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The group came together during the 1960s and debuted with its self-titled Liberation Music Orchestra in 1969.
Unfortunately for fans of the composer Carla Bley, she was unable to make the gig, as she was stuck in Brazil.
After an introduction by legendarly radio-show host and engineer Jim Bennett, the band took the stage. Greta Evans (Lauren Cohan, who plays Maggie Greene on AMC’s THE WALKING DEAD) needs a job and somewhere to be far from her Montana home. The Heelshires have a few rules that must be followed, of course: he must be read to, kissed goodnight, etc. THE BOY has a few beneficial elements in place from the get-go, the primary one being the presence of a doll, because, more often than not, dolls are freaky—even if they’re not bent on killing humans, as was the habit of Chucky, Dolly Dearest and a slew of others. Other than that, THE BOY is as stale as any horror movie can come, as it’s packed with an assortment of cheap scare tactics (boo!
Directed by William Brent Bell (2006’s STAY ALIVE, 2012’s THE DEVIL INSIDE), THE BOY imagines it can get by just by having a (non-?)living doll as the antagonist. THE BOY is a spectacularly dumb movie that takes the subgenre and apparently does the best it can to make things far sillier than they have to be—this might be the only movie in history to use peanut butter and jelly sandwiches to scare the audience.
Perhaps you remember the Miracle Mop infomercials, with their hokey demonstrations and phone-in testimonials. Before the credits roll, the following text appears onscreen: “Inspired by true stories of daring women. JOY again teams Lawrence with Bradley Cooper (who plays a QVC executive who gives Joy her television debut) and Robert De Niro (who plays Joy’s father, Rudy), who all worked together under Russell on 2012’s SILVER LININGS PLAYBOOK and 2013’s AMERICAN HUSTLE, both championed and adored by moviegoers and the awards circuit. Just about the entire movie feels off and inorganic, most notably the structure, the subplots and the performances.
This is a cast and crew comprised of familiar faces and names that can be thrown on the poster.
The post Win a Blu-ray prize pack for Zoolander 2 starring Ben Stiller and Owen Wilson appeared first on Flix 66. Featuring Penelope Cruz, Kristen Wiig and a host of celebrity cameos including Justin Bieber and Billy Zane, the hilarious comedy tops the original with even more wild and outrageous situations. The lucky grand prize contest winner will receive a “Male Model Kit” (2 plastic travel bottles, 1 eye mask, 1 comb, 1 compact mirror, inflatable travel pillow and travel case) and a charcoal t-shirt along with the Blu-ray.
Told through the words of those who knew and loved him, Carl Boenish’ story is truly one worth hearing and appreciating.  I’ve never regretted the decision I made almost forty years ago to keep my feet on the ground but I can certainly see and understand the rush that others get from floating on the wind. The post Weekend box office: Angry Birds easily beats Neighbors 2 appeared first on Flix 66. DEADPOOL feels almost tailor made to fit the acting talents and personality of Ryan Reynolds. Although Ryan Reynolds was great in the film, his supporting cast of Morena Baccarin, Ed Skrein, Stefan Kapicic, Brianna Hildebrand and T.J. DEADPOOL was one of my most anticipated films for 2016, and I’m very happy to say that it did not disappoint at all. But after too much time being heckled for believing in Santa and sitting at a table full of miserable family members, Max rips up his letter addressed to the North Pole, apparently causing a snowstorm and power outage.
There have been a few movies with Santa—or at least someone dressed as Santa—as the bad guy (SILENT NIGHT, DEADLY NIGHT and CHRISTMAS EVIL come to mind), but so few featuring the folklore figure of Krampus, known for punishing those who don’t believe. Director Michael Dougherty previously delivered a stellar holiday-themed horror entry with 2007’s anthology film TRICK ‘R TREAT. KRAMPUS makes a solid attempt to widen the titular character’s appeal, but never quite establishes a steady tone.
Relying on the dynamic chemistry of two lead actors, buddy movies have been a Hollywood staple for years. This is the third film from Shane Black, who previously directed KISS KISS BANG BANG and IRON MAN 3.
Casting the right duo team might be the most important part when making a buddy movie.  As long as the writing and directing are at least halfway decent then the actors can hopefully elevate the material. March and Healy may never have the same ring as Riggs and Murtaugh but they hold a similar tone to the 90’s buddy cop movie despite being set in the 70’s.
Sometimes THE NICE GUYS loses focus within the action and the humor doesn’t always sustain consistency throughout.
