I’ve seen the frame work for “Rear Window” tacked on to a lot of genres, from murder mysteries, vampire movies, werewolf movies, Bigfoot movies, and so much more. I don’t know if I’ve ever seen Hitchcock’s “Rear Window” turned in to a gangster thriller before. Director Nosipho Dumisa definitely has her eyes aimed at Alfred Hitchcock’s murder mystery masterpiece, but thankfully while the film is pretty much an homage (or remake, perhaps?), “Number 37” definitely manages to stand on its own as a stellar thriller in its own right.
I’m a big fan of Dwayne Johnson. What ever he’s in, I’m automatically going to watch no matter what as he packs a star quality that’s been missing in movies for fifteen years. I guess with every action star, it’s an oath they take that they must have their own “Die Hard” in their repertoire, and “Skyscraper” is that inevitable point in Dwayne Johnson’s career as a big screen hero prone to playing men staring down impossible odds. I’m sad to see that “Skyscraper” is about as bland and forgettable a vehicle as it gets, which is a shame since the premise has at least some potential to be quite an exciting twist on a creaky, worn formula turned sub-genre.
If anything, “Gotti” will go down as one of the most infamous movies of 2018. It’s a movie was in development hell for years, snuck up on audiences, and garnered a ton of bad reviews. And it responded by insulting critics and talking down to its audience. Make no mistake though, “Gotti” is bad. It’s very bad. It’s pure Oscar bait, with a director who realty wants his film to be “Goodfellas,” and a leading star who is so completely out of his lane it’s kind of sad to watch. Here John Travolta doesn’t seem to be acting, so much as competing for an Oscar nod, and it’s an endurance test from beginning to end.
Whether you know it as “Léon,” or “Lionheart,” or “Wrong Bet,” or “Full Contact,” or “AWOL,” or “Lion,” it’s tough to argue that this is one of Van Damme’s sillier roles. And this is a man who once played twins in an action movie vehicle (“Double Impact” is the best Van Damme movie ever made, I’ll argue that until I’m blue in the face). “Lionheart” is such an odd movie that I fondly remember loving back in 1990, but now in both versions, it’s kind of a weird movie that skips through various sub-genres of action cinema that feel awkward. At one point it even feels kind of like a “Rocky” wannabe.
The problem with prequels is that you already know what you’re getting, because you already know what’s going to happen to certain characters within the canon, so, “Solo” doesn’t pack much surprises. I will say though for arguably safe genre entertainment, it’s exciting and also delivers some well timed twists within its narrative. After the much ballyhooed problems during the making of the film, “Solo” ends up being a surprisingly competent popcorn movie that keeps a brisk pace, and channels the original tone of the episodes IV-VI better than the previous prequels/mid-quels (?).
It’s hard to believe but it’s been twenty five years since Brandon Lee was accidentally killed while filming “The Crow.” Lee was such a rising talent who wanted to prove himself as an actor more than become the next big action star, and he was well on his way. Lee, like his dad, had to earn a lot of his clout. First: by starring in films in Asia, and then coming to America to try his hand. But unlike his dad, Brandon had the humongous shadow of his father looming over him and he would have had to work extra hard to come out from under it and make Brandon Lee a very different name from Bruce Lee.
After the shocking success of “Deadpool,” it didn’t seem very likely that Ryan Reynolds and FOX would be able to follow up the first act in Wade Wilson’s arc. Lo and behold years later, “Deadpool 2” not only serves as a great second act of the Merc with a Mouth’s misadventures, but it’s just as good as the original. What I liked most about it though is that “Deadpool 2” further bridges the gap between Wade’s universe and his X-Men origins, proving that ironically these films understand the “X-Men” mythology so much more than any of the actual X-Men films combined.
It’s not so much the journey of getting the shoes but what they ultimately represent to a lot of people. Eventually the mission of young Brandon to get his Jordans back from a vicious neighborhood psycho becomes a lot more than re-claiming a piece of goods. It becomes about re-claiming a part of himself, and perhaps taking a chance on something that could either mean his doom or prove that he’s capable of going very far in his life, and perhaps farther than anyone figured.