Author: jbg

HELLRAISER (2022)

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Directed By: David Bruckner 
Written By: Ben Collins and Luke Piotrowski
Story By: Ben Collins, Luke Piotrowski and David S. Goyer 
Based On The Book By: Clive Barker
Cinematography: Eli Born 
Editor: David Marks 

Cast: Odessa A’Zion, Jamie Clayton, Adam Faison, Drew Starkey, Brandon Flynn, Goran Visnijc, Hiam Abbass 

A take on Clive Barker’s 1987 horror classic where a young woman struggling with addiction comes into possession of an ancient puzzle box, unaware that its purpose is to summon the Cenobites, a group of sadistic supernatural beings from another dimension.

The film is perfectly fine as a kind of reboot or sequel to the original series of films and certainly better than the more recent sequels. Though in certain ways it fails. 

Not entirely it’s its own fault. As the film for all the gore and new directions. It plays strictly modern and is hard to be as shocking or as disgusting as the original two films.

Those films were not only shocking but identifiable as at heart the story was a kind of pulp story with otherworldly elements. That seemed to bathe in the cruelty of the aspects. While showing a story of obsession and manipulation. Where truly the only innocent character survived. 

Then through it, all the special effects were revolutionary and revolting so much that you could feel the pain or wince as to what it was like. Sort of like when men hear stories of anything happening to genitals. 

Here the film tries not so much as the original did, but is left with something that while violent feels typical, and if this franchise needs updating they seem to be going in the right way. As they need a balance of lore, story, gore, and effects that balance each other out. As to not seem too exploitive which then has the film feeling lopsided.

Here the film is serviceable enough with the main character with a past and makes the storyline convoluted more than it needs to be. Seeming to want to have a detective story, but in the end little mystery and while cruel bit cruel enough. 

Jamie Clayton makes an interesting new pinhead. Though the chest design makeup in certain lighting reveals itself to be more of a made up than organic. Though that is a nitpick, she and the cenobite designs are on point.

What also hurts the film which is common in general is that we don’t care much for these characters. As they barely make their presence felt. The lead is ok because we spend the most time with her. When she loses her brother that is the only time the film seems to touch on something that approaches an actual emotion and is believable. The other characters you try to but could care less. Especially her boyfriend.

Give the film a try, but don’t expect to be blown away. As this is Hellraiser for a new generation but definitely won’t over-shine the original. Even today still feels shocking.

Grade: C+

THE A-TEAM (2010)

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Directed By: Joe Carnahan
Written By: Joe Carnahan, Brian Bloom and Skip Woods
Based On The Television Series Created By: Frank Lupo & Stephen J. Cannell
Cinematography: Mauro Fiore
Editor: Jim May & Roger Barton 

Cast: Liam Neeson, Bradley Cooper, Jessica Biel, Sharito Copley, Quinton “Rampage” Jackson, Patrick Wilson, Gerald McRaney, Yul Vazquez, Brian Bloom, Henry Czerny, Terry Chan, Omari Hardwick 

A group of Iraq War veterans looks to clear their name with the U.S. Military, who suspect the four men of committing a crime for which they were framed.

I will admit I had to watch this film More than once to really Get into it. As originally it felt more typical, I will admit to disliking it upon the first view. but a few years removed You can actually notice its qualities. Due to repeated viewings, it has grown on me. 

The film is surprisingly funny at times with some really Good action sequences. Which makes the films mostly fun than anything else. Definitely a perfect summer movie.

The portrayal of B.A. Barscus was originally played by Mr. T. Who became the most popular character and the breakout star of the show. Isn’t As memorable or outrageous here played by Quentin “Rampage” Jackson. Though he works for the film and is used well. Plus this was his first acting role so he is a rookie among the professionals.

Here it shows everyone is having fun playing espionage and with all the hardware and inventions involved. Unfortunately, Jessica Biel is the only one who comes off as bland. As she is the only woman playing in the boys club. So the Script treats her as the killjoy and convenient love interest.

Patrick Wilson is memorable as the villain or at least one of them. As he is clearly Having fun. He comes off as a fan of action but is rarely involved in that type of film.

