Robert De Niro plays a small town sheriff in the upcoming crime/revenge thriller “Savage Salvation”. Peculiar title aside, the story looks to cover a lot of familiar crime movie territory. But interesting casting and some potentially good action may make this a pretty fun and gritty feature. It’s directed by Randall Emmett who’s recently been best known for producing the recent wave of direct-to-VOD Bruce Willis movies. Hopefully “Savage Salvation” has a little more to offer.
The trailer sets the story up like this: a former addict named Shelby (played by Jack Huston) is devastated when his fiancé (Willa Fitzgerald) loses her battle to get clean and dies of a heroin overdose. Furious and seeking revenge, Shelby sets out to pay back the drug dealers who supplied her. With the bodies stacking up, a sympathetic sheriff (De Niro) seeks to help Shelby before he takes things too far. Again, several familiar elements to the story, and some of the action looks a little cheap. But hopefully there’s a good enough to story to make it all worthwhile viewing.
“Savage Salvation” opens December 2nd in select theaters and on VOD. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
Erich Maria Remarque’s 1929 German novel “All Quiet on the Western Front” and Lewis Milestone’s 1930 landmark American film adaptation remain among the most defining anti-war treatments to date. Neither the book or the movie were vague about their ‘war in hell’ message, and both sought to depict it realistically and truthfully.
Now 92 years later we revisit “All Quiet on the Western Front” through the lens of German filmmaker Edward Berger. As far as feature films, this is the first attempt at taking on Remarque’s weighty material since 1930 and (obviously) the first ever German film adaptation. Berger’s epic-scaled polemic brandishes the same scathing anti-war messaging. But he and DP James Friend utilize today’s technology to deliver powerful imagery both on the battlefield and on the faces of the young soldiers sent there.
Much like Remarque’s novel and Milestone’s film, there is nothing patriotic or partisan about Berger’s movie. There are no depictions of glory on the battlefield, and you won’t find a single scene that could be reasonably perceived as propaganda. Rather this is a relentlessly bleak and unflinching account; one that emphasizes the brutality and inhumanity of war, resulting in some of the grittiest and most visceral battle sequences ever put to film. Yet the human cost always remains its focus.
Image Courtesy of Netflix
The story begins with a shattering prologue that not only sets the tone, but lays out the film’s message with startling clarity. A young German soldier named Heinrich, not even 20-years-old, stands in a muddy trench with what’s left of his regiment as the call goes out to charge. Terrified, Heinrich musters what courage he can and climbs out of the trench with his fellow soldiers, rushing towards the enemy gunfire. Bullets scream by, artillery rounds gash the earth, gnarled bodies cover the battlefield.
After cutting to the title card, the film comes back to show a lifeless Heinrich laying in a truck full of dead soldiers. We watch as the uniforms are stripped from the corpses and sent off to be washed and mended. They’re then given to the next batch of starry-eyed recruits who proudly celebrate their fresh ‘new’ duds. It’s a heart-wrenching sequence of events filmed and edited with such brutal authenticity. It gives the audience a good sense of what they’re in for.
Among the new recruits is Paul Bäumer (Felix Kammerer) who lies about his age in order to join his military bound childhood chums Albert (Aaron Hilmer), Franz (Moritz Klaus), and Ludwig (Adrian Grunewald). The four friends join a room full of other elated young man who have all been sold the same lie. A German officer rouses them with promises of fabled glory, but it’s nothing more than a devious sales pitch. There’s no glory awaiting them on the frontlines. We understand that. It won’t be long before the boys understand it too.
But all we can do is watch as this company of new troops – giddy and naïve – joyously sing as they march towards hell, oblivious to what truly awaits them on the Western Front. But once they step foot in the muddy and blood-soaked trenches and peer cross the ravaged wasteland, every romanticized notion of war crumbles. Berger wastes no time shattering their illusion, immediately thrusting the four friends (and us) into the savagery of World War I combat. Cutting no corners and sparing no details, Berger and Friend not only visualize the horror, but they make us feel a part of it. One especially intense and magnificently captured battle scene was more terrifying than anything I’ve seen from the horror genre all year.
