Author: jbg

GENTLEMEN BRONCOS (2009)

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Directed By: Jared Hess 
Written By: Jared Hess & Jerusha Hess 
Cinematography By: Munn Powell 
Editor: Yuka Ruell 

Cast: Michael Angarano , Jemaine Clement, Sam Rockwell, Jennifer Coolidge, Josh Pais, Mike White, Halley Feiffer, Hector Jiminez, Clive Revill, John Pleshette

Benjamin, home-schooled by his eccentric mother, is a loner whose passion for writing leads him on a journey as his story first gets ripped off by the legendary fantasy novelist, Ronald Chevalier, and then is adapted into a disastrous movie by the small town’s most prolific homespun filmmaker.

The filmmakers are like a successful one-hit wonder band. Their first album/film was good and popular. It Charmed the masses. They even tried to wring some more success out of it by adding a deleted scene after the film was in release and a surprise hit. So trying to get the loyal audience to double dip.

Their next film was highly anticipated and funded by studio money. The same tone only with a star and trying broader humor. It failed in comparison. It maintained the same style and spirit only bigger.

This film their third tries to go back to their roots (though a feature they produced THE SASQUATCH GANG fared better at finding that original spirit though to much less fanfare. It is truly an excellent film. That seemed like it would have been a natural follow-up for themselves)

The only problem is it’s like they forgot all the notes and instead of going off instincts, they seem to pick either what they only think is funny or what they think the audience wants. It feels like they are pandering and second-guessing themselves. Rather than telling a story.

Now, this film has its moments as did NACHO LIBRE. But in the end, it doesn’t feel like a worthwhile whole. So it’s like the scenes are great singles stuck on a sub-par album.

I give the filmmakers credit for sticking to their simple low budget formula and style. I also appreciate them producing that undiscovered film (THE SASQUATCH GANG that again came and went with little fanfare on home video and in theaters, it’s better than you would think and usually relegated to repeats on Comedy Central it deserves much better than that)

The film has a wacky dead-pan humor and has inspired character performances by Jemaine Clement who is winning in all of his scenes as a pathetically ego-driven diva of a sci-fi author and Sam Rockwell, who plays the hero of the novel they are fighting over authorship of and he plays the hero in both the different iterations of creativity they have for him. Leading to hilarious results.

The film also has a full arsenal of strange side characters. Who seem only there to be gags rather than necessary. As it feels like a film that has all the background needed but needs more of a story and motivation to move forward.

This film has its moments. I wish it just wasn’t so short. So that the film and its characters had more time to ruminate with the audience. So we got to get to know them and their weird world. I think for once it would have worked if the filmmakers actually indulged.

Grade: C

CALVAIRE (2004)

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Directed By: Fabrice Du Welz
Written By: Fabrice Du Welz and Roman Protat
Cinematography: Benoit Debie
Editor: Sabine Hubeaux 

Cast: Laurent Lucas, Philippe Nahon, Brigitte Lehaie, Jean-Luc Couchard, Jackie Berroyer, Jo Priesta 

Marc, a traveling entertainer, is on his way home for Christmas when his van breaks down in the middle of a jerkwater town with some strange inhabitants.

This seems to be a film that expands on the scariest most memorable scenes of the Film, DELIVERANCE

The film illustrates how loneliness and the absence of a partner, particularly a woman, drives a small town mad. Is it a small town or are there different representations of one man?

Though against the other’s will.  it does at times, feel like the mechanic is a romantic in his own way.

The film comes off as eager to disturb and unsettled its audience 

While the film shocks, it’s slow as it takes its time to reveal and get to know the characters. Who you can tell he is quite disturbed by the appearance of the young man looking for his dog.

The main character seems to attract or cause desire, and those around him. Usually, it’s for his job as an entertainer so it seems to take a personal interest and his audience. 

By the end, it almost seems like karma has led him into this nightmare scenario, even though he hasn’t done anything to be hourly cruel.

