Midnight Sun

Starring: Bella Thorne, Patrick Schwarzenegger and Rob Riggle
Directed By: Scott Speer
Rated: PG-13
Running Time: 90 minutes
Open Road Films

“Midnight Sun” has the makings of an eye-rolling romantic drama. Katie Price (Thorne) suffers from an incredibly rare genetic disorder that makes sunlight deadly. So she spends her days and nights trapped inside her home, pining for a life outside those confines. For years she’s been watching the cute neighbor boy, Charlie (Schwarzenegger), that she wishes she could talk to, but instead she’s only been able to communicate with her lone friend, Morgan (Quinn Shephard) and her widowed father, Jack (Riggle). It’s set-up like some predictable coming-of-age tale with a terrible “Boy in the Plastic Bubble” twist lurking on the horizon. Thankfully it doesn’t play out like that.

There’s a happy middle ground that this film finds itself in. It’s caught between the polar extremes that we’ve seen in films like “The Space Between Us” and “The Fault in Our Stars,” and it’s not a bad spot to be in. It’s able to use a lot of familiar tropes, some of them annoying, to keep the story flowing along, but it takes a lot of the stronger assets, like unpredictability and charming leads. It’s also hard to hate a movie with a lot of good intentions.

“Midnight Sun” is a movie I would generally nitpick to death, but it managed to take me out of my sardonic element. It isn’t a great love story, but it’s still a worthy entry into the teen romance genre because of its broader message on love and life. I’ll be the first to admit that this isn’t my favorite genre because of how overly sappy it usually is, but I sometimes find myself forgiving the fatal flaws because of how enjoyable the characters are to watch. And two of the main cast members in this film are surprisingly strong.

Thorne, who I’ve only seen in “Blended,” which honestly isn’t saying much, is quite magnetic as the mousey Price. Price’s disease has matured her character beyond simplistic teenage angst when it comes to the film’s conflict. Riggle, who’s known for his comedic bit parts in films and shenanigans on “Fox NFL Sunday,” legitimately shines here in a role that doesn’t require him to be overly dramatic by dipping into his real-life military experience. He’s a sympathetic father dealing with a horrific circumstance, by wearing a smile on top of his heavy heart. However, everyone else seems like a filler. Schwarzenegger, whose last name should be self-explanatory, is slightly believable in his role, but he comes off as wooden. There are also moments where he smiles and looks like the spitting image of his father, which nearly took me out of the film multiple times.

“Midnight Sun” follows some predictable beats in terms of character growth throughout the film. There’s nothing unique about the relationship that develops on-screen, but their likability is nearly off the charts. You forget about the casual, and sometimes sloppy, narration because of how much enjoyment you get out of spending time with Katie and her close inner circle. “Midnight Sun” doesn’t reach any new highs or lows, but its good enough excuse for those who want to shed a tear or feel something warm in their hearts.

PACIFIC RIM: UPRISING
Starring:  John Boyega, Scott Eastwood and Charlie Day
Directed by:  Steven S. Deknight
Rated:  PG 13
Running time:  1 hrs 51 mins
20^th Century Fox

I will admit right here that I never saw the original “Pacific Rim.”  I’ve been told it was pretty good.  I certainly hope so, because this new installment isn’t.

After a quick shot of Idris Elba – I’m told he was the hero in the first film – we learn about how mankind and their giant Jaegers pulled together to defeat the evil, monstrous Kaiju, which in my limited imagination meant that some Transformer rip-offs beat Godzilla and his family.

It is 10 years later and the world isn’t really doing well.  We meet Jake (Boyega) and learn he is the son of Elba’s character.  Jake lives on his wits and the barter system.  Squatting in an abandoned Hollywood mansion, he’s not above trading an Academy Award for a box of cereal.  He’s also not above stealing, mostly technology, and selling his spoils to the highest bidder.  When he is caught stealing parts from damaged Jaegers he is sent back to “the academy,” where he will now train a class of young people to be the next great Jaeger pilots.  Hijinx ensue!

A loud movie with lots of giant shiny things, “Pacific Rim: Uprising,” is a CGI spectacle of crushing metal played against a background of tough kids and one-liners.  Think of it as “Real Steel” without Hugh Jackman.  Which is a shame because the cast seems to be trying their best.  Boyega is bold and cagey here at times.  Hopefully he’ll demonstrate some of this ability in the next “Star Wars” film (sorry, I think Finn is a little too wishy-washy sometimes).  As the tough-as-nails Amara, Cailee Spaeny also shows some emotional depth.  And damn it, Scott Eastwood is one handsome man.  Charlie Day also shows up (apparently he was in the first film) but spends most of his screen time yelling, like he’s channeling Bobcat Goldthwait

If you like big shiny things destroying things, this is the film for you.  If you don’t, go see “Black Panther” again!

Behold the Second Coming, as the Merc with a Mouth delivers unto you a new trailer for the highly anticipated DEADPOOL 2 from 20th Century Fox!

Watch The Trailer here: https://www.youtube.com/watch?v=D86RtevtfrA 

After surviving a near fatal bovine attack, a disfigured cafeteria chef (Wade Wilson) struggles to fulfill his dream of becoming Mayberry’s hottest bartender while also learning to cope with his lost sense of taste. Searching to regain his spice for life, as well as a flux capacitor, Wade must battle ninjas, the yakuza, and a pack of sexually aggressive canines, as he journeys around the world to discover the importance of family, friendship, and flavor – finding a new taste for adventure and earning the coveted coffee mug title of World’s Best Lover.

