2021 Movies

Gaspar Noe’s ‘Vortex’ – An Unflinching Descent into Oblivion

Posted on by The Ultimate Rabbit

This movie starts off simply enough with an elderly couple outside of their apartment in northeast Paris, having what looks like lunch and some wine as they are enjoying the long life they have had together. The wife then asks her husband, “is life a dream?” He responds, “life is a dream within a dream.” Seeing these two together in such a simple setting spoke to me of a couple who have lived what looks like a very successful life. It also proves to be the happiest scene this movie has to offer.

“Vortex” is the latest piece of cinema from Gaspar Noe, a filmmaker I very much admire and have no problem nor hesitation in defending. This particular movie is his most mature one to date, but do not for one second think he has lost a single ounce of his audaciousness here. With “Vortex,” he takes us on a cinematic journey which I can best describe as being unflinching as we follow this couple as their mental and physical health are on a permanent downward slope. Gaspar begins this movie with a dedication which states: “To all those whose brains will decompose before their hearts.” This is then followed by Françoise Hardy singing “Mon Amie La Rose,” a song about going from life to death. Suffice to say, you know from there that this movie will not have a happy ending, and there is no music score from Thomas Bangalter to elevate us out of the bleakness on display.

With “Vortex,” Gaspar goes out of his way to utilize the split screen approach, which Brian DePalma used to great effect in his movies, and a line is slowly drawn down between these two characters to where their existence together will never be the same. They go about their daily activities in what seems like the usual mundane way as the husband works on a book he calls “Psyche” which deals with movies and dreams, and the wife goes shopping at local stores near Stalingrad Station where they live. But as she travels through the aisles of one store, we see on her face how lost she is to where it quickly become clear she has no idea where she is at. Keep in mind, this is just the start of the story. We have yet to see how truly bad things will get.

As for the husband, the work on his book is constantly being undermined by his wife’s deteriorating condition which shows itself in the most horrifying of ways. In addition, he is suffering health problems of his own as his heart condition has him checking his blood pressure every other day. Their only hope is the help they get from their son, Stéphane (Alex Lutz, playing one of the few characters here with an actual name), but he can only deal with so much as he has problems of his own which includes raising his son, Kiki (Kylian Dheret), and recovering from his mental breakdown and a drug addiction which threatens to overtake him in the face of inevitable mortality.

We know Dario Argento best for being one of the best horror filmmakers ever which such classics as “Suspiria,” “Deep Red” and “The Bird with the Crystal Plumage” among others. As for Françoise Lebrun, she is a highly acclaimed French actress who has appeared in a plethora of movies, most notably in Jean Eustache’s “The Mother and the Whore.” Together, these two do not act their roles as much as they inhabit them. With the split screen setup, this makes perfect sense as every single moment in this couple’s time together counts for everything. Even the most mundane of details carries a lot of meaning as these two experience a deterioration neither is prepared to accept or fully deal with.

I also have to give Alex Lutz a lot of credit as well. Not only does he inhabit his role alongside Argento and Lebrun, but he never overacts in the slightest as his character of Stéphane has to carry the weight of his parents’ mental and physical demise all on his shoulders, and anyone who has been through a similar situation can certainly relate. Still, the scene where he relapses without even knowing his son is watching him freebase proves to be quite devastating.

With “Vortex,” Gaspar is not out to pass judgment on these two characters or those around them. Instead, he makes us follow them are inevitable journey to death which we know is coming. Is it cruel of him to do this? No, not really as we have a certain denial when it comes to the finality of life. We know it is coming, but who is prepared to deal with it? While we say we will be there for our loved ones when they breathe their final breath, who exactly looks forward to that?

Watching this movie, I was reminded of some dialogue from one my favorite television shows, let alone one of my favorite HBO shows, “Oz:”

“Let me tell you, dying is a lot harder on the living than it is on the dead. Death really only hurts those left behind.”

“Do we care for people when they’re sick because we actually care about them? Or do we care for them because when our time comes, we want someone to care for us?”

“The state’s attitude to the elderly, any elderly, in or out of prison is… hurry up and die.”

With “Vortex,” Gaspar is not out to suggest any course of action, but to instead offer us an unflinching look at a couple’s last moments before they expire. Even if I felt the urge, I could never look away from the screen as these two individuals breathed their last breaths. Now while it might sound like I am spoiling this film for you, I am not. Some films you watch to enjoy, and others are meant to be experienced. “Vortex,” like all of Gaspar’s films, is meant to be experienced more than anything else, and I applaud it for that.

I would also like to add how “Vortex” makes me want to look at my parents and tell them the following:

“If you ever get dementia, I will kill you. You understand?”

Filmmaker Lars Von Trier was once quoted as saying the following:

“A film should be like a rock in the shoe.”

That is certainly the case with “Vortex.” This is not the first Gaspar Noe film to give you this feeling, and it certainly will not be the last.

* * * * out of * * * *

‘The Matrix Resurrections’ – Welcome Back to the Real World

Posted on by The Ultimate Rabbit

It’s been a couple of days since I watched “The Matrix Resurrections,” and my feelings about it are a bit mixed. Truth is, I have been waiting for a fourth “Matrix” movie for years following the ending of “The Matrix Revolutions” which ended the trilogy with a whimper instead of a bang. My friends and I came out of it thinking there had to be another one, and we guessed it would be called “The Matrix Resurrection.”  So, when the first trailer for “The Matrix Resurrections” was dropped for the whole world to see, I was thrilled to see Neo and Trinity alive again, and I could barely contain my excitement for what was to come. Then again, I am always reminded of how expectations and anticipation can lead you to an ecstatic high which the final product can never ever live up to.

To me, “The Matrix” movies are a lot like Peter Gabriel’s albums, you have to go in expecting the unexpected, and this is certainly the case here. Sure, all the cool special effects like bullet-time and characters jumping all over the place are back, but this installment is also more intimate. It takes jabs at Hollywood’s incessant need for remakes, reboots and sequels as nobody seemingly has the guts to produce anything original, and it echoes the events of “The Matrix” trilogy to where some will be saying “déjà vu” out loud. But deep down, this one is at its heart a love story of two people torn apart in their battle against the machines, but who now have a second chance to be together again because, hey, wouldn’t it be nice?

We meet up again with Neo and his alter-ego of Thomas Anderson (Keanu Reeves) who has once again been plugged back into the simulated world and works as a highly successful video game developer who has long since created a successful trilogy of games entitled, you guessed it, The Matrix. The games are based on his dreams from his faint memories of being Neo, and now the parent company, Warner Brothers, wants him to make another game to the delight of his boss, Smith (Jonathan Groff), who starts off sounding quite a bit like Agent Smith…

Suffice to say, Lana Wachowski is looking to have a little fun with Warner Brothers as they have been constantly asking her and her sister Lily to make another “Matrix” movie. As Mr. Anderson’s fellow employees try to keep coming up with ideas about how to make a fourth game, and no one can seem to agree on anything. Lana ended up co-writing and directing this installment by her lonesome as Lilly did not want to return to this franchise, but I imagine Lana is speaking for the two of them as she flips the bird to the studio as if to say, “you think it’s easy coming up with another sequel? Just be happy with what we give you dammit!”

