Writer Paul Rudnick walks a fine line with “Jeffrey” as he balances comedy and drama with his stage play and film. “Jeffrey” has every opportunity to be melodramatic or cheaply exploitative, but it instead manages to find a way to laugh through tears and fears. In 1995 America was still basically in the midst of the AIDS epidemic with the government doing just about nothing about it, so “Jeffrey” examines the relative fear and terror behind it.
I’d almost be willing to bet money that Warner is planning a big deluxe boxed edition of “A Star is Born” for Christmas or perhaps the new year. Until then, fans of “A Star is Born” can double dip or opt for either edition that’s been released. While the original release is very good with some interesting extras, The “Encore Edition” is an okay release if you want the extended edition and a lot more material with what is an already great film. You can’t go wrong with “A Star is Born,” a wonderful remake that managed to be the best musical of 2018, bar none.
I’m frankly surprised that “Batman Forever” doesn’t show up often on lists about homoerotic mainstream films. In the annals of homoerotic cinema, “Batman Forever” is right up there. While Joel Schumacher pretty much does what Warner asked by making Batman less menacing, less violent, and a lot more family friendly, it’s also incredibly homoerotic. That doesn’t hinder the experience, but it’s worth discussing how Batman goes from fighting with a Latex covered sex zombie to building romantic tension with a young man he takes in seemingly out of nowhere.
If “Batman” was the opening act of Tim Burton’s iteration of Batman, “Batman Returns” is a pretty epic second chorus that pretty much completes the picture. Whether or not you believe Burton dropped out, or was ousted by Warner for being too dark or violent, “Batman Returns” is a pretty good closing chapter in Burton’s Batman world, even in spite of its flaws. Hell, it’s a better film than “Batman,” despite the fact it objectively garners the more obvious flaws than the 1989 original.
If you’re looking for a double feature from Mill Creek Entertainment bound to save you some dough and allow for a neat night of blubbering and familial melodrama, you can’t get better than the new double feature from the company. Although both films have been released ad nauseum, Mill Creek Entertainment has the perfect double feature that will likely make a pretty good addition for future Mother’s Days. While bereft of bells and whistles, it’s a good value for folks that enjoy this kind of drama.
It’s a new era and a brand new format for movie lovers and Warner Bros. is offering up their “Batman” movie anthology from the 1990’s on 4K UHD for those that have converted. With “Batman” also celebrating its thirtieth anniversary (where does the time go?) since its theatrical release, Tim Burton’s iconic adaptation of the DC Comics hero manages to appear once again in an even higher definition making it—uh—Battier? Burtoner? In either case, the good news is “Batman” is still a solid iteration of the Dark Knight, which is all that counts.
I’m all for movies that call out the inherent stupidity of romance comedies, and how we can often lose sight of reality if we spend too much time lost in fantasy and Hollywood manufactured clichés. “Isn’t It Romantic” is a confused comedy though, that can ironically be identified as a romantic comedy, even though it purports to be a movie that tears the whole illusion of Hollywood romantic comedies down all around us. It never seems to know if it’s endorsing the idea of romantic comedies, or still spoofing them. The results are a mediocre, flat, albeit occasionally charming film.
I feel every generation should have a movie or two that defines them and how hard it is to grow up during that period. We’ve had movies like “Dazed and Confused,” “Mean Girls,” and “Breakfast Club,” and we’re very fortunate to have had two very good movies (“Eighth Grade”) about the modern youth culture in the last five years. Olivia Wilde’s directorial debut is one of the finest drama comedies of the year. It’s an honest and entertaining look at two girls trying to find out who they are before they graduate high school and enter in to college–possibly without one another.