DEADPOOL 2 Official Channels
Website: Deadpool.com
Facebook: facebook.com/DeadpoolMovie/
Twitter: twitter.com/DeadpoolMovie/
Instagram: instagram.com/DeadpoolMovie/
#Deadpool

Starring: Catherine Corcoran, Jenna Kanell and David Howard Thornton
Directed By: Damien Leone
Rated: R
Running Time: 82 minutes

The past two decades have seen a lot of evil clowns enter the realm of pop-culture. In video games, there was Sweet Tooth from “Twisted Metal.” In television, there was Twisty from the third season of “American Horror Story.” We’ve also had plenty of evil movie clowns, from the reimagining of Pennywise in “IT” to Captain Spaulding in Rob Zombie’s films. Now enters Art (Thornton), a homicidal clown that may or may not have supernatural powers.

After a night out, Dawn (Corcoran) and Tara (Kanell) are grabbing a slice of pizza when a black and white painted and dressed Art the Clown enters, with a bag of unknowns in tow. Even with his grotesque smile and creepy hand emotes, he’s made even sinister by the fact he doesn’t utter a single word and seemingly doesn’t make a single sound. His pantomiming is sometimes meant for humor, but mainly meant to menace the two young girls on Halloween. The situation sours when the girls are stranded alone at night after their bizarre encounter with Art.

There’s not much to the story and there’s certainly not much to the plot. “Terrifier” is a vehicle for Damien Leone’s crew to exhaust their violence and gore budget. “Terrifier” is shot much like the violent grindhouse films it’s paying homage to. In moments of pitch black you notice a lot of grit in the picture quality. But in brightly lit scenes and in quick shots, you really appreciate the even grittier practical effects as Art lays waste to a naked woman or an unsuspecting bug exterminator.

The director manages to milk a lot out of his script, which is set in one night at one building. It’s helped by Art’s unquenchable bloodthirst. While he’s sometimes satisfied with the simple pull of a trigger, other times a bonesaw or knife are a lot more intimate and satisfying for the clown. We see the pleasure that Art derives from the senseless, brutal murders, thanks to Thornton’s creepy smile and gleeful silence while dancing in place.

It’s almost as if Art’s muteness is a reflection of everything about this movie, all substance with very little, if anything, to say. It’s entertaining in the midst of chaos as Art navigates through an old building worth of potential victims, but its rewatchability isn’t on par with other horror films because the characters aren’t sympathetic, relatable or distinctive outside of one note jokes. That’s not any of the actor’s fault, but that blame lies squarely on the shoulders of the director. Art the Clown had the potential to be a lot more terrifying.

Actor/filmmaker/activist Matthew Cooke has long taken in an interest in looking out for the little guy.  His last film, the tongue-in-cheek documentary “How to Make Money Selling Drugs,” was well reviewed and opened a lot of eyes to the drug problem facing this country.    His newest documentary, “Survivors Guide to Prison,” looks at the current state of the judicial system and how it failed two very different men.  As the film begins it’s run across the country (it’s both in theatres and available on Video on Demand), Mr. Cooke took some time to speak with me about his goals and what he hopes to achieve with his work.

Mike Smith:   What inspired you to do this film?

Matthew Cooke:  I think we have a very large problem.  It’s like when you see a bad car crash or someone has fallen down a well.  You can’t ignore it.  You have to stop and try to do something.

MS:  Was there any one thing that made you tackle this subject?

MC:  Human beings are funny things.  We can walk by homeless people and ignore them.  We have a tendency to become numb.  But sometimes you look into a topic enough that you go, “Oh my God!”  You begin caring about it.  I really don’t think there’s another explanation I can give other than I finally became aware that human beings are being held in solitary confinement FOR YEARS and they don’t need to be there.  In a way it’s like being tortured.   I became aware that, the system that we have in place now, has an 80% failure rate.  That means that 80% of the inmates that are released from prison end up returning within 5 years.  Yet here we are, spending millions of dollars, putting more people into prison.  The U.S. has more people in prison than any other country in the world.  And it’s not effective.  We don’t help the victims of crime heal.  We don’t create more harmony.  We don’t create well-being.  To what master does this monstrosity serve.  And it’s money.  And when you finally learn about something it becomes personal.  “There but by the grace of God go I.”  I could be in this film.  I’m not trying to be overly dramatic but I couch-surfed for a while when I was out on my own.  That could have easily been the road for me.  That could have been me.

MS:  How did you come upon Bruce and Reggie’s cases? (NOTE:  The film follows two men, Bruce Lisker and Reggie Cole, who were imprisoned for murders they did not commit.  Lisker was 17 when he was arrested for the death of his mother.  Cole 23 when he was accused of a neighborhood killing).

MC:  I met Bruce when he was speaking at a fundraising dinner.  I heard his story and thought, “this guy’s story is incredible.  It would make a hell of a movie.”  Reggie Cole I met through the California Innocence Project.  And I just thought that these two stories were so heart wrenching.  And they are both poets.  I think Reggie is one of the most articulate, poetical people around and no one could describe the horrors he endured the way he has.  Between he and Bruce, I just decided that these two guys’ stories are it.    I mean, there can really be nothing more horrifying than being put in prison for something you didn’t do.  This is a fear we all have.

