A Reel 25: THE NIGHTMARE BEFORE CHRISTMAS

“This is Halloween…”

This month marks the 25^th anniversary of Tim Burton’s THE NIGHTMARE BEFORE CHRISTMAS. 

Created and produced by Tim Burton and directed by Henry Selick, NIGHTMARE was a clever and unique holiday mashup in which a Halloween dream world populated with creepy creatures mix themselves up with the merry and cheery characters of Christmastime.

Tim Burton had been toying with the concept of NIGHTMARE as far back as 1982. After several false starts, the NIGHTMARE finally poured out of Burton’s vivid imagination and onto the stage. In a pre-CGI world, NIGHTMARE was crafted with character puppets and miniature sets, using stop-motion animation to bring it all to life. Burton and frequent collaborator/composer Danny Elfman wrote the film’s many musical numbers, and filming began in mid-1991 with a crew of 120 animators over 20 sound stages. 

Due to his commitments to direct BATMAN RETURNS (1992), Burton was forced to hand his creations and vision over to director Henry Selick, who was directing his first feature film. Selick had been working as an animator for Disney films such as PETE’S DRAGON (1977) and THE FOX AND THE HOUND (1981). His work on NIGHTMARE with Burton paid off; the film was nominated for Best Visual Effects at the Oscars, and took home Best Fantasy Film at the Saturn Awards while Elfman won Best Music. The American Film Institute nominated it for its Top 10 Animated list, and famed film critic Roger Ebert noted that the visual effects were as revolutionary as STAR WARS. The film has become a haven for pop-culture, and the merchandise sells well to this day. Selick would embrace the stop-motion style of NIGHTMARE and would go on to direct his own similar films such as JAMES AND GIANT PEACH (1996) and CORALINE (2009).

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In 2006, THE NIGHTMARE BEFORE CHRISTMAS enjoyed a re-release in theatres in 3D. It was one of the first films to usher in the short-lived 3D conversion revolution, and although the transfer was less than stellar, it allowed this Blogger to re-discover the magical, zany, and immersive fantasy world that Tim Burton had created. Creepy and bizarre and fun, NIGHTMARE utilized familiar themes and character-types to stay grounded, and the clever mash-up of Christmas and Halloween themes make people debate to this day which holiday the film belongs to. And its own mythology and breakdown of our honored holidays is fascinating. It’s been a major impact on pop culture, and that type of appeal makes THE NIGHTMARE BEFORE CHRISTMAS one of Tim Burton’s finest works and a unique peek into his imagination.

“I’m a master of fright, and a demon of light, and I’ll scare you right out of your pants!”

A Reel 40: WATERSHIP DOWN

“If they catch you, they will kill you…”

This month marks the 40^thanniversary of Martin Rosen’s WATERSHIP DOWN. 

Based on the beloved and popular 1972 novel by Richard Adams of the same name, WATERSHIP DOWN told the tale of a colony of rabbits who are driven from their home…in search of a promised land only to encounter many perils along the way. Invoking themes of oppression, mythology, a Biblical fable, and Homer’s Odyssey, it was an animated feature that took bold steps into adult territory with horrifying imagery and dark tones. 

A British production, the film began its journey in 1975 with director John Hubley, who had a long list of credits from working on TV’s SESAME STREET, set to direct. Hubley would pass away in 1977, and would only complete work on the opening prologue. He was replaced by Rosen, who was entering his first feature film. 

The opening prologue by Hubley was presented in a traditional, cartoon-style animation, and then shifts to a detailed, naturalistic style. The backgrounds were done in a watercolor fashion, based on the diagrams from Adams’ novel. Most of the locations in the film were real, or based on actual areas in Hampshire, England. The voiceover cast was an impressive lot including John Hurt, Richard Briers, Denholm Elliott, Nigel Hawthorne, Joss Ackland, Harry Andrews, and Roy Kinnear. It was the last film work of comedian and actor Zero Mostel. The score was provided by Angela Morley and Malcolm Williamson. Art Garfunkel’s British No. 1 hit Bright Eyes was included in the soundtrack. It would be the first animated feature film to be presented in Dolby surround sound. 

The film’s dark nature caused controversy. With many scenes depicting rabbits fighting and clawing each other to death in stunning bloodshed, WATERSHIP DOWN was one of the first films to earn a British “U” rating (the equivalent of G rating in the U.S.), that came with a warning to parents. In the U.S. however, it would be labeled PG; a rarity for an animated film. 

The controversy would not matter, as WATERSHIP DOWN would earn a positive reception. Although it struggled in the U.S. Box Office, in the U.K. it would be the sixth highest earner of the year. It would receive a nomination for the Hugo Award for Best Dramatic Presentation. In 2004, the magazine Total Film named WATERSHIP DOWN the 47^thgreatest British film of all time, and ranked 15^thin the 100 Greatest Tearjerkers. 

