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[thechreviewer]

Movie News: DC’s Joker release date and Aquaman’s Classic Costume

Comic Con is almost here, and even before Warner Brothers takes the stage Saturday to show off their superhero properties, some announcements and early looks have already been released.

First up is the Aquaman lineup showing up in toy form (pictured above). Mera is obviously back with a look previously seen in set photos. Black Manta is also shown, showing off a fairly comic accurate look. Very interested to see how the villain’s attire pops off the actual screen. King Orm is also here in a look also similar to comics. Off all the villain costumes in recent years, I would say his is the most in danger of coming off hokey on screen. And finally we have Aquaman as we have yet to see him; wearing the original comic attire. Now, I really like the classic look, and I love Jason Momoa. However, at least in toy form, the classic costume just looks very odd on Momoa. It’s almost too bright, especially for this film universe’s use of the character. It also looks like if Jesus Christ was a superhero. Hopefully the the look will pop better in live action.

Next up is release news for Joaquin Phoenix’s take on the Joker in his own film. Recently Phoenix official signed on for the role that will showcase how the infamous villain came to be. And today we have our first bit of release info. Obviously fast tracked, Warner Bros/DC has set the film, rumored to be simply titled Joker, to be released on October 4th of next year. Warner Bros and DC must think they have something considering how fast the project is coming together, refreshing for the production of DC films of late. The fast turnaround is also interesting, though the smaller budget and ‘character-driven’ narrative probably has something to do with that. While an origin story for the Joker is not high on my interest list, the amount of talent thus far is making me more interested in this Elseworld’s project.

That’s all the DC related news thus far, though the Warner Bros. panel this Saturday at Comic Con should offer more goodies for fans, including looks at Aquaman, WW84, and Shazam!, along with other surprises (hopefully).

[essaynook]

List the campaigns that have resulted in increased visits and use of your travel destination separately from those that have failed, along with their cost and some suggestions about possible improvements.

List the campaigns that have resulted in increased visits and use of your travel destination separately from those that have failed, along with their cost and some suggestions about possible improvements.

Switch: How To ChReview the marketing methods and results of years past in an attempt to illustrate what has worked and what needs to be improved with the new year’s approach. Create a first section of your marketing plan titled “Past Campaigns.” List the campaigns that have resulted in increased visits and use of your travel destination separately from those that have failed, along with their…

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[thechreviewer]

Movie Review: Solo: A Star Wars Story

Solo: A Star Wars Story is the latest Star Wars prequel and is directed by Ron Howard (mostly) and written by Star Wars alum Lawrence Kasdan and son Jonathan Kasdan. The film stars Woody Harrelson, Emilia Clarke, Donald Glover, Paul Bettany, and Alden Ehrenreich as the titular hero. Solo: A Star Wars Story was plagued by production problems due to the release of original directors, Phil Lord and Chris Miller of The Lego Movie fame. The question to ask though - did Lucasfilm pull off another solid entry or were fans right to disregard this entry?

Solo: A Star Wars Story is unnecessary as a Star Wars entry. The film has been in development for years, even when George Lucas still held the rights. And is the film had been made years ago, it may feel both relevant and needed. However, following certain events of recent Star Wars films, Solo feels odd in its placement, while also existing to mostly answer questions most fans weren’t asking. The film fills in gaps mentioned and alluded to in previous entries, though its questionable why on needed the Solo film to answer these questions. The film also suffers from a slight discrepancy that most likely remains due to the director switch. Though the film achieves to mix the difference styles better than another recent production mishap, Justice League, its obvious some of Lord and Miller’s work doesn’t flow completely with Ron Howard’s work. 

With the negatives out of the way, there’s simply no denying that Solo is still a fun summer movie, nothing more or less. When removing the idea of necessity in its existence, the movie becomes a very well shot and acted heist adventure. Alden Ehrenreich, while never completely rising to the swashbuckling prowess of Harrison Ford, is quite suitable in the role of Han Solo, though is often overshadowed by an excellent supporting cast. Harrelson, Clarke, and Bettany provide solid work as usual, though its Donald Glover’s Lando and Phoebe Waller-Bridge as L3-37 that shine. Glover brings the swag and over the top sensibilities of Billy Dee Williams’ portrayal, though achieving to add his own flavor. And while Waller-Bridge’s L3 is going to be met with Jar Jar level controversy, the character is a lot of fun and feels like people I personal know, though her rebellious, feminist attitudes felt somewhat out of place in a Star Wars film.