MS:  One thing I noticed in the film is that you shot all of your narrators close up and make-up free.  Every blemish visible.  Was that intentional?

MC:  Yes.  I wanted them to be raw.  I tell people it’s not really a movie.  It’s a film because of the media used but it’s really a public service announcement.  A bunch of us coming together to tell you what’s going on.  I didn’t want it to be polished.  I adore every aspect of film making but I didn’t want to make anything that was purposely beautiful that would take away anything from the informational aspect.  I wanted it to be very, very raw and very up-close.  Really almost claustrophobic.  I didn’t want audiences to enjoy it as if it was exploitative.  Sometimes we make films that are so pretty that we enjoy them too much.  I really wanted this film to be visceral…in your face.   I want the film to be memorable.   It’s my hope that it delivers an educational and raw, unbridled education and that it achieves it’s goal.   Where we no longer think of prison anymore as the answer.

MS:  Have Bruce and Reggie received any compensation?

MC:  Yes they have.  I don’t have the exact figures off the top of my head.  And I’m also of the opinion that financial compensation is no substitution for time.  (NOTE:  Bruce Lisker received $7.6 million after spending 26 years in prison.  Reggie Cole received $5.3 million for his nearly 15 years behind bars, the last 10 in solitary confinement.)

MS:  What’s next on your plate?

MC:  What’s next?  I want everyone to see “Survivors Guide to Prison.”  We worked five years to construct something that is really worth 100 minutes of peoples’ time.  Getting the word out.  I’m all about that right now.

THE DEATH OF STALIN
Starring:  Steve Buscemi, Simon Russell Beale, Jeffrey Tambor, Michael Palin, Andrea Risebourough, Rupert Friend and Jason Isaacs
Directed by:  Armando Iannucci
Rated:  R
Running time:  106 mins.

Our Score: 4 out of 5 stars

In the Soviet loop. Armando Iannucci brings his breakneck quips and futile power plays to Stalin’s final days in The Death of Stalin, a darkly hilarious take on a moment in history handled by a collection of top notch actors.

In 1953 Stalin (Adrian McLoughlin) sits atop a well oiled oppression machine. He doles out hit lists to his gulags on a daily basis and even among his closest confidants he wields terrifying power. Steve Buscemi’s sycophantic Khrushchev takes personal notes on what jokes bombed in his company so as not to repeat his mistakes. Inconveniently Khrushchev and company find their leader face down and on death’s door in a puddle of his own piss. With no official recourse for succession, the jockeying for power—and chewing of the considerable scenery—begins.

Filling out this Stalin’s cabinet with Buscemi is a dream team lineup of Simon Russell Beale, Michael Palin (my favorite Python!), Jeffrey Tambor and Jason Isaacs. To Iannucci’s credit none of the actors in this film are asked to adopt any sort of Russian or even any shared accent which only adds to the air of chaos in the party and likely is what frees up these actors to stay absolutely focused on the script’s fast and fierce comic timing. Additionally just when you’re getting the rhythm of this first set of yes-men, Andrea Riseborough and Rupert Friend are imported in as Stalin’s wayward offspring to inject even more manic energy into the proceedings. Friend in particular is a revelation as Vasily, a bellowing drunkard who arrives landing insults with surgical precision and more often than not, departs by being wrestled physically from the frame.

I had some hesitation going into this film being pretty much unaware of the specifics of this moment in history and wondered whether that would impact my experience however this turned out not to be the case. The themes of absolute power corrupting absolutely and the pettiness of men are always ripe for political farce especially from the likes of the man behind “Veep” and this spectacular cast.

Directed by: Ava DuVernay
Starring: Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Storm Reid, Levi Miller, Zach Galifianakis, Chris Pine.
Distributed by: Walt Disney Studios
MPAA Rating: PG
Running time: 109 minutes

Our Score: 3 out of 5 stars

I have to admit I saw “A Wrinkle in Time” with no previous notion that it was a best selling book series. I had no idea what it was about. I knew it had a stellar cast including Oprah Winfrey, Reese Witherspoon, Mindy Kaling and Chris Pine…and a story of a strong female lead. That was enough for me. This film marks the first film to cost over $100 million to be directed by a woman of color, neAva DuVernay. Now that is an important milestone, unfortunately that doesn’t guarantee that it will be a good movie though. I rarely find myself saying “Damn, I wish this film was longer” but with “A Wrinkle in Time”. I felt like I wanted more. More backstory, more depth with the characters and the magic that they are controlling in the film. Packs a solid heart and delivers beautiful and sometimes trippy visuals but feels rushed and scattered by the end.

Here is Disney’s official one-liner for those who aren’t familiar with the book “From visionary director Ava DuVernay comes Disney’s “A Wrinkle in Time,” an epic adventure based on Madeleine L’Engle’s timeless classic which takes audiences across dimensions of time and space, examining the nature of darkness versus light and, ultimately, the triumph of love. Through one girl’s transformative journey led by three celestial guides, we discover that strength comes from embracing one’s individuality and that the best way to triumph over fear is to travel by one’s own light.”

