Recently, “Homicide: Life on the Street” has undergone a major renaissance of sorts. The show is now finally available to stream on Peacock, and we have two new podcasts dedicated to the acclaimed series. First, there is “Homicide: Life on the Set” which is hosted by filmmaker and podcaster Chris Carr and Susan C. Ingram who worked as a union camera assistant on “Homicide,” and they have interviewed actors, writers, directors and technicians who worked behind the scenes and have made unforgettable stories to tell. Then there is “Homicide: Life on Repeat” which has actors Reed Diamond and Kyle Secor reviewing each episode of the show from start to finish, and that’s regardless of whether they are in said episode or not. With all this going on, “Homicide” looks to be gaining a new generation of fans and may even become a bigger hit with viewers than ever before.
With this “Homicide” commentary, I focus on the fifth episode of the first season entitled “A Shot in the Dark.” Directed by Bruce Paltrow and written by Jorge Zamacona, it follows multiple plot threads back when the show could get away with that. Stanley Bolander (Ned Beatty) and John Munch investigate the double shooting of a drug dealer, Frank Pembleton (Andre Braugher) and Beau Felton (Daniel Baldwin) join forces reluctantly to look into a theory regarding Adena Watson’s murder, Tim Bayliss remains convinced that the arabber Risley Tucker murdered Adena and wants to bring him in for questioning, and Steve Crosetti (Jon Polito) and Clark Johnson continue to look into the shooting of Chris Thormann (Lee Tergesen) who has miraculously survived his nearly fatal wounds. It’s amazing just how much the writers got into one single episode!
In the midst of all this, Bolander seems unable to deal with the aftermath of his date with Dr. Blythe (Wendy Hughes), Felton and Pembleton battle with one another over how they see things, and Bayliss gets revenge at Captain Barnfather for releasing information he shouldn’t have released. Of course, Bayliss still pays a price for going after a superior officer. And Munch? Well, let’s just say he steals the show at the very end.
Please check out the commentary below. “Homicide: Life on the Street” is now available to stream on Peacock, and the entire show is still available on DVD through Shout Factory.
So, help me, I liked “Megalopolis.” Francis Ford Coppola’s passion project which has been decades in the making. It was finally unleashed unto the world at large, and the reviews have been incredibly polarizing as audiences were either enthralled or baffled by what they witnessed. it was pretty much considered a box office bomb in advance as studios had no idea of how to promote it, and it debuted with a terrible $4 million gross which looks horrid for a film with a $120 million budget. But while it has been met with the same critical and commercial derision as another Coppola film, “One From The Heart,” was greeted with back in 1982, it shows he has no fear or shame in taking grandiose risks with the material given to him.
Going into “Megalopolis,” I was determined to watch it with as open a mind as possible. Judging from the many Hollywood studios’ collective refusal to promote or market it, I assumed this would be a genre defying motion picture since no executive had a clear idea of how to sell it. I also did not go in expecting something along the lines of “The Godfather” or “Apocalypse Now.” Those classic films were their own things, and this one is quite another.
What I discovered was a cinematic mess, but it’s an enthralling mess with many ideas on its mind and beautiful visuals few other filmmakers could pull off. Seeing it with an audience, some of which did walk out on it, made it all the more entertaining as everyone really got into it, for better or worse. Like Richard Kelly’s “Southland Tales,” I really dug the heedless ambition Coppola brought to this long gestating project, but “Megalopolis” is a bit better as the story is a little more understandable and easier to get the gist of.
The film, which is described as a fable, is set in an alternate version of America where New York City has been rechristened as New Rome. Crime is terrible and poverty is rampant while the rich revel in their decadent desires. Then along comes Cesar Catalina (Adam Driver), a futuristic architect whose invention of the Megalon, a new bio-adaptive building material, offers a great change to the world. His plan is to use it to build a futuristic utopian city of his design. He also has the ability to stop time in its track, which gives no meaning to the term, “time stops for no one.”
But, as Nick Nolte once said at a press conference I attended, “there will always be change and there will always be resistance to change.” The resistance comes from corrupt New Rome Mayor Franklyn Cicero (Giancarlo Esposito) who prefers to keep the status quo the same as it ever was where the rich get richer, and the poor get poorer and like the average New York mayor, Cicero is constantly booed by the citizens he zealously yields power over. Even as the crowds jeer him, he still smiles that big smile of his which makes me wonder if he is ignorant, hopelessly naïve, or just a narcissist.
Now I am sure you guessed it already, but the Roman names are intentional as Coppola is comparing the fall of Rome to what America is going through, and he was influenced by the Catilinarian conspiracy when he wrote the screenplay. That conspiracy involved a coup back in 65 BC when Lucius Sergius Catilina attempted to overthrow the Roman consuls of Marcus Tullius Cicero and Gaius Antonius Hybrida, and forcibly assume control of the state. it is clear both Catalina and Cicero want a measure of power over the citizens of New Rome, and neither will let anything stand in their way in obtaining it.
Another character making a play for political power is Clodio Pulcher (Shia LaBeouf who is especially lively here), Catilina’s resentful cousin who looks to embarrass him in the most unforgettable ways possible. He looks to win the New Rome citizens over by starting a campaign which invites comparisons to the term “Make America Great Again.”
There is a lot more I can tell you about “Megalopolis’” story, but there is honestly enough for several movies here. As a result, watching it once is not nearly enough for me. There are a lot of plot threads which go in various directions, and while some may say this film does not have enough of a center, I think it does. Perhaps it will take some time to put all the pieces together when it comes to this passion project. Or, if Coppola lives long enough, we will get another cut of the film as he likes to fiddle around with his previous works.
Some have expressed fierce criticism over how the actors seem to be acting in different movies here as the performances range from natural to utterly theatrical. Indeed, there are a various number of acting styles clashing with one another here, but I was not really bothered by this. Considering how divided America has become in the past decade or so. We have citizens accepting one reality while others are accepting its polar opposite. As a result, the conflicting styles this motion picture has to offer us made a lot of sense to me.
Adam Driver makes Catilina into an especially compelling character like he always does, Jon Voight does some of his best work in a while as Catalina’s wealthy uncle, Crassus, who has more tricks up his sleeves than the actor would ever be quick to let on. Nathalie Emmanuel, who plays Julia Cicero, Catalina’s love interest and Cicero’s daughter, and does a great job of further emphasizing the intense conflict between the two men.
