Director: Denzel Washington
Year: 2016
Rated PG-13
Rating: * * * 1/2 Stars
Cast: Denzel Washington, Viola Davis, Stephen McKinley, Mykelti Williamson
Fences is my latest review. It is based on a play and at times, it feels as such. Fences is a talky picture, made somewhat for the stage with its extended group scenes and singular moments of standoff violence. Don't shy away though. This is still powerful stuff, with timed acting of the highest order.
Denzel Washington stars, produces, and directs. His setting is 1950's Pittsburgh. With a Christmas Day release and Washington playing opposite an actress like Viola Davis, you can almost smell the Academy Award nominations coming around the corner. You can also taste the Iron City Beer as well as the bottle of slow gin that Denzel's main character (Troy Maxon) drinks on a regular basis.
Washington works with about five locations in Fences such as the Maxon family home, the street said home is on, and a local bar. His direction is simplistically brilliant as he captures such an authentic sense of time and place. His cast (including himself) is saddled with heavy-handed dialogue that deems itself metaphoric in regards to race and the sport of baseball. Possessing gray stubble and a little extra weight put on, Denzel Washington gives maybe his best performance ever in the claustrophobic-like setting that Fences inhabits. He spits his lines like a pellet gun .177. His Maxon is a supporting father and shucked bastard all at the same time. Heck, Denzel Hayes Washington Jr. is flat out ferocious.
Distributed by Paramount Pictures and containing a script adapted from famed playwright, August Wilson (it was completed right before his passing in 2005), Fences follows waste collector/promoted garbage driver, Troy Maxon (Washington). In his early days, Maxon was a Negro league baseball player. Even before that, he was a convicted murderer and robber who served some considerable time. Now Troy comes home from work to pal around with his best friend (Jim Bono played by Stephen Henderson), drink hard liquor, and reminisce about cheating pneumonia-related death as a youth.
Watching Fences at a Tuesday screening, I wasn't sure how long the time frame was. There is an elongated flash-forward progression toward its conclusion. Otherwise, most of the events in Fences could have taken place anywhere between 1-2 years. Its screenplay by the late August Wilson, recycles itself over and over again throughout the duration of Fences (139 minutes). It still regains its freshness with scenes that crackle and captivate. There's conflict in this vehicle between father and son, father and estranged son, husband and wife, and friend to friend. The backyard baseball (on a rope) in Fences acts as a symbol. It's a reminder of better times and simpler times for the volatile Troy.
In conclusion, I'm hoping that when the dust settles and the end of January rolls around, Fences will garner Oscar consideration for Washington (Best Actor), Davis (Best Actress), and even Mykelti Williamson (Best Supporting Actor) as Maxon's mentally impaired brother. Overall, Fences builds its own "fence" around almost everything that came out in 2016. It's a real winner. Rating: 3 and a half stars.
Written by Jesse Burleson
Welcome all film buffs. Enjoy a vast list of both long and short reviews. All reviews posted by myself, Film Critic Jesse Burleson. Also on staff is my colleague and nephew, Film Critic Cole Pollyea. He also has his own blog titled, "ccconfilm.blogspot.com". We welcome your feedback and comments. Let VIEWS ON FILM guide you to your next movie. Rating System: ****Stars: A Classic ***Stars: Good **Stars: Fair *Star: Poor No Stars: Terrible, a waste of time.
Wednesday, December 28, 2016
Tuesday, December 27, 2016
Passengers 2016 * * * Stars
Director: Morten Tyldum
Year: 2016
Rated PG-13
Rating: * * * Stars
Cast: Jennifer Lawrence, Chris Pratt, Michael Sheen
Jennifer Lawrence is a big movie star. Chris Pratt is a newly appointed movie star. With the exception of Michael Sheen playing an android and Laurence Fishburne making a brief appearance as a Chief Deck Officer, they are the only two players featured in Passengers (my latest review).
Morten Tyldum directs Passengers which is sort of like Cast Away in outer space. Just imagine Tom Hanks but with a friend to play with (not a volleyball), unlimited resources of food and water, and freedom from inclement weather. Tyldum was nominated for an Oscar two years ago with 2014's The Imitation Game. Who would've thought he'd be the perfect choice to reinvent the sci-fi wheel. In Passengers, he provides something fresh with his technical efficiency and resplendent attention to detail. There are plenty of nifty space-age gadgets, glossy special effects, and perpetual motion here. The budget of $110 million is well spent for this is a great looking film.
Notice that I haven't mentioned Lawrence and Pratt for a whole paragraph. Sorry about that. I mean, they do have decent chemistry as co-stars. JLaw is indeed a solid actress. For most of Passengers, she's sexy and smoldering, appealing and pinpointed. Then comes the climatic moments in the film when she has to emote via actual peril and distress. Lawrence's tone feels out of place in these moments. She may be the wrong ingredient for a science fiction thriller (I've never seen The Hunger Games so I could be wrong). As for Chris Pratt, well he's a big thing now, an almost A-lister. He can just go through the motions and get the job done. His screen presence is ample enough to carry Passengers (ha ha). I'll just call his performance the veritable, Harrison Ford approach.
Now why am I saying all this? Well for good reason. The actors/actresses almost take a back seat to Tyldum's vision. He makes sci-fi coldness and sci-fi gimmickry relevant for this year. His Passengers is Kubrickian. His Passengers is darkened infinitude. In the end, everything pretty much works itself out. Critics in general have been hard on Passengers for various rationales. Once you see it you'll agree that they need to lighten up.
Containing bartender scenes straight from the annals of The Shining, harboring a little humor, and distributed by Columbia Pictures, Passengers chronicles mechanical engineer, Jim Preston (Pratt). Preston is on a spaceship called Avalon. Avalon recently left Earth and is now on course to go to a planet called Homestead II. This journey is going to take 120 years and said ship is carrying over 5000 people. Everyone is sleeping in hibernation pods but here's the problem: Jim's pod malfunctions and he awakes 90 years too early. Oops. Preston spends many days keeping himself busy and realizing that he may die on Avalon before it gets to its destination. He gets lonely and against his conscience, decides to wake up another passenger in Aurora Lane (Lawrence). The two of them connect, have some sexy time, and continue to figure out ways to fall back to sleep in their pods. Jim initially doesn't tell Aurora he sabotaged her life. He selfishly falls for her. First, by reading Aurora's bio and then by having a face to face meeting with her.
