Snow White and the Huntsman Review: Grim Fairy Tale, Gorgeous Visuals, Disappointing Execution

📽️ Official Trailer  

 Overview Film critic Sean Patrick reviews Snow White and the Huntsman, praising its visuals and Chris Hemsworth’s performance, but finding Kristen Stewart’s lead and the overall film underwhelming. 

 Plot Summary This version of Snow White dives deep into a grimmer tone, clearly aiming for epic fantasy territory. Kristen Stewart (Twilight) stars as Snow White, the daughter of a murdered king, imprisoned and later hunted by the queen’s enforcer: Eric the Huntsman, played by Chris Hemsworth—yes, that Chris Hemsworth, better known as Thor. 

 What Works Chris Hemsworth as The Huntsman: Chris Hemsworth brings gravitas and energy to the role. He even serves as a sort of narrator, helping guide the audience through the sometimes convoluted story. His performance is a standout. High Camp and Glamour: Charlize Theron is deliciously over-the-top as the Evil Queen. She brings flair and menace to every scene she’s in. The Production: The production design is stunning—this film looks amazing, with sweeping landscapes, haunting forests, and lavish costumes. 

 What Doesn’t Work Kristen Stewart: Unfortunately, the same can’t be said for Kristen Stewart. While I generally like her work, she falls flat here. Her portrayal of Snow White lacks the depth and presence needed for such an iconic character, and her performance drags the film down. Style Over Substance: Snow White and the Huntsman is a classic case of style over substance. Beneath its beautiful exterior, it’s hollow. Great visuals can’t save a weak lead performance or a story that struggles to find emotional resonance. 

 Final Thoughts In the end, Snow White and the Huntsman is a big-budget disappointment. Despite its impressive visuals and a solid supporting performance from Hemsworth, I can’t recommend it. Skip this one and save your movie dollars for something more engaging. 

 ⭐ Rating 2 out of 5 stars 

 🗣️ Join the Conversation What are your thoughts on Snow White and the Huntsman? Did you like Kristen Stewart’s performance? Share your opinions in the comments below! 

 🔗 Explore More If you enjoyed this review, check out my take on the 2025 Snow White Remake from Hollywood and the Indie horror version.

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#SnowWhiteAndTheHuntsman #MovieReview #KristenStewart #ChrisHemsworth #CharlizeTheron #FairyTaleMovies #GrimmFairyTales #FantasyFilms #FilmCritic #BoxOfficeReview

Contraband Movie Review: Mark Wahlberg Powers This Action Thriller

Read our review of Contraband starring Mark Wahlberg and Kate Beckinsale. Find out why Wahlberg’s performance elevates this otherwise average action thriller.Movie Review: Contraband (2012)

Overview

Mark Wahlberg returns to the big screen in Contraband, an action-packed thriller hitting theaters this weekend. Directed by Baltasar Kormákur, the film stars Wahlberg as a reformed smuggler forced back into the criminal underworld when his brother-in-law makes a deadly mistake.

Plot Summary

A former smuggler, Chris Farraday (Mark Wahlberg) ventures to Panama in a desperate attempt to secure millions in fake currency, his mission driven by the need to shield his brother-in-law, Andy (Caleb Landry Jones) from a dangerous drug kingpin, Briggs, played by Giovanni Ribisi. Briggs meanwhile, has Chris''s family, including Chris's wife, Kate (Kate Beckinsale), hostage to assure that Chris accomplishes his mission.

What Works?

• Mark Wahlberg

  . If you’re a fan of his tough-but-sympathetic screen presence, you’ll enjoy this film. Wahlberg brings a compelling intensity to the role, playing a good man who’s forced to do bad things to protect his family. It’s a classic anti-hero narrative, and Wahlberg handles it with his usual gritty charisma.

  
  
• Giovanni Ribisi: Though he's not the most intimidating bad guy you’ll ever see, Ribisi delivers a solid performance, bringing just enough wild unpredictability to his character to make things interesting.
  
  

What Doesn't Work

• Formulaic Storytelling: The plot is formulaic, and without its star power, it might’ve faded into the crowd of generic action flicks.
• 
  
• Kate Beckinsale: Beckinsale is far too good of an actress to play such a merely functional role in Contraband.

