Movie Review: Land of the Lost

Children's television of the 1970s was a vastly different landscape when compared to today. This is especially true when you factor in the shows shepherded by Sid and Marty Krofft. To this day I do not believe anyone has brought anything like it to the scene. Think about it, has anyone reached the heights of Sigmund and the Sea Monster, The Bugaloos, and H.R. Pufnstuf? I think not. Then there is Land of the Lost, a series that certainly had some odd moments, but as children's science fiction, effectively acted as a gateway drug to more science fiction, and actually did a lot with its very limited budget. Now, some three decades later, the show comes under the watchful eye of the Hollywood machine and has become the latest to get the "reimagining" treatment on the big screen.

To quickly describe my reaction to the movie, all I need to say is that I came home afterward and promptly watched some of the old episodes on HULU to help wash the bad taste away. Factor in my thoughts on the film having deteriorated between the screening and now, that cannot be good. Also consider the fact that I am not the biggest fan of the show, but do respect the effort that was put into the show.

I am not a big fan of the show, having not been alive when the show originally aired. I have nothing against it, it just wasn't part of my childhood process. Still, only watching a couple of episodes, it is easy to see some of the changes made during the reimagining process, such as the introduction of the tachyon amplifier and another scientist for Dr. Rick Marshall to talk to, plus how they initially meet Chaka. None of these provide me with any serious cause for alarm as changes and "updates" are inevitable; besides, I don't want to see a straight copy, I want to see a different vision to the tale, so long as the original is respected. That did not happen here, not entirely.

The story is a simple one, Will Ferrell is Dr. Rick Marshall, a disgraced "quantum paleontologist" who now gives talks to grade school science classes. After a particularly bad presentation Marshall has a visitor in the person of Holly Cantrell (Anna Friel), a grad student who has chosen to follow the path that he had pioneered. With her encouragement, he finishes his amplifier and they head off on a "routine expedition."

They travel to a desert cave amusement stop, where they meet with Will Stanton (Danny McBride), the white trash proprietor of said stop. Once inside the cave, the trio go on that journey through space and time, quickly arriving in the Land of the Lost!

In this land they meet monkey-people, lizard people, grumpy dinosaurs and drink narcotic tree fruits. Sure, that sounds like it would be fun, but considering how poor it is written and presented, I am surprised I even made it to the finish. The 90-minute film has us watching the trio plus Chaka look for the amplifier so they can get home. Never mind all of the scientific aspects that should have interested them in addition to getting home. So long as the effects and comedy propel us to the next scene, who cares?

The concept behind Land of the Lost is a good one, and one I am positive could have bee made into a compelling film, if not a franchise. I think the problem began when Will Ferrell came on board. Rather than Ferrell adapting to the role, the role was re-written for his comedic sensibilities. That is one of, if not the biggest reason for the failure of this movie. Ferrell is the kind of comedian that needs to be reigned in and focused, in this case he seemed to free-form a lot of it and it comes off as Ferrell being Ferrell instead of Ferrell as Marshall. He was not funny, he was not clever, and was really annoying.

Still on the concept, the writing continues to be poor as the story is not much of a story. It is more like Dr. Rick Marshall wanting to get back at Matt Lauer for a bad interview than any scientific interests. Land of the Lost is based on a concept that could (read: should) have been turned into a film more along the lines of Jurassic Park. This story lacks any substance, has no depth, and just moves along its set path, content to crack jokes instead of developing its characters or any larger ideas or implications of their discovery.

Another problem with the film is also the content. The film is PG-13, and I understand what that means, but this is the wrong way to go with this film. The series was Saturday morning fare for kids, and there are probably a lot of parents who grew up on this who would like to take their kids, but the content is not kid friendly. The film is riddled with language, sexual innuendo, and drug content. I am not against this sort of thing, but in a film that is advertised as and should be for kids, it is less than acceptable.

Let us not forget the look of the film. It is not all that impressive. The effects seem to have been developed for a 3D presentation that was stopped halfway through. The effects were on a level similar to the Brendan Fraser vehicle Journey to the Center of the Earth. In other words, they were moderately fun, but nowhere near good. I could not tell if they were going for a sort of realism, or playing it as an homage to the show. The tone changed in alternating sequences. I would have preferred a more even tone. As it is, the Sleestak were not all that scary, what with the rubbery looking costumes, and some of the sets seemed under-dressed.

Now, while there was very little to like or enjoy about this movie, and I do not recommend this to anyone, I did enjoy some of what Anna Friel and Danny McBride brought to the screen. Danny McBride has been popping up in a lot of films, and much like Bill Hader, is always trying to elevate his game. In this case, he has a few funny lines and does his best to inspire interest and is therefore worth keeping an eye on. As for Anna Friel, my eyes were opened to her with Pushing Daisies (RIP), and at first it was odd hearing her speak with her natural accent, but she provides a captivating presence as she plays her role completely straight, thus delivering the best performance of the film.

Bottomline. This is not a good movie. Ferrell is full on annoying, the story fails to deliver anything of interest, and I was glad when it was over. The tone is wrong, the content went in the wrong direction, and the original show is disrespected (what were they thinking with Chaka?). Better luck next time.

Not Recommended.

Movie Review: The Hangover

Over the past few years, quality comedy has been dominated by films either from the Judd Apatow camp or from those attempting to duplicate the Apatow formula. These films invariably deal with human interactions and relationships. In short, they are a mash-up of comedy and romance into a new form of romantic comedy that marries the vulgar and the heartfelt in a way that hits home in a way not seen before. Now along comes The Hangover, a film that deals with some human interactions, but is as far from romance as can be. Instead of mashing comedy and romance, we get a blend of comedy and mystery in a film that proves to be very funny as it keeps you guessing as to just what happened. It is proof that comedy can exist in other forms on the modern screen and still deliver the goods.