This is why it sometimes feels like an extended TALES FROM THE CRYPT episode only cruel and with little to no humor, as well as no actual score with a mean-spirited comeuppance 

Some sequences are just bizarre that seem to come out of nowhere like the dancing at the bar that is strangely choreographed. Or the pig sequence in the barn, which is just downright nightmarish, but also hints of what might come. 

There are hints of bestiality abound as a given replacement for the absence of females in physical Ways, but also companionship whether that is meant to be symbolic or not that is how it comes off. It’s insulting, but also shows the growing nature of relationships with pets to take the place of what is absent in the person’s life

The film shows a disturbing and bloody nature that could be used to categorize the film as French extreme, one of the earliest examples of the genre. 

Oh, the film is dirty in all the more disturbing as it feels realistic and not like a slasher or meet-up horror scenario. 

It  takes place in a town that apparently only had one woman once, and wisely escaped if she had to go through half of what the leaders 

In the end, the film is a story of a man fighting for survival and Just unsettling, but in a familiar Milieu. 

This definitely seems made to appeal for a specialty cult audience

Grade: C

ARMAGEDDON TIME (2022)

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Written & Directed By: James Gray
Cinematography: Darius Khondji 
Editor: Scott Morris 

Cast: Banks Repeta, Jaylin Webb, Jeremy Strong,  Anthony Hopkins, Anne Hathaway, Andrew Polk, Tovah Feldshuh, John Diehl, Jessica Chastain, Domenick Lombardozzi 

A deeply personal coming-of-age story about the strength of family and the generational pursuit of the American Dream.

While this coming-of-age story is enriched with culture and the time period, as well as plenty of emotion. It is devastating in its own way. As there rarely seems to be any joy and mainly downtrodden. So that it works as an unflinching portrait.

Unfortunately, it comes off a little dull, just as muted as its Colors. The film doesn’t have to be sentimental, as it never is and never floats in any kind of nostalgia either. So that after a while you wonder what is the point.

It is based on the director’s childhood and experiences. So it is deeply meaningful to him and a way for him to open up. 

Other than some cultural landmarks and a song or two, there aren’t too many attempts to let us be saturated in the times. As the film tries to make its Points. Though you are also left with the feeling unfortunately this story could still play out the same way at any time. Especially today only with more cellphones and different slang 

It plays out more like a tragedy to show on a personal level the rampant racism that was around and how the system was always set up in its own way for him to make it, but his black best friend was doomed from the start and never had any opportunities to turn it around. No matter what his parents believed or the constant barrage of adults telling him to make it all you have to do is pull yourself by the bootstraps. As his friend does do that but gets slapped down each time.

As a coming-of-age story, the adults are around but come in and out, and while more than just caricatures they often come off more as portraits than anything. You can feel the burdens and hardships of their lives and their feelings for one another, but there seems little for them to do than be there and react. We never learn too much about them. 

We might hear about it but rarely see it. Though he has recognizable actors in the roles. So that you have familiarity and hopefully warmth for them automatically. 

It fits in with writer/Director James Gray’s other films. There is a coldness and stillness to his films. Here this is more of a film that tries to have some happiness and hope but it is still under a cloud of despair. Then it just ends.

Having Darius Khondji as the cinematographer. Might seem like a waste for a story that isn’t small in scope. Him being a grandmaster of the art. Maybe as this is small scale it is meant to be more of a snapshot, not necessarily a portrait. As to why it feels so tiny. Yet it sets particular roots for the future that will be world-changing. He uses the camera and coloring to make it more intimate and not call attention to itself. As it moves along 

If this is only part one of future autobiographical films that ending makes sense. As he tackles more of his life story. Which hopefully gets more upbeat, but even if not. You can applaud that he made an unsympathetic coming-of-age tale. This is rare and throws the audience off a bit, but certainly stands out. 

Having so many recognizable actors does garner interest, but their roles are small, yet so important to the story. You can see why the actors signed up. 