But if there is a most valuable player to be found in “Megalopolis.” It is Aubrey Plaza who portrays Wow Platinum, a television personality who goes from being Catalina’s mistress to Crassus’ lover and wife as she desires nothing more than money and power, and it becomes crystal clear what she will do to get them. Plaza is given free rein to chew the scenery every which way she likes. there is no forgetting her presence once you walk out of the theater as she revels in portraying such a despicable Lady Macbeth-like character.
What else can I say about “Megalopolis” that I haven’t already? Yes, it is a mess full of ideas which Coppola has spread all over the place, and there are flaws which are quite glaring. Still, it is an infinitely creative piece of work. The visual effects serve the material without overwhelming it, and there is an unforgettable beauty in the color scheme Coppola employs here.
I have no shame in giving “Megalopolis” a positive review. No, it is not Francis Ford Coppola’s masterpiece (for me, that would be “The Conversation”), but it was great fun seeing the famed filmmaker and winemaker swinging for the stars. He walks a tightrope throughout, taking risks and challenges along which most directors would never do today.
“Megalopolis” is very, very earnest in its designs as Coppola leaves us with a plea for peace and a world which everyone regardless of class and creed can fully benefit from. This may seem like a pipe dream considering how the world is currently tearing itself apart due to religious or ideological differences, but it is a memorable epitaph, should this film be his final work.
And at the very least, we will always have Adam Driver’s unforgettable delivery of “da club.”
I came into the horror thriller “Succubus,” written and directed by R.J. Daniel Hanna, completely blind. From its poster, this film looked to be one of those low rent horror flicks that may be enjoyable but will be quickly forgotten like the last value meal you consumed at your local McDonald’s. What resulted, however, truly surprised me, especially after learning what the filmmakers had to work with. “Succubus” held me firmly within its tight grasp from start to finish as it takes the audience on an especially insane ride to hell. While this is a motion picture which will find its biggest audience on VOD, seeing it on the silver screen proved to be quite the treat.
We meet Chris (Brendan Bradley), a tech financier who is currently going through some tough times. His latest business venture fizzled to where his finances are very tight, he is separated from his wife Sharon (Olivia Grace Applegate), and he is home alone with his infant son and figuring out where to go at this tenuous stage in his life. Plus, he keeps getting pestered by his overly sensitive mother, Denise (Rosanna Arquette of all people), about his bad business decisions and her grandson whom she hopelessly adores.
In the midst of all this, Chris’ alpha male of a best friend, Eddie (Derek Smith), has encouraged him to go on a dating app and meet attractive females who are just waiting to party with the right man. Chris is initially reluctant to engage in the possibilities of online dating as he still has deep feelings for Sharon, but then he comes across a beautiful woman by the name of Adra who has a truly smoking hot body, but whose face is obscured by a cellphone she holds up in front of her face. Why would she do that when everyone else is quick to get you to look at their revealing features? Chris is quickly drawn in by her, and this leads him down a path which will reveal, among other things, some inescapable facts about nanny cams.
Adra is played here by Rachel Cook, and she is clearly having a blast playing a seemingly innocent human being who almost effortlessly lures Chris into her clutches. I was back and forth on whether to write the definition of the word succubus, but her performance here makes me want to as she seduces not just Chris, but the audience as well. So here it is:
A succubus is a female demon or supernatural entity in folklores who appears in dreams to seduce men, usually through sexual activity. According to some folklore, a succubus needs semen to survive; repeated sexual activity with a succubus will result in a bond being formed between the succubus and the person; and a succubus will drain or harm the man with whom she is having intercourse.
After watching this film, I think you will agree that Rachel portrays the personification of a succubus.
What also intrigued about this film was how well made it is for a genre picture. The cinematography by Jimmy Jung Lu is quite striking, the music score by Andrew Brick Johnson keeps the tension simmering just beneath the surface, and the production design by Eric J. Peterson helps ground the characters and their situations into a reality we can understand to where the action is more horrifying and unnerving than it already is. Seeing it on the silver screen made it quite the treat as a result.
When I first saw Brendan Bradley’s character of Chris appear onscreen, I figured he was a tech guy who spent more time on his computer and social media than anything else, and that he made more money than I will ever see in my lifetime (okay, that’s resentment talking). But from beginning to end, Bradley makes Chris into a complex and sympathetic human being to where I couldn’t help but be in his corner even as he learns in the worst ways possible how the road to hell is paved with good intentions.
Eddie is a character who could have easily been the average douchebag who is infinitely threatened by the attacks on his masculinity, but Derek Smith takes Eddie from those testosterone heights to his vulnerable lows as we watch this character travel down a path which may very well have the most painful ending. As a result, this will leave all the men crossing their legs in understandable defense.
You also have Olivia Grace Applegate as Chris’ estranged wife, Sharon, who starts off as an anxious bundle of nerves but ends up rising to the challenge when her husband ends up in harm’s way. Kudos also goes out to Emily Kincaid who plays Sharon’s best friend, Charlisse, who has invited her to a bachelor party and constantly encourages her to be a free spirit because of her current single status.
But the big secret weapon “Succubus” has to offer us is “Hellboy” actor Ron Perlman who portrays Dr. Orion Zephyr, a man who appears to have all the answers to what Chris is going through. The genius of Perlman’s performance is how enigmatic he makes Dr. Zephyr as certain allegations are made about this character to where we cannot be certain if he is a trustworthy human being. As a result, Perlman only adds to the unbearable suspense this movie has to offer as shocking events occur which could not have been easily predicted.
With “Succubus,” writer and director R.J. Daniel Hanna has given us the kind of horror film which is not about giving audiences a jump scare every five minutes, but instead to deliver a WTF cinematic experience which, whether or not you think it rivals the average Ari Aster flick, will leave you deeply unnerved. This was especially the case when I saw the horrified expression on a certain character’s face at the end. Just when you think the terror is over, it isn’t. Kind of like real life, huh?
As the title spells out, this review was written by Ultimate Rabbit correspondent Tony Farinella.
Kevin Smith has developed a loyal and dedicated following amongst the film community because he’s a film lover at heart. He’s someone who appreciates cinema and the magic that can occur when you create something powerful on screen. He’s one of the few directors out there where people will see his movies based on his reputation. When they see “Directed by Kevin Smith,” they know they are in good hands. He’s also shown he can dabble in various genres with budgets of all sizes. His latest film, “The 4:30 Movie,” feels more like an early Smith film in terms of its budget, heart and humor. It’s a delightful slice of life about growing up, falling in love, and falling in love with the movies.
