CD Review: Behemoth “I Love You at Your Darkest”

“I Love You at Your Darkest”
Behemoth
Metal Blade Records
Tracks: 12

Our Score: 4 out of 5 stars

Black Metal heavy weights Behemoth have just released their 11th studio album titled “I Love You at Your Darkest” via Metal Blade Records. The album is the bands first studio release in four years and features 12 uniquely crafted tracks from the Gdansk natives who have been churning out their own signature blend of black metal since the early nineties. Vocalist/guitarist Nergal has stated that “It doesn’t get more blasphemous than this.” a claim which could be very, very true.

When a band like Behemoth and you releases an album titled “The Satanist” it might cause some to wonder if a black metal band can go much further than that. After listening to the twelve tracks which make up “I Love You at Your Darkest” I can tell you that the members of Behemoth (Nergal, Orion and Inferno) have not only matched the power and impact of their previous release but they may have found a way to take things one step further. The band is no stranger to controversy and in a recent press release Nergal talked about the album’s title, “It’s a verse from the Bible, It’s actually a quote from Jesus Christ himself”. For Behemoth to use it as the basis of our record, it’s sacrilege to the extreme.” Combine the back story of the title with the bands darkly colored fury and sleek production and you get tracks like the blast beat driven “Wolves ov Siberia” the haunting epic esque “Havohej Pantocrator” and my two personal favorites “Rom 5:8” and the droning riff driven “Bartzabel” which despite being lighter than the albums other eleven tracks still packs a punch and breaks up the release nicely.

“I Love You at Your Darkest” offers listeners more than just your run of the mill guttural vocals, down tuned guitars and obligatory blast beats. The band instead uses those techniques as a foundation to craft much more vast sonic landscapes that will appeal listeners time and time again. Even after a couple listens I still wanted to hear more. Albums that are able to keep a listeners attention time and time again are few and far between and Behemoth have packed each of the albums twelve songs with enough texture and instrumentation to keep your ears busy for a very long time.

Track Listing:
1.) Solve
2.) Wolves ov Siberia
3.) God = Dog
4.) Ecclesia Diabolica Catholica
5.) Bartzabel
6.) If Crucifixion Was Not Enough…
7.) Angelvs XIII
8.) Sabbath Mater
9.) Havohej Pantocrator
10.) Rom 5:8
11.) We Are the Next 1000 Years
12.) Coagvla

 

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Book Review: “Heavy Duty: Days and Nights in Judas Priest” by K.K. Downing w/ Mark Eglinton

“Heavy Duty: Days and Nights in Judas Priest”
Author: K.K. Downing w/ Mark Eglinton
Da Capo
Hardcover: 277 pages

Our Score: 2.5 out of 5 stars

As guitarist for the iconic British heavy metal band Judas Priest, Ken “K.K.” Downing lived the fast-paced, opulent life of a rock star. It was a far cry from his tedious, impoverished childhood in the heart of England. In “Heavy Duty: Days and Nights in Judas Priest”, Downing recounts his forty-plus years with the band recounting events such as his first meeting with vocalist Rob Halford and guitarist Glen Tipton to stories of touring with bands like AC/DC and Iron Maiden.

There aren’t many music fans out there who can’t name at-least one Judas Priest song. From “Living After Midnight” and “You’ve Got Another Thing Coming” to “Breaking the Law” the band has a memorable catalog that for many was the soundtrack of their youth. “Heavy Duty: Days and Nights in Judas Priest” is the chance for fans of the band to see just what was going on behind the scenes during the bands early years and on up through guitarist K.K. Downing’s departure from the group in 2011. Over the course of the books 277 pages the guitarist and his collaborator Mark Eglinton give detailed accounts of the bands formation, the growing pains all new bands go through and what the band was like during the recording of some of the most influential heavy metal records in music history. Downing is candid and no subject seems to be off limits as he recounts his own personal struggles as well as inner turmoil between band members, management and producers giving the reader a fly on the wall perspective that until now was not available.

At times I did find the stories to be a bit drawn out with a few too many “poor me” moments for my liking. Yes this is a memoir/autobiography and those types of things come with the territory however there were some redundancies and details that probably could have been thinned down or omitted completely with a little more editing. Do not get me wrong, the book still has a bunch a really cool moments and stories that aside from the people who lived it have/will never be experienced by most so being able to read about those is worth it. There are also some really great photos included the hardcover book comes with a super cool metallic like slip cover which will look awesome displayed next to other Judas Priest and music memorabilia.

DVD Review “PAW Patrol: Halloween Heroes”

PAW Patrol: Halloween Heroes
Street Date: September 11, 2018
Catalog: 59198274000 (US)
Running Time: 77 Minutes
Audio: English 5.1 and Spanish Stereo
S.R.P.: $10.99

Our Score: 4 out of 5 stars

It’s that time of the year! Halloween season is here, which is easily my favorite time of the year! The latest PAW Patrol DVD collection is jam packed with spooktacular adventures from the hit Nickelodeon series. I love the spooky episodes of “PAW Patrol” and this new collection of seven episodes are a must have for any fan of the show. There is even a super ghoul double-length special episode! This is a perfect collection of episodes to get you in the Halloween mood!