The true heroes, however, are director Ron Howard and cinematographer Bradford Young (Selma, Arrival), who provide a beautifully shot and well constructed film that does truly feel like a Star Wars film. Bradford’s low light shots are done masterfully, separating Solo from other Star Wars films by appearance along, though its Howard that always makes sure Solo feels like a galaxy far far away. The film, though cliche in a number of instances, does hold some surprises (including a fantastic cameo), while also providing numerous nods to previous installments (the relationship between L3 and the Millennium Falcon was a very nice touch).

There’s no denying a Han Solo prequel was an odd one by Disney/Lucasfilm. And there are numerous times the film struggles to fully justify its existence. However, Howard and crew delivered a successful heist adventure that feels respectable to the Star Wars canon. I was never bored and enjoyed the performances of the entire cast, including leading man Ehrenreich, who deserves more work honestly. Though my expectation were low, and I will say Solo is the weakest of the newest Star Wars films, Solo exceeded expectations and delivered a very solid adventure.

Solo: A Star Wars Story’s Final Score: 8/10

[thechreviewer]

God’s Not Dead?: Why Faith-Based Films Can’t Find Their Footing

This weekend sees the release of God’s Not Dead: A Light In Darkness, the third and final film in the God’s Not Dead franchise that started with the surprise success of the original film in 2014 that grossed $60 million domestically on a $2 million budget. Though faith-based films have been around since the early twentieth century, a new type of religious film-making seemed to emerge after God’s Not Dead, or at least gained in popularity: low-budget films that overly dramatized the religion. Just last year, nine faith-based films were released in wide or semi-wide release (and living in Arkansas, every one of them came to my surrounding theaters), though not all of them followed the same formula as God’s Not Dead. Nor were all of them as successful at the box office. And as we have seen this year, that outlook isn’t getting any better, as three of the four faith-based films continue the streak of under-performing domestically, including the third installment of the God’s Not Dead, tracking only for a $3 million opening weekend. So are these films performing poorly to their demographic? As a religious individual who loves films, I’m here to explain what these films can do to become relevant again:

Don’t Become Too Preachy: 

Saying a faith-based film shouldn’t include dialogue and messages relating to the religion they’re portraying may sound ridiculous, but preaching to a choir already in agreement will do nothing but alienate them. Having characters speak a sermon every time they’re on screen does little in the way of make sense or interest the existing fan base and those the film is arguably not made for. Personally I know some who ONLY go to these sorts of films, yet more recently have been warded off knowing they’re going to see the same bible verses spoken in scenarios that make little sense, with characters that become caricatures of the Christian faith. Some period films, such as Son of God (2014), get leeway because this is how they talked, however, even these films make point of only highlighting the religious side of the argument. 

Unrealistic Characters, Scenarios, and Stories: 

Piggy-backing on sermons in every piece of dialogue, many of these religious films honestly fail in providing both realistic stories presented in a realistic way. The entirety of the second God’s Not Dead film revolves around a story concerning attack against Christianity. In Arkansas. And being from a town in Arkansas that once held the record for most churches per square mile, I can tell you such an event would NEVER happen. The belief that any sort of persecution against Christians occurs in 21st century United States is laughable and conspiratorial. Professors aren’t going to fail you for believing God exists (God’s Not Dead), nor is the church going to turn on you for admitting amazing occurrences related to God (Miracles From Heaven). And again, no characters are as ‘devote’ as these films portray them as in present day. And by the way, teachers know they can’t talk about their personal religion in school, but officials aren’t going after them in the same way as in God’s Not Dead 2. 

