Margaret Lanterman and Other Thoughts On Twin Peaks Part 15

August 20, 2017

With Part 15, Twin Peaks finally talks about Judy, resolves a couple of important plot points and says goodbye to a dear old friend. As she once said, “the sadness will end” and it is hoped she has found her rest.

The Case

Hutch and Chantal finally arrived in Vegas and took care of the first of their objectives. For all his planning, Duncan Todd could not prevent death from walking into his office and making his brain go pop. Of course, he was always expendable and Bad Cooper owed him nothing. If you really want to feel bad for anyone, feel bad for his assistant. Then again, he knew exactly what Duncan was up to and continued to work for him.

Did you catch that it has only been five days since Bad Coop and Chantal met up at the motel? The five day timeline comes from Bad Coop himself when he asked Phillip Jeffries (now inside one of those diving bells) if he was the voice on the other end of the line in the Part 2 phone call. Curiously, Jeffries never answers that question as he offers Bad Coop something else: Judy.

Meanwhile, the Vegas FBI fumbled on their part of the case by bringing in the wrong Douglas and Jane Jones. Granted, Headley and Wilson make a great comedy duo. But it once again highlights the charmed life Dougie Jones led even before Cooper took his place. Nothing ever stuck to Dougie Jones.

And speaking of Cooper, he may have finally regained himself. All it took was the right moment in Sunset Boulevard — the very one which inspired Gordon’s name — and some electricity. You knew it was coming as soon as Janey-E expressed her satisfaction with the last five days. Everything is finally going her way, which means she has to lose Dougie forever. No one gets to be happy for long.

The Updates

But if anyone deserves to be happy in Twin Peaks or in the nearby counties, it’s Norma Jennings and Ed Hurley. As readers of The Secret History of Twin Peaks know, their story has been one of terrible timing and outside manipulations. Ed went into military service and his former friend Hank Jennings hid his letters to Norma so he could move in on her. They got married. Ed eventually married Nadine. Ed and Norma almost made it work in the late 1980s, but the fickle hand of fate parted them for another twenty-five years.

And just as fickle, Nadine decided to let Ed go. Although, I half-expected her to whack Ed with her golden shovel. Nadine was never level headed or rational, so to see her so centered was maybe one of the more terrifying things Twin Peaks has ever depicted. It also led us to the most tension-rich scene the RR Diner has ever served witness to. Just as it seemed Ed’s wish would be denied, he and Norman are finally together. I genuinely hope its their happy ending.

Elsewhere, Audrey and Charlie are still arguing. Their fight must be happening on night six for it to take up this much time across episodes. But at least we know she is Richard’s mother now. She also has a pronounced violent streak. We’re left with the image of her choking Charlie. It’s not really what anyone wanted for her, but I can’t wait to see what happens when she finds Billy.

Her reaction might be similar to Bobby and Freddy’s to the Experiment (Judy?). Locked up for clocking to local oafs but good, their stay in the Sheriff’s station lockup may lead Freddy to where the Fireman needs him to be.

Meanwhile, in the woods, Becky’s husband Steven appears to have offed himself. Why Donna’s sister Gertsen ended up in this mess is anybody’s guess.

The Questions

Did anyone ever pick up Jerry?
Did anyone check Billy, er, “the Drunk” for a serious medical condition? He looks bad and none of the deputies seem to care. Well, presuming they’re even aware of him. Maybe only Chad can see him because he’s the worst.
Has it really only been five days?
Why was that young woman screaming at the Roadhouse? Is it a sign of bad things coming?
How is Phillip Jeffries influencing events from inside a diving bell?
Who is Judy? How does either Cooper know her?
What do Margaret’s last words mean?

Not about Judy

I’ll be honest, every week I call this section “Not about Judy” in the thought that it would never really matter. As Phillip Jeffries’ major bit of non-sequitur dialogue, I expected it to be lost like so much red drappery. In early drafts of Twin Peaks: Fire Walk with Me, Judy was supposed to be Josie Packard’s twin sister. The idea was scrubbed early and yet remains a key part of the Jeffries scene. In college, an acquaintance of mine was convinced Judy was tied to the garmonbozia and the Black Lodge.

Which leads to a new question: is Judy BOB’s mother and the creature glimpsed in Part 1?