“PAW Patrol: Halloween Heroes” includes the following episodes: “Pups and the Ghost Pirate”, “Pups Save a Ghost”, “Pups and the Ghost Cabin”, “Pups Save a Bat”, “Pups Fall Festival”, “Pups Save the Corn Roast” and “Pups Save a Show”. I have SO MANY memories of my daughter and I watching “Pups Save a Ghost” I knew when she was little this episode used to scared her and yet she still watched it (proud horror fan daddy). These episodes are fun and yet still convey a good message for kids.
 

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Film Review: “A Star is Born”

A STAR IS BORN
Starring:  Lady Gaga, Bradley Cooper and Andrew Dice Clay
Directed by:  Bradley Cooper
Rated:  R
Running time:  2 hrs 15 mins
Warner Bros.

To quote “Beauty and the Beast,” it’s a tale as old as time.  Big star on the way down meets rising star on the way up.  They fall in love.  One embarrasses the other and their love is tested.  The tale is so old that it’s already been told, very well, three times before.  But the fourth time may be the best!

Jackson Maine (Cooper) is a popular singer who has lived his life on the road.  Once enjoying his time on stage, now he gets by with alcohol and drugs, showing up, plugging in then hurrying off-stage to the seclusion of his limo.  One night, while looking for a place to stop, he ends up at a drag club, where he gets the chance to listen to a young woman named Ally (Lady Gaga – I was just going to put “Gaga” but I’m not sure how the first name/last name thing works here.  I guess I could have put “Stefani Joanne Angelina Germanotta” but that would probably confuse you even more.  Ally does an old Edith Piaf song and soon Jackson is mesmerized by her voice.  He invites her out with him, where they buy some beer and talk about music.  When he drops her off at home she figures that’s the last time she will see him.  It isn’t.

A familiar story with enough new twists and turns to keep it fresh, “A Star Is Born” is a triumph.  Much of this praise must go to my rival Bradley Cooper.  (I know my wife loves me, but if Bradley Cooper came knocking I would be just a memory J).  As a first time director, especially in a film starring himself, there is an opportunity to make everything BIG and LOUD and, worse of all, put yourself front and center.  Cooper directs with a restraint that is almost unheard of with newbies.  He frames the story almost as if he’s shooting a documentary, and that close, inside look draws you into the story.  As an actor, Cooper is equally up to the task here.  His voice low and gruff (there’s a great line in the film where Sam Elliott, who plays his brother and who was also a musician, accuses Jackson of “stealing my voice”), he gives quite possibly the best performance of his career, which is saying a lot for a man who has already been nominated for the acting Oscars already in his career.

As Ally, Lady Gaga is outstanding.  We already know she can sing.  I haven’t heard a lot of her songs but I still include the night she showed up at the Academy Awards and sang “The Sound of Music” as one of my favorite all-time Oscar moments.  Not only is she in great voice, she has incredible acting chops.  Both the 1937 and 1954 versions of the film earned Oscar nominations for its stars.  The 1976 version swept the Musical Film Category and I’m predicting that both Lady Gaga and Cooper get nods for their work here.  Great supporting work from Andrew Dice Clay, Sam Elliott and Dave Chappelle make the film even more enjoyable.

4K UHD / Blu-ray Review “Skyscraper”

Actors: Dwayne ‘The Rock’ Johnson, Neve Campbell, Chin Han, Roland Moller, Noah Taylor
Directors: Rawson Marshall Thurber
Rated: PG-13
Studio: Universal Pictures Home Entertainment
Release Date: October 9, 2018
Run Time: 103 minutes

Film: 2.5 out of 5 stars
4K UHD: 4 out of 5 stars
Extras: 3 out of 5 stars

Usually when I see anything with the Dwayne ‘The Rock’ Johnson it immediately has my attention. But I have to admit, “Skyscraper” was never one of them. I just knew from the moment I saw the trailer that I wasn’t going to like this movie. It just seemed so generic and forgettable…and I was right. It’s basic, predictable and suffers due to that. People who are looking for a Johnson puts up 110% and it shows but this movie is just a CGI filled lame action film that I will not remember in a few months.

Official Premise: Fueled with adrenaline and high impact verticality,Skyscraperis led by superstar Dwayne Johnson who plays former FBIHostage Team leader, U.S. war veteranand amputeeWill Sawyer. While on assignment in Hong Kongas an assessor for security in skyscrapers, he comes to find the tallest and safest building in the world suddenly ablaze, and he has been framed for it. Wanted and on the run, Will must find those responsible, clear his nameand save his family who is trapped inside the building… above the fire line.

