Grey, The (Blu-ray / DVD) - Dread Central
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Grey, The (Blu-ray / DVD)



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The GreyStarring Liam Neeson, Frank Grillo, Dermot Mulroney, Dallas Roberts, Nonso Anozie

Directed by Joe Carnahan

Distributed by Universal Home Entertainment

Trailers, man. Sure, when done well, they can be little pieces of art, sometimes better than the movies they’re advertising. But most of the time, they either give WAY too much of a film’s story away, or they sell a film that you don’t actually wind up getting. And I ask you, is there anything worse than a bit of marketing that promises one type of film, when the picture in question is an altogether different beast entirely?

When the trailer for The Grey first appeared, it left me stunned. Here was a film with beautiful photography, a great leading man, and one helluva premise: a plane crash in the middle of a vast, snowy expanse leaves a small group of men alive to survive both the harsh elements and the pack of ravenous wolves on their heels. The trailer was gripping. It was intense. And, with its final moments, jaw-dropping: star Liam Neeson, a great actor who’s recently become a unlikely action star, strapping on a knife and broken mini-bottles to his hands as he prepares to do battle with an alpha wolf. It’s this final image that brought people to theatres, most expecting a Man vs. Wolf action extravaganza. Taken with wolves, as it were. And wow, The Grey is not that movie.

It’s far, far better.

The film opens with a beautiful ten-minute sequence which introduces us to Ottway (Neeson), a hired gun at an Alaskan oil station whose job involves hunting and killing wolves before they can do harm to the station’s workers. Following an aborted suicide attempt, Ottway packs up his gear and catches a plane out with a number of other employees heading home. In short order, we’re introduced to our soon-to-be survivors and get a good feel for their personalities, just before the aforementioned crash.

Stranded, freezing, and hunted by wolves, Ottway and the remaining men travel south on foot in the hopes of finding some sort of salvation. Along the way, the men ruminate about life, death, and faith, providing a kind of depth we rarely see in this type of film (hell, any type of film, these days). Of course, even as we come to know and love these guys, there is plenty of bloodshed and tragedy that tears them away, one by one.

To say anything more would be criminal. I’d love to talk at length about this film, but I refuse to give away anything concerning its final act (even though that might reset some of the expectations brought about by that damned trailer). What I will say is that this is, hands down, my favorite film of the year so far. The Avengers, Chronicle, The Hunger Games, The Cabin in the Woods, and The Woman in Black have all been great, but it’s The Grey that I’ve spent far more time on, recommending it to friends and chatting with fellow viewers over its themes and our favorite moments. It’s beautifully made, perfectly acted (not one performance in this film is anything less than great), and is deeply haunting, with scenes and moments that will stick with you long after the credits have rolled. I give it my highest possible recommendation.

Unfortunately, for such a great film, the bonus features on the Blu-ray are a bit on the paltry side. We get a selection of deleted scenes and an audio commentary with the director and editors. No more, not even that misleading trailer. Given that the film was said to have had such a grueling production, it would have been nice to see some behind-the-scenes footage or hear an actors’ commentary, perhaps. Ah, well.

What we do have is interesting enough, at least for those who adore the film. The deleted scenes are all fascinating, especially the extended campfire sequence and a hilariously misjudged moment featuring a polar bear. The standout, though, is a deleted scene featuring the survivors attempting to light a fire under the coldest and harshest of conditions. The scene is brief, but just you try to sit through it without shivering uncontrollably. Still, as nice as these deletions are to watch, it’s understandable why each one was left on the cutting room floor.

The commentary will certainly be of interest to the film’s enthusiasts. Featuring director Carnahan and his editors, the scotch-fueled talk covers a good deal of ground concerning the film’s production. Especially noteworthy is the use of two editors and how one’s approach led to the film’s fantastic, chronologically-fractured opening sequence. If there’s any problem with the commentary, it’s the amount of self-congratulation going on. Seriously, the level of back patting gets downright douchebaggy at times. Mind you, if I’d made this film, I’d likely be more than a little immodest, too.

Lack of special features aside, the Blu-ray is worth its price for the film alone. And boy, is it ever given a great presentation here. The image is a spot-on perfect representation of the film’s theatrical exhibition, perfectly preserving the gritty, grainy, nearly monochromatic beauty of the movie’s look. It’s strange, how rough the film looks at times while always managing to remain a gorgeously shot picture. The audio, too, is just stunning, with a great range admirably reproducing the most quiet of conversations to the deafening roar of the beasts.