Essentially, Passengers is a love story with an ending that I wouldn't have wanted. Hey, whatever. If you are willing to spend the next nine decades with just the guy you dig and a robotic barkeep (spoiler), then more power to ya. A critic on Rotten Tomatoes mentioned that this film had something to do with Stockholm syndrome. Yup, he'd be right on that one.
All in all, Passengers is a flick cut from original cloth. It has been rumored to be based on a book but hey, that's just a rumor. It promotes a sterile facade, an upmarket look, and a dreaded feel. Ultimately, this vehicle will keep you interested and on the edge of yearning for hope. Granted, Passengers is not as deep as say Interstellar (another sci-fi film about the passage of time) nor is it strong in terms of its final act. However, you could do a lot worse when it comes to the aspect of holiday viewing. My rating: 3 stars.
Written by Jesse Burleson
Year: 2016
Rated PG-13
Rating: * * * Stars
Cast: Jennifer Lawrence, Chris Pratt, Michael Sheen
Jennifer Lawrence is a big movie star. Chris Pratt is a newly appointed movie star. With the exception of Michael Sheen playing an android and Laurence Fishburne making a brief appearance as a Chief Deck Officer, they are the only two players featured in Passengers (my latest review).
Morten Tyldum directs Passengers which is sort of like Cast Away in outer space. Just imagine Tom Hanks but with a friend to play with (not a volleyball), unlimited resources of food and water, and freedom from inclement weather. Tyldum was nominated for an Oscar two years ago with 2014's The Imitation Game. Who would've thought he'd be the perfect choice to reinvent the sci-fi wheel. In Passengers, he provides something fresh with his technical efficiency and resplendent attention to detail. There are plenty of nifty space-age gadgets, glossy special effects, and perpetual motion here. The budget of $110 million is well spent for this is a great looking film.
Notice that I haven't mentioned Lawrence and Pratt for a whole paragraph. Sorry about that. I mean, they do have decent chemistry as co-stars. JLaw is indeed a solid actress. For most of Passengers, she's sexy and smoldering, appealing and pinpointed. Then comes the climatic moments in the film when she has to emote via actual peril and distress. Lawrence's tone feels out of place in these moments. She may be the wrong ingredient for a science fiction thriller (I've never seen The Hunger Games so I could be wrong). As for Chris Pratt, well he's a big thing now, an almost A-lister. He can just go through the motions and get the job done. His screen presence is ample enough to carry Passengers (ha ha). I'll just call his performance the veritable, Harrison Ford approach.
Now why am I saying all this? Well for good reason. The actors/actresses almost take a back seat to Tyldum's vision. He makes sci-fi coldness and sci-fi gimmickry relevant for this year. His Passengers is Kubrickian. His Passengers is darkened infinitude. In the end, everything pretty much works itself out. Critics in general have been hard on Passengers for various rationales. Once you see it you'll agree that they need to lighten up.
Containing bartender scenes straight from the annals of The Shining, harboring a little humor, and distributed by Columbia Pictures, Passengers chronicles mechanical engineer, Jim Preston (Pratt). Preston is on a spaceship called Avalon. Avalon recently left Earth and is now on course to go to a planet called Homestead II. This journey is going to take 120 years and said ship is carrying over 5000 people. Everyone is sleeping in hibernation pods but here's the problem: Jim's pod malfunctions and he awakes 90 years too early. Oops. Preston spends many days keeping himself busy and realizing that he may die on Avalon before it gets to its destination. He gets lonely and against his conscience, decides to wake up another passenger in Aurora Lane (Lawrence). The two of them connect, have some sexy time, and continue to figure out ways to fall back to sleep in their pods. Jim initially doesn't tell Aurora he sabotaged her life. He selfishly falls for her. First, by reading Aurora's bio and then by having a face to face meeting with her.
Essentially, Passengers is a love story with an ending that I wouldn't have wanted. Hey, whatever. If you are willing to spend the next nine decades with just the guy you dig and a robotic barkeep (spoiler), then more power to ya. A critic on Rotten Tomatoes mentioned that this film had something to do with Stockholm syndrome. Yup, he'd be right on that one.
All in all, Passengers is a flick cut from original cloth. It has been rumored to be based on a book but hey, that's just a rumor. It promotes a sterile facade, an upmarket look, and a dreaded feel. Ultimately, this vehicle will keep you interested and on the edge of yearning for hope. Granted, Passengers is not as deep as say Interstellar (another sci-fi film about the passage of time) nor is it strong in terms of its final act. However, you could do a lot worse when it comes to the aspect of holiday viewing. My rating: 3 stars.
Written by Jesse Burleson
Monday, December 26, 2016
Manchester by the Sea 2016 * * * Stars
Director: Kenneth Lonergan
Year: 2016
Rated R
Rating: * * * Stars
Cast: Casey Affleck, Lucas Hedges, Kyle Chandler
Manchester by the Sea is my latest review. Its title sounds like the name of a poem so I guess I'll write it as such. This is gonna be fun. OK, here goes:
Manchester by the Sea, a real tragedy.
Casey Affleck stars, Massachusetts sure looks pretty.
Affleck re-channels his inner Lonesome Jim.
There's moping and trudging with angst filled to the brim.
"Manchester" is about grieving and it feels like real life.
This is independent film making, rift with strife.
There's Bostonian accents and suicide attempts.
"Manchester" is distressing family drama as quiet as it's kept.
It's about alcoholism and bar fights and fishing boats and friends.
It's about living a banal existence, the show that never ends.
It's about uncles and nephews and coping with death.
It's about a brother slash father who takes his last breath.
It's about a boy of 16 who loses his papi.
The kid is lady-smooth and likes to play hockey.
His uncle takes over the willed, guardianship.
He has to relocate sans Boston, and it's all from the hip.
Matthew Broderick makes a cameo, the dialogue is improvisational.
"Manchester" is overlong and not always directional.
The filmmaker advocates close-ups. The flashbacks are aplenty.
There's also wide shots and depression yet sometimes it's mildly funny.
The acting is raw, with sequences that are long-winded.
Newcomer Lucas Hedges, man is he gifted.
Hedges and Affleck, their scenes really crackle.
At times they feel bleak, at times they make you cackle.
If I had to rate "Manchester", I'd give it a "B".
The critics have really embraced it and so has the Academy.
Would I call this film a masterpiece? My answer would be no.
It's a character study, a life snapshot. Heck, it's still good to go.
Rating: 3 stars.