In the end, I have to say the film leaves you slightly disappointed 

Grade: B-

HONOR SOCIETY (2022)

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Directed by: Oran Zegman
Written By: David A. Goodman
Cinematography: Topher Osborn
Editor: Anita Brandt Burgoyne

Cast: Angourie Rice, Gaten Matarazzo, Christopher Mintz-Plasse, Armani Jackson, Amy Keum, Ben Jackson Walker, Kelcey Mawema, Avery Konrad, Kerry Butler

Honor is an ambitious high school senior whose sole focus is getting into Harvard, assuming she can first score the coveted recommendation from her guidance counselor, Mr. Calvin. Willing to do whatever it takes, Honor concocts a Machiavellian-like plan to take down her top three student competitors, until things take a turn when she unexpectedly falls for her biggest competition, Michael.

This is an old-school and clever teen comedy that is surprisingly Enjoyable. As it has respect for the audience and the characters.

There are no major villains and the film Ends up being quite charming. As the characters are.

As it sets up its story for us and the main character to end up one way and then offers a change of pace that totally Redirects everything and ends up teaching a valuable lesson.

It is a bit of John Hughes where all the characters start out one way and slowly reveal their true selves and end up nowhere they expected.

They all live in a dream suburb that some dream Of leaving. Since they are young they seek excitement and different experiences and to know others from different walks of life.

The film isn’t exploitative if anything it’s Downright respectful For the most part even in the seductive scenes. They are even able to handle it. An LGBTQ storyline is very modern, funny, and never disrespectful. In fact, The only disturbing character is the guidance counselor. 

Once again young actress Angourie Rice excels In her role. Above the material especially as the film revolves around her character. Breaking the fourth wall and talking to the audience and being our narrator.

In the end, the movie Is a sly feel-good experience that is never heavy and offers a Few surprises but leaves you with a smile on your face. Thought could have had a stronger ending.

GRADE: B

FOXFIRE (1996)

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Directed By: Annette Haywood-Carter
Written By: Elizabeth White
Based on the book By: Joyce Carol Oates
Cinematography By: Newton Thomas Sigel
Editor: Louise Innes

Cast: Angelina Jolie, Jenny Lewis, Hedy Burress, Jenny Shimizu, Sarah Rosenberg, John Diehl, Dash Mihok, Peter Facinelli, Chris Mulkey, Cathy Moriarty, Michelle Brookhurst, Elden Henson, Joel David Moore, Shiloh Strong

The story of five teenage girls who form an unlikely bond after beating up a teacher who has sexually harassed them. They build a solid friendship but their wild ways begin to get out of control

What really saves this film from being a clichéd teen girl film about finding your own inner strength and character, Is Angelina Jolie’s performance. If it had been seen by more people. It would have been a star-making role. She has a charismatic swagger in the film. Like a female James Dean that makes you desire her, Want to be like her, or just have her as a friend. She exudes coolness dripping it all over the screen.

I wish I could say such nice things about the rest of the film. The camera could just lay there except for some curious angles from time to time. The lighting of the film is annoying as there must be a certain brightness. No matter the time or location.

The acting by the rest of the cast is ok. The actresses all look too old to be playing teenagers. I was glad to see Jenny Lewis in the cast. One of my favorite Ex child actresses making a return to acting if only for a short while. (She would soon front the band RILO KILEY) She is one of the few actors I ever wrote a fan letter to as a kid (Alyssa Milano, Candace Cameron, and Soliel Moon Frye being the others) The only bad actor in the film is model Jenny Shimizu. There were rumors of her and Angelina hooking up. Which would play well into the homo-erotic subtext at the heart of this tale. It has that and a theme of independence. Defining yourself and not being afraid to stand up for yourself and of course feminism. This was a film that was rented many times by young female college students when I worked at tower video. It was considered a hot title.

I remember wanting to see it in theaters when I was in High School as I was already a fan of Angelina Jolie from CYBORG 2 and HACKERS. She enchanted me early in her career so that by the time she became popular and famous to mainstream audiences. My infatuation had already passed. I am partly still a fan. She is a good actress and irresistibly beautiful. In the ways at first, Hollywood seemed to shun her for her voluptuous body type and big lips that eventually became a Hollywood standard. She broke the mark and then set it. 

