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3 of 3 people found the following review helpful
5.0 out of 5 stars An Unexpected Gem, October 26, 2015
Verified Purchase(What's this?)
This review is from: Circle (Amazon Instant Video)
Circle is a straightforward, clever little sci-fi flick that proves there is great wisdom in the old adage “less is more.”

The plot is simple: fifty people wake up in a dark room standing on small platforms, unsure how they arrived. They quickly discover that anyone who steps off of the platforms or touches other “contestants” is killed by a machine in the center of the circle. Even if those rules are obeyed, the machine randomly selects someone else to die every two minutes. Before too long, our ever-dwindling gang of onscreen friends realize they possess the power to decide who lives or dies, by popular vote no less. (The penalty for collectively refusing to vote? Death, of course.)

Thus, as a group the Fated Fifty must decide who to condemn to death and who to preserve for another couple of minutes. All the while, the unpleasant fact that only one among them can survive in the end hangs over their heads like the Grim Reaper’s scythe.

Naturally, such a film raises many philosophical, ethical, and moral questions. What qualities and characteristics do we value in our fellow human beings? Do some people have more of a right to life than others? Who is dispensable in a life-and-death situation? The characters in Circle discuss these questions and many other important ones over the course of the film, and they provide answers by their decisions.

The relevance of age, race, wealth, intelligence, sexual orientation, physical appearance, line of employment, political and religious views, and a host of other, non-physical characteristics as they relate to the value of human life are all explored as the “game” goes on, often in unexpected ways. As the Fated Fifty learn during Circle, it can prove just as dangerous to talk too much as it can to remain silent, and nobody likes a liar.

Because it is set in a single room until the final reveal, Circle is driven entirely by shrewd dialogue and believable performances from dozens of unknown actors and actresses (plus Julie Benz). I can already hear some viewers whining about how “nothing happens” or “it’s really boring,” but neither charge is true. The script is intelligent and well-crafted, and Circle is remarkably intense because of it. The various dynamics between group members and the different mentalities behind decisions are nothing short of fascinating. For a film that is essentially all dialogue, Circle is highly engaging.

The true genius of Circle is that its viewers are thrust uncomfortably into the room, too. Your brain will start turning as you watch, and you’ll find yourself making decisions: “Kill her because she had an affair”; “Vote for him because he’s a senior citizen”; “He should go next because he’s annoying.” People from all walks of life are represented by the fifty. As such, you may just learn a thing or two about yourself and the people with whom you watch Circle based on who you cheer for and against.

To heap any more praise on Circle would be a bit effusive of me, but I feel I should also add that it contains a great sci-fi spin that I have thus far avoided mentioning in the interest of keeping this review spoiler free. Perhaps the best thing I can say about Circle is this: it is one of those rare films that will stick with you long after it is over.
Comment Comments (2) | Permalink | Most recent comment: Nov 7, 2015 10:56 AM PST

DVD ~ Amanda Adrienne
Price: $12.99
3 used & new from $10.89

2.0 out of 5 stars Melodrama Galore, October 24, 2015
Verified Purchase(What's this?)
This review is from: Avenged (DVD)
It saddens me just a little bit that there are now so many “revenge horror” / “revenge porn” films that we can use those two terms interchangeably to describe an entire subgenre of horror films. I have to admit, I am biased against the very idea of revenge horror– not because I’m disturbed by it (on the contrary, I’ve been utterly desensitized to most violence; thanks, 90s/2000s childhood!) but because every such film is fundamentally the same.

Consider any movie in the genre: the plot never changes. Girl gets abducted by racist country boys. Country boys torture and abuse girl. Girl escapes and seeks revenge. Country boys die gruesome deaths. The only thing that differs from one revenge film to the next is the method by which the protagonist murders her abusers. It’s all very tiresome.

As I feared going into Avenged, it, too, is the same. It is but another I Spit On Your Grave repackaged in the year 2015 with a cheese-whiz level supernatural Native American twist to it that might have been interesting if it was not so ridiculous.

