Review: A United Kingdom

Starring David Oyelowo and Rosamund Pike

Review: The Great Wall

Starring Matt Damon, Andy Lau, and Jing Tian

Review: Fist Fight

Starring Charlie Day and Ice Cube

Review: A Cure for Wellness

Directed by Gore Verbinski

Review: In Dubious Battle

Directed by James Franco, Starring Nat Wolff, Selena Gomez, and more

2/26/2017

Best Foreign Language Oscar Directors Issue Statement On U.S. "Climate Of Fanaticism"


Honestly, this is probably going to be the most political Academy Awards ever, and as someone who has to host an Oscars night party, I'm not happy about it. The night may stretch on through the wee hours of the morning with all of the anti-Trump speeches. And that will especially be the case with the Best Foreign Language Film category, where all of the nominated directors have made their thoughts known early.

As you know, The Salesman director Asghar Farhadi, along with the film's star Taraneh Alidoosti, have decided against attending the awards because of Trump's Muslim ban that he swears isn't a Muslim ban even though he called it a Muslim ban. Well, all of the directors in that category have issued a joint statement speaking out against “the climate of fanaticism and nationalism we see today in the US and in so many other countries, in parts of the population and, most unfortunately of all, among leading politicians”.  The statement is signed by Farhadi, Toni Erdmann's Maren Ade, Martin Zandvliet, director of Denmark’s Land of Mine, Swedish director Hannes Holm of A Man Called Ove, plus Martin Butler and Bentley Dean, co-directors of Australia's Tanna.

And if The Salesman wins? Farhadi is sending two inspiring Iranian-Americans to stand in his place; Anousheh Ansari, world renowned engineer and the first Iranian space tourist, and Firouz Naderi, who worked for NASA as its director of Solar Systems Exploration. All the more reason why I think The Salesman will win tonight.

Read the full statement below:

On behalf of all nominees, we would like to express our unanimous and emphatic disapproval of the climate of fanaticism and nationalism we see today in the U.S. and in so many other countries, in parts of the population and, most unfortunately of all, among leading politicians.

The fear generated by dividing us into genders, colors, religions and sexualities as a means to justify violence destroys the things that we depend on — not only as artists but as humans: the diversity of cultures, the chance to be enriched by something seemingly “foreign” and the belief that human encounters can change us for the better. These divisive walls prevent people from experiencing something simple but fundamental: from discovering that we are all not so different.

So we’ve asked ourselves: What can cinema do? Although we don’t want to overestimate the power of movies, we do believe that no other medium can offer such deep insight into other people’s circumstances and transform feelings of unfamiliarity into curiosity, empathy and compassion — even for those we have been told are our enemies.

Regardless of who wins the Academy Award for Best Foreign Language Film on Sunday, we refuse to think in terms of borders. We believe there is no best country, best gender, best religion or best color. We want this award to stand as a symbol of the unity between nations and the freedom of the arts.

Human rights are not something you have to apply for. They simply exist — for everybody. For this reason, we dedicate this award to all the people, artists, journalists and activists who are working to foster unity and understanding, and who uphold freedom of expression and human dignity — values whose protection is now more important than ever. By dedicating the Oscar to them, we wish to express to them our deep respect and solidarity.

Martin Zandvliet – Land Of Mine (Denmark)
Hannes Holm – A Man Called Ove (Sweden)
Asghar Farhadi – The Salesman (Iran)
Maren Ade – Toni Erdmann (Germany)
Martin Butler, Bentley Dean – Tanna (Australia)

Patrick Stewart Confirms 'Logan' Is His Final X-Men Movie


As Hugh Jackman has confirmed, waffled, and confirmed again that Logan would be his final X-Men movie, the same question has surrounded Patrick Stewart as Charles Xavier. It was last summer that he first began suggesting his time as Professor X was coming to an end, and now he has confirmed it during an appearance on The Graham Norton Show.

“Last week we were at a screening in Berlin sitting next to each other and when it got to the very emotional ending and I noticed Hugh wipe away a tear, then I did the same and during the credits he held my hand and I was done, I was weeping and sobbing. While the credits were rolling I realized that if it was the end, there was no more perfect and beautiful way to say, ‘Au revoir, goodbye, adios.’ So I think it is the end for me too. Why would I want to have another go of it after what we have done in this movie?”