Written by Jesse Burleson
Year: 2016
Rated R
Rating: * * * Stars
Cast: Casey Affleck, Lucas Hedges, Kyle Chandler
Manchester by the Sea is my latest review. Its title sounds like the name of a poem so I guess I'll write it as such. This is gonna be fun. OK, here goes:
Manchester by the Sea, a real tragedy.
Casey Affleck stars, Massachusetts sure looks pretty.
Affleck re-channels his inner Lonesome Jim.
There's moping and trudging with angst filled to the brim.
"Manchester" is about grieving and it feels like real life.
This is independent film making, rift with strife.
There's Bostonian accents and suicide attempts.
"Manchester" is distressing family drama as quiet as it's kept.
It's about alcoholism and bar fights and fishing boats and friends.
It's about living a banal existence, the show that never ends.
It's about uncles and nephews and coping with death.
It's about a brother slash father who takes his last breath.
It's about a boy of 16 who loses his papi.
The kid is lady-smooth and likes to play hockey.
His uncle takes over the willed, guardianship.
He has to relocate sans Boston, and it's all from the hip.
Matthew Broderick makes a cameo, the dialogue is improvisational.
"Manchester" is overlong and not always directional.
The filmmaker advocates close-ups. The flashbacks are aplenty.
There's also wide shots and depression yet sometimes it's mildly funny.
The acting is raw, with sequences that are long-winded.
Newcomer Lucas Hedges, man is he gifted.
Hedges and Affleck, their scenes really crackle.
At times they feel bleak, at times they make you cackle.
If I had to rate "Manchester", I'd give it a "B".
The critics have really embraced it and so has the Academy.
Would I call this film a masterpiece? My answer would be no.
It's a character study, a life snapshot. Heck, it's still good to go.
Rating: 3 stars.
Written by Jesse Burleson
Tuesday, December 20, 2016
Rogue One: A Star Wars Story 2016 * * * Stars
Director: Gareth Edwards
Year: 2016
Year: 2016
Rated PG-13
Rating: * * * Stars
Cast: Felicity Jones, Diego Luna, Ben Mendelsohn
Felicity Jones, Diego Luna, and Forest Whitaker (his impression is all too brief) are well cast in Rogue One: A Star Wars Story (my latest review). And in traditional trending, a side character just had to quip, "I am one with The Force The Force is with me". Thankfully, The Force for the most part, is with "Rogue One".
After a decade-long wait, director J. J. Abrams was given the keys to the highly successful, Star Wars franchise. In Star Wars: The Force Awakens, he got away from the kid-friendly, CGI overload of the George Lucas prequels. He instead tried to create something that resembled the original trilogy (episodes IV and V come to mind). I was not overly impressed. Yeah Harrison Ford came along for "VII's" long anticipated ride. Yeah Mark Hamill made a blink-and-you-miss-it appearance. And yes, there was the obligatory lightsaber fight between good and evil. Here's the thing though: "Rogue One" has none of this and still manages to be more epic, more monumental, and more visually striking than "Force Awakens". It's the kind of Star Wars catacomb that "Force Awakens" wished it could have been. Truth be told, I was hoping "Rogue One" would've came out sooner than later.
Anyway, Rogue One: A Star Wars Story is not only a film tailored for 3D viewing pleasure, it is also a decent segue into Star Wars: Episode IV- A New Hope. Just call "Rogue One" episode 3 and a half. Remember in "Hope" when Princess Leia appeared with a secret message via a hologram? That's because the characters in "Rogue One" (Jyn Erso and Cassian Andor) were part of the Alliance and gave her viable plans to destroy the almighty Death Star. Carrie Fisher is even shown by way of computer enhancement as if it was 1977 all over again (I think it was Carrie Fisher). The image is a little creepy but it'll do. Oh and did I mention that they brought back the deceased Peter Cushing in glorified CGI fashion as well. Interesting and startling are the words I'd use.
Now "Rogue One" does contain an overly pouncing, sort of ho-hum musical score (by veteran composer Michael Giacchino who lacks that John Williams touch). And yes, it does omit the famous, serial opening titles. Still, Rogue One: A Star Wars Story manages to crack my top three in the Star Wars rankings (it's tied with 1983's Return of the Jedi). With "Rogue's" title referring to a military call sign, this is a more mature installment, a more down-and-dirty installment, and it is as dark as they come. The look is less pristine, like sci-fi Ridley Scott. The costume design is Alien mixed with 2013's Snowpiercer. Finally, "Rogue One's" concluding battle sequence is Southwest Asia, Apocalypse Now chic. There's palm trees, explosions aplenty, and epicness in scope. By the way, look for the anticipated Darth Vader appearance that everyone's been talking about (spoiler). Don't worry, James Earl Jones still does the voice mind you.
The director of "Rogue One" is Gareth Edwards. This is a step up from his monstrously bland, remake of Godzilla. His camera has a keen eye as he includes every stormtrooper, every intergalactic world, and every Rebellion vs. Imperial dogfight in every singular frame. Overall, Rogue One: A Star Wars Story is sumptuous, gritty, unwashed, and beautiful. It's like cinematic, Empire perfume for it truly stinks pretty. Granted, this isn't a Star Wars endeavor that will bring out the kid in you. This is more attuned to the adult or young adult for that matter. Bottom line: Don't go "rogue" and avoid the local multiplex. See this possible, future classic right away. Rating: 3 stars.
Written by Jesse Burleson
Felicity Jones, Diego Luna, and Forest Whitaker (his impression is all too brief) are well cast in Rogue One: A Star Wars Story (my latest review). And in traditional trending, a side character just had to quip, "I am one with The Force The Force is with me". Thankfully, The Force for the most part, is with "Rogue One".
After a decade-long wait, director J. J. Abrams was given the keys to the highly successful, Star Wars franchise. In Star Wars: The Force Awakens, he got away from the kid-friendly, CGI overload of the George Lucas prequels. He instead tried to create something that resembled the original trilogy (episodes IV and V come to mind). I was not overly impressed. Yeah Harrison Ford came along for "VII's" long anticipated ride. Yeah Mark Hamill made a blink-and-you-miss-it appearance. And yes, there was the obligatory lightsaber fight between good and evil. Here's the thing though: "Rogue One" has none of this and still manages to be more epic, more monumental, and more visually striking than "Force Awakens". It's the kind of Star Wars catacomb that "Force Awakens" wished it could have been. Truth be told, I was hoping "Rogue One" would've came out sooner than later.