Yes, this is an opinion, but for my money the best comedies of the past few years have come from and around the Apatow camp. Films like I Love You Man, Knocked Up, Superbad, and Forgetting Sarah Marshall are movies I can pretty much watch anytime. On the other hand, we also get "comedies" like Epic Movie, Meet the Spartans, What happens in Vegas, and The Love Guru. It is almost enough to shake ones faith in the viability of the genre. However, moving past the hyperbole, comedies are very hit and miss with so many landing on miss that when we get something like The Hangover, we may not know whether to welcome it or not.

As The Hangover begins, we find Phil (Bradley Cooper) on the phone telling Tracy (Sasha Barrese) that things got a little out of hand at the bachelor party and they lost her fiance, Doug (Justin Bartha). All I can say is that it must have been one heck of a night. The remaining party goers, Allen (Zach Galifianakis) and Stu (Ed Helms) stand in the background, none of them looking all that good under the bright sun of the desert outside of Las Vegas. Then we cut to three days earlier.

Doug is getting the final fitting done for his tuxedo in preparations of his wedding. With him is Allan, his fiance's odd brother. The two share a moment as they discuss the upcoming bachelor party. They then head off in his soon-to-be father-in-law's prize Mercedes convertible. They pick up Phil as he finishes up his last class (he's a school teacher), followed by Stu, a dentist and the submissive in his current relationship. Together, the quartet head off for Vegas.

They get to Vegas and begin their celebrations. Following a couple of shots of Jager, we transition to the following morning. They awaken in their hotel room, which has been trashed, to find a burned and smoking couch, a chicken, a missing mattress, and a tiger in the bathroom. On top of that, none of them have any memory of what transpired the night before and Doug is nowhere to be found.Oh yeah, there is also a baby in the closet.

Yes, The Hangover is a comedy, but it is also a rather engrossing mystery. The trio begin trying to piece together the night. With no memories they need to find Doug, figure out how the tiger got in the room, learn where Stu lost a tooth, and why did the valet bring them a police cruiser?

Off they go, gathering clues from the room, an ER doctor, Mike Tyson' security tapes, and a wedding chapel. The clues lead them on an adventure all over Vegas. They have a close encounter with Tyson, meet an angry Chinese guy (discovered in their trunk), and they even get to meet Stu's new stripper, uh, escort wife, Jade (Heather Graham). Each stop bringing more laughs than the one prior

In the wrong hands this movie could have been an utter disaster. The funny thing is, who thought these hands were the right hands? Director Todd Phillips does not have a great track record. I mean, I was not that crazy about earlier outings like Old School or School for Scoundrels, neither of which indicated what he pulled off here. Likewise, the writing team of Jon Lucas and Scott Moore had not shown anything like this with credits such as Ghosts of Girlfriend's Past and Four Christmases.

The Hangover could just as easily become a series of SNL or MadTV type sketches, which only exist to get to the next scene. Rather than taking the easy route, we get a script that is written rather than pieced together from the leftover of other films. It grows and develops as we move along. The plot develops organically, much like the comedy which is brought about by the situation, rather than being forced in. This is a seriously funny movie, something I was hoping for but not expecting.

Now, as solid as the writing and directing are, the cast is what brings it all together and makes it shine. They are actors that you can believe could be friends. Have you ever watched a movie where one or two of the group don't seem to fit and strain the edges of believability? Not so here. Yes, the characters fill different roles, but they seem right together. Bradley Cooper leads the bunch and is the funny ladies man, while Ed Helm plays the reserved straight man, then there is Zach Galifianakis as the odd man out and newest member. Galifianakis easily stole the show and is very, very funny. Justin Bartha is fine as well, but he does not have a lot of screen time.

As good as the leads are, the supporting players are just as good. We cannot go without mentioning Mike Tyson. The man is funny! I cannot make any claim of being a fan, but he is perfect for this. Ken Jeong as Mr. Chow is very funny, he is not a guy you want to mess with! Heather Graham steps into the stripper role and comes across as quite likable in a role that could have been cliche. Funny all the way around.

Bottomline. This was considerably funnier than I was expecting. Simply put, this is the funniest film I have seen in some time. It is finely crafted, well performed, and closes with the perfect ending. If you want to laugh, this is the movie for you. Plus, any movie that begins with a Danzig song has got to be good.

Highly Recommended.

DVD Review: Jack Brooks - Monster Slayer

Last year, Jack Brooks: Monster Slayer arrived on DVD amid a boatload of hype. Well, not mainstream hype, but hype among the horror community. I remember the title popping up on a few podcasts that I listen to, all of them did their job. They succeeded in getting me interested in seeing a movie that I had more or less written off, based solely on the title. I mean, it was something I would probably have gotten around too at some point, but now the title was in my head. It would be some months later that I would actually get it, and a few more until I actually watched it. That brings us to the present.

Jack Brooks: Monster Slayer is a complete throwback to 1980's era horror. The film is totally tongue in cheek, it begins slow and ends strong, features some cheesy dialogue and some over the top performances, and it completely eschews modern film making effects in favor of all practical effects. There are no computer effects used at all, a choice that may be completely stylistic or a result of budgetary constraints. Of course, it could be some combination of the two, but I like to think it is all about the aesthetic.

The movie opens with an unidentified native tribe being attached by a man in a rubber cyclops monster outfit. We follow a couple of warriors from the battleground to their village where some run for their lives, others are worshipping a cyclops idol, and others wait anxiously outside a hut. Inside the hut a man is preparing for war, John Rambo style. The camera cuts closer as the man, whose back to us, slowly turns his head to profile. As soon as we get the profile of an intense figure, the screen goes black and the title comes up.

We soon meet Jack Brooks (Trevor Matthews), a plumber with an explosive temper, an annoying girlfriend, and enrollment in a night science class that he really does not want to be at. On top of all that, Jack has the baggage of having had his family killed by a forest troll right in front of him when he was a boy. What can top that? It is certainly enough to give a person issues for his life, including fits of angry rage.

