CAST
Samuel L. Jackson (The Legend of Tarzan)
Kurt Russell (Fast & Furious 8)
Jennifer Jason Leigh (Single White Female)
Walton Goggins (Tomb Raider)
Demián Bichir (Che)
Tim Roth (Lie To Me)
Michael Madsen (Species)
Bruce Dern (The Driver)
James Parks (Kill Bill)
Dana Gourrier (Django Unchained)
Zoë Bell (Game of Death)
Channing Tatum (21 Jump Street)
Quentin Tarantino (Planet Terror)
Years after the American Civil War, bounty hunter Major Marquis Warren is transporting three dead bounties to the town of Red Rock, Wyoming. He hitches a ride on a stagecoach driven by O.B. Jackson. Aboard is bounty hunter John Ruth, and handcuffed to him is fugitive Daisy Domergue, whom Ruth is escorting to Red Rock to collect her bounty and watch her hang. Ruth and Warren bond over Warren’s personal letter from Abraham Lincoln. Former Lost-Causer militiaman Chris Mannix, who is traveling to Red Rock as the town’s new sheriff, persuades Ruth and Warren to let him on the stagecoach. Warren and Ruth form an alliance to protect each other’s bounties.
The group seeks refuge from a blizzard at Minnie’s Haberdashery, a stagecoach lodge. They are greeted by Bob, a Mexican, who says the owner, Minnie, is away visiting her mother. The other lodgers are Oswaldo Mobray, a hangman; Joe Gage, a quiet cowboy traveling home to visit his mother; and Sanford Smithers, a former Confederate general traveling to put his son to rest. Suspicious, Ruth disarms all but Warren. As the group eats, Mannix surmises that Warren’s Lincoln letter is a forgery. Warren admits this, saying the letter buys him leeway with whites, outraging Ruth. Warren leaves a gun next to Smithers and provokes him into reaching for it by telling Smithers he tortured, raped, and killed Smithers’ son. When Smithers pulls a gun, Warren shoots him as revenge for Smithers’ executions of black soldiers at the Battle of Baton Rouge.
While everyone is distracted by the confrontation, someone poisons the brewing coffee. Ruth and Jackson drink it, killing Jackson and seriously injuring Ruth. The dying Ruth attacks Daisy, but she kills him with his own gun. Warren disarms Daisy, leaving her shackled to Ruth’s corpse, and holds the others at gunpoint. He is joined by Mannix, whom Warren trusts because he nearly drank the poisoned coffee. Warren executes Bob, deducing that he is an impostor who killed the lodge owners, as Minnie hates Mexicans and would never leave one to care for the lodge. When Warren threatens to execute Daisy, Gage admits that he poisoned the coffee. A man hiding in the cellar shoots Warren in the genitals. Mobray draws a concealed gun and shoots Mannix, who returns fire, wounding Mobray.
Hours earlier, Bob, Mobray, Gage, and a fourth man, Daisy’s brother Jody, arrive at the lodge. They murder Minnie and five other bystanders, leaving only Smithers. Jody tells Smithers they plan to ambush Ruth to rescue Daisy, and that his gang will spare Smithers if he keeps quiet. The bandits dispose of the bodies, hide the evidence, and conceal guns around the lodge. As Ruth’s stagecoach arrives, Jody hides in the cellar.
In the present, Mannix and Warren, both seriously wounded, hold Daisy, Gage, and the dying Mobray at gunpoint. They force Jody out of the cellar by threatening to kill Daisy. Jody surrenders and Warren executes him. Daisy claims fifteen of her brother’s men are waiting in Red Rock to kill Mannix and ransack the town; if Mannix kills Warren and allows her to escape, the gang will spare him and let him claim the bounties of the deceased except her brother.
