May the EVIL Be With You! “Star Wars: Episode IX – The Rise of Skywalker” reviewed! (Disney / Blu-ray)


The rebellion suffers lost after lost against the oppressive First Order and news that the evil Emperor Palpatine lives casts an even larger shadow of fear and hopelessness across the galaxy. As Fin and Poe Dameron continue running small strikes against imperial targets, Rey finalizes her training as a Jedi with the help of Princess Leia, but as Kyle Ren discovers the Sith coven and the existence of Palpatine, his desire to search and track down Rey grows stronger before releasing a new First Order fleet of Star Destroyers with the capabilities to destroy entire planets. The Force pulls at Rey, guiding her to face her most difficult challenge: the truth about her parents and lineage. Rey faces crossroads that will determine whether she will continue to fight for good or cave into her anger and fear that’ll inevitably lead to the dark side.

Star Wars? What is Star Wars doing being reviewed on a blog that mainly covers the schlocky low-budget horror scene and the occasional obscure and weird Sci-Fi arthouse film? And the fact that “The Rise of Skywalker” is a Disney film makes this writeup the first ever Disney review for ItsBlogginEvil. No, don’t fret. I’m not selling out my love for the gore, scream queens, and pint-sized productions for the mondo-glitzy, big budget Hollywood epics nor am I making a soft right turn into bloodless PG-13 commercial commodities, but, and this is a big atypical but, “Episode IX” needs to be heard from those outside on the fringes. “Episode IX” is perhaps the darkest film of the cross-generational saga alongside “Revenge of the Sith,” or at least a close second, and, so it be, Disney was gracious enough to provide us a Blu-ray review copy of the J.J. Abrams grand finale to an adventure that has trekked through 40 plus years of galaxy-conflict, saw countless different alien species, gave us more pew-pews than we could ever hope to hear, three different versions of Anakin Skywalker, and the phantasmic super powers of what is known as the Force, all of which is encompassed by a fascist, utilitarian power. Co-written with Abrams is “Argo” and “Justice League” writer Chris Terrio from a story co-written also by “Jurassic World’s” Derek Connolly and Colin Trevorrow.

“Episode IX” begins with Kylo Ren (“The Dead Don’t Die” and “BlacKkKlansman’s” Adam Driver) discovering a pyramid shaped device that’ll Mapquest his way to find the secret Sith location where a familiar evil figure from the past returns and has built a gigantic fleet over the last three decades. This time around, Kylo Ren’s less of a toddler in the throes of brain development as he’s embattled with guilt and choice. Adam Driver does nail the performance with solemnity in his last performance as the son of Leia and Han Solo. The story’s heroine, Rey (Daisy Ridley), is also facing internal conflict with self-discovery as the prospect of knowing who she is sets her on a quest to discover her ancestry and what she might find might blur the sides of good and evil. The young actress who had a number short films and one horror title under her belt (“Scrawl”) before skyrocketing into “Star Wars” mythology returns to Rey as a Jedi hot off the Leia training course and thrusted immediately into the Force’s subconscious dark star, shielding her from the truth for fear of what may come of it. While Ridley shines, the Rey character sprints from, at this point in the Saga, point M to point Z, jettisoning much of the internal grappling to a mere blip on the ship’s internal sensors. Rey also feels entirely infallible, thrusting her character beyond the limits of mortality by completely overshadowing not only Kylo Ren, but also Emperor Palpatine. The other two new to the “Star Wars” crew, Poe (“Ex Machina’s” Oscar Isaac) and Finn (“Pacific Rim: Uprising’s” John Boyega), received similar shaft treatment of reworked characters from the original trilogy, possessing nothing new to offer. Poe a watered down version of Han Solo, a hot shot pilot who doesn’t understand the concept that together him and his fellow rebellious friends can defeat anything that stands in front of them; Lando Calrissian had to educate him with a bit of heart-to-heart exposition. However, Finn is perhaps the biggest undercooked character who has an inkling of Force within him that always simmers to the surface, but nothing is definite, nothing’s explained, and nothing is provided to perhaps the best known minority character in all of “Star Wars” behind Lando. Lastly, and I know the character write is up long and might be a little drawn out, Abrams really botched Carrie Fisher’s Leia that worked in awkwardly unused footage of the Princes/General from previous films. The simple and bland rhetoric used when Leia’s having a “conversation” with Rey is nearly painful to stand as Rey pours from an emotional spigot and all Leia can be, responsively, is cold, blank, and superficial. Mark Hamill, Anthony Daniels, Naomi Ackie, Domhnall Gleeson, Richard E. Grant, Lupita Nyong’o, Joonas Suotamo, Kelly Marie Tran, Billy Dee Williams, Ian McDiarmid, Harrison Ford, and Greg Grunberg co-star.