It also makes you wonder what the numbers Jeffries offered Bad Coop — 480551 — have to do with Judy. Maybe it’s time to stop talking about Judy. Instead, let’s consider where Bad Coop found Jeffries: inside a motel above the convenience store filled with Woodsmen from Part 8. They also spoke backwards, the tell-tale sign that this is another place reached by a vortex.

Back in Fire walk With Me, Jeffries shouts that he’s been to “one of their meetings … above a convenience store.” Clearly, this is the place he found in 1987. And since it can move around, it’s also reasonable to believe he found it in Buenos Aires; his last known location at the time. And to draw one connection, one of those golden Phantasm balls appeared in Buenos Aires four or five episodes back.

It’s funny how the stuff you think doesn’t matter — Nadine, James, Judy — end up being the most important things in the universe.

Margaret Lanterman

Then the episode stops for one of the most heartbreaking things ever recorded. Catherine Coulson has been with David Lynch from the beginning. She appeared in his 1974 short film The Amputee and worked behind the scenes on the four-year production of Eraserhead. An image of her carrying a log at the time led to Twin Peaks‘ Log Lady. When the show began a second life on Bravo, Lynch brought her in to record cryptic monologues before each episode. So to have her there in a small set — or her home — hooked up to oxygen and shout “I’m dying” was certainly shocking, but also the beginning of Lynch’s strange tribute to both her and the character.

Instead of letting Margaret be cryptic to the end, she finally revealed a true part of herself by admitted she was scared to die. A sentiment one can imagine Coulson shared. Each labored word breaks your heart as both actor and character finish one last task before departing.

The quiet shots in the Sheriff’s station conference room were a perfect way to say goodbye.

But what do you think of this week’s revelations? Did you think you know who Judy is? Did Cooper get his mind back? Let us know in the comments below.

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Can We Fix ‘The Dark Tower’?

Eric Morales

August 20, 2017

Before we go any further, if you haven’t read any reviews for The Dark Tower, ours called it a “middling 85-minute bore.” Regardless of if you’ve seen or liked it, it is undeniable that the film is a flop. It was the lowest August opening weekend since 1992, and is critically panned (sitting at an 18% on Rotten Tomatoes as of writing).

Yet it’s also true that it was a massive undertaking, a highly anticipated adaptation, and one of the rare survivors of developmental hell. This suggests that it could’ve been a rousing success, let alone salvaged. Nonetheless, it was obviously a tough nut to crack.

That being said, here’s how we would’ve fixed The Dark Tower adaptation. Also, there are significant spoilers ahead for both the film and book series.

Don’t make it a film adaptation

There really aren’t that many sprawling epic works with complex narratives that make it to film. Lord of the Rings is about the only example, and that only succeeded because Peter Jackson was given nearly a decade to create the films.

The Bible, Game of Thrones, The Walking Dead: there’s a good reason why these types of stories don’t make it to the big screen. It’s because they’re really, really difficult to tell in two hours.

That’s not to besmirch the creativity or skill of screenwriters. The fact is, these stories contain dozens (if not hundreds) of characters, long character arcs, and complex story devices. These are things that are not often (but not never) told well in the medium of film, largely because of time restrictions.

The Dark Tower is in the same vein of difficult, but turned up to 11. Stephen King, who authored the series, originally set out to make his own Lord of the Rings. Except instead of three books, it’s eight. And instead of easily understood lines of good and evil, Dark Tower has incredibly complex morals and themes, particularly for its protagonists.

This is all to say that a film adaptation of The Dark Tower was always going to be a mistake. It covers far too much ground and time, more similar to Game of Thrones than Lord of the Rings in that regard.

Two hour chunks of one of the greatest modern epics was never going to succeed.

Take it to premium cable/streaming

This should’ve gone to HBO, or a competitor premium cable or streaming service. And that really comes down to money and restrictions.

First, whoever carried the show needs the money to make it work. Game of Thrones kind of money. Luckily, there’s not huge battle scenes, so the money spent on the Battle of the Bastards can go towards the multitude of locations, set designs, and special effects.

Second, the carrier needs to have little restriction on its content. King’s books have never shied away from maturity, and for good reason. The first book alone includes a copious amount of death, some mild sex scenes, and one pretty graphic abortion.