“The 4:30 Movie” is described as semi-autobiographical and is said to be loosely based on Smith’s early adventures of going to the movies along with his early romantic escapades. The film’s main character is named Brian David, and he’s played by Austin Zajur. Brian has a huge crush on Melody Barnegat, played by Siena Agudong. He had a chance to take things further with Melody the previous summer, but he was a little too shy and timid. He’s lived with that regret for a full year, so he’s looking forward to connecting with her when he invites her to the movies with his two buddies, Burny (Nicholas Cirillo) and Belly (Reed Northrup). This is a big moment for Brian, one that he has been waiting for and thinking about for a full year.
Of course, Brian and his buddies run into a unique cast of characters along the way, including a pro-wrestler named Major Murder (Sam Richardson), a power-hungry theater manager (played perfectly by Ken Jeong), and an Emo Usher (Adam Pally). The film also includes cameos by Jason Lee, Rachel Dratch, Diedrich Bader, Jenny Mollen, Jason Biggs, Justin Long, Rosario Dawson, and Method Man. Even if they’re only in the film for a minute or less, they help populate the unique and quirky world of “The 4:30 Movie.” It reminded me of the classic teen comedies I grew up with in the late 1990’s. Smith is able to make an R-rated teen comedy with just the right amount of R-rated humor and sweetness it needs to succeed.
I’m really glad Smith decided to stick with an R-rating here. Even though there is nothing in the film which is offensive or obscene, they need to be able to talk how teenagers talked in the 1980’s. When you try to put a muzzle on that, the audience is going to notice it. The film is simplistic in its moviemaking approach, but that is exactly what the story calls for, as it’s about friendship, romance, love, humor, and finding yourself. It is clear that Smith trusts his actors and also his script, so he allows it to unfold in a very authentic way. The film is barely over eighty-minutes long, when you take away the credits, but that’s exactly what I wanted out of an end-of-summer teen comedy/romance.
The script is also razor sharp with a lot of great winking-at-the-camera moments and references. Smith is a terrific writer, and he knows how to write dialogue for his characters. It’s safe to say Brian David is based on a young Kevin Smith: funny, awkward, goofy, and with a lot of passion for cinema. Everyone in the film is also interesting and likable, even the evil goofy manager. This is very much a film that has a sense of place and time. It feels a lot like “Stranger Things” without the horror elements. It is about young people in the 80’s who are figuring things out together as a group and also as individuals.
“The 4:30 Movie” is a fun, sweet and heartfelt flick. It reminded me of being a young teenager who had a crush on a girl, and all I could think about was that girl. I was also a movie nerd and still am. The idea of going to the movies with a girl you were crushing on in high school was the ultimate dream at that time. You also had your buddies you went to the movies with, and you would go each and every Friday to check out a new release. It was a simpler time in life, and it’s something I would imagine many people are nostalgic for these days. In today’s day and age of streaming and instant access to movies, the big screen experience has lost its luster. When you factor in dating websites and social media, it’s also not the same when it comes to dating. We live in a world of swiping left or right to pick our next partner in life.
“The 4:30 Movie” is old-school Kevin Smith at his finest. I had a blast with this movie, especially the fun soundtrack composed by the very talented Bear McCreary, who has made a name for himself in the horror genre with his tremendous musical stylings. He did a great song in 2019 for the “Child’s Play” remake called “The Buddi Song” with Mark Hamill which I really enjoyed. There’s also a song in this movie which is sure to be stuck in your head after you hear it. You have great acting from the young actors, fun cameos, and a witty and sweet script. All of the ingredients are working here to make this one of the best Kevin Smith films in years.
* * * ½ out of * * * *
Should You See It?
“The 4:30 Movie” is opening in theaters on September 13th. Considering the film is very much a love letter to the big screen experience, I would recommend you see it with some friends at the theater. I’ve noticed the film is playing in a lot of independent theaters around my area, which is the perfect way to see a film like this one. I loved this movie, and it left me with a big fat smile on my face. It reminded me of why I go to the movies and why I love them in the first place. It’s a feel-good movie as well. This one comes highly recommended.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“The Watchers” is the feature film debut of Ishana Night Shyamalan, daughter of M. Night Shyamalan. M. Night Shyamalan is one of the most polarizing directors of the past twenty-five years. He caught lightning in a bottle early on in his career, and for the most part, he hasn’t been able to recapture that magic with most of his current offerings. I recently discussed his movies with a friend of mine, and I said, “While I don’t always enjoy his films, they rarely, if ever, bore me.” He relies on a third act twist in his films to keep the audience guessing. However, after a while, it starts to feel like a gimmick. After all, if you are waiting to be surprised, is it really a surprise?
Upon viewing “The Watchers,” it’s clear Ishana was heavily influenced by her father and his directorial style. As a matter of fact, if you didn’t tell me beforehand who directed the film, I could believe the film was directed by her father. It very much feels like an M. Night Shyamalan flick, as he serves as a producer on this project. I can see how she would want to follow her father’s footsteps, but at the same time, I would have liked it if she had a style all her own. It’s only natural she is going to be influenced by his work, but she would have been better suited making a film unique to her own singular vision.
“The Watchers” stars Dakota Fanning as Mina, an American woman living and working in Galway, Ireland to avoid dealing with the pain and trauma of her mother’s death. It has been fifteen years since her mother died, but she’s still holding onto that sadness and unable to move forward. She works at a pet store, where she vapes and is going through the motions. Her twin sister tries to keep in touch with her, but Mina finds it challenging and painful to talk to her. One day, Mina is put in charge of delivering a golden conure near Belfast, Ireland when her car breaks down in a mysterious forest. She runs into an older woman named Madeline, played by Olwen Fouéré, who takes her into The Coop, a secure structure where they can stay safe.
The other individuals in The Coop are Ciara and Daniel, played by Georgina Campbell and Oliver Finnegan. Mina learns they are being observed every night by a group called The Watchers. There are also rules in the forest they must follow in order to avoid angering The Watchers. They can’t go out at night, and they also can’t enter The Burrows. Mina is very suspicious of these rules and doesn’t understand why she just can’t leave. Madeline is a grizzled veteran of this forest and acts as a motherly figure to the younger occupations of The Coop. After months of being in The Coop, things start to get very tense and uncomfortable for all four of them. Can they survive and last without killing each other or losing their minds?
