Showing posts with label Elias Koteas. Show all posts
Showing posts with label Elias Koteas. Show all posts

Classic Movie Review Teenage Mutant Ninja Turtles

Teenage Mutant Ninja Turtles (1990) 

Directed by Steve Barron 

Written by Todd W. Langan, Bobby Herbeck 

Starring Judith Hoag, Elias Koteas, Sam Rockwell, Corey Feldman 

Release Date March 30th, 1990 

Published August 2nd, 2023 

There is a joy in discovering something that is almost indescribable. It's a kind of unmatched euphoria that becomes less and less available to adults as your sense of wonder morphs into an inability to find many things surprising through age and experience. When you are struck with that moment of discovery, that realization of seeing something that you have not seen before, you need to grab it and ride it out for as long as you can as these moments tend to be fleeting. I experienced the joy of discovery when I saw the 1990 live action Teenage Mutant Ninja Turtles movie. 

That sounds bizarre as this was a major blockbuster movie from my relative youth. I was 14 years old when Teenage Mutant Ninja Turtles arrived in theaters and I was most assuredly aware of the film's existence. I likely would have seen the movie in 1990 but I genuinely do not recall it. I may have caught it on home video or cable television in the ensuing three decades before I actually sat down to watch it for my podcast, the Everyone's a Critic Movie Review Podcast. And yet, when I did watch Teenage Mutant Ninja Turtles as an obligation to my podcast partner, Bob Zerull, I experienced what I can only describe as a euphoric sense of discovery. 

Having deemed myself too old at 14 years to enjoy anything related to a kids movie, I had spent three decades dismissing Teenage Mutant Ninja Turtles as a movie for fans whose brains weren't fully developed. I had made up my mind that only a child could watch and enjoy a movie about guys in rubber turtle costumes spouting canned catchphrases intended to pop the tiny masses of children around the globe. Nevertheless, I did sit down to watch Teenage Mutant Ninja Turtles for its 30th anniversary and I came away shocked at how lively, funny, and rich the experience was. 

Read my full length review at Geeks.Media 



Classic Movie Review Teenage Mutant Ninja Turtles 3

Teenage Mutant Ninja Turtles 3 (1993) 

Directed by Stuart Gillard 

Written by Stuart Gillard 

Starring Paige Turco, Elias Koteas 

Release Date March 19th, 1993 

Published June 2023 

It was clear that the makers of the Teenage Mutant Ninja Turtles franchise was fast losing steam right about the time Vanilla Ice appeared in TMNT 2 to rap the phrase 'Go Ninja, Go Ninja, Go!' It's at about that point that as a culture we had come to the conclusion that the necessity for a Teenage Mutant Ninja Turtle feature film was no longer a necessity. And yet, against all good sense and taste, the makers of the franchise pressed on with Teenage Mutant Ninja Turtles a screamingly minor entry in a franchise that had only narrowly found the energy for one and one half part of a movie and sequel. 

And yet, someone forked over a $21 million dollar budget to send the Teenage Mutant Ninja Turtles back in time to some loose configuration of a past somewhere in Asia. Time travel is yet another signpost in the sweaty, desperate creation of a third Teenage Mutant Ninja Turtles movie. Someone really promised more than they could possibly deliver to convince anyone that this was worth doing. Nothing in the film certainly justifies why this sequel was ever brought to the light of day, let alone unleashed on an unsuspecting public in movie theaters. 

My heart goes out to the parents of 1993 who must have napped or stayed in the car while their kids watched Teenage Mutant Ninja Turtles 3. The chore of sitting through this nonsense is like a parent being grounded by their kid and made to sit in time out for 90 minutes. This is a screamingly inessential film, a movie that has no right to exist in any way and yet somehow it does. Time, effort, and cold hard cash was dedicated to bringing this movie to the world and, for the life of me, I cannot imagine why. 

Read my full length review at Geeks.Media 



Movie Review: Dream House

Dream House (2011) 

Directed by Jim Sheridan

Written by David Loucka

Starring Daniel Craig, Naomi Watts, Rachel Weisz, Martin Csokas, Elias Koteas 

Release Date September 30th, 2011

Published September 30th, 2011

You cannot separate a movie from its marketing campaign. A movie marketing campaign defines what a movie is before audiences get a chance to see it. Dream House, starring Daniel Craig and Rachel Weisz has been established as a haunted house thriller via marketing but the problem is, Dream House isn’t really a haunted house movie at all.

