Tag: universal

UNIVERSAL – Review

Joe Thomas as Leo, in UNIVERSAL. Courtesy of Subspin/Dominion 3.

Every once in a blue moon, two or more young adults can go to a cabin in the woods and not be besieged by cannibals, psychos or demons. Thank goodness! So long as threats to life and limb aren’t inevitable, city folk might still venture out into nature occasionally, thereby supporting rural economies. But such apparent safety is no guarantee of grist for an entertaining non-gory movie.

In UNIVERSAL, writer/director Stephen Portland delivers a nerd-fest of science and computer stuff, presented by a cast of three. Leo (Joe Thomas) and Naomi (Rosa Robson) are an overworked academic couple who vow to unplug COMPLETELY for a weekend to just stay focused on each other. He’s a geneticist on the verge of some big breakthrough in understanding more about DNA that could explain much of the universe and the nature of our existence. He’s also under pressure from his funding source to deliver something tangible ASAP; Naomi’s field is different, but close enough to understand his project. He’s been avoiding a persistent fanboy named Ricky, who claims to have helpful information.

Soon after arrival, their solitude is shattered when Ricky shows up. The fanboy turns out to be an attractive, determined young woman (Kelley Mack) with boundless energy and no sense of boundaries. Her social skills are severely lacking (probably somewhere on the high-functioning end of the spectrum; no mention of whether she was vaccinated), but her findings may significantly advance Leo toward his pressing goal. Naomi resents the hell out of the intrusion that decimates their promise to each other. But Ricky’s urgency draws both in, making the computer analysis of her data the centerpiece of their weekend, and our movie experience.

Maybe I’m not the best audience for this film, since the science and its implications largely flew over my head. Every scene occurs in and around the cabin, as if it could have been adapted from the stage. The dialog-heavy script, with little visual variety, makes MY DINNER WITH ANDRE seem like an action-adventure flick. The main source of suspense comes from Kelley Mack’s character. Is she really just a devoted scientist, or does she have some more sinister agenda? If they find a big breakthrough, will they agree on how to claim credit and monetize the results?

No more is possible without spoilers, other than the sad note that Mack died of cancer shortly after filming, making this her last on-screen appearance. Besides serving as a producer here, she brought an enigmatic sparkle that energized what could have been a total snooze-fest. It’s a shame we won’t be able to see more from her.

UNIVERSAL is available On Demand starting Friday, Dec. 5, 2025.

RATING: 1.5 out of 4 stars

WICKED – Review

Hold on, here’s the big mega-budgeted and marketed blockbuster that could make the multiplex spin like a farmhouse in a twister. Yes, it has its roots in a much beloved iconic movie, but this version harkens back to another trend dating back to Hollywood’s Golden Age. I’m speaking of the “event” films that were taken from Broadway “smash” shows. Of course, the studios mounted so many original musicals, like the 1939 classic I mentioned earlier, though the stage ‘transplants” really became the “prestege” flicks through the 1950s and 60s with the Rodgers and Hammerstein adaptations, and the “roadshow presentations” that often garned Oscar gold, like THE SOUND OF MUSIC and MY FAIR LADY. Plus the “behind the scenes” wheeling and dealing filled the gossip columns as fans wondered if the original stage casts would be on film, or would they be replaced by “name” movie stars. The success of CHICAGO somewhat revived this sub-genre, though the Broadway to Hollywood formula hasn’t been a “sure” thing (how ’bout them CATS). Well, grab your wand (or broom) because those mega-screen sound systems will be put to the test with the long-awaited arrival of WICKED.