Given these benchmarks, it would have to be HBO, Starz, or Showtime. While AMC, Netflix, Amazon, and Hulu lack restrictions, their originals tend to have lower budgets that would make an epic adaptation harder.

Start with the first book

The movie’s biggest mistake was biting off more than it could chew. It attempted to adapt the entire broad stroke of the series into one 95 minute story. It’s just not possible.

Instead, start with the first book, The Gunslinger. It’s much smaller, and is fairly separated from the rest in its tone. It has fewer locations, special effects needs, and characters. The result is a pretty low-risk first season.

Adapt the themes, not the text

One thing the movie did do right: it didn’t directly adapt the books, scene for scene. And that’s smart. Not only does it allow them more creative freedom, it also follows up on the series perfect ending.

If you haven’t read the book series, stop now and go read them. Come back when you’re finished. Seriously. I’m warning you.

Last warning.

So the series ends with Roland finding the Tower, and climbing to the top. There, he walks through a door with his name on it, only to find himself back at the beginning of the series.

Essentially, Roland is living in a loop. The Tower won’t let him go until he completes his journey the right way, or dies trying. It is heavily implied that the lesson Roland still has yet to learn is the recognition of his humanity, identity, and compassion.

Where the movie went wrong, and fatally so, was the complete ignorance of the themes of the story.

The Dark Tower exists to buck the concept of the Hero’s Journey, and the duality of good and evil from LOTR. Here, the hero finds no redemption, conclusion, reward, etc. He is sent back, he must do the journey again. Not because he isn’t skilled, or didn’t learn things, like in most narratives. It’s because he didn’t learn the right things. He can be better.

The strongest underlying thematic is the treatment of good and evil. The film treats evil like most typical, often shallow stories. Matthew McConaheuy’s Man in Black is evil, entirely. He also has an evil mission of blowing up the Tower with a laser beam. Clear cut stuff.

Yet the book series questions this portrayal of what good and evil even are. Throughout the entire story, the Crimson King is built up as a great evil, the destroyer of peace and goodness, the Sauron/Emperor of the story.

When he is finally introduced in person, the Crimson King is essentially worthless. He’s a bumbling insane man, high on his power that has been long-ago ignored.

The “evil” of the story was perpetrated not by this all powerful force, but instead by simple, everyday things. Greedy corporations, human trafficking, corruption, racism, sexism, abuse, neglect. That is what evil is.

In the same vein, good isn’t Frodo with the ring, or Luke in X-Wing, or more recently, Wonder Woman as the god-killer. It’s being a father figure to a child who needs it. It’s placing a cross on the steps of the Tower because someone asked you to. It’s a rose in an abandoned lot.

It doesn’t matter what any adaptation of The Dark Tower did with the plot. With a deft, experienced hand, and a respect for the source material, it would be passable at worst. But respecting and utilizing these themes, completely unique among most of its peers, would elevate it to greatness.

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Official Synopsis For M. Night Shyamalan’s ‘Glass’

Matthew Sardo

August 20, 2017

Last week Samuel L. Jackson revealed his production schedule to ‘Glass,’ M. Night Shyamalan’s follow-up to ‘Unbreakable’ and ‘Split.’

‘We start rehearsal on [September] 18th and I start shooting on the 25th. (…) I’m anxious,’ said Jackson to Collider.

Now this week, an official synopsis for ‘Glass’ was released:

M. Night Shyamalan brings together the narratives of two of his standout originals—2000’s Unbreakable and last year’s Split—in one explosive, all-new comic-book thriller: Glass.

From Unbreakable, Bruce Willis returns as David Dunn as does Samuel L. Jackson as Elijah Price, known also by his pseudonym Mr. Glass. Joining from Split are James McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within, and Anya Taylor-Joy as Casey Cooke, the only captive to survive an encounter with The Beast.

Following the conclusion of Split, Glass finds Dunn pursuing Crumb’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator who holds secrets critical to both men.

‘Glass’ will look to Jackson to carry the film as Mr. Glass, and we all know, the greater the villain, the better the hero.

‘Glass’ hits theaters on January 18, 2019.

‘Split’ was an unexpected surprise at the box office in 2017, all eyes will be on ‘Glass’ in 2019. Do you think Shyamalan can handle the pressure? Comment below.

