This NeverEnding Story documentary will be premiering around September 2023 at film festivals, then will be released on REGION FREE BLURAY early 2024.
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I have been a fan of The Expendables franchise since day one. My personal fav is The Expendables 2
due to my main man Chuck Norris…I even liked the PG-13 entry with The Expendables 3. Unfortunately, this latest installment is my least favorite of the four films. It is definitely watchable but it feels forced and kind of unnecessary. They obviously were trying to turn the focus onto Jason Statham’s character and some new younger cast leaving behind the oldtimers like Stallone, Dolph Lundgren, and Randy Couture.
This film definitely has a lot of options for you to choose from for its home release. First up what we got to review there is the 4K Ultra HD + Blu-ray + Digital combo pack. There is also a Blu-ray + DVD + Digital combo pack, plus an Amazon has an exclusive release with lenticular artwork and exclusive bonus materials while Best Buy has an exclusive SteelBook®, and Walmart also packs an exclusive SteelBook® Collection featuring all four of The Expendables films. Plenty of options when purchasing this film.
Official Premise: A new generation of stars is added to the adrenaline-fueled adventure of The Expendables as action legends Jason Statham, Sylvester Stallone, Dolph Lundgren, and Randy Couture are joined for the first time by Curtis “50 Cent” Jackson, Megan Fox, Tony Jaa, Iko Uwais, and Andy Garcia. As the highly skilled mercenaries take on an arms dealer and his private army with every weapon they can get their hands on, the new recruits bring daring styles and tactics that give “new blood” a whole new meaning.
Personally, I thought that the visual effects in this fourth entry was quite weak and cheap looking even though it packed a $100 million budget. Still the 4K transfer for Expend4bles delivers a stunning Dolby Vision HDR with a room-shaking Dolby Atmos audio mix. All of the formats released are loaded with behind-the-scenes special features and an audio commentary from director Scott Waugh. The version I would recommend if you don’t care about SteelBook®, the Amazon-exclusive release features two additional special features not available anywhere else that dive deep into the bone-crunching fight choreography and the styling behind the badass look of The Expendables team members. So if you are a hardcore fan of The Expendables series, I would definitely check this out just keep expectations low.
Matthew Broderick takes on the biggest beast of his career with Roland Emmerich and Dean Devlin’s 1998 special effects creature feature Godzilla. Celebrating its 25th Anniversary, the film is still a delightful collection of 90s blockbuster ideas and a lot of the visual effects haven’t aged well, but it’s still a good hunk of hammy fun. Secondly, the 4K Ultra HD Blu-ray yields a new SteelBook, a slightly improved Dolby Vision transfer, but otherwise the same package as before. If you didn’t buy it already. However, 25 years later this film remains a piece of good dumb summer movie fun. From Broderick and his earthworms to Jean Reno’s chewing gum to every New Yorker reminding everyone they’re from Newe Yawk, it’s an entertaining show even if it doesn’t always succeed at hitting what it’s aiming for. Watching it again after all these years I almost wish we got those sequels! But considering all of the great kaiju action we’ve had the last few years, it’s probably for the best the franchise moved on.
Godzilla is released onto 4K Ultra HD Blu-ray for the second time thanks to Sony. Celebrating the film’s 25th Anniversary, we get a new SteelBook packaging for the 4K UHD and Blu-ray discs to sit in. The 4K is again pressed on a BD-100 disc while a BD-50 showcases the 1080p picture. The 1080p disc is the same old disc that’s been on the market for a while now. Also included is a digital copy slip. The disc loads to Sony’s standard static image main menu with bonus features panel along the right side.
At Sony, the motto seems to be “If we did it great in HDR10, let’s do a new Dolby Vision disc with SteelBook packaging!” Similar to some of their previous efforts in this arena like Air Force One. The Dolby Vision grade is sharp and clear as before and film grain still retains its natural cinematic appeal with just a little extra barely discernable improvement. I did feel like depth was a little improved for this disc, but that largely extends to live-action sequences. I now have both the older 4K release and this new Steelbook version. Bitrate has a healthier average overall but not so high as to blow the doors off what we saw before. Dolby Vision adds a little extra refinement most felt in the black levels and shadows. This film is fairly dark, rainy, and steeped in shadows and that little extra nuance in the HDR grade is appreciated. The third act where they’re trying to find Godzilla’s nest and the full sequence in Madison Square Garden really felt better there. However, as before, the film’s heavy CGI use has its visual drawbacks. The entire chase scene through the city or any of the CGI babies still feel weightless or just outright soft or poorly rendered. Not even Dolby Vision and a higher bitrate can compensate for that. So yes, this presentation is technically better, but the mileage isn’t going to get most viewers far enough to warrant a double dip purchase.