Still, Thomas is plagued by what he says are “dreams which are not really dreams,” and he tells his therapist (played by Neil Patrick Harris) that he believes he is going crazy. But his therapist, with his blue-rimmed glasses, assures him he is not and prescribes him medication which comes in blue pills. And we all know what happens when you take the blue pill, right?

There’s a lot going on in “The Matrix Resurrections” to where watching it once will not be enough. While it does repeat some scenarios and themes, it does so in a way which feels relatively fresh. Yes, Neo, has to be awakened from the simulated world and brought back to the real one once again, but history does have a nasty habit of repeating itself. After all this time, choice is still seen as an illusion to certain characters, but there are those who are willing to challenge this perception which helped bring me into the story on an even deeper level. After all these years, I refuse to believe choice is an illusion.

One character who looks like an agent introduces himself as Morpheus, but he looks a bit different here as he is played by Yahya Abdul-Mateen II. As to why Laurence Fishburne did not reprise his role, you have to remember what happened to Morpheus in the game “Enter the Matrix” which is considered canon. While Abdul-Mateen does try to sound like Fishburne at times, his Morpheus has his own moves and rhythms to where he comfortably makes the role his own and is a lot of fun to watch.

Jonathan Groff makes for a menacing Agent Smith (the second trailer revealed who this actor was playing), but it would have been great if Hugo Weaving were able to return as this character makes an interesting decision towards the latter half of the movie. Jessica Henwick, who opted out of Marvel’s “Shang-Chi and the Legend of the Ten Rings” to do this, makes Bugs a badass gunslinger whom you want to follow from start to finish. Lambert Wilson returns as The Merovingian, but this time he looks like he just jumped out of Terry Gilliam movie. And yes, Christina Ricci appears here in a small role which is like one of those blinked and you missed it ones. Much was said about her being in this sequel, but she’s barely in it.

The action here is exciting, but it does not have quite the same exhilaration as the original “Matrix” did. Regardless, there were some interesting moments on a train and throughout the city of San Francisco. Cinematographers John Toll and Daniele Massaccesi give this particular “Matrix” movie its own look to where it feels like its own thing. Composing the score this time around instead of Don Davis are Johnny Klimek and Tom Tykwer who have big shoes to fill, but the two give us music which makes the action and emotions on display all the more rousing. Having said that, I kept asking myself, “Where the hell is Juno Reactor?!”

But for me, the heart of this movie is in the relationship between Neo and Trinity. Although their characters were killed off in “The Matrix Revolutions,” something never quite sat right with me or with the conclusion where the humans essentially reach a draw with the machines. Lana has said writing the screenplay was her way of dealing with the grief of losing her parents, and bringing back these two iconic characters felt very welcome to me. While some may consider this a cheat as it threatens to retcon all Neo and Trinity went through, I am reminded of how anything is possible in this particular cinematic universe.

A lot of people still like to pick on Keanu Reeves’ acting, but I am willing to defend him on a number of roles he has taken on including this one. While there are certain scenes which have him emoting, his work overall was solid overall as he realizes how the dynamic between Neo and Trinity is taking on a different dimension this time around, and his time as John Wick is proof how he can handle action scenes like a seasoned pro.

It is also so cool to see Carrie-Anne Moss back as Trinity as she has not lost a step and still looks far too young to be getting grandmother roles. In the simulated world, she is Tiffany who is married with a couple of kids and has a thing for motorcycles, but upon meeting Mr. Anderson, she is convinced she has met him before. Moss invests this character with the same boundless energy she gave Trinity in the original trilogy, and I am thrilled she is back to keep some ass. Also, I am glad that the choice to leave the Matrix was given to her because, seriously, women should have the right to choose.

When it comes down to it, what really got me more involved in “The Matrix Resurrections” was seeing Neo and Trinity on the screen and wanting them to be together again. Seeing them torn apart previously may have inevitable, but I like to believe in second chances as the world of machines has gotten bigger and stronger than what we saw previously. In a world dominated by technology, the need for human emotions like love is stronger than ever.

As I write this, “The Matrix Resurrections” has been getting some rather polarizing reviews. People have been calling it a needless and soulless cash grab while others see it as a worthy installment which takes things in a fresh direction. Indeed, while Lana Wachowski does deliver on certain expectations, she openly defies several others as she is determined to make this movie her own and not simply give in to corporate studio heads or test screenings. The fact people are mixed on the final result is not really surprising as these movies are anything but your average sci-fi action spectacle, and they don’t always give you what you think they will.

For the most part, I did like “The Matrix Resurrections” even if it didn’t thrill me as much as I hoped. But like I said, it helps to expect the unexpected. I will see it again at some point in the hopes of uncovering more of its multiple themes and visuals as there is only so much I could take in on a first viewing. Many will be judging this sequel at its surface, but hopefully they will take the time to see what’s underneath it.

The Rolling Stones were right: you can’t always get what you wanted, but if you try sometimes, you just might find get what you need. That’s how I view this movie.

* * * out of * * * *

‘Spider-Man: No Way Home’ is Fantastic Entertainment and One of MCU’s Best

Posted on by The Ultimate Rabbit

Okay, why beat around the bush. “Spider-Man: No Way Home” is far and away one of the very best “Spider-Man” movies ever made. It stands proudly alongside my other favorites (“Spider-Man 2” and “Spider-Man: Into the Spider-Verse”) as it gives audiences quite a ride which proves to be as emotional as it is exciting. It also cements the fact that Tom Holland is the best actor to inhabit this iconic comic book/superhero thus far, and it even redeems the weakest Spider-Man movies (“Spider-Man 3” and “The Amazing Spider-Man 2”) to where I think I can get away with saying all is forgiven. Yes, it really is that good.

When we last saw our friendly neighborhood human bitten by a spider, Mysterio had framed him for his murder which was gleefully exploited by J. Jonah Jameson (J.K. Simmons, because casting anyone else in this role would be uncivilized) on his Alex Jones-like broadcast. Even worse, the world now knows Spider-Man is really Peter Parker which makes his life a social media nightmare as people are quick to look at the headlines instead of reading the article or looking beneath the surface of things to get to the truth. Of course, even if the truth is revealed, there would still be many people around the world quick to believe the fiction, especially if it fits in with their deluded mindset.

In desperation, Peter seeks out Doctor Strange (Benedict Cumberbatch) and asks him to use the mystical arts to wipe out everyone’s memory of him being Spider-Man. Unfortunately, Strange’s spells get all messed up when Peter suddenly remembers he doesn’t want Michelle “MJ” Jones-Watson (Zendaya), his best friend Ned (Jacob Batalon) or his Aunt May (Marisa Tomei) to forget about him or his alter-ego. As a result, the multiverse cracks open and many of Spidey’s devious enemies are brought into the world this particular Peter Parker exists in to do away with him. It’s up to Peter to, as Doctor Strange says, “Scooby Doo this shit.”

It is fantastic to see some of the best Spider-Man villains back on the silver screen here. I was especially thrilled to see Alfred Molina return as Doctor Otto Octavius as he is still the most memorable nemesis in all of these films. Molina does wonderful work once again as he plumbs the depths of his character to find the humanity within a man who has been driven to madness. This is an actor who never fails us.