Image Courtesy of Netflix
The bulk of the film is shown through Paul’s eyes and plays like a coming-of-age tragedy. Kammerer’s sublime performance is key, channeling Paul’s descent from wide-eyed and enthusiastic to scared and shell-shocked to cold and deadened. Along the way we’re given some much-needed breathers as Berger pulls Paul away from the frontline, allowing him and his buddies to develop their friendships. He has especially good camaraderie with Kat (an excellent Albrecht Schuch), a seasoned older soldier who he first meets in the trenches.
Berger also spends time highlighting the vivid contrast between those orchestrating the war and those fighting it. French and German decision-makers debate and barter in the comforts of lush country estates and elegant train cars. Meanwhile young men die horrific deaths at a sickening pace. Working towards peace was real-life German official Matthias Erzberger (the always solid Daniel Bruhl) who’s tasked with negotiating a surrender that would appease the prideful Prussian generals and allow Germany to bow out with its dignity. Of course history tells us France’s desire to humiliate its enemy set the table for Adolph Hitler and World War II.
With “All Quiet on the Western Front”, Edward Berger hasn’t just remade an old classic. He’s given us an eye-opening anti-war treatise that speaks to both history and modern day. He’s also made one of best movies of the year. The craftsmanship alone is outstanding. But then you add the deeper themes which culminate in a final shot underscoring the war’s heart-breaking cycle of death. It makes for an experience that can be hard to endure and even harder to shake. But those aren’t bad things. Especially with a movie and a message this potent. “All Quiet on the Western Front” premieres today on Netflix.
Let me be honest. There’s nothing about the new trailer for the upcoming flick “Plane” that will have any critic rethinking their awards season ballots. Yet I have to admit, I really get a kick out of these wacky (and sometimes undeniably bad) action romps. And sometimes a little disposable nonsense is all I really need from a movie. Gerard Butler has certainly provided plenty of that in recent years. But to be fair, he does occasionally surprise us with an unexpectedly good movie. That considered, it’s hard to tell where “Plane” will land (see what I did there?).
Make no mistake, the generically titled “Plane” looks absolutely absurd. In it Butler plays a commercial pilot named (and this is such a Gerry Butler movie name) Brodie Torrance. When his plane is damaged during a severe storm, he’s forced to do an emergency landing. The problem is he lands in a territory full of hostile militants who take his passengers hostage. With the help of a federal prisoner (Mike Colter), put on his plane for extradition, Brodie sets out to rescue the passengers as only Gerry Butler can. Silly beyond measure but potentially fun….maybe?
“Plane” hits theaters January 27th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
“Jaws” it’s not. Nor is it in the same category as “The Shallow”. Heck, I wouldn’t even lump it in with “The Meg”. But “The Requin” has sharks in it so at least they all have that in common. Unfortunately for it, the presence of sharks alone doesn’t make a movie entertaining. And in this case, when they do finally show up, they only add to the litany of problems that make this one of the worst movies of the year despite its good intentions.
“The Requin” is written and directed by Le-Van Kiet whose other 2022 film, “The Princess” was an underwhelming yet considerably better effort. With “The Requin”, the filmmaker’s story is all over the map. He tries to make an emotional family drama and a genre thriller at the same time. Sadly neither lands well and both are hampered with their own sets of problems that they simply can’t overcome.
Alicia Silverstone plays Jaelyn who is vacationing with her husband, Kyle (James Tupper). The couple are working through some heavy issues, namely losing their baby during a recent childbirth. It’s put a strain on their marriage as Kyle pushes to put it behind them while Jaelyn still struggles with PTSD and overwhelming feelings of guilt. So they’ve come to a luxury beach resort in Vietnam to try and save their marriage. But things start a little shaky and you can (sorta) feel the tension between the struggling couple.
Image Courtesy of Saban Films
Kyle has rented out an expensive above-water cabana with all the amenities, an exquisite ocean view, and snorkeling right outside their back door. Everything seems ideal except for one small detail – Jaelyn and Kyle came during monsoon season (smart). And wouldn’t you know it, a tropical storm hits in the middle of the night, shaking them from sleep. Before they’re able to escape, the storm knocks their cabana off its stilts and sends it drifting out to sea (don’t you hate it when that happens).
