So here I am with another commentary track after the one I did for “Pump Up The Volume.” But this time, it is for an episode of one of my favorite television shows of all time, let alone of the 1990’s, “Homicide: Life on the Street.” Specifically, the commentary is on this show’s very first episode, “Gone For Goode,” which did a brilliant job of introducing us to various Homicide detectives, and also showed how it was not going to be your usual cop show. Instead, it was initially designed to be one without onscreen violence, something which executive producer and showrunner Tom Fontana thought was crazy, and he quickly signed up with the show as a result.
What hooked me onto this show was the fact it was being developed by Barry Levinson, the Oscar winning filmmaker of “Rain Man.” He also directed the “Gone For Goode” episode and introduced its cinematic style which no other director could direct their way out of.
With this commentary track, I express my thoughts on this episode and the show at large. Upon watching “Gone For Goode,” I was immediately hooked into what this groundbreaking series had to offer, and I did my best to provide as much trivia about its making as I could. I’m not sure there will ever be a perfect commentary track to anything unless it is done by Martin Scorsese or Bruce Campbell, but I would like to think this one comes close. If you say it does, it will do wonders for my fragile ego.
Please feel free to listen to the commentary track below as you watch this episode on your DVD player. At this time, “Homicide: Life on the Street” is not available to stream, most likely due to music rights, but you can purchase the complete series on DVD from Shout Factory. It was previously available in a box set from A&E Home Video, but it has long since gone out of print.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
Like many horror fans out there, I’m a huge fan of the “Evil Dead” franchise, from the previous four installments to the TV show that aired a few years back, “Ash Vs. Evil Dead.” When I heard they were going to make a fifth “Evil Dead” film, I was brimming with excitement. The trailer looked exciting, and I was ready for an R-rated horror film that was going to deliver the goods when it came to violence and intensity mixed with great characters and acting. The film delivers on its ultraviolence and its gore, but the rest of it is missing something. Because of this, I had very mixed feelings on “Evil Dead Rise.”
Right from the opening scene of “Evil Dead Rise,” it is clear director Lee Cronin is not going to pull any punches with the in-your-face violence. Once we get to the apartment building, the film introduces us to Ellie (Alyssa Sutherland), a tattoo artist who is taking care of her three children after her husband left her. This is news to her sister, Beth (Lily Sullivan), a guitar technician who travels a lot on the road pursuing a career in music. Because of this, she isn’t always the best sister or aunt, as she’s constantly traveling. She has missed a lot in their lives and is hoping to catch up with them now.
The three children are Bridget (Gabrielle Echols), a rebellious teenage girl, Danny (Morgan Davies), a mischievous teenage boy, and the youngest daughter Kassie (Nell Fisher). They all live in a condemned apartment building and are doing their best to stay positive despite a difficult situation. One night in the basement parking lot after an earthquake, Danny discovers some ancient relics he believes will help their family financially. It is a series of records along with the infamous Necronomicon. Of course, it wouldn’t be an “Evil Dead” movie if someone didn’t listen to the records or read the book. Once that happens, you better believe strange and weird things are going to start occurring to this family.
As far as what I enjoyed about the film, I would definitely point to the creative and clever use of violence. For the majority of the film, it takes place in this one apartment, but it doesn’t stop the director from using anything and everything he can get his hands on in order to escalate blood and gore. There were definitely a few scenes which had me wincing at the screen, as they really went for it in the gore department. Truthfully, it is the best thing the film has going for it. If only they had a well-crafted and interesting story to add to the mayhem, that would have been something special.
At this point, I think they need to do something different with the “Evil Dead” franchise while also staying true to what makes these films so popular. Of course, it is difficult to walk that tightrope, but it’s rather obvious what’s going to happen. You start to notice certain clichés and tropes which are associated with this franchise. I thought 2013’s “Evil Dead” was really, really good, and I was hoping they were going to come back, ten years later, and really feed off that energy and intense acting. For the most part, the acting is OK. This felt more like a VOD version of “Evil Dead.” I know these films aren’t known for having huge budgets, but it didn’t feel like a big deal while I was watching it.
This film is only 96 minutes, yet it feels like they crammed a lot into those 96 minutes. They also didn’t take enough time to develop and grow the characters beyond what I wrote in my descriptions of them. I didn’t dislike them in any way, but I also wasn’t really rooting for them at the same time. If they had taken just a little bit of time to make them a little more layered and added more emotional depth, it would have really added to the stakes. It felt like they just tacked on generic backstories without allowing us to spend time with them in order to care about when their lives are in danger. Again, I felt underwhelmed by this film overall.
* * ½ out of * * * *
4K Info: “Evil Dead Rise” is released on a two-disc 4K and Blu-ray combo pack from Warner Brothers Home Entertainment. It comes with a digital code for the film as well. It is rated R for strong bloody horror violence and gore, and some language, and has a running time of 96 minutes.
