Tag: Bron Studios

MONKEY MAN (2024) – Review

Since we’re now into the slow slide from Easter/Spring Break into the Summer cinema season, how about an MMA-style action thriller full of fights and daring escapes? Oh, you say we just had that in the remake of ROAD HOUSE just a couple of weeks ago. Well that flick, despite the director’s protests to the press, bypassed the multiplex and went right to a streaming service. And this new release almost went the same route until an Oscar-winning filmmaker saw it, bought it, and helped prep it for a wide theatrical debut. Oh, and speaking of debuts, this is the first feature directed by the star of a Best Picture Oscar winner over a dozen years ago. Yes, he was the lead in that, and he’s in the lead here as the mysterious avenger who is known as the MONKEY MAN. And no, he’s not another comics-based hero.

Rather, his moniker is based on mythology. In the flashback opening sequences, a young mother and her six or seven-year-old son enjoy the peaceful countryside as she tells him of the Indian animal deity Hanuman AKA the “monkey god”. Flash forward to now in an underground mixed martial arts “fight club” somewhere in bustling Mumbai. One of the brawlers is a lanky fellow wearing a rubber simian mask, along with a filthy tank top and sweatpants. Moments after being introduced by the preening ring MC “Tiger” (Sharlito Copley), the Monkey Man (Dev Patel) is pummeled by “King Cobra”. On his way to the locker room, he endures the taunts of a connected “hustler” named Alphonso (Pitobash). MM who also uses the name Bobby tolerates him since he’s part of his master plan to get a job at the exclusive VIP club where Alphonso works. His boss is a cruel mistress named, naturally, “Queenie” (Ashwini Kalsekar). With the aid of several “street people” Bobby gets her wallet, only to return it to her. Instead of a cash reward, Bobby asks for a job in the kitchen. With an assist from Alphonso (he bets on Monkey Man to take a “dive”), Bobby becomes a server in the ultra-exclusive top floor “playpen” where Queenie provides beauties trafficked from around the globe to international “high rollers”. At last, Bobby spots his reason for being there, his “target” a corrupt sadistic police captain named Rana (Sikandar Kher). Seeing him unleashes many painful childhood memories from Bobby’s time in that forest with his mother. Eventually, Bobby saves up to buy a gun, and then figures out a way to get it past the many security “checkpoints”. So does his revenge scenario play out as planned, or will Rana survive and exact his own vengeance?

Building upon the fighting skills he used six years ago in THE WEDDING GUEST, Patel proves more powerful than his tall, slender physique would suggest. In his bouts, we see, despite the mask, a man in a near-constant panic as he struggles in the opening matches. And that same emotion is echoed in the big high-rise throwdown when things go more than a bit “sideways”. That’s not to say that Patel’s often stoic Bobby is all furious fists and feet. His downturned eyes hint at the heavy weight of family tragedy that almost forms a dark cloud over him. He’s not full of 80s action star quips and snark, and barely makes any human connections. Luckily he does befriend one of the “menu women”, a haunted beauty named Sita played with gentle power by Sobhita Dhulipala. Well, Bobby also connects with a hungry “alley pup’, which brings some extra pathos. And the laughs are provided by a talented trio, Pitobash is a motor-mouthed wiseguy whose bravado distracts from his own tragic past. Kalsekar is a foul-mouthed mini-tornado of disdain and abuse (toward her “staff”). And Copley is the ultimate hammy, and quite swarmy, host as he plays to the crowds while insulting the real “talent”. They’re all an amusing counterpoint to the sneering Kher who makes Rana a great villain more than worthy of our hisses and boos.