Final Thoughts

Contraband is a serviceable action movie made notably better by its leading man. If you enjoy Mark Wahlberg’s work, it’s definitely worth checking out.

Rating

⭐ Rating: 2.5 out of 5 stars]

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What did you think of [Contraband]? Leave a comment below or share your favorite moment from the film!

If you enjoyed this review, check out my takes on other Mark Wahlberg movies here.

Movie Review School of Rock

School of Rock is among the best comedies this century. This century is less than 20 years old but still, that's among hundreds of successful and failed comedies. It's still impressive is my point. With Jack Black back in theaters this weekend I decided to take a look back at my favorite piece of his work as a leading man. That, undoubtedly is School of Rock. While Black is arguably better in his supporting role in High Fidelity or his leading role in the little seen indie movie Bernie, School of Rock is the perfect distillation of Jack Black as a movie star, a comic, and an actor. 

School of Rock stars Jack Black as Dewey Finn, a faltering rock star whose just been kicked out the band he started. With no gigs coming and no job, Dewey is facing eviction from the small corner of his friend Ned's (Mike White) apartment. Dewey is desperately at odds with Ned's bossy new girlfriend, Patti (Sarah Silverman) who is pushing soft touch Ned to throw Dewey out if he can't come up with rent. When Dewey fails in his attempt to hock his guitar, he appears to be completely out of options. Then, luck strikes when Dewey intercepts a call for Ned about a substitute teaching job at a tony, high priced private school. 

Seeing teaching as an easy gig that will pay enough to keep him in his home, Dewey impersonates Ned and takes the job. Once in the job, Dewey figures he can coast just sitting behind the desk and sending the kids on recess. Then he hears the kids playing music in music class and he hatches a crazy plan. Utilizing his seemingly unlimited knowledge of rock n'roll, Dewey will transform these pre-teens into the kind of rock n'roll band that he can use to stick it to his former band and compete at a battle of the bands for a $20,000 grand prize. 

Naturally, through the bond of music Dewey comes to gain a new maturity and sensitivity while the kids discover new talents and confidence within themselves. This is a stock arc that dates back to the silent movie era. It's the kind of stock uplift that you see in television pilots and in Lifetime channel comedies. All of that said, the key is taking these stock elements and building on them and that is exactly what director Richard Linklater and writer Mike White do in School of Rock. The basic structure is strong and yet loose enough to allow Jack Black to shine and improvise and deliver the kind of loose and fun performance that made him a star. 

Jack Black is not a star for everyone. His spastic dancing, his odd affectations and often bizarre manner can grate on some audiences. I happen to be a big fan of Jack Black's tics and tricks. I enjoy his strange energetic performances which recall Jim Carrey in the Ace Ventura movies but with pathos and a more recognizable personality. Black is absolutely hysterical as Dewey. His massive personality pops off the screen from the first moment and Jack Black plus a classroom of cute kids is a recipe for comic gold. Black himself is a big kid and he throws himself into both the role of manchild best friend and budding grown up. 

The kids are something of a faceless mass but a couple stand out. Miranda Cosgrover, the future star of the not bad at all I-Carly, is completely adorable as the business smart grade grubber Summer. I adored the scene where Cosgrove approaches Dewey to confront him about assigning her the role of Groupie for the band project. It's a really funny scene and she nails it. The other stand out for me was Maryam Hassan as Tomika, the shy but super talented singer whom Dewey inspires to come out her shell and come out with her incredibly big and bold voice. It's shocking to find out she never acted again and carries no other IMDB credits after 2003. 

Richard Linklater's best work tends to be small and independent. He doesn't appear comfortable as a mainstream director working for a studio. School of Rock is the rare exception where Linklater lends his considerable talent well to a mainstream feature film. It helps that Mike White gave him a strong and funky script to work with and that he had Jack Black at the height of his powers, but there is still plenty to indicate his strong directorial hand at work. In his other mainstream work such as the remake of Bad News Bears, Linklater doesn't appear nearly as engaged in the process and it shows in the lackadaisical plodding pace of that film. School of Rock is like an unstoppable rocket whole Bad News Bears was a massive dud. 