It’s weird even though Oprah Winfrey has her constant talk show and is everywhere always, I really never really think of her as an actress. She really didn’t do anything special here but I enjoyed her character. Reese Witherspoon personally is not a favorite actress of mine. She is cute in the film and pretty funny, so that was a nice surprise. Mindy Kaling is someone I honestly, can’t stand watching but they used her very well in this film quoting popular quotes of history and culture primarily as her only dialogue. So she ended up being cute and didn’t annoy me as usual. Chris Pine felt like he was channeling his inner Flynn from “TRON”, which is not a bad thing. This guy just rules in anything he does. Storm Reid is easily the winner here. She stole my heart and I really think she has a long career in Hollywood as she grows up. Same goes for Levi Miller. I saw him in “Better Watch Out” last year and I knew he has promise. His character was also well done and very likable.

This film does pack some really solid visuals, my only issue was that it really felt like a green screen. I felt the exact same way about “Oz, the Great and Powerful”. It was kind of a little too CGI for me. Parents be wary, I probably wouldn’t recommend this film for kids under the age of 10 due to content and a few disturbing scenes. I didn’t expect this film to have a dark side like it does but it is intense and definitely adds in a good way for the adults to enjoy but just be weary of the little ones. This is not all pretty colors and rainbows.

So overall,  this isn’t a terrible move by any means. I can’t say that I am disappointed since I had no expectations. But I can definitely say that I have thought about this movie since seeing it and how important of a message it carries despite the fact that it wasn’t perfect. It features a strong female and how she embraces herself in order to save her father. It is a great story overall, I just wish the film didn’t get lost trying to wow so much with the visuals. I would still say that this is worth seeing in theaters at least to catch the whole trippy ride. Just pace yourself for a slow moving, slightly confusing yet heart filled journey.

GRINGO
Starring:  David Oweloyo, Charlize Theron and Joel Edgerton
Directed by:  Nash Edgerton
Rated:  R
Running time:  1 hrs 50 mins
Amazon Studios

It’s hard for me to go into detail about why I did not enjoy “Gringo” as much as I wanted, or even as I feel I should have.  It’s one of those things you can’t really put a finger on…you just know you didn’t like it.  But I’ll try.

Harold (Oweloyo) is a middle-management employee for a pharmaceutical company.  Things appear to be well on the outside, but inside he is dealing with the fact that his wife is spending him into bankruptcy and rumors that his company is about to be sold.  He approaches his bosses, Richard (Edgerton) and Elaine (an icy Theron) who assure him things are fine.  They also inform him that they will be accompanying him on his upcoming trip to Mexico, where recent inventory reports disclose a shortage of product.  After concluding their business the pair leave Harold in Mexico to wrap things up.  But things go incredibly wrong when Harold is kidnapped.  Or is he?

I wanted to like this movie so much.  I love the cast and director Nash Edgerton, who is Joel’s brother, has done some great short films and music videos.  But it looks like everyone was working on different movies and they were all patched together in editing.  It’s not for lack of trying.  After seeing Oweloyo in such dramatic fare as “Selma,” where he played Dr. Martin Luther King, Jr, or the outstanding HBO production “Nightengale,” it’s a rare treat to see him tackle comedy.  And tackle it well.  He seems to be having fun and it’s infectious.  Heck, this film may be the first time I’ve ever heard him laugh on screen.  Joel Edgerton and Theron are strictly bad bosses out of central casting, but the effort they put into their characters keeps them interesting.  And while he’s a treat to watch, Sharlto Copley seems to wander in from another film.  Add to this group a drug lord with an almost un-healthy love of the Beatles and a very brief, but impressive, film debut from Paris Jackson (Michael’s daughter) and they do hold your interest.

No, the problem, I think, is that director Edgerton just decided to use everything he shot, giving very little thought to when a scene could be cut so that the payoff doesn’t continue to hit you on the head, long after you’ve been satisfied by it.  Perhaps Joel Edgerton, who wrote and directed the much underrated film “The Gift” should have given his brother some much needed advice.

A Wrinkle in Time

Starring: Storm Reid, Oprah Winfrey and Reese Witherspoon
Directed By: Ava DuVernay
Rated: PG
Running Time: 109 minutes
Walt Disney Studios Motion Pictures

Disney has had no problems taking a few risks here and there, especially since their Marvel and Star Wars properties guaranteeing the studio an easy half billion dollars (at the very least) every time one is dropped. So it’s understandable that they can make a calculated gamble or two on tricky creative properties. With “A Wrinkle in Time,” the movie studio certainly rolled the dice with a very well-known, but difficult to transcribe, story. Unfortunately, Disney has rolled snake eyes.

By no means would it be easy for anyone to take the most frequently challenged pieces of literature of the 20th century and turn it into a big budget visual delight for mainstream audiences. The book’s blending of Christian spirituality and grounded science are a complicated combination that creates a fear for movies producers when it comes to potentially upsetting several groups. Writers had to not only conjure something enlightening and mentally stimulating, but have it be void of controversial thesis statements about life. Of course if you don’t know anything about the book, you’ll be confused on how the film handled that narrative regardless.

Meg Murry’s (Reid) father, Dr. Alex Murry (Chris Pine), has been missing for several years. Many believe he simply abandoned Meg, her brother Charles (Deric McCabe), and their mom. But others believe something planetary happened because of Dr. Murry’s pursuit and interest in interdimensional travel. He had a theory about the brain being able to traverse universes and being able to move from locale to locale with the use of the mind’s focus. It’s a lot of exposition and scientific theory to take in already; it doesn’t help that “A Wrinkle in Time” quickly ushers in three astral travelers, each with a specific quirk and power.

