Annihilation And It Feels So Good + Game Night, Toppling Goliath Can Designs & Omaha Film Festival Kickoff Week

What’s on tap for today?

theendless_posterThe flu is the pits. Like anyone in the history of ever has ever really needed to justify that sentence. Yes, the flu and various other illnesses/concerns kept me down and out over the last couple of weeks hindering my ability (eh, at least my desire) to be productive. This in turn has assured that I would fall behind on a couple of movie reviews which got kicked down far enough to combine a number of goings on in the world of this busy dad.

Today’s update will take us through reviews of Alex Garland’s stellar sci-fi drama Annihilation and the surprisingly hilarious thrills of Game Night. After that I’ll dabble into the ever changing landscape of Toppling Goliath Brewing Company’s canned beers–including their badass can designs–before capping the post off to express the excitement behind what will be my first appearance at an Omaha Film Festival event as the fest kicks off this week. Let’s dig in, shall we? (more…)


[Movie Reviews/Blog Update] Behold, Victor Crowley’s Psychotic Winchester Cloverfield Paradox

1517860057122You may begin to notice a few changes in the coming weeks/months here at Tall Glass of Film. The first will be a name change forthcoming. The changes coming are part of my attempt to mediate time spent doing one of my favorite things (writing) by including all relevant aspects of it into the medium. I’m a dad who loves movies, beer, the Chicago Cubs and writing. So I’m the future this blog will have a combination of those things integrated into the posts.

You might get straightforward movie reviews and beer reviews, but also life updates as being a dad with a now 2-year old daughter. This may include the highs and lows of being a dad, funny stories, sad stories, and just random musings as the mood to write strikes. So no don’t expect your typical parenting blog or a one-dimensional review blog from here on how. The goal is to expand a bit and in the process entertain in word form.

So to begin a slow transition, here’s a quadruple dose of short movie reviews! Note: Haven’t decided if the ratings are gonna stick around or not. So if you like or dislike them, lemme know. I can use any and all feedback based on what anyone stumbling across this likes to see. 

Victor Crowley

victorcrowley_posterAdam Green is a director with a clear passion for the genre he works in almost exclusively. That passion doesn’t always translate successfully, but it’s evident in how he talks about it on his and Joe Lynch’s podcast, “The Movie Crypt”, and it’s evident in the visual presentation of his movies. It’s the content that sometimes falls flat–particularly within the Hatchet franchise.

Victor Crowley sees Green returning to the swamp that essentially launched his career and more so than ever before it feels like he’s having a blast delivering the gory goods. Picking up a decade after the events of the first film, Andrew (Perry Shen), is a ostracized survivor often accused of the murders that were perpetrated by Victor Crowley. While making the rounds with his book telling his side of what happened in that Louisiana swamp he’s lured back by the promise of a massive pay-day if he gives an interview at the site of the murders. To his dismay the plane carrying him and a small crew crashes in the swamp trapping them inside, meanwhile a group a filmmakers mistakenly resurrects Cowley who picks up where he left off…dismembering anyone who is unlucky enough to cross his path.

Crowley is the modern horror icon who never met a body part he couldn’t mangle in one way or another. Green continues the bloodletting once again, allowing Crowley (reprised by the lumbering genre vet Kane Hodder) to scalp, rip off limbs, stomp skulls and generally eviscerate the flesh of any living person he encounters. Blood geysers and jelly filled prosthetics dominate each frame as Green seeks to not reinvent the wheel here, but instead just guide it back on track after a pair of poorly received sequels.

If we’re being honest with ourselves, no one flips on a movie Victor Crowley to be moved by the performances or marvel at its creative wit–this is all about the blood and guts and Green delivers all the audience can handle. Combined with a sinister yet playful sense of humor, Victor Crowley propels and hacks its way to the top of what this franchise has to offer.