The post The Lady in the Car with Glasses and a Gun Blu-ray Review appeared first on Flix 66.
But even if it had that, THE LADY IN THE CAR WITH GLASSES AND A GUN is like a bad episode of THE TWILIGHT ZONE.
The problem with THE LADY IN THE CAR WITH GLASSES AND A GUN is that to truly talk about this movie and my problem with it, I need to reveal the big spoiler at the end. Instead of returning it immediately, she decides to take the scenic route, stopping at various locations, including the beach, countryside, hotel, and gas station. There’s a scene midway through X-MEN: APOCALYPSE where a few young new members are having a discussion as they are walking out of a theater showing RETURN OF THE JEDI (The story takes place in the 1980’s). Director Bryan Singer returns for his fourth X-MEN film and appears to have lost his passion for the subject.
In DAYS OF FUTURE PAST, Quicksilver (Evan Peters) was a highlight in an already very good film.  Once again his character steals the show as the one shining light within the mediocrity. It featured classic musicians, including the late Dewey Redman, Jim Pepper, and Don Cherry, as well as the still prominent Paul Motian, Roswell Rudd, and Gato Barbieri. The next day, the Portuguese secret police interrogated him, and the FBI later interrogated him as well.
A Quartet West-member, the Kiwi-born Alan Broadbent was able to fill Carla's twin roles of pianist and conducter. As with other tunes, members of the ensemble would leave the stage periodically during solos and then re-enter.
But these are brushed off by Greta, who is just the sort of person who would feed a mogwai after midnight without thinking twice.
Another is the setting—a nearly empty country home far from other civilians—which is an ideal one as far as establishing the proper mood.

This will undoubtedly work for some, but there has to be something more than that for the effort to stand out. It’s not even so much about its inventor, Joy Mangano (Jennifer Lawrence, who earned her fourth Oscar nomination). After a rather convenient mishap (these are unsubtly hinted at until Joy finally stumbles across the “big one”), Joy comes up with the idea for a self-wringing mop.
One in particular.” This is meant to establish the purpose of JOY, but what it truly does is reveal director David O. But JOY lacks the sort of energy and ambition that the previous efforts (both of which earned Oscar nods for Best Picture) had.
But it has to be more than just that and it has to offer more to latch onto than the rags-to-riches element. This is a clean transfer that boasts fine details, healthy colors and an overall impressive image that lends to the era. When a mystery assassin starts killing off the world’s most beautiful people, haute-shot Interpol agent Valentina Valencia (Cruz) learns the key to this deadly plot lies with Derek (Stiller) and Hansel (Wilson).
2: THE MAGNUM EDITION looks really, really ridiculously good-looking on Blu-ray Combo Pack and includes a Digital HD version of the film and behind-the-scenes featurettes. Wilson is a former Special Forces operative who has gone down the path of mercenary with a “soft spot”. Any residual thoughts or emotions you had towards his portrayal of the DC superhero Green Lantern will be swept under the rug and forgotten once you’ve seen him as the wise-cracking Deadpool.
It’s one of many traditions they have, along with wrapping presents together and watching Charlie Brown.
There is a sinister atmosphere in many scenes that serves the movie well, but the mood is easily snapped whenever any of the tamer or sillier elements (a vicious jack-in-the-box?
By the time the cowardly end rolls out, this horror-comedy hybrid proves to be unsure, uneven and ultimately disappointing. Details are strong and the black levels are deep once the horror elements kick in, adding to the atmosphere. He also wrote the screenplays to LETHAL WEAPON, THE MONSTER SQUAD, THE LAST BOY SCOUT, and THE LONG KISS GOODNIGHT. I found that gratuitous violence and nudity surrounding some of the small bits of humor a bit off-putting. However, the physical humor is orchestrated brilliantly, mostly due to the very talented Ryan Gosling.
It’s interesting, at least for the first 30 minutes, but it lacks direction, focus, a message, and a dedicated team ready to handle all the jumbled messages and consolidate them into one clear voice. She’s the secretary who’s tasked with every menial thing that he can think of, as well as an ear for his musings and inquiries.
She completes the task, puts on the sexy nightwear that her boss recommended, and passes out without much worry or concern. All of these pit stops have their own bizarre incidents, in which she is mistaken for someone. He talks a lot about his issues with editing and writing the movie, and frankly, it’s a lot more interesting than the movie.