Yes, as I alluded to earlier, Patel is making his feature film directing debut while also producing and contributing to the script. And what an ambitious undertaking as he’s in nearly every scene with most consisting of very intense fight choreography (and Patel did take his “lumps” via broken bones and even an eye infection). Aside from the stunts, he creates a great gritty atmosphere as we get “down and dirty” on those dusty streets where denizens scramble for space. One memorable image is Patel’s Bobby in the center of dozens of people “sardine-style” as they try to sleep under a nosy auto overpass. These scenes are in great contrast to the gorgeous flashbacks of a forest paradise (that waterfall). But soon we’re back on the move, as Patel often uses a POV angle to place us right in the mayhem as he ramps up a big pursuit that even takes a second to inject some satire (window jumps are tough). And sure, it’s in the JOHN WICK “wheelhouse” with one bit of dialogue referencing the series. Though this is unique as it hooks us with the fairy-tale legends and the political backdrops. Yes, there’s something of a lull between the two major action “set-pieces” in which we get more backstory and the obligatory “training montage”, but the wait is more than worth it as the finale is truly epic Patel is a terrific physical actor and shows us that he’s a filmmaker to watch (just like the flick’s “savior” Jordan Peele) with the fighting fable of MONKEY MAN.

3 out of 4

MONKEY MAN is now playing in theatres everywhere

LICORICE PIZZA – Review

Even though many families exchange their presents on the night before the big day, the best Christmas present may just be unwrapped the afternoon of the 25th, at least for movie fans of a “certain age”. Yes see, that’s when this nostalgic gem will spread across the country’s theatres. It’s hard to fathom that its setting is almost fifty years ago, but its director/writer has made his mark by meticulously recreating the past. Plus he’s particularly adept at getting the presiding pop culture touches just right. And he’s not just “churning them out” as we haven’t seen a feature from him in the last four years. So, instead of munching down a slice of pie or cake after the big holiday meal, savor a sweet and salty ( and a bit tart) slice of LICORICE PIZZA.


Roll the cinema clock back to 1973 in the California burg of Sherman Oaks. Sometimes actor/full-time high schooler 15-year-old Gary Valentine (Cooper Hoffman) notices a pretty young woman offering a hand mirror to the line of students waiting to sit for their class picture. She’s the photographer’s assistant Alana Kane (Alana Haim). As he’s being seated for the shot, Gary makes his move, introducing himself to her and giving a brief rundown of his resume. She might have spotted the big multi-family (think the Bradys and the Bradfords from “Eight is Enough”) feature film “Under One Roof”. And though she dismisses him by revealing that she’s 25, Gary still invites her to meet him at a swanky “watering hole”, Tail o the Cock. That night she decides to get out of her house (she still lives with her parents and sisters) and shocks Gary by showing up. Thus begins several months of flirtations between the two, as they squabble, yet somehow stay connected, especially during Gary’s career ambitions. When his acting gigs start to dry up (thanks mainly to his behavior during a TV talk show appearance with a big-time star), he dives (sorry) into the waterbed business (where a famous ex-hairdresser turned film producer is a difficult client), then opening a pinball arcade (they were illegal in the state till then). Alana tries to go out on her own by auditioning for a movie starring a boozy former “matinee idol” and then working for a mayoral candidate, Joel Sachs (Benny Safdie). But though they go their separate ways after one of many big verbal “blow-outs’, the magnetic attraction between the two keeps them in each other’s orbit.

It’s surprising that the two stars of the film are really making their feature film debut. Hoffman (no relation to Dustin, rather the son of Phillip Seymour) actually has no TV or film credits at all, yet has authenticity as though he, like his character, has been “on the boards’, all his life. He’s got an endearingly goofy “cockiness’ as he continues his hustle, “selling himself” to backers of his “big money” schemes and to any “foxy lady” he encounters. And the “foxiest” of all may be the delightful Haim (who’s been in several music videos with her sisters as part of the alt. rock trio “Haim”) who projects a world-weary sullenness, although she’s still exploring her options. Alana’s eager to escape the ‘sanctuary” of her family, but is still unsure of her direction. Is it acting, retail, politics? She has a refreshing unpredictability, going from cool “party chick” to screeching harpy (the scene of her verbally pummeling her sister as they share some “herb” is a giddy riot). Happily the duo has an exceptional supporting cast popping in for many memorable scenes. Harriet Sansome Harris is ferocious and a bit sad as the extremely “tightly wound” Hollywood agent Mary Grady. John Michael Higgins give a fearless “non-PC” performance as exotic restaurant mogul Jerry Frick. As “past his prime” leading man Jack Holden, Sean Penn is a twinkling tipsy gasbag, a good match for bellowing blowhard director Rex Blau played with scratchy-voiced tenacity by Tom Waits. Ah, but the film’s true secret weapon, guilty of scene-stealing in the first degree, is Bradley Cooper as a true, but very real, outrageous character, “mega-producer” Jon Peters (rumored to be the inspiration for Beatty’s role in SHAMPOO). He’s pure ego-fueled 70s “blow-dried” machismo, all swagger in his tight white jumpsuit, and somehow threatening Gary while bragging about his “luck with the ladies”. He makes you wish for a solo biopic, though keeping that energy level might exhaust Cooper and the audience (I’d happily risk it).

