. Through 12 movies, the Marvel Cinematic Universe has meticulously and carefully put all the pieces together, to where millions will turn out this summer and understand nearly every second of “Captain America: Civil War”. Marvel has taken a lot of time and patience to get that point. Warner Bros. and DC apparently don’t have time for that.

Set 18 months after the events of “Man of Steel”, “Batman V. Superman: Dawn of Justice” obviously introduces us to Bruce Wayne (Affleck). His backstory is ubiquitous, so we gloss over his tragic past in a quick sequence of shots and voice over narration on the opening credits. But the draw is when we watch the fight between Superman (Cavill) and General Zod (Michael Shannon) from the end of “Man of Steel”. While people flee from the chaos, Bruce runs into the clouds of debris and crumbling buildings, highlighting why he’s a superhero, even when he’s not the Dark Knight.

The scene is captivating and eerily reminiscent of 9/11, and that’s what it’s supposed to tell us about Batman’s mind set. It also seems to acknowledge many fan concerns from “Man of Steel” about the loss of life during the Superman/Zod beatdown. There’s a lot less careless disregard for civilians in “Batman V. Superman”, but that’s because much of the movie is spent building up to the fight between Batman and Superman. But that’s because it’s what people want to see, obviously. So does the build-up make sense? Kind of. Does it pay off? Sort of.

Since DC is playing catch-up, I believe it’s fair to compare “Batman V. Superman” to the “Avengers”. While Marvel clearly has room to breathe and enjoy what is has, DC appears breathless as it rushes through characters, plots, and ideas. While I did say that Batman’s origins are omnipresent, where Batman is at in his his life is a bit of a mystery. He’s in his 40’s and seemingly has a lot more downtime than previous incantations of Bruce Wayne. But rarely do we truly understand his distrust of Superman, more than we’re just supposed to go along with it. He also seems to have some skeletons in the closet we’re not being told about.

Then there’s the iconic Lex Luthor (Jesse Eisenberg). When he arrives on scene, it’s clear he’s a billionaire playboy, but there are implications that he may just be a sociopath that inherited his father’s money. It’s uncertain whether he’s a genius or someone who’s trying to make too many bizarre religious connections to Superman. His infatuation with Superman, and to some extent Batman, is also never really explained. It’s merely implied that he has some extreme personality disorders.

Because so much of the plot is rushed and skipped over, we’re left having to digest CGI spectacles, and badly worded metaphors uttered by Alfred Pennyworth, Batman’s butler (Jeremy Irons) or Lois Lane, Superman’s squeeze (Adams). There’s too much information, but also too much time spent on inconsequential scenes, like Batman’s bizarre nightmare and Superman’s heart-to-heart on a random snowy mountain with his dead Earth father. “Batman V. Superman” doesn’t feel like a stand-alone movie, more than it just feels like a really long and unnecessary teaser for a “Justice League” movie.

If that’s the case, then the “Justice League” movie better be fantastic because we’ve really had to go through a lot of trouble to get one. That’s not to say “Batman V. Superman” isn’t a decent movie with some good ideas. The casting of Affleck, as well as his performance, is enough to forgive him for “Daredevil”. His portrayal of an aging Batman, focused on his legacy, could create some interesting plot points for later DC films, if they do it right. We also get more of Superman, carried over from “Man of Steel”, as a conflicted man dealing with his powers and who he should be for the people of Earth. While some people don’t like that Superman, I find that Superman more interesting and relatable.

Then of course, there’s Wonder Woman (Gal Gadot), whose appearance was ruined by the theatrical trailers, which is really a shame because her appearance at the end isn’t a complete surprise. Despite that, the attending audience still went nuts as she hacked a few limbs off Doomsday; another character spoiled by the trailer. I do hope that Zack Snyder doesn’t use “Wonder Woman” much like he used the ladies of “Sucker Punch” or we’ll be in for more masturbatory nerd fan service with a really exciting character that’s more than just simple eye candy.

It’s hard to predict where “Batman V. Superman” will fall in the inevitable grand scheme of things. Looking in the crystal ball, there are some interesting directors and writers attached to future DC projects, such as Patty Jenkins, the director of “Monster” and James Wan director of “The Conjuring”. While Jenkins gets to handle the origins of Wonder Woman and Wan gets the handle the origins of Aquaman, it looks like Snyder will still be the man at the helm when it comes to the “Justice League” movie. If “Batman V. Superman” and “Man of Steel” are any sign, DC might want to find someone else, and fast.

