A Reel Preview: Everything You Need to Know About JUSTICE LEAGUE

Of all the major releases in 2017, perhaps the one film that is the most anticipated, dreaded, feared, and already debated about is JUSTICE LEAGUE. It’s been a messy ride to get here, and here is a preview to cover everything you need to know about it.

What is this all about? – JUSTICE LEAGUE is Warner Bros.’ fifth in their series of films based on the famed superheroes of DC Comics, which began way back in 2013 with the so-so MAN OF STEEL, and continued with the lousy BATMAN V. SUPERMAN: DAWN OF JUSTICE (2016), the shitty SUICIDE SQUAD (2016), and the magnificent WONDER WOMAN (2017). Following the events of DAWN OF JUSTICE, in which Superman (Henry Cavill) was killed, Bruce Wayne/Batman (Ben Affleck) and his new pal Diana/Wonder Woman (Gal Gadot), begin recruiting fellow super-powered beings to help battle an incoming threat. The new team includes The Flash (Ezra Miller), Aquaman (Jason Momoa), and Cyborg (Ray Fisher).

Who else is in this? – Returning cast-members include Jeremy Irons as Bruce’s butler Alfred, Amy Adams as Lois Lane, Diane Lane as Martha Kent, Connie Nielsen as Hippolyta, and Robin Wright as Antiope. Jesse Eisenberg may or may not be returning as Lex Luthor. New cast-members include JK Simmons as Commissioner Jim Gordon, Ciaran Hinds as Steppenwolf (the Big Bad of the movie), and a few other surprises.

Who is behind this? – This is where things get tricky. Zack Snyder, who directed MAN OF STEEL and DAWN OF JUSTICE (and outside of this series, 300, and WATCHMEN), was the original director before having to leave the production due to a family tragedy. Filming was picked up by Joss Whedon, whose directing credits include THE AVENGERS (2012), AGE OF ULTRON (2015), SERENITY (2005), and MUCH ADO ABOUT NOTHING (2012). Whedon re-wrote and re-filmed several scenes, and it is estimated that 15-20% of JUSTICE LEAGUE was directed by him, with the rest credited to Snyder.

Random Facts – Due to the extensive re-shoots after Snyder’s departure, Henry Cavill was brought back to re-film several of his scenes, and needed his distinctive mustache, which he had grown for another film-role, removed by CGI * The characters of Flash, Aquaman, and Cyborg all made small appearances in DAWN OF JUSTICE * The villainous character Steppenwolf also made a cameo in DAWN OF JUSTICE, but was cut out of the theatrical release. He was edited back in for the Ultimate Edition version * Danny Elfman provides the score, which works-in old superhero themes from SUPERMAN (1978), and his own theme from BATMAN (1989) * Warner Bros. and DC Comics have been planning a JUSTICE LEAGUE film as far back as 2007 * The ensemble cast includes three Oscar winners; Affleck, Irons, and Simmons, and three Oscar nominees…Adams, Lane, and Eisenberg *

What to expect? – It must first be said that newcomers would likely be lost with this film, and would need to brush up on the previous movies; MAN OF STEEL led directly into DAWN OF JUSTICE, which ties into WONDER WOMAN, which leads right to JUSTICE LEAGUE (no one needs to see SUICIDE SQUAD ever again). With that out of the way, what to expect is anyone’s guess based on the history of the last few DC movies and the troubled production behind the scenes. Zack Snyder delivered two turkeys in a row for DC, and his departure may have been a blessing. Whedon has proven more capable when it comes to directing superheroes, and his writing (he won an Oscar for TOY STORY) is some of the best in the business. We can probably expect a lot of Snyder’s iconic visuals and endless action scenes, along with Whedon’s knack for character chemistry and well-timed, smart-ass humor. But the obvious problem of how a film survives a change in directors hangs over the film like a cloud. DC and Warners struck gold with the Patty Jenkins-directed WONDER WOMAN earlier this year, so the bar has been raised for themselves, along with being set extremely low with DAWN OF JUSTICE. If they land somewhere in the middle that would be OK, but considering the magnitude of these classic DC characters coming together for the first time, we should expect more.

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JUSTICE LEAGUE opens in select theatres November 16^th, with wide-release on the 17^th.

A Reel Review: LBJ

Director Rob Reiner’s look at Lyndon B. Johnson, the 36^th President of the United States, takes a page directly out of Steven Spielberg’s LINCOLN from 2012, where the traditional (and somewhat tired) approach of a life story is traded in for one single, important chapter in the main character’s life; a chapter that was vital to the President, and had an impact on the country.

After losing the Presidential nomination of his own party, Lyndon B. Johnson (Woody Harrelson), is asked by John F. Kennedy (Jeffrey Donovan) to run as his Vice President. Once in office, Johnson frequently clashes with John’s brother Robert (Michael Stahl-David); a situation which only grows worse after John’s assassination which thrusts Johnson into the Presidency. 

