Finding Grace

The picture of teen petulence.

(2020) Faith-Based Drama (Vision) Paris Warner, Jasen Wade, Kisha Sharon Oglesby, David Keith, Bo Svenson, Erin Gray, Bethany Davenport, London Grace, Braden Balazik, Lucy Harselle, Warren Fast, Gage Maynard, Stacie Fast, Steve Norris, David Raizor, DeeJay Sturdivant, Israel Varela, Barbara Chevalier, Paige Fiser, Lacey Fiser, Avery E. King. Directed by Warren Fast

 

I will admit from the get-go that I’m not a big fan of faith-based films. It isn’t that I don’t believe, or that I don’t think that there isn’t a place for them; clearly there’s a market for them, and I don’t have a problem with Christianity in general. I have to say I’m averse to being preached to, however, and faith-based films have a tendency to be preachy – not all, but most. My biggest problem with Christian films in general, however, is that most of them are awful.

Take Finding Grace, for example. Alaska Rose (Warner) has been acting out ever since her mother left the family, leaving the hard-working Dad (Wade) to raise Alaska and her little brother (Balazik). Alaska is “out of control,” as the judge (Gray) in the film-opening courtroom scene remarks; she has been caught holding a fake I.D. and an alcoholic drink. As she is 18 years old, that means adult jail but the judge decides to be lenient, even though Alaska has enough attitude for ten teens. She ends up with 150 hours of community service. Note: how does one get sentenced to an adult jail for something that isn’t a crime for adults? I….err…umm…

Alaska is assigned to a residential care facility for the elderly. Alaska is assigned to the difficult Mrs. Foster (Oglesby) which works out about how you’d expect; she is also given charge of the talent show, which she is completely disinterested in. In the meantime, Dad’s business is failing and he is only barely holding his head above water; it would take only a small wave to drown the family. They haven’t been going to church recently, either, not since Mom left. Still, Alaska has a good heart and maybe something might click when she lets others in, particularly if she lets God in.

There are a few recognizable names here, mainly in blink and you missed them parts but the talent here is for the most part pretty unknown. That doesn’t necessarily have to be a bad thing; I’ve seen unknown casts deliver powerhouse movies in the past, but to do that you need a script that doesn’t feel like it was patched together from fifty other movies, and this one certainly has that feel.

The real issue for me is that the movie doesn’t go anywhere that hasn’t been gone before, many times. It doesn’t add anything particularly fresh, or new. I’ll be honest; I think that Christian audiences have been given short shrift by filmmakers in the genre; they can be just as discerning as secular audiences, and they deserve movies that are interesting and well-acted. This feels more like a sermon based on an Afterschool Special that lasts two hours, and even on my best days I couldn’t last two hours for a sermon. I believe – and maybe I’m wrong – but Christian audiences need more than a message in their movies. They need believable characters. They need actions that make sense. They need a plot that isn’t as predictable as Sunday falling the day after Saturday. I think the time has come to hold Christian filmmakers to higher standards.

REASONS TO SEE: Panama Beach looks like a pretty nice place.
REASONS TO AVOID: Predictable plot. Way too long.
FAMILY VALUES: There is some mild profanity and brief sexual references.
TRIVIAL PURSUIT: The film was shot entirely on location in Panama City, Florida; shortly after filming was completed, the town was devastated by a direct hit from Hurricane Michael, so reshoots were not possible.
BEYOND THE THEATERS: Amazon
CRITICAL MASS: As of 4/27/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
COMPARISON SHOPPING: Let There Be Light
FINAL RATING: 3/10
NEXT: If Beale Street Could Talk

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New Releases for the Week of August 25, 2017

GOOD TIME

(A24) Robert Pattinson, Jennifer Jason Leigh, Benny Safdie, Taliah Lennice Webster, Barkhad Abdi, Necro, Peter Verby. Directed by Benny and Josh Safdie

A bank robbery gone wrong lands a young man in jail where he is sure to die. His older brother goes on a desperate trip into the underbelly of the city to get his sibling out of jail but now it’s not just his brother’s life that hangs in the balance – his own is there as well. The latest from the stylish Safdie Brothers got a standing ovation when it was screened at Cannes

See the trailer and a video featurette here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Action
Now Playing: Wide Release
Rating: R (for language throughout, violence, drug use and sexual content)

