With his good looks, Liev Schreiber (TV's Ray Donovan) seems born to play an astronaut. In Magnet Releasing's The Last Days on Mars, he finally gets the chance. As chief systems officer Vincent Campbell, he's part of Aurora's six-month mission on the red planet with only 19 hours left to go before heading home. What could go wrong?
According to The Slumber Party Massacre, young women love to have group sleepovers so fun that the girls don't have the good sense to leave the house when their party is crashed by the arrival of a drill-wielding serial killer.
We vilify people for bad behavior in real life, yet celebrate it in our entertainment, particularly on the small screen. When the results are as strong as the current crop, all new (or new-ish) to DVD and/or Blu-ray, why question the disconnect?
Prior to his Spider-Man trilogy, director Sam Raimi cut his superhero-movie teeth on 1990's Darkman, a character of his own creation. Although it's clearly not the most polished of his works, the summer sleeper plays even better as the years tick by. Look no further than Shout! Factory's colorful re-release on Blu-ray.
Someday, celebrity cyclist Lance Armstrong may regret hiring Oscar-winning director Alex Gibney to document his 2009 "comeback," but I doubt it. As The Armstrong Lie demonstrates time and again for two mostly gripping hours, the athlete is still unable to tell the whole truth and nothing but.
One needs more than two hands to count the numerous other films from which “Battle: Los Angeles” has been cobbled: “Independence Day,” “Cloverfield,” “Starship Troopers,” “Transformers,” “Aliens,” “Predator,” “Aliens vs. Predator: Requiem” and
any movie in which bullet casings fall to the ground in slow motion, to
name just a few.
If the alien-invasion flick often looks like a video game, that’s because it’s written like one (as in barely), as a loose string of missions for its gung-ho Marines: Rescue civilians from a police station; take them to safety; destroy the mother ship. That’s the simple-structured path for our cardboard, interchangeable heroes, led by a stoic, ever-grimacing Aaron Eckhart (“The Dark Knight”) as Staff Sgt. Nantz, after aliens lay waste to several locales around the world, La-La Land included.
As Billy Joel once sang early in his career, say goodbye to Hollywood.
Employing a shaky-cam style reminiscent of first-person-shooter games, director Jonathan Liebesman (“The Texas Chainsaw Massacre: The Beginning”) puts his cast through nearly two solid hours of rat-a-tat-tat and budda-budda-budda, all in a messy manner making it difficult to tell who’s who. When this sci-fi actioner says “Battle,” it means it, but at the expense of any kind of story. One doesn’t expect much from effects-driven efforts like this, but even I was astonished at how little it aims to tell. All it cares about it aiming to shoot. That quickly wears audiences out.
Bonus points if you believe it ends in a setup for endless sequels, from “Battle: New York City” to “Battle: Sheboygan.” Retreat! —Rod Lott