Outside of our megastar Dwayne Johnson, the film does have a solid supporting cast including Neve Campbell (“House of Cards”, “Scream” franchise), Chin Han (“The Dark Knight”), Roland Møller (“Land of Mine”), Pablo Schreiber (“American Gods”, “Orange is the New Black”) and Hannah Quinlivan (“Moon River”). The film will be available on 4K Ultra-HD combo pack which includess a 4K Ultra-HD Blu-ray + standard Blu-ray + Digital copy. I felt like the CGI showed through way too much in this film and it really had that sound stage feel…but the 4K transfer didn’t suffer. It is pretty solid for damn sure and it’s detailed beyond belief. I did a pause test and was blown away. They also didn’t cheap out on the soundtrack giving this film a rocking Dolby Atmos track as well as an Dolby TrueHD 7.1 track. Meh movie. Great A/V.

The special features here aren’t anything too special at all but I got to give the director credit for being very hands on. There is a solid Feature Commentary track by Director Rawson Marshall Thurber as well as some deleted and extended scenes also with commentary. There is a quick behind the scenes featurette called “Dwayne Johnson: Embodying a Hero–Go” and it shows some character development for the lead star. “Inspiration” introduces us to the real life amputee and motivational speaker Jeff Glasbrenner, the inspiration for Dwayne Johnson’s role of Will Sawyer. There are a few other featurettes including focus on the women characters in “Opposing Forces” and the stunts in “Kids in Action”. Decent but not amazing.

Film Review “Malevolence 3: Killer”

Director: Stevan Mena
Starring: Katie Gibson, Scott Decker, Adrienne Barbeau, Kelsey Deanne, Lela Edgar
Release Date: October 12th
MPAA Rating: R
Studio: Mena Films

Our Score: 4 out of 5 stars

I have known Stevan Mena for over 15 years, dating back to his first film “Malevolence”. I had a feeling then that this guy was going to be a director to watch out for. Fast forward to today Stevan has finally been completed his planned “Malevolence” trilogy , which also included the second film, “Bereavement”, which starred Michael Biehn (“Aliens”, “Terminator”) and gave Alexandra Daddario (“Baywatch”, “Texas Chainsaw 3D”) her first big break. “Malevolence 3: Killer” has not had an easy road to getting made, including the tragic death of a major cast member which caused a big road bump. With all that being said, I was a little nervous what to expect with the third film…but holy cow was I wrong. “Malevolence 3: Killer” is easily the best in the trilogy.

I don’t think Stevan Mena has received the full credit that he deserves for these films. You can tell that he wears a lot of hats on these productions. They have no budget yet show a much higher production value. I feel like he really gets the horror genre and knows how to setup a shot for a great scare. The scares in “Malevolence 3: Killer” are so effective. Honestly, I feel like a lot of horror films these days don’t get the scares right. I always feel like they are actually afraid to make you scared and these movies waste these opportunities. Mena doesn’t disappoint and has the timing down perfectly. I would have loved to seen “Malevolence 3: Killer” in a theater. Credit should also go to the film’s fantastic score as well for helping achieve that incredible suspense.

This trilogy takes it all back to the beginning following Martin Bristol, the boy who was kidnapped 10 years ago (in the first film), but he is not the same boy anymore. After being tortured and abused by his captor, Graham Sutter (in the second film), Martin is out on a rampage now and is not able to be stopped. Special Agent William Perkins and his team try and hunt down Martin as he heads back to his hometown to brings down a wave of terror down on it. Looking back on these three films, I do feel that this one ties it all together so well. I almost even feel like you can get by with watching this one and not having seen the previous films.

Like I mentioned above with, Alexandra Daddario in “Bereavement”, Stevan Mena really has an eye for talent. This film’s lead actress Katie Gibson is a another fine example. She is a very talented actress and I see her going places! Scott Decker, who died during production, played Agent Roland and was great as well. I am sure it wasn’t an easy task to complete this film with losing one of the leads but it came together well. Horror icon, Adrienne Barbeau, shows up for a little bit as well and her cameos is a great treat for us hardcore horror fans!

Now that this trilogy is completed, I would like to see what Stevan Mena has planned next. Given that “Malevolence 3: Killer” hasn’t had an easy road to release, i really feel like it ended up being a very effective horror film with some great scares, gory kills and solid acting. Horror fans need to see this film for sure! It is our job has fans to get the word out on this film and get people to see it because I don’t think that they are going to be disappointed.

Film Review: “Where Hands Touch”

 

WHERE HANDS TOUCH
Starring: Abby Cornish, Christopher Eccleston
Directed by: Amma Asante
Rated: PG-13
Running Time: 2 hrs 2 mins
Vertical Entertainment
 
The historical drama “Where Hands Touch” glances upon a subject that has been largely overlooked – the persecution of German citizens with African descent by the Nazi government. While their pre-World War II numbers were relatively small (less than 30,000), the Nazis still sought to isolate them socially and economically. They also implemented a barbaric plan of sterilization that was perpetrated against many African Germans. Much of this is brought to light in “Where Hands Touch,” but unfortunately the film, despite its’ horrifying subject matter, is often clunky and lacks the emotional impact of say a “Schindler’s List” or even “Defiance.”
 
