2023 Movies

‘A Good Person’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

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

I’m an emotional, sensitive and empathic person, and I tend to seek out films which will make me think, move me to tears and tell a narrative that resonates with me.  However, I have a good barometer for films that are trying too hard to tug at my heart strings and doing just a little too much to get an emotional reaction out of me.  When you try to watch a movie or two a day, you can usually figure out which direction a movie is going to go either from its trailer or by where the film is taking its audience. “A Good Person,” directed by Zach Braff, started out incredibly promising until its wild and heavy-handed third act.

“A Good Person” stars the always lovely and talented Florence Pugh as Allison, a young woman who is about to get married to the love of her life, Nathan (Chinaza Uche).  They are the perfect couple and the film opens with their engagement party where they are at their happiest.  But then things spiral out of control for Allison when she gets into a car accident with her fiancé’s sister and husband in the car. She took her eyes off the road for one second to check Google Maps, and while she survived, they both perished.  This sends her down a path of becoming addicted to OxyContin to deal with the physical and emotional pain of the car accident.

Allison cuts her hair one day and is making rash and impulsive decisions in her life, which worries her mother, played by Molly Shannon.  She hits up an old friend for pills, former classmates, and even curses out the pharmacist.  Finally, she decides to go to a meeting, which is being led by Simone (Zoe Lister-Jones). While there, she runs into Nathan’s father, Daniel, played by Morgan Freeman.  Allison is hesitant to stay, as she knows the pain and hurt she caused his family, but he insists that she stay.  Daniel has his hands full as he’s a recovering alcoholic who is now in charge of taking care of his granddaughter, Ryan (Celeste O’Connor), after her parents were killed in the car accident.

The best thing about “A Good Person” is the back-and-forth interactions between Pugh and Freeman.  When you have actors of this caliber, it’s best to just stay out of their way and let them do their thing.  Freeman plays an ex-cop who never really knew how to be there for his son Nathan growing up.  He used to beat him, which has caused a lot of trauma and resentment in Nathan toward his father. The two of them barely speak and don’t have much of a relationship.  For Allison, she’s trying to deal with the grief and guilt of what she has done to Daniel, as she has taken his daughter away from him.  However, he could use some help when it comes to figuring out how to talk to a sixteen-year-old teenage girl about safe sex when her parents are now deceased.

I really enjoyed the first hour and a half of “A Good Person.”  I thought Pugh really, really went for it with her performance.  She’s an actress who really immerses herself in her characters.  Physically and mentally, this is a fantastic performance.  She looks, sounds and acts like an addict. Freeman is also very good, as he usually is, at portraying many different emotions throughout as he’s trying to be a grandfather, deal with his own demons, and also forgive Allison.  Thanks to the two lead performances and a fast-moving plot, I was really enjoying “A Good Person.”  Sadly, the film takes a wild and crazy turn in the third act, which really sent things spiraling off the rails.

Yes, this is a drama, and you expect certain emotional moments and sequences to be displayed on screen.  In “A Good Person,” it felt forced and like writer/director Braff had an idea for a movie and the right cast, but didn’t know what to say at the end or how he wanted to end it.  Instead, it turns into a cheesy soap opera, and he, sadly, wastes the performances of his two leads and his supporting cast.  The film is also about 15 to 20 minutes too long.  Once again, the drama felt forced at the end and it seemed like they were really trying for an emotional and powerful ending.  Instead, I could see right through the fact they were trying to make me feel something instead of letting it happen organically.  The film didn’t need to try so hard and throw so much into the last 30-40 minutes of the film.

* * out of * * * *

Blu-Ray Info: “A Good Person” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment.  It is rated R for drug abuse, language throughout, and some sexual references. The film has a running time of 128 minutes.  It comes with a digital copy of the film as well.

Video Info: The 1080p High-Definition transfer is very, very solid.  It’s a clean looking film with a green tint that really translated itself well to the material. Visually, Zach Braff did a great job behind the camera.  It’s his script which really needed work.

Audio Info: The DTS-HD MA: English 5.1 audio track is also really good for this film.  I did feel like Zach Braff relied on music a little too much throughout the course of this film to get the audience to feel something. I enjoy music in a film, but it needs to be properly placed and not shoved down our throats. There is also a Dolby Digital: English Descriptive Audio track. Subtitles are included in English, French, and Spanish.

Special Features:

None

Should You Buy It?

It’s always disappointing when I want to like a movie and don’t.  I know this might sound like a rather simplistic approach to film viewing, but I had high hopes for this one. I’m still a huge fan of 2004’s “Garden State,” and I think Zach Braff is a talented director.  When it comes to his writing, I think he can be a little too earnest.  He means well and his heart is in the right place, but sometimes it just seems like he can’t keep himself from going a little too far. I didn’t hate the film and I enjoyed a good portion of it, but it was just a little too sappy for me which is saying something. The film looks and sounds good on Blu-ray, so it’s not a huge disappointment they didn’t give it a 4K release.  There are no special features on this disc at all.  I think it’s worth watching for the performances of its two leads, but I don’t think it’s a film you need to own.  If you see it on Max or at Redbox, it’s worth watching.  However, this is not a film I need to watch again. This is a case of two performances which deserved a better script.

**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 Wrath of Becky’ Fearlessly Outdoes the Original

Posted on by The Ultimate Rabbit

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

I vaguely remember watching 2020’s “Becky” when it was released through various digital platforms.  Besides the brutal violence and seeing Kevin James as a Neo-Nazi, the film didn’t really leave a lasting impression on me as a viewer. When I heard they were going to make a sequel, “The Wrath of Becky,” I was intrigued for two reasons: Lulu Wilson and Seann William Scott.  Wilson is a tremendous young actress who shows maturity beyond her years, and Scott has shown a knack recently for playing chilling and unsettling villains.  I figured it was worth giving it another go around, and I’m happy to report “The Wrath of Becky” is lightyears better than the first film.