Indeed, at times Avenged borders on being downright campy; the first murder in particular is absurd, and, to put it kindly, the special effects are severely lacking throughout. Apart from a couple of the baddies who manage to do well with their straightforward roles, the acting is amateurish and boring. All of it is set to a hugely overdramatic score that only draws more attention to the rampant melodrama. Add to that a slew of transparently expository dialogue (which most critics would refer to as “bad writing”) and some super-fake props and gore… Yeah, it’s really not a good movie.

To its credit, Avenged does manage to do a few things right. The abuse of gorgeous lead actress Amanda Adrienne is not artificially drawn out for the enjoyment of the sadists in the audience but is instead appropriately brief. Moreover, including a deaf and mute main character was an interesting choice if only because it is unusual. But aside from a few redeeming qualities, Avenged is still histrionic and derivative, two things I cannot tolerate in a horror film. Fans of “revenge porn” will surely enjoy the film more than I did, but unless you count yourself among their number you can do without seeing Avenged.

23:59 [Blu-ray]
23:59 [Blu-ray]
DVD ~ Mark Lee
Price: $12.99
20 used & new from $5.68

1.0 out of 5 stars Unbearably Bad, October 17, 2015
This review is from: 23:59 [Blu-ray] (Blu-ray)
While it is not often I am left unable to identify anything redeeming about a movie– even third-tier, b-list horror films– 23:59 is about as close as I have seen a film come to being completely unwatchable.

Billed as a horror/mystery, 23:59 is a Malaysian “horror” film (I use the term lightly) that focuses on a group of soldiers stationed at a base where their duties are minimal, free time is abundant, and something sinister is afoot. This description sounded promising enough to me, and when I noticed 23:59 averages a 3 & ½ star rating on Amazon (as of writing this) I figured I would give it a try.

My mistake.

From beginning to end, 23:59 is replete with amateur acting, exhausted devices (ex: the door that opens by itself, flashlights that go dead when trouble lurks nearby, etc.), and bad horror cliché after bad cliché the likes of which I usually only expect from American films. All of it is carried along by a story that is shallower than the kiddie pool and makes about as much sense as a scrambled 10x10 Rubik’s Cube.

I am not exaggerating when I say that 23:59 fails in all it tries to accomplish. It clearly expects its audience to feel bad for Tan, the frightened “runt” of the group who is regularly bullied by his peers, but instead we are encouraged to cheer against him because of how embarrassingly soft he is. It is impossible not to welcome his ridicule when he complains incessantly and proves incapable of performing physical duties even his 300 pound platoon-mate manages to accomplish without trouble.

Likewise, 23:59 wants its viewers to hate Chester, Tan’s main tormentor, even though he is right to deride Tan for not being able to hack it. When Tan goes down in the woods midway through the film with a calf cramp and bemoans his inability to keep walking, I was half-hoping Chester would initiate the broken-legged horse treatment and end Tan’s suffering. Regrettably, it never happens.

Beyond the many writing flaws and complete lack of character development, 23:59 never really determines what kind of horror movie it wants to be and instead opts to bring us a handful of non-threatening ghosts (none of which serve the main arc of the story in any way), a possession sequence so cheesy it probably came out of a can, and an underwhelming hunchbacked child whose costume was undoubtedly taken from the clearance rack at a Halloween shop. None of it is scary, an uncomfortable realization that is only made more awkward by the fact that none of it makes any sense, either.

Add a number of campy back-and-forths between superstitious Sergeant Kuah and his unbelieving CO to the mix as well as the glaring oddity that two of the film’s main characters, as Asian and un-American as can be, are named Jeremy and Chester, and the end result is a movie that does not deserved to be viewed by anyone ever again. 23:59 is unsuccessful from every angle; I say so not because I “didn’t get it” but because it failed to intrigue, scare, or entertain me in any way. I strongly advise spending your valuable time and hard-earned money on something else– ANYTHING else.

Lake Mungo (After Dark Horrorfest 4)
Lake Mungo (After Dark Horrorfest 4)
DVD ~ Rosie Traynor
Price: $9.99
34 used & new from $4.82

1 of 2 people found the following review helpful
5.0 out of 5 stars Less is Always More, October 16, 2015
It is not very often that I find a horror film compelling enough that I am able to have a serious, analytical discussion about it with a friend afterwards. As a genre, horror largely follows established formulas; few subgenres even provide movies the opportunity for depth, let alone to dare to explore non-traditional stories.