Rating: B+


psychotic_posterWe’re far and away from the explosion of homage and throwbacks. In many ways, filmmakers trying their hand at resurrecting the glory days of 70’s and 80’s schlockfests ends up being a transparent attempt to hide budget constraints. Every so often filmmakers can surprise with a surprising love letter to the style that transcends their original intentions. Psychotic! is not the latter. Still, Maxwell Frey and Derek Gibbons have crafted a love letter of sorts–just one that feels like it was sloppily written by a drunk teenager.

I don’t mean for that to sound overly negative. We all have fond memories of our drunk teenage days, but we hardly ever seek out that part of our history for doses of wisdom or taste. Psychotic! is essentially Halloween, if Halloween was about New York hipsters in a constant drug haze. The score is very much Halloween inspired, yet the violence and slasher carries tones of Giallo–the end result is a combo that’s enjoyable yet frustrating.

Hipsters and hipster culture is and will always be annoyingly infuriating and confusing (to someone like me), so Psychotic!’s characters are already set up for failure. Smug self-importance, disregard for normal speech and behavior patterns and irrational criticism run rampant which often are at odds with what a viewer like myself are willing to tolerate. Yet, there are moments of coherence that feel as though they were meant for a different movie entirely. A meta sense of humor and well staged (yet decidedly low-budget) effects are the film’s strong suit.

Pyschotic! is the type of movie that you can–like a true hipster–point at as having knowledge of while everyone else squints in disapproval. Having seen the film isn’t going to make you the superior movie geek to anyone you know, but it’s definitely worth a go if you accidentally stumble on it when browsing the depths of Netflix/Shudder one day.

Rating: C


winchester_posterIf there was ever a movie that deserved to be retroactively retitled to JUMP SCARE: THE MOVIE, it’s Winchester. It’s sad to see talents like The Spierig Brothers (who helmed such fantastic films as Predestination and Daybreakers) devolve into directors for hire in studio misfires like Jigsaw and the film currently on the chopping block. Even more, it’s embarrassing to see the great Helen Mirren struggling to make any of this sound intelligent.

Mirren stars as Sarah Winchester, the heiress of the Winchester firearm fortune who is ordered to undergo a psychiatric evaluation when she orders the endless construction of her mansion. Adding on to the mansion isn’t so much the peculiar behavior so much as the design and impetus of the rooms being that they are meant to draw and trap the souls of victims at the hands of the various Winchester rifles that Sarah believes are haunting her looking for peace. However, Dr. Price (Jason Clarke) arrives to conduct his evaluation when a particularly powerful and vengeful spirit has taken residence in the mansion.

The lunacy of this story and the actual physical structure–which is a real place for those who might not be aware–is fascinating in and of itself. Winchester holds promise in that it’s attempting to bring some sort of coherence that translates to the screen, but fails at almost every turn. What left is a mass of wasted potential that takes the easy scare whenever it possibly can instead of squeezing an eerie sense of surrealism from its “fact” based story.

Winchester is a paint by numbers jump-scare-a-thon that doesn’t even bother to be playful by coloring even a fraction outside the lines. The Spierigs wastes its two leads in supremely disappointing fashion while further damaging their once creative promising careers in favor of yet another lazy studio cash grab.

Rating: D+

The Cloverfield Paradox

cloverfield3_posterBad Robot shocked us all by announcing that Cloverfield 4 (currently titled Overlord) wasn’t just part of the Cloverfieldiverse, but was finished filming and could essentially drop at any time. The only issue being that at the time, the fate of Cloverfield 3 (originally titled God Particle then rumored to be called Cloverfield Station) was still up in the air. Then the genre community collectively gasped when a trailer dropped during Super Bowl 52 indicating it was ‘Coming Very Soon’ via Netflix and was now titled The Cloverfield Paradox. Nerds took to their devices, fired up Netflix and gasped once again by the words “Available After the Game”. History was officially made. A film that no one had a clue when it was going to be released was going to be available the same night its marketing premiered.

Critics didn’t screen it beforehand (allegedly) and we would all have the ability to see this thing unfold before the hype machine got rolling. Perhaps though, this was all by design. That studio worries of a film that didn’t meet their expectations lead to multiple delays and the opportunity to manufacture a buzz through a Netflix acquisition and a “Never been done before” marketing technique would drive traffic to a film that quite simply can’t live up the insanity of its release drama.