On the audio scale we get the same very aggressive Dolby Atmos audio track. Playing back through several sections on both discs, I didn’t notice any difference. Now I liked this mix better than the previous release, however my biggest issue with this Atmos track was more with volume than element placement. While height channels hear plenty of action and the whole surround soundscape is quite expansive, I also felt like volume was used to compensate for nuance. When big action set-pieces kick in, big explosions do still sound a little distorted or tinny. In the end, that’s a fairly mild complaint. It’s a big loud movie and this audio track matches that effort. The DTS-HD MA 5.1 track is an alternate option but in all honesty, flipping between the two sounded rather silly. If you’re rolling Atmos, stick with that.
Bonus features are pretty much the same bag as before. Sadly, nothing new was added for this film’s 25th Anniversary effort. Once again, the audio commentary is still only available on the Blu-ray disc. However, on the 4K disc we get all of the teaser and theatrical trailers.
Coming off the high-flying intergalactic success of Independence Day, Devlin and Emmerich were the go-to filmmakers for big-money special effects summer blockbusters. 1998’s Godzilla seemed like the perfect fit for their sense of cinematic destruction and mayhem, but the film was savaged by critics and longtime kaiju fans, and was ultimately profitable but still underperformed. 25 years later, we have Toho punching out their own new Godzilla flicks while Warner Bros. keeps cooking up new ways for the big beast to fight Kong or some other giant creature. Now celebrating its anniversary milestone, 1998’s Godzilla scores a new 4K UHD SteelBook release. The new Dolby Vision transfer offers up a slightly better image but probably not enough of an improvement to push for a double-dip. However, if you haven’t already bought this on 4K disc, this is the set to snag.
Movie ⭐️⭐️⭐️ Special Features ⭐️⭐️⭐️ (out of five stars)
As a fan of the iconic gaming franchise, I had cautiously optimistic expectations about Gran Turismo. Thankfully, it didn’t disappoint. Neill Blomkamp delivers a visually stunning and emotionally charged racing experience. At the same time, the cinematography beautifully captures the sleek curves of the racing cars, the intensity of the tracks, and the breathtaking landscapes that serve as the backdrop for the races. The sound design also deserves special mention, with the roar of engines, screeching tires, and Lorne Balfe and Andrew Kawczynski’s score combined to create an auditory experience that complements the visual spectacle.
While the plot may follow some familiar underdog movie tropes, it doesn’t shy away from exploring Jann’s journey and his sacrifices for the thrill of the race. The screenplay successfully weaves together elements of competition, friendship, and the pursuit of excellence, adding depth to the film beyond its fast-paced exterior.
At the heart of the film is Archie Madekwe, whose charismatic performance adds depth to the character and serves as a compelling guide through the high-stakes world of professional racing. The supporting cast, including Orlando Bloom and David Harbour, sweetens the ensemble with incredible performances that capture the camaraderie and competition inherent in the racing culture.
Unfortunately, it’s a shame that we didn’t get more extended sequences of the races and only watch bite-sized versions of these exciting tracks. Instead, the film gets slightly bogged down by an unnecessary love story. That run time that was used to cover the love story could’ve been used to provide us with more racing sequences. After all, that’s what you’ve come to see. Maybe that’s a minor complaint since I personally have so much experience playing Gran Turismo on PlayStation 2.
Overall, Gran Turismo is a triumphant celebration of the beloved gaming franchise wrapped in an inspiring underdog story. It captures the essence of the virtual and real-life racing experience, delivering a cinematic joyride that will resonate with fans and entertain audiences seeking an adrenaline-fueled escape. Watching the film I noticed some visuals and sound effects that I recognized from GT3. A total joyride to say the least!
The Blu-ray picture is stunning! The brightness levels are finely tuned to enhance realism without sacrificing details in this area. The picture also has inky blacks that create dramatic and immersive visuals. Colors burst forth with brilliance and intensity in the Gran Turismo Blu-ray. Also, the video renders each color with stunning accuracy and realism as the colors pop off the screen. Whether it’s the fine textures of road surfaces, the reflection of surroundings on car exteriors, or the subtle weathering effects, the detail quality in this release is excellent. I can imagine if the Blu Ray looks this good. How does the 4K look?
