Zach’s Zany TV Binge Watchin’ Reviews: THE BOYS SEASON 2 (Amazon Prime)

If THE BOYS SEASON 2 made any mistakes from coming off an incredible first season is that they should’ve released all 8 episodes at once like they did last time, and not this “3 episodes the first week then one per week for five weeks” bullshit. Hey Amazon, we are used to binge watching, get with the program. We know why you did it, it’s to get more and more ratings and views each and every week. But enough is enough, next time, for Season 3, just release all the episodes at once, you’ll thank me later instead of bitching about being review bombed by trolls simply because you tried to take advantage of fans during a pandemic. That being said, I still thought the second season of The Boys was really good, just not as masterful as the first season, and that’s because instead of having all 8 fantastic and solid episodes like the first season had, this season only had 5, with three episodes where it didn’t seem like much was happening to advance the plot/story. But that may just be me. If you are living under a rock and don’t know what The Boys even is, it’s a very popular original television series on Amazon Prime, based on a popular comic book series, that IMDB describes with the following: “A group of vigilantes sets out to take down corrupt superheroes who abuse their superpowers.” In my other way of describing it, it’s the most realistic take on superheroes in our real world that I have ever seen. Even more realistic than Zack Snyder’s DCEU. Of course all superheroes wouldn’t be high and mighty like Superman, Batman, Wonder Woman, etc. Some of them would be just as nasty, evil, psychotic, perverted and corrupt like some of our celebrities and politicians in modern day. It’s a delicious idea that is executed brilliantly here with over-the-top action and violence wrapped around a “supe-terrorists”, conspiracy, and revenge plot.

The main overall story is best described on Wikipedia, “The story follows a small squad, informally known as “The Boys”, led by Butcher and also consisting of Mother’s Milk, the Frenchman, the Female, and new addition “Wee” Hughie Campbell, who are charged with monitoring the superhero community, often leading to gruesome confrontations and dreadful results; in parallel, a key subplot follows Annie “Starlight” January, a young and naive superhero who joins the Seven, the most prestigious – and corrupted – superhero group in the world and The Boys’ most powerful enemies.” Without any spoilers there are some plot threads left over from Season 1 that trickle their way into Season 2, along with new threads and new characters such as the vicious Stormfront and a former asshole seeking redemption, Lamplighter. Speaking of the latter, when he eventually shows up (Episode 5), played magnificently by Fox’s X-Men Iceman Shawn Ashmore (gotta love the coincedence on this) that’s when The Boys Season 2 gets masterful and special. The solid episodes are easily 3, 5, 6, 7, and 8. Episodes 1, 2, and 4 are what are called ‘bridge episodes’ to get to the better content later in the season, but they can be kind of a drag with plenty of pacing issues where nothing really significant happens. Where I end up do loving where the story ends up going this season, with the end game finally revealed around the end of the 6th episode, the story and plot are easily upstaged and stolen by the acting from all involved and the gleefully fun, over-the-top, gory, and shocking violence. For example, a face is ripped off, people spontaneously combust, heads explode, and one of our “Boys” is almost choked to death by another super’s giant cock. Yeah, that scene is shockingly hilarious as you’d expect it to be.

Tip of the hat mainly to Anthony Starr as Homelander and Aya Cash as Stormfront this season. While everybody is solid, those two stand out from the pack, especially the former. I don’t understand why Starr wasn’t nominated for a supporting Emmy last season, but if he isn’t for this season, something is truly wrong with the television organization. Homelander is a character that you love to hate and Starr’s performance is so pitch perfect, insane, and bizarre that it would be really hard at this point to imagine anyone else in the role. He is THAT brilliant. I think I enjoyed this season finale more than Season 1. There are several shocking character twists that happen that don’t co-align with what happens in the comics (note: I have not read the comics but know the gist of what happens) and that is a good thing. While enthusiasts of the comic book series might scoff at the changes, I would like The Boys to be its own thing and be unpredictable. This season finale is certainly that. And I was screaming things at my television such as, “YES!” “HOLY FUCK!” “GOD DAMN FUCK YEAH!” and haven’t been that into an episode of television in quite awhile. It also uses The Beach Boys’ “God Only Knows” song perfectly, especially if you read between the lines with it when it comes to what certain characters will be without at the start of next season. The finale also felt like a series finale but then one last minute twist, that I didn’t see coming, hints at what is to come, and I’m very excited about Season 3 and where it will take us. I would just recommend the writers try not to make any bridge episodes and try to advance the plot, even just a little bit, in each and every episode like the first season. Even though the 2nd one didn’t quite match its predecessor, The Boys still very much fucking rocks, and was a nice distraction from this, what Billy Butcher would probably say, “Cunt year.”

