Documentary Review Act and Punishment

Act and Punishment (2018) 

Directed by Yevgeny Mitta

Written by Documentary 

Starring Mariya Alyokhina, Boris Groys 

Release Date January 2018 

I will admit, I didn’t pay close enough attention to what Pussy Riot was really about. In my very Midwestern American way, I passively dismissed Pussy Riot simply because the name made me a little uncomfortable. I certainly could not talk about Pussy Riot on the radio on my talk show so I simply ignored the phenomenon. Now, I wish I hadn’t been so stupid. The new documentary Act & Punishment lays out the case that Pussy Riot is far more important than I had, in my limited worldview, ever imagined.

In 2011, a group of artists began to resist the rule of Vladimir Putin. Under Putin, Russia was beginning to revert to the era of dictatorships with Putin becoming so unquestioned as leader that he was able to name the people who would lead after him. Putin was gathering power around him and this included exerting influence over Russia’s most powerful religious leaders.

In the shadows a group of artists were beginning a small but notable rebellion. Specifically, three women decided that the best way to demonstrate against Putin was in the form of disruptive public performances. They chose the medium of punk rock because they weren’t trained musicians and yet they performed songs. They took their protests to the subways, public squares and prisons and performed songs such as “Mother of God, Drive Putin Away.”

The protests always ended the same with police dragging the women off to jail for several hours until they were released. This changed however when in 2013, Pussy Riot decided to perform inside the Moscow Cathedral. The protest was a disaster from the first moment. Someone had tipped off police that Pussy Riot would be attempting a guerrilla performance at the Cathedral and before they could even set up their instruments, police descended.

Find my full length review in the Geeks Community on Vocal 

Movie Review The Commuter

The Commuter (2018) 

Directed by Jaume Collet Serra 

Written by Byron Willinger, Phillip de Blasi, Ryan Engle

Starring Liam Neeson, Vera Farmiga, Patrick Wilson, Jonathan Banks, Sam Neil

Release Date January 12th, 2018

The Commuter is yet another desperately silly effort from Liam Neeson. Once again teaming with director Jaume Collet Serra, Neeson is once again playing an action hero in a desperate situation in which life and death hang in the balance. At this point, a trip to the grocery store could be the premise for a Neeson action hero; it’s not as if he needs anything more than a place, a gun and an elaborate idiot plot for his Mad Libs take on the action genre.

In The Commuter, Liam Neeson stars as Michael, an Insurance Agent and former cop who takes the train to the city every day. Michael’s life is changed forever when he loses his job and on his commuter train home he is approached by an odd but attractive woman named Joanna (Vera Farmiga) who makes a unique proposition. Joanna wants Michael to use his knowledge of the regular riders on the train to find the one person who doesn’t belong.

This person is carrying a bag and Michael is to tag the bag with a GPS tracker. In exchange for doing this, Michael will receive $25,000 waiting for him hidden on the train and another $75,000 after he gets the job done. Michael is dubious until he finds the initial payment and decides to do the job. Naturally, nothing is as it appears. When Michael tries to back out of the deal he gets a message that his family is in danger and he is forced to continue.

I mentioned Mad Libs earlier and admittedly that is a shallow and glib interpretation. That said, we’ve seen Liam Neeson play a very similar character as this one only on a plane in Non-Stop. In that film, Neeson played an innocent man who was being framed for taking over a plane. Here, Neeson’s Michael is being framed for taking over a commuter train so as glib as the Mad Libs comparison is, it’s not exactly off-base.

Find my full length review in the Geeks Community on Vocal 

Movie Review Proud Mary

Proud Mary (2018) 

Directed by Babak Najafi 

Written by John S. Newman, Christian Swegel, Steve Antin

Starring Taraji P. Henson, Billy Brown, Danny Glover 

Release Date January 12th, 2018

Proud Mary has the ambition and the movie star to become a franchise. The question it leaves behind, however, is whether or not the people behind it have the talent and investment to make it something more than just a stock action movie. For my money, other than star Taraji P. Henson, Proud Mary comes up quite short. Other than the star, there is nothing memorable or particularly special about Proud Mary.

Mary (Henson) is a professional killer and when we meet her, she’s hard at work. Sneaking her way into a high rise apartment in Boston, Mary dispatches her target with little effort. Unfortunately, she finds that her target has a son, Danny (Jahi Di’Allo Winston), who was home when she dispatched the target. Protocol would call for her to kill the kid but Mary has a code and when the kid doesn’t spot her, she slips away.

Cut to one year later, Mary has been tracking Danny, driven by her guilt. Danny’s life has gone from Boston high rise to living on the street and working for a low level Russian drug dealer named Uncle (Xander Berkley). When Mary decides to rescue Danny, she sets off a war between the Russians and her boss, Benny (Danny Glover). The Russians want revenge and Benny doesn’t know that it was his top killer who set off the war, only that everyone is now trying to kill everyone else. The plot turns on whether the kid will be Mary’s downfall by revealing her accidental betrayal.

The plot sounds a lot more active and engaged than Proud Mary actually is. The reality is that Proud Mary is rather dull. There are two signature action scenes in the movie and both are hampered by the cliché of faceless villains who can’t shoot straight. Only Mary and her former partner, Benny’s son Tom, played by Billy Brown, are allowed to hit things they aim at.

Find my full length review in the Geeks Community on Vocal. 