The movie opens near the ending of that timeless tale of THE WIZARD OF OZ, as word of their tormentor’s demise reaches the land of the Munchkins. The confused residents look to their protector, Glinda, the good witch of the North (Ariana Grande-Butera) for confirmation. She tells them that the news is true, which prompts much dancing and celebrating. It’s cut short when one of the revelers asks Glinda if she knew the wicked witch of the West. Yes again, and she tells them of a green baby born to the Munchkinland Governor’s wife, perhaps due to dalliance with a traveling salesman who “plied” her with a mysterious green elixir. The child is rejected by her father but develops a strong bond with her paraplegic kid sister after their mother dies in childbirth. Years later, the younger sister, Nessarose (Marissa Bode) is accepted to Shiz University. Her older sister Elphaba (Cynthia Erivo) takes her to the campus orientation, where her fellow students are stunned by her green skin, especially the arriving “diva” Glinda Upland. When Elphaba panics over the staff’s brusk treatment of Nessarose, she inadvertently casts a levitating spell that attracts the attention of the lauded faculty member Madame Morrible (Michelle Yeoh). She offers private magic tutoring with Elphaba, but she’ll need to stay on at Shiz and share a room with Glinda (much to her ire). Despite their clashes, the two begin their studys, with Elphaba bonding with the historian Dr. Dillamond (voice of Peter Dinklage), the only animal teacher (a goat) at the school. Things get more complicated when the dashing and handsome Fiyero (Jonathan Bailey) begins classes, making Glinda swoon while annoying Elphaba (perhaps a spark). Over the next weeks, an anti-animal movement ousts Dillamond, and a friendship forms between Glinda and Elphaba just as she is summoned to Emerald City for an audience with the wonderful Wizard of Oz (Jeff Goldblum). The roommates travel together, but a nefarious plot turns the fun vacation into a desperate dive into dark magic, which will change the duo in unexpected ways.

As to the concerns of the previous stage-to-screen adaptations, even though the film actors didn’t “tread the boards, this is truly a dream ensemble of performances bringing these characters to life on film. First and foremost, after all, the title really refers to her role, is the powerful Ms. Erivo who brings that strength to Elphaba, but also shows us her vulnerability, whether as she joyfully imagines the meeting between “The Wizard and I”, or expressing her anxiety through dance at the big “secret” party. Erivo stands tall as she puts up a wall between her and a mocking world, then allows her strident glare to soften as she finally feels the warmth of kindness. Plus her thunderous vocals make the story soar in the big finale. It helps that she is a great “team player” as she pushes against the comedic juggernaut that is Grande-Butera as the vain, casually cruel, and often ditzy Glinda (though she really wants to be called “Gulinda” for much of the tale). Ms. Ariana sparkles off the screen, actually endearing us to her character’s catty “burns” or by her self-aware “hair-flipping”, weaponizing those lush locks. Speaking of lush, whew, that velvety voice is a big aid to Glinda being “Popular”. This is really the story of this mismatched pair, but they’ve got lots of support, starting with the equally gorgeous Bailey, who seems to be the perfect match for Glinda, until Elphaba nudges him away from his “mirror gazing”. Plus Bailey can really “cut a rug’ as he leads the school in a big splashy number at the library. Yeoh is quite a nurturing mother figure as Morrible, which makes the final act revelations more heart-wrenching. Goldblum is an affable a song-and dance dude ( truly “A Sentimental Man”) who also seems to be the perfect patriarch until, well, he’s not. Bode as Nessarose is full of wide-eyed wonder amplified when she meets her suitor, the sweet awkward Bok from Munchkinland played with a clownish slapstick ease by stage vet Ethan Slater. And in the background, though garnering great laughs are Glinda’s entourage led by the bombastic Browyn James as ShenShen and the snarky sensation of SNL, Bowen Yang as Pfannee.

Guiding through the familiar but somehow fresh and fabulous Oz is director John M. Chu, who honed his musical “chops by bringing us another stage hit IN THE HEIGHTS three years ago and helmed two entries in the STEP UP series. He keeps the camera moving swiftly through those incredible sets (mostly real with few pixels), knowing when to go “big” for the musical showcases but also letting the quiet inform us of the emotions. and how to hit the correct comedy “beats”. He’s more than “opened up” the live show, allowing us to immerse ourselves in this colorful gaudy wonder world. It helps that’s he’s got a witty script to work with thanks to the screenplay by Dana Fox and Winnie Holzman (who did the stage “book”) adapting the original novel by Gregory Maguire. And I must lavish praise on the superb art direction once again. Aside from the aforementioned sets, the costumes are fluid and functional, paired with some stylized, imaginative props, down to the unique eyeglasses worn by Elphaba and Pfannee. The Shizu sets are incredible, but they may be a ‘warm-up” for the astounding look of Emerald City and a great “take’ on the Wizard’s scary “false front”. The dancing is energetic and engaging, though much as was done in the HEIGHTS, often we’re getting overhead shots of folks dancing in their “box space”. Still, the number in the library as students dance and twirl on what looks to be the interior gears of a clock, is eye-popping. Much like the wonderful songs, leading up to a true showstopper in the final moments with lofty strains of “Defying Gravity”. And though the studio marketing team is trying to leave it off the ads and posters, this isn’t the full story, but those looking for epic entertainment will be ecstatic, and eager for the next serving, experiencing the tale of two witches that is WICKED.