As Daisy and Mobray taunt Warren, Warren shoots them both, mortally wounding Mobray. Gage draws a hidden revolver, but is shot dead by Mannix and Warren. Warren then tries to shoot Daisy, but he is out of bullets. Mannix calls Daisy’s bluff and rejects her offer, but faints from blood loss. Daisy hacks off Ruth’s handcuffed arm and frees herself. As she reaches for Gage’s gun, Mannix regains consciousness, shooting her. Warren persuades Mannix to hang her from the rafters inside the lodge in honour of Ruth. Afterward, as the two men lie dying, Mannix reads aloud Warren’s forged Lincoln letter.
The Hateful Eight is a masterpiece. The rhythm is good, the film is balanced and it’s violent in almost a funny way. This is definitely a film I will see again.
A single mother (Jennifer Jason Leigh) moves into a new home with her three children, but the miraculous recovery of her previously comatose teenage son (Cameron Monaghan) leads to a series of sinister events that leave the frightened family fighting for their lives. Bella Thorne and Kurtwood Smith co-star.
Amityville: The Awakening is notable for a variety of reasons, and many of them have nothing to do with the quality of the film. For starters, it was completed back in 2012 and has been re-scheduled half a dozen time; it was most recently pulled last June mere weeks before it was set to hit theaters. So, for those of us who have been watching and waiting for Amityville: Awakening, following the film along every bump in the road, the fact that it finally came to fruition is kind of a big deal. But while the release is long overdue, it also coincides with an unprecedented Hollywood scandal: The revelations of sexual misconduct by The Weinstein Company co-founder Harvey Weinstein. Since Weinstein was fired by the company he created, Amityville: The Awakening is the first of his productions to be released. Tellingly, the fallen mogul’s name was removed from the film’s opening credits. Whether there is a resulting Weinstein backlash that will hurt the film’s performance remains to be seen, as fans mull turning their backs on anything that might end up putting money in his pocket.
Amityville: The Awakening arrived for a limited time on Google Play today; this will be followed by a limited theatrical release beginning on October 28th. The fact that Amityville: The Awakening was pulled from release so many time indicates that the studio had no faith in the film; it feels like it’s only reluctantly being released at all, and giving it away for free on Google Play suggests Dimension Films already considered it a complete loss. But even with tempered expectations, Amityville: The Awakening is genuinely, objectively fantastic. I don’t know if all the fine-tuning paid off, or if the Weinsteins simply misjudged a winner, but the movie is one of the best PG-13 horror movies of the 21st Century. Had it pursued a hard R, it could have rivaled The Conjuring.
As for its ranking within the loosely connected Amityville franchise (a rag-tag assemblage of mostly low-quality knock-offs capitalizing on the infamous address’s legacy), it’s easily number 3; right behind 1979’s classic and 1982’s Amityville II: The Possession. While it can’t touch the original, it’s a treat for those fascinated by the happenings at f 112 Ocean Ave. in Long Island. The film opens with historical documents from the actual DeFeo Family murders that occurred in 1974. From there, and combines several past approaches to the cinematic property; while firmly rooted in the haunted house subgenre, there’s also an emphasis on possession motifs. Like the prequel, there’s a brother/sister dynamic and family dysfunction at the core of Amityville: The Awakening—one that provokes the audiences on several levels.
Most surprisingly, and impressively, Amityville: The Awakening is a meta-film. Not only does it retain the “based on a true story” status touted by the original, it exists in a universe where all of the Amityville movies actually exist; essential, it’s a work of fiction that takes place in real life. So, imagine being a fan of the franchise and the chilling paranormal history of 112 Ocean Avenue, and then being given an opportunity to roam the property. That’s essentially what you get: A virtual tour of the iconic Amityville house, complete with windows that look like creepy eyes and a sinister red room hidden behind a wall in the basement. Imagine watching 1979’s Amityville Horror in the actually Amityville house! It would be an opportunity horror and supernatural geeks would pay an arm and a leg for. So, it’s will no small amount of vicarious satisfaction that we see a fictional film nerd do just that.
