THE BIRTHDAY (2004)

 

Directed By: Eugenio Mira

Written By: Eugenio Mira and Mikel Alvarino

Cinematography: Unax Mendia

Editor: Alejo Lewis 

Cast: Corey Feldman, Erica Prior, Jack Taylor, Dale Douma, Liz Lobato, Jim Arnold, Sue Flack, Colin Morgan

Norman, a young man very much in love with his girlfriend, attends her father's birthday party, held in a hotel where a sect happens to be preparing for the birth of the god it worships.

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Jordan Peele recently resurrected this film from its straight to video origins, and it’s almost nearly forgotten existence after being lucky enough, and should be made aware of this film and view it by star Corey Feldman

Mr. Peele was blown away by the film so much and that he included it in a program series of films, he showed a film festival audience for draft House films to find it and restore it print and now released bigger and further than it ever did before, allowing for an audience, it never had and it should’ve had before especially as it was never theatrically released officially

So even behind-the-scenes, it has a miraculous story of building up an audience over the years and getting noticed as the film does certainly feel worth it even if by the end and it’s obscurity that doesn’t force the audience and audience actually think while watching it

Didn’t realize it was from the writer, Director of GRAND PIANO, Eugenio Mira. the movie at the time that totally didn’t live up to the hype, but there was something one could admire in it

That is the same thing I feel about the birthday or as I appreciate how it builds where at any point you could go anyway at first it’s more just an uncomfortable awkward comedy with Corey Feldman doing a voice, but his performance grows on you as does the movie with its oddball of characters that you can tell something is going on behind the scenes that you can’t , necessarily tell what’s going on, but you can feel. As the film has an undeniable style to it. 

Where this is the film goes along you are just happy for the main character played by Corey Feldman as he seems to go through different side adventures and trials, even if he comes across as more and more weak compared to what he is trying to achieve. 

Just like many of the supporting characters at first, he seems handled with a broad stroke before you finally start to get to learn things about him 

As the film goes along, and it seems to get crazier and crazier, more ridiculous, and a conspiracy plot thrown in the film as well where at first you are wondering if this is true and real, or just a misguided attempt by outsiders against the rich in a class struggle as the new challenge the for the main character it unfortunately looks like, What at first he dismissed as ideas of a mad person might actually be true.

As in the film he has to make certain decisions and sacrifices. Which we have seen him fumble earlier in the film, earlier but now must take action or make decisions for the fate of the future.

The film and the actors keep you invested as well as even though you can tell the film is low budgeted. It’s a tight production that makes it feel like it’s a film double or even triple budget has originality and imagination that it keeps you interested throughout I wish I could say it’s a slam dunk and one enjoys it as much as for the hype of its recovery.

I can’t say that I quite swallowed the Kool-Aid, but it wasn’t a bad drink. It didn’t necessarily grow on me. It’s a film that deserves to be seen and it certainly has found its audience. It’s not quite a classic, but it’s entertaining if you give it a chance. 

This will not be a film for everyone is a cult film, where I believe there is an audience that will appreciate it as strangely matching the suit that Corey Feldman wears. It feels more like a lounge act more than an up-and-coming stand from many will think about it, but it doesn’t quite rise to necessarily be a classic 

I’m not trying to badmouth the film nor am I saying it’s then but feel more like it’s in the middle of the road. There are plenty of things to admire about it, but there are certain things not quite as enjoyable or that hold it back from its own greatness

One can appreciate the time it takes to constantly keep building for the audience, though on the other hand, there’s also a sense that it doesn’t need to be as long as it is 

It’s a dark comedy at heart that grows on you as it has its own personality and a certainly an oddity that doesn’t try to reach too far. So definitely a film you can appreciate by it’s merits 

Grade: B-

ROOFMAN (2025)

 

Directed By: Derek Cianfrance

Written By: Derek Cianfrance and Kirt Gunn

Cinematography: Andrij Parekh

Editor: Jim Helton & Ron Patane 

Cast: Channing Tatum, Kirsten Dunst, Lakeith Stanfield, Peter Dinklage, Ben Mendelsohn, Uzo Aduba, Juno Temple, Melonie Diaz, Tony Revolori, Emory Cohen

A charismatic criminal, while on the run from the police, hides in a hidden space of a toy store. There, he adopts a new identity and becomes involved with an employee, beginning a relationship as unlikely as it is risky.

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This shows that Channing Tatum is a very adaptable actor, as he has previously been part of Steven Soderbergh‘s films in various capacities. Who has so far gotten the best work out of them next to the 21 JUMP STREET movies & franchise, which always offer a bit of a comeback for him. As it introduces him in appeal that is unexpected.

This film is another one that proves again Tatum’s charm in a role he fits into perfectly. That while being tough, there’s a sensitive soul, a romantic who has depth and is not all surface.

