Classic Movie Review Can't Buy Me Love

Can't Buy Me Love (1987) 

Directed by Steve Rash 

Written by Michael Swerdlick

Starring Amanda Peterson, Patrick Dempsey, Courtney Gains, Dennis Dugan 

Release Date August 14th, 1987

Can’t Buy Me Love is bankrupt at its core. The 1987 teen comedy starring Patrick Dempsey and the late Amanda Peterson has the trappings of a sweet 80s teen comedy about nerds and popular kids but lacks something in its heart. There is a cynicism at the center of Can’t Buy Me Love that the makers attempt to paper over by rushing to a climax that never feels right or especially earned.

Ronald Miller is our typical high school movie geek, stringy, shy, poorly dressed and into science. His crush is the most popular girl in school, Cindy, a cheerleader with a boyfriend who is now in college and is neglecting her affection. While Ronald pines from the seat of his lawnmower (he mows her lawn to the point he’s saved up $1000 while seeming to have only ever mowed Cindy’s lawn), Cindy is putting on a brave face about her absent boyfriend.

The plot kicks in when Cindy borrows an expensive outfit from her mother’s closet and ruins it. She desperately needs $1000 to replace the outfit and through plot contrivance, Ronald and his cold hard cash happen to be at the same mall attempting to buy a telescope, another 80s nerd signifier. Ronald offers his cash for Cindy to buy and replace her mom’s outfit in exchange for Cindy to go out with him and help him break into the cool clique at school.

The plan works as Cindy’s popularity rubs off on Ronald almost immediately. The two even begin to confide in one another and get close until Ronald misses his cue to kiss her for real and the two end up in a staged break up where Ronald compounds his blunders with cruel words he thinks are part of the act. Cindy is hurt and Ronald gets what he wants but not without a warning from her that being popular is harder than it looks. That’s what the makers of Can’t Buy Me Love don’t understand; while it goes through the motions of a lame redemption story for Ronald, the real story and the heart of the story belongs to Cindy whose struggle to maintain an image of perfection is harming her very soul.

Find my full length review at Geeks.Media 



Movie Review Detroit

Detroit (2017) 

Directed by Kathryn Bigelow

Written by Mark Boal

Starring John Boyega, Will Poulter, Algee Smith, Jacob Lattimore, Kaitlyn Dever

Release Date July 28th, 2017 

Recently I listened to Malcolm Gladwell’s incredible podcast Revisionist History and in the very first episode he discussed a fascinating sociological concept called Moral Licensing. Moral Licensing is in essence doing something that is right and then using that right action, essentially a good deed, to justify bad behavior. Gladwell’s example was a painter in 19th Century England, Elizabeth Thompson, whose painting, titled Roll Call, became the first by a female artist to take a respected placement in the Royal Academy of Art. Unfortunately, the good deed by the male dominated Royal Academy of featuring the remarkable painting gave them, in their minds, the bona fides to justify not electing Thompson to become a member of the Royal Academy. They’d done their good deed and had nothing, in their minds left to prove.

I thought a great deal about Moral Licensing as I watched Kathryn Bigelow’s remarkable new film Detroit. This story about the riots that raged in Detroit, Michigan in 1967 and more specifically about an incident of police brutality that resulted in the deaths of three innocent black men, at the Algiers Hotel, led me to wonder if just becoming a police officer—a peace officer, someone whose job in the world is to protect people—gives some lesser officers the notion that they have moral license to do as they please. They’ve proven their bona fides as a good person by offering to protect the innocent, thus how they do their jobs is justified by virtue of having accepted the position.

I am not generalizing here; I respect police officers and the remarkable difficulty of their job. Scientifically and psychologically, however, there is a kernel of truth here. It could happen to anyone in such a position: a doctor, a politician, even a film critic who uses his position as a writer to espouse a point of view and then, if his point of view is well-viewed, he or she can take license to go further and espouse further and potentially do harm because they feel they have a moral high ground that doesn’t really exist.



Classic Movie Review Stakeout

Stakeout (1987) 

Directed by John Badham 

Written by Jim Kouf

Starring Richard Dreyfuss, Emilio Estevez, Aiden Quinn, Madeleine Stowe 

Release Date August August 5th, 1987 

Stakeout exists in a bizarre space in our popular memory. The action-comedy starring Richard Dreyfuss and Emilio Estevez opened the first weekend of August, 1987 at the top of the box office. The film went on to rank in the top 10 highest grossing films of the year and earned mostly positive reviews from critics. Then, it simply faded from memory. Sure, 6 years after the release of Stakeout they got around to making a bad sequel, shoulder shruggingly titled Another Stakeout, that did the original film no favors, but why did this successful movie mostly disappear from popular memory?

Dreyfuss and Estevez play Chris and Bill, Seattle Police detectives who are tasked with what they think is a punishment gig. After screwing up a bust, they get put on stakeout duty, watching the ex-girlfriend of an escaped convict in case he might come visiting. Aiden Quinn is the convict, nicknamed Stick, while Madeleine Stowe plays the ex-girlfriend who also becomes Chris’s love interest, something that is highly fraught as Chris must pretend he’s not a police officer to not blow his and Bill’s cover.

Dreyfuss and Stowe have a terrific chemistry, despite Stowe’s bizarre Spanish-Irish combo accent and Dreyfuss’s remarkable creepiness in watching her undress when he first goes on stakeout duty and then breaks into her home and ends up watching her shower. Despite how much I enjoy Richard Dreyfuss, there is no escaping how pervy and unfunny these scenes are. The sexual dynamic of Stakeout has not aged well and likely plays into why the film is so well forgotten.

The dynamic between Dreyfuss and Estevez is equally as charming as the dynamic between Stowe and Dreyfuss. Estevez was a mere 25 years old in Stakeout but with the aid of a remarkable mustache, he ages up just enough to be convincing as a detective. I loved the playful interplay between Estevez and Dreyfuss which is far less broad than your typical 80s action-comedy and feels more realistic and genuine than similar cop comedies; the two seem like genuine friends and partners instead of the more popular mismatched partners of so many similar films.



Classic Movie Review Swing Kids

Swing Kids (1993) 

Directed by Thomas Carter

Written by Jonathan Marc Feldman 

Starring Christian Bale, Robert Sean Leonard, Frank Whaley, Barbara Hershey 

Release Date March 5th, 1993 

Published June 21st, 1993 

Swing Kids is an obnoxious movie about obnoxious characters being obnoxious amid the rising tensions and hatred of pre-World War 2 Germany. The story follows a group of young men, led by best friends, Peter (Leonard) and Thomas (Bale). All these boys want to do is dance, listen to records, and meet girls but their idyllic dance-floor utopia is interrupted by the rise of the Third Reich. The demand for conformity and discipline eventually takes hold of Thomas, who becomes a member of the Hitler Youth, straining not only his friendship to Peter but his loyalty to their bohemian, dancing music loving circle. 

