First Glance: “End of Sentence”

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The Icelandic drama “End of Sentence” was actually shot back in early 2017, but is just now set to debut in the States later this year. The movie follows a widower who reluctantly sets out to honor his deceased wife’s last wishes of spreading her ashes near a lake in her native Ireland. But first he has to convince her estranged son, fresh out of prison, to make the trip with him.

The film is directed by Elfar Adalsteins and stars John Hawkes as the widower and Logan Lerman as the son. It looks to be a story of mending relationships in a fractured family and the first trailer seems interesting despite looking a little predictable. But I’m a big fan of Hawkes going back to his work in “Winter’s Bone” so I’ll watch him in just about anything.

“End of Sentence” is set for a May 29th limited release. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Wrong Missy” (2020)

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I still remember the good ol’ days of David Spade. I liked his run on Saturday Night Live and his movies with the late Chris Farley. I remember laughing at his dry, sardonic wit and razor-sharp sarcasm. He was good as the dweeby straight-man foil to Farley’s unbridled, hyperactive goofball. Those days seem so long ago and Spade’s latest movie “The Wrong Missy” does nothing to indicate they’re coming back any time soon.

These days Spade is content with making appearances in a bunch of low-brow flicks with his buddies (Adam Sandler, Rob Schneider, etc.) and occasionally starring in Sandler-produced Netflix features. “The Wrong Missy” is an amalgamation of everything I dislike about their brand of comedy. They basically recycle the same garbage over and over again – story elements, character types, gags. If you’re looking for something fresh and original, you won’t find it here. And if you want something funny, you should look somewhere else.

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Photo Courtesy of Netflix

“The Wrong Missy” is built on an absurd misunderstanding that defies any hint of logic. Then to make sure it holds up for 90 minutes, the writers (Kevin Barnett and Chris Pappas) reinforce it with even dopier plot details. The idea is that Tim (Spade) inadvertently invites the wrong woman to a luxurious work retreat in Hawaii. He meant to invite the gorgeous supermodel Melissa he met at the airport (Molly Sims) but he accidentally invites the loud, obnoxiously vulgar madwoman Melissa (Lauren Lapkus) from his past. How you may wonder? Trust me, it’s best not to ask.

Of course once they arrive at the posh island resort mind-numbing hijinks ensue. Tim, who is a finalist for a big promotion, wants to impress his boss (Geoff Pierson) and his co-workers by showing off his stunner new girlfriend. Instead he shows up with an insufferable, dim-witted ball of chaos. Director Tyler Spindel spends at least 95% of the movie laughing at the ‘wrong’ Melissa and emphasizing her maniacal (borderline psychotic) behavior. Only a few lines of dialogue near the end even try to humanize her. It’s a vain attempt.

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Photo Courtesy of Netflix

Meanwhile Spade goes about his business rehashing the same old act. He’s mainly a walking conduit for the slew of juvenile ‘humor’, off-putting raunch, and lazy punchlines all of which land with a thud. The real victim is Lapkus who I’m guessing can be pretty funny, but here is weighted down by truly awful material. Her character is shallow, unlikable, and as annoying as the persistent sounds of nails on a chalkboard.

About the only good thing I can say about “The Wrong Missy” is that it clocks in at a lean 90 minutes. That’s a blessing because enduring much more would truly be testing my limits. It’s that bad. I guess these movies have a following and Netflix is somehow finding them profitable. I find many of them to be appallingly bad and “The Wrong Missy” is no exception. It’s a low-rung comedy with nothing to say and that doesn’t even try to do anything fresh or new. Manual labor, oral surgery, or even an insurance lecture would be a more entertaining way to spend your time.

VERDICT – 1 STAR

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RANKED: The Star Wars Films

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If you have been a follower of this site or my Twitter feed you probably know I have an insatiable appetite for Star Wars. From my days as a young boy watching the original trilogy in the theaters to now, Star Wars has been and remains a huge part of my life. The movies, the books, the three animated series, the new live-action shows – I love everything about it.

Considering all of that I’m a little surprised I haven’t done a Ranked post focused on the Star Wars films. With the Skywalker Saga wrapping up last year what better time than now to rank the eleven feature films in the Star Wars franchise. As with every Ranked post, we will start at the bottom and work our way to what I think is the very best Star Wars film. But as someone who likes every single SW movie (to varying degrees), even the least of these are close to my heart. So here we go.