Without giving anything away, I think he's making the right call. Logan (my review here) is the perfect swansong for both Stewart and Jackman, and I hope they stick to their guns on this.  You can see them say their final goodbyes when Logan opens on March 3rd.

2/25/2017

'Moonlight' Dominates The Indie Spirits With Six Wins


The Indie Spirit Awards aren't always an indicator of how things will go the following night at the Oscars, but you can bet A24 and the folks behind Moonlight are hoping it is this year. Barry Jenkins' acclaimed drama won the night with a whopping six awards, including Best Feature, Best Director, and Best Ensemble. Horror film The Witch came away with two wins, including Best First Feature, while the acting wins turned out pretty interesting. While Casey Affleck still won Best Actor for Manchester by the Sea, Oscar favorite Mahershala Ali wasn't even nominated for Best Supporting Actor, with that award going to Ben Foster for Hell or High Water. Isabelle Huppert won Best Actress for Elle, while Molly Shannon was shown some much-deserved love for Other People.

The full list of winners is below.

BEST FEATURE
“American Honey”
“Chronic”
“Jackie”
“Manchester by the Sea”
WINNER: “Moonlight”
BEST FIRST FEATURE
“The Childhood of a Leader”
“The Fits”
“Other People”
“Swiss Army Man”
WINNER: “The Witch”
JOHN CASSAVETES AWARD
Given to the best feature made for under $500,000. Award given to the writer, director and producer. Executive Producers are not awarded.
“Free In Deed”
“Hunter Gatherer”
“Lovesong”
“Nakom”
WINNER: “Spa Night”
BEST DIRECTOR
Andrea Arnold, “American Honey”
WINNER: Barry Jenkins, “Moonlight”
Pablo Larraín, “Jackie”
Jeff Nichols, “Loving”
Kelly Reichardt, “Certain Women”
BEST SCREENPLAY
WINNER: Barry Jenkins, Story By Tarell Alvin McCraney, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”
Mike Mills, “20th Century Women”
Ira Sachs & Mauricio Zacharias, “Little Men”
Taylor Sheridan, “Hell or High Water”
BEST FIRST SCREENPLAY
WINNER: Robert Eggers, “The Witch”
Chris Kelly, “Other People”
Adam Mansbach, “Barry”
Stella Meghie, “Jean of the Joneses”
Craig Shilowich, “Christine”
BEST CINEMATOGRAPHY
Ava Berkofsky, “Free In Deed”
Lol Crawley, “The Childhood of a Leader”
Zach Kuperstein, “The Eyes of My Mother”
WINNER: James Laxton, “Moonlight”
Robbie Ryan, “American Honey”
BEST EDITING
Matthew Hannam, “Swiss Army Man”
Jennifer Lame, “Manchester by the Sea”
WINNER: Joi McMillon, Nat Sanders, “Moonlight”
Jake Roberts, “Hell or High Water”
Sebastián Sepúlveda, “Jackie”
BEST FEMALE LEAD
Annette Bening, “20th Century Women”
WINNER: Isabelle Huppert, “Elle”
Sasha Lane, “American Honey”
Ruth Negga, “Loving”
Natalie Portman, “Jackie”
BEST MALE LEAD
WINNER: Casey Affleck, “Manchester by the Sea”
David Harewood, “Free In Deed”
Viggo Mortensen, “Captain Fantastic”
Jesse Plemons, “Other People”
Tim Roth, “Chronic”
BEST SUPPORTING FEMALE
Edwina Findley, “Free In Deed”
Paulina Garcia, “Little Men”
Lily Gladstone, “Certain Women”
Riley Keogh, “American Honey”
WINNER: Molly Shannon, “Other People”
BEST SUPPORTING MALE
Ralph Fiennes, “A Bigger Splash”
WINNER: Ben Foster, “Hell or High Water”
Lucas Hedges, “Manchester by the Sea”
Shia LaBeouf, “American Honey”
Craig Robinson, “Morris from America”
ROBERT ALTMAN AWARD – (Given to one film’s director, casting director and ensemble cast)
“Moonlight”
Director: Barry Jenkins
Casting Director: Yesi Ramirez
Ensemble Cast: Mahershala Ali, Patrick Decile, Naomie Harris, Alex Hibbert, André Holland, Jharrel Jerome, Janelle Monáe, Jaden Piner, Trevante Rhodes, Ashton Sanders
BEST DOCUMENTARY (Award given to the director and producer)
“13th”
“Cameraperson”
“I Am Not Your Negro”
WINNER: “O.J.: Made in America”
“Sonita”
“Under the Sun”
BEST INTERNATIONAL FILM (Award given to the director)
“Aquarius”
“Chevalier”
“My Golden Days”
WINNER: “Toni Erdmann”
“Under the Shadow”
PIAGET PRODUCERS AWARD
Lisa Kjerulff
WINNER: Jordana Mollick
Melody C. Roscher & Craig Shilowich
23RD ANNUAL KIEHL’S SOMEONE TO WATCH AWARD
Andrew Ahn, “Spa Night”
Claire Carré, “Embers”
Anna Rose Holmer, “The Fits”
Ingrid Jungermann, “Women Who Kill”
22ND TRUER THAN FICTION AWARD
Kristi Jacobson, “Solitary”
Sara Jordenö, “Kiki”
WINNER: Nanfu Wang, “Hooligan Sparrow”