I’d call this film a must-buy, but I do recognize the fact that it may not be for all tastes. Still, if you like your drama with a bit of blood-soaked horror, or your horror with a bit of existentialist drama, then you should, at the very least, find this film worth a look. Or several.

Special Features on Blu-ray and DVD

  • Feature Commentary with Co-Writer/Director Joe Carnahan and Editors Roger Barton and Jason Hellmann
  • Deleted Scenes


    5 out of 5

    Special Features:

    2 out of 5

    Discuss The Grey in the comments section below.


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    Atlantic Rim: Resurrection Review – The #MechToo Movement Has Little Regard for the Ladies



    Starring Steve Richard Harris, Xavi Israel, Jenna Enns, Lindsay Elston, Samm Wiechec, Paul Logan

    Directed by Jared Cohn

    WARNING: This review does contains spoilers! It’s also a review of an Asylum mockbuster of Pacific Rim: Uprising so I’m not really sure it matters. You pretty much know what you’re getting. People inside giant robots punching giant monsters in the face. Sometimes shooting at them. Duh!

    It truly is a bold creative decision in this era of #metoo to have the third act of your movie begin with two male characters, neither of whom has been shown piloting a giant robot previously, grounding the two female robot pilots by locking them in a room in order to go do their job for them and kill the giant monsters that have previously defeated the ladies. Oh, sure, there’s some “mechsplaining” as to how these two guys are sidelining the gals for their own well-being, but even then there’s something unintentionally hilarious about these fellas seemingly deciding to not even trust the women to succeed in what is tantamount to a suicide mission.

    Not to mention that one of these young ladies has been infected, potentially fatally, by monster venom and hardly anyone seems terribly concerned about this.

    But then I am talking about an Asylum production entitled Atlantic Rim: Resurrection about military officers and scientists piloting giant battle bots (that kind of look like 1980’s Tonka robot toys) to fight giant mutant crawdad-like creatures (that look like perfectly acceptable Ultraman foes) along the East Coast of the United States, even though the city being attacked looks suspiciously Californian. In fact, The Asylum website’s own plot synopsis seemingly forgot it was supposed to be set on the Atlantic seaboard and outright states the monsters are destroying Los Angeles. Their website also wrongly lists the film’s release date as February 15, 2017.

    Keeping with those high Asylum standards of continuity, Atlantic Rim: Resurrection is The Asylum’s mockbuster sequel of the forthcoming Pacific Rim: Uprising, even though the original Atlantic Rim, released in 2013 to coincide with the original Pacific Rim, was actually distributed in North America under the alternate title Attack from Beneath for reasons I presume were to avoid matters of a litigious nature. Nonetheless, here’s a sequel with a very sequel-y sounding title despite most American viewers probably not knowing the previous film by that title.

    And you know what? Absolutely none of that matters.

    What matters is that this mockbuster follow-up finally answers one of the great scientific questions of our times: Robonet or Python – which neural operating system is the best for psychically synching Go! Go! Gobots! with their human operators? Or, as I found myself thinking after nearly 20+ minutes of technobabble that is truly more babble than techno, “Are they ever gonna shut up and punch a giant monster? I’m here to see big ugly monsters get face punched by big ugly robots, dammit!”

    In the time it takes this sequel to finally get around to its first full-on robot vs. monster battle, the first Atlantic Rim had already seen more monster destruction and chaos, more molten hot robot on monster action, and far more entertaining scenes of a trio of monster-mashing robot pilots hanging out in bars getting plastered. The first had more of everything you would want from an Asylum knock-off of Pacific Rim about insubordinate alcoholics operating giant robots to save the East Coast from gargantuan sea dragons. Despite the main scientist brought in to get the robots and pilots fully synched up looking perpetually hung over, this sequel lacks the “Mighty Drunken Broski Ranger” attitude, the cartoonish delirium, and ham-fisted acting of the original that led me to pen a three-star review.