3.5 Out of 4

WICKED is now playing in theatres everywhere

THE WILD ROBOT – Review

Summer may be over, but 2024 isn’t finished with feature animation by a long shot. The “mouse house” has a big one lined up for Thanksgiving weekend in fact. Plus its sister company, Pixar, had a most surprising blockbuster a couple of months ago with INSIDE OUT 2. Now, one of the other big cartoon studios, Dreamworks, is releasing a real rarity: an original animated feature. Yes, it’s based on a beloved children’s book series, but it’s not been brought to “big screen life” before, as with this year’s new installments of franchise faves like Despicable Me, the Transformers, and Garfield. And its subject matter is also unique as it combines cute and cuddly critters with a futuristic mechanical being. But there are no humans to get it, hence its interaction with wildlife inspires its moniker, THE WILD ROBOT.

That title character is a service device from a big high-tech company named Universal (like its studio distributor) Dynamics. The product’s formal designation is ROZZUM unit 7184, or “Roz” for short (voice of Lupita Nyong’o). In the opening moments of the story we see Roz climbing out of its packaging crate, which has washed ashore after the cargo ship has run aground on an island full of animals. After trying to connect with a pack of frisky curious otters (“What is the task I can complete?”), Roz is seemingly under attack from all the different species of the nearby forest. Finally, Roz shuts down so that its computer system can take in all the different squeaks and growls and translate the many “languages”. When Roz reboots, the onslaught resumes until it must deal with the biggest aggressor, a surly brown bear named Thorn (Mark Hamill). The big chase ends as Roz crashes into a nest, leaving only one survivor, an unhatched egg…which is promptly scooped up by a hungry fox called Fink (Pedro Pascal). After Roz retrieves the egg, it cracks open revealing a wide-eyed baby goose. Fink explains that it has “imprinted” on Roz since it was the first thing the gosling saw when it opened its eyes. He thinks Roz is his “mommy”. The fox also shares that to survive, the mini-mallard will need to learn to feed itself, swim, and fly. Roz has a task at last, though time is running out. With Winter on the way “Brightbill” (Kit Connor) must join the flock on the southbound migration to survive. Can Fink and Roz get him “up to speed”? And what will happen when Roz’s “creators” track it down to the island?

Happily, the filmmakers have opted to recruit several excellent character actors rather than the usual “stunt” vocal casting of hot stand-ups and pop stars. Nyong’o imbues Roz with a plucky, overly pleasant accommodating tone (“Are you pleased with ny completion of the task?”), often giving the readings a “sing-songy” tone of artificial friendliness. Pascal brings a sly (natch’) rascal spirit to Fink the fox, making him endearing but never totally trustworthy. Connor makes Brightbill a teen straining to be a grown-up while still yearning for a connection to his mechanical mom. Speaking of moms, the movie’s biggest ‘scene-stealer” may be the snarky possum matriarch Pinktail given a sweet but surly spin by comedy icon Catherine O’Hara, bouncing right back from the Beetlejuice smash sequel. She scores big laughs and has us wanting much more, just like a great party guest who has to dash away early. The other major ‘bot role, Vontra, is acted by recent Oscar nominee Stephanie Hsu, who issues the sweetest syrupy threats. Bill Nighy flies in for the role of elder mallard Longneck, the mentor who literally takes Brightbill under his wing. Another comic kingpin is the always entertaining Matt Berry, so great on the TV version of “What We Do in the Shadows”, as the haughty, determined Beaver Paddler who will not be deterred from his mission, though he’s got time for some great caustic insults. Oh, there is one true vocal vet in Hamill (the superb animated Joker on several shows and games), who gives Thorn an intimidating but often warm guttural growl.

The driving force behind this film is animation wizard Chris Sanders, the man who gave us LILO & STITCH, HOW TO TRAIN YOUR DRAGON, and many other gems (he even did a recent live-action, with CGI, take on CALL OF THE WILD) Adapting the book series by Peter Brown, he utilizes all of his impressive art and storytelling skills to deliver a compelling modern fable full of insight into parenting while extolling kindness. And the world certainly needs a lot more of that. Sanders has guided an army of skilled craftspeople to give the film a bright, bouncy look, turning this island forest into a magical wonderland that often explodes with color (butterflies rest on the side of a tree before filling the screen in flight). The grass, the tree, and the caves all enhance the action and never detract from the terrific character design of the critters (who give entrancing physical performances). The most imaginative design may be that of Roz whose look invokes THE IRON GIANT (can it really be 25 years old), BB-88 of the last Star Wars trilogy, and Baymax from BIG HERO 6, while sporting some nifty new bits of wondrous gadgets. Its hands can detach are retrieve, while its arms and legs are extended elastic coils. It’s astounding how much emotion they can get from Roz’s volleyball-like noggin. Yes, we get a glimpse of a futuristic city along with some silent humans running from their computer screens, but the heart of the story is with Roz and her new pals, though the slapstick-filled chaos of the opening act may make it feel like any recent action-packed blockbuster. But then the pace slows a tad and begins to draw us in with its emotion and pathos. Now, here’s a film that is unabashedly made for the entire family, so be sure to travel via your local multiplex to the island home of Brightbill, Fink, Pinktail, and their guardian, THE WILD ROBOT. “Task completed”.