When the film introduces us to Becky a few years later, she has an edge to her after the traumatic events of the previous film.  She’s sarcastic, matter-of-fact, and she doesn’t suffer fools lightly.  She has been bounced around from group home to group home. Eventually, she decides to rent out a room with an older African-American woman who takes in strangers and is dealing with her own sense of loss. Her name is Elena, played by Denise Burse. One night while waitressing, Becky runs into a group of men who call themselves the Noble Men.  They are a white supremacist militia group with bad intentions.  After she spills coffee on one of them, they follow her back to Elena’s house, where they proceed to kill Elena and take Becky’s dog Diego.

Now, Becky is looking for two things: revenge and to get her dog back. The film uses an interesting technique where it will show the audience a violent sequence of what she is hoping to do, and then what she actually does. They use voiceovers for this as well, which was a nice touch.  She communicates with the audience and lets us know what she’s thinking.  They don’t overdo this, thankfully.  The Noble Men are brought back to the house of one of their leaders named Darryl, played brilliantly by Seann William Scott.  Scott and Wilson are the stars here, and Scott knows how to be unnerving and very intense without trying too hard. I remember him in a film called “Bloodline,” and he crushed it in that film.  He’s really, really good at playing these low-key, calm, and sadistic villains.

The rest of the group consists of DJ (Aaron Dalla Villa), Anthony (Michael Sirow), and Sean (Matt Angel). Twig (Courtney Gains) is already with Darryl at the house.  They have members all over the world, and they are looking to take down Senator Hernandez (Gabriella Piazza) at an upcoming town hall event.  First, they have to deal with extreme girl scout Becky, and she is not one to back down from a fight, especially since they have her dog and they killed the one living person in the world she actually liked.  From here, it’s a rather straight-forward film with Becky taking on these misogynist, hateful, and narrow-minded men.  The characters are a little too on the nose at times, politically, but it works as a film like “The Wrath of Becky” is one where you are going to sit back and watch Becky destroy bad people in creative and brutal ways.

The film is not shy about its violence.  It really goes for it.  As with any sequel, especially one which relies on violence, they really up the ante here.  They were also smart enough to keep the film under 90 minutes.  We are reintroduced to Becky, find out what she’s up to, meet the villains, and then it’s time for the mayhem.  It’s a formula, yes, but it’s a formula that works because Wilson is terrific at playing Becky.  She’s a badass chick and easy to root for as the heroine.  She also has a worthy adversary in Seann William Scott. The scenes with the two of them together are just brilliant.

In the end, you know what you are getting with “The Wrath of Becky” and what you have signed up for as an audience member.  I could have done without the dog being involved, not because it offended me, but because it seemed to take a page out of other films, most recently “John Wick.”  We have seen people try to avenge their dog when it has been captured or killed. The ending seems to hint that there might be another film or two still left in the “Becky” franchise. If they keep the budget low and stick to one location, which is basically what they did here, I see no reason why they can’t continue to make more of these films. Wilson is a star, and she deserves her own franchise. I look forward to seeing her take on more villains portrayed by quality actors in the future.

Should You See It?

The film is being released on May 26.  I know there are a lot of movies to choose from at the box office right now.  “The Wrath of Becky” is a nice change of pace, though, from the usual fare of blockbusters and franchises.  It’s bloody, gory and very, very entertaining.  As stated in my review, this film knows what it needs to do, it stays out of the way of its actors, and it’s a ton of fun. I truly enjoyed seeing Lulu Wilson and Seann William Scott in a battle of wits.  It’s way better than 2020’s “Becky,” as it moves at a faster pace, gets right to the meat of the matter, and it doesn’t hold back with its violent, in-your-face approach.  I think it would be a lot of fun to watch on the big screen.  It’s in limited release, but you can find it at a theater near you.  I don’t think you will be disappointed if you enjoy blood, guts and have a sense of humor.

* * * out of * * * *

‘Creed III’ Movie and 4K UHD Review

Posted on by The Ultimate Rabbit

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

I saw “Creed III” in theaters when it came out in March, and I walked away very impressed by the directorial debut of Michael B. Jordan. Even though we were only three months into the new year, I felt it was an early candidate for one of the best films of 2023. I enjoyed his creative and inventive approach to filmmaking, the tremendous acting throughout the film, and the way it was paced just perfectly.  Here we are, almost half-way through the year, and I feel even stronger about “Creed III.”  It really surpassed any and all expectations I had for the film, and it also shows the “Rocky/Creed” franchise is in very good hands. Much like the “Scream” franchise did with “Scream 6,” it proved you can leave a key player or two from the franchise behind and not miss a beat if you have your heart in the right place, a good script, and you forge your own path while also remembering the pulse of the franchise.

I think by now it is common knowledge that Sylvester Stallone is not in “Creed III.”  Stallone expressed his reasons why in interviews, and while I would have enjoyed him in this film, even if it was only in a minor role, I can’t say he was missed.  I say this as a huge fan of Stallone and his contributions to the “Rocky/Creed” franchise.  It says more about the fact that Jordan took the bull by the horns and really ran with it when it came to “Creed III.”  He’s in front of and behind the camera here, and from what he showed me as a director, I can’t wait to see what he does with his next project.  He has a keen visual sense and tremendous style without losing the heart and emotional weight of the film.

“Creed III” opens by showing us a young Adonis Creed hanging out with his friend from his group home, Damian Anderson.  They are like brothers to one another, and Damian looks out for Adonis.  Damian is on the rise as a young up and comer until he finds himself in prison for pulling out a gun while defending a young Adonis.  Adonis ran away and never faced any jail time.  Damian, on the other hand, spent almost two decades in prison and saw his chance go by the wayside.  Adonis is ready for retirement after winning his final fight and leaving as the undisputed heavyweight champion of the world.  He’s now a family man with a beautiful house, wife, and young daughter.

