Riddle of Fire - Little Film With A Big Heart

 

Rent on Apple TV, Google Play, Amazon, and YouTube 

    Sometimes, a movie is so unexpected, heartfelt, and enjoyable that you can't help but wonder, " Where has this been hiding all this time?" Riddle of Fire is a coming-of-age Summer film that successfully fuses the fantastical with the natural, or "realistic" as some folks prefer. A film that is soaking in classical fantasy fair with magic and unusual quests while dealing with the madness of the modern world. Like the young protagonists, the film doesn't care how unrealistic its ideas are; they're having too much fun just going there!

    Set in modern-day Wyoming, the story follows a trio of young friends enjoying their summer vacation and getting into all kinds of mischief, including "borrowing" a brand new game console to play together. Things get a little complicated when they learn that the TV has become password-protected, and the only one who knows the password is the mother of one of the boys, who is down with a terrible cold. They try to wheedle the mother for the password and come to a special agreement: if they can help her feel better by providing her with her favorite Blueberry Pie, she will give them the password to the TV. The trio set out on their quest to find the means of acquiring the unique Blueberry Pie, leading them on a journey filled with danger and mystery, making some new friends (including a young girl escaping her terrible family), and having unexpected developments that will put their resolve (and possibly their friendship) to the test. 

    The real selling point of this film is the young cast. Charlie Stover, Phoeve Ferro, Lorelei Olivia Mote, and Skyler Peters possess amazing chemistry and deliver incredible performances. At no point in the film did I feel like the kids didn't want to be there, nor did they refuse to put anything other than 100% effort into their characters! They also played off well with the adult cast members and vice versa. While I do have my favorites of the little performers, their outstanding professionalism as a unit cannot be understated! 

    Another highlight of the film is its visual style & cinematography. Captured on Kodak 16mm film (prominently mentioned in the opening credits), the movie feels like a time capsule of classic fantasy films from the 1970s, such as Jabberwocky and Pete's Dragon. The visuals also lend themselves well to the classic gritty independent vibe of the same era, bringing to mind indy classics like The French Connection and The Harder They Come. I don't mean to say that Riddle of Fire shares similar narrative or tone styles with either of those classics. However, the visuals harken to another fascinating time in cinema history when there was an incredible feeling of change in the air. Riddle of Fire captures that beautiful and classical aesthetic thanks to the talented eye of cinematographer Jake Mitchell. 

    Writer and director Weston Razooli makes his feature film debut with this gem, and I am already excited to see what he has in store for us next. The performances from the young cast suggest and showcase a level of patience and leadership that is often hard to find in young directors. With his script, he blends all the strange and contrasting elements together playfully and coherently. This person is very much in touch with his inner child. 

    Riddle of Fire is a must-watch! It is a fantastic, promising start for the rest of the year and a strong contender for my favorite film of 2024. Please do not miss or overlook this delightful labor of love. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Road House (2024) - Needs A Different Title

 

Streaming on Amazon Prime

    The original Road House from 1989, starring the late Patrick Swayze, is regarded by some, myself included, as a seminal classic in cheesy modern western action bags of cinematic candy. It's a film that only demanded a little from the audience and utilized the inherent talents of its star almost perfectly. Probably the most infamous aspect of the film is how some fans prefer to stop the film before the last 20 minutes for various reasons, not the least of which is the unfortunate departure of Sam Eliot's character, who has become a legend in his own right. Or that some people prefer to not watch the movie star rip out a guy's throat with his bare hands; that might also have something to do with it. 

    Then, as if we needed further proof of Hollywood's story crisis and ongoing creative implosion, MGM Studios (owned by Amazon) released a shiny new remake of Road House starring Jake Gyllenhaal and directed by Doug Liman, late of The Bourne Identity, Edge of Tomorrow, and Locked Down. On the surface, it seems like another desperate attempt from the dying Hollywood system to cash in on a recognizable I.P. with little effort put into making a compelling experience (filmmaking by accountants, if you will). 

    And yet, the film is genuinely okay. Despite the film suffering an unnecessarily unfair disadvantage by being an in-name-only remake, not to mention yet another case of a creative boycotting their creation after getting screwed over a theatrical release, taken on its own merits, the film is pretty fun. It has a decent individual spirit that deserves to stand independently rather than be forced to mascarade as a remake. Make no mistake, it is technically a recreation of the same general plot as the classic, as mentioned earlier, and it's a plot that has served as the basis for many classic Westerns and Martial Arts movies made before (and the film makes multiple references to that notion throughout the runtime). However, it might have been received more favorably if it had not been for the copied/pasted title. 

    Much like the original, the story follows a modern vagabond named Dalton (Jake Gyllenhaal), who is hired by the owner of a bar called The Road House to serve as the new head bouncer. The place is regularly terrorized by a bunch of aggressive and entitled muscleheads who turn out to be part of a sinister scheme to drive away the business for some big bad guys' evil schemes. Dalton won't have any of it and just wants to do right by the little guys getting trampled on by the big evil meanies. That is, assuming he can also outrun his dark past. 

