As far as animated efforts from Tim Burton goes, “Frankenweenie” isn’t such a bad bit of fan service. Director Tim Burton has always expressed interest in remaking his short film “Frankenweenie,” and it’s a shame since the original short isn’t a bad movie. All things considered, it’s short, sweet, and to the point. Not to mention it’s cute, sad, and has that Burton American Gothic whimsy we’d later see in “Edward Scissorhands.” With 2012’s remake of “Frankenweenie,” director Tim Burton is able to do pretty much whatever he wants, while expanding on an already interesting twist on Mary Shelly’s story.
Gahan Wilson’s The Kid (2001)
I’m not particularly familiar with Gahan Wilson or his art, but having read up on his work, I know he does strive for bold and daring story work. “Gahan Wilson’s The Kid” is your run of the mill coming of age chronicle about a ten year old known as The Kid, who goes through three trials of growing up throughout the course of the film. The movie approaches mortality, sexuality, and good old fashioned mythology, and does so with an adult disposition. The film is courageous enough to depict little girls nude at one instance, after all. “The Kid” premiered on television in Halloween eve of 2001 mainly because the final segment revolves around Halloween.
Red (2008)
Brian Cox has proven himself to be one of the most underrated actors of all time. While he’s consistently a character actor who works in small often thankless roles, when he’s put on the spot with the right script, he can turn in an amazing performance. “Red” is a bleak and often somber revenge film where Cox is really able to shine on his own. What’s interesting about Jack Ketchum’s stories is that they’re relentless and often unflinching stories about the utter epitomes of human cruelty and the ability of the human to be as utterly amoral as possible, and often times the figures in his stories are either too old or too young to do anything to battle the cruelty.
Jackie Chan Double Feature: Crime Story / The Protector [Blu-ray]
Courtesy of Shout! Factory, fans of Jackie Chan will be able to get their hands on a double feature from the master of comedy kung-fu, and take hold of two of his notable features from Hong Kong and America. Mostly for Chan buffs, the “Jackie Chan Double Feature” is an interesting double package for bargain hunters alike. The weaker of the duo is 1985’s “The Protector.” Written and directed by James Glickenhaus, this American debut of Chan features Chan teaming with Danny Aiello as two NYPD officers that have to high tail it to Hong Kong.
I Am Bruce Lee (2011) [Blu-Ray]
At this point you could have a library of Bruce Lee’s work, and a library about films discussing Bruce Lee. Documentaries and films about Lee have become pretty much a sub-genre on to itself, with every decade releasing at least three new films about Bruce Lee and his legacy. I expect an Oscar level film about Bruce Lee any time soon, now. “I Am Bruce Lee” won’t shed new insight on Lee as a fighter or actor, nor will it really provide audiences with something new or enlightening about knowing Bruce Lee.
Smiley (2012)
Come on. I think there could be a lot more done with the horror medium involving the digital age. “Smiley” takes what could be a wonderful and brilliant premise and just waters it down to create a standard slasher flick. Granted, I adore slasher movies, but this is the kind of derivative, generic, manufactured slasher garbage that never entertains. It’s a dull and unevenly paced horror thriller with a nugget of an original concept that never fully realizes it at all. “Smiley” is often so poorly made, even the fake shock scares are telegraphed seconds in advance and fail to land. It also doesn’t help that the two female protagonists of “Smiley” are so irritating, hearing them talk and interact is equivalent to nails on a chalk board.
The Expendables 2 (2012)
Oh no! A woman! She has no testicles! She’s going to PMS all over us! What a wacky new dynamic in the Expendables! What’s up for part three? A dog? Kids? I wish “The Expendables 2” was a great follow up to the fun original film, but sadly it isn’t. It has this idea that including a woman in the group will somehow stir things and create tension, but it feels hackneyed and ancient. Plus, with a female version of “The Expendables” waiting in the wings, this plot device feels forced and trite. It also sadly feels like a way to derail a lot of the homoerotic tension between Jason Statham and Sly Stallone’s characters, and that’s a shame. Their bromance makes for some good dialogue and interplay, and to wedge a woman in between them feels like over compensation of the worst form.