Movie Review ~ Life (2017)

The Facts:

Synopsis: A team of scientists aboard the International Space Station whose mission of discovery turns to one of primal fear when they find a rapidly evolving life form that caused extinction on Mars, and now threatens the crew and all life on Earth.

Stars: Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Hiroyuki Sanada, Ariyon Bakare, Olga Dihovichnaya

Director: Daniel Espinosa

Rated: R

Running Length: 103 minutes

TMMM Score: (6/10)

Review: On the drive home after the screening of Life, I ran afoul of my partner after repeatedly referring to it as an ‘odd, little movie’.  At first thinking I was just lazily falling back on a casual turn of phrase, I began to agree with myself that for all its A-List star power, occasional scares, and well-executed special effects the film was a strange, small endeavor for all involved.  Not tiny enough to be a direct-to-video tax write-off and not big enough to be a major player in the summer months (though it was intended for a May 2017 release until Alien: Covenant moved its release date in close proximity), Life fits decently into the grey area between Oscar season and the mid-year blockbuster event films.

In an unusually long pre-title sequence, we meet the crew occupying the International Space Station as they intercept a satellite returning from Mars containing a specimen from the red planet.  As the camera glides from person to person, it feels less like an introduction and more like a location tour to help orient the audience for the action to come.  Macho Rory (Ryan Reynolds, Deadpool) is the wise-cracking dude of the team, Army vet David (Jake Gyllenhaal, Prisoners) is about to break the world record for most consecutive days in space which worries quarantine officer Miranda (Rebecca Ferguson, Mission: Impossible – Rogue Nation).  They join commanding officer Kat (Olga Dihovichnaya), scientist Hugh (Ariyon Bakare, Jupiter Ascending), and pilot Sho (Hiroyuki Sanada, 47 Ronin) in marveling at the extraterrestrial life discovered when the Mars sample is thawed out.

Fascination turns to horror as the specimen, dubbed “Calvin”, begins to grow rapidly in mind and body, eventually escaping the confines of the lab and hunting down the crew one by one.  It’s Alien-like premise aside, there are a few surprises to be had in Paul Wernick and Rhett Reese’s script for Life as it takes some turns you may not be expecting.  Director Daniel Espinosa (Child 44) is no Ridley Scott, however, and the workmanlike way Life is compiled and its odd pacing gives it the feeling of a movie that desperately wants to be better than it is.

When Reynolds, Ferguson, and Gyllenhaal signed on, I’m betting they were counting on this being a summer release but truth be told the way the film is structured and performed it feels more like an art-house alternative to a sci-fi horror tent-pole picture.  Reynolds is on cruise control as his usual cool as a cucumber self while Gyllenhaal surprisingly rests a bit on his laurels and goes only halfway in crafting the haunted character he’s perfected in films like Enemy and Nightcrawler.  Only Ferguson seems to lock into her role, never over-doing the “company man” attitude or under-selling her rising terror that this creature may somehow find its way back to earth.

Had the movie only had three characters, it may have felt a bit less cramped…and been a bit easier to understand.  Dihovichnaya & Sanada’s thick accents make it difficult to understand them at times, which becomes a problem anytime they’re tasked with delivering key bits of information.  There’s an attempt to give Bakare an interesting back story in a briefly mentioned tangent as to how the wheelchair bound man is living out his dream of mobility in the anti-gravity playground above earth.  Alas, any deeper development is jettisoned in favor of more scenes of peril inflicted by the bloodthirsty fast evolving being that’s taken over the ISS.

While there are some solid special effects sequences that take place outside of the station, anything that happens inside had me alternately rolling my eyes and raising my eyebrows.  Calvin flirts between an animated starfish-like object and a questionably created CGI monster that looks like an evil cousin to the benign alien creatures from The Abyss.  Espinosa films so much of the movie in tight close-up or without any establishing shots that it’s often hard to tell where anyone is in relation to each other and voiceovers are used as a cheap gimmick to tell what they can’t show.  I definitely got a couple of guffaws from the way the astronauts kept bobbing up and down (some more violently than others) as a way to show the zero-gravity atmosphere.