The finished film feels so authentic, that’s it’s hard to believe that writer/director (also a producer and co/cinematographer) Paul Thomas Anderson wasn’t a teen in the swingin’ 70s (he would’ve been three at the time). This makes an excellent “prequel” to his own BOOGIE NIGHTS, while being a sequel “in spirit” to Tarantino’s ONCE UPON A TIME IN HOLLYWOOD. Both expand on “Tinseltown” legends and myths, while having their fictional characters interact with real life stars (though nobody in this film is an prominent as Sharon tate in the 2019 flick). Plus Anderson’s homage characters are easier to pinpoint (Penn’s Jack is really Bill and Gary’s angry red-headed co-star is also in a recent film). The casting works so well, especially the decision to pair Haim with her real-life family (her pop has a way with “f-bombs”). The expert art direction, the costumes, and the hairstyles, work with the pop culture background bits (TV screens, a superb soundtrack playlist, along with an eye-popping segement at a “teen fair”) make us feel as though we’re joining the long gas lines of the era. But it’s not all “mood rings” and “pet rocks”. Gary’s run-in with “John Law” is terrifying and harrowing, while a couple in the “closet’ is truly heart-breaking. But for most of its “blink and they’re done” runtime, this is a true joyride of nostalgia set in a time we never thought we’d miss. Really, this romp is the perfect “chaser” to these brutal last couple of years. I know I had a “hankering” for another slice, heck I’d devour another whole pie, of the tasty LICORICE PIZZA.


4 Out of 4

LICORICE PIZZA opens in theatres everywhere on Christmas Eve, including St. Louis’ Hi-Pointe Theater

CANDYMAN (2021) – Review

Michael Hargrove as Sherman Fields in Candyman, directed by Nia DaCosta.

Hey, is this the end of August and near the end of Summer), or is it October, around mid-Fall? Just wondering since this is the third weekend in a row with the release of a new horror flick to theatres. Hmm, maybe the studios are getting a bit of a “head start” in case our health situation goes ‘sideways” (as if that thought’s not scary enough). Last week’s release was an original idea, while the 8/13 premiere was a sequel to a flick from five years previous. Now the roots for this week’s big shocker go back nearly thirty years, but it’s not really a reboot, remake, or a “re-imagining”. The marketeers are dubbing this a “spiritual sequel” as it harkens back to that 1992 original and ignores its sequels (much as the 2018 HALLOWEEN only references the 1978 classic). And with the recent social injustice movements, today might just be primed for a return of the CANDYMAN. But only say the title once, just to be safe.

Hmmm, a chiller that begins with a puppet show? Oh yes, as paper-cut silhouettes, moved by sticks, play out the story of research student Helen Lyle’s fateful encounter with Cabrini Green’s (the notorious low-rent housing complex in the “Windy City”) avenging spirit, the Candyman. The murdered wraith from the late 1800s eviscerated lots of folks with his hook for a right hand when they repeated his name five times while staring into a reflective surface. After the “recap” (and a brief 1977 sequence at “the Green”), the story shifts to the modern-day as Troy (Nathan Stewart-Jarrett) and his new boyfriend attend a dinner party at the swanky Chicago apartment of his art gallery manager sister Brianna (Teyonah Parris) and her beau, up-and-coming fine artist Anthony (Yahya Abdul-Mateen II). Over drinks, Troy tells the tale of the Candyman as Brianna scoffs. However, Anthony is curious as the “urban legend” sparks his imagination (he’d gone “dry” preparing new pieces for a fast-approaching gallery showcase). Later he sneaks into the remaining row houses of Cabrini (The towers had been torn down to make space for the trendy gentrified neighborhood long ago) and runs into former resident Burke (Colman Domingo), who runs a nearby laundromat. He tells Anthony of his time there and of a different Candyman. But on his way home the artist is surprisingly stung by an errant bee. Anthony thinks nothing of the nasty welt as he hurriedly prepares his new pieces. He displays the mirrored door at the opening with a paper handout explaining it (basically challenging patrons to repeat “Candyman” five times). Of course, someone takes the dare, and…the local news is soon filled with reports of gruesome bloody killings. Has Anthony helped bring the hooked monster into the new century? Could the two be somehow connected? And why is that bee sting looking so gnarly?