I adore “Star Wars” as much as the next nerd who grew up between the first and second trilogy. The blending between science fiction, westerns, and samurai tropes speaks volumes on how engrained George Lucas made space come alive with larger-than-life gusto that appeased not only fans of space adventure and wonders, but also fans saturated inside the spaghetti westerns and those with an affinity for Akira Kurosawa films. Those genre bending tactics really brought the film community together to appreciate the novelly detailed miniatures that came to life and the eccentric, sometimes outlandish, characters like Han Solo, Jabba The Hunt, Boba Fett, and Leia in that scantily-clad slave girl bikini. Yet, “Episode IX” irks me, irks me hard, as the once innovate “Star Wars” has been placed into a bingo ball spinner to have it’s originality called out once again in one ginormous homage to see, again, the Emperor, who seems very high and mighty upon his throne of Sith muscle, pitted against a ragtag team of good doers and their champion quasi-Jedi who has to make a between benevolent freedom or a junta power. That’s not to say that “Episode IX” is a total sham of a finale. Fans will receive the totality of a “Star Wars” film complete with light saber clashes, space battles, and the beautiful, yet sometimes violent, different worlds that ships can hyper speed to in seconds. The visual and practical effects are bar-reached and awe-inspiring by means of thousands of ships clustered together, the dim-lit bars crowded with varied character creatures, and the speeders racing through canyons and sandpits become heart-pounding thrill rides of excitement. The introduction of new characters, like the amiable and smile-evoking bot technician Babu Frik, the former Poe co-spice trader and survivalist Zorii Bliss, and another ex-Storm Trooper, Jannah, forms that similarity bond with Finn, are new blood that delight when on screen. Yet, these new characters are shamefully underused as minuscule support that garners only a speck of adoring fandom but little else to the story’s plotline.

“Star Wars: The Rise of Skywalker” comes home with a 2-disc Blu-ray and Digital Code release, sheathed inside a rigid slipcover, presented in 1080p, full high definition, widescreen, 2.39:1 aspect ratio. Video is top shelf quality of everything a “Star Wars” film should be with colors and details galore that are arranged purposefully and perfectly to aesthetically please a contrast against the bleakness of space. The extensive line textures are seriously sharp and along with the vast special effects professions who model, shape, and digitally imprint the liveliness into the work, but there are instances, such as on the Sith home world, where the visual effect of an arena filled with distantly scoped blurry Siths dampens the moment of Rey’s endmost consignment. It looked and felt cheap and didn’t properly convey’s Rey’s loneliness against all odds. The lossless English language 7.1 DTS-HD Master Audio caters to every pew-pew blaster sound, every ship zipping through space with an engine-like exhaust, and every electrical discharge of a light saber humming in the throes of dual. The dialogue, and Chewbacca’s guttural growls, are effervescently prominent with a natural tone and not commingled by the other tracks, making “Episode IX” some of the best sound work to date in any “Star Wars” film. Capping off the Saga soundtrack with the familiar John Williams robust overtone and coursed throughout an engaging orchestra that moves in synth with story’s dynamics. The bonus feature disc includes an over two-hour documentary entitled “The Skywalker Legacy,” a full length feature of orgasm supplementary regarding “The Rise of Skywalker” and diving deep into the mythos of “Star Wars'” history. Other bonus material includes the mechanics of creating a speeder chase on the Pasaana world, shooting in Jordan to utilize it’s dessert location to create an alien planet, exploring the D-O ship that’s new to the franchise, an interview with Warwick Davis who returns to “Star Wars” to once again don an Ewok character along with his son Harrison, and a cavalier look at the otherworldly creatures and highlighting those who play the part of these beings. For many, the book of George Lucas’ “Star Wars” has been closed as the final episode completely arcs the Skywalker story. Yet, for a few who wish to explore more, “Star Wars” is sought to be an open to a means for other characters to be explored, such as with The Mandalorian,” and, just maybe, that cute Babu Frik. “The Rise of Skywalker” exited in a cliche fashion, a warp drive to an already established and tiresome rehash of circumstances, while only supplying a healthy demand of star power and intense action inside a rapturous package overflowing to the brim with too much content and too little substance.

Complete the Saga! Amazon has “The Rise of Skywalker” on Blu-ray+Digital!

Oscar Wilde’s Not-So-Evil…”The Canterville Ghost” review!


