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  • Safety: The BRWC Review

    Safety: The BRWC Review

    While they tend to follow a tried and true formula, I’ve been feeling the notable absence of good sports movies lately. When done right, the genre can exemplify the innate appeals of both platforms, often showcasing the ways sports represent humanity in its rawest form. Disney+ is now taking a swing at inspiring audiences with Safety, a true story about one athlete’s persistent courage amidst challenging circumstances. This football drama is admittedly good-natured, yet rarely delves beneath the surface of its fascinating subject matter.

    Safety follows the empowering story of former Clemson University football safety Ray McElrathbey (Jay Reeves). Aided by his teammates and the Clemson community, he succeeds on the field while simultaneously raising and caring for his 11-year-old brother Fahmarr (Thaddeus J. Mixson) when his mom leaves for rehab. 

    Ray’s story resonates deeply not because of his triumphs on the football field, rather his enduring persistence to preserve his family under dire circumstances. When Safety touches upon the humanity behind Ray’s sacrifices, there are winning crowd-pleaser moments for audiences to embrace (the third act has some soaringly affectionate frames).

    Stars Jay Reeves and Thaddeus Mixson help make the real-life personas feel lived-in onscreen, with Reeves portraying the character’s emotional whirlwind with a layer of thoughtful confliction. Director Reginald Hudlin also deserves credit for operating effectively in the sports movie formula. His explosively kinetic football scenes convey the sport’s hard-hitting nature, while his patient handling of dramatic frames prevents any cloying manipulation.

    Safety reaches competent marks across the board, but it’s Disney-fied presentation limits the dramatic impact. Nick Santora’s screenplay utilizes a bevy of familiar sports movie cliches to haphazardly push the narrative forward (there’s an endless array of rah-rah speeches and stereotypically-defined teammates). These contrived elements bring an unwelcomed layer of artificiality to Ray’s story, often overwhelming the material’s impactful nucleus.

    By packaging this story into a family-friendly tale, Safety also sanitizes the real steaks behind Ray’s journey. The ample hardships the character faces are often treated with a bizarrely-integrated zaniness. Instead of seeing how the two pulled off their lifestyle, Santora’s script trivializes their struggle by turning to hokey comedic scenarios (the scenes where Ray attempts to hide Fahmarr feel better suited for a slapstick comedy). Along with the simplification of Rey/Fahmarr’s challenging upbringing and their mom’s struggles with addiction, Safety isn’t well-equipped to tackle the material’s real-world elements.

    There’s a great movie to be made about Ray McElrathbey’s story, but Safety’s timid delivery falls short of its subject’s impressive stature.

  • Simpsons Roasting On An Open Fire: Disney+ Talk

    Simpsons Roasting On An Open Fire: Disney+ Talk

    Disney+ Talk With Megan Williams: Simpsons Roasting On An Open Fire (Christmas Special)

    Can you believe my Disney+ Talk articles have been around for 9 months and I’ve only just gotten around to a Simpsons episode? And yes, you read that correctly: a Simpsons episode. Ever since Disney bought 20th Century Fox, the iconic animated show is now available on Disney+, so I wanted to use this opportunity to rewatch the episode that introduces the lovable pooch Santa’s Little Helper.

    ‘Simpsons Roasting On An Open Fire’ is a 24-minute Christmas Special that originally aired in 1989. When Homer’s boss, Mr Burns, cancels the Christmas bonus’, Homer must get a second job as a mall Santa to make up for a lack of money towards presents, all while keeping it a secret from his family. Meanwhile, Marge has to spend their rainy days funds to pay for Bart’s tattoo removal after he thought it would make a great present for his mum. However, the episode ends on a happy note as the Simpsons go to the dog races and adopt a fluffy family member. Interestingly, this was also the first episode to air independently from the shorts that aired on the Tracey Ullman Show. So, does this episode still stand the test of time 30 years later?

    Yes. Yes it does.

    While the voice dubbing is a little off, and the animation is not as polished as it is nowadays, the episode is still a fantastic one, and a delightful way to introduce the Simpsons’ independent show. The pacing of the episode is perfect, and the voice acting is wonderful, even if some of the voice acting styles have changed over the years. Two obvious examples are Mr Burns, who I’m sure is a different voice actor in this episode (however I was not able to find this out), and Homer who has a slightly deep nasal tone to his voice here.