One misses the old Angelina Jolie. It was fun to see her pick various roles that showed a certain bravery and range but like most stars. Now she plays it more safely with projects and roles you would expect from her. She Is more poised now, Not the crazy more candid woman I remember. Know she is still capable of good films. Though after she won her Oscar she looked like she would be another victim of the Best Supporting Actress curse. That usually sees the winners without defined careers get high-profile roles that bomb commercially and critically and see their careers dry up. Since she picked mostly horrible films to be in, but then she found her groove not to mention her image in action films more or less.

The film is a fine rental to see Angelina’s Early work and a good feminist movie. Though it plays more like a small-town stage version of a much better work. Which might be due to the light budget and not-so-strong direction. Nor a necessarily strong script. Which feels more like an episode or short, rather than a full film

GRADE: C

ROALD DAHL’S MATILDA THE MUSICAL (2022)

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Directed By: Matthew Warchus 
Screenplay By: Dennis Kelly
Based On The Stage Musical By: Dennis Kelly and Tim Minchin 
Based On The Book By: Roald Dahl 
Cinematography: Tat Ratcliffe 
Editor: Melanie Ann Oliver 

Cast: Alisha Weir, Emma Thompson, Lashana Lynch, Stephen Graham, Andrea Risenborough, Sindhu Vee 

An adaptation of the Tony and Olivier award-winning musical. Matilda tells the story of an extraordinary girl who, armed with a sharp mind and a vivid imagination, dares to take a stand to change her story with miraculous results.

I will admit to having a bias when it comes to this film. As I saw it on Broadway during its run before it became a movie.

I will also admit that I have only watched the Danny Devito-directed non-musical version in bits and pieces. Ever from beginning to end. 

Watching this film it sticks to the same beats as the Broadway musical. Which is only a bit more impressive because of what they managed to do with only a certain amount of space. 

The film itself is wonderful, dramatic, and fun and encourages children and adults with it’s

Positivity, focus on storytelling and literacy, and the power of imagination. 

The film stays colorful, entirely surreal, and a little grotesque, but amazing in its Songs that are uplifting and positive messages to never forget. The choreography is amazing and tight.

Truly a famous movie that has something for everyone. Though most of the cast are children who are more full-fledged characters. As the adults seem usually over the top and caricatured. At least the bad ones are. It is also heartwarming even in the end. Her parents who have treated her horribly actually show emotions for her.

I will admit towards the end it starts to falter and isn’t as strong as before. Where you wonder where it is going and wish for maybe a little stronger direction in the form of the surreal and fantasy, as Danny Devito’s Direction and less conventional direction in this version. 

The theme of the film Will leave you with a smile on your face and Emma Thompson shows she is having fun playing the main villain in the film, as the headmaster who is a former curling champion. Here at least she gets to play the villain and not necessarily the hero as in her NANNY MCPHEE films. It is a delight to see her in this film.

Grade: B

BIRDS OF PARADISE (2021)

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Written & Directed By: Sarah Adina Smith
Based on the Book by: A. K. Small
Cinematography: Shaheen Seth 
Editor: David Barker

Cast: Diana Silvers, Jacqueline Bisset, Kristine Froseth, Eva Lomby, Caroline Goodall, Daniel Camargo, Osiel Gouneo, Nassim Lyes, Stav Strashko 

Two girls at an elite Parisian ballet academy have their bond and bodies tested as they compete for a contract to join the company of the Opéra National de Paris.

This film is an adaptation of a novel. So that it’s not quite the Junior League BLACK SWAN rip off. that many have dubbed it.

Black Swan, for instance, seems to delve more into a kind of psychological breakdown, mixed with what might be supernatural. Here though it does deal with mental strength and breakdowns everything seems to stay in reality.