The film stars Daniel Craig as a man investigating a murder that he may have committed. The apparitions that Craig’s character sees aren’t ghosts but rather projections of his damaged psyche. The marketing campaign trades the twist about Craig’s character having been in a mental hospital and not being the man he thought he was, so that it can sell Dream House as a ghost movie. This leaves Dream House to limp through 45 minutes of runtime to a reveal that has already been revealed in commercials and trailers.

Daniel Craig is Will Atenton, a successful book editor who is quitting his job to become an author. Will is headed home to his beautiful wife Libby (Rachel Weisz) and their two adorable daughters who are now living in their new home in the Connecticut suburbs. Unfortunately, the realtor has failed to mention that a man named Peter Ward may have murdered his family in this house or that tourists and teenagers like to drop by and look in the windows.

This takes us to about 45 minutes into Dream House. The marketing campaign has spoiled the fact that Daniel Craig’s Will is really Peter Ward and that he may have killed his family. The movie however, treats this as a shocking twist, giving this plot turn a Hitchcockian reveal.

Why spoil the twist? Why ruin what the director clearly believed was important enough to frame as a shocking surprise? The choice to spoil Craig’s identity in the marketing campaign may explain why the cast of Dream House refused to promote the film. Then again, it could also have to do with how everything after the big twist is a clumsy mess.

The resolution of Dream House finds Will/Peter investigating the murder of his family even as he can see his wife and kids as if they were still alive. Will/Peter’s neighbor Ann (Naomi Watts) is among those with important details about the murders as is Ann’s angry ex-husband Jack (Martin Csokas) and a drifter named Boyce (Elias Koteas).

The ending of Dream House is stunningly inept given all of the talent on display. Daniel Craig is compellingly sad yet determined as Peter while Naomi Watts and Rachel Weisz do variations on attractive vulnerability. Director Jim Sheridan builds a few strong individual scenes but the ending is too convoluted to be believed or enjoyed.

Could Dream House have been a better movie had the twist not been spoiled by the marketing campaign? Probably not given the bad ending but then again, we’ll will never know. As it is though, Dream House dragged on for 45 minutes to a reveal that I was already aware of before ending in the inept fashion of your average B-movie.

Movie Review: Two Lovers

Two Lovers (2009) 

Directed by James Gray

Written by James Gray 

Starring Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw, Elias Koteas

Release Date February 16th, 2009 

Published May 12th, 2009

Ever since Joaquin Phoenix's meltdown earlier this year on David Letterman and then subsequent you-tube videos, I have been dreading his movie Two Lovers. It was unfair of me to feel that way about the movie. However, it was equally unfair of ....Phoenix.... to burden the film with his antics.

Now, I have seen the film and I feel as if I owe all involved an apology. Two Lovers is a quiet, observant and human drama about a lost soul and the people so willing to find him if he'll let them.

Joaquin Phoenix is Leonard in Two Lovers. When we meet him he is attempting suicide and not for the first time. He survives a plunge into ..Hudson Bay.., thanks to several bystanders but refuses medical care, preferring to wander home in the cold. Leonard is living with his parents, Reuben and Ruth (Moni Moshonov and Isabella Rossellini), and they've been witnessing his behavior ever since his engagement fell apart.

Whiling away the days snapping black and white photos and working at his family dry cleaning business, Leonard's life is changed after meeting two very different women. Sandra (Vinessa Shaw) is the daughter of Leonard's dad's new business partner. Their parents would love for them to get together, as they are soon to merge their businesses.

It's not an arranged marriage however; Sandra is really attracted to Leonard, even to his obvious damage. The other woman who enters Leonard's life is Michele (Gwyneth Paltrow). Michele lives across the courtyard in their shared apartment building. One day as she is seeking a hiding place from an overbearing admirer, she happens upon Leonard and takes advantage of his kindness. He is smitten at first sight but she is clearly, to us, a beautiful blonde fantasy.

Director James Gray reveals his story at a leisurely pace allowing us to observe Leonard and overcome our reservations about his mental state. 2009 has been flush with male performances that are more creepy than quirky and we fear right away that Leonard is just the latest creep. As the story evolves however, Leonard becomes a slightly odd fellow but endearing.