Recently, Andrew Lloyd Webber of all people turned School of Rock into a Broadway sensation. The original idea for the film was for it to be a musical and now Webber and his creative team are realizing that original vision. It says something however, about the strengths of School of Rock that it could be so radically reimagined and still become one of the iconic comedies of this young century. School of Rock is a buzzy, energetic and wildly funny movie. I stand by the statement that this is one of the best comedies of the last 20 years. Watch it for yourself and you will see a very basic story told with great invention, energy, love and passion. What more can we ask of a great comedy?

X-Men: Apocalypse Review – The Best of the Recent Trilogy?

Sean Patrick reviews X-Men: Apocalypse, calling it the strongest entry in the recent X-Men trilogy, with standout performances from Michael Fassbender and Sophie Turner.

By Sean Patrick, Regional Media Film Critic

X-Men: Apocalypse, directed by Bryan Singer, is the latest chapter in the ever-evolving X-Men cinematic universe. Set ten years after the events of Days of Future Past, the film introduces a new timeline shaped by Wolverine’s time-traveling heroics. And in this revised history, a powerful ancient mutant named Apocalypse (Oscar Isaac) emerges with a grim plan to cleanse the world and build anew—with only mutants he deems worthy left standing.

The Plot

The X-Men must rally to stop him. Professor Xavier (James McAvoy), Mystique (Jennifer Lawrence), and Magneto (Michael Fassbender) return, alongside younger versions of classic characters like Jean Grey (Sophie Turner), Cyclops, and Nightcrawler, as students stepping into hero roles.

Apocalypse recruits his own Four Horsemen—including a lost and vengeful Magneto—and sets the stage for an all-out war between mutants that will define the future of their kind.

Why It Works

Among the recent trilogy (First Class, Days of Future Past, and Apocalypse), this is the most coherent and entertaining installment. The storytelling feels more focused, the tone better balanced, and the humor and pacing are much stronger than its predecessors.

Michael Fassbender gives a powerful, emotionally rich performance as Magneto. He’s given real stakes, and he delivers one of the best performances of the entire X-Men saga. Sophie Turner, as Jean Grey, is also a highlight—she brings subtlety and strength to her role and has several standout scenes that hint at the character’s future importance.

Mixed Performances

Unfortunately, Jennifer Lawrence as Mystique feels like she’s phoning it in. Her performance lacks energy and engagement, and at times it seems like she’d rather be anywhere else. It doesn’t ruin the film, but it does drag down some otherwise strong ensemble moments.

Final Verdict

Sure, there are plot holes you could nitpick, and some moments feel overly familiar for the franchise. But taken as a whole, X-Men: Apocalypse stands out as the most solid and satisfying entry in the recent X-Men reboot series.

Rating: ⭐⭐⭐⭐☆ (4/5)

If you’re a fan of the X-Men universe or just looking for a fun, action-packed weekend watch, I do recommend checking it out.

I’m Sean Patrick. Thanks for reading.

A Bigger Splash Review: A Brilliant, Twisting Drama with Career-Best Performances

Sean Patrick reviews A Bigger Splash, a standout film from 2016 starring Tilda Swinton, Ralph Fiennes, and Matthias Schoenaerts. A gripping, intellectual must-see.

By Sean Patrick, Regional Media Film Critic

A Bigger Splash is one of the best films of 2016—an elegant, cerebral, and emotionally intense drama directed by Luca Guadagnino. It stars Tilda Swinton, Matthias Schoenaerts, Ralph Fiennes, and Dakota Johnson in a complex story of passion, power, and disruption on a remote Sicilian island.

The Plot

Swinton plays Marianne Lane, a legendary rock star recovering from throat surgery. She's vacationing in quiet seclusion with her boyfriend, Paul (Matthias Schoenaerts), hoping to heal and avoid the outside world. But their peace is shattered by the unexpected arrival of her exuberant ex-lover and producer, Harry (Ralph Fiennes), who brings with him his enigmatic daughter Penelope (Dakota Johnson).

Harry is a whirlwind—imagine Ralph Fiennes channeling Robin Williams. His energy is explosive, his charm undeniable, and his presence destabilizing. Fiennes gives one of the most unique performances of his career—magnetic, obnoxious, and unforgettable. He’s a character you both cringe at and care about.