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This Blogger discovered WATERSHIP DOWN by way of a new TV service at home called HBO in 1979. Expecting another cartoon, there was shock to be had as the rabbits battled each other; clawing each other to death, biting off ears, suffocating underground, and strangled in snare traps. Seeing that crimson red spill about in a cartoon was shocking then, and it is still shocking now. When TOY STORY 3 was released in 2010, audiences were taken aback by a few dark scenes, and Pixar was either commended or cursed for it…but they owed their ability to go in that direction to WATERSHIP DOWN. Aside from that, the film is a masterwork of important themes; the oppressed, the helpless, those who cannot fight for themselves…all themes that are even more vital now than they were in 1978. Layered with its own mythology, it has a timeless feel and proves that a great film can be found anywhere. Even in a cartoon. 

“…but first they must catch you.”

A Reel Review: THE OLD MAN & THE GUN

If the legend known as Robert Redford makes good on his promise to retire, making THE OLD MAN & THE GUN his final film, then he could not have picked a better yarn to go out on. His newest, and final role has a lot in common with characters he played in THE STING (1973), and BUTCH CASSIDY AND THE SUNDANCE KID (1969); those rascally-rabbit guys who can get away with anything simply by flashing a smile. For writer and director David Lowery, the task was his to send Redford out into the sunset on the right horse. 

Mostly based on a true story, Forrest Tucker (Redford) is the leader of the “Over the Hill Gang” (which includes Danny Glover and Tom Waits); a trio of 70-something gentlemen who pull off major bank-robbery scores by using their smiles and charms and never pulling a gun. During one of his getaways, he meets Jewel (Sissy Spacek), and the two begin a courtship, while local detective John Hunt (Casey Affleck) is hot on his trail. 

THE OLD MAN & THE GUN unspools like the classic films that Redford’s name has been attached to. Simple in nature and full of charm, it serves as a heist film, cops-and-robbers tale, and a love story all at once. While Hunt is on the (ahem), hunt for the robbers, Tucker begins a romance with Jewel…while never fully telling her what he does for a living. There is a lot of cat-and-mousing going on, with Tucker playing the game of trying to live in two worlds. 

Always one to take the time with his characters, Lowery isn’t concerned with plot as much as he is the players. The film often slows right down to spend time with the characters and have a chat over coffee and pie, and through slow reveals we get to know everyone very well. The true core of the film is revealed here, with a strong contrast between Hunt and Tucker; Hunt is miserable in his career while Tucker is having a blast…and yet Hunt’s family life is something Tucker just can’t seem to grasp. 

For a film that seems to have not much happen, Lowery keeps the pacing brisk, and his dialogue is a joy to listen to. The film is shot in a gritty way that makes it look like it was made 40 years ago, and the time-setting of the 1980’s adds a nice touch of nostalgia. Lowery also re-uses footage from THE CHASE (1966), which stars a young Redford to great effect. 

Acting is wonderful all around. Redford is at his best and seems to be having fun, and despite being 82 years old (he’s 11 years older than Tucker is supposed to be), displays a youthful spirit that is so very pleasing to watch. As good as he is, Sissy Spacek shows that she hasn’t lost a step either, and her chemistry with Redford drives the film. Casey Affleck is very good, and his interactions/chemistry with his on-screen wife (wonderfully played by Tika Sumpter) leaps off the screen. Other roles held down by Elisabeth Moss, David Carradine, and John David Washington are played well. If there is any flaw with the actors it’s that we don’t get nearly enough time with Danny Glover and Tom Waits, who are a blast playing together. 

The last act involves a well-executed twist, which leads to a few more surprises before sending Tucker/Redford to a satisfying end. Much like his character, Tucker is a talent at the end of his career and knows it and is determined to have the best time possible before taking that last bow. It’s a fitting end to a legend, with the added bonus of a fine film around him. 

BOTTOM LINE: See it

A Reel Review: HALLOWEEN

The latest entry in the long-running HALLOWEEN series feels like an effort to apologize. After a wonderful start in 1978 by John Carpenter, the series has been plagued with lousy sequels, odd breaks in continuity, and divisive remakes. This new HALLOWEEN gains early positive points by serving as a direct follow-up to the 1978 film and ignoring all those redundant sequels. That is a good thing, but a concept is only half the battle. 

Forty years after the events of the first film, Laurie Strode (Jamie Lee Curtis), is still traumatized by the bloody attacks by Michael Myers (Nick Castle/James Jude Courtney). While Michael rots in prison, Laurie trains herself in weaponry and prepares for his inevitable return…which estranges her from her adult daughter Karen (Judy Greer), and her granddaughter Allyson (Andi Matichak). 