Movie Review Paddington 2

Paddington 2 (2018) 

Directed by Paul King 

Written by Paul King, Simon Farnaby

Starring Hugh Bonneville, Sally Hawkins, Brendan Gleeson, Julie Walters, Peter Capaldi, Hugh Grant

Release Date January 12th, 2018

Before the comments come, I can already hear you: "lighten up!" "It’s just a kids movie!" "All the other critics like it!: I can hear you saying these things before you type them as a response to this review; there is no need for you to repeat them. I’m speaking of my hatred for Paddington 2 and what I already know will be the response to that hatred. Paddington 2 has received across the board raves and yet I hated almost every second of it.

Paddington 2 returns to the story of Paddington Brown, voiced by Ben Whishaw, the good hearted young bear that moved to London in the first film of this franchise and is now a staple of the lives of the residents in his small corner of London. Paddington spends his days wheeling about London accidentally righting wrongs or creating new forms of chaos via his lovable clumsiness.

Things take a turn when Paddington’s friend, antique shop owner, Mr. Gruber (Jim Broadbent), shows him a London Pop-up book that Paddington believes would be the perfect gift for his Aunt Lucy (Imelda Staunton), in place of her actually traveling to London. Unfortunately, the pop-up book is very expensive and Paddington will need to raise $1000.00 in order to purchase it.

The book, it turns out, is an artifact related to a traveling circus and when Paddington passes on its existence to a washed up former movie star named Phoenix Buchanan (Hugh Grant), the movie star remembers the legend around it and sets about stealing it while framing Paddington for the crime through the cunning use of disguise and sleight of hand magic.

Find my full length review in the Geeks Community on Vocal. 

Movie Review Insidious The Last Key

Insidious The Last Key (2018) 

Directed by Adam Robitel

Written by Leigh Whannell

Starring Lin Shaye, Angus Sampson, Leigh Whannell, Bruce Davison, Caitlin Gerard, Spencer Locke

Release Date January 5th, 2018 

I’ve finally figured out why I love the 'Insidious' franchise so much. It’s not that the franchise is all that better than most modern horror films, it still has the clumsiness and exposition laden dialogue and awkward humor that mark most low budget horror of the era. But, what 'Insidious' has over other modern horror movies is great characters. Genuinely likable, funny, and strong characters that we can really root for, especially Lyn Shaye’s brilliant Elise Rainier.

Insidious: The Last Key stars Lyn Shaye as Elise Rainier. Elise is a psychic who can speak to the dead and she’s made a business of it with her partners, Specs (Leigh Whannell, also the series screenwriter) and Tucker (Angus Simpson). Together they battle demons but their latest investigation is one that hits close to home, quite literally for Elise; this haunting is in her childhood home in Five Keys, New Mexico.

In an exceptional opening scene we are introduced to Elise as a child, played by Ava Colker). We find that Elise has always had the ability to speak to the dead, an ability that her mother encouraged and her father punished, quite violently. The opening scene finds Elise locked in her basement by her abusive father and suffering an immense tragedy in the fallout. The opening is exceptionally well-staged with a terrific jump scare and a genuinely moving bit of tragedy that only deepens our connection to Elise our franchise heroine.

Cut to Elise awakening from a dream in her home in California. Each dream for Elise is a piece of a puzzle she can use when she goes into 'The Further' that place between life and death where she battles demons for the souls of those who are taken. It is then that Elise receives a call from a man in New Mexico who has a haunting that happens to be in Elise's childhood home. The demons are calling her back to the place where her gift first took hold.

Find my full length review in the Horror Community on Vocal 

Classic Movie Review Car 54, Where Are You

Car 54, Where Are You? (1994) 

Directed by Bill Fishman

Written by Erik Tarloff, Ebbe Roe Smith, Peter McCarthy, Peter Crabbe

Starring David Johansen, John C. McGinley, Rosie O'Donnell, Fran Drescher, Nipsey Russell, Daniel Baldwin. 

Release Date January 28th, 1994

Published January 29th, 1994

If you think the Hollywood of today is fearful of releasing musicals, considering that both Wonka and Mean Girls were seemingly released without telling anyone they were musicals, you should see how scared of musicals Hollywood execs were in the early 1990s. Hollywood was so afraid of musicals in the early 1990s that they made two of them and then refused to release them as musicals. Two movies, released within one week of each other in 1994, began life as musicals and arrived in theaters minus most of their musical numbers. 

Naturally, that's not easy to do. In the case of the next movie I will be talking about for this series, I'll Do Anything, an entire film score written and performed by Prince, was scrapped after poor test screenings. This is deeply ironic as one of the songs was literally intended as the lament of a Hollywood movie producer character racked with angst over poor test screening scores. Hiring Prince to write and perform a film score is not cheap, scrapping it after paying him seems even more insane and expensive and yet that's what happened. 

The other musical that became not a musical just before being released in theaters was the film adaptation of the short lived 1950s sitcom, Car 54 Where Are You. The original concept for Car 54 Where Are You was as a painfully modern musical and an edgy reboot for one of the most edge-free sitcoms of Boomer youth. Instead of following the travails of cop buddies Toody and Muldoon as they try and trick their wives into letting them go fishing instead of spending time with their family, we have Toody, as played by David Johansen, delivering a hip hop infused dream sequence where he boogies while being celebrated as a neighborhood hero. 

This is one of two songs that producers felt they had to keep in Car 54 Where Are You. The other comes late in the film as Johansen jumps into sing a song that vaguely resembles his late 80s one-hit-wonder Hot, Hot Hot. All other songs have been excised, aside from a brief and deeply unfortunate scene where a pair of rappers encourage Jeremy Piven to attempt to beatbox. It's even more cringe-inducing than you imagine. Piven is a plot point character, a former mob account that Toody is assigned to keep safe. Naturally, our bumbling hero fumbles this task and the last act is trying to save Piven from a mobster played with dopey, broad, hamminess by Daniel Baldwin, the discount Baldwin brother. 