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Starring: Shailene Woodley, Theo James and Jeff Daniels
Directed By: Robert Schwentke
Rated: PG-13
Running Time: 121 minutes
Lionsgate

Our Score: 1 out of 5 Stars

“The Divergent Series” has apparently been hitting the snooze alarm for the past six hours because there’s nothing new to report on this third nauseatingly bad movie. It also appears that Lionsgate loves burning through all that money it made from “The Hunger Games”, one of the few successful young adult dystopian future storylines. “Allegiant” does nothing new as it simply shuffles around different set pieces, and rehashes the same, poorly constructed arguments for individuality.

It doesn’t take long after the death of Jeanine (Kate Winslet, but she was sparred a brief cameo or stock footage in this, for her potential replacements to rise to the occasion and attempt their own cou d’état to take over the crumbling city of Chicago. Caught in the middle, once again, is Tris (Woodley) and Four (James). They’re ready to follow the advice of the anonymous talking head from the end of “Insurgent” and go outside the walls surrounding the city. But Four’s mother, Evelyn (Naomi Watts) seems more focused on keeping everyone inside, sealing up the walls even further. She also seems enamored with publicly executing members of the old regime, rather than restructuring society.

Johanna (Octavia Spencer) is ready to declare Chicago her pet project as well, believing that peace can be achieved through forgiveness of members of the old regime. Of course she also has some firepower and disposable goons with weapons of her own to take on Evelyn. While the two women bicker over nothing (literally), Tris, Four, and others escape from Chicago. They begin to explore the world outside the walls, which looks like the remnants of a trailer park after a tornado, on Mars. Nuclear fallout is weird like that I guess. Of course, Tris and Four encounter the civilization outside their own civilization. And of course, there are no good guys there, just more big bad guys with nefarious deeds.

“Allegiant” has beaten me down. I no longer want to look for positives or find any positives to talk about. There are some, but it’d be futile consider it’s like attempting to compliment a corpse. I’m now even considering taking back positive things I’ve said about Shailene Woodley, Miles Teller, and other up-and-coming actors. I can at least forgive veteran actors, Octavia Spencer, Jeff Daniels, and Naomi Watts, because I can see that, “Did my check clear yet,” look in their eyes throughout.

Tris no longer seems like a heroine, but instead a hollow pawn inconsequently bumping into people, things, and plot devices. Then there’s Four, who seems like he’s a 30 pack away from giving Tris a black eye as he attempts to control and grab every person he comes in contact with. Miles Teller is in this movie. Mainly as a character that spouts off Kindergarten insults and sarcastic humor, but no one told him the script and serious line reading in this movie is already comedy relief enough.

What’s worse than everything I’ve said so far is that the movie has yet to stop with exposition. “Allegiant” is way more fascinated with introducing than it is concluding. The world outside Chicago needs explanation. The gadgets in this new world need detail and unnecessary character montage tutorials. The only thing lacking description is the key element to making this a somewhat worthwhile movie, the plot.

In the grand scheme of things, learning how to operate a new piece of military hardware should be much lower on the clarification totem pole. Especially when the new world we’re supposed to be learning about involves mass brainwashing, child abductions, and the crafting of a genetically pure human being. With two hours left in the franchise, I’m wondering if we’re going to have a logical conclusion to this cluttered mess or if it’ll be content with hitting the snooze button a few more time. It’s a safe bet for all of this to inevitably be trite.

I’m sure the fans of the books/movies will gobble it up and the people who watched the first movie and have already checked , will most likely be saving their money for “Batman V. Superman” next week. My apathy in this review matches my feelings towards this series. Both of the groups of people I just told you about will most likely not read this because they’ve already made up their mind. So let me talk to the few of you who have never seen these movies and may be interested in possibly starting this series. Don’t. Just don’t.

Starring: John Goodman, Mary Elizabeth Winstead and John Gallagher, Jr.
Directed by: Dan Trachtenberg
Rated: PG 13
Running time: 1 hr 43 mins
Paramount

Our Score: 3.5 out of 5 stars

It’s happened to all of us.

You have a fight with your significant other, grab a bottle of the good stuff and drive off into the night, unsure of where you’re going. Next thing you know, you’re waking up in a small room chained to your bed. OK, it probably hasn’t happened to a lot of people but it does happen to Michelle (Winstead). Thus begins “10 Cloverfield Lane.”

