Archive for the 'Movie Reviews' Category
June 23rd, 2017 by Aaron Neuwirth
There was really no world where I wasn’t going to enjoy Edgar Wright’s Baby Driver. As a filmmaker, Wright speaks a cinematic language that I quickly picked up back with Spaced and Shaun of the Dead. Like his other films, Baby Driver takes a central concept, strips other movies for parts, and builds a Frankenstein monster of a finished product that is so wonderful to watch it’s scary. In this case, we have a car chase/heist movie that also happens to be a musical. However, Baby Driver is not a musical in a traditional sense. Music informs the film in a way that allows for a great sense of rhythm to play throughout this fun ride.
Continue reading ‘‘Baby Driver’ And The Beats (Movie Review)’
June 23rd, 2017 by Jason Coleman
The films have unspooled, the curtain is about to come down and even here at WhySoBlu.com we’re officially winding down our very comprehensive coverage of the LA Film Festival 2017. It’s been an awesome entertaining affair with ups, downs and most importantly an all out celebration of all things indie cinema. Trying to procure as many flicks under the viewing belt as possible below are the final nine titles dissected and given their respective critical skinny. Unique zombie tales, forest fright nights, strange neighbors, missing husbands, colorful comedies, road trips flicks, the traps of being a new parent, witness thrillers and one damn disappointing doc on the late Whitney Houston make up the encapsulated reviews below of It Stains The Sands Red, Desolation, The Neighbor, And Then There Was Eve, Fat Camp, Your Own Road, 20 Weeks, Never Here and Nick Broomfield’s Whitney: Can I Be Me. Continue reading ‘LA Film Festival 2017 – Final Film Reviews’
June 23rd, 2017 by Jason Coleman
With recent back to back film fest coverage it’s been quite a task keeping up with the weekly indie releases (have no fear – quantity in smaller cinema will return to full force film fans!), so this week we’re hitting a couple missed flicks and one new one. Unconventional childhood stories, tales of survival in the face of human chaos and a post apocalyptic time of war for the human flesh hungry – all covered via this trio edition of Encapsulated Movie Reviews. Check out the critical skinny on The Book Of Henry, It Comes At Night and The Bad Batch below! Continue reading ‘Encapsulated Movie Reviews – Three New Indie Titles’
June 21st, 2017 by Aaron Neuwirth
I’ve never been one to shy away from my appreciation for what Michael “Boom Boom” Bay does with the Transformers films. Regardless of how well they may or may not work overall, these wacky blockbusters offer an over-the-top level of spectacle best seen on an IMAX screen. Somehow that all comes to a screeching halt this time around, as Transformers: The Last Knight seems a lot less interested in having as much fun as the previous films. It’s a weird place to be in, as I’m now in the position of arguing in favor of the utter ridiculousness that is Revenge of the Fallen over this film, simply to make a point that some good does come out of these silly films about robots that turn into cars.
Continue reading ‘‘The Last Knight’ Bludgeons Audiences With ’Transformers’ Action (Movie Review)’
June 20th, 2017 by Brian White
Believe me when I say this I never wanted write this review. In fact I never wanted to even see this flick. Call me a glutton for punishment, but I know the real truth. I’m just flat out cheap and don’t want to pay to view it. You see I loved the first Transformers film. It was both epic and adventurous, but the second feature was a bloated, flaming turd. The third outing improved upon things, but everything gained was lost in my opinion in the last entry, Transformers: Age of Extinction. The title says it all and I wish the franchise would have died there as the stupid title implies. Nevertheless Michael Bay is back with another mess to rip apart and ridicule, Transformers: The Last Knight. Yes ladies and gentlemen this summer blockbuster is just as ludicrous as the name suggests not to mention some of the worst trailers of the year too. However, before we get into everything that’s wrong with Transformers: The Last Knight let’s get all the proverbial housekeeping out of the way. Continue reading ‘‘Transformers: The Last Knight’ is the LAST Transformers Movie I Ever Want To See (Movie Review)’
June 20th, 2017 by Aaron Neuwirth
Pitting Colin Farrell against a house full of women in a horror film is a something I was not expecting from director Sofia Coppola. Perhaps calling The Beguiled “horror” is a bit of an overstatement, but the Coppola film does a lot to maximize tension. For a movie that is quite straightforward and relatively restrained for the Oscar-winning director, some key moments play well to emphasize what a great production this is and how committed these performances are. All the better that Coppola’s writing is not beyond filtering humor within the rising levels of tension found throughout.