Many Films in This Genre is Just Bad: 

The God’s Not Dead films are terrible. Many of the cheap period films are just boring. These low-budget faith-based films are mostly just not great, which no matter how devote you are is going to turn you off after a while. Many of the films set in present day are pretty bad for the reasons previously mentioned, while the period films just do not commit to their source material. Turning the story of Samson into a PG-13 film was never going to be embraced. Many of the stories fail to consider these period films need the ugliness from the actual stories, including the sex, violence, and the actual sinful actions. These films are made for cheap and they feel cheap because usually the people in front and behind the camera have no vision beyond exaggerating the ‘faith’ part of the faith-based films. 

How Can Faith-Based Films Be Saved: 

Though I seem to really be down on this genre, this genre is technically in trouble. Since 2014, there have usually been one or two faith-based films that can get actual good reviews and/or have a good box office run (which usually means getting over about $10 million domestically). And those films are the ones we should be leaning into more. My two favorite examples are The Star from last year and the recent I Can Only Imagine. Last year’s The Star was an animated film that focused on the animals around the birth of Jesus. While the film was only OK, it did remind me of the Veggie Tales films that are so popular for younger children, and honestly its much better than most generic religious films released in the past few years. The other example is I Can Only Imagine, which is blowing up the box office with $48 million domestically so far on a $7 million budget. The film revolves around arguably the most popular Christian rock song and has clearly struck a cord with both devote audiences and those just fans of the song. It also helps that even critics like it well enough. The point is, making movies that only revolve around boring period dramas and unrealistic present pieces are not the ones making the money right now. 

More so, just making a good film should always be on the forefront of people’s minds, and to do that you need good directors and good actors in these films. I like Miracles From Heaven well enough only because Jennifer Garner is great in it.  All Saints, which did not do great numbers last year, was good because John Corbett was the lead. The Everly Brothers who directed I Can Only Imagine also made the religious-sports drama film Woodlawn, which was also pretty good. The idea that making these films for little money doesn’t work when you have actors in them that plainly are good, or uninspired directors behind the camera. 

So in conclusion, this is not a hit-piece on religious filmography nor the Christian religion. Nor am I attacking those who actually enjoy films like War Room and the God’s Not Dead trilogy. But assuming these films are actually good and help turning others to God is hilarious. These films remind me when I was in college and the student ministry would send student pastors around to probe kids sitting by themselves in public. One time they came to me, a devote Christian, and attempted to reaffirm my faith. For thirty minutes. With the usual bible verses and decently drawn pictures and graphs. And when they left me, I honestly felt less forgiving to my faith. This is how these films leave me and many others. And while films like I Can Only Imagine, The Star, and Risen (one of the better period films) do give me some basic hope, faith-based films are in troubled water with little relief in sight. 

[thechreviewer]

TV Review: Marvel’s Runaways (Season 1)

Runaways is Hulu’s stint in the Marvel Cinematic Universe, based on the comic of the same name and starring Rhenzy Feliz, Lyrica Okano, Virginia Gardner, Ariela Barer, Gregg Sulkin, and Allegra Acosta as children who learn their parents are supervillains straight from the pages. Along the way they discover they may have a few gifts of their own.

Marvel television is a pretty mixed bag. from great shows like Legion, Daredevil, and Jessica Jones, to pretty bad stuff like Iron Fist and Inhumans. Going into Runawys, I questioned whether the show could work as a teen-driven superhero show, and my goodness does it. Having not red the actual comics, I can only say most people I’ve talked to say while the storyline is altered, the show is very much faithful to the Runaways. What the show does is present a pretty honest representation of teenagers, doing so while incorporating the great comic book elements needed. Everyone in the show is great, from the newcomer kids to the well-known adults, with Ariela Barer as Gert Yorkes and Lyrica Okano as Nico Minoru are especially the standouts. The show echoes the California scenery and wistful teenage attitudes with grace. 