Adonis is also running his own gym with the help of Little Duke (Wood Harris) and helping promote a fight for the world heavyweight champion Felix “El Guerrero” Chavez (José Benavidez Jr.) against Viktor Drago (Florian Munteanu).  On his way out of the gym one day, he runs into Damian (Jonathan Majors) who is out of prison and looking to make up for lost time.  He wants to fight for the heavyweight championship of the world, as he was a top prospect and a Golden Gloves champion before he ended up in prison. Adonis agrees to let him hang around the gym and spar with Felix, but he feels uneasy about having him around and wonders what his true intentions are, especially after all these years.

As a matter of fact, Mary-Anne (Phylicia Rashad) is not too keen about Damian being around, as she remembers some of the trouble he and Adonis would get into as youngsters.  Adonis is also dealing with parenthood as his hearing-impaired daughter Amara, played perfectly by Mila Davis-Kent, is having trouble expressing herself in school. When she is being bullied by another student, she resorts to violence instead of working things out in a more peaceful way.  This is very troubling to her mother Bianca, played by the lovely Tessa Thompson. She is looking to raise their daughter to express her emotions in a more productive way instead of resorting to violence.  For Bianca, she’s been adjusting to her career as a producer. While she enjoys it, she also misses performing and doing her own thing.  However, she must also be protective of her hearing as she doesn’t want to cause further damage.  She’s also noticing Adonis is pulling away from her and that something is bothering him.  It’s clear he has unresolved guilt and anger from his past with Damian. Until he deals with those feelings, he will never be able to move forward in his life and will be stuck in the past.

I have to give major credit to the women of “Creed III” from Rashad to Thompson to Davis-Kent. They are attempting to help Adonis see the forest from the trees and learn that it’s okay for him to open up about his past and talk about his regrets and his pain.  It’s not good for him to bottle it all up inside.  The two main male characters played by Jordan and Majors are also terrific together on screen. Jordan is fantastic at expressing his emotions on his face and not overacting.  That being said, he knows when to tap into an emotion, anger, and turmoil when the scene calls for it. His facials here are terrific, and he knows how to tap into whatever the screenplay needs out of him. Majors reminded me and others of a young Mike Tyson. He will do whatever it takes to win, and he is physically imposing and carries a tremendous presence on screen.  When he’s on screen, you can’t take your eyes off him.

 For a film which is nearly two hours long, there is rarely a dull moment.  There is something dramatic which occurs in the film (no spoilers) that seemed to get glossed over and moved on from very quickly. It seemed rather unnecessary, and that is my only gripe with the film.  As with any “Rocky” or “Creed” movie, the best scenes are not in the ring.  The best scenes are the characters talking to one another, figuring out their inner conflict, and dealing with the past and the present.  Yes, it’s a boxing movie, but the boxing ring serves as a therapeutic canvas for them to work out their pain.  That being said, the boxing scenes are beautifully shot and are the best kind I’ve seen in a boxing film in a long time. Jordan makes some really interesting choices as a director, and they worked out perfectly for him.

“Creed III” is a feel-good film with a big heart behind it.  It has a great soundtrack with some real bangers on it.  It also has some fantastic acting from everyone in the cast.  There isn’t a bad performance to be found here.  The stakes also seem very high throughout.  There is an urgency here. For a first-time director, this is a very, very impressive debut.  I can see them carrying on the “Creed” franchise with Jordan working both behind-the-scenes and in front of the camera.  He really hit a home run here, and I loved this movie from start to finish.

 * * * ½ out of * * * *

4K Info: “Creed III” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment.  It is rated PG-13 for intense sports action, violence and some strong language. It has a running time of 116 minutes.  The 4K combo pack also comes with a digital code for the film.

Video Info: I loved the way this film looked in 4K.  Warner Brothers has become one of the top studios for 4K releases, and they do not disappoint here with “Creed III.”  I’m always happy when a film gets the Dolby Vision treatment, and this film is spectacular looking. We get a detailed, clean, and smooth look with dark darks to set the mood for the emotional trauma Creed is dealing with inside of him.  This film really, really pops on 4K.  Dolby Vision and Warner Brothers are always a match made in heaven.  I truly was impressed by this 4K transfer and how it lends itself to the film.

Audio Info: More good news—we also get a Dolby Atmos track! For a film like this with great music and intense boxing action, you have to have a good Atmos track.  The Atmos track makes the film sound absolutely perfect.  Warner Brothers really did the right thing by “Creed III,” and I’m very thankful for that.

Special Features:

 Michael B. Jordan: In the Ring/Behind the Camera – Featurette

There’s No Enemy Like the Past: Donnie and Dame – Featurette

Deleted Scenes

Should You Buy It?

If you saw it in theaters like I did, I’m happy to report it holds up very, very well on a second viewing.  It’s one of the reasons why I love to watch a movie in the theater and then at home.  It’s two totally different viewing experiences, and you pick up on certain things you might have missed initially.  It was actually better on a second viewing.  I highly recommend you pick this film up on its release date on 4K.  It is truly the best way to watch this great film.  With Dolby Vision and Dolby Atmos, Warner Brothers really did a magnificent job of putting this film together for a great home-viewing experience.  The supplements are a little light, and I would have liked a commentary with director/actor Michael B. Jordan, but still, this is a day-one purchase. I’m not sure how the rest of the year will play out, but this film is still one of the best of 2023, in my opinion.  I loved the powerful performances, incredible emotion, ingenious boxing sequences, and how much fun this movie was. I highly recommend “Creed III” as a movie to proudly own on 4K.  You won’t be disappointed.