At about the halfway mark, I began to wonder if “A Wrinkle in Time” was more concerned with telling rather than showing. I also questioned the film’s direction because at this point, I felt nothing for any of the characters on their journey. Sure Meg and Charles feel slighted by their father, who they’re ultimately searching for, but outside of those abandonment issues, there’s not much there for viewers to latch on to. It doesn’t help that much of the emotional core of the movie is derailed by having to shoehorn in a new character every five minutes.

The movie really doesn’t work until the final act, after we’ve had to suffer through a lot of confusing tone changes, half-hearted story beats and dead end CGI spectacles. I believe the final act only works because the movie finally embraces the concept of alternate realities and begins treating Meg like the adult she’s maturing into. Although it could have paid off more if we got more time with the characters being themselves instead of reciting exposition and acting wooden in the face of extraordinary circumstances.

I remember reading “A Wrinkle in Time” back in sixth grade as an assignment. It came after a class reading of “The Lion, the Witch and the Wardrobe.” My recollection of the book itself is fuzzy, but I remember having to reread an entire chapter because I felt like I had just tried to digest algebra for the first time. Disney tried to adapt “A Wrinkle in Time” back in 2003 and it was met negatively. It looks like they’ll have to try for a third time in about 15 years.

Last month, I was sitting reading the latest issue of Horrorhound Magazine and I came across their list for the horror films of 2018 and within that listed was a film, I had no idea even existed called ReAnimator: Evolution. The film was said to be a reboot of the franchise and directed by Serge Levin and starring Johnathon Schaech. I knew I had to seek out more information about the film and the director. I found out that it is true; he is working on a new branding of the franchise and the film has been re-titled to Herbert West: Reanimator…but before we get to that, I found out that Serge has been VERY busy with other films!

Turns out Serge is working on finishing two new films before he enters the world of Herbert West. His first film, Alterscape: is a sci-fi/drama that takes a man on a journey that transcends both physical and perceived reality. It is a real trip to watch and it also co-stars Michael Ironside (Scanners). His second film is Superstrata has Paz de la Huerta (Enter the Void) and is currently being edited by Eric Strand, the man behind Donnie Darko and Tomb Raider. Media Mikes had a chance to chat with Serge about his two upcoming movies and also got the scoop on the new re-branding for the Reanimator franchise.

Mike Gencarelli: You wrote and directed the film “Alterscape”; tell us the origin of this project?
Serge Levin: The idea behind Alterscape originated from my fascination with emotions. Due to the nature of my prior work in corporate finance, I was lucky to have traveled, lived, and worked in a few different countries. Through observation and interaction with people of various cultures, I pondered on the stark differences of how emotions are expressed, interpreted, and understood.
I also wanted to explore the relationship between emotions, feelings, and memory. Coincidentally, while waiting for a flight at an airport I came across an intriguing book by Victor S. Johnston Why We Feel: The Science of Human Emotions. Although it was a fairly short flight, I remember devouring the whole book before I landed at my destination. My hunger for the subject matter and the author’s brilliant writing structure made it an easy read, but most importantly connected many dots in the underlying study of emotions and nervous system as a whole.

Thinking back to some stories that my stepfather, Sam Hollis a Vietnam War veteran, has told me when I was younger, and inspired by more literature about Affective Science, the first draft of Alterscape was born.

MG: How was the opening falling from the building scene shot?
SL:  Indeed, the slow motion falling sequence is one of the most important story beats in the film, so I wanted it to really stand out.

Being a huge fan of 80s film era, I loved how the director John McTiernen portrayed the falling sequence with the character named Ponytail, played by Héctor Mercado, in the film Nomads 1986. It was both creepy and surreal. I needed my falling shot to have that abstract and symbolic feel, so I was definitely inspired by what I saw in Nomads.

I wanted to take it even further and actually follow our hero as he plummets from a high-rise, which required more ingenuity and technical assembly. For the sake of art I can’t get into details as to the exact process of how we shot it, although our final execution of the sequence was as close to a real fall as you can make it.

MG: I loved the whole setting of the film. The logo and parts of the score has a cool 80’s vibe. The wormhole was rad with retro feel. I also love old tech like the ancient computers mixed with the new tech; was this all planned?
SL: I appreciate you picking up on these aesthetics because it was definitely intentional. As I already mentioned, I’m inspired by many great films from the 80s and had the urge to bring back some of those vibes, analog tech, and even colors. The story does not take place in the 80s however. We keep it vague although a few visual and dialogue references do imply a more specific time period. Amalgamating retro-tech with very advanced science was also planned from the start. David Cronenberg fans, being one myself, will definitely appreciate our set designs.

MG: Tell us about the film’s visual effects? What was your most challenging task?
SL: The script called for more than 800 visual effect shots of varied complexity. My objective was to do most in-camera with real makeup, physics, and lighting. This old-school method to me seems to convey action with more realism and depth. Obviously, certain sequences required harnessing some of the digital creative tools and applying them in a very neat way. It’s thanks to my very experienced and talented cinematographer, Richard Clabaugh (Prophecy 1 and 2, Phantoms), the process of filming always took into account what and how we would need to tackle the post-production visuals.

You referred to the vortex sequence as being one of the cool-looking visuals. I’d like to add that after we travel through it, we end up in a realm that seems to span to infinity. Actually close to 90% of that composition is actually practical, not digital.

MG: What was it like working with a legend like Michael Ironside?
SL: It was a dream come true. Michael Ironside and Charles Baker, were introduced to me by our producer Jon Keeyes, who had previously worked with both. I’m extremely grateful and honored that my story resonated with such talent.