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Actor And Comedian Jerry Lewis Dead At 91 Years Old

Jonathan Bruce

August 20, 2017

Jerry Lewis is gone. He was 91 years old.

The comedian passed away Sunday morning, according to reports.

Lewis’ agent confirms he died at home, surrounded by his family.

Born in 1926, Lewis was the only child of vaudevillian Danny Lewis. He would make his stage debut at the age of five. In his teens, he did a solo act miming to popular records.

From 1946 to 1956, he was part of the Martin and Lewis comedy team. Dean Martin would play the role of the straight man, while Lewis put his slapstick skills to good use. To audiences and critics, they became “the Organ Grinder and the Monkey.” Lewis’s shtick would be that of “the Kid”, a child in the body of a grown man. They had a string of successful films, including Sailor Beware, The Caddy, and Pardners.

The duo’s fame was akin to that of Elvis Presley or the Beatles. Ultimately, Lewis’ popularity came to overshadow Martin, who put less and less work into their routines. They would call it quits in 1956 after ten years together. Although they did reconcile in 1976, the duo performed once more on Martin’s 72nd birthday.

After splitting with Martin, Lewis continued to act, write and direct movies for Paramount. His biggest hits include Cinderfella, The Bell Boy, and The Nutty Professor. While his US popularity would decline in the 1960s, the French would come to view him as an icon.

When he wasn’t acting, Lewis would also teach a filmmaking course at the University of Southern California. Another venture he ran was Jerry Lewis Cinemas, a franchise which only showed family-friendly films.

As he got older, Lewis did try to venture out into more serious material. The Day The Clown Cried should have been his first dramatic film, but it never got a release due to legal problems. The film is now at the Library of Congress, but it will not be shown until 2025.

Following Clown, Lewis did not act again until 1980’s Hardly Working. By 1983, he got a more adult role as a talk show host in Martin Scorsese’s The King of Comedy. He made his Broadway debut in a 1995 revival of Damn Yankees.

When he wasn’t performing, Lewis was known for his work as a spokesman and advocate for muscular dystrophy. His annual Jerry Lewis Telethon and charity Jerry’s Kids would raise more than $2.45 billion. He would serve as Emcee of the event, which he did until 2010. Up until 2016, Lewis would do comedy shows in Las Vegas.

He is survived by his second wife and six of his seven children.

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The Hatred: A Nazi, College Girls, And A Cursed Object Share A Home

Ruben Diaz

Popcorn Frights Film Festival unveiled a host of horror movies on South Florida this past weekend. Monkeys Fighting Robots was there to cover some of the 40 features and short films that featured in the festival. In some cases, these movies are making their North American premiere. One such premiere is The Hatred, a film from Malek Akkad, the producer of the Halloween franchise. The Hatred is about a home cursed by a Nazi treasure and though it’s plagued by a few inconsistencies is still a fun popcorn flick.

Well, it’s unthinkable for regular people, not so much for Nazi.

The Hatred begins with a prologue that introduces viewers to Samuel Sears (Andrew Divoff), his wife, and daughter Alice. The trio lives on a farm where Mrs. Sears home-schools their daughter and other kids. Alice wants to see more of the outside world but father Samuel is not having any of it. Soon after it’s revealed that Sears is a former high-ranking member of the Nazi regime and he’s holding an artifact left to him by the Furor himself. The object, a palm-sized iron cross, amplifies hate. Hitler’s asked Sears to bury it away. Sears does as told, but in an argument with his daughter, the iron cross’ power takes hold, and Sears does the unthinkable. Well, it’s unthinkable for regular people, not so much for Nazi. Soon after, Mrs. Sears learns about the gruesome act and commits one herself then leaves the farm for good.

The film picks up on the house in the present day as four college girls head to the renovated (yet cursed) location. Reagan, played with optimistic, final girl bravado by Sarah Davenport, is watching the home on behalf of her professor. Reagan is an old friend of the family and is also babysitting young Irene (Shae Smolik). Along for the ride are Regan’s friends, Layan (Gabrielle Bourne), Betaine (Alisha Wainwright), and Samantha (Bayley Corman).

The Hatred offers some pure fun.