Jack is about to find the perfect release for his pent up aggression. It comes in the form of Professor Crowley (Robert Englund), the science teacher. You see, he just moved into an old house with a history (don't they always), and something there possesses the good professor in a way I will not describe here. It all builds to a violent climax that finds Jack focusing his aggressive tendencies in such a fashion that an entirely new future is opened up before him.

The movie feels very much like the marriage of Evil Dead II and Buffy the Vampire Slayer. It has the fun of both films, a little blood, a little gore, a little comedy, and a man who just may be in the process of discovering a bigger purpose.

Direction by Jon Knautz is solid, capturing a good tone and keeping the pace going. You almost forget that the action is almost entirely confined to the third act. He clearly has a love for old school horror, it shows through in the use of practical effects. There is something about non-computer effects that add a lot to a movie like this, they are tangible, you know the actors are actually covered in goo or blood, that everything is actually there.

The writing by John Ainslie, Jon Knautz, Trevor Matthews, and Patrick White tells a complete story that holds together. It is not serious writing and none of it is all that serious, but it works. The tone works, the jokes work, and it is flat out fun.

As for the performances? Completely in line with a cheesy, throwback, low budget horror film. Trevor Matthews is a charismatic lead that could carry a series of Jack Brooks films. Robert Englund is very memorable as the possessed professor, he clearly has a lot of fun diving into the role. Englund truly is horror royalty. As for the supporting cast? Great work from the likes of Rachel Skarsten as Jack's girlfriend, Chad Harber as the annoying classmate, and how about David Fox as the man who knows the story? Fun from to bottom.

Audio/Video. The movie is a low budget affair and it shows. That said, the DVD does look and sound quite good. The colors are sharp and there is a good amount of detail shown. The Dolby 5.1 audio track also does the job, and while it may not be the most dynamic, it does a fine job representing the nice score and nice sound design of the project.

Extras. This release has a wide selection of bonus features.

• Commentary. The track features director Jon Knautz, star Trevor Matthews, and composer Ryan Shore. The track is fun, they clearly had a good time making the film and they have plenty to talk about over the course of the track.
• Deleted Scenes. There is about 15-minutes worth of cut scenes. They are worth checking out, but would have done nothing to help the movie's pacing.
• Behind the Scenes. This is an extensive 50-minute look at the production with plenty of interviews and behind the scenes footage. Definitely worth checking out for fans.
• Creating the Monsters. 15-minutes on the creation of the creatures. A lot goes into the making of these critters from the initial design to the creation of miniatures to the full sized costumes and applications.
• Creating the Music. The score for this movie is actually quite good, better than you would expect for this sort of film. This talks with Ryan Shore and Jon Knautz, and Trevor Matthews about how they came about creating the music.
• World Premiere: Sitges, Spain. Footage of the cast and crew signing autographs and celebrating the premiere of their film.
• Storyboard Comparisons. A series of scenes with the storyboards shown Picture-in-Picture style. Interesting, but the boards are not all that detailed.
• Conceptual Art Gallery. A collection of thoughts that came about during the creative process.
• On Set Still Gallery. A collection of stills from the set.
• Trailer. The original trailer for the film.

Bottomline. This movie is a blast. I cannot say it lived up to the expectations I had going in, but there is no doubt that I really enjoyed the film and would love to see a series of them. There is a lot of love for the genre among the cast and crew and it is highly infectious. If you like horror/comedy, do yourself a favor and give this a shot.

Recommended.

New Movies and Box Office Predictions: The Hangover, Land of the Lost, My Life in Ruins

The first week of June is also the sixth week of blockbuster season, and it looks like the first weekend where the reigning champion has a legitimate shot at retaining the top spot. The battle for box office supremacy could be an outright dog fight. Aside from that, it also looks like the weekend to bring the first really funny comedy of the season. On the whole, even with a weak potential blockbuster, there are plenty of worthy movies in theaters (give Drag Me to Hell a shot, you won't be disappointed).

The Hangover. (2009, 100 minutes, R, comedy) I am really hoping I like this movie. All of the footage I have seen screams of hilarity. Of course, this is from the director of Old School, and that is a movie I did not particularly care for. The story has a group of friends heading to Vegas for a bachelor party. A night of drunken debauchery finds them loosing the groom and no memory of what happened over the course of a single wild night. The movie brings to mind Jon Favreau's Very Bad Things, which I want to watch again. The cast for this film includes Bradley Cooper, Ed Helms, Zach Galifinakas, Justin Bartha, and Heather Graham.



Land of the Lost. (2009, 96 minutes, PG-13, adventure/comedy) The latest old school television show to get the big screen movie maker has not been tracking all that well as preview screenings have been met with less than enthusiastic response. I cannot say I am all that hyped up to see it, but I do like Anna Friel (RIP Pushing Daisies) and Danny McBride, so hopefully their presence will help it out a bit. Will Ferrell stars as Rick Marshall, a scientist intent on finding time warps. He ends up taking his team on an adventure that sees them meeting dinosaurs, giant crabs, lizard people, monkey people, and bloodthirsty mosquitoes. Please let it be at least mildly entertaining.



My Life in Ruins. (2009, 98 minutes, PG-13, romantic comedy) Nia Vardalos returns to the big screen for the first time since 2004's Connie and Carla (a movie I skipped in favor of watching Some Like it Hot). She plays a travel guide who travels to Greece and rediscovers her romantic side with her Greek driver. This is a film that may be good, but I cannot say I feel any overriding desire to see it. Co-starring with Vardalos are Richard Dreyfuss, Harland Williams, and Rachel Dratch.



Also opening this week, but not near me:

• Away We Go
• Downloading Nancy
• Seraphine
• Tennessee
• Unmistaken Child

Box Office Predictions
With Land of the Lost not getting the good early word, will it take the top spot as previously expected? Makes one wonder, no? Combine that with the great response that Up had last week, could it retain the top spot? It will be interesting as these two films duke it out for box office supremacy. Now, don't even think The Hangover will climb to the top, an R-rated bachelor party comedy will certainly have a more limited audience. I expect it to do well, but will likely be at the lower half of the top half of the top ten. The rest will just settle down a little lower than last week, just waiting for Transformers: Revenge of the Fallen to arrive and destroy everything.