#11 – “The Last Jedi”

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Look, I’ve heard all of the bitter debates, from the seething animosity to the overblown adulation. TLJ‘s spot on my list may appear like I’m in the “anti” camp. But remember, I like all of these films and that includes Rian Johnson’s controversial take on the Star Wars universe. For me TLJ doesn’t fall short in its handling of Luke Skywalker or by its interpretations of the Force. Instead it’s in the sluggish mid-section storytelling where Johnson’s script bogs down. Weird character logic, flat and uninteresting new faces, and a seemingly pointless side mission still leaves me scratching my head. Johnson’s combative reactions to criticism didn’t help either. Yet TLJ is a movie with several thrilling moments, incredible effects, and a good Star Wars feel despite some shaky writing.

#10 – “Solo: A Star Wars Story”

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Coming on the heels of “The Last Jedi”, “Solo” released in a precarious space. Fans were still stewing over their disappointment (whether fair or not) in where Rian Johnson left the franchise. This led to many skipping out on “Solo” altogether. The results were sub-par box office numbers and the sad demise of the one-shot feature films. The sad thing is “Solo” is actually pretty good, better than I ever expected. It has good characters with fun chemistry and a killer ending that teased something I guess we will never see. Was it up there with the best of the series? Not at all. But “Solo” was a satisfying and entertaining Star Wars picture that felt right at home within the franchise.

#9 – “Attack of the Clones”

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For what it’s worth Episode II of the Skywalker Saga has the distinguished honor of being the movie I’ve seen the most times at the theater. I was enamored with it when it first came out in 2002. I still like it mainly as a setup to Episode III (more on it later) and for how it sets the landscape for the terrific “The Clone Wars” series. It’s far from perfect. The Anakin/Padme romance scenes, though pivotal, are sometimes cringe-inducing. It’s also a prime example of Lucas’ obsessive use of CGI that far too often overpowers his scenes. But Dooku is great, I actually like the political table-setting, and watching the emergence of the Jedi Council is really fun to watch.

#8 – “The Phantom Menace”

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Here is another Star Wars film that people love to hate but that I enjoy. “The Phantom Menace” was met with praise for its ground-breaking special effects and scorn for pretty much everything else. And even in this day where many are re-evaluating the prequels, TPM doesn’t get much love. Look, I get it – midi-chlorians still make no sense to me and Jar Jar was cutesy comedy overkill. But for me the good far outweigh the bad. Lucas does a good job laying the groundwork for the many things that follow. Plus, it gives us the single greatest lightsaber battle of the franchise pitting Obi-Wan and Anakin versus the sinister Darth Maul. Simply put, I’ve always enjoyed Episode I.

#7 – “Rogue One: A Star Wars Story”

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I was thrilled when I first heard about the stand-alone Star Wars movies and their endless potential. I was even more excited after seeing Gareth Edwards’ “Rogue One”. Set as a lead up to Episode IV, “Rogue One” follows a group of…well…rogues as they attempt to swipe the Death Star plans from the Galactic Empire. “Rogue One” stands out as feeling different from every other film in the franchise yet still very much capturing the essence of a Star Wars movie. Great characters, gritty action, and a final five minutes that still makes the hairs on my arm stand. This and “Solo” were evidence that these single-shot movies could work. It’s too bad they were shelved.

#6 – “The Rise of Skywalker”

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Here’s another movie effected by the TLJ fallout and one that deserves better than the reactions it gets. After my first viewing “Rise” would have been lower on this list. But I’ve seen it three times since and I’ve discovered more layers to its story and depth of characters than I did the first time through. It had a lot to manage – the sad passing of Carrie Fisher, course correcting from the previous movie, and closing out the entire Skywalker Saga. Frankly, it had too much to cover and it’s remarkable it came out as good as it did. It really brings a new perspective to the entire saga and it leaves several things open (as usual) for fans to explore and discuss. I love it’s mix of the old and new and it left me excited for what it accomplished and sad that to see it end.

#5 – “The Force Awakens”

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Talk about pressure to meet ungodly expectations. “The Force Awakens” was Disney’s first film following their gazillion dollar acquisition of the Star Wars franchise from George Lucas. The film teamed J.J. Abrams with Star Wars veteran screenwriter Lawrence Kasdan and Oscar-winner Michael Arndt to launch a fresh trilogy for a new era. At the same time their film was intricately connected to its predecessors, full of exciting throwbacks and fun nostalgia. Most importantly they eased the worries of franchise fans by delivering a true Star Wars experience with new characters and new mythology to plow.