Video Info: This film has a very, very dark look to it, sometimes a little too dark at times. It does add to the atmospheric mood and sense of dread, but at times a little color would have helped the proceedings. It might just have been the vision of the filmmaker to keep it dark throughout. In the opening scene, it is crystal clear when they are outdoors.
Audio Info: The Dolby Atmos track is very, very good, especially for a horror film. It doesn’t bang you over the head during the jump scares or the gory sequences. It stays level throughout the course of the film. Subtitles are included in English, Spanish, and French.
Special Features: NONE
Should You Buy It?
I was hoping they would have added Dolby Vision to “Evil Dead Rises” as I think it would have helped with some of the darker scenes to make them a little crispier and cleaner. I understand this is a dark horror film in a condemned apartment building, but at times it is too dark to really take in what is happening on screen. Even though this film received a 4K release, there are no special features to speak of, which was very, very surprising. I know that happens with certain Blu-ray releases, but I would have thought they would have had some quick behind-the-scenes interviews or a commentary track with the director at least. I think the film is worth watching when it’s on Max (formerly HBO Max), but I really can’t recommend it because it doesn’t have a great transfer and there are no special features. As far as the film itself, I’m still very mixed with my feelings on it, as you can tell from this review. I thought the blood and the gore were really inventive, creative, and intense beyond belief. However, the story is starting to become a little stale at this point, and this film didn’t feel all that sacred, special, or important to the “Evil Dead” franchise. It is my least favorite of the five films.
**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.
Guy Ritchie has had an eventful 2023 with two films being released so far in “Operation Fortune: Ruse de Guerre” and now “The Covenant.” On paper, it was a film I was looking forward to with great anticipation, as I firmly believe Jake Gyllenhaal is one of the best working actors in Hollywood today. When I see his name or Oscar Isaac’s name on a movie poster, I’m immediately interested in checking out the film, as they always bring something unique and outside the box to the proceedings. Ritchie, on the other hand, is a stylish director who knows how to make old-school action films with a modern style.
The film is set in 2018 and shows Afghanistan through the eyes of Army Sergeant John Kinley, played by Gyllenhaal. He needs an interpreter in order to communicate with the people of Afghanistan after his previous interpreter was killed. He is introduced to Ahmed Abdullah, played by Dar Salim. John doesn’t always see eye-to-eye with Ahmed, but Ahmed knows how to get the proper results. If the interpreters do their job, they will be granted visas to the United States for their service. One day, John is attacked by Taliban fighters and knocked out in the process. However, he is saved by Ahmed, who makes it his mission to get him back to the base.
Once he gets him back home to the base alive, John is back in Los Angeles with his family trying to piece it all together as he suffered severe head trauma. John then proceeds to try to get in touch with Ahmed and make sure he’s properly taken care of after he saved his life. He feels this bond and connection with him. Even though they butted heads at times, he knows Ahmed saved his life from the Taliban. It was not an easy task to accomplish, and he knows he wouldn’t be alive if not for Ahmed. Ahmed couldn’t take any roads and had to make sure he wasn’t noticed by the Taliban. He accomplished a heroic feat, and it is eating away at John that he can’t do the same for Ahmed in return. Instead, Ahmed has to hide in a cave with his wife and family as he’s number one on the kill list for the Taliban because he turned against them and saved an American Sergeant.
The problem with “The Covenant” is the fact it really lacks an emotional depth and connection. Ritchie has always been great at crafting violence and in-your-face action. He does this here. However, he forgets to take the time to really build a proper relationship between John and Ahmed. He didn’t develop the characters individually or together. Because of this, the film suffers greatly and doesn’t feel urgent. When you have an actor like Gyllenhaal at your disposal, there really isn’t anything the man can’t do on screen. However, he is knocked out for part of the film, and for the other moments he’s on screen, he’s yelling, screaming or in battle.
In the end, I was pretty disappointed with “The Covenant.” It is not a bad movie by any stretch of the imagination. I just figured with a two-hour running time, Ritchie would strike the right balance between action and emotion. Instead, it is about eighty percent action and twenty percent character development. That is not a good percentage for a successful film. The moments which should have carried more weight really, really felt flat. I kept waiting to get into the story, and it never took off for me. I do, however, hope to see Ritchie and Gyllenhaal work together again in a film with a better script. This one was watchable, but it should have strived to do more with its premise. Sometimes Ritchie makes the fatal mistake of making a film which is all style and not substance. This is all action and very little substance.
* * out of * * * *
Blu-ray Info: Guy Ritchie’s “The Covenant” is released on a two-disc Blu-ray and DVD combo pack from Warner Brothers Home Entertainment. It also comes with a digital code for the film. I must admit I was very surprised a film like this did not receive a 4K release. It would not have improved the quality of the film, but it’s the kind of film that really lends itself to the 4K format. It has a running time of 123 minutes and is rated R for violence, language throughout, and brief drug content.