Thanks to this preposterous scenario, the movie quickly shifts from a relationship drama to an open-water survival thriller. But just as the undercooked relationship stuff is hard to get into, so is the survival angle, mainly because of the laughably hokey dialogue, the exaggerated performances, and the incredibly dumb decisions our two protagonists make. And when the CGI sharks finally arrive (nearly an hour into the movie), they actually make things even more ridiculous. It all culminates in an ending so mind-numbingly absurd, that it kills any sympathy you may have held for the film.
When watching “The Requin” you can see the gears turning as the film tries to bring something different to the screen. But the cheesy (and at times cringe-worthy) melodrama never remotely feels authentic. And the ludicrous character blunders and the laughably bad CGI make the whole man-versus-nature elements impossible to buy. And while its great to see Alicia Silverstone in a lead role, it’s a shame she’s give such bad material that more or less sets her up to fail. “The Requin” is now available of VOD and is streaming on Hulu.
Kino Lorber Studio Classics has two Clint Eastwood gems as part of their November home video lineup. The first is a beautiful 4K UHD release of Eastwood’s terrific 1979 prison thriller “Escape From Alcatraz”. Inspired by J. Campbell Bruce’s 1963 non-fiction book of the same name, the film saw Eastwood re-teaming with director Don Siegel in what was a gripping and methodically told story that still holds up well today. You can read my full film review HERE.
This new 4K UHD “Escape From Alcatraz” hits shelves NOVEMBER 8, 2022. See below for a full synopsis and breakdown of the bonus features.
OFFICIAL SYNOPSIS:
Year: 1979
Rating: PG
Runtime: 112 Minutes
Director: Don Siegel
Actors: Clint Eastwood, Patrick McGoohan, Fred Ward, Roberts Blossom, Jack Thibeau, Larry Hankin
Screen legend Clint Eastwood (Coogan’s Bluff, Dirty Harry) and director Don Siegel (Two Mules for Sister Sara, The Beguiled) re-team for their fifth and final film in this fascinating account of the only three men ever to escape from the infamous maximum-security prison at Alcatraz. In 29 years, the seemingly impenetrable federal penitentiary, which housed Al Capone and “Birdman” Robert Stroud, was only broken once—by three men never heard of again.
Eastwood portrays Frank Morris, the cunning bank robber who masterminded the elaborately detailed and, as far as anyone knows, ultimately successful, escape. Patrick McGoohan (Ice Station Zebra, TV’s The Prisoner) is a superb counterpoint as the suspicious warden. Filmed on location in Alcatraz, this gritty and realistic reenactment of a true story has all the power one expects of an Eastwood/Siegel movie. The stellar cast includes Fred Ward (Remo Williams), Roberts Blossom (Deranged), Jack Thibeau (Sudden Impact), Paul Benjamin (Across 110th Street) and Larry Hankin (Running Scared). Screenplay by Richard Tuggle (Tightrope), based on a book by J. Campbell Bruce.
BONUS FEATURES:
DISC 1 (4KUHD): HDR/Dolby Vision Master by Paramount Pictures – From a 4K Scan of the Original Camera Negative | NEW Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson | 5.1 Surround and Lossless 2.0 Stereo | Triple-Layered UHD100 Disc | Optional English Subtitles
DISC 2 (Blu-ray): HD Master by Paramount Pictures – From a 4K Scan of the Original Camera Negative | NEW Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson | THE GHOSTS OF ALCATRAZ: NEW Interview with Screenwriter Richard Tuggle | TALES FROM THE CELLBLOCK: NEW Interview with Actor Larry Hankin | Theatrical Trailer (Newly Remastered in 2K) | Dual-Layered BD50 Disc | Optional English Subtitles
While I may be a little iffy when it comes to the films of Martin McDonagh, his latest, “The Banshees of Inisherin” is pretty great and my favorite film of his to date. It’s McDonagh’s most intimate, most soulful, and most mature movie, yet it still features many of the trademarks his fans (and critics) will look for. It’s built on the back of one of the best screenplays of the year – one that ushers us down a dark and twisted path, yet has us laughing every step of the way.
