Smash Cut

Karl Delossantos

  • Oculus Movie Review — A Stylish, Well-Acted Psychological Horror

    Oculus Movie Review — A Stylish, Well-Acted Psychological Horror

    Though it doesn’t quite reach the potential of its premise, Oculus packs in enough tension to make it a solid horror movie

    Yet another entry in the psychological horror rooted in childhood emotional trauma genre. Running in two different timelines, Oculus follows a brother and sister as they try to destroy a mirror that contained the ghosts that haunted them in their childhood.

    Although it is void of any big scares that would have made it the movie horror fans were looking for, Oculus targets something far more terrifying. Your mind. Mike Flanagan’s focus on the feeling of dread and underlying darkness will take you, chill you to the bone, and make you reevaluate your own sanity, which is all we can ask for when it comes to the horror of today.

    The premise of Oculus is simple and neatly explained in its tagline: “you see what it wants you to see.” The aforementioned “it” being a mirror in this case. However, it has been told in many forms throughout the years. A music box, a haunted doll, the line of haunted object movies is endless, but Oculus is more successful than these entries because of its clear focus.




    The film begins with Tim Russell (Brenton Thwaites) just before he is released from a psychiatric hospital. Eleven years prior his father murdered their mother under the influence of a malevolent supernatural force, however through intensive therapy doctors were able to convince Tim that it was solely his father who tormented the family.

    Shortly after his release, he meets with his older sister Kaylie (Karen Gillan), who his doctors warn did not have the benefit of therapy following their childhood trauma, which shows. Through her work at an auction house, Kaylie is able to track down the mirror that tormented them in their youth. Almost immediately after her brother’s release (and when I say immediately I mean at lunch on the way home from the hospital) Kaylie reveals her plan to document the mirror’s evil intentions and powers before finally destroying it. Not the best idea ever.

    The mirror is able to change your perception of reality. So when a man thinks he is taking off his band-aid with a staple remover, he is actually digging into his flesh. Isn’t it a lovely image? However, it isn’t the gore that is terrifying, it is the idea of not being in control.

    The siblings return to their childhood home armed with cameras, timers (reminding them to eat and drink), thermometers, and an enormous anchor designed to destroy the mirror should anything happen to the pair. Kaylie even has her boyfriend Michael (James Lafferty) call them every hour to ensure they are still alive, although he does this under the impression that she is fearful of her brother. Nice. It’s clear Kaylie has been planning this for a while. Eventually, the film spirals into a dark pit of disturbing images that make the siblings question their own sanity.

    Throughout the ordeal, the film flashes back to the siblings’ childhood and the events that started their torment. The screenwriters didn’t do much to differentiate their “dad’s an assh**le because he was possessed by a ghost and is probably going to kill us” premise from other movies like The Shining and The Amityville Horror. However, unlike these movies we don’t have an emotional connection to either their father Alan (Rory Cochrane) or their mother (Katee Sackoff in a wonderful performance). The story felt contrived and familiar without any deep rooted baggage to go along with the insidious darkness that consumes them. However, the saving grace were the fine performances by Annalise Bassoa and Garrett Ryan as the young Kaylie and Tim.




    Despite this setback, the beauty of Oculus lies in its unnerving ability to get you to question the sanity of the two leads. In turn, we question our eyes. What we see on screen isn’t necessarily real either. The result is the questioning of our own sanity. It’s the perpetual unnerving dread of the film that creates most of the horror. Even in light, there is an insidious darkness lurking.

    But where the film finally does fail is where countless horror and psychological thrillers fail. Once you are able to forgive the screenwriters, who also must be blamed for some clunky dialogue, for the well-realized yet terribly feigned procession of scenes that build up to the climax, we are let down by an inevitable final act twist that we can see coming a mile away.

    In the end, Oculus doesn’t become the film we wanted it to be. Its brilliant first two acts suggest that there may be something new and fresh hidden underneath, but it is never fully realized. Either way, the final product is a beautifully shot and wonderful acted entry in the never-ending pool of niche horror movies looking to shock, scare, and unnerve.

    6.5/10

    Oculus is available on Digital HD on Amazon!

  • 5 Video Games that Should be Turned into Movies

    5 Video Games that Should be Turned into Movies

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  • Reaction Shot: ‘How I Met Your Dad’ Not Picked Up

    Reaction Shot: ‘How I Met Your Dad’ Not Picked Up

    Reaction Shot: 'How I Met Your Dad' Not Picked Up By CBS

    It was announced yesterday during CBS’ upfronts that the How I Met Your Mother spin off How I Met Your Dad was not going to be picked up by the network. CBS Entertainment Chairman Nina Tassler commented:

    There were elements on the pilot that didn’t work out. We tried to work out about redoing the pilot. That’s not happening right now. Sometimes you run into these kind of issues and you hope they can resolve themselves in that time frame. I’m heartsick; we loved this brand and we love the producers but it didn’t work out.