Zach’s Zany Movie Reviews: BLACK BOX (Amazon Prime)

You ever watched one of those movies where you guess what is going on and what will happen the rest of the movie about a third of the way into it? And then once ALL of your predictions start coming true, one by one, even though the movie is still a half way decent one time watch, you kind of zone out a bit and you emotionally lose investment in the characters and what is happening on screen? That’s BLACK BOX, which is basically just Get Out (funny, because it’s from Blumhouse, the producers of that movie too) but on a much smaller, more personal scale and absolutely no racial undertones (in fact I think there was only one white character in this and she has about two lines). Yeah, I probably just gave a clue to many twists and turns within this film, but there is really no way to describe how I feel without hinting to you why I lost interest, even though there was nothing wrong with the execution of the story, what was wrong is that it didn’t go anywhere that other movies haven’t been to before. SSDD, Same Shit, Different Day. Black Box is part of a Blumhouse set of four ‘Welcome To The Blumhouse’ movies that the first two, where this and The Lie (reviewed it yesterday) came out Tuesday, and then Nocturne and Evil Eye come out next Tuesday. IMDB describes the movie with the following: “After losing his wife and his memory in a car accident, a single father undergoes an agonizing experimental treatment that causes him to question who he really is.” What really kind of irks me about the whole thing is that it stars one of my top ten favorite rising actors, Mamoudou Athie, and he’s just not getting the more than solid projects that he is capable of being masterful in. I mean…maybe in another two years, as he apparently has a substantial role in Jurassic World: Dominion?

And you know you always got to get into a blockbuster movie before you are offered other and better roles I guess nowadays. He has starred in much more smaller fare throughout his whole career. He was in Underwater that came out in January of this year, but he was in the film no more than 10 minutes before getting killed off. I know him from and started gaining keen interest into his career from one of his first independent feature debuts, called Patti Cakes, where he plays the weird love interest. He was also the only good thing about Brie Larson’s directorial debut Unicorn Store, and his best film so far, was earlier this year on Netflix, called Uncorked. Highly recommend you check either the latter out or Patti Cakes. He’s good in Black Box too, probably the best thing about the movie as it does stretch his range as an actor, it’s just the script and story around him is very plain and dry, so much so that the plot could be used in a beat by beat example in a Screenwriting For Dummies 101 book. The movie basically slaps you in the face early on of what is going on before it is revealed midway through, and the clues definitely could’ve been more subtle. I hate it when movies scream in your face in order for you to “get it” once it shows you it’s hand after the river card. Then once all is revealed, I pointed at the screen and said, “okay now this character is going to do this and this and this and this, and this other character is eventually going to come into the fray and do this and this and this and this, and then redemption story arc complete, obligatory sequel scene, end credits.” And I was 100% on the mark.

The film also stars Clarie Huxtable herself, Phylicia Rashad, and as the doctor trying to help this man gain his memories back she was adequate, but then once some things come into the light, she seemed a little too low key and under qualified for the role. Though maybe it’s just me on that one. The acting is good all around other than that, and when he enters the black box, his memory like sequences that come back to the protagonist are nice and creepy like any Blumhouse movie should be, there just wasn’t enough of them. There are only two, when there should’ve been 4 or 5, and the movie also should’ve been a bit longer than an hr and 40 minutes, where they could’ve saved the big reveal a little bit more than just halfway into it. They hired that dude that can contort his body all around to be an evil entity in the memory sequences, Troy James (used him better in the Scary Stories To Tell In The Dark movie), there just wasn’t enough of him to make a creepy enough impact like he’s been in other movies. In summation, you’ve seen different iterations of this movie done plenty of times before, and done much better, which is probably why this film went straight to streaming instead of into theaters, regardless of the pandemic, in my opinion, it is where it needs to be. The film very much lags in the second half of the film when the protagonist goes to visit one of the people he sees in his unearthed memories. It was a 15 minute scene that needed to be about only half that. When you have a movie about trying to conjure up lost memories, you need just more than two for the audience to get emotionally invested with what is happening. Only two feels like a budgetary and screenwriting cop out, and for a movie titled Black Box, it was a little disappointing to open up and discover no surprises.

Zach’s Zany Movie Reviews: RANDOM ACTS OF VIOLENCE (Shudder)

Probably the last thing I’ll ever watch on the Shudder streaming service (yet you know me, don’t quote me on that), RANDOM ACTS OF VIOLENCE had at least somewhat of an interesting well rounded idea, some awesome gory, disturbing special effects, and a solid ending. Too bad most of the execution leading to said ending was botched to shit by co-writer/director/co-star Jay Baruchel. I don’t get why this project wasn’t handed to someone with better experience. It’s a short (1 hr and 21 minutes) and watchable film, but I don’t have any desire to ever watch it again because the execution of everything wasn’t very memorable. IMDB describes the film with the following: “A pair of comic book writers begin to notice scary similarities between the character they created and horrific real-life events.” The entire film’s message is about the glorification of violence and criticizes how the depiction of it and the glamorization of serial killers in media can often negatively impact an audience when in reality they are just twisted people driven by no logical motives. That message is very unfocused, blurry yet somehow ham-fisted until the film’s last ten minutes. The other hour and ten minutes is filled with underdeveloped and unlikable characters, and some cringe worthy dialogue. Whoever was responsible for all the blood, guts, and glorious practical effects in this movie deserves a raise and better projects to work on, as some of those images were some of the most realistically disturbing I have seen since last year’s Midsommar.