It's not a bad premise for a movie but as executed by Thomas Carter, it captures mostly the obnoxious side of being a wild-eyed, horny teenager and the way those who may not have strong family lives, are more susceptible to seemingly charismatic cult leaders. Thomas falls in with the Hitler Youth because he is distant from his rich father, he craves the chance to belong to something, and he's in conflict with everyone else in his life, including Peter who refuses to fall in line with the S.S, and wants Thomas to remember that a member of their friend group, Arvid (Frank Whaley), is Jewish and thus very vulnerable at this point in time. 

Whaley delivers the most interesting and compelling performance in Swing Kids as a Jazz loving, Jazz guitarist who refuses to compromise his Jewish background or his dedicated bohemian, communist morals. Though he is often framed by the film as being unreasonable in how he appears perfectly willing to die in order to defy the Nazis, Whaley gives the performance depth and weight beyond the box that the script and the direction place him in. Whaley's is a performance of deep conviction and sincerity, a counterpoint to Leonard's wishy-washy, non-committal approach and Bale's obnoxious embrace of all things Nazi. 



Movie Review Enys Men

Enys Men (2023) 

Directed by Mark Jenkin

Written by Mark Jenkin 

Starring Mary Woodvine, Edward Rowe 

Release Date January 13th, 2023 

Published June 21st, 2023 

Enys Men, pronounced, N-is Main, is Cornish for Stone Island. That's the setting for the story unfolding patiently and disquietingly in Mark Jenkin's unsettling atmospheric drama. Mary Woodvine stars as a character only known as 'The Volunteer.' The Volunteer has taken on the job of chronicling the unexpected growth of new plant life on Enys Men, a place that hasn't seen new growth in some time. Each day, The Volunteer treks forth from her cottage to an oceanside cliff where she monitors the temperature surrounding the growth of this plant life. 

She then treks back home to document the minute, often unchanging data. This goes on day after day after day, without a deviation from her pattern. It's a pattern that also includes a stop at an ancient well where she tests the height of the water by dropping a rock and tracking the seconds it takes to make contact with the bottom of the well. This too is unchanging until one day, it changes. Even this doesn't seem to shake The Volunteer from her routine. She makes note of it and goes on with her assignment. Occasionally, The Volunteer will share an awkward and rushed C.B conversation with a long time friend. Beyond that, The Volunteer appears to be alone. Until she isn't. 

The disquieting nature of the narrative begins to truly take hold as The Volunteer begins hearing things on the roof of her cottage. It's a little girl, her own little girl, it would seem. Is this child here with her? There has been no evidence until this point that The Volunteer wasn't alone. The strange nature of the child first appearing on top of the cabin and then being a sort of ghostly presence inside the cabin, one that is only mildly commented upon, lends a further air of discomfort to what is unfolding. The Volunteer barely bats an eye over the sudden appearance of her apparent child. It's as if she's not at all surprised. 



Classic Movie Review Army of Darkness

Army of Darkness (1993) 

Directed by Sam Raimi 

Written by Sam Raimi, Ivan Raimi 

Starring Bruce Campbell, Embeth Davidtz 

Release Date February 19th, 1993 

Published June 20th, 2023 

Army of Darkness is a direct sequel to Evil Dead 2 but, in the tradition of Evil Dead 1, continuity between the two is not necessary. The basic elements are enough to marry one film to the other. Ash (Bruce Campbell), survived a fight against the Deadites, zombie demons from another dimension, only to find himself sucked into another dimension. In this dimension there are Kings and servants, warring clans, and an ancient evil that Ash happens to have some experience in defeating. After demonstrating god-like powers in surviving against a Deadite at the bottom of a well, Ash is welcomed into this bizarre world. 

In classically Ash fashion, he immediately flirts with and gets the girl, Sheila (Davidtz), who is then subsequently stolen away and corrupted by the Deadites. In order to free this cursed land from the evil of the Deadites, Ash must go on a quest to retrieve the Book of the Dead, the very book that got him into this mess in Evil Dead and Evil Dead 2. The book was sucked through this dimensional portal along with Ash and has now fallen into the hands of the Deadites who've placed it in a cursed cemetery. The Arthurian touches in Army of Darkness are inspired gags. 

The key to Army of Darkness however, is a spirit of anarchic invention. Director Sam Raimi and his star, Bruce Campbell show off a childlike glee as they workout different bits and gags they can do with the larger budget and platform they were given following the modest but notable success of Evil Dead 2. If you ask Raimi, he would say that he didn't need the budget that was given to him but he also then felt obligated to spend it since he had it. With that, we get both improved special effects and the kinds of practical effects that Raimi developed a remarkable talent for in the Evil Dead movies. 

The combinations of Harryhausen inspired practicality, music, and slightly more expensive effects, are used to create a low budget atmosphere on a relatively large budget. Raimi's homemade aesthetic somehow survives the move to a big studio feature and there is a wonderful charm to how Army of Darkness combines big effects with the kind of inventive, chaotic, weirdness that drove Raimi in his early career as a filmmaker. The delight Raimi and his collaborators take in creating comic gore, and paying tribute to low budget effects movies of the past is wonderfully infectious. 

Bruce Campbell however, is perhaps the best special effect in the movie. Campbell's ability for physical comedy, his willingness to put his body on the line for a gag, and his more than willingness to be silly, is an incredible asset to the charm of Army of Darkness. His Ash may talk like a cross between the tough guy banter of Bogart and the suave charm of Errol Flynn, but Campbell has a comic quality that neither of those legendary performers has. It's a sly ability to ride the razors edge between silly camp and action movie star that is a one of a kind combination. 

Find my full length review at Geeks.Media 



Classic Movie Review Last Action Hero

Last Action Hero (1993) 

Directed by John McTiernan 

Written by Shane Black, David Arnott 

Starring Arnold Schwarzenegger, Dylan O'Brien, Charles Dance, Anthony Quinn, Mercedes Ruehl, Tom Noonan 

Release Date June 18th, 1993  

Published June 19th 2023 

In the history of Hollywood debacles, Last Action Hero has quite a reputation. With massive budget overruns and egotistical executives pushing for an extremely misguided schedule and release date, Last Action Hero was a doomed production. Having began life as a parody of Arnold Schwarzenegger style action movies, the film had to be radically retrofitted when Schwarzenegger chose to star in the film. No longer could the star be the subject of the jokes, he was now the one making the jokes. With Schwarzenegger aboard, the original screenwriters were booted in favor of Shane Black and David Arnott who were tasked with solving a tricky tone of meta-humor and action movie tropes. 