So yeah…it’s an odd little (big-ish) movie and while it may carve out some decent box office numbers by being released in a movie climate that’s been largely earthbound, Life isn’t going to be on the calling card for anyone involved.  It’s bound to be forgotten entirely by the time Alien: Covenant is released in two short months.  Perhaps this will find greater value on Netflix which, come to think of it, would have been an ideal release platform instead.

Movie Review ~ Passengers

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The Facts
:

Synopsis: A spacecraft traveling to a distant colony planet and transporting thousands of people has a malfunction in its sleep chambers. As a result, two passengers are awakened 90 years early.

Stars: Jennifer Lawrence, Chris Pratt, Michael Sheen, Laurence Fishburne

Director: Morton Tyldum

Rated: PG-13

Running Length: 116 minutes

Trailer Review: Here

TMMM Score: (5/10)

Review: It’s hard to believe it now, but just a few short months ago there were whispers in Hollywood that Passengers, this sci-fi romance starring Jennifer Lawrence and Chris Pratt, might be a late-breaking entry up for award consideration.  Now it’s clear that those “insiders” were people stumping for Sony because while it isn’t quite the train wreck most people will tell you it is, it’s certainly a disappointment when you consider the people behind it.

This is one of those “looked good on paper” sort of affairs.  Two of the hottest stars (literally and box-office-y) working in Hollywood right now team up with an Oscar nominated director for a big-budget two-hander set aboard a spaceship traveling to a new world.  While I can admit the concept driving the action is fairly intriguing, it’s a bit of a puzzlement as to why many big names have been orbiting around the pedestrian script from Jon Spaihts (Prometheus) for some time.  Revolutionary material this is not and in many ways it’s a big step backward for at least one of its stars.

According to Passengers, in the future it will be possible to survive on different planets and Earth will see a sizable number of its inhabitants emigrate to a new solar system.  Sure, it will take over a hundred years, you’ll never see your loved ones again, and if you can’t afford the ticket you’ll be little more than an indentured servant for the span of your life…but what an adventure! As the movie opens, a meteor shower damages the massive ship and causes one of the transport pods to trigger an early wake-up call for Jim (Chris Pratt, Jurassic World).

Noticing he’s the only one up and about, Jim learns of the pod malfunction and that he’s still 90 years from his destination with no way to get back to sleep.  He spends his days exploring the ship, practicing his free-throw, mastering a Dance Dance Revolution-style video game, and commiserating with an android bartender (Michael Sheen, Admission).  After a year, though, Jim is lonely and that’s when he catches sight of Aurora (Lawrence, Joy), a sleeping passenger he gets to know through her introductory videos prepared pre-flight.

Keeping spoilers at bay, I’ll just say that Aurora is roused as well and bonds with Jim in and out of the bedroom.  For a while, things are in breezy rom-com territory before reality sets in when Jim has to come clean about a Big Secret that threatens his relationship with Aurora and the other passengers as well.  Maybe another passenger wakes up and maybe there’s a recognizable star that shows up for literally 12 seconds near the very end but that’s for me to know and you to find out…if you want.

Passengers plays well, fueled by the chemistry between Pratt and Lawrence.  The only problem is the chemistry is more brother-sister than boyfriend-girlfriend and that’s just the tip of the creepy iceberg when all is said and done.  Director Morten Tyldum (The Imitation Game) tries to sidestep some fundamental moral dilemmas of the characters by distracting audiences with plenty of skin from his leads (Pratt’s two rump shots elicited quite the murmur of approval from the guests at my screening) and forcing us to see what a perfect match the two are.

Things really go awry in the last 1/3 when Passengers morphs into an effects heavy action film.  Lawrence is reduced to a damsel in distress, a far cry from the take charge women of steel she’s been playing (and receiving Oscar nominations for) recently.  Pratt fares better, only because the blue-collar guy he’s playing isn’t too far outside of his wheelhouse.  I kept wanting Sheen to play a bigger role in the action and come out from behind the bar or do something (anything) that would keep the film from being so earthbound and ordinary.

