Tag: danny glover

AMERICAN DREAMER – Review

(L-R) Shirley MacLaine as Astrid and Peter Dinklage as Phil Loder, in AMERICAN DREAMER. Courtesy of Vertical

In the comedy AMERICAN DREAMER, Peter Dinklage plays a curmudgeonly college professor with a dream to buy a home far beyond his limited means, while Shirley MacLaine plays a wealthy retiree who has just such a fabulous home for sale for an unbelievable price – with one big catch. Loosely inspired – very loosely – by real events, the major delight of this sometimes crazy comedy is in the pairing of Dinklage and MacLaine, who make a perfect, and perfectly insane, comedy duo in this film.

Dinklage plays Dr. Phil Loder who teaches economics from a sociological view at a small college. Loder may teach economics but his own economics are pretty dismal for a professor of the dismal science. Underpaid and twice-divorced, he doesn’t have tenure, and he can’t even seem to get a parking spot for his vintage car. Meanwhile, he spends his time dreaming about coming home to a grand mansion, preferable to be greeted by a beautiful wife. In fact, he has neither, and the twice-divorced professor is living alone in a dinky apartment. He spends all his free time searching for that perfect home, with his real estate broker Dell (Matt Dillon) inviting him to open houses for homes that fit his criteria but not his budget.

No one milks surly and begrudging for comedy like Dinklage, and he is entirely in his element here. While the college that employs him shows him little respect, his economics course has suddenly become popular with student, who enjoy his lectures peppered with snark and sarcasm representing his doom and gloom worldview. He has even drawn the romantic attention of a graduate student, Clare (Michelle Mylett) which he rationalizes is OK since she is over 21.

On the outs with his real estate agent after an outburst of temper, Loder scans the ads for a dream home – and finds an intriguing possibility. The grand waterfront property lists for millions but it has a second, special offer – if the buyer agrees to live on the property while also letting the elderly owner, a childless widow, remain for the rest of her life, the buyer can have it for mere $250,000. That’s still out of the professor’s range but he might be able to raise that amount.

Loder dispatches the real estate agent to make the deal, and sets out to sell everything to meet the price. When he gleefully shows up to move in, he finds matters are not quite as he imagined – or was told by the agent.

For one thing, he finds he must live in a rundown apartment over a garage instead of the huge main house. And the former owner, who Loder never met, turns out not quite to be the invalid teetering on death that the agent described. In fact, Astrid Finnelli (Shirley MacLaine) is pretty lively, puttering around the water-side property on her scooter and having no compunction about banging on Phil’s door regardless of the time if she has a question. Every day he’s there, a new wrinkle crops up, but the rule-breaking Loder doesn’t make matters any better, often being his own worst enemy.

The situation presents endless problems that challenge Loder, forcing him to adapt and change in ways he never expected. Dinklage milks the physical comedy aspects of this farcical tale, with perhaps a bit more bare skin than we really need to see.

MacLaine plays her character, who clearly is not on the verge of death, with the kind of imperious, aristocratic snobbery she does so well, with a touch of her “Downton Abbey” character. Her clueless, demanding aristocrat and Dinklage’s grumbling pro-proletariat academic make for a wonderful comic pair, and there are laughs in most every scene they share.

At one point, Dinklage’s Loder calls in a private investigator, played by Danny Glover, to try to figure out this twisty situation he finds himself in, and Glover brings a dry humor side to the humor proceedings.

Dinklage and MacLaine have great comic chemistry and as so good together, they draw laughs just glaring at each other. The film offers up a series of every escalating comic situations in classic comedy style. The humor is a bit raucous but never going too far, with each humorous scene building on the next. The humor in AMERICAN DREAMER is classic slapstick low-comedy, not sophisticated satire, but Dinklage’s character does go through a re-evaluation of his approach to the world and people, coming out with a fresh, more humane perspective. Astrid turns out to have another side, a more charitable, kinder one, which has a profound effect on Dinklage’s Loder, and gives the film am unexpected charm by its end.

The magic in AMERICAN DREAMER is in the unlikely pairing of Peter Dinklage and Shirley MacLaine, who light up the screen every time they share it, an effect grows more charming as the film unfolds.

As these comedies always do, the two start as adversaries but eventually begin to understand one another and even become friends. But the film goes further, and as the characters grow, they reveal unsuspected sides, with warm, generous hearts that reach out to those who need help, something we never expect at the film’s start.

AMERICAN DREAMER opens Friday, Mar. 8, in theaters and streaming on demand.