By the end you are rooting for him in ways you never imagined at the beginning. That we can still root for him as he pines for Michele and spends time with Sandra is something quite remarkable. Characters who vacillate as Leonard does can grow tiresome but there is something in the almost childlike, innocent way that Leonard pines that allows us to forgive him.

Some have argued that having one man compete for the affection of Vinessa Shaw and Gwyneth Paltrow is a little far-fetched. Those are people judging Gwyneth Paltrow and not her nuanced and troubled performance. Paltrow's Michele is supposed to be a figure of fantasy and she exists that way throughout. The reality of someone like Michele is far more interesting and well explored in Two Lovers.

Michele is like a virus that infects Leonard, one he cannot shake. She uses him, humiliates him, dashes his hopes and he comes back for more because he simply cannot help it. The fantasy of Michele is so alluring that in the final act even we begin to buy in.

Sandra is not as well fleshed out but that isn't such a bad thing. Vinessa Shaw gives her enough presence and warmth that she is never the girl Leonard might settle for but the one he may or may not really love. She's viable and real and her love for Leonard is as honest as his for Michele.

Two Lovers truly succeeds in its final moments where director Gray and co-writer Ric Menello find just right note of surprising elegance to end on. Two Lovers is moving and cathartic for anyone who has longed for a fantasy at the ignorance of reality. An extraordinary, honest, human drama, Two Lovers is among the best of the year.

Movie Review Let Me In

Let Me In (2010)

Directed by Matt Reeves

Written by Matt Reeves

Starring Kodi Smit-McPhee, Chloe Grace Moretz, Elias Koteas, Richard Jenkins

Release Date October 1st, 2010

Published October 1st, 2010

As I watched the American re-imagining of the Swedish vampire movie “Let The Right One In,” re-titled “Let Me In,” a pair of troglodytic morons giggled at things that frankly should not have elicited such school girl glee. They giggled when Chloe Moretz as the 12 year old starving vampire leapt upon her pray. They giggled when her non-vamp caretaker Richard Jenkins committed murder on her behalf. And, most disturbingly, they giggled during a touching scene of innocence, kindness and tender pre-teen romance.

Were they right? Was I wrong for taking it all too seriously? I found director Matt Reeves take on stark Swedish horror to be at once moving and terrifying. The young stars Chloe Moretz and Kodi Smit McPhee lured me in with their innocence and devastated me with their kindness, strength and for Moretz her stunning tendency for great violence, the same tendency that ironically played perfectly for giggles in the action flick “Kick Ass.”

”Let Me In” stars Kodi Smit McPhee as Owen, the son of an alcoholic mother and an absent father. Owen is picked on repeatedly at school and has no friends. His only comfort seems to come from stealing money from his mother to buy candy, specifically Now & Laters. He is alone until a strange girl named Abby (Moretz) moves in next door.

Abby first tells Owen that they cannot be friends. Soon, however, she is spending time with him and they develop a system of talking to each other through the walls of their neighboring apartments. Strangely, Abby is only seen at night. She walks in the snow with no shoes and does not get cold. The man who Owen believes is Abby's father (Richard Jenkins) keeps odd hours and odd habits. All of these traits add up to an undeniable truth but Owen keeps that far from his mind as he basks in the attention he cannot get from parents or school.

What begins as a modest friendship develops into a touching pre-teen romance and as Owen covets Abby's attention and she is caring. She recognizes Owen's pain and aims to protect him. The scenes laying out this unique and fascinating relationship unfold with care and calm juxtaposed against scenes in which 'the father' attempts to acquire Abby's needed sustenance, scenes filled with chaos and fear.

Remakes are as a rule a bad idea but writer-director Matt Reeves (Cloverfield) cleverly works around the perils of the remake by casting Moretz and McPhee whose work nearly made me forget the excellent work of the young Swedish stars of Let the Right One In. Moretz and McPhee have a magical chemistry that mixes innocence and intelligence, fear and mistrust with wanting and a desire to connect. It's a remarkable thing for two so young to be both worldly and guileless.

The casting is the key in “Let Me In” and Moretz and McPhee are matched perfectly by veteran supporting actors Richard Jenkins and Elias Koteas who plays a police inspector on the trail of 'the father' and on the verge of finding Abby and her terrifying secret. Koteas is brilliant in a minimalist performance that could be mistaken for being one note with how calm he remains but is in fact the pulsing heart of the film, especially as he gets closer to discovering Abby.