While its nowhere near the level of sophistication it should be, Passengers isn’t a complete turkey.  Aside from the appeal of Pratt/Lawrence, there’s some fine effects work but one too many slow camera pans of the ship inside and out.  When the characters stare into the vast blackness of space tethered by a single rope as they float, I got a little spooked/excited at what could happen if they broke free from their safety net.  Same goes for the movie – it never breaks free from its constraints.

31 Days to Scare ~ Happy Birthday to Me (1981)

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The Facts:

Synopsis: At the snobby Crawford Academy, popular high school senior Virginia Wainwright survives a freak accident, but suffers from memory loss and traumatic blackouts. As she attempts to resume a normal life, something terrible is happening – her friends are ruthlessly murdered one-by-one.

Stars: Melissa Sue Anderson, Glenn Ford, Lawrence Dane, Jack Blum, Matt Craven, Lisa Langlois, Tracy Bregman, Lenore Zahn, Lesleh Donaldson

Director: J. Lee Thompson

Rated: R

Running Length: 110 minutes

TMMM Score: (7/10)

Review: By the time Happy Birthday to Me rolled into theaters in May of 1981, movie houses were becoming saturated with holiday themed slasher pics after the booming success of Halloween in 1978 and Friday the 13th in 1980.  No government holiday stone was left unturned and no religious day of remembrance was safe from having a killer (or killers) hunting down people that just want to have a good Easter egg roll or plant in tree in honor of Arbor Day.  See Prom Night, My Bloody Valentine, and Terror Train if you need a refresher.

What sets Happy Birthday to Me apart from the others is that it actually feels like it’s trying for the majority of its running length, aiming to provide audiences with some unique kills and a fair number of red herrings to keep you guessing until the totally ludicrous finale.  Underneath the gore and out of left field plot twists lies a fairly interesting film that isn’t totally lost along the way to its genre’s normal trappings.

A puzzling late career entry for director J. Lee Thompson (the original Cape Fear, The Guns of the Navarone) and one of actor Glenn Ford’s last roles, this nicely budgeted Canadian produced flick has Mary Ingalls herself (Melissa Sue Anderson) as a popular girl who just can’t keep her friends alive.  Still feeling the lingering effects of a traumatic brain injury due to a car crash that claimed the life of her mother, she starts to suffer blackouts and when she wakes up finds that another coed has been murdered.  With her birthday approaching the guest list gets liberally trimmed by a killer that likes to off their victims in a most cinematic fashion (I mean, just look at the poster!).

It’s clear that along the way the original script was jiggered with and lost some of its intended focus.  Though it feels like it’s headed one way for its big reveal, the ending provided is one no one would ever be able to predict in a million years.  I’m guessing there was a last minute reshoot to make the conclusion less obvious but in doing so it renders a heap of earlier clues and plot points useless.  It’s a cheat and a big cheat at that, but it’s just looney tunes enough to make it memorable.

Anderson never was that strong of an actress and it shows here as well.  Whether crying, screaming, or saying her lines in a flat monotone, a Scream Queen she was not destined to be.  Ford collects his paycheck without much shame while a bunch of Canadian teens never make that much of an impression, save for Matt Craven (Indian Summer) and Tracy Bregman as Anderson’s doomed chums.

