Fantasia 2023 review: ‘HOME INVASION’ is one of the year’s most upsetting films.

HOME INVASION

Home Invasion stillUtterly fascinating, this documentary horror hybrid effectively puts the fear of God into the audience. The film begins by sharing the history of each incarnation of what we now refer to as the “Ring” security camera, each inspired by a recurring nightmare. Historical recounting gets the creepy treatment with a random subject’s security footage playing in its fisheye lens version behind the storytelling text. There is no formal dialogue. This voyeuristic nightmare is unlike anything we’ve seen before, featuring videos of everything from natural disasters to doorstep theft and animal encounters to delivery people behaving badly and creatively.

The score is bone-chilling, with its piano cords striking. It’s something straight out of hell. But, the film is even scarier than it initially appears when we learn the global and societal impact of advancing technology. Cinematic tropes alone reflect the world’s potential terror. Fantasia 2023 audiences get a taste of a film that would be a perfect Fall statement at MoMA. HOME INVASION is exceedingly disturbing. If anything, it reminds you how quickly the scales of good and evil tip. It will haunt you.


Official selection – Berwick Film & Media Arts Festival 2023
Berlin International Film Festival 2023
Las Palmas de Gran Canaria 2023

DIRECTOR

Graeme Arnfield

PRODUCER

Graeme Arnfield

WRITER

Graeme Arnfield

SOUND DESIGNER

Sarah Naylor, Baudoin Oosterlynck

EDITOR

Graeme Arnfield

Barbenheimer: Notes from the Front Line

Barbie and Oppenheimer. Two unlikely partners who teamed up to revive the idea of a double feature, and to yield a truly blockbuster opening week for both films. My wife and I got in on the Barbenheimer chaos and emerged on the other side bruised but exhilarated. We saw Barbie first, and then Oppenheimer – I feel the inverse order may have actually been healthier for my psyche. Walking out of Oppenheimer into the bright weekend sun, I felt myself grappling with, even overwhelmed by, large universal questions. I could have really used some of Barbie’s brightness at that moment.

In many ways, these two films could not be more different. One is about a globally known and distributed children’s toy, the other the founder of the atomic bomb. One embraces and explores femininity and the female condition, whereas the other features maybe 4 female characters in total. One is bright and colorful (at least on the surface), whereas the other is dark and moody. On paper, this would not seem to be a great wine pairing.

There are, however, areas where the two films are quite complementary. At the end of the day, both films serve to investigate the humanity within very public, idealistic figures. Barbie is a toy and Oppenheimer a human, but they both exist today as contrasting symbols. Barbie was widely touted as a type of feminine ideal (although one that has been rightfully questioned and interrogated as a product of problematic patriarchal influence) and Oppenheimer as a symbol of America’s mental and physical supremacy.


Both films also ask complicated questions surrounding the way ideals or symbols exist or endure once they are exposed to the whims of the broader world. When Barbie and Ken leave Barbieland, they quickly learn that what they believed to be universal truths no longer apply. The way they see themselves may not be how others see them. Similarly, an initial vision for how the atom bomb might be leveraged quickly shifts when the weapon rolls out of the lab and into the hands of the US military. Both Barbie and Oppenheimer are forced to realize that intention doesn’t necessarily translate to reality.

Finally, both films also invite the audience to look inwards and ask themselves hard questions. As a cisgender white male, the common theme that resonated for me was that of complicity, but others may find different points of resonance.

Ultimately, I hope that the Barbenheimer experience motivates more audiences to seek out double features. I just hope the next duo is a little less heavy, and maybe a little shorter.


 

SXSW 2023 Midnighters review: Ted Geoghegan’s ‘BROOKLYN 45’ is one of the year’s best films. Full stop.

Ted Geoghegan returns to SXSW 2023 with a story of war, trauma, and the ghosts we cannot leave behind. In BROOKLYN 45, a group of emotionally wartorn friends meets up to toast to a lost loved one. Politics, paranoia, and the realities of secrets complicate a seemingly mundane seance. Secrets could be the death of their friendship.

The production design by producer Sarah Sharp is enveloping. My eyes darted from left to right only to discover some new book, a photograph, or war memorabilia set against green silk wallpaper. Every color pops. Robert Patrick Stern‘s camerawork and long-take choreography are stunning. Once the seance begins, the regular parlor tricks commence, but they are so triumphant that I gasped. Brian Zurek’s special makeup effects are startling as hell. The score by BLITZ//BEIN is skillfully layered.

This cast has the chemistry of movie dreams. Ron E. Rains is Bob, Marla’s mild-mannered husband. He is jealous of this group’s closeness, overshadowed by their personalities and accomplishments, but he listens and calculates. Ron E. Rains has a startling arc. Kristina Klebe (Lucky) is Hildegarde. Her confidence and vulnerability are captivating. Her chemistry with Anne Ramsay stuck with me for hours after the credits rolled.

Ezra Buzzington is the hard-line skeptic as Paul. Clad in his Magor’s uniform bespangled with medals, his bristly approach to patriotism is all too familiar even now. His audibly growing disdain makes the audience squirm. Jeremy Holm is Archie. He has the perfect touch of panache from his slicked-back hair, mustache, and crimson jacket. His looming figure, combined with his humor, creates a dazzling performance.

Larry Fessenden ( Depraved, Jakob’s Wife) lives in the role of Hock. Hone in on his minute mannerisms because they are chef’s kiss. His monologue sets up the emotional stronghold of the film, and he nails it. Anne Ramsay plays Marla, a top interrogator. She is a charming, strong-willed, level-headed woman who leads with equal parts head and heart. Ramsey owns every frame.

I know Ted Geoghegan. He is genuine, funny, kind, and fiercely dedicated to his craft. That does not mean I have to like his work. Knowing a filmmaker often makes separating the artist from the friend challenging. I tend to be harsher because that is my job. I can say without hesitation BROOKLYN 45 is spectacular. Geoghegan’s dialogue is cheeky, heartfelt, and vitriolic. The film could easily be a Tony-winning play. It would seamlessly transition to the stage and be equally as glorious. I would pay so much money to see that production. The script is unpredictable. Twist after twist had my mouth on the floor. BROOKLYN 45 is a dazzling mix of trauma and terror, politics and poltergeists. SXSW 2023 audiences can boast they saw it first.


 
Mar 12, 2023
10:00pm11:32pm
 
Mar 14, 2023
12:00pm1:32pm
 
Mar 17, 2023
12:00pm1:32pm
 

Credits

Director:

Ted Geoghegan

Executive Producer:

Adam Hendricks, Greg Gilreath, Emily Gotto

Producer:

Seth Caplan, Michael Paszt, Pasha Patriki, Sarah Sharp

Screenwriter:

Ted Geoghegan

Cinematographer:

Robert Patrick Stern

Editor:

Lisa Hendricks

Production Designer:

Sarah Sharp

Music:

Blitz//Berlin

Principal Cast:

Anne Ramsay, Ron E. Rains, Jeremy Holm, Larry Fessenden, Ezra Buzzington, Kristina Klebe

NYJFF 2023 capsule review: ‘SHTTL’ is already one of the year’s best films.

SHTTL

Written and directed by Ady Walter, SHTTL takes place in a secluded imaginary Yiddish Ukrainian village on June 21st, 1941. The audience thinks they are watching a film about small-town politics. In actuality, SHTTL highlights a real moment in history. New York Jewish Film Festival 2023 is lucky to have such an extraordinary piece of cinema to share with audiences.

Cinematographer Vladimir Ivanov captures the film in one single take. A technical wonder, SHTTL pulls a visual bait and switch made famous in The Wizard of Oz. In this instance, the use of color distinguishes the past and present. This device is emotionally consuming and undeniably dazzling.