LBJ is a film which quickly and efficiently checks off the boxes in the history books, following Johnson as he flexes his power as a Senate Majority Leader, his struggle with (at the time) the thankless and power-less job of VP, and the weight of the world he feels once he finds himself sitting at the big chair in the Oval Office. Presented in a non-linear fashion, the base of the film takes place during that fateful day in Dallas, with several extended flashbacks unspooling the story. After the perfectly re-created assassination, the film really picks up as Johnson continues to collide with Robert, and he struggles to decide if he should push Kennedy’s Civil Rights Bill. There are a lot of hard decisions for Johnson to make, and the film focuses on him as he is pulled in a thousand different directions by a thousand different interested parties.

When a movie is named after the main character, we certainly expect the main character to be the entire film. Johnson is portrayed not as a power-hungry man, but just as a good fellow who just wants people to like him. That works to an extent, but what caused that cause is where LBJ falls a bit short. How Johnson came to be seeking approval from his peers is never explored, and we’re left with just a thin representation of the man. LBJ also doesn’t have a clear climax, or anything to work up to. The passage of the Civil Rights Bill happens off-camera, after the film has ended (explained away in the credits), and although it wraps with Johnson’s address to Congress and the nation, it falls way short of a rousing finale or end of the journey.

Reiner’s attention to detail makes LBJ a fine historical piece. The assassination of Kennedy is harrowing, and the recreations of the historic, and all-too familiar photographs and films of the events that followed are perfect. The film is brisk, very tightly edited, and dialogue is sharp enough where even the driest of political jabber is interesting.

Woody Harrelson is magnificent as Johnson. He vanishes into the role, looking and sounding just like the man. He finds a true heart in the character, and come across as that fun uncle we only see on holidays. He is matched perfectly by Jennifer Jason-Leigh, who plays his loving and supporting wife Lady Bird. Jeffrey Donovan is very good as John F. Kennedy, and the supporting cast, including Richard Jenkins, C. Thomas Howell, and Bill Pullman, are also very good. 

At only 97 minutes, LBJ seems to end just as it’s getting started, and without a clear climax or enough development on Johnson, the film feels like a middle chapter to a larger story. It comes across as incomplete, but what we do get works well enough.

BOTTOM LINE: Rent it

A Reel Review: MURDER ON THE ORIENT EXPRESS

Of all the film genres that have come and gone over the decades, the “whodunit” is probably the one that is missed the most. With a mystery at hand, various types of characters, and a problem-solver detective or sleuth, the stage is always set for an adventure full of twists and turns; and with the added bonus of letting the audience play along, trying to solve the mystery themselves, the genre could very well be the first interactive cinema. The genre has vanished from theatres faster than an escaping crook, but with director Kenneth Branagh’s version of MURDER ON THE ORIENT EXPRESS, perhaps it is time for a comeback.

In the winter of 1934, Hercule Poirot (Branagh), the world’s greatest detective, is on holiday travelling aboard a luxury train when Ratchett (Johnny Depp), an unpopular businessman with possible criminal ties, is found murdered. Poirot investigates the suspects, including Ratchett’s bodyguard (Josh Gad), a princess (Judi Dench), a widow (Michelle Pfeiffer), a Governess (Daisy Ridley), a doctor (Leslie Odom Jr.), a Spanish missionary (Penelope Cruz), a valet (Derek Jacobi), and a professor (Willem Dafoe).

With nearly a dozen possible suspects hailing from all corners of the globe and all walks of life, MURDER ON THE ORIENT EXPRESS weaves a maze of mystery, going in all different directions despite the straight-line confines of the train. Everyone is under Poirot’s close eye as they all are revealed to have some sort of motive against the victim, and Branagh keeps us guessing with each tiny clue.

EXPRESS is a mystery, but as a film it clicks as an ensemble piece. With such a large cast, many suspects need to make an impression. Some really stick out, while others fade into the background, and the ones we do spend time with are somewhat one-dimensional; serving little purpose other than revealing hints and clues to the mystery. Poirot gets the most work as a character, portrayed as a world-weary man who needs a break from his profession, but reluctantly gets pulled back in. It’s a nice touch which makes the eccentric and odd character relatable.

Despite being light on character, EXPRESS somehow works beautifully. Like any good “whodunit”, it’s a film packed with secrets, and the reveals can keep audience engaged and in the guessing game right up until the end. The sense of style that Branagh embraces is a throwback to the old days of Hollywood with star-studded films and lavish production. The period setting is brought to life in stunning detail, with the train and period-styles in hair and costumes a joy to see.

By directing and starring, Branagh certainly has his hands full here, but he proves to be more than capable of wearing two hats. In front of the camera he nails his Belgian accent, and his bits of humor are well-timed. Johnny Depp thankfully plays his character very straight, showing that he can still be a very good actor without stupid-looking costumes and endless slapstick. Michelle Pfeiffer is terrific, Daisy Ridley is charming, and Willem Dafoe shows just how great he can really be.