The same goes with the always reliable Willem Dafoe who returns as Norman Osborne/Green Goblin. This time, the Green Goblin gets an upgrade to where Dafoe no longer has to bother with the cheap-looking mask he was forced to wear back in 2002 (he must have enjoyed smashing it to pieces). More importantly, he also makes this iconic comic book villain a fascinating study in good and bad, and the bad side of Osborne threatens to far more devious than anyone could have expected.

And in the other corner, we have the return of villains from the worst “Spider-Man” movies: Max Dillon/Electro (Jamie Foxx) and Flint Marko/Sandman (Thomas Haden Church). Church was forced to act in a sequel which already had too much going on and contained some truly underwhelming special effects. The same thing happened to Foxx in “The Amazing Spider-Man 2,” but his performance also proved to be underwhelming as he was unable to make Electro a menacing antagonist. But in “Spider-Man: No Way Home,” both actors are clearly having way more fun this time around as their characters fit into the narrative nicely, and their appearances are upgraded to excellent effect. This is especially the case with Foxx who is no longer this blue-looking guy who looked like he belonged more in “Avatar” than a “Spider-Man” flick, and he gets to take Electro in some new directions which makes his performance much more memorable this time around.

As with any Marvel Cinematic Universe offering, there are many cameos from other comic book characters and superheroes throughout, but I will not spoil any of them for you here. Granted, many other websites and outlets have been digging deep into all the surprises and easter eggs just one day after this sequel opened, and I should not be surprised by this, but you deserve to discover these surprises yourself. There’s a number of good reasons why I did not post a spoiler warning at the top of this article.

The best “Spider-Man” movies deal brilliantly with how Peter Parker is just a regular kid who accidentally inherits incredible superpowers which excite him, and who eventually comes to see how with great power comes great responsibilities. Granted, someone usually has to say these words to him, but he does soon realize the magnitude of his actions and his place in the world at large.

Like Tobey Maguire and Andrew Garfield before him, Tom Holland fully understands the humanity of Peter Parker and Spider-Man, and the actor takes us on quite a journey as Peter goes from being a bright young kid whose world has been turned upside down to a man who is tested in ways he does not expect. Tragedy comes to define his life and takes him down a path of no turning back, but Holland, with his eyes and body, shows us a hero who can and will rise above hatred to take on a new adventure which will come his way eventually. Holland is phenomenal here.

I also liked how “No Way Home” deals with its themes such as the following: Can evil be turned to good? Can bad ways and tragic actions ever be redeemed? Is absolute power such an aphrodisiac to where giving it up really does seem insane? Is J. Jonah Jameson ever going to get sued for his program of shameless propaganda? And, perhaps most importantly, how much must a hero sacrifice in order to save the world? I really loved how director Jon Watts and screenwriters Chris McKenna and Erik Sommers deal with these themes, even if some get more attention than others.

Some comic book/superhero movies go in and out of me quite easily to where there is only so much worth remembering about them. “Spider-Man: No Way Home,” however, stayed with me long after the end credits and post credit sequences were done. Like “No Time to Die,” this 2021 motion picture packs quite an emotional wallop as Peter Parker and his iconic alter-ego remains as endearing and heroic as ever. This is one of best “Spider-Man” movies ever, and one of my favorite films of this past year. I was expecting a good movie as I walked into the theater, but I had no idea it was going to be this good.

I also have to hand it to Marvel as they know how to finish a trilogy. The third movie in a franchise can often prove to be disastrous to where it sullies everything which came before it, but that’s not the case here. Now if they can just do a better job with the second film in a trilogy, everything would be great. Seriously, does anyone remember anything about “Thor: The Lost World?” I don’t.

* * * * out of * * * *

‘The Many Saints of Newark’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

As someone who considers “The Sopranos” the greatest television drama of all-time, I was supremely excited to check out “The Many Saints of Newark,” which is a prequel to the television series which captivated audiences from 1999-2007.  At the time, I did not have HBO, so I, unfortunately, didn’t catch the show on its original run. Upon working at Blockbuster, I was able to pick up the series on DVD.  I now own the entire series on Blu-ray, and it only gets better with multiple viewings as there is the family drama, the therapy scenes, the crime element, and even moments of comedy.  It’s a masterpiece.

With “The Many Saints of Newark,” we open up in the late sixties on a young Tony Soprano with his Uncle and mentor Dickie Moltisanti.  Dickie is played brilliantly by Alessandro Nivola in a performance that is perfect from start-to-finish. Dickie is part of the DiMeo crime family.  Other members of the family include Johnny Soprano, Junior, Silvio Dante, Paulie Walnuts, Pussy Bonpensiero, and Pussy’s father who is nicknamed Buddha. Some of the stand-out performers here include Jon Bernthal as Johnny Soprano, Tony’s father. Junior is played by the versatile Corey Stoll. Buddha is also played by the always entertaining comedian Joey Coco Diaz.

If you have never seen “The Sopranos” before, you will probably have a very difficult time understanding what is happening in the film.  This is a film which was made for those who have watched “The Sopranos” and are familiar with the characters and all of their personality traits and even lines of dialogue. It’s been a while since I’ve watched the show, and it took me a moment to piece it together.  Once I did, it was a nice trip down memory lane.  Prequels can be hit-or-miss, and “The Many Saints of Newark,” for the most part, is a hit.  It left me looking forward to hopefully future installments, which I’ve heard have been talked about by series creator David Chase.

During this time in Newark, there are riots breaking out after an African-American taxi driver is killed by a white policeman. One of Dickie’s runners, Harold McBrayer (Leslie Odom Jr.) is an African-American, and he’s getting sick and tired of being only a runner.  He’s also taking part in the riots as he wants there to be equal footing for African-Americans to be able to do business as well. Since Tony Soprano doesn’t have a great relationship with his father, he looks up to Dickie Moltisanti. Tony is getting in trouble by smoking, drinking and gambling at school.  It’s hard for him because his father is not exactly a model citizen, and his mother Livia (Vera Farmiga) is never satisfied and incapable of showing any affection.

I could go into more detail with numerous backstories, but I don’t want to give away too much for those who are going into the film blindly.  As you can tell by reading my review, which only touches on certain aspects of the story, there is a lot happening at once.  In some cases, this is a bad thing.  It is definitely a tale of two movies.  The first hour of this two-hour movie is the weak link. When the film introduces us to teenage Tony Soprano, played by Michael Gandolfini, the son of the late, great James Gandolfini, it really starts to soar and take off.  If the entire film was like the second half of the film, it would have been perfect.

One of the things I did not mention in my review is the dual-performance of Ray Liotta, as both “Hollywood Dick” Moltisanti and as Salvatore “Sally” Moltisanti.  The “Hollywood Dick” persona is loud, aggressive, and rude.  He marries a young Italian woman and treats her very poorly, which upsets his son Dickie as he saw the same behavior unleashed on his mother.  Salvatore, on the other hand, is in prison and full of Buddhist wisdom, which seems to be a great source of comfort for Dickie when he’s conflicted on what is the right thing to do in certain situations and scenarios.  Even though it’s the same actor, it’s two completely different performances.