It’s a film that goes from spooky to silly to scary to stupid but it’s not a bad party to think about attending – trust me, you’ve been to way worse real birthdays.  And don’t forget the creepy theme song that plays over the end credits…

31 Days to Scare ~ Single White Female

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The Facts:

Synopsis: A woman advertising for a new roommate finds that something very strange is going on with the tenant who decides to move in

Stars: Bridget Fonda, Jennifer Jason Leigh, Steven Weber, Peter Friedman, Stephen Tobolowsky

Director: Barbet Schroeder

Rated: R

Running Length: 107 minutes

TMMM Score: (7/10)

Review: Ahhhh!  It’s movies like Single White Female that make me pine for a revival of the early ‘90s psycho thrillers!  It seemed that two decades ago not a week would go by without the release of another movie about a crazed boyfriend/girlfriend/co-worker/stranger terrorizing some poor unfortunate soul.  Giving birth to an endless trail of sleaze films (and sequels!) these potboilers were slickly produced and often featured top notch actors and directors pushing themselves out of their comfortable blockbuster zone.  Most of these movies are forgotten now, deemed cliché relics of a more exploitative time. Every so often, though, a film like Single White Female earns its place at the top of the heap.

Adapted by Don Roos from the novel SWF Seeks Same by John Lutz and efficiently directed by Barbet Schroeder (coming off of an Oscar nomination for directing Reversal of Fortune in 1990), the movie dives headfirst into its tale of software designer Allison Jones (Bridget Fonda) who winds up with the roommate from hell.  Needing the extra money to make the rent in her spacious New York loft (the place would rent now for thousands of dollars a month) and having recently broken up with her philandering boyfriend Sam (Steven Weber), she posts an ad that attracts a variety of eccentrics.  Arriving at a time when Allison is emotionally fragile, mousy waif Hedra Carlson (Jennifer Jason Leigh, The Hateful Eight) quickly earns her trust and the keys to the apartment.

At first Hedy and Allie get along swimmingly, but when Sam re-enters the picture Hedy feels like she’s losing her best friend and living situation and she’ll do practically anything to stay where she is.  Next thing you know, Hedy cuts and dyes her hair to match Allie and starts wearing her clothes and that’s when the real weirdness begins…along with the murders.

The film has some interesting blunt obstacles to overcome, not the least of which is Hedy’s inherent oddball-ness from the get-go.  She preys on Allie’s need for companionship, a need that blinds her to the danger Hedy poses to far more than her security deposit.  Leigh brings some extraordinary depth to the role and moves the character from being not just a lunatic but a deeply wounded soul that lashes out when her happiness is threatened.  It’s a layered performance that matches well with Fonda’s sharp edged Allie.  Allie isn’t the sweetest soul either and there’s a little bit of a popular high school cheerleader rooming with the poor misfit outcast vibe to it all.  Makes me miss Fonda’s presence in Hollywood where she’s been sadly absent since 2002.

The film isn’t perfect, failing to explain any of the life that happens outside the walls of the apartment and not doing much in the way of etching out the male roles like Stephen Tobolowsky’s lecherous client of Allie’s and Peter Friedman (Side Effects) as an upstairs neighbor.  Feeling like a play at times, the concentrated claustrophobia of the historic building (beautifully filmed by Luciano Tovoli who did wonders with Suspiria) can be a bit suffocating at times but works in the films favor when it approaches its cat and mouse chase climax.

Aside from some guffaw inducing computer software graphics, Single White Female plays quite well in this age of advanced communication and connection.  It’s always a risk to live with a roommate you don’t know…but at least know you can Facebook stalk them or pull up their criminal history with the touch of a button.  Back in 1992, you had to go with your gut and in 2016 my gut still tells me to watch this thriller every few years.

31 Days to Scare ~ Eyes of Laura Mars

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The Facts:

Synopsis: A famous fashion photographer develops a disturbing ability to see through the eyes of a killer.

Stars: Faye Dunaway, Tommy Lee Jones, Brad Dourif, Rene Auberjonois, Raul Julia

Director: Irvin Kershner

Rated: R

Running Length: 104 minutes

TMMM Score: (6/10)

Where to Watch: DVD

Review: Deep down inside, somewhere where most of my guilty pleasure movies are filed away, I know that Eyes of Laura Mars isn’t good. It’s a hollow thriller that misses the mark on many levels and doesn’t achieve what it sets out to do. Moreover, it has one of the dumbest endings of all times…so bad that I wonder if it wouldn’t have been better if projectionists had just turned off the movie and sent everyone home five minutes before the film concludes. At least you’d leave with a bit of a zing and without your eyes tired from rolling in exasperation.