This MURDER ON THE ORIENT EXPRESS is, of course, based on the classic Agatha Christie novel, and is the second version to come to the big screen. Those familiar with the material won’t be surprised by the final reveal of the guilty party, but newcomers will get a good charge out of it. Branagh has put together a “comfort film” here; one that is familiar and doesn’t take many chances, but it functions well enough on its own to earn its place in an old genre.

BOTTOM LINE: See it

Reel Facts & Opinions: The Dark Universe Going Dark?

Five months ago, Universal Studios, the studio responsible for originally bringing horror to the silver screens and pop culture in 1930’s with DRACULA, FRANKENSTEIN, THE MUMMY, and THE WOLFMAN, announced a new series of films based on those very classic characters, called the Dark Universe. The announcement came with a fair amount of fanfare; ranging from a teaser-trailer to a casting photo which included veteran Oscar-winning actors;  including Javier Bardem, Russell Crowe, Johnny Depp, and Tom Cruise. The new series would be taking a page out of the Marvel playbook; a connected series of films with characters crossing over and building a single franchise out of many.

That long-range plan, if there actually was one, seems to be in serious trouble after today’s news that writer-producers Alex Kurtzman and Chris Morgan, the captains and architects of the Dark Universe¸ would be departing the franchise. The move is the latest in the demise of the Dark Universe, beginning with their first release this year, THE MUMMY, which bombed financially and was blasted by fans critics, and the delay of production on THE BRIDE OF FRANKENSTEIN. So after one movie and less than half a year, the Dark Universe is suddenly a ship without a captain, rudder, or even a sail.

How did it come to this? How did Universal, one of the oldest studios in Hollywood, so badly bungle their collection of the most famed and classic characters of all time? A lack of patience and understanding of their properties are the biggest mistakes they’ve made, and THE MUMMY displayed both of those blunders. The film didn’t play out as its own story, and instead came across as a feature-length trailer for five other movies. It was also over-loaded with CGI spectacle, and was a far cry from the roots of horror. And a horror movie that doesn’t scare is always bound to fail with fans, critics, or even the most casual person in the theatre.

So what now? The Dark Universe hasn’t been announced as officially scrapped. Not yet anyway. To do so would be to admit defeat and risk looking ridiculous after the big rollout earlier this year. Universal is most certainly scrambling behind the scenes, but if they can hire the right writers and actually make a goddamn movie that’s scary and tells its own story, the ship can always be righted. After all, it was only a few years ago before famed comic-characters The Hulk and Spider-man were laughing stocks of the industry after a near-decade of lousy movies, and today they are at a peak of popularity thanks to some solid films. Universal deserves to fall on their face after their impatience in trying to build a franchise instead of concentrating on one film at a time (everyone wants to go to the party, but no one wants to cook), but even if they deserve failure, that’s not something fans want to see. Dracula, Frankenstein, the Mummy, and the Wolfman are some of the most iconic characters in history, and to see them return to silver-screen glory wouldn't be a trick...but a treat. 

A Reel Review - THOR: RAGNAROK

It has been well-documented and accepted that one of the many reasons Marvel’s series of films work so well is that they transcend standard superhero tropes by crossbreeding with other genres of film; elements of the techno-thriller, espionage, war-film, and even horror have found their way into their stories of heroes and villains decked out in capes, helmets, and armor. For THOR, playing with fantasy and sci-fi has been the natural way to go, but for his third solo adventure, sub-titled RAGNAROK, two genres were simply not enough.

Thor (Chris Hemsworth), and his estranged brother Loki (Tom Hiddleston) set out on a search to find their missing father Odin (Anthony Hopkins), just as the Goddess of Death Hera (Cate Blanchett) descends upon their homeworld of Asgard to claim the throne. Thor and Loki are captured by the Grandmaster (Jeff Goldblum) and Valkyrie (Tessa Thompson), where prisoners are required to compete in deadly battles for their freedom, which re-unites them with Bruce Banner/The Hulk (Mark Ruffalo).

Most of RAGNAROK is composed to two distinct storylines, with Thor, Loki, and Hulk spending their half of the film trying to escape imprisonment, and the other half belonging to Hera as she ruthlessly takes over Asgard. As expected, these two storylines come crashing together in the end, but what is not expected are the turns taken before we get there. Hera as the villain has a deep, personal connection to Asgard which gives her a mighty, and palpable axe to grind, and our heroes have their own work to do with each other before finding freedom.