 **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.

‘Master Gardener’ – Paul Schrader Does Some Meticulous Gardening

Posted on by The Ultimate Rabbit

Alright! We are back in Paul Schrader land with his latest film, “Master Gardener.” Just as with “Taxi Driver” and “First Reformed” among other films, it focuses on a loner who keeps a journal and is struggling to deal with a past which was never less than traumatizing. Some directors tend to make the same film over and over again, but I always enjoy seeing Schrader doing so as he always has an interesting angle on this, and “Master Gardener” is no exception.

Joel Edgerton stars as Narvel Roth, an infinitely meticulous horticulturist who is employed at Gracewood Gardens, a beautiful estate owned by Norma Haverhill (Sigourney Weaver). Judging from the blooming flowers featured in the opening credits, this is an individual who takes his job ever so seriously as he clearly revels in bringing a garden and the flowers in it to exquisite life. There is even a scene where Narvel invites his fellow workers to smell the soil they have been working on endlessly. Watching this, it made me wish this film came with one of those scratch and sniff cards like those Odorama cards John Waters used for “Polyester.” I would love to have smelled what these characters were taking in as it might just give new meaning to the word “organic.”

Norma, who it turns out is having an affair of sorts with Narvel, has invited her wayward step-niece, Maya (Quintessa Swindell), to become his apprentice. While Maya may be a wealth of trouble at home, she slides into her new job with what seems like relative ease. But, as you can expect, nothing will stay sane for our main characters as revelations of who they are will truly eventually come to the surface whether everyone is prepared for it or not.

Looking at Narvel and hearing how he talks, it is tempting to think he has been a dignified individual since birth, but he eventually takes off his shirt to reveal two things: he has spent a lot of time at the gym, and he has a plethora of tattoos of swastikas and other neo-Nazi images covering his body which indicate he has had a racist past which he is trying to get past. It would have been enough if Narvel had just one swastika tattooed on him to indicate he was once a white supremacist, but the fact he has so many reminded me of a scene from Martin Scorsese’s “Cape Fear” remake in which Robert Mitchum looked over Robert De Niro’s heavily tattooed body and said, “Jesus! I don’t know whether to look at him or read him.”

This revelation brings about complexities as we wonder if Norma and Maya are aware of Narvel’s sordid past. Looking at this, I kept thinking Narvel would reveal the truth of his past existence to both women in an intelligent fashion. But if he did, would this film have such rich dramatic tension?

Gardening and horticulture never struck me as something which could be captured in a cinematic way as it can seem rather boring. It is a credit to Schrader and company that “Master Gardener” makes gardening seem far more immersive than it might be to some. Like I said before, I would love to smell this garden Narvel is cultivating because it is clear no one can cultivate one the way he can.

Schrader also makes the characters and their situations all the more dramatic by pointing out how different their ages are to one another. Now I have long since learned to NOT ask any women their age as serious bodily harm is likely to occur and deservedly so, Norma being almost twice Narvel’s age and Maya being close to half of his. Taboos are bexploited for dramatic effect as certain things are not quickly accepted in today’s culture, but here we may need to look more closely at what is going on.

Looking at Joel Edgerton’s resume, I wonder if I have given him enough credit as an actor. He has played a variety of roles in the “Star Wars” prequels, “The Thing” prequel, “The Felony” and “The Gift” among other films. Each has shown him going from playing good guys to villains with relative ease, and that is a gift many in his field would love to have. While it might seem like Edgerton is playing Narvel as a far too reserved, it becomes clear why this is the case as he nails this character’s complexities perfectly from start to finish.

Sigourney Weaver is a very welcome presence here. As Norma, she gives off a very regal vibe which makes her seem like a peaceful individual, but her play on words reveals someone whose anger is just simmering beneath the surface. I also love how she makes indigent sound like a four-letter word.

Quintessa Swindell does very interesting work as Maya. We learn a lot about this character before she appears onscreen, and Swindell makes Maya into something more than a mere cliché or stereotype that many might expect her to be. As we find Maya becoming involved with a man who is at least a decade older than her, Swindell comes to hold her own opposite Edgerton in their scenes together to where it becomes clear who has the upper hand in this relationship.

When it comes to Schrader and his films, he typically works with the bare minimum of budgets, and I am always impressed with what he accomplishes with them regardless of how tight they are. The cinematography by Alexander Dynan is quite lovely, the music score by Dev Hynes fits the material just fine, and kudos to those who gave Schrader the money to make this one as indie films like these do not get as much support as they once did.

How does “Master Gardener” compare to Schrader’s other works? Hard to say as there are many I still need to watch. This one does not quite reach the cinematic heights of “First Reformed” or “Affliction,” but this one reminds me of what a compelling voice he still is in cinema. Perhaps the conclusion left me wanting more as it did not quite fill my cinematic bloodlust, but maybe that was because I was expecting the wrong kind of movie. Whereas many of Schrader’s films end in an orgy of violence, this one concludes in a way which gives a certain piece of dialogue from “Natural Born Killers” an infinite amount of meaning, “Love beats the demon.”

Perhaps the loners who inhabit Schrader’s recent works have found reasons to not end their lives in an intensely dramatic and fatal fashion as the women they encounter give them a reason to live on. While the writer of “Taxi Driver” and “Raging Bull” might be treading through familiar territory, it is clear he has found how love can alter one’s destiny. This makes “Master Gardener” stand out in a memorable way as it defies certain expectations which I never should have brought into the theater in the first place.

Moreover, this film makes me view gardening and cultivating in a whole new light. I really enjoyed the specifics Schrader gives us when it comes to certain flowers as few other writers could these details down so perfectly. Perhaps I should visit the local flower or garden shop to truly appreciate the plants and their smells which are on display here.

