DVD Review: LEWIS BLACK: BLACK TO THE FUTURE

Starring Lewis Black. Directed by Justin Kreutzman. (2017, 100 min).

MVD ENTERTAINMENT

I need to start by stating I've been a huge Lewis Black fan ever since I first saw him on The Daily Show years ago. He's also the only comedian I have ever felt compelled to pay good money to see live, a show which may have been funniest hour I ever endured. And if you still haven't seen his 2004 HBO special, Black on Broadway, drop everything and go get the DVD right now. Like all the great comedians, what made him funny wasn't necessarily his words, but his expressions and delivery...expletive-filled tirades that pointed out the utter stupidity of the world around us. He was always especially funny - and timely - when ranting about the current state of the country.

So it saddens me to say that a few of Black's recent specials have paled in comparison. Oh, the rage is still there in abundance, but he's often more angry than funny. His latest, Black to the Future, is another unfortunate let-down, full of bits that seem to go on forever and payoffs that don't seem worth his capillary-bursting efforts. Even topics where he normally excels - skewering politicians - feel more forced than they used to be, and can't always be saved by incredulous tirades or a Ben Carson impersonation. And one excruciating, laugh-free segment about the glories of breasts is downright embarrassing. C'mon, Lewis, save that stuff for the Bob Sagets of the world.

Lewis Black moonlights as a mime.

While there are still some laughs to be had, they're sparser than they generally are when Black is at the top of his game. It's especially disappointing when you consider this was filmed during the 2016 election year, but relatively little of his act is dedicated to the presidential race. Too bad, because verbally destroying every candidate should have been like shooting fish in a barrel, providing enough prime material for two or three shows for a man like Lewis Black.

Other fans may disagree, but I personally found Black to the Future a crushing disappointment, as was the additional program, The Rant is Due: Live from Napa, provided as a bonus feature. This one features Black taking audience questions to use as a springboard for more trademark rants. But improvisation doesn't appear to be one of Black's strengths.

EXTRA KIBBLES

BONUS PROGRAM: THE RANT IS DUE: LIVE FROM NAPA

KITTY CONSENSUS:

MEH...

DVD Review: NOW MORE THAN EVER: THE HISTORY OF CHICAGO

Featuring Lee Loughnane, Robert Lamm, James Pankow, Danny Seraphine, Walter Parazaider, David Foster, Clive Davis. Directed by Peter Pardini. (2016, 113 min).

MVD ENTERTAINMENT

When I was a kid, my parents got sick of me listening to The Beatles all the time, partly because I was obsessed with them, but also because Mom & Dad didn't care for Fab Four (especially the music from their experimental "hippy" era). They'd try and broaden my horizons by suggesting other "cool" artists like Gilbert O'Sullivan, Seals & Crofts and Chicago. In other words, stuff they personally found enjoyably inoffensive.

They bought me a Chicago album for Christmas one year. I feigned excitement, but was decidedly disappointed. The only Chicago songs I heard on the radio were slow, drippy ballads like "Just You & Me," "Wishing You Were Here" and "Colour My World." And those horns...yeech! But ironically, the record my folks picked out was Chicago III, the one album that had no hit singles. Yeah, those corny horns were still there, but the songs were long, weird, complex and occasionally really loud. Dad passed by my room while I was listening to it one day and said, "What the hell is that shit?" I replied, "The Chicago record you bought me."

But there was no way they could have known Chicago didn't begin life as the band we first slow-danced to in junior high. All the albums simply said 'Chicago' on the cover, and in their early days, were a band of long-haired, hard-partying hippies whose music often out-weirded my beloved Beatles. Chicago III didn't suddenly make me a Chicago fan, but it was an intriguing record, especially after Dad professed his hatred for it.

Peter Cetera shows the number of chords he's mastered.

Chicago were musically less interesting once they became inescapable on AM radio in the mid-to-late 70s, but the story behind the music was another matter entirely, which this documentary chronicles quite nicely. While Now More Than Ever covers the band's entire 50 year career, the first half is especially fascinating, mainly because we see the evolution of a band who found success more-or-less on their own terms (double albums, side-long suites, self-indulgent displays of virtuosity) while still managing to score massive hits. Chicago's story is mostly told by founding members who remain in the band to this day, along with former members and others who'd join later.

