Heineken? F$%k that sh!t! Pabst Blue Ribbon!!! - The Greatest Beer Run Ever Review

Anti-war film in the vein of Platoon? Military comedy a la Stripes? Heroic action film? Peter Farrelly’s latest effort is all of these, with some coming-of-age/journey-of-self discovery elements tossed in for good measure.

The problem, however, is that it is ALL of those things, resulting in the overall tone of the film being incredibly uneven. It can’t seem to make up it’s mind if it wants to be a ribald comedy, a somber socio-political commentary, or a gonzo war picture. In short it shifts tones so frequently that it leaves the viewer dizzy. I found myself laughing hysterically at a scene only to be slapped in the face by some ardent message while I was still mid guffaw. Or I found myself tearing up during an emotional moment only to have an ill-timed belly laugh thrown at me. The film is a veritable roller coaster, which becomes erratic and jolting.

Ups and downs aside, the story is anchored by a bravura turn from Zac Efron. Honestly, I’ve never paid much attention to this dude as I always (unfairly) remember him for his early Disney dancing and singing days. While I never watched any of the High School Musical films, that image of Efron is indelibly etched in my mind. Heck, I can only recall two other films that I’ve seen him in: Me and Orson Welles and The Beach Bum. I don’t remember much about him in the former, but he all but saved the latter with a hilariously over-the-top turn as a drug addict. Here he maneuvers the rocky tonal shifts with aplomb, delivering some nice comedic moments, some solid dramatic flair, and based on how he dodges gunfire and grenades, he might actually make a good action hero someday. The supporting cast, consisting largely of unknowns (to me, at least) is strong and the two high profile cameos—Murray and Crowe—are put to good use. 

The Greatest Beer Run Ever is a conflicting film, one that never really finds its voice or footing. In many ways it is a mirror reflection of the war that it depicts: chaotic and confusing, but also exciting (at times) and emotionally charged.

Bottomline: No need to head out to the cineplex to see it. If you have AppleTV, just stream it instead.

31 Days of Horror (Films) - Day 2

 WRONG TURN (aka THE FOUNDATION) (2021) - streaming on Showtime

I had been vaguely aware that they had turned the 2003 Wrong Turn into a franchise, but had no idea that this 2020 "reboot" was the seventh(!) entry in the series. I think I saw bits & pieces of WT 2: Dead End on the SyFy Channel late one night, but all I remember about it is that Henry Rollins was in it. 

For those of you unfamiliar with the Wrong Turn concept, it basically took The Texas Chainsaw Massacre and The Hills Have Eyes, mashed the key elements of both together, moved the actions to West Virginia, and BAM! called it a new movie. The original film was enjoyable, if predictable and trope/cliche ridden fare. It certainly didn't warrant 6 sequels, though.

Despite the incessant hyperbole displayed by most horror enthusiasts online, I decided to give this effort a go. I am not sure why they decided to use the Wrong Turn name (although the script here is penned by Alan B. McElroy, who wrote the first film and is returning to the franchise after 18 years) as this film shares very little in common with its predecessors. Sure, an annoying group of spoiled city kids get lost in the woods and all hell breaks loose, but everything else is just enough different that it really should have been a standalone film; we didn't really need a reboot of a mediocre franchise is what I'm saying.

Unnecessary attachment to the "Wrong Turn" title aside, this is an entertaining, if derivative bit of action horror.  As for changes, they are subtle: the action has been moved from West Virginia to Virginia and our protagonists get lost on the Appalachian Trail rather than on some backwoods road. The antagonists have changed a bit, too, but to talk about them would spoil the new slants to the familiar story. Speaking of which, the plot ticks off all the requisite tropes and cliches, starting with annoying and mostly unlikeable characters (except for Matthew Modine's father character; I love how he is becoming a horror icon in this part of his career!), creepy locals, and the like.

The acting is decent enough and the pacing, while starting off slow, ends up being pretty quick. The director knows when to amp things up and the action sequences are pretty intense, especially the opening act tumble down a hillside and the third act bravura finale. The "reveal"/twist to the original Wrong Turn is a little tepid, a little confusing, and meant to make some sort of socio-political statement, but what exactly, I'm not sure.