    While it’s not a total surprise, I am both happy and somewhat saddened by this recent development. While I was one of the dissenters of the way How I Met Your Mother wrapped up, I was interested in seeing how the endearing Greta Gertwig would insert her… humor, into the show. I also think that it would be a great chance to right the wrongs of the original show. Most importantly the length of the story. If the producers and writers were able to agree on a set run length, say four years, and stick to the exit plan and plot points, then I could see a strong entry into CBS’ comedy lineup. I also think that avoiding becoming a sitcom, like Mother did, and being solely a comedy would suit the show as well.

    The rights have reverted back to the studio, 20th Century Fox, and they can shop it around elsewhere. Maybe cable. I’d definitely be up for seeing a gritty version of the series. HBO anyone?

     

  • The 10 Best Episodes of ‘The Good Wife’

    The 10 Best Episodes of ‘The Good Wife’

    The Good Wife

    In honor of the finale of the brilliant fifth season of The Good Wife, here is a list of what I consider to be their 10 Best Episodes.

      1. good-wife-recap-1Hitting the Fan (Season 5, Episode 5): When I started writing this list I knew from the beginning that this episode would be number one. It brought together every element of The Good Wife that they have been growing and adjusting to create an episode that is the peak of the show’s creative resurgence. The writing was so natural in its dialogue, but brought to the actors they added an intensity that matched the sharp direction. It is also the episode that highlighted the show as a leader in storytelling. The classical background score, the careful camera work, even the callbacks to past events were so well calculated that every piece contributed to the episode’s ending success. Of course mixed in was the show’s patented dark humor and personal baggage. It was not only the best episode of The Good Wife, it was also one of the best episodes of drama in a long time.
      2. The_good_wife_bangBang (Season 1, Episode 15): I think this was the first episode of The Good Wife that I truly realized that this was a great show. There was no big event, although Peter’s return from prison was probably the biggest thing to happen on the show at that point, but the writers were able to exude such importance with small moments. For example the opening scene of Peter’s return had one line of dialogue between Peter and Alicia. A simple: “hi.” But the emotional weight of their hug to her look at the parole officer spoke thousands. It ran through the entire episode. It’s that skill of taking each character’s journey and growth and translating it into their everyday lives that has given the show so much of its success, and this episode started it all off.
      3. The Last CallThe Last Call (Season 5, Episode 16): It may have not reached the heights that Friday Night Lights’ “The Son” and Buffy the Vampire Slayer’s “The Body”, but the writers of The Good Wife created an episode that suited the needs of the series so well. The use of that final phone call as a device to have Alicia rethink her relationship was genius. Plus, they so gracefully balanced each of the main characters’ reactions without being too melodramatic. Everything felt natural and consistent with the show. It was truly a wonderful hour of television.
      4. Nine Hours (Season 2, Episode 9): In my opinion, this is arguably the best case of the week episode. So often on the show do we see the lawyers of Lockhart/Gardner seems so composed and with things under control, but with a 9 hour time crunch on a death row appeal, everyone is stressed and at the top of their game. It was one of the most memorable cases the show has covered, but also saw the incredible debate between Peter and Glenn Childs.
      5. Another Ham Sandwich (Season 3, Episode 14): This episode finds Will in his grand jury hearing regarding his bribery of judges that results in his suspension. For Josh Charles, this was his “Whitecaps.” With such suspense in his trial, we forget the hilarious storyline between Eli and Stacie Hall as they try to secure the spot as the strategist for a Gay/Straight Alliance, which shows how funny the show can actually be. In the end, it is a humanizing episode for the character of Will, who is humbled following his suspension. It reminds us that these characters aren’t just floating on a cloud all the time. Once in a while they are cut down, and in this episode Will is cut down hard.
  • Antarctigo Vespucci Album Review: “Soulmate Stuff”

    Antarctigo Vespucci Album Review: “Soulmate Stuff”

    Antarctigo Vespucci (Soulmate Stuff)

    Antarctigo Vespucci is a project that was born from musical masterminds Jeff Rosenstock, who just recently put the music collective Bomb the Music Industry! to bed, and Fake Problems’ vocalist Chris Farren. What was created was an incredible 7-song debut called Soulmate Stuff that brought me to believe that no matter which way the music industry goes, two friends can get still get together and make amazing music.