Directed by David Gordon Green, this HALLOWEEN is right away similar to the original film in tone and style; it’s light on plot and leans heavily on atmosphere and dread. The storyline is simple; Michael, of course, escapes and picks up right where he left off, while Laurie deals with her PTSD and readies herself for another confrontation…with the added burden of trying to keep her family safe even though they want nothing to do with her. The early goings of the film spend a lot of time catching up with Laurie and Michael, almost to the point of a grind, but once Michael is out and loose and the killing and stabbing begins, it certainly feels like a HALLOWEEN film. The extended family members are a nice touch, as it gives Laurie something to fight for other than herself, and steps are also taken to remind us that there is indeed a man behind that mask. All that makes this sequel a unique entry. 

But for a film that asks us to ignore all the previous sequels, it certainly reminds us often that they were once there. A lot of plot points and situations are recycled and revisited, with just enough of a new dressing that they can get away with it. Even the 2007 remake is borrowed from; Michael’s brutality, a gas station bloodbath, and early scenes in the prison would have felt right at home in that film. For the most part it works, but there is certainly a feeling of been-there, done-that going on. 

David Gordon-Green does put together an effective horror flick. Michael’s trademark vanishing acts and re-appearances are well-timed and executed, and the near colorless aesthetic adds to the creepiness; it doesn’t quite match the uneasy feeling that the 1978 film had, but it’s close. Characters are developed on the light side, with just enough given away, although a late-film twist involving Michael’s doctor (wonderfully played by Haluk Bilginer), is stupid and meaningless.

Acting is very good. Jamie Lee Curtis digs deep and finds ways to make her character work in several ways; broken, loving, emotional, and strong. It’s an impressive performance. Judy Greer is great as always, and has one of the film’s best moments. The show is nearly stolen by Andi Matichak, who goes through a lot and she earns her place right next to Curtis. 

Anyone who has ever seen a horror film, or any of the HALLOWEEN films can see what’s coming in the third act; big battle, the girls escape, bad guy maybe or maybe-not done away with for good. While this sequel does indeed serve as the better follow-up to the 1978 version, it flies too closely to the old pattern by taking very little chances. But all movies should be judged as if nothing else exists, and by that standard this same-name sequel works as a horror film; it is scary, un-nerving, and good enough to watch with the lights out during the time of year when the leaves fall. Just like they did in 1978.

BOTTOM LINE: See it  

A Reel Preview: Everything You Need to Know About HALLOWEEN

This week, the 11^thfilm in the HALLOWEEN series that started in 1978 arrives in theatres, bringing back the lurking slashing horror icon Michael Meyers and his lifelong prey, Laurie Strodes. Here is everything you need to know about this year’s biggest horror film. 

What is this about? –This may be the 11^thfilm in the franchise, but as far as the filmmakers are concerned, this new HALLOWEEN is only the second. It is serving as a direct sequel to the original HALLOWEEN from 1978, and is ignoring all of the other sequels and the 2007 reboot. Taking place 40 years after the events of that original film, Laurie has been preparing all her life for Michael’s return to the small town of Haddonfield, Illinois, where he looks to finish his killing spree. 

Who is in this? – Jamie Lee Curtis reprises her role as Laurie. This is the first time she has played the character since HALLOWEEN: RESURRECTION in 2002. Nick Castle, who played the hulking Michael Meyers in 1978, reprises the role in a few scenes but shares it with stuntman James Jude Courtney. The rest of the cast is rounded out with Judy Greer, playing Laurie’s daughter, along with Will Patton, and Andi Matichak…playing Laurie’s granddaughter. 

Who is behind this? –The film is directed by David Gordon Green, who has directed dramas such as ALL THE REAL GIRLS (2003), and SNOW ANGELS (2007). Recently he has been spending time in the comedy genre, helming knee-slappers PINEAPPLE EXPRESS (2008), and YOUR HIGHNESS (2011). John Carpenter, who directed the original film, serves as an executive producer. 