Gran Turismo hits Blu-ray with a Dolby Atmos audio presentation. Prepare for an auditory racing experience as the Dolby Atmos takes Gran Turismo straight into your living room. The precision of dynamic pans adds a layer of immersion to the movie. Also, the audio dynamically shifts as vehicles move across the landscape, creating a three-dimensional auditory experience that places you right in the heart of the races.
Gran Turismo has some excellent overhead effects, from the thunderous roar of the engine to the subtle sounds of weather elements. Lorne Balfe and Andrew Kawczynski’s musical score adapts seamlessly to the pace of the race, enhancing the drama and excitement. The dialogue in Gran Turismo is delivered precisely, and every word is crisp and intelligible.
The Blu-ray has some interesting and unique elements, including how the games were made. The painstaking process of detailing the tracks around the world and the cars themselves. Real- life physics are applied to the games. If you spin out in real-life due to improper driving, you’ll spin out using that same technique in the games! The Plan featurette uncovers the intricacies of adapting this compelling real-life story to the screen. Additionally, it looks at the role of simulators in the training process. Unfortunately, you don’t learn more about Jann—only what you find in the film. Budding filmmakers will get a kick out of The Engine featurette. The feature delves into the film’s cinematography styles and Blomkamp’s vision for the film. The deleted scenes feature five scenes that offer a different perspective on pivotal moments in the movie. These scenes add an extra layer to the narrative. The Pit Crew featurette goes behind the scenes, showcasing the adrenaline-fueled choreography and usage of practical effects that make the racing sequences so exhilarating. With The Wheels, this featurette looks at the ensemble behind Gran Turismo, featuring interviews and insights into the actor’s experiences on set. The Garage featurette looks up close to the stunning cars that take center stage.
Overall, this is a must have for any gaming or racing fans. Gran Turismo is simply stunning.
Movie ⭐️⭐️⭐️⭐️ Special Features ⭐️⭐️⭐️⭐️ (out of five stars)
An enchanting town where everyone is happy, ruled by a handsome king and his lovely queen. A cute animal sidekick. Songs you hum to yourself as you leave the theatre. Those were the trademarks of Walt Disney Pictures animated features since long before I was a child. It’s been a long time since I felt those feelings but, thanks to “Wish,” all is right with the animated world again.
“Wish” tells the story of Asha (Oscar winner DeBose) and her family who, along with other families, live in the kingdom of Rosas, which is ruled by King Magnifico (a really nasty Chris Pine) and his Queen, Amaya (Angelique Cabral). The price to live in this beautiful kingdom? You must make a wish and give it to the king, who will hold onto it until the time he sees fit to grant it. As Asha’s grandfather approaches his 100th birthday, Asha is confident that his wish will finally be granted. But first, she has a job interview to attend.
From the opening credits to, well, the closing credits, “Wish” is a reminder of how Walt Disney used to create his animated films. The animation style is almost a throwback to earlier classics as “Snow White and the Seven Dwarfs” and “Sleeping Beauty.” The vocal talent is top notch and the songs memorable.
DeBose, who won an Oscar for playing Maria in the remake of “West Side Story,” gives Asha not only a voice but a brain. She is strong willed and family oriented, something that doesn’t sit well with the king who, voice by Pine, can either be syrupy smooth or brutally mean. I knew Pine could sing (he was in Into the Woods”), but here he gets the opportunity to really belt. Both are joined by other familiar voices, including Tudyk, Victor Garber and Evan Peters.
The animation is beautifully done and the accompanying musical score, composed by “Frozen”s Dave Metzger propels the story along between songs.
After a series of misfires that seriously threatened the House of Mouse, I am proud to report that, with “Wish,” Disney is back!
On a scale of zero to five, I give “Wish” ★★★★★
GIRL POWER! Twenty-five years ago, that was the motto of the popular series “Powerpuff Girls.” For a new generation, those words will belong to the Marvels.
On an unnamed planet, an excavation is taking place. A large object is removed from beneath the surface. Once broken open, it reveals the treasure being sought – a single, magical bracelet. On Earth, in her Jersey City bedroom decked out in her Captain Marvel fan artwork, superfan Kamala Khanfff Vellani) wears a similar bracelet. It will soon take her on the adventure of her life.