Michael was an absolute joy to work with and simply be around. It felt like working with a close family member – that’s the kind of energy Michael projected on set. He commands such strong presence, both on screen and off. Growing up watching him, in what are now cult classics of the genre that I am most passionate about, and get to actually work with Michael Ironside, was a real treat.

Overall, I was lucky to have such a talented cast. Everyone was extremely hard working and talented.

MG: I felt a Scanners vibe within the film; was this coincidence or planned with Ironside on board?
SL: Scanners is one of my favorite horror films but I did not expect to have Michael on board until we actually signed. I was overwhelmed with joy when I found out we had a solid confirm. As far as similarities to Scanners I can see where the parallels can be drawn, however the theme, premise, and motivations are very different.

We just had our world premiere at The Philip K. Dick Film Festival in New York, where we won first place (Best Feature), and one of the viewers made a reference to Liquid Sky as well. I am thrilled that our film carries those vibes and homage to the work I consider inspirational.

One day I asked Michael Ironside what he thought of our set design for the lab interiors. Right away he brought up Altered States, yet another film from the 80s.

The story revolves around a man whose psychological condition yields an unexpected side-effect enabling him to experience various quantum realities. Quantum physics and quantum mechanics are a big part of the story, but so is spirituality and the concept of interconnection through love.

Superstrata shall have many neat twists and turns, including an epic passenger jet sequence. With its many layers, stunning cinematography and big production value, it will be an impactful feature. We have awesome cast including: Robert F. Lyons, Jim Meskimen, Paz de la Huerta, and Alex Veadov.

MG: Tell me about about working with the man behind Donnie Darko and Tomb Raider, Eric Strand, and how he got involved to edit this film?
SL: Eric Strand is a veteran of his art. Working with an editor of such experience and caliber is an eye opening learning experience. Eric’s approach is very old-school, using techniques that were bullet-proof for cutting film. Our digital workflow, in my view, adds to Eric’s creative freedom and leverages his proven know-how. Eric and I connected in many ways, including the type of genres we like and the study of Martial Arts.

MG: Alex Veadov appears in both of your upcoming films Alterscape and Superstrata?; tell us about this collaboration?
SL: The first time I saw Alex in a film, it was We Own The Night directed by James Gray. I was blown away by his ability to convey so much emotion simply with his eyes. I believe Alex is one of the most talented actors of our time and have been blessed to work with him on several projects.

Our collaboration started with Alterscape when I reached out to him directly with the script and then bringing him onboard via his agent. When I started working on the Superstrata script, I already had Alex in mind for one of the roles. I’m grateful that he has been receptive to my material and his schedule worked out.

MG: What can you tell me about the planned reboot “Herbert West: Reanimator”
SL: We will be announcing exciting news regarding the Reanimator rebrand very soon. I wouldn’t call it a reboot of the original Re-Animator film, which I love and have tremendous respect for. Our adaptation of H.P. Lovecraft’s original story shall stay true to the underlying material yet accentuate more of its scientific and dark undertones.

MG: Is Johnathon Schaech still involved? When can we expect it?
SL: Johnathon Schaech is a co-writer together with Jon Keeyes. Johnathon is also a very talented actor and I expect to have a full cast confirmed in the near future.

It’s important to note that we are not only producing a new adaptation of a well-known literary work but also incorporating innovative high-tech applications to make this an unprecedented viewing spectacle with ancillary interactive content.

Starring: Natalie Portman, Jennifer Jason Leigh and Oscar Isaac
Directed By: Alex Garland
Rated: R
Running Time: 115 minutes
Paramount Pictures

I really wanted to like this movie. Despite a poor advertising campaign and some unimaginative trailers, I was optimistic that Alex Garland could make some magic out of nothing with “Annihilation.” The man been attached to some great films over the past couple of decades like “28 Days Later,” “Dredd,” and most importantly, “Ex Machina.” Whereas “Ex Machina” was sleek and smart, “Annihilation” is clunky and confusing.

It’s not that “Annihilation” is lacking in interesting concepts, it’s that they’re wrapped around predictable subplots and a ragbag of conflicting tones. The movie begins with an interesting sci-fi premise, an extraterrestrial phenomenon, called the Shimmer by the scientists investigating it, has been slowly enveloping the land around a coastal lighthouse for three years. The government has sent in several teams of soldiers into the Shimmer, only for them to never return. Except for one.

A confused Kane (Isaac) stumbles back into his home, into the loving embrace of his wife, Lena (Portman) who had assumed the worst after he went MIA. She knew nothing of his mission into the Shimmer and his mysterious return only brings her into the fray. In the hopes of learning more about the Shimmer, Lena joins an all-female team, which is heading into the Shimmer. What they encounter, is a bunch of red herrings, glazed over plot points and horror movie tropes.

Throughout “Annihilation,” I kept putting off these nagging issues with the script and structure of the story in the hopes that the ending would provide a worthy payoff to some of my frustration. Without giving away the ending, “Annihilation” seems content on ambiguity, but without any legitimate bread crumbs to lead viewers down one path or another. I have my own theories, but none of them feel as profound as the ones birthed from other sci-fi greats in the past few years like “Blade Runner 2049” or “Under the Skin.”