Here is how I think it could play out.

Rank	Title	Box Office
1	Up	$41 million
2	Land of the Lost	$32 million
3	The Hangover	$22 million
4	Night at the Museum: Battle of the Smithsonian	$15 million
5	Drag Me to Hell	$8.5 million
6	Terminator: Salvation	$8 million
7	Star Trek	$7 million
8	Angels & Demons	$6 million
9	My Life in Ruins	$4 million
10	Dance Flick	$2 million

DVD Review: Martyrs

What is it about the French that gives them the ability to turn out some of the most gut-wrenching, disturbing horror films these days? Their ability to deliver extreme, cringe-inducing horror is closing in on 70's era Italian cannibal and zombie films, 80's era American slashers, and late 90's-early 00's Japanese ghost stories. With these specialties from around the world, it should be quite easy to program a special "Horror 'Round the World" movie network. In any case, Martyrs is the latest example of twisted horror that I have experienced, hot on the heels of Haute Tension, Inside and Frontier(s) (and that doesn't even touch on dramas like Irreversible). What sets this apart from those other examples is the metaphysical aspect of the tale, but I am getting ahead of myself.

Four years ago I was introduced to the work of Pascal Laugier with his big screen screenwriting and directorial debut, House of Voices (released in France as Saint Ange). That supernatural ghost tale was a mediocre entry into the genre, and I cannot say I expected to see more from him. Now, along comes his follow up film, Martyrs, and I have to admit that the jump in quality between his debut and sophomore efforts is along the lines of Rob Zombie from House of 1000 Corpses to The Devil's Rejects. In other words, it is considerable and very much welcome.

Martyrs opens with a young girl emerging from a building on the industrial side of town, bruised, bloody, barefoot, and screaming. The girls name is Lucie and it she was held captive for an unknown period of time. She does not remember much of what happened, is not sure who did it, and does not trust anyone. That begins to change when she befriends Anna, another girl with a troubled past living in the same group home. Their friendship is sealed the day Anna sees Lucie cutting herself, only to have Anna say that it was someone else who did it. From this moment on, the two become inseparable friends.

Jump ahead fifteen years and meet a perfectly normal appearing suburban family, they are getting ready to start their day when the doorbell rings. They answer the door and the woman on the outside proceeds to lay them down with a succession of shotgun blasts. It is Lucie.

That's right, the story begins as a tale of revenge. Lucie was able to uncover who it was who held her captive for so very long. The question remains, at least for Anna, are these people the right ones? How can Lucie be so sure? We do not know, we are not given the necessary information and must rely on Lucie, who seems to be rather unbalanced. Can you blame her?

The two women stay at the house to clean up their mess, but Lucie is bad shape. She is haunted by a mysterious figure and her sanity is taking a leave of absence. Meanwhile, Anna is having her doubts while trying to keep the pieces together.

At this stage of the story everything changes. What we thought we knew, what we think will happen, everything stops in it s tracks to be picked up completely off the rails and set down on another track and sent along its way in an entirely new direction running perpendicular to the original thread, and most definitely not parallel.

What comes next, I dare not say. Let me just say that it is dark, violent, and uncompromising. It is a disturbing passage of film that has seared itself into my mind. There are moments that made me cringe, images that urged me to turn it off, passages that made me question the filmmakers humanity. Then, when we learn of why they are doing it, let's just say it is jaw dropping and will leave you questioning just what happened. It is clear that they use a different, but valid, definition for the word "martyr," for what they are are doing borders the spiritual as a witness is sought. You see, the villain is not doing this for the sake of torturing someone or inflicting pain, they have a goal of attaining a different level of being, or at least bearing witness to that level. Yes, the metaphysical elements.

The performances are utterly convincing and only add to the disturbing nature of the tale. In particular, Morjana Alaoui as Anna. What she puts herself through for the sake of the movie is unbelievable. You will feel for her, you will forget you are watching a performance. She is that good. Not for nothing, Mylène Jampanoï as Lucie is also quite strong in her portrayal of a woman in torment. Absolutely chilling.

As for Pascal Laugier? With this outing, he has acquitted himself quite well in the face of a tale so extreme. He has given this film a pace, a twist, and a visceral punch that will be felt well into the future. And now, rumor has it, he is in line to helm the proposed remake of Hellraiser (a position abandoned by the creative team of Inside). Something tells me he could create something very interesting.

Audio/Video. The video presentation is solid. The 1.85:1 aspect ratio is preserved for the release. The color palette is washed out and a touch to the soft side, but detail is retained and nothing is lost in the shadows. The grim content matches the bleak look of the transfer. I have not seen this projected, but I believe this is similar to what was on the big screen.

The audio is also solid and available in either the original French (which I chose, also turning on the subtitles) or an English dub, both tracks are Dolby Digital 5.1. There are plenty of atmospheric sounds, ticking clocks, faint cries in the dark. The movie also has it share of in your face noises, shotgun blasts, rattling of heavy chains, and the sound of fist hitting flesh. The sound design ad reproduction will definitely hold your attention.

Extras. The bonus material is limited to an introduction by director Pascal Laugier, where he says he is proud of the film and also hates himself for doing it, and is okay if you (the viewer) hates him too. The other extra is a making of featurette that runs nearly 51-minutes. It is not your standard documentary and does a good job of taking you onto the set with plenty of on set footage.

Bottonline. Martyrs is not what I was expecting, but it did deliver the goods and I am glad for the experience. Well, as glad as one can be for seeing what I saw. If you are a horror fan, this should be on your list. It is visceral, gut wrenching, and thought provoking. What else do you need?

Recommended.

Han Solo P.I. - Fan Trailer

Special thanks to The Browncoat for pointing this one out. Cool find.