In the end, “The Many Saints of Newark” is a film that almost reaches greatness, but the first half of the film is really hard to ignore.  However, the second half left me with goosebumps and reminded me of why I fell in love with the show in the first place.  The cast is also top-notch and incredible.  My personal favorite performance of the film comes from Vera Farmiga.  She really captures the essence of Livia and all of the drama and issues which came with her.  Of course, I would be remiss if I did not mention the performance by Michael Gandolfini.  He’s not mimicking his father as Tony Soprano.  It’s more about getting the little nuisances of the character and how he felt as a young teenager which led to his issues in the show as an adult mob boss.   Everyone is great here, so if I’m leaving anyone out, it’s not intentional.

I must also talk about the look of the film.  It’s shot perfectly with a great sense of time and place. Alan Taylor really gets the little things right.  It’s a gorgeous film to look at with its use of blue tones.  He left no stone unturned in making this film.  The outfits worn by the characters are even spot-on, which shows how much thought went into this production.  It was co-written by series creator David Chase.   Since he spent so much time with these characters, it’s obviously a very personal project for him. While “The Many Saints of Newark” is not perfect, the scenes and performances that work really stand out and will leave hardcore fans of the show quite pleased.  I think it will also leave them wanting more.

* * * ½ out of * * * *

Blu-Ray Info: “The Many Saints of Newark” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It also comes with a digital copy of the film.  It is rated R for strong violence, pervasive language, sexual content and some nudity.  It has a running time of 120 minutes.

Video/Audio Info: “The Many Saints of Newark” comes on a crystal clear 1080p High-Definition transfer, which is simply stunning and incredibly vibrant.  The audio comes in a few different formats: Dolby Atmos-TrueHD: English, Dolby Digital: English Descriptive Audio, English, French, and Spanish. Subtitles are in English, French, and Spanish.

Special Features:

The Making of Newark

The Sopranos Family Honor

Deleted Scenes

Should You Buy It?

I really wrestled with whether I wanted to give this film three stars or three and a half stars.  I’ll put it this way: the first hour of the film is a two-star movie, and the second hour is a four-star movie.  I know four plus two equals six, so if you divide those two, you should get three stars.  However, the second hour is so impactful and mesmerizing, I broke the rules of math and gave it three and a half stars.  It left me with such hope and promise.  Once I heard that music play at the end of the film and saw the look in the eyes of Michael Gandolfini, I said to myself, “I want to see more of THIS.”  I imagine, as with anything which is popular and a prequel, the film is going to be polarizing to fans of the franchise. I completely respect that, as “The Sopranos” is a show which is very personal to a lot of people, myself included. As far as if you should buy the film, I would buy it if you are a hardcore fan of the show.  If you watched the show, liked it, and never thought about it again, you can probably hold off on buying it for a little while.  There are some decent special features here, but it seems like studios are really lacking with physical media special features these days.  I can’t remember the last time I listened to a commentary track on a physical release.

**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Cry Macho’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent Tony Farinella.

“Cry Macho” shows a more sensitive and vulnerable Clint Eastwood looking back on his film career and life. After all, this is the 50th anniversary of his working relationship with Warner Brothers.  He has always been a patient filmmaker known for gorgeous scenery and knowing how to get the most out of each and every scene. Roger Ebert once said Eastwood’s films are a prime example of old-fashioned Hollywood craftsmanship.  The fact Eastwood is 91 and still directing and acting in films is truly astounding and surreal. This is a quiet, peaceful and contemplative film.  As an actor, he has always known how less is more. He’s never been an overly loud or showy actor, and he knows the best way to get an emotional reaction out of the audience is through his face. 

This film is set in 1979 as Eastwood plays Mike Milo, a retired rodeo star who has turned to booze and pills due to a broken back. His ex-boss Howard Polk (Dwight Yoakam) calls in a favor with Mike after all he’s done to support him throughout the years.  He wants Mike to go from Texas to Mexico and bring back his thirteen-year-old son Rafo (Eduardo Minett).  Howard claims he can’t go there for legal reasons and because of trouble with the son’s mother.  Mike will do this job as a one-time favor for Howard, but he has his reservations about the situation.  He wonders if Howard’s son will come with him and how he’s going to pull this off.

Upon entering Mexico, he runs into Howard’s ex, Leta (Fernanda Urrejola), who claims he can take her son if he’s able to find him.  In her eyes, he’s getting into trouble all of the time and spending too much time at cock fights with his rooster named Macho. Rafo doesn’t trust anyone, especially Mike, but he’s interested in reconnecting with his father and getting away from his mother and her many male suitors.  Many of these men have beaten Rafo in the past, and he wants to get as far away from that as possible.

Along the way, Mike, Rafo and Macho have to escape from police officers as well as Leta’s goons.  They have car issues and also have trouble connecting with each other at times.  On the other hand, Mike sees a chance at redemption with Rafo in that he can make up for the mistakes of his past. He sees something special in Rafo, especially with how the kid has been forced to grow up very quickly because of his upbringing. They do get some help along the way from a widow named Marta (Natalia Traven) and her grandchildren.  There might even be a little bit of a love story between Marta and Mike as well.

First and foremost, let’s talk about the good things in “Cry Macho.” The film is beautifully paced. Eastwood is known as a director who usually shoots scenes in one-take. There is something very authentic and real about his films. There is a sense of time and place throughout the film. He’s the major star here, and he’s still got it at age 91.  At times, he does appear a little frail, but I’m going to chalk that up to the character he’s playing having broken his back.  His comedic timing, line deliveries and charisma are still on full-display.  He’s a minimalist actor, as mentioned earlier, which I’ve always appreciated.

Now, let’s focus on some of the issues.  Dwight Yoakam has acted before in films, but he reads his lines here in such a bland and flat manner.  Also, some of the lesser-known actors here are a little green when it comes to their acting chops.  In some cases, it lends itself perfectly to the film.  In other cases, it can be a little cringy and hard to watch.  When you have a seasoned pro like Eastwood, you are hoping to see him act alongside some really good actors.  It’s always good for up-and-comers to get an opportunity in a major motion picture, but even at age 91, Eastwood is miles ahead of them.  In some scenes, it was difficult to watch their inexperience, and in other scenes, it’s charming and exactly what the scene needs. Overall, this is not one of Eastwood’s greatest films, but it’s watchable, sweet and entertaining. It is good enough.

* * * out of * * * *

Blu-Ray Info: “Cry Macho” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It has a running time of 104 minutes and is rated PG-13 for language and thematic elements. It also comes with a digital copy of the film.

Video/Audio Info: The film is presented in 1080p High Definition.  For the audio, it comes in the following formats: DTS-HD MA: English 5.1, Dolby Digital: English Descriptive Audio, French, and Spanish. Subtitles are included in English, French, and Spanish.

Special Features:

Back in the Saddle: The Making of Cry Macho and the Mustangs

Should You Buy It?

As with anything on HBO Max, I always enjoy a second viewing on Blu-ray.  I find I’m the type of viewer who likes to watch certain films multiple times to really grasp the vision of the director.  With “Cry Macho,” once again, I enjoyed it more on a second viewing.  It’s heartfelt, touching, and reflective on the part of Clint Eastwood.  He gives a great speech about being “macho” and what it really means. It feels like Eastwood has evolved as a human being, and he’s commenting on some of his past work. As far as the film itself, it was an enjoyable viewing experience.  It is nothing which is going to blow you away as a viewer or stay with you after it’s over.  The Blu-ray is pretty bare bones in terms of having only one special feature. I can’t recommend it as a purchase right away at its current price.  If you can get it in a few months for $10 or less and you are a big Eastwood fan, I’d pick it up then.  There is no need to rush out to buy it right away.