Director Taika Waititi has a lot to juggle here, with every character, right down to the minor ones having their own arc to get through. Waititi seems to know that grounding is needed, so crossbreeding the film with other genres give us something familiar in this fantasy flick, which is packed full of monsters and way-out-there creatures. These genres range from cheesy 1980’s sci-fi, buddy-cop, family drama, jailbreak, heist, good old-fashioned gladiator fighting, and plenty of Norse mythology. There are a lot of familiar things going on and anyone can find something to latch onto.

Waititi keeps the pacing brisk with an outstanding sense of energy; there is always the feeling of forward motion and there’s rarely a dull moment. There is a lot of comedy going on and the film can’t seem to go more than 30 seconds without a gag, and it almost seems too much, but when the film does slow down for a necessary pause, those pauses are very effective. Visual-effect wizardry is everywhere and constantly gives us something to look at. Mark Mothersbaugh’s score is a wonderful mix of 1980’s techno and traditional, with a certain Norse mythology-inspired rock song making some clever appearances.

Acting is a blast not only because of the stellar cast, but because of the remarkable chemistry everyone has with each other. Hemsworth and Hiddleston, now in their fourth film together as battling brothers, light up the screen and both show great comedic timing. Tessa Thompson nearly steals the show, and Jeff Goldblum is well-cast in the role of an eccentric weirdo. Mark Ruffalo gets a lot of heavy-lifting to do here, and as a bonus, his Hulk finally becomes a true character. Idris Elba is very effective, Anthony Hopkins is excellent as always, and Cate Blanchett is fantastic. Karl Urban comes in as a reluctant henchmen to Hela and is very good, and Benedict Cumberbatch returns as Dr. Strange in a small, yet very vital and effective role. There are also some whopper cameos here and there with name-worthy actors new to the Marvel series; it seems everyone wants in on the party.

There are some bold choices made with RAGNAROK; several major character deaths and other things happening that change the landscape of the Marvel series for good. This is not only a vital entry in the series, but as a standalone is a thrilling adventure with high entertainment value; bursting with the ability to prompt laughs, tears, and arm-raising cheers. That’s what all genres do best.

BOTTOM LINE: See it.

A Reel Preview: The Year In Film 2017 - Episode XI

The glorious winds of Fall are starting to roar, and the second full month of the season has one of the most diverse selection of films of the year; superheroes, comedies, Oscar hopefuls, and animated family films. Here are the notable releases for the month of November.

It all rocks in with…

THOR: RAGNAROK – The 17^th entry into Marvel’s connected series of films also serves as the third solo adventure for the God of Thunder. Thor (Chris Hemsworth), is imprisoned while his homeworld is under siege by Hela (Cate Blanchett), the goddess of death. The ensemble cast includes Tom Hiddleston, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Anthony Hopkins, Benedict Cumberbatch, and Mark Ruffalo reprising Bruce Banner/The Hulk.

MY FRIEND DAHMER – A biographical drama about serial killer Jeffrey Dahmer, based on the graphic novel of the same name. Stars Ross Lynch, Alex Wolff, Dallas Roberts, and Anne Heche.

LADY BIRD – Saoirse Ronan leads this comedy-drama which has nothing to do with the former First Lady. Ronan plays a nurse struggling to keep her family together after her husband loses his job. It is directed by Greta Gerwig.

LBJ – Woody Harrelson plays former President Johnson in this political drama taking place after the JFK assassination. It co-stars Richard Jenkins, Bill Pullman, and Kim Allen, and is directed by Rob Reiner (A FEW GOOD MEN).

LAST FLAG FLYING – Richard Linklater (BOYHOOD) directs this comedy-drama about three Vietnam Vets who reunite after one of their sons is killed in Iraq. It stars Steve Carell, Bryan Cranston, and Laurence Fishburne.

MURDER ON THE ORIENT EXPRESS – Kenneth Branagh stars and directs this mystery film, which is the fourth adaptation of the famed novel. The ensemble cast includes Penelope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Derek Jacobi, Michelle Pfeiffer, and Daisy Ridley (THE FORCE AWAKENS).

THE KILLING OF A SACRED DEER – Colin Farell and Nicole Kidman headline this psychological horror film in which a fatherless teen upsets their household. 

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI – Frances McDormand (FARGO) plays a grieving mother who raises billboards in her hometown to seek justice for her murdered daughter. It co-stars Woody Harrelson, Sam Rockwell, and Peter Dinklage. Directed by Martin McDonagh (IN BRUGES).

JUSTICE LEAGUE – The fourth film in DC Comics’ connected series of films is the first team-up of their classic heroes; Batman (Ben Affleck), Superman (Henry Cavill), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), Flash (Ezra Miller), and Cyborg (Ray Fisher). The rest of the massive cast includes Amy Adams, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, and Ciaran Hinds. It is directed by Zack Snyder (DAWN OF JUSTICE), and Joss Whedon (AVENGERS).

WONDER – Julia Roberts and Owen Wilson play parents of a boy with a facial deformity.