Even with wall-to-wall action, “The Marvels” feels almost formulaic in its story. An issue with a space portal causes Kamala, astronaut hopeful Monica Rambeau (Parris) and Captain Marvel (Larson) to randomly change places with each other whenever they use their powers. The situations lead to some exciting flight scenes, but they are edited so quickly that it’s often hard to keep track of who is fightin who. Thankfully, when the film pauses to catch its breath, there are some genuinely sweet and humorous moments to enjoy before the next battle. Highlight to me was Kamala choosing to be called Ms. Marvel, hoping she can avoid any copyright issues.
The cast try their best and the trio of leads have a fun chemistry, especially Ms. Vellani, who can’t help but show her youthful exuberance of being near her hero. And you can never be disappointed anytime Samuel L. Jackson is on your movie screen. As with all films in the MCU, the visual effects are first-rate. I especially enjoyed the image of dozens of cats floating helplessly in zero gravity.
I will say that this was the first film in the MCU where I was uncertain of some characters or their back story. I haven’t watched any of the various Marvel-themed shows on Disney + and apparently that is where Kamala was introduced to fans. Despite my reservations with the film, I found her to be a fun character and I may have to give “Ms. Marvel” a watch.
On a scale of zero to five, I give “The Marvels” ★★★
Starring: Mike Castle, Oliver Cooper and Taylor Blackwell
Directed by: Josh Monkarsh
Rated: R
Running Time: 84 minutes
Buffalo 8 Productions
Our Score: 0.5 out of 5 Stars
When I began writing movie reviews about a decade ago, I noticed immediately that I had a problem writing more about how much I didn’t like a movie as opposed to writing a movie. I didn’t want to contribute to the general negativity of the Internet, and I wanted to celebrate one of the things I love in life, movies. So over the years I’ve tended to write more, in terms of word count and number of reviews, on movies I love. As for movies that are bad, I tend to keep it short and sweet, or sometimes don’t say anything at all if it’s at a movie festival where I could write more on something enjoyable. So, since I didn’t watch “As We Know It” at a movie festival, I’ll keep this short and sweet. This movie is downright awful.
James (Mike Castle) is dealing with writer’s block after the recent break-up with his longtime girlfriend Emily (Taylor Blackwell) He’s sulking in his Hollywood Hills home when his even longer longtime best friend Bruce (Olive Cooper) shows up. Bruce isn’t there to cheer him up though, he’s there to tell him that the world is ending due to a zombie outbreak caused by soy milk. Then there’s about 80 minutes of flat jokes, maybe six boring zombies, little blood or gore that would warrant the zombie genre tag, 90s movie references that feel more like people you don’t like laughing at their own farts, and dialogue that feels like it’s trying to be wittier than Quentin Tarantino.
If the film is a parody or an attempt to mock zombie movies, why does it take place in the 90s before the revival and rise of the zombie genre in the 2000s? If it’s attempting to make fun of Hollywood, why does it try to make James a sympathetic character? Is the film supposed to be a funny juxtaposition of friendship and love dynamics during a crisis? If so, why are the stakes so low and flimsy? The tone is such a mystery, it’s hard to tell sometimes if “As We Know It” is ridiculing the characters or if the dialogue is truly as limp and plodding as a zombie. I don’t think the acting is bad, I just don’t think the cast knew how to interpret the script or what the point of any of it was. Its ineffective script, purpose and character conversations were apparent early-on. Very rarely do I automatically know I’m going to hate a movie several minutes in.
Like I stated earlier, I don’t want to rip this movie, and unfortunately it’s very easy because it’s very bad. It reminds me a lot of my movie project in my video production class. It was a seven-minute short that sounded awesome in my brain and I thought it looked great as I wrote it out. Then the final product was handed to the professor who gave it poor marks, including how one frame was out of focus. At least “As We Know It” was in focus. It has that going for it.
Director Tyler MacIntyre is no stranger to horror genre. He has directed films like V/H/S/99 and Tragedy Girls. His latest film, It’s a Wonderful Knife, is a blend between Scream and It’s a Wonderful Life, with great success and a stacked cast incl. Joel McHale, Katharine Isabelle, William B. Davis and Justin Long. It’s a Wonderful Knife is in theaters November 10th! Be sure to check it out!
Media Mikes had a chance to chat with Tyler about the new movie and working in the horror genre.