Less a “member” of the “Cloverfield” family than a straight sequel, “10 Cloverfield Lane” is a tight little film featuring three very strong performances. After some confused moments, Michelle meets Howard (Goodman), who informs her that he pulled her from an auto accident and brought her to his home. Home happens to be an underground bunker, which conspiracy theorist Howard built and filled some time ago with the help of the other person in the bunker, Emmett (Gallagher) a drifter who found work with Howard. Unsure of Howard’s intentions, Michelle tells him that her boyfriend is probably looking for her. “No one is looking for you,” Howard replies. He then goes on to explain that “something” has happened in the world. He suspects an attack, though he can’t be sure if it was the Russians or the Martians. He has plenty of ideas on how to defeat both.

What is intriguing about the story here is that we are never sure what the truth is really. Was there an attack? Is Howard just a nice guy with some weird rules (the table in the kitchen is an heirloom, so coasters and placemats will be used at all times) or is he a kidnapper and, possibly, a murderer? You never really know. Goodman is so reliable in supporting work that you sometimes forget what a fine actor he is. Here he gives a full and fleshed out performance and you can’t help but feel sorry about his station in life. Winstead and Gallagher also have some chemistry, though more friendly than romantic.

A word to the wise; if you go into this film looking for the monsters from J.J. Abrams film “Cloverfield” you may be disappointed. However, if you are in the mood for a small and satisfying thriller, then brave the bunker at “10 Cloverfield Lane.”

Starring: Andy Martinez, Jr., Eva Tamargo and Michael Lerner
Directed by: Justin Chambers
Not Rated
Running time: 1 hr 49 mins
Crevice Entertainment

Our Score: 4.5 out of 5 stars

I was recently given an advance look at filmmaker Justin Chamber’s latest film, “American Bred,” which is premiering this Saturday at the D.C. Independent Film Festival.  I greatly enjoyed Chamber’s first feature, 2012’s “Broken Roads,” and am pleased to report that his latest film is an outstanding sophomore achievement. In the city of Detroit, if you need something, you speak to Francis Adamo (Lerner). Together with his wife, Catalina (Tamargo), he has made a life that many envy. The Adamo’s love America. And may God have mercy on those that would try to disparage that love.

A smartly made film that compares in style with “The Departed,” “American Bred” is a classic mob movie with a modern twist. The film is a study in trust – as in who you can and can’t. Loyalty and deception are the calling cards here when an order is given but not carried out and the question “who can you trust” overshadows everything.

The film is smartly written with complex but identifiable characters and smart, believable dialogue. In fact, Chambers screenplay won 1st Place in 2014 in The Writers Place Screenplay Competition. Besides a strong script, Chambers has cast some amazing actors, including Ms. Tamargo and Mr. Lerner. I’ve been a fan of Michael Lerner’s ever since he played Jack Ruby in a television film almost 40 years ago. In films like “Eight Men Out,” “Harlem Nights” and “Barton Fink,” for which he earned an Academy Award nomination, his presence on screen is always powerful. The film works technically as well. The direction is tight and the story moves smoothly, powered by an outstanding musical score by Ian Hughes.

Starring: Tina Fey, Margot Robbie and Martin Freeman
Directed by: Glenn Ficarra and John Requa
Rated: R
Running time: 1 hr 52 mins
Paramount
Our Score: 4 out of 5 (stars!)

It’s 2006 and we meet hard-driving Kim Baker (Fey) in the middle of an assignment as a news reporter imbedded in Afghanistan with a Marine regiment. Things are typically hectic, though Baker’s story isn’t.

Flashback to 2003 where we discover Kim Baker in a dead-end job as a news writer for television. As the war in Iraq has intensified, the station is looking for ANYONE that will volunteer to cover the “forgotten war” in Afghanistan. The only requirements are that you can’t be married or have kids. Taking this as a sign, Kim volunteers and soon finds herself in Kabul, where her bright orange backpack helps her stick out like a sore toe. She make the acquaintance of a fellow female journalist, the beautiful Tanya Vanderpole (Robbie). Tanya tries to cheer Kim up by pointing out that she is “Kabul cute,” meaning where she might be judged as a 6 back in the states she is a solid 8.5 or even a 9 overseas. Good news indeed.

Well-made and much more serious than it’s being marketed, “Whiskey Tango Foxtrot” gives Tina Fey to flex some acting chops you may not know she possessed. She does have a few good one-liners, but the story keeps her character grounded in the middle of war and the carnage it continually provides. In between assignments Kim stays at a boarding house where unwinding after being involved in a firefight begins with alcohol and ends…well, sometimes it never ends. The film gives an inside look at the various cultural differences that many here in the states may only have heard hints of. Even the local women scold Kim harshly for the slightest offense. However, this new influx of excitement in her life keep her going.