ROMAN J. ISRAEL, ESQ. – Denzel Washington plays a liberal lawyer in this legal drama. Colin Farrell co-stars, and it is directed by Dan Gilroy (NIGHTCRAWLER).

MUDBOUND – Veterans of World War II return home from the war to deal with racism and PTSD. Stars Carey Mulligan, Garrett Hudlund, Jason Clarke, Jason Mitchell, and Mary J. Blige.

I LOVE YOU, DADDY – In this comedy-drama, Louis C.K. plays a TV producer who tries to prevent his teenage daughter (Chloe Grace Moretz) from falling for a 68 year-old filmmaker (John Malkovich).

COCO – The newest offering from famed animation studio Pixar is inspired by the Mexican holiday of Dia de Muertos (Day of the Dead), and follows a 12 year-old boy who sets off a chain of events leading to a reunion of long-past family members.

DARKEST HOUR – Gary Oldman (THE DARK KNIGHT), plays Winston Churchill in this war drama during his early days as Prime Minister. Co-stars Ben Mendelsohn and Kristin Scott Thomas, and is directed by Joe Wright (ATONEMENT).

CALL ME BY YOUR NAME – Based on the novel of the same name, two young men (Armie Hammer, Timothee Chalamet), develop a passionate relationship.

THE CURRENT WAR – Benedict Cumberbatch (THE IMITATION GAME) plays Thomas Edison, and Michael Shannon (TAKE SHELTER) plays George Westinghouse in this true-story about the battle to determine whose electric system would power the world.

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Next month, the final Episode of 2017.

A Reel Five: The STAR WARS & Disney Anniversary

Five years ago today, the movie world was given the surprise of a lifetime when the announcement was made that famed studio Disney would be purchasing the equally-famed LucasFilm and the STAR WARS franchise. Series creator George Lucas would be retiring, handing the reigns over to long-time producer Kathleen Kennedy, and remaining as a creative consultant for future STAR WARS films, beginning with EPISODE VII in 2015. It was an announcement that sent shockwaves through the long-time fanbase and the industry itself, and debate over the success of the sale rages on today. This Blogger has always said that time is the best test of any film, or films, so on this fifth anniversary of the re-birth of STAR WARS, it is worthwhile to take a look at what’s happened since that October day in 2012.

A long time ago (five years), in a galaxy far, far away (Hollywood), it was a somewhat dark time for the STAR WARS franchise. The galactic, industry-changing series of films, which had branched out into other media and merchandise, was like a sleeping giant…nearly dormant and just waiting for a wakeup. It had been seven years since Lucas’ Prequel Trilogy; three films which take place before the events of the Original Trilogy; A NEW HOPE (1977), THE EMPIRE STRIKES BACK (1980), and RETURN OF THE JEDI (1983), and in those seven years casual and diehard fans were still festering over the not-so-good Prequels and the edits that were made in the 1997 re-issue of the Original Trilogy. By 2012 the franchise was quietly coasting with sales from merchandise ranging from books to video games to an animated series (the very good CLONE WARS), and while the giant slept, the lasting memory fans had of their beloved STAR WARS was in the last three films, for the inside of a movie theatre is really where the giant lived.

All that changed with the announcement of the sale, and a new hope was lit. Disney already had a historic reputation over decades of beloved family films, with recent success with Pixar and Marvel. New LucasFilm president Kathleen Kennedy had a series of hits of her own, including most of Steven Spielberg’s films and the INDIANA JONES franchise. The sale included Lucas’ outline for episodes 7-9 (he has since stepped down from his creative consultant role), and STAR WARS seemed to be coming full circle; bringing back the beloved legacy characters such as Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), and Carrie Fisher (Princess Leia), while fulfilling Lucas’ 40-year dream of a nine-episode saga.

With Disney at the controls, the results have been spectacular. The first film, THE FORCE AWAKENS, which serves as the 7^th episode in the saga, was a critical smash, box office monster, and earned seven Oscar nominations. Although criticized in some circles for being too similar in structure to A NEW HOPE (so what), the film returned the energy, fun, and whimsy to the saga that the Prequels had left out. And perhaps more importantly, introduced us to new characters who instantly became pop culture icons; lovable droid BB-8, big-bad villain Kylo Ren (Adam Driver), and heroes Rey (Daisy Ridley), Finn (John Boyega), and Poe (Oscar Isaac). The giant had been awakened and was ready for more.

And more came just a year after THE FORCE AWAKENS, when the first spin-off film in the saga arrived in the form of ROGUE ONE. Taking place in-between episodes III and IV, ROGUE ONE was, by admission, an experiment to see if a spin-off film could work. The experiment succeeded by being accepted by box office, fans, and critics, and again, created new iconic characters to be permanently added to history; such as heroes; Jyn (Felicity Jones), Chirrut (Donnie Yen), and K-2SO (Alan Tudyk). The December release dates (the previous six movies were traditionally released in May), allowed the fun of the season to grow; home for the holidays now included new STAR WARS in the theatre…making for re-bonded friendships and new relationships.