That a movie vaguely watchable came out of the mishmash or rewrites and revisions, that included something like 7 writers, including rewrites by William Goldman and Carrie Fisher, on top of the original duo of Zak Penn and Adam Leff. Both the director and star each offered insight on the script and well, you know what they say about Too Many Cooks? Yeah, way too many cooks took their turn in trying to boil up a workable version of Last Action Hero and the result is a bland, tasteless, pile of gruel, a little salty thanks to Schwarzenegger's star power, but mostly a forgettable and moderately distasteful meal. 

The concept is really the only thing anyone seemed to like about Last Action Hero. In the plot, a 12 year old boy named Danny Madigan (Austin O'Brien), receives a magical movie ticket as a gift from his friend, Nick the Projectionist (Robert Prosky), who has gifted Danny a preview showing of the new Jack Slater movie, Jack Slater 5. Jack Slater (Arnold Schwarzenegger), is an action movie hero in an action movie universe where he's an indestructible action machine who kills bad guys and cuts mad quips at their expense, all while rock music plays on a loop. 

It's everything an adrenalin fueled 12 year old could want, bullets, babes, bad guys, and our hero always wins in the end. This Jack Slater adventure however, is going to be a little different. Thanks to Danny's magic ticket, Danny is transported inside the movie. After dynamite seemingly blows up the movie theater, Danny wakes up in the back of Jack Slater's car, mid-car chase and shootout. Slater is as surprised as Danny to find a young boy in his back set, but that doesn't stop him from finishing off the bad guys and finishing the action scene. 

From there we explore the world of Jack Slater with Danny as our audience surrogate. All the while, Danny tries to convince Jack that they are in a movie in a series of jokes that diminish in comic returns each time. When Danny starts telling Jack that he saw the bad guys set up Jack's favorite second cousin Frank (Art Carney), Jack starts to take Danny seriously, a little bit. Things ramp up when the baddies realize Danny is on to them and the evil Mr. Benedict comes into possession of Danny's magic movie ticket and takes the chance to escape into the real world. 

Find my full length review at Geeks.Media 



Movie Review The Blackening

The Blackening (2023) 

Directed by Tim Story 

Written by Tracy Oliver, Dewayne Perkins 

Starring Grace Byers, Jermaine Fowler, Melvin Gregg, X Mayo, Sinqua Walls 

Release Date June 16th, 2023 

Published June 19th, 2023 

The Blackening is a very funny and refreshing take on horror comedy. From the clever mind of director Tim Story and star/co-screenwriter Dewayne Perks and Tracy Oliver, The Blackening takes on numerous horror tropes and puts a new, exciting and often very funny twist on them. This is more than just because the cast is black, it's because the treatment of those well-worn tropes is inventive and really funny. The characters are unique and yet familiar, falling in line with classic horror tropes while upending the tropes with smart dialogue and clever sequences. 

The Blackening opens on a cabin the woods. Morgan (Yvonne Orji), and her boyfriend, Shawn (Jay Pharoah), engage in a series of meta-jokes as they come face to face with a bizarre and deeply problematic board game called The Blackening. Forced to play the game by some unseen bystander, the couple engage in the game and fail almost immediately when neither can name a black character who survived a well-known horror movie. The meta of the moment comes when Orji theorizes that Omar Epps and Jada Pinkett were killed off first in Scream 2 because they were big names that the production could not afford. Orji and Pharoah being, arguably, the best-known members of this cast, deliver this dialogue with a terrific comic knowingness. 

The rest of their party arrives soon after, though Morgan and Shawn are nowhere to be found. Arriving first are the threesome of Allison (Grace Byers), Lisa (Antoinette Robinson), and Dewayne (Dewayne Perkins). They have come for what is supposed to be a weekend of drugs, alcohol and college debauchery in honor of a 10-year college reunion. Lisa, however, has a secret motive. She's reconnected with her college boyfriend, Nnamdi (Sinqua Walls), much to the aggravation of Dewayne who recalls the number of times that Nnamdi cheated on his best friend. 

Later arriving is King (Melvin Gregg), a former thug, according to the dialogue, not my interpretation, King is now a man of peace and zen who makes a point of mentioning that he's married to a white woman. That will become kind of important in one of the film's standout comic horror moments. The final guests arriving are Shanika (X May0), the absolute scene stealer of The Blackening, and Clifton (Jermaine Fowler), someone who may or may not have actually been invited to this reunion. He claims he was invited by Morgan but since she's MIA, there is no way to prove that. 

Find my full length review at Geeks.Media 



Classic Movie Review The Crush

The Crush (1993) 

Directed by Alan Shapiro 

Written by Alan Shapiro 

Starring Alicia Silverstone, Cary Elwes, Jennifer Rubin, Kurtwood Smith

Release Date April 2nd 1993 

Published June 17th, 2023 

According to writer-director Alan Shapiro, The Crush, is based on a real life experience he had in which a teenage girl developed a fixation on him that became obsessive. This was an exaggeration to say the least. The original film, as shot and scripted by Shapiro even used the real name of the teenager, he claimed inspired the film. Naturally, because she is portrayed as a murderous nutjob in the movie, the real-life teenager sued Shapiro for Defamation of Character. The studio responded by clumsily changing the name of the main character via a comically bad piece of over-dubbing. 

It's doubtful that Shapiro's story actually happened as he characterized it. The reality appears to be that creepy studio executives were eager to make a thriller based on sexualizing a teenage girl and found Shapiro's very silly, self-aggrandizing script in a pile and saw potential dollar signs from the always lucrative creep market. The production of the film seems to back up that assertion as Silverstone had to dodge the attempts by executives to get her to do nude scenes and sexual scenes beyond what is in the final film. 

So insistent on a nude scene was one particular executive that a compromise was made. A body double stripped down for a scene showing off her backside in place of Silverstone's. Bear in mind, Silverstone was 16 at the time she made The Crush and the character in the movie is slightly younger than that. A mere 30 years ago, a Hollywood executive felt comfortable enough to ask a teenage actress to do a nude scene in a movie and became so insistent on the baring of teenage flesh in the movie that they had to compromise with an adult body double. That's just some of the super creepy backstory of 1993's The Crush. 

Find my full length review at Geeks.Media. 



Horror in the 90s The Guardian

The Guardian (1990)

Directed by William Friedkin

Written by Stephen Volk, William Friedkin

Starring Dwier Brown, Carey Lowell, Jenny Seagrove

Release Date April 27th, 1990

Box Office $17,000,000

The Guardian stars Dwier Brown and Carey Lowell as Phil and Kate Sterling. Phil and Kate have just moved to Los Angeles and have just found out they are having their first baby. Exciting times continue as their two jobs afford them a lovely suburban home and the ability to hire a nanny to care for their baby. The nanny they end up with is Camilla, played by Jenny Seagrove. Camilla got the job after the woman they initially wanted disappeared.