A Gentleman

(Fox STAR) Jacqueline Fernandez, Sunil Shetty, Sidharth Malhotra, Betsy Graver. Guarav is the kind of guy who dreams of having a family of his own. He even has the potential wife all picked out. The problem is that Kavya wants a man who lives life to the fullest, isn’t afraid to take risks and generally knows how to have fun. To say the least this doesn’t describe Guarav in the slightest. However a work assignment takes him to Mumbai where things get a little interesting…

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Romantic Comedy
Now Playing: AMC West Oaks, Touchstar Southchase
Rating: NR

All Saints

(Columbia/Affirm) Cara Buono, John Corbett, Barry Corbin, David Keith. This is based on the true story of Pastor Michael Spurlock who was a salesman before he got the Calling. Assigned to preside in the shutting down of a sparsely-attended church, he got to know the people relying on the tiny congregation to just make it through their hard lives. Determined to save the church, he risks his career in order to save something much larger than himself

See the trailer, clips and a featurette here.
For more on the movie this is the website
Release Formats: Standard
Genre: Faith-Based Drama
Now Playing: Wide Release
Rating: PG (for thematic elements)

Birth of the Dragon

(BH Tilt/WWE) Philip Wan-Lung Ng, Xia Yu, Billy Magnussen, Terry Chen. In 1964 Chinese martial arts master Wong Jack Man came to San Francisco and found himself embroiled in a controversy with a martial arts teacher who was teaching Caucasian students, strictly against tradition. He challenged the brash young teacher to a fight and this monumental match led to the birth of a legend – a legend named Bruce Lee.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Martial Arts/Biographical Drama
Now Playing: Wide Release
Rating: PG-13 (for martial arts violence, language and thematic elements)

In This Corner of the World

(FUNimation/Shout Factory) Starring the voices of Rena “Non” Nounen, Megumi Han, Yoshimasa Hosoya, Daisuke Ono. During the Second World War, a young Japanese girl marries and leaves the life she’s always known for a new life in a small village near Hiroshima. Coping with wartime rationing, hardship and loneliness, she must somehow find the courage to live in a time and place where living is far from easy.

See the trailer here.
For more on the movie this is the website
Release Formats: Standard
Genre: Animated Feature
Now Playing: Regal Waterford Lakes
Rating: PG-13 (for thematic elements including war-related images)

Ingrid Goes West

(Neon) Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr., Pom Klementieff. An unhinged social media stalker abruptly decides to move to Los Angeles to insinuate herself into the life of an Instagram star. The friendship, based on false pretenses, has unexpected consequences in the lives of both women.

See the trailer here
For more on the movie this is the website.
Release Formats: Standard
Genre: Comedy
Now Playing: Wide Release
Rating: R (for language throughout, drug use, some sexual content and disturbing behavior)

The Only Living Boy in New York

(Roadside Attractions/Amazon) Callum Turner, Jeff Bridges, Kate Beckinsale, Pierce Brosnan. A recent college graduate returns home to New York to live with his parents. Drifting aimlessly, he discovers that his father has been conducting an affair with a younger woman. Obsessed with his father’s mistress, he follows her throughout the city and ends up developing feelings for her himself.

See the trailer, clips and featurettes here.
For more on the movie this is the website
Release Formats: Standard
Genre: Drama
Now Playing: AMC Disney Springs, Regal Winter Park Village, Rialto Spanish Springs Town Square
Rating: PG (for language and some drug material)

The Trip to Spain

(IFC) Steve Coogan, Rob Brydon, Marta Barrio, Claire Keelan. The third in director Michael Winterbottom’s series of films starring Coogan and Brydon as they laugh and eat their way through amazing meals and even more amazing scenery, this time in Spain. The two comedians spend a lot of time trying to one-up their friend in impressions and one-liners and trying to make sense of their convoluted lives.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Comedy
Now Playing: Enzian Theater
Rating: NR

ALSO OPENING IN ORLANDO/DAYTONA:

I See You (Kita Kita)
Marjorie Prime
Vivegam

ALSO OPENING IN MIAMI:

Arjun Reddy
Bushwick
Dalida
False Confessions
The Fencer
Ghost House
I See You (Kita Kita)
La Vida Inmoral de la Pareja Ideal
Marjorie Prime
Vivegam

ALSO OPENING IN TAMPA:

Arjun Reddy
Bushwick
Deep
I See You (Kita Kita)
Menashe
Unleashed
Vivegam

ALSO OPENING IN JACKSONVILLE:

Arjun Reddy
I See You (Kita Kita)
The Midwife
Vivegam

SCHEDULED FOR REVIEW:

Good Time
Ingrid Goes West
Menashe
The Only Living Boy in New York
The Trip to Spain

U-571

The crew of a WW2 sub has 99 problems and you’re not one of them.