John C. McGinley is wasted in Car 54 Where Are You. Though the original series centered on the long term friendship and partnership of Toody and Muldoon, the movie transforms Muldoon into a no-nonsense rookie officer who gives tickets for Jaywalking or Spitting on the sidewalk. And, in another in a lengthy series of regrettable and poorly aged scenes, he tries to shoot a child suspect in the back as the child flees after stealing a $5.00 sandwich from a deli. Muldoon misses shooting the child and is lucky that he only shoots a watermelon as he fired into a crowd of people on a New York street. 

Click here for my review 

Movie Review The Underdoggs

The Underdoggs (2024) 

Directed by Charles Stone III

Written by Danny Segal, Isaac Schamis 

Starring Snoop Dogg, Tika Sumpter, Mike Epps 

Release Date January 26th, 2024 

Published January 25th, 2024 

I know it's wrong. I am well aware that the new Amazon Prime-Snoop Dogg comedy, The Underdoggs is objectively, not a good movie. It's amateurish, it's childish, it's derivative, and it's needlessly filthy for a movie that features a mostly child cast. And yet, there is this undeniable element that I cannot deny and that is my affection for Snoop Dogg. Snoop has crafted one of the more eclectic and straight up odd careers in entertainment history. He was a fearsome gangsta rapper who may or may not have been involved in actual murders. He's also a close friend and partner to Martha Stewart. He's known for smoking more weed than your average small American city and is one of the most savvy marketers of his brand going today. He's an enigma, a dynamic, charming and entirely unpredictable character. 

It's that same unpredictable, enigmatic charm that Snoop brings to his first film leading role since the failed horror franchise Bones in 2001, Snoop has a laid back charisma that I find irresistible. Snoop is Jaycen Two J's Jennings in The Underdoggs, a disgraced former NFL Wide Receiver better known for his bad behavior than his on the field heroics. In a classic Mighty Ducks scenario, Jaycen gets himself into an accident that is entirely his fault and is sentenced to community service. In this case, Jaycen is sentenced to cleaning up a park in his old neighborhood in Long Beach. While cleaning up dog poop, Jaycen sees a group of kids playing Pee-Wee Football, badly. 

Find my full length review at Geeks.Media 

Movie Review Miller's Girl

Miller's Girl (2024) 

Directed by Jade Halley Bartlett 

Written by Jade Halley Bartlett 

Starring Jenna Ortega, Martin Freeman, Dagmara Dominiczyk 

Release Date January 26th, 2024 

Published January 25th, 2024 

Ewwwww! The ick is a big feeling throughout the new melodrama, Miller's Girl, an erudite and empty exploration of sexual desire between a teacher and a student. Starring It-Girl Jenna Ortega, Miller's Girl is a double entendre. The title refers to both author Henry Miller and his endlessly horny catalog of books and the character played by Martin Freeman, a teacher named Jonathan Miller who is drawn to his student, played by Ortega. It's not a particularly clever double meaning but it's a good try. A lot of filmmakers don't even bother making their title matter to their movie, so, there's that. 

Jenna Ortega stars in Miller's Girl as Cairo Sweet, a wise beyond her years High Schooler. Jaded and bored by her Tennessee hometown, and her absent parents, Cairo spends her time reading and developing her skills as a writer. Her hard work pays off when she shows her writing to her new Literature teacher, Mr. Miller (Freeman). Miller is immediately taken with Cairo's writing. That said, he's also impressed with her personal reading which happens to include his only published book. If you are thinking that he's being set up, stop reading ahead! 

At home, Mr. Miller is struggling as a writer and a husband. His marriage to Beatrice, a far more successful and prolific author than her husband, is on the rocks. Desperately horny, Mr. Miller can't seem to get his wife away from her publisher long enough for a makeout session and a handjob, let alone the kind of passionate lovemaking that defined the early years of their marriage. Thus, Mr. Miller is ripe for a young woman who reads Henry Miller and proves capable of writing with just as much flushed, engorged, and filthy prose as Henry Miller himself. 

Click here for my review 

Movie Review Origin

Origin (2024) 

Directed by Ava Duvernay

Written by Ava Duvernay

Starring Anjanue Ellis-Taylor, Jon Bernthal, Vera Farmiga, Isha Blaaker

Release Date January 25th, 2024 

Published January 25th, 2024 

Origin is a big project. Adapting a non-fiction story tracking the origin of racial discrimination via the history of the caste system worldwide, is not an easy task. It's a roiling beast of a project that director Ava Duvernay is perhaps the only filmmaker could attempt to tame and tease into a familiar film drama. The book, Caste: The Origins of Our Discontent, a bestseller for writer Isabel Wilkerson, is a deeply academic, research heavy effort that is far from the most natural book to be turned into a dramatic feature film. Director Ava Duvernay had to give a dramatic shape to the story and she found that shape in the author's life story. 

Aunjanue Ellis-Taylor stars in Origin as Isabel Wilkerson, an author struggling with the idea for her next book. She wants to chart the origin of racism in America but her research slowly takes her in a new direction. What she finds is that racism isn't as simple as white people hating black people, though that is a big part of it. Rather, the true roots of racism are often economic in nature. The need for a class of people who exist to do the work that others don't wish to do leads to the owning class to create a caste system in which particular members of a culture are chosen to be that class of people who will perform tasks. 