After the girls arrive and settle into the home, the spirit of Alice and the power of the cross begin to mess with them. One by one the girls are tormented until death. Along the way, Samantha discovers some of the Nazi documents and gives the girls a little insight into what is killing them.

Between jump scares and tense build-ups and releases, one sequence stands out above the rest. Without spoiling it, the moment comes near the end, and it subverts the familiar horror tropes several times before delivering a truly genuine scare.

The Hatred offers some pure fun. However, it does lack a truly solid narrative punch. The characters, aside from Divoff’s stoic Nazi, aren’t very intriguing either. They’re fodder for the story. So, don’t go into The Hatred thinking you’re getting a slasher gorefest because it’s not that and it’s not The Exorcist or a tour de force of psychological terror like Session 9. The Hatred is popcorn horror that keeps the scare-party going.

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REVIEW: ‘Ingrid Goes West’ is an Awesome Stalker Comedy

Jon Barr - TV Editor

The new movie Ingrid Goes West is a fun, dark take on social media. The film revolves around Ingrid, who moves to LA to befriend (or stalk) Instagram personality Taylor Sloan. What follows is a crazy tale, as Ingrid changes her life to mimic Taylor. Ingrid’s journey is exciting to watch, and the audience can’t help but root for Ingrid’s crazy plans. Ingrid Goes West is a pretty formulaic film, but its standout style makes it great.

Ingrid’s journey to befriend Taylor is fairly easy to predict. It’s the humor of the film that makes it entertaining. Using Instagram as a framework for Ingrid’s obsessive personality works wonderfully. It’s almost like an episode of Black Mirror, as the film is entrenched in the modern world of technology. However, much like Black Mirror, the movie isn’t really ABOUT technology. It’s about broader themes, like living vicariously through others. The humor and style, particularly the use of cell phone technology, makes Ingrid Goes West feel especially original.

The highlights of the film are definitely the two leads. Aubrey Plaza as Ingrid is a dynamic and funny protagonist. Ingrid is more than just an obsessive cell phone addict. Watching Plaza transform from an insane slob to a West Coast wannabe is hilarious. Ingrid is also relatable in a way, as she tries to live vicariously through Taylor. Elizabeth Olsen, additionally, is great as the entitled social media star. The way these two bounce off each other makes for a compelling core of the film.

Unfortunately, many of the characters are too one-note. Dan Pinto (O’Shea Jackson Jr) has great comedic timing, but his character is flat. Jackson is fun as the semi-romantic interest, but his obsession with Batman gets old quick. Likewise, Nicky (Billy Magnussen) is a fairly basic bro – literally, he’s Taylor’s douchey brother. Nicky is more obnoxious than evil, and it makes him a more boring antagonist.

[embedyt] https://www.youtube.com/watch?v=KgR0T1ugSgo[/embedyt]

The ending highlights what makes the film work so well. The darkness that Ingrid Goes West explores makes the film work. The movie is a truly dark satire of modern life. Ingrid Goes West uses Instagram as a way to explore how people fiend for attention, and the need for validation. Ingrid Goes West is a formulaic film, but a stylistic triumph.

STAND-OUT PERFORMANCES: Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr.

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Still/Born Gives Birth To Another Great Horror Movie For 2017

Ruben Diaz

Thanks to the Popcorn Frights Film Festival, Monkeys Fighting Robots was treated to a host of soon-to-release horror movies that truly personified the broad spectrum of styles that the genre offers. Festival organizers Marc Ferman and Igor Shteyrenberg select every feature and short. And out of combined 40 films, they knocked it out of the park like Hall of Famers. And out of the various selections, Still/Born stood out from the rest. The film is a tense, unnerving horror entry worthy of cult status and many sequels.

Still/Born turns a simple, beautiful wooden staircase into a terror-inducing moment simply by turning on a light.

Still/Born tells the story of Mary (Christie Burke, Twilight Saga) and Jack (Jesse Moss, Tucker & Dale) who have twins but lose one at birth. As the family makes a cozy life in their new home, Mary starts losing touch with reality. She begins to hallucinate the sound of another child and seeing the image of some … thing … taking her baby. Husband Jack tries to be supportive until Mary’s psychosis goes too far. Friend and neighbor Rachel tries to help too, but there’s something about Mary and it’s driving her crazy. Science brushes it off as postpartum depression and treats it all with pills. However, real or not, it’s real enough to Mary and pills won’t stop her sense of impending doom.