“The Watchers” is an example of a film that sounded interesting and intriguing on paper. However, even though scripts are written on paper (or a keyboard for that matter), they need to come alive on screen. I never felt like the film came alive on screen. As someone who has seen a number of M. Night films, you know there is more than meets the eye here. There is going to be a big moment in the film where certain aspects of the plot are revealed and you go, “Ah ha! Now I get it.” Before that, everything else just feels like filler, and the film kind of meanders on screen. There is nothing about this film which is boring, awful or unwatchable, but there is also nothing that is truly captivating, exciting or pulse-pounding.
I’ve often had a big issue with PG-13 for horror films or thrillers. Yes, I do love a good kill in a horror flick, and I do enjoy gore. It’s more than that, though, as I feel like the PG-13 rating also doesn’t allow for the kind of freedom a film like this needs. It needs to be more intense and brutal. It feels like they are playing it safe here. Yes, the final thirty minutes are when the stakes are turned up a notch, but by that point, I didn’t feel as though it really mattered all that much. A good or great movie needs to be built up properly from the start all the way to the conclusion. It’s like conducting an orchestra. We have an OK beginning, a below-average middle, and a pretty good third act. “The Watchers” is an OK movie once you find out what it all means and what it’s about, but the journey there has too many bumps in the road.
* * out of * * * *
4K Info: “The Watchers” is released on a single disc 4K from Warner Brothers Home Entertainment, which also comes with a digital copy of the film. The film has a running time of 102 minutes and is rated PG-13 for violence, terror and some thematic elements.
4K Video Info: The Dolby Vision transfer here is a crisp looking transfer. This is a very dark and moody film, so don’t expect a ton of colors or anything to really pop on screen. However, the 4K does a good job of setting the mood for the film with its deep blacks and shadowy background.
4K Audio Info: The Dolby Atmos audio track is also a great home-theater experience for viewers. The sound is exceptional, as I was able to keep it on the same volume throughout the entire movie without it being too high or too low. It was perfect. Subtitles are also included in English, Spanish and French.
Special Features:
Welcome to the Show: The Making of The Watchers
Creating The Watchers
Constructing the Coop
Ainriochtán and the Irish Fairy Folklore
Deleted Scene – Lair of Love
Should You Buy It?
I liked “The Watchers” a little more after I understood the mythology behind The Watchers and their backstory. It’s still a film that is a one and done viewing experience. As I stated in my review, there is nothing here that is truly terrible in terms of the acting, the production or the story. There is also nothing which really stood out or made a big impression on me. I wouldn’t mind seeing another film in the future from Ishana Night Shyamalan, but I’d like to see more of what she brings to the table as a director as opposed to just following a similar formula to what her father has done in his career. There are some interesting special features here, and the audio and visual aspects of the 4K are very impressive. Overall, “The Watchers” is worth checking out on a rainy day as it has a short running time, but I don’t think it’s a film that needs to be added to your movie collection.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
A little over a year ago, Warner Brothers Home Entertainment released a set which included the first four “Rocky” films along with the director’s cut of “Rocky IV.” Many fans were dissatisfied with this release and pointed out audio and video issues along with the fact that “Rocky V” and “Rocky Balboa” were not included in the set. Now, Warner Brothers has released a new edition of the “Rocky” films on 4K in a set entitled “Rocky: The Ultimate Knockout Edition,” and it includes replacement discs for the issues with the first four films and also includes “Rocky V,” “Rocky Balboa” and “Rocky Balboa: The Director’s Cut.” There is also a Blu-ray disc which includes special features for the first four films. I went back and looked at my review from March 2023 for “Rocky: The Knockout Collection,” and I didn’t feel as though the issues were as egregiously bad as other reviewers made them out to be.
With all six of the Rocky films now out on 4K, people are going to be wondering if this set is worth its hefty price tag. Before I get into all of that, let’s briefly discuss the films. The original “Rocky,” released in 1976, won Best Picture and put Sylvester Stallone on the map. It is the ultimate underdog sports movie and a film which is quoted and remembered to this very day. Even after Stallone is long gone, fans and historians will always remember him as Rocky Balboa. Of course, he also played John Rambo, but people really connect with Rocky and can even see themselves in the character. It was the right film with the right actor at the right time.
There is much debate and handwringing over the sequels. I love all of the “Rocky” films, warts and all, as they play a part in the story of Rocky Balboa and his ups and downs as a character. We see him start from nothing, rise, fall, and rise again. I think you have to appreciate the good, bad and the ugly all of the films as they all serve a specific purpose for this franchise. Of course, my favorite film will always be the first “Rocky.” After that, I’d probably go with “Rocky II,” “Rocky Balboa,” “Rocky IV,” “Rocky III,” and “Rocky V.” If you ask me this question in a few months, my answer might change again.
The original “Rocky,” the one which started it all, is about a low-level boxer who is looking for a chance to prove he’s not another bum from the neighborhood. He mostly takes outlaw fights which make little to no money. One day, Apollo Creed (Carl Weathers) is looking for an opponent in order to sell his next fight. When he stumbles upon Rocky Balboa, an underdog fighter from Philadelphia, he figures he can use this David vs. Goliath story to sell some tickets and get an easy victory. He ends up getting more than he bargained for from Rocky Balboa, who is feeling the support of his newfound love interest, Adrian (Talia Shire) and her brother Paulie (Burt Young). All he wants is a chance to prove his self-worth.
In “Rocky II,” he needs to prepare for his rematch against Apollo Creed. Can he defeat Apollo Creed this time, or will Creed destroy him and show that their last fight was simply a fluke? Even though Creed won the first fight by decision, Rocky showed he can last in the ring with the Heavyweight Champion of the World.
In “Rocky III,” Rocky needs to learn how to handle the biggest obstacle of all: success. How will he deal with money and fame? He also encounters Clubber Lang, played by Mr. T and Thunderlips, played by Hulk Hogan.
In “Rocky IV,” Ivan Drago (Dolph Lundgren), a menacing Russian, awaits him. I mentioned in my initial review of the first set how I preferred “Rocky IV: Rocky vs. Drago” over the original cut of “Rocky IV.”
In “Rocky V,” he has to get a handle on being a dad and life outside of the ring.