This is a film That finally at the time used Bradley Cooper’s Looks and charm in an impressive way 

The film and cast actually gel well together; the theme of honor stays a major plot point throughout and while silly the film always feels cool. Though overstuffed and comes off more comedic than pure action a lot of the times 

At the time it seemed typical of the action films coming out at the time, but being able to look back at it is a fine example of basic but being a bit above and using that basic quality to it’s advantage. 

Grade: C+

TANK GIRL (1995)

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Directed By: Rachel Talalay

Written By: Tedi Sarafin

Based on a Comic-Strip By: Jamie Hewlett and Alan Martin 

Cinematography: Gale Tattersall

Editor: James R. Symons 

Cast: Lori Petty, Ice-T, Naomi Watts, Malcolm McDowell, Don Harvey, Jeff Kober, Reg E. Cathey, Scott Coffey, Ann Cusack, Iggy Pop, Brian Wimmer, Billy L. Sullivan, James Hong, Doug Jones, Stacy Linn Ramsowar 

A girl is among the few survivors of a dystopian Earth. Riding a war tank, she fights against the tyranny of a mega-corporation that dominates the remaining potable water supply of the planet.

The film successfully fills out a comic book world with vivid colors, fashions, and ridiculousness. 

The problem is that it all feels constantly staged on a set and bargain basement. The practical special effects are the only thing that is very impressive. Even later in the film Malcolm McDowell’s character’s more digital look is lackluster.

The film looks cheap and it keeps its rebellious D.I.Y. Punk attitude, but it doesn’t sell the story. It tries to remind the fans of its origins from time to time showing a scene and then showing the outcome from the panel of the graphic novel. Fans might remember how much it is not the graphic novel, but light entices newbies in the audience to seek out the source material.

The film isn’t horrible it is probably actually ahead of its time given a decade later it would probably have been treated better by the studio and audiences might have been more receptive. If made today probably would have been a successful limited series on a streaming Service 

Surprisingly I quite enjoy the film. Though wasn’t actually looking for much. Maybe it is that offbeat production and sense of humor the film has that makes it feel a little different and special. 

Lori Petty’s performance is enjoyable one of her biggest starring roles. Though I can understand if some audience members might find her annoying. While she is certainly energetic and wacky to truly be a believable action hero. Here she comes across as campier and like a demented sidekick, but maybe that is part of the appeal.

Her performance makes the action scenes a little more hard to believe. When you have this more comedic character all of a sudden being a savior and out stoic hero. 

The film attempts to be experimental with not only the comic book panel cutaways but also a musical sequence that comes out of nowhere and probably helps cement the film’s cult classic status. Not to mention genetically altered kangaroo men.

The film was clearly made to be appealing more to teenagers and a female audience. Though it already had limited appeal as more of a cult comic book. Where the filmmakers and studio at the time hoped would come out and support the film and have at least that audience. 

Anytime the film risks getting too violent. Which can happen in a dystopian apocalyptic landscape. It cuts away, there is no abundance of bad language or adult situations that are hinted at but cut short. Even a slight Beastiality romance between a kangaroo-man and the lead is more hinted at than anything 

The film is also one of the earliest appearances of actress Naomi Watts in a supporting role. 

Though credit must be given to this film for offering diversity and representation across the board in the casting of the film.

During the film and by the end it will definitely feel like you are on some kind of psychedelic or drug. Think of it as a precursor to a studio film like GUARDIANS OF THE GALAXY in wackiness and heroics. 

Grade: C+

DO REVENGE (2022)

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Directed By: Jennifer Kaytin Robinson 
Written By: Jennifer Kaytin Robinson and Celeste Ballard 
Cinematography: Brian Burgoyne
Editor: Lori Bell and David S. Clark 

Cast: Camilla Mendes, Maya Hawke, Austin Abrams, Alisha Boe, Talia Ryder, Rish Shah, Ava Capri, Paris Berelc, Sophie Turner, Sarah Michelle Gellar 

Drea and Eleanor agree to go after one another’s bullies.

Sometimes you get pulled into a film. That was certainly the case with this film. I thought would be the typical teen comedy they have offered in the past, but was willing to give it a chance because of the Cast.