Yes, Eyes of Laura Mars is a kitschy late ‘70s thriller attempting to have some class. Yet here it is, featured early on in 31 Days to Scare. Why? It’s just so…entertaining. Whether you’re actively engaged in it or far removed, it’s never dull and not the museum piece it could have become. And it has Faye Dunaway (fresh off her Oscar win for Network) turning up her crazy knob long before her famously camp performance in Mommie Dearest.

Laura Mars is a famous fashion photographer known for glamorizing violence to sell product. Her images have galvanized the population and have attracted the ire of one demented psycho. Conveniently, when the killings begin Laura discovers a psychic link between herself and the murder, allowing her to see what the killer sees. When her closest friends and colleagues start getting their eyes plucked out and with a brutal manic gaining on her, she teams up with a cop (Tommy Lee Jones, Hope Springs) to unmask the fiend.

Originally intended as a vehicle for Barbra Streisand (her then-boyfriend produced the film and Streisand contributes an impressive song for the opening and closing credits), Dunaway is actually quite good here even when she’s ferociously overacting. Known for her frustrating method ways, if Dunaway knew the film was shaky she doesn’t show it but instead sinks her fangs in even further. Jones is surprisingly upbeat and even blasts out a few smiles. Brad Dourif (Color of Night), Rene Auberjonois, & Raul Julia (credited as R.J.!) are the various men in Laura’s life who wear their red herring T-shirts with gusto.

Rumor has it George Lucas was so impressed with a rough cut of this film he hired director Irvin Kershner to direct The Empire Strikes Back. Kershner and cinematographer Victor Kemper (National Lampoon’s Vacation) do give the film an elegant, classy sheen but there are enough close-ups of Dunaway’s eyes bugged out and wild to be featured in some sort of mascara ad. Though many of the costumes by Theoni V. Aldredge are stuck in the ‘70s, Dunaway is beautifully decked out in tartan plaids and regal attire but pity the models stuck in dreadful fad clothing, forever on celluloid wearing fancy togas.

Even though there are some interesting sequences, like Dunaway being chased through an abandoned building while seeing through the killer’s eyes as they gain on her, there’s a restraint that starts to sink the film. Low on blood and feeling watered down from a more violent version, someone (the studio, the director, etc) decided to play it safe instead of going for the jugular. The script (from a 10-page treatment by genre legend John Carpenter, Halloween) feels like a dozen people wrote it. There’s zero interest in finding why Laura and the killer have a connection and no real detective work in trying to figure out whodunnit until the third act when half the cast has been sliced and diced.

Watching it again recently (as I do every few years), I was surprised I only just realized the movie is an attempt to Americanize the Italian Giallo film. With its heightened sense of reality, its focus on celebrity and excess, and its embracing of glam-violence Eyes of Laura Mars is a noble but ultimately hopeless attempt to capitalize on the popular films successfully imported from Italy. Had someone like horror maestro Dario Argento or Lucio Fulci taken a crack at this, it may have wound up being a film with more lasting impact and imagery.

And they would have fixed the ending.

Movie Review ~ The Magnificent Seven (2016)

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The Facts:

Synopsis: Seven gun men in the old west gradually come together to help a poor village against savage thieves.

Stars: Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Byung Hun Lee, Manuel Garcia Rulfo, Martin Sensmeier, Haley Bennett, Matt Bomer, Billy Slaughter, Vinnie Jones, Peter Sarsgaard

Director: Antoine Fuqua

Rated: PG-13

Running Length: 132 minutes

TMMM Score: (7.5/10)

Review: I have two things to admit right off the bat. I’ve never seen the original The Magnificent Seven from 1960 or, worse yet, Kurosawa’s Seven Samurai, the movie that inspired both films and countless other knockoff Westerns throughout the years. The second admission is that I’ve been wanting Oscar winner Denzel Washington (Flight) to lighten up a bit already…all of his movies are so serious, so steely, so tortured inside that it has me almost dreading every new film he’s headlining even though he’s one of our great working actors today. While Washington doesn’t quite achieve tranquility during the course of this remake, the actor does show some signs of a sense of humor in between the gunfire and exploding dynamite sticks.