This enormous cast gives us some of the most gut-wrenching performances of the year. Keep in my the film is entirely in Yiddish. Do not let this scare you aware! Star Moshe Lobel starred in the critically-acclaimed Off-Broadway Yiddish version of “Fiddler On The Roof.” As Mendele, Lobel carries you in his pocket in this captivating tale of religious ideology, family, love, and loss. Boasting an ending that will have your heart in your throat, SHTTL is a gem. It is a film that deserves a viewing on the loftiest screen available. This film left me breathless.


SHTTL
Ady Walter
Ukraine/France, 2022, 114 min.
Yiddish and Ukrainian with English subtitles
U.S. Premiere

Monday, January 16, 5:30pm
Tuesday, January 17, 1pm


NYJFF 2023

THE 32nd ANNUAL 
NEW YORK JEWISH FILM FESTIVAL,
 PRESENTED 
JANUARY 12-23, 2023


 

2022 Gotham Awards Nominations feature some of year’s best surprises.

2022 Gotham Awards Nominations Full List 

 

Best Feature Nominations go to Aftersun, The Cathedral, Dos Estaciones, Everything Everywhere All At Once, and Tár.

New York, NY (October 25, 2022) – The Gotham Film & Media Institute announced today the nominations for the 32nd Annual Gotham Awards, singling out 23 feature films, 15 series, and 35 performances in twelve award categories. The nominations were announced live from Cipriani Wall Street by Emmy-nominated star of Pose and American Horror Story on FX and now as Roxie Hart in Chicago on Broadway, Angelica Ross. Ross was joined by Jeffrey Sharp, award-winning film producer and the Executive Director of The Gotham.

“We are thrilled to announce this year’s Gotham Award nominees and look forward to celebrating together live and in person in a few weeks. Over 500 films and TV shows were submitted for consideration this year. These filmmakers demonstrated tremendous courage and invention in the production of their work during these months, and we’d like to congratulate them all.” said Sharp.

As the first major awards ceremony of the fall season, the Gotham Awards provide critical early recognition and media attention to worthy independent films and series and their writers, directors, producers, and actors. The awards are also unique for their ability to assist in catapulting award recipients prominently into national awards season attention. The 2022 Gotham Awards Ceremony will be held live and in person at 7 pm on Monday, November 28, 2022 at Cipriani Wall Street in New York City.

Nominees are selected by committees of film and television critics, journalists, festival programmers, and film curators. Separate juries of writers, directors, actors, producers, editors, and others directly involved in making films will determine the final Gotham Award recipients. 

The 2022 Gotham Award nominations are:

Best Feature 

Aftersun

Charlotte Wells, director; Adele Romanski, Amy Jackson, Barry Jenkins, Mark Ceryak, producers (A24)

The Cathedral

Ricky D’Ambrose, director; Graham Swon, producer (MUBI)

Dos Estaciones

Juan Pablo González, director; Ilana Coleman, Jamie Gonçalves, Bruna Haddad, Makena Buchanan, producers (Cinema Guild)

Everything Everywhere All At Once

Daniel Kwan, Daniel Scheinert, directors; Joe Russo, Anthony Russo, Mike Larocca, Daniel Kwan, Daniel Scheinert, Jonathan Wang, producers (A24)

Tár

Todd Field, director; Alexandra Milchan, Scott Lambert, Todd Field, producers (Focus Features)

Best Documentary Feature

What We Leave Behind

Iliana Sosa, director; Emma D. Miller, Isidore Bethel, producers (ARRAY) 

All That Breathes

Shaunak Sen, director; Aman Mann, Shaunak Sen, Teddy Leifer producers (A Sideshow & Submarine Deluxe Release in Association with HBO Documentary Films) 

All the Beauty and the Bloodshed

Laura Poitras, director; Howard Gertler, John Lyons, Nan Goldin, Yoni Golijov, Laura Poitras, producers (NEON)

I Didn’t See You There

Reid Davenport, director; Keith Wilson, producer (RePort Media) 

The Territory

Alex Pritz, director; Alex Pritz, Darren Aronofsky, Sigrid Dyekjær, Will N. Miller, Gabriel Uchida, Lizzie Gillett, producers (National Geographic Documentary Films)

 

Best International Feature

Corsage

Marie Kreutzer, director; Alexander Glehr, Johanna Scherz, Bernard Michaux, Jonas Dornbach, Janine Jackowski, Maren Ade, Jean-Christophe Reymond, producers (IFC Films)

Athena

Romain Gavras, director; Romain Gavras, Charles-Marie Anthonioz, Mourad Belkeddar, Jean Duhamel, Nicolas Lhermitte, Ladj Ly, producers (Netflix)

The Banshees of Inisherin

Martin McDonagh, director; Graham Broadbent, Pete Czernin, Martin McDonagh, producers (Searchlight Pictures)

Decision to Leave

Park Chan-wook, director and producer (MUBI)

Happening

Audrey Diwan, director; Edouard Weil, Alice Girard producers (IFC Films)

Saint Omer

Alice Diop, director; Toufik Ayadi, Christophe Barral, producers (Super LTD)

Bingham Ray Breakthrough Director Award

Charlotte Wells for Aftersun (A24)

Owen Kline for Funny Pages (A24)

Elegance Bratton for The Inspection (A24) 

Antoneta Alamat Kusijanovic for Murina (Kino Lorber)

Beth de Araújo for Soft & Quiet (Momentum Pictures / eOne)

Jane Schoenbrun for We’re All Going to the World’s Fair (Utopia)

Best Screenplay

Armageddon Time, James Gray (Focus Features)

After Yang, Kogonada (A24)

Catherine Called Birdy, Lena Dunham (Amazon Studios)

Tár, Todd Field (Focus Features)

Women Talking, Sarah Polley, based upon the book by Miriam Toews (United Artists Releasing / Orion Pictures)

Outstanding Lead Performance

Cate Blanchett in Tár (Focus Features)

Danielle Deadwyler in Till (United Artists Releasing / Orion Pictures)

Dale Dickey in A Love Song (Bleecker Street)

Colin Farrell in After Yang (A24)

Brendan Fraser in The Whale (A24)

Paul Mescal in Aftersun (A24)

Thandiwe Newton in God’s Country (IFC Films)

Aubrey Plaza in Emily the Criminal (Roadside Attractions and Vertical Entertainment)

Taylor Russell in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)

Michelle Yeoh in Everything Everywhere All At Once (A24)

Outstanding Supporting Performance

Jessie Buckley in Women Talking (United Artists Releasing / Orion Pictures)

Raúl Castillo in The Inspection (A24)

Hong Chau in The Whale (A24)

Brian Tyree Henry in Causeway (Apple TV+)

Nina Hoss in Tár (Focus Features)

Noémie Merlant in Tár (Focus Features)

Ke Huy Quan in Everything Everywhere All At Once (A24)

Mark Rylance in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)

Gabrielle Union in The Inspection (A24)

Ben Whishaw in Women Talking (United Artists Releasing / Orion Pictures)

Breakthrough Performer

Anna Cobb in We’re All Going to the World’s Fair (Utopia)

Frankie Corio in Aftersun (A24)

Anna Diop in Nanny (Amazon Studios and Blumhouse)

Gracija Filipovic in Murina (Kino Lorber)

Kali Reis in Catch the Fair One (IFC Films)


Breakthrough Series – Short Format (under 40 minutes)

Abbott Elementary, Quinta Brunson, creator; Quinta Brunson, Justin Halpern, Patrick Schumaker, Randall Einhorn, executive producers (ABC)

As We See It, Jason Katims, creator; Jason Katims, Jeni Mulein, Dana Idisis, Yuval Shafferman, Udi Segal, Amit Gitelzon, Shlomit Arvis, Danna Stern, executive producers (Prime Video)