Blu-ray Review: Inside Man

Along with my very late blooming love for the cinema and my gravitation towards genre films, there are some film makers whose films I have never seen. One of those film makers is Spike Lee. When I saw Inside Man back in 2006 on the big screen I was finally able to say that I had seen a Spike Lee film. To this date, it remains the only one I have seen. I know, I know, that means there are a lot of quality movies that I have yet to see, a fact I hope to one day rectify. In any case, the heist film has arrived on Blu-ray and marks the first time I have seen the film since its big screen bow.

Inside Man begins like many heist films that have come before it. The robbers, dressed in matching painter outfits enter the bank and led by Dalton Russell (Clive Owen), neutralize the cameras, and go about dealing with whimpering hostages, jumping over the counters, along with plenty of barked orders. The immediately go about establishing the seriousness of the situation.

Meanwhile, the police learn of what is going on down the bank and send hostage negotiator Detective Keith Frazier (Denzel Washington) and his partner Bill Mitchell (Chiwetel Ejiofor) are sent to work the scene. They arrive and immediately go about securing the scene.

What follows is a carefully constructed cat and mouse game between Dalton and Frazier. This game they play combined with the way they go about their business goes a long way toward revealing the intelligence with which the screenplay was written. Both of these characters know how the game is played and they know exactly what they need to do in order to get to their desired ends.

Where the story loses a little bit of its hold is with the introduction of Madeleine White (Jodie Foster). She is some sort of high priced "fixer" brought in by the bank's chairman of the board, played by Christopher Plummer, to insure the safety of a particular safety deposit box. Frankly, this part of the story has a bearing on the big picture, but I did not really care. It felt concocted to give Foster something to do. The funny thing is, while she feels inconsequential, she is so dramatic in doing it.

What is so fascinating about Inside Man is that for as intelligent as the script is, it does not pay off very well. Once the climax arrived, I must admit to feeling a little let down. For all of the tension that is built up over the two-hour movie, I could not muster up enough reason to care. Fortunately, what came before is so entertaining it is still a movie worth watching.

The performances are first rate. Denzel Washington is playing a role he could do in his sleep with both hands tied behind his back. He brings an intensity with a touch of moral ambiguity, just to keep you guessing. Meanwhile, Clive Owen is always in control, always knows how to control the situation. He is calm, cool, and collected at every moment. These two own the film. Where lesser actors could have made this a chore, these two keep you glued to the screen every moment.

This is, by far, Spike Lee's most mainstream film, further evidenced by its box office take ($88 million). Still, while this targeted the mainstream audience, it still has plenty of style. Besides what Washington and Owen bring to the table, Lee brings a great visual style that helps liven up the feature. There are crane and dolly shots galore helping make this your atypical blockbuster, putting a stamp on it. On top of that, there are a number of scenes involving life in New York and race relations that have Spike's fingerprints all over them. He brings a lot of flavor to the story, making the movie better in the end.

Audio/Video. The image retains its original 2.35:1 ratio of the theatrical presentation (have any Blu-rays presented a modified ratio?). The color palette looks as I remember from the theater, not terribly bright, but not washed out either. There is a very realistic feel to the way it looks. The high definition format brings a lot of detail to the frame, all helping bring life to the bank set and the streets of NYC immediately around the building.

The audio, in English DTS-HD 5.1 sounds excellent as well. Standing out in the sound mix is the score by Terence Blanchard, his music is very good with strong themes, heroic for the police and ominous for the robbers. There is also nice ambient effects and things you would not normally pay attention to, but the footsteps of people walking through the bank are also quite good.

It should be noted that an audio problem was found with the disk and the release was subsequently pushed back a week so that Paramount could press corrected disks. The problem is that somewhere in chapter 15 of the film, the right surround channel would go silent. It was as if no audio was being sent to it. The new disk corrects the issue and sounds excellent.

The problem remains that some of the faulty disks may have gotten through and may be on store shelves. Here is how to get the right one: you cannot tell by the UPC code as it remains the same, look at the back of the case, the credit box of the correct release is red (the faulty release is black), also at the top where it says "Perfect Picture and Purest Digital Sound Available" is printed in yellow (the original is blue).

Extras. The release has a few decent extras on it. The only Blu-ray exclusive is access to BD Live and the ability to bookmark scenes while viewing.

• Commentary. This full length track features Spike Lee commenting on all aspects of the film from shooting to casting, to other minor details. It is an entertaining track and Spike is clearly having a good time with it.
• Deleted Scenes. More than 20 minutes of cut scenes are included, a lot of which is interrogation footage of Denzel and Ejiofor talking to he hostages.
• The Making of Inside Man. This features a lot of interview footage blended with behind the scenes footage, including from an early table read with the cast.
• Number 4. This is a conversation between Spike Lee and Denzel Washington talking about the four films they have collaborated on.

Bottomline. This is a solid thriller that could have been great with another couple passes through the screenplay. The performances and Spike Lee's visual sense carry this film and make the two hours just fly by. Definitely worth the time, and the Blu-ray release looks downright snazzy.

Recommended.

The Hangover - Red Band Trailer

Wow, this is going to be hilarious.

More The Hangover Info

The Final Destination - Poster

Will this be the last one? The title seems to think so.

Away We Go - Synopsis, Clips, Trailer

The new film from Sam Mendes is one I am looking forward to despite its uber-indie feeling trailer. The film stars John Krasinski and Maya Rudolph.

Story: Directed by Academy Award winner Sam Mendes (“American Beauty”) from an original screenplay by Dave Eggers and Vendela Vida, this funny and heartfelt film follows the journey of an expectant couple (John Krasinski [“The Office’] and Maya Rudolph [“Saturday Night Live’]), as they travel the U.S. in search of the perfect place to put down roots and raise their family. Along the way, they have misadventures and find fresh connections with an assortment of relatives and old friends who just might help them discover “home” on their own terms for the first time. The movie features the music of Alexi Murdoch.