The Cloverfield Paradox is not inherently a bad movie. However, it is a frustrating experience that borders on annoying. Annoying because it has no business being a Cloverfield movie and its attempt to shoehorn it into that universe are transparent and sloppy. From the horribly written Donal Logue exposition dump that sets the stage for the entire Cloverfield universe in general, to the obvious and eye-rolling jump scare in the closing seconds–the film’s biggest faults are that it has the audacity to carry the name Cloverfield.

God Particle is the perfect name for this movie. It wouldn’t fix some of the sloppy science that’s on display nor would it save it from some of its other flaws, but it would’ve eliminated the retroactive rage that comes with tying it unnecessarily to a franchise its script clearly didn’t originally intend. As a sci-fi thriller The Cloverfield Paradox has a fascinating arc that runs parallel to extra footage shot specifically to throw the Cloverfield references in. The antics on the space station have a gleeful insanity to them as long as you ignore the dime store science it throws at you. It’s all very light and entertaining so long as you try not to peel back too many layers.

Its ties to the Cloverfieldiverse are all bad though. I have an admiration for what they are TRYING to do, but it so clearly could have been done so much better with even just a smidge more planning and execution. Serving to bridge the gap and explain in some ways how the aliens from 10 Cloverfield Lane (sorry, but if you watched Paradox without seeing Lane I don’t feel that bad about spoiling the fact that Lane has aliens) are so different from the monster we see in 2008’s Cloverfield. Also setting the stage for a different set of supernatural surprises that could be in store for us in the upcoming Overlord.

The Cloverfield Paradox while eerily familiar is worse off due to its forced connections. If it helps to ease the transition to explain this universe and its many possibilities then I for one and happy with letting it be an unfortunate blip on an otherwise promising franchise radar that just so happens to be an okay enough sci-fi thriller on its own–which might be the real paradox here.

Rating: C+

[Movie Review] You’re Gonna Want to Play ‘Gerald’s Game’

We as horror fans are lucky to have Mike Flanagan. The man is making concepts that have no right work, do so in spectacular fashion. From murderous mirrors, or a killer stalking a deaf victim all the way to making the original Ouija suck a little less–now if only someone would help Before I Wake finally see the light of day. 

Now, we’ve got Gerald’s Game. A movie that, in large part, takes place in a single location. Jessie (Carla Gugino) and her hubby Gerald (Bruce Greenwood) decide to take a trip to their lake house and in an effort to spice if their marriage Gerald handcuffs Jessie to the bed. However, when Gerald’s role playing fantasy goes awry he suffers a heart attack and dies before he can uncuff Jessie. Left in an impossible situation she is forced to confront her traumatic past while searching for any clue that help her escape the cuffs. 

How fitting for the latest Netflix Original to come out in 2017 just a month after we experienced a total solar eclipse. A similar event plays a pivotal role in Jessie’s psychological journey. The tole of emotional wounds coming to a head as she sits on the bed waiting for her death or for help to arrive. As her mind begins to crack she envisions versions of herself and her husband moving freely throughout as part of her internal thought process–both taunting her and trying help her thing logically in her predicament. 

Gerald’s Game unfolds as a dramatic psychological thriller. Part drama about a married couple’s struggles at keeping the romance alive due to hidden desires and other deeper emotional scars and part survival thriller. Gugino crushes both aspects of her character–a woman who’s dodged childhood trauma her hold life and one driven to survive when forced to examine her actions that lead her to being handcuffed to that bed. Greenwood too, compliments Gugino as a force of masculinity with complicated ties to Jessie’s deep seeded troubles. In the end the film also delivers just enough cringeworthy violence and bone chilling sound effects to gratify genre fans looking for the cherry-on-top. 