Recognizable faces Jessie Williams, Jordana Brewster, and Jay Baruchel star in this movie and while Jessie Williams does a decent job with his underdeveloped protagonist, unfortunately for Jordana Brewster, who has always been nice on the eyes and always seems like she wants to be in the movies she’s in, her dialogue makes her performance hammy and too unrealistic, and Jay Baruchel is completely wasted here, playing yet another just depiction of himself. I’m sorry, but other than having a great voice for the lead in the How To Train Your Dragon series, Baruchel is not a great actor, and after this, Goon, and Goon 2, he isn’t a very good writer or director either. I would only want to recommend this movie to you if practical effects and some realistic disturbing images and violence are your jam. One guy gets stabbed about thirty times during the movie and it actually showed each and every jab of the knife into his torso and I cringed every time before impact. I’ll even recommend it to you if you want a decent ending with a decent message of the glorification of violence, but other than that, you are better off watching something else on the streaming service, such as Host or Spiral (NOT Saw 9). This movie is based on a graphic novel, but I have a feeling if a complete rewrite of the script were to have happened, maybe a bit longer with more developed and likable characters, and a bigger yet subtle focus on the film’s messages, there could’ve been something great here. I have a feeling though that Baruchel was just out of his league with this one, throwing random shit on the wall just to see what would stick.

Zach’s Zany Movie Reviews: HUBIE HALLOWEEN (Netflix)

Holy shit, Sandler went full gibberish! HUBIE HALLOWEEN is the 2nd worst thing to happen to Americans in 2020. Stuck between a virus and a copter crash. On one hand, it is probably Sandler’s most tolerable Netflix original film to date. On the other hand, if you watch this, and actually laugh and enjoy it, then you might want to see someone, as you’re probably on the spectrum. Right at the very beginning of this film I moaned out, “oh no” as Ben Stiller shows up in a cameo as his awful orderly character from Happy Gilmore. Not too far after, there was another “oh no” out of me as there is a kid named O’Doyle that likes to pick on Sandler’s dumb character and after a prank yells out…you guessed it…”O’Doyle rules!” The man has run out of jokes and can’t come up with anything new that he has lowered himself to constantly bringing back and referencing his two most popular films from the 90s. Here’s a decent question: Why is it that Sandler has to come up with these stupid characters with jibberish names (Bobby Bouche in Waterboy, in this it’s Hubie Dubois) that almost speak literal jibberish because of his fast talking fucking annoying accents? Why does he keep using cheap, over-used physical bodily pain comedy that died over two decades ago? Why? I’m just so fucking tired of it. Aren’t you? And you know what the scariest thing about this absolutely non-frightening new Halloween film from the asshats at Happy Madison Productions? The scariest thing is that this is NOT the “worst film ever made” that Sandler promised us if he didn’t get nominated for an Oscar for the masterful Uncut Gems. No, this film was made last year before this year’s nominations were even announced. The horror. The horror of what’s to come.

IMDB describes Hubie Halloween with the following: “Despite his devotion to his hometown of Salem (and its Halloween celebration), Hubie Dubois is a figure of mockery for kids and adults alike. But this year, something is going bump in the night, and it’s up to Hubie to save Halloween.” Don’t be fooled by the rip off plot set up of a Michael Myers type escaping a mental institution to wreck havoc on Salem, the whole plot is a giant red herring and the reveal near the end is so unbelievably stupid and unbelievably unbelievable that you’ll laugh just at the fact that the movie tried to pull THAT rug out from under you. I’ve mentioned being frustrated by a film’s potential this year before, and again I am frustrated, because I’ll even admit it, there is a decent film in here somewhere. Turn Sandler into a normal nice guy that gets picked on by the town for no reason at all, a character without the jibberish talk and dumb childlike innocence, wrap him up in a people missing/getting “killed” murder plot, actually ADVANCE said plot instead of it just being skit scenes of Sandler being picked on by the town, HAVE NONE OF HIS FUCKING STUPID SATURDAY NIGHT LIVE FRIENDS IN IT, create a different inciting incident other than just another mental institution break out, completely change the “gotcha” ending, make it somewhat scary and you might have yourself another family friendly Halloween classic that you watch every year other than just Hocus Pocus. I know that seems like a lot to ask, but that’s all they had to do. But nope, it’s just been there, done that before, cheap and crude potty humor with no frights. There’s a boner joke throughout the movie that starts beating a dead horse the moment it is introduced, and don’t get me started on Hubie’s dumb fucking Swiss Army Thermos the film desperately wants the audience to think is funny.

You know what the sad part about this is? If you loved this year’s The Wrong Missy, also made by Happy Madison Productions, your dumb ass will probably love this more. Which goes to show you, you are the reason that blockbuster films are being delayed this year other than the virus, as your dumb fucking ass eating these shitty made “comfort food” movies, making them popular along with your overrated sports to where you don’t need to go to a theater, you’ve gotten pussified, lazy and pathetic. Why doesn’t Netflix hold Sandler accountable for the shit films he makes with his shitty contract with them? Oh, it’s because you fucking idiots watch his bullshit over and over and over again on the streaming platform, and they only have hearts made out of dollar signs. The only other positive thing I have to say about this film, other than that there is a decent movie in here somewhere, other than that there was no shameless product placement like in Sandler’s other films, and other than the only two things that made me chuckle were Kenan Thompson’s facial expressions to some tomfoolery and a Kevin James Muppet joke, was that the movie actually looked like a movie. Meaning the production design and direction were decent for what it was. It actually looked like a town that really enjoys Halloween. Gotta give the director Steven Brill, who also directed Sandler in Little Nicky and Mr. Deeds, but also directed him in Netflix’s The Do-Over and Sandy Wexler, yet gets a free pass from me for directing one of my favorites, Heavyweights, some kind of credit. Him and the crew actually tried to make everything around the mediocre story and Sandler look look legit. I desperately wanted to add this film to my recent review list of movies that I couldn’t finish in buttfucking 2020, but I also wanted to watch the whole thing just so I could tear it a new one in this review.