The award-winning cast aids in adding to the film’s tension-filled dark “vibe”. Mateen, so good in the HBO “Watchmen” sequel, expertly balances the complex character shifts in Anthony. He shows us how the artist’s struggle for a defining work is swept away by his all-consuming need to know all about the “silly fairy tale”. And he’s not afraid to show the awful side of Anthony’s persona as too many drinks unleash his verbally abusive id (mostly directed at art rivals). We’re rooting for him, even as he changes mentally and physically while falling deeper into the supernatural “rabbit hole”. It’s a plunge that can’t be slowed by the love of Brianna, played with grit and “street smarts” by the engaging Parris (part of the superb “Wandavision”). She shows Brianna’s devotion to Anthony even as she tries in vain to halt his obsessions. Those are fueled by Burke played with a sinister zeal by Domingo (“Fear the Walking Dead”)., who seems horrified by his own past, but delighted to pass on the nightmares to Anthony. Kudos also to Stewart-Jarrett who’s having a great time as the catty Troy, and Rebecca Spence who happily spews venom as a castigating art critic (ain’t they the worst).

Director Nia DaCosta, fresh off the heart-breaking family drama LITTLE WOODS, proves her talents by entering the horror genre and mixing a familiar horror icon with the current social and political clime. Yet, the film feels a tad sluggish and very disjointed (I have expected to see the “scene missing” title card from GRINDHOUSE). The discoverer of a gory slaying is abruptly seen in bed (quite a narrative jump). Perhaps that can be traced to the screenplay DaCosta contributed to along with producer Jordan Peele and Win Rosenfeld (using the original characters from Clive Barker and Bernard Rose). Though I never saw the original I could pick up (after a bit of research) the notion that they were playing to the 1992 film’s rabid fans, even using actress Virginia Madsen’s vocal track (and a nice final VFX sequence), the twists are often predictable (another bullying scene in a deserted high school bathroom), and social norms and logic (beyond the usual “suspension of disbelief”) feel ignored (Brianna would certainly insist that Anthony see a doctor, as his bandages pop on and off). Some of the digs at the pretentious “modern art world” are nice, as is the use of those stick paper puppets (watch them during the end credits), but many horror fans will find that this re-visiting more sour than sweet as they consume the brightly re-packaged CANDYMAN. “Talk about your childhood wishes (and nightmares).”

2 Out of 4

CANDYMAN opens in theatres everywhere on August 27, 2021

PARALLEL (2020) – Review

A certain odd feeling probably crossed your mind as you’re dashing past a building. You might still experience this occasionally. That is if the building sports a glass front entrance or window. Catching your reflection, you might first think,” Ugh, bad hair day” or “ I’d better just have a salad for lunch.”. But if you’re not in a mad hurry you may wonder if you’ve got an exact twin somewhere. Or taking it further, what if there’s another “me” in an almost identical “now”.  And is this reflection a window into that duplicate world? That’s an idea that’s been explored in many fantasy anthology TV shows, though an even more famous use of that idea was on the original “Star Trek” TV show, you know the one with an evil Spock sporting a sinister goatee. Now that notion is taken up a few notches in the new thriller concerning the dangers of crossing into the dimensions that run PARALLEL to ours.

