A Art Tv Review

Youngblood is an unusual choice for a remake. The 1986 hockey drama starring Rob Lowe and Patrick Swayze was a box office flop, grossing little more than $15 million. Unlike other films aimed at a similar audience during that period (The Lost Boys, St. Elmo’s Fire, etc.), it hasn’t left a notable legacy on home video either. It’s one of those movies you probably forgot existed. The remake won’t be any better remembered. It falls flat rather easily without making a real impression. Talented teenage hockey player Dean Youngblood (Ashton James) has seen his career stall before it even began, due to a temper that gets him into numerous fights. His father, Blane (Blair Underwood), taught him not to let anyone criticize him, a lesson he has deeply internalized.  Director: Hubert Davis Writers: Seneca Aaron, Josh Epstein, Peter Markle Stars: Ashton James, Blair Underwood, Shawn Doyle Dean has only one option left: to sign with the Hamilton Mustangs, a team whose coach, Murray Chadwick (Sh...

This British thriller brings dark humor to an atmosphere that is undoubtedly typical of low-quality true crime dramas. Stephen Graham and Andrea Riseborough play a married couple who, from a distance, might appear to have a happy life in rural England. At their remote estate, a sturdy metal gate keeps the frenetic modern world at bay. Their enormous house has enough space for a master bedroom with an imposing four-poster bed, room for their charming little son nicknamed "Sunshine," a guest room for a live-in housekeeper, and a spacious basement, perfect for laundry and crafting. However, what ex-cop Chris and his fragile wife Kathryn are doing in the basement is anything but charming. Director: Jan Komasa Writers: Bartek Bartosik, Naqqash Khalid Stars: Stephen Graham, Andrea Riseborough, Anson Boon Directed by Polish filmmaker Jan Komasa, Heel shares similarities with Pedro Almodóvar's unsettling psychological thriller, The Skin I Live In, with the comedic audacity of a m...

Daniel Chong's brisk comedy about an environmental activist who infiltrates the animal kingdom feels like Pixar's first film since "Turning Red" to offer something truly new from the studio. There's a famous scene in "The Lion King" where the feline prince Simba, still learning the responsibilities he will assume as ruler of the Pride Lands, listens to his wise father Mufasa describe the Circle of Life that governs the animals of this paradise: lions may eat the antelopes that roam the fields, but their bodies become the grass that the antelopes eat. "In that way, we are all connected in the great circle of life," Mufasa extols, as the camera focuses on a shot of the beautiful savanna landscape. Director: Daniel Chong Writers: Daniel Chong, Jesse Andrews Stars: Piper Curda, Bobby Moynihan, Jon Hamm “Hoppers,” Pixar’s latest film and its best opening in a decade, also deals with the struggles of an animal king defending his subjects, whose story...

 The only consolation one might take from the Re/Member films is that Hasumi seems to be having a blast. He appears indifferent to coherence or restraint, doing exactly what he wants at every turn. The Re/Member films are a curious case. They aspire to be a slasher, a supernatural horror film, a school drama, and a teen romance, all at once. All these genre elements are crammed into a brisk 90- to 100-minute runtime. The shifts between modes are often abrupt, and this incoherence is, in fact, the defining characteristic of both films. Director Eiichiro Hasumi assembles a group of high school students and unleashes a monster called the Red Person to kill them one by one. These teenagers are trapped in a time loop, forced to participate in a deadly game called "Body Search." Director: Eiichirô Hasumi Writers: Yûki Hara, Atsumi Tsuchi The name is self-explanatory, but to clarify: participants must gather the dismembered remains of a victim and place them in a coffin if they want...

 It's a skewed feminist take on the "Frankenstein" myth that could have had more narrative force. It's alive! I mean the "Frankenstein" legend. I thought its reanimated corpse nearly escaped life support in Guillermo del Toro's "Frankenstein," a film that, for me, was pure baroque production devoid of any real energy. It was so laden with retro pomposity that it made me never want to see another "Frankenstein" movie. But here we are, half a year later, with Maggie Gyllenhaal's "The Bride." Is it a horror film? Not quite. An awards contender? Not a chance. A potential hit? I doubt it. It's a sloppy, punkish feminist tragicomedy about mad love, a renegade version of the "Frankenstein" myth. And while the film doesn't quite work—it drags and spirals out of control—it has plenty of substance, but it lacks narrative drive; it has a spark of audacity.  It's alive in a way that Del Toro's "Franken...

 The second season of Cross clarified that Kayla wasn't actually the one overseeing the brutal suicide of a PTSD veteran at Project Bad Religion; her face had been superimposed onto the body of someone she knew. While this was happening in parallel, the main storyline followed Lance, who was becoming increasingly indifferent to the fact that Crestbrook had been caught red-handed smuggling children across the border. He told Alex and Kayla that they had been hired to stop the individual trying to kill him and that they needed to focus on that, nothing else.  Speaking of the individual trying to kill Lance, the FBI and the Minneapolis Police Department thoroughly analyzed the information they had gathered about the recent serial murders and his brief encounter with Rebecca (whose real name is Luz, by the way), and sent Alex and Kayla to Rebecca's house. Rebecca showed up for a meeting with Alex and even seemingly agreed to turn herself in to the authorities, allowing Alex to con...