The film lends itself more to surreal imagery and scenes, though it keeps its feet and head on the ground. As the characters are dealing with many different issues from weight loss to the pressure of competition, deaths, and family, trying to prove themselves, and so on.

While we focus on the two main female characters who bond and our enemies at the same time. Where they are trying to each bond, yet have the upper hand while keeping secrets from one another that it becomes downright shocking who actually betrays who.

As they truly share everything even a bed, as there is only one in their room soon it is lovers’ feelings, emotions, truths, revealing themselves to each other, physically, and mentally sexually

Sure we have seen this before but somehow the film the state captivating Wild, never really reveals too much except about its two subjects.

As they seem to be the only warmth in the cold atmosphere of their situation, and the film. One character, who is warm, learns how to be cold, and the other who starts out cold, learns to become themselves, and thus thaw out.

Soon the film also becomes about identity and knowing oneself. As they both are on their own similar journeys in opposite directions, one ends up in a more purely sexual relationship, and the other ends up in route one that is not as sexual as usual for her, and involves more emotion.

It has beautiful dance sequences throughout and does not shy away from showing the physical cost of that and somewhat financial costs. It also helps that most of the cast is very eye-catching. Luckily, they are also all believable.

The film keeps her interested as it seems too deep. Every time you think you’ve gotten it figured out, even though there is still a ticking time clock on the ending. 

The ending doesn’t quite stick to the Landing, even though this is an anti-buddy drama.

That while it stays captivating, it just doesn’t have that cutthroat feeling enough to keep you enraptured.

Grade: C+

ORPHAN: FIRST KILL (2022)

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Directed By: William Brent Bell
Written By: David Coggeshall
Story By: David Leslie Johnson-McColdrick 
Based on characters created By: Alex Mace
Cinematography: Karim Hussain
Editor: Josh Ethier 

Cast: Isabelle Fuhrman, Julia Stiles, Rossif Sutherland, Hiro Kanagawa, Matthew Finlan, Samantha Walles 

After orchestrating a brilliant escape from an Estonian psychiatric facility, Esther travels to America by impersonating the missing daughter of a wealthy family.

A movie where It’s surprising success got a sequel or prequel trying to open it up into a franchise that is not needed or truly asked for.

So while it could easily be written off there is an attempt here that makes it not necessarily feel cheapened but an attempt to Make Something worthwhile.

While not great at least it tries not to be as surprising as the original but still manages to keep up the suspense and thrills. Now we are more in on the surprise to see how she works to stay ahead of those who suspect her and keep manipulating those around her. 

The second half of the film or truly the last third offer up a twist that is unexpected like the original, but enlivens the movie so that it doesn’t feel like more of the same. It makes the film worthwhile, adding a dimension you’re not expecting.

It has Villains underestimating each other until a confrontation is needed to show dominance. Where the film tries to make us have sympathy for a sociopath to a degree. Which began with showing how vicious she can be.

While the movie is certainly brutal to show the viciousness and evil it never feels unnecessary. 

Julia Stiles in yet another horror extension, but at least she is very good in this one and can understand why she choose this role. Reminds you of how good she can still be when given the right role 

As always in these movies the black character already suspects something is up And can see through the facade. 

The film makes every scene look hazy most of the time. Almost wish that this was a Brian DePalma movie.

How do you do that by having a psychopath go against people who are much worse?

A Little cheesy but worthwhile as it stays entertaining for the most part even if at times it feels trashy with a delectable shiny sheen and gloss Also shows how she knows she will never be accepted.

Maybe this sequel feels so good and refreshing as most likely going in you aren’t actually expecting as much especially when it comes to quality.

A prequel origin story where we learn the details of the fate of the characters we vaguely hear about in the first film. 