Random Facts – This is Jamie Lee Curtis’ fifth time playing Laurie * John Carpenter, who composed the chilling and iconic score for the original film, provides the score once again * Actor Danny McBride co-wrote the script with David Gordon Green * This will be the fifth timeline in the series. The current timelines are 1 and 2, 4-6, Rob Zombie’s two films, RESURRECTION, HALLOWEEN III which is its own timeline, and this new film (don’t feel bad if confused; this Blogger doesn’t understand it either) * The release date coincides with the 40^thanniversary of the first film * At 70 years old, Nick Castle is the oldest actor to play Michael Meyers, and the third to play him more than once * The film’s release date of October 19^this the day Michael Meyers was born * This is the third film in the series to simply be titled HALLOWEEN, after the 1978 film and Rob Zombie’s 2007 remake * 

What to expect? – HALLOWEEN has been just like any other horror franchise; one great movie to start with and then a rash of lousy and pointless sequels. The continuity through the films has been a mess for years, and the intention of this new film is to correct that by obliterating it. At the very least, the film earns positive points for that. We can certainly expect much of the same from the other films; a big lug with a knife slashing people on his way to the girl. But the minor twist here is that this time the girl is prepared; ready and waiting to fight that big lug with her own weapons. It’s an interesting twist on a tired franchise, and should give horror fans some new meat to chew on. John Carpenter’s original film was more about atmosphere than actual plot, and that made the simple scares all the more scary. Hopefully this new HALLOWEEN remembers that. 

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HALLOWEEN creeps into theatres on October 19^th. 

A Reel Review: FIRST MAN

In the last few years, writer/director Damien Chazelle has been making films based on the music world; starting with GRAND PIANO in 2013, followed by WHIPLASH in 2014, and the all—out musical LA LA LAND in 2016. After five years of song and dance, Chazelle has escaped those Earthly boundaries with an eye on the Moon…and the men and women who captured it. 

After the death of his daughter, Neil Armstrong (Ryan Gosling), volunteers for the new space program with the lofty goal of landing on the Moon and returning safely. The rigorous training and dangers cause stresses on his home life, including his marriage with his wife Janet (Claire Foy). 

It was the greatest accomplishment in the history of mankind. Only 60 years after the Wright Brothers learned how to fly, America found itself in a space-race with the Soviet Union, and constantly losing. There was pressure on the new space agency called NASA, from both the political and the national pride isles; this was something that had to be done. Writer and director Damien Chazelle keeps an eye on the grand implications of the task, but at the same time, and more importantly, focuses on what’s happening on the ground and in the homes of the actual human hands and hearts that were making those giant rockets shake the Earth on their way into the void of space. The steps towards America’s first space voyage are shown in great detail; from the training, to the astronaut selection process, to the training flights in the Gemini program. A lot of homework was done here and it shows, as the film has a very authentic feel to it. 

Despite the grand stage of the national effort, Chazelle keeps his cameras close to his characters, especially Armstrong. He and his wife Janet are in nearly every scene in the film, as we’re shown how the training, flights, and loss of life affects them. The loss of their daughter hangs over them like another planet, and drives Armstrong to reach higher than his grasp. There is a motivating factor there that really works, and gives FIRST MAN the humanity that was such an important factor in the eventual, historical first moon-walk. 

Keeping the cameras close to the characters is the film’s trademark. Chazelle goes for extreme close-ups for most of the film, especially in the tight confines of the cramped and claustrophobic spacecraft of the time. Chazelle drops us right into the seats of the capsules, and the creepy lighting, terrific sound mixing, and spot-on editing makes the horrors of space travel up-front and real for us; this is really how it feels to be launched into space. Armstrong’s troubled Gemini flight, and most especially the Moon-landing which was extremely close to disaster are fantastic sequences which are also full of stomach-churning tension. Visual effects are stunning; although Chazelle bypasses a lot of exterior-shots of the spacecraft in favor of first-person-perspectives. The surface of the Moon is breathtaking, and Justin Hurwitz’s score is fantastic. 

Acting is as bright as the Moon. Gosling plays Armstrong as a distant man with a tough shell to crack through, and his one emotional break-down is brilliantly played. There is a quiet battle going on inside him, but his dedication to duty overcomes it…and Gosling shows it all in what is one of his best performances. Claire Foy as Armstrong’s wife steals the show. She has a lot to bear despite being the one left on the ground, and her struggles are made real by Foy. The rest of the cast, including Corey Stoll, Jason Clarke, Kyle Chandler, Lukas Haas, Brian d’Arcy James, and Ciaran Hinds are well-cast and played. 

After the outstanding Moon-landing and first stroll sequence, the film bypasses the standard flight-home and splash-down and jumps right to the quiet times the astronauts have to spend in quarantine, which offers Chazelle the chance to bring this story back down to Earth, quite literally. It’s a bold move that reminds us of the humanity behind all the rockets and computers and makes FIRST MAN a very special film. This was a story that deserved a special touch, and it makes a perfect landing. 

BOTTOM LINE: See it

A Reel Opinion: The Top 10 Best Remakes

Last week, Bradley Cooper’s magnificent remake of A STAR IS BORN was met with overwhelmingly positive feedback from fans and critics (read Reel Speak’s review HERE). It was the fourth time Hollywood has done a film with that title and subject matter, and the film’s success sparked a conversation of the best, and worst remakes that Hollywood has made over the decades. The term “remake” today is often met with a groan, as studios have been cranking out way too many of them in the last 10 or 15 years. But Tinsel Town has always done them, dating back to their very early days. Sometimes they are made to give a new spin on an old story, and sometimes they are made just to make a buck based on the title alone. This Blogger has always believed that a good movie can be found anywhere, and if the content is good, then who cares where it came from. 