Video Info: The 1080p transfer does look really, really good, but I would have liked to have seen what a 4K transfer of this film would have looked like considering some of the action scenes in the film. The Blu-Ray is impressive looking, though, and holds up its end of the bargain.
Audio Info: We are treated to a great Dolby Atmos soundtrack here along with subtitles in English and Spanish. Considering all of the action in the film, I was happy I was able to keep it on the same sound level throughout the film without it ever getting too loud.
Special Features: None
Should You Buy It?
Guy Ritchie’s “The Covenant” was a letdown for me. It’s nearly impossible to be bored by a Ritchie film, as there is always something happening on screen, but this is a film where I really felt the running time of a little over two hours. I didn’t feel like there was enough going on with the plot. They had a solid idea for a film along with a major star, but it never really took off. I thought it would turn around in the second half, but it never really found its footing. Once again, I’m really surprised this film did not get a 4K release, but I’m guessing it might be because it was not a big box-office hit. If the film had made more money in theaters, I think it would have had a 4K release. It’s still a good-looking Blu-ray, but there are absolutely no special features. I don’t think it’s worth owning at all, but if you catch it on Max, you might find it more enjoyable than I did as a viewer. It’s rare that I’m this underwhelmed by a Jake Gyllenhaal or Guy Ritchie film. I thought the two of them together would make a really exciting action flick. Instead, this is as run-of-the-mill as they come.
**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.
Okay everyone, The Ultimate Rabbit is doing something new here, at least for him. I am doing my first ever audio commentary, and it is for the 1990 film, “Pump Up The Volume.” Written and directed by Allan Moyle, it stars Christian Slater as Mark Hunter, a high school student who has been uprooted from his hometown in New York and now lives with his parents in Paradise Hills, Arizona. Depressed and lonely, Mark ends up venting his frustration with his situation, and the world at large, on a pirate radio station where he performs under the name of Hard Harry. Chaos ensues as more and more students begin listening in, and parents and school officials do what they can to shut him down.
Now everyone who knows me best knows just how much I love “Pump Up The Volume” (click here to read my review). I first saw it at Crow Canyon Cinemas with my mother back in 1990, and it felt like a godsend to me personally. I very much related to what Mark Hunter went through as he struggles to adjust to a new environment he has been unwillingly thrust into, and I loved how Moyle deals with adolescent struggles and emotions in a real and intelligent way.
Currently, there is no special edition of “Pump Up The Volume” anywhere. It was recently released on Blu-ray, but the only special feature on it is the theatrical trailer. Perhaps Criterion, Arrow Video, Shout Factory or Vinegar Syndrome can show this film the love it deserves.
Basically, this commentary track is to be played as you watch your own copy of the film at home, be it on DVD, Blu-ray or Digital. Feel free to listen in as I try to provide information on the film’s making, and of what it still means to me all these years later.
It’s particularly interesting to watch “The Flash” as we all know James Gunn and company are now overhauling the DC Extended Universe to where many of the actors we see here will likely never get to play these iconic characters ever again. Who knows if we will ever get to see Gal Gadot play Wonder Woman in another film? As for Henry Cavill, his days as Superman are now sadly over. As for Ben Affleck, it kind of feels like sheer luck he is back as Batman considering what a bust the theatrical version of “Justice League” was. In a lot of ways, this DCEU installment is a goodbye of sorts, both literally and thematically speaking.
And at the center of it all is Ezra Miller who returns as Barry Allen and his alter ego, The Flash. Long before this film’s release, Miller had been in various legal shenanigans to where I wondered if he was actually playing himself in “We Need to Talk About Kevin.” If all these allegations are true, it is a miracle he is not in jail or a mental institution, and it’s no surprise that the bosses at Warner Brothers did their best to shut him down months before this film’s release. Of course, their conversation with him probably went something like this:
“Look Ezra, we have put hundreds of millions of dollars into this superhero movie, not to mention the similar amount we put into advertising and publicity. Don’t mess with us or our investors! We need a solid return on this one before we doctor the books to make it look like it has yet to go profit… Oh, and get some mental health treatment. I think you need help.”
Well, regardless of the extended chaos, “The Flash” is now in theaters, and regardless of what you think of Miller as a person, he does give a solid performance as not one, but two Barry Allen’s as he struggles to straighten out the DCEU multiverse which proves to be as easy to fracture as the one in the Marvel Cinematic Universe is.
This movie gets off to an entertaining but rough start as Barry is forced to go into action as a hospital is about to collapse to the ground. Ben Affleck’s Batman is on hand to handle the bad guys while Barry races to save a nurse and a number of adorable newborns from certain danger. The visual effects were all over the place and not altogether exhilarating in the way they should be, and it made me worry that “The Flash” would fall short of the finish line. Perhaps I have been spoiled by the glorious spectacle that was James Cameron’s “Avatar: The Way of Water,” as the visual magic he gave us makes all other CGI effects pale in comparison.