There’s also the trouble as to what kind of movie “Annihilation” wants to be. It begins as a sci-fi, but has elements of body terror, jump scares and clichés from average horror flicks that are slowly mixed in. A fear of the unknown comes with movies about aliens, but “Annihilation” is bad at developing tension because it forces its characters to have the minds of teenagers at Camp Crystal Lake. We watch this group in the Shimmer split up into groups, avoid taking the high ground in dangerous situations, and camp out for the night near corpses and other macabre scenes.

Even if “Annihilation” is bad, there’s something slightly noble about a bad movie that at least makes you think, and not just about the glaring plot holes. There are a couple of moments that are trying to speak volumes about our relation to nature and humanity’s destructiveness. However there’s no real follow-up to some of these burning ideas and questions that are raised. There’s really nothing left to ponder or chew on when you leave the theater. This might be one of the most disappointing aspects of “Annihilation.” It’s a beautifully shot film that hobbles from the start and then whimpers in its final moments.

SURVIVOR’S GUIDE TO PRISON

Starring:  Danny Trejo, Matthew Cooke and Susan Sarandon

Directed by:  Matthew Cooke

Rated:  Not Rated

Running time:  1 hrs 42 mins

Gravitas Ventures

When I sat down to write this review, I tried to think of a film that, upon its release, found itself on the front page because of the subject matter it covered.  All I could come up with was “The China Syndrome,” which was released in March 1979.  12 days after it opened, events unfolded at Three Mile Island which nearly mirrored the film.  Recently here in Kansas, a man named Lamonte McIntyre was released from prison after serving 19 years for a crime he didn’t commit.  That theme is repeated in filmmaker Matthew Cooke’s latest project, “Survivor’s Guide to Prison.”

The film introduces us to two very different people with one thing in common:  innocence.  Bruce Lisker was a white 17-year old boy when he came home one afternoon to find his mother dying from multiple stab wounds.  He called 911 but when the police arrived they took him into custody “for his protection.”  He would not see freedom again for 26 years.  Reggie Cole was a young black man who was also arrested for murder.  He was lucky.  He only had to fight for 16 years for his freedom.  Both men were the victims of shoddy police work, ineffectual representation and this country’s eagerness to throw people in prison.  And it’s not getting any better.

Narrated by a host of celebrities, among them Trejo, Quincy Jones, Danny Glover, Sarandon, Ice T and director Cooke himself, the film is a step-by-step, by the numbers guide on how to do whatever it takes to keep yourself out of prison.  As they tick through the bullet points – “Be Polite” is first and foremost – it’s almost humorous to see people like Trejo, his face weathered from having spent over a decade himself in prison, offer reminders on how to stay clean.  But the more they speak, the more you realize you’d better pay attention.  It is revealed that with all of the new and various laws being passed constantly, the average American can commit three felonies a day without knowing it.

As we learn more and more about life behind bars, the film also revisits Lisker and Cole, and they’re own struggles.  The true definition of irony comes when, five years into his sentence, Cole kills a man in self-defense.  Because of the circumstances that put him behind bars for murder, an innocent man is NOW a murderer.  Hidden camera and surveillance footage show the brutal way of life that is a constant for those incarcerated.

A sobering look at a life any of us, if enough things work against us, could find ourselves living, “Survivor’s Guide to Prison” is a film that should not be missed.

After tabulating the votes from more than 3,000 entries, “Get Out,” writer/director Jordan Peele’s debut feature, was chosen the Best Film of 2017 by the readers and staff of Media Mikes.   The film also nabbed Peele the award for Best Original Screenplay.

Director Guillermo del Toro was chosen the year’s Best Director for his film “The Shape of Water.”       

In the acting categories, James Franco was selected as Best Actor for his role in “The Disaster Artist” while Frances McDormand was chosen Best Actress for her performance in “Three Billboards Outside Ebbing, Missouri.

In the supporting categories, Sam Rockwell was named Best Supporting Actor for “Three Billboards” while Allison Janney was named Best Supporting Actress for “I, Tonya.”

“Coco” was chosen the year’s Best Animated Feature.

“Call Me By Your Name” was recognized for it’s Best Adapted  Screenplay.  Benjamin Wallfisch was named Composer of the Year for his work on “IT” and “Bladerunner 2049.”

Actors: Larry Roberts, Verna Felton, Barbara Luddy, Bill Baucom, Stan Freberg
Rated: G
Studio: Walt Disney Studios Home Entertainment
Release Date: February 27, 2018
Run Time: 76 minutes

Film: 5 out of 5 stars
Blu-ray: 4.5 out of 5 stars
Extras: 4 out of 5 stars

“Lady and the Tramp” was the first Disney animated feature filmed in CinemaScope. It is the sixth title to join the Walt Disney Signature Collection, alongside “Snow White and the Seven Dwarfs,” “Beauty and the Beast,” “Pinocchio,” “Bambi” and “The Lion King.” Walt Disney Signature Collection. This new release included three versions of the film, classic bonus material as well as three all-new features!

Official Premise: As one of the greatest love stories ever told, “Lady and the Tramp” is sure to melt the hearts of generations with its beloved characters, brilliant animation, memorable music and sweet sentiment. The animated treasure tells the story of Lady, a lovingly pampered cocker spaniel, and Tramp, a freewheeling mutt with a heart of gold. Through the Signature Collection edition, viewers can relive the pair’s thrilling adventures, sing along with the film’s unforgettable songs like “Bella Notte,” and swoon over one of the most memorable movie moments of all time—the iconic scene in which Lady and Tramp share a plate of spaghetti and an accidental kiss.