    Because I haven’t watched this Christmas special in years, it’s interesting to see how the characters have developed over the years. Out of all the characters in the show, Homer is the one who has changed the most, in terms of his characteristics and personality, and it’s been an eye-opener seeing what he was originally like. While he’s portrayed as a dumb Peter Griffin clone in recent seasons, in this episode and in the first few seasons, he wasn’t overall stupid. He just didn’t always think about what he was doing, leading to honest mistakes. He was also a caring family man; while he had disagreements with his son Bart (which is shown in this episode when Bart expresses interest in getting a tattoo), he ultimately loves him and wants what’s best for his family.

    https://www.youtube.com/watch?v=cIfLqO3SSBs

    When he’s told that the Christmas bonus is cancelled this year, he’s scared to tell his family because he doesn’t want to let his family down and ruin Christmas for them. He was, overall, a typical Dad and I can now see, even if he was joking, why my own Dad could relate to Homer. One scene at the start especially reminds me of my own parents. Marge is writing a letter to her sisters while Homer is getting the Christmas lights out of their box. He keeps asking Marge if she knows where the extension cord and keeps pestering her for it then, when Marge gets annoyed, Homer apologizes and says he’s just excited to decorate the house.

    As someone who has a Dad who gets overexcited about things like this, that scene felt close to home in the best way. This is why the Simpsons became popular: they were a family who were relatable, even if they got into some surreal situations. Another scene that I can relate to is when Homer and Bart adopt Santa’s Little Helper. Homer doesn’t want to adopt him because he was a losing dog at the races but is then quickly won over by the dog. This brings in a cliché, a true one I might add, that the dads don’t want to adopt the pets but will then love them a few days later.

    Overall, ‘Simpsons Roasting On An Open Fire’ was a wonderful introduction to the Simpsons family, and the longest running scripted show ever. While the animation quality and dubbing wasn’t as polished, and Homer’s character change is obvious, this is a fantastic episode that reminded me why The Simpsons was such a good show.

  • Let Him Go: Another Review

    Let Him Go: Another Review

    By Nick Boyd. “Let Him Go,” a period piece set in early 1960s Montana, centers on a rancher named George (Kevin Costner) and his wife named Margaret (Diane Lane) whose son is suddenly killed in a horse riding accident.  The son is married with a child and when his widow Lorna remarries someone of questionable character named Donnie Weboy, this sets the plot into motion.  

    One day when Margaret sees Lorna’s new husband, Donnie, hit her and the child, she becomes convinced that he is definitely a bad influence.  When Margaret finds out her daughter-in-law, new husband, and grandson have left town, she makes it her mission to find them.  Her goal is to bring the grandson home with her and her husband to raise them in a better environment.

    Along this journey, we learn that Margaret is headstrong and opinionated, while George is more laid-back.  A chance encounter with a young Native-American man named Peter who lives on his own provides some of the quieter, more sadder moments in the movie, as Peter recounts to Margaret and George his harsh discriminatory upbringing.  

    When Margaret and George arrive at Donnie’s mom’s house, things do not get off to a good start.  The matriarch of a corrupt and local influential family, Blanche (Lesley Manville), cannot believe they did not come all that way simply to enjoy her delicious home-cooked meal.  Blanche is very protective of Donnie and it appears that she likely had a say in his returning to be near her.  The Weboy’s as a whole seem like they have it in for Margaret and George and as the movie progresses, a violent showdown seems inevitable.  The actors portraying various members of the Weboys all give over-the-top performances, yet that fits their characters and does not detract from things.  Manville especially is entertaining in the performance that she gives.  

    While the film starts off as a Clint Eastwood film, in its pacing and how it unfolds, in the latter part it turns into a horror movie of sorts.  Some spoilers to follow, so consider not reading this part if you have not seen the film.  Decision-making starts to go downhill when Margaret gets into the car of a fellow Weboy, as they head off towards Blanche’s house. 

    It did not make sense that Margaret would have gotten in the car with someone who seemed like he could have done something evil to her.  Also, after Margaret and George have had lunch with just Lorna, and she seems to go along with a plan they have made, why would she have revealed the exact motel location Margaret and George were staying to the Weboy clan if she was on their side? 

    Why would George have gone back to the Weboy’s house after all they had done to him at the motel?  Also, it did not make sense that George would linger in the Weboy’s house after rescuing his grandson and getting Lorna to leave.  He should have immediately left, especially after what he had done to their house.  Lastly, how could George have survived getting shot so many times?

    The acting by Costner and Lane is understated and quite good and the cinematography really captures the beauty of the landscapes.  The two sides truly show what it means to have devotion and family loyalty. 