Things, however, do get better as we get to the heart of the story in which we learn how Barry’s mother, Nora (Maribel Verdú), was murdered and that his father, Henry (Ron Livingston), was wrongfully convicted of the crime. Like any other iconic superheroes, Barry has suffered a terrible tragedy which has come to define him, and he pines to get back those he lost too soon.
But then Barry discovers that, in addition to running at lightning speed, he can also go back in time. From there, he succeeds in preventing his mother’s murder thanks to a can of tomato sauce, and everything seems right in the world. The problem is, he quickly discovers he is not in his own reality as he is confronted with another version of himself who is overly obnoxious, and he learns certain superheroes are not around to lend a helping hand. To make things even more unsettling, he is in a reality in which Eric Stoltz was never recast as Marty McFly in “Back to the Future.”
From there, we know Barry has to go back and undo the damage he did to the multiverse. The story of what happens when you mess with time and change the course of events has been done to death. I have seen it dealt with in the “Back to the Future” movies, “Project Almanac,” “Frequency,” “Hot Tub Time Machine” and at least one or two episodes of “The Twilight Zone.” But while the narrative thread may seem overly familiar and the story’s resolution can be seen from a mile away, it is how director Andy Muschietti (“It” and “It: Chapter Two”) gets to this resolution which makes it feel both earned and heartfelt.
Now while the visual effects might seem underwhelming initially, they do get better as they go along, and they prove to be at their best when Barry Allen desperately tries to repair the multiverse in various ways. This leads to some incredible visuals at we get a look at iconic characters in their past incarnations, and of what they could have been cinematically speaking had certain projects not fallen apart. There are a variety of priceless cameos which are too good to spoil here, and they are worth the price of admission.
Miller may be a troubled soul in real life, but he does really strong work here as both versions of Barry Allen. While the Barrys initially come off as annoying and cloying, I really liked how Miller made each of them evolve throughout the film’s 144-minute running time. While the characterizations might seem too broad at first, the way they achieve their objectives is given a lot of depth by Miller as they make harsh realizations of what they can and cannot change, and of their responsibility to the universe they exist in.
But yeah, the real selling point of “The Flash” is seeing Michael Keaton return as Batman. After he retired from the role following “Batman Returns,” I never thought I would see him played the Caped Crusader ever again. Seeing him in Tim Burton’s “Batman” made audiences realize what a strong dramatic actor he could be, something they should have realized a few years before when he starred in “Clean & Sober.” Seeing him back in this role 30 years later is a real treat, and he hasn’t missed a beat as he brings the same gravitas, thoughtfulness and humility we saw him give this character in the past. I thought it might be just a mere cameo, but his Batman is very central to the plot.
As for Affleck, I really do believe it when he said he had a lot of fun being in “The Flash.” While his intro into the DCEU was a rough and bumpy one, he has finally settled into this character to where he could make it his own even in the brief time he appears. Still, this may be the last time we see Affleck’s Batman, and it feels a bit sad as a result.
Sasha Calle gives us a strong and formidable Kara Zor-El/Supergirl here, and I say this even though we don’t get to see enough of her here. And while it is great to see Michael Shannon in anything and everything, his presence as General Zod feels shoed in as the screenwriters needed a central villain to center the story, and he really doesn’t get much to do.
When it comes down to it, “The Flash” is a good but not great motion picture. It is not as exhilarating as I hoped it would be, and the screenplay is a bit of a mess, but it does have heart and is never boring. Considering how bumpy it has been recently for the DCEU, particularly with the critical and commercial failure of the “Shazam” sequel, the fact it is this good is a huge relief. As weary as I am of comic-book/superhero movies, this one feels a bit refreshing and was very entertaining.
Continuing my explorations of interviews I have conducted in the past, I came across this one with Tye Sheridan and his performance in “Last Days in the Desert.” Written and directed by Rodrigo Garcia, it focuses on an imagined chapter of when Jesus (played by Ewan McGregor) went on a fasting and praying journey for forty days in the desert. Among the people he encounters on his travels is a character known as The Boy who is portrayed by Sheridan. The Boy is taking care of his ailing mother and building a house for her and his father to live in. But while he is eager to help his parents, he really wants to visit Jerusalem and hopes Jesus can lead the way for him.
I got to talk with Sheridan back in 2015 when he was promoting “Last Days in the Desert.” These days he is best known for playing the young Scott Summers/Cyclops in some of the “X-Men” movies and the lead role in Steven Spielberg’s “Ready Player One.” When I talked with him all those years ago, he was coming off of “The Tree of Life” in which he made his film debut, Jeff Nichols’ “Mud,” “The Stanford Prison Experiment” and “Entertainment” where he played an actor doing an unorthodox clown act.