Director: Sam Mendes (“American Beauty,” “Road to Perdition,” “Jarhead,” “Revolutionary Road”)

Writers: Dave Eggers (A Heartbreaking Work of Staggering Genius), Vendela Vida (And Now You Can Go)

Cast: John Krasinski, Maya Rudolph, Jeff Daniels, Maggie Gyllenhaal, Allison Janney, Chris Messina, Catherine O’Hara, Paul Schneider, Carmen Ejogo, Jim Gaffigan, Josh Hamilton, Melanie Lynskey

MPAA Rating: R

Trailer:



Clip: You Got Lucky, Sister



Clip: You’re So Fat



Clip: The Pain Is So Enlightening



Clip: Only 6 Months Pregnant



Clip: Antwerp

Star Wars: The Old Republic - Game Trailer

This cinematic is insane. I would love to see this as a movie. CLICK HERE

The Hangover - Stu's Song

This movie looks funny. Period.

The Hangover Movie "Stu's Song" Restricted - watch more funny videos

Elsewhere - Synopsis, Widget

I look at this trailer, and it seems familiar, really familiar, but I cannot quite put my finger on it. How about you?

In the vein of When a Stranger Calls and Disturbia, the suspense unfolds in ELSEWHERE, a new teen thriller featuring rising star Anna Kendrick (fresh off a landslide of exposure from Twilight and news of her latest role opposite George Clooney in Jason Reitman’s Up in the Air). On June 2, E1 Entertainment presents ELSEWHERE to audiences for the first time ever on DVD and Blu-ray for $24.98 SRP each.

In the small town of Goshen, Indiana, teenage girls are mysteriously disappearing and no one seems to care. After revealing to her best friend Sarah (Kendrick) that she has been meeting men online, Jillian (Tania Raymonde, “Lost”) goes missing. Now the only clues to her whereabouts are her diary and a cryptic video message sent from her cell phone. Aided by Jasper (Chuck Carter), the town’s computer geek, the two plunge head-long into Goshen’s dark secrets – uncovering corrupt police, jilted boyfriends, a mother driven mad by loss, and an unsolved string of child abductions… the final truth they unearth will rock the town to its foundations.

Bonus features on both the DVD and Blu-ray editions of ELSEWHERE include an audio commentary with director Nathan Hope and producer Vincent Palomino, “The Road to Elsewhere” making-of/interview featurette, deleted scenes and a photo gallery.

Also featuring Paul Wesley (“Everwood,” “Fallen”), Jon Gries (Napoleon Dynamite, Taken), Chuck Carter (Senior Skip Day) and Olivia Dawn York in supporting roles, ELSEWHERE was written by and is the feature film directorial debut of award-winning cinematographer Nathan Hope (The Fog, “CSI: Crime Scene Investigation”). The film was shot on location in and around Goshen, Indiana. It is rated R by the MPAA for language, violence/disturbing images, and some drug and alcohol use by teens.

As I Lay Dying - I Never Wanted

I really like these guys. Say them on, I think, Taste of Chaos a few years back and they stole the show. This tune is not as heavy as most of their stuff, but is still really good.

As I Lay Dying - New Music - More Music Videos

Shrink - poster, trailer

This actually looks pretty good. The Kevin Spacey drama features the star as a shrink to the stars who begins having some issues of his own. Below is the official synopsis, trailer, and poster.

What happens when the people we count on to hold us together…are barely holding it together themselves? Jonas Pate's Shrink is a striking, fast-paced exposé of the “other” Hollywood, featuring folks living outside their comfort zone and the people who put them there. Henry Carter (Kevin Spacey) is a psychiatrist with an A-list clientele, including a once-famous actress (Saffron Burrows), an insecure young writer (Mark Webber), and a comically obsessive-compulsive superagent (Dallas Roberts). Henry is not in a good place, however. He has been asked to take his first pro bono case, a troubled teenage girl from a neighborhood far from the Hollywood hills. Considering his present state of mind, is he ready for the real-life troubles of a young woman who loves the world of movies he has become so jaded by? At its core, Shrink is a study of control and our endless need for it, even when it grows increasingly impossible to obtain. Writer Thomas Moffett uses classic archetypes in this modern Hollywood tale, but never pushes them over the edge of credibility. Performed by a well-matched cast at the top of their form, the result is both satisfying and exhilarating. Watching Shrink makes us feel like voyeurs looking through a window into the lives of people who look great, feel worse, and end up behaving badly.

A tart, funny, and uplifting drama about the courage it takes to achieve happiness, SHRINK stars Kevin Spacey, Robert Loggia, Pell James, Keke Palmer, Griffin Dunne, Saffron Burrows, Jack Huston, Dallas Roberts, Gore Vidal, Laura Ramsey, Mark Webber, Jesse Plemons, Joel Gretsch. It is directed by Jonas Pate (DECEIVER), written by Thomas Moffett, and produced by Michael Burns, Braxton Pope, and Dana Brunetti

Night Train - Widget

Night Train is a new thriller with a cast including Danny Glover, Leelee Sobieski, and Steve Zahn. The film centers on a dead man and a box containing diamonds. What would you do? Hide the body and split the loot? Of course! What do you do when a detective begins looking around? Hmmm. Oh yes, it all takes place on a train. See the trailer, clips, and stills below.

Killswitch Engage - Reckoning

Metalcore act Killswitch engage has a new album coming on June 30th. Below is a new cut from that album, called "Reckoning." I like it and cannot wait for the full album.

Box Office Update 5/29-5/31: Up Takes Off

Leading this weeks chart is the latest masterpiece from the creative geniuses that make up Pixar. Up becomes the latest release from the animation company to receive rave reviews and be rewarded with a strong opening weekend. Simply put, Up is one of the best films to reach screens this year and is one of Pixar's best yet. The film is real and magical at the same time. It is the rare film that engages emotionally as well as viscerally. It is a great experience for the entire family.

Coming in a distant second is Night at the Museum: Battle of the Smithsonian. The movie is still performing well and is likely to continue making a mint, despite not being as successful as its predecessor. Sure, it has a few laughs, but with a lead who seems disinterested and a story that insists that "more" and "bigger" are important plot elements, it fails to create a memorable experience.