3.5 Out of 4

THE WILD ROBOT is now playing in theatres everywhere.

FIVE NIGHTS AT FREDDY’S – Review

With only a couple more months left in 2023, will it be the movie year of the toy? Considering the BARBIE box office bonanza…probably. That’s especially true if you throw video games into that category. We’ve seen those Super Mario Brothers, a nifty true-life thriller on the making of TETRIS, another non-fiction sports flick involving the motor-racing world of GRAN TURISMO. And now we go from brightly colored pixel ‘shrooms to whirring-blade-fueled horror. Really, a game that elicits fear as you rack up the points? Oh yeah, this one is so popular there has already been at least one cinema rip-off (using those Saturday morning funsters THE BANANA SPLITS which this official fan club member did not appreciate). It’s kinda’ how THE SWORD AND THE SORCERER beat Conan to the multiplex by a few weeks in 1982. Well, now here comes the “real deal”, based on the gaming smash, and its follow-ups, from 2014. So, can moviegoers handle FIVE NIGHTS AT FREDDY’S? Grab a slice and collect those tokens!

It all begins with an unlucky security guard making his final late-night “rounds” in the food and fun emporium. After the main title we meet the main hero, Mike Schmidt (Josh Hutcherson). as he loses another job, this one’s security at a mall. It seems an incident triggered a childhood memory in which he saw his kid brother Garrett vanish forever from a family picnic. Now, the only family he has (the parents are long gone) is his kid sister Abby (Piper Rubio) whose behavior has her grade school teacher concerned. She’s retreated into her drawings and talking to her invisible friends. Mike’s gotta get a new job, otherwise, haughty Aunt Jane (Mary Stuart Masterson) will swoop in and grab custody (along with the government moola). His only chance is an odd supervisor at an employment service, Mr. Raglan (Matthew Lillard). He thinks Mike is perfect for an all-night security slot at a long-shuttered kiddie franchise, Freddy Fazbear’s Pizza. After getting a neighbor teen girl, Max (Kat Conner Sterling) to watch Abby, Mike takes the job. The joint is creepy with its old arcade games and empty pizza boxes, but nothing is more unnerving than the life-sized animatronic figures in Freddy’s band. Naturally, Mike drifts off to sleep, but something new has been added to his abduction nightmare. Five mute children appear to block his way. He jolts awake and gets the feeling that something is watching him. Meanwhile, Max picks up a “side hustle” with Aunt Jane. She and her pals will break in at Freddy’s, trash the place, and cause Mike to get fired. So will this plan work? And what will happen to Mike and Abby during those remaining nights at Freddy’s?

Hutcherson excels at giving Mike a constant vibe of sweaty desperation. He’s haunted by his past and full of dread about the future, Can he take care of lil’ sis? Or hold down any sort of job. His nocturnal childhood “cage” may have just found a “key” through Freddy’s place. But this release may just endanger the one person he strives to protect. As that person, Rubio as Abby has more energy than most “spooky” kiddies in other flicks. She conveys a dark sense of humor while standing up to her often too possessive “big bro”. Masterson is superbly “hissable” as the prime villainess here, a wicked aunt rather than a wicked stepmother, who’s even more snarky has she :plays nice” with Mike and Abby. Also, there’s a nice turn by Elizabeth Lail as a sympathetic policewoman whose beat just happens to include Freddy’s. There’s a bit of a romantic spark between her and Mike, but Officer Vanessa’s main mission is to put him on the “straight and narrow” while providing the proper “tools” for his deep dive into the old place’s mythos. And it’s great to see Lillard out of the “Scoobyverse” as the off-putting “red herring” (or is he), Raglan.