I am glad Schrader is still making films in this cinematic climate. There always needs to be something outside of the mainstream.

* * * ½ out of * * * *

‘Magic Mike’s Last Dance’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

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

I thought the first two “Magic Mike” films served two different purposes, but they were entertaining and fun in different ways.  The first “Magic Mike,” directed by Steven Soderbergh, was more artistic and character driven.  It was a good film with great performances and cinematography. In “Magic Mike XXL,” we got some comedic touches to the material, and it was a charming and fun journey.  “Magic Mike’s Last Dance” features style but very little substance and almost none of the charm of the second film.  Instead, we are left with a film which really serves no purpose. I really hope it is Magic Mike’s last dance because what else is left to explore with this franchise at this point?

Mike Lane (Channing Tatum) has fallen on hard times after his furniture business went under because of the pandemic.  He is now a bartender in Miami and trying to keep a low profile.  It’s not that he is ashamed of his past, it’s just that he is looking to leave it behind and move forward. While bartending, one of Mike’s former clients recognizes him, but she plays it cool because she is with her husband.  This information gets passed onto Maxandra Mendoza (Salma Hayek Pinault) who offers him $6,000 for a dance.  He initially asked for $60,000, but they were able to settle on $6,000.  After he dances for her, she offers him a chance to earn that $60,000 in London, but she leaves out the details.

MAGIC MIKE’S LAST DANCE Copyright: © 2023 Warner Bros. Entertainment Inc. All Rights Reserved. Photo Credit: Courtesy of Warner Bros. Pictures Caption: (L-r) SALMA HAYEK PINAULT as Maxandra Mendoza and CHANNING TATUM as Mike Lane in Warner Bros. Pictures musical comedy “MAGIC MIKE’S LAST DANCE,” a Warner Bros. Pictures release.

While in London, we discover Max is in the middle of a divorce and is now in possession of the Rattigan Theatre. She wants Mike to choreograph dance elements into “Isabel Ascende,” a play which was being run there before she arrived and shut it down.  When Mike and Max come together, they come up with the idea of incorporating erotic dance into the production in a way which will spice things up around town.  This, however, does not come without problems from her ex-husband, Roger (Alan Cox).  Max believes Mike can find a way to put something magical out there, even if it is for only one night, as he really made an impression on her back in Miami with his dancing.

One of the biggest problems with this film is the fact it does not feature the previous crew of dancers such as Kevin Nash, Joe Manganiello, Matt Bomer and Adam Rodriguez. They are only shown here on a brief Zoom call, where Mike promises to get them their money back after the furniture business they invested in with him went out of business.  The film was really missing their presence and chemistry together as a group.  Overall, the film does have some great dance numbers, especially the one in the beginning between Mike and Max and some big numbers at the end.  It is everything in the middle which just seems unnecessary and unimportant to the viewers.

I liked the chemistry between Tatum and Hayek Pinault. I wanted their relationship to develop more on screen from a character perspective instead of just being a physical attraction. I thought her personal assistant, Victor (Ayub Khan-Din), had some great one-liners and used his screen time wisely. More of his character would have been appreciated. Max’s adopted daughter, Zadie, played by Jemelia George in her first film role, also showed tremendous timing and screen presence.  There is a genesis for an entertaining film here, but at nearly two hours long, it’s a real slog to sit through from start to finish. The first two films were better than I expected them to be, but this one is a drag.  There is not a lot of enjoyment to be had here as this sequel is really flat and uninspired.

* * out of * * * *

Blu-ray Info: “Magic Mike’s Last Dance” is released on a two-disc Blu-ray/DVD combo pack from Warner Brothers Home Entertainment.  It has a running time of 112 minutes and is rated R for sexual material and language. This combo pack comes with the Blu-ray, DVD, and a digital copy of the film as well.

Video Info: The 1080p High-Definition transfer looks really, really good here. I’ve always been a big fan of the look and feel of Steven Soderbergh’s films, and this is no exception here. It has a crisp, clear look, but it also knows when to light up during the dance numbers.  This is a really, really good-looking Blu-ray.

Audio Info: The DTS-HD MA: English 5.1 audio transfer is also top notch with flawless sound.  It also comes on the following audio formats: Dolby Digital: English Descriptive Audio, French, and Spanish. Subtitles are in English, French, and Spanish.

Special Features:

Magic Mike’s New Moves

Deleted Scene

Should You Buy It?

I understand they wanted to do something different with the third film. They took it to London and added Hayek Pinault. They had good intentions here.  After all, this is Tatum’s baby, and he’s a producer on the film.  However, they left behind the boys from the first two films, and they are such a big part of this franchise. They added the flavor and the fun factor.  The film also takes itself too seriously with these voiceovers which come across as too self-important.  There are good intentions here, as I mentioned, but the execution is very poor. There is no meat on the bone with the screenplay here. I did not feel like I knew any of the other dancers all that well, and I wanted to know more about Hayek Pinault’s character besides the fact she is getting divorced from a wealthy businessman.  If this is on HBO one night, you can check it out.  I would not go out of my way to see it or buy it.

**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.

A24 to Re-Release ‘Stop Making Sense’ in Remastered 4K, and I Cannot Wait

Posted on by The Ultimate Rabbit

Like any other year, 2023 has brought with it a lot of exciting news about the many movies coming our way very soon. But news of one movie really piqued my interest, and that was of A24 acquiring the worldwide rights to the classic 1984 concert film “Stop Making Sense.” directed by the late, great Jonathan Demme, it is set to be remastered in 4K and will be released in theaters sometime before the end of the year.