Falling from second to third is Terminator: Salvation. While the sci-fi actioner is not nearly as bad as many would like you to believe, it is not a great one either. It appears that poor word of mouth will do the film a disservice and it is going to drop precipitously, evidenced by the 62% drop it suffered in this, its second weekend of release.

Finishing in fourth with the second best per-theater average of the top ten is Sam Raimi's return to horror, Drag Me to Hell. The horror/comedy mash up that actually works. The movie is an absolute blast filled with energetic camera work, B-movie sensibilities, and what just may be the best in-car fight ever filmed.

Star Trek came in fifth place and continues to perform strong. The science fiction film has become the first of 2009 to cross $200 million and is the current top money maker of the year. I have seen the movie three times, and each time has been just as excellent. JJ Abrams has delivered a film that has action, thrills, laughs. and fun characters. If you haven't seen it, what are you waiting for?

The remainder of the top ten is the same as last week, just shifted down. Next week will finally see the exit of Obsessed from the top ten, as well as Ghosts of Girlfriends Past, both of which will likely go on to do well on DVD and Blu-ray.

Next weekend will see new competition from the new Will Ferrell comedy, and latest re-imagination to hit the screen, Land of the Lost. We will also get our first look at the R-rated comedy of The Hangover. On a smaller scale, Nia Vardalos returns to the big screen with My Life in Ruins, along with Richard Dreyfuss, Harland Williams, and Rachel Dratch.

Two movies dropped off the top ten this week: 17 Again (13) and Monsters vs. Aliens (14).

This Week	Last Week	Title	Wknd Gross	Overall	Week in release
1	N	Up	$68,108,790	$68,108,790	1
2	1	Night at the Museum: Battle of the Smithsonian	$24,353,868	$104,150,268	2
3	2	Terminator: Salvation	$16,433,365	$90,949,924	2
4	N	Drag Me to Hell	$15,825,480	$15,825,480	1
5	3	Star Trek	$12,613,727	$209,313,884	4
6	4	Angels & Demons	$11,353,340	$104,913,439	3
7	5	Dance Flick	$4,743,636	$19,084,907	2
8	6	X-Men Origins: Wolverine	$3,873,377	$170,843,712	5
9	7	Ghosts of Girlfriends Past	$1,911,401	$50,021,779	5
10	8	Obsessed	$657,001	$67,500,481	6

Box Office Predictions Recap
Let me begin this section by apologizing for the way off predictions. I realized as I went to put this column together that after I slotted the films I completely forgot to adjust my dollar amounts from last week. The end result are guesses that make me appear to not have a clue, which is true in some cases. In any case, I did do a pretty good job getting the positions correct, with my lone mistake being underestimating Dance Flick/overestimating Wolverine. However, at this stage of their big screen life, I guess it matters little.

Here is how the field matched up:

Actual	Prediction	Title	Wknd Gross	Prediction
1	1	Up	$68,108,790	$82 million
2	2	Night at the Museum: Battle of the Smithsonian	$24,353,868	$68 million
3	3	Terminator: Salvation	$16,433,365	$24 million
4	4	Drag Me to Hell	$15,825,480	$22 million
5	5	Star Trek	$12,613,727	$15 million
6	6	Angels & Demons	$11,353,340	$7.5 million
8	7	X-Men Origins: Wolverine	$3,873,377	$3.5 million
7	8	Dance Flick	$4,743,636	$2.75 million
9	9	Ghosts of Girlfriends Past	$1,911,401	$2 million
10	10	Obsessed	$657,001	$1.5 million

DVD Pick of the Week: The Legend of Blood Castle

Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope that this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.

Full disclosure: I have not seen many of these titles and what follows are not necessarily reviews, but opinions based upon what I know of the titles I pluck from the new release lists that I peruse. The opinions I give based on the new releases are my own, and my recommendations are based on my personal interest. In any case, I hope you enjoy and perhaps find something you like or a title to point me towards.

The Legend of Blood Castle. As I looked over this week's list of releases, I must admit to being a little underwhelmed. There were no titles that immediately jumped out as a Pick of the Week. That said, I ultimately decided to go with a title that is sure to go largely ignored. This 1973 film from Spain was helmed by Jorge Grau and went by the title Ceremonia sangrienta. Grau also helmed the zombie film Let Sleeping Corpses Lie. This film has nothing to do with zombies and everything to do with Gothic horror. The countess of the castle has discovered the blood of virgins can restore her youth and beauty. She subsequently falls in love with a young soldier and must keep killing, in addition to keeping her bloody secret. Could be a winner.

Prison Break: The Final Season. Well, the series has finally run out of steam. Frankly, I am surprised it made it through a fourth season. I mean, with a title like Prison Break you would think the options are limited. That said, I felt this last season was also the weakest as Scofield and the rag tag gang go up against The Company and wind up splintering into different factions. It in no way comes anywhere near the entertainment value of the first season.

Defiance (also Blu-ray). Good movie. It fails to excel to come anywhere near greatness, but the story it tells is an interesting one and the fact that people went through anything resembling this is amazing. It is a film worth spending some time with and it will affect you emotionally, just be prepared to be left just a little bit cold in the execution. Defiance plays well on the emotional impact and heroism implicit in what they do. If nothing else, you will come away with the wonderfully uplifting knowledge of a small group of people fighting the odds and saving lives. However, as touching as the impact of the story is, I cannot help but feel the film could have been better and more involving on a personal level.

He's Just Not That Into You (also Blu-ray). The movie is a bit talky at times and the relationships may be over-simplified, but they do succeed in broad strokes. What makes it work as well as it does is the large cast and their ability to command your attention. Is it worth checking out? Sure. The film is a little silly, but it is fun.