Podcast: Cinema Royale Will 'Get Out' With 'The Girl With All The Gifts'


On this episode of Cinema Royale I dial up my northern homie Chris Bumbray of Joblo.com to talk about two movies we both saw at Sundance, Jordan Peele's GET OUT, and Macon Blair's I DON'T FEEL AT HOME IN THIS WORLD ANYMORE! Hopefully we both remember something about them. It was kinda late. 
Plus, we'll take a look at the buzzed-about zombie flick, THE GIRL WITH ALL THE GIFTS, because Chris is the only other person I know who saw it. Makes it pretty easy to choose on a guest. 
All this, plus my thoughts on Warner Bros.' struggles with THE BATMAN, news on X-FORCE, DEADPOOL 2, and more!
Tune in and follow Cinema Royale on Blogtalkradio as part of Critical: The Movie Critics Network!

This Week In DC TV: The Flash Goes To Gorilla City


Hey Folks,

Last week in the Arrowverse, we did not see too many new shows as The Flash and Legends of Tomorrow had the week off.  However, this week, it’s a full house once again.  Supergirl had a special Valentine ’s Day episode, complete with the most interesting bad guy there is.  The Flash had the opening of a two-parter, which looks to lead us to the eventual “Savitar-murders-Iris” moment for the possible finale.  On Legends of Tomorrow, we head to two different timelines where a few of the Legends learn about honor and being a knight.  Elsewhere, on Arrow, we get to see the return of some of the most dangerous villainesses Oliver has faced.

So how did everything in the Arrowverse go this week? Let’s take a look at this week’s episodes:


Supergirl: “Mr. & Mrs. Mxyzptlk



Last week ended with Kara and Mon-El about to finally take their relationship to the next level, only for them to once again be interrupted by some new character, who declares his love for Kar and wants to marry her.  We soon learn that he is Mr. Mxyzptlk, a character famous from many Superman comics.  It’s always interesting to see how they incorporate many superman canon events from the comics into the Supergirl TV show.  “Mxy,” as he is called at times in the comics, was routinely an annoying supervillain/sometimes anti-hero for Kara’s cousin in the comics, but on the show, he’s using his powers to try and woo her into marriage.

Speaking of his powers, he’s a virtual God.  Mr. Mxyzptlk is an alien from the 5th Dimension, and pretty much can do whatever he wishes.  He proves it by first snapping his fingers and Kara’s in a wedding dress.  When Mon-El protests, he simply wills Mon-El to the DEO in nothing but his underwear.  To have such omnipotent powers, Mr. Mxyzptlk has the maturity of a 7-year-old, and he has the hots for Kara.  Although she refuses him, he assumes she’s playing hard to get and vows to prove his worth to her.

This is happening also on Valentine’s Day as Alex wants to celebrate the day with Maggie.  Unfortunately, this is not working to her favor.  You see most of her life, Alex has not really had a significant other, and only after learning about her own sexuality is she even taking a chance with Maggie, and she wants to celebrate this day for the first time in her life.  The only problem is that Maggie is the exact opposite.  She completely hates the idea of Valentine’s Day.  For Maggie, it signifies when she unofficially came out to her parents, and as a result, was kicked out of the home.  This serves to remind us that although there has been significant progress for LGBT issues recently, there was a time when coming out to your family mean being ostracized from them.