In “Rocky Balboa,” he’s past his prime, old and beaten down, but he’s looking to find an outlet to deal with his pain.
I imagine most people reading this review are familiar with each and every film in the “Rocky” series, so I don’t imagine these are major spoilers. They simply serve as a refresher in case you haven’t seen the films in a while. You are reading this review to see if this box set is worth the money, as mentioned previously. The answer is both yes and no. The 4K transfers are cinematic and an upgrade over the Blu-rays. The “Rocky” films have never looked or sounded better in any other format. The audio issues are also cleaned up on all of the films, even though I didn’t really notice them with the last “Rocky” set. This is all of the “Rocky” films, as the “Creed” films are their own separate entity, even though they are in the “Rocky” universe.
This set is going for about $90 to $110 depending on where you purchase it from, as Gruv.com has it for the cheapest I’ve seen. The discs themselves are great. Warner Brothers fails massively with the packaging of this set. It comes in a flimsy cardboard slipcover with discs that can be looked through in a flipper case. These movies are important to me, and they are also important to a lot of film fans out there. They went cheap with the packaging, as the cardboard slipcover is not a thick and sturdy box that can protect the films or the case. The discs are also stuck in a flipper case which shows a lot of off-gassing, which is this greasy substance that is really difficult to remove from the back of the disc holders.
Overall, I enjoyed watching the films on 4K, and I’m happy Warner Brothers decided to release this “Ultimate Knockout Edition” of all of the “Rocky films. At its price point, however, I would expect a lot more on the packaging side of things. The packaging and the case are truly a mess, and it makes it hard to fully enjoy this set. As a collector, we buy movies for the movies and also the packaging. We are not simply buying the discs of these films. I wish they would have shown a little tender loving care to this set. They should have released these in individual cases in a sturdy box set which holds them all together.
Ratings:
“Rocky”: * * * * out of * * * *
“Rocky II”: * * * ½ out of * * * *
“Rocky III”: * * ½ out of * * * *
“Rocky IV”: * * * out of * * * *
“Rocky IV: Rocky vs Drago – The Ultimate Director’s Cut”: * * * ½ out of * * * *
“Rocky V”: * * out of * * * *
“Rocky Balboa”: * * * ½ out of * * * *
“Rocky Balboa: Director’s Cut”: * * * out of * * * *
Video Info: All of the films are released on Dolby Vision, which leads to some very impressive looking visuals. The best-looking films in this set, in order, are “Rocky V,” “Rocky II,” “Rocky IV: Rocky vs. Drago,” “Rocky IV,” “Rocky,” “Rocky III,” “Rocky Balboa” and “Rocky Balboa: The Director’s Cut.” It was a bit of a surprise to me that “Rocky Balboa” was the weakest link out of all these films from a visual standpoint. It was the film I was most excited to see upgraded to 4K, but it looks rather bland and vanilla. This is probably because they put both versions of this film on one 4K, which is asking a lot out of one disc, although it didn’t affect both versions of “Rocky IV” for some reason. It’s surprising to see that the worst film in the “Rocky” franchise, “Rocky V,” is the best-looking one out of the bunch.
Audio Info: All of the audio issues are fixed here from the previous release, but once again, I didn’t notice a big difference the last time they released these films on 4K. I know that Warner Brothers made sure to correct the issues from the last release based on what I’ve read online. You don’t have to worry about a disc replacement program with any of the audio tracks here. None of the films come with Dolby Atmos, which is a bit of a bummer, as the Rocky films seem perfect for Dolby Atmos. The audio is still really good, but this would have given it that extra boost.
Special Features:
“Rocky”
• Audio Commentary with director John Avildsen and producers Irwin Winkler and Robert Chartoff, Talia Shire, Carl Weathers, Burt Young, and Garrett Brown
• Audio Commentary with Lou Duva and Bert Sugar
• Audio Commentary with Sylvester Stallone
“Rocky Balboa”
• Audio Commentary with Writer/Director Sylvester Stallone
• Deleted Scenes
• Skill vs. Will: The Making of Rocky Balboa
• Reality in the Ring: Filming Rocky’s Final Fight
• Virtual Champion: Creating the Computer Fighter
• Fight Makeup
“Rocky” Bonus Disc
• 8MM Home Movies of Rocky
• 3 Rounds with Lou Duva
• Steadicam: Then and Now with Garrett Brown
• Make-Up! The Art and Form with Michael Westmore
• Staccato: A Composer’s Notebook with Bill Conti
• The Ring of Truth
• A Tribute to Burgess Meredith
• Stallone Meets Rocky
• The Making of “Rocky vs. Drago”: Keep Punching
• Trailers
Should You Buy It?
I don’t think Warner Brothers is going to release ANOTHER “Rocky” set, so I would say buy it, but I would wait until it goes on sale. As of right now, the price is way too high considering the packaging on this set and the lack of original special features. My feeling is this—if you are going to release a set like this, which is near and dear to so many people’s hearts, why not release it the right way and take your time? I would have loaded it up with as many special features as possible and spent a little more money on better packaging and a better case. The films, for the most part, look good and the audio is solid. I’m not trying to sound picky here or look a gift horse in the mouth, but this set should cost $60 and not $90 to $110, considering how they threw it all together in this packaging. You will enjoy the films, which is the most important part, but a little quality control would have gone a long way. This “Rocky” set on 4K does come recommended, but I recommend you wait for it to go on sale and not rush out and buy it right away.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“Challengers” is a film I went into with high expectations. Even though I’m not a tennis fan, it looked very promising based on its director, young cast and premise. I thought it would be a stylish and entertaining film that would be one of my favorites of 2024. This brings me to my next point, which is the worst kept secret in film criticism: MOST film critics do read reviews before they watch a movie. Now, I didn’t read full-length reviews of “Challengers,” but I did look at its score on Rotten Tomatoes. I know certain film critics like to go into films completely blind, but I do believe they are more excited for certain films than others based on word-of-mouth. With that being said, I was very excited and eager to check this one out.
“Challengers” has a nonlinear plot, so it goes back and forth over a decade of time. It follows three tennis players: Tashi Donaldson (Zendaya), Patrick Zweig (Josh O’Connor) and Art Donaldson (Mike Faist). Art and Patrick have been friends since their school days, but their friendship is put to the test when Tashi, a talented but extremely competitive tennis player, comes between them. They have a tennis match where the winner will get Tashi’s phone number. Patrick ends up winning the tennis match, but it doesn’t take long for him to self-destruct and blow it with Tashi.