Leaders in these cultures quickly realized that they could create the workers they needed by exploiting racial and religious differences. Demonizing people for the color of their skin or by the difference in their religious beliefs proved to be an effective way to find a cheap, pliable workforce, groups of people who have no option but to accept poor treatment, low wages, and terrible working conditions, just for the chance to survive. Thus, confronting racial differences required more than overcoming a specific prejudice based on color, it requires dismantling economic systems that have been constructed over hundreds of years that thrived off of this forced labor based on discrimination. 

Find my full length review at Geeks.Media. 

Documentary Review Panico

Panico (2024) 

Directed by Simone Scafidi 

Written by Documentary 

Starring Dario Argento, Asia Argento, Guillermo Del Toro, Nicholas Winding Refn, Gaspar Noe

Release Date February 2nd, 2024 

Published January 29th, 2024 

At a particular point in the new documentary Panico, all about the life and work of Dario Argento, actress Cristina Marsillach, star of Argento's 1987 film, Opera, is asked "Who is Dario Argento?" Her response is that she doesn't know. This comes at the end of an interview in which she spoke about working with Argento, enjoying working for him, the struggles of working for a visionary like Argento, and slowly revealing that the two actually rarely talked while on set together. By the end, Marsillach is describing the horror and trauma of working on the film and is in tears by the time she says she doesn't know who Dario Argento really is. 

The natural artifice, the controlled storytelling of a documentary film almost betrays itself in this moment. The journey that Marsillach takes us on in this moment begins to take on the feeling of an Argento movie. It begins to feel like she's back on set and that the whole thing is a movie in which Argento was the antagonist, that mysterious man with a black glove and a cleaver. He's the unseen killer and she's the endangered ingenue. Is this what director Simone Scafidi is intending or is this what I am reading into this portion of Panico? I honestly cannot tell you for sure. I know that I believe every word Marsillach said. 

Marsillach appears remarkably genuine, and her recollections of events mirror the experiences of other actors who have worked with Argento over the past 50 plus years. Argento, though described as quiet and shy, energetic but also a shrinking violet amid the chaos of his sets, can be as cruel in silence as Stanley Kubrick could be cruel in bluster and demonstration on his. As described in Panico, Argento is in charge of all aspects of his films, every light, camera set up, and sound. But he's also a man who has his assistants tell his actress that he'd like her to remove her bra for the scene and is angry when she refuses though refuses to confront her directly. 

Is this perhaps why Argento began working with his daughter, Asia, also featured in the documentary, when she was just old enough to achieve his vision? No one, not Dario, not Asia, or any of his collaborators will say so, but there is a distinct notion that, yes, Dario worked with and directed his daughter so often because they were so alike but also because she was more apt to take his direction. This includes taking his direction in what Asia herself describes as losing her virginity on camera when she filmed a sex scene for The Stendahl Syndrome. 

Argento was roundly criticized in the 90s for filming sex scenes and nude scenes starring his daughter. Asia Argento, in her own words, describes these scenes as playing out, in real life, their own Electra Complex. Indeed, Carl Jung, had he not died before Argento began making films, might have appreciated the psychosexual themes and presentations in a Dario Argento movie, particularly Trauma, The Stendahl Complex or Phantom of the Opera, the most notable movies that Argento made with his daughter. 

But Panico is not about putting Dario Argento on trial, either directly or indirectly. Rather, this is a documentary celebrating his life and work and with his full participation. The documentarian joined Argento as he traveled to a hotel to write his next film. I can only guess that this was 2022's Dark Glasses, though it's never mentioned in the documentary. Argento enjoys the solitude of a hotel though not the expensive and lavish one that the filmmakers have set him up with in Panico. Nevertheless, a late scene does show Argento packing away what appears to be a fully completed screenplay. 

Panico moves in a more or less linear fashion through Argento's career from his childhood spent with Italian movie stars and directors via his famed photographer mother and his producer father, to his brief time in journalism, working as a critic, to his triumphant 1970 debut as a director. A film hailed by none other than Argento's hero, Alfred Hitchcock, The Bird with the Crystal Plumage is compared directly with Hitchcock's thrillers and Michael Powell's all time classic, Peeping Tom. High praise indeed. The film was a huge success and from there, the documentary charts Argento's ups and downs. 

Find my full length review at Horror.Media 

Classic Movie Review Intersection

Intersection (1994) 

Directed by Mark Rydell 

Written by David Rayfiel, Marshall Brickman 

Starring Richard Gere, Sharon Stone, Lolita Davidovich, Martin Landau 

Release Date January 21st, 1994 

Published January 21st, 1994 

Intersection stars Richard Gere as architect Vincent Eastman. Having recently left his wife for another woman, we meet Vincent just waking up from a night of passion with Olivia (Lolita Davidovich). The two talk about building a new home and Vincent cautions Olivia not to push things too quickly as he still has a daughter with his ex-wife, Sally (Sharon Stone), who is also his business partner. To say that Vincent's life is complicated is an understatement. At work, he and Sally have a chilly relationship where she tries to stay focused on tasks and schedules and he tries and fails to be remote. 

And that's where the story begins. From there, Vincent will wrestle with the idea of fully committing to Olivia, building their dream home on cliff side property he purchased for them, and building a family. But, there is also the pull of a full life he once had with Sally, a history that is still remarkably present due to their business entanglements. And then there is Vincent's daughter, Meagan (future House star Jennifer Morrison), a 14 year old who is struggling with her parents being apart. It's implied that she may have an eating disorder but like the two lead actresses in Intersection, we won't learn much about her that isn't about her feelings for Vincent. 

Do you know what I find impossible to care about or invest in? Whether a rich, handsome, wishy-wash ass man like Vincent ends up with either Sharon Stone or Lolita Davidovich. Truly, do you root for him to win the lottery or win the lottery. He may be conflicted here but that conflict fails to translate beyond the character. None of the three main characters are very interesting. Vincent is a cypher, he's an empty suit. He's a blank behind the eyes guy whose allegiance to one woman or another is based on a whim or which way the wind is blowing. 