Standout Performances

Tilda Swinton is mesmerizing, playing Marianne with extraordinary subtlety, especially since her character is nearly mute due to the surgery. Her silence creates space for Fiennes to dominate scenes, and for tension to build through body language and expression.

Matthias Schoenaerts delivers the best performance of his career as Paul, a man caught between loyalty and discomfort. His internal conflict is palpable, as he tries to hold it all together while unraveling inside.

Dakota Johnson adds intrigue as Penelope—a mysterious and possibly manipulative presence. Her role becomes more layered as the story unfolds, and the film wisely avoids telegraphing her motivations too clearly.

Why It Works

A Bigger Splash is a film that rewards careful viewing. The plot is full of quiet symbolism, moral complexity, and unexpected twists. Rather than spoon-feeding its themes, the movie lets them simmer and unfold organically. There’s no hand-holding—just deeply intelligent filmmaking that respects its audience.

The direction, writing, and cinematography are top-tier. This is not just a film about relationships—it's about performance, control, desire, and the emotional residue of the past. And it builds to a finale that is both shocking and earned.

Final Verdict

A Bigger Splash is one of the most thoughtful, beautifully crafted films of the decade. With career-best performances from Ralph Fiennes and Matthias Schoenaerts, and yet another masterclass from Tilda Swinton, it’s a must-see for anyone who appreciates smart, layered cinema.

Rating: ⭐⭐⭐⭐⭐ (5/5)

I’m Sean Patrick. Thanks for reading.

A Bigger Splash, Movie Review, Tilda Swinton, Ralph Fiennes, Matthias Schoenaerts, Dakota Johnson, Luca Guadagnino, Best Films 2016, Psychological Drama, Indie Film, European Cinema

Alice Through the Looking Glass Review: Better Than the Original, But Still a CGI Mess

Film critic Sean Patrick reviews Alice Through the Looking Glass. It’s better than Tim Burton’s Alice in Wonderland, but still overwhelmed by CGI and odd performances.

By Sean Patrick, Regional Media Film Critic

Released in 2016, Alice Through the Looking Glass arrives as the sequel to Tim Burton’s 2010 Alice in Wonderland—a film I genuinely despised. I still do, six years later. That original outing was an irritating display of cloying whimsy, ugly CGI, and grating performances—particularly from Johnny Depp.

Fortunately, Alice Through the Looking Glass, directed by James Bobin, manages to rise above its predecessor—though only barely.

Plot Summary

This time around, the story hinges on the Mad Hatter (Johnny Depp), who is falling into a deep melancholy. He believes his long-lost family, presumed dead, might still be alive. When no one believes him, he begins to fade away both emotionally and physically. Alice (Mia Wasikowska) must travel back in time to uncover the truth.

To do this, she seeks help from Time himself, played by Sacha Baron Cohen. In one surprisingly moving scene, Cohen and Wasikowska manage a rare emotional connection—one of the only genuinely effective moments in the film.

Performance & Visuals

But one scene isn’t enough to save a movie so weighed down by excessive CGI. Nothing in this film feels tangible. Even basic set pieces—like handrails—are rendered digitally. The result is a visually exhausting film that offers little in the way of immersion or wonder.

Johnny Depp’s portrayal of the Mad Hatter continues to be aggressively grating. His performance, like much of the film, is loud, chaotic, and difficult to endure.

Final Verdict

Alice Through the Looking Glass is not a good movie. It is, however, a less bad movie than its predecessor. That’s the best I can say. While it has a moment or two of clarity, they’re quickly swallowed by the same garish spectacle that plagued the first film.

Rating: ⭐⭐☆☆☆ (2/5)

I’m Sean Patrick. Thanks for reading.

Alice Through the Looking Glass, Movie Review, Johnny Depp, Mia Wasikowska, Sacha Baron Cohen, Disney Movies, Tim Burton, Film Critic, CGI, Fantasy Films, Sequel Review

Movie Review Hell or High Water

Hell or High Water Review (2016): Chris Pine & Jeff Bridges Deliver Oscar-Worthy Performances

In Hell or High Water, Pine and Foster play two brothers pushed to extremes. Facing foreclosure on their family farm, they start robbing the very banks trying to take their land—banks that loaned their mother money she could never repay. Their goal? Use the stolen money to pay back the same banks and reclaim what’s rightfully theirs.

