Category: Movies (Page 155 of 191)

Blu Tuesday: Cops, Call Girls and Pulp Fiction

January has been pretty disappointing for movie fans thus far, both in theaters and on home video, but that cold streak appears to be finally coming to an end thanks to this week’s collection of new releases. Most of them aren’t particularly high profile titles (except maybe “End of Watch”), but they’re all worth seeing for one reason or another.

“End of Watch”

“Training Day” ranks pretty high on my list of the best cop movies ever made, so when I learned that writer/director David Ayer (who wrote the screenplay) would be returning to the genre with a found footage film, it definitely perked my interest. But while the idea is great in theory, “End of Watch” doesn’t work quite as well as you’d hope. The biggest problem is that Ayer isn’t fully committed to the found footage gimmick that he forces on the story, often relying on shots that clearly weren’t captured by any of the characters, surveillance cameras or dash cams, and it spoils the experience as a result. There really wasn’t a need to shoot the movie this way either, or at the very least, not draw so much attention to the fact that its heroes and villains are carrying around cameras the whole time. Despite these annoyances, however, Jake Gyllenhaal and Michael Peña are so incredibly committed to their roles – striking an excellent chemistry and delivering some of the best work of both their careers – that it’s worth seeing for their performances alone.

Blu-ray Highlight: In addition to some short promos and deleted scenes, writer/director David Ayer sits down for a mostly enjoyable commentary track where he discusses the cast’s dedication to the project, criticisms about the found footage cheats and more.

“For a Good Time, Call…”

Continuing the recent trend of R-rated female comedies, “For a Good Time, Call…” is like a stick of cotton candy – it’s fluffy and sweet, but doesn’t have very much substance. Unlike the sugary treat, however, the film is harmless fun. The story is pretty formulaic, and you probably won’t remember much about the movie when it’s over, but it’s an enjoyable slice of mindless entertainment that’s anchored by a pair of likeable performances by Ari Graynor and co-writer Lauren Anne Miller. Though I’m a little surprised that the comedy wasn’t raunchier, it’s nice to see an R-rated film that doesn’t feel like it has to resort to crude humor for laughs. That doesn’t mean it’s not raunchy at times, but Miller and Katie Anne Naylon’s script nicely balances those moments with the charming relationship between its two leads. The film also features some great cameos by Seth Rogen, Kevin Smith and Ken Marino, and though that doesn’t make it any less forgettable, it’s not a bad way to spend two hours.

Blu-ray Highlight: The included audio commentary features director Jamie Travis, stars Ari Graynor and Lauren Anne Miller, and co-writer Katie Anne Naylon in an enthusiastic discussion about making the movie, but it’s not particularly informative or entertaining.

“The Paperboy”

I’m one of the few critics that didn’t fall head over heels for “Precious: Based on the Novel Push by Sapphire” when it was released four years ago, and a major reason for that was director Lee Daniels’ poor execution of the material. Not only does his Oscar nomination seem like a complete joke in hindsight, but based on the reaction to his latest movie, it appears that he’s finally been found out with yet another appalling effort. “The Paperboy” is bad filmmaking through and through, from its ugly, slapdash script to the dreadful acting by its cast. You know something’s wrong when Macy Gray delivers the best performance, and though everyone involved is pretty bad (even Matthew McConaughey, who’s had a really good year), Zac Efron is the worst of the bunch. Nicole Kidman, meanwhile, just makes a complete fool of herself, whether it’s peeing on Efron or miming fellatio while John Cusack’s convict jizzes in his pants. There doesn’t seem to be a point to anything that happens over the course of the film, and even the outrageous stuff is dull. If you’re looking for a great pulp thriller that doesn’t pull its punches, watch “Killer Joe” instead.

Blu-ray Highlight: There’s not a lot to choose from here, but the interviews with the cast and crew – including director Lee Daniels and actors Nicole Kidman, John Cusack, Matthew McConaughey and Zac Efron – do shine some light on the making of the film.

Tanit Phoenix back as Katrina Banks in ‘Death Race 3’

Tanit Phoenix back as Katrina Banks in Death Race 3

The beautiful Tanit Phoenix returns as Katrina Banks in “Death Race 3: Inferno,” and she’s just as badass as ever. She has some pretty incredible fight scenes in this third installment of the “Death Race” series and one very hot scene as well.

Bullz-Eye.com was on location in South Africa for the filming of the movie, and senior photographer Paul Miller had the opportunity to talk to this stunning South African actress and model. He also helped the unit photographer set up some of the sexy photos above as well. Tanit has a great sense of humor as you can see in this video, and you’ll definitely want to pick up the Blu-ray/DVD set after watching her interview.

Also, check out our interview with the Death Race Nav Girls.