Let Me In is stunningly violent at times and shockingly calm and observant at others. It is a wonder of strong direction and killer performances that will frighten, amuse and move a willing audience. It may be arrogant on my part but those two giggling fools were wrong, this film deserves a serious audience, one that pays it the proper attention. Those that do will be rewarded with one of the finest dramatic, gothic horror films of the past decade.

Movie Review The Greatest Game Ever Played

The Greatest Game Ever Played (2005) 

Directed by Bill Paxton

Written by Mark First

Starring Shia LeBeouf, Stephen Dillane, Elias Koteas, Peter Firth

Release Date September 30th, 2005

Published September 28th, 2005

Mark Frost co-created with David Lynch the head trippy TV show Twin Peaks. He co-wrote one of this year's biggest blockbusters, Fantastic Four, and years ago directed the lovely but forgettable romance Storyville. Who knew that all along he harbored the ambitions of a golf historian. Coming across the story of Francis Ouimet some years ago, Frost became obsessed with telling his story.

Ouimet, an amateur golfer and part time caddy, won the 1913 United States Golf Open in Brookline, Massachusetts by defeating arguably the greatest golfer of that era, British Champion Harry Vardon. It's a dramatic story well captured in Mark Frost's 2003 book "The Greatest Game Ever Played".

Given Frost's Hollywood experience the book has a natural cinematic quality to it. The story simply screamed for adaptation. Unfortunately, Frost's idea for a 12 part mini-series on HBO was shot down. Now in a far more truncated version, The Greatest Game Ever Played is an overlong Disney sports movie that nails every cliché of the genre while neglecting much of the detail that made the book special.

Directed by actor Bill Paxton, The Greatest Game Ever Played stars Shia Labeouf as Francis Ouimet, a poor kid living across the street from the prestigious Brookline Country Club where he found work as a caddy. Fascinated as a child by a chance meeting with the British champion Harry Vardon (Stephen Dillane), Francis developed his game in every free minute he had.

Francis's hard bitten father, Arthur (Elias Koteas, with an awful French accent), vehemently opposes Francis playing the game, either because it's above the family's means and social status, or because the plot seems to require his opposition to build tension.  Either way, neither reason is very compelling. Francis remains determined and with the support of his mother (Marnie McPhail) accepts a chance to play in the US Open at Brookline. His job is to show up and provide some local color opposite the out of town pros but Francis shows his mettle and really competes.

The film is not only Francis' story but also that of Harry Vardon, who, as a child, watched his home in Scotland demolished and a golf course put in its place. Determined to earn his way onto that course, Vardon developed into the greatest player Britain had ever seen, winning the British Open championship several times and the US Open once as well. With an eye to finally being allowed to join the club that replaced his home, Harry accepts an offer from the snooty Lord Northcliffe (Peter Firth) to go to the US and bring home the US Championship to England.

The film's subject may be golf but much of the story focuses on class and social status. Both Francis and Harry struggled with being poor kids in a rich man's world. Using their golfing abilities, both manage to find entry into the halls of power only to encounter even more resistance. No matter how many open championships Harry Vardon won, the best he could ever do was an honorary membership at his home country club.

For Francis, the issues of class came from both the men in power at the country club and the man in power of his home. His father was a strong, proud but very bitter man. Whether he envied his son's opportunity to dine with the upper crust or his need to protect his son from the inevitable disappointment of when that upper crust would reject him, his father never supports his playing, although smart audiences won't be surprised if father and son share a touching moment late in the picture.

Bill Paxton directs The Greatest Game Ever Played and makes it quite clear how much he loves the game. Long languorous shots of the tightly cropped grass, loving shots of clubs being handcrafted and endless scenes of straight ahead competition recreated from the 1913 US Open. However within these scenes is the not so subtle hint that golf is far more interesting to the player than to the audience.

Paxton and special effects director Louis Craig dress up much of the actual golfing scenes with flashy special effects that fade out the crowd around either Francis or Harry as they line up their shots and then take the ball's perspective as it flies down the fairway. The effects shots in Greatest Game likely cost more than most of the rest of the film and are entirely anachronistic to the quiet and observational atmosphere of the game, especially when considered against the film's genteel and respectable period setting.

