by Josh Sewell
Army of the Dead
(Rated R for strong bloody violence, gore and language throughout, some sexual content and brief nudity/graphic nudity. Now playing in select theaters and available on Netflix May 21.)
Following his controversial take on DC Comics superheroes, Zack Snyder returns to his zombie roots with this action horror flick aiming to establish a franchise for Netflix. For most of its too-long running time, the movie is an exciting, cynical and darkly funny take on the undead that allows Snyder to indulge in his trademark excesses. Unfortunately, things go off the rails just when they should be ramping up.
Army of the Dead takes place in the aftermath of a zombie outbreak that has turned Las Vegas into a deadly wasteland. Former war hero Scott Ward (Dave Bautista) is approached by a shady businessman (Hiroyuki Sanada) with a dangerous but lucrative proposition: break into a casino vault, grab $200 million in cash and get out before the government nukes the city.
He recruits a team with a range of specialties (played by Ana de la Reguera, Omari Hardwick, Tig Notaro Garrett Dillahunt and several others), but things go south almost instantly. That includes the unexpected hurdle of Scott’s estranged daughter (Ella Purnell) tagging along with her own agenda.
The massive cast plays characters with no discernable personality traits because the real stars are the high body count and plentiful violence (mainly the lame CGI variety). The result is disposable entertainment that’s much more in Snyder’s wheelhouse, including his fetish for slowed down, white-bread acoustic covers of classic songs.
Like most of the director’s work, Army of the Dead peaks with its terrific opening credits sequence, but that’s not the cast’s fault. They’re clearly having a blast, which helps make up for their forgettable characters.
There were some weird stylistic choices that took me out of the movie (why these people are wearing tank tops instead of tactical gear, even though they know getting bitten by a zombie turns you into one?), but my biggest gripes would take us into spoiler territory. Perhaps the worst one is a huge pet peeve of mine: Snyder decides to end on a cliffhanger, teasing a sequel we might never get.
Grade: C+
Final Account
(Rated PG-13 for thematic material and some disturbing images. Opens in select theaters May 21.)
This harrowing documentary from director Luke Holland (who completed it shortly before his death in 2020) chronicles the last living generation of everyday people who played a part in the rise and fall of Nazi Germany. The film took more than a decade to complete and includes interviews with men and women who recount their experiences as former SS members, camp guards, civilians, etc.
Although Final Account treads familiar ground, Holland raises timely questions about authority, conformity, complicity, national identity and personal responsibility. It’s haunting to watch people who were a part of incomprehensible atrocities discuss them in such a conversational manner.
There’s a reason the film opens with a haunting quote from Primo Levi, writer and Holocaust survivor: “Monsters exist, but they are too few in number to be truly dangerous. More dangerous are the common men, the functionaries ready to believe and to act without asking questions.
One man discusses witnessing Kristallnacht and initially says he didn’t consider it a crime. But then he stops, processes the thought and corrects himself by saying out loud, “It was the intentional destruction of property, which is a crime. So, the people who did it would be criminals.” It’s chilling to watch him literally deprogram himself.
As forthcoming as many of the interviewees are, most still claim they heard about atrocities but didn’t participate. Only a select few are willing to admit their complicity rather than rationalize their behavior, which Holland uses to draw haunting modern parallels. This is particularly true in a scene where one of the interviewees meets with a group of young students to discuss his past, only to be met with anger that he would be ashamed of his actions.
While it’s certainly not an easy watch, Final Account is an important historical contribution. Sadly, the biggest flaw is that at a brief 90 minutes, the doc barely scratches the surface of such a massive, vital topic.
Grade: B+
P!nk: All I Know So Far
(Not rated, but contains strong language. Available on Amazon Prime May 21.)
In this documentary from The Greatest Showman director Michael Gracey, singer Pink (real name Alecia Moore) chronicles the behind-the-scenes exploits of her recent “Beautiful Trauma” world tour. Rather than the buffet of sex, drugs and rock ’n roll one might anticipate, the film focuses on Pink’s efforts – with help from her husband – to provide a somewhat normal life for her two kids in the midst of all the craziness.
Although the film doesn’t break new ground in the music doc genre or reveal anything revolutionary about the artist it does feature an honest look at her fierce commitment to family. She brings her husband and kids on tour, so viewers watch as she attempts to put on an amazing show for her audience while simultaneously making sure her children are safe, happy and healthy.
While there are plenty of memorable moments in All I Know So Far, my favorite sums up its primary theme. After finishing an incredible show for more than 80,000 fans at Wembley Stadium in London, we see an exhausted Pink work up the strength to jump around with her son. Rather than stick him with a nanny or ask her husband to let her sleep, she wants to spend time with him.