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Bullz-Eye interviews Navigation Girls from ‘Death Race 3’

Navigation Girls from Death Race 3

Bullz-Eye.com was on location in South Africa for the filming of “Death Race 3: Inferno,” which is out on Blu-ray/DVD on January 22nd. Here we have a great slideshow of three of the Navigation Girls from the film along with an interview in the video below. Bullz-Eye.com’s senior photographer Paul Miller was on the set during the filming of the movie and had the opportunity to speak with these three lovely actresses. They include Tanya van Graan who plays Amber, Charlbi Dean Kriek who plays Calamity J and Kim Engelbrecht who plays Kelly O’Donnell. Each are great in the film as they assist their various drivers through the Death Race.

Also, check out our interviews with Tanit Phoenix and Michelle Van Schaik.

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Hidden Netflix Gems: Bottle Rocket

This week’s Hidden Netflix Gem: “Bottle Rocket” (1996)

Before Wes Anderson was a household name (at least among movie buffs), before receiving Oscar nominations for The Royal Tenenbaums, Fantastic Mr. Fox, and Moonrise Kingdom, before The Darjeeling Limited, Rushmore, and The Life Aquatic, yes, before all of that, he and Owen Wilson co-wrote the screenplay for Bottle Rocket. It was based on a short film of the same name they’d made in 1992 and released in 1994. Bottle Rocket was Anderson’s directorial debut and marked the first appearances of Luke and Owen Wilson, as well as their lesser known older brother, AndrewLeslie Mann, now famous for her many roles in husband Judd Apatow’s films, even had a small part, though it was eventually left on the cutting room floor.

Anderson’s first film is an interesting look back at the development of filmmaker’s now signature style: the methodical cinematography, with its bright coloring and compulsive need to center-frame the actors, along with humor so dry you’d better pack a canteen. Though a commercial failure, Bottle Rocket served as a launching pad for the careers of all those names above, so easily recognized here in 2013. But the film is worth a watch on its own merits, even for those who aren’t intrigued by the idea of taking a look at the early work of a couple of future A-listers. Thanks to Anderson’s burgeoning style and its innocent, humorous characters, Bottle Rocket has been certified fresh and holds an 80 percent rating on the TomatoMeter. If that’s not enough to sway you, Martin Scorsese named it his seventh favorite movie of the 1990’s. Yes, that Martin Scorsese.

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Blu Tuesday: Car Chases, Psychos and Bank Robbers

If the new year is anything like the one before it, 2013 should be a great time to be a Blu-ray fan. Of course, that doesn’t mean that there won’t be a few bumps along the way, and you needn’t look any further than January for evidence of that. Though there are a few exciting titles to look forward to this month, just like the theatrical release schedule, you’re going to have to wade through a lot of crap in order to find any gems.

“Hit and Run”

It’s hard to imagine “Hit and Run” getting as large of a theatrical release as it did (or even one at all) without the involvement of Bradley Cooper, not only due to his box office drawing power, but because his amusing, against-type turn as a dreadlocked ex-con is about the only good thing the movie has going for it. Clearly inspired by “Smokey and the Bandit,” the action rom-com is mostly just an excuse for Dax Shepard (who also wrote and co-directed the film) to make a movie with his wife (Kristen Bell) and Hollywood friends. But despite a somewhat promising premise, it gets stuck in first gear and never really recovers. With the exception of Cooper and a cameo by Jason Bateman, the movie is almost completely void of laughs (Tom Arnold is particularly awful as a dim-witted U.S. Marshal), and the car chases aren’t nearly as exciting as intended. Fans of Cooper will no doubt be curious to see the actor in such an unexpected role, but while it’s certainly good for a couple of laughs, “Hit and Run” is more miss than hit.

Blu-ray Highlight: Apart from some deleted scenes, the only other bonus material on the disc is a trio of featurettes (on the cast, cars and the movie’s love story) that each run just over two minutes long. In other words, they’re a complete waste of your time.

“House at the End of the Street”

Jennifer Lawrence is still really young, so “House at the End of the Street” likely won’t be the last bad movie of her career, but it doesn’t make her decision to star in this bland “Psycho” wannabe any less tragic. No one that talented should be forced to slum it in a subpar horror movie, especially when her time could’ve been better spent making the next “Winter’s Bone” or “Silver Linings Playbook.” Though it’s nice to see Elizabeth Shue back in front of the camera as Lawrence’s protective mother, her character is perhaps the most one-dimensional of the bunch (and that’s saying something), while just about every scene featuring Max Thieriot is the equivalent of watching paint dry. Putting aside the bad acting, choppy editing and major plot holes, my biggest problem with “House at the End of the Street” is that it doesn’t even respect its audience, to the point that director Mark Tonderai provides false information in order to protect the big twist, even though he didn’t need to. Any movie that resorts to that kind of tactic is a lost cause in my book.

Blu-ray Highlight: “Journey Into Terror” is a pretty decent making-of featurette (at the very least, it offers an explanation as to why Lawrence would consider doing a movie like this), but it hardly qualifies as must-see material, and it’s the only extra on the disc.

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