Starring: Lauren Buglioli, Madison Hatfield and Jonathon Pawlowski
Directed by: Jono Mitchell and Madison Hatfield
Rated: NR
Running Time: 86 minutes
TriCoast Entertainment
Our Score: 3 out of 5 stars
I’m sure there’s plenty of bridal party horror stories out there; I’ve heard a few myself. Imagine the awkward mashing of friends and family, who may not know each other, or may bring their own secret hatred towards one another. There’s the possibility someone will bring a luggage full of drama to unload before the night is over. Regardless, I don’t think anyone has had a bridal party from hell much like the one in “Courtney Gets Possessed.”
Courtney (Lauren Buglioli) is getting married to Glen (Zae Jordan). Courtney’s bridesmaids include a bookworm friend from college, a scheming sister and Glen’s sister. Unfortunately, it’s not the bridesmaids who are going to ruin the night. Dave (Jonathon Pawlowski), Courtney’s previous friend with benefits before meeting Glen, stops by and is welcomed into the house. Only problem with inviting Dave in to the house party, is that he’s the Prince of Darkness. The Devil has arrived to claim his bride-to-be, Courtney and the only thing standing in his way are the bridesmaids, some unlucky passerbys, and Glen and his ragtag bunch of groomsmen.
There are some pretty solid comedic bits, like an unusually hot pizza guy, mom stopping by to give a gift lube, and the way the film wraps up like some kind of offbeat Satanic sitcom. The horror aspect is non-existent. The film sometimes flips with dramatic overtones when the Devil flexes his might by killing people, threatening death to groomsmen and bridesmaids and forcing dark secrets to surface amongst everyone. It’s fine, but it doesn’t necessarily mix well with the comedy. The only time the dramatic elements work well is when the Devil possesses someone and the cast have to try and imitate Pawlowski’s devilish cockiness and playful evil. The drama between non-possessed people isn’t quite as fiery.
Buglioli actually steals a lot of the scenes, whether she’s playing the sympathetic, sad side of her character, the self-absorbed and vicious side of her character, or channeling the Devil’s delightfully wicked tricks. She really helps carry the film since Pawlowski isn’t on-screen as much as the Lord of Darkness. The Devil spends a lot of time inhabiting other people, but that’s to provide an equal number of stakes in the story along with the laughs. That being said, the film could have easily benefited from more screen time with Pawlowski. He’s instantly charming, and manages to be delightful throughout, even after he’s murdered several people.
While “Courtney Gets Possessed” isn’t necessarily on par with other horror-comedy greats, it’s still a lot of fun because of its use of an original setting for the overused genre. The film is also great with its subtle winks at the possession genre, remembering that there should be a great deal of blood and guts with your chuckles and never being boring; despite its predictability during its brief runtime. I actually had so much fun with the characters, I wouldn’t mind seeing a sequel of sorts, or at least more with Buglioli and Pawlowski sparring again.
‘Insidious: The Red Door’ rejoins the Lambert family nearly ten years after the events of the second film. Shortly after the death of Josh’s mother, he and a now college-aged Dalton begin experiencing mysterious flashes and broken memories as the terrifying events they suffered years prior begin fighting their way back into the consciousness of each. Initially believing these curious visions and broken pieces to be nothing more than imagination, Dalton soon begins to realize that there is much more going on as his college experience kicks off on a horrifying note, soon leading to him fighting to recall what it is his memory is trying to hide which will eventually lead to a new fight for survival once he again begins to embrace his traveling ways.
Directed this time around by Patrick Wilson (marking his directorial debut) from a screenplay written by Scott Teems (Halloween Kills) and a story by Leigh Whannell and Scott Teems, Wilson does a quite capable job at the helm of ‘Insidious: The Red Door’ capturing much of the tone and aura that the franchise is beloved for. The film’s cast includes Ty Simpkins (The Whale), Patrick Wilson (The Conjuring), Sinclair Daniel (TV’s The Other Black Girl), Hiam Abbass (TV’s Succession), Rose Byrne (TV’s Physical) and more with the majority offering decent or at least fitting performances for the most part in each of their respective roles. ‘Insidious: The Red Door’ reunites viewers with the Lambert family almost ten years after the events that concluded ‘Insidious: Chapter 2’ and the result is a decent enough film that often has its heart in the right place and tries to establish a fitting conclusion for the family with a new, yet largely unnecessary chapter in their saga. The new film takes a more psychological approach than its predecessors with far less notable frights or terrifying moments occurring throughout and explores the concept of loss and struggle within the lives of Josh and a now adult Dalton who are once again plagued by the terrors that were believed to be eradicated from their mind years prior. Patrick Wilson takes on directing duties this time around in addition to reprising his role as Josh and he manages to bring the right vibe and overall tone to the latest installment, but unfortunately its lack of anything important or necessary to contribute to the family’s arc weighs it down at times and ends up making much of the film seem unnecessary or forced.