**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Malignant’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“Malignant” was not only one of the most polarizing horror films of 2021, it was one of the most polarizing 2021 films in general.  There were critics and fans who called it a horror classic and one of the best horror films they’ve seen in quite a while.  You also had an audience which absolutely hated the film and thought it was laughably silly.  I thought it was one of the most entertaining, graphic, and in-your-face films of this past year.  It reminded me a lot of a David Cronenberg film with its use of imagery, especially during some of the later scenes, which I don’t want to go into great detail about because I don’t want to spoil it for anyone.

Our film opens with a pregnant woman named Madison Mitchell (Annabelle Wallis) coming home from a long day of work to an abusive husband watching UFC on TV. He ends up banging her head against the wall in a fit of rage when he finds out she is not feeling too well.  They have had a couple of miscarriages in the past, and he is abusing her as though it is her fault.  Things, however, take an even more dramatic turn for the couple when her husband, Derek (Jake Abel), ends up dead in brutal fashion.  The two detectives on the case, played by George Young and Michole Briana White, first look at it as a home invasion where the husband died and the woman suffered some major injuries.  However, Madison doesn’t remember anything about a home invasion or what happened that night.

She turns to her sister, Sydney (Maddie Hasson), to help her figure out exactly what is going on. Things are taken up another notch when more and more people end up dead, and Madison is able to see and experience them as if she is there for the murder, even though she’s at home.  Detective Kekoa Shaw (George Young) is very curious about the case and believes the sisters when they say something is amuck.  He’s not afraid to look into it and investigate it while his partner, Regina Moss (Michole Briana White), thinks the two sisters are not making a lot of sense. However, before long, it’s not hard to see a connection between Madison and all of the murders.

“Malignant” is a film which relies on a big twist in the third act.  A lot of people said they saw the twist coming.  When I’m engrossed in a film, I tend not to spend a lot of time trying to figure out the result.  I’m more focused on what is happening and letting it unfold for me before my eyes. I’ve seen this film twice now: once on HBO Max and now on Blu-ray.  The first time I watched it, I found it a little slow-moving, tedious and, at times, quite dull.  The third act, however, saved the film for me.  I remember looking at my wife after the amazing third act and saying, “I need to watch this movie again. That ending blew me away!”

On a second viewing, the first half made a lot more sense to me, perhaps because I knew what was going to happen and how it was going to end.  This is a film which is only going to get better with multiple viewings.  I truly believe it is going to be a cult-classic for decades to come because of how balls-to-wall and brutally bloody and gory it is.  With that being said, this is a smart, well-made and well-acted horror movie.  It’s also a smart look at PTSD, trauma, how we handle it, and how our thoughts can control us.  There is a lot underneath the surface of “Malignant” and a whole lot to like.

James Wan, director of “Saw,” “The Conjuring”, “Insidious,” and “Furious 7” to name a few, has shown he has a great eye behind the camera.  This might be his most ambitious film to date which is saying something considering he directed “Aquaman.”  He goes for broke and does not disappoint.  As I mentioned earlier, I had a whole new appreciation for this film on a second viewing.  The emotional aspects are incredibly powerful and work in the world of a horror film.  Wan has always known how to create drama and real characters in a horror movie that you care about and root for from start to finish. I can’t wait to watch it again and again.  It’s a true work of art.

* * * * out of * * * *

Blu-Ray Info: “Malignant” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It also comes with a digital code of the film. The film has a running time of 111 minutes and is rated R for strong horror violence, gruesome images, and language.

Video/Audio Info:  This comes on a 1080p High-Definition transfer.  The audio formats are DTS-HD MA: English 5.1, Dolby Digital: English Descriptive Audio, French, and Spanish. Subtitles are included in English, French, and Spanish.

Special Features:

Malignant: James Wan’s Visions

Should You Buy It?

YES, YES, and YES!!! The major bummer is the fact there is only one fourteen-minute special feature on this Blu-ray.  I would have loved an audio commentary with director James Wan. I’ve listened to his commentaries on some of his previous films, and he never fails to entertain and inform the audience.  This is the only blemish on this release: one tiny special feature.  However, if you are looking at the stand-alone film, this is a great one to pick up for the horror fan in your life.  They will not be disappointed by the final product.  I understand the polarizing nature of the film based on reviews from both critics and audiences alike.  However, I think “Malignant” is a horror masterpiece. The jail scene took my breath away.  The way it’s shot with wall-to-wall action is simply outstanding.  The way he takes his time in building up to the finish is exceptional. This film is only going to get better the more you watch it.  You should take a chance on it. You won’t regret it.

**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Ghostbusters: Afterlife’ – A Worthy Installment

Posted on by The Ultimate Rabbit

The “Ghostbusters” franchise is a lot like the “Predator” franchise in that filmmakers take them in all sorts of directions in the hopes of reintroducing classic characters to a new generation. When it came to “Ghostbusters II” and “Predator II,” neither could match the power or cultural zeitgeist of the original, and we were reminded of how you cannot catch lightning in a bottle twice. A third “Ghostbusters” has been lingering in development hell for decades now, and the 2016 reboot looked like the best we could hope for. Then again, despite a terrific cast, the reboot was a financial failure. After that, I had to wonder, now who we gonna call?

Well, after many years and the COVID-19 pandemic which delayed its release, we now have “Ghostbusters: Afterlife” which was directed and co-written by Jason Reitman, the son of “Ghostbusters” (1984) director Ivan Reitman. What results threatens to be a mixed bag as this sequel relies a bit too much on fan service and treads through familiar territory, but if you can get past that, it still proves to be wonderfully entertaining and has a lot to say about the importance of family.

Thirty years after the events of “Ghostbusters II,” we are introduced to Callie (Carrie Coon), a single mother of two kids, the extremely bright but socially awkward Phoebe (Mckenna Grace) and the restless and cellphone-addicted Trevor (Finn Wolfhard). This family is struggling financially and emotionally, and only their infinite sarcasm can help them get through the day. And just when they find themselves evicted from their meager apartment, Callie comes to discover her father, whom she has been estranged from for years, has recently died, and she has now inherited his dilapidated farmhouse where he appeared to be farming nothing other than dirt.

The farmhouse is located in Summerville, Oklahoma, a town which looks to be located out in the middle of nowhere. While the land stretches as far as the eye can see, there apparently is very little going on, and it reminds me of what David Ratray, who played Buzz McCallister in “Home Alone,” once said:

“We live on the most boring street in the whole United States of America, where nothing even remotely dangerous will ever happen. Period.”

But soon after this family arrives in Summerville, strange things begin happening which cannot be seen as anything other than terrifyingly supernatural.

I have to say I really admired how “Ghostbusters: Afterlife” reminds you of how things can be forgotten after so many years. Those who watched the original “Ghostbusters” back when it came out in 1984 have watched it many times since as it was that good and so hilarious. But as time goes on, you have to be reminded of how easy it is for people to forget about the past, or that some have not seen nor remember certain events because, well, they weren’t born yet. Phoebe has to remind others of this, and it brings back memories me of when I ask certain individuals, “You’ve never seen a ‘Star Wars’ movie?!”