A24 has since premiered a promo trailer for the film’s re-release which features David Byrne showing up at a dry cleaner establishment to pick up a piece of clothing which sure enough turns out to be the big suit he wore in the latter half of the concert, starting with the song “Girlfriend is Better.” He is pleased to receive it and is quick to put it back on once he arrives at his apartment. To see that it still fits is not a surprise in the slightest and, like everyone else, I look forward to see him rocking and rolling in it yet again.

The only thing which bothers me about this rerelease trailer is that it does not feature the other members of Talking Heads: Chris Frantz, Jerry Harrison and Tina Weymouth. Surely, they too are excited about this classic concert film, right? The likelihood of these four ever reuniting remains astronomical, but it would have been nice to see these three featured in this trailer as well even if they were forced to film their appearances separate from Byrne’s.

What I love about “Stop Making Sense” is that it is a motion picture you cannot watch sitting still. Whether you are viewing it on VHS, DVD, Blu-ray, your local theater or in 4K, Demme makes you feel like you are watching the show along with those lucky patrons at the Pantages. I did get the chance to see on the silver screen at an arthouse theater in Orange County while I was a student at UC Irvine. The crowd in that theater, however, was quite small, so I hope the next crowd I see it with when it arrives back on the silver screen before the end of 2023 is much, much bigger. Seriously, this film is a great and exhilarating experience to take in with groups of people, and I cannot wait to do so in the near future.

Check out the promo trailer down below.

‘John Wick Chapter 4’ – Still Trying to Kill the Unkillable

Posted on by The Ultimate Rabbit

If there is to be a fifth “John Wick” film in our future, or perhaps this can be included in the upcoming spinoff entitled “Ballerina,” in which a father and son visit a memorial which stretches out for a couple of miles. Their dialogue would be comprised of the following:

“Daddy, what is the wall?”

“Well son, this is a memorial for all the people killed by John Wick, a professional hitman and assassin.”

“Wow, there are so many names up there!”

“I know son. Funny thing is, this memorial was opened up the public before those who constructed it realized they had another mile or two to add on. Just when everyone thought John could not kill another soul, he somehow found the strength to kill another human who was sent out to kill him.”

“Why did so many try to kill him dad?”

“Because there was a bounty on his head son, one to the tune of around $20 million dollars.”

“Daddy, are all these names up here to show they did not die in vain?”

“Actually son, it was quite the opposite. This memorial is proof of what happens when you put greed above everything else.”

Right from the start, the “John Wick” movies have shown how its title character is a human being somewhere in between the 1980’s action heroes portrayed by Arnold Schwarzenegger and Sylvester Stallone, and John McClane from “Die Hard.” On one hand, John looks to be super-human as he dishes out punishment while taking quite a large number of brutal hits in return, but thanks to Keanu Reeves, who continues to do some of his best work in these films, this character remains fully human as he is not without a soul and is looking to find peace in a world which appears very much devoid of it, particularly for him.

“John Wick Chapter 4” starts not too long after the events of “John Wick Chapter 3: Parabellum” in which he found himself betrayed by the High Table. Since then, he has lived in an underground bunker with The Bowery King (Laurence Fishburne) who has helped nurse him back to health. Suffice to say, John’s bloody knuckles are a sign that he is ready to fight yet another battle. Of course, what makes this even clearer is the following dialogue:

The Bowery King: “You ready, John?”

John Wick: “Yeah.”

But the fact that John Wick is still alive does not sit well with Marquis Vincent de Gramont (Bill Skarsgard, who always looks like he is about to start singing “I’m Sexy and I Know It”) who chastises Winston Scott (Ian McShane) and his friend Charon (the late Lance Reddick) for failing to kill this dog-loving assassin. To see that the job finally gets done, Marquis hires Caine (Donnie Yen), a blind assassin who also happens to be an old friend of John’s. Caine is not keen on taking the job, and he shudders once he realizes what name he is reading on a braille card to where he does not even need to spell it all out. As these two come to blows, it does not take much to see how they are both victims of circumstances beyond their control as they fight to protect what they love most.

Director Chad Stahelski knows what we want and expect from a “John Wick” film when we enter then theater, but he is smart to not start things off with too big a bang. During its 169-minutes, he takes his time to reintroduce us into the world John inhabits and of the people in his universe who either benefit or suffer from his deadly actions. And when those action scenes suddenly take flight, you can bet it will take not one or two, but close to a dozen bullets to take out a single bad guy. Watching this, it makes me wonder if John will suddenly run out of bullets at the worst possibly moment.

When it comes to Reeves, many love to joke about what a bad actor he is. As for myself, I feel the need to defend him from time to time even if his work in “Knock Knock” remains too painful to endure. The truth is, he is one of the main reasons the “John Wick” movies work as well as they do. In this latest installment, he receives the deepest of bruises, is almost hung from a noose, has a tattoo searingly burned into one of his arms and ends up falling down more flights of concrete stairs than Father Karass did in “The Exorcist,” and yet he still comes out of all of this standing tall. Even if you wonder if John ever gets any sleep, has any time to go to the bathroom or if one ice bath a day is enough for him, Reeves makes you believe he can endure the worst and yet still come out of it all with a pulse. Even when a supporting character utters to John why he doesn’t just die, he makes you realize he is not about to or, at least, not yet.

Other than that, “John Wick Chapter 4” contains a lot of great things such as Ian McShane’s performance as he plays Winston Scott in a far more gleeful than he did previously, Clancy Brown who proves to be a wonderful addition as a high-ranking High Table operative called the Harbinger, a thrillingly propulsive music score composed by Tyler Bates and Joel J. Richard, and striking cinematography from Dan Laustsen.