Runaways also represents the powers well. Karolina’s rainbow glow is used sparingly, but is full worth the visual, while Molly’s super strength is believable. The only issue is the featured dinosaur, Old Lace, who can communicate with Gert. While the puppetry is fantastic in some parts, others where the CGI is obvious are overdone, and take away from the effect. The show works best, however, as a character driven narrative and less as a superhero show. Runaways smartly focuses on both the drama between the kids and the parents, working through multiple plot points at once. The problems with the show come in the fact the story its chooses to focus on goes on too long for season one. 

Runaways stands as one of Marvel’s best shows. Its clean, current, and uses its cast well. The action is fun and the dynamics between the characters really drives the show. While it does go on too long in its first season, the show still fills a void for these superhero shows I didn’t realize was there: teen driven superhero stories. For that alone, Runaways is a fantastic show. Plus it has a fantastic poster.

Runaways (Season One)’s Final Score: 9/10

[thechreviewer]

TV Review: Godless (2017)

Godless is a western Netflix miniseries created by Scott Frank and revolves around La Belle, a town made up of mostly women, and the outlaw it harbors, Roy Goode. The cast includes Jack O’Connell, Michele Dockery, Scott McNairy, Merritt Wever, Thomas Brodie-Sangster, Jeff Daniels, and numerous other very talented individuals. 

Godless comes within a long line of recent revisionist Western films and television shows recently, though its focus on a town of mostly strong minded women certainly makes it unique among the fold. Thankfully though, Netflix has crafted one of the better attempts at the genre, making this sleek seven episode miniseries a joy to watch. Godless is very well directed and written, with Scott Frank creating a story that works in the present and with the use of flashbacks throughout the show. Though the narrative begins to wain towards the middle and includes a sixth episode that does little besides bridging the gap between the previous and final episodes, the story is smart, brutal, and invokes all the emotions possible. 

Jack O’Connell as anti-hero Roy Goode is phenomenal, straining the line between charming outlaw and a pain filled man. O’Connell does a great job taking a fairly well used caricature and using it to make something new. Michelle Dockery is easily as good, though I wish the series would have focused on her character more. The best performances come from Thomas Brodie-Sangster, known for his role in the Maze Runner films, and Merritt Wever, playing the town deputy and widow of the former mayor respectively. Sangster brings something to this worn out character, and always appears to have more wisdom behind his youthful eyes than anticipated. But Merritt Wever is everything I wanted from this show. She’s brash, to the point, and is not afraid to say her mind. Originally introduced as an emotionless father figure to the town, her character is giving the most life throughout the series in surprising ways. And of course, Jeff Daniels as the menacing outlaw Frank Griffin gives everything one could expect from his villainous role. 

Now, the biggest problem I could see one finding in the series is the fact the story focuses on a town of mostly women doing the work of men. Some are going to argue this is suppose to feed into some agenda Hollywood has in its attempts to be inclusive. Godless goes beyond that simple agenda though, creating a scenario that makes sense and crafts characters that would probably act in the ways they do. Parts of the show can be heavy-handed with its messages, but the show works from a brilliant concept that in others hands may have fallen by the wayside. 

Godless is fantastic. It’s sleek, very well acted, written, and directed, and achieves everything the revisionist Western has set out to do over the last few decades. The story does start to drag towards the end, but this remains one of Netflix’s best shows and well worth the subscription. 

Godless’s Final Score: 8.5/10

[thechreviewer]

TV Review: DEVILMAN crybaby (2018)

DEVILMAN crybaby is a Netflix original anime series directed by Masaaki Yuasa and stars the voice talents of Koki Uchiyama, Ayumu Murase, Megumi Han, and many others. The series revolves around Akira Fudo, a shy teenager who is processed by a devil, who uses his powers to fight the epidemic spread of devils around the world. The series is reportedly more mature from its original incarceration, making this anime hard R.Now I’m going to admit, anime isn’t my thing, but the entire look of this series, from the poster to the trailer to the story interested me enough to press play. So I’m looking at this from the view of a television lover and not a hardcore anime fan.