#4 – “A New Hope”

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A part of me is always tempted to put “A New Hope” as the best Star Wars movie simply because it’s the one that started it all. The sheer audacity of George Lucas to invest so much into something so few believed in is impressive. It’s even more amazing how well it turned out. Lucas ushered us into his marvelous, sprawling universe with a movie full of great characters and an old-fashioned space story that has stood the test of time. Han, Luke, and Leia. R2-D2, C-3PO, and Chewie. They were introduced into pop culture through “A New Hope” and have been with us ever since. This film dramatically changed my childhood, and I can honestly say for the better.

#3 – “Revenge of the Sith”

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As an ardent defender of the prequel trilogy I always point to Episode III as the reason the prequels work. Sure they are three separate movies, but they work together as one and Lucas’ vision really comes together in “Revenge of the Sith”. This movie has so much riding on it. Not only did it need to wrap up the prequels, but it had to make sure everything fit with the original trilogy. That’s no easy task. It’s the darkest of any Star Wars film featuring some purely riveting storytelling culminating in the fall of Anakin Skywalker and the rise of Darth Vader. The visual effects seemed more focused and work to serve the story while John Williams’ music has never been better. Ultimately it is a fantastic conclusion to the prequels and a satisfying segue to the classic original films.

#2 – “Return of the Jedi”

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Man I love this movie. By the time “Return of the Jedi” came out in 1983 I was a die-hard Star Wars fanboy. I had action figures, toy blasters, my own lightsaber, Han Solo pajamas, the lunchbox and thermos set, you name it. “Jedi” only reinforced my adoration. It does everything you want from a Star Wars movie: it continues the story, expands the universe, and enriches its characters. Most importantly it finishes up the storylines and character arcs on exactly the right notes. “Jedi” is a movie filled will exhilarating highs and memorable moments that you never forget. It’s such a satisfying and fitting conclusion to the original trilogy that also left room for more stories to be told and more adventures to be had.

#1 – “The Empire Strikes Back”

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This probably comes as no surprise to anyone but “The Empire Strikes Back” gets the top spot. Not only is it the best Star Wars movie, but it’s easily one of the best sequels ever made. “Empire” is the movie that really opened me up to the power of cinema. I still remember leaving the theater as you young kid in utter awe. Over the years I’ve grown to appreciate even more about it, namely in how it grows its characters and truly makes them the centerpiece. But that doesn’t mean it isn’t full of iconic moments such as the invasion of Hoth, the carbon freezing chamber, and the inevitable revelation that at the time shook the world. “The Empire Strikes Back” is an absolute masterpiece and it’s the film most responsible for Star Wars becoming the cultural phenomenon it still is today.

So now you have my ranking of the eleven Star Wars feature films. I would love to here your thoughts on where you think I got it right and/or wrong. Hit the comments below and share what your list would be like. And of course, may the Force be with you…always.

RETRO REVIEW: “The Lost Boys: (1987)

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The 1987 cult classic “The Lost Boys” forever broadened the way moviegoers would look at vampires. Throughout the decades there had been slight variations in the depictions of the fanged bloodsuckers, but most were still in the older, stodgier Dracula vein (bad pun attended). “The Lost Boys” presented them differently – young, cool, and with more real-world complexities than you would expect. The film would inspire the likes of “Buffy the Vampire Slayer”, “Angel” and “True Blood” to name a few.

I’ve seen “The Lost Boys” countless times yet I’m always surprised by how funny a movie it is. Yes, it’s a horror film with vampires and a little (very little actually) blood and gore tossed in, but it fully embraces its comedy elements which helps give it a unique flavor. Add to it a terrific rock-infused soundtrack (I remember owning the cassette) and a fun, memorable cast which actually gave birth to The Two Coreys (80’s kids know what I’m talking about).

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PHOTO: Courtesy Warner Bros.

The story begins with Lucy (Dianne Wiest) and her two sons Michael (Jason Patric) and Sam (Corey Haim) pulling into the fictional beach town of Santa Carla. Recently divorced and flat broke, Lucy and her boys left Phoenix to move in with her eccentric father (Barnard Hughes). She gets a job at a video store (remember those) ran by local bachelor (Edward Herrmann) while the boys try to fit in with their new surroundings.