This list of Best Remakes judges the films on Reel Speak’s standard of story, character, entertainment value, and any cultural or industry impact. All films must be judged on their own merits, so just how faithful they stayed to the original material does not matter here. 

So let’s get this started before someone remakes it…

10. THE WIZARD OF OZ (1939)

Many people don’t realize that Victor Fleming’s beloved cinematic adaptation of the L. Frank Baum novel was actually the sixth version of the story to come to the screen, with versions from 1910 through 1925. The only reason this doesn’t rank higher is the previous versions were basically “shorts”, with running times ranging from 15 to 85 minutes…making the 1939 version the first true “feature” length. But...it’s still very much a remake, and proof that sometimes it takes a few tries to get it right. 

9. THE GIRL WITH THE DRAGON TATTOO (2011)

David Fincher was the perfect director to bring the popular novel to the screen, which was originally adopted in a Swedish version in 2009. His filmography up to that point, which explored murder mysteries, the internet, and procedurals, gave him the right chops to make DRAGON TATTOO one of the best films of 2011; with multiple Oscar nominations and an impressive box office haul. The performances by Daniel Craig, Rooney Mara, and Christopher Plummer are some of their best work, with Mara showing the world how great she really is. 

8.  INVASION OF THE BODY SNATCHERS (1978)

Philip Kaufman’s remake of the 1956 horror film, in which humans are replaced by alien duplicates, was a creepy film with an un-nerving atmosphere, and an ending that haunts to this day. Its exploration of human interactions and emotions resonate, and its visual and audio effects were a milestone and a leap forward for Hollywood. 

7. 3:10 TO YUMA

James Mangold’s redo of the 1957 Western was an improvement in every way; starting with the acting from the well-assembled cast of Christian Bale, Russell Crowe, Peter Fonda, Ben Foster, and Alan Tudyk…and ending with Mangold’s energetic direction which took the necessary time-outs in-between gunfights to dig into the characters. 

6. THE FLY (1986)

David Cronenberg’s take on the classic horror film from 1958 brought up front the body-horror elements that the original film just could not, or was unwilling to do. When a man slowly transforms into a fly-hybrid creature from the inside out, there can be some horrifying and gross things to see, and this version of THE FLY gave it all to us with some stunning visual effects. Creepy, horrific, and terrifying…THE FLY is often regarded as one of the best in the horror genre. 

5. THE MUMMY (1999)

The Boris Karloff version from 1932 may be considered to be the classic, but Stephen Sommers' version was the real dose of entertainment. High energy, a fun and inspired cast, a fantastic score by the great Jerry Goldsmith, and classical elements that made it feel like a product of the Golden Age of Hollywood. This Blogger's personal favorite remake. 

4. A STAR IS BORN (2018)

The only reason this doesn’t rank higher is that it hasn’t had the test of time put to it yet, but it’s hard to think that Bradley Cooper’s version of this classic show biz fable, the fourth since 1937, will be looked at as anything but masterful in the coming decades. Full of heart and emotion and astonishing performances by Cooper and Lady Gaga, there is a raw power here that transcends its predecessors. 

3. THE THING (1982)

Although this Blogger prefers the 1951 film, John Carpenter’s take on the story of a group of arctic workers terrorized by an alien with the ability to take human forms, stands tall as one of the best horror films ever made. Thick with atmosphere and startling special effects for its time, THE THING was not only a gore-fest but one of those films that messes with our heads…right up until the final frame. 

2. TRUE GRIT (2010)

Sometimes a remake can only work if the right people are involved. John Wayne’s 1969 Western, which earned him his only Oscar, was improved upon in every way by the steady hand of the Coen Brothers directing team, and driven by wonderful performances by Jeff Bridges, Matt Damon, Josh Brolin, Barry Pepper, and most especially…Hailee Steinfeld. Not to mention outstanding cinematography by Roger Deakins which made it one of the most beautiful looking Westerns ever made. Emotionally rewarding all around. 

1. THE DEPARTED (2006)

Martin Scorsese’s Best Picture-winning crime thriller was a remake of the 2002 Hong Kong film INTERNAL AFFAIRS, and not only surpassed the original film but stands firmly on its own as a gripping crime drama. Loosely based on a true story in Boston, the film follows an undercover cop deeply embedded in an organized crime boss’s crew…who happens to have his own spy in the State Police. It is a clever, and tension-filled game of cat-and-mouse, peppered with good old-fashioned cops and robbers. Scorsese’s direction and music selections were very much on point, and the performances from Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin, and Vera Farmiga are excellent. Of all the remakes Hollywood has done over the decades, Scorsese’s little masterpiece departs from the pack. 