To quote uber-producer of modern horror, while with Seth Myers, Jason Blum, “We made this for the fans”. And so, for newbies (guilty) you may be perplexed, and more than a bit bored. as those same fan(atics) squeal and scream with delight with every game reference or cameo. This makes it difficult to compare, but the end cinematic results come off as another rather toothless (of course it’s rated ‘”PG-13″) time waster. It’s stunning how all the big “kills” (including major characters) are done “off-screen” with the discovered carnage hidden away from view. Director Emma Tammi does her best work in the scary pre-dawn moments at the “fun place”, but can’t hold our attention during the talky daytime set-ups, since many of the principals are one-note despite the team of screenwriters which includes her and the game’s creator Scott Cawthon. The biggest problem is that the game’s main focus, Freddy and his crew, don’t get a lot to do. This is a shame since the producers eschewed CGI for some nifty puppetry from the talented artists at Jim Henson’s creature shop (they made a menacing cupcake). The pre-teen crowd should have a blast yelling at the screen during Halloween group outings or slumber parties but horror “hounds” may be dreading (howling perhaps) a sixth day after FIVE NIGHTS AT FREDDY’S.

1.5 Out of 4

FIVE NIGHTS AT FREDDY’S is now playing in theatres everywhere and streams exclusively on Peacock

THE EXORCIST: BELIEVER – Review

So October has finally arrived and the studios are truly “bringing out the big guns” in order to “scare up” some box office bucks at the ole’ haunted multiplex. We’re talking the “classics” here. No, it’s not another SCREAM entry, since this one goes back a lot further in fear film history. Not as far as the “thirsty Count” since we’ve had two flicks about the true first “bat-man” in the past year. But it is older than the HALLOWEEN (the crew behind the last three are behind this one) series or the assorted other sinister stalkers. We can call this a fright franchise since there have been four (some say five) entries and even a short-lived TV series. And it all started exactly fifty years ago as a best-selling novel was adapted into what was then the most profitable horror movie ever (for at least a couple of years). Talk about a “hard act” to follow! That’s the daunting task ahead for this “reimagining” titled THE EXORCIST: BELIEVER.

It begins, much like the original did, with a flashback in an exotic foreign land. Victor Fielding (Leslie Odom Jr.) is enjoying a vacation in Haiti with his very pregnant wife Sorenne (Tracey Graves) thirteen (oh oh) years ago. He’s indulging his passion for photography when they’re separated by a devasting earthquake, which leads to a tragic decision. Flash forward to today as Victor shares a home in a small Georgia town with his daughter Angela (Lidya Jewett), who is curious about her mother. Luckily she’s made many friends in school, particularly Katherine (Olivia Marcum). One day they each toss out fibs about studying at each others’ houses to their folks. Instead, the duo explores a nearby wooded area to light a candle and attempt to communicate with the “spirit world” (maybe Angela’s mum will answer her queries). Hours pass, darkness falls, and Victor starts to panic. He reaches out to Katherine’s folks, who think she’s with Angela. The panicked parents meet at the police station where the very religious Miranda (Jennifer Nettles) and Tony (Norbert Leo Butz) eye Victor with suspicion. Soon the trio are covering the town with missing flyers. Amazingly the girls turn up alive three days later, thirty miles away. They get a clean bill of health at the local hospital despite some odd scars on the feet and legs. And then the truly freaky behavior begins, as the duo begins to speak in low guttural voices and lash out violently. Victor starts to consider admitting Angela into a mental health facility until his neighbor, a local nurse named Ann (Ann Dowd) gives him a copy of a book written by a woman claiming that her daughter was possessed by a demon. After checking out some online interviews, Victor visits the author, former actress Chris MacNeill (Ellen Burstyn). She agrees to observe Angela, but can her knowledge and experience end the living nightmare of the parents and save their daughters?

Serving as the film’s anchor which strains to hold the disparate plot twists and turns is the talented Mr. Odom Jr. as everyman Victor. We first see him as a loving husband and later father who must not allow fear and panic to overwhelm him. We see that determination on Odom Jr’s face and a hint of desperation in his eyes. It’s then that he shifts into hero mode to rescue his precious daughter. In that role, Ms. Jewitt is quite endearing as the sweet, but often exasperating Angela as she peers into memories of that past which her father doesn’t wish to relive. Plus, she’s very creepy after her “return’, much like Ms. Marcum, who has a bright mischievous smile while disrupting class before morphing into a wild feral creature who terrorizes an entire church. Nettles is quite compelling as her devoted mama, while Butz is manic and boisterous as her “wildcard” papa. Ms. Dowd brings much gravitas and poignancy to the role of the neighborhood “nudge” (“Take in those trash cans!”) turned demon-fighter. Kudos also to Raphael Sbarge as Katherine’s Baptist pastor who eschews the usual cliche of the greedy mega-church huckster. But the film’s MVP is probably the franchise return of Burstyn who commands the screen as the haunted, but still fiery Ms. MacNeill, who is eager to join the battle despite her years, perhaps to release her from some half-a-century-old anguish.