A few things quickly become obvious. First, they really miss guitarist Terry Kath, who accidentally shot himself in 1978, and if nothing else, the film makes the viewer appreciate his formidable skills as a musician, songwriter and singer. It's no small coincidence that the band sort-of lost its way after his passing. Second, there doesn't appear to be any love-loss between Chicago and Peter Cetera (who left the band for a solo career and declined to participate in this film). Chicago may have gotten a new lease on life in the 80s by focusing on ballads written by Cetera and producer David Foster, but none of the other members seemed too happy, especially the horn section, whose contributions were minimized and marginalized. Foster himself is also interviewed here and...man, talk about someone in love with the smell of his own farts.

Robert Lamm is asked to name everyone who's ever played in the band.

But like Chicago's career, the film isn't as interesting once the glory days are in the rearview mirror, when new musicians come & go and the chronology speeds up, only superficially documenting the band's gradual commercial and artistic  decline. We are mostly subjected to testimonials of the band's resiliency to keep plugging away, which naturally culminates with their induction into the Rock & Roll Hall of Fame.

While not quite warts-and-all, the band members speak fairly candidly about the rock star life, conflicts and sometimes acrimonious splits. For the most part, they come across as humble, nice guys who've stayed together all this time for the love of playing (I guess that shouldn't be surprising, since this was produced by Chicago themselves). Longtime Chicago fans will surely enjoy it, while those who always assumed it was Peter Cetera's band are in for some surprises. And although Now More Than Ever didn't suddenly make me a Chicago fan either, this is an entertaining doc that had me appreciating their accomplishments and longevity.

EXTRA KIBBLES

None

KITTY CONSENSUS:

 PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS

Blu-Ray Review: SNIPER: ULTIMATE KILL

Starring Chad Michael Collins, Danay Garcia, Tom Berenger, Billy Zane, Joe Lando. Directed by Claudio Fah. (2017, 93 min).

SONY

Did you know there were seven movies in the Sniper franchise? Neither did I. Then again, I stopped paying attention after the first one didn't exactly set my world on fire. But what's interesting about this particular series is that, unlike many other action franchises with countless direct-to-video, in-name-only sequels featuring no-names you've never seen before, original star Tom Berenger keeps coming back, often with Billy Zane in tow.

There's nothing wrong with that, either. Berenger hasn't exactly been a marquee name for a couple of decades and Zane has been a DVD budget bin staple for nearly as long. Why not return for a paycheck while giving this ongoing series a level of continuity most others of its ilk don't enjoy?

They're both supporting characters now and have been for the past several films (a smart narrative choice given their ages). The reins had long-since been handed to Chad Michael Collins, playing Brandon Beckett, Thomas' son, who proves the apple doesn't fall too far from the tree. In Sniper: Ultimate Kill, he's recruited by Dad to assist Colombian DEA agent Kate Estrada (Danay Garcia) in bringing down Morales, a ruthless druglord. But Morales has hired a super-sniper of his own, who uses 'smart bullets' that are capable of actually chasing their targets (though it's never fully explained how). The shooter, known as El Diablo, is not only targeting Morales' competitors, but Beckett and Estrada.

Looks like someone needs to clean his gun.

For direct-to-video fodder, Sniper: Ultimate Kill is fairly exciting, with ample amounts of gunplay, gratuitous sex and exploding heads (sorta like Scanners with rifles). Beckett isn't what anyone would call dynamic character, but Collins fills the role nicely and looks enough like Berenger to actually pass for his son. Berenger and Zane's characters are mostly inconsequential, not given a hell of a lot to do except offer running commentary on what's happening. Still, they are the continuity of the franchise and fans will be happy to see them.

Fortunately for newcomers - or those like me, who've been away awhile - prior knowledge of the other films isn't a prerequisite, as Sniper: Ultimate Kill tells a decent enough stand-alone story. None of it is especially memorable and won't likely leave one pining for the inevitable Sniper 8, but there's enough action and violence to maintain interest on a dull evening.