RATING: 3 out of 4 stars

I’m Too Old For This Sh*t! Mel Gibson and Danny Glover in LETHAL WEAPON at The Wildey Theater in Edwardsville Tuesday November 30th

“I guess we need to register you as a Lethal Weapon.”

Danny Glover and Mel Gibson in publicity shot for Lethal Weapon. (Photo by Aaron Rapoport/Corbis via Getty Images)

Nothing’s more fun than The Wildey’s Tuesday Night Film Series. Mel Gibson and Danny Glover in LETHAL WEAPON (1987) will be on the big screen when it plays at The Wildey Theater in Edwardsville, IL (252 N Main St, Edwardsville, IL 62025) at 7:00pm Tuesday November 30th. Tickets are only $3  Tickets available starting at 3pm day of movie at Wildey Theatre ticket office.  Cash or check only. (cash, credit cards accepted for concessions)  Lobby opens at 6pm.

Martin Riggs is an L.A. cop with suicidal tendencies and Roger Murtaugh is the unlucky police officer with whom Riggs is assigned. Together they uncover a huge drug-smuggling operation, and as their success rate grows so does their friendship.

The Original SAW Arrives on 4K for the First Time on May 11th

Spawning one of the most successful horror franchises in history, James Wan’s directorial debut returns to terrify audiences once again when SAW arrives on 4K Ultra HD Combo Pack (plus Blu-ray and Digital) May 11th from Lionsgate. Here’s a new trailer promoting the 4k release:

Spawning one of the most successful horror franchises in history, James Wan’s directorial debut returns to terrify audiences once again when SAW arrives on 4K Ultra HD™ Combo Pack (plus Blu-ray™ and Digital) May 11 from Lionsgate. Cary Elwes (The Princess Bride, Robin Hood: Men in Tights, Kiss the Girls), Danny Glover (Lethal Weapon franchise, Jumanji: The Next Level, The Color Purple), Monica Potter (The Last House on the Left, Along Came a Spider, TV’s “Wisdom of the Crowd”), Leigh Whannell (Insidious franchise, Cooties), and Tobin Bell (Mississippi Burning, The Firm, Manson Family Vacation) star in a film that Jordan Crucchiola (Vulture.com) says “…holds a deserving place in horror-film history.” Experience four times the resolution of full HD with the 4K Ultra HD Combo Pack, bringing entertainment to life through ultra-vivid picture quality. When compared to a standard picture, Dolby Vision can deliver spectacular colors never before seen on a screen, highlights that are up to 40 times brighter, and blacks that are 10 times darker. Available for the very first time in this absolutely stunning format, the SAW 4K Ultra HD Combo Pack will include audio commentaries, featurettes, and more, and will be available for the suggested retail price of $22.99.


With its story of a morally obsessed serial killer who forces his victims to play horrific games of torture and survival, SAW shocked audiences, redefined the horror genre, and spawned one of the most successful franchises of all time. Now, experience the unhinged depravity of the Jigsaw Killer in an eye-popping 4K transfer that will chill your blood and disturb your dreams.


4K AND BLU-RAYTM SPECIAL FEATURES

  • Game Changer: The Legacy of SAW
  • Audio Commentary by Director James Wan, Writer-Actor Leigh Whannell, and Actor Cary Elwes
  • Audio Commentary by Producers Mark Burg, Gregg Hoffman, and Oren Koules

BLU-RAYT SPECIAL FEATURES

  • SAW: The Original Short Film
  • Hacking Away at SAW
  • Alternate Storyboard Sequence
  • Theatrical Trailer


CAST                                                 
Cary Elwes                  The Princess Bride, Robin Hood: Men in Tights, Kiss the Girls
Danny Glover             Lethal Weapon franchise, 2012, The Color Purple
Monica Potter              The Last House on the Left, Along Came a Spider, TV’s “Wisdom of the Crowd”
Leigh Whannell           Insidious franchise, Cooties
Tobin Bell                    Mississippi Burning, The Firm, Man

JUMANJI: THE NEXT LEVEL – Review

So what’s a favorite gift that’s usually under the Christmas tree, usually straight from the North Pole? Aside from the dolls (and action figures), craft sets, and sports equipment. a staple would be a game, more specifically a board game. That was the thinking of the celebrated author of children’s’ books, Chris Van Allsburg, when he came up with the beloved “kid lit’ classic that was made into an even more beloved 1995 fantasy adventure flick, JUMANJI. Twenty-two years later “reboot fever'”struck Sony/Columbia Studios (along with most of Hollywood), so they decided to do an upgrade. First, they tossed out the dice, spinners, and all the board game fixtures and opted to go high tech (somewhat) and make it a video game. Mind you, it was somewhat “old school” with a cartridge, console, and joysticks, rather than the computer and internet systems. Oh, and instead of things escaping from the game, the players would be “sucked in” and become avatars (played by a quartet of adult stars). This “re-imagining” was a box office smash two years ago, so here comes the third (if you count 2005’s ZATHURA: A SPACE ADVENTURE) spin-off/reboot/sequel, JUMANJI: THE NEXT LEVEL.