(2000) War Thriller (Universal) Matthew McConaughey, Bill Paxton, Harvey Keitel, Jon Bon Jovi, Jake Weber, David Keith, Thomas Kretschmann, Jack Noseworthy, Tom Guiry, Will Estes, Terrence “T.C.” Carson, Erik Palladino, Dave Power, Derk Cheetwood, Matthew Settle, Rebecca Tilney, Burnell Tucker, Robin Askwith, Carsten Voigt. Directed by Jonathan Mostow

After the success of Saving Private Ryan, movies about the Second World War began to creep into the studio release schedules in the first years of the new millennium, with this film and Pearl Harbor (among others) both hoping to recapture the magic of the Steven Spielberg classic.

This time, the focus is on the submarine service of the U.S. Navy. Lt. Tyler (McConaughey) is the very competent exec of the S-33, one of the Navy’s older rustbuckets. He is chafing for his own command, but hasn’t been able to get the recommendation of his commanding officer (Bill Paxton), so he continues to be second in command as the battle in the Atlantic shipping lanes continues to go badly for the Allies. German U-Boats continue to sink allied ships at a terrifying rate and the navy is virtually powerless to break their codes.

However, that’s about to change. During a battle at sea, a U-boat is left crippled and sends a radio signal to Berlin. Allied intelligence manages to figure out what happened (don’t ask how, since they supposedly don’t know German codes) and have sent a taciturn intelligence officer, Lt. Hirsch (Weber) and a gung-ho Marine (Keith) to lead a mission to rendezvous with the crippled German sub posing as its supply vessel and steal the Enigma decoder and codebook. Along with them they bring Tyler, his respected by the men chief (Keitel) and a group of seamen to help take over the sub.

After a bloody battle, they manage to secure the German U-boat and get the decoder, when the REAL supply boat arrives and sinks the American submarine. The survivors are left aboard a vessel that’s unfamiliar and in which everything is written in a language they can’t read. To make matters worse, the U-boat is still crippled (although they manage to make some jury-rigged repairs) and is engaged in a cat-and-mouse game with a German destroyer.

Mostow manages to capture the claustrophobic feel of submarine service of the time, and the amazing stress that comes with avoiding depth charges, enemy torpedoes and the pressure of the deep. The sacrifice and bravery of the men and the coming of age of Tyler are the center of the storyline. Along the way, you get a pretty good idea of what terror a depth-charge barrage can be.

In the early years of his career McConaughey was a bit wooden more often than not but here he plays the heroic role with a certain amount of stoicism. Keitel plays the cliché gruff ole seadog pretty well, considering it’s not the kind of role he’s known for. But then nobody really expects the acting to be this film’s strong point. It’s the stomach-knotting tension that makes or breaks U-571 and there are times when this movie makes you want to leap out of your skin. However, they are unable to maintain the atmosphere consistently.

The reality of submarine service during the war, as nasty as this movie depicts it, was way more intense. If you are looking for a more realistic portrayal, try Wolfgang Petersen’s Das Boot, which is THE best submarine movie ever done. If that doesn’t keep you on the edge of your seat, nothing will.

WHY RENT THIS: Realistic sub battles. A good sense of tension. Keitel makes a terrific seadog.

WHY RENT SOMETHING ELSE: Inconsistent. McConaughey was a bit too laid back.

FAMILY MATTERS: A pretty goodly amount of violence and some scenes of extreme tension and fear.

TRIVIAL PURSUITS: The Enigma machine depicted here wasn’t a prop; it was an actual Enigma that was loaned to the production by a collector.

NOTABLE HOME VIDEO FEATURES: There are some newsreel and archived material which are used to explain what inspired the making of the film. The Blu-Ray version makes this available in the U-Control Picture-in-Picture function.