EXTRA KIBBLES

None

KITTY CONSENSUS:

NOT BAD...LIKE CAT CHOW

Blu-Ray Review: WISH UPON

Starring Joey King, Ki Hong Lee, Josephine Langford, Sydney Park, Ryan Phillippe, Elisabeth Rohm, Mitchell Slaggert, Sherlyn Fenn, Alice Lee. Directed by John R. Leonetti. (2017, 90/91min).

BROADGREEN PICTURES

While at the movies with my daughter, Lucy, earlier this summer, we saw the Wish Upon trailer, which wasted no time establishing the film as yet-another variation of "The Monkey's Paw." That isn't necessarily a deal breaker. Originality has never been something the horror genre nurtures in abundance. Even this year's critical darling, Get Out, owes a passing nod to The Stepford Wives.

Though a big horror fan, Lucy wasn't familiar with "The Monkey's Paw," so she was sufficiently intrigued, especially since Wish Upon swaps the paw for a Chinese music box and puts it in the hands of Clare (Joey King), a self-absorbed teenager. As a high school pariah armed with seven wishes instead of three, she proceeds to improve her life and social status...with unfortunate results, of course.

"'Ask again later?' What the hell!"

Wish Upon also borrows heavily from a variety of other movies, including Carrie and the Final Destination series, dishing up enough horror tropes to play like a greatest hits album. Hence, there are no real surprises or scares to be had (unless you count a few rats dropping from a crawlspace). While it's refreshing that Clare isn't a helpless waif - she's willing to stand-up to her tormentors - she's not an easy character to rally behind. Even after learning the box's evil nature - each wish results in the violent death of someone close to her - Clare stupidly keeps using the box for her own personal gain.

"Damn, this takes AAA's. We're out of those."

Still, Wish Upon has its moments. A few of the death scenes manage to instill a similar level of dread to those in Final Destination (Sherlyn Fenn vs. a garbage disposal is a grabber, albeit ridiculous). The film also captures the trials & tribulations of high school hierarchy quite nicely, and I suppose one could cynically argue this is exactly what an outcast teenager would do with such power.

Admittedly, part of the fun is the film's utter predictability. There was something almost comforting about sitting on the sofa with Lucy while she announced every trope and story turn long before it happened (even its twist ending was inevitable). She's seen more than her fair share of horror films, and Wish Upon is the type of thing she and her gaggle of girlfriends would pop-in during a Saturday night sleepover, having a good time at its expense as they talk back at the screen.

And if nothing else, it did make her interested in reading "The Monkey's Paw." That's gotta account for something.

EXTRA KIBBLES

FEATURETTES: "I Wish" (cast talks about what they'd wish for with the box); "Attic Tour with Joey King"; "Directing Darkness" (making-of featurette)

MOTION COMICS: "Lu Mei's Curse" & "Arthur Sands" (semi-animated promotional shorts of two backstories mentioned in the film)

THEATRICAL & UNRATED VERSIONS

DVD COPY

KITTY CONSENSUS:

NOT BAD...LIKE CAT CHOW

Blu-Ray Review: A FISH CALLED WANDA

Starring John Cleese, Jamie Lee Curtis, Kevin Kline, Michael Palin, Maria Aitken, Tom Georgeson, Patricia Hares, Cynthia Cleese. Directed by Charles Crichton. (1988, 108 min).

ARROW FILMS

Watching A Fish Called Wanda for the first time in - well, forever - I was reminded of the main reason I checked it out in theaters, thinking it was probably gonna be the closest thing we'd ever get to another Monty Python movie. While I enjoyed it, I was mostly surprised that the biggest laughs were not courtesy of my two favorite Pythons, John Cleese (who co-wrote this) and Michael Palin.

It takes a hell of a talent to out-funny those guys, but Kevin Kline was - and still is - the best part of this film. Running a close second is the running gag involving the untimely demises of an unfortunate old woman's dogs at the hands of an animal lover (Palin). Elsewhere, I was never able to fully accept Cleese more-or-less in the role of a straight-man, to say nothing of a romantic lead (though he still has his amusing moments). The rest of the film isn't quite as uproarious as I remembered it.

"Okay, I give up. Where'd you hide my car keys?"

