MEDIEVAL
ARRIVES ON DIGITAL OCTOBER 25th AND ON DVD & BLU-RAY DECEMBER 6th
Synopsis: Ben Foster (Hell or High Water) and Academy Award® Winner Michael Caine* (The Cider House Rules) star in the action-packed historical epic inspired by the true story of daring mercenary leader Jan Žižka, one of greatest warriors in history. After the death of its emperor, the Holy Roman Empire plummets into chaos while corrupt kings battle for control of the empty throne. To battle the tyranny and greed of those clawing for power, Jan must lead a rebel army in this sweeping saga of war and betrayal.
1402 and politics and religion clash in the new historical epic Medieval. This wickedly violent retelling of arguably the greatest warrior to ever live, Jan Žižka. With Europe in turmoil and freedom at stake, one man leads a rebel army against all odds.
Michael Caine gives a memorable performance even if his screen time is brief. Matthew Goode is positively vile. He is slyly punchable, and if that’s not an endorsement, I don’t know what is. Sophie Lowe, who I adored in Blow The Man Down, holds her own against the predominantly male cast. Her chemistry with Foster feels natural. I found myself pulled into their dynamic more and more.
I met Ben Foster when we both attended Interlochen Arts Camp in Michigan in 1994. Within minutes, I knew he’d be a star. Few actors can disappear into a character. Foster is unstoppable in his pursuit to perfect his craft. In Medieval, he possesses compelling and quiet strength as Žižka. Foster makes everything look effortless, from the fight choreography to the passionate drama. He is magnificent. If you need further proof that he’s the leading man you’ve been waiting for, look no further than Medieval.
The film boasts massive and elaborate fight sequences. The cinematography is beautiful, and the score is luscious. Overall the film is reminiscent of Robin Hood: Prince of Thieves (1991), and I mean that as a compliment. It deserves the best-quality screen you can find. The script is a lot. Keep your ears sharp to keep track of the ever-evolving chaos. MEDIEVAL is undeniably entertaining at every turn. If for no other reason than to witness a masterclass in acting from Ben Foster. He earns and then demands your full attention.
Official Trailer:
On Digital October 25th and On DVD & Blu-ray December 6th
Website: www.medieval.film
Instagram: https://www.instagram.com/medievalmovieus/
Facebook: https://www.facebook.com/Medieval-Movie-109224965060431
Twitter: https://twitter.com/theavenue_film
Starring:
Ben Foster, Sophie Lowe, Til Schweiger, Matthew Goode and Michael Caine*
Written and Directed By:
Petr Jákl
Story By:
Peter Bok & Petr Jákl Sr.
Based on the previous screenplay by:
Marek Dobeš and Michal Petruš
*2000/Best Actor in a Supporting Role/The Cider House Rules
‘ACADEMY AWARD®’ is the registered trademark and service mark of the Academy of Motion Picture Arts and Sciences
Genre:
Action
Run Time:
125 minutes
Rating:
Rated R for strong and grisly violent content throughout, and some nudity.
Distributor:
Paramount Pictures
I’m happy to say I enjoyed Halloween Ends quite a bit more than Halloween Kills. I also fully admit this movie won’t be everyone’s cup of tea (or, in Michael Myer’s terms, everyone’s kitchen knife.) Director David Gordon Green and co-writer Danny McBride are grappling with big ideas, and take some bold narrative swings in this film. This is a movie that is less concerned with slices and screams. Instead, it reflects on the nature of evil, as well as the long-lasting effects of trauma and pain on both survivors and bystanders.
Ultimately, what drew me to this film was the inevitable confrontation between Laurie and The Shape, and there Halloween Ends does deliver. It is exciting and exhilarating and left me wanting more. So much of this is due to Jamie Lee Curtis’ performance. In 2018’s Halloween, Laurie Strode was a type of haunted doomsday prepper – her every moment and movement was dominated by a fear of Michael Myers returning. In this final iteration, Laurie is looser and more free. She bakes pies and makes jokes. But she is not naïve. After 44 years and 6 prior appearances. Curtis still brings such fire to this character. All of the film’s best moments belong to her, and they are worth the price of admission.
Abigail Fuller’s short film Shepherd’s Song contemplates Earth’s interconnectedness through the eyes of California grazier Jenya Schneider. Climate change threats in the west frequently come in the form of severe droughts and wildfires. Jenya and her partner Jack have chosen a cyclically beneficial lifestyle for the Earth, their clients, and themselves. Four hundred ewes, recycled fencing, and unrelenting passion comprise their venture. Grazing becomes a service to the land, and the sheep produce wool and lanolin. The science behind grazing done right shows the value to the ecosystems it serves. It’s healing the land.
A beautiful score by Serena Goransson moves from subtle to soaring as the film progresses. It feels perfect. Carmen Delaney’s mix of handheld and drone cinematography gives the audience an idea of the landscape scale against Jenya and Jack’s figures through the mountainous grasslands. It is stunning. SHEPHERD’S SONG is part climate film, part nature film, and all heart. We can all learn a whole lot from Jenya and Jack. They are showing the world how to repair the damage we’ve done, one area of grassland at a time.