Reel Speak's Top 10 Best Remakes

1. THE DEPARTED
2. TRUE GRIT
3. THE THING
4. A STAR IS BORN
5. THE MUMMY
6. THE FLY
7. 3:10 TO YUMA
8. INVASION OF THE BODY SNATCHERS
9. THE GIRL WITH THE DRAGON TATTOO
10. THE WIZARD OF OZ

A Reel Review: VENOM

In the last 18 years, studios have fallen over themselves to bring comic-book properties to the big screen, with most of them focusing on caped and armored superheroes. In the last few years, a little sub-genre has spun-off; not of more superhero movies, but super-villain stories. These efforts have been less-than great so far, with most of them not having much of a purpose other than making cash based on the title alone. The search for a good villain story continues, with director Ruben Fleischer and Sony Pictures’ adaptation of VENOM. 

Disgraced journalist Eddie Brock (Tom Hardy), becomes infected with an alien parasite which calls itself Venom, which has its own consciousness and gives Eddie super-human abilities. The parasite was brought to Earth by corporate overlord Carlton Drake (Riz Ahmed), who is using human experimentation with other parasites…only to find out that the parasites have plans of their own. 

Taking bits and pieces from movie genres such as monster flicks, body horror, buddy-comedy, and good old-fashioned superhero lore, VENOM switches gears early and often. The early goings spend time with Eddie introducing him as a hard-hitting, crook-exposing TV journalist, and when he becomes infected with the talking parasite that calls itself Venom, the film switches to a horror flick (albeit a mild PG-13), and Eddie sees his life unravel; including the loss of his career and fiancé (Michelle Williams). Eddie and the Venom become an odd-couple of sorts, with he and the parasite arguing with each other and helping each other out in an effort to expose Carlton and prevent the other parasites from carrying out their plans.

It’s a decent enough plot, but VENOM flat-out falls apart in the execution. Characters are thinly drawn with any development limited to one page of the script, and there’s little reason to care if anyone wins or loses. The film also seems to have had some major issues in the editing booth. Scenes start in weird places in mid-conversation, and it’s clear that pieces of the film are missing. Characters appear in locations out of nowhere, and obvious gaps in the film’s own logic are everywhere. 

Director Ruben Fleischer also has a lot of indecision with tone, as the film can’t decide if it wants to be taken seriously or as a yuk-fest. The Venom parasite, when it fully embodies Eddie, wants to eat people, but its banter back and forth are laughable even during the parts that supposed to be taken seriously, and the muppet-like voice of Venom is ridiculous. Venom drastically also changes its mind out of the blue; one minute it wants to infect the world, the next it wants to save it. It’s just as big of a mess in the writing as it is in the script. The CGI is cartoonish and un-convincing, action sequences are a lot of noise with way too much shaky-cam, and there is an overall lack of energy (the first hour is an intolerable bore). 

Tom Hardy gives his all as he always does, but the material he is given to work with is silly and uninspired, and he suffers for it. Riz Ahmed is a bore as a standard bad guy, and Michelle Williams serves zero purpose. 

By the time the finale arrives, which is a headache-inducing noise-fest of CGI blobs smashing into each other, it’s clear that VENOM is just another entry in the super-villain solo-shot genre that doesn’t know what to do with itself. Not only does this accomplish nothing, but it feels like it was written and assembled by blindfolded monkeys with broken typewriters. Nothing to see here. 

BOTTOM LINE: Fuck it 

A Reel Review: A STAR IS BORN

First-time director Bradley Cooper’s A STAR IS BORN is the fourth Hollywood movie to carry that title. There is a wonderful scene towards the end, in which the character played by the great Sam Elliott explains that music (or any other art), is the same story told over and over, and all any artist can do is offer the world how they see it. That line not only justifies another version of the show-business, rags-to-riches story, but the mission statement for Cooper as he puts his own stamp on an old story. 

Jackson Maine (Cooper) is a hard-drinking, drug-taking, hard-of-hearing country-rock star who is on the down-slope of his career. After a gig, he stumbles into a bar and meets Ally (Lady Gaga), a struggling waitress with a great talent for singing and songwriting. Jackson and Ally begin a love affair, which sees his career falling just as fast as her star rises. 