We are introduced to Leyna (Amandla Stenberg, “The Hunger Games”), the daughter of an unnamed French African soldier and a German mother (Abbie Cornish, “Three Billboards Outside Ebbing, Missouri,” “Bright Star”), in the Spring of 1944 in the German Rhineland. She has recently turned 16 years old and the Gestapo, Nazi Germany’s secret state police, has taken an interest in her. Desperate to keep her daughter out of harm’s way, Leyna’s mother flees to Berlin with both her and Leyna’s younger half-brother where she mistakenly believes they can disappear.
 
Leyna’s aunt and uncle don’t want her around nor does the school she briefly attends. All the while, Leyna catches the eye of Lutz (George MacKay, “Captain Fantastic”), a teenage boy who is an active member of the Hitler Youth and whose father (Christopher Eccleston (“Doctor Who,” “Thor: The Dark World”) is an officer in the Nazi SS. As she begins to fall under increased scrutiny, Leyna and Lutz develop a romance, much to the chagrin of Leyna’s mother who warns her it will only lead to their ruin. The budding teen romance, which becomes sexual, is suddenly halted when Lutz is called up to the Russian front by increasingly desperate Nazi regime and Leyna is hauled off to a concentration camp.
 
Historically speaking, writer/director Amma Asante (“Belle,” “A Way of Life”) does a sound job of portraying the ever-looming danger African Germans had to endure. Through Leyna’s terrified eyes we also see the atrocities committed against anyone else the Nazis deemed not human, best epitomized in a shocking execution scene. However, the damage caused by the bombing of Berlin by the Allies during the winter of 1943-44 is barely reflected on camera and the concentration camp scenes misfire.
 
Cornish delivers a performance that deftly captures a mother’s desperation and Eccleston shines as a father who makes a ghastly decision. Beyond that, the acting is mediocre at best and downright clumsy at worst. It often feels like an overly long, bad stage play, with uninspiring camera work in the beginning despite Asante’s good intentions. “Where Hands Touch” is certainly a work cinema brimming with good intentions as it’s a story that should be told amidst a myriad of Holocaust-related stories which should never be forgotten. Unfortunately, the quality of work is less than average.

Film Review: “Jane Fonda in Five Acts”

 

 

JANE FONDA IN FIVE ACTS

Starring:  Jane Fonda, Robert Redford and DickCavet

Directed by:  Susan Lacy

Rated:  Not rated

Running time:  2 hrs 13 mins

HBO Films

 

Here is my Jane Fonda story.  In 2005, Ms. Fonda was in Kansas City to promote a book she had written.  I had been able to get my name on the press list in the off chance of getting a few minutes with the Oscar winning actress for a quick interview.  I can’t remember what, but something came up last minute and I was unable to attend.  Imagine my surprise the next morning when my phone began wringing.  It seems that while she was greeting people in line, a former Vietnam War veteran named MICHAEL SMITH spit tobacco juice on her.  Somehow, my name and contact info was discovered on the press list and people assumed it was me.  I received over 1,000 emails, some thanking “me” and others condemning “me.”  I even was invited to address an upcoming Marine Corps reunion in California.  After about two weeks the furor died down, but it was pretty exciting there for a while.

 

It was almost exactly 47 years ago (September 19, 1971) that President Richard Nixon, on one of his many tape recordings, asked an aide, “What in the world is wrong with Jane Fonda?”

The honest answer?  Not a damn thing!

 

“Jane Fonda in Five Acts” takes a look back at the actresses life and career, beginning when she was just known as Henry Fonda’s daughter.  Along with James Stewart, no other actor so embodied the image of the normal American male than Henry Fonda.  He was, according to his daughter, “a national monument.”  But behind that image was a man who could not express emotions unless he was in front of a camera.  Ms. Fonda is shown a photo of the family at a picnic, to which she explains that the image is staged.  The smiles forced and phony.  She can tell by the look in her mother’s face that she is not happy (Ms. Fonda’s mother dealt with many mental issues and would eventually kill herself.  She and her brother, Peter, were told she’d had a heart attack.  It wasn’t until years later, when Ms. Fonda read about it in a movie magazine, did she learn the truth).

 

As a young woman in her early 20s, she makes her way to the home of famed acting teacher Lee Strasberg.  He accepts her into his classes and, after a couple of months, puts her on the stage.  He recognizes her talents and encourages her to pursue them.  She begins to do small parts on television and in film while also modeling.  Tired of always doing the “cheerleader” roles, she heads to France, where she meets director Roger Vadim.  What follows is marriage, a child and a career changing role as the title character in “Barbarella.”

 

Back in America, she accepts a role in what she calls her first “real” movie, Sydney Pollack’s “They Shoot Horses, Don’t They?<” earning her first of seven Academy Award nominations. (NOTE:  I didn’t see “They Shoot Horses, Don’t They?” until the mid 1980s at a tribute to Sydney Pollack.  If you haven’t seen it, I strongly suggest you do).  Just as she is being taken seriously as an actress she does two things:  cuts her hair and visits Vietnam.

Fonda, shown here with Roy Scheider, won her first Academy Award for her role in the film “Klute.”