The performances of the film's two leads, Shia LeBeouf and Steven Dillane do little to help the film over the rough spots of the poor special effects and cliched story. LeBeouf is a credible golfer but his performance is lighter here than it was in the truly lighthearted family flick Holes. As for Dillane, he's no stranger to period pieces having played the husband of Virginia Woolf in The Hours. In Greatest Game Dillane is greatly undone by the outright bizarre script that has Harry Vardon envisioning ghosts on the golf course as he struggles to sink putts and keep it in the fairway.

Neither actor is helped by the fact that they are both blown off the screen by the cute kid performance of Josh Flitter. As Francis's  eight year-old caddie, Eddie Lowery, Flitter is a real scene stealer. Eddie Lowery could likely be the subject of his own book or movie someday.  After caddying for Francis, Lowery went on to become a terrific golfer in his own right and a conqueror of the business world becoming a multi-millionaire.

If golf does not grab you, not much else of The Greatest Game Ever Played is likely to grab you either. Whether it is the tortured family dynamics of the Ouimet's or Harry Vardon's oddball obsession with the golf course planners who knocked down his childhood home that show up occasionally as ghosts when Harry struggles on the course, or the oddball performance of Peter Firth as the literally mustache twirling villain, The Greatest Game Ever Played has little that will appeal to the discerning moviegoer.

Disney has taken a very engaging sports book full of unique detail and stirring description and crossed it with the same sports movie formula that has made The Rookie, Remember The Titans, and Coach Carter uplifting sports flotsam. However where those films had sports that are naturally entertaining to a wide audience, golf remains on the margins of sports with audience appeal. Golf fans are highly specific and a film such as this that condescends to dressing up their favored sport with goofy effects is not likely to draw them in.

Then if that were not enough the film throws in a dull romantic subplot with Francis and a girl out of his social strata. The very lovely Peyton List plays Sara Willis, a daughter of one of the club members, who has a chance encounter with Francis as a small child and retains the attraction as the two become teenagers. The film attempts to mine tension from their Romeo and Juliet-esque class warfare but it's nothing that has not been portrayed before in far better films.

At just over two hours The Greatest Game Ever Played is torturously long. From the direction to the writing to the lightweight performances of both Shia LeBeouf and Steven Dillane, the film is as lifeless as a Sunday afternoon in front of a TV screen watching any golf tournament that does not feature the charismatic presence of the sport's greatest attraction, Tiger Woods.

Now throw some Tiger into The Greatest Game Ever Played and maybe you've got something. As it is, the 1913 United States Open may have been the greatest game ever played but it's one of least entertaining films of 2005.

Movie Review: Collateral Damage

Collateral Damage (2002) 

Directed by Andrew Davis

Written by David Griffiths, Ronald Roose 

Starring Arnold Schwarzenegger, Elias Koteas, Cliff Curtis, John Leguizamo, John Turturro, Tyler Posey 

Release Date February 8th, 2002 

Published February 8th, 2002 

Is America ready? I'm not talking about is America ready for a violent action film so close to anniversary of 9/11. I mean is America ready for an Arnold Schwarzenegger that doesn't entirely suck. In Collateral Damage, Schwarzenegger is Gordy Breuer a Los Angeles firefighter who witnesses an explosion that kills his wife and child. Not only did he see what happened but also he saw the man responsible, a terrorist called the Wolf (Cliff Curtis).

Schwarzenegger characters are anything but passive, and Gordy is quick to dismiss warnings from government officials including Elias Koteas, the CIA Agent who was the target of the bomb that killed Gordy's wife and child. It doesn't take a genius to know Gordy is going to Columbia to find the Wolf and avenge the death of his family.

If it were that simple there wouldn't be much of a film. Director Andrew Davis (the lensman behind The Fugitive) expertly builds suspense by keeping the film’s pace clicking along quickly. It doesn’t hurt to use Schwarzenegger's previously established action persona to give the audience the feeling that anything could happen at any moment.

The film's special effects are surprisingly cheesy at times, especially the CGI sequences that look as fake as they are. And at 50+ years old, Schwartzenegger obviously can no longer do his own stunts, so it would help to find a stuntman that looks a little more like him.

