Tonally, “Quench” tends to be scattered and while normally that’d be cause to give this a negative marking Zack Parker’s film balances the mixture of genres, and direction so well that I really enjoyed that the film jumps from mood to mood with pure ease. “Quench” could be described as a horror movie in a way, but it’s very unlike a horror movie when it wants to be. Parker takes the underground sexually unlimited world of “Eyes Wide Shut” and mixes it with a bit of “Martin” along with a coming of age drama and really never stops there.
Category Archives: Movie Reviews
Never Cry Werewolf (2008)
Riddle me this, fair reader: Have you ever seen the wonderful “Rear Window”? Did you ever see the cult classic “Fright Night”? Did you ever get to see the horribly overrated “Disturbia”? If the answer to one or more of those questions is yes, then guess what? You’ve already seen “Never Cry Werewolf”! The problem with director Brenton Spencer’s production is that it attempts to be a new spin on “The Boy Who Cried Wolf” and “Little Red Riding Hood” while also appealing to the teen crowd by appearing to be a mature harder edged R.L. Stine story with a twist of “Silver Bullet.” But in reality, it’s just another regurgitation of the classic Hitchcock tale in which an inept home owner discovers their neighbor may be up to devious misdeeds that may potentially threaten their livelihoods.
Roman Polanski: Wanted and Desired (2008)
Like the abortion issue, everyone has an opinion about Roman Polanski and his crime. They have opinions about the particulars; they have thoughts about why he committed this crime, and are often very quick to label him a pedophile, or rapist, or criminal. And much like the abortion issue, every thought is controversial and turns heated. What “Roman Polanski: Wanted and Desired” does is try to look at the issue from all areas. It never completely deifies Polanski, and it never demonizes him as a sexual deviant. It instead asks you to think of why he fled the country, and for some that may be a hard pill to swallow.
Reign Over Me (2007)
Part of me wants to acknowledge that perhaps Sandler is woefully oblivious of the talent he possesses and is just a guy who doesn’t appreciate the potential to deliver great dramatic tales. But watching “Reign Over Me” confirms that he’s likely very aware of the talent he possesses and instead just chooses to have fun with a horrible comedy every once and a while. And I can respect that. Even if I’ll take “Reign Over Me” over “You Don’t Mess with the Zohan” any day of the week. Only one in the growing number of dramas specifically geared toward men, “Reign Over Me” is that middle of the roads melodrama that explores how grief and loss can often control the way we live.
The Happening (2008)
It’s always been said that an animal always knows when it’s about to die. And sometimes even humans can. So… are these apocalypse movies merely our perpetual fear of impending doom brought on by forces of nature? Or do we know something that we’re not yet willing to admit? Frankly, it’s nearly impossible for me to not enjoy a movie about the end of humanity (or civilization for that matter), so “The Happening” was an instant win. Pair that with the great cast, the brilliant story, and the taut ecological commentary brushed under the senseless sudden self-extermination of man kind and you have what I consider one of the finest movies of 2008.
The Incredible Hulk (2008)
After the unfair lambasting of the disgustingly underrated and under appreciated “Hulk” from director Ang Lee, I found myself brutally conflicted on Louis Leterrier’s reboot (Remake? Revision? Restart?), because frankly, it was an apology to fans on a movie that didn’t need one. Lee tried something new, and was punished for it. Sure, Leterrier goes for the obvious, he goes for the simplistic, he shoots for the predictable, but that doesn’t mean “The Incredible Hulk” isn’t an entertaining movie. While I will be faithful to Ang Lee’s vision of the Hulk, Leterrier puts up a good argument for his version, too.
Gutterballs (2008)
Like every bit of film and music today, Ryan Nicholson’s “Gutterballs” is steeped heavily in the eighties with his slasher setting down in the decade while even the score and soundtrack take from it with shameless glee. And while normally that may be enough reason for me to dislike it, I found that his nostalgic placement made sense in the long run and only added to the camp. Nicholson’s slasher wants to be from the time where slashers were common cinematic fare, but sadly it’s just more of a wish than a reality.