Find my full length review at Geeks.Media 

Movie Review Sunrise

Sunrise (2024) 

Directed by Andrew Baird

Written by Ronan Blaney

Starring Guy Pearce, Alex Pettyfer, Crystal Yu 

Release Date January 19th, 2024

Published January 18th, 2024 

You know that modern trend of movie musicals that don't want you to know that they are musicals? You know? Wonka, Mean Girls, The Color Purple, movies that downplay the fact that they are centered on characters breaking into song? Sunrise is that as a Vampire movie. Sunrise does little to communicate the fact that it is a vampire movie. Even while watching Sunrise you have to work hard to determine that what you are watching is a vampire movie. The vampire in question walks around in daylight, though its set in the Pacific Northwest so that could just be a function of lack of sun, but truly few of the vampire movie tropes are visible in Sunrise, engendering a deep and abiding confusion over what this movie is supposed to be. 

Sunrise stars Guy Pearce as Reynolds, a bully and a tyrant, ruling over a pacific northwest town with an iron fist. With his mother, Ma Reynolds (Olwen Fouere) imperiously at his side, Reynolds uses intimidation and fear to get what he wants and what he wants is the property of a recently arrived Asian family. Yan Loi (Crystal Yu) has survived seeing her brother murdered and is now facing threats to her own life and the life of her son Edward (William Gao), as she works to maintain her land. It's at this point that an unlikely stranger enters her life. 

Alex Pettyfer co-stars in Sunrise as Fallon, a former cop who was forced to watch as Reynolds' thugs murdered his wife. Fallon himself was also left for dead but something saved his life. For the past several years he's stalked the forest living off the land and perhaps plotting revenge. When he's found on the land owned by Yan Loi he's in bad shape and is nursed back to health. In secret, Fallon asks Edward to get him blood to drink. This begins to restore Fallon's strength and as he comes back to health, he begins to look out for the Loi family, preparing for a showdown with Reynolds. 

It's more coherent in my retelling here than it is in the actual movie, Sunrise. For one thing, my description doesn't account for the fact that Pettyfer, though credited as the co-lead of the movie alongside Guy Pearce, spends most of the movie in a bed, in darkness, occasionally rising to drink blood. Pettyfer already isn't the most expressive actor on the planet. Leaving him to mumble a few words while lying down in a dark room is not exactly the best use of his talents. Pettyfer is a handsome dude whose best features, cheekbones, abs, are visual. 

Find my full length review at Geeks.Media 

Classic Movie Review House Party 3

House Party 3 (1994) 

Directed by Eric Meza

Written by David Toney, Takashi Bufford 

Starring Christopher 'Kid' Reid, Christopher 'Play' Martin, Bernie Mac 

Release Date January 12th, 1994 

Published January 17th, 2024

A third film in the charming and funny House Party franchise should have been an open goal kick. It should have been a sure bet to a sweet, funny, silly, celebration of fun and hip hop. And yet, somehow, they managed to muck it up. Whether stars Kid N' Play felt they need to prove how 'hard' they are after being labeled as soft based on the first two movies or the rappers got bad advice from the creative team of Eric Meza, David Toney, and Takashi Bufford, who went on to not work in feature films again, House Party 3 turned a charming franchise into a curdled exercise in toxic masculinity and male insecurity. 

House Party 3 centers on a bachelor party for the soon to married Kid (Christopher Reid). Having moved on from his college girlfriend, played in each of the first two films by Tisha Campbell, Kid is set to marry Veda (Angela Means). This is despite the protests of Kid's pal, Play (Christopher Martin), who can't stop talking about how Kid is giving up his freedom and will miss out on sleeping with an unending number of women he's been taking advantage of via their mostly failing music management company. 

That's truly the one joke that repeats throughout House Party 3, getting married is a mistake because there are so many other women to sleep with. It's the same pathetic joke over and over again ad nauseum. I've never understood these jokes about what a burden being married is. Do married men understand that getting married is a choice? You can choose to not get married. I've done it for 47 years. I've managed to go all of my life without being married. It's really not that hard. And yet, there are numerous movies, television shows and viral videos about men complaining about what being married prevents them from doing. 

But this lame joke isn't the only lame joke in House Party 3, it's merely the most prominent. The other jokes center on the memory loss that can come with old age as it appears Kid's grandmother is developing alzheimers and this is somehow a very funny joke to the filmmakers. She can't remember her grandson's fiancee, ho ho! She can't remember where the stairs are in her home, ha ha! She can't remember where she is when she's not home. Will the hilarity ever begin? It's not merely that the joke is insensitive, it's that this joke is never done in a way that's actually funny. 

Find my full length review at Geeks.Media

Classic Movie Review Cabin Boy

Cabin Boy (1994) 

Directed by Adam Resnick

Written by Adam Resnick, Chris Elliott

Starring Chris Elliott, Melora Waters, David Letterman, Andy Richter 

Release Date January 7th, 1994 

Published January 16th, 2024 

Cabin Boy is a miserable attempt at comedy. That's surprising because, in general, comic Chris Elliott's absurd style of comedy is usually pretty great. I can remember being a kid and loving the weird gags Elliott did for David Letterman on Late Night. I remember some of his short-lived TV series Get a Life which also featured surreal running gags about Elliott being an overgrown child, one of the original Peter Pan Complex types. Elliott did a tremendous job of making man-children the subject of mockery. He targeted over-privileged mama's boys and clueless, entitled men who couldn't understand why the world didn't constantly bend to their will. 