The film is well cast, with each actor playing well off of the others. As a Scottish journalist interested in Kim, Freeman is well meaning and sympathetic. As the Marine general whose unit Kim follows, Billy Bob Thornton is strong and unflinching. And very thin. Someone buy this man a sandwich. Alfred Molina gets the majority of the humorous lines as an Afghani politician slowly working his way up the power ladder. The battle scenes are well staged and, again, the horrors of war may not be what audiences are expecting so be warned. War is still hell.

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Starring the Voices of: Ginnifer Goodwin, Jason Bateman and Idris Elba
Directed By: Bryan Howard, Rich Moore and Jared Bush
Rated: PG
Running Time: 108 minutes
Walt Disney Studios Motion Pictures

Our Score: 4.5 out of 5 Stars

I doubt that Disney had plans to release “Zootopia” in the thick of the 2016 election season. I’m sure they also couldn’t predict the uneasy distrust and fear of culturally different people that’s currently permeating throughout our society. “Zootopia”, obviously by coincidence, has a beautiful message about not judging books by a cover, petty bullying to get one’s way, and stereotyping. It also discusses that no matter how far we think we’ve come and all the things we claim to know, a lot of us, including the best of us, are sometimes still primitive with our feelings and attitudes.

The anthropomorphic animals in “Zootopia” seemingly live in harmony. Every animal is broken down into prey or predator, but cheetahs and other carnivores live peacefully alongside giraffes and other herbivores (which makes you wonder what’s on the dinner plates of all these meat-eaters). It seems like the world’s focal point is a massive city known as Zootopia, which itself is divided in different climates to suit the creatures living there.

The movie itself starts out in the vast lands and countryside surrounding Zootopia. In Bunnyburrow, we meet Judy Hopps (Goodwin), a hopeful bunny that hammers in another theme of the movie, never give up on your dreams. Despite her size, and the stigmas surrounding her breed, she wants to become a cop in Zootopia. Despite her childhood trauma involving a boy fox who claws her, and everyone telling her to give up on her aspirations (even her parents), she does join the law enforcement after enduring a tense trial and error process.

Once she arrives to Zootopia, she doesn’t get any respect from her superiors or co-workers and is relegated to meter maid duty. The insults by angry motorists clutching their tickets and being relegated to menial tasks don’t ever kill her chipper demeanor. But a mocking career con-man fox, Nick Wilde (Bateman), who enters the picture, certainly changes her optimistic outlook into a much sourer one. So when 14 animals go missing from Zootopia and she’s tasked with finding one of the animals, an otter, she tries to make the most of it, and even finds out that Nick may know where the otter went.

In a world where studios continue to franchise building, Disney may have crafted one of the most deep, rich, and visually thrilling worlds. “Zootopia” could easily have a couple of sequels, its own TV show, and spin-offs because of how well planned out and distinct everything is. Everything, from the mice scurrying about in their own community, to sloths operating the DMV, and polar bears as mafia boss underlings, feels so well thought out, organized, and fluid. Lesser writers, directors, and studios, would have fumbled everything or not even tried something this enterprising.

“Zootopia” is populated with more rich visual sight gags than it does animals. Some of the jokes require you to keep your eyes on the screen, your ears fixed on dialogue, and a decent understanding of American pop-culture (think contemporary top 40 music, AMC award-winning TV shows and AFI’s third greatest movie of all time). There are an even proportion of jokes for kids and adults and for kids with a mature side and adults who never grew up. Even those who don’t warm up to Judy’s vivacious personality and Goodwin’s bubbly line delivery will still admit this is the cutest movie of the year.

There’s a lot to unpack with “Zootopia”, because it fires on all cylinders. The voice acting is spot-on, the visuals are crisp and engaging, and the three directors, two scriptwriters, and seven story writers never lost sight of what they wanted to do. They came together and layered every little bit instead of crowding our senses with it. A week after the 88th Academy Awards, we’re already looking at next year’s contender for Best Animated Feature.

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Starring: Nikolaj Coster-Waldau, Brenton Thwaites and Chadwick Boseman
Directed By: Alex Proyas
Rated: PG-13
Running Time: 127 minutes
Lionsgate
Our Score: 2.5 out of 5 Stars

The short voice over and quick crash course lesson in Gods, mortals, and other random nonsense populating “Gods of Egypt” in the first five minutes were definite signs for concerns. My worries about choosing the wrong movie to screen for the week began to come to fruition as I furrowed my brow at Set (Gerard Butler) spouting outrage over soap opera drama at Osiris (Bryan Brown) and being denied his inherent birthright by Ra (Geoffrey Rush) while Osiris’ son, Horus (Coster-Waldau) watches in shocking horror. Despite the visual theatrics, I immediately thought, “What the hell is happening?”