This is where Art comes in and sees an opportunity to be there for Tashi, especially after she suffers a career-ending injury. Patrick is supremely talented on the tennis court and also incredibly cocky, which makes him his own worst enemy. Art is a very good tennis player, but he seems to lack the killer instinct necessary to survive on the court. He’s a nice guy, which isn’t a bad thing, but oftentimes his insecurity shows up on the tennis court. Tashi, in present day, is his coach and is pushing him to be the best and find that next gear he needs to succeed. In many ways, she is living through him after her dream came to an end because of her injury.
All three lives come together once again when Tashi enters Art into a Challenger tournament to prepare him for a potential Career Grand Slam if he’s able to obtain one more US Open Tournament victory. In the Challenger event, he finds himself facing off against his former best friend, Patrick Zweig, who is now broke, busted and disgusted as he’s living out of his car. Patrick relishes the chance to beat his former best friend and also possibly win back Tashi. Tashi and Art are now wealthy, married and have a child. It feels like their relationship, however, will always be based on how well he does on the tennis court.
As I’m writing this review and remembering the film, I’m very surprised it didn’t win me over. There are a few problems with the film, and the first one is the cast. While all three of the young actors are aesthetically pleasing, I don’t feel like they were portraying characters I found interesting, layered or complex. Yes, they are unlikable, but that’s OK in the movies. There have been many unlikable characters throughout the history of cinema, but these characters are just plain boring. I didn’t care about their love triangle or drama. It felt forced and unnecessary. I also found the acting to be very wooden and cold. They are playing cold characters, but the acting didn’t really sizzle on screen. I didn’t feel as though the three of them had any chemistry together.
Another problem is the use of music. Yes, the soundtrack features music by Atticus Ross and Trent Reznor, but the music is overdone here. It takes away from the film, as it’s one song after another after another. I didn’t need an onslaught of music in this movie. They could have sprinkled the music in here and there throughout when it was truly needed. It’s overkill.
“Challengers” is also directed by Luca Guadagnino, a supremely talented director whose previous works include “Call Me By Your Name,” the “Suspiria” remake, and “Bones and All.” Much like the music, the style is overdone in this movie. It’s style over substance.
There is no doubt that “Challengers” is a good-looking film with good-looking people. It needed a lot more from the script and its actors. It also needed the director to step back a little and let the film breathe without throwing so much at us at once, whether it was visual tricks or the music. This felt like an A24 film on steroids. Now, I’m a fan of A24 films, but their best films are the ones where they have a healthy balance of style, substance, human emotion, and powerful acting. At the end of the day, I didn’t care who won the big match or who ended up with the girl. These are pretty people with self-induced problems, and I didn’t enjoy spending time with them in the world created by Guadagnino.
* * out of * * * *
Blu-Ray Info: “Challengers” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It has a running time of 131 minutes and is rated R for language throughout, some sexual content and graphic nudity. The film comes with a digital code as well.
Video Info: This is a sharp looking Blu-ray, but it’s baffling this film didn’t get a 4K release. It looks good on Blu-ray, but it would have been eye-popping on 4K. This was a real missed opportunity.
Audio Info: The Dolby Atmos track really thumps during the moments in the film where the music takes over. It sounds good and powerful. I’m always happy when a Blu-ray or a 4K has a solid Dolby Atmos track.
Special Features: None
Should You Buy It?
“Challengers” only gets a Blu-ray and DVD release from Warner Brothers, and it also comes without any special features, which is truly baffling. As stated previously, this film should have been given a 4K release on day one. I’m not quite sure why they didn’t go in such an obvious direction. The film itself has been well-received by critics and most audiences, but it didn’t quite click with me. I found it to be very shallow, and it was also way too long. I can’t recommend you purchase this Blu-ray because of the movie itself, and also because there are no special features. “Challengers” would have been a better movie with a better cast, a sharper script, and a better editor. As it stands, it is watchable, but I found it to be incredibly forgettable when it was over. I’d pass on this one. If you did enjoy the film in theaters, I’d also wait for a possible 4K release at some point, perhaps from the Criterion Collection.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
I came into “Fly Me To The Moon” with a bit of trepidation. On the surface, it looks like a fluffy and light hearted romantic comedy, the kind of film I typically avoid like the plague. Also, a portion of its story seemed determined to prove that the Apollo 11 mission and landing on the moon could have been faked, and I take major exception at anyone attempting trying to prove how that “one small step for man” was all a farce. Seriously, if you think Neil Armstrong and company making it to the moon was all a big fat lie, I invite you to watch the 2019 documentary “Apollo 11” which makes clear the mission did in fact happen, and to believe otherwise would be blasphemous.
Well, I was pleasantly surprised by “Fly Me To The Moon” as it proves to be a warm-hearted any very involving film which has laughs, genuine emotions, and some truly wonderful performances throughout. It also serves as a reminder of how, even back in the 1960’s, people were more interested in getting control of the narrative than they were about facts or what was seen as truth. This is even more the case today for reasons I’m sure I do not need to point out.
Based on a story by Bill Kirstein and Keenan Flynn, we are introduced to Kelly Jones (Scarlett Johansson), an advertising and publicity genius who is, shall we say, recruited by a shady government agent named Moe Berkus (Woody Harrelson) to fix up NASA’s image in preparation for the big Apollo 11 mission to the moon. Upon arriving in Florida along with her assistant (played by Anna Garcia), she comes into direct conflict with NASA director Cole Davis (Channing Tatum) who is determined to see this mission through to completion without any complications. But with these two characters being played by Johansson and Tatum, you know sparks will be eventually fly between them because, you know, why not?
First off, I have to point out what a dynamo Scarlett Johansson is here as Kelly. In her first scene in which she confidently manipulates a trio of automobile executives to include seatbelts in their upcoming models, Johansson is ever so sublime as she commands the screen to an infinitely enjoyable extent. Watching her make her way into places no civilian is allowed and getting the participations of companies willing to hawk their products (Tang, in particular, is an unforgettable standout) is infinitely enjoyable to witness. And when the time is right, she shows a vulnerable side to Kelly which hits right at our hearts.