Anyway, Rogue One: A Star Wars Story is not only a film tailored for 3D viewing pleasure, it is also a decent segue into Star Wars: Episode IV- A New Hope. Just call "Rogue One" episode 3 and a half. Remember in "Hope" when Princess Leia appeared with a secret message via a hologram? That's because the characters in "Rogue One" (Jyn Erso and Cassian Andor) were part of the Alliance and gave her viable plans to destroy the almighty Death Star. Carrie Fisher is even shown by way of computer enhancement as if it was 1977 all over again (I think it was Carrie Fisher). The image is a little creepy but it'll do. Oh and did I mention that they brought back the deceased Peter Cushing in glorified CGI fashion as well. Interesting and startling are the words I'd use.
Now "Rogue One" does contain an overly pouncing, sort of ho-hum musical score (by veteran composer Michael Giacchino who lacks that John Williams touch). And yes, it does omit the famous, serial opening titles. Still, Rogue One: A Star Wars Story manages to crack my top three in the Star Wars rankings (it's tied with 1983's Return of the Jedi). With "Rogue's" title referring to a military call sign, this is a more mature installment, a more down-and-dirty installment, and it is as dark as they come. The look is less pristine, like sci-fi Ridley Scott. The costume design is Alien mixed with 2013's Snowpiercer. Finally, "Rogue One's" concluding battle sequence is Southwest Asia, Apocalypse Now chic. There's palm trees, explosions aplenty, and epicness in scope. By the way, look for the anticipated Darth Vader appearance that everyone's been talking about (spoiler). Don't worry, James Earl Jones still does the voice mind you.
The director of "Rogue One" is Gareth Edwards. This is a step up from his monstrously bland, remake of Godzilla. His camera has a keen eye as he includes every stormtrooper, every intergalactic world, and every Rebellion vs. Imperial dogfight in every singular frame. Overall, Rogue One: A Star Wars Story is sumptuous, gritty, unwashed, and beautiful. It's like cinematic, Empire perfume for it truly stinks pretty. Granted, this isn't a Star Wars endeavor that will bring out the kid in you. This is more attuned to the adult or young adult for that matter. Bottom line: Don't go "rogue" and avoid the local multiplex. See this possible, future classic right away. Rating: 3 stars.
Written by Jesse Burleson
Tuesday, December 13, 2016
Daylight's End 2016 * * Stars
Director: William Kaufman
Year: 2016
Rated NR
Rating: * * Stars
Cast: Johnny Strong, Lance Henriksen, Louis Mandylor
Hello all movie lovers. Here is what might have went down during a fictional meeting between some people involved in Daylight's End (my latest review):
William Kaufman (director): Hey guys, I'm so glad you are all here. I just made a film called Jarhead 3: The Siege. Yeah it's a sequel to a movie from 11 years ago but hey, its got Dennis Haysbert in it. As you know, he's the Allstate dude and he killed it in Heat and Major League. Anyway, how about doing a zombie movie. Everybody loves a zombie movie. We could have Chris Cornell do the theme song guys. Man, I'm feeling this.
Johnny Strong (lead actor): Man I'm really feeling like Chris Cornell needs to retire. The 90's called and they want his grungy hair back. What a toad.
Everybody in the room: (Laughter) Ha ha, ha ha.
Chad Law (writer): By the way, take note that I wrote Jarhead 3.
Kaufman: Chad, we already know this. You don't have to remind everybody.
Law: Sorry but hear me out. My mind was buzzing when I came up with that script. If we do a zombie flick, I'm on board. Heck, that's easy to write. I'll just recycle bits and pieces from other zombie flicks. There's so many of them. Zombieland, 28 Days Later, Cell, World War Z. Oh man this is gonna be fun.
Production head for Throttle Films: Cell had a hook with the concept of wireless servers. I thought it was decent at a screening I was at. What's your hook Chad?
Law: No hook, I'll just have a lot of visceral gunfire. I'll make the actors and actresses use silencers to kill those pesky zombies. Bill, what about bringing in Lance Henriksen as a cast member? It just came to me. That guy was badass in Aliens and The Terminator. We'll pay him a little dough and then hire some unknown troupers to back him up.
Kaufman: Gee, thanks for letting me finally have the floor. Yeah, that could work. I don't want to spend too much money on this thing though. If it's poorly lit, so what. There will be plenty of action and bodies spewing blood. The audience will forgive me.
Production head for Throttle Films: I don't know guys. Can't we just think of something else as a backup plan. I don't want this thing to go by way of direct-to-video. I want it to reach theaters all over the world. You know what I mean.
Law: It will if we get Brad Pitt on board. That could definitely work. Can we?
Strong: Dude please. Pitt is gonna cost millions to cast. I was gonna headline anyway. I got this. Oh yeah, I have already composed a musical score to our zombie adventure. I'm an actor, I'm into martial arts but remember, I'm also a musician too.
Kaufman: That's true. And he's good looking not to mention the fact that he was in The Fast and the Furious.
Strong: Thanks Bill.
Kaufman: You're welcome
Law: I'll get the script going. This is gonna be awesome. My favorite film is Assault on Precinct 13. Can I incorporate elements of "13" with what we're doing here? God, this could rock guys! I could change the landscape of zombie films. Holy crap! Can we get started?
Kaufman: Slow down Chad. Wait till the meeting is over.
Production head for Throttle Films: Chad, could you at least write an original screenplay this time? Characters shouldn't have to say, "he's right, this could be our only chance" or "what are we gonna do now?"
Law: Sure. No prob. I'll make it totally original. I'm in the process of writing four more scripts along with this one. I may be from Indiana but I still got those Hollywood chops.
Strong: Whatever Chad. No one gives a rat's butt where you're from. So Bill, I'm gonna write the music yes?
Kaufman: Yeah sure.
Strong: And you said I could direct some dream sequences in your next film. You said I could. Am I not wrong?
Kaufman: Yeah, I know. I'll stick by my word.
Strong: You also said you'd make me a producer Bill. You've got to.
Kaufman: Okay okay, you get a producer credit. Jeez.
Law: This is so exciting. Clint Eastwood did his own music and he was the star of Gran Torino. Johnny, you are the man.
Strong: I know Chad. You don't have to tell me like you do on a regular basis.
Production head for Throttle Films: What are we gonna call this zombie endeavor? What's left for a title?
Law: Scout's Guide to the Zombie Apocalypse!
Strong: Already been used you idiot.
Kaufman: How about Dallas of the Dead since we're filming in Texas.