Of course, this tale begins on familiar “terra firma”. Two plucky twenty-something tech promoters Noel (Martin Wallstrom) and Devin (Ami Ameen) are pitching their “game-changer” app to a big CEO. He likes it but gives them an impossible deadline. Why? The software whiz the duo had hired, has undercut them with his own pitch. And without him, there’s no way to meet that deadline. So naturally, the pair returns to the house they’ve rented with old college pals, gaming geek Josh (Mark O’Brien) and aspiring artist Leena (Georgia King), and proceed to get roaring drunk. When Devin tosses a glass at the laundry room wall, the resulting hole reveals a surprise. There’s a hidden attic. With a weird telescope-like device that peers into every room. In addition to an exit door that leads to the outside of the house (like an old-time coal bin/shoot). While checking out the dusty old furniture, Josh bumps into a long wardrobe mirror. And his hand pushes into its rubbery surface. They all gasp as he puts more of his arm inside it. After pulling it out, Josh backs up and then strolls right into it. His entire body vanishes. When Josh opens his eyes, he’s near the backyard, watching himself and his pals having a BBQ. Josh returns to the attic, thinking he’s been gone for hours. But it was only a few seconds. After some calculations, Noel and Devin enter the mirror in order to finish the app and “crush” that deadline. But that’s only the start. Soon the quartet is jumping back and forth between these alternate worlds (on one, the Mona Lisa has a pageboy hairdo) and reaping the benefits of new inventions and artistic triumphs. But the big profits are soon overshadowed by deadly consequences. Will their magical “portal” cost them their friendships? Or maybe even their very lives…

The quartet of characters at the heart of the story display very different reactions to the discovery of their “realm-hopping” gift and the actors covey these distinct “takes” As Noel, Wallstrom is the “stressed for success” ramrod who will stop at nothing to rise to the top. The greed quickly erodes his morality as he focuses his attention from acquiring riches to rekindling a failed fling with Leena. As the frustrated painter, King portrays her as a woman dealing with an inner battle as she may be the most conflicted of the foursome. She’s ecstatic over being the toast of the art world, but (after a few glasses of bubbly) Leena lashes out at the fawning fans, and at herself for “tracing’ another world’s great talents. But the real moral conscious is probably Ameen’s Devin, who sees the “magic door” as a way to repair his fractured family history, rather than a fast track to big bucks. He’s able to hold on to his notions of right and wrong, but his tendency to “bail” is stopped thanks to his own connection to Leena.  Josh, played by O’Brien as a “no filter” carefree spirit, uses his discovery as means to have lotsa’ naughty fun, particularly with Carmen, his next door “lust object”, which leads to a tragic decision. The film also benefits from strong cameos by David Harewood (TV’s “Supergirl”) as the man from Devin’s past along with film and TV vet Kathleen Quinlan in a terrific prologue sequence that sets it all “in motion”.

Screenwriter Scott Blaszak came up with a delicious “what if” premise, making us question our own behavior if presented with a world-switching opportunity. The set of “rules’ he’s crafted (“Don’t interact with another ‘self’!” “The mirror must be at the correct angle”) help get us into “the game”. Unfortunately the plot gets over-convoluted by the 60-minute mark as the trips and double-twists pile on top of each other, often in introducing some “other dimension” gizmos and gadgets (aplenty) that resemble cobbled together “zap guns” from 1980s New World SF drive-in flicks. Director Isaac Ezban does his best as a cinematic “traffic cop” guiding the different subplots and keeping them from crashing. Plus he wrings some genuine suspense in several scenes (he’s coming up the stairs) and orchestrates one of the most gruesome villain demises I’ve seen in a recent release. Too often he hits us with “off-kilter” camera effects to portray a character’s disorientation, but he gives the film an overall sense of impending doom (accented by the gloomy cold Canadian locales). Not really a strong “A’ feature, but for some engaging “B” movie-style thrills and chills paired with a cool central idea, PARALLEL is a fairly entertaining fantasy on any world.