As for Channing Tatum, I’m a little torn on his performance as Cole Davis. Part of me wishes he didn’t appear so stiff at times, but maybe this was by design. Cole is a NASA official who is as strait-laced as they come, and Tatum plays this to perfection even as I wanted him loosen up a bit. But as the movie goes on, his performance improves as he comes to like Kelly more than he thought he would, and he does have a bit of chemistry with Johansson which certainly helps. And in the end, like him, we want to see this particular Apollo mission succeed.
“Fly Me To The Moon” reaches an especially interesting point when Moe orders Kelly to set up a fake moon landing on a nearby stage in the NASA compound. It is meant to serve as a backup in case the Apollo 11 mission fails, but Moe eventually admits that this fake setup will be the only moon landing anyone will ever see on television as America is determined to win the Space Race no matter what. It is an interesting conundrum as government forces ensuring that there will be footage of astronauts landing on the moon makes sense, and makes even more sense that there would be a serious need for a backup plan to be utilized to ensure some kind of moon landing would take place for the public to see. Still, some things in this world can’t be even better than the real thing regardless of what U2 says.
Director Greg Berlanti (“Love, Simon”) and screenwriter Rose Gilroy do not reinvent the romantic comedy drama, let alone the period romantic comedy drama, but they do give us a lot of inspired dialogue and situations as Kelly and company work to deceive government officials into believing they are watching a staged landing when they are actually, and desperately, trying to broadcast the real deal. With the inclusion of the average black cat, things become more exciting than you might expect them to be.
In addition to Johansson and Tatum, a number of other actors give memorable performances here. Woody Harrelson is a hoot as he made me believe without much doubt how Moe Berkus can hear and see everything from a mile away. His work here is a reminder of how he can play any role given to him, and this has been the case for many years now.
Watching Ray Romano as Cole’s NASA friend, Henry Smalls, is a reminder of what a truly terrific actor he can be. Granted, this was made clear to me years ago with his work in “Rob the Mob” and “The Irishman,” but I’m not sure people know him enough outside of his “Everybody Loves Raymond” and stand-up comedy success. Romano gives Henry a lot of genuine emotion, and he fully humanizes this character in ways any great actor could and should. He is that good here.
If there’s a scene stealer to be found in this film, it is Jim Rash who portrays the obsessive director of the fake moon landing, Lance Vespertine. There’s no forgetting him after this as he makes us understand why Lance is such an exacting filmmaker to where he treats government agents and actual astronauts as if they are the worst actors ever. He is such a flamboyant presence throughout, and yet he also manages to avoid turning Lance into a mere caricature. Others may disagree with this assessment, but there you go.
I really wasn’t sure what to expect from “Fly Me To The Moon” when I walked into the theater as it was not a summer movie I was eagerly waiting for, but I came out of it pleasantly surprised as I enjoyed it much more than I thought I would. It takes familiar elements from the average romantic movie and makes them feel fresh in my eyes, and it once again reminds me of what a tremendous talent Johansson can be. Also, it is further indisputable proof of how Apollo 11 did in fact land on the moon. For some stupid ass reason, there are still many committed to believing the whole thing was faked and that Stanley Kubrick was somehow involved. Seriously, get a life already!
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“Twister” is a film that is currently celebrating its 28th anniversary. It raises two important questions—where has time gone, and when did I become old? Watching “Twister” for the first-time since its release, it is clear this is a quintessential 1990’s action flick—you have your movie stars, your big budget, and your special effects. If you are able to shut off your brain and sit back and enjoy the ride, there is plenty to like here. If you are looking for logic or a complex story, you have come to the wrong movie. Your enjoyment level of this movie is solely dependent on your ability to suspend your disbelief when it comes to flying cows and off-the-wall tornadoes.
In the opening scene, we see a young woman named Jo Harding who unfortunately loses her father in an F5 tornado. This has stayed with her well until her adult life, as she is now entrenched in the world of tornadoes as a professional storm chaser. She is going through a divorce with her weatherman husband named Bill, played by the late Bill Paxton. He is hoping she will sign the rest of their divorce papers, so he can finally marry Dr. Melissa Reeves, a reproductive therapist, played by Jami Gertz. Jo (Helen Hunt), however, is dragging her feet as she still has feelings for Bill. They soon find themselves in a situation where they need to work together in order to survive because a massive tornado is coming their way.
Helen Hunt and Bill Paxton star in Twister.
Jo and Bill have created a storm-device called Dorothy, which can predict if a storm is happening fifteen minutes ahead of time as opposed to the usual three minutes. This will give people more time to prepare for a tornado and make sure they find a safe haven for them and their loved ones. It needs to get close to a tornado in order for the sensors inside of it to track any weather data. Jo has also assembled a talented team which includes Dustin Davis (Philip Seymour Hoffman) and Rabbit (Alan Ruck). The scene stealer here is Philip Seymour Hoffman. I would describe him as Jeff Spicoli if he ever pursued a career as a storm-chaser, and he steals every scene he’s in throughout. He’s hilarious, charming and off-the-wall.
“Twister” is an incredibly entertaining action picture that works because of the jaw-dropping special effects and its likable cast. Helen Hunt, in particular, is great as a strongly written female character dealing with grief and trauma by trying to make sure no one ever experiences what she went through as a child. Bill Paxton is a cheesy goofball who doesn’t see what’s right in front of him and the fact he’s better off with Jo. Jami Gertz takes a thankless role as the “other woman” and makes it work to where the audience still likes her, even though we’d rather see Jo and Bill together.
The special effects and tornado scenes are expected to deliver in a film like “Twister,” and they do not disappoint. The film is wise to take some time to have the characters interact with one another, so that when the storm scenes kick up a notch, we care about what happens to the participants. They also build up the storm scenes so when they happen, we are waiting for them and are emotionally invested. “Twister” was directed by Jan de Bont, who had previously directed 1993’s “Speed.” He knows how to blend the action scenes in with the character scenes in an effortless way, and he hits the right balance throughout. After not seeing the film for over two decades, one of my concerns was it would be too action heavy. I’m glad to see he strikes the right chord with his direction. It helps that the film was co-written by Michael Crichton, the smart and talented author and screenwriter.
“Twister”is about fifteen minutes too long, and sometimes there are too many characters here, some of which I did not mention. It’s not a perfect film by any stretch of the imagination. However, for a big-budget action flick, it’s exactly what it needs to be and then some. As mentioned earlier, there is a build-up to the storm scenes, which are bonkers and over-the-top. It’s about making the little scenes and the big scenes matter and co-exist together in harmony. It’s also about having fun. There is a lot of fun to be had with “Twister” even in 2024. It’s an entertaining action film with some big laughs and even bigger explosions.