Divorced from the Amityville franchise, Amityville: The Awakening is still a powerful haunted house movie, so one needn’t have seen the original (or the 2005 remake) to dig it. Though there are Easter Eggs and nods to the original aplenty, it fits all the motifs associated with angsty teens in peril. There are some incredible jump-scares, and they’re pulled early; this sets the audience on edge from the get-go and the proceeding suspense works perfectly. There are also elements of medical and body horror; Cameron Monaghan plays James, a teen who’s been in a coma for years and, as a result, his body has atrophied into a waxy, twisted abomination (think Zelda from 1989’s Pet Sematary)—complete with bedsores. It’s got one serious gross-out moment, and could have only benefitted from more; I have no doubt that upping the ante and making The Awakening R-Rated would have only strengthened the end result.
While the audience associates the lead protagonist Belle (played by Bella Thorne), James is the personification of paralyzing fear. The claustrophobia of a haunted house is magnified exponentially when one loses the ability to run, react, or even scream. It’s a portrayal of helplessness that most teens, with their lives ahead of them and feelings of invincibility, would consider Hell. Amityville: The Awakening succeeds by rooting itself in the established franchise mythology, then compounding the inherent horror with extreme family dysfunction.
I liked Amityville: The Awakening way more than I expected to, and I had higher than average expectations. In many ways, it’s a movie made for Amityville Horror fans, but you needn’t be familiar with the past films or a true-crime buff to get a lot out of this tense and thrill-ride. The film stars strong and maintains its intensity. While not without flaws, this Amityville fan loved it; I’d recommend it to any fan of supernatural horror for an effective & surprisingly nuanced shocker.
Cellular biology professor and former U.S. Army soldier Lena (Portman) is under interrogation. Previously she was part of an expedition to an anomalous zone known as “the Shimmer”, but she was the only one to return. The Shimmer emerged three years prior from a meteor that landed in a lighthouse in St. Marks National Wildlife Refuge (called Blackwater National Park in the film) in Florida, and is gradually expanding and increasing its boundaries.
The group enters the Shimmer. Communication equipment does not function within the Shimmer’s territory, and the expedition encounters unusually mutated plants and animals: Josie is attacked by an albino alligator with many rows of shark-like teeth. At an abandoned military base, the group finds a video message from Kane’s previous expedition. The video shows Kane using a knife to cut open the abdomen of another soldier to reveal his slithering intestines. The group finds the soldier’s corpse, which has turned into an overgrown colony of lichens. At night, the base is attacked by a mutant bear that drags Cass away, and Lena later finds her mutilated body.
Within an abandoned village, Josie studies plants that have taken on a human-like form, and theorizes that the Shimmer functions as a prism for DNA, distorting and transforming everything that falls within its boundaries, including the expedition members’ own bodies. Anya, overcome with paranoia after watching her fingerprints change, disarms the other members and ties them to chairs, and accuses Lena of murdering Cass. The bear returns and lures Anya away by emitting a cry for help in Cass’ voice. The bear kills Anya, while Josie manages to free herself and shoots the bear.
Ventress leaves the group and heads for the lighthouse, the center of the Shimmer. Josie believes Cass’ dying mind was “refracted” into the bear, and allows herself to “refract” into a human-shaped plant to avoid a similar fate. Lena follows Ventress to the lighthouse, where she discovers Kane’s remains and a videotape. In the footage, Kane commits suicide with an incendiary grenade, but after the explosion, a doppelgänger of Kane steps into frame. Within the hole created by the meteor, Lena finds Ventress, who says something is inside her, but she cannot tell what it is or whether it wants anything. Ventress then disintegrates into a shimmering cloud alien that absorbs a drop of blood from Lena’s face and changes into a faceless humanoid being. Lena attacks it and leaves the hole, but the figure teleports outside.
After watching this film I read the reviews voted “most helpful,” which all were long lists of plot holes and logical inconsistencies. They are absolutely right. I didn’t think about it while watching the film, but when it’s pointed out, yeah, nothing in this movie makes much sense. But I still really liked it. It’s creepy and atmospheric and more concerned with the psychology of people on a suicide mission than on the nuts and bolts of scientific investigation. It’s often intense , usually beautiful, well acted, and had some really weird and mesmerizing moments. I won’t argue that you should forgive it for its plot holes, or that it has any deep meaning, or anything like that. In fact, it’s probably easier to make a convincing argument against the movie than for it. I’m just saying, I really liked it.