Mo, Mohammed Amer, Ramy Youssef, creators; Mohammed Amer, Ramy Youssef, Ravi Nandan, Hallie Sekoff, Solvan “Slick” Naim, Harris Danow, Luvh Rakhe, executive producers (Netflix)

Rap Sh!t, Issa Rae, creator; Issa Rae, Syreeta Singleton, Montrel McKay, Deniese Davis, Dave Becky, Jonathan Berry, executive producers (HBO/HBO Max)

Somebody Somewhere, Hannah Bos, Paul Thureen, creators; Bridget Everett, Carolyn Strauss, Mark Duplass, Jay Duplass, Mel Eslyn, Hannah Bos, Paul Thureen, Patricia Breen, Tyler Romary, executive producers (HBO Max)

Breakthrough Series – Long Format (over 40 minutes)

Pachinko, Soo Hugh, creator; Soo Hugh, Michael Ellenberg, Lindsey Springer, Theresa Kang-Lowe, Richard Middleton, Kogonada, Justin Cho, executive producers (Apple TV+)

Severance, Dan Erickson, creator; Ben Stiller, Nicholas Weinstock, Jackie Cohn, Mark Friedman, Dan Erickson, Andrew Colville, Chris Black, John Cameron, executive producers (Apple TV+)

Station Eleven, Patrick Somerville, creator; Patrick Somerville, Jessica Rhoades, Scott Steindorff, Dylan Russell, Scott Delman, Jeremy Podeswa, Hiro Murai, Nate Matteson, executive producers (HBO/HBO Max)

This is Going to Hurt, Adam Kay, creator; Naomi De Pear, James Farrell, Jane Featherstone, Adam Kay, Ben Whishaw, executive producers (AMC+ in association with BBC)

Yellowjackets, Ashley Lyle, Bart Nickerson, creators; Jonathan Lisco, Ashley Lyle, Bart Nickerson, Drew Comins, Karyn Kusama, executive producers (SHOWTIME)

Outstanding Performance in a New Series

Bilal Baig in Sort Of (HBO Max/HBO)

Ayo Edebiri in The Bear (FX)

Janelle James in Abbott Elementary (ABC)

Minha Kim in Pachinko (Apple TV+)

Matilda Lawler in Station Eleven (HBO/HBO Max)

Britt Lower in Severance (Apple TV+)

Melanie Lynskey in Yellowjackets (SHOWTIME)

Zahn McClarnon in Dark Winds (AMC & AMC+)

Sue Ann Pien in As We See It (Prime Video)

Ben Whishaw in This is Going to Hurt (AMC+ in association with BBC)

Breakthrough Nonfiction Series

The Andy Warhol Diaries, Alexis Martin Woodall, Scott Robertson, Andrew Rossi, Stanley Buchthal, Josh Braun, Ryan Murphy, executive producers; Maya E. Rudolph, producer; Andrew Rossi, director (Netflix)

The Last Movie Stars, Martin Scorsese, Amy Entelis, Courtney Sexton, executive producers; Adam Gibbs, Ryan Hawke, Emily Wachtel, Lisa Long Adler, producers; Ethan Hawke, director (HBO Max)

Mind over Murder, Nanfu Wang, creator and director; Marc Smerling, Nanfu Wang, Max Heckman, Chad Mumm, Mark W. Olsen, Nancy Abraham, Lisa Heller, Sara Rodriguez, executive producers (HBO/HBO Max)

The Rehearsal, Nathan Fielder, creator and director; Nathan Fielder, Dave Paige, Dan McManus, Christie Smith, executive producers (HBO Max)

We Need To Talk About Cosby, W. Kamau Bell, creator and director; W. Kamau Bell, Andrew Fried, Katie A. King, Vinnie Malhotra, Dane Lillegard, Sarina Roma, Jordan Wynn, executive producers (SHOWTIME)


Thirty-four critics, curators, programmers, and writers participated in the nomination process. 

Nominating Committees for the 2022 Gotham Awards were:

Nominating Committee for Best Feature and Best Screenplay:

Justin Chang, Film Critic, Los Angeles Times, NPR’s “Fresh Air”

K. Austin Collins, Film Critic, Rolling Stone

David Ehrlich, Chief Film Critic, IndieWire

Jessica Kiang, Freelance Film Critic, Variety, Sight & Sound, Los Angeles Times, The Playlist

Alison Willmore, Film Critic, New York Magazine/Vulture

Nominating Committee for Best Documentary Feature:

Ben Fowlie, Executive and Artistic Director, Points North Institute; Founder, Camden International Film Festival

Tom Hall, Co-Head/Artistic Director at Montclair Film & The Clairidge Cinemas

Eric Hynes, Writer/Reporter/Critic; Curator of Film, Museum of the Moving Image

Ruth Somalo, Senior Programmer at DOC NYC & ADFF, independent curator and filmmaker

Ania Trzebiatowska, Film Curator, Sundance Film Festival

Nominating Committee for Best International Feature:

Bilge Ebiri, Film Critic and Writer, New York Magazine/Vulture

David Fear, Senior Editor & Critic, Rolling Stone

Wendy Ide, Film Critic, The Observer, Screen International

Guy Lodge, Film Critic, Variety, The Guardian and co-editor, Film of the Week

David Rooney, Chief Film Critic, The Hollywood Reporter

Nominating Committee for Breakthrough Director

Carlos Aguilar, Film Critic, Los Angeles Times, The Wrap

A.A. Dowd, Culture Editor, Chron

Kate Erbland, Executive Editor, Film, IndieWire

Lovia Gyarkye, Arts and Culture Critic, The Hollywood Reporter

David Sims, Staff Writer, Culture, The Atlantic

Nominating Committee for Outstanding Lead Performance, Supporting Performance, and Breakthrough Performer:

Robert Daniels, Film Critic, RogerEbert.com, The Playlist, IndieWire

Jon Frosch, Reviews Editor, The Hollywood Reporter

Tim Grierson, Senior U.S. Critic, Screen International; author, This Is How You Make a Movie

Tomris Laffly, Film Critic, Variety, RogerEbert.com

Brian Tallerico, Editor, RogerEbert.com

Nominating Committee for Breakthrough Series and Outstanding Performance in a New Series

Judy Berman, TV Critic, TIME

Jen Chaney, TV Critic, Vulture

Daniel Fienberg, Chief Television Critic, The Hollywood Reporter 

Caroline Framke, Chief TV Critic, Variety

Melanie McFarland, TV Critic & Senior Culture Writer, Salon

Nominating Committee for Breakthrough Nonfiction Series 

Judy Berman, TV Critic, TIME

Amy Dotson, Director of PAM CUT//Center for an Untold Tomorrow & Curator, Film & New Media at Portland Art Museum

Daniel Fienberg, Chief Television Critic, The Hollywood Reporter 

Cynthia Fuchs, Interim Director, Film and Video Studies, College of Visual and Performing Arts, George Mason University 

Sponsors

The Lead Sponsors of the 2022 Gotham Awards are Cadillac, FIJI Water and GreenSlate. 

About the Gotham Film & Media Institute

The Gotham celebrates and nurtures independent film and media creators, providing career-building resources, access to industry influencers, and pathways to wider recognition. The organization, under the leadership of Executive Director and award-winning producer Jeffrey Sharp, fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Gotham Week, Gotham Labs, Filmmaker Magazine, the Gotham Awards, Gotham EDU, Owning It, and Expanding Communities.

About the Gotham Awards

The Gotham Awards, one of the leading honors for independent film and television, provides early acknowledgement to groundbreaking independent films and television series. Selected by distinguished juries and presented in New York City, the home of independent film, the Gotham Awards are the first honors of the film awards season. This public showcase honors the filmmaking community, expands the audience for independent films, and supports the work that The Gotham Film & Media Institute does behind the scenes throughout the year to bring such films to fruition.