It gets very campy 

Grade: B-

INFLUENCER (2023)

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Directed By: Kurtis David Harder
Written By: Kurtis David Harder & Tesh Guttikonda 
Cinematography: David Schuurman 
Editor: Rob Grant & Kurtis David Harder 

Cast: Cassandra Naud, Emily Tennant, Sara Canning, Rory J. Saper, Justin Sams, Paul Spurrier 

While struggling on a solo backpacking trip in Thailand, social media influencer Madison meets CW, who travels with ease and shows her a more uninhibited way of living, but CW’s interest in her takes a darker turn.

The film l lives up to its title as everything in this film is pretty yet shallow. 

The film follows a familiar trend when it comes to a lot of thrillers recently involving the internet and revolving around it. Characters who are Influential on Social Media. 

The film is fairly predictable throughout. Despite trying to throw some twists that never amount to Much. Here at least the film tries to humanize the victims.

The film has a glossy Veneer which keeps it visually interesting. As it tries to say something about the shallowness of Social media before branding itself as kind of the same. 

As you only feel sympathy for the first victim and at times her boyfriend but he always seems To remain on the fence about how you should feel about him.

The only trace of originality is that it takes place overseas and that the main actress has a noticeable birthmark on her face.

Though the villains’ motives are never truly explained or revealed. Is she jealous of them?

Does she just want to live in their identities for a bit to see how the other half lives? Is it done for survival? Or is she just a psychopath? 

The film makes everything look good. Even the lead is much sexier than her victims and shows the most skin throughout. Though ever completely and set up a kind of sex scene. That is the most revealing she or the film Gets.

Cassandra Naud gives a believable performance and stays captivating throughout. Hopefully, she gets better material in her future films. 

This is a nice film for those beginning into thrillers or wanting one with not too much violence. So that it feels like a Lifetime Movie but maybe a little bit harder-edged.

Back in my day, we would’ve considered this a CW movie as that channel used to have television shows with very young casts that were model-looking or would have adults playing teenagers and adult situations. Everything in this film is picturesque at times too pretty to be believed. This film seems to want to showcase the darkness that runs underneath all that shines.

Grade: C –

KILL BOKSOON (2023)

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Written & Directed By: Sung-Hyun Byun 
Cinematography: Hyung Rae Cho
Editor: Kim Sang- Beom

Cast: Jeon Do-Yeon, Esom, Koo Kyo-Hwan, Hwang Jung-Min, Lee Yeon, Si-ah Kim, Sol Kyung-Gu, Fahim Fazli, George Tsai, Elyse Dinh 

Single mother Kill Bok Soon is one of the world’s deadliest assassins thanks to her 100% success rate on contract killings. Bok Soon works for M.K Ent, which is run by the man that taught her, Cha Min Kyo. The pair hold mutual respect for each other, but Kill Bok Soon understands that a moment’s notice could take everything away from her. Just before Kill Bok Soon is due to renew her contract, loyalties are put to the test when Bok Soon is involved in a kill-or-be-killed incident.

This has a bit of JOHN WICK in it. Only when it comes to the action. Which is more hand-to-hand than guns, though guns are used frequently. It more leans into the facts of that film’s world-building or an organization of assassins of which there seem to be many. Which has its own set of rules.

The action sequences here are noteworthy for not only the choreography and staging but for some of their humor. One, In Particular, takes place in a bar/restaurant where various killers are after only one person and end up sometimes sabotaging themselves. While other males testimonies as they perish.

The film definitely has a sheen and polish. That puts it a little above the rest. As it isn’t gritty but just as dirty as some others of Its genre 

The film does end up feeling too long at over two hours. You, unfortunately, feel it, so it’s not a smooth journey. As the film plays like a contained epic with many levels. It starts to feel endless. Especially when it plays up more the melodrama of the relationships.

Which is expected though strangely a bit strong for an action film about assassins. It is also that element at the heart of the film and pushes the running time. It might be a case of trying to be more than what is expected.

As the film makes the case of showing why maybe as a paid killer it doesn’t always help to have Friends to get to close to your colleagues

Though not a Netflix original. It feels like their brand of recent action films. Similar to GUNPOWDER MILKSHAKE only without the all-star cast. 

Grade: C+