We know that that woman, played in a cameo by the wonderful Teresa Randle, has been badly injured, or possibly killed in a bike accident. We see this but it’s never clear if Phil and Kate are aware of what happened. Regardless, they appear quite pleased with hiring Camilla who appears to be warm and caring and has good references that they choose not to look into because she appears so sweet and sincere. What Phil and Kate don’t know however, is that a baby Camilla cared for in her last job, went missing under suspicious circumstances.

This sounds vaguely like the plot of The Hand that Rocks the Cradle, doesn’t it. Indeed, The Guardian, at one point, was envisioned as a thriller along that line, one taking advantage of the fears of young parents. Then, at another point, The Guardian was envisioned as a broad horror comedy to be directed by Sam Raimi about a mystical being that cares for an ancient tree by providing the tree with the blood of babies. When Raimi left the project and was replaced by directing legend William Friedkin, the director of The Exorcist apparently decided to mash these two disparate premises together.

Thus we have The Guardian a horror-thriller about an evil enchanted tree protector who steals babies from unsuspecting couples to feed her evil enchanted tree. This sounds comic but it is not intended to be funny in any way. It is however, just as sloppy, slipshod, and silly, as such a mash-up of movies would inevitably be. Friedkin choosing to keep both movies that The Guardian used to be and trying to awkwardly weld them together ends up delivering a desperately confused and unintentionally funny horror mess.

Find my full length review at Horror.Media



Movie Review Kidnap

Kidnap (2017) 

Directed by Luis Prieto

Written by Knate Lee 

Starring Halle Berry, Lew Temple

Release Date August 4th, 2017

Halle Berry has been on an astonishing losing streak at the box office since she won the Academy Award for her starring role in Monster’s Ball. Ever since the night she won people’s hearts with her teary and historic Oscar acceptance speech, Berry has made one wrong turn after another whether making bad big budget comic book movies, all X-Men sequels or spinoffs, or bad low budget thrillers, Perfect Stranger, Gothika, The Call, or head-scratching, defiantly awful fare such as Movie 43, Cloud Atlas and Catwoman, Berry seemed bent on full career sabotage.

This brings us to Kidnap which by default, Things We Lost in the Fire wasn’t bad, may be the best movie Berry has made in well over a decade. The story of a mother attempting to retrieve her stolen child, Kidnap may be a super low budget, cheapie thriller, but Berry gives the role all she’s got, even if she is occasionally out shined by her magical car-chase minivan.

In Kidnap Berry portrays Karla Dyson, a waitress who somehow can afford a brand-new Ford minivan on a salary of tips and minimum wage. Karla is amid a divorce and a custody battle when she takes her son Frankie (Sage Correa) to a carnival at a local park. When her divorce attorney calls, Karla takes her eye off her son for a moment and doesn’t see him again until she spies a large woman wrestling the boy into a beat up old Mustang.

After attempting to wrestle the Mustang to a stop with her momma bear determination, Karla loads into her minivan to give chase and Kidnap becomes an almost non-stop car chase thriller. I will say this for director Luis Prieto, he keeps up a quick pace. Kidnap comes and goes in just over 80 minutes and there is very little fat on the narrative. The film’s camera work and editing can be a tad too chaotic but that’s likely a function of the setting, a New Orleans highway system, and the film’s very tight budget.

Find my full length review at Geeks.Media 



Movie Review The Dark Tower

The Dark Tower (2017) 

Directed by Nikolaj Arcel

Written by Akiva Goldsman, Jeff Pinkner, Anders Thomas Jensen, Nikolaj Arcel

Starring Idris Elba, Matthew McConaughey, Jackie Earl Haley

Release Date August 4th, 2017 

To whomever said that Stephen King’s epic novel The Dark Tower was un-adaptable to the big screen, we owe you a Coke. The supremely silly movie sequel to King’s dense Dark Tower book series is an embarrassment to all involved from King to director Nicolaj Arcel to Academy Award winning star Matthew McConaughey and Academy Award nominated producer Ron Howard, who for some reason passed on directing The Dark Tower himself; golly, I can’t imagine why?

The work of the prolific Mr. King seems to resist adaptation in the same way a country might resist an invading army. Don’t misunderstand, some have managed to pull off the trick; Stanley Kubrick made The Shining, though Stephen King hated his adaptation; Frank Darabont did okay with The Green Mile but again, King hated that one as well and even The Shawshank Redemption wasn’t beloved by the creator even as audiences loved it. Of the 50 or so King properties made into television or feature films, only a handful have turned out watchable and The Dark Tower is not one of those movies.

Idris Elba is the star of The Dark Tower as Roland the Eld, a Gunslinger living on a Middle Earth where everything has been lost to some sort of apocalypse started by the evil Walter (Matthew McConaughey), a sorcerer(?) bent on destroying the Dark Tower which stands in the middle of a dozen or so galaxies and protects from the ultimate evil beyond the stars. Standing alongside Roland is teenager Jake Chambers (Tom Taylor) whose visionary nightmares brought him to this middle earth, not the Lord of the Rings one, a Stephen King one, where he hopes to prevent the apocalypse on his version of Earth(?). (The movie is such a mess it's impossible to say whether Walter is a sorcerer or what Jake's motivations truly are, hence all the question marks.)

The Dark Tower was director by Nicolaj Arcel who seems entirely over-matched by this material. Arcel’s previous effort was the studious period piece A Royal Affair and it showed he could wrangle a sweet period piece romance but I am not sure what producer Ron Howard saw in that film that led them to believe Arcel could marshal the silliness of The Dark Tower into anything other than another abominable Stephen King adaptation.

Poor Matthew McConaughey takes it on the chin for the cast of The Dark Tower. While Taylor has youth as an excuse and while Elba can fall back on the cool Gunslinger persona, McConaughey is adrift as the ultimate evil, Walter. Sure, he’s also referred to as The Man in Black but even then, his costume includes a long coat with shoulder pads that make him look more 80s Dynasty diva than ultimate evil. Why they decided that the ultimate evil, worse than the Devil, Roland claims, should be called Walter is one of several bizarre decisions made by the creators of The Dark Tower. Sure, that could be something from King's book but even then, they could have written that part out of the movie considering how this is a follow-up to the books and not a straight adaptation.