Depending on the age of the people you speak with, Fonda is either “a great actress” or “Hanoi Jane.”  There doesn’t seem to be a middle ground.  She was one of the first major celebrities to speak out against the United States’ involvement in Vietnam.  If there is any criticism now it is some of the ways she spoke out.   In the late 1980’s she apologized to the veterans and their families if her actions make things tougher for them.  A chance meeting with former vet and anti-Vietnam activist Ron Kovic gives her the idea for the film “Coming Home,” which would win her her second Oscar.

 

Now married to activist Tom Hayden, she puts together films that speak to her beliefs.  Many people scoffed at “The China Syndrome,” a film that dealt with a fictional melt-down at a nuclear power plant.  However, two weeks after the film opened there was a real incident at Three Mile Island.  Nobody was scoffing then.  In one of the most emotional moments of the documentary, Ms. Fonda talks about the only film she did with her father, “On Golden Pond.”  She recalls how, during a scene in the film, she surprised her father with a slight touch of his arm, causing the actor to cover his eyes to hide the tears welling up in them.  This would be Henry Fonda’s last film and it earned him his first Academy Award.

 

As the years progress we learn more about the actress and her life.  Needing to raise money for an organization she and her husband had founded, she produced her own workout video, which today remains the most popular home video ever made.  We follow her through her divorce from Hayden and her marriage to media mogul Ted Turner.  She speaks highly of all three of her ex-husbands.  We also meet some of her children, who explain that growing up was not all limos and mansions.  However, in the end, you end up with an amazing story of an amazing person.  At age 80, Jane Fonda is still going strong.  Here’s to act number six!
 

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Film Review: The Sisters Brothers

THE SISTERS BROTHERS
Starring: John C Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed
Directed by Jacques Audiard
Runtime: 121mins
Rated R
Annapurna Pictures

Jacques Audiard’s The Sisters Brothers opens up with its  many company credits appearing from the bottom of the screen and appearing upwards. It’s an off-kilter way to read them but absolutely fitting when what follows is a distinctly off-kilter western. Set in 1851 during the US gold rush, Audiard’s film has all the pieces of a traditional western–the horses, the saloons, the canned beans– but through its four strong leads is able to explore so much more.

Ostensibly The Sisters Brothers is about Eli (Reilly) and Charlie (Phoenix) Sisters, a pair of assassins in the old west who are on a hit job on behalf of their wealthy client, the Commodore (a blink-and-you’ll-miss-him Rutger Hauer). The Commodore is after a gold seeker, Hermann Warm (Ahmed), whose chemical formula reveals gold just by pouring it into the water. A game changer for treasure hunters. Jake Gyllenhaal’s John Morris has been tailing Warm as he makes his way to San Francisco and leaving breadcrumbs for the Sisters to follow. Trouble is Hermann and Morris turn out to be oddly kindred spirits and Morris’s designs on Warm’s death start to wane. While Morris wrestles with his duties to the Sisters and Warm’s idealism, the Sisters cope with their own infighting. Eli is grasping at a world where they are free of needing to take on this dirty work to survive while Charlie can see no other purpose for himself than drinking and killing. The setup is relatively simple but in campfire chats and detours, mines a deep well of complex themes at play in this unforgiving environment. There’s an air of tragedy around all the leads that undercuts the masculine bravado that so often drives gunslingers in westerns.

If there are John C Reilly-philes out there–and really, why wouldn’t there be?–these next couple months will be providing them with a wealth of his screen time. Obviously there’s the big Disney sequel with Ralph Breaks the Internet, the more familiar comedy pairing with Will Ferrell in Holmes and Watson and soon after that the UK will see him in the biopic Stan & Ollie. But I will go out on a limb and say that his work here for Jacques Audiard’s contains his most interesting performance of the bunch.  As the older brother Eli, he is the more physically imposing presence of the two but continually reveals more and more layers of sensitivity as the film goes on. He has a token of a past romance in the form of a shawl he treats with reverence, he’s open to trying these newfangled tooth brushes that are going around. Most of all he carries the weight of having to take care of his damaged younger brother who would likely drink himself into oblivion without Eli nearby—not least of all because of their shared troubled childhood. It’s by far the quietest performance of the quartet but it’s extremely touching. The long and winding road that this small family unit takes is at every point unpredictable and where Audiard ultimately goes was unexpectedly affecting. A beautiful and unique entry into the genre.
 

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Film Review -“Life Itself”

LIFE ITSELF
Starring:  Oscar Isaac, Olivia Wilde and Antonio Banderas
Directed by:  Dan Fogelman
Rated:  R
Running time:  1 hr 58 mins
Amazon Studios

If only all movies could begin like “Life Itself.”  A single camera shot but one that is narrated by Samuel L. Jackson in all his glory!  You can’t help but laugh during the first five minutes of this film.  Which is a good thing, because you’re probably going to be crying for the other113 minutes!

We meet Will (Isaac) and Abby (Wilde) in the middle of what seems to be an incredible relationship.  Living happily together with their dog (a dog with the greatest name ever used in film), it seems like their life together will be perfect for all time.  That is until fate steps in.