Ben Foster is electric as the unpredictable, recently released ex-con, while Chris Pine portrays the more grounded, morally conflicted brother doing bad things for what he believes are good reasons. Jeff Bridges plays the seasoned Texas Ranger chasing them down—a sharp, instinctual character trying to stop them before things spiral even further.

The film unfolds like a modern western, blending Coen Brothers grit with classical Western atmosphere. Its tight pacing, gorgeous cinematography, and powerful performances make it one of the most compelling films of 2016.

The final confrontation between Chris Pine and Jeff Bridges is unforgettable—arguably the best scene in any film that year. It’s layered, intense, and laced with regret, justice, and understanding.

More than just a crime drama, Hell or High Water tackles the economic desperation of rural America and how far people will go when the system is rigged against them.

Bottom line? Hell or High Water is the best movie I saw in 2016. Don’t miss it—expect Oscar nominations for both Pine and Bridges.

Movie Review Yoga Hosers

Film Review: Yoga Hosers – Dumb on Purpose, and Proud of It

By Sean Patrick

Kevin Smith’s Yoga Hosers is not your average horror-comedy—it’s proudly weird, self-aware, and ridiculously dumb… and that’s kind of the point.

Starring Harley Quinn Smith and Lily-Rose Depp, this quirky flick follows two high school sophomores who work at a Canadian convenience store and suddenly find themselves battling sentient bratwursts—yes, bratwursts—reanimated by a Nazi scientist. These creatures, dubbed “Bratsies,” are hilariously portrayed by Smith himself, bringing a surreal level of absurdity to the screen.

Tied loosely to Smith’s previous film Tusk, Yoga Hosers is the second entry in his self-proclaimed “Canadian Trilogy.” Justin Long also returns, this time as a yoga instructor named Yogi Bear (yes, really), who teaches the girls the ancient art of yoga-based butt-kicking.

Let’s be clear: this is a bad movie—but it knows it’s bad. Unlike films that flop due to lack of effort or vision, Yoga Hosersis intentionally dumb, a loving throwback to campy ‘80s horror where the fun is in how off-the-rails things get. Smith’s joy in making it is palpable, and that infectious energy carries the film further than you’d expect.

While this movie definitely won’t be for everyone—it’s tailor-made for a niche audience with a taste for kitsch and meta-humor—those who catch its wavelength will likely find it charming, hilarious, and even a little bit brilliant in its own warped way.

Verdict: A knowingly stupid, joyfully bad movie that you’ll either love or hate—but it’s never boring.

TV Review The People Vs. O.J Simpson American Crime Story

The People vs O.J Simpson: An American Crime Story 

Directed by Ryan Murphy 

Written by Ryan Murphy, Jeffrey Toobin

Starring Cuba Gooding Jr., John Travolta, Sterling K. Brown, Sarah Paulsen

Release Date February 2nd, 2016

The People vs. O.J Simpson: An American Crime Story is the best thing I have seen on television in quite some time. This engrossing melodrama from the creators of American Horror Story takes viewers inside the O.J Simpson saga in ways we have only ever imagined. Moment to moment drama and tension build from O.J's limo driver seeing a figure crossing the lawn to the mansion just after the murders, to O.J's odd excuses for being late to that limo to the discovery of the bodies of Nicole Brown Simpson and Ronald Goldman, the authentic, engrossing drama of never lets up. 

Cuba Gooding Jr. takes on the role of O.J Simpson and delivers big time with a powerful performance that captures O.J's arrogance, fear, and startling temper. Gooding's O.J is at first eerily calm and agreeable but quickly turns scattered and volatile like a wounded animal stuck in a trap. When the white bronco arrives in episode two, Malcolm Jamal Warner's A.C Cowlings only adds to the remarkable authenticity of the scene that will have you feeling as if you are in that Bronco as the legendary chase plays out. 

The cast of The People vs. O.J Simpson is uniformly fantastic. In an unpredictably great performance, John Travolta stars as Robert Shapiro, the celebrity lawyer O.J turns to before each agrees that a more cynical and calculated choice, Johnny Cochrane (Courtney B. Vance), is more suited to the defense they are planning. Travolta's Shapiro is canny and practical in the face of the incredible storm of media. David Schwimmer is equally great as the good-hearted Robert Kardashian, O.J's friend whose desperate hope for O.J's innocence becomes genuinely heartbreaking as the realization hits him. 