    One of the most significant differences between the two films is the protagonist, Dalton. In the original, he was primarily the strong & silent type who enjoyed making a decent living as a bouncer, having been professionally trained and treating it as an underrated, admirable profession. As portrayed by the late Patrick Swayze, Dalton has an air of Samurai-like calm & nobility that further contributes to the classic new sheriff-in-town motif the film emulates. It is a character synonymous with Swayze's screen presence and abilities as a performer that no one in their right mind would ever try to top. 

    In the remake, Dalton (as portrayed by Jake Gyllenhaal) is a down-on-his-luck former MMA fighter with a death wish trying to escape an unfortunate event from his past. Plus, Dalton in the remake is less of a stoic Samurai type and more of a witty, legally insane goofball type who behaves as cordially as possible while kicking your ass. A character type that is similar to the original but very much its own thing, which I mostly appreciated. 

    In all seriousness, Jake Gyllenhaal carries the entire movie! He successfully handles the action beats with as much commitment as he puts into line delivery and character embodiment. Gyllenhaal has landed himself as an enjoyable character actor who easily handles the needs of a leading man. It's not easy to play a role in such a way that makes you feel safe and slightly terrified at the same time. Furthermore, he delivers a performance that is clearly his own thing without attempting to recreate the iconic previous portrayal, which I greatly appreciate. 

    Overall, the film does a decent enough job of delivering a fun and cheesy piece of action schlock that would be expected of any given movie that utilizes the classic "stoic warrior comes to a troubled town" plot seen in nearly every other action movie that tried to capitalize on the Kung-Fu craze of the 1970s. Suppose you look past the in-name-only aspect of the title and distance this movie from the classic it pretends to remake. In that case, you'll be in for a fun ride with decent action scenes (albeit with occasionally questionable bits of execution), fun performances (including a scene-stealing villain performance by Conor McGregor, whom I hope gets more roles after this), and enough of its own charm to sway you into justified enjoyment. 

    Don't consider this a remake; it's an in-name-only homage! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Lift - Money Plane Done Right

Streaming on Netflix 

    In 2020, I watched and reviewed (or somewhat eviscerated) the so-bad-it’s-funny action/heist film Money Plane. A low-budget work of incompetency so egregious not even Kelsey Grammer could save the movie, despite his best efforts. It is one of the lowest-ranking films I have reviewed and remains the No.1 spot on my Top 5 Worst Films of 2020. 

    Being the creative type I am, shortly after witnessing that train wreck, I pondered what a good version of that movie would be like. Then, one night, as I scrolled through Netflix, I came across today's subject, Lift. It is a heist movie that is not only a prime example of Money Plane done right, it is a fun, lovingly crafted good time. Almost every aspect of the film oozes passion and enjoyment with a tight script, entertaining performances, and a sense of direction that knows how to convey depth and utilize the power of suggestion. It may hit all the beats of a standard heist movie, but at least Hit has a fun time doing so, and because of that, we get to have fun alongside it. 

    The story follows a master thief named Cyrus (Kevin Hart-yes, THAT Kevin Hart) and his team of successful thieves caught by Interpol after a successful heist. Rather than being taken straight to prison, they are offered an alternative. A ruthless crime lord named Jorgensen (Jean Reno) plans to purchase a dangerous tech weapon with the power to control virtually anything, granting him the power to manipulate the world however he sees fit. Interpol has it on good authority that Jorgensen plans to “legally” purchase the weapon with half a billion dollars worth of gold, which will be transported from London to Zurich via plane. Cyrus and his team have seventeen days to form a plan to make the gold disappear, allowing Interpol the opportunity to bring Jorgensen down in exchange for immunity. It would be the most fantastic and most dangerous lift of their lives, assuming they were up to the task. 

    Yes, the movie hits almost every beat you would expect from any given heist movie: planning montages, last-minute complications, etc. But the movie does a fantastic job of hitting those beats with a sense of fun. It is as if the movie knows how much these elements have been seen and played out before but still chooses to be cheerful and excited about it. Because the characters are having such a good time, the audience is invited to join the fun, resulting in an experience that feels familiar but fresh.

    Kevin Hart is the surprising stand out of the film. His comedic talents often land him goofball roles that, while entertaining in their way, don’t provide much opportunity to stretch and expand one’s abilities. Kevin showcases a level of performance I hadn’t seen from him before, and it’s delightful to watch. Yes, he still has his great sense of comedic timing, but he also gets to be more subtle and nuanced in this role. I can’t wait to see what Kevin Hart may have for us. 