He doesn’t care that she just flew hundreds of feet in the air in a death-defying display of acrobatics, all while singing at the top of her lungs. He just missed his mom and now he gets to play with her.
Grade: B
Home Video Spotlight
John Wayne 14-Movie Collection
(Ratings vary; now available on DVD.)
Representing Paramount’s biggest John Wayne collection ever, this 14-movie set spans nearly 25 years of the icon’s career. The highlights include Wayne’s only Oscar-winning performance, as well as his final lead role. The impressive collection contains Hondo, Island in the Sky, The High and Mighty, The Man Who Shot Liberty Valance, Hatari!, Donovan’s Reef, McLintock!, In Harm’s Way, The Sons of Katie Elder, El Dorado, True Grit, Rio Lobo, Big Jake and The Shootist.
Pixie
(Rated R for violence, language, drug content and some sexual reference. Now available on DVD.)
In this comedic thriller set in Ireland, Pixie Hardy (Olivia Cooke) sets out to avenge her mother’s death by planning a heist that goes terribly wrong. She’s forced to go on the run with a pair of misfits (Ben Hardy and Daryl McCormack) to evade a gang of criminal priests and nuns (led by Alec Baldwin).
Mission: Impossible - 25th Anniversary Collector’s Edition
(Rated PG-13 for some intense action violence. Now available on Blu-ray.)
To celebrate its 25th anniversary, Paramount is re-releasing director Brian De Palma’s 1996 espionage thriller that launched one of the most successful film franchises of all time. Tom Cruise kicks off his long-running (no pun intended) portrayal of IMF agent Ethan Hunt, who makes his seventh appearance next summer. The newly remastered Blu-ray includes a car decal, a digital copy, trailers for the first six Mission: Impossible films, and a host of previously released featurettes.
My Fair Lady
(Rated G. Debuting May 25 on 4K Ultra HD.)
Winner of eight Academy Awards, this beloved 1964 musical starring Audrey Hepburn and Rex Harrison was recently remastered for optimal picture and sound quality. In addition, this version comes with a digital copy and more than two hours of previously released bonus features including a making-of featurette; production tests; interviews; and comments from Andrew Lloyd Webber and Martin Scorsese.
(Rated R for strong bloody violence, gore and language throughout, some sexual content and brief nudity/graphic nudity. Now playing in select theaters and available on Netflix May 21.)
Following his controversial take on DC Comics superheroes, Zack Snyder returns to his zombie roots with this action horror flick aiming to establish a franchise for Netflix. For most of its too-long running time, the movie is an exciting, cynical and darkly funny take on the undead that allows Snyder to indulge in his trademark excesses. Unfortunately, things go off the rails just when they should be ramping up.
Army of the Dead takes place in the aftermath of a zombie outbreak that has turned Las Vegas into a deadly wasteland. Former war hero Scott Ward (Dave Bautista) is approached by a shady businessman (Hiroyuki Sanada) with a dangerous but lucrative proposition: break into a casino vault, grab $200 million in cash and get out before the government nukes the city.
He recruits a team with a range of specialties (played by Ana de la Reguera, Omari Hardwick, Tig Notaro Garrett Dillahunt and several others), but things go south almost instantly. That includes the unexpected hurdle of Scott’s estranged daughter (Ella Purnell) tagging along with her own agenda.
The massive cast plays characters with no discernable personality traits because the real stars are the high body count and plentiful violence (mainly the lame CGI variety). The result is disposable entertainment that’s much more in Snyder’s wheelhouse, including his fetish for slowed down, white-bread acoustic covers of classic songs.
Like most of the director’s work, Army of the Dead peaks with its terrific opening credits sequence, but that’s not the cast’s fault. They’re clearly having a blast, which helps make up for their forgettable characters.
There were some weird stylistic choices that took me out of the movie (why these people are wearing tank tops instead of tactical gear, even though they know getting bitten by a zombie turns you into one?), but my biggest gripes would take us into spoiler territory. Perhaps the worst one is a huge pet peeve of mine: Snyder decides to end on a cliffhanger, teasing a sequel we might never get.
Grade: C+
(Rated PG-13 for thematic material and some disturbing images. Opens in select theaters May 21.)
This harrowing documentary from director Luke Holland (who completed it shortly before his death in 2020) chronicles the last living generation of everyday people who played a part in the rise and fall of Nazi Germany. The film took more than a decade to complete and includes interviews with men and women who recount their experiences as former SS members, camp guards, civilians, etc.