Every year Netflix still manages to have me place a new Sandler film in my worst of lists. Last year Sandler surprisingly had a movie on both my worst and near the top of my favorite lists. That’s likely never to happen again though. It’s just a fast, who gives a fuck, script to get Sandler and friends some kind of paycheck, so they can buy more expensive and useless shit in their regular lives. At least this time the plot wasn’t set on some exotic locale just for an excuse to give Sandler, family, and friends a vacation along with a paycheck…although Sandler’s wife and his kids of course show up in cameos in this. Almost forgot to mention, the film has an interesting side plot with one of Julie Bowen’s character’s kids (Will from Stranger Things) having interest in a girl a little older than him. But once that girl shows interest in him too, the side plot is over, as there is no conflict thrown into the ring to make it a little more interesting, not even a cliched “she already has a boyfriend” predicament! Sandler looks bored even though he tries to look lively with his dumb shenanigans, Julie Bowen looks like she really misses Modern Family, wondering why the fuck she’s in a movie like this and why her character would have any interest in Hubie in real life, Kevin James is annoyingly stupid and awful in this, Steve Buscemi is embarassing, Shaq shows up in a dumb and tired scene that’s ultimately embarassing too, and even Sandler’s other SNL friends seem dumb downed and desperate here, including, but not limited to: Maya Rudolph, Rob Schneider, and Tim Meadows. We have to make this shit stop, so please do not watch this like I did. I only watched this to warn all of you to stay far, far away. It already makes me sad that Halloween this year is probably already ruined because some dumb ass Chinese guy ate an under cooked bat, but now Adam Sandler has thrown his hat into the ring to ruin it further. This film will make you wish you were in the same universe as his Click movie, with a remote control to fast forward all of us to whenever this depressing shit ends.

Zach’s Zany Movie Reviews: VAMPIRES VS. THE BRONX (Netflix)

Yes, VAMPIRES VS. THE BRONX is a real Netflix original movie, but no, the movie isn’t as fun and schlocky as it sounds, and that is part of its problem. With a title like this one, or Snakes On A Plane, or Sharknado, you either go full fun, non-scary, dumb yet entertaining schlock, or you go home. This movie tries to be too The Lost Boys or Blade, and in doing so, doesn’t even get close to replicating their classic magic, and so this films title doesn’t live up to what is seemingly promised. This movie is too tonally in the middle of all those movies I just mentioned, which in turn makes it a cookie cutter, run of the mill, PG-13, bloodless, ho-hum, lame, by the numbers, assembly line product you’ve already seen and rejected before. I should’ve expected it though. The marketing for it, which little there was, only started the week before this film premiered, the trailer was bland, and the poster for it is one of the worst photo shopped shitty pieces of art that I’ve ever seen in my life. However, after watching the whole thing, it is not one of the worst films of the year. It’s just…there…and in about a week will be lost with all the other standard stuff that Netflix keeps rolling out each and every week. It’s frustrating because this film does show a lot of promise as I laughed out loud at some of the jokes, the film even has some familiar faces in it and everybody involved seemed like they wanted to be there. But it didn’t go where it needed to go to be a memorable schlocky romp that I was hoping it was going to be. It’s as if you opened up a coffin in a scary castle, saw the most vicious looking vampire you have ever seen in your life and they suddenly open their eyes. Yet it somehow isn’t intimidating to you, so you yawn, close the coffin, walk away and the son of a bitch doesn’t even have the audacity to try and chase you down and drink your blood.

Per IMDB, it describes this movie as: “A group of young friends from the Bronx fight to save their neighborhood from gentrification…and vampires.” It’s a simple description, yet reading between the lines it teases something that could be quite special. I was expecting it say something about race, gentrification, and middle-class. In a nutshell, I was expecting it to poke fun at white people. I mean, not that this really is a spoiler, but the heroes and good guys in this are African-American kids, their parents, and the community around them…and the vampires are all white for goodness sake. Surely the film would play with that and say several somethings about that scenario to its advantage, but other than one gangster pulling out a gun and calling one of the vampire’s ‘Hamilton’ because of its git-up, there are no really no other solid or smart jokes that cater to what the film might be trying to get at. In the end, there wasn’t enough tonal focus for me to even say with any complete confidence if the film even truly had a message buried deep down inside it, because it was all over the place tonally. There is a small fun scene, that only lasts less than 20 seconds, of our heroes stocking up on vampire hunting gear that was interesting, such as filling water balloons with holy water, but that kind of goofy fun (it reminded me of writer/director Edgar Wright and his ‘getting ready close up quick shots’) was short lived nor was it done as often as it should have. And there is only one funny vampire kill. That just cannot be in a film titled Vampires Vs. The Bronx. Not to mention all the kills are bloodless, off camera, and if a vampire does get killed we get that shitty disintegrating CGI that makes Blade’s seem as though it should’ve been nominated for an Oscar in special effects.