BOX OFFICE PERFORMANCE: $127.7M on a $62M production budget.

FINAL RATING: 6.5/10

NEXT: Thor: The Dark World

Daredevil

Matt Murdock and Elektra Natchios engage in a little foreplay.

(2003) Superhero (20th Century Fox) Ben Affleck, Colin Farrell, Jennifer Garner, Michael Clarke Duncan, Jon Favreau, Scott Terra, Ellen Pompeo, Joe Pantoliano, Leland Orser, Lennie Loftin, Erick Avari, Derrick O’Connor, Paul Ben-Victor, David Keith, Kevin Smith. Directed by Mark Steven Johnson

It is a fact that every day, handicapped people show over and over again that they are capable of amazing things. Some are aided by technology but much of it is sheer willpower.

The young Matt Murdock (Terra), who has stood up for his father (David Keith) when neighborhood punks call him a washed-up boxer and a mob enforcer, is shocked one day to spot his loving dad thumping on someone who hadn’t been making his vig. Matt runs off, causing a traffic accident that ends with him being doused by toxic waste, right in the eyes. This leaves him blind for life. However, there is an interesting side effect: Matt wakes up to find he has outrageously acute hearing, including a kind of sonar sense, which allows him to “see” almost as well as any sighted person — better, in some ways.

He also spends time developing his body into a graceful, acrobatic, athletic machine. When his Dad refuses to throw a fight and is murdered, his son is left to seek revenge. The adult Matt Murdock (Affleck) becomes a lawyer. Justice being blind jokes aside, he has a particularly strong streak of wishing to do the right thing in him.

Not content at achieving justice through conventional means, Murdock adopts the persona of Daredevil, utilizing a red leather costume, and becoming a semi-urban legend in New York, one that reporter Ben Urich (Pantoliano) is hell-bent on tracking down. Those who have seen the first Batman movie will note the similarity. His day job allows Murdock to represent the downtrodden, much to the chagrin of partner “Foggy” Nelson (Favreau), who yearns for clients who pay in actual cash, rather than in foodstuffs. Murdock meets Elektra Natchios (Garner), the daughter of a wealthy industrialist (Avari) who is in bed with the corrupt Wilson Fisk (Duncan), the legendary Kingpin of Crime. When Natchios tries to get out of business with Fisk, the Kingpin brings in a psychopathic master of hurled objects, Bullseye (Farrell) to kill Natchios, which he does, framing Daredevil for the deed in the process. Elektra — who is falling in love with the blind lawyer, swears revenge, not knowing that it is his alter ego she has sworn to kill.

The New York City of Daredevil is a dark, gothic place, not unlike the Gotham City of Batman, and like the Caped Crusader, Daredevil inhabits the shadows and rooftops of a corrupt, dangerous city. The problem with casting Affleck in the role of Matt Murdock is that he is far too likable. Affleck doesn’t carry off the brooding vigilante as well as he does the wisecracking lawyer, so the dual personality of Murdock doesn’t mesh as nicely as it could.

Farrell carries the movie, enthusiastically chewing the scenery and spitting it out so he can chew more. Favreau and Duncan are excellent as they nearly always are; Favreau would go on to direct the Iron Man movies but his association with the Marvel studios began here. His chemistry with Affleck is pretty keen.

The Elektra of the comics is far more threatening than the Elektra of the big screen. Garner, who on paper is an excellent choice to play her, is dispatched with near-comic ease in nearly every fight she takes part in. This compares unfavorably to the character in the four-color version (who is kickus assus maximus to the nth degree) and herein lies the problem with any adaptation of any comic.

Those who love the comic book will inevitably measure the movie against the comic, and in most aspects will find it wanting. Daredevil has always been one of the consistently best-written and innovative of story in Marvel’s arsenal. The movie’s writing denigrates it to an unsophisticated Batman knockoff. Yet, there are moments of poetry, such as when Murdock asks Elektra to stand in the rain, which allows him to see her face using his radar sense. That’s one of the best moments of any Marvel superhero film, ever.