This is actually Director Derek Cianfrance most mainstream film, (THE PLACE BEYOND THE PINES, BLUE VALENTINE) but it still maintains his Indie artistic flourishes that grabbed the audience and keep the film from seeming like Hollywood fluff. Even as it adds to his repertoire of another failed romance story for him at the helm.

Another big surprise in the cast is Kirsten Dunst, who is thoroughly believable in her role, as the religious single mother whom Tatum‘s character falls for, especially after watching her under surveillance for so long.

This film is based on a true story that fits into the mold of movies like BERNIE and HIT-MAN (both directed by Richard Linkletter) that humanize is supposed to harden criminals, making their tales a bit more comedic & light than they normally would be told. Having the audience root for the criminal even if we know in the end, there will not be a happy ending at least not a traditional one. These films are usually more about the character or characters as well as the ensemble and ambience that is around them.

Was surprised that this film bombed at the box office. As it seems to have all the right elements for a non-traditional romantic comedy, but enough material that would appeal to more of a broad audience. It seems that maybe as it was a more grown-up, adult, human interest, drama and comedy, As well as being told in a small simple way that doesn’t have as many gimmicks or distractions, full of wackiness or slapstick, nor action that audiences didn’t go out and seek it more. Though could easily see this film being more of an audience pleaser.

Now some audience members might complain about the romance angle. Which might slow it down for some, but is what humanizes the characters and the story. Which makes it so compelling, rather than something thinner that you watch for action or antics. it doesn’t have to rely on filler it fills out the film.

I won’t lie and say this is the most exciting film, but it’s a nice down home story that entertains and grabs you as it goes along

Grade: B 

BALLAD OF A SMALL PLAYER (2025)

 

Directed By: Edward Berger

Written By: Rowan Joffe

Based on the novel by: Lawrence Osborne

Cinematography: James Friend

Editor: Nick Emerson 

Cast: Colin Farrell, Tilda Swinton, Fala Chan, Alex Jennings, Deanie Ip, Jason Tobin, Adrienne Lau

Lord Doyle is laying low in Macau spending his days and nights on the casino floors, drinking heavily and gambling what little money he has left. Struggling to keep up with his fast-rising debts, he is offered a lifeline by the mysterious Dao Ming, a casino employee with secrets of her own. However, in hot pursuit is Cynthia Blithe a private investigator ready to confront Doyle with what he is running from. As Doyle tries to climb to salvation, the confines of reality start to close in.

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Unfortunately , this is another film where it’s a case of style over substance and the strange part is that there is enough substance to truly match the style, but by the end, it just feels so empty and almost like an opportunity wasted.

The film tries to tell the tail as the title suggest in a small way, even though it’s international, it sure does live up to the title. As it shows a small time player who wants to be bigger and more successful than what he is in this growing huge international market, and no matter how much he wins or loses, he still stuck almost insignificant in this world.

Even though director, Edward Berger gives his all and making this film flash and a visual delight with plenty of color and style throughout, not quite making the images always surreal, but definitely always making them feel alive when bright, but also feeling chill and coldness when there is no color and it’s rather plain 

which is rather shocking as with his previous two films conclave and all quiet on the Western front adaptation both seem to be simple yet highly visual with the media stories that seem to plane at the time, but as the film goes along, truly brings the audience in deeperz.

where as here the film seems to go for flash and slowly reveal a more dramatic story underneath, but there’s just no meat to be chewed on as we watch so that the only time the film truly is entertaining is when it comes to the visuals and more visual storytelling rather than the dialogue scenes and the little meat that they offer

Colin Farrell gives his all in his performance as the gambler in the middle of this, but again it’s something we’ve seen before and many other films, and we never quite understand why he makes certain decisions. There are explanations that has left more for the audience to read into. 

Just as Tilda Swinton having a supporting role here, though it feels more like a special appearance as her role is vital, but she’s not given much to do other than have kind of a frumpy noteworthy look and style. 

This one was like watching a steak or a meal that just looks so big and delicious but then when you bite into it is undercooked and thus disappointing 

Where you can imagine how great it could’ve been but have to deal with what it actually is. 

There is glitz and glamour, but they’re still seems to be something missing things. We are supposed to take for granted or figure out from little information we are given as there aren’t that many explanations, but big decisions and actions that we question the meaning behind all of them.

Grade: C

EANIE MEENIE (2025)

 

Written & Directed By: Shawn Simmons 

Cinematography: Tim Ives 

Editor: Chris Patterson and Dirk Westervelt

Cast: Samara Weaving, Karl Glusman, Andy Garcia, Steve Zahn, Marshawn Lynch, Jermaine Fowler, Mike O’Malley, Randall Park, Chris Bauer

A reformed teenage getaway driver is dragged back into her unsavory past when a former employer offers her a chance to save the life of her chronically unreliable ex-boyfriend.