 

 

 

Review: ‘RIDE THE EAGLE’ is endlessly charming, authentic, and funny.

RIDE THE EAGLE

When Leif’s (Jake Johnson) estranged mother Honey (Susan Sarandon) dies she leaves him a ‘conditional inheritance’. Before he can move into her picturesque Yosemite cabin, he has to complete her elaborate, and sometimes dubious, to-do list. Leif and Nora, his canine BFF, step into Honey’s wild world as she tries to make amends from beyond the grave in this hilarious and heartfelt comedy.


Ride The Eagle is a one-of-a-kind film. The script is written by director Trent O’Donnell and star Jake Johnson. Tackling regret, forgiveness, and everything in between, there’s an honesty that stings and inspires. Mostly, Ride The Eagle makes you smile.

The script is filled with quirky characters. J.K. Simmons is fantastic in his manic energy. His delivery makes you involuntarily grin. Susan Sarandon, who we only see in her videotape to Leif, gives us warmth, and wisdom, and a boatload of snark. Her dialogue is yet another example of the care taken by O’Donnell and Johnson in their writing. There is a specificity that allows us to sit in Leif’s emotional shoes.

I want D’arcy Carden to be my new best friend. The scenes between her and Johnson are pure gold. Their chemistry is off the charts. Made even more impressive by the fact that they speak exclusively over the phone. It’s like watching a masterclass in scene partnering. Their report nudges the script into rom-com territory. But, in truth, Ride The Eagle is consistently genre-defying. Jake Johnson owns every frame he appears in. He has this innate ability to put you at ease while simultaneously making you giggle. He keeps you on your toes, always making you wonder what is scripted and what might be improvised. He’s just that talented.

The score is vibrant and incredibly thoughtful. Ride the Eagle shines with heart and charm. It has a palpable vulnerability that makes it undeniably relatable. Of the nearly 200 films I’ve seen in 2021, Ride The Eagle easily soars onto my top 10 list.

DECAL will release comedy RIDE THE EAGLE In Theaters, On Demand, and Digital on July 30, 2021. 

RIDE THE EAGLE is directed by Trent O’Donnell (“New Girl,” “No Activity”) with a screenplay by O’Donnell and Jake Johnson (“New Girl,” Spider-Man Into the Spider-Verse), who also stars alongside Susan Sarandon (Thelma & Louise, Dead Man Walking), J.K. Simmons (Whiplash, Juno) and D’Arcy Carden (“The Good Place,” “Barry”).


Review: ‘Avengers: Infinity War’ *SPOILER-FREE*

Ten years and eighteen movies have lead to this. Marvel Studios has been wildly successful in their films leading up to this moment, but this is quite possibly the biggest and most ambitious film of its kind. Avengers: Infinity War brings together the heroes of the MCU to take on Thanos, the mad titan, who is looks to fulfill his destiny of bringing together the infinity stones and reshaping the Universe. It’s all lead to this. Each past film was a piece in a larger puzzle and now it’s complete and the result exceeds expectations. Simply put, Avengers: Infinity War is epic.

Still broken following the events of Age of Ultron and Civil War, the Avengers are scattered across the galaxy. Thanos and his children have begun their quest in search of the infinity stones when they come across the Asgardian ship of Thor and his people, whom Thanos believes to be carrying the space stone. Seeing the sheer power of the mad titan, Hulk must reach Earth to warn the Avengers of the coming threat, but what he finds is a team shattered by squabble and a new group of heroes ready to take the fight to Thanos. The film is choked full of spoiler fodder at every corner so I will leave my summary there.

Directors Anthony and Joe Russo continue their onslaught into the MCU with yet another film worthy of calling the best and most ambitious, but this one certainly stands out above them all. Based on a storyline from the Marvel comics, the film is a re-imagining of the original story with obvious liberties, but nonetheless, works magnificently with the previous MCU films tying them all together nicely. The worry for some was the massive undertaking of the cast and how they would all fit into a 2 1/2 hour film, but the Russo’s and their writing team gave each subplot equal amounts of care and screen time without over saturation. And you would be hard pressed to find a weak link in the casting chain. Each actor shines in their corner of Infinity War with Robert Downey Jr, Chris Hemsworth and Zoe Saldana winning stand out stars.

Overall, Avengers: Infinity War is a overwhelmingly satisfying first act and will leave you speechless at the close. It’s a film that needs to be digested multiple times to catch everything you missed while you were trying to pick your jaw off the theatre floor as you look on in awe of the visual spectacle before you. I can’t wait for the next 10 years of the MCU. If Infinity War is any indication, the best is yet to come.

Stars:

4 1/2 out of 5

After Credit Scene?

Yes. One after the credits

Trailer:

Review: ‘Justice League’

Hot off the wildly successful Wonder Woman solo film, Warner Brothers has released their first DC team-up film, Justice League, bringing together the biggest names in the comic giants universe. A once slam dunk project has been plagued with bad press, a sad and unexpected tragedy that forced Zack Snyder to leave the directors chair and lukewarm fan expectation that have stunted the excitement surrounding the film and has left the finished product in a tailspin. Does Justice League have enough to win over audiences and prove once and for all that the DC Cinematic Universe is back on track?

Following the events of Batman v Superman: Dawn of Justice, our heroes are learning to exist in a post-Superman world. Crime and uncertainty have swept over the world like a tidal wave and Bruce Wayne/Batman (Ben Affleck) is looking towards the coming storm. Fearing something bigger is upon us, Wayne looks to put together a team of extraordinary superheros to defend the Earth from the unknown. Already having fought besides Diana Prince/Wonder Woman (Gal Gadot) before, the two recruit Barry Allen/The Flash (Ezra Miller), Arthur Curry/Aquaman (Jason Momoa) and Victor Stone/Cyborg (Ray Fisher) to defend the three ancient mother boxes from falling into the hands of Steppenwolf (Ciaran Hinds) who intends to use them to destroy the Earth.

Justice League, on the surface, is a fun film with some enjoyable moments, but beneath the surface lies a total mess with a lot of flaws, amateur editing and a convoluted story that is painful to watch. Let’s first tackle what the film got right. Wonder Woman continues to be a bright spot for the DCCU. Gal Gadot is absolute perfection as the Amazon warrior, portraying the character with strength and charm, and providing the leadership this team so desperately needs. Jason Momoa was not my first choice for Aquaman, but after seeing him in this film, I have a better sense of the overall direction they are taking the character. Momoa‘s Aquaman is morally conflicted, but in tune with the sheer power of his legacy and the child-like nature of his personality which makes for amusing screen time. Henry Cavill continues to shine as Superman. Cavill understands the character and what it takes to don the tights and it’s nice to have him anchoring this franchise, along with Gadot, to hopefully help right this ship in future films.

And now, the bad. Ben Affleck’s Batman takes a huge step back in this film. While they try and lighten up the caped crusaders persona a bit, the entire transformation appears unnatural and painful for Affleck, who appears more awkward around his new super friends. Ezra Miller‘s take on Barry Allen falls short of expectations. The beloved character is relegated to comic relief in the film with the filmmakers electing for an immaturity angle which becomes tiresome not long after the bit begins. Warner Brothers election to rush this film to market instead of completing the origin films of each character beforehand, limits the amount of time the filmmakers can spend on setting up the characters in the film. With a short run time, horrific editing and a sub-par script, Zack Snyder and Joss Whedon (who reshot and rewrote some of the film in Snyder’s absense) left the audience handcuffed to just “buy in” to their explanations of the “why’s” and roll with the finished product. Lastly, the inclusion of Steppenwolf as the films protagonist made sense for his link to what we hope will be the inclusion of Darkseid in the sequel, but the election of a full CG portrayal was a horrendous decision. The character has some qualities that could have transitioned to the big screen, but all of that was lost from scene one when we were introduced to an amateur CG depiction that looked like cutting floor fodder from Warcraft.