Valentine’s Day isn’t bad for everyone, though.  Winn finally gets himself a girl.  He encounters Lyra, an alien from the planet Starhaven at everyone’s usual alien bar.  As Winn is about to be beaten up by two other aliens looking for a fight, Lyra saves him and beats them up.  The two end up going home together for a good old time.  After their booty call reaches its conclusion, Winn opts to go on a real date with her.  She is surprised as he takes her to a fancy place where she catches a bunch of stares being an alien, which Winn doesn’t care for.  This turns her on even more as they opt to take their date back to his place for some more sex.

Mr. Mxyzptlk causes a rift between Mon-El and Kara.  Not because Mxyzptlk has a chance, but because Mon-El has wanted to take Mxyzptlk out and Kara wants to handle things on her own.  Of course, Mon-El doesn’t listen (as most men don’t) and tries to take Mxyzptlk on using an alien artifact at the DEO that is capable of making Mxyzptlk’s powers not work.  Even still, Mxyzptlk gains the upper hand and is about to kill Mon-El in a fight when Kara intervenes and promises to marry him.  However, Kara knows the key to beating him.  Mxyzptlk’s only weakness is if he says his name backward, he has to return back to the 5th Dimension.  She lures him to the Fortress of Solitude and programs her computer with a special passcode that will display his name backward.  She activates the self-destruct of the base and gives him the code, which prompts him to return back to the 5th Dimension.

In the aftermath, Mon-El apologizes to Kara and Alex and Maggie make up, ensuring everyone had a great Valentine’s Day.

Next week on Supergirl, Jeremiah Danvers (Kara and Alex’s father) returns from Project Cadmus in "Homecoming," but can he be trusted?



The Flash: “Attack On Gorilla City

Last week, Jesse Quick came from Earth-2 telling Wally that her father Harry was kidnapped by Grodd (the super strength telepathic Gorilla) and she needed their help rescuing him.

One of the headlines from the “Iris-will-be-dead” future is that there will be a Gorilla attack on Earth-1, so it raises some suspicion that things are going just as predicted.  However, Barry takes it that if they travel to Earth-2 and save Harry from Grodd, then the gorilla’s will not attack, changing the timeline and saving Iris.  Plus, they aren’t just going to leave Harry out to suffer in Gorilla City.  Wally and Jesse stay behind in Central City as the rest of Team Flash (including Julian in his best Indiana Jones cosplay) head to Earth-2 to rescue Harry.

When they arrive at Earth-2 at Gorilla City, they are quickly dealt with at the hands of Grodd and other gorillas.  They awaken in cages and are now prisoners.  Harry shows up (mind controlled by Grodd) and speaks for Grodd.  Grodd (via Harry) tells them that he needs their help stopping Solovar, Gorilla City’s leader who wants to lead an attack on Central City in Earth-1.  Grodd promises Barry that if he helps defeat Solovar, Central City will be spared.  To do so, Barry will need to face Solovar in a Gladiator-like arena.

As Barry faces off against the even-stronger-than-Grodd gorilla, Solovar seems to be kicking his ass.  The battle (rather impressive CGI for a network TV show) has flash most of the time on the ropes with Cisco and other members of Team Flash cheering him on.  As Barry gains the upper hand, he ends up defeating Solovar.  However, Barry does not kill him and announces to all the gorillas in attendance that the people of Earth-1 do not want to kill them.


Meanwhile, on Earth-1, Wally and Jesse reunite.  The two had been close to forming a relationship before she left to go back with her father to Earth-2.  As the two are fighting crime, she’s distant.  Turns out, she is entertaining the possibility of leaving Earth-2 behind so that she can be with Wally.  After an enlightening conversation with HR (he may not be as smart as the other versions of Wells, but he’s a great “muse”), she decides that she will remain behind on Earth-1, she just has to tell her father after he’s rescued.

However, because Barry did not kill Solovar, Grodd places him back in custody.  However, the real reason was because he wanted to perform a coup against Solovar and take over as the ruler of Gorilla City.  Grodd then reveals his plan for using Cisco to open a portal to Earth-1 and he will lead the gorilla army into Central City (further making the future come true).  Knowing that they cannot let that happen, the team comes up with a plan of escape.  The plan requires Caitlin to use her “Killer Frost” powers to freeze Barry to death.  When Grodd returns and sees Barry’s lifeless body, he takes him out of the cage to check him and then throws him on a pile of carcasses.  Barry quickly revives himself and helps the team escape back to Earth-1.