On the other side of the aisle, Sarah Paulson cuts a brilliant figure as prosecutor Marcia Clark. Paulson captures the humanity behind the professional and aloof manner many complained about in Marcia Clark during the actual trial. Yes, Clark is tough as nails with a cynical, angry, demeanor but Paulson also captures the crusading side of Clark who simply wanted to see a wife beating murderer get what he deserved. Bruce Greenwood and Christian Clemenson are perfect foils for Clark as equally cynical defenders of justice while Sterling K. Brown brilliantly captures the tragic figure of Christopher Darden who strived to be more than a token in the DA's office only to find himself shunted into the prosecution of O.J Simpson. 

Race plays a major role in The People Vs. O.J Simpson with Darden's visit to his father in Compton, California, a brilliant counterpoint to our modern conversation about race relations and police. The LAPD have long had a terrible reputation but the scripting here is fair to the LAPD while casting a wider correlative conversation about police mistrust among African Americans. This is edgy material and gives just that perfect extra kick of timeliness to a story that could have felt trapped in the 90's. 

The direction is top notch, the writing and acting are spot on and there is still plenty of room for the daring and salacious brand that the American Horror Story crew are known for in The People vs. O.J Simpson. Yes, when I say salacious I am referring to the Kardashian's who are background players in the O.J saga but play as a brilliant counterpoint to the intensity of the prosecution and defense. Did you know Kris Jenner was one of Nicole Simpson's closest friends or that she once dated O.J? We even get a glimpse of the Kardashian kids playing at Nicole's funeral, an especially eerie scene when O.J shows up to mourn. 

Everything about The People Vs.O.J Simpson An American Crime Story works and the show is among the best things TV has produced in years. This is historic television, capturing an event that millions remember in a brand new, shocking and even suspenseful way. This is a truly MUST SEE show.

Movie Review The Alamo

The Alamo 

Directed by John Lee Hancock

Written by Leslie Bohem, Stephen Gaghan, John Lee Hancock

Starring Billy Bob Thornton, Jason Patric, Patrick Wilson, Dennis Quaid 

Release Date April 19th, 2004

With the patriotic fervor of the war in Iraq having died down, the time for a rousing patriotic war film may have passed. Indeed the producers of The Alamo had to be considering that fervor when they went into production in early 2003. Unfortunately, they lost the opportunity to capitalize on it when the film was deemed not ready for its original December release. Now dumped, with little fanfare, into the month of April, The Alamo arrives as a professionally made but unmemorable history lesson. 

Directed by John Lee Hancock (The Rookie), The Alamo tells the story of how legendary figures Jim Bowie (Jason Patric), William Travis (Patrick Wilson) and Davy Crockett (Billy Bob Thornton) came to a tiny church in San Antonio to fight for the idea that would become the state of Texas. With tin-eared dialogue and stolid pacing, The Alamo unfolds a story that will certainly provide some welcome downtime for teachers who use it to fill the end of a school year. 

For Jim Bowie, San Antonio was the home of his late wife where he had spent many happy nights. His return to San Antonio and to the Alamo was a favor to his friend General Sam Houston (Dennis Quaid). Houston was to retrieve the Texas army's largest canon and return it to Gonzales, Texas where the leaders are debating their future. By taking the canon, they are essentially ceding San Antonio to the Mexicans.

William Travis on the other hand, has been charged with holding the Alamo until a decision can be made as to how Texas will declare and defend itself from Mexico's dictator Santa Anna. Will the Texans declare their independence or negotiate a settlement with Santa Anna to hold onto their land under Mexican rule? Under the assumption that Santa Anna will not attack in the winter, the Alamo is thought to be fairly secure, allowing time for the leaders to debate their options.

For David Crockett, as he prefers to be called, Texas is a place to reclaim his legend after losing his congressional seat in Tennessee. Crockett has spoken to Sam Houston and been assured a good deal of land and power if Texas is declared independent. Crockett arrives at the Alamo unaware that the fighting has not stopped, only slowed due to the weather and the Texans' indecision over how to declare independence.