    That’s part of the charm of the album, that everything feels so organic. There’s no cohesion or planning. The sound of the album is hard to pin down since it feels like the duo didn’t want to be tied down to a specific genre. It pulls from nearly era of rock. Some songs, like “Don’t Die in Yr Hometown,” sound like they fell of of Springsteen’s Born in the U.S.A, but then “I’m Giving of U2” and “Bang!” are reminiscent of Weezer’s catchy choruses and relatable lyrics.

    The instrumentation contributes to the album’s uniqueness with some tracks backed solely by an acoustic guitar and some become so varied in their instrumentation that something like a glockenspiel could be heard. Farren supplies the vocals to all seven tracks, which is an added bonus considering his laid back emo voice adds so much familiarity. As do the lyrics like: “Just don’t fade out/cause all I want to do is ride my bike and think about sex, yeah.”

    It must be said that Casey Lee’s guitar solo in “I’m Giving Up on U2” and Laura Stevenson’s vocals on “Sometimes” are incredible additions to this album.

    It’s something to rock out to in the shower or car, or just when you need sometime alone. They supply the summer jams that we have so desperately been wanting all winter. Apparently this might be a one time gig for Chris Farren and Jeff Rosenstock and if it is then so be it, because what they created is timeless.

  • Can Peter Dinklage Win Emmy #2?

    Can Peter Dinklage Win Emmy #2?

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    Peter Dinklage ended up being the absolutely worthy winner of Game of Thrones’ only acting Emmy so far in the series’ run. From the beginning of this season, it looked like his storyline was going to put him in line for yet another Emmy, but it wasn’t until this week’s episode that this hunch came to fruition.

    The episode “The Laws of Gods and Men” found Tyrion at his absolute lowest, which for Dinklage is a high point. While on trial for murder Dinklage gets to perform his usual one-liners and quips, but it’s the end of the episode that could bring him gold.

    In season one the actor won for the episode “Baelor.” He was able to make up lack of screen time and absence from the first half of the episode with a drunken emotional speech about a whore that his father and brother paid to sleep with him. It is a known fact that Emmy voters love speeches. Last year’s Emmy winners Anna Gun and Jeff Daniels can attribute their wins to emotional speeches in their submissions.

    Dinklage was fortunate to receive yet another speech, but this time even bigger in scope. He essentially took a lifetime of hate, for his father, for his sister, for the people of King’s landing, and regurgitated it in an anger filled emotional speech, complete with gasps, yells, and dramatic close-ups. Will it be enough to win him his second Emmy?

    It could be. Game of Thrones is at the top of its popularity and acclaim and its success at the Emmys thus far doesn’t hurt. However, Dinklage has one thing in his way: Aaron Paul.

    Paul is already one of the few actors to win twice in this category. He has also has a watershed submission that could rival Dinklage’s speech. What Dinklage does have above Paul is time. By the time Emmy voting starts, Breaking Bad will have been off for nearly a year, so Dinklage will of Thrones’ fresh buzz.

    As of now I am predicting Aaron Paul, but I think the next few months are going to see a lot switching in this category.

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  • ‘Veep’ Review: “Detroit” (3×06)

    ‘Veep’ Review: “Detroit” (3×06)

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    MVP: Christopher Meloni
    MVP: Christopher Meloni

    This episode brings Veep to… well, Detroit, where Selina is giving a speech at a jobs summit. Let’s just say it doesn’t go terribly well. We find Dan having his first test, or should I say tests, as campaign manager, Amy having to step aside as lead of Selina’s team, and an attack from the Statue of Liberty.

    The episode also saw the return of Sally Phillips as Minna Häkkinen, the now former Prime Minister of Finland, who is hilariously able to match Selina’s painfully awkward interactions with a deadpan expression that make her absurd dialogue and ridiculous accent even more amusing. The Former Prime Minister inadvertently caused what could only be called a disaster for the Veep’s campaign.

    While walking into her speech Selina is attacked by a man dressed as the Statue of Liberty. Catherine hilariously punches the man square in the face, which propels her into “America’s Next Top Redneck.”

    While in Detroit Selina must deal with the issue of gun control, much like she had to deal with the issue of abortion earlier in the season. After a shooting across town that resulted in the death of a respected (in the eyes of the public, not so much Selina) reporter, Selina talks to the Former Prime Minister about gun control. Selina essentially pissed off the entire NRA when she said that “the second amendment is a problem.”