An ambitious physics professor Hiram Otis obtains a research grant that requires him to study in England, pulling his wife, daughter, and two young boys from their Indiana home into a strange new world. In an age of obsolete aristocracy, the Otis family is able to afford rent at the grand Canterville Hall, a legendary castle with an infamous tale of death and suspicion that also might have resulted in being an affordable estate for the American family. Legend records have it that the lord of the castle, Sir Simon de Canterville, had subsequently killed his wife due to his obsessions and became the victim of his wife’s family spiteful vengeance by being chained to a dungeon cell. For 400 years, Sir Simon remained in that cell and his ghost haunts Canterville Hall, but despite their beliefs in the supernatural, the physics professor and his wife can’t see the ghost and only their teenage daughter and two young boys are able to witness him roam the halls, haunting those who live within the castle walls.

Every once and awhile, we’ll thoroughly review a light-hearted fantasy, horror, or sci-fi film and since we’re hot off the heels of the review for Wes Craven’s “Summer of Fear,” the made-for-television train might as well keep chug-chug-chugging alone with the 1996 TV movie adaptation of the Oscar Wilde novella, “The Canterville Ghost.” Distributed by ABC, the Sydney Macartney (as Syd Macartney) directed and Robert Benedetti teleplay written installment tries to differentiate itself and standout amongst a plethora of adaptations that span across the globe, but the American Broadcast Company, a subsidiary of the great and powerful Disney, aimed to separate from the masses by adding star studded power and the result brought a rejuvenation to the ye old tale over two decades ago.

The big name headliner is none other than Captain Jean-Luc Picard himself, Patrick Stewart, two years after his 7-year stint on Star Trek: The Next Generation. Stewart, who co-produced the film, adds his theatrical flair and is absolutely brilliant shaping drama monologues into dense thickets that define Sir Simon de Canterville’s ghost, but there’s an issue; the problem doesn’t lie with Patrick Stewart, but with how Benedetti’s teleplay expos from the story as a continuous, if not slightly jumbled, stream of old English that just feels like rambling. To alleviate that strain is Stewart’s co-star Neve Campbell to add a softer, glassy-eyed touch to the story with a pinch of plain jane American girl insecurities, characterized in Wilde’s story as Virginia Otis. Perhaps in the beginning portion of the height of her career, Campbell finds herself between “Party of Five” and hitting scream queen status as Sydney Prescott in “Scream,” but the “Wild Things” actress wasn’t that sultry or that chased in “The Canterville Ghost” who only took upon an annoyed teenage girl persona, wishing her life was back in America up until the mysterious spirit of Sir Simon de Canterville allured a spark into her dull life. Alongside Stewart and Campbell, Daniel Betts, Ciarán Fitzgerald, Raymond Pickard, Cherie Lunghi, Donald Sinden, Joan Sims, and the late Edward Wiley, who died shortly before the film’s premiere, costar.

Going into “The Canterville Ghost” was nothing short of knowing nothing other than the fact the Patrick Stewart and Neve Campbell were in the lead roles of a Disney backed, family film and to be completely honest, Macartney’s vision completely underwhelms. Along with the verbose nature of the script-to-teleplay alterations, the magical supernatural portions are inarguably cheap, even for television. The simple superimposing of Sir Simon de Canterville offered no stimulation as the the two scenes just didn’t splice together well to seamlessly make the grade. Firecracker explosions and party store cobwebs dilute even thinner the already slim pickings of special effects that top when Virginia Otis crosses over into a dense fogged ghostly realm thats chopped, cropped, and edited with such disorganization, the entire scene feels more lost than Virginia trying to escape the other side back to the living.

Sydney Macartney’s “The Canterville Ghost” is presented for the first time ever on Blu-ray courtesy of the U.K. distributor Second Sight Films. The Blu-ray is presented in the Academy ratio of 1.33:1 with 1080p resolution on a MPEG-4 AVC BD 25. Second Sight’s release will have the best looking version of this film, if the quality is anything like the screener sent to me, with a strong color palette, minor digital noise, and rich in great detail; so detailed in fact that the blemishes on Neve Campbell and Daniel Betts can be seen. The English DTS-HD audio track is lively, but not entirely boastful with more thematic and dramatic elements. Dialogue track is clean and clear and the score by “Dead Heat” and “Tremors” composer Ernest Troost augments his fairy tale rendition into the mix. Bonus material includes new interviews with director Sydney Macartney and producer-writer Robert Benedetti. Second Sight’s presentation of Hallmark Entertainment’s “The Canterville Ghost” has strong Blu-ray technical potential, but despite the big names of that time period and a visually stimulating setting, the fantastic adventure through a cursed ghost’s melodrama and a bored young girl’s tenure of self discovery unfortunately didn’t rivet with excitement or wonder, losing steam with it’s important message that life is more than being in a bubble of stagnant disappointment and guilt.