“Gods of Egypt” takes a while to settle into its own mythos, which is rubbish. There is a cause for concern about CGI heavy films in an ancient setting ever since the 2010 remake of “Clash of the Titans”. While “Clash of the Titans” used computer animation as a crutch for a lack of plot and acting, “Gods of Egypt” manages to blend the sword-and-sandal concept with child-like wonder through the CGI. It also helps that it never takes itself too seriously, allowing for small moments of seriousness to squeeze into the visual thrills and action set pieces.

I don’t mean to leave you hanging on what the hell this movie is about, because I assure you that it does pick-up after its bumbling beginning. Horus has his powers, which are his eyes, removed by his uncle, Set. Egypt goes from a civilization of peace to one dominated by war and slavery. The human, Bek (Thwaites), through the persuasion of his love in life, Zaya (Courtney Eaton), manages to steal one of Horus’ eyeballs and return it to the drunk and exiled God.

From that point on, Bek and Horus team up to get vengeance and restore some level of sanity (which seems like a useless word in a movie like this) to Egypt. There are more characters that show up and join Bek and Horus, but their introductions seem more natural because we’re not being bombarded with dozens of other characters all at once. Once “Gods of Egypt” has established the rules of its world, we’re able to follow along, relax, and enjoy the movie for what it is, dumb, shameful fun.

I feel a little guilty for liking this movie. Maybe that’s because it feels like such contemptible cash-in on the part of Lionsgate, even though they’re more than likely burning their earnings from “The Hunger Games” franchise on this one. Part of me doesn’t feel guilty though. The movies in the past that are very much like this, “Prince of Persia” and “Clash of the Titans” were actually attempting to cash-in on a different platform’s success or degrading it’s source material. “Gods of Egypt” is an original work and such ambition, even when it’s not necessarily very good, should be viewed in a different light as opposed to audacious remakes and reboots.

There is some Hollywood whitewashing and it does come at an inappropriate time, with the Oscars happening in the same weekend. Although, having Gerard Butler with a tan play an Egyptian God doesn’t feel as visually gross as Joel Edgerton plays Ramses II. That doesn’t excuse “Gods of Egypt” from lack of ethics, but like I said earlier, it’s shameful fun. The highest praise I can give “Gods of Egypt” is that it’s a decent waste of two hours, but I wouldn’t recommend you drop a single buck on this one.

Starring: Casey Affleck, Chiwetel Ejiofor and Woody Harrelson
Directed by: John Hillcoat
Rated: R
Running time: 1 hr 55 mins
Open Road Films
Our Score: 4 out of 5 (stars!)

A group of men rush into a local bank. Brandishing weapons they wordlessly force the manager into the vault. Soon they have what they came for and run out. A few hours later they change clothes, put on their badges and go to work.

A well-crafted thriller, “Triple 9” is a game of one-upmanship between a group of dirty cops and the wife of an imprisoned gangster. It seems that one of the gang had a child with the wife’s sister and now she is holding their son hostage until she gets what she wants. What she wants is achievable but to buy the time necessary they need to have a “Triple 9” – a police call that signifies that an officer has been shot. Who will be the unlucky boy in blue?

Sharply written and featuring an amazing cast, “Triple 9” is an early spring present for movie goers. As the leader of the baddies, Ejiofor is strong. Hot when he needs to be, but always cool, it is easy to see why the men follow him. Anthony Mackie, Norman Reedus and Aaron Paul are among the bad apples, and the rapport they share on screen is strong. Harrelson is a veteran detective who is helping mentor his nephew (Affleck), the new guy on the block and the cop with a bullseye on his back.

The action set-pieces are well performed and director Hillcoat keeps the film moving from the first frame to the last. The film’s tone is set and runs on the original music and songs created by a very talented quartet of young men. The music is often able to further the plot in a way that simple dialogue cannot. Who is bad and who is good? Instead of hitting you over the head, “Triple 9” lets you decide on your own.

Starring: Taron Egerton, Hugh Jackman and Christopher Walken
Directed by: Dexter Fletcher
Rated: PG 13
Running time: 1 hr 45 mins
20th Century Fox
Our Score: 3.5 out of 5

If anyone ever took the slogan “Follow Your Dreams” to heart, it was England’s Eddie Edwards. Even though he grew up with braces on his legs, the young man knew, even as a boy, that he was destined for the Olympics. Too bad nobody let destiny in on the secret.