The prologue sets the stage. It’s the 1870s and the town of Rose Creek has a problem whose name is Bartholomew Bogue (a typically ratty Peter Sarsgaard, Lovelace). Determined to buy up all the land in the area for 1/10 of what it’s worth, Bogue has staked his claim on Rose Creek and dares anyone to stand his way. Protected by a crooked town sheriff, Bogue and his army of gunslingers draws a line in the sand for the townsfolk; accept his low offer to purchase their plots of earth or suffer deadly consequences. Before the credits even begin, Bogue has struck down several strong-willed citizens (including an actor listed in the opening credits after he’s been killed) and prepares to return in three weeks to start rounding up and kicking out.

Rose Creek needs a savior, that’s why Emma Cullen (Haley Bennett, The Girl on the Train) offers bounty hunter Sam Chisolm (Washington) all the town has to offer in exchange for his protection. Taking her up on her proposition partly because he empathizes with her and partly to exorcise his own personal demons, he recognizes he can’t go up against Bogue alone and recruits a sextet of men as he makes his way back to Rose Creek. First up is wise talking gambler Josh Faraday (Chris Pratt, Jurassic World), as good with a gun as he is with a deck of cards. Goodnight Robicheaux (Ethan Hawke, Boyhood) a longtime friend of Chisolm and former army sharpshooter now making a living off of managing the duels of the deadly Billy Rocks (Byung Hun Lee, I Saw the Devil). Vasquez (Manuel Garcia-Rulfo, Cake), a Mexican criminal on Chisolm’s wanted list is given a reprieve if he pitches in while Comanche Red Harvest (Martin Sensmeier) makes nice with Chisolm by chowing down on the heart of a freshly killed animal. Finally, we have Jack Horne (Vincent D’Onofrio, Sinister) a soft spoken bear of a man that proves a dangerous person to underestimate.

Look, there’s a formula here and it’s shown to have worked for more than a century. Find someone that needs help, gather a rag-tag group of would-be heroes, and then let them loose in a fiery blaze of glory. It helps The Magnificent Seven that the heroes would likely be the bad guys of another movie but find themselves put to better use doing good. Working together they arm the town and stage some Home Alone-style booby traps that are a, ahem, blast.

At 132 minutes, it’s a long film but I found myself responding to it more than I thought I would. I love a good Western and while this won’t be remembered as any kind of classic I found it engaging and entertaining, two things we’ve had a serious lack of in 2016. It takes it’s time and maybe moseys when it should be sprinting but I didn’t seem to mind it and I think it’s largely due to the cast.

Director Antoine Fuqua (Olympus Has Fallen) teams up with Washington for the third time and clearly the two men have worked together enough to develop their own rhythm. Fuqua nudges Washington ever so slightly out of his run of stone-faced champion and gets the actor to feel his inner cowboy. Pratt’s role isn’t quite as challenging, largely being an extension of the good ole boy he’s played before. Hawke, too, turns in a performance that I wasn’t quite expecting. Robicheaux has some ticks and tricks that Hawke takes and runs with…much like D’Onofrio does with his odd, child-like lumberjack of a man. As the lone female, Bennett more than holds her own, stopping just short of going full on Linda Hamilton/Terminator 2 mode as the film reaches its pinnacle.

Pure popcorn entertainment with some great shots of canyons and dust bowls set to a purposeful score by the late James Horner, The Magnificent Seven doesn’t rise to the level of greatness its title implies. Still, there are far worse ways to spend your time at the movies and the cast makes it worth your while.