Those who have been following the franchise since the beginning and fans like myself will surely still want to make a point of checking this one out and should enjoy it quite a bit, especially if you don’t go in expecting anything groundbreaking or crucial to be added to their tale. Overall, ‘Insidious: The Red Door’ is a decent and enjoyable new installment in the beloved horror franchise that continues the story of the Lambert family and serves up some intriguing concepts and a handful of creepy moments while also taking a more psychological look at the characters and their internal struggles, but largely fails to contribute anything truly important or notable to their story in the process. While it may not be one of the most noteworthy installments in the franchise as a whole, ‘Insidious: The Red Door’ is still definitely recommended for fans of the franchise who will surely want to give this potentially final chapter a chance and form your opinion, especially with the majority of the original cast returning this time around. At the very least this one should be worth your time and the price of a rental whenever you have the opportunity.
The Blu-ray release of ‘Insidious: The Red Door’ features a full 1080p High Definition presentation. The video presentation looks tremendous as a whole and delivers a clean, richly detailed presentation from start to finish that never suffers from any noticeable troubles or glitches to be uncovered along the way. The video presentation shows great detail in clarity on everything from characters, backgrounds and the creepy, gloomy environments during the Further-focused moments, all nicely balanced by clean, deep black levels that hold up splendidly. Overall, this is a great high definition video presentation that looks very good every step of the way and should more than satisfy fans and newcomers alike.
The Blu-ray release features a 5.1 channel DTS-HD Master Audio soundtrack. This multichannel soundtrack serves up a crisp, clean and often quite aggressive audio presentation throughout. It repeatedly takes full advantage of all five available channels in order to send music, creepy effects and random noises along with plenty of other fitting tidbits throughout the various speakers at every reasonable opportunity, while never allowing any dialogue or other audio elements that might be occurring simultaneously to become distorted or negatively affected in the process. Overall, this is a very solid 5.1 DTS-HD MA soundtrack that makes a great complement to the film and shouldn’t have any trouble pleasing viewers.
The Blu-ray release of ‘Insidious: The Red Door’ includes a couple extras in the way of two brief Behind the Scenes Featurettes that include interviews/comments with the cast and crew, plus behind the scenes footage and more. The included Featurettes are ‘The Family: Past, Present and Further’ (running approximately 3 minutes in length) and ‘A Possessed Director’ (running approximately 5 minutes).
I personally give the film three out of five stars. Presentation of sound and picture I’d give four out of five stars. And extras, although interesting but anemic. I’d give two out of five stars.
Film ⭐️⭐️⭐️ Sound/Picture ⭐️⭐️⭐️⭐️ Extras ⭐️⭐️
Is there a greater living filmmaker working today than Martin Scorsese? He has been nominated for a directing Academy Award nine times, second only to William Wyler, who received twelve nods. A staggering number which should be higher considering he wasn’t nominated for “Taxi Driver.” I predict that nomination number ten is right around the corner with the release of his latest film, “Killers of the Flower Moon.”
It’s the early 1920’s, and we find members of the Osage Tribe meeting on their land. Suddenly there is a loud noise as the earth opens up, spewing oil into the air. That’s right. Oil. Black gold. Texas Tea. Soon it is the tribe members who are wearing the fanciest of clothes and driving the nicest automobiles. But when the original rights owners, as they are called, begin to die mysteriously, the government in the form of the newly formed Federal Bureau of Investigation, shows up to find out why.
Newly returned from the Great War, Ernest Burkhart (DiCaprio) is put to work by his uncle, William Hale (De Niro), who goes by the moniker “King.” Over the years Hale has been a friend to the Osage people and he is highly regarded by the members of the tribe. Yet behind that image of caring and kindness lies a darker vision of greed, one that can never be satisfied. After Ernest finds work driving tribal members around town on their errands, he is encouraged by King to woo one and marry. Should anything happen to the missus, the land – and its oil, would go to the husband. The plan appears to be working when Ernest meets Mollie, who lives with her mother and sisters. But King never expected Ernest to fall in love.