And, alas, it turned out A Fish Called Wanda was indeed the closest we ever came to another Monty Python movie. Even though it's definitely geared for a mainstream audience - particularly an 80's audience - there's still a certain level of Python quirkiness, not-to-mention a subtle mean-streak, that pops up periodically throughout.

Nearly 30 years later, Kline's performance is as funny as ever, and he's the main reason A Fish Called Wanda remains worth revisiting. The rest of the film is undoubtedly a product of its time, which isn't necessarily criticism, but some elements (the score, political-incorrectness, Jamie Lee Curtis) tend to render this more of a nostalgia purchase. This new Blu-Ray from Arrow Video packs in most of the supplemental material from the 2011 release, along with a few brand new features (outlined below).

EXTRA KIBBLES

NEW: "AN APPRECIATION BY VIC PRATT" (Pratt is with the BFI National Archive)

NEW: INTERVIEW WITH ROGER MURRAY-LEACH (Leach is the production designer)

NEW: "ON LOCATION" (Documentary visiting the various places where it was filmed)

"JOHN CLEESE'S FIRST FAREWELL PERFORMANCE" (Documentary from 1988)

"SOMETHING FISHY" (Documentary from the 15th Anniversary Edition)

"AN INTRODUCTION BY JOHN CLEESE" (An amusing piece made to promote the film's release)

POP-UP TRIVIA TRACK

AUDIO COMMENTARY (by John Cleese)

ALTERNATE & DELETED SCENES (a LOT of them)

IMAGE GALLERY

TRAILER

SUPPLEMENTARY BOOKLET (not previewed)

KITTY CONSENSUS:

NOT BAD...LIKE CAT CHOW

Blu-Ray Review: THE HIDDEN

Starring Kyle MacLachlan, Michael Nouri, Claudia Christian, Ed O'Ross, Richard Brooks, William Boyett, Clarence Felder, Chris Mulkey, Clu Gulager, Katherine Cannon. Directed by Jack Sholder. (1987, 96 min).

WARNER ARCHIVE

For some, The Hidden needs no introduction. Overlooked during its original theatrical release, the film found a massive audience on home video, becoming a cult classic in the process. 30 years later, it definitely looks - and sounds - like a product of its time, but remains a hell of a lot of fun.

The story itself holds up remarkably well, which should please those who first came across it while cruising Blockbuster shelves on a Friday night. For newcomers, one thing that makes The Hidden unique among sci-fi/horror films - even today - is the depiction of of its alien antagonist. Sure, it's a repulsive, sluglike, multi-tentacled monster. Yeah, it hides inside humans, manipulating the host body to do its bidding. And of course, it is practically unkillable, vulnerable only when oozing from one body into the next. For decades, we've seen similar creatures in a wide variety of slimy sci-fi stories.

Kyle MacLachlin reveals the number of active members in the Dune Appreciation Society, including himself.

But this alien doesn't have the usual ominous agenda of propagating its species or taking over the world. It's simply here to rob banks, steal cars, drive fast and kill anyone who gets in the way, arguably making this the first and only movie to depict a visitor from outer space as a complete sociopath. It's a highly amusing premise, which The Hidden plays to the hilt.

Hot on the creature's tail are Detective Beck (Michael Nouri) and FBI Agent Gallagher (Kyle MacLachlin). Besides the chase, much of the fun is seeing Beck forced to deal with his Gallagher's off-putting behavior while questioning how his new partner seems to know why formerly law abiding citizens are going on homicidal rampages. It turns out Gallagher is an alien as well, here to avenge the deaths of his former partner and family.

When garden pests go unchecked.

The film is loaded with brutal, kinetic action, slowing down just long enough for brief exposition before revving back up again. But The Hidden manages to rise above this often-disreputable genre because director Jack Sholder, who'd later direct one of the most underappreciated cold war thrillers of all time (By Dawn's Early Light), infuses the mayhem with witty dialogue, humorous moments and genuinely interesting characters (something of a rarity in this genre during the 80s). It's also a highly amusing take on the old buddy-cop formula (which was at the height of its popularity back then). As Beck and Gallagher, both lead actors fill the roles nicely (MacLachlin, in particular, who's childlike demeanor provides some of the movie's funniest moments).