DEVILMAN crybaby is maybe the craziest show I’ve ever watched. The show is dark, grotesque, sexual, beautiful, haunting, and honestly wrong in all the mostly right ways. Its hard to explain this show because it really just exists. For someone not immediately prepared, it could be quite shocking and seen as disturbing. From the first episode there’s a level of violence and sexual imagery that I’ve never seen on the big, or small, screen. DEVILMAN is a visceral experience, both in ways that entertained and ones that made me uncomfortable. The action is great and the look of both transformed Akira and Devilman is fantastic. There’s something beyond interesting to be about The Iron Giant, a character that Devilman embodies, though a little more bloody in nature. Friendly giant that exists for the good of the people, but is still destructive in nature. The show also has a decent amount of drama, which is the standout specifically episode nine, which had both a great message and wonderful story telling. 

Where DEVILMAN has problems is in its storytelling. The show, at ten episode, about twenty minutes each, doesn’t work completely. Some plot points are disregarded or never explained, and other elements don’t make sense. DEVILMAN feels rushed, especially in the middle, but mostly picks back up towards the end. Things appear to jump from zero to sixty episode to episode, which doesn’t work personally considering how short the show is. Also, the show’s ambitions sometimes stretch the production budget, as some of the character designs and story elements feel flat on screen. The insanity of the show does off set quite a lot of these production problems though. 

DEVILMAN crybaby is truly unlike anything I’ve ever committed myself to, going from muted confusion to over the top violence, losing the story but maintaining a sense of intrigue. Elements of this show are beautiful and the pretty great action keep this show on the ground, even when things stretch too far. As a non anime fan, I feel anime fans should check this out. I think even a few non fans like me could have a deal of enjoyment in this.

DEVILMAN crybaby’s Final Score: 8/10

[thechreviewer]

Movie Review: Brigsby Bear (2017)

Brigsby Bear is a comedy-drama directed by Dave McCary and stars Kyle Mooney as James Pope, a grown man abducted as a child, raised in a bunker, who now has to deal with real life. Along the way he decides to make a movie centered around Brigsby Bear, a character from James’ childhood. The film also stars Mark Hamill, Greg Kinnear, Matt Walsh, Ryan Simpkins, and more. 

Brigsby Bear is unlike any film I have ever seen. As an original story, the film works both as a bonkers comedy based on an unlikely scenario, but also as a meaningful drama looking into how we treat one another beyond our differences. The film is told from the view of an individual who has been held captive for all his life, kept from society who must learn the meanings of life. Kyle Mooney is beautifully weird but earnest in his portrayal, always optimistic and yearning for a fruitful existence. His obsession with Brigsby Bear, a character known truly to him alone, drives the narrative, allowing us to examine the wonder he experiences. Its difficult to tell what this film did for me, because its truly an experience for the individual. The same goes for any negatives. The film is well shot and acted, and the only way for me personally to gauge the film is too look at how it affected me. I don’t feel a though it went as far as it could have with the narrative, but for what it did it worked very well. Mark Hamill also makes an appearance and is all the better for it. He’s not in it for long, but he shines on screen. 

This review is short but the only way to review this film is in a personal sense. I do not want to sway other’s thoughts on the film, so I will not to indulge too many of my personal thoughts. What I can say is Brigsby Bear is a wonderfully made journey that deserves to be seen. Its a wonderful little indie film that should charm audiences if they allow themselves to given into the absurdity.

Brisgby Bear’s Final Score: 8/10 

[thechreviewer]

Movie Review: The Open House (2018)

The Open House is a new horror-thriller from Netflix, written and directed by duo Matt Angel and Suzanne Coote. The film stars Dylan Minnette (13 Reasons Why, Don’t Breather) as Logan, and tells the story of a mother and son who move into a house currently on the market, but find someone else might have stayed. 

The Open House is a very problematic movie, raised up by wonderful acting and decent direction but brought back down to earth by poor writing and confusing editing. The film takes place in a small, scenic town and the cinematography is pretty darn good for this $100,000 (!) budgeted venture. For what I believe are first time directing duo Angel and Coote, the look is great. And again the acting is pretty great as well. Dylan Minnette plays another misguided youth following appearances in teen drama 13 Reasons Why, fantasy comedy Goosebumps, and the much better horror thriller, Don’t Breathe. Here he gives a fine performance, though I have seen him better. Piercey Dalton as his mother also gives a good performance that is far superior to the actual film. And Patricia Bethune as a crazy neighbor was wonderfully weird and creepy. Speaking of the ‘horror’ aspect to the film, its done well enough. There are a few really creepy visuals, one involving Logan’s contact lenses, but for the most part its a jump scare parade that goes a little over the top with its violence for some reason. Its not distracting, but its unusual. 