A well written but slowly paced film, the “Life Itself” poster tells us the movie is written and directed by the man who created the popular television show “This is Us.”  I haven’t watched it but my wife does religiously and, judging from the amount of Kleenex she goes through each week, I assume it’s a weep-fest.  This movie certainly is.  The film jumps around in time, showing the audience how Will and Abby met, their life together and their all too soon separation.  In between the vignettes you get to spend time with Will’s parents, played by Jean Smart and Mandy Patinkin.  It is their relationship with their granddaughter that makes up the second act of the film.  Act three is the longest – and the most drawn out.  It deals with characters who are peripheral to other two stories, though we are not at first sure how.  It takes place in Spain, where a wealthy land owner (Banderas) falls in love with the wife of one of his workers.  The various extended scenes not only begin to drag, they are delivered in Spanish, which means it’s going to be a long night reading subtitles!

As I mentioned, the film is well written.  I can see why it found itself on the 2016 list of the best unmade screenplays in Hollywood.  There are a few laughs, among them Isaac comparing the vocal stylings of Bob Dylan to the co-pilot of the Millennium Falcon. Of course it’s even funnier to laugh if you know that Isaac is also a recurring character in the “Star Wars” film series.  And the rest of the cast are equally endearing.  The ending comes across as a little too far-fetched but still pretty well thought out.  But be warned, make sure you bring your Kleenex with you, because “Life Itself” makes “Manchester by the Sea” look like the second coming of “Airplane!”

Film Review “An American in Paris – The Musical”

Starring: Robert Fairchild and Leanne Cope
Directors: Christopher Wheeldon, Ross MacGibbon
Producer: Stuart Oken
Trafalgar Releasing
Running Time: 2hr 40mins
Release date: September 20, 2018

Our Score: 4 out of 5 stars

In the mid 90’s, I was working at a old school mom and pop video store, which is where I also happened to meet my wife, I remember us having Gene Kelly binge fests before binging was a thing. We rented all of this movies including “An American in Paris”, the 1951 movie. The dancing! The music! This film was always a favorite of ours and it still stands the test of time. When the play was set to open a few years ago in Paris December 2014. I knew I had to see this production for sure. I was able to catch it on a National Tour and it was unforgettable. This live taping was filmed during the award-winning musical’s London run and features original stars Robert Fairchild and Leanne Cope. If you haven’t had a chance to see this on a stage, I would say make that a priority but this filmed version is also so beautifully done and packs the magic that was brought from the stage performance. Worth checking out!

Official Premise: This breathtakingly beautiful Tony® Award-winning Broadway musical, inspired by the Oscar® winning MGM film, tells the impassioned story of discovering love in the ‘City of Light’. Featuring the gorgeous music and lyrics of George and Ira Gershwin (including the classic hits ‘S Wonderful and I Got Rhythm), stunning designs, and show-stopping choreography. With a record-setting 28 five-star reviews from critics, An American in Paris is coming from London’s West End to a cinema near you. 

One of the items on my bucket list is to definitely catch a play in West End. This recording came from a 2017 performance there and even though I couldn’t make it, we are able to still enjoy it at your local theater. I have been noticing that the recording of stage shows have been show in theaters much more commonly like last year “Disney’s Newsies” was released also in the same fashion. This production is simply beautiful. I have seen A LOT of shows on Broadway in NY and quite a few in Orlando, FL area also. But London is on point and really delivered such an beautiful magical journey with this play.

Honestly, I am just happy that the memory of people like Gene Kelly are still being preserved in today’s time where the old timers are fading away.  The music is so wonderful and I love how the songs are perfected for the musical format. The stars, Robert Fairchild and Leanne Cope, have great chemistry together and what talent actors they are! If you don’t catch a chance to see this musical, I have feeling it is not going away anytime soon. Hopefully, a Blu-ray release will follow these screenings and I have a feeling we are going to have several more tours and revivals over the years for this musical. Experience the Broadway hit An American In Paris in cinemas September 20 & 23. Click here.