However, Cisco wasn’t the only person Grodd was counting on.  Gypsy (the woman Cisco fought for HR a few weeks back with the same powers as he), has been with Grodd and she will be his way to Earth-1, and he has the full gorilla army ready to attack.

Next week is the conclusion, “Attack on Central City.”



Legends of Tomorrow: “Camelot/3000

This episode of Legends of Tomorrow should have really been called “Camelot” as we barely spent any time in the year 3000.

Continuing the “Spear of Destiny” arc, Evil Rip Hunter goes to Detroit in the year 3000 (it’s good that Detroit will eventually bounce back) to retrieve a piece of the spear.  The spear is being guarded over by Dr. Mid-Nite (who we haven’t seen since episode 2 “The Justice Society of America”).  Turns out, the Legends aren’t the only heroes Rip has sent on adventures throughout time.  Before the Legion of Doom brainwashed him, Rip had members of the Justice Society of America leave the 1940s and go to various places throughout time to safeguard pieces of the spear.  

Rip gets to Dr. Mid-Nite before the Legends do.  When the Legends come up on his body, Dr. Mid-Nite managed to write “Rip” in his own blood.  They are up against the clock against their former leader to gain pieces of the spear.  Gideon manages to identify the next place to investigate, Camelot during the Arthurian times.

Upon meeting Queen Guinevere, the Legends go to meet King Arthur.  Not just Dr. Mid-Nite was in the year 3000, another Justice Society member, Stargirl, is time displaced to safeguard pieces of the spear.  Because of her staff, she assumes the role of Merlin and formed the Knights of the Round Table to protect the spear.  Nate thinks of the tale of King Arthur as just “stories,” but is surprised when he starts to meet the living legends.  as However, Ray Palmer is very excited to be in the times of his favorite childhood stories.  In fact, he takes it a little too far.  Introducing himself as “Sir Raymond of Palms,” he becomes heavily invested in the workings of Camelot.

At the same time, Rip and Damien Darhk are trying to get the piece of the spear.  Using a mind-control device obtained from the year 3000, they manage to recruit an entire army of mind-controlled knights, including King Arthur himself.

Meanwhile, Stein managed to steal a piece of the mind-controlling technology from the year 3000 and has been performing his own experiments to counter Rips’s mind-control technology.  However, Stein is having no such luck.  Just for a goof, Mick uses the mind control device, and it turns out he is able to use it better than Stein.  Turns out, the more aggressive the mind, the more powerful they are using the device.  This comes in handy as the Legends team up with Guinevere against Rip and Darhk’s army.  

Ray Palmer has become one of Guinevere’s devoted knights, and even uses his pieces of his atom suit to power his given sword and make it a “light saber” love their continued George Lucas references) and uses it when they do battle.  Thanks to Mick’s mind, they manage to stop the attack and even take Rip into custody.  However, Rip still has control over Gideon as the episode ends with him reaching out to her.

We’ll have to wait 2 weeks for Rip’s escape I “Land of the Lost.”



Review: 'I Don't Feel At Home In This World Anymore' Starring Melanie Lynskey And Elijah Wood


*NOTE: This is a reprint of my review from the Sundance Film Festival. The film is available right now on Netflix. *


If you know the name Macon Blair it's probably because you're a fan of his performances in his buddy Jeremy Saulnier's films, Blue Ruin and Green Room. But he's sort of been making the arc toward directing for a while, and Sundance sees the premiere of his debut, I Don't Feel at Home in This World Anymore, a title that feels longer than the lean 90-minute movie itself.  In a lot of ways it feels like a continuation of Saulnier's "color" genre flicks in its unusual approach to chaotic vengeance, but Blair brings incredible humanity and humor to a story that is dark, violent, and romantic when you least expect it.

Rule #1 to pleasing the Sundance crowd? Cast Melanie Lynskey. The festival darling brings spirit and pathos to another troubled character, this time as Ruth, who is really just having a tough time with life in general. A nursing assistant, she has an epiphany about the pointlessness of life after a patient's embarrassing final words before death. An existential crisis is enough to deal with, but when she comes to her rundown home to discover it's been broken into, with her laptop and beloved grandma's silver stolen, it's one thing too many. So she joins with a weirdo ninjitsu-obsessed neighbor Tony (Wood), who had been letting his dog crap on her lawn much to her annoyance, to find the culprits. Together they forge one of screen's oddest dynamic duos, but also one of the most entertaining for being so unpredictable.