The past is prologue, and if the last five years are any indication, then the future, despite always being in motion, is bright for STAR WARS. The first two films from Disney (and the outstanding STAR WARS REBELS animated TV series) have brought the franchise back to the basics that its always thrived on; fun, adventure, and characters, and revitalized the giant for a new generation. In the immediate future we have THE LAST JEDI, serving as EPISODE VIII, coming in December, and next year another spin-off film with SOLO, which will explore the backstory of our favorite smuggler and scoundrel, Han Solo. If these films are done with the same amount of tender loving care that we’ve seen so far from Disney, then the next five years will be like stepping into a much larger world.

A Reel Review: JIGSAW

In 2004, director James Wan had his killer cinematic debut with SAW, in which the notorious Jigsaw placed victims in deadly “games” designed to teach a morality lesson about the value of life. It was a well-needed refresh of originality that the horror genre had been needing. Six convoluted sequels later, and seven years after the supposed final chapter, we come the eighth film in the franchise, JIGSAW.

Ten years after the death of the Jigsaw Killer, a group of victims (Mandela Van Peebles, Laura Vandervoort, Brittany Allen, and Paul Braunstein) with shady pasts find themselves trapped in a deadly maze of horrific traps, designed to force them to confess their sins. As they fail their tests, their bodies are found and investigated by two detectives (Callum Keith Rennie and Cle Bennett), and two coroners (Matt Passmore and Hannah Emily Anderson), and the trail leads them to believe that Jigsaw may not be dead after all…

JIGSAW is a film with two distinct storylines. The first spends its time in the deadly maze, where the group of victims, handpicked because of their sins, make their way through the house of horrors. The second is a police procedural with cops and coroners on the trail of the bodies, with the mystery if Jigsaw really did die five movies ago the connecting thread between the two narratives.

Long-time fans of this franchise will be happy to know that this has all the trademark strengths of a SAW movie, with horrific traps, amputations, bloodshed, misdirection, and plenty of twists and turns. But it also comes with its traditional weakness in one-dimensional characters. As usual, the victims are scummy people who probably deserve their grisly fates, so who cares about them…and the cops/good guys are unlikeable grumps who also deserve a saw-blade to the neck. It’s no fun to be around anyone in this film. As for the famed traps, this time they are bigger (a giant meatgrinder), lazier (a silo filling up with grain and pointy objects), and downright stupid (laser beams). The realm of believability gets hacked up within the first 10 minutes.

Directed by the Spierig Brothers, JIGSAW builds its narrative around misdirection and guess-work. The film may be going one way before veering off to another, and while there are some good surprises, it all feels very basic and been-there-done-that. There are a lot of elements borrowed from previous entries, and the long-awaited big twist ending comes with a shrug. Pacing is brisk and the 92 minutes fly by, and for an R-rated film the gore is on the light side. For a horror movie there is zero atmosphere, no tension building, and is very bland.

Acting is ho-hum. Laura Vandervoort and Hannah Emily Anderson get the heaviest lifting and handle their parts very well, and Mandela Van Peebles (son of Mario) is also very good. Everyone else just grumbles and screams.

It’s no real secret that the Jigsaw Killer does indeed show up and is once again brilliantly played by Tobin Bell, with the mystery of how he’s still appearing the real draw of the film. The ultimate explanation, again, borrows too much from previous films, and there is a lot that could have been wrapped up a lot tighter. This is a needless chapter in an already tired series, which as a film is lazily constructed, and as a horror flick doesn’t offer one goddamn scary moment. And besides the filmmaking flaws, it adds nothing to the overall series. Dumb and pointless.

BOTTOM LINE: Fuck it

A Reel Opinion: The Top 10 Horror Films

Horror movies are not for everybody. Not only do some people dislike being scared, but the genre as a whole often asks us to buy into some high-concepts, most of which border upon ridiculous. This Blogger has always been neutral on the genre; neither a disbeliever or a die-hard fan…but on occasion we get a great film that can transcend its horror obligations and work as true cinema. And like any other film, a horror flick can be judged by story, characters, acting, and technical merit…with a few added factors such as scariness and re-watchability.

Now, do you want to see something really scary?

This list is a combination of objectivity and of this Blogger’s favorites over the years, and that opens the creaky door for WITCHBOARD (1986). A story about a woman who gets obsessed with a spirit (or two) connected to a Ouija Board, this film scared the pants off me when the ultimate evil baddie, called Malfeitor, shows up out of the shadows in the form of a creepy old guy with a white beard, followed by a bowel-moving evil laugh. Mostly forgotten and basically obscure, WITCHBOARD is a night-terror for me and an easy entry into this Top 10.