It’s an old fable with new skin. A STAR IS BORN follows Ally’s rise through the music world, beginning with a thrilling duet performance with Jackson, and reaching a peak at the Grammy’s. While she rises, Jackson falls deeper into a pit of drugs and booze. Familiar territory, but Cooper, spending time in front and behind the camera, digs deep into both characters. Intimate and personal, the film works as the script and direction makes us believe in Jackson and Ally, who each have their personal demons and yet they benefit each other and make each other better; it doesn’t take long to have an interest in their lives and root for their success. 

It’s a show business fable sprinkled with a lot of heart; family, love, and personal passions drive the film. Cooper is also playing with universal truths that ring deep, not only for artists and performers but for all. The lessons strike a deep chord, and make A STAR IS BORN unique and powerful. His direction shows a steady hand in the intimate moments, and then lets loose during the stage performances which truly shows us what it like to perform in front of thousands. The quiet times and the loud scenes have an electricity that jolts off the screen. The music is wonderful, and the songs that Jackson and Ally write together reflect what is going on in their lives at a given time, which makes each performance vital to the story. The film looks great, and has a gritty, lived-in feel that gives it an authenticity. 

But the most authentic element of the film are the performances. Cooper dons a deep country-boy accent which is a spot-on imitation of Sam Elliott’s tone (for a very good reason). His acting is at his very best as he goes through his bouts of self-loathing drunkenness and bliss, and his vocal chords are jaw-droppingly good. Lady Gaga is the real revelation here; her singing bits are spectacular (all the performances were recorded live), but her acting is tremendous. It takes all but 10 seconds in the early goings of the film for her to prove herself; her many turns of happiness and sadness are pulled off like she’s been doing this for decades, and her chemistry with Cooper is explosive but natural. The rest of the cast, including Elliott, Andrew Dice Clay, Rafi Gavron, and Dave Chappelle are all excellent. 

Cooper and Gaga had a lot riding on this film; with the former having never directed or sung before, and the latter never acting in a leading role in a feature. But by the time the finale rolls around, which is a bittersweet gut-punch that will generate a waterfall of tears, the two prove themselves as more than capable of re-telling a Hollywood tale in a new, and refreshing way. It’s a film that reaches deeply; hitting those primal chords and sticks with us long after the credits roll. Its truths don’t preach about the dangers of drugs or booze, but instead asks us to examine the directions our lives are going in, and to act on it. It's astonishing how much it resonates, which is what all great films do. 

BOTTOM LINE: See it 

A Reel Preview: The Year in Film 2018 - Episode X

Buckle up everyone, for the mighty month of October arrives with a great release schedule; ranging from classic horror to Oscar contenders. Here are the notable releases for the packed first full month of Glorious Fall.

It all begins to shine with...

A STAR IS BORN – In what may be the most anticipated film of the year, Bradley Cooper (AMERICAN SNIPER), directs and stars in this 4^thHollywood remake under that name. Cooper plays a hard-drinking country musician who falls in love with a young singer, played by Lady Gaga in her big-screen debut. The rest of the cast includes Sam Elliot, Dave Chappelle, and Andrew Dice Clay. 

VENOM – In what may be the most un-anticipated film of the year, Tom Hardy (WARRIOR) plays Spider-man’s greatest villain…in a movie that doesn’t have Spider-man. It is directed by Ruben Fleischer (ZOMBIELAND, GANGSTER SQUAD), and also stars Michelle Williams and Riz Ahmed. 

FIRST MAN – Ryan Gosling (DRIVE), plays Neil Armstrong in this long-awaited film about the first men to walk on the moon. It co-stars Claire Foy, Jason Clarke, Kyle Chandler, Corey Stoll, and Ciaran Hinds. It is directed by Damien Chazelle, who brought us the Oscar darlings LA LA LAND in 2016 and WHIPLASH in 2014. 

BAD TIMES AT THE EL ROYALE – In this thriller, seven strangers with seven secrets come together at a shady hotel. It stars Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, and Chris Hemsworth (THOR). It also promises a few surprise cameos and is directed by Drew Goddard, who brought us the genre-bending THE CABIN IN THE WOODS in 2012. 

BEAUTIFUL BOY – In this tearjerking drama, Steve Carrell plays the father of a meth addict, played by Timothee Chalamet (CALL ME BY YOUR NAME). 

GOOSEBUMPS 2: HAUNTED HALLOWEEN – If you need a break from the drama, this comedy for kids is a loose sequel to the 2015 film. Jack Black reprises his role as Goosebumps writer R.L. Stine. 

HALLOWEEN – Jamie Lee Curtis reprises the role she created over 40 years ago in the first HALLOWEEN film, with this movie serving as a direct sequel to that first film and ignoring the many sequels. It is directed by David Gordon Green, who brought us the comedy PINEAPPLE EXPRESS in 2008. 

WILDLIFE – The directorial debut of actor Paul Dano (THERE WILL BE BLOOD), in which a boy in the 1960’s watches his parents’ marriage fall apart. It stars Jake Gyllenhall and Carey Mulligan. 