It's a good brand of comedy and you can sense him bringing some of that sensibility to 1994's Cabin Boy. Elliott's main character, Nathaniel Mayweather, proudly calls himself a Fancy Boy, even as others intend it as an insult to his ill-mannered over-privileged man child. As we join the story of Cabin Boy, Nathaniel is finishing four years of insulting everyone less rich than him. Witless, irritating and openly cruel, Nathaniel is exactly the kind of character who needs a comeuppance and a valuable lesson about not being cruel to people of lesser status. You might assume that that will be the story of Cabin Boy and it kind of is. But, the reality of Cabin Boy is far more disjointed and odd. 

After getting kicked out of a limousine that is ferrying Fancy Boy Nathaniel to a luxury cruise how to his mansion in Hawaii, Nathaniel takes a wrong turn and ends up at the wrong port. Here, Nathaniel will end up boarding a stinking fishing boat called The Filthy Whore. Mistaking it for a themed cruise ship, Nathaniel becomes a stowaway on the fishing boat that is most certainly not headed to Hawaii. The salty smelly crew is a collection of character actors that includes James Gammon, Brion James, and frequent Chris Elliott collaborator, Brian Doyle Murray. Eventually the crew will add a woman, Trina (Melora Waters), as a very unlikely love interest for Nathaniel. 

I've given a rudimentary shape to Cabin Boy but the reality is much less linear. In reality, Cabin Boy is a series of random, mostly unfunny gags that don't add up to much of a story. Among the failing oddities is a character played by Russ Tamblyn. The former star of West Side Story plays a half-man-half-shark, who falls in love with Nathaniel and thus ends up saving his life on more than one occasion. Tamblyn has a nice smile but nothing that the movie has him do is funny. He looks weird as a human-shark hybrid but if you aren't laughing at that description, you probably won't laugh at the character in the context of Cabin Boy. 

Find my full length review at Geeks.Media

Movie Review I.S.S

I.S.S (2024) 

Directed by Gabriela Cowperthwaite 

Written by Nick Shafir 

Starring Ariana Debose, Chris Messina, Pilou Asbaek, John Gallagher Jr., Costa Ronin 

Release Date January 19th, 20024

Published 

I.S.S is a terrific and timely thriller. Set aboard the International Space Station, the story follows a rookie astronaut, played by Ariana Debose, as she joins her first space mission. She's supposed to spend the next six months studying lab rats and seeking cures or treatments for disease. What she gets however is a day or so of acclimating to her strange new home before something on the ground, an international incident involving the United States and Russia, throws her mission into chaos and threatens the lives of everyone on board the I.S.S 

Dr. Kira Foster (Ariana Debose) has worked her whole career toward going to space. When we meet her, her dream is coming true. Foster and Dr. Christian (John Gallagher Jr.) are aboard the Soyuz Space Capsule on their way to the I.S.S. On the space station, they are welcomed by fellow American, Gordon Barrett and the three person Russian crew, Alexey (Pilou Asbaek), Nika (Maria Mashkova), and Nicolai (Costa Ronin). The atmosphere is mostly congenial, though issues of workspace do cause a bit of tension between Kira and Alexey who must work in close quarters. 

The plot kicks in when communication from the station to the ground gets cut off. The internet is down and, as the crew is observing the Earth, they see what appear to be large scale explosions. When communication is restored between the station and Earth, the Americans and the Russians are each advised to take control of the space station, by any means necessary. This leads to a series of ever escalating encounters as each side tries to decide whether they are getting accurate information from the ground and whether or not they are capable of attacking people they have considered their friends and colleagues until now. 

I.S.S is a thrill ride. Directed by documentarian turned feature director, Gabriela Cowperthwaite, the film keeps amping up the tension in scene after scene all while creating a surprisingly realistic recreation of the famed International Space Station on a relatively modest budget. Cowperthwaite's direction is assured and confident with a masterful control of the tension and suspense. The cinematography by Nick Remy Matthews is superb and the camerawork underlines the growing tension of the plot perfectly. 

Find my full length review at Geeks.Media 

Movie Review He Went That Way

He Went That Way (2024) 

Directed by Jeffrey Darling 

Written by Evan M. Weiner

Starring Jacob Elordi, Zachary Quinto, Chimpanzee 

Release Date January 5th, 2023 

Published January 7th, 2023 

He Went That Way is a deeply misguided movie. Despite a unique true story basis, the movie cannot figure out what it wants to be. Is it a thriller? Is it a road movie? Is it a thrilling road movie? It's deeply unclear and wildly strange but not in a very interesting way. The film stars of the moment star Jacob Elordi as a serial murderer and Zachary Quinto as the trainer of a world-famous chimpanzee named Spanky. No, I didn't make that up, that's the actual character dynamic. A road movie featuring a serial murderer, an animal trainer, and a chimpanzee. Ugh!

Jim Goodwin (Quinto) is slowly losing everything. His marriage is struggling, he and his chimpanzee, Spanky, have lost their television show, and now he's on the road and possibly having to beg someone who owes him money to finally pay him. With his vehicle breaking down, Jim stops at a gas station. There, he meets Bobby Falls (Jacob Elordi), a drifter thumbing a ride on Route 66. Jim offers to take him as far as Chicago, Jim's destination, and they hit the road. 

On their first stop, a roadside motel, Bobby reveals that he's carrying a gun. He threatens Jim, steals his wallet and ring, and demands that Jim take him to Michigan where Bobby claims he has a girl waiting for him. In flashbacks following this scene, we see flashes of some of the murders Bobby has committed. He's murdered several people since coming back from, what we assume is Vietnam, though the movie isn't clear about this idea. The film actually opens with Bobby dumping a dead body out of a car, unrelated to anything to do with Jim and Spanky. 