Rob Zombie’s THE DEVIL’S REJECTS (2005), is also an easy entry into this list because it is one of the few horror flicks that makes it into my annual October rotation. A gritty throwback to the brutal and bloody 1970’s era of blunt filmmaking and backed by classic southern rock tracks, REJECTS tells the story of a family of serial killers who spend the film becoming some of the most despicable screen-villains in history. And then, in a genius move, the finale suddenly finds a way to make us feel sorry for them. It’s a flip-flop that is effective and makes the film memorable and noteworthy. And the closing scene is the best ever usage of Free Bird in a movie.

M. Night Shyamalan’s THE SIXTH SENSE (1999) gets a little too much attention for its big-wow twist at the end which turns the entire viewing experience upside-down. It’s great, but it often overshadows how good of an old-fashioned ghost story it really is. Heavily influenced by the great Alfred Hitchcock, M. Night creates plenty of scares, and most of all, a mystery…which keeps the audience engaged at all times.

It may not be the scariest film ever made (although it has its moments), but Francis Ford Coppola’s adaptation of BRAM STOKER’S DRACULA (1992) has a lot of strong points as a film. It is visually stunning, beautifully scored, has an iconic look in Gary Oldman’s Count Dracula, and as a Dracula/vampire story it draws heavily and faithfully from the book while also pulling material from nearly aspect of the vampire legend; Coppola did his homework here and it shows. Above all, it serves as a love story…which makes it one of the most unique entries in the genre.

Isolation is a scary thing. But what’s even more scary is being isolated with a killer beast hunting you. And what’s even more scary is being isolated with that killer beast in a place where there is nowhere to run or hide…and that’s makes Ridley Scott’s ALIEN (1979) a perfect horror flick. A nice mash-up of sci-fi and Horror, ALIEN brought about some of the most memorable scares and blood-splashing scenes in history.

Prior to 1984, there was Dracula, Frankenstein, the Mummy, and the Wolfman…and then the late and great Wes Craven introduced Freddy Krueger to the world in A NIGHTMARE ON ELM STREET. A killer who only exists in people’s dreams, Craven capitalized on the isolation factor, while inserting some real scares (Freddy’s creepy stretching arms and the body bag moving on its own scared the shite out of this Blogger) and a character which stands the test of time.

Alfred Hitchcock’s PSYCHO (1960) is the great-granddaddy of horror films. Based on the best-selling book, Hitchcock solidified his legend as the master of suspense with some chilling scenes involving a staircase and a shower (simple things masterfully turned frightening), and is the earliest example of the slasher-genre. Coupled with a mystery and some shocking twists and turns, PSYCHO is a scare-fest and an exquisitely crafted movie.

Stanley Kubrick’s adaptation of THE SHINING (1980) often gets criticized for not being faithful to Stephen King’s book of the same name and for having an ending which Horror fans and cinema buffs debate to this day. These criticisms don’t mean much, because Kubrick creates an atmosphere which creeps those shivers down the spine at all times. From a creepy little kid, ghostly twin-girls, spectral bartenders, a gut-twisting score…and a performance by a young Jack Nicholson, who exerts pure evil with just one glance, THE SHINING is a finely crafted film which still has a presence in pop-culture.

Pop-culture may have been forever altered by Steven Spielberg’s JAWS (1975) as well, but that’s not the only reason this film, about a killer shark which terrorizes a resort town, makes the list. JAWS is often overlooked as a Horror movie because it takes place during the bright summer and doesn’t involve slashers or any supernatural elements. But the scares are genuine. In 2015 this Blogger celebrated the film’s 40^th anniversary by seeing the film on the big-screen, and the crowd, which contained many newcomers, jumped out of their seats in all the places Spielberg intended 40 years ago. JAWS hasn’t aged a day, and longevity is the best test of any film in any genre.

Having grown up in a religious family which truly believed that the Devil existed and could arrive at any moment, this Blogger was not allowed to watch William Friedkin’s THE EXORCIST (1974) as a child, and that was probably a good thing. THE EXORCIST, which tells the tale of a young girl possessed by the Devil and does battle with two priests, taps into that primal fear deep inside…that feeling and knowledge that pure evil does exist. The film takes that feeling and gives it a body, a face, and a voice…making for a frightening experience as good tries to do battle with the ultimate evil. Faith is shaken, beliefs are tested, and pants are pissed in as the scares come in doses. Friedkin somehow creates a film in which even during the quieter times, there is always a feeling of something being off, of something being wrong. It is un-nerving, disturbing, and gets everything right in horror and in film. THE EXORCIST is the top of terror.