Horror vet (the final HALLOWEEN trilogy) David Gordon Green takes over the directing reigns working from the script he co-wrote with Peter Sattler, Danny Mcbride, and Scott Teems. For the film’s first half, he keeps the pace flowing while setting up the creepy undercurrents of small-town America. Unfortunately, the specter of the 1973 original looms large, pushing him to try and emulate the quick editing unnerving image sequences of that iconic work. Green tries to temper this with more modern “jump scares”, which are offset by the loopy “set-ups” (Victor is barely slowed down when coming through the unlocked front door of his home). And did we really need the nast sequences at a homeless shelter or at a home for the mentally ill (shades of THE SNAKE PIT)? Speaking of modern, we get plenty of the current genre’s penchant for cruelty, especially with a pivotal scene involving MacNeill, that’s is so mean-spirited it pushes the boundaries of good taste for this much-maligned genre. But at least she’s not part of the final act “face-off’ in which a multi-faith Avengers-style team uses each of their religion’s teachings to battle the two possessed pre-teens sporting all manner of CGI-enhanced makeup prosthetics (Katherine sports a Frankenstein-like forehead while Angela harkens back to the 70’s grindhouse classic shocker ABBEY). All the chaos and pummeling sound and fury lead to a limp finale and a bland epilogue, even though a late “arrival” is somewhat charming. The folks at Blumhouse can’t quite work their monster magic on this familiar property, making THE EXORCIST: BELIEVER a reboot with no real “kick”, and only a smattering of those “Tubular Bells”.

1.5 Out of 4

THE EXORCIST: BELIEVER is now playing in theatres everywhere

THE GREY – The Blu Review

The Movie: From the very first moments of THE GREY, there is a stark realization that the stark bleakness of the film’s setting is directly complimentary to the story being told. The cold, harsh, brutal weather of the northernmost wilderness sets the stage for a tragic journey of survival. Co-written and directed by Joe Carnahan (SMOKIN’ ACES, THE A-TEAM) and written by Ian MacKenzie Jeffers, the film is adapted from Jeffers’ short story entitled “Ghost Walker.”

THE GREY, at it’s most primal, is a story of man versus nature, but more specifically man versus beast, as a handful of oil workers who survive a place crash must battle the bitter cold and a relentless and hungry pack of wolves for survival. Led by Ottway, the group of men must comes to terms with each other and their own demons as they witness their own numbers gradually decline by the fangs of their canine counterparts. On this level, THE GREY is a terrifyingly horrific tale of a scenario far too easy to imagine in real life. On the other hand, THE GREY is a curiously uplifting human saga that carries with it a certain amount of triumph and epiphanal

Liam Neeson (TAKEN, UNKNOWN) plays Ottway, a poacher with a guilty conscience working security for an oil company in the great white north, tasked with keeping the savage wild wolves from making the workers their lunch. Ottway is an intelligent, tough and resourceful man. He is a peaceful man by nature, but not a man you’d want to make angry. Neeson gives Ottway a quiet intensity that defines the role, creating a character that an audience admires and cares about, despite his gruff demeanor. Neeson is an actor that can say as much with his face as he can with words and this role is no exception.

The group of survivors led by Ottway includes Diaz (Frank Grillo), Hendrick (Dallas Roberts), Flannery (Joe Anderson), Burke (Nonso Anozie), Hernandez (Ben Bray), Lewenden (James Badge Dale), and Talget (Dermot Mulroney). This small group of hardened men, some weak and some strong, clash as often as they unite in their combines struggle. Each of them have something to lose, something they long to return to, except for Ottway who seems resigned to imminent death, willing to let that fate overcome him if not for his ingrained sense of duty to ensuring the survival of the other men.