Superman is everywhere. He’s also been everywhere; for nearly seventy years now the character has been inspiring us with his tales of heroism, adventure, and fantasy. Seventy years is a long time and with a character as popular as Superman it equates to a lot of different interpretations. From the original comic books to a radio series to a handful of television shows, it seems that the Last Son of Krypton has done it all. We are very lucky then to have these DVDs, because in all of that time, throughout all the years, the stories found in Superman: The Animated Series are his best. The fifty-four cartoon episodes (spread across three boxed sets) that make up the complete run of Superman: The Animated Series aren’t just the best take on the character because they’re faithful. Nor is it because they’re animated, for all ages, or very imaginative. It’s for all of these reasons. And several more.
The creative team behind the series has plundered the rich mythology of the character and come up with a fantastic take on each and every piece of the Superman universe. For starters, their Clark Kent and Lois Lane interpretation is spot-on. Clark isn’t too much of a goof, nor is he too simple. Similarly, Lois is fiery, funny, and lovely. Seeing the characters come together at the end of Legacy, Part 2 makes for a great cathartic moment. Superman has saved Lois a countless number of times, it is only fitting then that Lois save him when he needs it. The main arc of this season borrows from the comic book universe and brings Darkseid and his homeworld to the forefront. Hinted at earlier in the show, it’s in this third volume that the Lord of Apokolips finally gets his payoff – and his payback. In a trio of two-parters, Apokolips… Now!, Little Girl Lost, and Legacy, Superman fights one of his most ruthless foes in a series of episodes that offer some excellent action, drama, and science fiction fun.
While these episodes are very faithful to the mythos, we’ve also got a great selection of original stories that go to prove that with a character like Superman, there is no limit to the stories that you can tell. One of my favorites is Knight Time. When Batman goes missing, Superman pays a visit to Gotham City and tries to find out where his friend has gone. Supes inadvertently ends up masquerading as Batman – dressing up in the Dark Knight’s costume and everything! – and teams up with Robin to solve the mystery of the missing Bruce Wayne. Not only is the episode entertaining, but it’s also got a great sense of humor. Seeing Superman do his best impersonation of Batman is wonderful – Clark doesn’t know which utility pockets contain what, and his attempts at being grim (nodding his head instead of speaking) are great.
Watching these shows you get the feeling that it was during this final stretch of episodes that the show’s producers were finding new ways of playing with the formula that they had designed, and perfected, with both Batman: The Animated Series and Superman: The Animated Series. Not only do these Superman episodes have a lot of two-parters, but we’ve also got some great guest-stars; it seems that this show is the precursor to Justice League. We’ve got heroes, Kyle Rayner from In Brightest Day, and villains, Ra’s Al Ghul in The Demon Reborn, and everyone in between – everyone’s favorite master of the sea, Aquaman in Fish Story. We also get an expansion of the Superman supporting cast when Supergirl makes a welcome appearance in the Little Girl Lost two-parter.
The animation is somewhat more limited when compared to the fancy digital effects that more modern shows exhibit, but the handcrafted style gives the show a wonderful atmosphere. If you pay close attention you’ll notice that a lot of effort has gone into the design of the animation – much more so than most animated series. The framing here is frequently packed. Helping flesh out the world are all of the voice actors; everyone from Tim Daly (as Superman/Clark) to Clancy Brown (as Lex Luthor) is perfect in his or her role. The only thing holding the show back, and this is a small point, is the fact that the stories, due to their child-friendly animated nature, are a little more limited than the best television shows tend to be. Even so, you’ll be hard pressed to find a better adventure series – animated or live action.
In one of the episodes found in this collection, Superman pays his final respects to a recently departed friend. In the graveyard, Superman comes to realize something very important: “In the end, the world didn’t really need a Super man. Just a brave one.” This show gives us a character who is both brave and super. It gives us a real hero. It gives us Superman… as good as he’s ever been.