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Two Cents Hails an All-New King with GODZILLA: PLANET OF THE MONSTERS
Two Cents is an original column akin to a book club for films. The Cinapse team will program films and contribute our best, most insightful, or most creative thoughts on each film using a maximum of 200 words each. Guest writers and fan comments are encouraged, as are suggestions for future entries to the column. Join us as we share our two cents on films we love, films we are curious about, and films we believe merit some discussion.
The Pick
Godzilla’s been through a lot ever since he first strolled out of the waters near Odo Island in 1954. In the intervening half-century, the King of All Monsters has been a devastating force of nature, a monster-wrassling protector, a grumpy Dad, a fish-devouring Mom, a worm, you get the idea. He’s been to space, to Monster Island, and battled everything from smog-beasts to aqua-monstrosities.
So when we say that Godzilla: Planet of the Monsters is something different, be aware of just how much import is packed into that statement.
Planet of the Monsters kicks off with humanity on its last legs, having been exiled from their home-world after a seemingly endless plague of attacks by giant monsters was capped by the appearance of the most destructive beast of them all…Godzilla.
Running low on resources and with a populace circling the drain, the last dregs of the human race opt to return to Earth and see what has become of the place. While only a couple of decades have passed for the space-faring humans, close to 20,000 years have passed on Earth and things are much different and much deadlier than when the gang left.
Oh, and Godzilla is still kicking around, and he’s none too happy to see the pesky humans again.
The first entry in a planned trilogy of anime features, Godzilla: Planet of the Monsters was a theatrical release in Japan, and a Netflix exclusive elsewhere in the world.
But does such a new riff dilute the awesome majesty of the King, or does Godzilla roar with renewed vitality in this new format and story? We put the question to the test!
Next Week’s Pick:
Like all right-thinking human beings, we are excited beyond belief for the debut of Ryan Coogler’s Black Panther in a couple weeks. The movie looks amazing, early word is that it is amazing, and we have a feel we’re going to be revisiting Wakanda for years to come.
But before Coogler took Marvel by storm, he revived a faded franchise that many probably didn’t even think they wanted more of.
Creed took audiences by storm when it first dropped in 2015, stunning even the most die-hard of Rocky fans, who thought the series good and wrapped up with 2006’s Rocky Balboa. Creed finds Michael B. Jordan’s Adonis ‘Donny’ Creed, the long-lost lovechild of Carl Weather’s Apollo Creed, tracking down the retired Balboa and drafting his help in becoming a professional box, having no idea of just how much this action will change the lives of both men.
Creed is available to stream via Amazon Prime.
You can send your thoughts to [email protected] anytime before midnight on Thursday.
Our Guest
I like to think I am pretty well versed in the tokusatsu and daikaiju genres — maybe not an authority, but certainly an educated enthusiast. That said, I’m not much of an anime guy. Thus it was with some uncertainty that I approached Godzilla: Planet of the Monsters. Looking at the big picture, the premise of this film is very smart, and effectively dodges most questions of how it fits into any of the various Godzilla continuities that have developed over the years (spoiler: it doesn’t, and that’s fine). Its far-distant future setting changes the stakes of the human-kaiju conflict in interesting ways. Also the animation — particularly once they arrive on Earth — is gorgeous, and Godzilla translates surprisingly well to the anime style Toho employed.
Unfortunately, the specifics of the plot are less interesting. Much of the first half of the film is spent with exposition, and yet despite its deliberate pace I still felt I wasn’t quite getting everything I was supposed to about the characters — particularly the aliens. Virtually all the human/alien scenes are high melodrama, and while the dialogue flourishes are entertaining I never really cared much about these characters beyond a general sense of wanting humanity to survive. Similarly, Godzilla has far less personality than he had in most prior eras of Godzilla films. It is more than monstrous — it is an unstoppable engine of destruction. Those scenes, with the remnants of humanity struggling against the king of monsters, are the best in the film. Well, there’s also a post-credits scene with REALLY interesting implications, but I won’t spoil that. This isn’t the best Godzilla movie ever — but it’s not the worst either, and I’m curious to see where the rest of this animated trilogy goes. (@T_Lawson)
The Team
In the grand scheme of Godzilla, I’m probably a fair-weather fan at best. I love the big guy, but when it comes down to it, I haven’t really experienced all that many of his expansive oeuvre. I’ve seen the easy stuff. The English-language stuff. The newer entries. One or two of the most famous older titles, including the original. I find it to be a hard franchise to go deep on because there are just so many. And there’s a samey-ness that makes them rather indistinguishable from one another. Godzilla: Planet Of The Monsters feels different. Right off the bat the beautiful animation style distinguishes it. Then there’s the high concept premise of a Battlestar Galactica-like humanity confined to a small fleet of ships, banished from their home planet, and in a permanent state of retreat. It’s a premise that feels grand in scope, and over which Godzilla looms large. The final act of the film, an absolutely massive battle between the remnants of humanity returned to their home planet looking for revenge and the monster himself, is glorious and well-staged. Ending on a cliffhanger, there’s no doubt I’ll return to learn the ultimate fate of humanity. (@Ed_Travis)
Dear Godzilla,
It’s hard to write this letter. I wish I could tell you in person, but it’s just too difficult. So I guess I’ll get on with it… it’s not you, it’s me.
You’re a great little movie, I really mean it. You haven’t done anything wrong at all. Please don’t blame yourself.
I should have known going in that you weren’t my type. Anime and I simply don’t mix. Every so often I forget this and I try out a new relationship with someone like you, but every one ends up the same: a one night stand that ends prematurely with no one satisfied at all.
In your case, I even gave it a second go before I shut you off and realized it simply couldn’t work.
There are far better people out there for you, who will love you for you. Never change for some fool like me.
Sorry,
Justin (@ThePaintedMan)
Godzilla: Planet of the Monsters has some cool ideas running through its veins, not the least of which is an attempt to actually play with the ‘God’ aspect of Godzilla’s nature. This isn’t the first film to equate the big lizard’s destructive power with the wrath of God, but it might be the one make the point most, uh, pointedly. And the Battlestar Galtacta-ian depiction of humanity’s last days are indeed harrowing. While the point about their wretched condition being the result of the loss of hope and pride is broadly made, it is nonetheless effective and a strong central theme for this story.
The problem is that even with the apparent freedom of the animated format, they fall into the same dumb fucking trap as so many other Godzilla films. You spend (over) half the runtime watching humans squabble and bump heads, all the while thinking, ‘I don’t care about any of this shit, just have Godzilla show up.’ And in fact the problem is compounded in this film because that usual pointless human drama is all tied up in the convoluted mythology of this future and the various political and strategic games going on, none of which is easier to understand given that the anime format renders huge chunks of the cast indistinguishable from each other (there are three different effete blonde dudes that I honestly could not tell apart from one another. When one of them died and then another one popped up on camera, I honestly thought the first guy had somehow survived).
As is often the case with these films, all is mostly forgiven once the big guy finally shows up and starts stomping shit. The last third of Planet of the Monsters is essentially the Death Star run in the original Star Wars, except the Death Star is Godzilla, and I think I will brook no argument when I say that that is fucking awesome. And the last chunk of the film (including a post-credits scene) suggest new wrinkles and twists that should lend all kinds of juicy directions for the next installments in this series. Which I fully intend to watch, but with the knowledge that it’s OK to check the phone while the people yap. (@TheTrueBrendanF)
It seems we’re mostly in agreement on this one. Echoing what’s already been said, the problems here include a lot of uninteresting melodrama and heavy-handed exposition. Not to generalize, but if you hate the trope of anime characters screaming at each other, this won’t do anything to change your opinion.
Certainly, being the “Part 1” of this particular story works to its disadvantage — despite being a full feature film, it never escapes feeling like a first act.
In its favor, the film’s animation is well realized, and while the endless exposition of crafting a whole new mythology is unfortunate, there’s certainly a sense here that Toho is doing something different with the big guy than his previous 30-odd outings. And like Shin Godzilla, the humans are trying to apply a biological strategy to their battle rather than show up with toy tanks and planes.
Watching this whole thing, though, I was constantly wondering why they didn’t just… go somewhere else. OK, Godzilla is 300 meters tall. That’s pretty big. But ya know what’s bigger? The damn planet, with a land area of 148 million square km (give or take 20,000 years). With the dwindling remnants of humanity confined to a few transports, this is no longer a situation in which the concern is about densely populated cities all over the world getting razed. Just park on the other side of the Earth, maybe build a handful of colonies around the world. Keep track of Godzilla’s movements, and if he comes within 500 miles use the giant spaceships to retreat. ¯\_(ツ)_/¯
Without spoiling anything, the climax is by far the best part of the film, and while the overall languidness is a bummer, I’m super excited for the setup for next one. (@VforVashaw)
Watch it on Netflix:
https://www.netflix.com/title/80180373
Next week’s pick:
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KILL ORDER: A Fight Film Highlight Reel
Stunt brothers James and Chris Mark make A movie
Years ago I reviewed a movie called Die Fighting which gave off very similar vibes to what is going on here with Kill Order. Both films are put together by martial artists and on-screen fighters with incredible talents to display to the world. Both feature casts made largely of non-actors who struggle to convey a presence beyond home video levels of sophistication. Both feature narratives that exist for little more than to string together fight sequences where the filmmakers can truly display their talents. And in that regard, both kind of succeed in displaying a killer calling card for on-screen martial arts talent.
Star Chris Mark and fellow stunt man and brother James Mark (who directs here) succeed in a most tangible way with Kill Order in one crucial sense: I had never heard of them before, and now I have.
It’s not exactly a complete film or one that I’d recommend, but Kill Order got my attention. Clocking in at 77 minutes, Kill Order still comes close to overstaying its welcome. There’s a bit of a horror/sci-fi hook to the story with Chris Mark playing David, a high school student who is very troubled by terrifying visions. He’s attacked at his school, goes on the lamb with a friend, and fights a bunch of nameless/faceless foot soldiers, occasionally revealing some sort of hidden and disturbing power within himself that appears to make him into an unstoppable badass. This will be explained, an evil corporation will be at the heart of it all, and it’ll ultimately lead to a knock-down, drag-out third act fight that almost makes it worth a watch.
Fans of extremely indie action and fight films will get a kick out of Kill Order as I did. General audiences will find little to enjoy as the story, script, and performances all take a major back seat to the fight choreography and execution of tight action set pieces. James and Chris Mark are officially on my radar and I’m curious to see where this calling card and highlight reel can take them in their careers. Chris is certainly handsome and kicks people’s asses with grace and fluidity. James captures the fights in exactly the way you hope for: with clarity and excitement. Hopefully Hollywood will take notice of these guys and take them from the general stunt community and give them shots at more action choreography, second unit work, or stunt coordination. There’s little to compel me to be interested in a continuation of Kill Order’s specific storyline, but much to pique my interest in these gentlemens’ future careers.
And I’m Out.
Kill Order is available on VOD, Digital HD, and DVD on Feb. 6th from RLJE Films.
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For Your Consideration: Two Cents Cries in the Rain with BLADE RUNNER 2049
Two Cents is an original column akin to a book club for films. The Cinapse team will program films and contribute our best, most insightful, or most creative thoughts on each film using a maximum of 200 words each. Guest writers and fan comments are encouraged, as are suggestions for future entries to the column. Join us as we share our two cents on films we love, films we are curious about, and films we believe merit some discussion.
The Pick
Blade Runner fascinated, confounded, and enraged filmgoers in 1982, a reputation that has only grown as the film’s seeds came to blossom in the minds and works of generations of future artists, and as director Ridley Scott endlessly played with his creation, releasing a multitude of alternate cuts and editions, changes that left everything, including the nature of protagonist Rick Deckard (Harrison Ford) in a constant state of flux.
Blade Runner 2049 fascinated, confounded and enraged filmgoers in 2017, with director Denis Villeneuve delivering an epic follow-up that enraptured some audiences while leaving others bored or confused or simply pissed off beyond belief.
The sequel finds replicant (future word for ‘robot’) detective K (Ryan Gosling) on a routine job retiring (euphemism for ‘murder the shit out of’) a rebellious fellow android (Dave Bautista). But this simple errand leads K into a deeper, stranger mystery, one that challenges the very nature of his reality and brings him into a tangled web involving god-like titan of industry Niander Wallace (Jared Leto), cold-blooded cop Lt. Joshi (Robin Wright), and, eventually, the long-vanished Rick Deckard.
Blade Runner 2049 was perhaps the most divisive studio film released in 2017, with some praising the performances, the visuals, the score, and especially the hallucinatory cinematography by master DP Roger Deakins. But others were left cold by the sprawling mystery, while others objected to what they saw as an unapologetically misogynistic tilt to the film.
With Blade Runner 2049 now available to buy and rent, the future is available at a moments notice.
Next Week’s Pick:
Netflix has just delivered one of their most intriguing exclusives with a new Toho-produced GODZILLA anime film! There are a lot of reasons we’re thrilled to see Godzilla: Planet of the Monsters on Netflix, but here’s one:
Image credit: Noger Chen You can send your thoughts to [email protected] anytime before midnight on Thursday.
Our Guest
Derek Smith:
Going into this sequel, I was worried. The marketing had it looking like a huge action-adventure, which didn’t fit the original film at all. I was very pleasantly surprised as the open sequence with K flying to a remote farm confronting a rogue replicant went down. Sure, there was a pretty crazy fight sequence, but it wasn’t what stood out the most. The conversation and humanity (or more human-than-humanity) of it all was what mattered most.
I also beg of you to find a scene in 2017 more beautiful than when K’s wife Joi gets to experience her first rainfall. Truly a wondrous scene that will end up leaving you broken hearted! (Derek Smith)
The Team
So, I have a confession that may result in the revoking of my geek card: While I admire and respect the obvious brilliant technical achievement of the original Blade Runner, and while I completely respect its standing as a seminal film in science fiction whose influence cannot be understated…Blade Runner is a fucking snooze. The characters are all bores (save for the electric Ray Batty, who barely appears), the whole thing crawls at a snail’s pace, and for al the hype about how Blade Runner marries sci-fi and noir detective stories, the actual narrative shares only the most surface-level details with noir.
Blade Runner 2049, though? Infinitely better. The characters are actually interesting and have shit to do. The central story is an engaging mystery that twists and turns and folds inwards in unexpected ways, deliberately playing against your expectations, and the combined effect of Roger Deakins’ imagery and the hypnotic score and sound design create a world that you feel you could slip into.
On the rewatch though, I have to admit that I was not as enthralled as I was during my theatrical viewing. You really feel the film’s ponderous length, especially once Deckard returns to the narrative, and it has to be said that it is a colossal bummer that female characters exist in this film almost exclusively to follow commands and/or die horribly. Only time will tell whether or not the misgivings will win out over the aspects of the film that succeed with flying colors. (@TheTrueBrendanF)
Five Great Things about Blade Runner 2049:
5. Phillip K. Dick would be proud.
4. A sensory overload.
3. Getting to see [redacted] again.
2. The Ford/Gosling buddy scenes don’t disappoint.
1. Jared Leto is amazing as The Creator.To see Rod’s spoiler-packed elaboration on these points, check out his full, uncensored article.
https://cinapse.co/blade-runner-2049-five-great-things-c5154fffe757
Directed by on-fire director Denis Villeneuve coming off an incredible run with Arrival, Sicario, and Prisoners, the trajectory of Blade Runner 2049 seems doomed to mirror that of its forebear: a long, beautiful, slow-burn science fiction epic that got off to a rough start with audiences. The original Blade Runner is now lauded as a masterwork, though it took a couple of director’s cuts to cement that status.
2049, on the other hand, is a more confident film. I found it surprising that it veers stylistically as much as it does — a brighter and cleaner world than the original’s grimy, rain-soaked vision. But Blade Runner has always been about humanity and the decisions we make, and in that 2049 rings true with both its new and old protagonists.
(@VforVashaw)
With a style so simultaneously reverent of the past and boundary pushing today, the genius of craft behind Blade Runner 2049 truly is its greatest asset. A 1982 film which has inspired a sci-fi aesthetic for an entire generation has given birth to a follow up which will somehow catapult that influence long into this future generation. It’s a magnificent achievement of style that appears so effortless as to make it feel almost inevitable. Denis Villeneuve takes another leap forward in his quest of becoming a modern master. (@Ed_Travis)
— excerpted from Ed’s full review. Hit the link to read it in its entirety!
https://cinapse.co/blade-runner-2049-five-great-things-c5154fffe757
Next week’s pick:
https://cinapse.co/blade-runner-2049-five-great-things-c5154fffe757
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THE CAT O’ NINE TAILS Blu-ray Screen Comparisons: Arrow Video vs 2011 Release
Pitting the new 4K Transfer of Dario Argento’s classic 1971 giallo against the earlier Blu-ray from Blue Underground
Arrow Video will release their new Limited Edition release of Dario Argento’s Cat O’Nine Tails on Feb 13.
This article contains several comparisons which contrast the older Blue Underground Blu-ray transfer with the new Arrow Video restoration. The frames aren’t necessarily exact matches, but should give a solid indication of the visual differences.
The film was previously released by Blue Underground both individually and as part of a three-movie Argento set, with a respectable set of extras. Arrow’s disc boasts even more robust features, replacing the old interviews with new ones and packing in some physical extras. But most intriguing is a new 4K-source, scanned from the original camera negative.
Here are my own observations; feel free to draw your own conclusions.
Unsurprisingly given its 4K restoration, Arrow’s disc scores best on clarity, displaying a clean, sharp, film-like image with grain intact — it will look better on larger TVs in particular. By contrast, the Blue Underground disc has some smeary pixelization.
Color is a bit of a toss-up. The new disc leans heavier into reds and blues, while Blue Underground had a more yellow tone overall. These differences are most noticeable in observing skintones.
Perhaps the most drastic difference between the transfers is in brightness. The new print is darker overall, while also exhibiting more natural contrast. While the darker image may be preferable for mood purposes, my gut tells me I like the brighter look better.
The differences here are somewhat subjective and I think which transfer you prefer is more a factor of personal preference than is typically the case. And while screenshots are good for observing differences between the two editions, they don’t tell the whole story — both editions look quite good in motion. I watched the film on the new Arrow disc and was never distracted or less than enthused by the transfer, which looks beautiful.
Top: Old Blue Underground // Bottom: New Arrow Video The different typeface on the opening titles if the first clear indication that these transfers are not just the same source. It’s also clear right off the bat that there’s a difference in overall brightness.
Top: Old Blue Underground // Bottom: New Arrow Video The woman’s hands above are a good example of the improved clarity on Arrow’s new transfer. Her skin looks rather smeary on Blue Underground’s disc.
Top: Old Blue Underground // Bottom: New Arrow Video Looking at the close-up textures above, particularly on the paper, I feel the new restoration has a more natural look.
Top: Old Blue Underground // Bottom: New Arrow Video The very different skintones above demonstrate the difference in colors between the editions.
Top: Old Blue Underground // Bottom: New Arrow Video 
Top: Old Blue Underground // Bottom: New Arrow Video 
Top: Old Blue Underground // Bottom: New Arrow Video A pretty drastic difference in contrast here — Blue Underground’s image is clearly punchier, while Arrow’s screen seems more natural.
Top: Old Blue Underground // Bottom: New Arrow Video 
Top: Old Blue Underground // Bottom: New Arrow Video Sometimes the older transfer’s brightness is too bright. The shiny spots on the lamp above show a mild instance of blowing out to white.
Top: Old Blue Underground // Bottom: New Arrow Video The shot of Karl Malden’s face being illuminated by flashlight as he enters the crypt is a clear example of where Blue Underground’s brighter transfer looks more appropriate. That said, isolating the screenshots exaggerates the sensation — while watching the Arrow disc, the scene plays perfectly fine in context.
Top: Old Blue Underground // Bottom: New Arrow Video Illustrating the opposite effect of the last pairing, the lighting this nocturnal screen looks more natural on Arrow’s disc.
In terms of color, contrast, and brightness, this is a comparison where personal preference might apply more than usual. I think Arrow’s new transfer looks more natural and filmlike overall, while Blue Underground’s disc had more “pop” to it, and fares better on skin tones (giallo does mean yellow, after all). Both transfers have relative strengths.
Speaking personally, I gravitate toward the more filmlike presentation. But he real deciding factor is the improved clarity of Arrow’s transfer, which looks better on larger, higher-resolution screens. As huge 4K TVs become increasingly mainstream, this new (4K-sourced 1080p) disc will certainly age better as a result.
A/V Out.
Get it at Amazon:
http://amzn.to/2DByA0bhttp://amzn.to/2DByA0b
Except where noted, all 16:9 screen images in this review are direct captures from the disc(s) in question with no editing applied, but may have slight compression inherent to file formats. All package photography was taken by the reviewer.
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SHOWDOWN IN MANILA: Plenty Of Manila, Not Enough Showdown
Fun Cast Of Action Legends, Though…
I appreciate what bodybuilder-turned-action star Alexander Nevsky is doing. I really do. Between Black Rose and Showdown In Manila, it’s clear that he’s got similar cinematic tastes to my own. (And, you know, basically the same physique as well). He’s putting his time, energy, and efforts into projects that are love letters to 1980s and 90s action cinema. And it’s no small effort. Directing Black Rose, and co-writing and exec producing Manila, Nevsky is doing double or triple duty in front of and behind the camera. It’s just too bad that neither project really lands.
Showdown In Manila offers something that was simply too tantalizing for me to pass up: A rogues gallery of action movie legends that never made the cut in any of the Expendables films. And, for one segment of Showdown In Manila, it really is a poor man’s Expendables film with a team up of beloved action stars gathering to kick some ass. Then there’s the fact that action wunderkind Mark Dacascos makes his directorial debut with Showdown In Manila (along with a brief role in which he’s given the very best action scene of the whole film). Throw in Cary-Hiroyuki Tagawa, Matthias Hues, Tia Carrere, and Casper Van Dien as Nevsky’s sidekick, and Showdown In Manila became like cinematic catnip I could not resist.
But it’s all in the execution, isn’t it? That Expendables-lite sequence? It’s like the whole script was written with a siege set piece designed to feature whatever action stars the production could round up for a day or two. Cynthia Rothrock, Don “The Dragon” Wilson, and Olivier Gruner show up to join Nevsky and Van Dien on a massively generic jungle raid and then literally swift boat off into the sunset. It’s certainly wonderful to see these stars show up and be treated with reverence, but the best way to honor them would have been to design a real killer set piece that gave each of them a chance to highlight their skills. Instead they all roll around behind some crates and fire automatic weapons off screen a bunch of times at faceless jungle villains until they win, bro-hug old pal Nevsky, and vanish.
Dacascos’ character is a bit of an “inciting incident”. He’s attacked by Tagawa and Hues’ gang, setting his wife (Carrere) on a quest for vengeance in which she hires down on their luck private eyes Nevsky and Van Dien to find them. Dacascos displays more grace, fluidity, and presence in his brief on screen role than anyone else in the cast by a mile. Then he disappears behind the camera where, despite his literal decades of action filmmaking experience, he struggles to assemble anything truly compelling. It’s the kind of action film where explosions happen, guns are fired, punches and kicks are landed, but any sense of urgency or excitement never rears its head.
Nevsky and Van Dien are a kind of delightfully un-PC pairing of jokers, and the naked influence of 80s buddy cop movies is appreciated. Van Dien actually comes off as willingly self deprecating in a surprising way. But in both Black Rose and here, Nevsky just does not have the acting chops or screen presence needed to anchor an action film. He’s big, but that’s about it. There’s a persistent smirk on his face that an acting coach needs to intervene on immediately, and aside from his passion for the material and clear willingness to put his money where his mouth is, he doesn’t display much in the way of the charisma or badassery needed to become an action star.
That smirk, tho… What’s nice about Showdown In Manila is that everyone seems to be having fun, and talented action heroes who never quite gained mainstream respect are treated with reverence. You get the sense that Nevsky is very much behind that ethos. Perhaps Dacascos was given the chance to direct for the very same reason. And when you assess the film from that perspective, you’re kind of happy it exists. It also makes it hard to acknowledge that the film really isn’t very good and offers little of value beyond the gathering of the heroes.
And I’m Out.
Showdown In Manila released Digitally and On Demand on January 23rd here in the US, so it’s available now!
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For Your Consideration: Two Cents Feels Better After Coming Down with THE BIG SICK
Two Cents is an original column akin to a book club for films. The Cinapse team will program films and contribute our best, most insightful, or most creative thoughts on each film using a maximum of 200 words each. Guest writers and fan comments are encouraged, as are suggestions for future entries to the column. Join us as we share our two cents on films we love, films we are curious about, and films we believe merit some discussion.
The Pick
We don’t often get word-of-mouth hits these days, but The Big Sick just might qualify.
The unassuming romantic comedy-drama from director Michael Showalter, adapted by Kumail Nanjiani and Emily Gordon from their actual real-life courtship, and starring Nanjiani as himself and Zoe Kazan as Emily, The Big Sick made a big splash at Sundance and turned into a sleeper hit throughout summer of 2017.
Nanjiani plays himself as a struggling comedian in Chicago who stumbles into an inadvertent relationship with Emily, a young woman who heckles him during one show. The relationship is complicated due to Kumail’s reluctance to introduce Emily to his very traditional Pakistani family (including Zenobia Shroff and Anupam Kher as his mother and father) or to even tell them about her existence.
Just as the relationship seems blown up completely, Emily falls ill and is placed in a medically-induced coma. Kumail now finds himself keeping vigil alongside Emily’s parents (Holly Hunter, Ray Romano), neither of whom is exactly thrilled to be spending so much time with the jackass who broke their daughter’s heart.
As one of the few romantic comedy with actual life-and-death stakes, The Big Sick charmed the pants off pretty much everyone who saw it last year. But does it deserve to be counted among the best of the best? We put it to the team and the readership to see what they thought. — Brendan
Next Week’s Pick:
Easily the highest profile film of this series, improbable sequel Blade Runner 2049 found pockets of deep love with viewers but struggled at the box office. Directed by on-fire director Denis Villeneuve coming off an incredible run with Arrival, Sicario, and Prisoners, its trajectory seems to mirror that of its forebear: a long, beautiful, slow-burn science fiction epic that got off to a rough start with audiences. The original Blade Runner is now lauded as a masterwork — will 2049 follow suit? — Austin
Blade Runner 2049 isn’t streaming “no-cost” anywhere, but it just hit home video and can be easily rented, and we have a feeling a lot of you just bought it this week anyway.
You can send your thoughts to [email protected] anytime before midnight on Thursday.
Our Guest
Brendan Agnew:
This is the best romantic comedy since Groundhog Day.
If you know me, you may know that purgatorial stays in hospitals at the side of someone you love hits. . . a bit close to home, and the way this film handles its 2nd act digression into a very “shit just got real” stretch of a “based on a true story” narrative pushes that particular button rather hard and then holds it down. There are moments in The Big Sick that are almost painfully awkward or unbearably tense as you feel poised on the brink of unbearable tragedy, but the script — penned by the real-life couple on which the film is based — knows just when to bring in the warmth of humor or heartfelt human connection to get you through the next cold, dark night.
For all the genuine dramatic stakes at play in this story of “boy meets girl, boy and girl break up, girl is hospital-ridden and boy realizes he done screwed up,” it is also very funny. There’s a 9/11 joke (yes, you read that right) that is near-legend among fans of the film, but the extended tirade that Holly Hunter delivers against one of lead Kumail Nanjiani’s comedy club hecklers had me rolling. There’s an eerie balance struck that keeps The Big Sick from feeling agonizingly real but still almost painfully grounded, and — much to its credit — this film knows exactly how coy to play it with the ending it knows you want.
More importantly, it knows how to earn it. (@BLCAgnew)
The Team
“In the past few years, the “chick flick” has become less of a staple in my cinematic diet. While never a favorite type of film of mine, my favorite actor of all time is John Cusack, thus my appreciation for a good rom-com has always been significant. However, the increasing presence of exploitation, horror, and other genre film has left me little time to appreciate the more recent entries to the rom-com world.
This film is best described as a feel good dramedy. It has a lighthearted approach and some hilarious writing, despite having the weighty core of a character fighting a mysterious illness that could take her life. The tone works well though, as the set up assured the viewer that there will be happiness in the end.
The writing and the performances are stellar. In fact, despite the fact I’ve always disregarded the idea that “everyone loves Raymond” as I never loved Ray Romano at all, I even find his performance to be damn near perfect. A strong script that is well executed basically assures that a movie will work. This is certainly the case here.
The Big Sick made me laugh out loud and it made me cry like a baby. When it comes down to it, what more can I ask? (@ThePaintedMan)
As a genre, the romantic comedy has gotten something of a muddied reputation over the years. It’s often a cloying, mawkish product, one that may draw tears and cheers from some, but eye rolls from others. On the rare occasion that the two components are married properly, you can get something special; The Big Sick is one such example. It’s genuinely heartfelt and moving, while being one of the most hilarious films you’ll see this year. [You can read Jon’s full review HERE] (@Texas_Jon)
Endlessly charming, gut-bustingly hilarious, and with a deep vein of sincerity and empathy, The Big Sick is the kind of film that people complain they don’t make any more. And usually when they do make them, the audience isn’t there to support it. Amidst a Hollywood landscape of alien spacecrafts and superbeings punching each other through walls (not that I’m complaining, mind you. Black Panther looks like the dopest dope of all time, just saying), here is a small story about flawed adults struggling through deeply complex emotional problems, problems without easy answers.
But, you know…funny.
The Big Sick knows all the plays in the romantic comedy playbook (director Showalter effectively shredded all of them in the hysterical, deeply underrated They Came Together) and so the film knows exactly when to zig when you expect a zag, and how to make the most familiar beats feel the most satisfying. Above all, The Big Sick is a comedy that never derives its laughs from mocking or insulting any of its cast or characters. The film adores all these weird, messy people, celebrating the ways in which they stumble and fuck up, because it makes the moments when love overcomes all obstacles feel all the more earned. (@TheTrueBrendanF)
I’ve wanted to check out The Big Sick since reading Brendan’s theatrical review, but felt a bit intimidated to do so —it’s difficult for me to just stand there and take an emotional gut punch when I know it’s coming.
Thankfully the film does strike a certain balance, peppering in a lot of humor and awkward laughs in with the streaming tears. It’s a deeply personal story with emotional engagement, but while I anticipated getting invested in the romance between Kumail and Emily, it is Kumail’s relationship with her parents that anchors the film and is even more resonant, encapsulating so much truth about friendship, love, forgiveness, and humanity. (@VforVashaw)
Next week’s pick:
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THE TAKING OF BEVERLY HILLS: A Wildly Entertaining DIE HARD Clone
What If John McClane Had A Mullet & Threw Ninja Stars?
I was only vaguely aware of what The Taking Of Beverly Hills was when I agreed to review it. Over the years I’ve gotten familiar with who Ken Wahl is, even if I’ve seen blessedly little of his big or small screen output. I’d probably read a few lists ranking the greatest Die Hard clones and the film made its way into the outer reaches of my brain. Our own Victor Pryor had also reviewed the title for The Action/Adventure Section here at Cinapse. So when Kino Lorber dropped the film on Blu-ray, it seemed now was the best time to experience it.
And what a way to ring in 2018! (Yeah, I happened to be watching 1991’s The Taking Of Beverly Hills as my neighbors shot off fireworks to ring in 2018… what of it?!). Featuring a gloriously over the top premise, a “buddy cop” angle with Matt Frewer (Max Headroom, The Knick, and literally 132 other IMDb screen credits), and a SWAT tank blowing up mansions throughout Beverly Hills, this film captures four times the excess of Die Hard on a quarter of the budget.
Ken Wahl’s (The Wanderers, TV’s Wiseguy) Boomer Hayes is a pro football quarterback schmoozing with the Beverly Hills elite one minute, and Beverly Hills’ only hope for rescue the next when a virtual army descend on the town to rob it blind. There’s a fundraiser set up at the beginning establishing a few key players such as Robert Davi as the owner of Boomer’s team and the obvious bad guy because come on it’s Robert Davi, Boomer’s plucky love interest Laura (Harley Jane Kozak), and also Ferris Bueller’s Dad (Lyman Ward) as the clueless chief of police. Oh, also the sidekick guy from TV’s Renegade, Branscombe Richmond, shows up as the tank-driving heavy.
A whole mess of former Beverly Hills cops stage an environmental crisis and block off the entire city of Beverly Hills. Frewer gives a stellar monologue at the beginning of the movie laying out the rules of how Beverly Hills works, how rich it is, and how all the blue collar folks (like himself) can’t even afford to live there. It’s just enough information to set the tone and set the ludicrous and highly entertaining plot in motion. Before long, an army of former cops are robbing every house in the town while all the residents have been evacuated. Boomer teams up with Frewer’s Ed Kelvin and they start throwing molotov cocktails at the thieves from stolen Rolls Royce’s. It escalates about that quickly. Boomer thinks he’s the man for the job because… he leads a team down a field. Branscombe Richmond is chasing the guys around with a tank, they’re running all over town creating makeshift weapons, and eventually Boomer is throwing actual ninja stars at bad guys. You know, because he’s a quarterback.
There’s very little the film has to say beyond “Hey, blue collar people sometimes get jealous of rich people” and “Quarterback skills translate directly into action hero skills” and “Beverly Hills is vapid”. Frewer fires off one liners, Wahl’s mullet distracts the viewer at all times, and it’s never anything less than hugely entertaining. This film may never find a wide audience here in 2018 aside from folks like me who love a great Die Hard clone, but man will it continue to earn a spot on those best clone lists now that it’s available in gorgeous high def for a whole new generation of aspiring ninja star throwers.
The Package
The Taking Of Beverly Hills was directed by one Sidney J. Furie, rather late in his career (though he’s still around and who knows what fate might allow). Furie was perhaps best known as the helmer of such classic 1960s cinema as The Ipcress File with Michael Caine and The Appaloosa with Marlon Brando. But he also made some killer stuff like Iron Eagle and Superman IV for Cannon Films. I’d say this is a man who has lived the entire Hollywood experience. And The Taking Of Beverly Hills shows a filmmaker who’s not at all afraid to have a good time. So as a piece of his work, a time stamp of 1991, and a hugely entertaining motion picture right here in 2018, this is an awesome disc to pick up.
There’s a commentary track here from Furie experts Howard S. Berger and Furie biographer Daniel Kremer. I’m glad it’s here, and I’d love to dive a little deeper into Furie’s work than I have personally (I haven’t even seen the 2 huge 1960s films I mentioned above). But this commentary is a tough listen. I only lasted a half hour or so. These guys are like listening to PhD’s when it comes to Furie. I’m watching Ken Wahl toss molotov’s in a football jersey while they’re waxing poetic about Furie’s deepest cuts. It’s a little disorienting.
Fans of the entire subgenre of film that Die Hard inspired should seek out The Taking Of Beverly Hills at their earliest possible convenience. You could do a whole lot worse within the subgenre and now you can own this bad boy in high definition for all of eternity.
And I’m Out.
The Taking Of Beverly Hills hits Blu-ray January 16th, 2018 from Kino Lorber Studio Classics
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THE FOREIGNER: Dramatic Chops
Jackie Chan & Pierce Brosnan Square Off, Audiences Win
Having missed The Foreigner in theaters despite it being wholly my jam, I watched it on home video with muted expectations after its cool critical reception. This must have been an ideal frame of mind because I adored The Foreigner.
Us action fans owe so very much to Liam Neeson’s Taken. It’s honestly not all that great of a movie (don’t get me wrong, it’s fun enough and I enjoy it), but the box office phenomenon that it became laid the groundwork for this remarkable subgenre of action cinema affectionately known as Dad Action. Today, the market is filled with projects that take some elements of the Taken formula and run with them. And my sense is that those projects have continued to do well, so we will keep seeing more of them. The formula mostly involves an aging movie star getting to flex his muscles as a badass. He’s probably defending his family or avenging them. He probably has a set of skills that aren’t readily apparent and which cause his opponents to underestimate him. The film will likely have an emotional core in the sense that our hero has been trying to outrun a brutal past or is a shell of the person they once were because of the losses of their past, but this new situation gives them a chance at either redemption or a final dignified act. Not only were there 3 Taken films, but Neeson has gone on to make half a dozen films in the Taken mold. Kevin Costner has become a full on Dad Action headliner. Mel Gibson has a couple of Dad Action titles under his belt (one of which is directed by none other than Martin Campbell of The Foreigner). The Equalizer? Dad Action.
The Foreigner is an excellent political thriller in its own right that happens to not only be a Dad Action entry par excellence, but also brings us both Jackie Chan AND Pierce Brosnan squaring off against one another, making space for two Dad Action leads in one movie. Their characters both fit the mold, each having a violent past which they’ve mostly buried, trying to live new lives. But their pasts will rear their heads in big ways as Chan’s Quan and Brosnan’s Liam Hennessy lock horns. Quan’s a humble London restaurant owner who loses his only daughter in a terrorist bombing. Hennessy is the political leader of the now peaceful and recognized by the British government IRA. When Quan, broken at the loss of his only remaining family member, demands the names of the bombers from Hennessy, he becomes a part of a much larger political situation that’s labyrinthine and morally complex.
I don’t envy those who had to market this film to wide audiences. The trailer that ultimately sold the film was indeed misleading and sells a full-on Taken-style Dad Action title featuring Jackie Chan, front and center, using his special set of skills. All that stuff is in the movie. And it’s glorious, stripped down, classic Jackie Chan kind of stuff (sans his normal sense of humor). But Pierce Brosnan and his network of soldiers and politicians and (possible) terrorist operatives do largely dominate the screen time. It was probably just easier to sell a Taken knock-off to mass audiences, and it probably worked to get people into theaters. They just didn’t get what they expected.
But that’s all marketing and has little to do with the film that Goldeneye and Casino Royale director Martin Campbell crafted here. Adapted by David Marconi from the novel The Chinaman by Stephen Leather, The Foreigner appears to be a movie that knew it was a dense political thriller, set out to tell a somewhat sprawling story, and succeeded wildly.
The beauty of Jackie Chan’s Quan is that he’s the beating heart of an otherwise senseless political wrangling game that has long lost touch with the causes and struggles of everyday people. Hennessy has morphed from political idealist and freedom fighter to connected and established statesman, negotiating and wrangling for power. There are younger soldiers in his movement who are willing to go rogue and provoke violence. There are older soldiers who are wearied and only want peace. At times you feel for Hennessy and the complexities of the long struggles between the Irish people and the British. This is a simmering and unresolved detente even today. He’s a complex man. Quan is too, and he is the titular character here. But Quan’s arc is less complicated. He’s broken and hurting and he’s seeking revenge for the death of his daughter. He is trained and experienced in the art of war, but he’s long buried that part of his life. Chan has grown into a fantastic actor on top of his mind blowing physical abilities and charisma. You really feel for Quan here, and while this movie isn’t exactly “fun”, the most fun you do have is seeing how much the Irishmen and Brits playing their own political game are thrown for a loop by this foreigner coming onto their chessboard and literally demolishing them from within. Quan is a wild card, and there’s some interesting explorations of our (white) willingness to ignore and underestimate those who don’t speak our language as their first language, or who don’t fit into our plans. Jacques Audiard’s excellent Dheepan explores very similar territory.
The Foreigner is just an excellent couple of hours of entertainment, pure and simple. There are thrills and drama, ideas and political positioning. There are compelling actors, brutal consequences, human emotions, and killer set pieces. It’s not as slick and cleanly satisfying as something like Taken, but it’s a much better film overall because it infuses real drama, stakes, and consequences into the Dad Action formula.
The Package
I loved The Foreigner and truly loving a Jackie Chan film in 2017 was a special thing for me. It looks great here on Blu-ray, and this release has a few special features that I’ll list below. Those who slept on this film hearing mixed reviews should consider checking it out with expectations of a simple Jackie Chan actioner thrown out the window. It’s possible that an HD rental will suffice for anyone curious to check it out, but I’m personally excited to own the film as one of Jackie Chan’s top-tier English language titles.
- The Making of The Foreigner
- Interviews with Martin Campbell, Jackie Chan, and Pierce Brosnan
- Trailer #1 & #2
And I’m Out.
The Foreigner is now available on Blu-ray, DVD, and On Demand from STXfilms and Universal Pictures Home Entertainment
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SHOCK WAVE: A Limp Andy Lau Actioner
Hoping For A Spark in the Hong Kong Action Scene? Look Elsewhere…
You know, I really do enjoy Chinese cinema. There was a while there where John Woo was my all-time favorite director. And there are quite a few Chinese mega-stars who I’ll go out of my way to check out. In recent years, however, I’m more often frustrated with Chinese cinema than head over heels for it. Wuxia epics are lush and lavish, but almost always feel hollow, lauding an ancient Chinese hero in a watered down fashion. Modern action movies feel slick and polished, but rarely challenging. Chinese cinema today often feels like government approved cultural products meant to show the world that China is a country of heroes. For me, this results in an environment where dozens of Chinese films get US releases each year, but I rarely know which titles are worth taking the chance on. Dozens will come and go with little to no fanfare, and it feels easy to skip the vast majority of them. I’ll be the first to admit, however, that these sentiments apply more to the genre titles that come to our shores than the myriad dramatic titles.
I’ve never really been an outright Andy Lau mega-fan or anything, but there was something about the trailer for Shock Wave that made it seem like it was the movie to take a chance on. Perhaps I was nostalgic for a new entry in the storied history of Hong Kong action cinema. Perhaps I was ready to take my Andy Lau fandom to the next level. Maybe I was overdue a good “bomb squad maverick sweatily choosing which wire to cut” movie.
Sadly, Shock Wave really offered nothing new or moved the needle in any of those categories. As a Hong Kong action film, it feels large in scope, with Lau’s bomb squad cop J.S. Cheung squaring off against a terrorist with a vendetta against him who executes an elaborate attack cutting off the major underwater tunnel in Hong Kong and bringing the city to a stand still. The stakes are high, as is the body count, but the action mostly feels perfunctory. It feels like a government sanctioned love letter to the superiority of the Chinese police force with very little nuance to be found. The one interesting subplot involves a corporate villain who is making a killing off of the terrorist attack and is revealed to be a force behind the attack itself. This feels like a weird Die Hard riff where you are supposed to be guessing if the attack is motivated by political/personal causes, or just for money. It’s somewhat interesting, but largely a red herring that goes nowhere.
As an Andy Lau star vehicle, it’s also pretty bland. Lau is unquestionably handsome and convincing as a stand up guy who’s the best at what he does. He also has impossibly perfect hair, which is worth noting. But his character has zero nuance. He was an undercover agent at the beginning, which results in a betrayal that lays the groundwork for the movie’s big terrorism plot. He wins some bravery awards, gets a girlfriend, does a bunch of heroic stuff, and indeed clips some wires on ticking bombs while wiping sweat off his brow. But none of it really feels like it’s offering anything new. Character beats all feel like elements in a screenplay that just need to fill enough time to get us through this thing. Lau just has very little to do and what moments he does have don’t land emotionally.
Writer/Director Herman Yau has a remarkable 67 directorial credits to his name, including a couple of the non-Donnie Yen Ip Man films. Incredibly, I don’t believe I’ve ever seen any of these 67 films. While Shock Wave does feel like a film created by a seasoned filmmaker, it doesn’t feel so in a good way. It feels like the film of a director who has done this all before and is just re-assembling parts to create a new whole. At times it feels slick, and the stakes are appropriately high for a blockbuster film. But other times editing feels choppy, the passage of time feels confusing and muddled, car chases feel clunky, and even gunfights feel sloppy and off-kilter.
Andy Lau is a mega-star, and there are literally dozens of his films I would recommend before this one. All Shock Wave really has going for it is scope and spectacle, which you can get in any big dumb American blockbuster, and Lau’s upright handsomeness and bravado, which you can also get in much better films. With little new to offer, and little in the way of thrilling execution, Shock Wave ends up a dull affair that’s entirely safe to skip, even for fans of Hong Kong action.
The Package
Featuring a couple of bonus features such as a “Making Of” and a “Bomb Disposal Expert” piece, this is a streamlined little package. Cinedigm offers a pretty decent looking home video package for a movie that just never quite comes together. Shock Wave isn’t recommended for anyone but the staunchest Andy Lau fan or Hong Kong action completist.
And I’m Out.
Shock Wave hits DVD and Blu-ray January 2nd, 2018 from Cinedigm.
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BRAWL IN CELL BLOCK 99 Hits 4K, Drags It Across Concrete
S. Craig Zahler’s Singular Work Comes Home
Having caught both writer/director S. Craig Zahler’s Bone Tomahawk and his latest Brawl In Cell Block 99 at Fantastic Fest on the big screen, I feel like an incredibly lucky genre film fan. Bone Tomahawk broadsided me with that very rare experience of a first time filmmaker coming out of nowhere and heralding his arrival with a full-throated confidence that all but guaranteed I’d see anything he ever created. Brawl In Cell Block 99 skyrocketed to one of my very most anticipated films at this year’s Fantastic Fest, and I was not disappointed. In fact, I called the film a “monster” and wrote a rave review about it on this very website.
Unquestionably one of the very best action films of 2017, handily one of the most outstanding genre projects of the year, and frankly one of the most singular film experiences of 2017 overall, Brawl In Cell Block 99 is hated by many, loved by others, and demands a strong response regardless.
Brawl takes comedic star and physical giant Vince Vaughn and rebrands him as a bruiser with a code. After losing a job and finding out his wife has been seeing someone else after they drifted apart due to a miscarriage in their past, Bradley (Vaughn) and Lauren (Jennifer Carpenter), start over and clearly establish a lasting love that viewers recognize as trustworthy. Their fatal flaw, however, is that Bradley goes back to work as a drug runner in order to put the pieces back together. Between Bradley’s code of honor and his career as a drug dealer, he’s bound to clash with the law and his fellow dealers. Unfortunately, a rival drug dealer takes umbrage at Bradley’s application of his code of honor and kidnaps the pregnant Lauren once Bradley is behind bars. The inevitable brawl is forthcoming, and it won’t go down the way anyone expects. But all of our characters will live out the codes and worldviews clearly established in the front half of the film in a massive genre payoff.
Zahler proves much with this second outing. Far from a sophomore slump, he seals the deal with much of what we suspected after Bone Tomahawk. For one, he’s a playful wordsmith writing fierce and funny dialog for his characters. He’s often compared to Quentin Tarantino, and while I think this is an unfair comparison, I will say the writing and dialog created by both artists is perhaps the area where this comparison is the most justified. Sure, their styles have some similarity, but really it’s just that both create clever dialog that’s closely followed from script to screen. And both are extremely well versed in cinema, masterfully drawing from their own knowledge of genre to create their own thing.
On top of the clever writing, Zahler also proves with Brawl that he’s fearless in portraying exactly what he wants to, regardless of the level of violence or stylization required to get there. I mentioned in my previous review that Brawl progresses further and further into exploitation cinema as the story progresses. This remains a fascinating device on a revisit, but upon even further inspection, it’s almost as if the first half of this film isn’t an exploitation film at all! Until Udo Kier shows up with his disturbing speech about a very precise abortionist this is a slow-burn crime thriller taking its time to establish our characters and their codes methodically. Some accuse Brawl of being slow, and perhaps that is true, but it certainly is intentional, and Zahler displays a confidence of craft with his pacing and storytelling.
The violence of Brawl is so pure. A clear product of Zahler’s vision, all gore and violence effects were created practically, in camera. And the graphic nature of the bodily damage that Bradley inflicts upon those who stand in the way of the safety of his wife and unborn child is fantastic. It is made all the more shocking by the frankness of it, the mundanity with which Bradley inflicts it, and precisely because the first half of the film really doesn’t prepare us for the visceral nature of the back half of the film. The gore traumatizes us all the more because there’s no ominous score or tips for the viewer to cue us in on the Saw-levels of body trauma that are headed for our eyeballs.
On top of the writing, directing, fascinating casting, the performances he draws out of his actors, and the patience he displays in the editing and pacing, Zahler ALSO performs in a band which recorded original music for the soundtrack of the film. Brawl largely eschews traditional score and rarely utilizes music to accentuate the mood. However, the soul-sounding original tracks recorded by Zahler’s band literally sound like deep cut needle drops straight out of the 1970s.
Both Bone Tomahawk and Brawl In Cell Block 99 portend a controversial and visionary new genre director on the scene, bringing a quadruple/quintuple threat skill set to filmmaking and doing things the way he wants to. This in the midst of an era where vision is being choked out by corporate IP management is a breath of fresh air that cannot be underestimated. Zahler’s next, Dragged Across Concrete, is sure to prove equally as disturbing and uniquely his own. I could see a day coming when I hate an S. Craig Zahler film; but I certainly love his first two. And I am not sure I see a day coming when a Zahler film does not elicit a very strong reaction.
The Package
Reviewing this title on 4K Blu-ray was an interesting experience because the one area where I would take issue with Zahler’s style is in the cinematography. It isn’t the shot composition or anything like that. It’s the look. I don’t know how to identify it, but there’s a direct to video quality to the visuals. I don’t know if it’s filter choice, or lighting, or even the cameras used. But Brawl could certainly have looked richer. That said, as Bradley descends further into the depths of Don Johnson’s Red Leaf Prison, the rich deep blacks of this 4K transfer started to kick in, and everything in the final act really looked a lot more pleasing to the eye. This is wholly a subjective aesthetic critique, and many might beg to differ with my assessment.
On top of the film in both 4K and high def Blu-ray, you also get a great little behind the scenes featurette and the full Q&A from the film’s screening at Beyond Fest which features all the main actors and filmmakers.
This is a great package for a film that one wouldn’t have guessed would receive a 4K home video release. The visuals of Brawl don’t exactly make it a showcase for your 4K system, but this film comes majorly recommended for genre fans and those with a high tolerance for bone crunching.
And I’m Out.
Brawl In Cell Block 99 is now available on 4K UHD, Blu-ray, DVD, and VOD from RLJE Films