    The script is the ultimate driving force of any movie, and the writing for Lift is proof of concept. Penned by Daniel Kunka, the script features sharp & witty dialogue, textured characters, and plot beats that hit their mark in delightful ways. In addition to offering a fun experience, it also takes the opportunity to mention some relevant and vital issues—namely, the ever-present problem of systemic racism. The film does a spectacular job of raising these issues subtly, leaving a lingering impression that doesn’t detract from the overall enjoyment of the experience. While Daniel Kunka doesn’t yet have many more writing credits, I hope to see more of his work soon. 

    Lift may not change your life in any profound way, but it does deliver a solid premise with likable characters and incredible entertainment value. My only regret is not watching & reviewing this movie back in January when it was initially released. If you have Netflix, please add this to your watchlist. It is well worth the subscription. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

I'm Still Here

 My Beautiful Readers, 

    I apologize for my incredible absence. I am still here, and, as I have said before, I intend to write on this blog for as long as I can. 

    The truth is, I haven't seen many movies lately, and I haven't found many movie-related topics to write about...yet. 

    I intend to break this hiatus with an upcoming retro review of one of my favorite movies by the great Steven Spielberg, Catch Me If You Can. I can't say when it will come, but rest assured, it is coming. You can also anticipate a review of a recent epic. I won't spoil what it is, but I will say walking without rhythm is best. 

    Rest assured, my beautiful readers, I will do my best to get back into a regular output schedule. Until then, please continue to be patient. 

Ladies & gentlemen, I am TheNorm; thank you all for still reading. 

Anatomy of a Fall - Dead On Arrival

Rent on Apple TV, Amazon Prime, Google Play, and YouTube 

    In the 2011 mystery drama The Lincoln Lawyer, one of the best moments is when the titular character comments that the most terrifying client is an innocent one because if you fail to do your job as a defense attorney, your client ends up in prison for a crime he/she didn’t commit, and that guilt will torment you forever. By a similar token, the most terrifying film to review is one that you wish was better or at least liked more than you did because the last thing you want to do is come across as arrogant or unable to enjoy films that make an effort to focus on the essential things like characters, story, and especially the performances. In an age when expensive special effects extravaganzas unfairly rule the cinemas, it’s unnecessarily harder for smaller productions to make an impact. 

    Yet, here we are with the acclaimed mystery drama Anatomy of a Fall. It is a film that should have me firing on all cylinders (usually) about how great the performances are and how admirable the focus on story & characters is. Still, the inexcusable two-and-a-half-hour runtime combined with an overtly static & uniform presentation leaves me bored, agitated, and disappointed. While the performances are indeed admirable, it’s sadly not enough to compensate for the film's shortcomings everywhere else. 

    Set in the snowy mountains of France, the story follows two artists and their blind son. He and his mother find their lives flipped overhead with the discovery that the father’s body had somehow fallen from the top floor of the house. Foul play is suspected but challenging to prove, primarily due to the father & mother's apparently rocky relationship and the son's inability to recall specific events well. As the trial proceeds, certain & seemingly irrelevant details begin to surface that may or may not determine the nature of this unfortunate incident while providing some possibly profound & precocious ponderings about life. Or at least it would if the film hadn’t been so incredibly sleep-inducing. 

    Despite featuring adequate performances, a clever enough mystery, and moments of sharp writing, the overall film is too long, static, uniform, and repetitive to profoundly impact anything other than the number of power naps needed to watch the whole thing. 

    The story can be told in about ninety minutes, but the film drags it out into a two-and-a-half-hour feature for no justifiable reason, padding its runtime with redundant scenes and seemingly drawn-out improvised moments. The cinematography lacks a compelling visual style with overtly broad uniform lighting, a severe lack of shot variety, and poorly motivated camera movement. Plus, while I usually favor ambiguous endings, murder mysteries are typically not the best place for them! 

    Anatomy of a Fall is a sad dud of a film. It is, unfortunately, dull, visually inept, and lacks any compelling or emotionally resonating reason to care. This is one mystery best left unsolved. 

    Don’t waste your time. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Retro Review - No Escape (1994)

 

Stream on Arrow Player and Flix Fling

Rent on Apple TV, Amazon, Google Play, and YouTube 

    When I was a kid, there was a video rental store in my hometown that my family and I frequently visited. Like many video rental stores, the walls were littered with various movie posters and other cinematic memorabilia. One of the more prominent posters was for the film No Escape, the exact poster you see here. Although I was not of the proper age to see this film, I made it a point to do so once I was. Over time, I had forgotten & remembered the movie's poster many times and almost allowed it to fade into obscurity. Until I came across a YouTube video discussing the lack of film preservation and the superiority of physical media over streaming, showcasing No Escape as an example of a film that almost fell into complete obscurity as it was in danger of falling out of print only to be rescued by Unearthed Films with a brand new BluRay release. At that moment, I resolved to finally buy a copy of the film and give it my long-awaited & undivided attention. As you can imagine, it was well worth the wait 😊. 