McDonagh reteams with two of his favorites, a sublime Colin Farrell (what a year he’s had) and Brendan Gleeson, one of the most reliably great actors working today. The two stars were a fantastic pair in McDonagh’s 2008 hoot “In Bruges”. Together again, they make for another captivating duo in “Banshees” and once again they’re in perfect sync with McDonagh’s mordant sensibility.
“Banshees” is a movie that lives and breathes in the mundanity of life. It examines humanity through petty grievances. It pits the desire to be alone against the need for companionship. It asks the strangely fascinating question – what’s more important, being nice or being remembered? Why not be both, you ask? That’s a question never posed on Inisherin, a small fictional isle sitting close enough to the Irish mainland to see and hear the sounds of civil war, yet sits far enough away to feel like a world all its own.
Image Courtesy of Searchlight Pictures
Set in 1923, McDonagh greets us with a stunner of an opener as his camera introduces us to Inisherin, with its lush green grass, jagged cliffs, long sandy beaches, endless stone fencing, and handful of cozy rustic cottages. And of course there’s the hub of all social activity – the local pub, where everything can be celebrated, mourned, or hashed out over a pint of Guinness. Well, almost everything.
In this small, tight-knit, and delightfully eccentric community, Pádraic Súilleabháin (Farrell) and Colm Doherty (Gleeson) have long been best friends. But something has changed, quite literally overnight. Colm comes to the conclusion that he no longer wants to be friends with Pádraic. “I just don’t like ya no more,” is the only explanation he gives. But that’s not enough for Pádraic, an all-around nice guy who’s perfectly content with his simple, unremarkable life on the island (so much so that he’s earned the reputation of being a bit dull).
But the older Colm has found himself in an existential malaise. Convinced he hasn’t much time left (12 years to be exact), Colm has dreams that reach beyond Inisherin – not far beyond, but beyond nonetheless. He wants to do something people will remember, and sitting around listening to Pádraic ramble on about donkey manure isn’t helping him reach that goal. So he ends their friendship and trades his best friend for his fiddle.
But the earnest and genuinely perplexed Pádraic keeps coming around, sure that his former friend will eventually snap out of his funk. Fed up, Colm does what any of us would do if we existed in a Martin McDonagh film. He warns that every time Pádraic bothers him, he’ll hack off one of his own fingers. You’d think that would be a deterrent, but (again) this is a Martin McDonagh film. So the story takes a darker turn, and what started as simple spat soon spirals completely out of control.
Image Courtesy of Searchlight Pictures
Pádraic tries to fill his best friend vacancy by hanging out with Dominic (a perfectly cast Barry Keoghan), the simple, girl-crazy village outcast. He’s been tossed aside by the townsfolk, yet he may be the most honest of the bunch. Keoghan’s line delivery and mannerisms are so precise they make Dominic one of the funniest, definitely the saddest, and in many ways the most tragic figure in the film.
Another key player is Pádraic’s loving yet long-suffering sister, Siobhán (a stellar Kerry Condon). She lives with her brother and his miniature donkey named Jenny, looking after him and taking up for him. Empowered by Condon’s warmth and vigor, Siobhán’s motherly bond with Pádraic is both sweet and constraining. Opportunities for a richer life are calling her from the mainland. But how does she leave behind her dear brother and only sibling?
There are so many other quirky and colorful community members who’ll show up from time to time. But it all comes back to Pádraic, Colm, and the two Oscar-worthy performances behind them. Farrell with his perpetually furrowed brow, sad eyes, and whimsical charm. Gleeson with his world-wearied face, stoic gruffness, and melancholy gaze. They have a beguiling chemistry, and together they imbue this proudly Irish production with an acerbic wit and a firm gut punch that you’ll be feeling for days after. “The Banshees of Inisherin” is now showing in select theaters.