Theater Review: “Chicago” – Kansas City

CHICAGO
September 14, 2018
Starlight Theater – Kansas City, Missouri
When the Kander and Ebb musical “Chicago” opened on Broadway in 1975, it caused a sensation.  The show, directed and choreographed by the great Bob Fosse,  played for three years and earned an impressive (11) Tony Award nominations.  Sadly, it didn’t win any, running into the juggernaut that was “A Chorus Line.”
In 1996, the show was revived on Broadway and that version fared much better at the Tonys, taking home (6) of the (8) awards it was nominated for, including the award for Best Revival of a Musical.  What’s even more impressive is that, since November 14, 1996, “Chicago” has never left Broadway, earning the right to call itself the longest running American musical in theater history!    This weekend, the touring production made its way to Kansas City and, despite some technical difficulties, greatly entertained.
We meet Velma Kelly (Amra-Faye Wright) as she entertains her nightclub audience with the show’s signature number, “All That Jazz.”  We follow this with a quick peek into the bedroom of Roxie Hart (Angel Reda) to discover her in an argument with her lover.  Moments later, Roxie shoots him dead. When the police arrive, Roxie’s husband, Amos (Paul Vogt) takes the blame for the shooting, but quickly recants when he learns the truth.  Roxie is taken to jail, where she will await trial for murder.  But not before a little singing and a lot of dancing!
There are a million reasons to see this show at Starlight.  First off, it’s one of the best outdoor venues in the country.  The shows are usually excellent or, if not, entertaining.  “Chicago” boasts an amazing cast and a top-notch orchestra.  Both Ms. Wright and Ms. Reda (who is from nearby Overland Park, Kansas) are strong dancers with great vocal chops.  My quibble above regarding technical difficulties comes from the fact that, for the first hour of the show, there was an obvious problem with Ms. Wright’s body microphone.  The fact that I could hear her in my seats stems from the fact that she can belt out a song.  Once the problem was fixed both actresses were at the top of their game.
The rest of the cast is equally strong.  As publicity loving attorney Billy Flynn, Peter Lockyer is as smooth as silk.  Jennifer Fouche’ steals her scenes as Matron “Mother” Morton and Mr. Vogt puts an ache in your heart as he sings “Mr. Cellophane.”   The choreography (by the amazing Ann Reinking, and based on Fosse’s original work) is spectacular, delivering in spades the moves that are so associated with the late choreographer.
If you’re looking for some fun under the stars this weekend, I’d highly recommend a trip to “Chicago!”

 

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Film Review: “Lizzie”

Starring: Chloë Sevigny, Kristen Stewart, Jamey Sheridan, Fiona Shaw, Denis O’Hare
Directed By: Craig William Macneill
Rated: R
Running Time: 1hr. 45mins.
Roadside Attractions

In many ways, this is the perfect time of year to release Lizzie. As we enter the fall, the movie theaters turn to smaller dramas while basic cable crams its schedules with true crime and hauntings in the run up to Halloween. The axe murders of Abby and Andrew Borden have always figured heavily into the latter. So much so, it occurred to me while watching Craig William Macneill’s carefully crafted depiction of Lizzie Borden that I had never seen a version of this story that wasn’t hyper campy. A quick search on Youtube turns up ample “dramatic re-enactments” and even a Dance Moms routine. Perhaps anticipating that audience, director Macneill serves up Abby’s body mere moments into his film before rewinding back at the investigator’s prompt to Lizzie, “Did your father have any enemies?” Did he ever. What follows is a drama that simmers with tension between its small cast led commandingly by Chloë Sevigny and Kristen Stewart.

In 1892, Lizzie shares a modest Massachusetts house with her father Andrew (Jamey Sheridan), stepmother Abby (Fiona Shaw) and sister Emma (Kim Dickens). Lizzie is old for being unmarried and her community—but her father most of all—isn’t shy about treating her as a pariah. Lizzie having a seizure (or “spell” if you’re old timey) in public only adds fuel to the case for sheltering her. Into their home comes an Irish maid, Bridget Sullivan (Stewart), who Lizzie forms a connection with. Before you can say steamy pizza rolls, they are passing notes and rendezvousing in the family shed.

As far as I can tell, the theory for Lizzie’s sexuality being a part of this case, aside from her never marrying, comes from a later in life “crush” on an actress of the time. Whether or not you buy into this particular take really isn’t the concern of this film which draws strength from the bond between Sevigny and Stewart. When Andrew turns predatory towards Bridget, Lizzie’s anger towards him is stoked as is her motivation to sabotage his affairs. Affairs which include compromising Lizzie’s inheritance. Likewise when Lizzie’s uncle (a snarling Denis O’hare, always a welcome addition) tries to intimidate her, Bridget makes her presence known and he sees himself out. Though their society is rigidly patriarchal, under this roof the men are outnumbered and Macneill makes great use of the confined space to reinforce that. The soundtrack remains sparse, giving dominance instead to the ambient sounds of the household. The creaking wood of the stairs and bedrooms might as well be a character unto itself, and gives the whole piece an extra level of claustrophobia. It works really well for this story which is essentially a slowly escalating war between father and daughter.

As we march on through the final acts, the story does slow down with some time jumps between the murders and the aftermath. It’s as though to let us see how an obviously guilty (in this telling of it anyway) Lizzie might sell her innocence to investigators when really that could have wrapped up more strongly with their credible—if still sensational— take on this infamous case.

Film Review: “The Little Stranger”