The problems with the film, however, lie in its writing and editing. The Open House spends the vast majority of its runtime setting up this terrifying story of someone living in a house of an unsuspecting mother/son, including appearances by characters I assume we’re suppose to believe could be the culprit, and leaves us with nothing. Not to spoil much, but the person in the house is given no dynamics beyond being a creepy, unseen presence until the end were the character goes berserk for no reason. Why are they doing this? Why the violence? What is the character’s reasoning? Nothing is given a solid answer. I honestly can’t figure out where the person was even staying in the house. The ending to the film is beyond unsatisfying and leaves many plot holes. The story mostly spends its time with the mother/son relationship presented following the sudden death of the father figure. It has its moments, but nothing is really fleshed out enough and none of it matters at the end. 

I’m having a tough time with The Open House. Its a underwhelming movie, but it feels as though the under-experienced writing is to blame more than anything. The direction is quite competent, the acting is really good, and the horror is fine enough. The ending really hurts this film, as I could go along with it up until the sudden dynamic change. I was actually fine with it for the most part, its just thinking about how poorly it was constructed that bothers me. No, this isn’t one of Netflix’s best movies. But if you’re into horror/thrillers, I guess The Open House is OK as long as you don’t think about what you just saw after the final scene cuts to black.

The Open House’s Final Score: 6/10

[thechreviewer]

Movie Review: Scooby-Doo & Batman: The Brave and the Bold (2018)

Sooby-Doo and Batman: The Brave and the Bold is the latest direct to video Scooby-Doo film, though in this case it also revives the television show starring the Caped Crusader that ended in 2011. The story revolves around Batman and the Scooby gang joining forces to defeat the Crimson Cloak, a specter from Batman’s own past.Directed by Jake Castorena and starring the voice talents of Frank Welker, Matthew Lillard, Kate Micucci, Grey Griffin, Diedrich Bader, and others, does this animated feature justify the return of the more lighthearted Bats and friends? 

This film is kind of special for me because it combines two things I love: Scooby-Doo and Batman. Growing up with these characters, I was excited for this film, and am happy to report this feature does justify its existence. The film is very funny, well animated, and includes numerous callbacks to both franchises pasts. The film does about everything you would want from a Scooby Doo/Batman collaboration. There’s the costumes, appearances from favorite characters of DC past, Aquaman doing his thing, and the largest number of DC villains I’ve seen all at once in a while. Scooby and the gang have their usual jokes, but this is more the Batman show, and everything people love about the 2008-2011 show is on full display here. The Question even makes an appearance, having maybe the best exchange towards the end.

Scooby-Doo and Batman: The Brave and the Bold is not some animated masterpiece, but for fans for either or both franchises, this is a deserving picture that’s beyond fun and silly and provides everything a fan could want from such a collaboration.

Scooby-Doo and Batman: The Brave and the Bold’s Final Score: 9/10

[thechreviewer]

Movie Review: Found Footage 3D

Found Footage 3D is a 2016 indie meta found footage horror flick directed by Steven DeGennaro. The film centers around the filming of a found footage horror film by some friends for money, only to find real horrors may lurk around them.

Going into Found Footage 3D, I had little hope. I’m not a hater of the found footage genre, but it has hit a point of featuring the usual tropes and thus they can be beyond boring. However, Found Footage 3D can only be described as Scream meets found footage in every positive way possible. 

The movie is 100% meta, realizing all the tropes and questions audiences ask and making fun of them. Most of the movie focuses on the making of a found footage film, with a few detours here and there to the actual scares. DeGennaro offers his brilliant cast numerous opportunities to generate big laughs for the audience. What is surprising is how smart the movie is throughout. Common questions people have are answered in unique ways that actual drive the story beyond cheap plot points. Why don’t they put the camera down? Answered. 