Happily, the results are surprising. The film actually Offers some uncertain aspects and keeps the audience interested. As it offers a cynical view with plenty of energy but also plenty of great one-liners. Yet it is vulnerable and emotional when needed. It’sAlso surprisingly an R-Rated Film. That deals with sec and drugs a Little More believably as it isn’t EUPHORIA, but it isn’t Disney either 

The film is a bit familiar as it takes some of the best moments and qualities of teen movies of the past that you may remember but also makes it juicy

As with most Netflix productions, It feels like it could have been broadened a bit. Instead of feeling so insular and location bound. 

The lessons the characters learn seem obvious but at least are doled out in a harsher way. As usual, the parents or any adults with actual power seem either nonexistent or very much in the background or mentioned her never shown.

Noticeably Inspired by other films and while predicting what it does get general surprises it’s nice to have a rated R teen comedy once in a while though how that works Is something that a Family has to worry about

The cast is all aces though at first their characters all Seem like types. Eventually, the film Humanizes them a bit more. Just as thankfully the cast is diverse, Could use a little more splash of color but beggars can’t Be choosers 

Nice to see Sarah Michelle Gellar in this film. Only wish she had more to do. As she is a spectacular actress and this fits into her younger star past. 

Austin Abrams is perfect as an entitled questionable big man on campus who is ultimately a cad. 

While Maya Hawke is wonderful. Camilla Mendes takes the cake and eats it too. This film should Make her a star. As she has the talent and looks. She’s good in comedy, fashionable vulnerability, Good, Evil, and drama. Hopefully, this leads to bigger and better roles. 

The film is not only better than expected. its better than it deserves and could easily be a new teen favorite for the audience. 

Grade: B

FUNNY PAGES (2022)

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Written & Directed By: Owen Kline 
Cinematography: Sean Price Williams and Hunter Zimny
Editor: Owen Kline And Erin DeWitt 

Cast: Daniel Zolghadri, Matthew Maher, Josh Pais, Maria Dizzia, Miles Emanuel, Stephen Adly Gurgis, Marcus DeBonis, Michael Townsend Wright 

A bitingly funny coming-of-age story of a teenage cartoonist who rejects the comforts of his suburban life in a misguided quest for his soul.

This is a film that seemed to be treading the same ground as ART SCHOOL CONFIDENTIAL and GHOST WORLD. This film is more realistic but has the same kind of downtrodden dark humor.

This film is much more downbeat than those films.

As those films seem more cynical yet a bit more stylized. This seems rawer and victims of circumstances. Though this is just as funny at times. As mostly the joke is on the lead character. Who brings all Of this upon himself 

Only in this film, there are no winners it Is more of a comedic meltdown. Of a young man who believes that he must suffer to be a true artist, From his privileged upbringing. He tries to be rebellious and anything troubled or dirty deep. 

As expected he slowly Gets a wake-up call. That the audience from the beginning knows is coming. We want to root for him in his naive nature. As he wants to experience life. We see his continuing downfall. As he enthusiastically moves forward into a horror story of idealism.

Each character, he comes across seems crazy skewed in some sort of way.

The characters and film are somewhat grotesque at times. As it all seems grimy. The Aesthetic here is usually Close up And to Go for warts and all quality. 

Basically wanting to always want to show us the ugly side of the characters. While also showing that every person is flawed in some way. 

Even as this film is a coming-of-age story that offers few of answers. As the film makes its points but offers very little to make its Mark.

Coincidently it comes off as a graphic novel story of It’s own especially with its own drab presentation and darkly ironic sense of humor.

Grade: C+

MOONRISE KINGDOM (2012)

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Directed By: Wes Anderson 
Written By: Wes Anderson & Roman Coppola 
Cinematography: Robert D. Yeoman
Editor: Andrew Weisblum

Cast: Jared Gilman, Kara Hayward, Bruce Willis, Edward Norton, Harvey Keitel, Frances McDormand, Bill Murray, Jason Schwartzman, Tilda Swinton, Bob Balaban, Lucas Hedges 

Set on an island off the coast of New England in the 1960s, as a young boy and girl fall in love they are moved to run away together. Various factions of the town mobilize to search for them and the town is turned upside down – which might not be such a bad thing.