Like any minimalist thriller the struggle is keeping the audience riveted–Flanagan and co-writer Jeff Howard spin some incredible sequences of psychological barbs between characters. Combined with Flanagan’s visual prowess to stage a scene for maximum creep factor to provide some stiff competition to Pennywise and The Losers Club for best King adaptation of 2017. 

Widely considered one of many unfilmable King novels, Flanagan makes it look like a walk in the park. Gerald’s Game is taught, suspenseful and magnificently performed–but a shame that the vast majority of the populism will only be able to experience it on the small screen. 

Rating: A

Beer Recommendation: None at this time. Sorry, you kinky pervs. 

[Movie Review] ‘Dunkirk’ is 2017’s Most Pummeling Onslaught of Cinematic Skill

The sights and sounds of war. That’s what Christopher Nolan’s Dunkirk is all about. Forget character and forget telling individual stories–this movie wants to put the audience on the front lines of land, air and sea to deliver an experience. Make no mistake, Dunkirk is one of the most incredible and unique cinematic experiences you’re likely to experience–and while there are a number of prolific filmmakers, few operate with such technical skill quite like Nolan.

The film tells the story of British forces trapped on the beaches of Dunkirk simultaneously awaiting rescue and intermittent air attacks at the hands of Nazi forces. Nolan’s focus is that of human resolve and wordless heroism. It is true, there are few characters you can attach yourself too, but that’s not the point. Dunkirk is a film you simply live as an audience member. In the grips of war, the British forces are constantly being bombed from the air as they await military boats to take them home–said boats are themselves under attack, so the soldiers are in a harrowing fight for survival. Dunkirk’s entirety pulls the audience from those breathless sequences to show intercutting sequences of a civilian boat headed to the beach to help save soldiers and the air forces en route to pick off the enemy planes attacking the boats.  (more…)

[Mega Movie Review] Catching Up on 2017

13886469_1267046413328617_7042198926381498825_nBusy time of year folks, so apologies to anyone who actually looks forward to my latest reviews. I didn’t want everything I’ve seen to fall by the wayside, so here are some brief thoughts on everything I’ve seen so far in 2017 but haven’t had time to sit down and put full write ups on. Sit back relax and “enjoy” some candid hot takes on these 2017 releases!

Kong: Skull Island – Come for the star studded cast then shove them aside for the awesome creature fights. Kong is visually impressive, but it lacks humanity in a pretty comical way. The characters very much feel like empty shells taking us from one place to another to be bait for the eventual breathtaking spectacle of the Kong fights. In spite of the lack of characters to hang your hat on this was still a pretty tremendous and crowd pleasing theater experience. Rating: B+

Gifted – Sort of let this one get lost in the shuffle. This is a very understated film. There was almost no marketing push and it just sort of appeared in theaters with little to no fanfare. If its still out there though, get out and see it. I could have used a little more closure for some of the relationships and perhaps a little more emotion out of Chris Evans’ character, but this has been the most affective dramas so far this year that also happens to have a pretty delightful sense of humor. Rating: A- (more…)

[Opinion] 2017 Summer Movie Predictions

You have in front of you the only summer movie prediction post guaranteed to get it all wrong. I’m not a Hollywood analyst out there tracking the interest of movie releases, nor am I an avid follower of the people that actually do that sort of thing. I’m just a dude who writes about beer and movie for fun that likes to swing wildly timely trends from time to time.

Today, it’s ranking this summer’s (2017 for all you futuristic hobos slummin it on the net) movie releases in order of how well I think they’ll do at the box office–just the top ten though. If you read last year’s you already know how comically misinformed this is about it get. Now that we know the game though, let’s just get this over with so I can get back to my case of beer, shall we?

(1) Spider-Man: Homecoming – With a trio of superhero tinged releases to pick from I am hedging my bets that people losing their sh*t at Spidey’s appearance in Civil War translates to big bucks this year. Or by the end of summer I’ll just go along ignoring how painfully wrong I always am and that’s why I don’t get paid the big bucks. (more…)

[Movie Review] ‘Get Out’ is an Enthralling Exploration of Social Fear Through Liberal Racism

getout_tgofposterJordan Peele, a name synonymous with clever biting commentary on social issues, has stepped into the cinematic ring and delivered a one-two punch that’s more potent than anything audiences have seen in a wide release horror flick in quite some time. Get Out leans a little bit more studio than recent critical darlings such as The Witch or It Follows, but has a punch all its own that rivals some of the best genre films of all time.