As a modest-budget Blumhouse-style horror film, Still/Born takes place mostly in and around the married couple’s home. In real life, it’s the home of Director Brandon Christensen parents, and along with Cinematographer Bradley Stuckel the pair make every corner of the home count. Still/Born turns a simple, beautiful wooden staircase into a terror-inducing moment simply by turning on a light. It’s fantastic work and pure horror fun.

The opening moments of the film are a beautiful combination of director’s vision and actors doing it all without a word.

As a “one-set” movie, the pressure on the actors to carry the narrative tension is on. Christie Burke would be a star in the silent era with her ability to deliver so much with just a look. Her eyes become unnervingly large during moments where she sees what she believes is a baby-eating monster. Moss’ Jack is the right mix of nice guy and maybe a dick too, that adds to the doubt in Mary’s fragile mind.

The opening moments of the film are a beautiful combination of director’s vision and actors doing it all without a word. It’s a subtle visual sequence that gives you all the backstory you need to know without useless, filler dialogue. We’ve seen the familiar image of a woman giving birth. But here it’s done in silence. Just watching Burke and the medical staff go through the process. The camera ever so slowly moving in and the viewers adding in the chaotic sounds of the moment. And when the first baby is delivered, there’s a brief moment for everyone to breathe, before, again in silence, Burke lets us know there’s another on the way.

Still/Born is a horror-thriller that belongs in the same discussion as other modern gems like The Conjuring or The Babadook.

Great horror is patient. It lingers on shots a little longer to force the audience to a point where it’s asking, “What’s going to happen?” Cynics will rush through thoughts of what might happen while those buying into the reality of the film will shrivel. The release of tension is either euphoric for the “shrivlers” or a surprised slap across the face that, for some reason makes the cynics smile. It’s what makes horror so unique as an entertainment form and Still/Born harnesses it with precision.

Still/Born is a horror-thriller that belongs in the same discussion as other modern gems like The Conjuring or The Babadook. It’s horror that’s been honed like a laser. There’s no wasted moment in it, no extra storylines to pad the running time. Everything serves the next scene and the film as a whole which is what filmmaking is supposed to be.

Too often horror movies descend into a video game, “final boss” fight. All that is twisted in on itself here in Still/Born to great effect. The indie film comes together as another horror gem in 2017, and one to look out for as it secures distribution rights.

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REVIEW: ‘Wind River’ is Another Brilliantly Tense Taylor Sheridan Story

Larry Taylor - Managing Editor

Wind River is the third film in as many years from the mind of Taylor Sheridan. In 2015, Denis Villeneuve directed his screenplay for Sicario (brilliant). Last year, it was David Mackenzie at the helm for his Hell or High Water script (excellent). Now, Sheridan has gotten the chance to direct his own words with Wind River; it may very well be, somehow, the best of the three.

Sheridan’s story takes us to a Native American reservation in the snowbound mountains of Wyoming, where a young woman has been discovered dead, barefoot in the snow. The man who discovered her is Cory, played by a perfectly weathered and weary Jeremy Renner. Cory is a contracted game hunter in the area, and he has tragic ties to this dead woman. The reservation chief, Ben (Graham Greene), has limited resources, and the green FBI agent who’s sent to investigate, simply because she was nearby, is more eager than she is adept.

The agent is Jane, and she is played by Elizabeth Olsen in a performance that may be easy to overlook. This is Renner’s film, and he is pitch perfect as a man who has come to terms with a tragedy that has shaped his life, but a tragedy he carries with him nonetheless. Cory’s life, and the life he still shares with his ex wife and young son, is part of the tapestry of this land the country has seemingly forgotten.

The reservation here is as much a character as the dried up Texas towns were in Hell or high Water, or the Mexican border in Sicario. It is a harsh, unforgiving land, soaked in despair and littered with Native American men and women who never even had a chance to find a path to success in America. Drugs and poverty pollute the majestic landscape that surrounds them, and as Cory, Ben, and Jane begin their investigation, some of that despondent society rears its ugly head.