This film has quite a strange mix as it is more of a children’s tale as they fill out the cast but it also has some rather risqué scenes and material involving them. That fits the rebellious nature of the characters and the film. General,  it also as the film has an innocence and wholesomeness that is timeless. You never quite feel that there are any dastardly hidden levels or messages. It is all on the up and up. As the film is full of characters who all have character. 

As even the few villains that might be in the film. Aren’t malicious, they are just doing what they are supposed to despite the various facts and factions that might require them to abandon the rules.

As the film tries to be an ensemble it feels like the characters are in a dollhouse of sorts. Where they are all connected and there is melodrama but the film never gets bogged down and stays quite lively. Even if it feels at times mroe that everyone is on a playground and they have a connection. So that they constantly affect one another like dominoes being set up. When one falls it falls into another and changes its trajectory.

So while we have the young adult couple as the leads. We see how running away affects the status quo and the adult characters.

That rebellious nature is through the film as it offers some new wave filmmaking influences, moments, and obsessions. which are radical while it focuses on the first love between the main characters. Especially as two outsiders who find solace in each other at random. 

Though luckily for all of the influences on display here. The writer/director manages to make them his own original 

The movie is beautifully filmed. Which makes the scenes simple yet effective with constructed shots and angles. With sharp attention to detail and the time period are amazing, but are a few of the things writer/director Wes Anderson’s films are noted for.

As the film feels like a storybook throughout. As we constantly feel like we are in a fantasy or dream of a child. Even as the films show some maturity and a bit of sexuality. Which is dealt with so simply and carefully that thankfully it. Ever feels exploitive.

The film tries to give a view of the disappointments and sometimes tragedy of adulthood. Like you are missing something or have lost a certain perspective and quality of yourself. As the world is still cruel, but you Don’t know how to deal with it. You don’t challenge it or morph it to your sensibilities. It has morphed you and you realize it as you try to rational ways to deal with or distract from that revelation. 

The film is filled with whimsical cuteness. From a cast that seems more willing to let the harder edges of their performances that they usually bring and let themselves go and be softer and gentler. Surprisingly Bruce Willis is the most memorable in the supporting cast. One of his last memorable movie performances before returning due to health issues. 

The novice performances add to the innocence of the characters and situations. Even as they act older than they are, but are still kids at heart. Which makes their story a little more romantic and the adult ones are messy and sad. Yet can’t totally understand or are more envious and want to break it up. As if they can’t have one, why should they? 

The more you watch this film the deeper the appreciation of it begins. 

In the end, the film is charming and offbeat as it offers the hope and magic of romance. Dependent and understood only by the two involved. A belief that anything is possible when powered by love. As it is the two of you against the world and how relationships are adventures in of themselves even if just emotionally. Only here it is done more physically 

Grade: A+

BABY, IT’S YOU (1983)

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Written & Directed By: John Sayles
Based on a Story by: Amy Robinson 
Cinematography: Michael Ballhaus 
Editor: Sonya Polonsky 

Cast: Rosanna Arquette, Vincent Spano, Matthew Modine, Sam McMurray, Tracy Pollan, Frank Vincent, Robert Downey Jr., Caroline Aaron, Fisher Stevens, Joanna Merlin

In a 1966 New Jersey high school, Jill and new student Sheik from the other side of the tracks make their way into a first love romance.  

A romantic epic. That is well-traveled.

a perfect representation of first love as it spans across the early years of your development from your teens to slowly becoming an adult. Though it only covers a few years. It feels like a love story across decades. Though at least It isn’t presented as instant more than organic.

Almost like a kitchen sink drama mixed with a young adult novel. 

This is a film that seems like it’s Going to be slight or more melodramatic but ends up being actually deep and partly devastating.

Neither of the two main characters played by Vincent Spano and Rosanna Arquette. Are perfect. As they both have their strengths, weaknesses, and flaws. Yet you find yourself pulling for them.

Rosanna Arquette’s Character is annoying quite a few times and Vincent Spano gives a performance that has tinges of tragedy. As he seems to have a stubbornness about him that can be seen as confidence yet also expects too much. As you know he’s a dreamer you find yourself rooting for him. 