I hardly blame the direction, it’s completely the screenplay. The movie looks and feels like a movie, as director Osmany Rodriguez keeps shots somewhat dark in tone, and even in the daylight there was a gritty feel to the cinematography. I kind of dug the look of everything. The screenplay is co-written by him, but the other writer is a white guy. Remember how some of you felt that Antebellum or Green Book was inauthentic because a writer/co-writer/director was white? Same thing here, and I think that this Blaise Hemingway…who co-wrote Uglydolls and the awful Playmobile: The Movie mind you, should’ve taken a story by credit and handed the script fully to Osmany or another writer for a full rewrite. The familiar faces, Sarah Gadon, Shea Whigham, Method Man, and a glorified cameo from Zoe Saldana, look like they are having fun and want to be there, and the 4 hero kids definitely look like they want to be there and are having fun, but the final product doesn’t match their enthusiasm. The vampires come off as really stupid, and not in a fun, smart and jokingly way either. The action is tepid, there are no scares, tension, or any build up, and there is definitely not that much character development. I would even go to say that there were way too many characters for that given that it clocks in at only an hour and 25 minutes. Not really any plot arcs for any of them other than them telling the adults “told you so.” This film should’ve been about half an hour longer and taken its time getting to its revelations. The kids find out about the vampires not more than 15 minutes into this. In the end though, the most offensive thing about this movie is it’s title. It should’ve been titled something such as Bronx Nights or Blood Of The Bronx or it could have even sort of stolen Wes Craven’s shitty, mid-90s Eddie Murphy film and have it be called Vampires In The Bronx. Sorry, this movie does not earn the v or the s.

Zach’s Zany Movie Reviews: AMERICAN MURDER – THE FAMILY NEXT DOOR (Netflix)

AMERICAN MURDER: THE FAMILY NEXT DOOR is a chilling documentary that has no voice overs, no interviews filmed specifically for the doc, it is an hour and 23 minutes of perfectly edited footage from Shanann Watts Facebook posts, texts between her and her friends, and footage we’ve seen on You Tube coming from police body cams and the Chris Watts interrogation cameras at the station. It was just released on Netflix a couple of days ago and it rushed to the #1 spot on Netflix’s Top Ten List immediately. Per IMDB: “In 2018, 38-year-old Shanann Watts and her two youngest daughters disappeared in Colorado. With the heartbreaking details emerging, the family’s story made headlines around the world.” If you live under a bridge, and weren’t watching the news at the time (it was everywhere btw) I’m about to give a big hefty spoiler ending with what happened because I have to explain the outcome of the case to effectively review this documentary. In the end, it reveals that the husband, Chris Watts, killed all three of them (Shanann was also pregnant at the time, so really 4 people) for absolutely no reason other than he was cheating on her and wanted a new life. There is footage of him blatantly lying to police when they are asking him questions and searching his house and he even has the gall to take a fucking lie detector test to try and prove his innocence. Chris Watts is a fucking monster and how he thought he could get away with it, I don’t think we’ll ever know. The fact that this documentary is as haunting as it is and is able to display the facts without any voice overs or new interview footage shot specifically for this film is unbelievable.

This is one of the hardest documentaries I have ever had to watch, as anger seeped through me, especially when it kept coming back to the fact that he killed is two very lovely young daughters and didn’t shed a tear for them until he got caught. In all the footage he looks like he’s a empty shell of a human being. The point of the documentary was to basically show the naysayers that kept victim blaming and saying that maybe Shanann drove Chris over the edge really are that stupid. She did nothing wrong. I know a lot of people have two different personalities, one on social media, and one in person, but all of her posts, texts, what have you in this doc, showed her as a deeply compassionate, loving and caring mother. And that this asshole son of a bitch deserved the three life sentences that eventually get sentenced upon him. The documentary is not too long, it is crisp and tight in what it is trying to say. It doesn’t show any bodies or anything but this is definitely not for the faint of heart or those that get their blood pumping easily from awful tragedies such as this. This is going to be a short review, as all I can comment on is how awful this story is but how well made the documentary is. If I went into specifics, it would just depress and anger me further. However, I haven’t seen director Jenny Popplewell’s other docs, but after this I might search for a couple to see if they are expertly made as this one was. So if you are strong minded, I recommend giving this a watch, as it is a different type of documentary that will have your eyes glued to the screen, and not falling asleep and losing interest like those Unsolved Mystery documentaries that have bland narration and are on the same streaming platform.

Zach’s Zany Movie Reviews: THE BOYS IN THE BAND (Netflix)

Well, I can guarantee you one thing, there will be no other program this year that will have as many penises and man’s asses as this movie does! THE BOYS IN THE BAND is a film that just premiered on Netflix that is based off the 1968 play and the 1970 feature film of the same name. It’s a pure conversational dialogue movie, meaning that there are basically two main rooms characters talk and the story of the lives and tribulations of the characters are told through word and description. So if you snooze at anything Tarantino, and didn’t like Fences, or fuck, if you just don’t like going to and watching plays, this film probably isn’t for you. Also, if you don’t like or uncomfortable around gay people, you might not like this either, but it’s 2020, get with the program please. Luckily, I am a dialogue connoisseur and will take in all genres of different things, and I also do not care who anyone identifies as or who anybody loves either. Frankly I’m a little puzzled at why some bigots care so much. Per IMDB, it describes this iteration of The Boys In The Band as: “At a birthday party in 1968 New York, a surprise guest and a drunken game leave seven gay friends reckoning with unspoken feelings and buried truths.” The movie, mostly, takes place all at this birthday party, in a cozy small New York apartment. The dialogue is fast and furious, a la Gilmore Girls, however the movie slows it down a bit in those small and intimate moments where an important point is being made. And while I’ve never seen an iteration of the play or the 1970 William Friedkin film, I quite enjoyed this version, as the characters and dialogue kept my interest throughout the entire 2 hour run time. Makes me want to watch Freidkin’s film now, considering the other things he’s directed, such as The Exorcist and The French Connection.