An enjoyable film, more in the tradition of “Cool Runnings” than “Remember the Titans,” “Eddie the Eagle” follows young Eddie (Egerton) as he tries, repeatedly, to find a sport he can represent his home country of England in the Olympics. His mother (Jo Hartley) does her best to encourage him, even giving him a biscuit tin to “hold all of your medals.” Unfortunately the only thing Eddie is able to collect is a growing number of broken eye glasses. Finally, he discovers ski-walking and is soon excelling in it. However, his odd personality and life class are used to keep him off of England’s Olympic Team. Heartbroken, he stumbles upon a sport where England hasn’t competed in almost 50 years – ski-jumping. If he can handle the landings he just may have his wish granted.

Hollywood loves promoting the stories of the underdog. Ironically, the Jamaican Bobsled Team that was the basis of the film “Cool Runnings” also competed, alongside Edwards, in the 1988 Olympics. Even though the outcome of these films is already known, a good movie will hold your attention. This one does almost in spite of itself. Egerton is fine as Edwards, and he bears a strong resemblance to the awkward young athlete. Supporting Egerton is Hugh Jackman, who plays a former ski-jumper named Bronson Peary now working at the international training facility in Germany. Jackman has always had a way of lighting up a screen when he shows up and he doesn’t disappoint here. What takes you out of the story is how, with the exception of the Finnish team, nobody else apparently needs to train for the games. Eddie pretty much just walks into the facility and begins throwing himself off of 40 meter jumps – nobody stops him. Because nobody is there. Just Eddie, Bronson, the chick who owns the bar and the Finnish team.

That being said, the production values are pretty good, especially the point-of-view shots coming down the ski jumps. “Eddie the Eagle” doesn’t soar as high as it could have, but at least it doesn’t crash.

Starring: Keifer Sutherland, Donald Sutherland and Demi Moore
Directed by: John Cassar
Rated: R
Running time: 1 hr 30 mins
Moving Pictures Media
Our Score: 4 out of 5 stars

Here’s a little trivia for you. Donald Sutherland and his son, Keifer, have appeared in two films together. One is A TIME TO KILL though they did not share a scene together. The other is MAX DUGAN RETURNS, which came out in 1983. The bad news is that it took the father/son duo more than three decades to team up on the big screen again. The good news is a new film called FORSAKEN.

“Your mother’s dead.” These are the first words that Reverend Clayton (Donald Sutherland) speaks to his son, John Henry (Keifer Sutherland) as he returns home after a 10-year absence. John Henry left home to fight in the Civil War but wound up a notorious gunslinger. He has come home to reconcile with his father, and the townspeople, who view the “new” John Henry warily. He has also come home to find that one of the town’s leaders, James McCurdy (Brian Cox) is using force to make people “want” to sell their farms and leave town. Those who don’t sell soon find themselves dead. McCurdy has hired notorious gunfighter Dave Turner (a very subtle Michael Wincott) to oversee the townsfolk and their migration. One of Turner’s men, Will Pickard (Landon Liboiron, in creep mode) enjoys violence and goes out of his way to belittle John Henry, who no longer wears a gun. That is, of course, until he has to.

FORSAKEN borrows from some of the best westerns of the past 30 years, including SILVERADO, UNFORGIVEN and HBO’s “Deadwood.” Both Sutherlands are in fine form and it is a genuine treat to see them together on screen. Their scenes together, especially those strictly devoted to being loving father and estranged son, are brilliant. A lot of people think of Brian Cox as a smooth character actor, but they never remember that he was the original Hannibal Lecter in the film MANHUNTER. While not as creepy here, his performance is strong and commanding. Wincott is also smooth and southern, obviously embracing the role of gunslinger as much as John Henry is trying to distance himself. As the woman he left behind, now married, Demi Moore makes a rare appearance and is also solid. Production values are well done and director Cassar, one of the driving forces behind television’s “24,” keeps the story moving smoothly. If you’re a fan of the genre’ you won’t be disappointed by FORSAKEN.

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Starring: Joseph Fiennes, Peter Firth and Tom Felton
Directed By: Kevin Reynolds
Rated: PG-13
Running Time: 107 minutes
Sony Pictures Releasing

Our Score: 3.5 out of 5 stars

Usually when talking about faith-based movies, I have to walk on eggshells. I can’t insert my own personal doctrine into my review, because generally I’m not going to agree with the personally held beliefs of the movie’s message. So I generally try and judge the movie based on its acting, production, and story merits. I’m well enough versed in Christianity (attending Catholic school for
four years helps) to understand the message of any historical Christian movie. Generally, I assume I’m not going to see anything new, but miraculously, “Risen” tells an original, entertaining story about the Son of God.