The Hidden remains one of the better examples of 80's era exploitation, slickly made, fast-moving and consistently entertaining. For those who fondly remember the film, it's a kick-ass nostalgia trip. For newcomers, you're in for a good time (but don't bother with the horrid sequel produced a few years later).

EXTRA KIBBLES

FEATURETTE: SFX Production Footage (narrated by director Jack Sholder)

AUDIO COMMENTARY (by Jack Sholder & Tim Hunter)

TRAILER

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS

Blu-Ray Review: A GHOST STORY

Starring Casey Affleck, Rooney Mara, Will Oldhan, Sonia Acevedo, Rob Zabrecky, Liz Franke, Kesha (though you won't see her). Directed by David Lowery. (2017, 92 min).

LIONSGATE

During his 70's glory years, Elton John recorded a relatively obscure song called "Ticking," which was probably intended to be nothing more than album filler. It's just Elton at his piano, singing what is, to this day, the saddest song I ever heard. Not depressing...just sad, and the more I listened to it, the more I loved how that song made me feel. 

David Lowery's A Ghost Story reminds me a lot of that song, and if nothing else, I've never seen anything quite like it.

Casey Affleck is C, a musician who's killed in a car accident, then returns home as a white-sheeted ghost, watching in silence as his wife, M (Rooney Mara) deals with her loss and moves on. Unwilling or unable to leave, C remains a constant presence as others move in and out of the house over the years. His only 'company' is another spirit dwelling next door, who's waiting for someone to return, but can't remember who.

To describe the story in further detail would be spoiling its many surprises, but this narratively challenging film boasts a bounty of unexpected story turns, blink-and-you'll-miss-it revelations and striking imagery. Oddly enough, though, most of the plot is devoid of exposition and there's very little actual dialogue - an obnoxious supporting character says more in his brief, nihilistic monologue than the rest of the cast combined. We learn about the two main characters mostly through a few early scenes which, at first glance, seem mundane, but it's really all we need to invest ourselves in C's "journey." The rest is a triumph of minimalist storytelling.

One of A Ghost Story's big action scenes.

And once the viewer grows accustomed to the deliberate pace and unorthodox narrative transitions, there are moments as emotionally powerful as cinema gets. Also amazing is the fact that, even though C spends 95% of the film under a sheet - with just two expressionless eyeholes crudely cut in the cloth - he's effectively able to convey a gamut of emotions...sorrow, confusion, rage, longing. I suppose one can attribute that to Affleck. Because he has more-or-less played the same guy in every movie I've ever seen him in, I found him far more interesting as a ghost than the scenes where we actually have to look at him.

Affleck emotes as only he can.

But A Ghost Story requires effort - and a considerable amount of patience - on the viewer's part. There were a few times when I felt the whole thing might have worked better as a short, including at least three scenes where, if the film had ended right there, it would have been poignantly poetic. But then we'd miss out on some truly stunning moments in the third act, including one jaw-dropping scene when we learn just how long C has been waiting.

Dripping with melancholy without ever turning overtly depressing, A Ghost Story is a unique film which ultimately plays like one of those wonderfully sad songs that manages to get stuck in your head. While narratively demanding, it's actually an emotionally simple story filled with haunting imagery that will stay with the viewer long after it's over.

EXTRA KIBBLES

FEATURETTES: "A Ghost Story and the Inevitable Passage of Time" (Round-table discussion of the production); "A Composer's Story"

DELETED SCENE

AUDIO COMMENTARY

DIGITAL COPY

ASSORTED TRAILERS

KITTY CONSENSUS:

PURR-R-R. LIKE A GHOSTLY SCRATCH BEHIND THE EARS 

Movie News: WILLY WONKA Live-to-Film...in Smell-O-Rama!

John Stamos, “Weird Al” Yankovic and Finn Wolfhard

Lead All-Star Cast in

WILLY WONKA & THE CHOCOLATE FACTORY

IN CONCERT AT THE HOLLYWOOD BOWL: A LIVE-TO-FILM CELEBRATION

Featuring Smell-O-Rama!