A nice little aside – many of the characters here are named after comic book writers and artists, many of whom who worked on the Daredevil book itself. There are also several people associated with Daredevil’s long run at Marvel (including Smith, Stan Lee and Frank Miller) who make cameos in the movie. In addition, something must be said about the soundtrack which is one of the best for any movie in the last ten years. The tracks from Evanescence are particularly haunting. Also, The final confrontation between Fisk and Daredevil is very nicely done, visually speaking although the whole thing of the little water conduits running below the floor are head scratch-inducing.

Overall, this isn’t a bad movie. There are some deficiencies, true, but there is a large number of things the movie does well. Affleck would have been an excellent Daredevil had he another movie or two under his belt. The most important thing here however is to take the movie on its own merits. Try not to see it as a note-perfect portrayal of the comic hero, because you’ll only wind up disappointed. Judge it for what it is; a better-than-average action-adventure movie, and you’ll enjoy it a lot more.

WHY RENT THIS: Better than average action movie. Fine supporting performances from Farrell, Duncan and Favreau.

WHY RENT SOMETHING ELSE: A bit of a Batman knock-off. Affleck carries off Murdock better than Daredevil. Elektra a bit too wimpy here.

FAMILY VALUES: There’s some violence and a bit of sensuality.

TRIVIAL PURSUITS: This was the first American movie in which Farrell uses his native Irish brogue.

NOTABLE DVD FEATURES: The DVD features a featurette on the comic book series, a comparison of the “Shadow World” as visually realized in the movie vs. the comic book, three music videos and an enhanced viewing feature which, when an icon appears onscreen, allows viewers to see the same scene from different points of view. There is also a Directors Cut DVD edition which restores 30 minutes of footage to the film, cut initially to bring the movie from an R rating to PG-13.  However, oddly enough, the Directors Cut edition has almost no special features, merely a commentary track and a 15 minute making-of featurette. The Blu-Ray contains both the Directors Cut and all the features from the initial DVD release and as such is the best bet for those interested in the movie.

BOX OFFICE PERFORMANCE: $179.2M on a $78M production budget; the movie broke even.

FINAL RATING: 7/10

TOMORROW: Tower Heist

Daredevil

The man without fear...of red leather.

(20^th Century Fox) Ben Affleck, Jennifer Garner, Colin Farrell, Michael Clarke Duncan, Jon Favreau, Scott Terra, Ellen Pompeo, Joe Pantoliano, David Keith, Leland Orser, Erick Avari, Derrick O’Connor. Directed by Mark Steven Johnson

In the wake of the success of X-Men and Spider-Man, the rights to a boatload of Marvel superheroes were sold to several studios eager to cash in on the superhero craze. This led to a glut of hero movies in the middle pat of the last decade wth some of the releases being better than others.

Matt Murdock (Affleck) is a lawyer who was blinded in an accident as a young boy (Terra). His father Jack “The Devil” Murdock (Keith) is an ex-prize fighter trying to raise his boy as best he can on his own, desperately hoping he won’t make the same mistakes he did and elevate himself from a Hells Kitchen he could never escape himself.

Matt is bright enough although he gets picked on by the local bullies because he won’t fight, at the behest of his father. Young Matt believes his father to be an honest dockworker, but Jack has been picking up extra cash working as hired muscle for a local crime boss. When Matt accidentally witnesses his father’s other line of work, he runs blindly away, and winds up being dowsed in the face by the proverbial toxic liquid.

The result is that the boy is blinded for life, but the compensation is that his other senses sharpen significantly. As a matter of fact, he uses sound as a kind of “sonar” to allow him to “see” images. Tired of being picked on, he begins to work out, train himself to fight. In the meantime, Jack is shocked into going back on the straight and narrow and takes up fighting again and does pretty well. However, when he refuses to throw a fight, he is murdered.

Years later, Murdock works alongside his partner Foggy Nelson (Favreau) in a Hells Kitchen law firm that specializes in taking on the cases of the underdog against the corrupt and the untouchable. It doesn’t pay very well – often the poor clients pay in fish or some other form of barter – but Murdock is able to sleep nights. Well, he would if he were sleeping; instead, he goes out to exact justice that he can’t obtain as a lawyer as a costumed vigilante known as Daredevil. The police, predictably, pooh-pooh his existence but a lone reporter, Ben Urich (Pantoliano) pursues the story with the zeal of Woodward and Bernstein.