As Christmas break approaches, the four young heroes of the last film, then high schoolers, now college freshmen, are looking forward to reuniting in their New Hampshire hometown. Well, all but Spencer (Alex Wolff), who’s just not adjusting to life at his NYC school. Hey, he’s even taking a “break” from his new, now long-distance GF, Martha (Morgan Turner). When he does make it to the family house, he finds out that he’ll have to share a room with his cranky Grandpa’ Eddie (Danny DeVito), who’s nursing a hip injury. That first morning, while Spence’s mom is at work, they get a surprise visit from Eddie’s former business partner Milo (Danny Glover). Things are tense between the two, so Spence, instead of joining his old pals at the town diner for Brunch, retreats to the basement and digs out the, now busted, Jumanji video game. Sometime later, Martha along with Bethany (Madison Iseman) and “Fridge” (Ser’Darius Blain). drop by to see why Spence didn’t show. They get their answer when they head to the basement to find the game now repaired and sending out sparks. It activates and pulls in Martha and Fridgein, via a glowing green light. Boom, they’re back in the jungle with the same avatars. But some things have changed. Martha is still Ruby Roundhouse (Karen Gillan), but Fridge is now Prof. Oberon (Jack Black). Both are stunned to find that Milo is “Mouse” Finbar (Kevin Hart) and Eddie is Smulder Bravestone (Dwayne Johnson) Seems the guys upstairs get zapped, too. Where’s Spence and Bethany? Nigel (Rhys Darby) soon shows up to explain their mission: something about retrieving a mystical magic jewel stolen by Jorgen the Brutal (Rory McCann) and his legion of nasties. Can they succeed, this time facing sand and ice, before using up their game lives (only three), and finally return to the real world? Again? Otherwise, it’s game over…for reals!

The returning cast slips into their roles with ease, though they get to put on new spin via their “real world” players. Most entertaining may be Hart (never thought I’d say that) who expertly mimics the slow, measured line delivery of Glover, quite a change from his usual manic, motor-mouthed characters. Less successful, but still committed, is Johnson doing a crotchety ole’ East “Coastaaar” as DeVito, while still looking fierce in his Doc Savage cosplay (whatever happened to the movie project). Black, as the Fridge-filled Prof is still a comic whirlwind as he riffs on RDJ in TROPIC THUNDER. And free from the blue make-up of her Marvel role, Gillan makes a terrific action heroine, as she exchanges those short shorts for a snowsuit (and this time she does “dance fighting” and twirls a mean set of nun-chucks). Also returning is Nick Jonas as “Seaplane”, who appears to be auditioning for an Indiana Jones prequel (or maybe a slightly older Jonny Quest). Adding to the avatar mix is Awkwafina playing master thief Ming, though she’s not given much to work with in the script. It’s a shame that this gifted comic actress (a true scene-stealer) is saddled with bits and one-liners that fall flat. On the other hand, we’re treated to the still sharp comic skills of Mr. DeVito, who continues to get laughs with just a glare or his slow shuffle. And his pairing with the affable but meandering (get to the point already) Glover as Milo is pure comedy team gold. Let’s get them their own “buddy comedy” because neither is “too old for this…er…stuff”.

Jake Kasdan also returns as the director and co-writer, though he ‘s often a traffic cop/tour guide getting us and the principals from one familiar set-piece and sequence to the next. Sure they’ve changed locales, quickly going from the previous jungle settings to the deserts of 1980’s action epics, to the snowy mountains right out WHERE EAGLES DARE or where the Avengers fought Baron Strucker, but they go through the usual routines of bicker, fight, and flee, then repeat. All this is toward thwarting a most generic villain, who we are told is “brutal”, but who mainly towers over Johnson while yelling orders to a platoon of extras who may have wandered off the set of the next Mad Max movie. Sure the CGI beasties are much better than those in the 95 original, but they often seem to have little real “weight” with the manic mandrills bouncing from one rope bridge to another with little impact. Although, big kudos for somehow making the ostriches intimidating. Still, youngsters will get a kick out of Johnson’s cartoon heroics as he slaps the baddies into solid walls (is he part Kryptonian), and at the slapstick antics of Hart and Black, but those a bit older may be tempted to check the time (it could use a good 15 minute trim). At least with the two Dannys, JUMANJI: THE NEXT LEVEL often rises slightly above the level of the usual sequel. Now turn off that game and go outside and play, you kids!