Find my full length review at Geeks.Media 



Classic Movie Review Masters of the Universe

Masters of the Universe (1987) 

Directed by Gary Goddard

Written by David Odell 

Starring Dolph Lundgren, Courtney Cox, Frank Langella

Release Date August 7th, 1987 

The legendary John Waters once defined camp, on an episode of The Simpsons, as “The tragically ludicrous, the ludicrously tragic.” The 1987 movie Masters of the Universe pre-dates that definition of camp by more than a decade but nevertheless defines it perfectly. Masters of the Universe is a tragically ludicrous idea undermined by greed, hubris and the outright silly notion that just because something catches on with child audiences it can be translated to film in anything other than a pathetic attempt at pandering.

There are several famous Hollywood stories from the behind the scenes creation of Masters of the Universe but few capture the essence of this horrible idea for a movie in the way that this one does. One day, Dolph Lundgren’s Rocky 4 co-star Sylvester Stallone visited the set of Masters of the Universe and seeing his former co-star exchanging dialogue with co-star Courtney Cox, Stallone expressed his apoplexy by asking an executive on set “You gave that guy dialogue?”

Indeed, Dolph Lundgren is given dialogue and through his remarkably thick accent even the simple catchphrase “I HAVE THE POWER” comes off like The Simpsons' hilarious Schwarzenegger parody, Rainier Wolfcastle, attempting a similar line from that shows' movie within a show about the fake comic book hero Radioactive Man. Undoubtedly, The Simpsons writers must have been huge ironic fans of Masters of the Universe.

Masters of the Universe was a compromised product from its very conception but that could not be clearer to fans of He-Man than in the film’s first scenes. The very first thing that happens in Masters of the Universe is that the villain Skeletor (Frank Langella, poor, misguided Frank Langella), has accomplished his long-time cartoon goal of taking over the fictional planet of Eternia. Fans can be forgiven for being floored by this as the cartoon series had been built around the battle to protect Castle Greyskull and its universe conquering powers from Skeletor and he’s just accomplished his greatest goal off-screen.

Find my full length review at Geeks.Media 



Movie Review The Legend of Ben Hall

The Legend of Ben Hall (2017)

Directed by Matthew Holmes

Written by Matthew Holmes

Starring Jack Martin, Jamie Coffa 

Release Date August 1st, 2017

We have a tendency in America to believe that our pop culture is the only culture to embrace our anti-heroes, those rugged criminals whose lives we romanticize into fantasy for reasons we can’t quite rationalize with what these men did. But rhapsodizing about the criminal as pseudo-hero is a truly worldwide phenomenon. The latest example of the worldwide nature of the celebration of anti-heroes comes from Australia with the story of criminal icon Ben Hall, the subject of the Bushranger epic The Legend of Ben Hall which is now available on DVD and On-Demand services in America.

Ben Hall (Jack Martin) was the quintessential Bushranger, a criminal but a criminal with a personal ethic. In the years since Ben Hall has been robbing stagecoaches with his band of criminal brothers, he never took a life. Ben may not exactly be noble, he is an unquestionably dangerous man committing real crimes, but his no murder stance, at the very least, render a criminal with scruples. Ben is haunted by the way in which his wife Biddy (Joanne Dobbin) left him for another man and took their child and he intends to take the boy back once he steals enough money for safe travel to America.

Joining Jack is the far more dangerous outlaw, John Gilbert (Jamie Coffa), whose best quality is his loyalty to Ben; it’s the only thing that keeps Gilbert from becoming an outright psychopath. Together, Ben and John recruit Jon Dunn (William Lee) and they begin a reign of terror on Australian banks that led the banks and the government to extreme measures to fight back. Those extreme measures eventually led to a moment of reckoning for a bloodthirsty army of thug law enforcers and the Australian military which compromised their ethics eventually to put an end to Ben Hall and his gang.

Find my full length review at Geeks.Media



Classic Movie Review Fire in the Sky

Fire in the Sky (1993) 

Directed by Robert Lieberman 

Written by Tracy Torme 

Starring Robert Patrick, D.B Sweeney, Craig Sheffer 

Release Date March 12th, 2023 

Published June, 2023  

A group of friends worked together on a scam to convince the world that one of them was abducted by aliens. For me, this is a much more interesting story than treating the lie these men told as if it actually happened. Unfortunately, that's the approach director Robert Lieberman and writer Tracy Torme went with in making Fire in the Sky, pretending the lie was the truth. By pretending that this man was actually abducted by aliens, the filmmakers cosigned the lie and colluded to provide credence to the grift of these men that, for at least of them, continues to to this day. 

Fire in the Sky asks you to believe that in 1975 a man named Travis Walton was abducted by aliens while his friends watched in shock and horror. The 'friends' ran away, leaving Travis seemingly for dead. Several days later, a naked and traumatized Travis was found a full town away shivering inside of a shed. In Fire in the Sky, D.B Sweeney provides a reasonably shaken and angst ridden performance as Travis Walton. And, because he's an actor whose been given direction on how to portray this trauma, he makes it look as if this is what really happened to Travis Walton, perhaps better than Walton himself ever could. 

The story of Travis's disappearance is told in a dimwitted flashback. Apparently the filmmakers half-watched Rashomon and took a minor inspiration that pretends to art but falls squarely into melodrama. Familiar faces Robert Patrick, Peter Berg, Craig Scheffer and Henry Thomas play Travis friends who, for a time, were suspected of having killed Travis, at least according to the movie. The real story of what happened to Travis Walton is that he and his friends perpetrated a hoax that Walton has exploited for financial gain for years. 

They sold the story to The Enquirer, a disreputable tabloid that claimed that Walton and his friends passed a lie detector test. The reality is, The Enquirer had just as much to gain from Travis Walton's made up abduction story as he did. Skeptical investigators who performed tests on Walton found that he was trying to beat the lie detector through various means that had been shared in books out around that time. One lie detector test that Walton ended with the administrator calling Walton's story a 'gross deception.' 

Find my full length review at Geeks.Media 



Documentary Review: Roadrunner Film About Anthony Bourdain

Roadrunner: A Film About Anthony Bourdain (2021) 

Directed by Morgan Neville 

Written by Documentary 

Starring Anthony Bourdain, Asia Argento 

Release Date July 16th, 2021 

Published June 17th, 2023 

Late in the new documentary Roadrunner: A Film About Anthony Bourdain, a friend recalls asking Bourdain how he managed to quit his heroin addiction cold turkey. This was a foreign concept to Bourdain’s friend, a fellow addict, who could not begin to imagine that level of willpower. Bourdain offered no real answer, just that he’d done it. It quickly dawned on Bourdain’s friend that Bourdain may have beaten heroin but he hadn’t beaten addiction. 

