This “Double Feature” release from Shout Factory is the definition of a mixed bag. While Millennium was pretty darn good with a compelling story and respectable acting, R.O.T.O.R. is the exact opposite in every regard and easily is one of the worst films I’ve seen in some time if not ever.
Speechless has a nice spin on the classic romantic comedy formula (opposites attract and all that) and Michael Keaton and Gena Davis share some nice chemistry and as a bonus for geeks, we do get to see Keaton and Christopher Reeve share a scene.
Love the Coopers has an impressive cast but below par script. It’s not all that entertaining despite having the likes of John Goodman, Diane Keaton, Marisa Tomei and Alan Arkin (not to mention Anthony Mackie in a thankless role) and with some snips could easily air on TBS to fill airtime around Thanksgiving or Christmas.
While The 33 certainly tells a compelling story, this film adaptation of it is a bit too paint-by-numbers and doesn’t come close to living up to the actual news coverage which from my recollection was nearly 24/7.
Secret in Their Eyes is a decent if not horribly disappointing movie considering the amazing cast. Although the three main actors turn in perfectly fine performances, with Chiwetel Ejiofor being the best of the trio exuding enough charm to overcome story and editing issues, this is not a film that has much if any replay value and is at best a Saturday night rental, nothing more.
Our Brand is Crisis isn’t a bad movie per se but it’s one with some identity issues. Personally, it might’ve worked far better as a satire on American politics but they decided to use the country of Bolivia as a stand-in. This is the type of movie that screams rental, not much more.
Trumbo is a well made movie that probably will be more remembered for its performances, specifically by Bryan Cranston who received an Academy Award nomination for his great performance as Dalton Trumbo. Outside of the acting, though, I don’t think this was an especially memorable flick but well worth checking out.
Snow White and the Seven Dwarfs isn’t one of my favorite of Disney’s animated classics but it is a movie to behold for not only the style but its historical significance to the Walt Disney Company, the cornerstone to what it is today.
Black Mass, although decent enough, is a disappointment considering the subject and a well rounded and respected cast headlined by the versatile Johnny Depp. However, in the end it felt underwhelming and pedestrian which is a shame as filmmaker Scott Cooper could be a respectable director.
The Graduate is probably one of the more quintessential movies of the 60s probably featuring some of the best direction, not to mention editing, ever with incredible pacing and blocking. Combine that with perfect casting from Dustin Hoffman as an unlikely leading man to the nuanced performance by Anne Bancroft, this is one hell of a film that holds so well today.
One could call Code 46 the Minority Report (which also co-starred Samantha Morton) on a stricter budget but more compact story and although I probably give the edge to MR mainly due to the direction from Spielberg, this is still a nice little future thriller featuring great performances by Tim Robbins and Samantha Morton.
Criminal Activities isn’t a half bad crime-drama especially by direct-to-video standards. The performances from Michael Pitt and Dan Stevens were good and even John Travolta in his limited appearance gives the film some weight.
It might be too simplistic to call Crimson Peak style over substance, but I couldn’t quite embrace this gothic-romantic in spite of some incredible production designs and a couple fine performances by Hiddleston and Chastain.
Amos & Andrew is kind of a lost comedy from the 1990s (akin to Quick Change and Another Stakeout) and although it’s not hilarious, it is a lot of fun to watch two normally over-the-top actors playing against one another in Nicolas Cage and Samuel L. Jackson and add in Dabney Coleman and it’s rather entertaining.
The Last Witch Hunter is a misfire on all fronts save perhaps for the passion I’m sure Vin Diesel (who also served as executive producer) had. But despite his good intentions, the script is a mess and could’ve used fresh blood. I’m confident this is the type of movie that in year’s time will air on SyFy or USA Network.