The film smartly involved petty betrayal and seduction and finding yourself even once they are split then finally resuming their relationship. They still need each other as they are stranded and the only people who seem to understand each other. As we don’t see them when they are sorted only when together or on the verge. So we get to see a kind of greatest-hits version of their lives 

The power shifts between them become fascinating. As we watch as the relationship becomes all about growth and maturity as well as how it comes apart and goes back to childlike immaturity.

It’s one of the few times Matthew Modine has been sued in the right way. He seems to be good at playing yuppie upper-class men. It’s Fun spotting a bunch of character actors in early small roles.

It’s a film that is almost kind of like PEGGY SUE GOT MARRIED. Only it’s not from the future looking back and getting another chance to correct past mistakes 

Here the story is told mostly as a doomed love story between two characters where we follow their ups and downs from high school to adulthood and always manage to find their way back to each other. Even when in different romances and away from one another 

It also shows how in this oboe Sorry there is the fantasy and romantic early days to the rough parts and the truly hard parts towards the end and after where reality truly steps in 

Just as the characters’ hopes and dreams for their futures are attempted but also must be checked at certain times by a harsh reality and circumstances they set themselves up for

Coming from writer-director John Sayles you expect more of a humanist point of view and presentation. That isn’t too sensationalistic or aimed at any particular genre. This is also one of his films that stays with you like BROTHER FROM ANOTHER PLANET, LONE STAR, and CITY OF HOPE. They are inventive and have a bunch of great ideas.

He is a director I admire as an independent filmmaker who usually has excellent character studies like this one. I admire that he started out writing B-Movie scripts PIRANHA, and ALLIGATOR. Who makes a living primarily by being. A professional rewriter, using that money to help fund his own productions and help other independent filmmakers.

Amazed at how the filmmakers got such a great soundtrack. 

Grade: A-

THE INNKEEPERS (2011)

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Written, Directed & Edited By: Ti West  Cinematography: Eliot Rockett

Cast: Sara Paxton, Pat Healy, Kelly McGillis, Brenda Cooney, Lena Dunham

During the final days at the Yankee Pedlar Inn, two employees determined to reveal the hotel’s haunted past begin to experience disturbing events as old guests check in for a stay.

This film has the classic feel of a ghost story. Which can be rare in a film set in modern times. Though this one about ghosts set in a dying hotel. Actually gives it a parallel throughout. 

The film has a few scares but like writer/Director Ti West’s previous film THE HOUSE OF THE DEVIL. He prefers to take his time to build tension and take it to its breaking point and then reveal things. Here he can’t be accused of phoning it in or trying the same formula. 

The film isn’t as exciting as you would think it would be and still leaves the audience with quite a few questions but still feels satisfying. 

As the film is small-scale and revealing as it goes along. Though not much happens in the film. It still manages to affect you. The cinematography is immaculate, especially in the tracking shots of such a small location. 

Though we follow Sara Paxton’s character. We never truly learn that much about her. Though once in a while we get some perks into her past. We superficially get to know her and her co-worker played by Pat Healy. 

We never get to know them deeply. So when everything starts going down. Though we are scared and scared for them as human beings. We feel nothing truly. As we might feel for leads in most horror films that we have a connection with. 

I will admit to not being the biggest fan of ghost stories or haunted places films. Which tends to feel like you are just waiting around for things to happen a lot of times. Followed by a scene or two where it finally does and that is about it. This one managed to keep my interest.

Grade: C+

THE HOUSE OF YES (1997)

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Written & Directed By: Mark Waters

Based on The play By: Wendy Macleod

Cinematography: Michael Spiller

Editor: Pamela Martin

Cast: Parker Posey, Tori Spelling, Josh Hamilton, Freddie Prinze Jr., Genevieve Bujold, Rachael Leigh Cook

A mentally unbalanced young woman – convinced she is Jackie Kennedy – flies into a murderous rage when her brother returns home to reveal he is engaged.

The only reason to watch this film is to see the performance of Parker Posey. As the storyline even feels more quirky than revelatory or making a mark. 

It’s a star-making turn if the movie was more successful and could match her performance. The film has a stern look and feel. As it is based on a play and feels like it. As everything feels staged. Which leaves no room for spontaneity. Where everything feels weird and quirky here just because. No real reason.