* * * ½ out of * * * *
4K Info: “Twister” is released on a single disc 4K from Warner Brothers Home Entertainment. The film has a running time of 117 minutes and is rated PG-13 for intense depiction of very bad weather. This release also comes with a digital copy of the film along with a really cool looking slipcover.
4K Video: This is one of my favorite 4K releases of the year from a visual standpoint. It looks gorgeous, clear, and vivid. When I think of this movie, I think of the colors. The colors really pop here, especially when the sky outside is green. It’s a tremendous looking 4K and it’s an early candidate for one of the best 4K releases of the year.
Audio Info: The Dolby Atmos soundtrack is a fantastic touch here, as this is a big screen movie that is being brought right into your home theater. This film was made for 4K. The big scenes feel big with this Dolby Atmos track. It sounded perfect. It wasn’t too boisterous or in-your-face, but it gets the point across in an effective manner. They did a great job here, too.
Special Features:
The Legacy of Twister – Taken by the Wind (NEW)
Chasing the Storm: Twister Revisited
Anatomy of a Twister
The Making of Twister
Van Halen Music Video – “Humans Being”
Commentary by director Jan de Bont and visual effects supervisor Stefen Fangmeier
Should You Buy It?
HECK YES! If you enjoy a good action flick in 4K, “Twister”is exactly why they made this format in the first place. It’s the movie you show your friends and family when you are trying to convince them to switch from Blu-ray to 4K. It also comes with a brand-new special feature, which is rare on catalog titles from studios. You also have the previously released Blu-ray special features, so you can keep the 4K and have everything that came with the Blu-ray as well. It’s the best of both worlds. Even though this film looks and feels like a 1990’s summer blockbuster, I found it to be a blast because it holds up well while also being a good nostalgia piece as well. If I were you, I’d buy this film on day one of its release. It comes highly recommended.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
“In a Violent Nature” has all the requisites of the average slasher film. It contains a bunch of young adults vacationing out in the wilderness in a lone wood cabin, a developmentally challenged child who died under cruel and tragic circumstances and has since become a most vengeful spirit, that one guy who tells the tale of the vengeful spirit who will eventually slaughter them all before they realize it is too late to leave, sharp objects, a mask for the killer, a variety of brutal deaths and, of course, a final girl. Anything you would expect from the average slasher film, this one has got it.
But what makes “In a Violent Nature,” which was written and directed by Chris Nash, stand out among so many others of its bloody ilk is its unique vantage point: the majority of the film takes place from the killer’s perspective. This quickly reminded of Alfred Hitchcock who dared us to see things from a murderous point of view in “Psycho” and “Frenzy,” but those films spent only so much time observing things from a killer’s mind. This IFC Films release, however, invites you to spend the majority of its 94-minute running time sharing in a murderer’s cold and brutal gaze as his victims die the most painful of deaths.
Things starts off with the image of a locket hanging on the remains of a fire tower. An unseen character takes the locket with him, and a few seconds later we see Johnny rise up from underneath the ground. Johnny, we learn, was a developmentally disabled boy who was tricked into climbing up the same fire tower years ago with the promise of getting a plethora of toys. But instead of toys, he finds someone willing to scare him out of his wits, and he tragically falls to his death. Now Johnny is back, and he aims to retrieve the locket taken from him. What particular value does this locket have for him? Keep watching to find out.
When it comes to Johnny, he looks a lot like Jason Voorhees. He has no hair, his clothes are very tattered, and he moves at a very slow pace wherever he goes. I shudder, no pun intended, to think of how bad his body odor likely was as he trudged through the woods to lay waste to his prey. It got to where I kept waiting for someone to tell this particular slasher, “Oh my god, you really need a makeover!”
But what really surprised me about “In a Violent Nature” is how quiet a slasher film it is. Most feature jump scares and loud music scores from composers who abuse violins to an overwhelming degree. This one, however, does not go out of its way to give you a sensory overload (or at least, not right away), nor does it contain a film score of any kind. The only music you hear comes from a character’s Walkman which keeps playing after he is decapitated, and we hear it play on as the batteries in it die an ever so slow death.
Some have called this horror film an “ambient slasher,” and it feels like one crossed with a nature documentary. I am curious to see what audience members and horror buffs in particular think of this methodical slasher as it is deliberately paced. I imagine they might be expecting something much different, but this little shocker is quite thoughtful in its design. If Terrence Malick ever madr a horror film, it would look something like this.
For those of you worried that this film will be seriously lacking in gory and bloody kills, have no fear. The first few deals with things unseen, and they threaten to be the most haunting moments director Nash has to offer us as he toys with our collective imaginations. But then we get one where a yoga practitioner has her body contorted in directions which would have any instructor yelling out loud, “Oh you so can’t do that to yourself! There is no downward dog pose to be found here!”
Then there is another character who ends up getting bludgeoned by an ax and repeatedly so, and it gives new meaning to the term beating a dead horse. This horse keeps getting beat to death long after its heart has stopped pumping blood, and its carcass has long since decayed. Some horror maniacs just don’t know when too much is too much, or maybe the sexual frustration they experience is completely unbearable.
The ending, which I would never dream of giving away, is especially haunting as we reach a conclusion I did not expect. It also features an actress known for her work in the “Friday the 13th” franchise, and she is very effective as she is thrust into a intense situation she was not expecting. Whether or not it is the ending you wanted or not, it is a thoughtful and unpredictable conclusion which had me at attention throughout.
“In a Violent Nature” may not reinvent the slasher film as we know it, but it does dare to take the genre in a thoughtful direction. It does have a lot of the same beats as the average horror movie, but it subverts them to where we are reminded of what filmmakers can accomplish. There are many reasons why IFC Films gave this movie, which cost well under a million dollars, its widest theatrical release to date, and why it got some extra press coverage when an audience member allegedly vomited during one of the goriest murder scenes it had to offer.
Of course, now I have to wonder if this slasher flick will get a sequel. If the money keeps rolling in, we will get another bunch of young adults dumb enough to once again take Johnny’s locket. Perhaps they will try to sell it on eBay or at a local flea market. Flea markets still exist, right? With horror sequels, the body count is much higher and gorier. Imagine the sights and sounds of such a sequel, even if it is not directed by Terrence Malick…
The Ultimate Rabbit 