2 Out of 4

THE LAST BLACK MAN IN SAN FRANCISCO – Review

Jonathan Majors stars as Montgomery Allen and Jimmie Fails as Jimmie Fails in THE LAST BLACK MAN IN SAN FRANCISCO, an A24 release. Credit: Peter Prato / A24

THE LAST BLACK MAN IN SAN FRANCISCO is the story of a man in love with a house, the grand home in San Francisco his family once owned but lost, but it is also a wistful tale about friendship, the love of a city, the meaning of home, and a longing for what has been lost. It is as much a portrait of San Francisco, and how it is changing, as it is a tale of two friends, young black men living on the margins of the city where they were born but where they can no longer afford to live.

There is a lot of metaphor, some magical realism and a bit of Wes Anderson in this gentle, sometimes funny, sometimes ironic, poignant film. THE LAST BLACK MAN IN SAN FRANCISCO is a lyrical kind of film that shifts from a gentle humor to something closer to tragic over its course.

Jimmie Fails (Jimmy Fails) is a third generation San Franciscan who pines for the grand home his family once owned, and where he grew up, in the Fillmore District, an area rich with history as a black and immigrant neighborhood and known as the Harlem of the West. Jimmie travels around his city on his skateboard, in the company of his childhood best friend Mont (Jonathan Majors), an artist and playwright. While Mont works on his drawings and the play he is writing, Jimmy’s project is caring for the grand old house, lovingly painting or repairing it – even though it not longer belongs to his family.

Although the stately house looks like it dates to the 1800s, Jimmy proudly tells everyone his grandfather built it. The neighborhood has gentrified, the houses are worth millions, and the Jimmy’s family home is now occupied by an affluent older white couple. While the elderly husband is fine with Jimmy showing up to paint the house or tend the garden, his wife goes ballistic every time she sees Jimmy affectionately working on the house’s exterior and grounds, and chases him off.

It is comic, of course, but Jimmy’s obsessive love of the house has a sweetness to it. Jimmy lives with Mont’s grandfather (Danny Glover), where he rents a space on the floor of his friend’s room, which is in the grandfather’s garage, a comic dig at San Francisco’s famously tight housing situation. Grandpa is blind but loves movies, which he watches by having his grandson narrate the events on screen. While grandpa owns a nice Victorian, although not as grand as Jimmy’s house, it is in an decaying industrial waterfront area, near an area rumored to be contaminated with radioactive waste. Still, developers are eyeing the spot near the water.

The idea for this film grew out of the long friendship between director Joe Talbot, a fifth generation San Franciscan, and lead actor Jimmie Fails, based on some of Fails’ childhood. Part of the strength of this wistful, bittersweet, ironically comic film is its script by Joe Talbot, Jimmie Fails and Rob Richert, and Joe Talbot’s sure-handed direction, in an impressive directorial debut. But credit also goes to the fine performances by Jimmy Fail and Jonathan Majors, who imbue their characters with a poignancy that is heartbreaking but also an unexpected universal humanity.

Jimmie’s longing for his house is about longing for his place in the world, and for family too, a family with whom he is only loosely connected. His father (Rob Morgan) is a kind of big-talking, flashy guy with a hint of con artist about him, his mother (Tichina Arnold) is mostly absent, and other relatives are scattered further out from the city. The family connection he sees between Mont and his grandfather is not there for Jimmie, who family seems to have been broken in some ways with the loss of the house.

The film’s title comes from the play Mont is writing and, in fact, the film’s narrative is structured like a three-act play. In the first act, Jimmy pines for his house. When the house is suddenly vacant, Jimmy seizes his chance and just moves in. Overjoyed, he sets to repairing the interior with the same loving care as he lavished on the exterior, and even dreams of buying it. The idyll doesn’t last and the film takes a darker turn with revelations, twists, and a touch of tragedy towards the end.