It also feels like every moment and line is planned. The characters are quirky but harmless. So that it comes off as more a work of literature than of the makings of a film.

Anytime worker paper is on screen. Which is lucky most of the time. She blows all the other actors away on screen. (Which is especially easy when it comes to Freddie Prinze Jr’s performance) when she is not around you miss her. As with the pink suit she wears throughout it is bright and really one of the few sources of color that cut through all the drab that surrounds it.

The reason I am writing so much about her is that there isn’t too much to say about the rest of the film.

Tori Spelling tries to gain respectability at the time. Showing she can act dramatically and here she doesn’t embarrass herself but she is given a role that while it is vital also comes off a little disposable by the end. Which also feels telling of most of her big screen roles at the time.

This is probably one of the better Freddie Prinze Jr. movies that he appeared in. As one can at least remember him here.

Looking at the grade you can pretty much guess the way I feel about most of his films. His character here starts off one and then makes an about-face. That is never really successfully explained or believable.

This is director Mark Waters’s directorial debut and he shows technical skills. One wishes he had chosen a better screenplay to debut with. Luckily after this, he had better chances to show a flair behind the camera. (MEAN GIRLS)

The film aims to be provocative and artistic which you can feel in every one of its frames but it feels like too much pressure in itself which it can’t contain. Nor can it escape its theatrical origins 

Rent this but a warning first. Only if you are a Parker Posey fan and want to see her greatness on screen. If not you can skip it 

Grade: D+

VANYA ON 42ND STREET (1994)

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Directed By: Louis Malle
Screenplay By: Andre Gregory 
Based On The Play “DYADYA  VANYA” By Anton Chekhov
Play Adaptation By: David Mamet 
Cinematography: Declan Quinn
Editor: Nancy Baker 

Cast: Julianne Moore, Wallace Shawn, Lynn Cohen, Larry Pine, Brooke Smith, Jerry Mayer, Andre Gregory, George Gaynes, Phoebe Brand, Madhur Jeffrey 

An uninterrupted rehearsal of Chekhov’s “Uncle Vanya” played out by a company of actors. The setting is their run-down theater with an unusable stage and crumbling ceiling. The play is shown act by act with the briefest of breaks to move props or for refreshments. The lack of costumes, real props, and scenery is soon forgotten.

though you can tell it’s more performance, so stripped down and organic that it sometimes feels like the actors’ lives and drama might be bleeding into the performances. Keeping the audience on its toes and feeling magically

Though from time to time you can see the people watching. As an audience as well as the director. The film begins traditionally as the actors and director arrive to let us see the setup and give us a New York street view placing the location to a degree.

How it works, not such a staged production, but any distraction. No illumination. So that we are close in the middle of the action and relationships and characters as the camera stays close, rarely moving, and is always close in and tight on their faces. Feels like it is giving us intimacy with the characters.

Wasn’t quite sure exactly when the play started as it seemed more like a general conversation at first then all of a sudden moved on. Though serious it feels adventurous and experimental, open and free.

This is another collaboration that feels similar in spirit yet bigger and not as much of an endurance test. Whereas MY DINNER WITH ANDRE seems almost like a documentary of an intellectual dinner conversation between two friends that reflects so much personality and personality about the people involved. Though we know it is a put-on production, in reality, it was the actors using their real names and partial history but really two originally created characters. Here we have Andre Gregory break up the scenes and guide the audience a bit so that we are In New locations within the play.

Though we are with the camera and the theatrical viewers are right up on them they manage to establish being alone and to themselves quite well. So good it’s hard to tell the difference

Truly be amazing if done straight through act breaks need to explain what has passed and where we are at

Happy to see Brooke smith who over the years has quite a resume. Not exactly a star but a recognizable character actress over the years. Who has earned her success from small to significant supporting roles seems as if we can watch her grow up on the screen as I remember her early first role in THE SILENCE OF THE LAMBS. One of my favorite immoral films in junior high school and high school where I earned the nickname Hannibal the cannibal by fellow students and Jeffrey danger because of the similar first name and I was also quiet and unassuming. It’s always a surprise to see her even at first if she seems miscast like in BAD COMPANY.

Grade: A