Production head of Throttle Films: I don't know. Sounds too obvious.
Strong: What about Zombie Strong. After all, I am the star.
Kaufman: I don't know Johnny.
Strong: Bill, come on. I'm the star. Don't I get a say in this.
Production head of Throttle Films: Johnny, don't let this film be an ego trip for you. You're already headlining, you're doing the music, and you're a producer.
Strong: So. Why is this nitwit here? Isn't there another suit to take his place?
Kaufman: Johnny relax. I've got the perfect title. Daylight's End. It rolls off the tongue. We gotta go with that.
Law: Heck yes. I love it.
Strong: Chad, we didn't ask for your opinion. You need to check yourself. You better write a decent screenplay this time. You don't wanna ruin my career, right?
Law: I won't Johnny. Don't worry about it. I got your back bro.
Strong: You better.
Kaufman: So guys, Daylight's End. Should we go with that?
Production head for Throttle Films: I'm not sure guys. I could lose my job over this. Another zombie vehicle with only Lance Henrikson as a known commodity?
Strong: Are you serious? Don't disrespect the Strongster. Man up you simpleton. Grab your balls and let's get going.
Kaufman: Let's do this.
Law: Damn right.
Production head for Throttle Films: How's about an April of 2016 release.
Strong: Whatever. And I better get paid.
Kaufman: Sounds good. What's our budget?
Production head for Throttle Films: Not a lot guys. Make the effects look decent and not fake.
Kaufman: Gotcha.
Strong; Fine.
Law: Aye, aye captain.
Strong: Dude, shut up!
Law: Johnny, stop.
Strong: I'm serious. Shut up.
Kaufman: You two stop it. Okay, it's a deal. Let's make a movie.
Rating: 2 stars.
Written by Jesse Burleson
Year: 2016
Rated NR
Rating: * * Stars
Cast: Johnny Strong, Lance Henriksen, Louis Mandylor
Hello all movie lovers. Here is what might have went down during a fictional meeting between some people involved in Daylight's End (my latest review):
William Kaufman (director): Hey guys, I'm so glad you are all here. I just made a film called Jarhead 3: The Siege. Yeah it's a sequel to a movie from 11 years ago but hey, its got Dennis Haysbert in it. As you know, he's the Allstate dude and he killed it in Heat and Major League. Anyway, how about doing a zombie movie. Everybody loves a zombie movie. We could have Chris Cornell do the theme song guys. Man, I'm feeling this.
Johnny Strong (lead actor): Man I'm really feeling like Chris Cornell needs to retire. The 90's called and they want his grungy hair back. What a toad.
Everybody in the room: (Laughter) Ha ha, ha ha.
Chad Law (writer): By the way, take note that I wrote Jarhead 3.
Kaufman: Chad, we already know this. You don't have to remind everybody.
Law: Sorry but hear me out. My mind was buzzing when I came up with that script. If we do a zombie flick, I'm on board. Heck, that's easy to write. I'll just recycle bits and pieces from other zombie flicks. There's so many of them. Zombieland, 28 Days Later, Cell, World War Z. Oh man this is gonna be fun.
Production head for Throttle Films: Cell had a hook with the concept of wireless servers. I thought it was decent at a screening I was at. What's your hook Chad?
Law: No hook, I'll just have a lot of visceral gunfire. I'll make the actors and actresses use silencers to kill those pesky zombies. Bill, what about bringing in Lance Henriksen as a cast member? It just came to me. That guy was badass in Aliens and The Terminator. We'll pay him a little dough and then hire some unknown troupers to back him up.
Kaufman: Gee, thanks for letting me finally have the floor. Yeah, that could work. I don't want to spend too much money on this thing though. If it's poorly lit, so what. There will be plenty of action and bodies spewing blood. The audience will forgive me.
Production head for Throttle Films: I don't know guys. Can't we just think of something else as a backup plan. I don't want this thing to go by way of direct-to-video. I want it to reach theaters all over the world. You know what I mean.
Law: It will if we get Brad Pitt on board. That could definitely work. Can we?
Strong: Dude please. Pitt is gonna cost millions to cast. I was gonna headline anyway. I got this. Oh yeah, I have already composed a musical score to our zombie adventure. I'm an actor, I'm into martial arts but remember, I'm also a musician too.
Kaufman: That's true. And he's good looking not to mention the fact that he was in The Fast and the Furious.
Strong: Thanks Bill.
Kaufman: You're welcome
Law: I'll get the script going. This is gonna be awesome. My favorite film is Assault on Precinct 13. Can I incorporate elements of "13" with what we're doing here? God, this could rock guys! I could change the landscape of zombie films. Holy crap! Can we get started?
Kaufman: Slow down Chad. Wait till the meeting is over.
Production head for Throttle Films: Chad, could you at least write an original screenplay this time? Characters shouldn't have to say, "he's right, this could be our only chance" or "what are we gonna do now?"
Law: Sure. No prob. I'll make it totally original. I'm in the process of writing four more scripts along with this one. I may be from Indiana but I still got those Hollywood chops.
Strong: Whatever Chad. No one gives a rat's butt where you're from. So Bill, I'm gonna write the music yes?
Kaufman: Yeah sure.
Strong: And you said I could direct some dream sequences in your next film. You said I could. Am I not wrong?
Kaufman: Yeah, I know. I'll stick by my word.
Strong: You also said you'd make me a producer Bill. You've got to.
Kaufman: Okay okay, you get a producer credit. Jeez.
Law: This is so exciting. Clint Eastwood did his own music and he was the star of Gran Torino. Johnny, you are the man.
Strong: I know Chad. You don't have to tell me like you do on a regular basis.
Production head for Throttle Films: What are we gonna call this zombie endeavor? What's left for a title?
Law: Scout's Guide to the Zombie Apocalypse!
Strong: Already been used you idiot.
Kaufman: How about Dallas of the Dead since we're filming in Texas.
Production head of Throttle Films: I don't know. Sounds too obvious.
Strong: What about Zombie Strong. After all, I am the star.
Kaufman: I don't know Johnny.
Strong: Bill, come on. I'm the star. Don't I get a say in this.
Production head of Throttle Films: Johnny, don't let this film be an ego trip for you. You're already headlining, you're doing the music, and you're a producer.
Strong: So. Why is this nitwit here? Isn't there another suit to take his place?
Kaufman: Johnny relax. I've got the perfect title. Daylight's End. It rolls off the tongue. We gotta go with that.