This charming bittersweet film focuses on the story of these two friends instead of making overt social commentary but the commentary is there in the background. As Jimmy moves around the city, we see a San Francisco where only two kinds of people live – the wealthy mostly white homeowners and the homeless. The middle class, people of modest means, and anyone of color, has been left out, pushed to the fringes or outskirts of the area. It is a problem of income inequality that plagues other large cities but it is particularly poignant in the case of San Francisco, given its history as the center for the Summer of Love, gay pride and progressive movements. Not only are black people pushed out but so are the colorful characters who used to give the city a distinct flavor, exemplified in one scene by the older man sitting naked on the bench waiting for a bus with Jimmy. In a city for millionaires only, he is not welcome either.

This film is not an angry one, raging against the invasion of the millionaires, but instead a thoughtful one. The tone is nostalgic, about a fondly remembered childhood and lost treasures. Jimmy loves the fine house he grew up in, and returns to care for it, almost like caring for a loved one. He does not resent the white people living there, just their neglect of his beloved house. The house may not longer belong to his family but his heart will always belong to the house. There is a strange magic that family homes, or even just historic homes, can work on the heart, as anyone who has renovated an older home knows.

This is not a plot-driven film, action heavy or simple straight-forward kind of film, and audiences looking for that should look elsewhere,. But for those with patience and open to this film’s lyricism and sweetly sad dreamy metaphor, THE LAST BLACK MAN IN SAN FRANCISCO has many rewards.

THE LAST BLACK MAN IN SAN FRANCISCO opens Friday, June 21, at the Plaza Frontenac Cinema and Tivoli Theater.

RATING: 4 out of 4 stars

THE DEAD DON’T DIE – Review

Jim Jarmusch lets us know right off the bat that THE DEAD DON’T DIE, his take on the zombie genre is not to be taken seriously. It plays the film’s irreverent title song (by Sturgill Simpson) over the opening credits. Minutes later the song is playing in the squad car of Police Chief Cliff Robertson (Bill Murray), prompting him to wonder why it sounds so familiar. “It’s the film’s theme song,” his deputy Ronnie Peterson (Adam Driver) matter-of-factly replies, in the first of several meta moments (mostly delivered by Driver) that include references to the script and “Jim”, the director. There have been zombie comedies before, but Jarmusch puts the ‘dead’ in ‘deadpan’ with THE DEAD DON’T DIE, a quirky zombie parody featuring what’s justifiably been billed as ‘the greatest cast ever assembled for a zombie film’: Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Selena Gomez, Carol Kane, Austin Butler, Luka Sabbat and Tom Waits.

In an environmental twist to the zombie legend, it seems the Earth has spun off its axis by something called “polar fracking” causing the dead to spring to life in the one-stoplight town of Centerville, PA and go on the hunt for blood, brains, coffee, wi-fi, chardonnay, and cable TV, things they desired during their living days. THE DEAD DON’T DIE should be enjoyed by everyone who loves Jarmush’s particular low-key style of comedy, but it probably won’t win many converts. Jarmush’s self-conscious, often silly script and absurdist tone makes it hard to fully indulge in its horrific elements, but as director he shows a surprising eye for foggy graveyard atmosphere. Even if the laughs are muted, the cast makes it worthwhile. Highlights include Tom Waits as a woods-dwelling recluse, Steve Buscemi as a racist blowhard who sports a “Make America White Again” hat, and Chloë Sevigny as the only cop on the small force who seems concerned that the citizenry are dining on each other. Tilda Swinton spoofs the sword-wielding philosophical oracle shtick she’s been doing in films lately. She’s terrific, but the heart of THE DEAD DON’T DIE is the dialog between Murray and Driver. “This isn’t going to end well”  the deputy repeats, in a running joke with a big pay-off. THE DEAD DON’T DIE meanders in its second half, and eventually runs out of steam but its still recommended.

3 1/2 of 5 Stars

THE OLD MAN & THE GUN – Review

As a seasoned moviegoer (as I trust you are also), when I saw these five words on this new movie’s poster (and later in the actual film’s first frames) alarms went off in my head (not unlike “Spidey-sense”): “This story is mostly true”. First off, many films “inspired by true events”, another warning label, aren’t that compelling and often seem better suited for the small screen. Then there’s that pesky “mostly”, which indicates a certain forced whimsey, maybe even preciousness. Ah, but not to worry. After a few seconds, we spot a most familiar face. Really familiar, due to his still commanding star power, barely dimmed after fifty plus years as a movie leading man (for a couple of decades he truly personified the glitz and glamor of Hollywood). Now many strands of his golden locks have gone grey, and his jaunty clip has slowed a bit. During his publicity stint for this flick, he’s announced that it will be his last film work in front of the cameras (he is an Oscar-winning director, too). Somewhat appropriately the title of his “swan song” is THE OLD MAN & THE GUN.