"People are assholes", Ruth says, and she's tired of letting the assholes get away with everything. Much like the protagonist of Blue Ruin and the doomed punk rockers of Green Room, this isn't a movie where the heroes know what the Hell they are doing. It adds a touch of realism and comedy that Blair occasionally struggles to balance with the grim consequences his characters often face. A confrontation over the laptop eventually leads Ruth to a trio of cold-blooded baddies, and at first their parallel story doesn't mesh with the film's offbeat tone. It takes a while for Blair to gel their mayhem with Ruth's plucky determination, but when they collide the results are spectacularly insane and very very bloody. The cycle of violence plays out in ways that are often hilarious, like Tony's overhyped kung-fu skills, but are always gruesome. Blair doesn't let us forget that, even though Ruth and Tony mean well and are generally good people, there's a whole karma thing going on when it comes to violence, and usually it comes back to bite you in the ass. Or in the face.

I don't know if anybody can make somberness funny the way Lynskey does, but once again she has found a way to make a sad sack character somebody to be loved. Her downplayed energy matches perfectly with Wood's bizarro enthusiasm, which I find is so much more appealing than his recent spate of creepy roles.  The supporting roles leave a little to be desired, especially Gary Anthony Williams as a pig-headed detective and Jane Levy in a strange turn as one of the more twisted villains, so it's good that so much focus is on Lynskey and Wood who are absolutely brilliant.

Capturing a gloomy atmosphere that matches the spirit of his characters, Blair transports us into a little corner of the world where desperation comes in many forms. Everybody in this poor little town is feeling desperate about something, from the poor living on the swampy outskirts to the rich in their McMansions. And that desperation comes out in violent frustration, which Blair keeps tightly-wound in his characters before letting out in nasty bursts. Even Ruth has her moments...actually, she has many of them. And watching Lynskey transform her from life's doormat to someone who grabs life by the balls is what makes  I Don't Feel at Home in This World Anymore a special kind of revenge movie that Netflix was smart to pick up early.


Rating: 3.5 out of 5

Review: Grungy B-Movie 'Drifter' Wears Its Genre Sleaze Proudly



The new action/horror movie Drifter tells the story of two brothers on a cross country journey fueled by revenge. The film is set in a near-apocalypse similar to the original Mad Max. That’s not where the resemblance ends, as the filmmakers pay heavy homage to the George Miller classic and others like it all throughout this desert-set bloodbath. Clearly, one of their favorite aspects of those types of films is how relentlessly filthy they are. At times Drifter goes a bit too far with its visual references, though, letting style upstage substance in scenes where that doesn’t really fit. “Too much of a good thing” and so on.



The movie opens with a series of scenes meant to introduce us to the two brothers and the wasteland of a world they inhabit. They drive their beaten-down dystopia sedan through the desert, face off with gangs of freaks and robbers, and blow them away with a whole host of guns. First-time director Chris von Hoffmann makes a lot of bold choices throughout the movie. He captures these showdowns in hyper-stylized quick cuts and swoopy, dutch-angle camerawork reminiscent of The Evil Dead or the campy Spaghetti Westerns of the 1960’s. While this cartoonish, over-the-top style is a personal favorite genre of mine, in this first half of Drifter it feels out of place, and occasionally a bit distracting. Although set in a violent shoot-‘em-up wasteland, the introductory scenes of the film are written with a sort of slow-burning, drawn out pace that clashes with the high energy camera work and editing.


The back half of the movie really picks up the pace, and lives up to the promise of the style flashed throughout its slow moving intro. The brothers find themselves stuck in a mysterious and hostile small town, overrun by cannibalistic psychopaths. In a sentence I can’t believe I’m writing, the film really gets going once they introduce the cannibals. The sadistic mayor of the town (played as a cross between The Joker and The Walking Dead’s Negan) captures the brothers in a brutal show of force, and our heroes are forced to fight their way out of this society of lunatics.


Ultimately, I did enjoy a lot of Drifter. Although it is a bit much, the visual tone is really impressive, especially for a film that’s this low-budget. Fans of this type of grungy, gritty B-Movie genre should probably give it a watch. It’s gross, and scuzzy, and over-the-top, and in-your-face, and a lot of the time that really works for its benefit. Drifter is proud genre-movie sleaze.