Law: Heck yes. I love it.
Strong: Chad, we didn't ask for your opinion. You need to check yourself. You better write a decent screenplay this time. You don't wanna ruin my career, right?
Law: I won't Johnny. Don't worry about it. I got your back bro.
Strong: You better.
Kaufman: So guys, Daylight's End. Should we go with that?
Production head for Throttle Films: I'm not sure guys. I could lose my job over this. Another zombie vehicle with only Lance Henrikson as a known commodity?
Strong: Are you serious? Don't disrespect the Strongster. Man up you simpleton. Grab your balls and let's get going.
Kaufman: Let's do this.
Law: Damn right.
Production head for Throttle Films: How's about an April of 2016 release.
Strong: Whatever. And I better get paid.
Kaufman: Sounds good. What's our budget?
Production head for Throttle Films: Not a lot guys. Make the effects look decent and not fake.
Kaufman: Gotcha.
Strong; Fine.
Law: Aye, aye captain.
Strong: Dude, shut up!
Law: Johnny, stop.
Strong: I'm serious. Shut up.
Kaufman: You two stop it. Okay, it's a deal. Let's make a movie.
Rating: 2 stars.
Written by Jesse Burleson
Monday, December 12, 2016
The Take 2016 * * * Stars
Director: James Watkins
Year: 2016
Rated R
Rating: * * * Stars
Cast: Idris Elba, Richard Madden, Charlotte Le Bon
Intricate, complicated, and abidingly violent, The Take (my latest review) is akin to the best Jason Bourne movie you never saw. I didn't mind that its ending felt like all things direct-to-video. I also didn't mind that two of its villains (a bad cop and the Paris head of Homeland Security) looked enough alike to make the proceedings a little distracting. No I dug "Take" and you might too. It's got a new breed of action hero in Idris Elba. He's smoldering, a total badass, and he sends this thrumming action thriller into veritable orbit. Butt kicker Jason Statham would be proud. Paul Greengrass would be content and totally enamored. Bruce Willis would trade in all his Die Hard talons just to get back in this game.
Anyway, The Take whose original title is Bastille Day (a reference to France's version of Independence Day in the U.S.), is about the unlikely partnership between an insubordinate CIA agent (Sean Briar played by Elba) and a runaway thief (Michael Mason played by Richard Madden). They join forces to eliminate a terrorist conspiracy in the City of Lights. Idris Elba is intimidating and confident, with a devil-may-care attitude as the seething Briar. Madden looks like a cross between Hugh Jackman and Justin Timberlake with an acting voice similar to Jackman's overwrought American accent. Their characters have good chemistry together even if it is at times, a little corny.
Not withstanding a low expectation module, "Take" was a pleasant surprise for me. It's a shame that most people never got a chance to see it (the film was pulled from theaters in Europe based on actual terrorist activity there). This 92-minute flick is faithfully helmed by writer/director James Watkins (The Woman in Black, Eden Lake). Watkins provides The Take with leveling technobabble, panning aerial shots, and plenty of malevolent fistfights. He uses Paris as a separate star locale, swiftly bringing you into a reconnaissance world of pickpockets, government corruption, and not so innocent bystanders (being framed for murderous acts). Oh and in "Take", he showcases the best on-foot movie chase since 2006's Casino Royale.
As per the plot points in The Take, well they mesh together splendidly like warm apple cider and donuts. The look by cinematographer Tim Maurice-Jones is standard by way of most spy thrillers but is equally modern and palatable. And there is less jittery camerawork in "Take" than in the Bourne movies. In truth, that's okay by me. Bottom line: See The Take. As a rental, it's a decent "keepsake". Rating: 3 stars.
Written by Jesse Burleson
Year: 2016
Rated R
Rating: * * * Stars
Cast: Idris Elba, Richard Madden, Charlotte Le Bon
Intricate, complicated, and abidingly violent, The Take (my latest review) is akin to the best Jason Bourne movie you never saw. I didn't mind that its ending felt like all things direct-to-video. I also didn't mind that two of its villains (a bad cop and the Paris head of Homeland Security) looked enough alike to make the proceedings a little distracting. No I dug "Take" and you might too. It's got a new breed of action hero in Idris Elba. He's smoldering, a total badass, and he sends this thrumming action thriller into veritable orbit. Butt kicker Jason Statham would be proud. Paul Greengrass would be content and totally enamored. Bruce Willis would trade in all his Die Hard talons just to get back in this game.
Anyway, The Take whose original title is Bastille Day (a reference to France's version of Independence Day in the U.S.), is about the unlikely partnership between an insubordinate CIA agent (Sean Briar played by Elba) and a runaway thief (Michael Mason played by Richard Madden). They join forces to eliminate a terrorist conspiracy in the City of Lights. Idris Elba is intimidating and confident, with a devil-may-care attitude as the seething Briar. Madden looks like a cross between Hugh Jackman and Justin Timberlake with an acting voice similar to Jackman's overwrought American accent. Their characters have good chemistry together even if it is at times, a little corny.
Not withstanding a low expectation module, "Take" was a pleasant surprise for me. It's a shame that most people never got a chance to see it (the film was pulled from theaters in Europe based on actual terrorist activity there). This 92-minute flick is faithfully helmed by writer/director James Watkins (The Woman in Black, Eden Lake). Watkins provides The Take with leveling technobabble, panning aerial shots, and plenty of malevolent fistfights. He uses Paris as a separate star locale, swiftly bringing you into a reconnaissance world of pickpockets, government corruption, and not so innocent bystanders (being framed for murderous acts). Oh and in "Take", he showcases the best on-foot movie chase since 2006's Casino Royale.
As per the plot points in The Take, well they mesh together splendidly like warm apple cider and donuts. The look by cinematographer Tim Maurice-Jones is standard by way of most spy thrillers but is equally modern and palatable. And there is less jittery camerawork in "Take" than in the Bourne movies. In truth, that's okay by me. Bottom line: See The Take. As a rental, it's a decent "keepsake". Rating: 3 stars.
