Bryan Caron is an award-winning writer, director, film editor and graphic designer, who has written and directed many pieces in all forms and genres.
Toys have taken over the cineplex. You’d think all of the colorful (and emotionally impactful) toys from Toy Story returning for some new adventures last week would be enough, but apparently, the studios didn’t think so. Taking their lead from miss Gabby Gabby, producers found a way to subvert the fact that it isn’t Halloween and return not one but two killer dolls back to big screens for another round of violent, scary mayhem to begin our long, hot summer — Chucky is back in a revamped Child’s Play, and Annabelle Comes Home to her cushy glass case. So, which one takes the crown as the most evil? Let’s find out.Read Full Review
Not only is this expression oft-referenced by Keanu Reeves, who continues his “Keanussance” by joining the cast of Toy Story 4 as Duke Caboom, an Evil Knievel-style motorcycle stuntman who was tossed away because his real abilities didn’t match the magic of a commercial, perfectly utilized within the film, but it also beautifully sums up the prolific way Pixar has managed to once again match the fun, cleverness and emotional depth of its own groundbreaking, original computer-animated feature.Read Full Review
It’s been seven years since Will Smith last put on the signature shades that made him look good; 19 years since Tommy Lee Jones dawned the last suit he’d ever wear; and 22 years since Barry Sonnenfeld first brought us into the world of intergalactic protection. Now, director F. Gary Gray takes us across the pond for Men In Black: International, a fun but ultimately wasted showcase for its new crop of agents as they try to protect the most dangerous weapon in the universe from getting into the hands of an evil alien race known as The Hive.Read Full Review
Shared universes aren’t a new thing (Universal had one back in the 30s and 40s when they teamed up their monsters in several films), but they have recently become a much more accepted and desired route for every major studio. After Kevin Feige put his Midas touch on the Marvel superhero franchise, other studios hastily attempted to build their own shared universes. Jason Blum has found relative success in what’s now known as The Conjuring universe, and DC failed early in their attempt at creating a similar superhero universe, but the tide may be turning with recent critical and box-office hits like Wonder Woman, Aquaman and Shazam!
Even Universal tried its hand at resurrecting their monster universe, but after two failed attempts (Dracula Untold and The Mummy), cracking the Marvel formula has been much harder than expected. And it’s not because of the monsters. If it wasn’t already apparent after watching the post-credit sequence on Kong: Skull Island, Godzilla: King of the Monsters makes it absolutely clear that Warner Bros. has slowly and quietly set in motion its own monster franchise.Read Full Review
Friends, family and followers: With the release date of my new novel, Threads, looming on the horizon, I will be taking a semi/short hiatus from my blog, social media and networking for the month of May.
What does that mean? It simply means I will not be posting any movie reviews throughout May (reviews will return in June), and I will be spending less time (if any) on social media and networking events so that I can put my full energy behind finishing the edit for the book and make sure it is in perfect shape for it’s publication on May 21.
Thanks for all of your continued support, and I will see you again in a month with a new novel!
22 movies over 10 years all come down to this — Avengers: Endgame. Prior to 2008, attempting to tell a continuous story over ten years probably seemed impossible, a pipe-dream that would never come to fruition. Yet producer Kevin Feige somehow managed to masterfully weave dozens of characters, stories and directors into a grand symphony that have only had a few missteps among a bevy of incredible highs. (Even more astounding is how they only had two major and one minor cast change throughout). It’s a feat that is, and will be, incredibly hard to replicate as evidenced by the mostly critical, if not financial failure of those producers who have tried ever since Tony Stark (Robert Downey Jr.) announced that he was Iron Man and was first approached by S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson) about the Avengers Initiative. And now here we are, at the end of an era; and oh, what a ride it has been.Read Full Review
Body switch films have been a staple for a very long time. Whether it’s two people switching bodies (Freaky Friday, Vice-Versa) or a kid becoming an adult overnight (Big, 13 Going on 30), they’re popular because we can relate to what struggles may weigh upon us as we discover the world through a different lens. The idea of traveling in someone else’s shoes to allow this new perspective to change us in a meaningful way, not only physically, but emotionally, is something we’ve all pondered at some point in our lives. But, like any genre, these types of films don’t always work, either because the writing is flawed or, in the case of Little, the newest entry into the body-switch genre, the person afflicted with the magic to become someone new fails to grow in any meaningful way.Read Full Review
Adaptations of Stephen King novels and short stories have been happening since 1976, when Sissy Spacek first went psycho prom queen in King’s first official novel, Carrie. Since then, there have been some super highs (The Shawshank Redemption, Stand By Me, The Shining, It and Misery), some incredibly low lows (Needful Things anyone? No thanks!), and a few remakes and sequels that aren’t necessarily good, but aren’t necessarily bad.
Pet Sematary, the story of a man who discovers a way to bring things back to life, sat closer to the Needful Things end of the King adaptation spectrum. Even though it stayed mostly true to the book and had one frightening little four-year-old, Sematary was one of those films that was in need of a heavy makeover. After thirty years (and one wholly unnecessary sequel), we finally got it. And although the last third of the newest adaptation is mostly altered from both the original film and the book, these changes (including a role reversal) work to improve the story within the context of how directors Kevin Kölsh and Dennis Widmyer have set up.Read Full Review
Over the past few years, we’ve seen a handful of live-action remakes of some of Disney’s classic animated films. Some have been almost shot-for-shot recreations (Beauty and the Beast) and some have diverted a little from the source material (Cinderella, The Jungle Book) to offer a fresh look on the story. Each one has found success at the box office, which means only one thing — more. And we are about to get it. The first of three new live-action remakes that will hit theaters in the next four months is Dumbo, which turns the simple story of an elephant learning to fly into a loving portrait of the importance of family and how anyone has the ability to spread their wings and fly.Read Full Review
What makes a good twist in a film? When every piece is placed perfectly throughout the film so that it comes out of nowhere, but upon repeat viewings, makes perfect sense, leading you to wonder why you didn’t see it coming in the first place.
What makes a bad twist in a film? When everything is so blatantly obvious, the film is so bland you have nothing better to do than to piece everything together, or upon repeat viewings, it makes no logical sense.
A pair of new films with different goals do their best to create the most compelling story that ends with a killer twist, but end up flawed because of how the rest of the movie was set up. Captive State, a new alien invasion film, falls short of captivating your senses but ends with a bang, and Us, Jordan Peele’s new psychological thriller, treads somewhere in the gray, where although the film itself is rather intriguing, when the twist occurs, you have to scratch your head and wonder if what’s being revealed makes any sense.Read Full Reviews