    The statement gets leaked when Jonah, pretending to be part of the Veep’s team, gets the Former Prime Minister to tell him what Selina said. To remedy the issue, the team goes to a Women’s Gun Show, where Catherine has turned into quite the celebrity complete with t-shirts, selfies, and chants.

    On top of all these problems we have the issue of Ray, Selina’s new personal trainer and campaign “stress reliever”. Christopher Meloni as Ray is a delight to watch. Although he’s playing the stereotypical dumb muscle head (“I know IMF stands for International Money Fund”), he has perfected the art of the one-liner. Every single time he opened his mouth I was cracking up. Everything from his expression, to his delivery was pitch perfect. Who would have though that Elliott Stabler from Law & Order: SVU could be this funny?

    I am confident when I say that this was probably the best episode of the season. I am constantly shocked at how much the writers are able to pack into one episode and still make every storyline feel complete (take a note Modern Family). Every single moment was smart, sharp, and hilarious and packed with hilarious one-liners like: “I wish we were still on abortion, that was easy.” I don’t think I have ever laughed out loud that much during any episode of television, if Veep maintains this quality to the end of the season, then I think we have contender for one of the best seasons of comedy in recent memory.

  • ‘The Good Wife’ Review: “The One Percent” (5×21)

    ‘The Good Wife’ Review: “The One Percent” (5×21)

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    MVP: None

    There was something odd about this week’s episode of The Good Wife. It wasn’t anything to do with the quality, although it was a significant improvement over last week, but with its forward momentum. In the grand scheme of the season it felt like a stagnant episode that didn’t have any clear lead up to the next week’s season finale.

    This episode’s case of the week concerned a Florrick/Agos billionaire client who makes insensitive comments about holocaust survivors, Italians, Greeks, and the poor, while in the middle of a wrongful termination lawsuit involving a gay employee. Yeah, the guys seems like a bundle of fun. It seemed appropriate considering the recent influx of discussion about the line between freedom of speech and discrimination.

    It becomes shockingly familiar when we consider Donald Sterling’s recent comments that were released after the wrap of shooting on The Good Wife. The Kings have always had a knack for providing their own commentary on current issues and this episode is no exception. However, the case never made the full impact that was written into the potential of the storyline, possibly because if focused so much on Alicia and Cary’s struggle to win the case in voir dire.

    The one part of the episode that I found completely refreshing was Alicia taking pictures with Zach in his graduation gown. In fact, I think it was the best scene of the episode. Why? Because it humanized Alicia, something that I think the writers attempted in the last episode yet forgot what character they were writing for. Alicia is a lot of things, a lawyer, a mother, but what she isn’t is a woman who is lost. This episode brought her back from the sloppiness the previous episode pushed her in to.

    The episode also bring us to an anti-climactic end to Finn’s struggle with the Jeffrey Grant case. Although he was found to be uninvolved with the cause of the shooting, the blame ended up going to State’s Attorney Castro, he is instantly pulled into some mud involving his campaign. Shortly before Peter was to announce his endorsement of Finn, Castro brought him a picture of Finn leaving Alicia’s apartment. Scandal. Somebody call Olivia Pope.

    The issue was quickly extinguished when it was explained that Finn was simply meeting Alicia to discuss their strategy for the Jeffrey Grant scapegoat case, but what came of it was much worse for the characters of the series. First of all, Eli learns of the arrangement between Alicia and Peter. Second of all, Peter’s attention is drawn to a new redhead working in his office.

    This is the one piece of forward momentum that I found in the episode. Well this and Canning’s crusade against Diane at Lockhart Gardner & Canning. With such an event heavy season I was expecting to have a shocking finale, but I have a feeling that we may be let down. The one “big event” that I can see coming is Diane possibly being pushed out of the firm. Maybe even joining up with Florrick/Agos. Either way, I think it would be impossible for the Kings to completely fail us at the end of what is making to be a terrific season of television.

  • Netflix Flick of the Week: ‘Odd Thomas’

    Netflix Flick of the Week: ‘Odd Thomas’

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    MVP: Anton Yelchin
    MVP: Anton Yelchin

    Odd Thomas has one really good thing going for it, and that’s Anton Yelchin. After that, there’s not much there. Maybe I’m being a little harsh, but the film wasted such great source material (Dean Koontz’s novel of the same name).

    The film tells the story of Odd Thomas (yes his name is actually Odd, whether it was intentional or a misspelling on his birth certificate is and will forever be unknown), a 20 year-old short-order cook who has the ability to see ghosts. The world that the film takes place in is a familiar one (where ghosts pop up to ask for help with revenge or demons feeding on death and evil), but the mood and style of the film made up for it.