Jason Reitman has stated this film is about family above all else, and it definitely shows. The family of Callie, Phoebe and Trevor have been through more than the average family should ever have to experience, but then again, maybe this is common for what’s left of the middle class. While the Spenglers may be stuck in a realm of bitterness and a desperation to understand why they are at where they are. “Ghostbusters: Afterlife” implies while some families might be better off with certain members, others deserve an explanation. When it comes to explanations, the one this family gets helps to absolve a lot of bad feelings as living in a place of bitterness is a very unattractive quality in a human being.

When it comes to the screenplay, Reitman and his co-writer Gil Kenan have provided the cast with a lot of inspired dialogue as these two do not want them to be saddled with any of the clunky kind which ends up in every other motion picture. Seriously, the characters more often than not talk like real people here, and for me this is such a relief.

The cast all around is perfectly chosen. Carrie Coon, who may be best remembered for playing Ben Affleck’s sister in “Gone Girl,” is sublime as Callie. Right from the start, she makes this single mother a force to be reckoned with even as she matches her children’s sarcasm word for word.

Perhaps my favorite piece of casting here is Mckenna Grace who plays Phoebe as she takes this Wesley Crusher-like character and makes her ever so appealing. When I was a kid, characters like Phoebe were presented in movies as the kind I should avoid being like, but watching Grace here reminds me of how being incredibly intelligent but socially awkward can really pay off later in life. She really invites you to follow Phoebe as she becomes the big hero of the show here.

When it comes to Finn Wolfhard, I imagine many will look at his performance as a regurgitation of his work from “Stranger Things,” but such an accusation is not altogether fair. As Trevor, he portrays the normal teenager who is quick to become enamored of the opposite sex once he arrives in Summerville. What results is something which may feel similar to the infinitely popular Netflix series, but this young actor clearly knows how to distinguish Trevor Spengler from Mike Wheeler just as he did with Richie Tozier from the latter in the recent cinematic adaptation of Stephen King’s “It.”

And then there is Rudd, Paul Rudd. The actor, recently named as People Magazine’s Sexiest Man Alive (someday it will be me), is a blast as science teacher Gary Grooberson. Whether he is slobbering over all the Ghostbusters equipment or showing R-rated movies to a group of disaffected kids (kudos to him for selecting “Cujo” by the way), we are quickly reminded of how we can never go wrong with this guy. As much as I want to say “damn you,” the man never ceases to be an entertaining presence.

Now when it comes to the nostalgia featured here, it does come on fairly heavy, but it doesn’t capsize the film. Unlike sequels such as “Blues Brothers 2000” which was so jam-packed with so many familiar characters and scenes to where the déjà vu made me want to turn it off and watch the original instead, this one treads the line carefully to give us something a bit different even as it pays homage to the 1984 original.

Having said that, part of me wishes “Ghostbusters: Afterlife” was bit more original and did not simply re-employ old villains. If this franchise is to continue beyond this installment, and several post-credit scenes indicate it will, the filmmakers should be willing to take new chances in the future. Even Rob Simonsen’s music score sounds more like a simple adaptation of Elmer Bernstein’s to where it is hard to spot any new themes. It is a bit like when J.J. Abrams brought back Emperor Palpatine for “Star Wars: The Rise of Skywalker;” he’s a great villain and the kind you love to sneer at, but he failed once before and we know he will again, you know?

Still, I very much enjoyed this sequel as it provides audiences with terrific characters who are inhabited by a very talented cast, and the effects are excellent throughout. And yes, there are great surprises to be found here, and I am not about to spoil them for you even if others have already.

But most importantly, this is a film with a lot of heart, and this should be completely clear during its last act. The final scene shows how the deeply embittered can be healed through love and understanding, and that’s whether or not you have a proton pack or ghost trap available. As the end credits came up, it was real treat to hear Ray Parker Jr.’s theme song once again. Where it once was annoying as hell, now it has been found again as “Ghostbusters: Afterlife” finally gives this franchise a truly worthy installment.

* * * out of * * * *

‘Rocky IV: Rocky vs. Drago’ – A Vast Improvement

Posted on by The Ultimate Rabbit

I have always had mixed feelings about “Rocky IV.” On one hand, it is a well-oiled machine which is entertaining, never drags, and you easily find yourself caught up in the action to where you join in with the audience chanting, “ROCKY! ROCKY! ROCKY!” On the other hand, it turned Sylvester Stallone’s iconic character of Rocky Balboa into a superhuman comic book character who has clearly spent far too many hours at the gym to develop his well-chiseled body. This character was a relatable human being who wanted to go the distance, and now he was being rendered as some untouchable force of nature who undergoes the most brutal training regime which no mere mortal can easily endure. Basically, I found this installment of the seemingly endless franchise lacking in humanity, and it would take 2006’s “Rocky Balboa” to bring the character back down to earth.

Well, it turns out Stallone felt the same way about “Rocky IV,” and thanks to this time of the COVID-19 pandemic which saw one of his projects get shut down, he decided to revisit this particular “Rocky” sequel which is still this franchise’s most financially successful as even he found it to be flawed. What resulted is his director’s cut entitled “Rocky IV: Rocky vs Drago,” and it has the humanity which was once missing, but now has been found.

The story of “Rocky IV” remains the same. Apollo faces off against Russian boxer Ivan Drago (Dolph Lundgren) and pays with his life, and Rocky travels to the Soviet Union to face off against Drago on Christmas Day. Does Rocky win the fight? Bitch, please, you know the answer to that.

Unlike Francis Ford Coppola’s recent director’s cuts of “The Cotton Club,” “Apocalypse Now” and “The Godfather Part III,” not much about “Rocky IV” has changed here. But again, the characters are fleshed out more here than they were previously, and this made for a more fulfilling cinematic experience for me, and that’s even if the pace drags at times. And yes, Paulie’s robot has been rendered obsolete in this cut. Suffice to say, that robot was no C-3PO and will not be missed.

After a look back at “Rocky III,” this cut starts off with Apollo Creed (Carl Weathers) in his luxurious swimming pool playing with his dogs when Drago and his entourage appear on his television set. This helps change the narrative a bit as we quickly see how this cut is more about Apollo as it shows the character as being restless in his retirement, and it becomes clearer to us how he wants to still matter in a world which may prefer to see him remain retired.

Indeed, Rocky thinks it is time, not just for Apollo, but for him to think about what else they can do with their lives as both have seemingly hit their athletic peak. But in Weathers’ eyes, you can see how desperate he is to remain relevant in the minds of many. It is not just Apollo’s ego crying out for acknowledgement, but also for a need to remain relevant and not easily forgotten. Watching Weathers’ performance here, I can see why Stallone regretted killing Apollo off. Of course, this did lead to the brilliant “Creed.”

Another actor who stands out here is Talia Shire who again takes on one of her most famous roles, Adrian Balboa. When you take the inevitable flashbacks into account, it is fascinating to watch Shire take Adrian from being a shy girl to becoming Rocky’s much-needed conscience as she exerts a confidence which has long since been earned. Indeed, this cut reminds us what a strong anchor she is to Rocky. She is the voice he needs to hear, and that’s even when she yells at him, “You can’t win!” Whereas she appeared quite meek in “Rocky,” she is a force to be reckoned with this time out.