Continue reading ‘Southern Gothic Horror Meets Empowerment In ‘The Beguiled’ (Movie Review)’
June 20th, 2017 by Jason Coleman
Films, films and more…films. (LA Fest style!) We here at WhySoBlu.com are trying to keep up with the cinematic offerings of the ongoing LA Film Fest 2017 (taking place June 14-22 at various Arclight Cinemas and theaters around LA – go to www.lafilmfest.com for more details!) and it’s a long movie race for sure. Full of dramas, docs, comedies and carnage, this year’s crop is definitely a diverse group of flicks geared to fans with different indie tastes. So below is the second wave of Encapsulated Movie Reviews via LAFF 2017 – the good, the bad and the…curious. Father/son stories, docs on animated primates (and the people who make them!) and sperm donors, the horrors of aging, young killers in training, the power of money (and not having it!) and tales of teenage angst – all given critical skinny for your consideration! Check out the reviews of LAFF hopefuls Humor Me, Monkey Business: The Adventures of Curious George’s Creators, Thank You For Coming, Replace, My Friend Dahmer, Beauty Mark and And Then I Go below. Continue reading ‘LA Film Festival 2017 – More Film Reviews’
June 19th, 2017 by Aaron Neuwirth
Every comedian has a story, which is likely why they are comedians, to begin with. Detailing the ways life has set one on a particular path makes a lot of sense when it comes to shaping an act designed to entertain people. Comedy can certainly go with life’s tragedies, as an old saying even involves an equation explaining as much. The Big Sick is an excellent encapsulation of this, as it tells the story of the real relationship between comedian Kumail Nanjiani and writer Emily V. Gordon. There are heartbreaks, sadness, and life-threatening illness, so of course, the two decided to write a screenplay that works as a comedy-drama fit for Judd Apatow to produce. The results are wonderful, as the film finds a balance of how the awkwardness of life can lead to big laughs as well as many poignant moments.
Continue reading ‘Big Laughs As ‘The Big Sick’ Tests Love And Family (Movie Review)’
June 16th, 2017 by Jason Coleman
Only a few lesser known flicks dissected this week (LA Film Fest is underway – can you say cinematically swamped!) to counter all things big budget. (Though for those who want to get their indie on check out previously mentioned fest!) Docs on movie music, shark infested fright fests, POV action flicks and a special short via a famed filmmaker all get the critical skinny scenario below! Check out Encapsulated Movie Reviews of Score: A Film Music Documentary, 47 Meters Down, Kill Switch and the short Rakka for your convenience!
Continue reading ‘Encapsulated Movie Reviews – Three New Indie Titles (And One Short!)’
June 16th, 2017 by Jason Coleman
It’s officially underway and the flicks show no sign of stopping! Yup, the Los Angeles Film Festival 2017 (taking place June 14-22 at various Arclight Cinemas and theaters around LA – go to www.lafilmfest.com for more details!) has begun to display its movie wares and WhySoBlu.com is gloriously taking them all in. We’ve seen a few more than reviewed below, but bound by dates that they unspool at the fest we’re sworn to cinematic secrecy until public release. (And yes, there are some terrifically tasty ones already viewed!) But since this fest happens over a mere nine days a modicum of movie reviews will have to do for now (have no fear – next week will be a multi-numbered one!), so here are three first flicks given some critical skinny for your consideration. Boxing docs, science guys dissected and unwelcome houseguests all make an appearance – check out the LAFF 2017 Encapsulated Movie Reviews of CounterPunch, Bill Nye: Science Guy and The Housemaid below! Continue reading ‘LA Film Festival 2017 – First Film Reviews’
June 15th, 2017 by Aaron Neuwirth
The level or ridiculousness involved in killer shark movies in a post-Jaws world must be somewhat close to the level of ridiculousness with regular people who actually put themselves in situations where they are very close to sharks. Accepting the premise of a killer shark movie generally means looking past weak characterization and logic gaps, favoring the tension, thrills and filmmaking on display. 47 Meters Down manages to get close to working thanks to solid scenes of tension that stem from two people stuck at the bottom of the ocean, with a dark void surrounding them. That said, bracing for scares only goes so far when a film is committed to keeping its characters this shallow while in the deep.
Continue reading ‘Cage Goes In The Water, Shark’s In The Water, Cage Falls ‘47 Meters Down’ (Movie Review)’
June 13th, 2017 by Aaron Neuwirth
I think of Pixar’s Cars franchise as a harmless source of income for the acclaimed studio. Yes, Pixar is matched more frequently now by other animation studios than when Finding Nemo came out, so Cars is put down for so clearly resting on a lower tier than other Pixar efforts. I am no different as far as general regard for the Cars films goes and while you may think this summation is leading to a declaration of how Cars 3 changes everything, it isn’t. Cars 3 does its job. It’s a decent animated effort that is entertaining enough and the best of the series thanks to some additional emotional weight.