While talking with Sheridan, I discussed how interesting his resume was in how it led up to him playing his character in “Last Days in the Desert.” We also talked about how he prepared for this role and how his costume helped to inform his performance. In addition, we discussed the challenges of filming in the California desert, and it gave me a strong appreciation of those who have experienced the hottest of summers Texas has to offer.
Please check out this exclusive interview below. “Last Days in the Desert” is now available to own and rent on DVD, Blu-ray and Digital.
While recently going through my large archive of interviews I have done over the years, I came across the one I did with filmmaker Lorene Scafaria on her film “The Meddler.” Released in 2015, it stars the great Susan Sarandon as Marnie Minervini, an aging widow who, to cure herself of loneliness and heartbreak, moves from New Jersey to Los Angles to be closer to her daughter, Lori (Rose Byrne). In the process of trying to restart her life, Marnie starts getting a little too involved in Lori’s life to where her daughter gets increasingly aggravated, she comes to make various new friends she desperately wants to help out, and she becomes especially friendly with a retired policeman named Randall Zipper (J.K. Simmons) to where a new chapter in her life begins to form.
Born in Holmdel, New Jersey, Scafaria previously wrote and directed “Seeking a Friend for the End of the World” which stars Steve Carrell and Keira Knightley as strangers who form an unexpected bond, and she penned the screenplay for “Nick & Norah’s Infinite Playlist,” a romantic comedy starring Michael Cera and Kat Dennings. Since making ‘The Meddler,” she gave us “Hustlers” which featured a critically acclaimed performance by Jennifer Lopez which somehow got snubbed by the Oscars, and she has directed several episodes of the acclaimed HBO series “Succession.”
I had a lot of fun talking with Scafaria about “The Meddler” and how the screenplay was inspired by similar situations with her mother. We also discussed what it was like working with Sarandon and Simmons, and we even talked about the time when she used to fake book reports to get a bunch of Pizza Hut gift certificates. It turns out she was not the only one who did such a thing.
Please check out the interview below, and be sure to subscribe to our YouTube channel if you haven’t already. There are many more videos yet to come!
“The Meddler” is now available to own and rent on DVD, Blu-ray and Digital.
Recently, I was listening to an episode of Mick Garris’ podcast “Post Mortem” in which he talked with those involved in the horror genre who are currently walking the picket lines for the Writers Guild of America strike. In his conversations with Leigh Whannell, Darren Lynn Bousman and “Fright Night” director Tom Holland, I came to see how those who make scary movies are the nicest and most kind in the business as they constantly wish the best for one another. In any other part of Hollywood, jealousy typically rears its ugly head to an infinite degree as insecurity remains a constant.
I was reminded of this while watching the documentary “Hollywood Dreams & Nightmares: The Robert Englund Story” as it brings together a plethora of horror actors and filmmakers such as Eli Roth, Tony Todd, Lance Henriksen, Adam Green and Lin Shaye among many others. But regardless of their love of horror films, they are mainly here to talk about the actor who originated the role Freddy Krueger in Wes Craven’s “A Nightmare on Elm Street.” What results is a documentary which delves deeply into Englund’s career and ponders whether is best to be known for portraying one character or many.
Directors Christopher Griffiths and Gary Smart take their sweet time looking over Englund’s acting career, and it is great to look at when he started as this is something I have not seen enough about, His parents were not keen on him becoming an actor as they felt he was destined to become a lawyer. Hearing this, it kind of sounds like he had Kurtwood Smith’s character from “Dead Poets Society” as a father (“You’re going to Harvard, and you’re going to be a doctor”). Nevertheless, he idolized Steve Allen, and the acting bug bit him really hard.
While he was determined to become a stage actor, thinking it would be a fair business (no business ever is), he eventually made his way to Hollywood where he made his film debut in “Buster and Billie.” It was interesting to learn that he was typecast for years as a southern redneck for years, and his breakthrough role turned out not be as Freddy, but instead as resistance leader Willie. This brought him worldwide fame, playing one of the nicest aliens in a show filled with devious ones. And then came the child murderer who haunted and killed the younglings on Elm Street. From there, audiences around the world would quickly forget he ever placed nice guys.
Back in the 1980’s, there was no escaping Freddy Krueger as he was literally everywhere. On top of appearing in “A Nightmare on Elm Street” and its many sequels, there was also the television series “Freddy’s Nightmares,” and I believe there was even a rap album. I mean, let’s face it, everyone had a rap album back in the 80’s. Whether it was a good rap album or a horrifically awful one is open to debate.
This is the part of the documentary I was especially interested in because, while Englund never lacked for work in the 80’s, I wondered how he felt about being known for this character more than any other he has ever portrayed. As actors, we yearn to have a career like the ones Meryl Streep and Robert De Niro have as they continue to have the fortune to portray a sublime variety of characters to where it appeared as though they could play anyone and anything. But being typecast seems like a lifelong prison sentence to where no one will let you get paroled in this lifetime.