Indeed, seconds after the above-mentioned preface fades, the story takes us to a small bank at the center of a dusty, tiny Texas town circa 1981. A dapper gentleman (three-piece suit, tie, fedora) enters. Cut to a bank teller hurriedly filling a leather case with cash, then handing it to…let’s call him FT (Robert Redford), in order not to spoil a moniker that will tickle classic movie and TV fans. FT is wearing glasses, a fake bushy mustache, and has an ear piece (a hearing aid, perhaps) with a wire leading down into a coat pocket. As he gets in his car, we learn that the device is attached to a tiny police scanner. FT drives down a dingy alley, switches cars, and speeds to the highway. Ah, the getaway can wait a bit, as FT spots a “damsel in distress”. Actually, it’s a woman having truck trouble. Since he can’t fix the engine problem, FT gives the lady, a widow named Jewel (Sissy Spacek), a lift to a garage. Over pie and coffee at a diner, the two flirt and eventually exchange numbers. Meanwhile, in a nearby town, police detective John Hunt (Casey Affleck) is feeling “burnt out” from “cleaning up messes”. Hunt (clever, eh) has a gorgeous wife and two adorable kids, but he’s in a funk. One morning, on the way to drop the kids of at school, he drops in at his local bank, just minutes after FT has entered. After FT departs, the bank manager announces the robbery and detains the patrons. When his fellow officers arrive, Hunt joins the investigation with a suddenly renewed vigor. Hunt’s main mission is to arrest the “gentleman” robber. Well, it seems that FT has decided to go after bigger banks in cities, so he meets up with his partners, Teddy (Danny Glover) and Waller (Tom Waits). Together they’re plotting the big score. And during their free moments, FT is spending lots of time with Jewel at her tranquil farm and ranch. Could this blossoming romance lead to the other dreaded “r-word”, retirement for FT? Or will Detective Hunt truck him down before the big (perhaps final) bank job?

As you may have guessed, this film is a showcase for the still engaging Mr. Reford. He slips into the title role as if he were easing into a pair of slightly-worn cowboy boots. And even though eighty or so years are deeply etched in that face, RR truly make the being “craggy” attractive. It helps that he wratches up his charm meter well past “11”. He doesn’t resort to big theatrics (no sobbing or ranting), rather he lets his laid-back, easy-going attitude pull us in. Sure he brandishes a weapon on his “jibs”, but we, like the many bank employees, are pretty sure that he’s not going to use it. Still, Redford shows us FT’s conflict as he wonders if he can give up his old “life” to spend his last years, with his likely last love. Truly tough choice since that love is the wonderful Ms. Spacek, who has been busy on TV but much missed on the big screen (at least in a major role). She and Redford engage in a very mature, but still frothy romantic dance. You can feel the heat, from their first meal as they observe and question, prod and verbally poke, across that dingy diner table. They’re a terrific team, as is Redford and Affleck, minus the flirty chemistry and screen time. John Hunt seems barely alive, straining to keep his eyes open while strolling those the petty crime questioning. When FT comes into his orbit, the sleepy cop is jolted awake, dashing home with boxes of evidence and reports, eager to do something important once more. And like FT, he’s inspired rather than conflicted, by his own love mate, the radiant Tika Sumpter as encouraging, no-nonsense Maureen Hunt. Speaking of partners with chemistry, some of the film’s most entertaining scenes are those that with FT’s “guys” (and the ads make it look like he’s a “solo act”). Glover and Waits are “grumpy old men” who bicker and taunt like a long-time married couple but stick together particularly when the news media refers to them as the “over the hill gang”. These crooks have pride, ya’ know?

David Lowery directs his own screenplay (based on the New Yorker article by Davis Grann) with a sure steady hand, letting the dialogue and crime scenes move with a leisurely pace. It’s unhurried, but hardly dull, though an extra ten or fifteen minutes might have stretched the story too thin. It’s quite a change from the strange, dreamy previous two flicks with Affleck (AIN’T THEM BODIES SAINTS and A GHOST STORY) or his previous work with Redford on the dreary remake of PETE’S DRAGON. There are a couple of clever montages, one with robbery victims nearly telling the same story, and later when FT relates many previous clashes with “John Law” (keen-eyed viewers will spy a vintage bit of film). Late in the film, there’s an effective confrontation scene smartly staged in what seems to be the longest W.C. ever. And though it’s said to be a “swan song”, this is more of a celebration of the enduring Redford. He’s still got “it” (as in that screen something going way back to Clara Bow and others), but doesn’t want to be the last one to leave the “party”. As film finales go, THE OLD MAN & THE GUN is a smooth sweet ride into the sunset for the Sundance Kid.