Continue reading ‘‘Cars 3’ Cruises With Lightning (Movie Review)’
June 13th, 2017 by Jason Coleman
The shows almost over via our coverage of the 20th Annual Dances With Films Festival 2017 and it’s been a busy movie ride indeed. But before we head into out final Best of Fest article we’re slapping down a few more reviews just for good measure. So below are an additional six features and 4 shorts with topics ranging from saints to safe crackers to make this movie meal complete. Check out the Encapsulated Movie Reviews of DWFF 2017 feature flicks Resistance Is Life, The Midnighters, Tater Tot & Patton, Jimmy The Saint, The Scent Of Rain And Lightning and All I Want, plus shorts Land of Happy Dreams, G-4, Hidden Daylight and Supermom below! Continue reading ‘Dances With Films Festival 2017 – Final Film Reviews’
June 9th, 2017 by Jason Coleman
With the still ongoing 20th Annual Dances With Films Festival 2017 (taking place June 1-11 at the Chinese 6 Theaters at Hollywood and Highland – go to www.danceswithfilms.com for more details!) heading into its final weekend there’s still plenty of time and tickets to check find that cinematic hidden gem you’ve been looking for. (I’m going to be there all day Sunday movie watching myself!) But to get you excited about heading into the unknown we’re checking out a second wave of flicks and the results are pretty spectacular. Meaning in the three features and five shorts covered below there are a lot of notable items that prove Dances With Films know their stuff. Depressed teens looking for solace, strange gals from outer space and homeless hustlers, plus angry zen masters, ladies who love themselves, worry warts, tainted tots and the effects of dementia are all themes explored in the Encapsulated Movie Reviews below. Check out the critical opinions on the features Holden On, Imitation Girl and Landing Up and the shorts Herbie, Wink, Panic Attack!, Thirteen, and Tonight And Every Night below! Continue reading ‘Dances With Films Festival 2017 – Three Features/Five Shorts Reviews’
June 9th, 2017 by Jason Coleman
With the lack of big budget quality hitting the cinemas this week, wanted to positively counteract its seemingly DOA status with a old school good guys and bad guys past picture notable to provide some needed movie pleasure – welcome to Forgotten Friday Flick! Today’s tale mixes old school police investigations with a distinctive techno angle for a flick with plenty of memorable moments. It focuses on a squad whose sole job it is to take down artificial intelligence that has malfunctioned, but they’re about to get a lesson in the real damage a mastermind of robotics can do. Smart bombs, small heat seeking bullets, strange circuits and robotic spiders with acid for blood all make up the world of Michael Crichton’s…Runaway!
Continue reading ‘Forgotten Friday Flick – “Runaway”’
June 9th, 2017 by Aaron Neuwirth
The use of space, darkness and an ominous red door are all great assets for It Comes at Night. This is the second film from director Trey Edward Shults, who arrived on the scene with 2015’s Krisha, another film dealing with family-related intensity. With It Comes at Night, that intensity is structured around a thriller with a familiar setup – how does a small group of people last in a cabin in the woods, while evil abounds outside? The intrigue is naturally there, but perhaps not delivered upon in a way that’s friendly to the multiplex audience expecting something along the lines of a simple scare fest.
Continue reading ‘‘It Comes At Night’ And Brings Dread (Movie Review)’
June 8th, 2017 by Jason Coleman
Balancing two films festivals plus the weekly haul of indie flicks recently has proved taxing to say the least, but I’m all about seeking out great films, hailing those that surpass expectations and letting readers who are interested what to watch for. (And what not to of course!) So going beyond the sites featured Blu-ray’s and big budget fare, I’ve managed to squeeze in six new indie titles (my small and humble contribution to the amazing site that is WhySoBlu.com!) in between fests to help the avid movie fan get more bang for the movie buck. Awkward meals, killers with remorse, aging icons, rocky relationship trios, vampires and art and a killer camera all get covered via this weeks Encapsulated Movie Reviews. Check out the critical skinny on Beatriz At Dinner, The Hunter’s Prayer, The Hero, I Love You Both, Manhattan Undying and Camera Obscura below!
Continue reading ‘Encapsulated Movie Reviews – Six New Indie Titles’
June 7th, 2017 by Brian White
Despite loving Sofia Boutella in Kingsman: The Secret Service I must admit I wasn’t too keen on this newest monster tale reboot when I saw the first theatrical trailer. Yawn! I thought to myself another modern day movie that feels like it has to insert a woman into a leading role normally occupied by a man. I know that’s a sexist way to look at things, but I’m an old, tired man now and sick of all the ultra sensitivity in this world. Ha ha. But seriously, it wasn’t until the second trailer of The Mummy that got me semi-excited for things here. For some reason it just spoke to me more. After all though how could one refute the star power of Hollywood’s ageless vampire, Tom Cruise? That’s a rhetorical question because you can try, but ultimately you’ll fail. The man can do no wrong in modern day action films. By the way I don’t count the Jack Reacher films as action films. However, it was this news here that The Mummy would be the start of Universal’s Dark Universe that really made me take notice of. I’m all about a well planned out, shared universe full of continuity so I’m super stoked to see where things go from here. And truth be told I’m forever thankful that 2014’s Dracula Untold was a one off. Thank the Gods for that! Continue reading ‘The Mummy Unwraps The Bandages of a Dark Monster Universe (Movie Review)’
There was really no world where I wasn’t going to enjoy Edgar Wright’s Baby Driver. As a filmmaker, Wright speaks a cinematic language that I quickly picked up back with Spaced and Shaun of the Dead. Like his other films, Baby Driver takes a central concept, strips other movies for parts, and builds a Frankenstein monster of a finished product that is so wonderful to watch it’s scary. In this case, we have a car chase/heist movie that also happens to be a musical. However, Baby Driver is not a musical in a traditional sense. Music informs the film in a way that allows for a great sense of rhythm to play throughout this fun ride.