    There was a quirkiness to the quick jump cuts, transitions to flashbacks, even the dialogue. The characters were written as if they were floating on a cloud and it felt like the town was on another plane, but eventually it all got really old and frankly I don’t know if it was done on purpose.

    As the film went on Odd uncovers an apocalypse brewing in his small town. His girlfriend Stormy, who is supposedly supposed to be madly in love with Odd, but I think is actually just kind of creepy, helps him as he tries to uncover the truth. The film falters when it felt like they were simply taking expositional dialogue from the book and putting it into characters’ mouths.

    It’s clunky, sometimes cringeworthy, it’s a straight forward film that is meant to entertain, but somehow produces the opposite result. While I really wanted to like this movie, and based on the first ten minutes it could have been another Fright Night, it just didn’t take full advantage of what it had to work with.

    The film has 4.1/5 stars on Netflix (somehow).

  • Penny Dreadful Review: “Night Work” (Pilot)

    Penny Dreadful Review: “Night Work” (Pilot)

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    Penny Dreadful has been a show shrouded in as much mystery as its storyline. All we had to go off of was its name. A penny dreadful was a work of fiction that was usually written in an extremely graphic fashion that was released over a course of a few weeks, costing a penny. Whatever that meant for show I had no idea, but as the pilot episode “Night Work” unfolded, I realized the sinister intentions of the show.

    The show begins on a… well, dreadful note. The cold open shows a woman and her child being attacked by something. Then, following a fittingly creepy opening credits sequence (somewhat reminiscent of an American Horror Story opening credits) we are introduced to a frightened woman praying to a cross who is possessed by… well, something. See a pattern here?

    I haven’t even heard one line of expositional dialogue and I could already tell that this is going to be a bats**t crazy show.

    The praying woman, whose name is Vanessa Ives (played by Eva Green), offers gunslinger and performer Ethan Chandler (Josh Hartnett) some night work in London. Being the daring man he is, Chandler accepts.

    He meets Vanessa in a dark and gloomy London where he meets Sir Malcolm Murray (Timothy Dalton). The trio goes to a dark passage where we get our first encounter of the creatures of Penny Dreadul. I would characterize these things as vampires, but according to a scientist (played by Harry Treadaway), it is either a man with hardened skin etched with hieroglyphics, sharpened teeth, and an exoskeleton or something else. SIDE NOTE: If I were you, I wouldn’t look at anything regarding the series or this character until you watch the episode.

    While in the passage, which Vanessa describes it as a “half world between what we think and what we feel,” these monsters attack the group, which unsettles Chandler. Vanessa tells him that one of the creatures took Murray’s daughter and they are trying to find her. She asks if he will continue on with them. “A wiser man would say no,” but Chandler isn’t a wise man.

    Eva Green kills it as Vanessa Ives. She has the character’s expression and underlying sexuality so refined that it feels like she has been playing the character for years. She is truly phenomenal.

    Terrifying in its storytelling, beautiful in its portrayal, and intriguing in its premise, this show is a strong addition to Showtime’s line up. The series is meant to terrify you, plain and simple. Not with jump scares (although there are a few), not only its unflinching depiction of the horrors in the world, but with its ability to make you think about what is known and unknown and life itself.

    Penny Dreadful is definitely a series that will keep you coming back for more solely for its story and its mysteries. However, its impeccable style, strong writing, and masterfully acted characters (the ensemble is something to marvel at) will take it from being a guilty pleasure to a truly captivating series.

     

     

  • Top 5 Most Anticipated Films Based on Books

    Top 5 Most Anticipated Films Based on Books

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    This week on What’s Next Wednesday we’re taking a look at 5 films coming out this year that are based on books. I’ve excluded the obvious choices of The Fault in Our Stars and If I Stay since they appear on our Top 10 Most Anticipated Summer Movies of 2014.

    WildCoverFromAuthorsWebsite5. Wild (Directed by Jean-Marc Valiée | Starring Reese Witherspoon | Release Date: TBD)
    Based on “Wild: From Lost to Found on the Pacific Crest Trail” by Cheryl Strayed

    I’m thinking of this book as a female version of Into the Wild, which could honestly be something amazing. The book is a memoir about Strayed’s travels on the Pacific Crest trail where she faces physical challenges and makes existential realization following hardships in her life. First of all, I can see this being a vehicle for Reese Witherspoon to potentially pick up her second Oscar nomination. More importantly, I can see this being a heartbreaking and emotional character study about the human spirit. Yeah, I’ll have that. With Nick Hornsby writing the script and Jean-Mark Valiée at the helm, I can see this film being something great.