That is, to a large degree, why Lake Mungo hit me so hard.

While viewers may be quick to point out that its “mockumentary” approach has already been done many times, I think few will deny the quality of its execution in Lake Mungo. If you take a quick peek at some of the other Lake Mungo reviews, you will find that many of the film’s detractors are at least able to praise how real the movie feels. It is from this pragmatism and a consuming, melancholy tone that Lake Mungo derives its power.

The tricky thing about Lake Mungo is that it is just as much a drama about a family’s grief over the death of their 16-year-old daughter, Alice, as it is a horror movie, and for some viewers, trying to reconcile those two aspects of the film will ruin it. As a buddy and I recently discussed, though, it is through the family’s sorrow that the audience is able to identify some of the underlying familial issues that fuel Alice’s ghost. Even as Lake Mungo slowly reveals secrets about this person and that person, some of them quite dark, plodding along at a measured but appropriately doomy pace, we begin to put the pieces together to determine why Alice still haunts the family.

Lake Mungo’s greatest strength is its script. It smoothly flows from one reveal to the next while steadily building up to a horrifying climax. Everything only comes together within the last ten minutes of the film, which also boasts one of the most chilling scenes I have ever witnessed in all of horror. Everything about Lake Mungo feels real, from the actors’ organic dialogue to the subtle appearances of Alice’s ghost. This film will compel more than a few viewers to check their old photographs more closely!

Almost nothing is explicit in Lake Mungo, so if you get your fix on gore and jumps, look elsewhere. Lake Mungo is the thinking-man’s horror movie, relying heavily on subtly disturbing character relationships to drive the story. While the ending is left open to interpretation, and I will refrain from spoiling anything about it here, the ultimate revelation about Alice’s ghost is as depressing as it is frightening. Think of Lake Mungo as an explanation of why a ghost might linger on Earth, and if you want the full experience, make sure not to skip out on the credits!

Crimson Peak
Crimson Peak
Price: $14.99

8 of 12 people found the following review helpful
3.0 out of 5 stars Oh, What Could Have Been..., October 16, 2015
It is with a heavy heart that I write this review. You see, I had been waiting impatiently for Crimson Peak for about a year. From the day I first heard it was in production, I knew I was going to be at the theater on opening night to see it. Jessica Chastain and Charlie Hunnam are two of my favorite actors, and it is not very often a gothic horror/romance film hits the big screen, after all. With Guillermo del Toro masterminding the project, it had the potential to be great.

Imagine my disappointment, then, when Crimson Peak turned out to be “just okay.”

For all its mesmerizing visuals and brooding overtones, Crimson Peak is neither that interesting nor that scary. The mystery surrounding Baronet Thomas Sharpe (Tom Hiddleston) and his devious sister Lucille (Chastain) is never fully realized. Their motives are questionable from their first appearance onscreen, prohibiting the audience from playing that oh-so-fun “Who’s Good and Who’s Bad?” game that can make films painstakingly suspenseful. Their end-goal is never really in doubt, either; as events play out, the audience knows the film can only be headed one way.

For me, the twists and turns were far too easy to follow, and I had most of the major reveals figured out long before they were explicitly shown to the audience. Similarly, the ending is as Hollywood as it gets. I found this to be crucially detrimental to the film as a whole, especially considering a much darker, more fitting outcome was easily doable without altering the first hour and forty-five minutes of the film.

Despite these complaints, I still found a lot of enjoyment in Crimson Peak. The photography is absolutely stunning; in all honesty, it is one of the most visually formidable films I have ever watched. If nothing else, it is beautifully artistic and is almost worth seeing for that reason alone. In addition, all of the main actors turn in convincing performances: Mia Wasikowska as the naïve love interest who sees ghosts, Hiddleston as her deceitful lover, Chastain as his domineering sister, and Hunnam as the good-guy physician.

I must also note that Crimson Peak gives us two of the most fantastically brutal murders I have ever witnessed onscreen, and despite use of del Toro’s fakey, CGI-laden ghosts (if you’ve seen Mama, you know the type), it still manages to throw a few good scares into the mix.

