THE DANMAN CAN

I rarely write about or review television on my blog, but felt that I should make an exception with AvED . This first episode was directed by Sam Raimi and it certainly shows, though I wonder to what degree the future episodes/directors will emulate his style. The episode has everything you'd expect from the  EVIL DEAD   franchise: shotguns, chainsaws, hammy dialogue, blood splatters, deadites, and of course the one and only Bruce Campbell   as Ash . ARMY OF DARKNESS is treated as if it doesn't exist in this series, even though the Ash portrayed here is most like the AOD Ash . The action and tone is most akin to EVIL DEAD II   - a strong balance of horror and comedy. I do feel that this first episode was a bit of a retread in some regards but not enough to detract from the overall experience. I like  Ray Santiago  as Pablo ; he finds a good balance of nerdy and trying-to-be-cool. Less than stellar is Dana DeLorenzo 's Kelly , who is given a "sassy" (and hu

Focus On Film   Episode 34  is up! Download the MP3  HERE In this episode: January 2016  Criterion Collection   Titles Announcement Best & Worst Of The Month  –  LAID TO REST  (2009), THE IRON GIANT - Signature Edition (1999), THE GREEN INFERNO (2013), THE MARTIAN (2015) Criterion Most Wanted "Focus On Film Theme"  & commercial music:  Daniel Sardella

Danny Boyle   is a director that I'm largely hot and cold about - I love Shallow Grave   (1994), very much enjoy  Trainspotting   (1996), hated  Sunshine   (2007), was lukewarm for Slumdog Millionaire   (2008), I used to really like 28 Days Later  (2002) and now I'm lukewarm on that as well. I wasn't dying to see Steve Jobs  (2015) but ended up enjoying it much more than expected. The dialogue by Aaron Sorkin   is what shines. Boyle  does some interesting things with the camera and his images and that's expected as well, though I don't feel that every choice works. All the actors inhabit their roles well, particularly Fassbender , who was inspired casting, portraying a man who truly was an innovator, yet was a flawed human being, as we all are. The film is very humorous and largely avoids falling into "feel-good" territory. Definitely recommended.

Bridge Of Spies  (2015) is an excellent blend of courtroom drama and humor, Bridge finds Hanks inhabiting the same territory as James Stewart and Gregory Peck  before him.  Spielberg creates a superb mashup of his previous films such as Catch Me If You Can   (2002), Munich   (2005), Lincoln  (2012) and Schindler's List   (1993), with touches of John le Carré and Jean-Pierre Melville . Overall, the Coens ' screenplay doesn't bear their typical stamp but is fully engaging throughout.  Of note: this is one of the very few films that John Williams did not score for Spielberg . Thomas Newman takes his place and does a great job, evoking  Road To Perdition   (2002) (which Newman also scored, Hanks also starred in, and which some scenes in Bridge  reminded me of). If you're in the mood for some Spielberg-speak, check out the episode of Movie Matters Podcast that I guested on recently here .

Crimson Peak  (2015) is absolutely gorgeous—the cinematography, lighting, costumes, and production design are all exquisite. del Toro goes full-on gothic and I'm quite pleased. Solid acting all around. An appropriate but undistracting score. The CGI wasn't the best but didn't bother me enough to detract too much. Not a perfect film by any means, but extremely entertaining. This one reminded me a lot of  Dracula  (1992) (though nowhere near as good).

Once again I had the distinct pleasure of being a guest co-host on the Movie Matters Podcast . Download the episode at the link below and please follow Movie Matters on Facebook and iTunes ! Love him or loathe him, Steven Spielberg is arguably the most influential filmmaker working today. Who else commands such clout in Tinseltown, and what other director’s very name serves as a guaranteed box office draw, even among non-cinephiles? We’re proud to finally turn our attention to this most esteemed of filmmakers, subjecting three of what are arguably his most unfairly overlooked films of the previous decade to the traditional Movie Matters treatment:  MINORITY REPORT  and  CATCH ME IF YOU CAN , both from 2002, and 2005’s  MUNICH . Joining regular hosts Lee Howard and Michael Mackenzie is  Focus On Film  co-host Daniel Sardella , along with a specially recorded appreciation of  DUEL  by  Black Hole Cinema ’s Tony Black . The music in this episode is sampled from  RAIDE