The setup for the climactic battle is slow and drawn out, probably because the actual battle of the Alamo didn't last long. Once Santa Anna decided on a full frontal attack with thousands of Mexican soldiers, there was little that the three hundred or so Texans could do to stop them. The setup for the battle has its moments, such as when Davy Crockett grabs his fiddle and plays along with Santa Anna's army marching band. Still, for the most part it's all rather dull. 

We learn little about the historical figures of Bowie, Travis or Crockett other than both Bowie and Travis were slave owners and that Crockett never actually jumped a raging river or took on 20 men at once. Credit Billy Bob Thornton with the film’s best performance. Davy Crockett is a poetic pragmatist who struggles with his legendary status that was assured well before he became a martyr for Texas independence at the Alamo.

The film’s best moments are the battle scenes, the siege at the Alamo, which is quick and brutal, and the battle of Houston where Sam Houston avenged the Alamo by routing Santa Anna's army in 18 minutes. Director John Lee Hancock manages one great moment of emotion with Houston's "Remember The Alamo" rallying cry but other than that the film is rather staid and emotionless. Well made, but soulless.

The film is very professionally crafted with solid acting and a well remembered story. However, it plays like a history lesson from a very dull high school class. None of the characters, aside from Davy Crockett, have much of a personality and none of the supporting performances makes any impression whatsoever.  There was a controversial rumor about Davy Crockett's death but it's only a misunderstanding. The Crockett legend is very much intact at the end of the film. Without the controversy there is very little that is memorable about this Alamo.

Movie Review After April

After April 

Directed by Brian Evans 

Written by Ryan Farley 

Starring Michael McKiddy, Angela Duffy, Ethan Jordan 

Release Date Unknown

AIDS is an issue that has disappeared from mainstream consciousness. That doesn't mean that it isn't still killing people and destroying lives because it certainly is, especially in urban communities.  What that means is that AIDS is no longer the cause celebre it once was. Hollywood stars still wear their fashionable AIDS ribbons and show up for the occasional benefit. Still, AIDS statistics that were once front page news are now buried in the back and research into a cure for AIDS languishes even as great strides continue to be made. 

In the movie universe you would think AIDS has been cured, because few of us can recall the last time we saw a movie with an AIDS afflicted character. The film After April does not come out with an agenda aimed at bringing AIDS to the forefront once again. Moreover it deals with the disease in an intelligent and emotional way one hopes will make people remember this most horrible of killers and the lives it destroys.

After April is the brainchild of director Brian Evans and writer Ryan Farley. The film stars Michael McKiddy as Patrick, an inner city white kid whose parents are non-existent and whose drug habit was an all consuming problem until he met Eve, played by Angela Duffy. While Eve is also a junkie they both would like to get clean and leave their inner city home. Just one week from starting a new life with the help of Eve's Aunt, Patrick gets some very bad news. 

In a devastating revelation, a letter informs Patrick that the local blood bank could not use his blood for unspecified reasons. Determined to know why his blood was rejected, Patrick and Eve go to the blood bank and Patrick intimidates a bureaucratic nurse into telling him what happened. Patrick's blood was rejected because he has HIV, the virus that causes AIDS. 

Angry and depressed Patrick begins to search for the girl he is certain infected him, April, played by Stephanie Slongo. A fellow junkie, April has become a prostitute since she met Patrick. In flashback, we see Patrick meet April in a bar where she entices him into an alley where they have unprotected sex.

Knowing that Patrick brought this onto himself makes him difficult to sympathize with but McKiddy's sad desperate performance makes Patrick a frighteningly real character. McKiddy's Patrick is like someone we know, anyone who sees this film will see traits that they recognize in people who are close to them. Much like Brad Renfro's performance in Bully, McKiddy's raw realism gives After April more effect than you’re expecting. 

Angela Duffy as Eve is far more than your average movie girlfriend. Not merely a plot device Eve is a fully fleshed out character who allows the audience to care about Patrick because she cares about him. Even in Patrick's most extreme moments Eve stays with him, not because she is weak or needy but because she truly cares about him. 