  • Honest Thief: The BRWC Review

    Honest Thief: The BRWC Review

    Hollywood often defines actors by their most notable box office performance, a fact that has morphed Oscar-winner Liam Neeson into a marquee action star. Since 2009’s Taken, Neeson has shot out a consistent output of actioners. Some rank well for their hard-hitting approach (The Grey and Cold Pursuit), while others have become B-movie staples through their inherent camp value (Non-Stop and The Commuter). Neeson’s latest vehicle Honest Thief finds itself in a murky middle ground, with its mere competence only taking the bland narrative so far.

    Honest Thief follows Tom Dolan (Neeson) a notorious bank robber who retires once he meets the woman of his dreams Annie (Kate Walsh). To atone for his crimes and live an honest lifestyle, Tom tries to turn the money in to get a reduced sentence. His plan goes haywire when two corrupt agents (Jai Courtney and Anthony Ramos) steal Tom’s money for themselves, forcing him to go on the run in an effort to clear his name.

    As an agreeable late-night option, Honest Thief does boast some shameless appeals. Liam Neeson can do this everyman role in his sleep at this point, but the addition of Kate Walsh’s bright disposition imbues new wrinkles to his persona. Their easy-going rapport crackles with an affection glow, establishing a grounded onscreen pair for the audience to attach to (their opening scene together could’ve been utilized in a rom-com).

    After years of battling exaggerated circumstances (planes, trains, wolves…oh my!), it’s refreshing to see Neeson fit into an intimate narrative. The low-key stakes still pack ample tension due to Neeson and Walsh’s innate appeal. I also credit the sturdy supporting cast for enhancing their thinly-developed roles, with Robert Patrick, Anthony Ramos, and Jai Courtney doing their jobs accordingly.

    While mildly diverting, Honest Thief doesn’t excel in any particular facet. Director Mark Williams shoots his project with a sterile blandness, with the TV pilot-level of construction doing little to elevate the material. This autopilot delivery translates to the thankless action setpieces. I like the idea of grounded, tight-quarters sequences, but Willaims tame hand never gives these frames much of a pulse (the heist sequences could have been appealing, but they’re truncated into a flat montage). Whether you prefer Neeson’s B-movie camp fests or his more serious endeavors, there’s nothing Honest Thief achieves that hasn’t been done better.

    https://www.youtube.com/watch?v=_TLtcw7ixRc&ab_channel=BriarcliffEntertainment

    All could be forgiven if the film’s grounded approach reached a level of authenticity. Williams and Steve Allrich’s script never discovers that place, settling more on standard-issue action tropes that lack engagement. Several characters grapple with the morality behind their wrongdoings, but simplistic dialogue choices never convey the insular struggle with much weight. The thinly-conceived narrative also limits Neeson and Walsh’s appeals, truncating their screentime in favor of whisking audiences forward (there’s an awkward 1 year time jump after their first scene together).

    I was never bored by Honest Thief, but it rarely livens up its familiar action husk. I credit Liam Neeson for continuing to push forward as an action star, but this is his most middle-of-the-road effort yet.

  • The Facility: Review

    The Facility: Review

    Grace (Harriet Madeley) and her friends are urban explorers, they find out about a place that’s been shut off to the world and so naturally they go to investigate. Captain Alexei Ushakov (Omri Rose) is also aware about the abandoned facility, but after being sent in by his boss, (Sally Phillips) Captain Ushakov’s team and Grace’s friends are put into mortal danger as what dwells in the facility starts to play tricks on them.

    The Facility is a British horror movie and otherwise known as The Rizen: Possession which is written and directed by Matt Mitchell and serves as a sequel to The Rizen which was released in 2017.

    Right from the start the audience is given exactly what they need to know, so those who haven’t seen the original can just jump in with no expectations or prior knowledge needed in order to enjoy the movie. The set up is very simple and has been seen in many films before, although perhaps with either picking the group of explorers or the special forces team as the protagonists.

    Mixing the two teams does give the audience a bit more to watch though, as for those who like military horror films like Dog Soldiers and Predator can enjoy the comradery between seasoned professionals. While others who enjoy a more conventional supernatural slasher can focus on the group of friends.

    The trouble is that there’s very little time to stay with either group and whereas they both play out some of the cliches that an audience may expect, there really isn’t enough time to care about any of them.

    https://www.youtube.com/watch?v=JGaqbL4YttQ

    Then the audience is introduced to the big twist and this is where it may split them in half. Fans of The Rizen may be delighted to see Mitchell’s original vision expanded upon from the first movie, but others who are new to the series may find themselves utterly confused and a little overwhelmed by the information that they are given so rapidly.

    It remains unclear as to why The Facility is called so because it only partly holds up as a stand-alone movie. However, for those who are intrigued and may want to find out more about Mitchell’s cinematic world then they can always watch the original.