And then there is the late Tony Burton who returns as boxing trainer Tony “Duke” Evans. His character really gets fleshed out a lot here as Tony gives a moving tribute to Apollo, and Burton later shares a thoughtful and moving scene with Stallone where he makes clear with his eyes that Rocky will be the last one standing. Stallone was right; Burton’s eyes were full of soul.

With the Sico the Robot gone, and the chance for Robert Doornick to earn residuals, what else is different about this “Rocky IV” cut? Well, Brigette Nielsen’s role Ludmilla Drago is pared down quite a bit to where her husband gets to talk for himself a bit more. In fact, the late great character actor Michael Pataki gets to speak more for the Russians as Nicolai Koloff this time around, and his wounded face at the movie’s end speaks volumes.

And because of the robot elimination, we see less of Burt Young’s Paulie here to where he is almost forgotten about in the first half. But Paulie does eventually make his cantankerous presence known as he flails around in the snow once in Russia, and his moving tribute to Rocky before he enters the ring is still quite touching. Of course, once Drago pushes Rocky’s gloves down, Paulie takes back what he said. It is very understandable why Stallone did not cut this scene out.

If there is anything I was hoping for in this “Rocky IV” director’s cut, it was to see Ivan Drago humanized a bit more. Part of this is because, during an interview Stallone did with TCM’s Ben Mankiewicz, he talked about Drago’s harsh origins and how he grew up in the gulag which he eventually escaped. This was very interesting to hear, but we do not see any of this onscreen. While presented as slightly more human, Drago is still portrayed as an invulnerable beast of a man. There isn’t much more to this character than that.

Other than that, it’s nice to see a lot of the cheesiness of the theatrical cut gone. Then again, the line of dialogue when Rocky tells Adrian to never ask him “to stop being a man” does land with as loud a thud as when Luke Skywalker begged his Uncle Owen to let him go into town to get some power converters in “Star Wars.” And no, I still don’t believe all the Russians would have began cheering for Rocky after booing him so viciously as he entered the ring. Sure, some would have started cheering him, but not all.

“Rocky IV: Rocky vs Drago” is not a perfect movie, but I consider it a vast improvement over the original version. Around the time this sequel was released 35 years ago (I know, that freaks me out too), Rocky and the franchise was turning into a joke as we had been down this path one too many times it felt. Weird Al Yankovic spoofed Survivor’s “Eye of the Tiger” and called it “The Theme from Rocky XIII” in which Rocky bought the neighborhood deli, “Airplane II: The Sequel” featured a poster of a fictious “Rocky” sequel which showed the Italian Stallion fighting way past his prime, and who can forget this classic line of dialogue from “Spaceballs?”

“Coming up, Pongo’s review of Rocky Five… thousand.”

But to hear Sylvester Stallone talk about his director’s cut and having watched it myself, it is clear he did not simply want to just repeat the formula we had come accustomed to. Rocky Balboa rescued this actor, writer and director from a life of poverty where his dog ate more than he did, and it should be no surprise at how much he cares for this iconic character and the others surrounding him. Had this version of “Rocky IV” been released back in 1985, perhaps many of us would not have been so quick to start joking about the Italian Stallion.

After all these years, we are still clapping along to those songs by Survivor, and we still cheer on Rocky even though the conclusion is never in doubt. While I used to roll my eyes whenever Stallone wanted to revisit this franchise, I say let him do whatever the hell he wants. Except for another “Rambo,” movie, we don’t need it. The last one was awful.

Theatrical Cut: * * ½ out of * * * *

Director’s Cut: * * * ½ out of * * * *

‘Reminiscence’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“Reminiscence” is one of the most underrated and overlooked films of 2021.  From start to finish, I was riveted by the acting, the action, and the many twists and turns throughout.  It is a film which keeps its audience on its toes and keeps them guessing.  There is a lot to like here.  It’s a bit baffling to me to read how the film did poorly at the box office and with critics.  I do have a strong feeling this is the type of film which is going to gain a cult audience with time and now that it’s out on Blu-Ray.  I really think people underestimated it.  That is the beauty of home video: A film can live on and grow with time.

Hugh Jackman stars as Nick Bannister, a lonely and troubled man after the war. He runs a business which allows people to relive some of their favorite memories and moments from their lives.  If they were happier in the past, they can go in this water tank and relive that memory.  It is very comforting for a lot of people, especially if they have lost someone close to them. His partner in business is named Watts, and she’s played by the talented actress Thandiwe Newton. She was with Nick in the war, and they have remained close friends. She has a drinking problem that has ruined her relationship with her daughter and her ex-husband. She is still very loyal to Nick and credits him with giving her a purpose.

One day, a young woman by the name of Mae (Rebecca Ferguson) comes to relive a memory of how she lost her keys.  Watts thinks something is fishy about this, but Nick is quite taken with her.  As a matter of fact, they strike up a relationship which turns out to be quite passionate.  It makes it that much harder for Nick when she disappears out of his life for seemingly no rhyme or reason.  He really thought she was the one, and he had strong feelings for her.  With his memory tank and resources, he goes on a mission to find out what happened to Mae and where she might be in an attempt to save her.

“Reminiscence” has been described as part science fiction and part film noir. Film noir has always been one of my favorite genres in Hollywood.  It’s not used as often these days, but it was quite popular back in the golden days of Hollywood with actors such as Humphrey Bogart, Orson Welles and Burt Lancaster.  The fact writer and director Lisa Joy blended this genre with science fiction is a really bold move. Off the top of my head, I can’t remember too many times this has been done recently in Hollywood.  It works perfectly here, especially with Jackman’s narration. It really adds to the film’s mysterious underbelly. As far as the science fiction, they did it just enough to make it believable without going too over-the-top with the concept.

To quote the legendary wrestler Roddy Piper, “Just when you think you know the answers, I change the questions.” That is exactly what is happening with “Reminiscence.”  I thought I had this film figured out two or three times, and the filmmakers kept surprising me with where they went with the story. Jackman is great in everything he does, but his friendship in the film with Newton is what really gives the film its heart and soul.  Ferguson is also pitch-perfect as the femme fatale, as you really don’t know what’s going on with her and if you should trust her.  Is she the woman she claims to be? Is she a seedy film noir character with bad intentions? I thought the casting in this film was spot-on in all avenues.

I really loved “Reminiscence.” It’s creative, fun, heartfelt, surprising, and different.  Hollywood is known for doing a lot of the same movies over and over again.  I haven’t seen a film even close to this one in quite some time.  It really captivated me, and most of all, I cared about the characters and their individual fates. This is a film I’m proud to champion and encourage people to see now that it’s out on Blu-Ray and DVD.  I have a strong feeling you will be surprised by it.  I know I was, and I’m a tough critic because I see so many movies.  This is a special film. I also really enjoyed the atmospheric world created by the director as well. All of the pieces were lining up with this flick.

* * * ½ out of * * * *

Blu-Ray Info: “Reminiscence” is rated PG-13 for strong violence, drug material throughout, sexual content and some strong language.  It comes on a single-disc Blu-ray from Warner Brothers Home Entertainment.  It also has a digital copy of the film as well.

Video/Audio Info: The film is released on 1080p high definition with audio in Dolby Atmos-True HD: English, Dolby Digital: English Descriptive Audio, and English, Spanish and French. Subtitles are included in English, French and Spanish as well.