4 Out of 5

THE OLD MAN & THE GUN opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

WAMG Giveaway – Win DEATH RACE: BEYOND ANARCHY on Blu-ray


The stakes are higher than ever in the intense action-adventure Death Race: Beyond Anarchy, arriving Unrated and Unhinged on Blu-ray combo pack, DVD, Digital and On Demand October 2, 2018, from Universal Pictures Home Entertainment, in association with Impact Pictures/Chestnut Productions. The wildly anticipated next installment of the popular Death Race franchise, this Universal 1440 Entertainment original production brings fans along for the deadliest competition on wheels, where brutal fights and explosive car races abound. An action-packed thrill ride, this all-new movie is the grittiest and bloodiest installment yet!

Now you can own the DEATH RACE: BEYOND ANARCHY Blu-ray. We Are Movie Geeks has 4 copies to give away. All you have to do is leave a comment answering this question: What is your favorite movie with the word ‘Death’ in the title? (mine is DEATH WISH 3!). It’s so easy!

OFFICIAL RULES:

1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES.  NO P.O. BOXES.  NO DUPLICATE ADDRESSES.

2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.


Franchise newcomers Zach McGowan (“Black Sails”) and Danny Glover (Lethal Weapon) join returning Death Race fan favorites Danny Trejo (Machete) and Fred Koehler (“American Horror Story”). Death Race: Beyond Anarchy also features talented actors Christine Marzano (Rules Don’t Apply), Terence Maynard (Edge of Tomorrow) and Velislav Pavlov (The Expendables 2).


Death Race: Beyond Anarchy on Blu-rayTM, DVD and Digital, includes exclusive bonus features that take viewers deeper into the intense world of Death Race, with special behind-the-scenes footage and filmmaker commentary. Additionally, Death Race: Complete 4-Movie Collection will also available on DVD on October 2, 2018. Now fans can experience the glory of all four movies in one complete must-own set including, Death Race, Death Race 2, Death Race 3: Inferno and the all-new movie Death Race: Beyond Anarchy.


BLU-RAYTM, DVD AND DIGITAL exclusive BONUS FEATURES:

  • Inside the Anarchy: Filmmakers and cast describe how this chapter of the Death Race franchise stands out from the rest. From new locations, to a fleet of new cars, to a new star in Zach McGowan, see why Death Race: Beyond Anarchy is the deadliest Death Race yet!
  • Time Served: Lists & Goldberg: Hear Death Race franchise veterans Fred Koehler and Danny Trejo discuss what it’s like to be back playing Lists and Goldberg, and how their characters have changed.
  • On the Streets of Death Race: Beyond Anarchy: Director Don Michael Paul and cast explain how the stunt work gave the production a uniquely energetic feel.
  • Feature Commentary with Director/Co-Writer Don Michael Paul and Star Zach McGowan

 

Danny Trejo returns as the ruthless bookie, Goldberg, in the wildest, bloodiest, Death Race ever. After a failed attack on inmate and legendary driver, Frankenstein, Black Ops specialist Connor Gibson (McGowan) infiltrates a super-maximum federal prison with one goal – enter the immoral and illegal Death Race and take Frankenstein down. Connor enlists the help of Baltimore Bob (Glover) and Lists (Koehler), and unexpectedly falls in love with bartending beauty, Jane (Marzano). Connor will have to fight for more than his life in this brutal world of no guards, no rules, no track, and no fear.

DEATH RACE: 4-MOVIE COLLECTION SYNOPSIS:
Strap yourself in for an insane thrill ride inside in the Death Race 4-Movie Collection featuring an all-star cast including Jason Statham, Danny Glover, Tyrese Gibson, Danny Trejo, Ving Rhames and Zach McGowan. Death Race is the brutal racing sport, where hardened criminals and smoking-hot navigators drive to survive or die trying. Packed with incredible stunts and brutal fight scenes, get ready for the non-stop barrage of high-octane thrills that will leave you pinned to your seat! The collection includes Death Race, Death Race 2, Death 3: Inferno, and Death Race: Beyond Anarchy.