A sprawling epic, “Killers of the Flower Moon” boasts award winning performances by the three leads, who breathe life into characters that would come off as two dimensional in the hands of lesser actors. DiCaprio, who has never given a bad performance, supberb as Ernest, a man whose heart and conscious are constantly attacked. His face in an almost constant frown, all he wants is to make a home for his family. As Mollie, Ms. Gladstone, a member of the Blackfoot nation, is strong and proud. She sees what is going on around her yet she refuses to believe her husband is part of the problem. As for De Niro, as King, he reminds us all why he is regarded as one of the greatest film actors of all time. King has many faces, and De Niro wears them all, sometimes simultaneously, without skipping a beat.
The script is tight and Scorsese’s pacing keeps the nearly three and a half hour long film moving at a steady pace . The production values are top notch, with Scorsese once again mastering the look of a period piece.
Even though the events in this film are based on a true story, I must shamefully admit that, as someone that considers himself a history buff, I knew very little about the happenings in Osage County, Oklahoma. This film is an eye opener as it looks at some of the darker days of this country’s past.
On a scale of zero to five, I give “Killers of the Flower Moon” five stars.
As funeral home owner Jeremiah (Jerry) O’Keefe (Jones) celebrates his 75th birthday with friends and family, he reflects on what he has built and the hopes of leaving something for his children. But, as he soon finds out, some things aren’t as simple as black and white.
Based on real events, “The Burial” tells the familiar story of David vs Goliath combined with corporate greed and corruption, all told with a shade of racial injustice.
When financial matters go from bad to worse in his company, Jerry is approached by Ray Loewen (Bill Camp), a businessman who is slowly gaining a monopoly on funeral homes by buying up many of the mom-and-pop parlors in smaller towns. Things seem to be on the up and up, but when Jerry doesn’t get paid he is told that, while a deal was in place, no contract was in place. Jerry realizes that, facing the financial issues he’s dealing with, Loewen can wait him out and then get what he wants for a song. With the help of his long time attorney (Alan Ruck), Jerry seeks out the help of the flamboyant – and very successful – Willie Gary (Foxx), a personal injury lawyer whose courtroom manner is a little, well, unorthodox. As the trial proceeds, and the arguments become more personal, we are reminded again that things are never as simple as black and white.
Buoyed by stellar work from Foxx and Jones (both former Oscar winners), the film is full of strong performances. Ruck, who thirty-seven years ago played Cameron in “Ferris Bueller’s Day Off,” is strong as Jerry’s long time friend and attorney who must put aside his ego as Gary and his team begin to take over the case. Camp is the perfect villain while Amanda Warren excels as Willie’s loving wife, Gloria, Also strong is Ms. Smollett, who is the leader of Loewen’s defense team. She is a no-nonsense attorney who isn’t above bringing racial issues before a small, southern jury. Questions are asked and answers given, helping fuel each side’s narrative of the case. Nothing, from the on-going O.J. Simpson trial to family heritage, is off-limits, with both sides feeding on public perception. I would be remiss if I didn’t point out that it was nearly five years ago that Ms. Smollett’s brother, Jussie, staged an attack on himself, which fueled racial fires for months afterwards. Again, nothing is as simple as black and white.
On a scale of zero to five, I give “The Burial” 4 stars.
Starring: Timothy Haug, Christie Griffin and Miles Taber
Directed by: Jared Allmond
Rated: NR
Running Time: 87 minutes
Buffalo 8 Productions
Our Score: 1 out of 5 Stars
Albie (Timothy Haug) and Penny (Christie Griffin) are in dire straits. They’re not only unhappy in their marriage, but are seemingly unhappy in most of their life choices, especially Albie who whines constantly about how he has yet to make it big with his script writing. The miserable married duo decides the best thing they can do for themselves is take a night off from adulting and parenting, but car troubles force the couple back home. Upon arrival at their home, they’re greeted by another couple who are complete strangers to Albie and Penny. The couple tells them that this is their home and they need to leave through loving smiles and an oddly upbeat attitude. What happens next is…well…repetitively dull because the movie spins its tires without getting anywhere remotely interesting.
“The Hive” bills itself as a home invasion thriller, even though the smiling strange couple didn’t apparently break-in, nor do the police seem interested in helping when Albie gives them a call. To make matters worse, Albie and Penny go to a nearby relative’s house, in the neighborhood, and the relative seems relatively calm about the entire situation. Nothing about this screams home invasion and by the time Albie and Penny hatch a plan, the movie u-turns into a sci-fi film without any real reason. Like any sci-fi/horror film, the absurdity of the situation is supposed to match a real-world idea or feeling. In “The Hive,” it’s painfully obvious from the first few minutes that the film is about a mid-life crisis and the horrors of realizing you weren’t meant for marriage, family and a white picket fence. Does it do anything unique or interesting with that? No.
