Category: Movies (Page 33 of 191)

Blu Tuesday: Green Room and More

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on social media with your friends.

“Green Room”

WHAT: Down-on-their-luck punk band The Ain’t Rights accept a gig playing at a skinhead hangout on the outskirts of Portland. But when guitar player Pat (Anton Yelchin) accidentally witnesses a murder backstage, the band is thrust into a fight for survival against the club’s ruthless owner (Patrick Stewart) and his gang of backwoods neo-Nazis.

WHY: If Jeremy Saulnier’s slow-burning sophomore effort “Blue Ruin” announced him as a filmmaker to watch, then “Green Room” confirms that he’s the real deal. A brilliantly taut and grisly horror-thriller that defies genre conventions at every turn, “Green Room” is one of the most intense moviegoing experiences in recent years. There’s hardly a single wasted frame in this tightly-paced siege film, turning the screw on its characters (and the audience itself) with some nail-biting tension that doesn’t let up. The violence is gory but never gratuitous, while the lived-in performances – particularly Anton Yelchin’s frightened musician and Patrick Stewart’s surprisingly calm and rational white supremacist – lend an unsettling authenticity to the proceedings. The movie is at its best when the band is trapped inside the titular room, and although the suspense is slightly deflated once the action spills out into the rest of the building, becoming a more visceral affair where duct tape and a box cutter are the primary tools for survival, “Green Room” maintains its vice-like grip on the audience.

EXTRAS: There’s an audio commentary by writer/director Jeremy Saulnier and a making-of featurette.

FINAL VERDICT: RENT

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The Sound of Laughter: Why the music business lends itself so well to comedy

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Music and comedy have gone together for ages, ever since the first little ditty with nonsense words, or a dirty limerick put to music, all the way up to the operettas of Gilbert and Sullivan, vaudeville and even “Weird Al” Yankovic. Comedies have used music to great effect in the past, whether it’s the crooning of Nick Rivers in “Top Secret,” the lip-synching to Queen in “Wayne’s World,” or the John Farnham sing-a-long turned riot in “Hot Rod,” and many others. But there is a subsection of comedy films that is particularly obsessed with music, parodying a specific brand of music and musician to great effect.

The obsession with pop culture fads is nothing new, with Hollywood chasing the music scene for laughs arguably beginning with The Monkees (see our interview with Michael Nesmith). The accompanying sitcom that poked fun at Beatlemania while aping the look and feel of “Help!” and “A Hard Day’s Night” was an early shot in the battle between comedy and music.

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Movie Review: “The Secret Life of Pets”

Starring
Louis C.K., Eric Stonestreet, Kevin Hart, Ellie Kemper, Jenny Slate, Albert Brooks
Director
Chris Renaud & Yarrow Cheney

Illumination Entertainment showed such great promise with their debut film “Despicable Me.” It wasn’t quite Pixar-esque in terms of greatness, but the movie had its heart in the right place, delivered some quality laughs, and included great jokes for the adults that were also appropriate for kids (“Bank of Evil, Formerly Lehman Brothers.”) They’ve responded to the success of the first film by exploiting Gru’s minions like they were a limitless supply of programmable Olsen twins. The minions dominated “Despicable Me 2,” much to that movie’s detriment, and they finally got their own film, which to date is the worst film in Illumination’s history (yes, it made over $1 billion worldwide, but so did “Alice in Wonderland,” and that movie is a hot mess). Worse, they even appeared in costume form in “Neighbors 2: Sorority Rising.” They’re like alien spores, hell-bent on consuming all life on Earth.

This brings us to Illumination’s latest film, “The Secret Life of Pets,” which does not take place in the minions’ universe, yet contains three references to them: the word ‘Illumination’ in the studio’s title card flickers so that only the letters spelling ‘minion’ are visible; a character dresses up as a minion for a party; and there is a short film starring the minions before the main feature (to be fair, that bit is somewhat amusing, and proves that the minions are funnier when administered in smaller doses). That might sum up Illumination’s problem better than anything: they care more about branding than they do about the quality of their films.

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Movie Review: “Mike and Dave Need Wedding Dates”

Starring
Zac Efron, Adam Devine, Aubrey Plaza, Anna Kendrick, Stephen Root
Director
Jake Szymanski

Raunch-com, we need to talk. We’ve been spending a lot of time together (11 years, by my count), and this relationship just isn’t working out for me anymore. Every time you start to tell me a new story, I get all excited, thinking, “This ought to be good,” only to discover that this story just cobbles together elements from the stories you told me a couple of years ago. Do you even recognize that you’ve told this joke before? There are times when I feel like Julianne Moore’s husband in “Still Alice,” if “Still Alice” was a pitch-black comedy. Funny, yet so not funny.

And yet, there are times when you can still bring the goods, though with your most recent story, “Mike and Dave Need Wedding Dates,” your ass was saved by some expert casting. Aubrey Plaza? Genius move. it was economical as well, at 98 minutes. Way to get in and out before wearing out your welcome.

Mike (Adam Devine) and Dave (Zac Efron) are dipshit party boy liquor salesmen who have a history of ruining family events with their brotastic shenanigans. The next family event is the wedding of their little sister Jeanie (Sugar Lyn Beard), so the parents give them an ultimatum: they must bring dates, and nice ones at that, so they will be encouraged to behave themselves. The boys are struggling with the concept, so in their infinite wisdom they decide to put out an ad, which quickly goes viral and catches the eye of party girl Tatiana (Plaza), who sees an all-expenses-paid trip to Hawaii as the perfect way to get her left-at-the-altar bestie Alice (Anna Kendrick) out of her tailspin. Alice and Tatiana’s ruse is to lead the boys into thinking that they don’t know who they are and are just meeting them by chance. It works, but not for as long as they had hoped.

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Remade Right: The secrets to a successful remake

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Hollywood has always loved remakes, no matter how much it may seem like they’re inundating our multiplexes these days. For almost as long as movie studios have been pumping out hits for the masses, they’ve been remaking so-called classics. Sometimes it’s a matter of retelling an old story, adapting a particular book again, or even translating a foreign film into an English-language version so people don’t have to bother with the pesky subtitles. Regardless, remakes are nothing new. From adapting TV series for the big screen, to rebooting older franchises with new blood (all while tipping the hat to what came before, like J.J. Abrams’ “Star Trek”), there are plenty of remakes always being developed, and there always will be.

With the new “Ghostbusters” arriving in theaters on July 15th, it’s uncertain how that film will perform. Will it be a good update to the now-classic comedy with its own take on the material, or will it simply be a cash grab with swapped gender roles and updated F/X but nothing else of interest? It’s too soon to say, but it got me thinking of the remakes that got it right. What made those films work when so many others have failed? Why are they successful, sometimes even eclipsing the original, when the majority of remakes just feel tired and uninspired?

Here’s a handy list of probably the best remakes produced by studios in the past 35 years or so (in no particular order): John Carpenter’s “The Thing,” David Cronenberg’s “The Fly,” Philip Kaufman’s “Invasion of the Body Snatchers,” Martin Scorsese‘s “The Departed,” Matt Reeves’ “Let Me In,” Terry Gilliam’s “12 Monkeys,” Steven Soderbergh’s “Ocean’s Eleven,” Joel and Ethan Coen‘s “True Grit,” Michael Mann’s “Heat,” Martin Scorsese’s “Cape Fear,” James Cameron‘s “True Lies” and Mike Nichols’ “The Birdcage.”

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