DEATH RACE: BEYOND ANARCHY Available on Blu-ray, DVD, Digital, and On-Demand October 2nd


The stakes are higher than ever in the intense action-adventure Death Race: Beyond Anarchy, arriving Unrated and Unhinged on Blu-ray combo pack, DVD, Digital and On Demand October 2, 2018, from Universal Pictures Home Entertainment, in association with Impact Pictures/Chestnut Productions. The wildly anticipated next installment of the popular Death Race franchise, this Universal 1440 Entertainment original production brings fans along for the deadliest competition on wheels, where brutal fights and explosive car races abound. An action-packed thrill ride, this all-new movie is the grittiest and bloodiest installment yet!


Franchise newcomers Zach McGowan (“Black Sails”) and Danny Glover (Lethal Weapon) join returning Death Race fan favorites Danny Trejo (Machete) and Fred Koehler (“American Horror Story”). Death Race: Beyond Anarchy also features talented actors Christine Marzano (Rules Don’t Apply), Terence Maynard (Edge of Tomorrow) and Velislav Pavlov (The Expendables 2).


Death Race: Beyond Anarchy on Blu-rayTM, DVD and Digital, includes exclusive bonus features that take viewers deeper into the intense world of Death Race, with special behind-the-scenes footage and filmmaker commentary. Additionally, Death Race: Complete 4-Movie Collection will also available on DVD on October 2, 2018. Now fans can experience the glory of all four movies in one complete must-own set including, Death Race, Death Race 2, Death Race 3: Inferno and the all-new movie Death Race: Beyond Anarchy.


BLU-RAYTM, DVD AND DIGITAL exclusive BONUS FEATURES:

  • Inside the Anarchy: Filmmakers and cast describe how this chapter of the Death Race franchise stands out from the rest. From new locations, to a fleet of new cars, to a new star in Zach McGowan, see why Death Race: Beyond Anarchy is the deadliest Death Race yet!
  • Time Served: Lists & Goldberg: Hear Death Race franchise veterans Fred Koehler and Danny Trejo discuss what it’s like to be back playing Lists and Goldberg, and how their characters have changed.
  • On the Streets of Death Race: Beyond Anarchy: Director Don Michael Paul and cast explain how the stunt work gave the production a uniquely energetic feel.
  • Feature Commentary with Director/Co-Writer Don Michael Paul and Star Zach McGowan

 

Danny Trejo returns as the ruthless bookie, Goldberg, in the wildest, bloodiest, Death Race ever. After a failed attack on inmate and legendary driver, Frankenstein, Black Ops specialist Connor Gibson (McGowan) infiltrates a super-maximum federal prison with one goal – enter the immoral and illegal Death Race and take Frankenstein down. Connor enlists the help of Baltimore Bob (Glover) and Lists (Koehler), and unexpectedly falls in love with bartending beauty, Jane (Marzano). Connor will have to fight for more than his life in this brutal world of no guards, no rules, no track, and no fear.


DEATH RACE: 4-MOVIE COLLECTION SYNOPSIS:
Strap yourself in for an insane thrill ride inside in the Death Race 4-Movie Collection featuring an all-star cast including Jason Statham, Danny Glover, Tyrese Gibson, Danny Trejo, Ving Rhames and Zach McGowan. Death Race is the brutal racing sport, where hardened criminals and smoking-hot navigators drive to survive or die trying. Packed with incredible stunts and brutal fight scenes, get ready for the non-stop barrage of high-octane thrills that will leave you pinned to your seat! The collection includes Death Race, Death Race 2, Death 3: Inferno, and Death Race: Beyond Anarchy.

Check Out the New SORRY TO BOTHER YOU Red Band Trailer and Posters

STFU – New SORRY TO BOTHER YOU Materials?!?!

The SORRY TO BOTHER YOU Red Band Trailer and Posters are now available. But wait…there’s more…

In need of a new car? Well, lucky you because The SORRY TO BOTHER YOU Official Paraphernalia Store is NOW OPEN!

Written and directed by Boots Riley, SORRY TO BOTHER YOU stars Lakeith Stanfield, Tessa Thompson, Armie Hammer, Terry Crews, Steven Yeun, Omari Hardwick, Jermaine Fowler and Danny Glover.


Check out the trailer and new posters below and be sure to visit the new SORRY TO BOTHER YOU Store HERE to get BOTHERED!

In an alternate present-day version of Oakland, telemarketer Cassius Green discovers a magical key to professional success, propelling him into a macabre universe.