This film definitely falls squarely into the B-movie category and as such it provides some chills and thrills, but overall isn't terribly spectacular (though that hill tumble sequence and the finale are pretty sweet and there's a fair bit of solid practical gore sprinkled throughout). Sadly, the specter of the horrible Wrong Turn films (2-6) hangs over this endeavor. Personally, I woulda called it Appalachian Terror or just The Foundation. But what do I know?

31 Days of Horror (Films) - Day 1

WEREWOLVES WITHIN - streaming on Showtime

In the pantheon of werewolf movies only four readily come to my mind as approaching greatness: An American Werewolf In London, The Howling, The Company Of Wolves, and Ginger Snaps. While Werewolves Within doesn’t come close, it is a breezy and often entertaining entry in the genre. Rather low on gore and scares, it’s a mildly campy effort which unfolds like an Agatha Christie whodunnit. While I was sufficiently distracted as to who the werewolf was—via classic bait-and-switch and countless red herrings—when the reveal came I wasn’t at all surprised. Sadly, the werewolf FX were a bit lame and some of the humor and stereotypical characters were a bit thin. Yet despite the lack of horror, gore, and the rather mediocre werewolf effects, this was a fairly enjoyable effort.

31 Days of Horror (Films) - Commitment

So I decided somewhat last minute that I would attempt to watch a horror movie a day for the entirety of the month of October.

Thusly, I present to you "31 Days of Horror (Films)."

Last year I dove into “Noirvember,” where I watched a noir film for every day of November.

Yet, in all my years, I’ve never attempted the “31 Horror Films In October” challenge (i.e. watching a horror film a day leading up to Halloween).

Figured this year is as good as any to give it a go.

Lottsa offerings on the various streaming sites, so there is no shortage of (hopefully) terrifying fare.

We shall see.

Daydream Believer - Moonage Daydream film review

 Wow.

Just saw this on the IMAX screen in Sparks, NV.

My ears are still ringing.

Less a documentary than it is a mind-melting melee of sound and vision; it mixes archival footage, animation, and voiceovers into a blazing assault on the senses.

While more or less unfolding in a linear narrative, it is by no means comprehensive, starting at Bowie’s Ziggy period and then zig-zagging loosely through some of his other personas and career milestones.

For the most part it is largely intense and engaging, yet it does tend to drag in spots. However, the slow moments are easily overshadowed by numerous chill inducing bouts of emotional bliss.

Highly recommended.

The Best Laid Schemes...See How They Run film review

Evoking Hitchcock by way of DePalma, Woody Allen by way of Wes Anderson, and embracing Agatha Christie with both reverence and tongue-in-cheek, this is a deliciously delightful romp that is a film lover's wet dream. 

It's a slick and snarky whodunnit brimming with a wonderful ensemble cast, punchy dialogue, a fantastic score, and lots of cinematic chicanery.

Above all else, it's just a fun film.

RIYL:  Knives Out; Bullet Train

At The Gates: Barbarian film review

 As with both X and Bodies Bodies Bodies, this is a horror movie that is fast, furious, and fun, though not terribly original.

Astute horror fans will quickly discover that writer/director Zach Cregger has judiciously borrowed ideas from a number of other films, most notably People Under The Stairs, The Texas Chainsaw Massacre by way of House of 1000 Corpses, and Don’t Breathe (and perhaps just a smidge of The Collector), just to name a few of the obvious influences.

While Barbarian certainly looks and feels like a compendium of other films, it’s smart enough to keep the story moving at a breakneck pace. On top of that it saturates the visuals with throbbing and disconcerting sonic ambiance and packs in just enough jump scares and WTF moments to keep you enthralled for its hour-and-43-minute duration. 

Sure, the #MeToo and Blue Lives Matter commentary is a bit heavy handed and the reliance on so many familiar tropes without really tweaking them is a bit frustrating, but as a calling card for Cregger’s continued career as a genre director it’s not too shabby (it’s worth noting that prior to this film the bulk of Cregger’s work has been in comedy).