FRIDAY, NOVEMBER 3 and SATURDAY, NOVEMBER 4

Warner Bros. Pictures’ classic, “WILLY WONKA & THE CHOCOLATE FACTORY™” starring Gene Wilder, will be brought to life this November for a special two-night cinematic event featuring John Stamos, Elle King, Finn Wolfhard, and “Weird Al” Yankovic alongside an all-star cast singing iconic songs throughout a one-of-a-kind theatrical experience. Accompanied by multi-instrumental band DeVotchKa, and featuring spectacular animation created by acclaimed painter and illustrator SHAG, this magical show will leave an everlasting impression!

The singing cast includes John Stamos performing "Pure Imagination" as Willy Wonka, Finn Wolfhard (“Stranger Things,” IT) as Charlie, Giancarlo Esposito (“Breaking Bad,” “Once Upon a Time”) singing the role of The Candy Man, and Richard Kind (“Gotham,” Inside Out) as Grandpa Joe, with musicians Elle King (“Ex’s & Oh’s”) singing Veruca Salt's “I Want It Now," Ingrid Michaelson as Mrs. Bucket, and “Weird Al” Yankovic as the Oompa Loompas. 

The experience will also be presented in SMELL-O-RAMA with guests receiving exclusive Scratch-N-Sniff Golden Tickets and will kick off with a costume contest hosted by original cast member Julie Dawn Cole, who memorably played Veruca Salt.

The show will also showcase special guest artists such as violin soloist Sandy Cameron; 16-year old pianist Emily Bear performing the Oscar^®-winning Tom and Jerry short THE CAT CONCERTO live-to-film; and Annabella Lwin from Bow Wow Wow singing the perfect party song finale, “I WANT CANDY.”

To Purchase Tickets, Visit: http://bit.ly/wonkabowl

Official Hashtag: #willywonkabowl

Rest in Peace, Tom Petty

Tom Petty (1950-2017)

Blu-Ray Review: THE GAME CHANGER

Starring Peter Ho, Huang Zitao, Guli Nazha, Wang Xueqi, Choo Ja-hyun, Jack Kao, Long Meizi. Directed by Geo Xixi. (2017, 133 min).

WELL GO USA

In the first 20 minutes of The Game Changer, we are hit with a campus riot, two destructive car chases (one of which includes a horse-drawn carriage), a mob shoot-out in the streets of Shanghai, a violent prison escape and more dead gangsters than the entire Godfather trilogy. Then the film settles into its actual story.

Set in 1930, Peter Ho and Huang Zitao are Lin and Fang, who befriend each other during a prison escape. Fang is the adopted son of Mr. Tang (Wang Xueqi), the city's most powerful mob boss. Tang welcomes Lin to the fold, entrusting him to watch over his daughter, Qianian (Guli Nazha), who immediately falls in love with him. This bothers Fang, whose own love for Qianian drives a wedge in their friendship, but the two remain committed to protecting each other because of Lin's apparent loyalty to Tang. Meanwhile, Tang is constantly killing anyone he feels threatened by, even those close to him.

However, Lin is not quite the loyal enforcer he seems to be. As a former member of a secret organization, the Blue Shirt Society, Lin has a damn good reason for wanting to take down Tang. He also discovers his former lover, Lan (Choo Ja-hyun), is still with the organization, working undercover as a cabaret singer in Tang's nightclub.

Being canjoined twins has its challenges.

If all this sounds a lot like a prime time soap opera, that's probably because The Game Changer is based on a popular Hong Kong TV series, Shanghai Bund. And subtle, this movie ain't. The plot is almost inconsequential, mostly there to link numerous action sequences, which are a kinetic combination of well-choreographed stunts, gunplay, close-quarters combat and some none-to-convincing CGI. The Game Changer might also boast highest onscreen body count of any gangster movie since 1983's Scarface.

Everyone dresses to-the-nines in fedoras, trenchcoats and designer outfits, barking dialogue straight out of a pulp novel. The performances are uniformly decent and the main characters are interesting. Ho makes a great anti-hero, favoring action over words, while Xuenqi infuses Mr. Tang with a cold-hearted cruelty that easy to hate.

There isn't a hell of a lot of depth, but for the most part, it is a lot of fun. There's an abundance of stylized action and violence to make up for some of the slower stretches. The Game Changer overstays its welcome a bit and the ending kind-of sucks, but fans of gangster epics should find it quite enjoyable.

EXTRA KIBBLES

TRAILER

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS