Lock Up came out in 1989, but for much of its running time it feels like it could have been made at least 15 years earlier. Shot mainly on location at a real state prison (with real prison inmates serving as extras) in Rahway, New Jersey, it isn’t exactly gritty, but it’s convincing enough.Read this review at FilmFreakCentral ...
Director Marc Meyers (My Friend Dahmer) attempts to channel the spirit of 1988 with this amiable but overly familiar heavy-metal horror movie about a concert meet-cute between head-banging dudes and rocker chicks that turns bloody when the girls take the boys home for the evening. The screenplay by Alan Trezza draws on the so-called “Satanic panic” of the era, positing a scenario where predators trawl rock concerts for victims and a drunken game of “Never Have I Ever” is a teasing lead-in to devil worship and serial murder. The results are mildly entertaining, especially in the early going, though Trezza’s scenario exhausts itself way too quickly to fill 90 minutes of screen time. Continue reading
Will Smith and Martin Lawrence are definitely too old for this shit, which doesn’t stop them from trying to reclaim their 1990s buddy-cop swagger in Bad Boys for Life, a belated threequel that trades in outrageous mayhem for the more street-smart brand of personal combat apparently favored by Belgian directors Adil El Arbi and Bilall Fallah, aka Adil and Bilall. The bones of the story are pretty familiar: aging cop Marcus Burnett (Lawrence) is looking forward to retirement, a fate worse than death for his cocky partner Mike Lowrey (Smith), who mocks Burnett’s increasingly grandfatherly vibes. Just as the two men agree to arbitrate Burnett’s retirement date via the results of an impromptu foot race on the streets of Miami, Lowrey is gunned down by an assassin on a black motorcycle. Once Lowrey recovers, he’s bent on revenge, but his faithful sidekick Burnett wants out of the game entirely. What will it take to bring these bad boys back together … for life? Continue reading
Knives and Skin, an oddly inflected new film from director Jennifer Reeder, is unlike much else I’ve seen. Sure, there are signposts. The overall vibe is sort of midwestern David Lynch, with highly theatrical color effects borrowed from Dario Argento and an atmosphere of spotlighted American malaise a la the photographer Gregory Crewsdon. But to enumerate those clear influences is to define the film on the terms of a succession of Great White Men who came before it, and that feels unfair to Reeder. She’s working to open up new territory; Knives and Skin is an explicitly feminist endeavor that’s more interested in upending its forebears than paying them homage. Continue reading
As Piercing opens, Reed (Christopher Abbott) is a man with murder on his mind. About 30, nondescript, slightly schlubby even, with a receding hairline, five-o-clock shadow, and a troubled, unsure demeanor, Reed is first seen hovering over his infant daughter with an ice pick in hand. He’s not making a cocktail. Riddled with anxiety and insomnia, Reed is a wreck. His work isn’t fulfilling him. His wife can’t calm him. And then at one point, as he gazes down into the dark pools that are his daughter’s eyes, the infant speaks to him: “You know what you have to do, right?” The moment is chilling, yet absurd. In a very dark way, it’s hilarious. And with that, Piercing is off to the races. Continue reading