While I hoped Griffiths and Smart would have dug deeper into Englund’s typecasting as it clearly had an effect on the work he was able to do outside of Elm Street. He makes clear at one point about how he was forced to turn down several roles because of his involvement in the franchise which built up New Line Cinema, and that must have wounded him more than we see here.
An example of this typecasting comes when Englund and others talk about his role in “The Phantom of the Opera” in which he plays another horribly disfigured character, but one who is madly in love with a soprano singer and kills others to steal their skin and apply it to his mangled face.. And yet, when this particular film was being released, its American poster featured a picture of him as Freddy taking a mask off. While Englund was trying to do something a little different, Hollywood still played it safe by reminding audiences he was Freddy.
But the real surprise and satisfaction I had with “Hollywood Dreams & Nightmares” was seeing how Englund looks at his fame as a “happy accident.” Whereas some actors have been desperate to escape the horror genre, Englund has found a wealth of opportunities within it which he may not have gotten elsewhere. Even in movies like “The Mangler,” “Wishmaster,” “Urban Legend,” “2001 Maniacs,” “Hatchet,” “Zombie Strippers” and “Behind the Mask: The Rise of Leslie Vernon,” he has had the good fortune to portray a variety of characters to where you have to envy what he has accomplished in his long career.
Also, this documentary makes it very clear how nice a guy Englund is in real life. This shows in the way he talks and acts around others, and from the various participants who are interviewed throughout. While he may have a dark side, and everyone does by the way, it’s usually the nicest people who end up portraying the most devilish of characters. Some may disagree, but judge not lest ye be judged.
And again, the horror community on display here seems like a great group of people as everyone speaks warmly of one another. Considering how maligned a genre it has been made out to be by many critics and the touchiest of individuals, we see how it deserves to be taken much more seriously. Whether you like horror films or not, the majority of them are not crap or easily disposable.
While this is not a groundbreaking documentary in any way, shape or form, “Hollywood Dreams & Nightmares: The Robert Englund” gives us a memorable portrait of an actor who never set out to be a horror icon but became one out of sheer luck and with the help of engine oil he put into his hair for his Freddy audition. Watching Englund here reminds me of how actors can never really prepare their careers as they may end up in a far different place than they ever dreamed. Like the Rolling Stones said, you can’t always get what you want, but if you try sometime, you just might find you get what you need.
One more thing, I do hope Englund gets to play Freddy Krueger one more time. His appearance on “The Goldbergs” should not be the character’s swan song. Maybe they could do something along the lines of “Logan” where we see an old age Freddy. Hey, maybe even a musical would work. Just get Baz Luhrmann to direct it and it will be spectacular! I can see it now:
Just when I find myself getting increasingly weary of superhero/comic book movies, along comes another “Spider-Man’ installment. This friendly neighborhood web-slinger has succeeded in maintaining a high batting average on the silver screen, and this continues to be the case with “Spider-Man: Across the Spider Verse” which has as much heart, soul and endless creativity as do the best entries in this franchise. I figured this would be the case as the opening credits proved to be a kaleidoscope of crazy colors and images much like the ones Gaspar Noe used in the opening credits of “Enter the Void.” And when a certain character says, “Let’s do things differently this time,” you better believe many will.
We catch up with Miles Morales (Shameik Moore) who is ever so busy with his crime-fighting as his universe’s Spider-Man to where his parents keep wondering where he is most of the time. Never on time for his school counseling appointment or for the party celebrating his father’s promotion to police captain, he is still unable to tell mom and dad he really is Spider-Man as the truth of his alter-ego may put them in grave danger.
In addition, we meet up with Gwen Stacy/Spider-Woman (Hailee Steinfeld) who is going through some serious issues in her own universe. A tragedy has devastated her, leaving her antisocial among her peers and her dad believing Spider-Woman committed murder to where J. Jonah Jameson is calling for her head on a stick. Even if Gwen does have the time to give her dad a big hug, there is still a distance between them which needs to be dealt with.
Eventually, Gwen reunites with Miles in his world, and it proves to be one of the most heartfelt moments as these two can relate to one another in ways they cannot with anyone and everyone else. But their reunion coincides with the arrival of Dr. Jonathan Ohnn, a former scientist who has since been transformed into the supervillain known as The Spot. Voiced by Jonathan Schwartzman, he starts off as a comedic character who pursues a life of crime as his transformation cannot allow to pursue a regular job. Granted, putting down on your resume that your body is covered with interdimensional portals which allow you travel through space and time may not get you that first interview. But as this film goes on, we come to see The Spot will prove to be one of Spider-Man’s most dangerous foes as his power grows and grows and grows.