Much like the previous two Sheridan films, Wind River is a story which builds on the emotional depth and complexity of its characters, then unleashes all manner of hell in fleeting moments of unbearable tension, violence, and resolution. And the emotional thrust of the film doesn’t only belong to Renner. With only a few words, we understand Ben’s plight – which is helped along by a terrific performance from the criminally underused Graham Greene. And even though Jane is an outsider, Sheridan allows her character to do more than simply push the plot forward; we see her thinking, calculating, adjusting to this foreign world, making split-second decisions and getting pulled into the history of these people herself. The parents of the dead girl have mere moments in this story, but those moments are as weighted as anything in the entire film.

We are immersed in this world, caught up with these people living on the outskirts of modern society in a place the rest of the country left behind; and when the violence comes it is with such searing intensity and undeniable consequence, we cannot help but clench our teeth and fists. Without giving anything away, there are certainly a few harrowing scenes, and the way they are spread across the picture creates a brilliant sense of pacing.

There may be a few loose ends in Wind River, but these details don’t steal away the overwhelming impact of this picture; not in any way. It is a brilliant piece of filmmaking, and proof that from now on, Taylor Sheridan should be allowed to shoot his own screenplays. The men from the other two did tremendous jobs, make no mistake, but if he has this in him as a director, why bother binging anyone else in?

Whatever the case, let’s keep this pattern of “a Taylor Sheridan story per year” going.

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‘The Hitman’s Bodyguard’ Review: Jackson and Reynolds Make This A Hit

Dewey Singleton - Film Critic

Tremendous on-screen chemistry between the two male leads elevates The Hitman’s Bodyguard paint by numbers narrative into a great date night film.

Summary

The narrative centers around a former A-Level bodyguard (Ryan Reynolds) and a transport who happens to be a world famous assassin (Samuel L. Jackson). Elodie Young plays an Interpol agent who turns to Reynolds character in her hour of a need to help take Jackson’s character to testify against a dictator (Gary Oldman) who is on trial for human rights atrocities.

What Worked

The chemistry between Jackson and Reynolds is off the charts. While this is by no means an original concept for a film, that doesn’t detract from how much fun you’ll have watching it. Both settle into their respective comfort zones. Jackson being the aggressor dropping F bombs and Reynolds being slightly less aggressive but equally as vulgar.

Salma Hayek had to have enjoyed the hell out of being in this picture. She plays Jackson’s wife and has this talent for breaking bottles and slicing bad guys throats. The role is a departure from what we are accustomed to seeing her play. While Jackson and Reynolds are certainly blue in this film, Hayek is two times worse.

The dichotomy between the two male hitmen was interesting. Jackson’s character seems to have no problems putting a bullet in someone while Reynolds character goes out of his way to avoid killing anyone. Writer Tom O’Connor appears to be giving the impression that each lead has a role to play (one is the good guy and one is the bad guy). However, each character has good intentions but has been motivated to go about it a different way. Reynolds’s character was working towards making a great impression with Interpol while Jackson’s character is motivated by the money he makes from each hit.

Director Mark Hughes doesn’t seek to reinvent the wheel and delivered a 118-minute romp that harkens back to some of the better action films from the 90’s. No thinking is required to watch this release.

Hughes also incorporated practical stunts in many of the films action sequences giving this film the same type of feel as one of his previous projects, Expendables 3.

What Didn’t Work

The cinematography was below-average at best. Jules O’Loughlin relied on shots that panned the screen rather than focusing on the action.

Gary Oldman wasn’t the best choice to play the dictator in the film. His accent was a mixture of northern England and faux European.

Overall

The Hitman’s Bodyguard is the cinematic equivalent of Taco Bell. No one actively seeks out making a run for the border, but it’s a means to an end. Don’t go expecting a high-brow comedy, but certainly be prepared to laugh your ass off. Critics often like to pick apart these type of releases but these films serve a purpose. The Hitman’s Bodyguard is a perfect date night movie or for anyone looking to have a great time at the theater.

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DC Comics Bringing More Face-Melting ‘Metal’ Mayhem In November And December

Manuel Gomez

August 19, 2017

Scott Snyder and Greg Capullo’s Dark Nights: Metal was just released this week (check out our review!) and fans are rocking out and raising fists to this action packed story. This mosh pit of storytelling will continue through the year in the form of a series of tie-in stories and a one-shot issue featuring the return of Thanagar’s favorite mystery hunter, Carter Hall aka Hawkman.