Although Final Account treads familiar ground, Holland raises timely questions about authority, conformity, complicity, national identity and personal responsibility. It’s haunting to watch people who were a part of incomprehensible atrocities discuss them in such a conversational manner.
There’s a reason the film opens with a haunting quote from Primo Levi, writer and Holocaust survivor: “Monsters exist, but they are too few in number to be truly dangerous. More dangerous are the common men, the functionaries ready to believe and to act without asking questions.
One man discusses witnessing Kristallnacht and initially says he didn’t consider it a crime. But then he stops, processes the thought and corrects himself by saying out loud, “It was the intentional destruction of property, which is a crime. So, the people who did it would be criminals.” It’s chilling to watch him literally deprogram himself.
As forthcoming as many of the interviewees are, most still claim they heard about atrocities but didn’t participate. Only a select few are willing to admit their complicity rather than rationalize their behavior, which Holland uses to draw haunting modern parallels. This is particularly true in a scene where one of the interviewees meets with a group of young students to discuss his past, only to be met with anger that he would be ashamed of his actions.
While it’s certainly not an easy watch, Final Account is an important historical contribution. Sadly, the biggest flaw is that at a brief 90 minutes, the doc barely scratches the surface of such a massive, vital topic.
Grade: B+
(Not rated, but contains strong language. Available on Amazon Prime May 21.)
In this documentary from The Greatest Showman director Michael Gracey, singer Pink (real name Alecia Moore) chronicles the behind-the-scenes exploits of her recent “Beautiful Trauma” world tour. Rather than the buffet of sex, drugs and rock ’n roll one might anticipate, the film focuses on Pink’s efforts – with help from her husband – to provide a somewhat normal life for her two kids in the midst of all the craziness.
Although the film doesn’t break new ground in the music doc genre or reveal anything revolutionary about the artist it does feature an honest look at her fierce commitment to family. She brings her husband and kids on tour, so viewers watch as she attempts to put on an amazing show for her audience while simultaneously making sure her children are safe, happy and healthy.
While there are plenty of memorable moments in All I Know So Far, my favorite sums up its primary theme. After finishing an incredible show for more than 80,000 fans at Wembley Stadium in London, we see an exhausted Pink work up the strength to jump around with her son. Rather than stick him with a nanny or ask her husband to let her sleep, she wants to spend time with him.
He doesn’t care that she just flew hundreds of feet in the air in a death-defying display of acrobatics, all while singing at the top of her lungs. He just missed his mom and now he gets to play with her.
Grade: B
Home Video Spotlight
John Wayne 14-Movie Collection
(Ratings vary; now available on DVD.)
Representing Paramount’s biggest John Wayne collection ever, this 14-movie set spans nearly 25 years of the icon’s career. The highlights include Wayne’s only Oscar-winning performance, as well as his final lead role. The impressive collection contains Hondo, Island in the Sky, The High and Mighty, The Man Who Shot Liberty Valance, Hatari!, Donovan’s Reef, McLintock!, In Harm’s Way, The Sons of Katie Elder, El Dorado, True Grit, Rio Lobo, Big Jake and The Shootist.
Pixie
(Rated R for violence, language, drug content and some sexual reference. Now available on DVD.)
In this comedic thriller set in Ireland, Pixie Hardy (Olivia Cooke) sets out to avenge her mother’s death by planning a heist that goes terribly wrong. She’s forced to go on the run with a pair of misfits (Ben Hardy and Daryl McCormack) to evade a gang of criminal priests and nuns (led by Alec Baldwin).
Mission: Impossible - 25th Anniversary Collector’s Edition
(Rated PG-13 for some intense action violence. Now available on Blu-ray.)
To celebrate its 25th anniversary, Paramount is re-releasing director Brian De Palma’s 1996 espionage thriller that launched one of the most successful film franchises of all time. Tom Cruise kicks off his long-running (no pun intended) portrayal of IMF agent Ethan Hunt, who makes his seventh appearance next summer. The newly remastered Blu-ray includes a car decal, a digital copy, trailers for the first six Mission: Impossible films, and a host of previously released featurettes.
My Fair Lady
(Rated G. Debuting May 25 on 4K Ultra HD.)
Winner of eight Academy Awards, this beloved 1964 musical starring Audrey Hepburn and Rex Harrison was recently remastered for optimal picture and sound quality. In addition, this version comes with a digital copy and more than two hours of previously released bonus features including a making-of featurette; production tests; interviews; and comments from Andrew Lloyd Webber and Martin Scorsese.
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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