The crucifixion of Christ is very well known throughout American culture and its decent fodde, but “Risen” aims for a loftier and lesser told tale, the aftermath. Clavius (Fiennes) is a seasoned Roman tribune that has led many a men into battle. He’s back in Jerusalem, weary from death and destruction, and given a task to overlook a controversial crucifixion. You know which one. Clavius begrudgingly goes along, not yet understanding the magnitude of watching Christ on the cross.

Clavius then overlooks Christ’s burial, rolling a giant boulder over the tomb, and sealing it with rope, wax, and the Roman seal of approval. He puts two guards at the foot of the sepulcher and figures that his job is done. By the third morning, Clavius hears that the body is gone, and that something unbelievable has happened. Clavius then investigates, questioning his own archaic faith along the way.

The production company, Affirm Films, is behind this one. Their past movies have included lengthy naps such as “Heaven is for Real” and “War Room”, but “Risen” is a step above their normal fare. A lot of the credit can go to writer and director Kevin Reynolds who keeps the story flowing and makes “Risen” a double dose performance. It’s part action-mystery and part faith discovery. The sleuthing act of part one blends well into the second part which is all about seeing faith through fresh virgin eyes.

Most religious movies feel phony and cheesy when preaching the Gospel, but “Risen” presents it for what it is, what it means, and the good natured spirit of it all. It feels more like an engaging lesson than an obnoxious sermon. The historical figures of this movie begin and end with Jesus, his disciples, Mary Magdalene, and Pontius Pilate. Everyone else, I presume, is fiction. Clavius and his interactions represent an agnostic or atheist person discovering the word of God for the first time.

As for the settings, the Roman culture and everything else, it’s fairly faithful to the history books. The production values are some of the best I’ve seen for an Affirm Films flick. Instead of splurging on a big name stars that people can recognize, “Risen” has focused more on detailed sets, make-up, clothing, and a talent agent that picked some great actors. Fiennes deserves all the credit in the world for going from a for-sure Roman, to a skeptic, to a perplexed Roman, to a follower of Christ. Fiennes makes Clavius’ transition highly believable. It also helps when you cast Peter Firth as Pilate.

“Risen” does suffer from having too much downtime, a long and drawn out ending, and a poor framing device. The movie is told by Clavius as he relays his tale to a random peasant that he crosses paths with 33 years after the fact, without having aged a single day. As for the more light hearted moments and jokes, all I could do was roll my eyes. But in terms of a movie going experience, it may be a profound, moving experience for the faithful, and a decent popcorn flick for the average moviegoer. Who knows, it may even stir spirituality in the staunchest of doubters.

Directed by: Robert Eggers
Starring: Anya Taylor-Joy, Ralph Ineson, Kate Dickie
Rated: R
Running time: 1 hr 33 mins
A24
Our Score: 4 out of 5 stars

It’s the 1630’s in Puritan New England, and we’ve just watched a family leave the safe confines of their settlement to go out on their own. It’s unsettling. It’s unsafe. And it’s just the beginning.

The Witch, Robert Eggers’s first feature film premiered to much acclaim at the 2015 Sundance Film Festival, and after having seen the film, it’s no surprise. Eggers has managed to create a fresh film in an often-described, stale genre. We follow Thomasin, a teenage girl masterfully played by Anya Taylor-Joy, as her family leaves the community under the threat of church banishment to settle on their own in a remote patch of land. That just happens to be next to an imposingly dark, tall forest. When the family infant is stolen right from under Thomasin’s nose in the most terrifying game of peekaboo that you’ll ever see, we watch as a family based on faith and loyalty unravels. Possession, accusations, suspicions, and paranoia mount as things continue to go from bad to worse for the family. Oh, and did I mention there’s a witch in the woods?

Eggers got his start doing production design and that background influence is strong in the film. The color work is deliberate. Just as the lives of the characters are bleak and their faith restrictive, so too is the landscape Eggers has placed them in. It’s gray, dull, and repetitive; so much so that when we do encounter the witch, we are almost relieved, as she comes with color in her scenes. What at first feels like a breath of fresh air in the barren landscape soon encircles us with a feeling of dread. These vibrant colors do not belong in this world. This type of unease is helped along by the superbly discordant score, which both pulls us in and jars us away throughout the film. The actors do an expert job playing a family on the verge of destruction, walking that fine line between rationality and unsteadiness. The camera work keeps you on the edge of your seat- never have I been so terrified of a goat before.