Instead of heroin, Anthony Bourdain’s addiction jumped to other sources of pleasure or pain or experience, unattainable highs that could never be sustained in the same fashion that addiction to any drug either ends in death or simply losing the ability to get high all together. To me, this is a fascinating and thoughtful insight. Director Morgan Nevillve had a similar fascination with what Bourdain’s friend mentioned, how his addiction jumped from heroin to other types of obsession. 

In the immediate aftermath of Bourdain’s friend relating this story we join Bourdain learning Jiu Jitsu. Bourdain was obsessed with Jiu Jitsu for a time, an all consuming obsession, addiction, that drove the people around him crazy. Another of Bourdain’s friends, a member of the crew of his television series, recalled being irritated by Bourdain droning on endlessly about the benefits of Jiu Jitsu, he was relentless in talking about things he was passionate about. 

Bourdain applied this passionate obsessive quality to people as well, his wives, and his girlfriends. In a disturbing example of Bourdain’s obsession with and his addiction to very specific things, the movie recalls a time when Bourdain was speaking of his then girlfriend, actress Asia Argento, and going on and on about what he’d determined to be, her remarkable ability to parallel park. There is a look on Bourdain’s face as he’s discussing Argento’s ability to park a car in Italy that approaches madness, his eyes are wide, his gestures are broad and Argento appears deeply uncomfortable. 

It could be argued that director Morgan Neville frames this scene to underline the effect but regardless, I couldn’t help but feel the implied discomfort and Bourdain’s mad obsessive zeal. The documentary frames Bourdain’s entire relationship with Argento, which came in the last years of his life, as an addiction. Bourdain was deeply lonely after the end of his second marriage and is seen to wonder if he is someone who can be loved. 

In 1999 Anthony Bourdain, then already into middle age and seeing his life as one of working as a chef until they dragged his corpse from the kitchen, began writing a series of emails to a friend. This friend happened to be married to a publisher and after urging his wife to read Anthony’s breathlessly intelligent, urgent, and provocative words in these emails, the wife was sold, she needed to publish Anthony Bourdain. 

That is the story that led to Bourdain’s national breakthrough, the bestselling book, Kitchen Confidential which turned Bourdain into the bad boy of celebrity chefs. The book was an immediate smash success story which almost spawned a movie adaptation starring Brad Pitt and did spawn a brief and uninspired television series starring Bradley Cooper. Fame didn’t come easy to Bourdain but once he embraced it, his life was changed forever. 

The success of Kitchen Confidential led to Bourdain’s own series on The Food Network called A Cook’s Tour. The team behind Bourdain’s television series tell a terrific story about that show and how Anthony Bourdain was not the bon vivant personality that he would come to be known as, not right away. In fact, on the first trip for the show, Bourdain was listless and withdrawn, he refused to play the part of host and it appeared that the show was doomed. 

It wasn’t until the crew arrived in Vietnam when things began to click. Bourdain loved Vietnam, it also helped that his friend and former restaurant boss joined him and perhaps brought out a friendlier and more excitable version of Bourdain. From there it was off to the races on a career that would touch the lives of millions of fans and inspire wandering souls to discover their own inner traveler. 

From the outside, Anthony Bourdain had everything. His job was to go to cool places, have adventures, and eat food. His travels were exotic and beautiful and also provocative. Through his travels, the bad boy chef transformed into a deeply empathetic soul eager to tell the stories of the people behind the culture and food he was experiencing. This proved to be exhilarating television and in many ways, an exhilarating life but the strain on Bourdain comes clear as Roadrunner unfolds. The heart wrenching stories Bourdain sometimes told weighed on him more than his cool exterior let on.  

In 2018 Anthony Bourdain shocked the world by taking his own life in the midst of a shoot for his travel series Anthony Bourdain: Parts Unknown. His death was a stark reminder that while you think you know a celebrity or you assume that someone on television has a life that is a dream come true, you really don’t know them. This aspect of not knowing Bourdain but wanting to, drive so much of Roadrunner. 



Some have claimed that the troubled end to Bourdain's relationship with Asia Argento led him to take his life. Many read Roadrunner: A Film Abouut Anthony Bourdain as making that case, that Argento holds a responsibility in Bourdain's death. I don't see the movie quite that way. I feel that director Morgan Neville lays out the case that Bourdain's various addictions are what drove him toward a tragic end. Having chased a particular kind of high for his entire life, he finally reached a place where that high was no longer attainable. 

I believe, based on what Neville shows us in Roadrunner, that Bourdain was 'addicted' to his relationship with Argento in a deeply unhealthy fashion. That parallel parking story may be cringe-inducing in many ways, but I believe it is the thesis statement on Bourdain's obsessive personality, his addiction to Argento being the latest thing that had driven his lust for life. When that 'supply,' if you will indulge that as a metaphor for a human being, is cutoff, Bourdain simply felt he could not go on. That's not Asia Argento's fault. This type of obsession with another person is not healthy and it was perhaps better for Argento herself, regardless of whoever she might be as a person, I don't know her, to get out of that relationship. 

If you've never been the subject of another person's obsession, you don't know how strange and suffocating that can be. If you are the subject of someone else's obsession, you need to get out of it. It's not something that can be sustained or repaired. We happen to have some visual evidence of Bourdain's obsession with Argento and it's strange and haunting. It starts out humorous and slowly morphs into something pitiable and deeply uncomfortable. Anthony Bourdain's obsessions are what led to his death. His desire to be obsessed with something to distract him from unspoken anguish he felt and did not process or seek help for, are why we no longer have his brilliant mind in the world. 

Roadrunner: A Film About Anthony Bourdain is brilliant, beautiful and tragic. It's incredibly difficult to watch but it's also engrossing and enlightening. It's a story that aches to be told. That it exists is a warning to anyone that an unexamined emotional pain is as dangerous and deadly as an unexamined and untreated open wound. Anthony Bourdain was bleeding emotionally and was unfortunately unwilling or unable to seek treatment for it. Roadrunner then is a cautionary tale about such deep emotional wounds. 

Movie Review The Flash

The Flash (2023)

Directed by Andy Muschietti 

Written by Christina Hodson

Starring Ezra Miller, Michael Keaton, Ben Affleck, Michael Shannon, Maribel Verdu 

Release Date June 16th, 2023 

Published June 14th, 2023 

Let's address the elephant in the room. There are numerous stories regarding the life of Ezra Miller that demonstrate that they may not be a good person. There's been allegations of abuse, grooming, and other types of criminal behavior, including kidnapping and, for a time, he was even suspected of murder. It's incredibly hard to objectively look at Miller's work and separate that from the person. I'm going to try and do that in this review but I want to make it very clear that regardless of how I feel about Miller's work and the movie The Flash, Miller has a lot of things to answer for and this review is not intended in any way as a co-sign of Miller the person. 

