Archive for March, 2020

Movie Mayhem – Bloodshot

Posted by Bryan Caron in Entertainment, Film, Movies, Reviews on March 15, 2020

Bloodshot — 2020; Directed by Dave Wilson; Starring Vin Diesel, Guy Pearce, Eiza González, Sam Heughan, and Lamorne Morris

Vin Diesel’s got the perfect vocal range for supplying voices to animated creatures like an iron giant or a massive tree, but as an on-screen personality, he just isn’t all that captivating to me. I didn’t care for the Riddick or XXX films, nor do I find much of what he does outside of fast cars worth watching. (And let’s face it, the Fast and Furious franchise didn’t get interesting until they added a Rock with a dose of logic melting, physics shattering action sequences.) Bloodshot is yet another attempt for Diesel to appear relevant. And though the film is better than most of his non-Fast adventures, it’s only because the supporting cast makes the whole intriguing premise pass muster.

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Movie Mayhem – Onward

Posted by Bryan Caron in Film, Movies, Reviews on March 8, 2020

Onward — 2020; Directed by Dan Scanlon; Starring the voices of Tom Holland, Chris Proatt, Julia Louis-Dreyfus, Octavia Spencer, Kyle Bornheimer and Tracey Ullman

When John Lasseter started Pixar, he made a commitment to only make movies that had a strong foundation. That meant he would only put films into production that had a great script. Some may say this hasn’t always been the case (see: Cars 2 or The Good Dinosaur), but for the majority of films produced by the animation stalwart over the last twenty-five years, the promise for strong stories and characters has flourished, even after Lasseter was forced out of the company. This tradition continues with Onward, where everything that’s made Pixar the king of animation is on full display.

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Movie Mayhem – The Invisible Man

Posted by Bryan Caron in Entertainment, Film, Movies, Reviews on March 1, 2020

The Invisible Man — 2020; Directed by Leigh Whannell; Starring Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Storm Reid, Michael Dorman and Aldis Hodge

The invisible man has been around since H.G. Wells first gave him life in 1897, an idea which has culminated in dozens of film and television iterations throughout various genres. The most famous are of course the original 1933 version (part of Universal’s original monster universe that spawned two sequels), Chevy Chase’s comedic-oriented Memoirs of the Invisible Man, and Kevin Bacon’s horror/thriller Hollow Man. Other than the main character somehow becoming invisible, the only thing that connects most of these iterations is the heavy focus on the trials and tribulations of the person that becomes invisible.

This is where writer and director Leigh Whannell smartly separates his version of The Invisible Man from the rest of the pack. Instead of putting the spotlight on the person who becomes invisible, Whannell focuses all of his attention on the victim of the invisible. By doing so, the film becomes more atmospherically chilling, adding a heavy psychological element that raises the level of the story to fresh, new heights.

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