Overall, Justice League misses the mark in a big way. We can only hope that Geoff Johns can take creative control over all of the DCCU and give back to fans the films that they rightfully deserve.

Stars:

2 1/2 out of 5

After Credit Scene?

Yes. One mid-credit and one post credit

Trailer:

Review: ‘MAYHEM’ is contagious fun.

Have you ever dreamed of punching Karen from Human Resources in her stupid face? Sure you have, who hasn’t?! In a new unapologetically violent and incredibly awesome film, you can live vicariously through others in kicking Karen’s ass.

MAYHEM stars Steven Yeun (“The Walking Dead,” Okja), Samara Weaving (Three Billboards Outside Ebbing, Missouri, Showtime’s “SMILF”), and Steven Brand (“Teen Wolf,” “Secrets and Lies”) is directed by Joe Lynch (Everly, Knights of Badassdom) and marks the feature film debut from writer Matias Caruso.

SYNOPSIS:  Derek Cho (Steven Yeun) is having a really bad day. After being unjustly fired from his job, he discovers that the law firm’s building is under quarantine for a mysterious and dangerous virus. Chaos erupts throughout the office as the victims of the disease begin acting out their wildest impulses. Joining forces with a former client (Samara Weaving) who has a grudge of her own, Derek savagely fights tooth and nail to get to the executives on the top floor and settle the score once and for all.

We all know Steven Yeun as our beloved (may he rest in peace) Glen, but in Mayhem, he does such a fantastic job that you completely forget about his Walking Dead persona. Mayhem is literally laugh out loud funny all while having some of the coolest fight choreography and blood gushing effects. Screenwriter Matias Caruso might have hit the jackpot with the plotline because this is the most imaginative way to utilize “The F-word” in a script possible. I would go back and watch to count the number of times it’s used and not a single time is it superfluous, it’s genius. Yeun’s training with zombies made him the perfect pick for this role. He is the embodiment of everyone who has ever felt oppressed by the BS hierarchy of corporate. Samara Weaving gives a borderline Harley Quinn inspired performance as a woman who was wronged by Yeun’s character. Her effortless delivery and comic timing, down to specific idiosyncracies she displays are spot on brilliant. In reality, this is an ensemble piece of pitch-perfect character work. You cannot help but get revved up watching Mayhem. It has to be one of my favorites of 2017. You can catch MAYHEM in theaters and available On Demand / Digital HD November 10, 2017(PS- that’s today.)

RLJE Films will release the upcoming horror, action film MAYHEM in theaters and available On Demand / Digital HD November 10, 2017.

 **World Premiere – SXSW Film Festival 2017**

**International Premiere – Fantasia Film Festival 2017**

**West Coast Premiere – Beyond Fest 2017**

TITLE:  MAYHEM
IN THEATERS AND AVAILABLE ON VOD AND DIGITAL HD:  November 10, 2017
CAST:  Steven Yeun, Samara Weaving, Steven Brand
DIRECTOR:  Joe Lynch
WRITER: Matias Caruso
GENRE:  Horror/Action
DISTRIBUTOR:  RLJE Films

Review: ‘Blade Runner 2049’

Director Denis Villeneuve returns after his recent Oscar nomination to embark on a journey into the wildly complex and dangerously beloved world of Blade Runner, a 1983 sci-fi classic from director Ridley Scott loosely adapted from the book Do Androids Dream of Electric Sheep? by Philip K. Dick. Creating a sequel from a classic is always a daunting task, but actually achieving a film worthy of standing next to the original is a feat very few can say they’ve met, but Villeneuve can now stand amongst the great who have come before him and watch as his film, Blade Runner 2049 is cherished for decades to come.

The year is 2049, and the world has been turned on it’s head by advancements in bio-engineering that have created human-like “Replicants” that have integrated into society. A group of trackers called Blade Runners, are tasked with hunting down old Replicants capable of dangerous actions and bringing them to justice. One such Blade Runner, K (Ryan Gosling) has stumbled upon a secret buried deep in the Earth that could trigger the collapse of society. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years, and who could be the key to unlocking the mystery. As Niander Wallace (Jared Leto) continues on in his quest to create the perfect Replicant, destined for planetary expansion, his questionable practices begin to come to life and a dark secret is about to expose the Replicant program.

This bold, beautifully crafted, visually stunning and mind bending sequel is nothing short of sensational with an all star cast lead by Ryan Gosling and Harrison FordGosling calm demeanor and presence are perfect for the Blade Runner world. It is equally as wonderful to see Harrison Ford back in one of his many iconic roles as Deckard. Seeing the character again and finding out what happened to him following the events of the original film was exceptionally satisfying and Ford was up to the task. Jared Leto is haunting in his portrayal of the designer Wallace. Leto leaves nothing to chance, electing to embrace the darkness and bring to life a cerebral villain for a new generation of sci-fi fans. Director Denis Villeneuve vision is suited for this world above all others. Together with Cinematographer Roger Deakins, Villeneuve expands on the epic world created in the original while still keeping the look that makes Blade Runner so iconic to fans worldwide.

Overall, Blade Runner 2049 is a long journey at 164 minutes, but a journey worth taking. A beautifully crafted classic that will stand the test of time and wow fans of science fiction and neo noir for years to come.

Stars: 4 1/2 out of 5

After Credit Scene? NO

Trailer:

Review: ‘SPIDER-MAN: HOMECOMING’

Being a teenager is hard, but being a teenage superhero is harder as we learn from the sensational new Spider-Man: Homecoming, the first Sony/Marvel partnership film after Spidey’s wildly praised inclusion in last year’s Captain America: Civil War. For fans, Marvel’s most popular superhero being back under the direction of Marvel Studios president Kevin Feige, the architect of the MCU, is about as exciting as the film itself and the newly found partnership has wielded it’s might right out of the gate with a fresh, intelligent and entertaining film that resets the Spider-Man franchise and gives die-hard fans a look at the character the way he is meant to be seen.

Tom Holland takes over the role of Peter Parker, a high school sophomore thrust into the world of superheros after a radioactive spider gives him super powers. Returning home after his brief stint with the Avengers, waiting for his next mission is making young Peter inpatient for action as he struggles with a normal life. Every aspect of his life pails in comparison to the thrill of being Spider-Man and swinging above the ground and being a high school student just doesn’t seem to be his destiny. All that changes when some mysterious alien artifacts start popping up on the street which thrusts the young superhero into action.

Too small a task for the Avengers is just how Adrian Toomes (Michael Keaton) likes it as he runs his underground illegal alien arms racket. Staying just ahead of the FBI and off the radar of Earth’s mighty heroes has allowed Toomes and his crew to make a lot of money off of stolen alien artifacts, but when Spider-Man begins peeking his nose into their business, well that’s just not something this crew will stand for. As Peter begins to snoop, Tony Stark (Robert Downey Jr.) begins to wonder if his young protege is able to handle the pressure of his powers. Tony assigns Happy Hogan (Jon Favreau) to watch over Peter as a liaison, but when Peter decides he can no longer stand by and watch as criminals are threatening his city, he goes against everything Stark asks of him and dissolves the trust between the two. As a war wages on in his mind, Peter must face his destiny and embrace his present self to find the answers he is searching for and become the hero he is destined to be.

Director Jon Watts (Cop Car) brings a perfect mix of action and humor to his John Hughes-esque take on the Spider-Man story. Unlike previous incarnations of the character, where we’ve had to rehash the origin story, Spider-Man: Homecoming hits the ground running and allows for the story to shape organically around Peter and his life as a high school student. Tom Holland is the perfect embodiment of Peter Parker. Awkward, genius high school student with a knack for bad timing, check! Over hyper superhero with a knack for sarcasm, check! The kid is outstanding in his portrayal of the popular webslinger. Michael Keaton is the best comic book villain on film since Heath Ledger’s Joker. Keaton brings a calm, menacing demeanor to his role as the Vulture character, who is given an upgrade and a slightly altered backstory in this film.