Let’s just get this out of the way, I’m a heterosexual, so I probably didn’t get some of the inside jokes that I would know if I was gay, but I got the jist and most of everything else, and the film got me pretty emotional thinking about what gay people must’ve been going through not just in 1968, but today as well. Doing some research, back in that time when the play and movie premiered not too long after one another, a lot of people in the gay community were as horrified by the depiction of the life that might befall them and that it did a lot of harm to gay people rather than good. Some didn’t like it because they thought both the play and the movie portrayed a group of gay men wallowing in self-pity, with no redeeming qualities and not a likable character among them. I happen to disagree. The characters have their flaws but they all seem good at heart and the only unlikable character happens to be the straight man that invites himself to the party. And if you pay attention to the film closely, read between some of the lines if you will, I think the movie says what it needed to say rather subtly more than just conking you on the head over and over again, which I appreciated. What is said is rather important and heartbreaking, but it needs to be heard. Still does today. I guess Michael, played here by Jim Parsons, could be considering unlikable based on the game he makes the party guests play in the second half of the film, however if you look at it in a different light, he’s screaming out for help. They all are.

The acting in this is fantastic. The faces you will know are Jim Parsons (The Big Bang Theory), Zachary Quinto (Heroes, Star Trek) and Matt Bomer (White Collar). Not just those three, but everyone does a great job here. The best performance is easily Parsons, who I finally saw as playing an actual different character that wasn’t just another iteration of Sheldon Cooper (he says the non fuck f word a shit ton here and even says ‘cunt’ several times, things that Cooper wouldn’t even think of saying). I loved how in those two hours you felt like you really got to know every party guest there, their feelings, their longing desires, their secrets, and what the rest of their lives might hold in store for them. Some of it is loving, some of it is heartbreaking, some of it is frightening, but none of it is uninteresting. The dialogue flies off the tongue, some of it so fast you might have to do a double take and rewind a couple of times just so you can digest all that was said. Unfortunately it is the actors that make the movie their own and not combined with the direction. The director, Joe Mantello, who I’m not familiar with, is definitely an actor’s director, but did nothing to extinguish himself visually. It all felt like a point and shoot affair that could’ve been done by anybody that knows how to work a camera and can get along with anybody. Then again, maybe this movie didn’t have to have a visual flair, seeing that it is basically just a play, and when you go to a play, you are doing the pointing and shooting with your eyes and ears. If you’ve never seen a version of this movie or the play, this is a pretty well done starter experience for you. Just expect to see a bunch of man ass and penises, something I don’t think was present in the 1970 movie nor the 1968 play. If that bothers you, I don’t know what to say. Grow up, maybe?

Zach’s Zany Movie Reviews: MOST DANGEROUS GAME (Quibi)

Unlike the shit show last night during the debate, Quibi’s MOST DANGEROUS GAME is certainly not a shit show. In fact, it takes The Stranger’s place as being my favorite thing I’ve watched on this quirky little app to date. I’m starting to come around on Quibi as I’m finding more and more things on there that peak my interest. Thank God it’s free or I never would’ve discovered it. And no, I’m not a fucking shill, it’s just that all three webisode series I’ve watched, I’ve been constantly entertained, even when the content was only okay (The Fugitive). Sometimes much more entertaining than a lot of the stuff Netflix just sputters out every day. Yes, yet again I’m reviewing this as a movie than a webisode TV series. Especially Most Dangerous Game, as it is easily the best shot, best looking, best acted, and most cinematic of the three that I’ve blazed through. It has a fantastic performance by Christoph Waltz, who was nominated for a supporting Emmy for this (when doesn’t he get nominated though?), and probably the best performance of Liam Hemsworth’s career, yes, he can do more than just look wooden during The Hunger Games (even though this is similar to those movies, kind of, he even cries in this and is believable!). I was unbelievably entertained by this and would even watch it again down the line, presuming that Quibi is still here in six months and my free subscription doesn’t completely go to waste.

I’m not telling you to get Quibi to watch this shit, I’m just saying if you happen to have it, you might want to give these webisodes a shot. Most Dangerous Game is basically a modern version of The Most Dangerous Game with several twists. Per IMDB, it describes these webisodes as: “Desperate to take care of his pregnant wife before a terminal illness can take his life, Dodge Maynard accepts an offer to participate in a deadly game where he soon discovers that he’s not the hunter – but the prey.” He has to survive a full 24 hours, stay in Detroit, and follow a whole list of rules that could get him disqualified. Money is deposited into his bank account every hour, and if he survives the whole night, he gets 24.5 million. If this were a movie that actually debuted in theaters, it would’ve been a wonderful little treat. And not that expensive as well. For as low budget as these Quibi webisodes are…they are wonderfully cinematic in scope sometimes (not so much The Fugitive). They all play out like a very enjoyable 90 minute to 2 hr film when put all together. Maybe if Quibi is sold whoever buys it up will release them as films? That remains to be seen. But this one was a true winner. It was tense as fuck, the action was half way decent, the acting was serious yet fun, and it was also fun trying to identify the 5 hunters after Hemsworth, even though they were easily identifiable.