Jubilee argues that THE EMPIRE STRIKES BACK is still the best, while Cyclops believes A NEW HOPE is better because it started it all.  Meanwhile, Jean Grey proclaims that we can all agree that the third film is always the worst. As a fan of the X-Men series and the actors they’ve cast, the film still entertains on a certain superhero level, albeit an extremely low one.  The story idea and basic outline is actually an intriguing raise the stakes scenario for the the X-Men universe. A lot of time is spent setting things up and creating grand gestures that have little payoff. Powerful and frightening, Apocalypse recruits his own team named The Four Horseman (the biblical references don’t go much deeper than name). He breathes a much needed energy into the picture that overpowers much of the flat dialogue and stale tone. Sadly, there just isn’t enough heart or personality for the audience to fully invest into X-MEN: APOCALYPSE.
The opening credit sequence is particularly exciting and overall I would say the technique is excellent. This performance also featured Tony Malaby and Chris Cheek on tenor saxes, Miguel Zenon on alto, Michael Rodriguez and Seneca Black on trumpet, Curtis Fowlkes on trombone, Vicente Chancey on French horn, Joe Daley on tuba, Steve Cardenas on guitar, and Matt Wilson on drums.
There is also a fairly compelling collection of mysteries going on: Why do the Heelshires treat this doll like their son?
The real draw, though, is the black levels, which help build the mood—and cheap scares—of THE BOY. Another aspect aiding greatly to the mood is the score and sound effects, which come at just the right times for maximum spook power.
Maybe you came across an original model at a yard sale and laughed at the $10 asking price.
From there, she raises funds, hits the QVC market and develops a multi-million dollar business. There is some good chemistry for fans of the pair, but there are many cringeworthy moments, including Dowd asking Lawrence what kind of mop she uses and Russell’s inability to hide his cocky, pretentious attitude.
Go on location to Rome with Ben Stiller and the all-star cast as they discuss the legacy of Zoolander and reveal the secrets behind the sequel.
When he is diagnosed with a terminal illness, he decides to undergo an experimental treatment to unlock his mutant gene. From the first frame in the film during the opening credits to the very last time he is on screen, Deadpool will tickle the teenaged boy side of your nature and make you chuckle at lines and scenes that would not be so funny were it done by a regular comedian.
It’s hard to look past the over the top character of Deadpool, but the rest of the crew complimented Reynolds performance and helped make the film what it is. But it’s all a little off this year: patriarch Tom (Adam Scott, SLEEPING WITH OTHER PEOPLE) is hiding with a stiff drink, mother Sarah (Toni Collette, MISS YOU ALREADY) is dreading the company, daughter Beth (Stefania LaVie Owen, The CW’s THE CARRIE DIARIES) would rather be with her boyfriend and the in-laws are a bunch of vulgar hicks. This time, though, the scares don’t come with blood, gore or feats of disturbing images (think the carving scene in ‘The Principal’ portion of TRICK ‘R TREAT). Dialogue is clear, the score is effective and the SFX contribute greatly to the carnage going on in the neighborhood and inside the house.

Neither Ryan Gosling nor Russell Crowe are known for the comedic chops but are aptly up for the task.  Gosling particularly shines as the goofy, alcoholic to Crowe’s secretly soft-hearted brute.
THE NICE GUYS doesn’t always work, but the silly absurdities and delightful non sequitur conclusions, make it worth seeing, just be aware that it earns the R-rating.
I’m sure at times, the short length was a detriment, but as history has told us, THE TWILIGHT ZONE became a staple of American pop-culture and a show that will infinitely be quoted, replicated, and parodied.
That’s not to say this movie is confusing, but at times it certainly doesn’t make any sense at all, and it certainly leaves a lot of unanswered questions.
But when you think of the best TWILIGHT ZONE episodes, it’s usually about the payoff, twist, or big reveal. So when she’s tasked with a project outside of work, nothing seems suspicious to anyone involved, except the audience.
While it might be a bit tongue in cheek, X-MEN: APOCALYPSE fulfills this self referential joke by being the weakest X-Men film among the new class. A decade after the events from X-MEN DAYS OF FUTURE PAST, life’s very first mutant, Apocalypse, awakens to eliminate the weak and achieve world domination. I’m looking at you Magneto’s new family.  I’m not sure why a decade needed to go by either, but the fact that none of the characters have aged or really progressed much in life was a bit confusing and distracting.