    9780385737951_custom-bc4950410127829105beca80a18b38977882d9ef-s6-c304. The Maze Runner (Directed by Wes Ball | Starring Dylan O’Brien, Kaya Scodelario, and Thomas Sangster | Release Date: September 19, 2014)
    Based on “The Maze Runner” by James Dashner

    Yes, young adult dystopian novels being turned into movies is getting a little old (I’m looking at you The Hunger Games and Divergent), but The Maze Runner has something really going for it. While it maintains the mysterious teenagers in some dire situation motif and involves the main character changing the ways that have been set for years, it has a wholly unique premise involving a mysterious maze that these teens are trapped in, hence the title. I haven’t read the book, but with reviews calling it thrilling and heart-pounding, I can’t wait to see what this movie can do.

    unbroken-cover_custom-0a55df2637ae96369dd0302be5ad4de816c6b0ab-s6-c303. Unbroken (Directed by Angelina Jolie | Starring Garrett Hedlund, Jai Courtney, and Domhnall Gleeson | Release Date: December 25, 2014)
    Based on “Unbroken” by Laura Hillenbrand

    Historical World War II drama? Check. Survival in the open sea? Check. Survival in an internment camp? Check. Angelina Jolie? Check. In A Land of Blood and Honey, Jolie’s directorial debut, she was able to prove that she is more than a pretty face. Her control of atmosphere and mood was surprising and refreshing, so when I heard she was directing another film that would require just that type of touch I got excited. Unbroken tells the true story of Louis Zamperini, an olympic athlete who fights in World War II who spent 47 days in the ocean following a plane crash. To make matters worse he is captured by the Japanese and held prisoner for 2 and half years. It also probably doesn’t hurt that the Coen brothers are penning the film. Yeah, I hope it’s as good as it sounds too.

    Gone_Girl_(Flynn_novel)2. Gone Girl (Directed by David Fincher | Starring Ben Affleck and Rosamund Pike | Release Date: October 3, 2014)
    Based on “Gone Girl” by Gillian Flynn

    Amy Dunne mysteriously disappears on her and her husband Nick’s fifth wedding anniversary. Simple enough, but Flynn’s book takes us through twists and turns as evidence builds against Nick. The book is particularly successful due to its use of an unreliable narrator which would usually be difficult for a film, but with David Fincher at the helm I can see no wrong being done.

    https://www.youtube.com/watch?v=2OSgeD7k6I0

    8151T3gZFOL1. This is Where I Leave You (Directed by Shawn Levy | Starring Jason Bateman, Jane Fonda, Tina Fey, Adam Driver, Corey Stoll, Connie Britton, and Rose Byrne | Release Date: September 12, 2014)
    Based on “This is Where I Leave You” by Jonathan Tropper

    Tropper’s dark comedy is one of my favorite books of all time. Just take the humor of Arrested Development and merge with a disjointed and dysfunctional family sitting shiva in the wake of their father’s death. The result? Hilarity, drama, and whole lot of screaming. The fact that the film is being written by the book’s author, directed by comedy genius Shawn Levy, and starring a host of A-list stars gives this movie the makings of something absolutely great. The book will make you laugh, cry, scream, reevaluate your family dynamics and if the film can do the same, then it is set.

    What book to film adaptations are you excited for?

  • Why the New ‘Power Rangers’ Movie is a Terrible Idea

    Why the New ‘Power Rangers’ Movie is a Terrible Idea

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    It was announced yesterday that Lionsgate and Haim Saban were rebooting the Power Rangers franchise with a live action movie. However, although this is a series that is near and dear to my heart, I am actually dreading the idea.

    After working in Toys R’ Us for a year and channel flipping during slow summer mornings I have realized that the Power Rangers franchise is still rocking and rolling, which make me extremely happy. The series started in 1993 and the fact that it is still relevant for kids to day is outstanding, so my question is why do we need a reboot movie?

    I know it’s probably a money decision that is capitalizing on our generation’s love of nostalgia and the potential in tapping an entirely new market of kids, but I think that the film is going to taint the reputation of the series even if Haim Saban (the head of the production company that produced the series) is involved. Here is his statement:

    “Lionsgate is the perfect home for elevating our Power Rangers brand to the next level. They have the vision, marketing prowess and incredible track record in launching breakthrough hits from ‘The Hunger Games’ to ‘Twilight’ and ‘Divergent.’ In partnership with the Lionsgate team, we’re confident that we will capture the world of the Power Rangers and translate it into a unique and memorable motion picture phenomenon with a legacy all its own.”