Whether or not Peele’s debut feature will stand the test of time is yet to be seen, but it’s hard to imagine something this sharp and witty to get pushed back in the annals of cinema history. No, it’s not just possible, but likely that Get Out is going to be talked about amongst critics and audiences alike for the foreseeable future. Exploring the simple yet all too real awkwardness of an African-American male meeting his Caucasian girlfriend’s parents and the weird stuff going on within the grounds of the family’s sizable estate. From scene one, Peele sets an uneasy yet humorous stage with an intro that features a black male waltzing in a suburban neighborhood at night before befalling something a little spooky. The racial factor is of course not lost on an audience of any race or gender, but is in fact a fear I’m sure we’ve all had walking late at night in unfamiliar territory–the possibility of being stalked by someone with less than noble intentions.  (more…)

[Movie Review] M. Night Has ‘Split’ Personalities

split_tgofposterAdvice for Split…just sit back, relax and enjoy the one man show that is James McAvoy. Don’t wait for a twist. Don’t expect M. Night to drop the ball at some point. Just find a comfortably groove in your theater seat and picture yourself at one of the greatest one man shows you’ve seen in recent memory–maybe ever.

M. Night Shim Sham has certainly made a name for himself over the last decade or so–and not all in a good way. After breaking onto the scene and becoming known as the master of the twist it then quickly became his Achilles heel. When The Visit was released last year people were giddy with the idea that the filmmaker had reinvented himself–that the filmmaker who had grown to be waaay into himself as an artist and the twist machine was running on empty had finally turned a corner. Split continues that progression, but in a much different way.  (more…)

[Movie Review] Crying Tears of Red, White & Blue for ‘Patriots Day’

patriotsday_tgofposterPeter Berg has clawed his way into a comfortable if controversial niche. Some might call it shameless exploitation of national tragedy, but the filmmaker for the most part manages to treat these sensitive topics with just enough respect to skate by. Patriot’s Day is Berg’s second release of 2016, but one that strike’s a chord that’s still a little fresher in our memories. Perhaps the most surprising is that while the film focuses less on the marathon bombing and more on the following investigation and capture of those responsible. The result is a rousing thriller that just happens to be based on real-life events that still manages to force out some tears.

Unlike most of Berg’s latest true story films you’d be hard pressed to have to explain the Boston marathon bombing to just about anyone old enough to have the urge to see the movie. The film focuses on the involvement of a hobbled police officer, Tommy Saunders (Berg’s muse, Mark Wahlberg), who finds himself at ground zero of finish line explosions and wrapped up in several aspects of the following investigation. Along the way there are a number of high profile actors poking there heads in for their masculine man-isms and over written one-liners but Wahlberg’s character easily shares the majority of the spotlight.  (more…)

[Best of 2016] TGoF’s Picks for the Best Movies of 2016

It was a fairly quiet year of moviegoing here at TGoF. Lots of adjusting to life with a baby along with other typical life happenings that eat into one’s time and energy. The result made it difficult to fit in some of what many would consider the best movies of the year and being a genre lover I always make time for those pesky horror movies–which is why my lists tend to befuddle the more refined movie snobs. However, in review of the movies I saw this year and not being satisfied with the options for a top ten the executive decision was made to this year do a top five instead. Condensing down hopefully just accentuates how great I felt the top choices were as opposed to how weak (yet still highly rated) my overall top ten would have been.

Over the course of the next few weeks it’s possible I’ll make it out to cinema darlings like La La Land and and Moonlight, but for now hopefully you’re eyes will find my choices for what I did see in 2016 acceptable enough. As always thanks for checking out my ramblings and I look forward to getting back in the saddle more and more on 2017! (more…)