Written by Jesse Burleson
Friday, December 9, 2016
Office Christmas Party 2016 * 1/2 Stars
Directors: Josh Gordon, Will Speck
Year: 2016
Rated R
Rating: * 1/2 Stars
Cast: Jason Bateman, Olivia Munn, T. J. Miller, Jennifer Aniston
Office Christmas Party is my latest review. It's a messy yarn I tell you. I am now going to write it in the tradition of the timeless ditty, "Twelve Days of Christmas". OK, here goes:
On the 9th of December, Hollywood gave to me: A movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: An umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: A version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Few laughable moments (I did enjoy the Gone Girl reference), Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Olivia Munn who's bad at acting, few laughable moments, Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Big time stars who interact with each other like passing ships, Olivia Munn who's bad at acting, few laughable moments, Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me (whew, almost done): A senseless (Internet) resolution ending, big time stars who interact with each other like passing ships, Olivia Munn who's bad at acting, few laughable moments, Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party. Happy holidays y'all! Rating: 1 and a half stars.
Written by Jesse Burleson
Year: 2016
Rated R
Rating: * 1/2 Stars
Cast: Jason Bateman, Olivia Munn, T. J. Miller, Jennifer Aniston
Office Christmas Party is my latest review. It's a messy yarn I tell you. I am now going to write it in the tradition of the timeless ditty, "Twelve Days of Christmas". OK, here goes:
On the 9th of December, Hollywood gave to me: A movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: An umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: A version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Few laughable moments (I did enjoy the Gone Girl reference), Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Olivia Munn who's bad at acting, few laughable moments, Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me: Big time stars who interact with each other like passing ships, Olivia Munn who's bad at acting, few laughable moments, Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party.
On the 9th of December, Hollywood gave to me (whew, almost done): A senseless (Internet) resolution ending, big time stars who interact with each other like passing ships, Olivia Munn who's bad at acting, few laughable moments, Jason Bateman being well, Jason Bateman, a version of Sisters that seems less raunchy, six screenwriters who lack corporate world knowledge, two unsystematic directors, A RATING THAT FEELS LIKE PG-13. Jennifer Aniston channeling bitchy, an umpteenth Chi-Town location, too many characters in a movie titled Office Christmas Party. Happy holidays y'all! Rating: 1 and a half stars.
Written by Jesse Burleson
Wednesday, December 7, 2016
Undrafted 2016 * Star
Director: Joseph Mazzello
Year: 2016
Rated NR
Rating: * Star
Cast: Tyler Hoechlin, Joseph Mazzello, Aaron Tveit
Baseball is America's pastime. It was first played in 18th century England. Sadly, it is depicted in a rather juvenile fashion via 2016's Undrafted (my latest review).
Undrafted is about a crass, intramural team trying to win a meaningless, seven inning game. Supposedly, it is based on a true story involving the director's brother (John Mazzello). Real-life Johnny boy failed to make the Major League Baseball draft. If this is an admiral tribute to him, well then you can just call me the veritable Cal Ripken Jr. So OK, I've seen other, similar "play ball" movies like For Love of the Game and Summer Catch. This is indeed worse. Oh and um, Richard Linklater called. He says he wants his inclination of male bonding back.
Anyway, writer/director Joseph Mazzello (he's also an actor) fashions a script that might look good on paper but for some reason, deems these bat-and-ball dudes to be incredibly annoying. They don't talk and act like actual human beings. And hey, they won't and can't shut up. Players on the bench prattle about the Backstreet Boys. Tyler Hoechlin portrays a starting pitcher yet doesn't replicate anything near what said pitcher's form is supposed to look like. A center fielder and his teammates go psychotic even though their team is winning a slight, pivotal game. A hitter argues a pitch that is clearly in the strike zone. Finally, James Belushi appears briefly as a failed, draftee's father (is Belushi that hard up for an acting job). In jest, most of the sequences in Undrafted are in the dugout, separated badly from what is really going on in the field. Man I'm so glad this flick was free by way of On Demand.
All in all, Undrafted is like a more volatile Everybody Wants Some!!. It's overacted with scenes that are edited quickly only to die on arrival. The only difference between this film and "Wants Some!!", is that its proceedings don't include partying, drugs, alcohol, or the notion of getting laid. Heck, Undrafted sucks period no matter how you wanna analyze it. I wanted to punch everyone involved. No one wins this cinematic game of baseball and you know what, no one should. That includes the producers, the cast, and the filmmaker (Joe Mazzello) who excitedly (and naively) showed this thing three years after it was made. Undrafted is one of 2016's worst and I don't think it ever got released (in theaters) in the first place. Good call ump. A strikeout or a last-ditch, nicked foul ball is my commentating assessment . Rating: 1 star.
Written by Jesse Burleson
Year: 2016
Rated NR
Rating: * Star
Cast: Tyler Hoechlin, Joseph Mazzello, Aaron Tveit
Baseball is America's pastime. It was first played in 18th century England. Sadly, it is depicted in a rather juvenile fashion via 2016's Undrafted (my latest review).
Undrafted is about a crass, intramural team trying to win a meaningless, seven inning game. Supposedly, it is based on a true story involving the director's brother (John Mazzello). Real-life Johnny boy failed to make the Major League Baseball draft. If this is an admiral tribute to him, well then you can just call me the veritable Cal Ripken Jr. So OK, I've seen other, similar "play ball" movies like For Love of the Game and Summer Catch. This is indeed worse. Oh and um, Richard Linklater called. He says he wants his inclination of male bonding back.
Anyway, writer/director Joseph Mazzello (he's also an actor) fashions a script that might look good on paper but for some reason, deems these bat-and-ball dudes to be incredibly annoying. They don't talk and act like actual human beings. And hey, they won't and can't shut up. Players on the bench prattle about the Backstreet Boys. Tyler Hoechlin portrays a starting pitcher yet doesn't replicate anything near what said pitcher's form is supposed to look like. A center fielder and his teammates go psychotic even though their team is winning a slight, pivotal game. A hitter argues a pitch that is clearly in the strike zone. Finally, James Belushi appears briefly as a failed, draftee's father (is Belushi that hard up for an acting job). In jest, most of the sequences in Undrafted are in the dugout, separated badly from what is really going on in the field. Man I'm so glad this flick was free by way of On Demand.
All in all, Undrafted is like a more volatile Everybody Wants Some!!. It's overacted with scenes that are edited quickly only to die on arrival. The only difference between this film and "Wants Some!!", is that its proceedings don't include partying, drugs, alcohol, or the notion of getting laid. Heck, Undrafted sucks period no matter how you wanna analyze it. I wanted to punch everyone involved. No one wins this cinematic game of baseball and you know what, no one should. That includes the producers, the cast, and the filmmaker (Joe Mazzello) who excitedly (and naively) showed this thing three years after it was made. Undrafted is one of 2016's worst and I don't think it ever got released (in theaters) in the first place. Good call ump. A strikeout or a last-ditch, nicked foul ball is my commentating assessment . Rating: 1 star.