REEL SPEAK’S TOP 10 HORROR MOVIES

1. THE EXORCIST
2. JAWS
3. THE SHINING
4. PSYCHO
5. A NIGHTMARE ON ELM STREET
6. ALIEN
7. BRAM STOKER'S DRACULA
8. THE SIXTH SENSE
9. THE DEVIL'S REJECTS
10. WITCHBOARD

A Reel Review: A STAR WARS and HARRY POTTER Weekend

“Movies were meant to stay on the screen, flat and large and colorful, gathering you up into their sweep of story, carrying you rollicking along to the end, then releasing you back into your unchanged life. But this movie misbehaved. It leaked out of the theater, poured off the screen, affected a lot of people so deeply that they required endless talismans and artifacts to stay connected to it”

-Carrie Fisher

This quote by the late and beloved Carrie Fisher on the first STAR WARS not only speaks to George Lucas’ 1977 film but to the pop culture phenomenon that it started. STAR WARS began a still-in-effect tradition of films speaking to us so strongly that we find ourselves seeking more of the movie outside of the theatres, whether in be in merchandise, other media, conventions, cosplay, or in various other art forms. Two of the most prominent films to be deeply imbedded in pop culture for the last 40 years have been STAR WARS and HARRY POTTER, and both film-franchises were well represented this past weekend in Philadelphia with two large-scale events worthy of entry in any archives, which this Blogger and this Blogger’s Girlfriend were pleased to attend.

The weekend got off to a magical start with the 7^th annual Harry Potter Festival in Chestnut Hill, PA, (and also the inaugural Pitman Potter Festival in Pitman, New Jersey). We were in attendance at Chestnut Hill, in which 12 square blocks were transformed into the HARRY POTTER town of Hogsmeade…where fans of all ages were able to take in vendors, games, and activities all inspired by the POTTER books, and most especially the films.

The bulk of the Chestnut Hill festival took place on Germantown Avenue, which with its cobblestone streets and tight-quartered, old-fashioned shops and stores, made it very much in character for the HARRY POTTER world. Shop-owners and their stores jumped into the cauldron head-first, and transformed their businesses into venues right from the films, and they, along with street vendors, were committed to selling hand-crafted merchandise; everything from brooms, pillows, scarves, art, and clothing…done with a loving hand and far from any corporate meddling. There was plenty of food to take in; including a stunning cake competition and plenty of butter-beer to go around. Fans and families came in costume inspired by the films, dressing as the most popular to the most obscure.

Perhaps the most impressive work was done by the Iron Hill Brewing Company, which transformed into The Great Iron Hall for the weekend. Their main dining area was decorated just like the Great Hall, bathrooms were found by following spiders, and the bathrooms themselves hinted at a certain Chamber now being opened.

Fans of all ages literally came by the train-load to Chestnut Hill, and by the time the hard-played Quidditch tournament had played its final match at Chestnut Hill College, it was clear that HARRY POTTER held a strong presence off the silver screen.

But the fun was just beginning…

With this year being the 40^th anniversary of STAR WARS (read more about that HERE), the Philly POPS Orchestra offered two performances entitled A Star Wars Celebration: Featuring the Music of John Williams. The two concerts, held on Saturday and Sunday, featured a piece from each of the eight STAR WARS films, and just for good measure, all five of John Williams’ Academy Award winning scores.

Music Director Michael Krajewski served as not only conductor, but as a master of ceremonies. He guided the audience through each music selection in a way that spoke to STAR WARS fans and any possible newcomers in the audience. He was funny and energetic, and his knowledge of STAR WARS and film lore was most impressive.

The concert began with a medley of some of John Williams’ best scores (including SUPERMAN!), before officially beginning the program with the very first sounds of STAR WARS we ever heard; the famous 20^th Century Fox theme followed by the classic STAR WARS opening scroll theme. From there, the music selections outside of STAR WARS included the main themes from JAWS, E.T., and yes, HARRY POTTER. The highlights of this section were easily the theme from SCHINDLERS LIST, and a medley from THE FIDDLER ON THE ROOF…the film which earned Williams his first Oscar.

The main STAR WARS section, after the intermission, had the best of the best, including The Imperial March, Cantina Band, Parade of Ewoks, and Across the Stars. The choral section of the orchestra flexed their magnificent voices on Battle of the Heroes and a selection from ROGUE ONE. The highlight was Duel of the Fates; a piece which has suffered from association with the divisive EPISODE I, but in a live setting proves its worth as a remarkable piece of music. The orchestra overall sounded tremendous, and did a fine job in yanking out every emotion possible; many laughs and tears happened. The lighting schemes were perfectly matched with each piece…adding to the thick atmosphere of sight and sound.

The set closed out with the magnificent The Jedi Steps and Finale from THE FORCE AWAKENS, which as a closing-credit piece featured the best music from the film. After a standing ovation, the maestro returned to close out the afternoon with the Raiders March from RAIDERS OF THE LOST ARK. Because why not.

By the time we stepped out of the venue, it was clear to us that this was a weekend to be long remembered. It was a statement to the power of film and all of its creativity and ability to leap out of the screen and stick with us, always.