Despite taking place in suburbia, the film does nothing with the setting or the idea of misery in the burbs. The injection of sci-fi elements feels like a random idea to make things interesting instead of massaging it cohesively into the film’s narrative. I kept wondering if maybe there would be a grand payoff, but instead the film whimpers to the credits. There’s a lot of things wrong with “The Hive,” but I don’t feel like faulting anyone besides the writer and director because its most egregious issue is attempting to use other genres and clichés simply because it has no original ideas of its own.
Despite an interesting set-up, “The Hive” does nothing outside of its first 10-15 minutes of exposition. It seems perfectly content with cyclical dull scenes of characters repeating dialogue and information. While “The Hive” may end up as an example of what not to do in scriptwriting and filmmaking, the trailer and poster for this film might end up as an example of false advertising.
Dennis Paoli is the writer of films like Re-Animator, From Beyond, Dagon and Castle Freak – to name a few. He is a long time collaborator with the late Stuart Gordon. He recently teamed up with Joe Lynch (Mayhem, Chillerama) on the new film, Suitable Flesh, starring Heather Graham and Barbara Crampton. Media Mikes had a chance to chat about his career adapting H.P. Lovecraft’s work and his new film Suitable Flesh.
Starring: Camille Rowe and Stasa Stanic
Directed by: Franck Kahlfoun
Rated: NR
Running Time: 95 minutes
Shudder
Our Score: 3.5 out of 5 Stars
As the credits for “Night of the Hunted” began to roll, I wondered about all my unanswered questions. I had plenty during the 95-minute cat and mouse game. In “Night of the Hunted,” Alice (Camille Rowe) spends a hellacious night over walkie-talkie with a Sniper (Stasa Stanic) at a remote gas station. Is it just bad luck? Is Alice being targeted? Is God punishing her for an unknown crime? Who is the Sniper? There are no answers, but maybe that’s the point.
Before being thrown into the mayhem, we meet Alice, who runs social media for a pharmaceutical giant, in a hotel room that she’s sharing with a male colleague. We wouldn’t think anything of it if she didn’t abruptly stop talking to her husband before her colleague enters the room. Are they lovers? The duo, who appear to have unsettled business, are on their way out of the room after a business convention. The pair stop at a 24-hour gas station for menial supplies and a tank fill-up. A nearby billboard says “GODISNOWHERE,” which feels ominous no matter how you view it, whether it’s “God is now here” or “God is nowhere.” Alice, noticing nothing at first, begins to realize no one is working in the store. As soon as she looks for an employee, she sees blood splattered on the wall behind the cash register, but the realization intertwines with a sniper bullet gashing her arm. Her colleague rushes in, only to be gunned down in front of her.
The back and forth between Alice and her would-be killer fill the rest of the film as passers in the night stop at the gas station to either meet their untimely end or fill their tank before going about their life. You could honestly comment on why certain people were killed and why others weren’t, more than they noticed the carnage or were oblivious to it. I digress though, Alice and the Sniper prod each other, trade insults, and attempt sympathetic comments about their lives. The more we learn about both, the more we wonder whether either is truly telling the truth. Alice has reason to make things up, she’s fighting for her life. The Sniper has reason to make things up, he’s a sociopath. This leads to Alice and the Sniper assuming things about each other, seemingly right, but also seemingly false.
My overarching belief is that “Night of the Hunted” is a commentary on 21st century discourse. We believe things about each other simply because we begin to attach others to different tribes. We pick at each other over perceived stereotypes and use those same beliefs to find reasons to hate. We also look to make the other party feel guilty for their own presumptions as we make our own. The Sniper drives a lot of that narrative, not only because he’s the killer, but because he seems to relay his own philosophy of being anti-vax, anti-government, anti-woke, etc. It’s a bit on the nose, but like I said, we’re never led to believe that either Alice or the Sniper is 100% true. Are they both mischaracterizing each other for their own goals or are they hitting each other like nails on the head?
A lot of people are going to be disappointed by the ending because of the lack of answers. Personally, it feels to match the verbal jarring and bloodletting throughout the film. Regardless of how you feel as the credits arrive, “Night of the Hunted” is a violent, tense, entertaining flick that will twist your stomach up in knots.