Those problems aside Collateral Damage is exciting and suspenseful from beginning to end. The film has an especially good twist near the end that I honestly didn't see coming. Is America ready for Collateral Damage? Well they should be because on video and DVD and it's definitely a worthy rental.

Movie Review A Haunting in Connecticut

The Haunting in Connecticut (2009) 

Directed by Peter Cornwell 

Written by Adan Simon, Tim Metcalfe

Starring Virginia Madsen, Kyle Gallner, Martin Donovan, Amanda Crew, Elias Koteas 

Release Date March 27th, 2009 

Published March 26th, 2009 

Virginia Madsen is a very talented actress. This assertion on my part is well demonstrated in her Oscar nominated performance in Sideways. However, her name on a marquee inspires the kind of fuzzy, hazy, disconnected state that only Pink Floyd could properly describe. Place her name above the title The Haunting in Connecticut and the combination inspires the kind of yawn that can only be described as jaw breaking.

The Haunting in Connecticut is a movie that commits the cardinal sin of movies. It is not merely bad, it's boring. Not boring merely in the way that one could be doing better things with their time but boring in a way that one is subjected to. As if locked in a room with blank walls and no windows. Gene Siskel put it best 'This movie does not improve upon a blank screen viewed for the same length of time.'

Virginia Madsen is ostensibly the star of The Haunting in Connecticut though one might fairly claim ennui as the film's true marquee element. Madsen plays a country mom to a cancer-addled son, played by Kyle Gallner, who decides to move her family to a suburban home closer to the local hospital. Because the family is not rich she accepts the first home in their price range. This, despite the fact that the home used to be a working funeral home. Poverty is stronger than the darkly ironic, fate tempting idea of moving her dying son into what used to be a funeral parlor.

Dad (Martin Donovan) is forced to stay in the country for work reasons but the rest of the family is coming to the creepy new house. The rest of the family include a toe-headed little brother and a pair of female cousins whose living arrangements are somewhere in the exposition, likely during the onset of my movie-long malaise.

Of course it's not long before the ghosts begin tossing plates and the shrieking musical score begins trying to convince us that all of this is pretty scary. I remain unconvinced. Along the way we greet a few more unhappy clichés including conventional horror movie misdirection where people hear noises that they think are scary but are really cats or birds or relatives.

There is even a brief digression into the child in danger plot as the youngest children are briefly menaced by apparitions. This is thankfully brief but hey if you are going to fly by on cliché you may as well throw them all in there. Clichés at the very least are familiar and even distracting yet somehow even they come off as boring in this film. It's difficult to describe this level of boredom. Imagine Ben Stein in Ferris Bueller mode reading the instruction manual for a ford fiesta. Now take that down a notch and you can imagine something close to what I felt during The Haunting in Connecticut.

This is surprising considering the 'true story' the film is allegedly based on. Al and Carmen Snedeker are a real family who moved into what was a former funeral home in Connecticut back in the mid-80's. After moving in they did indeed report a number of creepy goings on. Their story inspired Ed and Lorraine Warren, the spiritualist con artists who crafted the Amityville Horror legend years earlier, to come and craft an elaborate haunting for the Snedekers.

Not surprisingly, the whole thing became a bestselling book and now this movie. Except that the movie seems to have left out some of the more juicy and entertaining details. Not the ghosts, the bodies allegedly stuffed in the walls, or the alleged séances that may or may not have taken place as a regular bit of funeral home business. That's all in there somewhere, I think, I may have blacked out briefly. 

No. It's the part where Al and Carmen cop to having been raped by apparitions repeatedly over the TWO YEARS they lived in this house. Disturbing on so many levels? Yes, but definitely not boring. This detail was dropped from the movie either in a nod to good taste (Booo) or because writing this detail into the movie would take more effort than the writers were willing to put into it. 

Or, even more likely, it was a commerce over creepiness decision. The film is more bankable as a PG 13 feature not featuring ghostly forced sex. I'm not sure what this says about me but I cannot honestly tell you whether I preferred the boredom or the creeptastic, ungodly alternative left out of the final film. I guess we'll never know. The Haunting in Connecticut is what it is, an utterly mind numbing bore.


Documentary Review Fallen

Fallen (2017)  Directed by Thomas Marchese  Written by Documentary  Starring Michael Chiklis  Release Date September 1st, 2017 Published Aug...