Like any “Spider-Man” motion picture, “Across the Spider-Verse” deals with those heavy themes of tragedy and responsibility. As with its predecessor, this installment reminds of the loses Spider-Man and the other Spider-Men in the multiverse have suffered and of responsibilities they are forced to live up to where it is inevitable that any and every web-slinger is destined to suffer an unavoidable tragedy. But when the possibility of this is explained to Miles Morales, he won’t accept any such fate for himself or those he loves, and this leads him on a spectacular mission which will have the audience wondering if free will can prevail over predestination, an argument which never gets old.
“Across the Spider-Verse” plays on our knowledge of Peter Parker and of what he has experienced in the live action films, and we know of the sacrifices and challenges Peter has had to endure while fighting crime through his secret identity. While this animated film could have simply trodden over familiar ground, it instead deals with variations on this character both literally and figuratively speaking. As you can expect, there will be an endless number of Spider-Man incarnations on display, and it all gets to where you have to wonder not who could be Spider-Man, but who couldn’t be him (or her, or they, or them, or it).
The animation here is incredible, and I swear there were moments where, if you look in the background, it seemed like live-action elements were added in to where it seems seamless. The visuals are also given a depth which shows in scenes with Miles and Gwen as they stand on top of tall buildings and structures overlooking the crazy city they live in. Seriously, I almost got a case of vertigo looking at these heights, and I never an animated movie to make me feel this way.
As for the action sequences, they are nothing short of spectacular and exciting as Miles is forced to fight off hundreds, maybe even thousands of Spider-Men while determined to make certain changes the multiverse will not easily allow. All of this is aided by the terrific and propulsive music score by Daniel Pemberton.
The entire voice cast is fantastic. Shameik Moore continues to do great work as Miles Morales, but the real standout for me was Hailee Steinfeld who continues to remind us what a wonderful talent she has proven to be following her star-making performance in “True Grit.” As Gwen Stacy, she gives the character’s animated form a true emotional depth which makes her actions and decisions all the more enthralling to take in. Schwartzman succeeds in taking The Spot from being a joke of a burglar to a infinitely dangerous villain who is determined to make Spider-Man suffer to his last breath. It is great fun to have Jake Johnson back as Peter B. Parker as his Spider-Man is now a dad and still a gas to be around. Issa Rae makes her Spider-Woman of Jessica Drew a rough and tough version of the web-slinger whose dedication to her job leaves no room for doubt or uncertainty. And when it comes to Brian Tyree Henry and Luna Lauren Velez, they have wonderful chemistry and many warm and funny scenes together as Miles’ parents, Jefferson and Rio.
Are there any problems with “Spider-Man: Across the Spider-Verse?” Well, I didn’t catch all the dialogue being uttered to where I cannot wait for the 4K/Blu-ray release so I can rewatch the film with closed captions. Even with a running time of 140 minutes, I would have liked for things to slow down a bit so that I could take in more of the action and story. While movies these days tend to be longer than they should be, this one could have been even longer if it wanted to.
Also, there are scenes where we see Miles and Gwen standing upside down on very tall buildings. Now I know Spider-Man has special webs on their hands and feet which allows them to climb buildings, but these two are wearing shoes which makes their ability to hang out upside down rather impossible. I mean, can their webbings penetrate the soles of their designer shoes? Besides, Miles has a pair of Air Jordans, and those shoes are never cheaply made.
There is a lot more I would love to tell you about “Spider-Man: Across the Spider-Verse,” but I am not about to spoil any of its surprises. Besides, there are so many easter eggs to take in to where a second viewing is completely mandatory. Spider-Man has always been one of my very favorite comic book characters this side of Batman, and I am happy to say his adventures are still thrilling even as comic-book movies are starting suffer a bit. When it comes to Miles Morales and his alter-ego, however, there is no stopping him. It makes me very excited for what will come next, and there is still more to look forward to in the next year.
The following review was written by Ultimate Rabbit Correspondent, Tony Farinella.
Your enjoyment level for “Shazam! Fury of the Gods” will depend on how funny or clever you find its main protagonist, played by Zachary Levi. Personally speaking, he is an actor I’ve never been a fan of, especially in these films. I found his performance incredibly irritating, silly and annoying. I understand he’s trying to portray a silly high schooler as an adult who is learning how to be mature and deal with his new superpowers. However, I just found his performance to be very grating after a while. He’s very over the top. I’m all for a superhero film where they have some fun as it doesn’t have to be so dark and dreary throughout. There is room for every type of superhero film out there, and I fully respect and get that. However, he is not the right actor for balancing the goofy scenes along with the more serious action sequences.
Our film opens up in a museum in Athens, Greece where two of the three daughters of the Titan Atlas break in to steal the Wizard’s broken staff from the previous film. Billy Batson (Zachary Levi) is trying to keep his family together as he’s about to turn eighteen and is worried he will be thrown out of the house as his foster parents, Victor and Rosa Vasquez (Cooper Andrews and Marta Milans), are struggling to keep it all together financially. He’s also suffering from a case of imposter syndrome. In essence, he’s insecure and also struggling to figure out his place in the world. Can he keep his “Shazamily” of foster siblings together, as they are maturing and developing their own interests and unique personalities?