Special Features:

You’re Going on a Journey

The Sunken Coast

Crafting a Memory

Reminiscence: A Family Reunion

“Save My Love” Music Video

Should You Buy It?

One of my favorite filmmakers is Richard Linklater, and while I’m not comparing Lisa Joy to him, I did enjoy the way she used time and memory as such a pivotal part of the story.  Much like in Linklater’s films, time and memory plays such a big part in what is happening here. It’s a character in the film.  As someone who often thinks about the past and is big on nostalgia, this film really struck a chord with me.  How much is thinking about the past a good thing? When does it become a bad thing? Are we stuck in the past? Did we learn from the past? There is a lot to chew on with this film. The performances are committed and powerful, especially Jackman’s.  He always brings such an intensity to all of his roles. If you are still a hardcore physical media collector like myself, you will be very pleased to add “Reminiscence” to your collection.  As I mentioned earlier, it’s one of the great surprises of 2021.

**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Halloween Kills’ is Brutal in More Ways Than One

Posted on by The Ultimate Rabbit

It’s been a long time coming, but “Halloween Kills” has finally arrived in theaters everywhere. Personally, I think it is the result of Michael Myers keeping his mask on. Heck, he has been keeping it on for the most part since 1978. In this franchise, it is said that evil never dies and you can’t kill the boogeyman. Maybe this is because he is not an anti-vaxxer and has gotten his shots (whether it was Moderna or Johnson & Johnson, I have no idea). Besides, his victims this time around aren’t wearing masks. Doesn’t this tell you something?

Okay, let’s get something out of the way here, is “Halloween Kills” as effective as David Gordon Green’s previous “Halloween” from 2018? Not quite, and it does at times seem more concerned with upping the blood and gore this time around to where no one dies an easy death. Still, this follow-up has some very suspenseful moments as we know Michael, or The Shape as he is often called, is just around the corner. The question is, which corner?

Picking up at the moment where the previous installment ended, three generations of Strode women are being driven away from the fiery inferno which has engulfed Laurie’s home, but the fire department in Haddonfield is more reliable than they could have expected as they race over to her address even as she yells out, “let it burn!” And as the trailer shows us, Michael is quite handy with tools and hardware as he easily lays waste to trained professionals.

With 2018’s “Halloween,” Green retconned the franchise to excellent effect. In “Halloween Kills,” Green and screenwriters Scott Teems and Danny McBride retcon it even further as we see Michael getting captured by the police, and we learn of Deputy Frank Hawkins’ first run in with Michael when he was a fresh newbie on the police force. More importantly, it allows Will Patton to appear in yet another “Halloween” film as his seriously wounded character manages to survive. We also get to understand why Frank now has a renewed interest in killing Michael.

One of the things I really enjoyed about “Halloween Kills” is its attention to the characters. This is not your average slasher film filled with people you cannot wait to see get bludgeoned to death, and you never hear the audience breaking into a chant of “kill the bitch” as I witnessed at a screening of “Friday the 13th Part VII: The New Blood” years ago. They are all flesh and blood, some simply minding their own business while others still vividly remember what happened to their beloved hometown 40 years ago. Heck, even Lonnie Elam (Robert Longstreet) and Tommy Doyle (Anthony Michael Hall) get along here as Lonnie’s days of bullying Tommy have long since been put behind them. Deaths here are not ones to be celebrated, but are instead meant to be tragic.

Another fascinating thing is how this sequel touches on current events without ever exploiting them. When word gets out that Michael is back in Haddonfield doing his slicing and dicing act, Tommy is quick to get everyone he can together so they can form a mob to take down the Shape once and for all. The police encourage him and others not to go down this path, but considering how well they did the last time Michael came to town, and they refused to be swayed.

Granted, this franchise has dealt with angry mobs before, particularly in “Halloween 4,” but the mob in that one was incredibly tiny compared to one presented in “Halloween Kills.” Just about everyone in Haddonfield is seen shouting out “evil dies tonight” endlessly to where even its former sheriff, Leigh Brackett (Charles Cyphers, back for the first time since 1981’s “Halloween II”), wants to see justice done for his slain daughter. Of course, we all know angry mobs can lead to needless violence and death, and this makes the events which unfold here all the more tragic.

Of course, it is the Strode women who take center stage in this latest confrontation with the Shape. Surprisingly, Laurie Strode is largely left on the sidelines this time around as she recovers from a knife wound to the stomach. Still, this gives Jamie Lee Curtis a chance to shine in scenes opposite Patton as both talk about what could have been. Judy Greer proves to be more badass than ever as Karen, Laurie’s daughter who struggles to move past the death of her husband to keep her daughter safe. But as “Halloween Kills” reaches its bloody conclusion, even she realizes how evil must die.

Andi Matichak also returns as Laurie’s granddaughter, Allyson, who has since come to see that the boogeyman is real. Matichak makes Allyson into a tough character, but the actress is never hesitant to show the fear on her face as she gets closer and closer to Michael. As Allyson enters his childhood home armed with a shotgun, even Matichak knows it would be foolish for this character not to be the least bit scared.

There are some actors who are new to the franchise here, and they are very welcome additions. I figured Robert Longstreet would make Lonnie into an adult who still loves to bully kids like Tommy, but he instead makes this character into a wounded adult who looks out for his son and will never forget “the night he came home.” It is also great to see Anthony Michael Hall, long since removed from his Brat Pack days, here as Tommy Doyle. With Tommy’s introductory monologue, Hall puts the audience under a spell as he reminds us of Haddonfield’s tragedy while paying respect to the lives lost and how we should “never forget.” Hall is really good here. I also got a kick out of Scott MacArthur and Michael McDonald who play an eclectic couple that own the old Myers’ house. Furthermore, they know what happened there and have no buyer’s remorse (or will they?).

And yes, John Carpenter, along with son Cody Carpenter and Daniel Davies, have provided “Halloween Kills” with a terrific film score. The themes are familiar ones, but they are given a mournful sound as we are reminded of ghosts which have yet to be laid to rest. There are also some nice propulsive themes as well to keep the adrenaline going. Those who are a fan of Carpenter’s music will not be disappointed.

In some ways, “Halloween Kills” is at a disadvantage as it is the middle chapter in a trilogy, and we still have “Halloween Ends” to look forward to. Whether or not evil can die, I think it’s safe to say it can take one hell of a beating and keep on ticking. I mean, it has to knowing a third chapter is one the way. Regardless, this sequel gave me much to admire about it as it deals with how the bullied often become the bully, how the past can haunt us to no end, that small suburban towns are more often know for tragedies than anything else, and that some people have no business holding a gun.

Just keep in mind one thing: While this looks like a John Carpenter “Halloween” movie, it is a David Gordon Green “Halloween” movie. It is important to note this as many horror fans may be expecting a certain kind of film here, and you really should remember who is behind the camera on this one as it may not be the one you think.

It will be interesting to see Laurie Strode have one last showdown with Michael Myers, and I believe David Gordon Green has long since been prepared to save the best for last. Michael is not just pure evil; he is like the Energizer bunny, except with a bloody knife instead of a drum. He just keeps stabbing and stabbing and stabbing…

* * * out of * * * *