Sadly, Crimson Peak is not the type of film to do well at the box office, and I will not be surprised if it bombs, leaving us genre-film fans waiting at least a decade for Hollywood to fund another Gothic horror epic. Its target audience is too small: teens will hate it for being too “slow” and not overtly scary enough; most adults will find it too predictable and only moderately effective.

In spite of my own discontent with portions of Crimson Peak, I did still enjoy it and will probably see it again when it hits DVD. It would also not be unfair to say that I set myself up for disappointment; I was way too excited about this movie. Nevertheless, it just does not quite hit the mark. I will still tell my friends to go see it, but make sure to temper your expectations.

DVD ~ Luke Mably
Price: $17.26
22 used & new from $11.71

4.0 out of 5 stars Sneaky-Intelligent Filmmaking, October 9, 2015
This review is from: Exam (DVD)
For a film that takes place entirely in one room, Exam is surprisingly intense– and it is as straightforward as it is stressful. Eight candidates competing for an illustrious position in a multi-billion dollar company have been brought together for the final stage in the selection process. The rules are simple: whoever leaves the room, attempts to talk to the guard by the door or the observers behind the one-way glass at the front of the room, or soils the piece of paper on the desk in front of them (intentionally or by accident) is disqualified and will no longer be considered for the position.

Most important of all, the only rules that fly inside the exam room are the Company’s rules.

I have to commend Exam for largely treading a different path than most other modern indie horror/thriller films. Though the final, most important rule in theory allows for all sorts of twisted brutality, Exam never sinks to the violent depths where many of its contemporaries dwell. I don’t have a problem with blood and gore in cinema, but gratuitous violence would have been a copout in a film like Exam. That sort of thing– the “let’s put everyone in one room and have them kill each other!” thing– has been done innumerable times. I appreciate that Exam takes a different approach. Its violence is methodical and serves very particular purposes; nothing is overdone for the sake of cheap shock value.

Stylistically, Exam looks nice and is also well acted. At no point was I reminded by anything I saw on screen that I was watching a $600,000 film. Indeed, Exam is proof that clever writing is the most important ingredient in film. It may not have the flair of a special-effects-laden blockbuster or the raw, heart-wrenching power of a high-budget thriller, but it is quality in the areas that count. Everything the viewer sees is intentional and means something to the outcome of the story, and all the major revelations are possible (yet appropriately difficult) for the viewer to solve simply by paying close attention.

My only complaint with Exam is that it never graduates from “stressful” to “dire.” The most any of the characters have to lose during the first hour of the movie is the coveted corporate position that we’re told is super-duper awesome but know nothing else about. When candidates are ejected for breaking rules, they are understandably upset, but the viewer is left with the comfort of knowing they will return safely to whatever their lives previously entailed, no worse for wear except for bruised egos.

It is not until the final act that any of the characters are threatened with more serious consequences, and even then the gravity of the situation never quite seems life-and-death. The result is that Exam is never in danger of having a significant emotional effect on its viewers. It does, however, remain intelligent and well-crafted entertainment. On a budget well under a million dollars, who am I to ask for more? Exam’s shortcomings are minor and few; I highly recommend it to fans of the genre.

DVD ~ Kilmer
Price: $4.99
66 used & new from $0.23

1.0 out of 5 stars Coppola + Kilmer = Weak Sauce, October 2, 2015
This review is from: Twixt (DVD)
Even with the stinkers, I normally try to write a concise but substantive review, avoiding spoilers altogether if possible.

For this film? All I can muster is the following summary, and it’s more than Twixt deserves (minor spoilers ahead):

A fat, aged Val Kilmer plays a burned-out, alcoholic horror writer in search of an elusive new book idea that comes to him in his dreams through the medium of Edgar Allen Poe while a young dead woman who is actually a vampire appears to dream-Val as a ghost offering her own ideas while real-life Val colludes with the local sheriff to create a murder mystery that plays out in Val’s dreams when he takes sleeping pills, all of which is undermined by Val’s money-hungry Skype-wife who threatens to burn an important historical artifact because she cannot forgive Val for his negligence in the death of their 14-year-old daughter, meanwhile Poe talks in riddles and shows dream-Val visions of a heinous mass murder (gore fans, don’t get excited; there’s very little blood), never mind that there’s a tower the Devil may reside in that has too many clocks on it, none of which tell the right time, plus a whole backyard full of bat houses.