Jessica Lowe is positively loathsome as influencer girlfriend Sadie. You cannot help but laugh at her ridiculously aloof behavior. Brendan Scannell as Runway Dave and Asif Ali as Angry Mike provide the added laughs to round out our group of guys. They give unforgettable performances.
The script has honest Hangover vibes. While I wish the film focused more on actual roommate scenarios and less on the wacky road trip aspect, I still laughed my ass off. The climate change aspect is subtle and pitch-perfect. Kudos to the writers for using it effectively. The numerous cameos and ancillary characters no doubt strengthen the film, from beginning to end. Rob Riggle, Flula Borg, and Parvesh Cheena leave lasting impressions. In the end, raunchy and over-the-top, BROMATES is undeniably goofy as hell. You’ll laugh at the sheer absurdity of it all.
Suicide Bid
To Hell and Back
Paula Gallego plays Marta and brings everything we need from sass to “final girl” greatness. Her chemistry with Ramiro Blas takes you by surprise. It is one hell of a pairing. Speaking of Ramiro Blas, as Blasco, he manages to be slimy and loveable all at once. There’s a reason he won The Grimm Reaper award for Best Actor. You’ll love to hate him and hate and love him. 
The legwork done by these women is mindblowing. The all-hours phone calls, the messages, the threats, and the intimate and honest way they approached anyone connected with Miramax and The Weinstein Company. The film conveys the emotional exhaustion of it all. Story after story of similar allegations and subsequent NDAs sucker punch you, over and over. As these cases now play out in real-time, it is fascinating to witness how to reach a victim and what compels an enabler. One particular detail I found interesting was Weinstein’s obsession with whether the team had spoken to 
Carey Mulligan
Jafar Panahi travels to a border town in order to direct a movie remotely. The actors and film crew are across the border and are taking directions via Zoom. As Panahi struggles to get the film finished he becomes involved with two sets of lovers, two of the actors, and two people in the village where he is staying. Both pairs want to flee to somewhere safe, something that might not be possible
This time out Panahi has made one of his most affecting films. Forget his personal situation, this story of life in a small town and in a repressive country will leave you shattered at the end. Panahi is juggling a lot of balls in the air and manages to manipulate them perfectly. First, we have his situation which is basically hiding out in a small town to make a movie he shouldn’t be making. In showing us what it takes to make his film we see how the small minds of the village express an openness that really isn’t. there This ties into the story of one of the couples, a doomed romance Panahi captures in a photo, that everyone wants to see, but which he deletes and denies having. It seems the young woman has been promised since birth to someone she doesn’t love and that someone needs proof to hurt the girl’s true love. At the same time, the lead couple in Pahani’s film is making a film based on their lives and their efforts to flee to the West. However, the need for official documents complicates things. All of the threads end in darkness for the characters and soul-searching for the audience.
The era jokes and visual cues are kickass. Wyatt says, “Penis wrinkles,” a phrase I know from my first feature film in theaters, E.T. High five for the obscure homage. Also, the fact that I can remember the lyrics to “Hey Girl,” days later, says a lot. 
Mark Rylance
Tora the Trucker Cat, truck driver David, and girlfriend Destiny travel together from state to state for months. Tora has a leash to explore national parks and a seat in David’s backpack when she needs a break. Tora has become the focus of David’s newfound photography skills. She’s a bit of a celebrity that’s allowed David to express himself in ways he never thought possible.
Sir Anthony Hopkins plays Paul’s grandfather, Aaron. Hopkins nails the role with charm and grace. He is a crucial moral compass for Paul but is also part of the broader problem. Gray explains how this microcosm of one family is just as relevant today, stating that one can be oppressed and still be an oppressor. This idea is never more true as we watch Paul begin to understand white privilege while simultaneously wrestling with his desire to be an artist and feeling unsupported, behavioral acting out, and the subsequent physical discipline.
Let me explain why the cast’s explanations became of great significance. The most successful aspect of Gray’s script is the nuance in character building. These are not sugar-coated versions of people, but characters in volatile times, racially and economically. Their flaws are exponentially recognizable, regardless of the year. Armageddon Time could be happening right now. The cynical nature of history and generational trauma will have audiences’ hearts in their throats, shaking their heads in shame for much of the film. Therein lies the film’s strongest achievement.
With a little bit of The Blair Witch Project vibe, writer-director Scott Sloane takes on exploitation in a unique and relevant way. Performances are solid across the board. The first half of the film is tightly structured. While the second half is a touch predictable, it is still fun, filled with gore and revenge. If you’re a ghost hunter/paranormal/ true crime/ horror nerd like me, you will appreciate the legit editing. Special shout out to the incessantly creepy contortionist work. Bravo.
You must be logged in to post a comment.