    Part of the charm of the series was its over-the-top campiness and its ridiculous obviously low budget production. It’s what made me love the series as a kid. Watching six adults being shot at by some ridiculous monster that actually hits behind them, but somehow affects them like they were shot in the chest was one of my favorite things to do.

    The heavily choreographed fighting sequences, the poses, even the little cut scenes when the rangers morphed were all engrained in my memory, but I can’t help but think that that’s going to all go away with a movie.

    While Lionsgate has done well with The Hunger Games and Divergent I can’t see them putting out a purposefully campy, low production value film. That’s why I’m tepid toward the reboot. Saban only cares about money and I don’t think Lionsgate is going to understand that I don’t need a new series, I will always have the old one.

    I understand that kids of this generation are probably going to love it and that’s fine, but I just wish they could experience the magic that I felt when I first watched Power Rangers. #blessed

  • Top 10 Most Anticipated Summer Films (Part 3 of 3)

    Top 10 Most Anticipated Summer Films (Part 3 of 3)

    Most Anticipated Films (1-4)

    Every summer, tucked between the blockbusters, romantic comedies, and 500th Transformers movie, are hidden gems that satisfy our thirst for quality movies until Oscar season rears its ugly head. So, I compiled a list of ten movies that I personally can’t wait to see this summer.

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    4. Guardians of the Galaxy (Directed by James Gunn | Starring Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, and Bradley Cooper | August 1, 2014)
    In so many words, this is basically the ballsier version of The Avengers. The anti-Avengers if you will. There is so much potential to be tapped out of the characters, the humor, the story, the list goes on and on. It is the Marvel film that a lot of us have been waiting for. And just like they’re tagline says: “You’re welcome.”

    3. A Million Ways to Die in the West (Directed by Seth MacFarlane | Starring Seth MacFarlane, Charlize Theron, Liam Neeson, and Amanda Seyfried | May 30, 2014)
    I don’t care if it’s mindless, absurd, offensive comedy. As long as it’s Seth MacFarlane’s mindless, absurd, offensive comedy, I am on completely on board. It also has Liam Neeson playing a badass cowboy out for revenge, literally the role he was born to play.

    2. The Fault in Our Stars (Directed by Josh Boone | Starring Shailene Woodley, Ansel Elgort, and Nat Wolff | June 6, 2014)
    I don’t think John Green can do any wrong. Exhibit A: “The Fault in Our Stars”. It is probably perfection of a young adult novel, so naturally the film version is going to be on some kind of list. I can already hear some of you saying, “but the movie is always worse than the book!” and I agree (that’s why The Giver isn’t on this list), but with John Green involved and a writing style that is specific and sharp, I can’t see how they get this wrong. Plus, as far as I’m concerned Shailene Woodley is the future of hollywood.

    1. Godzilla (Directed by Gareth Edwards | Starring Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Sally Hawkins, Juliette Binoche, David Strathairn, and Bryan Cranston | May 16, 2014)
    The monster that started the monster film. Check. A director that can balance character and action. Check. Bryan Cranston. Check. Enough said. In all seriousness, this darker version of the monster that terrified us all as kids is finally here after that disastrous 1998 version that you tried to forget about until I just brought it up. Just watching the trailer you can pretty much tell they got it right. Can it be a disaster? Of course. Will it? I’m thinking no.

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  • “The Good Wife” Review: “The Deep Web” (5×20)

    “The Good Wife” Review: “The Deep Web” (5×20)

    The Deep Web

    MVP: Alan Cummings
    MVP: Alan Cummings

    And finally the bubble burst. It was bound to happen, I didn’t expect every post-Will Gardner episode of The Good Wife to be perfect and we finally found the one that wasn’t. The reason, at least for me, was in the storyline. The “case of the week” involved a college student with cerebral palsy, and the son of a Lockhart, Gardner, & Canning client, who is accused of working with Silk Road. Yes, THE Silk Road. Tackling current topics like the NSA or cyberbullying is something that The Good Wife always did well, but this episode didn’t do it for me.

    It also didn’t help that the episode tried way to hard to be funny. Now The Good Wife is no stranger to some humor, sometimes hilarious humor, but they never tried hard at it. Usually it was always situational, take for example the call between Alicia and Will in “Hitting the Fan”, it was awkward and that’s the best type of humor, but the buffering on Alicia’s Netflix going backwards and the “wow, you really are bored” comment when Alicia decided to have lunch with her mom were a little cringe worthy.