Did that make sense? No? Then there’s no need to watch this film unless you and some buddies plan on firing up a bong first. Even then, I can think of a dozen things I’d rather watch while stoned than an overweight Val Kilmer sleepwalk his way through a clunker like Twixt.

Your time is better spent elsewhere, folks.

Dark Before Dawn
Dark Before Dawn
Price: $6.99

3.0 out of 5 stars For Better or Worse, Dark Before Dawn is More of the Same, September 22, 2015
This review is from: Dark Before Dawn (MP3 Music)
Ben Burnley has managed to make a considerable amount of good- and even some great- music over the years without ever changing his oh-so-simple formula. Breaking Benjamin songs are all roughly 3-4 minutes long, they almost exclusively follow the classic song structure (verse / chorus / verse / chorus / bridge / chorus) or some slight variation of it, and Ben has even gotten away with quite a few nonsense lyrics over the years, especially in the early days. What has always made Breaking Benjamin interesting to me, though, are their wealth of catchy choruses, the chugging nu-metal riffs that never seem to get stale (against the odds), Ben's careful use of those trademarked growls, and most important of all, the raw emotion in Ben's delivery. When you hear a Breaking Benjamin song, you essentially know what you're going to get before you ever hear it- but you also know it's going to come from the heart.

At the same time, it's impossible not to consider the age-old argument: is a band better off catering to its fan base by doing the same thing every time (as Breaking Benjamin does) at the risk of sounding stale and uninspired, or should a band reinvent themselves with each new record in an attempt to create something unique at the risk of alienating their fans and being labeled "sellouts?"

This is why Dark Before Dawn is simultaneously a typical Breaking Benjamin album and also the most boring one to date.

Breaking Benjamin doesn't pull any punches: the riffs are distorted and thumping, the choruses are still juicy, and Ben still growls on occasion. However, immediately upon hearing Dark Before Dawn for the first time I got that sinking feeling only unoriginal, uninspiring music seems to induce in me; with the exception of two or three tracks, nothing I heard was grabbing me whatsoever. It hurts me to say it, but a lot of the material on Dark Before Dawn sounds like re-treaded Phobia-era stuff.

I understand that this is something of a concept album, albeit loosely speaking, but the lyrical motifs aren't very original. Everyone in rock contrasts light and dark way too often, the various bits about clouds hanging overhead are far overdone here, and, as a whole, Ben's lyrics are uncomfortably basic. Some even border on archetypal in modern rock. For example, "Breaking the Silence" is also the title of a Red album new Breaking Benjamin guitarist Jasen Rauch performed on a few years ago, "Hollow" is the title of an Alice in Chains single from 2013 (as well as a Pantera ballad of sorts, among other usages), "Buried Alive" was an Avenged Sevenfold single from 2010, so "Bury Me Alive" doesn't exactly exude creativity, "Never Again" reminds me of Staind's huge "Not Again" single from 2012... You get the point. It's all too simple and too overdone. Where's the 2015 equivalent of "So Cold?" There simply isn't one here, folks.

On the brighter side, the lead single "Failure" is a formidable track, and the poppy "Ashes of Eden" is not only the best song on the album but the best ballad Ben has written to date. "Defeated" also grabbed me with its big chorus and dark riffs.

Still, I'd be lying if I said Dark Before Dawn wasn't a disappointment. I am hesitant to say it's too much of the same because I love what Breaking Benjamin is and I wouldn't want them to try to be anything else, but if I could describe Dark Before Dawn in one word, it'd be "stock." Ben was quoted saying he wrote almost the entirety of it by himself and is looking forward to including his new band in the writing process next time around, which is encouraging. Hopefully when the next record drops in a couple years I'll be able to call it, in a word, "rebirth." Only time will tell.