THE GREY is an extremely well written, well directed and well acted film, but a great injustice would be done if I were not to apply due emphasis on the look and sound of this fantastic film. Cinematographer Masanobu Takayanagi (WARRIOR) captures the Alaskan wild with unflinching realism, setting aside the more serene, peacefully dangerous depiction of films like INTO THE WILD for a barren, unruly landscape brutalized by blistering winds and blinding horizontal snowfall. Much of the most brutal weather depicted in THE GREY was captured on locations without the assistance of fans or special effects, a frightening thought in and of itself. The landscape becomes a character, another antagonist through the lens of a master cinematographer. Composer Marc Steitenfeld, whose work will soon be featured in Ridley Scott’s upcoming PROMETHEUS, indulges the audience with a score so fittingly bleak while also subtly emotional that it’s presence is as equally easy to overlook as it is significant to the film’s success. However, Carnahan understands the appropriate use of this tool when he chose to leave the music out of the mix during what is perhaps the best scene in the entire film.

While there is plenty of wilderness action, suspense and beastly terror, THE GREY shines most vividly in it’s most human moments. One of these moments is during Ottway’s reflection on his relationship with his father and a simple but powerful poem his father wrote for him as a boy. This poem carries a great deal of weight throughout the film. The other is perhaps one of the best, most realistic and thoughtful depictions of death as it occurs I have seen in many years on film. This moment takes place shortly after the plane crash occurs and offers a fascinating insight into Ottway and his perspective on life. Overall, THE GREY is as touching as it is frightening, it is as much a sad film as it is a testament to hope and personal strength. It is a film about the human will.

The Extras: THE GREY blu-ray doesn’t have a ton of special features, but what it does have proves to be worth watching. Hey, it’s better than nothing, which is hos far too many films gets packaged to blu-ray in a rush to capture home viewing sales. Start out your blu-ray experience by watching the film (of course) unless you saw THE GREY in the theater. If so, jump directly to the deleted scenes — six in total — where you’ll get a healthy serving of scenes cut from the finished film. These deleted scenes do not come with an optional commentary, however some of these scenes are actually addressed in the feature-length audio commentary.

The feature-length audio commentary for THE GREY is a good time, recorded with co-writer/director Joe Carnahan and editors Roger Barton and Jason Hellmann. From the very beginning, it’s clear that you’ll have a good time listening to these laid back filmmakers. Joe Carnahan shakes his glass of ice, pointing out that they’re enjoying some Scotch while recording the commentary and what follows is a string of interesting, often humorous, anecdotes and off-the-cuff remarks about the filmmaking process and those involved.

>>>>>>> MINOR SPOILERS BELOW <<<<<<<

One of the most interesting things gleaned from the audio commentary comes from Joe Carnahan, when he explains how after seeing the film, his wife suggests that Ottway (Liam Neeson) is the only survivor of the plane crash and the other survivors are merely facets of his own mind, projections of different aspects of his personality, whereas as not only is Ottway in a struggle against nature — the cold/the wolves — but, that he is also in a struggle with himself. Carnahan goes on to explain how he had never thought of this prior to his wife pointing this out, but that it had a significant affect on how he viewed his own film afterward. I have to agree, as I watched the film again after enjoying the commentary. Viewing the film with this concept in mind changes the experience and gives the film a noticeably different appeal, less focused on the action and suspense and allows the viewer to delve deeper into the philosophical implications of the story.

Finally, THE GREY blu-ray also touts the following “bonus features” as described by Universal:

  • UltraViolet
  • Digital Copy
  • U-Control w/ Picture-in-Picture
  • pocket BLU App
  • BD-Live

THE GREY 2-Disc Blu-Ray/DVD Combo pack hits store shelves on Tuesday, May 15th, 2012.

Overall Rating: 4 out of 5 stars

DVD Giveaway: THE WOLFMAN

THE WOLFMAN is a remake of the Universal classic THE WOLF MAN (1941) and stars Benicio Del Toro as Lawrence Talbot, cursed to transform into a savage beast on nights of a full moon. The film was directed by Joe Johnston with special makeup effects by the legendary Rick Baker and co-stars Anthony Hopkins, Emily Blunt and Hugo Weaving.

Contest:

WAMG has a limited number of Unrated Director’s Cut DVD’s of 2010’s THE WOLFMAN. Follow the instructions below and, if you’re able to submit the “correct” answers soon enough, you may just win one of these DVD’s.

Here’s how to win:

  1. Test your movie makeup and special effects knowledge, or… just cheat and Google the answer, but tell us how many Academy Awards Rick Baker has won for special effects and/or makeup.
  2. This is a two-parter… Break open your mental movie vault and tell us in what other film prior to THE WOLFMAN did Benicio Del Toro portray a part-canine character? This one’s easy, if you know your 80’s movie trivia. Then, tell us who portrayed the Wolf Man in the original Universal film. (Be specific!)
  3. Finally, enter your name, email and your “correct” answers into the comments section below to be entered into the contest.