As a follow-up to the “Gotham Resistance” (Teen Titans #12, Nightwing #29, Suicide Squad #26, Green Arrow #32), “Bats out of Hell” (The Flash #33, Justice League #32, Hal Jordan and The Green Lantern Corps #32, Justice League#33) will see The Flash, the Green Lantern Corps and the Justice League fighting for their lives against the evil versions of Batman from the Dark Multiverse. The books will also feature connected covers that, that join to show members of the Justice League in a pitched battle against these malevolent dark knights.

Following in December, Metal fans get an early Holiday gift with the return of Hawkman! Hawkman Found #1 is a journey into mystery that connects to what’s going down in Dark Nights: Metal!

Check out the full solicits for all titles below:

THE FLASH #33
Written by JOSHUA WILLIAMSON
Art by HOWARD PORTER
Connecting covers by Ethan Van Sciver
“Bats out of Hell” part one! After the harrowing events of DARK NIGHTS: METAL #3, the JUSTICE LEAGUE has scattered around the world to find the only artifacts that can fight back against the invasion of the Dark Multiverse. The League thinks they know how to take back their world, but they are not prepared for who is standing in their way: The Seven Dark Knights of the Dark Multiverse. With all the brilliance of Batman, but none of the morals. Barry Allen, The Fastest Man Alive, is the first to get a taste of their plan, as THE RED DEATH takes him on at the Fortress of Solitude.
On sale OCTOBER 25 • 32 pg, FC $2.99 US • RATED T

JUSTICE LEAGUE #32
Written by BRYAN HITCH
Art by LIAM SHARP
Connecting covers by Ethan Van Sciver
A METAL tie-in! “BATS OUT OF HELL” part two! The Justice League have been separated by the dreaded Dark Knights and are forced into twisted Bat-Caves designed to kill them! The Batman Who Laughs and the Murder Machine experiment on Cyborg, seeing how he reacts to the horrors of the Dark Multiverse! Can the Justice League survive their worst nightmares made real?!
On sale NOVEMBER 1 • 32 pg, FC, $2.99 US • RATED T

HAL JORDAN AND THE GREEN LANTERN CORPS #32
Written by ROBERT VENDITTI
Art by ETHAN VAN SCIVER
Connecting covers by Ethan Van Sciver
A METAL tie-in! “BATS OUT OF HELL” part three! The Dawnbreaker descends on Coast City, ready to suck its light away before moving on to the rest of our world. Backed up by the power of the Justice League, Hal Jordan stands ready to stop the perverted Lantern—until the Batman Who Laughs steps out of the shadows.
On sale NOVEMBER 8 • 32 pg, FC, $2.99 US • RATED T+

JUSTICE LEAGUE #33
Written by BRYAN HITCH
Art by TYLER KIRKHAM
Connecting covers by Ethan Van Sciver
A METAL tie-in! “BATS OUT OF HELL” finale! it’s the Justice League versus the Dark Knights! FIGHT! The Dark Knights have taken a fallen Justice League to the frightening castle of [REDACTED] inside the possessed Gotham City, where they will be prepared as a sacrifice! The Justice League’s only hope is Cyborg, whose return from the Dark Multiverse has changed him forever!
On sale NOVEMBER 15 • 32 pg, FC, $2.99 US • RATED T

HAWKMAN FOUND #1
Written by JEFF LEMIRE
Art by BRYAN HITCH and KEVIN NOWLAN
Cover by BRYAN HITCH
Variant cover by JIM LEE and SCOTT WILLIAMS
One of DC’S greatest heroes is missing! No one has seen or heard from Carter Hall—a.k.a. Hawkman—in years. Reincarnated repeatedly since the dawn of humanity, Hawkman has spent his many lives uncovering history’s most fantastic mysteries, and now he has become one himself! Take a journey into one of the darkest corners of the DC Universe as a mysterious man tries to piece together what happened to Hawkman, and how it all connects to the events of DARK NIGHTS: METAL!
On sale DECEMBER 20 • 32 pg, FC, $3.99 US • RATED T+

What do you guys think? Are you hyped for this continuing epic event? Comment and discuss below!

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