As cliché as it may sound, Santa Carla itself is very much a character.  The self-anointed “Murder Capital of the World” is full of personality, sporting a boardwalk replete with eclectic shops, street performers, and of course the Santa Clara amusement park. It’s where Michael first eyes a beautiful young woman named Star (Jami Gertz). There’s one problem, she’s in a relationship of sorts with David (Kiefer Sutherland) who quickly lures Michael into his biker group’s big secret (hint: they’re vampires).

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PHOTO: Courtesy Warner Bros.

Soon Michael finds himself growing sensitive to sunlight, sleeping all day, and developing, shall we say, new appetites. Sam, fearing that his brother is a bloodsucker, seeks the council of local comic shop owners/Santa Carla vampire killers extraordinaire Edgar and Alan Frog (Corey Feldman and Jamison Newlander). Resembling something akin to The Goonies meets Rambo, the Frog Brothers offer up the biggest bursts of humor. Feldman and Newlander never crack a grin, straight-facing every line of super-serious yet hysterical dialogue.

If you’ve watched enough of these movies you know that there are so many rules when it comes to vampires. “The Lost Boys” has a blast playing around with them. All of the big ones are present: garlic, holy water, a good ol’ wooden stake through the heart. But there are plenty of obscure ones as well which I’ll let you discover for yourself. They, along with the vampire vernacular aplenty, add an extra layer of fun. Meanwhile the steady theme of what it means to be a family reverberates throughout the entire film.

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PHOTO: Courtesy Warner Bros.

But I don’t want to downplay the movie’s horror component. “The Lost Boys” isn’t a particularly scary movie, but director Joel Schumacher does a wonderful job with tone management. While his movie is often funny, Schumacher nicely balances the humor with several memorable scenes of genuine tension along with great atmosphere. And the inevitable showdown at the end is the perfect consummation of all of these elements.

There are several other cool little nuggets. The title is a reference to J.M. Barrie’s “Peter Pan”. There is a hilarious hard-to-see nod to Schumacher’s previous film “St. Elmo’s Fire”. And all Edgar and Alan need is a brother named Poe. Those are just a few of then little nuggets scattered throughout this 80’s romp that completely earns its cult classic status. It still has its detractors, but I’m firmly in the camp that proudly adores “The Lost Boys”.

VERDICT – 5 STARS

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REVIEW: “The Lodge” (2020)

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Despite the unusual virus-related circumstances with theater closings and various movie productions halting, there has been no shortage of new horror films in 2020. “The Lodge” actually debuted at Sundance last year but finally premiered in select theaters earlier this year just prior to COVID-19 outbreak. Now it’s available to watch at home and it’s certainly worth a visit.

“The Lodge” is the English-language debut from the Austrian filmmaking duo of Veronika Franz and Severin Fiala. The aunt and nephew team not only direct but co-wrote the script along with Sergio Casci. Together they craft a monster-less chiller set within a complicated family framework where there are no clear-cut villains. It’s driven by flawed, hurting characters whose actions aren’t strictly black or white, good or evil. It’s also an unnerving dive into psychological horror that will have you glued to the screen and on the edge of your seat.

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Photo Courtesy of Neon Pictures

If there are two tropes modern horror movies relish it’s creepy children and remote cabins in the woods. “The Lodge” uses both (to a measured degree) but hardly in the conventional sense. Teenaged Aiden (Jaeden Martell) and his younger sister Mia (Lia McHugh) have been devastated by the sudden death of their mother Laura (Alicia Silverstone). Separated from their mother at the time, the children’s father Richard (Richard Armitage) is set to marry again six months after Laura’s death.

Richard’s well-meaning fiancé Grace (Riley Keough) hopes to break the ice with the kids via a snowy Christmas-time retreat to the family’s remote lakeside lodge. Aiden and Mia want no part of it, still aching over their mother’s passing and seeing any show of affection towards Grace as a betrayal. They dig into Grace’s past, discovering she was the lone survivor of a pseudo-Christian suicide cult. That only adds to their apprehension and displeasure.

Of course they end up going to the lodge and things are pretty icy. It only gets worse when Richard has to drive back to the city for a couple of days leaving Grace and the children behind. After coming to a head, the needling and contention shows signs of dying down. But then they wake up to a power outage. There’s no food, no running water. Also all of their clothes, luggage, Christmas decorations – everything is gone. Even weirder, Grace discovers all the clocks are suddenly set to January 9th.

From there things grow more unsettling as a dark psychological tension takes a grip. We begin questioning much of what we see and the characters become harder to read. Franz and Fiala make great use of their setting, shooting on location rather than in a studio. You’ve heard this before, but the house truly is a character, in this case representing the looming, watchful presence of the children’s mother. She’s in the family photographs, the Christmas decorations, and more specifically a painting of a saintly woman.