    It also didn’t help that the writing was incredibly shoddy with lines like “it feels like he’s still there” and “I don’t what to do with my life, mom.” It all felt so insincere when usually the show is actually really natural with their dialogue. The weird, and slightly forced, storyline of Alicia having the day off, something that we all know is not a good idea, didn’t work for me. Or at least, it didn’t reach its full potential.

    The one good part of Alicia’s storyline was her subtle romantic subtext with a juror she met during void dire. Alicia wasn’t conducting the void dire, she was on jury duty. The reason this storyline worked? Alicia always had some underlying sexuality that she always exuded and this storyline went in line with that, but when she professes to her mom that she wasn’t sure if she wanted to be a lawyer I was confused. I thought the point of this day off was to show that being a lawyer is wired into Alicia’s brain, but then they went back on that.

    The storyline with the juror did bring us some clarification on where Alicia is right now. If she got anything out of Will’s death, it is her finally cutting any ties to Peter emotionally, but she still needs some type of companionship whether she likes it or not.

    We do get some payoff from the storyline when Alicia breaks down with her mother as she realizes without any companionship, she doesn’t know who she is, but it still feels like a step backwards.

    I haven’t spoken much about the Silk Road case because there was nothing really to note, it was just a cut and dry Good Wife case. Although it did produce the line: “Kalinda, how do you always get into crime scenes”, she responds “you know, cops like me.”

    Overall, the episode was underwhelming and a little sloppy. The serial story elements didn’t seem to fit into the trajectory of the series other than Finn’s campaign storyline, which was elevated by Alan Cumming, but even that felt incomplete. With two episodes left, I’m hoping the show can recover and stick the landing.

  • On a Carousel: “Mad Men” Review (“The Monolith”)

    On a Carousel: “Mad Men” Review (“The Monolith”)

    mad-men-season-7-jay-r-ferguson-elisabeth-moss-ben-feldman-amc

    MVP: Jon Hamm
    MVP: Jon Hamm

    And time just keeps chugging along. We have the first three fantastic and forward moving episodes of this final season of Mad Men, then we get an episode like “The Monolith” that reminds us that this is a show that doesn’t need forward momentum to be great.

    The episode found Don’s return to work a little less positive than we, or should I say, he would have hoped. First off, the entire episode is drowned out by the sounds of construction to put in a new computer that will thrust the firm into the future [insert echo noises here].

    The creative department is having trouble accepting what is essentially a shove into the corner. It was even suggested in the last episode that creative is becoming a handicap for the company. However, they continue to push them further and further to the wayside. It’s probably because that assh**e Lou has no idea what he’s doing.

    He buries himself further into the deepest darkest part of our minds when he gives Peggy a raise to essentially babysit Don. Earlier in the episode Pete discovers that Burger Chef (now in present day known as Hardee’s) is shopping for a new firm and is able to get SC&P thrown into the mix. However, later on Peggy reveals to Joan that she knows that the account was given to her so that either she or Don would fail.

    Peggy hasn’t been getting it easy this season, but Elizabeth Moss has been killing it as Peggy. Thinking back to the Pilot when Joan was showing her all the “intimidating” equipment, to her rise, and now fall has been fascinating and Moss has been with her every step of the way.

    After Bert tells Don that the company was doing fine without him, he starts to break one of the guidelines set on his new job and drinks in the office.

    This episode was really heavy on the death foreshadowing for Don. Whether that’s a figurative or literal death is obviously left to be seen, but the first sign is probably one of my favorite symbols Mad Men has ever used. Don’s new office is Lane’s office. Put it together? Well, if you didn’t, Don is literally working in the office of a dead man. What’s more telling is that Don decides to hang up Lane’s old Mets banner and invites Freddie to a game, although he was under the influence. It’s almost as if he has accepted defeat.

    Another bit of foreshadowing came from Freddie Rumsen who tells down that he is killing himself drinking. I think I like where this is going. However, Freddie comes to the rescue tells Don to sober up and pull himself together he wanted chance of getting his old job back.  Maybe Don is actually on the up and up. But who am I kidding, this is Mad Men. For now it looks like good ol’ Don is in the clear.

    It shocked me a little bit that the show would put such a character heavy episode late in the season. I mean, we only have three more episodes left until halftime. However if makes me wonder, how long is this carousel ride going to last.

    SIDE NOTE: I loved the incredible references to 2001: A Space Odyssey in the title (The Monolith is kind of big deal), the opening shot where the elevator resembled the monolith, and the new computer acting as the monolith to the agency.