  Based on the novel The Penal Colony by Richard Herley, the story follows a young former soldier named Robbins (Ray Leotta) who was sentenced to life in prison for murder. Upon arriving at a maximum security penitentiary, the warden drops Robbins on a remote island populated by other prisoners divided into two factions: the Outsiders, a savage band of raiders and scavengers led by the charismatic psychopath Marek (Stuart Wilson), and the Insiders, a civilized colony lead by The Father (Lance Henriksen) and protected by their head of security, Hawkins (Ernie Hudson). Despite the promise of a decent life within the confines of the Island, Robbins' only desire is to escape. With the surveillance satellites watching the entire island and the rising potential of an all-out war between the two factions, escape may be impossible. 

  This movie is what I like to describe as good cheese or a high-ranking "B" movie. It's a quintessential example that just because you don't have to do a good job doesn't mean you shouldn't. 

  The action is one of the film's many selling points. Like most action movies before the year 2000, it doesn't rely upon shaky-cam and rapid-fire editing techniques to amp up the action artificially. Proper fight choreography, ample stunt coordination, and heavy reliance on practical effects (with a bit of CGI when needed) are the prime ingredients that make this a delightful action fest. 

    The performances carry the film's story in many entertaining and surprisingly nuanced ways. According to YouTuber Oliver Harper, the goal was to get a traditional action star in the lead role, such as Stallone or Jean Claude Van Damn. However, the film's tight budget made that impossible, as it could not accommodate such a high-rolling star. So, instead of getting known action stars, they cast talented character actors who could learn how to handle the action. It reminds me of movies like Con-Air or Predators: high-octane action films cast with unknowns and character actors who could carry both the action and emotional weight with ease. 

    Ray Liotta is especially noteworthy here. His character comes off as cold and distant, conveying the typical firm and silent type seen in most movies of this caliber. But underneath the surface is a fractured man with PTSD who is trying to make things right for his previous and dreadful actions. 

    The MVP award goes to Ernie Hudson for being his usual charming self and delivering an instantly likable and excellent character. He is also the source of the movie's many bonus points for not having the black character die in the story, an overused cliché I have never appreciated. 

    No Escape is, somewhat ironically, a fantastic and enthralling piece of escapist art. It delivers the goods with engaging performances, thrilling action set pieces, and a decently nuanced commentary on the human condition. If you've never seen this movie, you owe it to yourself to hunt down a copy and see it. Start off the new year with a bang! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Leave The World Behind - Take Warning

 

Streaming on Netflix

    There is no denying that the modern world is overtly divided for ridiculous and repugnant reasons. Chief among them is our overreliance upon technology, our elected leaders acting like spoiled children arguing over who gets to play with the toy truck more, and an unhealthy desire to be right rather than informed. With everything regarding our future floating in space, what can we expect or should we prepare for? That challenging question is tackled and presented expertly in today's film, Leave The World Behind. A character-driven thriller that brings the horrors of our potential future front and center while still delivering an enthralling, entertaining, and engaging experience. 

    Based on the novel by Rumaan Alam, the story follows a family taking an impromptu vacation away from the city at a luxurious cabin, seeking a temporary getaway from the hustle and bustle of the world. However, shortly after arriving, things turn for the strange: all of their devices have mysteriously lost their signals, the local animals appear to be acting unusual, and what little information they obtain is vague at best & unpleasant at worst. Not helped by the arrival of the original owners showing up in the middle of the night in need of a place to stay, which some family members find a tad suspicious. As the days go on and everyone begins putting the pieces together, they will soon learn what is happening and what must be done for survival. 

    The film does a remarkable job of presenting the characters and situations with engaging tension. Carried along beautifully with a talented cast, sharp writing, and mindful direction that presents a human story with no fear. Not to mention some insightful and appreciated commentary on things like perception, family, and the importance of physical media of all types. The film succeeds in being insightful and provocative without appearing preachy or pretentious. 

    The film comes to us courtesy of writer/director Sam Esmail, whom you may recall as the creative mind behind the Amazon Prime show Homecoming. A series I have not reviewed but have seen and enjoyed exponentially. Many of Sam Esmail's artistic signatures (elaborate camerawork, animal motifs, and psychological suspense) can be found in his feature-film debut. In short, I would gladly put him on par with Alfred Hitchcock for his expertise in suspense and mastery of the film language; I look forward to his next cinematic adventure, whatever it may be. 

    Leave The World Behind is a relevant and, dare I say, riveting film that deserves your attention. It is suspenseful, occasionally funny, and gives a few essential points about what it will take to ensure our survival in this modern world. It will scare you, as it should, and you just might thank the movie for it. I know I did. 

Ladies & gentlemen, I am TheNorm; thank you all for reading.