The supporting cast around Holland enables the young actor to flesh out his character and bring out the emotional elements in the film. Jacob Batalon is wonderfully lovable as Peter’s best friend Ned and Marisa Tomei brings Aunt May into a whole new light with a younger, more self reliant take on the character which may come as a shock to comic fans. MCU alums Jon Favreau and Robert Downey Jr., pros to the superhero game, act as the “ole wise men” to young Holland and his character and help usher in the newest member to the MCU family with limited, yet crucial, screen time. Stand out kudos go out to Zendaya and Tony Revolori for their humor and sass as Michelle and Flash respectively.

Overall, Spider-Man: Homecoming is a grand slam and a huge boost to future Marvel collaborations. Sony took a chance and it paid off beyond expectations and the winners are the comic fans and audiences around the world. Superhero movies were kicked in the butt by Deadpool last year, but this year belongs to Spider-Man. Welcome home web-head.

Stars:

4 1/2 out of 5

After Credit Scene(s)?

Yes. One mid credit and one post credit

Trailer:

Review: ‘Wonder Woman’

With the DC cinematic universe hanging in the balance, Warner Bros. put their faith in director Patty Jenkins and actress Gal Gadot to bring the long overdue first Wonder Woman movie to the big screen and deliver they did. The film is exciting, humorous, beautifully filmed and one of the best superhero films so far. If we’ve learned nothing else, we know now to never send a man to do a woman’s job.

The film opens with a young Diana learning the ways of the Amazonians. Raised by her mother, Hippolyta, Queen of Themyscira (Connie Nielson), Diana has been sheltered from the warrior ways of her people. Her Aunt Antiope (Robin Wright) is the finest general in the Amazonian army and determined to teach Diana to defend herself against her sister’s wishes. A reluctant Hippolyta agrees to Diana’s training as long as she is trained harder and more vigorously than any Amazonian before her. Now grown, Diana (Gal Gadot) begins to learn the challenges of her position and comes to understand that there is a power in her greater than she’s ever known.

A plane is shot down and crashes off the coast of Themyscira and pilot Steve Trevor (Chris Pine) finds himself rescued by Diana and faced with the explaining his uninvited entrance.  A German warship captained by general Ludendorff (Danny Huston) has followed Trevor’s downed plane to find Themyscira and the Amazonians, setting their sights on annihilation of the foreign foe. Driven back for the time being, Trevor must confide in Diana and the Amazonians as to why he is there and to the severity of his mission. Knowing she cannot sit by while a world she knows nothing about is destroyed, Diana sets off with Steve Trevor to enter the war and stand up for those who cannot help themselves.

And the film’s just getting started! What follows can easily be taken as a spoiler to some so we’ll stop the summary right there. Director Patty Jenkins has created a wonderfully empowering film for women everywhere, a rarity in Hollywood, and one that should and will be celebrated. Gal Gadot is the perfect embodiment of Diana Prince and a true treasure to behold. Gadot’s portrayal is a strong symbol of the importance of Wonder Woman in pop culture and the feminist movement and young children to look up to. Chris Pine is marvelous with his witty humor and his tried and true valor. Pine compliments Gadot’s performance perfectly and never overshadows.

Overall, Wonder Woman is a near perfect superhero film and a bright shining light in the dismal DC cinematic universe so far. A film that hearkens back to the spirit of Capatin America: The First Avenger while never feeling or trying to be a retread. Wonder Woman is a true gem.

Stars:

4 out of 5

After Credit Scene?

None

Trailer:

Review: ‘Pirates of the Caribbean- Dead Men Tell No Tales’

All hands hoay! Captain Jack Sparrow is back in Pirates of the Caribbean- Dead Men Tell No Tales and the crews back together. Johnny Depp returns for a fifth go around as the swashbuckler in this fun, but somewhat hollow sequel hitting theaters this weekend.

Henry Turner (Brenton Thwaites) has grown up knowing his father, Will Turner (Orlando Bloom), is lost to the curse of the Flying Dutchman and has searched for a way to break his father free. Since he was a young boy, Henry has been obsessed with his search and it appears he may be closer to the end of his quest, but he will need a little help. Henry works on a British Royal Navy ship sailing directly for the Devil’s Triangle. Knowing the legend of such a place, Henry tries to convince the crew that they are sailing for danger, but he is too late. The ship comes face to face with Captain Salazar (Javier Bardem) and his ghost crew who slaughter everyone except Henry, who is left to tell the tale and send a message to Jack Sparrow. Dead is coming for him.

Jack and his crew are up to their old ways of looting, debauchery, and rum. Currently plotting a robbery on an island where a young woman named Carina Smyth (Kaya Scodelario) is also escaping criminal charges. She seeks out Henry, who has been transported to the same island to face his crime of treason. She tells him she knows of a way to find the Trident of Poseidon, a powerful artifact that grants its possessor total control over the seas which Henry plans to use to break his father’s curse. Henry only requires the assistance of Captain Jack and his compass to set out on this quest. Salazar and his crew are on the hunt for pirates and find Captain Barbossa (Geoffrey Rush), whom they persuade into helping him track down and kill Jack. The race for the Trident is on and the fate of Jack Sparrow hangs in the balance.

 Directors Joachim Rønning and Espen Sandberg (Kon Tiki) are tasked with taking on the behemoth of a franchise and the two hold their own. The visual spectacle and the amusing action set pieces that have made this franchise so popular are bigger and more elaborate, but it’s the storytelling that has been lacking since the first film. The story for Dead Men Tell No Tales is not overly original, but does offer some complexity to the existing franchise storyline that will amuse fans and pump some much needed new blood into this series. Johnny Depp brings life to Jack Sparrow like no one else could. The character doesn’t evolve, but maybe he doesn’t have to. Watching the character on screen can, at times, feel nostalgic, but it’s still fun to watch him in action. Javier Bardem brings this franchise the best villain it’s had and commands the screen in every scene.

Overall, critics will no doubt be circling the waters to pan this movie, but Pirates of the Caribbean- Dead Men Tell No Tales is a fun, mindless adventure just in time for the summer time season. If you’re a fan of the franchise you’ll enjoy this one.

Stars:

3 out of 5

After Credit Scene?

Yes. At the end. Nothing in between

Trailer:

Review: ‘Alien: Covenant’

For those keeping score, I was not one of the people who hated Prometheus, in fact, I rather liked it a lot. Anytime a film delves into the mythology of a storied franchise there’s always a risk to alienate parts of a fan base, but what I thought director Ridley Scott set out to achieve was something bigger, he was trying to expand the mythology in ways that transformed the way you looked at his original films and therein lies the dilemma. Alien: Covenant looks to continue that mythological backstory and add another piece in to the Alien franchise puzzle.

It’s the year 2104, the crew of the colony ship Covenant is bound for a remote planet, Origae-6, with thousands of colonists in stow. All are deep in hypersleep being watched over by Walter (Michael Fassbender), a synthetic charged with piloting the ship during travel. When an unexpected burst hits the ship, the crew are awoken to assess the damage and help reset the ship for the rest of it’s journey. During the repairs, they intercept a human radio transmission from a nearby unknown planet and acting crew chief Christopher Oram (Billy Crudup) makes the call to set a course for the planet. Daniels (Katherine Waterston) exercises her opinion as first mate against the move, electing to continue on to Origae-6, but reluctantly agrees to be part of a landing party to inspect the planet.