THE LITTLE STRANGER
Starring Domhnall Gleeson, Ruth Wilson, Charlotte Rampling and Will Poulter
Directed By Lenny Abrahamson
Rated R
Runtime: 1hr. 51mins.
Focus Features
The pitfall of turning a gothic tale into a feature film seems to be Hollywood’s tendency to sell it as a horror film. As most trailers do, they cram the most exciting visuals or scares into two minute bites hoping to draw that genre’s audience while never considering the ill will they’re potentially engendering with such a mischaracterization. It fascinates me as far as choices go in this age of Cinescore post-screening chatter although I can’t begrudge the trailer makers for their need to get butts in seats. I say this all up front because that is the case with Lenny Abrahamson’s The Little Stranger, an adaptation of the 2009 novel by Sarah Waters. What they really have is a carefully crafted and, critically, a glacially slow paced period drama where the “big” bloody moments are few and far between. To be clear, I actually am more of an ideal audience member for English period drama than horror but even my limits were tested. The talented cast languishes in beautiful atmosphere and effective sound design that amounts to a pile of supernatural McGuffins.
The year is 1949 and Dr. Faraday (Domhnall Gleeson) is summoned to Hundreds Hall to check in on the Ayres family’s young maid, Betty (Liv Hill). Betty isn’t sick so much as she’d like a doctor’s excuse to send her back home. The drafty house’s halls don’t sit well with Betty. This uneasiness is chalked up to youth and inexperience but as the doctor learns, her line of thinking isn’t isolated among the inhabitants. Roderick (Will Poulter), the man of the house and brutally scarred up WW2 vet, also swears by a malevolent presence that’s out for his family. Again, dismissed by the rational doctor as well as Roderick’s caretaker sister Caroline (Ruth Wilson). To complicate things, Faraday has a kind of reverence for the place having been enchanted by being brought there as a child in 1919 with his mother, then a member of the house’s full staff. Over all of this lies the spectre of Caroline and Roderick’s dead sister whom the young Faraday had a brief encounter with during that long ago visit. Faraday’s love for the estate drives him to grow closer to the Ayreses, Caroline in particular.

I was excited to check out The Little Stranger, being a fan of Abrahamson’s previous three films (all also adaptations) as well as Domhnall Gleeson who is consistently reliable. The trouble is The Little Stranger can’t quite decide what it wants to be. The awkward romance between Faraday and Caroline occupies far too much screentime for where it ultimately goes while the horror and supernatural aspects of the story pretty much plateau rather than ramping up to a satisfying conclusion. I couldn’t tell if said conclusion was actually meant to be a twist or not because I had connected the dots so so long before the story wended its way to meeting me there and when it arrived, did not add anything exciting. I suspect Waters’s novel made much of the turmoil the Ayres family finds themselves in in Hundreds Hall but the film leans too heavily on its production design to fill in the gaps of its stilted characters.

Film Review – “Puzzle”

PUZZLE
Starring: Kelly Macdonald, Irrfan Khan, David Denman
Directed by: Marc Turtletaub
Rated: R
Running Time: 1 hr 43 mins
Sony Classics
 
It’s sounds cheesy I know, but there’s nothing puzzling about “Puzzle,” a wonderful new drama based upon a 2010 Argentinian film of the same name. Directed by Marc Turtletaub (“Gods Behaving Badly”), who is perhaps better known as a producer of such silver screen works as “Loving” and “Little Miss Sunshine,” “Puzzle” is an engaging tale about a woman’s empowerment after being taken for granted for at least all her adult life. The spark which fans the flames comes from nothing less than a 1,000-piece puzzle set.
 
Anges (Kelly Macdonald, “Brave,” “No Country for Old Men”) is a suburban, soft-spoken, anti-technology housewife stuck in the same routine every day – getting her husband, Louie (David Denman, “The Office,” “13 Hours”) up for work, cleaning, shopping, cooking for three men, and volunteering at church. That’s pretty much her entire life. She does know she is stuck in this monotonous cycle, but she is unwilling or unable to break free.
 
We get a taste of this right at the beginning when a birthday party turns out to be one she has thrown for herself, complete with a house full of guests and a cake. However, Agnes, for whom we instantly feel a great deal of frustration for, is more intent on fixing a broken plate than being around other people. Afterwards, she discovers a gift from a friend – an orange and brown-hued map of a world she has only dreamed of seeing. With the simple placement of one piece the art of puzzling suddenly becomes an obsession for her.
 
The thrill she gets gives her the confidence to text Robert (Irrfan Khan, “Jurassic World,” “The Lunchbox”), a champion puzzle player who is seeking a doubles partner. A wealthy inventor who spends most of his days watching catastrophes on the news, Robert is surprised by how fast Agnes is. It turns out, though, that they are both lonely souls. Robert is recently divorced while Agnes suffers from being constantly belittled and taken for granted by Louie. When sparks fly it sets Agnes’s world on fire and while it scares her to death it also gives her a newfound confidence.
 
Turtletaub has crafted an evenly-paced work of cinema with subdued colors throughout. The exceptions are often the puzzles themselves when color is emphasized. He also draws out an excellent performance from Macdonald, which could be the best she has delivered. Macdonald effortlessly fleshes out her character’s extreme timidity while infusing her with enough likability that you can’t help but root for her as she transforms into a ferocious butterfly. The physical chemistry between her and Khan comes off as awkward, but the dialogue they share is beautifully written and delivered. Throughout his career, Khan has often had a soulful, philosophical way of conveying lines and he doesn’t disappoint here.
 
“Puzzle” is certainly not a ground-breaking work of cinematic art nor will it probably rank among the pantheon of the best movies of the year. Still, it remains a sweet, delightful work that is as pleasing as finishing a puzzle on the porch while a gentle spring rain pitter-patters on the roof above.