And from there, Jim spends several days trying to convince Bobby not to kill him and, perhaps return his wallet and pinky ring. Jim also has the tricky task of keeping Bobby from killing the people that they meet along their way, including a pair of teenage girls that Jim picks up for them by introducing them to Spanky the Chimp. This could work, I guess, as a story, if it were played as wildly absurd but Quinto and Elordi play these scenes completely straight and the direction is basic and adds nothing stylistically to underline how bizarre this story is. 

Find my full length review at Geeks.Media 

Movie Review Weak Layers

Weak Layers (2024) 

Directed by Katie Burrell

Written by Katie Burrell, Andrew Ladd 

Starring Katie Burrell, Jadyn Wong, Chelsea Conwright, Evan Jonigkeit 

Release Day January 5th, 2024

Published January 5th, 2025 

Weak Layers is a throwback to a time in the 1980s and 90s when comedies set on ski slopes became a mildly popular sub-genre. These movies were all the same formula, a group of slobs battling a group of snobs. The slobs throw wild, over the top parties filled with drugs, booze, nudity, and associated debauchery, before having to learn a valuable lesson that leads to them to clean up their act just long enough to win, or come close to winning, a big skiing competition. The only notable differences in these comedies was whether or not they featured just skiing or skiing and snowboarding. 

It's been a few years since we've seen one of these skiing comedies like Ski School, Aspen Extreme, or Snowboard Academy. As terrible as these movies often were, there was a particular charm to them. Skiing comedies, like the similar sub-genre of Summer Camp movies, think Meatballs, have a breezy, silly, dopey quality that made them very easy to watch. Weak Layers does well in recapturing the silly, stupid, easy to watch qualities of the classic ski-comedy. 

Weak Layers was co-written and directed by Katie Burrell who also stars in the movie as Cleo, a wannabe film director, killing time drinking, partying and skiing. Cleo shares an apartment with her two closest friends, Lucy (Jadyn Wong), and former Olympic skier, Tina (Chelsea Conwright). When the trio parties just a little too hard and end up trashing their apartment, they're forced to live in a friends van while they seek a new place to live and party. 

The trios best bet for getting the money together for a place to live is a longshot. Cleo's video of her friends partying and skiing has recently gone viral and earned her the chance to submit a short documentary to a contest with a $10,000 grand prize. To win, she and her friends will have to clean up their acts and do some of the best skiing of their lives while Cleo captures it all on camera and turns it into an award winning skiing movie. 

Find my full length review at Geeks.Media 

Movie Review Mayhem

Mayhem (2024) 

Directed by Xavier Gens 

Written by Xavier Gens

Starring Nassim Lyes, Loryn Nounay, Oliver Gourmet 

Release Date January 5th, 2024 

Published January 3rd, 2024 

Mayhem is an ultraviolent revenge thriller out of France. Directed by Xavier Gens, Mayhem follows a Mixed Martial Artist who is just out of jail and hoping to stay out of trouble. Naturally, trouble finds him instead and he ends up going on the wrong after accidentally killing the brother of a drug dealer. He picks up his life in Thailand but as stories like this always go, the past is going to catch up with him leading to a final confrontation and a bloody, bloody end for most of the baddies. 

Mayhem stars champion kickboxer Nassim Lyes as Sam, a reformed bad boy eager to rebuild his life after time in prison. Things are looking up for Sam as he gets out of prison and immediately earns a well paying job on a construction site. It's long hours and hard work but it's also a chance to rebuild his life on the right side of the law. Naturally, if that were allowed to happen then this would not be a bloody revenge action film so don't get used to this status quo. 

In fact, it takes barely a day before Sam's past comes back to haunt him. A drug dealer who wanted Sam back in his employ has sent thugs to kill Sam. As Sam flees through the rugged streets of Paris, he ends up on a construction site where he ends up killing the man chasing and attacking him. This man happens to be the drug dealer's brother. This will force Sam to give up Paris in favor of going on the lam. Leaving behind all that he's known to go to Thailand and try to start over. 

The story then picks up five years down the road. Sam has a wife and has adopted her daughter as his own. They have a baby on the way. They also have plans to buy a home, with money raised by Sam returning to fighting where he throws fights on behalf shady gangster types. Sam's wife may as well have a bulls eye on her forehead, she is not long for this movie. I'm honestly not sure we learned her name. She's here to die and motivate Sam to become the ultimate killing machine. 

Read my full length review at Geeks.Media 

Movie Review The Bricklayer

The Bricklayer (2024) 

Directed by Renny Harlin 

Written by Hanna Weg, Matt Johnson 

Starring Aaron Eckhardt, Nina Dobrev, Tim Blake Nelson, Clifton Collins Jr. 

Release Date January 5th, 2023 

Published January 4th, 2023 

The Bricklayer is a remarkably banal and completely terrible movie. The film stars Aaron Eckhardt as the titular bricklayer. Naturally, he's not bricklayer, not really anyway. He does lay bricks and even builds a small wall early in the movie, but his tragic backstory is soon revealed. The Bricklayer, aka Vail, lost his family when they were slaughtered by his former friend, played by Clifton Collins Jr. This caused Vail to abandon the life of a CIA spy in favor of bricks. He believes that he had killed his former friend but now he's found out that he's wrong. 