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Photo Courtesy of Neon Pictures

Other touches work well to groom the ever-present sense of unease. Frequent cuts to Mia’s realistic dollhouse bring thoughts of “Hereditary” but here it adds its own spooky layer to the story. Also Franz and Fiala are far more interested in atmosphere and mood than cheap jump scares. And they show the effectiveness of silence, using minimal music that gets under your skin rather than dictate your emotions.

The performances are rock-solid especially from Riley Keough who digs deep into her character’s damaged psyche without ever overplaying the inner-turmoil. She fits well into this unique slice of horror that brings a crafty European sensibility to a genre that far too often tends to repeat itself. Certain elements of the story are certain to ring familiar, but as a whole the movie carves out a smart and entrancing path of its own.

VERDICT – 4 STARS

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REVIEW: “Deerskin” (2020)

DeerPOSTERI would bet most stateside moviegoers only know Jean Dujardin from his Oscar-winning performance in “The Artist”. It’s unfortunate because he’s a seasoned actor who has shown a dynamic range throughout his nearly 25 year career. The French actor has dabbled in nearly every genre, arguably shining brightest in the area of comedy. He’s a captivating leading man who can do some of everything.

His latest film “Deerskin” may not be the best movie to use as an introduction to Dujardin’s work especially for mainstream audiences. But man is it one entertaining and utterly bonkers ride. Writer-director-editor-cinematographer Quentin Dupieux isn’t up to much of anything nor does he have a lot to say. That’s crucial to understand because I can see “Deerskin” totally confounding those who scour its lean frame for any deeper meaning. Instead it’s 77 minutes of hypnotic deadpan absurdity –  a conscious-free black comedy with a wacky dash of grisly horror. Nothing more, nothing less.

Dujardin makes the entire thing work. He plays a middle-aged sad-sack named Georges who has recently separated from his wife. He drives out to an old man’s house in the hills and spends every dime he has to buy a used deerskin jacket. The old man (knowing he has scored big) tosses in a “slightly used” camcorder. Georges tries on the jacket, gazes into the mirror, and utters with unbridled satisfaction “Stoking. Killer style.”

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Photo Courtesy of Greenwich Entertainment

One of the early signs that something’s not right with this man is in his belief that the jacket actually looks great. The dated brown suede with its fringed highlights seems perfect for a hippie from Woodstock or Daniel Boone. Georges, not so much. Aside from being a modern day fashion faux pas, it barely reaches his waist and tightly hugs his slightly chunky torso. But Georges is smitten, overcome with ecstasy and full of newfound yet thoroughly misguided confidence.

He stops at a small alpine inn to stay for a while. But with no money he’s forced to begin building his house of lies. It starts in the local tavern where he meets the impressionable Denise (Adèle Haenel, so good in the Dardenne brothers’ film “The Unknown Girl”). She’s stuck in a dead-end job as a bartender but aspires to be a film editor. When Georges proclaims himself to be a filmmaker who’s in the area to shoot his new movie, the naive Denise is instantly intrigued.

In the meantime Georges develops a ‘personal’ relationship with his jacket. The two begin carrying on conversations with Georges weirdly voicing each side. Turns out they both share similar dreams. The jacket wants to be the only jacket in the world. Georges want to be the only person in the world wearing a jacket. So they essentially set out on a mission to make both of their dreams come true, by any means necessary including violence.

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Photo Courtesy of Greenwich Entertainment

Dupieux’s screenplay fully embraces the absurdity of its idea even as the goofiness eventually gives way to the macabre. Through it all, Dujardin’s straight-faced performance and complete conviction sells the humor and the unease. One minute you’ll be giggling at one of Georges’ ludicrous tall tales which grow more and more far-fetched. At the same time you’re taking a dip into madness, watching a man’s mid-life crisis turn him into a full-blown sociopath.

“Deerskin” will baffle some, probably bore others. It’s unquestionably weird and off-beat, pretty shallow when it comes to story, and has a twisted final act that could be seen as off-putting. But if you come to the movie on its own terms and just go with the nuttiness, you’ll find a wickedly entertaining and devilishly funny yarn that plays by its own bizarre set of rules. And Dupieux, a filmmaker who has a movie about a murderous car tire to his credit, is certainly no stranger to his own bizarre rules.

VERDICT – 4 STARS

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