Revolutionary Road (also Blu-ray). This movie is carried on the shoulders of Kate and Leo. These two are downright intense throughout and it's very hard to look away. I guess it helps that director Sam Mendes has these relationship things down pat; he is not a terribly visual director, but he knows to make it authentic. Then there is the dialogue, it sparks and snaps with aggression, depression, and sadness that is hard to enjoy, yet drags you into suburbanite hell. Just hope this never happens to you. Revolutionary Road is an unmatched experience. As much as I was captured and haunted by what unfolded on the screen, I cannot imagine drawing actual entertainment from it. That feels odd to type, considering this is a very good film. Still, I will not be revisiting this anytime soon.

The Graduate (Blu-ray). The Dustin Hoffman classic takes a bow on Blu-ray this week. How will it look? Most likely the best it has since it was on the big screen. It has been so long since I've seen this, the high def experience should be enough to get me back in the fold.

Glory (Blu-ray). The film that gave Denzel Washington his first Oscar (for supporting actor) arrives on the high definition format. The Civil War film features a strong cast in addition to Washington, including Matthew Broderick, Morgan Freeman, Cary Elwes, and Andre Braugher (in his big screen debut).

Air Force One (Blu-ray). "Get off my place!" How can you not like this movie? No, it is not great classic, but it is classic Harrison Ford. Add in Gary Oldman as the villain and the entertainment is all but secured. Put it all in high definition and a good times are guaranteed.

Road House (Blu-ray). One of the best late night B-movies ever. How can you go wrong? Patrick Swayze kicking some butt in high definition. Makes me want to see it again.

Navy Seals (Blu-ray). Before becoming a sitcom sensation, somebody saw Charlie Sheen as an action star, resulting in Navy Seals!

Blu-ray Review: Eden Log

Eden Log. Interesting name. I saw the trailer for the French science fiction film and decided I had to see it. The film had an interesting look, a promising premise, and just seemed to be a little bit smarter and more exciting than the typical sci fi feature. Aside from that trailer I knew nothing about the film going in, it seemed more appropriate to avoid potential spoilers, especially if this was actually an intelligent film. There is nothing like getting spoiled on something you were looking forward to discovering. Now, sitting in the afterglow of said film I am pleased to report there is definitely some intelligence at work here and you are expected to work for your payoff. That said, there is a lot of questions left unanswered in the nebulous world of Eden Log.

I will freely admit that once the climax was reached and the credits began to role, I was befuddled. I was not quite sure of what it was that I saw. As I sat in the dark putting together the pieces, I was able to get a general idea of what was going, sort of. Still, there is no denying this puzzle is missing a few pieces, probably on purpose to make you work that much harder.

As Eden Log opens we hear a man with a breathing problem. He has just emerged from a muddy puddle of water and he is covered with grime. A light flashes in the background and we catch glimpses of the man as he stumbles around, trying to ascertain where he is. He is almost like a newborn, he has no memory of who he is or where he came from, where he is is a mystery, and he does not speak, at least not yet. He eventually finds a light, some power flickers on, and he winds up in front of a gate.

The man begins to make his way through this underground facility and before long, a few things become clear. Something bad had happened here, there are strange mutated creatures in the dark hallways, and there are men looking for someone called "The Architect."

This world of Eden Log tells of a rift between humanity and technology, it is a journey of discovery where the big picture is slowly revealed over the length of the film. It is a movie filled with atmosphere and dread. What is Eden Log? Who is this man we are following? What lies at the end of his journey?

Eden Log is the type of film that to give anything away would probably give too much. I would not want to have known any specifics before watching. On the surface, the story told is a simple one, of a man trying to get out and figure out who he is. The facts of the case are revealed at a methodical pace, left lingering for the viewer to put together. The end may leave you confused, but it is a confusion you will want to work out, watch the film again, and try to piece it together.

The film is bathed in gun metal hues, very near a black and white production. Much of the film is bathed in darkness with odd sounds emanating, all adding to a deliciously palpable feeling of dread. The film may have been shot on a low budget, but it does not matter as the production design disguises the fact as it offers a minimalist, claustrophobic look.

The performances are generally solid. The lead is played by Clovis Cornillac (who looks a lot like Jeffrey Nothing, front man for the band Mushroomhead). He is convincing as the man with no memory.

Franck Vestiel is the man behind the camera, making his big screen directorial debut. He brings a unique vision to the screen, making good use of close-ups and hand held camera work. Vestiel also co-wrote the screenplay with Pierre Bordage. This is the first major project for either, and it is definitely a promising one, bringing strong visuals and intelligent writing together under one roof.

Audio/Video. The film is a low-budget one, and as much as the production design attempts to cover that, it is still noticeable. That said, the transfer does a fine job of representing the darkness. The image never becomes muddy and holds a good amount of detail, although much of it does appears to be a little to the soft side. There is a level of grain visible, helping give it a film feel. Overall, the image is quite good.

The audio, on the other hand, is really quite good. Much of the music by Seppuku Paradigm is atmospheric more than score like, but it helps underline the tension the filmmakers are building. Listen, early on as we hear random mechanical sounds in the distance, creature noises and growls, and our hero's own breathing. The execution of the sound design is terribly engrossing, drawing you in from all sides. Sure, it is minimalist design, matching the look of the film, but sometimes less is more, right?

Extras. There is only one extra here, and I find no real reason to watch it. It is the French version of the film. Yes, I was confused at first as well, this is a French movie, after all. Apparently, the film was shot in both French and English at the same time, with the main film presented here being the English one. So, this is more than just adding a dub track. Unfortunately, they did not go out of their way for the French version, it i much muddier and noisier, no remastering was done to clean it up at all. With the English language version here, I see no reason to watch the bad looking French version.

I must say that it would have been nice to have a commentary, or making of featurette on the film to help get a better idea of what was going through their minds when making the film.

Bottomline. This is a very good film, it is also a very weird film. It is the sort of movie that could grow to have cult status. It is a film that displays vision and creativity that is lacking in a lot of mainstream science fiction.

One last note about the film, could the end actually be the beginning? Just a thought.

Recommended.