The Flash stars Ezra Miller as Barry Allen, super-hero. Having been introduced in the Snyder-verse of the DCU, The Flash is now almost the last of a dying branch of a franchise. And yet, despite that negative energy running in the background of the movie, The Flash manages to be quite good. Against many odds indeed, director Andy Muschietti, famous for his deft and ingenious work on It Chapter 1 and Chapter 2, has delivered a rousing, emotional and wildly inventive super hero blockbuster. It's not without its flaws but those may be inherent to behind the scenes development where producers plotted this film with sequels in mind that are now unlikely to happen. 

We pick up the story of Barry Allen as he is helping Batman/Bruce Wayne (Ben Affleck), respond to a heist that turns into a dangerous and deadly building collapse. Baddies have stolen a deadly biological weapon from Gotham General Hospital and while Batman goes after the weapon, it's up to Barry to save the patients and staff of the now collapsing and on fire hospital. In a visually dynamic, if slightly tedious segment, Barry rescues a group of babies falling from near the top of the collapsing building. In time lapse we watch as Barry comedically but necessarily snacks while in the air, snatches baby after baby out of the air, saves a nurse and a therapy dog, all while a massive building is collapsing over them all. 

This is an objectively terrific display of the powers of The Flash and the humble, sweet, but unusual character of Ezra Miller's The Flash. Miller's Barry Allen is sweet, shy, and anxiety ridden. He's a reluctant hero whose journey is one in which he confronts his mistakes, his past, his pain and trauma, and grows up before our eyes. He becomes more and more of a hero as he discovers himself and sees the errors of his ways. He's always been headstrong, even as his nature is to wilt in front of people. Here that headstrong quality is met with a self-examination that causes Barry to become more responsible, more like the hero Batman/Bruce Wayne believes he can be. 

It's a terrific arc that takes on a tragic, sad, and lovely melancholy as Barry longs for his late mother and the family that was shattered by her murder. Following a conversation with his father (Ron Livingston, currently behind bars, accused of killing Barry's mother, Barry uses the speed force to travel back in time to see if he can save his mother. Barry's mother is played by Maribel Verdu and she is utterly incredible in this relatively limited role. In her brief screen time, Verdu elevates otherwise familiar material about how we mythologize and simplify the memories of our beloved parents with an ethereal kindness, an impossible level of charisma, and a radiant loving presence. Verdu floored me in her few scenes. 

In lesser hands than hers, and director Andy Muschietti, Barry's mother, Nora Allen, could be a plot device. But with the incredible work of actor and director, the role feels rich, alive and beautiful well beyond the plot and her function within it. The mother/son chemistry of Verdu and Miller is incredibly powerful and it builds to an emotional climax that I was not expecting, one that hit me right in the heart. I'm perhaps personalizing this too much, but having lost a really great mom, one very reminiscent of this conception of Nora Allen, I was deeply touched by their bond. That this is also the motivation for the plot and all of the action that Barry takes in this plot means that the whole movie gets a charge from this chemistry. It's so strong for me that I think the movie might be as good, or even better on a rewatch because you would go in knowing just how powerful that relationship is and how devastating and emotional it all will become. 

Click here for my full length review at Geeks.Media 



Classic Movie Review Jurassic Park 3

Jurassic Park 3 (2001) 

Directed by Joe Johnston 

Written by Peter Buchman, Alexander Payne, Jim Taylor 

Starring Sam Neill, Tea Leoni, William H. Macy, Alessandro Nivola 

Release Date July 18th, 2001 

Published June 14th, 2023 

After having compromised to make arguably the worst movie of his remarkable career, The Lost World Jurassic Park, Steven Spielberg was finally ready to leave the dinosaurs behind. There was no amount of money that studio executives could promise Spielberg in order to get him back in the director's chair for Jurassic Park 3. That said, staying on as Executive Producer, and retaining his lucrative back end deal, Spielberg did have a hand in choosing his directorial successor. 

Joe Johnston is a long time friend and collaborator of Steven Spielberg and happened to be coming off a pair of well liked and successful films, the 1995 blockbuster, Jumanji, and the critically beloved 1999 drama, October Sky. That plus having worked behind the scenes on each of the previous Jurassic Park movies made Johnston the most natural choice to pick up the reigns on the popular franchise. With Johnston came a new writing team for Jurassic Park 3. Out was writer David Koepp and in was the unlikely duo of Alexander Payne and Jim Taylor, fresh off the success of very non-Jurassic Park indie hits Citizen Ruth and Election. 

It's strange to think that Alexander Payne chose to follow up Election, a black comedy of razor sharp wit, with something as wit-free as Jurassic Park 3. Much like Spielberg did his career worst work on The Lost World Jurassic Park, it would be fair to say that Jurassic Park 3 marks a low point in the career of Alexander Payne and Jim Taylor. A paycheck is a paycheck and being hot off of a critical and commercial hit created the strange cosmic coincidences needed to put the future auteurs behind Sideways into the Jurassic Park universe. 

That said, while I do think this is the worst script of the career of Payne and Taylor, that doesn't mean the movie is that bad. Jurassic Park 3 is actually an improvement over The Lost World Jurassic Park. Director Joe Johnston smartly keeps his Jurassic Park movie under 100 minutes in length and maintains a frenetic pace throughout its 96 minute runtime. A script this thin could not sustain a movie much longer than that, especially with characters this obnoxious and simplistic. Making Jurassic Park 3 any longer than 96 minutes would be an agonizing watch. As it is, it's not great but it is fast and the action is genuinely well directed. 

Jurassic Park 3 returns Sam Neill to the role of Dr. Alan Grant. After being greatly missed in The Lost World Jurassic Park, having Neill back in Jurassic Park 3 is, at the very least, a welcome bit of nostalgia. Also briefly back is Laura Dern as Dr. Ellie Sattler. Her inclusion is perfunctory and convenient, a loving nod to the original Jurassic Park. She's there to be used as needed by the script to underline a plot point early on and provide a convenient ending for the film. 

Sorry, my cynicism keeps sneaking through. I was talking about being happy to see Dr. Grant again. Sam Neill is a steady, calming, soothing presence in Jurassic Park. He's an absolute necessity as he provides a grounded element amid the chaotic special effects frenzy that Joe Johnston is unleashing in Jurassic Park 3. It's easy to see where Johnston's work on Jumanji influenced his work here. Much like Jumanji, Jurassic Park 3 is at its best when it doesn't stop running, upping the stakes, and being an action movie. 

