John Ortiz

ON THE SILVER SCREEN: LOST AT SEA (THE FINEST HOURS)

 

By Brian Lafferty

January 29, 2016 (San Diego) – Now that Hollywood has released all of its Oscar hopefuls, it’s time to sift through the leftovers. January is the month where you’ll be hard-pressed to find a decent movie. Even when you do, the chances are high that it’s not even worth a discounted ticket. It’s a truth that all film critics quickly learn.

The Finest Hours (Craig Gillespie, 2016) is bland and vanilla, made as if it was designed for a January dumping. Perhaps I’m being cynical, but this outlook may not be so unfounded when you see that Disney is the studio responsible for this movie. After all, Disney made, and continues to make, a box office killing with Star Wars: The Force Awakens (J.J. Abrams, 2015), and could certainly afford to write this one off.

ON THE SILVER SCREEN: BLOOD MONEY IN, BLOOD MONEY OUT (THE DROP)

 

By Brian Lafferty

September 24, 2014 (San Diego) -- I don't know if Michaël Roskam is a man of few words, but his films certainly are. He burst onto the international film scene with the Oscar-nominated Bullhead (2012), which took its sweet time (about halfway in) to fully reveal the tortured past of its protagonist (Matthias Schoenaerts). The Drop, only his second feature film and his first in the English language, further cements his reputation as a cagey storyteller.