It’s impressive how some filmmakers can take a one setting short and turn it in to an event filled picture filled with sharp writing and rich characterization. “Time to Kill” is based on one character and one setting and still feels more complete than most films I’ve come across. Christopher T. Wood who penned the film, also gives a top notch performance as a hit man waiting for his target, and might be waiting for his target for as long as his patience and endurance can hold out.
What is it about Ruggero Deodato’s vicious masterpiece that continues to elude horror fans and film enthusiasts to this day? Surely, it’s a shocking film with immense gore, but “Cannibal Holocaust” is about so much more than splatter and bloodshed. It still holds a volatile resonance in a day and age where the world is obsessed with voyeurism. “Cannibal Holocaust” is still such an enormous master work from Ruggero Deodato whose own film has pretty much guaranteed to outlive its creator. As well, it’s inadvertently posed as the template for all of the found footage films currently storming the box office. It’s a film about the media exploiting and demoralizing a primitive culture for the purposes of entertainment. It’s a film about entitled young Americans intruding on a foreign soil to manipulate their civilization. It’s also movie about how humanity is often a destructive and vicious force of evil consuming one another for nefarious purposes without conscience.
One of the highlights of growing up with parents that loved classic soul and R&B, was listening to some of the greatest bands of all time. My favorite of them all was The Temptations, a wonderful group of singers with one of the more compelling back stories of all time. Though I’m usually not a fan of biography films about bands or musicians in general, “The Temptations” garners an immense cast of strong actors, all of whom help fuel what is a tale about fame, greed, and clashing egos. It’s just a shame that the movie breezes through some crucial details.
21 Jump Street was a film that I thought was funny on its original viewing, but I didn’t find it as hilarious or over the top hysterical as many others did. Recently, however, after two current viewings, two years later, I’ve come to discover that it is a very funny movie and it holds up incredibly well. Needless to say, I was excited to see what they were going to do with 22 Jump Street and I was excited to be spending more time with these characters. It’s hard to deny their chemistry and it is back and in full force with 22 Jump Street.
If there’s one really negative criticism I can lobby at “Daniel” is that it feels more like a prologue to a larger film, than a short film. And I’d love to see Peter Dukes create the long form narrative to this shot film someday. “Daniel” is a very good and creepy short film that centers on its big hook, and once it comes, it’s tough to forget.
On the back of the DVD box for “The Jungle,” there’s a picture of a hunter draped in camouflage pointing a gun, while a giant monster with devil horns lurks behind him with large teeth, prepared to pounce. Drink the image in as much as possible, because that’s the only glimpse you’ll get of an actual monster in the entire damn movie. Sure you see glowing eyes, and hands, but “The Jungle” lacks an actual point for existing. There are men hunting a monster, but no actual monster.
In 2008, during a father son hunting trip, Christopher Copeland’s dad left behind a smear of blood and a gun. Presuming he’d been dragged in to the woods, Christopher and the police searched for his dad to no avail. Fast forward to 2014 where, assuming his dad was dragged off by Bigfoot, Christopher and his friends team together to walk in to the woods, argue, chase noises, argue, get lost, argue some more, and eventually die off-screen set to ambient sounds of local wildlife.