Christoph Waltz is in this much more than you would think and while we’ve seen him excellently play a villain and excellently play a sympathetic character (he won Oscars for both), here we get to see him play a morally grey one, which he of course pulls off in spades. Everybody here seemed like they wanted to be in this, and not just for a paycheck. The 5 hunters, who I won’t spoil who they are but one or two of them might have a recognizable face to you, are quirky yet dangerous. I really enjoyed the big warehouse climax yet also enjoyed the smaller and more intimate moments. Sarah Gadon, who plays Hemsworth’s wife in this, isn’t just a ignorant character, but actually goes about to try and find her husband in the correct ways once he disappears. It’s just a well made tight thriller, the only thing hampering it from its true potential are ad breaks and the cuts to black after each ‘webisode.’ This one was also created by Nick Santora, who did The Fugitive (review was posted yesterday), but you could tell his heart was more into this one, as it shows in the meticulous quality of the production. I would like to see more of these “hunt” games with Christoph Waltz coming back to play the host, but let’s face it, Quibi’s in trouble and there probably won’t be any follow ups to this. But maybe that is a good thing as more of the same could screw up the charm that this one has. It’s sad that the most dangerous game for Quibi is getting more subscribers…but you can’t win them all. At least it has a winner or two on the inside.

Zach’s Zany Movie Reviews: THE FUGITIVE (Quibi)

Yet another Quibi mini webisode television series that if put all together would be a 90 minute to 2 hr movie (closer to 1 hr 45 here). So that means yet another review from me treating it as a movie and not a webisode series. I didn’t think I’d watch anything else on my free 6 month subscription, however I forgot about this little remake that stars Kiefer Sutherland basically playing a toned down Jack Bauer with an in and out southern accent. Which is kind of funny because most of this plays out in real time. It’s like Quibi almost got the rights to 24, but then it slipped through their fingers at the last minute (evidence of this later)? But the real question should be: Do we honestly need yet ANOTHER iteration of The Fugitive? I mean, if you popped the Harrison Ford and Tommy Lee Jones classic into your media player nowadays it still holds up tremendously (it was rightfully nominated for Best Picture as well back in 1993). And didn’t we have a remake tv series not too long ago that stumbled and fell right out of the gate? So why again? Because Quibi needed some kind of content and everyone is out of original ideas? That’s probably always going to be my go to answer for the rest of 2020: that everyone is out of original ideas but when Christopher Nolan comes along and makes a unique blockbuster spy adventure everyone is scared to go to a theater because of a dumb virus that 99% of the world’s population survives even if exposed to said virus. Pfffft. This remake remake remake shit is all on some of you cowards (ranting again I know, I’m just passionate about movie theaters).

Anyway, is this reiteration of The Fugitive any good? Kind of. Yes and no. Do the mini webisodes with constant ads, starts and stops, stop it from being decently good? Absolutely. Does calling this ‘The Fugitive also stop it from being decently good? Abso-fucking-lutely. If this were a movie with no stops and recurring ads of any kind, it would be a very decent one time watch. Other than that it is entirely forgettable, The Stranger on the same service being more worth your time (I reviewed that last week). I guess you could call this go around more relatable to our times as both Kiefer Sutherland’s police squad and the news rush to conclusions and put out ‘fake’ news about our main protagonists character, instead of taking a breather to analyse all the facts. Per IMDB, it describes this The Fugitive iteration as: “With the city in a state of panic and misinformation traveling at the speed of social media, Mike’s life and family hang in the balance as he becomes – The Fugitive.” The city of Los Angeles is in a state of panic because a bomb just exploded in the rail system, and cameras happened to record this Mike character on his phone in a black hoodie while exiting (the real bomber is wearing a black hoodie just like his coincidentally). The reason they jump to this Mike so fast is because he got out of jail 6 months ago because he was involved in a DUI accident that left two people dead…but of course the movie reveals all is not what it seems. This was just so that Mike can be a very, very innocent character everyone can relate to. You can’t have any dark spots character guy, it’s either you are completely innocent after 2017 #MeToo or you are guilty for life! Boyd Holbrook (Logan, The Predator) does his best as Mike, the totally innocent man on the run, but I mean, how hard is it to look exasperated and talk in frantic tones while you are running?