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This film comes so close, but no cigar as it does play out like an Elmore Leonard story or novel. As it has the gritty details, the quirky characters and the down on their luck protagonist.

It also has a story that is set in the underworld of crime and a high story that doesn’t overreach and make it seem like this is the score of the century or will set everyone up for life but more just a simple heist that will help all involved get out of previous trouble and be financially lucrative .

Even though it is mainly a crime story, it does take its time to be a character piece for the main character played by Samara weaving and explain her character’s choices, upbringing, and mentality, which helps, especially when she is essentially in love with a screwup 

The film has a great cast, but that is the problem while the quirky supporting character shine. We don’t really ever get enough time with them to learn maybe how they tick or just to enjoy them in general. It’s longer than blink and you miss them, but still not quite enough 

Even Marshawn Lynch, who is usually comedic gold in movies here has the chance to create such an iconic character, and while he does, what is necessary, his impact isn’t felt the way that it should nor strong as it should. It feels here more like he scripted rather than where his strength is an improv. 

Samara weaving as the lead is more of the straight woman, whereas she surrounded by all these crazy quirky characters so she lies at the heart of the film, and obviously the protagonist were rooting for .

The film stays surprising throughout as well as engaging with a surprisingly strong and down, tried ending of sorts, though it feels like there’s something missing to push it quite over the top to passable. 

As it is a film, that is entertaining enough, but not quite not worthy to play with the others in its genre. It comes across his lightweight, even though it does have some heavy material. Maybe it’s just because of the story that it tells you want it to be stronger.

Even with it quirky characters it’s surprisingly violent and hard hitting, but it still doesn’t quite make it to Mark

As the film does have the juice and the ingredients and even the recipe, but the taste isn’t quite uproot or tastes fine but not quite special as you had hoped. No matter how it tries. 

Grade: C 

THE LAST RUN (1971)

 

Directed By: Richard Fleischer 

Written By: Alan Sharp

Cinematography: Sven Nykvist 

Editor: Russell Lloyd 

Cast: George C. Scott, Trish Van Devere, Tony Mustane, Colleen Dewhurst, Aldo Sandrell, Robert Coleby 

A former getaway driver from Chicago has retired to a peaceful life in a Portuguese fishing village. He is asked to pull off one last job, involving driving a dangerous crook and his girl-friend to France. However, the job turns out to be a double-cross and the trio are pursued back to Portugal where they make one last stand on the coast while the enemy assassins attempt to gun them down.

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This might seem typical for its time period. A getaway driver working on his last job after a semi retirement while it has its fair share of car chasing action sequences this film actually seems a little bit more existential.

Though this film had a lot going on behind the scenes. As originally it was set to be directed by John Boorman, until he and Scott disagreed on the script and then John Huston was brought into direct and filmed a few days before him and Scott’s arguing got so big and constant that he quit the film. Usually about the screenplay. Then finally Richard Fleishser was hired to direct the film but, as he was not considered an auteur as the other directors before him. He was never given Final Cut.

The other piece of trivia about this film is that this film spelled the end for his marriage to Colleen Dewhurst. As he met and fell in love with his co-star Trish Van Devere on this film and married her a year later. She wasn’t even the first choice of leading lady. Original director John Huston had hired another actress and Scott and him fought over re-casting the female lead and ended up with Van Devere. So that the relationships his character has with these two ladies on screen, mirrors his personal life in real life at the time.

So that this film is almost like George C. Scott’s. Person of THE GETAWAY in front of and behind the scenes.

That is pretty much said by the end of the film. As Scott’s character is pretty much almost a ghost having a last hurrah on a mission that he knows isn’t necessarily gonna be a suicide mission, but suspects that it might be and this is really the only time where he feels alive on the edge as the desire for survival awakens him, even though he’d rather be dead, especially after losing a child. 

there are points in the story where he could survive and surrender to romantic delusions of the safecracker who he busted out of jail girlfriend as a safe cracker seems to be pretty much a career criminal and wants to be one who idolizes the lifestyle, but is sloppy and not exactly respectful and see George C.  Scott’s character more as ancient and on his way out whereas himself he is one of the new players

Throughout the film, there are constant double crosses, triple crosses, and surprises that keep the story lively, but the film is strangely a lot more greedy and grounded than expected even with international localales 

The film has very few cast members and stay small scale, but feels bigger than just the story it’s telling. It feels more soulful than it should and one wonders is it the script or is it the cast under the direction of Randall Fleischer?

As the director adds plenty of great visuals, but it’s the performance is that really ground the film and make it more noteworthy and effective than expected 

Grade: B