The scares and horror aspects of the film are also great, though the special effects bits are overused towards the end. Well used jump scares are throughout, along with some over the top deaths. The movie also looks really good. The found footage aspects doesn’t distract from the film at all and really provides some interesting drama among the cast. 

Overall, Found Footage 3D is just a lot of fun. Its unique and funny and scary all at the same time for better or worse (mostly better). The film does rely at little too heavily on the CGI effects towards the end, but overall Found Footage 3D is one of the best found footage films I’ve ever seen, and easily the best of the last few years. It is available on iTunes and Amazon.

Found Footage 3D’s Final Score: 8.5/10

[thechreviewer]

Review: Wind River (2017)

Wind River is a neo-Western crime drama written and directed by Taylor Sheridan and stars Jeremy Renner and Elizabeth Olsen as a Fish and Wildlife Service agent and FBI agent respectively investigating the death of a Native America girl found frozen to death in the middle of nowhere. 

Wind River is a grueling piece of film-making that tears into your soul. Taylor Sheridan has always been an amazing writer, having penned the scripts for Sicario, Hell or High Water, and the upcoming Solado. However, his direction on Wind River is impeccable and holds nothing back. Many of the landscape shots are some of the best all year. Jeremy Renner gives an amazing performance as a white man living on a reservation who has connections to the tribe through his deceased daughter and ex-wife. The story is very emotionally riveting and brutal in its depiction of violence. I was emotionally invested throughout the entire story. The supporting cast is also fantastic, especially Gil Birmingham as Martin Hanson, father to the deceased girl. The ending to the film was incredibly emotionally charged because of some amazing performances. 

The negatives are few for this one. The story can feel a tad rushed at times, mainly through the actual investigation of the time. And as previously said, all the performances are solid, though Elizabeth Olsen’s character is pushed aside a bit, though the ending does quite a bit for her character.

Wind River deserves the award notice I pray it gets considering the Weinstein problems. Its very well written and directed, while being further enhanced by one of Renner’s best performances in a while. Wind River is a must see event for everyone.

Wind River’s Final Score: 9/10

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[thechreviewer]

Review: Marvel’s Runaways Episodes 1-3 (2017)

Runaways is Marvel’s new show airing on Hulu starring the semi-popular team of the same name. The show revolves around six high class teenagers, each with their own unique skill sets, that discover their parents are apart of a villainous cult. The show is ongoing, but today I’ll be reviewing the first three episodes released by Hulu. Following the mixed responses to the last three Marvel TV shows (Iron Fist, The Defenders, and Inhumans), they were really looking for wins with their two new ones, being the Punisher (review to come later) and Runaways. The critics seem to enjoy it, but it this teen drama worth the Hulu subscription?

In terms of originality, Runaways has the uniqueness factor going for it. The closest superhero program would probably be Fox’s The Gifted, though Runaways stands a bit above that property in terms of quality. The show is unafraid to delve into the comic lore for its material, incorporating the teen drama and romance, strange powers, and even a dinosaur into the chaotic narrative. Currently, it may stand as one of Marvel’s best. 

All the actors are great, from the young players to the experienced parents. The show actual provides both the kids and the parents ample screentime, with the whole second episode devoted to the parent’s perspective. Being only three episodes in no one has really risen above the others, though Angel Parker, playing main character Alex’s mom Catherine, shines in all the right (or really villainous) ways in the third episode. The show is also very consistent so far; all three episodes have been solid technically and were imperative to the story. Runaways also balances the strange comic book aspects with the reality very well, never leaning to much to either side.

There’s little in the way of negatives to highlight, though sometimes the story feels like it jumps from zero to fifty too quickly. Parts of each episode also feel a little longer than is necessary. Again, nothing on the show has really gone above and beyond yet, so thus far its really just a solid show.

Marvel’s Runaways is really fun so far. We have these strange dynamics, twists and turns for our characters, interesting comic lore, and the usual teen drama. Its not going to blow the minds of most, but it is definitely worth the Hulu subscription. Full season review to come in January.