Upon landing, the team splits off to explore the new world while the core team searches for the signal to the transmission. Ultimately, they track the signal to a crashed Engineer ship and more questions than answers. Two crew members are mysteriously infected with an alien spore and the team is forced to defend itself against the unknown foe. Unable to contact the Covenant, Daniels and the remaining survivors must rely on the help of a stranger to lead them to safety and help them understand the impending threat. What will be unearthed will be like nothing this crew has ever faced. One thing’s for sure, for Daniels, the protection of the Covenant and its passengers must be protected at all cost.

Ridley Scott’s vision for the Alien franchise has turned a necessary corner here in Alien: Covenant. The film that bridges the gap between Prometheus and what’s to come in the original film is shocking in it’s telling, it’ll take some time to process, but it will leave you with anticipation for the next chapter in this saga. Michael Fassbender is chilling in his duel roles. He has morphed from secondary character into the true face of the prequel franchise. Katherine Waterston is tremendous as the reluctant heroine and provides a compelling, emotional story arc. Waterston’s rational portrayal provides remnants of Ripley but not overpowering to the point of redundancy.

Overall, Alien: Covenant is slow out of the gate, but gets moving pretty fast. A lot more action and gore this time around, electing for more shock than story. It’ll be a film that Alien fans will be debating for quite some time.

Stars:

3 out of 5

After credit scene?

None

Trailer:

Review: ‘Guardians of the Galaxy Vol. 2’ *VERY minor plot details*

The Guardians are back and in a big way. James Gunn returns to helm the sequel to Marvel’s unlikely smash hit Guardians of the Galaxy looking to capitalize on the franchises soaring popularity injecting more humor, more spectacle and more all outrageous fun this time around. This film is not short on stimulation so marvel in the infinite glory that is Guardians of the Galaxy Vol. 2.

Peter Quill (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (voiced by Bradley Cooper) and Baby Groot (voiced by Vin Diesel) are just a few weeks out from the events of the first film and their out to keep their good name by ridding the galaxy of those who would do it harm. Ayesha (Elizabeth Debicki), leader of the Sovereign race, has hired the Guardians for a mission in exchange for Gamora’s estranged sister Nebula (Karen Gillan), but situations turn sour as the Guardians find themselves on the other side of the fight. Facing certain death, a mystery traveler rescues the team and reveals himself to be Ego (Kurt Russell), Peter Quill’s missing father accompanied by his servant Mantis (Pom Klementieff).

Angry about the escape, Ayesha hires Yondu (Michael Rooker) and his crew to hunt down the Guardians and bring them back to pay for their crimes. The Ravagers head out to find the heroes while Quill comes to grip with his new found father; but could everything be as it appears? Facing a multitude of foes closing in on the team, they must align with some unusual allies to once again protect the galaxy from certain destruction. Can the Guardians remain vigilant in their quest for good to prevail or will outside forces pull the team apart and end their friendship forever?

Marvel continues to find the perfect directors to lead their franchises, bringing out the very best in the source material by allowing these directors to inject their unique style of storytelling. Nowhere is this more prevalent than in the Guardians of the Galaxy films. Director James Gunn‘s radical departure from the core Marvel movies made the first film a surprise hit, but no one will be surprised when Vol. 2 wows audiences this weekend with its rare brand of humor and eye popping visuals. The cast, including Chris PrattZoe Saldana and Dave Bautista, are noticeably more comfortable this time around within their characters and within their collaboration with each other. Kurt Russell is an outstanding edition to this cast and, as the elder statesmen, brings out the very best in Pratt’s Star Lord during their emotional scenes.

Overall, Guardians of the Galaxy Vol. 2 is an absolute joy of a film. From start to finish, the ride is nothing short of exactly what you would expect from a James Gunn Guardians of the Galaxy film. Take the family, take the neighbors, take everyone you know and run to the theater to see this…and do NOT leave your seat throughout the credits…there is 5 extra scenes!

Stars:

4 out of 5

After Credit Scene?

Yes. 5! 4 throughout credits and 1 post credit

Trailer:

Review: ‘Logan’- A masterful send off to Hugh Jackman in his iconic role

Hugh Jackman takes his final bow as the iconic Wolverine in Logan, a thoughtful tale of redemption and regret thru the eyes of the only man to ever play the role. Director James Mangold (The Wolverine) returns to bring the final act to a close opting for a more dramatic tone than full on action film like previous films in the X-Men franchise. Logan is the perfect send off to both actor and character and a love letter to all who have endured the good and the very bad of this characters cinematic arc. The long journey of the Wolverine concludes.

Tired and weary, Logan (Hugh Jackman) finds himself among the last mutants standing in a world that’s long forgotten his kind. Opting to blend in to society and live out his days, Logan keeps to a quiet life, driving a limo and acting as a caretaker for friend and mentor Charles Xavier (Sir Patrick Stewart) for whom age has taken a huge toll. He is aided in this task by Caliban (Stephen Merchant), a mutant who can sense and track other mutants, but is running from a past he would soon forget.

Logan is approached by a young Mexican nurse looking for the Wolverine to help her protect her daughter Laura (Dafne Keen from a secret experiment called Transigen. Pierce (Boyd Holbrook), is the leader of the Reavers, a team set to find escaped patients from the Transgien project who have set their sights on finding Laura at all costs. Reluctant and unwilling to upend his life, Logan opts to decline the offer until he becomes faced with the stark reality that helping this young girl get to her destination is more vital than he anticipated. Aided by Charles Xavier, the three set their sights on North Dakota and “Eden”, a safe haven for mutants, but Transigen has plans of its own to unleash a new and improved version of their experiments that will test the aging Logan to his limits and beyond.

Seventeen years is a long time for anyone to play the same role, but Hugh Jackman has cherished his experience and has been so caring of the character that seeing him for the last time feels like a family member moving across the globe. Jackman pours his heart and soul into this movie and turns in the best performance of his X-Men career. Patrick Stewart is equally as outstanding as the aging Charles Xavier. The relationship between the two characters has grown from a student to teacher to father to son and the two actors chemistry is cemented into these performances. Newcomer Dafne Keen is brilliant in her first starring role and acts as the catalyst to the emotional journey that Logan embarks on in this film. To watch her rage from an outsiders view allows Logan to see himself and offers a rare opportunity to help steer this child down a different path than him. Their onscreen relationship is a beautiful nod to the pull that Logan has from the animal he’s become and the life he so sorely wishes never eluded him.

Overall, Logan is an outstanding film and a must see for all X-Men lovers and film lovers alike. It’s an emotional journey for both audience and actor and one we won’t soon forget. Thank you Hugh for your Wolverine, there will never be another who could match yours.

Stars:

4 out of 5

After Credit Scene?

No

Trailer:

Review: ‘The Founder’- Witness the creation of the McDonald’s empire

The fastest way to get to the top is by standing on the backs of others, Ray Kroc discovered this and used it to become one of the most successful businessmen this country has ever known. John Lee Hancock (Saving Mrs. Banks) directs Oscar nominated actor Michael Keaton as the man who brought McDonald’s to every hometown in America.

Ray Kroc (Michael Keaton) is a traveling salesman who currently specializes in selling Prince Castle brand milkshake makers. Life on the road has been a struggle for Ray, each day he visits restaurants and drive-ins across the Midwest finding more resistance to his sales pitch than enthusiastic buyers. He has a comfortable life back home in Illinois with his wife Ethel (Laura Dern) and a simple but comfortable living, but success to do something great keeps driving Ray back to the road to find his legacy. A chance order from the McDonald’s brothers in San Bernadino, CA will change his life forever.

Ray meets with the two brothers who own and operate the establishment, Maurice “Mac” McDonald (John Carroll Lynch) and  Richard “Dick” McDonald (Nick Offerman), who have created an innovative way of supplying hamburgers to the public. Awestruck by their creation, Ray convinces the brothers to let him take their McDonald’s idea nationally, and this is where the real story begins. Through all the struggle, the persistence of Ray Kroc leads to success and his control of the franchise’s present and future. The evolution into one of the most powerful men in business was paved with betrayal, cunning and ingenuity, which makes the story dramatically unfold.