    Not to say there isn’t any fun to be had here; just nothing that entertains quite like watching David Chokachi swaggering through a film like a drunk broski in dire need of an intervention as he and his fellow hard-drinkin’ robot pilots beat a seemingly lost and confused giant monster over the head with huge metal hammers while an unhinged, one-eyed military officer holds his commanding officers at gunpoint demanding they allow him to nuke something, anything. None of the stars of the go-for-broke original returns for this mostly by-the-numbers sequel I almost want to say makes the mistake of being too grounded in reality than its wacko predecessor except it’s hardly realistic.

    For a film that devotes so much time to over-explaining the concept, I found myself baffled as to why the pilots still had to manually work gear shifts and push all manner of dashboard buttons to operate robots supposedly powered by their minds. Did my mind sink into the Drift during this endless mind-melding chatter and I missed something clarifying this sticking point?

    Anyhow, let’s meet our heroic robot pilots:

    • “Hammer” – The black guy. That means he dies first. There’s also another African-American who’ll climb into a robot cockpit for the final battle. He’ll also die. The main Jaeger pilot in Pacific Rim: Uprising is black. Willing to bet he lives. Not woke, Asylum. So not woke.
    • “Badger” – Speaking of not woke, the men of the #MechToo movement will come to decide they don’t need no stinkin’ Badger.
    • “Bugs” – She’s got a lot of attitude. Claims her nickname is because she “stings like a bee.” She gets stung, alright.

    The always dependable Paul Logan makes a brief appearance as a soldier because – why not? Paul Logan always plays a soldier. He isn’t given much of anything to do here, and that’s a shame. Logan already looks like the lovechild of G.I. Joe and He-Man. Why not go for the Transformers trifecta by strapping him into a mech and let him get his Rock’em Sock’em Robot on?

    Logan’s primary function is to show only a passing regard for the well-being of his wife and daughter, a tacked on subplot that sees the two women fleeing on foot as kaiju of various sizes rampage in the vicinity. Of course there has to be a family separated, desperately trying to survive and reunite amid the calamity because, of course there is – it’s an Asylum movie!

    The resolution to this subpar subplot could not have been any more anticlimactic if dad had just sent an Uber to pick them up from the danger zone, which, honestly, isn’t that far off from what actually happens.

    One nifty twist is that a colossal crawdad from aquatic hell spews forth hundreds of little buggers into the streets of East Coast L.A. The characters will refer to these lesser chitinous kaiju as “insects,” “spiders,” and “arachnids” but never “bugs,” presumably to not cause audience confusion with the character who already sports that call sign. They mostly call them “spiders” in spite of the fact that they really don’t look like spiders. More like oversized earwigs. I’m not even sure they had eight legs.

    Don’t even ask me to explain what the “Resurrection” in Atlantic Rim: Resurrection means, either. Since this is a mockbuster of Pacific Rim: Uprising, they should have gone with Atlantic Rim: Rising Up since the film begins with giant monsters literally rising up from the sea. Would have made more sense.

    On the plus side, any movie where humans using state-of-the-art mind-controlled giant battle bots armed with super science weapons to fight otherworldly giant monsters from the ocean depths yet still has a moment where an injured pilot cracks open a control panel inside his futuristic robot and takes out a plastic blue case labeled “First Aid Kit” that is overstuffed with almost nothing but Band-Aids still earns a merit badge in audacity from me.

    • Film


    Not nearly the Rimjob I was hoping for.

    User Rating 0 (0 votes)


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    The Cured Review – Ellen Page Fights for Her Life



    Starring Ellen Page, Sam Keeley, Tom Vaughan-Lawlor, Paula Malcomson

    Written and directed by David Freyne

    Taking a cue from AMC’s “The Walking Dead,” the new Irish horror film The Cured begins where most zombie stories end. Drawing more comparisons, the themes of mistrust and social upheaval are front and center here as well. We’re the real villains, and the infectious disease turning humans into monsters is only there to hold up a mirror to show the worst sides of ourselves. The Cured uses the zombie mythos as Romero intended as a commentary on culture, with a little cannibalism thrown in for good measure.

    Against the backdrop of a military takeover attempting to reintroduce the recently cured back into society, two people try to return to some kind of normalcy in a war-torn Ireland that’s been turned upside down by the zombie menace. Recently widowed, Abbey (Page) allows her now virus-free brother-in-law Senan (Keeley) to live with her and her son, even though most survivors are forced to live in an army encampment. Under constant surveillance, Senan’s old friend Conor (Vaughan-Lawlor) radicalizes the mistreated survivors of the virus into open rebellion.