Rating: 3 out of 5

Nicholas Hoult Knows There's Another X-Men Movie, Thinks He Might Be In It


Feeling a little confused about what's going on with the X-Men movies? Don't feel bad. Apparently, the actors don't know much either. While we know Josh Boone has New Mutants coming up...at some point, and of course Deadpool 2 is speeding right along and there may be an X-Force movie or something, the next core X-Men movie, possibly titled 'Supernova' is still up in the air. Sophie Turner has said shooting begins later this year, and Simon Kinberg is reportedly in talks to direct, but nothing is really confirmed. Need proof? Just listen Nicholas Hoult, who has no clue if he's coming back to play Beast...

Hoult told HeyUGuys, "I think I’m involved. I’d be happy to go back – I love playing that character and I love everyone involved and I know there’s one in the works…"

Now there's commitment for ya.  Clearly, nobody knows anything at this point. What about Jennifer Lawrence? Or Michael Fassbender? James McAvoy seems like he's in, but who knows for sure? Even the thing about Kinberg directing isn't a done deal...


I think Fox had done a better job than most in keeping the X-Men house in order but they've really let things go lately.  Hopefully things will clear up after Logan hits theaters.

The Obamas Watched 'Monster Trucks' In The White House, And That's Awesome


I'd like to think you can tell a lot about a person by the movies they watch, but uh...let's hope that's not the case this time. One of the reasons I've been such a big fan of President Barack Obama is that he's a geek like I am, and that he's also a movie lover. Remember, his first date with Michelle ended with a showing of Do the Right Thing, and he's talked about film in the past. Well, THR has managed to get their mitts on some of the movie requests made from the White House during his Administration, and one is pretty surprising.

So while La La Land makes sense considering it's about to win a rack of Oscars tomorrow, the Obamas apparently requested Monster Trucks, too. Yeah, that hugely expensive (but not really awful) dud starring Lucas Till and an oily monster named Creech. It's a stupid film but maybe Obama was looking for a way to forget the turmoil he knew the country was about to be thrust in. And the cool part is the Obamas requested pretty much everything, including awards screeners of all the top movies. They are cinephiles just like the rest of us, and I have reason to think the entire family is that way. Malia Obama was at Sundance at the same Get Out screening I attended, perhaps because she's interning with Harvey Weinstein.

As for our current orange overlord, his requests have included Finding Dory and the dreadful James Franco comedy, Why Him?, which is a question the country has been forced to ask repeatedly over the last month. But something tells me he hasn't watched either of these. One thing we know about Trump is that everything he sees on TV he immediately tweets about then puts into policy. I haven't seen any "Save the Forgetful Ellen Fish" executive orders pass lately.  Can someone maybe get this guy a copy of Mr. Smith goes to Washington?

2/24/2017

Could We Finally See the Original Versions of The Star Wars Saga?


Grains of salt everywhere on this one, these rumors pop up almost as much as the debate on whether or not Han Shot First (he did). That being said the word is coming from MakingStarWars.net this time who have been a trusted source for all things Star Wars. Honestly, there's absolutely NO reason not to release something that the fans have been clamoring for now that Lucas is no longer the decision maker. When he headed up Lucasfilm I got it, he thought the new versions were superior, fans be damned. But now that Kathleen Kennedy is running things, and have thus far brought prestige back to the galaxy far, far, away it seems like a no-brainer to release the original cut. 

It was previously said that the "special editions" were done on the original print making a re-release of the film all but impossible (that in itself is stupid enough). Word has it that a 35mm print of the film has surfaced renewing the possibilities and being that the 40th anniversary of the original film is coming up in a few months the chances of a high def transfer of the unaltered trilogy is seeming more and more likely. 

If I'm being totally honest, I'd actually like to see a hybrid release. They original, un-altered films have been lauded as these impecable masterpieces but Lucas had the right idea with his updates, he just went a little...okay a lot too far. The lightsabers, blaster bolts, windows in cloud city, pretty much every special effect that was given an upgrade was warranted and improves the film, everything that was added Jabba in IV, that horrible dance number in Jedi, random creatures on Tattoine...that stuff is what ruined those films in the eyes of most fans. So touch up those bits and leave the rest in tact. 

Here's hoping there's some truth to this, I can't imagine there's not...that is, of course, unless Disney started disliking money.