Marvel’s Runaways’ (First three episodes) Final Score: 8/10

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Guilty Pleasure Review: The Slumber Party Massacre (1982)

The Slumber Party Massacre is directed by Amy Holden Jones and stars and ton of women who have gone on to do little with their careers. The story revolves around an escaped murderer who becomes obsessed with a group of high school girls and interrupts their slumber party to kill them all. The movie was one of literally a million slasher films to come out attempting to mirror the success of Halloween. So what makes this so different from other copiers of the genre?

The Slumber Party Massacre is a pretty bad movie, though surprisingly one of the better of the early slasher genre. The acting is bearable, visually its watchable, and the writing is fantastic. Not fantastic because its well written, but its fantastic because the movie was originally written as a comedy. However, the final production was played mostly straight, meaning there’s multiply points throughout the film where unintentional humor is front and center.

The screenplay was written by feminist mystery writer Rita Mae Brown and her style is front and center. The film doesn’t shy away from exposing the women in not sexual ways, putting them in hands on roles (female electrician), and the women are the only ones who attempt to fight back (sorry guys, we either run away or die). Its not perfectly done, but the attempt to provide strong-ish female protagonists throughout is surprising for a slasher, so they get my respect. A LOT of the deaths in the film are unintentionally funny, though, turning this slasher into a boarder line horror comedy. 

This movie is a weird enjoyment for me and is the definition of a guilt pleasure. Its a bad movie in most aspects. However, it just works for me as entertainment. I can enjoy myself and surprisingly give the filmmakers a bit of credit for doing something unique to the slasher genre. If you like a so bad its good slasher pick every once in a while, The Slumber Party Massacre is a great choice.

The Slumber Party Massacre’s Final Score: 6/10

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Movie Review: Bright (2017)

Bright is the new Netflix Original film directed by David Ayer (Suicide Squad. Fury) and stars Will Smith and Joel Edgerton as a human/orc police officers in a world where fantasy creatures survive alongside their human counterparts, including orcs, fairies, and elves. When Ward (Smith) and first orc officer Jakoby (Edgerton) come across a magic wand and a plot to resurrect the Dark Lord, they must survive the night and stop the villainous elf Leliah.

Bright is surprisingly similar to Ayer’s own Suicide Squad and End of Watch, mixing the fantastical with police procedure. And like Suicide Squad specifically, even though Bright has a number of problems, its still an enjoyable ride. Max Landis’ script fails the movie the most unfortunately. Though we are presented this fantastical world grounded in reality, by the end we know little about how it works. The audience is given quick references and glimpses into the world beyond our characters, but nothing concrete is given. The whole plot of the story is very flawed as well, highlighted more so by the directive choices. The only possible way to enjoy such a muddled storyline would be if they paired it with competent director, visuals, and great acting. And amazingly enough they succeeded in so. 

Will Smith does what Will Smith does best throughout Bright. No matter the character he plays, in this case a officer conflicted with his partner’s race, he is watchable to the last second. Joel Edgerton also gives one of his best performances yet as the first orc officer Nick Jakoby. He plays the part great, though his dialogue isn’t always the best. Ayer’s direction is also really good. Similar to Suicide Squad, the action is continuous with little down time for the audience to think beyond what they just witnessed. Though his blockbuster action direction still needs some work, its characteristically good enough for this poorly outlined picture. And of course, the makeup, also like Suicide Squad’s, is incredible. The design and color scheme of the Orcs is beautiful, and it could easily win that Best Makeup Oscar. The film is also incredibly violent, a nice detour from other blockbusters. 

Overall, Netflix has basically created an extension of Ayer’s own Suicide Squad. Its a poorly constructed mess that feels constrained to one location where the bad guys just magically achieve to appear. The films racial themes become buried under mounds of blockbuster action as well. As a simple grindhouse cop action fantasy, the film is watchable and mostly enjoyable, lead by strong performances, beautiful makeup, and decent direction. 

Bright’s Final Score: 7.5/10