Still, I do need to single out another performance here, and it is the one from Donnie Yen, As Caine, he shows how the blind can see things better than those who still have their eyesight, so it should be no surprise when he easily takes out his devilish opponents with something like the sound of a doorbell. Like John, Caine is in a position not of his own making, and Yen does an excellent job of showing the painful conflicts this character is forced to deal with. As much as he does not want to be in this position, you know he is not about to go easy on his prey. But will he enjoy taking down his target? That remains to be seen.

While watching “John Wick Chapter Four,” I was reminded of what happened after Ang Lee’s “Crouching Tiger Hidden Dragon” became such a worldwide phenomenon. Hollywood quickly greenlit a number of martial arts films heavy stunts, but none of them were anywhere as successful. Some studio executives proclaimed that these films had the best fight choreographers available, but they clearly missed the point. The best action films out there are not just about stunts, but also about characters with moral dilemmas they are constantly entangled in. Whether or not they win the day, they still wonder what will become of them once all the violence ends.

The ”John Wick” films are not just about stunts; they are about the characters which inhabit them. This is what makes all the amazing stunt work, and it is infinitely amazing here, so bloody effective. Whether or not you consider “John Wick Chapter Four” to be one of the best movies ever made, it is clearly one of the greatest action flicks to come out in recent years, and seeing it once is not enough. More importantly, you have got to check it out on the silver screen with the biggest audience in town.

By the way, there is a post credit scene I encourage you to stick around for. And yes, this film is dedicated to the memory of Lance Reddick, yet another actor who tragically left us far too soon. Rest in peace Lance…

* * * * out of * * * *

‘Irreversible: Straight Cut’ – Gaspar Noe’s Infamous Film Still Packs a Devastating Punch

Posted on by The Ultimate Rabbit

I remember when Gaspar Noe’s “Irreversible” was released in 2002 and of the polarizing responses it received at the Cannes Film Festival and from audiences around the world. A rape and revenge story which, like Christopher Nolan’s “Memento,” is told in reverse and comprised of scenes done in long takes, it is still best known for two scenes of punishing ultraviolence: one in which Monica Bellucci’s character is raped in an underpass which lasts for almost ten minutes, and another where a man’s face is bashed in by a fire extinguisher to where he is no longer recognizable to anyone.

I never got to watch “Irreversible” when it played at a theater near me. Back in the day, I considered myself quite the adventurous moviegoer as I went out of my way to watch those films which did not often screen at the local multiplex because they were considered too disturbing for mainstream audiences. But after being so emotionally drained by “Breaking the Waves” and “Dancer in the Dark,” not to mention going through the cinematic equivalent of electric shock treatment that was “Requiem for a Dream,” I was not sure I could stomach what “Irreversible” had to offer, so I waited to view it on DVD where I could lower the volume or fast forward through the hard to watch parts.

Still, part of me regretted never having witnessed Noe’s unnerving film on the silver screen, and this is coming from someone who watched Larry Clark’s controversial “Kids” in a theater with his parents. But now, Noe has released a new cut entitled “Irreversible: Straight Cut,” and on top of it being remastered, it presents the story in chronological order this time around. The question, however, is if this cut will be just a mere gimmick.

The story remains the same with lovers Alex (Monica Bellucci) and Marcus (Vincent Cassel) going to a party along with Alex’s former boyfriend, Pierre (Albert Dupontel). But this straight cut starts with Alex and Marcus waking up after a night of passionate love making. I love watching this opening scene as the intimacy between these two characters, played by actors who were married at the time, as it is so lovely and unforced. So much attention has been paid toward those two unwatchable violent scenes that many forget about these scenes here. Seeing these two lovers together proves to be a wonderful sight as this intimacy is rarely shown enough in movies, and I came out of it feeling envious for Cassel as he got closer to Bellucci than I ever will.

From there, “Irreversible: Straight Cut” goes on a path which leads straight to hell as the road to it is always paved with good intentions. Alex is eager to bring Pierre along for the ride because she knows he gets along rather well with Marcus, and he still has feelings for her. Hearing Marcus and Pierre brag about who was better in bed with her played more strongly for me this time out in this chronological take. In fact, as we are thrust more deeply into one of “Irreversible’s” main targets which is toxic masculinity. Marcus is so consumed with rage over what happened to Alex that he is utterly impulsive and not using anything resembling common sense. Pierre is infinitely desperate to make Marcus see that he would be better off staying in the hospital with Alex rather than trying to seek vengeance and, even though I have long since seen the original cut, I found myself hoping Pierre would succeed this time around.

With “Irreversible: Straight Cut,” Noe has done an excellent job of making this version more than just a mere gimmick. The edits between each scene feel as seamless as they did before, and our attention is now glued to what may happen as opposed to what has already transpired. The more I watched this cut, the more I came to see how it dealt more with the uncontrollable impulses of man to where anything can happen, and this makes the final outcome all the more devastating. Truth be told, the events portrayed here remind me of all those moments I would love to get back as they created a level of damage I never intended.

As for the elongated rape scene, it remains as brutal and unnerving as ever. I did see one man walk out of the theater during it, and part of me expected to see more audience members to do so. I found myself looking away from the screen at times as I became increasingly enraged as ever at what the unrepentant pimp, La Tenia (played by kick boxing champion Jo Prestia in a truly fearless performance), was doing to Alex. There are few other motion pictures I have sat through where I wanted to see a certain character die a most painful death, and La Tenia is seriously deserving of such a fate.

At this point, I should make clear some facts about the rape scene as many of “Irreversible’s” detractors consider this film to be “pro-rape,” something I completely disagree with. The truth is, Noe was not sure how long the rape scene was going to last, and it turns out Bellucci was the one who ended up directing the scene as she wanted it to be as disturbing as possible. Also, Noe’s camera is constantly moving all over the place throughout “Irreversible,” but it remains paralyzed throughout the rape scene as he wants us to remain in Alex’s frame of mind instead of La Tenia’s. Had the camera moved along with every thrust of La Tenia’s body, we would have been in his mindset, and that would have affected the morality of this film in an inescapable way. In my mind, Noe justifies the rape scene in “Irreversible” because of the way he filmed it.

