Shot (2017)

A couple on the verge of divorce goes to lunch, on their way out, a random bullet hits the husband and wounds him badly. As he attempts to survive and re-adapt, the teen who shot him by accident tries the same.

Written by Anneke Campbell and Will Lamborn from a story by director Jeremy Kagan, Shot is a story that shows the danger of having guns on the streets and aims to encourage discussion about gun access and gun violence. The film here shows how an accidental gunshot can drastically change 3 lives in just a split second. This is done by telling both the story of the victim and his wife and the story of the teen who shot the gun. The film tackles both at the same in time in two different styles, part of the film showing their stories at the same time, with a split screen, and part of the film going back and forth between the two stories. This creates an interesting dynamic and causes a bit of an emotional overload at times which helps the film here as it shows the chaos caused by the situation.

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Downrange (2017) [Toronto International Film Festival 2017]

A group of students sharing a car to various destinations has a tire blow-out that leaves them stranded.  Soon they discover that this was not an accident and they are now in grave danger.

Written by Joey O’Bryan and Ryûhei Kitamura with the latter also directing, Downrange is a tense, one location thriller that grabs the viewer early on and doesn’t let go until the end credits roll.  For fans of Kitamura, this is a return to sources, to his earlier style of having a story set in one location and making it a tense experience for all involved.  This, here, is very successful and works like a charm in the desolate location on a road in the middle of nowhere.  This setting works really well here and the collection of characters and how they came to be together adds to the tension and mystery.  The film uses the fact that there are many unknowns to work in its favor.  The situation is tense enough on its own but the way the characters interact and are portrayed make it work even better.

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The Hitman’s Bodyguard (2017)

“The Hitman’s Bodyguard” is the type of middling, mediocre nonsense that you’re likely going to find playing on basic cable in three years. It’s such an unremarkable, silly action comedy going through the motions and capitalizing on two men and what they’re famous for. Stars Samuel L. Jackson and Ryan Reynolds never break out of their comfort zones, and you can almost sense director Patrick Hughes asked both men to just be who everyone knows them for, and really nothing else. “The Hitman’s Bodyguard” is everything you think a movie starring Jackson and Reynolds will be like. Nothing ever really skirts the edges or thinks outside the box, and the violence seems just tacked on to what was probably a bland PG-13 action comedy in development.

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My Dream Roster for the Adult “Losers Club”

Since just about every other movie blog are offering their choices for the adult “The Losers Club” for Chapter Two of 2017’s “It,” I thought it’d be fun to offer my own dream cast. A lot of people agree that once “It” shifts over to the adult portion of its horror tale that it kind of loses steam (the 1990 miniseries fell victim to that, especially), so with Andres Muschietti planning some interesting twists that will explore Pennywise’s horrific origins, as well as where they’ve been for almost thirty years, the adult cast needs to be dynamic.

I’m sure they have some amazing actors in mind, since the casting for “It” was pretty superb, already. And I’m sure I’ll enjoy who they bring on board, eventually. What can I say? “It” filled with me enough confidence where I am sure that they know what they’re doing with this adaptation. But just for fun, here’s who I’d pick for the Loser’s Club when we meet them again twenty seven years later.

Who are your ideal choices? Let me know!

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It (2017)

Andrés Muschietti’s “It” has proven in a year of really bad Stephen King adaptations, that it is very possible to put one of King’s most popular novels on screen and remind us once again why King is King. Muschietti, like Tommy Lee Wallace before him, has the daunting task of compressing an eleven hundred page novel in to what will end up being a five hour epic. Yet, “It” manages to come out mostly unscathed as a film that is both a spooky horror film and a stellar coming of age drama. Much like “Mama,” Muschietti’s work on “It” ends in a film that can be appreciated as a human drama and a pure horror movie packed with heart, scares, insight in to growing up in an unforgiving, cruel world.

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