Murdock meets Elektra Natchios (Garner), the daughter of a billionaire, in a coffee shop and falls for her instantly. The attraction is mutual; she also has superb martial arts training and this is one of those rare courtships that take place by beating each other up. Elektra’s dad (Avari) is tied to the new crime boss, Wilson Fisk (Duncan) a.k.a. the Kingpin of Crime, and is anxious to get out and retire. Fisk doesn’t like people backing out on him and hires an Irish hit man named Bullseye (Farrell) to take care of business.

Bullseye has the uncanny knack of accuracy. Anything he throws hurls or shoots hits its target without fail. When Murdock discovers what’s going on, he immediately changes into his Daredevil guise and rushes out to protect the father of the woman he loves. Unfortunately, he gets there too late to prevent Natchios’ death, but just in time for Elektra to mistakenly believe him responsible. He also manages to avoid one of Bullseye’s projectiles, earning the obsessive enmity of Bullseye in the process.

Director Johnson was woefully inexperienced when he was given this project to direct and in many ways, it shows. What also shows is the reverence and respect in which he holds the source material. It becomes a two-edged sword; some of the elements he wants to bring from the comic book series (such as Daredevil’s uncanny agility) don’t translate well, although at the time it was released I thought it looked fine to be honest. After watching it at home recently, I found the wire work to look unnatural and there is quite a bit of it.

Affleck was uncomfortable playing a costumed superhero and it is very apparent. When he’s Matt Murdock, for the most part he’s fine. However, there are times as Murdock when he looks soulful and a bit sorry for himself; that just doesn’t jive too well with the costumed vigilante that Daredevil is and who Matt Murdock is on the comic book page. There, Murdock is stubborn and principled and prone to leaping where angels fear to tread – he is literally without fear. Here, Affleck plays him as stubborn and principled and a bit of a whiner. It’s not a bad performance but it isn’t the right one.

Garner was magnificent as Elektra here, which makes the spin-off film she did on the character all the more mystifying in how truly awful it was. She makes Elektra passionate and real, suspicious and lethal. The comic book character is one of the most compelling in the Marvel universe and while she doesn’t quite reach those standards, Garner does do a fine job in bringing her to life.

Duncan and Farrell both look like they’re having the time of their lives in the villain roles, with Farrell often looking up with a boyish smile like he just discovered its Christmas morning. Few actors today can play villains with the kind of relish that Farrell brings to the role. Duncan is far too jovial as a person to make Fisk as menacing as he is on the comic book pages, but he manages to make him memorable nonetheless.

Fox has had several of the Marvel properties under its banners (including the ongoing X-Men and the Fantastic Four) and while the movie was a success for the most part, it never achieved the popularity or acclaim to make a sequel likely – in fact, Affleck has stated flat-out that he would not consider playing the role again, or any other superhero role for that matter.

In any case, the movie is entertaining enough to recommend it and the soundtrack with its loud guitar-oriented rock is one of the better movie soundtracks of the last decade, and it made a star of Evanescence, which may or may not be a bad thing depending on your view of Evanescence (good thing in my book). If you’re looking for something to transcend the genre, keep on moving. If you’re looking for something that will keep you interested and invested for 90 minutes, you’ve found your movie.

WHY RENT THIS: There are times when Affleck is effective as Matt Murdock. The supporting cast is excellent. The filmmakers hold the source material in high regard and utilize a lot of elements that will make Daredevil fans smile. The soundtrack is great.

WHY RENT SOMETHING ELSE: The overuse of wirework makes the fight scenes look just awful. Affleck spends too much time looking soulful and trying to evoke pathos; the Matt Murdock I know doesn’t feel nearly as sorry for himself.

FAMILY VALUES: Plenty of comic book violence and some sensuality, but nothing too graphic.

TRIVIAL PURSUIT: The budget for the movie was initially set at $50 million, but after the success of Spider-Man Fox upped the budget to $80 million.

NOTABLE DVD EXTRAS: The Blu-Ray includes several music videos from the soundtrack, “Men Without Fear: Creating Daredevil” which focuses on the creative aspects of the comic series and “Beyond Hell’s Kitchen” which details the challenges and tribulations on getting the movie made.

FINAL RATING: 6/10

TOMORROW: Revolutionary Road