Seriously, “Irreversible: Straight Cut” reminded me of when I first watched “Deliverance” years ago. While many motion pictures are meant to be enjoyed, this one was made to be experienced even if it was against my will. There is no easy escape from the rage of revenge here as Marcus descends even deeper into a hell which Pierre desperately wants to keep him away from. While I have watched “Irreversible” several times before, I still found myself praying still for another outcome.

This film has also been accused of being homophobic as Marcus yells out many degrading insults to the patrons at the Rectum club, but there a couple of things to consider. Noe himself has a cameo as a Rectum regular who is busy pleasuring himself, and this was his way of showing he was on equal footing with characters he portrayed here. As for Marcus, all I can say is that when you find yourself in a state of intense anger or rage, you find yourself saying things you never thought you would ever utter.

As for Pierre, whose vicious actions end up giving him the worst outcome in this film, he represents a case study of deep repression as he keeps his emotions deep inside. But when he bashes that guy’s head in with the fire extinguisher, his repression ends up finding an exit in the worse way possible, and he ends up destroying himself in a way he could never have seen coming.

Basically, what I am trying to say about either cut of “Irreversible” is that Noe did not make this film simply to shock audiences. Yes, he went out of the way to make us feel uncomfortable while we watched it, but there is more substance to this film than we initially saw on the surface of it. In the end, it presents us with a tragedy we would be best to avoid in our own lives as it is anti-rape and anti-revenge more than anything else. If you do not believe me, then you did not look at this film closely enough.

In comparing the two cuts, I have to say I prefer the original cut more as its reverse structure carries more dramatic weight. As we come to see these horrific acts and what led to them, each preceding scene makes us think about what could have been done to avoid such horrific fates. Still, “Irreversible: Straight Cut” gives audiences something to chew on even as it takes things to a finale which is as bleak as can be. When it comes down to it, I am curious to see what people think about the straight cut, particularly those who have not seen either cut before this one. With a film like this, the responses to it prove to be endlessly fascinating.

Come to think of it, comparing “Irreversible” to “Deliverance” reminds me of the pieces of advice characters give in each film. In “Deliverance,” Jon Voight tells Burt Reynolds, “Let’s go back to town and, ah… play golf.” Imagine the horrors those men would have avoided had Reynolds heard Voight out. But when it comes to “Irreversible,” it features a terrible piece of advice which hangs over the film as Alex attempts to cross a busy street when she is told by a woman nearby:

“Take the underpass. It’s safer.”

Original Cut: * * * * out of * * * *

Straight Cut: * * * ½ out of * * * *

‘Mission: Impossible – Dead Reckoning Part One’ Teaser is Here, Should You Choose to Accept it

Posted on by The Ultimate Rabbit

It’s been close to five years since the last film in this long-lasting franchise, but now we get our first look at “Mission: Impossible – Dead Reckoning Part One.” I should, however, state how frustrated I was to see it will not be released until July of 2023 which is such a buzz kill. All these exciting images are presented to us, and now we have to wait just a little over a year to see them on the silver screen. This reminded me of how thrilled I was when I first watched the teaser trailer for “The Matrix Reloaded” and “The Matrix Revolutions,” and how deflated I was when we saw the year 2003 plastered at the end of it. We were so excited, and then we were made to wait a full year before we went back to the “real world.” That’s like putting salt in the wound!

Well, with Tom Cruise returning as Ethan Hunt once again, we are greeted with various images we have come to see in the “Mission: Impossible” films such as him palling around with his colleagues played by Ving Rhames, Simon Pegg, Rebecca Ferguson and Vanessa Kirby among others. We also get glimpses of insane car chases which go through downtown cities, trains traveling through the countryside, and our heroic characters partying at a members’ only rave in the most glamorous of places. So yeah, this definitely looks like a “Mission: Impossible” film.

Having watched this teaser trailer several times now, this particular sequel looks to be not much different from the others which preceded it. Perhaps this is because Christopher McQuarrie is returning to director’s chair for the third time, or maybe I am just reacting to how Tom Cruise still looks like he hasn’t aged a day since “Mission: Impossible III.” I’m not surprised to see him “grinning like an idiot every 15 minutes” here and, in this trailer, we see him running really fast, and all by his lonesome as usual. When was the last time anyone rang alongside him anyway?

What stood out to me most in this trailer was the appearance of Henry Czerny who returns to this franchise as Eugene Kittridge for the first time since the original “Mission: Impossible” film from 1990. Hearing him talk to Ethan and explain how he needs to take a side makes me feel like this sequel will have very high stakes, and this always helps to add to spectacle on display.

One other thing; seeing Ethan ride a horse is something I have not seen him do before in this franchise. At least I can count on the filmmakers bringing in that as something new. Plus, I have not seen a train fly off the rails since “Back to the Future Part III,” and that should be quite the sight to see. And then there is Cruise driving a motorcycle off of a cliff, something we already knew he was going to do. It makes me wonder what motorcycle enthusiasts think of such a stunt. Once they learn what kind of motorcycle he let crash to the ground, they may be incredibly heartbroken.

And if you look closely, you will get glimpses of newbies to this franchise which include Esai Morales, Hayley Atwell and Cary Elwes among others. These are actors you can always depend on, and I have no doubt they will be great additions.

“Mission: Impossible – Dead Reckoning Part One” is set to open in theaters on July 14, 2023. If you haven’t already, check out the trailer above. Whether or not this will equal or be better than “Mission: Impossible – Fallout,” one of the best action films of recent years, remains to be seen.