The cast is rounded out by Ethan Jordan as Carney, Patrick’s drug dealer until he finally decides to clean up. Carney is also April's dealer so when Patrick goes looking for her, Carney is the first person he goes to. Surprisingly philosophical for a dope dealer, Carney combines an unusual social conscience with his antisocial dealings. Carney doesn't like what has happened to his neighborhood, but openly admits that he is part of the problem. 

He honestly respects Patrick's attempt to clean up and when he sees Patrick slipping as he searches for April, Carney offers wise counsel. Though his rap about how having inner city kids killing each other is what the government wants makes the character look ridiculous, Jordan's honest well delivered performance keeps the character grounded and real.

The unique combination of revenge thriller and an issue as serious as HIV makes After April one of the most fascinating films I've seen in a long time. The film’s direction and production values could stand for improvement but as it is, After April is a raw and thought-provoking film. A film with more than just an idea, more than just a gimmick, April brings the tragedy of AIDS to the streets in a way that is shocking and attention grabbing without being sensationalistic or preachy. This is a very good movie.

Documentary Review AfroPunk: The Rock N'Roll N***** Experience

Afropunk: The Rock N’Roll N***** Experience 

Directed by James Spooner 

Written by Documentary 

Starring Ralph Darden, Matt Davis, Maya Glick

Release Date August 4th, 2007

German philosopher Georg Hegel defines alienation as the unhappy consciousness. He continues on saying that alienation is typical of philosophical skepticism as an alienated soul which is conscious of itself as a divided being, or a doubled and contradictory being whose aspirations towards universality have been frustrated.

The subjects of James Spooner's fascinating documentary Afropunk know all about alienation as defined by Mr. Hegel. Being black in the predominantly white punk scene and a punk in the black community is to be a divided soul. However, as this documentary shows these divided souls are making a way for themselves in a growing community of artists.

Shot over a year on a minuscule budget Afropunk is a collection of interviews with fans and artists in the punk scene. This is not the whitewashed MTV punk scene as identified by the Good Charlotte's of the world. Rather this is the true punk scene of tiny clubs and rowdy hardcore fans. As well as near poverty stricken artists who don't do punk to get on MTV but rather as their only true way to express themselves artistically. Artists who found something in the angry thrashing rhythms and screeching riffs of Punk that can't be simply explained.

Among these artists is Matt Davis from Iowa City Iowa, who performed in a number of punk bands over his short life including the well regarded Ten-Grand. Living in near poverty with his band-mates, Davis personified the duality of the punk lifestyle. He lived for the music and the energy of performing, even if it meant selling blood to make rent. Tragically, Davis died before completion of the film.

Tamar Kali is well known in the New York underground scene for combining hardcore rock and soul identified with the aestheticism of punk. The punk look and the angry lyrics stirred something inside her. After years of struggle with her identity as a punk and a black woman, her fully formed personality leaps off the screen with great strength. Don't be surprised when she breaks through to wider audiences.

Moe Mitchell is the lead singer of the hardcore punk band Cipher. The band with its three white members and Moe at its lead is known for its black power lyrics. Whether Moe's audience has an understanding of his message seems unlikely, the audiences are almost entirely white. Moe doesn't seem to care. After attending Howard University and becoming involved in the black power movement, Moe has found peace with his duality and his friends in the band are aware that when the revolution comes they won't be on the same side.

Finally, my favorite person in the documentary is Marika Jonez, a punk DJ in California. Her strength is organization. She runs a website that promotes punk shows in her California locale and DJ's at punk clubs. Her struggle as a young black punk is the most poignant of the stories in Afropunk because she is the youngest and most vulnerable of the people profiled. She isn't as comfortable with herself as the others and is only at the beginning of her self-discovery.

The documentary intersperses the stories of its four leads with interviews with the people who kicked down the door and made it easier for African-Americans to thrive in the Punk scene. There are interviews with the members of Bad Brainz, Fishbone and the Dead Kennedys amongst many other pioneers.

Director James Spooner weaves a remarkable story in Afropunk. One that combines the history of a scene with a philosophical exploration of identity and humanity. For anyone who thinks Punk is just loud angry noise, Afropunk will teach you that Punk is one of the few musical forms where discourse thrives. Expressions of anger and frustration over politics, religion and race are just some of the topics that Punk tackles that all other music genres stray from.