Written by Jesse Burleson
Sunday, December 4, 2016
The Trust 2016 * * 1/2 Stars
Directors: Benjamin Brewer, Alex Brewer
Year: 2016
Rated R
Rating: * * 1/2 Stars
Cast: Nicolas Cage, Elijah Wood, Jerry Lewis
Las Vegas. Home to elicit gambling, legal prostitution, and gleaming neon lights. It's also the setting for The Trust (my latest review). Speaking of that setting, well the Vegas in "Trust" is in a way, not personified. We're talking about the Sin City outer world here. I didn't view one scene where a trouper was hitting the slots, taking in a Wayne Newton show, or noshing on shrimp at a casino buffet.
Anyway, The Trust is directed by two brothers (Benjamin and Alex Brewer). They fashion a dirty cop movie that's a little offbeat and a little off the aisle. The first half feels like this year's The Nice Guys. The second half is akin to a grubby Ocean's Eleven. There's a hint of Russian roulette, Elijah Wood smoking plenty of reefer while feeling paranoid, Nicolas Cage channeling a goofball civilian killer, and a breezy tone of background music. Finally, you have Jerry Lewis appearing in a role so minuscule, you'd miss him if you blinked too much. To be honest, I had almost forgotten that the king of slapstick was susceptible to the silver screen. My mistake mind you. My mistake.
With a sort of twist ending, a poster that channels Cage's own National Treasure, and a sole release on DVD via the countries of Germany and Sweden, The Trust chronicles Lieutenant Jim Stone (Cage) and Sergeant David Waters (Wood). They seem like a couple of downtrodden, desperate guys. They obviously don't like their jobs, they aren't satisfied financially, and their law enforcement superiors either don't care about their whereabouts or what they are up to. Stone persuades Waters to rob a grocery store safe full of diamonds, cash, and plenty of gold coins. He got the tip from a wealthy drug dealer who is connected to said fortune and subsequently paid a bail receipt for $200,000. The Trust then turns into a heist movie in which Stone and Waters purchase a specific drill and illegal firearms. Cage's character is nonchalant and zany in many of his actions. He even murders a couple of people along the way as if it's entirely nothing.
Now the one thing I thought of when I saw the trailer for "Trust", was how Nic Cage and Elijah Wood would fare as a buddy cop team. Bottom line: Their on-screen chemistry is about as uneven as The Trust itself. You could sometimes tell that they were actually trapped in different films between them. And try as I might, I just can't picture Wood in an adult role. Twenty years have passed and I still see him as a child actor. So sue me. As for "Trust's" direction, well it throws darts at the crime thriller genre. Were the Brewer brothers paying tribute to explosion monger Michael Bay in some of their speedy edits? Definitely. Were they at times, filtering in elements of a bungling, Keystone Cop comedy? Yup. Finally, were Alex and Ben trying to add the notion of a full-fledged drama as well? For sure. Like I said, uneven and to a point, fluctuated.
All in all, I did admire the meticulousness of the safe-cracking sequence in "Trust" (it was effectively long-winded). I also dug the ending which had a startling, mob/gang slant to it. Ultimately though, The Trust gets a strong, mixed review from me. It's not quite "worthy" enough. Natch! Rating: 2 and a half stars.
Written by Jesse Burleson
Year: 2016
Rated R
Rating: * * 1/2 Stars
Cast: Nicolas Cage, Elijah Wood, Jerry Lewis
Las Vegas. Home to elicit gambling, legal prostitution, and gleaming neon lights. It's also the setting for The Trust (my latest review). Speaking of that setting, well the Vegas in "Trust" is in a way, not personified. We're talking about the Sin City outer world here. I didn't view one scene where a trouper was hitting the slots, taking in a Wayne Newton show, or noshing on shrimp at a casino buffet.
Anyway, The Trust is directed by two brothers (Benjamin and Alex Brewer). They fashion a dirty cop movie that's a little offbeat and a little off the aisle. The first half feels like this year's The Nice Guys. The second half is akin to a grubby Ocean's Eleven. There's a hint of Russian roulette, Elijah Wood smoking plenty of reefer while feeling paranoid, Nicolas Cage channeling a goofball civilian killer, and a breezy tone of background music. Finally, you have Jerry Lewis appearing in a role so minuscule, you'd miss him if you blinked too much. To be honest, I had almost forgotten that the king of slapstick was susceptible to the silver screen. My mistake mind you. My mistake.
With a sort of twist ending, a poster that channels Cage's own National Treasure, and a sole release on DVD via the countries of Germany and Sweden, The Trust chronicles Lieutenant Jim Stone (Cage) and Sergeant David Waters (Wood). They seem like a couple of downtrodden, desperate guys. They obviously don't like their jobs, they aren't satisfied financially, and their law enforcement superiors either don't care about their whereabouts or what they are up to. Stone persuades Waters to rob a grocery store safe full of diamonds, cash, and plenty of gold coins. He got the tip from a wealthy drug dealer who is connected to said fortune and subsequently paid a bail receipt for $200,000. The Trust then turns into a heist movie in which Stone and Waters purchase a specific drill and illegal firearms. Cage's character is nonchalant and zany in many of his actions. He even murders a couple of people along the way as if it's entirely nothing.
Now the one thing I thought of when I saw the trailer for "Trust", was how Nic Cage and Elijah Wood would fare as a buddy cop team. Bottom line: Their on-screen chemistry is about as uneven as The Trust itself. You could sometimes tell that they were actually trapped in different films between them. And try as I might, I just can't picture Wood in an adult role. Twenty years have passed and I still see him as a child actor. So sue me. As for "Trust's" direction, well it throws darts at the crime thriller genre. Were the Brewer brothers paying tribute to explosion monger Michael Bay in some of their speedy edits? Definitely. Were they at times, filtering in elements of a bungling, Keystone Cop comedy? Yup. Finally, were Alex and Ben trying to add the notion of a full-fledged drama as well? For sure. Like I said, uneven and to a point, fluctuated.
All in all, I did admire the meticulousness of the safe-cracking sequence in "Trust" (it was effectively long-winded). I also dug the ending which had a startling, mob/gang slant to it. Ultimately though, The Trust gets a strong, mixed review from me. It's not quite "worthy" enough. Natch! Rating: 2 and a half stars.
Written by Jesse Burleson
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