Collins' terrorist character is back and is now murdering international journalists and framing the CIA for the kills. The CIA needs Vail to come out of retirement and finish the job of killing the terrorist. Naturally, the only person the CIA could possibly team him with is an inexperienced tech wiz who can find information that the rest of the CIA can't because their lazy and jaded and she's young and beautiful. Nina Dobrev is the whippersnapper CIA agent who will pose as Vail's wife as they snoop their way inside the high society of Greece where the most recent murdered journalist was staying. 

The cliches of The Bricklayer move fast and furious. Literally, some of these were made cliche by the Fast and Furious movies. Aside from a hero who enjoys the trade of bricklaying, there is nothing remotely original about The Bricklayer. I mean everything, right down to star Aaron Eckhardt's raspy tough guy speaking voice. In one of the first scenes in the movie, Eckhardt is shot by one of those bad guys who rarely hits anything while firing a needless number of bullets. So, Eckhardt duct tapes his gunshot would shut, and engages in a hand-to-hand fight that would put most MMA fights to shame. 

Read my full length review at Geeks.Media 

Movie Review The Two Faces of January

The Two Faces of January (2014) 

Directed by Hossein Amini 

Written by Hossein Amini 

Starring Viggo Mortensen, Oscar Isaac, Kirsten Dunst 

Release Date August 28th, 2014 

Published November 17th 2014

I feel as if I missed something essential in “The Two Faces of January.” For the life of me, I don’t know why the film is called “The Two Faces of January.” I feel the film must have introduced this information at some point but I don’t recall it. I could speculate that the two faces are those of stars Viggo Mortensen and Oscar Isaac as they seem to be counter-weighted to each other throughout the film but what was the ‘January’ bit? It’s not a reference to the month, it’s a not a name, unless that’s what I missed. It nags at me that I missed this or if I didn’t miss it and am puzzling over something that doesn’t matter.

“The Two Faces of January” is an adaptation of a Patricia Highsmith novel. Thus, it is set in Europe, in this case Greece, among beautiful, vacationing Americans. Oscar Isaac is Rydal Keener, an ex-pat con man and tour guide with aspirations to be rich. For now, he’ll settle for not being at home at his father’s funeral. Rydal’s con is to find fellow Americans who don’t speak the language and don’t understand foreign currency. It’s an almost victimless crime as his victims have plenty to spare and he’s really only skimming off the top.

Viggo Mortensen and Kirsten Dunst are Chester and Colette MacFarlane. At first, we’re to wonder if they are set to be Rydal’s next meal ticket. Director and screenwriter Hossein Amini however, has something more sinister in mind. Like Rydal, Chester is something of a conman, an American stock swindler. On the run with Colette in Europe he has conned his young wife into a game of pretend; pretending they’re going to go home and he isn’t going to be sent to prison or worse.

The game ends when an American private eye finds Chester and Colette and sets about a shakedown for the missing money of one of his clients. The detective dies and when Rydal arrives at the wrong moment to return a lost bracelet, he’s roped into a life-changing plot. Using his connections as a conman Rydal will attempt to get his new friends out of Greece without their passports. Phony documents take time however and with Grecian police acting efficiently to ferret out the plot, a road trip is undertaken to remain under the radar.

That’s the crux of the plot. What’s left is spoiler filled so consider yourself warned.

Ok, fine, I decided to look up the title of the movie to see what I missed. It turns out that it is a reference to the Roman God Janus which is said to have had to faces, one to see the future and one to see the past. Janus was the God of beginnings and transitions. That, naturally, is quite fitting for this story as the past plagues the future of all three characters. Janus by the way was eventually honored by the first month of the year, as January.

Throughout the introductory portion of “The Two Faces of January” we come to see Rydal admire both Chester and Colette. We can see his envy for Chester but also a deep respect for his station. We can sense a desire to usurp Chester even as Chester becomes a father figure. Yes, it’s all very Freudian and Shakespearean with the son who wishes to replace the father at the side of the mother. Yada, yada, yada. Here however, is where our director smartens up. By removing Colette via the film’s second accidental murder the dynamic shifts and what was beginning to be a draggy psychological thriller shifts gears to become a noir thriller.

Having failed to also kill Rydal in the wake of his murder of Colette, Chester finds himself chained to his new ‘friend’ as he attempts to leave the country. Each man has it out for the other but the game playing brings them together, as does the revenge each seeks on the other. Rydal is driven to avenge Colette and his having been framed for her murder. Chester, on the other hand is seeking escape but also to redeem the manhood he lost in his cuckolding.

That’s the psychological motivation for the action of the the final act of the film. Mr. Amini however, has by this point, as much as we have, has lost interest in psychology. The final act  of “The Two Faces of January” is instead played almost entirely in the language of film noir camerawork and staging.

As each man evades capture by police the cobblestone streets of Crete are alive with moonlight. Narrow corridors like those out of Carol Reed’s “The Third Man” shimmer with moonlight illuminating a path toward inexhaustible death. That Chester is to die is not in question here but the style with which his death arrives is classically crafted and elevates the film. We also get a very unusual and soulful moment as the dying father figure gives back to his son his life with a helpful confession of his crimes.

Much like the God Janus looking forward and backward at once, “The Two Faces of January” looks to be two movies at once. One movie is a pop-psych thriller with a little Shakespeare for flavor. The other is a tribute to the noir mysteries of the 40’s and 50’s complete with the mistaken identities, the wrongly accused man and the wet, reflective streets that always seemed to await a chase and a death.

That is the film’s beauty and its curse. It is two movies in one and neither is enough to satisfy in full. I loved the ending but the pop-psych stuff plods and the chemistry of the stars never bring it to life. The ending is almost good enough for me to recommend the movie but I wonder how many of you will last that long once the film is available on home video and you can simply stop and do other things.