The Silver Bullet ~ Passengers

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Synopsis: A spacecraft traveling to a distant colony planet and transporting thousands of people has a malfunction in its sleep chambers. As a result, two passengers are awakened 90 years early.

Release Date:  December 21, 2016

Thoughts: It’s okay if you watch this first trailer for Passengers and feel like you’ve been to this space rodeo before.  Peppered with hints of Gravity and The Martian with a little old (Sunday) school Adam and Eve business, our initial look at the late December release feels promising.  I mean, two hotter than Hades A-list stars with their choice of scripts wouldn’t sign up for this without it having some thrust, right?  I’m counting on blind faith that Chris Pratt (Jurassic World) and Jennifer Lawrence (Joy) have chosen wisely.  Under the direction of Morten Tyldum (The Imitation Game) from a Jon Spaihts (Prometheus) script that’s been orbiting Hollywood stars since 2007, Passengers could pure rocket fuel at the box office if these heavy hitters bring their A game.  As for me…it’s set in space so…I’m in.

The Silver Bullet ~ The Shallows (Trailer #2)

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Synopsis: When Nancy is attacked by a great white shark while surfing alone, she is stranded just a short distance from shore. Though she is only 200 yards from her survival, getting there proves the ultimate contest of wills.

Release Date:  June 29, 2016

Thoughts: I’m more than a little annoyed with this second trailer for June’s The Shallows.  While the teaser released in March was a nice little morsel designed to lure audiences out of the water and into the theaters this summer, this full trailer makes me want to head back to the beach.  Being the spoiler-free guy I am, I have to say that there are a whole mess of important plot points given away in 2 ½ minutes and it’s just a total bummer because I can already see the tension bleeding out of the thing.  Why show these moments? What mystery is left?  Lately the trend seems to be for trailers to give the entire movie away and that’s unfortunate.  Still…it’s a shark movie and I’ll of course be there to see it.  I’ll just be a little less curious to see what surprises are in store.

The Silver Bullet ~ The Shallows

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Synopsis: When Nancy is attacked by a great white shark while surfing alone, she is stranded just a short distance from shore. Though she is only 200 yards from her survival, getting there proves the ultimate contest of wills

Release Date: June 24, 2016

Thoughts: So Jaws is my favorite movie…if you’ve spent any time with me or read this site often that’s no shocker.  I’ll also tell you that one of my guilty pleasures that I’m more than a little ashamed of is a fondness for cheesy shark flicks with bad special effects and even worse acting. As shown by The Reef and Bait 3D, the good ones are few and far between so The Shallows represents something of a wave of excitement in my shark fanboy heart. It’s got an appealing lead in Blake Lively (Savages) and its helmed by Jaume Collet-Serra (Non-Stop) who knows his way around crafting an audience pleasing vehicle.  For me, it’s all going to come down to the shark and while it’s too much to hope for more practical effects than CGI, I’d hope that it’s prime summer release date by a major Hollywood studio bodes well for its quality.

The Silver Bullet ~ Ghostbusters (2016)

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Synopsis: Thirty years after the original film took the world by storm, Ghostbusters is back and fully rebooted for a new generation.

Release Date: July 15, 2016

Thoughts: When 1989’s Ghostbusters II failed to materialize big bucks like its 1984 predecessor, plans for future Ghostbusters installments were put on hold.  An animated series or two and almost two decades later, Ghostbusters is revved up and ready to be rebooted.  Though I wasn’t too enamored with The Heat, the last time director Paul Feig, screenwriter Katie Dippold, and star Melissa McCarthy (Spy) teamed up, our first look at the all-female team of Ghostbusters looks fairly fun and quite promising.  Enlisting the stellar talents of Kristen Wiig (The Martian), Kate McKinnon, and Leslie Jones was a smart move so the comedy doesn’t rely solely on McCarthy’s pratfalls.  If all goes as planned, rumor has it that a second set of Ghostbusters will be involved in another series of films that run parallel and overlap with the gals…but let’s take one thing at a time, shall we?