Magneto (Michael Fassbender), Professor X (James McAvoy), Mystique (Jennifer Lawrence), Beast (Nicholas Holt) and for some odd reason that doesn’t have any substantial bearing to the story, agent Moira Mactaggert (Rose Byrne) all return. His hero moment is absolutely incredible and the applied effect to demonstrate his character’s speed and personality is infectiously fun. Along with a certain clawed regenerative mutant making his obligatory cameo in a most ferociously effective manner, Quicksilver’s scenes nearly make up for all the film’s shortcomings. Or not, because it’s just a mop and who can bother to remember every mop, broom or dish towel they’ve ever owned? Joy is divorced, has two kids and lives with her mother (Virginia Madsen, BURNING BODHI), grandmother (Diane Ladd, in her first movie appearance since 2008) and ex-husband (Edgar Ramirez, DEVILER US FROM EVIL). There are, naturally, several roadblocks involving shady businesspeople and financial woes, all of which strengthen Joy’s determination. The audience doesn’t need to be told that Joy Mangano was a daring woman—the content of the movie should be able to do this.
Or the performances by Lawrence and Cooper—the former’s complexity stopping at the Long Island accent, the latter given by an actor who looks out of place and feels lumped in. The highly anticipated sequel hits the catwalk on Blu-ray Combo Pack, DVD and On Demand May 24, 2016 from Paramount Home Media Distribution.  The film arrives fashionably early on Digital HD May 3.
The only things standing in their way: the criminal mastermind Mugatu (Ferrell) and his evil fashion protege (Wiig).
The results give him accelerated healing powers, a disfigured face and a chip on his shoulder. What is really impressive is how Ryan Reynolds manages to entrance the audience with his performance which is done over half of the movie with either a mask on or an extraordinary amount of make-up. And when they do, it brings up yet another significant flaw: it’s clear that the audience is supposed to be laughing at points, but too often it’s unclear what’s meant to be funny.
THE NICE GUYS may not be his best work but it fits nicely as a unique addition to the over-crowded, people-pleasing genre.
Holland’s daughter Holly (excellently portrayed by Angourie Rice) brings some nice humor and levity from a child’s perspective.
The only thing missing from THE LADY IN THE CAR WITH GLASSES AND A GUN is Rod Sterling giving us a smoky intro into the story. It’d be much easier if I could have a spoiler version of THE LADY IN THE CAR WITH GLASSES AND A GUN, but I’m not that kind of critic.
So once we get to Michel’s house, there’s some casual flirting and some overt flirting, but nothing to foreboding. If only the director had read something far more creative to put his technical skills to magnificent use.
Sadly, the poor execution through a lack of character development and personality in a universe full of interesting characters with deep internal struggles, doesn’t offer anything to truly care about. Heelshire (Tony Award-winning actor Jim Norton; Diana Hardcastle, THE (SECOND) BEST EXOTIC MARIGOLD HOTEL), who are looking for someone to look after their son, Brahms, while they are on holiday.
Not in an “Oh, what a doll” sort of way, but rather a “Oh, what a creepy porcelain doll” sort of way. This displays such a lack of confidence on the part of Russell that the audience, too, might wonder if he really wanted to tell this story or if he just wanted to spend more time with his frequent collaborators. He adopts the alter ego of Deadpool in order to track down the sadistic scientist who performed the experiment. Maybe it’s because the film utilizes the “breaking the fourth wall” technique so well, but I left the film feeling like I just had a great adventure with a friend whom I don’t want to make angry. Indeed, the blood and gore is kept to a minimum, all because it was decided KRAMPUS should be PG-13. While the character’s wholesomeness helps guide the moral compass among all the filth, it can also be quite cringe-worthy in all these not-suitable-for-kid situations. There’s this nagging feeling that somewhere along the lines, all this exposition was just left out to intentionally confuse the viewer. How many times must we see Professor X and Magneto have the same argument about humanity?  I understand that this is the basic conflict between the frenemies, but we’ve seen prior films manage the topic in a much fresher, more interesting manner. This significantly hurts the movie, which could have been much more fun had Krampus been allowed to grab non-believers and bite their heads off in front of their parents. After dropping them off, Dany must now return his priceless Thunderbird vehicle back to his house.
I wouldn’t mind checking out the director’s other movies, just as long as they’re not as lacking in depth or as confusing. The newest members added to the universe are: Jean Grey (Sophie Turner), Cyclops (Tye Sheridan),Nightcrawler (Kodi Smit-McPhee), Storm (Alexandra Shipp), Angel (Ben Hardy), Psylock (Olivia Munn). Unfortunately, they don’t bring the same charisma that previous characters have brought.  However, there is one exception.

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