The plot kicks in when Dr. Grant receives an offer to play aerial tour guide for a rich married couple. Paul and Amanda Kirby have charted a plane to fly over Isla Sorna, the second of John Hammond's dinosaur islands and the location of the last movie, The Lost World Jurassic Park. Grant is promised that the plane will not land on the island and that he will just narrate a few facts about what few dinosaurs can be seen during the flyover. What he doesn't know is that he's actually on a dangerous rescue mission. In a convoluted opening sequence, Paul and Amanda's son, Eric has been stranded on the island.

The crew aboard the plane are actually mercenaries who've been hired to extract the boy from the island. Naturally, things don't go well and people end up getting eaten by dinosaurs. Since we don't know the names of the actors playing the mercenaries, and they lack what I like to call 'main character powers,' they're the first to go. The only name supporting actor, Michael Jeter, is also doomed for being a liar and a bit of a weasel, bad guys getting ugly comeuppance is a trope of the Jurassic Park films, aside from John Hammond, the greatest villain of the series, who gets to escape because he's played by kindly grandpa, Richard Attenborough. 

Find my full length review at Geeks.Media 



Movie Review Chevalier

Chevalier (2023) 

Directed by Stephen Williams 

Written by Stefani Robinson 

Starring Kelvin Harrison Jr., Samara Weaving, Lucy Boynton, Martin Csokas 

Release Date April 21st, 2023 

Published June 13th, 2023 

To talk about why Chevalier doesn't work, I need to talk about the ending. Now, since this movie is based on the true story of Joseph Bologne, Chevalier de Saint-Georges, his French title, I don't think this is a spoiler alert situation. Besides that, the fate of the main character is not part of the ending of the movie, that's handled with some clumsy text that ties up the life of the Chevalier de Saint-Georges in a tidy bow and explains why he went unrecognized and little known for so many years. Thus, I don't consider this a spoiler. But, if you disagree, you have now been warned. 

The ending of Chevalier, starring Kelvin Harrison Jr. as Joseph Bologne, famed composer and former friend and confidante of Queen Marie Antoinette, is set at a concert performance. Bologne is set to perform a piece that has a title intended to support the French Revolution, the bloody battle that will bring down Joseph's former friend, Marie Antoinette, played by Lucy Boynton. After being warned by the Queen that she will destroy him, take away his title, and ruin him professionally, Bologne wastes no time being conflicted, he immediately takes the stage and begins to perform this fiery piece of music. 

The Queen responds with unsurprising disdain, she sends her top General, a bullying Aristocrat named Montalamare (Martin Csokas) into to the concert to arrest and or execute the Chevalier. The crowd intervenes to save their favorite composer who briefly stops the show to confront the General. Then, Bologne waves his hand, indicating for his symphony to continue playing. But, after doing this, the Chevalier leaves. Walking out of the concert, the Chevalier passes by the fleeing Queen with a defiant glare and then, in slow motion, he walks off and text takes care of the rest of his life. 

That slow motion walk is a very silly moment. Contextually, Bologne has just started his concert. He has a large and excited crowd that came to see him perform. Yes, he is almost murdered by the General, I'm sure that was hard for him, and reason enough to leave and end the show. But, he appears to be unfazed by this near-death experience. He's perfectly calm and cool as he walks out of his just begun concert performance. The Chevalier then smirks his way past the fleeing Marie Antoinette, and segues into a slow motion walk to the camera. 



But, question, where the hell is he supposed to be going? The concert just started. Where is he going? I imagine that the filmmakers were thinking 'and then he walks into history' or some such nonsense. The self-congratulatory tone of this sequence comes off as very, very silly. The character just seems like an oddball who will have to sheepishly walk his way back to the theater to finish the concert, perhaps. Or, he's just going home to, I don't know, take a nap? He's going to a bar to get drunk while others finish his concert or spill into the street to yell obscenities at the Queen. 

Regardless of wherever this film version of Bologne's life is headed, the movie has rendered him as a joke. By trying so desperately to craft an 'iconic' ending, they've managed to make their star and his character seem very silly. It appears that they had no idea how to end the movie and just thought a Baywatch slow-mo to camera walk was the only way to get out of having to portray the actual French Revolution, which Bologne fought in against the crown and ended up leading the first all black battalion of the French Army. 

We only know that because star Kelvin Harrison Jr. is forced to stand in front of the camera in freeze frame as onscreen text informs us of why the Chevalier fell into obscurity. Don't get me wrong, I appreciate the Cliff's Notes, I was glad the movie was over, but it doesn't make the silliness of the ending of this otherwise tepid and forgettable biopic any easier to take. I will also grant that a slow-mo walk to camera is an entertaining choice, if not a good one. It marked the first time in the nearly 2 hours of Chevalier that I had an emotional reaction to the film, if not the emotion the movie was seeking. Derisive snorting laughter was, I'm assuming, not the filmmakers intent. 



Movie Review Opening Night

Opening Night (2017) 

Directed by Isaac Rentz

Written by Gerry De Leon, Greg Lisi 

Starring Topher Grace, Paul Scheer, Alona Tal, Anne Heche, Taye Diggs

Release Date June 2nd, 2017 

Opening Night has the kind of scrappy charm that you want out of a musical. It’s shaggy and flawed but it’s also fun-loving and freewheeling. The story of a Broadway stage manager struggling with personal demons from his own seemingly failed Broadway career, the movie may not have the polish of a Hollywood production but it makes up for it with moxie and the can-do spirit of an underdog production with nothing to lose.

Topher Grace (That 70’s Show) stars as Nick, the stage manager for a Broadway production called “One Hit Wonderland.” The show within the movie stars N’Sync’s J.C Chazez, sending up himself with gusto and a hint of poignancy, playing a one hit wonder singer taking a journey that is part A Christmas Carol and part It’s a Wonderful Life. The theme of the musical is the theme of the movie: can someone bounce back after early success becomes a quick failure?

Relative newcomer Alona Tal shines as Nick’s recent ex-girlfriend and chorus girl Chloe who winds up thrust into the lead role opposite Chasez when the show’s lead actress Brooke (Anne Heche) suffers a blow to the head and is accidentally dosed with Ecstacy in one of a couple plots that stumble their way on stage and quickly off without the best possible resolution. I was hoping Heche would be given something more to play here, she hints at depths of sadness in the character, but sadly she ends up a bit of a plot device before a credits scene sendoff that, at the very least, has a funny punchline courtesy of scene-stealing comic Paul Scheer.

Find my full length review at Geeks.Media 



Relay (2025) Review: Riz Ahmed and Lily James Can’t Save This Thriller Snoozefest

Relay  Directed by: David Mackenzie Written by: Justin Piasecki Starring: Riz Ahmed, Lily James Release Date: August 22, 2025 Rating: ★☆☆☆☆...