MID90S – The directorial debut of actor Jonah Hill (THE WOLF OF WALL STREET), in which a young boy deals with his older, abusive brother. It stars Sunny Suljic and Lucas Hedges (MANCHESTER BY THE SEA). 

CAN YOU EVER FORGIVE ME? –  A rare dramatic role for Melissa McCarthy (GHOSTBUSTERS), who in this true story plays a writer who revitalizes her career by forging letters from deceased authors and playwrights. 

HUNTER KILLER – In this thriller, a team of Navy SEALS are dispatched on a submarine to rescue the Russian President from a coup and prevent a third World War. It stars Gerard Butler (300), and Gary Oldman (DARKEST HOUR). 

SUSPIRIA – In this remake of the 1977 Dario Argento horror film, a young dancer is enrolled in a prestigious dance academy which is plagued by mysterious happenings. It stars Dakota Johnson, Chloe Grace Moretz, Tilda Swinton, and Mia Goth. It is directed by Luca Guadagnino, who brought us the acclaimed CALL ME BY YOUR NAME in 2017. 

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Next month, Reel Speak previews the month of November. 

A Reel Review: The Fall Movie Trailers - The Good, The Bad, & The Glorious

Fall is here, and the early days of this magnificent season are the time for studios to start promoting their upcoming films for the remainder of 2018 and for the early Summer months. This past week gave us a minor avalanche of new trailers, and here is how they landed in the Good, Bad, and Glorious. 

THE GOOD

BUMBLEBEE – The 6^thfilm in the TRANSFORMERS franchise, which is serving as a soft reboot and is focusing on one character, thrilled long-time fans with their second full trailer. The new spot has highlights which included the original, first-generation designs of the classic fighting robots, and gave away enough to hold our interest without spoiling. This could be one of the surprise hits of the year. Watch the trailer HERE.

CREED 2 – Tons of new footage in the ROCKY spinoff, which includes some stunning shots of ol’ Rock training the son of his best friend/former rival out in the desert. Quite the departure from the streets-of-Philadelphia trainings we’ve grown used to over the years. Also has new footage of the big Russian Ivan Drago and his son. Good trailer even though it seems really dour. Watch it HERE. 

HOLMES AND WATSON – The return of Will Ferrell and John C. Reilly, this time as the classic detective duo. This isn’t the first time Holmes has been given a comedy treatment, and this trailer contained a ton of laughs and a few surprises. Already looks better than the Guy Ritchie abominations. Watch it HERE. 

THE BAD

X-MEN: DARK PHOENIX – This trailer was released in the wee-hours of the morning, which is a move that doesn’t scream confidence from 20^thCentury Fox. Besides that, the trailer contained footage which made the film look like the same storyline the X-MEN franchise has pursued at least three times already. Plus it doesn’t release until next Summer. Nothing exciting here at all. Watch it if you dare, HERE. 

ROBIN HOOD – This is the thirdtrailer for this oddball film, which is still trying to turn Robin into a superhero. This annoying trailer, which was curiously pulled from the internet a few days after release, was much of the same from the previous trailers with rock/rap music and clothing and dialogue that does not belong in a 12^thcentury period piece. 

ROCKETMAN – This oddball, which is an Elton John biopic, is being marketed as a fantasty with a floating Elton…despite being based on the life of the famous singer and songwriter. Not to mention this doesn’t release for another eight months. Try to make sense of it HERE. 

THE GLORIOUS

FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD – The second spin-off film to the HARRY POTTER universe (now called the Wizarding World), gave us a ton of new footage, some peeks into the storyline, and a few surprises; with one of those surprises a real humdinger which changes the way we perceive a classic Potter character. Be amazed HERE. 

THEY SHALL NOT GROW OLD – Nothing released last week can compare to the trailer for Peter Jackson’s upcoming WWI documentary film. The famed director of THE LORD OF THE RINGS surprised everyone with this trailer, which boasts how the film is made; by digitally restoring 100-year-old war footage so that it looks like it was shot yesterday. The visuals, music, and setup are breathtaking, and contains more emotion and hits below the cockles harder than any trailer released in the past week. Simply fascinating. Watch it HERE.

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BUMBLEBEE rolls out December 21^st.

CREED 2 steps into the ring on November 21^st.

HOLMES AND WATSON will be afoot December 21^st. 

X-MEN: DARK PHOENIX lands June 7^thof 2019. 

ROBIN HOOD is aiming for November 21^st. 

ROCKETMAN blasts off May 17^thof 2019. 

FANTASTIC BEASTS will apparate on November 16^th. 

THEY SHALL NOT GROW OLD premieres on October 16^th.