Rourke Starts a WAR OF THE GODS

Another day.  Another blockbuster for Mickey Rourke to gnash his teeth into.  He’s already set to kick a little Downey ass in IRON MAN 2.  Just last week, Rourke officially signed on to play CONAN’s daddy in the new version of that film.  Now, Rourke is absolutely going God-like, as Variety is reporting he has stepped into the role of the villain, King Hyperion, for Tarsem Singh’s WAR OF THE GODS.  Rourke steps into the role against Henry Cavill and Freida Pinto.

The film tells the tale of a young warrior, presumably to be played by Cavill, who leads a group of men in battle against evil gods in order to save humanity.  Something tells me this is going to be more 300 and less LEGION. One can hope, anyway.

The film is set up at Relativity Media with Universal serving as distributor.  The belief that Rourke would quietly slip back into the night after losing the Oscar has proven to be a falsehood.  The man is sticking around, and he’s taking some roles with him.  We haven’t seen him in IRON MAN 2, yet, but here’s hoping he isn’t quickly pigeon-holing himself into these smaller or villainous roles just to earn some notoriety and some fast cash.

WAR OF THE GODS is set to begin production in April.

GRAVITY Pulls Jolie Away From a Dying WANTED 2

I never thought one actress’ presence would mean so much to the life of a project, especially an acress whose character died at the end of its predecessor.  Yes, folks, that’s a spoiler for Timur Bekmambetov’s 2008 hit WANTED, and, if you haven’t seen it already, then you probably don’t care that its sequel has hit a brick wall.

Vulture is reporting that Angelina Jolie leaving the project for Alfonso Cuaron’s next film, GRAVITY, is putting Universal in a loop.  Instead of recasting the part, or even writing her out completely (she’s dead, remember?), they are pulling the plug altogether.  This could be an instinctive reaction on Universal’s part, since GRAVITY was, at one time there’s, and they put it in turnaround.

GRAVITY, now under the Warner Brothers umbrella, tells the story of a woman on a space station who is attempting to get back to Earth and her daughter.  The film poses an interesting challenge, as Jolie’s character is, essentially, the only character in the film for large chunks of the film.  With Cuaron on board to, though, I’m sure the film will be breathtaking to say the very least.

As for WANTED 2, die hard fans might not have to cry in their beer just yet.  Universal may revisit the idea of the project down the road a tick, rewriting it around Jolie’s character, casting a new actress in the part, or just waiting for Jolie to come around and take on the role again.  Bad blood at Universal may stop the latter form happening, but you never know.  A burnt bridge today usually ends up flourishing into a Golden Gate somewhere down the line.

Jeremy Renner Could Be Headed to E4

No, that never gets old.

It is always great to see the rise of an actor who is making his way from the arthouse to the awards podium to bigger and brighter things.  Such is the case of Jeremy Renner, whose praises I have been singing since seeing him headline the 2002 indie flick DAHMER.  With an Academy Award nomination now under his belt, THE HURT LOCKER star is prepping his next films, and one of them could be a blockbuster.

According to a report from Reuters, Renner is in talks to take on the lead role of Universal’s adaptation of BATTLESHIP to be helmed by Peter Berg.  This bit of news comes just 10 days after it was announced BATTLESHIP would be moving its release date back from July 29th, 2011 to Memorial Day, 2012.

The film is scheduled to shoot this coming Summer, and Renner may have to make a decision.  He revealed to Reuters he has had at least five meetings with the producers of another, as yet unrevealed project which would also be shooting this coming Summer.

Says Renner about the success and the potential in the industry THE HURT LOCKER has given him:

(‘Locker’ has) allowed me to exhale and go, ‘OK, now I can really start.’  Maybe it’s a form of arrival, maybe it’s a type of beginning.

Personally, I would rather see him take on a different role than the lead in BATTLESHIP.  Yes, it would be a great opportunity for him to headline a big budget, Summer movie like that, but he is slowly sinking into a pigeonhole of playing these military types that I think he is better than.  It gladdens me to hear in this same report he has signed on to star alongside Ewan McGregor in RAVEN, an indie, period thriller to be shot before Summer hits.

Nonetheless, it is great to see Renner getting recognized for his talent.  Let’s just hope that pigeonhole doesn’t get filled any time soon.