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.
I wasn’t all that excited to see Jexi. With Adam Devine and a overlay of raunchy humor in the driver’s seat, for all I was concerned, the film could have been relegated to direct-to-DVD or on demand status. Or better yet, buried on some obscure streaming service to be seen by insomniacs browsing their feeds while high. But, CBS Films and Entertainment One decided to release it in theaters, and as I always say, you never know when a movie will surprise you. So I went to check it out. And boy, did Jexi surprise me.Read Full Review
Thirty years ago, Tim Burton introduced us to not only Michael Keaton as what many still say is the quintessential Batman, but to Jack Nicholson, considered for a long time as the perfect choice to play the manic, high-octane Joker. That is until Heath Ledger (who, much like Keaton, was originally criticized for being a poor casting choice) blew us away with his Oscar-winning turn as the deranged psychopath in 2008’s The Dark Knight. It didn’t seem like anyone would live up to Ledger’s unhinged frenzy, especially after Jared Leto’s utter butchering of the beloved character in Suicide Squad. Luckily, Joaquin Phoenix dispelled those fears by delivering yet another Oscar-worthy performance as the titular character in the gritty, dark character study, Joker.Read Full Review
Worst Editing: The Conners
I noticed issues in the editing on the reincarnation of Roseanne last year, but it wasn’t so atrociously obvious as it is on The Conners. Everything about the editing is horrible, but the most egregious are the transitions between scenes, which seem as if the directors don’t know where to end a scene, so they just stop and fade into the next. On top of that, there are several moments when it’s clear they cut something out with placement of characters. It might not be as bad if the show itself was consistent, but with sporadic hints of excellence sprinkled about a mediocre attempt at finding the magic that was once Roseanne in its prime, it just tends to highlight the problems even further.Read Full Awards
It’s time now to begin the specialty awards in Part 2 of this year’s Chaos awards. (Check out Part 1).
Best Multi-Character Performance: Janet (D’Arcy Carden), The Good Place
I wasn’t the biggest fan of D’Arcy Carden when The Good Place premiered; I thought the character of Janet was odd and a little off-center (to be fair, I thought the show was exactly the same – not sure what to make of it early on). But as the show matured, so did my affection for everyone involved. Carden’s place as the powerhouse performer was cemented when she hit her pinnacle best in episode 9 of season 3 titled “Janet(s)”, in which Janet pulled the entire gang into her void to keep them from being sent to the bad place. In order to keep her void from literally tearing itself to pieces, each one had to become Janet. Carden took the ball and ran with it, picking up every little nuance from each character almost to perfection, no more so than Jason-Janet. Her interpretation of the dim-bulb was amazing and hysterically accurate in movement, voice, and reaction. (Tahani-Janet was a close second). In the same episode, we also got to meet Neutral Janet, which was also a riot in and of itself. I wasn’t a fan before; I certainly am now.Read Full Awards
The Emmy’s air this Sunday, which means it’s that time again to present my awards of the Best (and Worst) of the 2018-2019 television season. (See previous Awards – 2018, 2017, 2016, 2015, 2014, 2013)
We start as always with more traditional categories, and over the next two days will continue with additional categories for moments that resonated with me in some form or another over the past television season.
Best New Series: The Dark Crystal: Age of Resistance
I usually like to wait as long as possible before choosing the best new series of the year, as you never know when a gem will arrive. For the last several months, New Amsterdam was holding onto the top prize, and I was about to solidify its position as the number one show of the 2019-2020 season…. Then, at the tail-end of summer, I decided to try Netflix for the first time (mainly to see the new season of Lucifer) and discovered a glorious new show: The Dark Crystal: Age of Resistance. The 1982 film has slowly turned into a cult classic, and although there are good aspects to it, it can be extremely slow and meandering, so I wasn’t sure what to expect from this new prequel set in the time before the evil Skeksis wiped out all of Gelfling kind. It did take some time to get used to, but by the end of the second episode, the show truly hit its stride. From then on, I was hooked. Though we know where everything will eventually end up, the wonderfully distinct characters, masterful puppetry, terrific set designs, perfect flow, a brilliant mix of practical and CG that blend so well together you don’t know where one begins and the other ends, and wonderfully crafted scripts with plenty of twists keep your interest peeked and your investment worth every minute of time.Read Full Awards
Back in the year 2000, Frequency, a small film about a cop who begins to speak with his deceased father through an old ham radio, debuted in theaters. The movie was an intelligent, suspenseful, unique sci-fi thriller with terrific turns by Jim Caviezel and Dennis Quaid, who found a compelling chemistry together despite having no screen time together. Nineteen years later and we find our way back to a similar premise with Don’t Let Go, another smaller film that understands how to work within the bounds of the idea, but doesn’t know how to build the necessary suspense to sustain any amount of intrigue.Read Full Review
For three weeks at the end of July/early August, there were a whopping three (count them – 3!) wide releases in theaters. How do the studios make up for that? Release 13 films over the next three weeks! To honor the glut of riches at the movieplexes, here are some quick reviews for all of the films I’ve seen in the last two weeks. Enjoy!Read Reviews
All you can control in life is how you respond to life.Jerome Johnson (Morgan Freeman), from the film Brian Banks
The quote isn’t just a powerful message for the new inspirational sports drama, Brian Banks, but relates, on a much smaller scale, very well to this very review. Upon finishing my first draft, something happened and the entire review was wiped from existence. Like anyone else, I was angry at myself for not saving, and was angry at WordPress for not auto-saving and acting weird. The easy thing to do would have been to give up on the review altogether. Instead, I took a deep breath, recollected my thoughts and started anew. This has nothing on the major incidents of the film itself, however, it’s still relevant to the importance this movie’s overall message means for true happiness in life.Read Full Review
You can parachute cars out of a plane; you can have a chase sequence between a slew of supercharged cars and a submarine in an icy tundra; you can jump a sports car from one hundred-story tower to another; you can have a guy rip the cast off his arm with his bare hand; heck, you can even defy gravity to save someone’s life and no one would expect anything less. But introduce your audience to a transforming, self-driving motorcycle and you’ve suddenly gone too far.
Suspension of disbelief is a tricky thing. There are certain expectations that come along with being able to set reality aside and enjoy whatever is being thrown at you. Ever since The Fast and the Furious franchise veered off from centering around fast cars and hot women to becoming what amounts to an international spy series, you’d think the whole thing would have broke down on the side of the highway. Fact is, the franchise only became better as it became more and more absurd.
It only makes sense, then, that as the franchise grows more popular, producers would want to milk it for all its worth. Best way to do that? Spin characters off into their own wild and crazy franchises. The first choice, Fast & Furious Presents: Hobbs & Shaw, is the smartest choice, as it highlights two very bankable stars (and fan favorites since their respective introductions into the franchise) in an effort to see if this type of offshoot will work.Read Full Review
I am not much of a Quentin Tarantino fan. Of his nine films, I’ve only ever seen four of them, and by all accounts, that’s enough. Reservoir Dogs was okay, but I was not a fan of Pulp Fiction or Django Unchained. Tarantino has a very unique style, and his writing can definitely be sharp and witty, but it always felt to me that he can also be very overindulgent, an opinion that doesn’t end with Once Upon a Time in Hollywood — even as his ninth film finally breaks through as one I can actually say I enjoyed, despite having no discernible plot.Read Full Review