    The treatment of the survivors isn’t entirely unfair considering that they still have a connection and are not detected by a small percentage of the infected that haven’t responded to the cure. As both sides size each other up, Abbey and Senan are caught in the middle as they try to restore their humanity before the powder keg around them erupts.

    Given its far out premise, the story stays firmly grounded in reality, focusing on the growing resistance and its political implications, drawing parallels to the protest movements such as the “Black Block” that have dominated some recent news cycles. When the virus divided the population, it was easy to know what side you were on; now, the cure has created a new class structure where the lower class is maligned until they cross the line and overthrow the uninfected. Clearly still affected and haunted by the heinous acts they committed when they were infected, the cannibalistic rage they still carry reflects the rage felt by the mistreated masses hellbent on overthrowing the powers-that-be.

    Whether for budget reasons or simply a style choice, the eating frenzies that occurred before the cure are never fully shown so any gore and graphic images that could’ve been showcases for effects are left to the imagination. Maybe they weren’t shown because these acts were so unspeakable that they are too horrific to see and too painful to fully be remembered by the survivors. The top-notch sound design ratchets up instead and roars to life to the point where just hearing the carnage is enough to make you turn away.

    Page’s performance is the emotional core of the film as she goes from understanding to fear to dealing with the ultimate betrayal. It’s important for a slow-developing story like this to have an actress with some star power, and director David Freyne and his team were fortunate to have a high caliber actress ready to deliver in some of the film’s quieter, more intense moments. Freyne directs these smaller character moments with care and also delivers once things open up to show the inevitable anarchy brimming under the surface.

    The Cured may feel too closed off at times to allow its bigger ideas to fully breathe, but it never pretends to encompass a more epic scope that would be more in the vein of something like World War Z. Without ever addressing it directly, Freyne, as an Irishman, seems well aware of the history of the country; and he and cinematographer Piers McGrail inject their film with a pathos that makes Dublin come to life inside the world of the undead.

    • The Cured


    The Cured is a gritty take on the genre that fits nicely into the new type of storytelling that these stories need to embrace in a post-Romero world.

    User Rating 0 (0 votes)


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    Bad Apples Review – Rotten Fruit, Indeed



    Starring Brea Grant, Graham Skipper, Alycia Lourim

    Directed by Brian Coyne

    Like a seriously bad rash, some films stick with you regardless of whichever topical ointment you slather in generous fashion over your regions – ladies and gentlemen, allow me to introduce today’s orbital irritant: Bad Apples.

    Directed (rather misdirected) by Brian Coyne, this lamentably sterile piece of celluloid follows a couple of murderous sisters, donning horrific (and not in a good sense) masks, and generally putting the sharp edges to random folk on Halloween night…case closed. Only problem here is this: the film has no pulse, no interesting characters to speak of, and basically nothing to redeem or recapture the time that you’ll have spent watching this complete dud. A husband and wife duo has a spotlight on them as well, but their tempestuous relationship makes rooting for them about as pleasing as sitting through 3 hours of Olympic curling…absolutely brutal. Also, you’re reading the babblings of a guy who loves to put the boots to any film that has been deemed “unwatchable”, but this complete wreck of a production is entirely that – something so remedial and uninspired that to type an endless array of rightful vitriol would be an utter waste of time.

    So I’ll go on a bit longer with my public display of vehemence, as the casting seems WAY out of whack, and the production? Whoa…don’t even get me started on this – okay, I’ll go on a bit. With differing levels of sound editing, you’ll get the feeling at times like you could pick up a needle drop inside of a concert hall, and other frames of dialogue are so muddled they’re incomprehensible (not like you’ll feel the need to know what’s going on). Wonky camera angles and following shots are so horrendously captured, you’ll be wishing to watch your Mom and Dad’s old home movies just to gain a sense of stability. I normally pride myself on not begging this particular audience to take what I say to heart, or to shy away from something that could potentially ruin their eyesight, but believe me when I plead with you: do not waste your valuable time on this shipwreck – even if your time isn’t all that valuable: don’t waste it. Find something else to do and take a big ol’ pass on this wannabe slasher.

    • Film


    I don’t mean to pick on the low-hanging fruit, but these Apples should be batted away with a Louisville Slugger.

    User Rating 2.5 (2 votes)


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