2.5 Out of 4

PARALLEL opens in select theatres and is available as a video on demand via most streaming apps and platforms beginning Friday December 11th, 2020

TRUST ME – The Review

TFF Trust Me

Clark Gregg may not be a household name now, but that will soon change. Undoubtedly best recognized as the loveable Agent Phil Coulson, Gregg has captured the hearts of comic book fans by perfectly personifying the character on the big screen in movies including THE AVENGERS, THOR and IRON MAN, as well as on the small screen in the Agents of S.H.I.E.L.D. television series. In retrospect, it could be said that making your name in such big blockbuster movies would pigeonhole an actor, but TRUST ME is proof that such tried and true assumptions are always subject to exceptions.

The truth is, when you are as multi-talented as Clark Gregg, you become nearly impervious to the typical industry stereotypes. TRUST ME is a film as fascinating behind the scenes as it is a fascinating story, but you can do your own Google search to read about the making of the film. A truly indie film that maintains studio production value, TRUST ME is a dark comedy with a touching dramatic flair. Clark Gregg stars as Howard Holloway, a former child star turned Hollywood agent for child actors. Fulfilling one minor legendary stereotype, Howard struggles to regain that sense of importance and fame vicariously through his young clients. The trouble is, he hasn’t enjoyed any notoriety since he was 15 years old and at the top of his acting game.

Poor Howard is truly a good guy, sometimes slightly misguided, but ultimately holds true to having the proverbial heart of gold. TRUST ME is a film whose central character is repeatedly pummeled by misfortune and bad luck. As an audience, we feel every single scrape and blow as if it were our own. Howard is one of those underdog characters we cannot help but empathize with and root on, no matter what the odds. From the very beginning of the film, Howard gets stepped on, most frequently and cruelly by his arch nemesis Aldo Shocklee, played by Sam Rockwell with a marvelously subdued flamboyance. Aldo, fulfilling the film’s other primary stereotype, is a successful big shot agent with deep pockets and absolutely no ethical code of conduct. Howard finds himself constantly in battle with Aldo, having to defend each of his rarely acquired clients from Aldo poaching them with more money, extravagant gifts and outlandish promises.

Lydia, played by Saxon Sharbino, is a promising 14-year old actress being groomed by Howard for a new romantic fantasy franchise based on a popular series of books. A major studio has tapped Ang Lee to direct and has eyes for Lydia, but Howard stumbles upon some secret family issues that may not only threaten Lydia’s chances, but also change Howard’s own perspective on his purpose in life. Sharbino is a rising young star with a short but surprisingly diverse and impressive resume. She has that quintessential girl next door appeal, but has the flexibility to shift into complex dramatics on a dime, exerting what appears to be minimal effort in making it look and feel natural. This plays a pivotal significance in the film’s third and final act as the truth about her character is revealed.

The relationship that develops between Howard and Lydia is honest and rich with depth of character, even if it does ultimately prove destructive. Gregg is absolutely compelling, given an opportunity to explore a more textured role than superhero movies can allow. Gregg nurtures this relationship between Howard and Lydia, resulting in a sweet and dangerously innocent chemistry between the two actors. TRUST ME is a film driven by honest performances, enhanced by Clark Gregg’s personal touch both in front of and behind the camera. Gregg not only stars in the film, but also wrote and directed the film, making it a tremendously important notch on his journey of becoming a respected and influential storyteller.

Consider this… how many creatively successful films can you name that have the same name credited as writer, director and star? Charlie Chaplin’s CITY LIGHTS. Orsen Welles’ CITIZEN KANE. Woody Allen’s ANNIE HALL. Sylvester Stallone’s ROCKY. Clint Eastwood’s UNFORGIVEN. This is a small list, and by no means complete, but when you consider the members of this rather exclusive club, it’s a pretty amazing accomplishment to be included. If this isn’t enough to convince an audience to seek out this relatively small film, perhaps you may be convinced by TRUST ME’s supporting cast that includes Amanda Peet as Howard’s love interest, Felicity Huffman as the studio’s executive producer, Allison Janney, Molly Shannon and William H. Macy. TRUST ME, this film aims to please and hits the bull’s eye.

TRUST ME is available May 6th, 2014 through Video On Demand and iTunes, with a limited theatrical release scheduled for June 6th, 2014.

Overall Rating: 4 out of 5 Stars

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