“The Signature Collection” includes the film on Blu-ray, DVD and also Digital HD. The audio and video haven’t changed since the last 2012, “Diamond Edition” Blu-ray release. That being said it is not like it is bad though, that release features a near flawless audio/video features. There are three versions of this film included. There is the original theatrical edition, a Sing-Along mode and a lastly a mode called Inside Walt’s Story Meetings, in which as you watch the film you hear reenactments of Walt’s story sessions with animators and see how their ideas were realized on-screen. This version is probably my favorite included here.

The new special features included are not life changing but are worth checking out still. “Walt & His Dogs” includes archival recordings and photos about the dogs Walt Disney owned and loved over his lifetime. Next up is “Stories from Walt’s Office” which takes us on a tour of Walt’s office suite on the Studio lot. Lastly the fun extra is a DYI called “How to Make a Meatball and Other Fun Facts About “Lady and The Tramp”” with teen chef Amber Kelley and Oh My Disney Show Host.

In the classic bonus features, this release carries over a few extras from previous Diamond Edition and also removes a few while moving most of the Diamond Edition’s extras to digital-only format accessible via sites like Vudu and Movies Anywhere. In the end, the means to re-purchase this relies on how much the digital HD copy and digital extras would be worth to you. I personally think it is worth it for myself. In future releases, I would like to see an attempt to upgrade the video and audio or at least attempt a 4K UHD release.

Related Content

• DVD Review “Puppy Dog Pals: Going on a Mission”
• DVD Review “DC Super Hero Girls: Intergalactic Games”
• Blu-ray Review “Rock Dog”
• DVD Review “Tangled: Before Ever After”
• Blu-ray Review “Sing”

Photo by KGE

Harrison Smith is the writer and director of the new horror film “Death House”, which is being called the Expendables of the horror genre! This film is jam packed with dozens of icons including Kane Hodder, Dee Wallace, Tony Todd, Bill Moseley and many more! B. Harrison took out some time to chat with Media Mikes about the film and what we can expect for the future!

Mike Gencarelli: Tell us about how you first got involved with “Death House”?
B. Harrison Smith: All of that can be found here. It’s my personal blog called Cynema. It has four articles called “The Road To Death House” series which answers everything you need to know.

MG: How much did Gunner Hansen complete before his passing?
BHS: Gunnar did the original script. That’s covered in the “Road to Death House” series on my blog. The script that’s shot is 90% mine. I kept his concept of the Five Evils and the issue of good and evil’s dependency on each other. However Gunnar’s original script was about a team of filmmakers going into an abandoned asylum where they were killed off. So it’s pretty different. He gave the script his blessing before he died. He was happy with what I did. He was such a good person.

MG: What was it like to work with so many horror legends?
BHS: Educational. They know so much. They’ve seen so much and how the industry has evolved and changed for the better and worse. I loved the fact that I grew up watching them in theaters and late night cable and video and now I work with them. That’s the best thing.

MG: Were there any talent that you reach out to that turned you down or that you weren’t able to get for this film?
BHS: Sure and it was due to scheduling. When the money finally moved it didn’t jive with everyone’s schedule. Robert Englund was in the middle of three projects and flying to Scotland. Bruce Campbell was smack dab in the middle of the Evil Dead tv show but they were really nice about it and supportive. What can you do? The project had been on and off again for years. They had to work. Hopefully the next one we will get them!

MG: What was one of the coolest moments you had on set during production?
BHS: There were a few but one that comes to mind was watching the interaction between Kane, Bill, Michael. They’ve known each other so long. They’re icons and they fuck with each other like high school kids. They did this three stooges “hello, hello, hello” bit and it was classic.

I also got to eat lunch with Sid Haig who just told me so much about the industry over the last 50 years. He’s a wealth of information and stories and I was so privileged to have him share them with me.

MG: On the flip side, what was the hardest part of the production?
BHS: Having a low budget and 24 day shoot schedule. I think most indie filmmakers will cite money and time as the biggest issues. There were no divas. No “creative differences.” The people part and crew part was easy. Time and money…they’re the hurdles.

MG: According to IMDB I see there is a prequel in the cards, “Dawn of 5 Evils”, is this next for you? Give us a tease on what we can expect?
BHS: Producer Rick Finkelstein wants it and I’ll oblige. It’s a prequel and that title will change. That’s just a working title for now but It will examine the backgrounds of the Five Evils and their origins.

MG: What is your wishlist cast for the next film in the franchise?
BHS: Ah hell, if I do that and leave anyone off then I piss off potential cast. I hope everyone for the sequel returns and I look forward to new faces as well.

MG: Fun question, if you could remake/reboot one horror film, what would it be?
BHS: I’m not against remakes when they’re warranted. There have been some great ones: “Invasion of the Body Snatchers” ‘78, “The Blob”, “Night of the Living Dead”. So if I had my choice, I’d love to get a crack at remaking “Let’s Scare Jessica To Death.” I love the original but I think there were things limited by budget and time. The original sits on my DVD shelf and it scared me since a kid.

MG: Favorite childhood horror film that inspired you to your current role today and why?
BHS: I always say the original “Jaws” is the movie that made me want to make movies. But I’m not sure I classify Jaws as a horror film. But that’s the one. I was 8 when I saw it in 1975 in theaters and I told my mom afterward that I want to make movies when I grew up. I wish she’d lived to see that happen.