Watching The Witch is a study in psychological stress. It’s slow-paced and deliberate, and it leaves you with the feeling that you’ve seen something that you weren’t supposed to. The fact that the film is largely based off of historically real accounts of events of that time period only adds to this overwhelming feeling of unrest. This is not the film to see if you are looking for a “jumpy” horror film, but if you are looking for something that will get under your skin and will still have you thinking about it days later, The Witch is for you.

The Witch opens on Friday February 19th

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Review by Mike Smith
Starring:  Michael Moore
Directed by:  Michael Moore
Rated:  R
Running time:  1 hr 59 mins
IMG Films
Our Score: 5 out of 5 stars

It’s been six years since Michael Moore released a documentary.  He spent that time traveling the world on a mission. To make America the best country in the world.  And he accomplishes this by “invading” other countries and, by planting the US flag, “claiming” their riches for America.

The film begins with a series of news clips from the past 40 years, highlighting our Commander’s in Chief talking about world issues.  Moore overlaps those sound bites with current footage of things happening in the US.  “What happened,” he asks?  How can we make, with apologies to Donald Trump, America great again?

Moore begins his journey in Italy, where he learns that the average worker receives seven weeks vacation each year, along with another dozen federal holidays off.  If you get married your employer gives you three weeks off – with pay – for your honeymoon.  And if you’re too busy, don’t worry.  Your vacation days roll over.  He interviews one police officer who has 80 days “in the bank,” not including the current years seven weeks.  The police man and his wife are horrified when they learn that American workers are guaranteed ZERO weeks vacation by law.

In France he visits a public school, where lunch is served on real plates and is usually a four course event.  In Finland, he “claims” the education system; in Sweden, the prison system, where inmates sentenced to maximum security are greeted by a welcome video of the prison guards singing “We Are the World.”

As he continues his travels he comments on how things got away from us here in the states.  What is amazing is that, when he asks the foreign leaders how they came up with their ideals, they cite that they are based on the same principles that the U.S. was based upon.  Moore goes about the film with his usual sarcastic wit but the message isn’t lost. Also not lost is the message that almost 60% of our taxes goes to support our military.  In Italy, a country with only two warships, it is 1%.

Fans of Moore will appreciate his ideas behind the film.  Those who aren’t probably won’t.  To them I suggest moving to Germany, where your local doctor can write you a prescription for a three-week stay at a posh spa to relieve the tension.

Review by Mike Smith
Starring: Ben Stiller, Owen Wilson and Will Ferrell
Directed by: Ben Stiller
Rated: PG 13
Running time: 1 hr 42 mins
Paramount
Our Score: 2.5 out of 5 stars

The film Zoolander is remembered for a couple of things. First, the awesome “pose” that is called Blue Steel. That is a good thing. It was also the first film to be released after September 11, 2001 in which images of the World Trade Center were digitally removed from the finished film. That’s a bad thing. Something tells me Zoolander 2 is going to be remembered for only one thing. And it ain’t good.

It’s been almost 15 years since we last saw Derek Zoolander. He had just finished building his school “for kids that can’t read good.” As we catch up to him now, he is a pariah, the school collapsing due to poor construction (Derek had the school built out of the same materials used to build the model – including popsicle sticks and rubber cement), killing his wife. He is soon found to be an unfit father and loses custody of his son. A mysterious designer has summoned Derek (Stiller) and Hansel (Wilson) to Rome to model a new line. Hoping it will resurrect their careers they jump at the chance. Sadly it doesn’t. They’d have been better off doing a sequel to a film that no one was asking for a sequel to.

No they wouldn’t.

I find it hard to believe that four people helped write this film. I’m thinking that three of them just wrote “put in awesome cameo here” on their pages. Unlike some films, like Anchorman, where the occasional cameo is not only expected but appreciated, this is like Anchorman 2, where there were so many cameos it took you out of the story. Zoolander 2 gives you, just off the top of my head, Keifer Sutherland, Susan Sarandon, Joe Jonas, Ariana Grande, Billy Zane and Benedict Cumberbatch as a model named “All.” Not that cameos are bad. But when they seem to be the one thing driving the plot – Justin Bieber, Susan Boyle, M.C. Hammer, Tommy Hilfiger and one of the Kardashian gals – it just becomes boring.

Stiller and Wilson give their all (it’s obvious that they enjoy working together), but it’s not enough to save this film. Their fans may like this film. I’d rather send them to the Derek Zoolander School for Actors Who Can’t Read Scripts Good.