Michael Keaton’s enthusiasm and delivery bring Kroc’s persona to life in a near perfect way. Throughout the film, we witness the transformation of a person starved to prove himself to a person drunk on success and whether you love him or hate him, he got there his way.  John Carroll Lynch and Nick Offerman are wonderful as the McDonald’s brothers. Each step of their rise and fall is felt in their portrayal of the characters and you can’t help but cringe as their decimation unfolds. The story centers around the tense relationship between the brothers and Kroc and these actors bring a wonderful mix of humor and drama to help make this story as mesmerizing as it is.

Overall, The Founder is an interesting tale of the rise of McDonald’s and men who brought the “Golden Arches” to the country. It’s a sad look at the glutton of success and repulsive effects it has on those in the way. The performances make this film worth the journey.

Stars:

3 out of 5

Trailer:

Review: ‘SPLIT’- M. Night Shyamalan’s Best Movie in Over a Decade

The last thirteen years have not been kind to M. Night Shyamalan’s career. After several failed films, it looks like the once “master of suspense” has finally found his way back to making quality films with Split, the most ambitious and downright thrilling film of Shyamalan’s since Signs. Described as a psychological horror film, which is both written and directed by Shyamalan himself, the film stars James McAvoy as a man living with twenty three unique personalities and a moment of impulse that will unearth a side of himself not yet experienced.

Kevin (James McAvoy) has made a life changing decision, one that he will never come back from. Kevin has kidnapped young friends, Claire (Haley Lu Richardson) and Marcia (Jessica Sula), and their troubled friend Casey (Anya Taylor-Joy), and is now holding them captive in a windowless room somewhere underground. Frightened and unsure of why they’re in this predicament, the three young girls soon find out that their captive is more than he appears. Having first been introduced to Dennis, the forceful leader of Kevin’s personalities, more emerge to suit the situation. Patricia, the elder statesmen and the calming voice and Hedwig, a nine-year-old boy looking for a friend, arrive to meet the young ladies and help them understand why they have been chosen. Casey, the more road weary of the three girls, pitches an idea that they must try and convince one of the personalities to betray the others and free the girls before it’s too late, but a twenty fourth personality begins to emerge as “The Beast” is growing and threatens to consume all that Kevin is.

The performance of James McAvoy is truly spellbinding. His commitment to the multiple roles inside Kevin are portrayed in widely unique ways, with each personality granted its own separate thought process. It’s McAvoy‘s finest role since Filth. Betty Buckley portrays the calming and mothering figure of Dr. Karen Fletcher. Her involvement in the film adds a unique substance and understanding the to workings of Kevin and creates doubt in the audience’s thinking about the man. Haley Lu Richardson and Jessica Sula embody the spirit necessary to create the fear and confusion of being captive and compliment the emergence of Anya Taylor-Joys Casey as the strength of the group. Casey’s backstory is a powerful twist that parallel’s the situation at hand and Joy’s portrayal the perfect vessel to tell it.

Overall, Split is a great psychological thriller that will have you on the edge of your seat. The shocking ending will have fans of Shyamalan‘s earlier films gasping in disbelief. A true return to form for the proud director.

Stars:

3 1/2 out of 5

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Review: ‘Paterson’- Adam Driver Shines in Jim Jarmusch’s Beautiful New Film

Jim Jarmusch’s new film, Paterson, is a slow, tranquil walk thru the life of an ordinary man, which is very Jarmuschian, but this calming experience is like very few of the directors predecessors, which makes the unique film an even bigger treasure to behold.

Paterson (Adam Driver) is a bus driver in the city of Paterson, New Jersey who secretly likes to write poetry. Every day, Paterson follows a simple routine that suits his mundane lifestyle. He wakes up to his creatively ambitious wife Laura (Golshifteh Farahani) and his dog Marvin, eats his breakfast, walks the same path to work, drives the same daily bus route, eats dinner and walks the dog thru the city and takes a moment to stop at the local bar and have a beer on his way home. Life is simple and that’s the way Paterson prefers it. Each passing moment offers Paterson a chance to expand his secret book of poetry which is comprised of intimate experiences in his life. A matchbox or a thought or a simple calm breeze can spark the creative juices within this brilliant mind, however, Paterson doesn’t FEEL brilliant.

Paterson likes life with very little disruption, Laura’s world is ever changing. Each supports the other in their creative endeavors, but it’s Laura who needs to chip away at Paterson’s timid persona to help him envision a world where everyone gets to enjoy his poetry as much as he does. This is life, daily life, for Paterson, but when faced with a moment of disruption that throws off the balance of his life, it will take a soul searching event to climb back to his comfort and regain a normality to his tiny piece of the world.

Jim Jarmusch has created another masterpiece for us to treasure for decades to come. The delicate telling of this beautifully written film plays like an insiders look into one man’s existence, but the truly exceptional part of the journey is that you become engrossed within the frames of the film and begin to see life thru the eyes of this wonderful character. Adam Driver is exceptional as the titular character. There are multitudes of complicated layers within this character that you see fighting to surface, but the struggle of keeping this uneventful life on course seems to control every aspect of his existence. Golshifteh Farahani is a vision and the one counter aspect to Paterson’s life. Her performance is a peaceful, and yet, disruptive force within the film that adds humor, compassion and love that acts like a sanctuary for her counterpart.

Overall, Paterson is one of Jim Jarmusch‘s finest moments and a movie that offers many interpretations for it’s viewers. This movie is one of the best films of the year and one the best films this decade.

Stars

4 out of 5

After Credit Scene?

No

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Review: ‘Patriot’s Day’

The terror attack on the 2013 Boston Marathon is the subject of the new Peter Berg movie Patriot’s Day, a story of one cities courage and strength in the face of adversity. The film follows the attack and the events following as the FBI and Boston police begin the manhunt for the people responsible for the senseless act. Mark Wahlberg leads an all star cast in this powerful rendition that will give you a first hand account of the men and women behind the scenes work that brought the terrorists to justice.

Tommy Saunders (Mark Wahlberg) is a Boston police officer at the center of the action after brothers Dzhokhar Tsarnaev (Alex Wolff) and Tamerlan Tsarnaev (Themo Melikidze) plant man made bombs at the finish line of the Boston Marathon killing and wounding spectators and participants. Following the events, Boston Police Commissioner Ed Davis (John Goodman), Richard DesLauriers, Special Agent in the FBI’s Boston field office (Kevin Bacon) and Massachusetts governor Deval Patrick (Michael Beach) assemble a task force to hunt down those responsible for the heinous attack. We’re introduced to victims of the attacks including Jessica Kensky (Rachel Brosnahan) and Patrick Downes (Christopher O’Shea), a young married couple injured during at the finish line, Officer Sean Collier (Jake Picking), a young MIT security guard who encounters the brothers on the run and Dun Meng (Jimmy O. Yang), a young Chinese native abducted by the brothers during their escape and Watertown Police Sergeant Jeffrey Pugliese (J.K. Simmons), one of the men responsible in the completion of the manhunt. Each story gives us insight into the effects the attacks had on a multitude of people throughout the Greater Boston area.

Director Peter Berg, a veteran to strong telling of dramatic content, provides a carefully crafted telling of the events by focusing on the emotional aspect of those effected without over politicizing. It allows the audience to experience the aftermath of a horrific attack and the work that goes into catching the bombers. The pace is thrilling and the acting is superb. Patriots Day is a wonderful film that honors the men and women of Boston and the strength of that great city. It’s a film not to be missed.

Stars:

4 out of 5

After Credit Scene?

No

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