However, he has to act fast as two of the daughters of the Titan Atlas, played by Helen Mirren and Lucy Liu, have captured his brother Freddy Freeman (Jack Dylan Grazer) along with a newly repaired Wizard staff. Early on, they are also dealing with controversy for their crime fighting methods in Philadelphia. In fact, they are now known as The Philly Fiascos thanks to some of their mishaps, even though their hearts were in the right place. As mentioned previously, the family has a lot on its mind. For Freddy Freeman, before he was captured, he had a crush on a girl named Anne, played by Rachel Zegler. Pedro Peña (Jovan Armand) is keeping a secret he’s not sure he’s ready to share with the world quite yet.
Darla Dudley (Faithe Herman) is trying to accept growing up while still being a kid at heart. Eugene Choi (Ian Chen) is preoccupied, and Mary Bromfield (Grace Caroline Currey) wants to get into college and is focusing on her studies. They must come together as a family and put their individual interests aside in order to conquer The Three Daughters of the Titan Atlas. They work better when they are together, but it is important they get on the same page and focus on the task at hand. From here on out, we get a lot of explosions, special effects, bad jokes, and a big finale. The film was never boring and it kept my attention for its over two-hour running time. However, it just fell flat for me because of Levi’s performance and just the fact that the film lost its sense of direction near the end and went all over the map.
I’m completely aware that sequels are part of Hollywood when a film is successful, especially when we are talking about a superhero film. People will flock to them. There is a built-in audience already. The “Shazam!” films have been directed by David F. Sandberg, and I was a huge fan of his previous two films: “Lights Out” and “Annabelle: Creation.” The film looks really good, as he has a keen visual sense. However, I didn’t feel the heart of the film as much as I would have liked, and it’s a big problem here. I liked it better than the first one, but when the lead actor is such a ham on screen and so phony and fake with his line readings and performance, it really takes you out of the story. I liked everyone else and thought they did a really good job, but once it becomes a bloated mess and Billy Batson turns into a one-line machine, the film just didn’t work for me. If you liked the first one, you will like the second one. If you didn’t, there isn’t anything here that is going to change your mind or convert you to this character and this franchise.
* * out of * * * *
4K Info: “Shazam! Fury of the Gods” is released on a two-disc 4K and Blu-ray combo pack from Warner Brothers Home Entertainment. It has a running time of 130 minutes and is rated PG-13 for sequences of action, violence and language. The film comes with a digital copy to be redeemed as well.
Video Info: We are treated to a beautiful Dolby Vision transfer here that really stands out and pops. The film looks beautiful on 4K, especially the action sequences. Even though they can be overdone and unnecessary at times, I can admit when they look beautiful. My issue is more of the fact they don’t hold as much weight when the emotional heart of the film isn’t present. The darks set the mood when it needs to, and the film is also filled with color and light when it calls for it.
Audio Info: The Dolby Atmos track is also really, really good here. With a film that relies heavily on action, you worry about the film being so loud that it takes you out of the film. Here, thanks to the Dolby Atmos track, it’s never too loud or soft. It’s perfect throughout the entire duration of the film.
Special Features:
SHAZAM! Let’s Make a Sequel – featurette
The Rock of Eternity: Decked Out – featurette
The Shazamily Reunion – featurette
The Zac Effect – featurette
The Sisterhood of the Daughters of Atlas – featurette
Pay By Play: Scene Breakdown – featurettes
Ben Franklin bridge collapse
Rooftop battle of the gods
Unicorn ride in Philadelphia
Epic showdown at the baseball stadium
The Mythology of Shazam! – featurette
Director’s Audio Commentary with David F. Sandberg
Deleted Scenes, Alternate & Extended Scenes
Should You Buy It?
As a 4K disc, it looks and sounds out of this world. I’m a big fan of what Warner Brothers does with its 4K releases. They really place a high importance on giving their big screen movies a proper release on 4K with Dolby Vision and Dolby Atmos. There are also a lot of special features here, so if you enjoy “Shazam! Fury of the Gods,” you will enjoy this disc and its special features. If I’m grading this movie overall, it’s just average. It was watchable and entertaining at times, but it’s a film I have no interest in rewatching, and I don’t think it will have great repeat value. There are rare moments where the heart of the film is on display, and I liked those moments. The main struggle here is the balance between comedy, action and drama. The film doesn’t quite pull this task off successfully during its over two-hour running time. When it does, it’s good fun. When it doesn’t, it’s very bland and uninteresting. This is a film in search of a tone. If you are a fan of this franchise, you will be happy with the 4K release. If you are watching this for the first time or didn’t enjoy the first one, this sequel is not going to win you over.
**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.
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