What we really need to talk about here is my theory that this was supposed to be a 24 sequel/prequel but Quibi couldn’t get the rights. Kiefer Sutherland’s character works for the CTB here, Counter Terrorist Bureau, instead of the Counter Terrorist Unit, which was what it was called on the program he is most famous for. He yells the way Jack Bauer does when stressed here, but add on more realistic curse words and a comes-and-goes southern accent just so that Fox/Disney wouldn’t sue. Most of the events play out in real time. His wife in this is said to have been killed in the terrorist attacks of 9/11…Teri Bauer was killed at the end of season one of 24 by a terrorist, which coincidentally, the show premiered in 2001. The director of this entire series, Stephen Hopkins, was executive producer and even directed episodes of…you guessed it…24. The numbers add up. I just ended up pretending he was Jack Bauer and that he had somehow escaped his capture from Russia, headed back to the US under a different guise or went into witness protection and somehow still got a job working for the new organization CTB that rose from the ashes of CTU. The only thing that was really missing here was a mole, ha! (inside TV series joke). If they had gotten the right this could’ve been called 24: Fugitive or something like that. Anyway, the acting is fine for what it is, and this movie/webisode show somehow didn’t just keep hitting you over the head with fake news/police incompetence messages, it was more subtle than just yelling in your face of how and why this show is timely. And anything that has Glenn Howerton, Dennis from It’s Always Sunny In Philadelphia, in it gets a pass in my book, especially if he isn’t playing his character from his show. Which he wasn’t.

You get your cheese-y one liners here, Jack Bauer…err I mean, Kiefer’s characters has this whole dorky thing of getting his fellow officers below him to say, “Copy, sir!” which in turn, too many times to be honest, he replies with, “Music to my ears.” The action and running are fine for what it is, the direction is adequate, and to be honest, I was entertained for the short 14, 7 to 9 minute, “webisodes.” This would’ve worked better as a television movie no doubt. Other than calling this show The Fugitive, my one other complaint is that it seems like the real villain comes off as really stupid all at once, as Mike puts together what he saw when trying to help victims after the bombing before he was chased off by the police, combined with the fact that the villain stupidly reveals himself to Mike when if he would’ve just stayed silent it he would’ve gotten away with it. And then at one point Mike leads the cops to the real villain’s house and the evidence of the bombing is just laid out all on the table. A little too many plot conveniences just to move the story along wouldn’t you say? But hey, people get caught all the time for stupid shit that they do in the real world so who am I to say? None of this surprises me seeing as the main writer and creator of this revitalization is Nick Santora, who is executive producer and writer on other plot convenience shows (yet I still watched them and love them still to this day) such as Prison Break, Vegas, Law & Order, and Breakout Kings. He’s just going by formula and when a paycheck comes your way once you get that formula still going like clockwork, can you really blame the guy? So, before I’m caught ranting again, I’ll run out of this review by saying this is a half way decent entertaining one time watch, but forgettable as convicted small time con artists.

Zach’s Zany Movie Reviews: SECRET SOCIETY OF SECOND BORN ROYALS (Disney+)

Congratulations Disney, you have managed to make a film that even the Disney Channel would’ve probably rejected back in the day, which in turn, makes this the worst Disney+ original movie yet. SECRET SOCIETY OF SECOND BORN ROYALS is offensively abysmal. It is literally a movie for no one. It treats kids as if they were idiots, it basically gives the bird to film critics everywhere, and adults that still enjoy some of the Disney Channel Original magic from the 90s/early 2000s will be scoffing at the screen, asking why this was even green lit to begin with. The CGI is laughably straight to video 1990s bad, you can guess the entire plot minute 5, and the movie doesn’t even have the audacity to give you an obligatory after credits sequence. It is just another poor man’s Avengers superhero rip off tale after all. Per IMDB, it describes this film with the following log line: “It follows Sam’s adventures at a top-secret training program for a new class of second-born royals tasked with saving the world.” What that little description doesn’t tell you is that these second-born royals, for some reason or another, gain superpowers when they become of age just because plot convenience. And some of these powers, while being original, are either laughably useless or laughably too powerful. One of the kids can make insects do what he wants yet can’t go small and have super strength like Ant Man in that size? One of them has just her senses heightened but can’t do much else, an adult can just hold their breath underwater for a bit, and one can just duplicate himself yet doesn’t create enough copies when in a pinch. Then the others go straight to laziness screenplay writing 101 by having unoriginal and boring invisibility powers, The Force, the power of persuasion, and then of course one of them can just touch all the others and steal their powers for a brief period. Is it possible I’m a second born royal and have the power to fall asleep whenever I detect bullshit?

Do I need to list every cliche this film has in store for you? Probably not, but you’ll need two sheets of paper when watching this if you were wanting to list it on your own. The movie even tries to make you forget the main villain has an accomplice half way through the movie once he gets captured, and then tries to surprise you by their identity, even though I guessed right off the bat in the ballpark of who it was. This film has excuses galore for how to write around kids with too powerful of superpowers, it’s insulting. The only really recognizable face in this is Pitch Perfect’s Skylar Astin, as the kids mentor and instructor, and honestly, it just seems like it was a paycheck for him, just enough effort to be invited back for possible sequel for an even bigger pay day. There’s a dumb McGuffin device at the end that makes absolutely no fucking sense whatsoever and was written just to preserve anything deathly shocking from happening that would make small kids ponder life’s ultimate questions. The identity of the writers of this giant polished turd is shocking when you look up their past filmography. Well, one shocking and one not so shocking. One of them wrote for Hanna Montana…which this film is almost an exact cheesy blueprint from that show and the other wrote the screenplays for…Robert Rodriguez’s Predators and Paul W.S. Anderson’s shitty Three Musketeers remake? How the fuck did he get roped into this? Add terrible performances from all the kids involved, a butterfly catching a human sequence that made me produce tears from laughter, and terrible direction and you easily have only the second worst thing that the Disney+ platform offers. The first is paying $30 for Mulan.