Riptide (FlicFlac Remix)
Riptide (FlicFlac Remix)
Price: $1.29

0 of 1 people found the following review helpful
1.0 out of 5 stars Kill It! Kill It with Fire!, September 22, 2015
I will never understand the mentality behind such a thing as this. Why take a heartfelt, feel-good song like "Riptide" and do all sorts of awful things to it? It isn't as if "Riptide" was one of those unknown, undiscovered indie gems that needed the radio-treatment to make it accessible to the masses (not that I endorse that sort of thing either). It was already a huge hit; people listened to it millions of times. It certainly didn't require a bogus re-treading at the hands of a couple of loser "electronica" producers.

But oh, that's right- forgive me, I had momentarily forgotten- EVERY contemporary pop song has to be 120 BPM, and "Riptide" was just a tad slow the first time around. Speed that sucker up. What else was it missing? Riiiiight, don't forget the clap-beat (gag me), the instrumentation on loop, and egregious, unnecessary vocal effects in all the wrong places. Could FlicFlac be any more unoriginal or flat-out LAME?

The question was rhetorical, but just so we're clear, the answer is most definitely "No."

"Riptide" was a good song. It still is a good song. But this remix is a travesty. Don't be a pawn of the corporate label-lords who want you to believe that this remix is better than the original, and don't lend an ounce of financial support to those clowns FlicFlac. Do yourself and Vance Joy a favor: buy the original version of "Riptide" and leave this steamer in the pile where it belongs.

Live At The Palladium Hollywood
Live At The Palladium Hollywood
4 used & new from $17.47

3 of 3 people found the following review helpful
3.0 out of 5 stars Good, But Not Essential, September 22, 2015
Verified Purchase(What's this?)
If you're reading these words right now, then chances are good you're a big Alice in Chains fan. After all, this is the product page for an obscure AiC live album released only in vinyl format and, additionally, only in Europe. The casual listener probably isn't stopping by.

In any case, I'm a dedicated AiC fan myself. If pressed, I would probably still consider them my favorite artist. This kind of thing- a hard-to-find 1992 live show exclusively on vinyl- is pretty much tailored to me. The tracklist:

Side A:
1. Sickman
2. It Ain't Like That
3. Put You Down
4. Would?
5. Sunshine

Side B:
1. We Die Young
2. Real Thing
3. Sea of Sorrow
4. Bleed the Freak
5. Man in the Box

Obviously, the set heavily favors Facelift material, which for me was what made this release so appealing. Not-oft-heard oldies such as "Sunshine" and "Put You Down" are here in all their glory, and they sound fantastic. In 1992, Layne's voice was still on the better side of drug addiction; while clearly high during this particular show (listen to his garbled, inebriated introduction to "Real Thing" in which he casually announces "This song's about blow" and tell me it isn't so), addiction had not yet robbed his voice of its power (as evidenced in the MTV Unplugged performance- though still a grand one in its own right). The end result is a concert in which Layne sometimes sounds as incredible as he does on Live Facelift and at other times sounds high as a chimp.

Though mostly good, Live at the Palladium falls short in the details.

Exhibit A: The cusses uttered by Layne on this record (all three of them) are edited. Not bleeped, mind you, but isolated and played backwards during the middle of songs. This is extremely annoying. Realistically, is the cussing any more offensive than Layne's incomprehensible, drug-addled (and unedited) monologue preluding "Real Thing?" Come on, now.

Exhibit B: Banter between tracks is mostly cut out, which would be fine if it wasn't still partially present in the fade-ins and fade-outs. Poor editing. Further to this point, the first power chord in "We Die Young" is cut out, and the song begins midway through the first riff, an amateur editing job if I've ever heard one.

As a whole, Live at the Palladium is still a cool record to own. I'm not aware of any other versions of some of the Facelift tracks that appear here, and the Palladium rendition of Sickman is demented (and thus awesome). Layne and the rest of the boys sound pretty tight, overall, and this release definitely has that "rarity" feel to it even if it isn't numbered or on some pretty-colored vinyl. Hardcore fans might do well to purchase Live at the Palladium- I don't regret spending my money on it- but do recognize that it isn't a must-have.

(Read on for packaging details)

Live at the Palladium is on black, 180-gram vinyl. It comes in a standard outer sleeve (no gatefold here) and a poly-lined inner sleeve (always a nice touch, I think). There are no inserts, free download cards, or anything else of a related nature.

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