Yossi Ghinsberg yearned for more than the comfy, cushy life he was born into and being young and adventurous, Yossi travels abroad to backpack in Bolivia to pursue self-discovery and beauty in places far less travelled despite his father’s wishes. He quickly befriends fellow backpackers Marcus and Kevin and together, they lay tracks through the eclectic terrain of the breathtaking Bolivian landscape, but wasn’t until an Austrian geologist named Karl approached Yossi about a promise of unearthing gold and experiencing hidden tribes deep inside the lush jungle. After some convincing, the three friends venture into the jungle with only Karl to guide them and, at first glance, the wilderness is an escape from the noise and pollution of human corrupted inhabitations, but a drastic realization quickly washes over them when they’re force to separate and that the jungle is a cauldron of constant survival. Along with captivating beauty, fire ants, poisonous snakes, symbiotic organisms, jaguars, and torrential rains tip the iceberg of everything that embodies the sequestered jungle and Yossi must endure the trials and tribulations alone in order to make it out alive.
Based off the book of true events from Yossi Ghinsberg comes the motion picture retelling of Ghinsberg harrowing tale of survival in “Jungle.” The 2017 biographical adventure-thriller is penned by Justin Monjo (teleplay writer for TV hits like the sci-fi odyssey “Farscape”) and directed by “Rogue” and “Wolf Creek” director Greg McLean. “Jungle” showcases the night and day environment of one of the world’s most beautiful, yet deadliest locations, cascaded with awesome uncharted landscapes with an augmentation of great mortality once man is introduced. However, the thing with the jungle is that no matter what man’s objectives may be with the rainforest, whether it’s to destroy it or to embrace it as were Yossi’s intentions, nature treats all with the same merciless brutal as it’s kill or be killed. Yossi is in the midst of a man versus nature thematic element where Darwin’s survival of the fittest lays all well true and from his book, Yossi Ghinsberg went through a nearly three weeks of severe isolation, stomach-devouring starvation, and vigilant hyperawareness against the local wildlife. Yet, somehow, he survived.
To play such as downtrodden character needed an actor committed wholeheartedly to the story and, luckily for McLean and the rest of the crew, Daniel Radcliffe encompassed Yossi Ghinsberg and his plight with passion and dedication. So much dedication that the Harry Potter famed actor lost about 14 to 15 pounds in order to mimic starvation and really put his body close to the hazards Yossi had faced. “Jungle” has certainly solidified his range as an actor inside the genre of not only fantasy films, but also thrillers as well. From “Horns” to “Imperium,” the English-born, 5’5”, 28-year-old actor has placed a major footprint in the industry that stretched from low-budget to Hollywood stardom and doesn’t seek to stop in the near future. Radcliffe is joined by a pair of Australian actors in Alex Russell (“Chronicle” and “Bait”) as American photographer Kevin Gale and Joel Jackson as Swiss teacher Marcus Stamm on sabbatical. A standout performance, one that really rivals Radcliffe in cliffhanging suspense with cryptic intentions, is that of Thomas Kretschmann (“Blade II”) playing the Austrian geologist Karl Ruprecther. Fantastic chemistry between all four men with spot-on performances, especially not portraying their native heritage.
While Greg McLeans has no fear in getting gritty where gritty needs to be get, “Jungle” has a tame nature about it for a director well-known for Outback cruelty. McLean doesn’t exact the right amount of perilous attitude that was unfortunately bestow upon Yossi. Much of Yossi Ghinsberg’s book was not translated to screen such as his rectum being impaled by a large stick when he falls down a slope. The hard stop editing and pivot bounces the viewer around being out of control on a trampoline. When we meet Yossi for the first time and he encounters Marcus Stamm, a cascading event of one jointly pursuit with another that string along and attach Kevin Gale to a web of awkwardly editing scenes of traveling through Bolivia in what felt like a slapdash montage with the sole purpose of setting up the trio’s friendship in an unsympathetic way. Another issue with the editing was that the film had to keep reminding the viewers about previous events, such as when Yossi was bitten by a fire ant, and those scenes ended up being a redundant time filler that points audiences to being naive and inattentive to cherry pick previous actions.
Umbrella Entertainment releases “Jungle” on a rated mature, region B Blu-ray with crystal clear full high definition, 1080p presented in a widescreen 2.35:1 aspect ratio. Image quality bares no marks of compression issues nor any flagrant fouls in the coloring, whether natural or generated. Aliasing is also a non-issue. The 5.1 DTS-HD English soundtrack has moments of low fidelity at the beginning of the film where making out the dialogue can be challenge, but the jungle ambiance and the Johnny Klimek (“Land of the Dead”) score bring alive the eclectic atmospherics of the wild, wildlife. Bonus features include a featurette that extends up Danial Radcliffe becoming Yossi Ghinsberg, the making of the Yossi Ghinsberg story, cast and crew interviews, and the theatrical trailer. “Jungle’s” adventurous first half sets up the catalytic downfall into desperation and despair of a man versus nature thriller in the latter half, splitting Daniel Radcliffe into two auspicious roles of enchanting self-discovery and a fight for survival. The movie most certainly encourages one to read the book of Yossi Ghisbergs edge of death misadventure.
Two young women, traveling toward a music festival near Lake Tahoe on a lonely stretch of isolated Californian road, hitch a ride with a pair of seemingly harmless guys with a fast, expensive car. Their elated joyride goes south when the car flips over during a torrential downpour and crashes near the edge of a lake adjacent cliff, but this isn’t just any car these kids have completely wrecked. The car is stolen and belongs to a powerful criminal kingpin hellbent on getting the car back in his malefactor grips. With being pinned under the upside down car, sustaining serious injuries, and being accomplices to grand theft auto of a wired traced car, the odds of survival are slim and time is running out as henchmen move into retrieval mode to track down the stolen car and kill anyone they come across involved.
“Cheeseburgers and Ryan Gosling.” That direct quote fairly sums up the Dan Tondowski written and director action thriller titled unambiguously as “Accident.” The 2017 feature is Tondowski’s debut feature film; in fact, it’s his own credited feature film that embraces, or maybe just mirrors, the action sequenced camerawork of Russian filmmaker Timur Bekmambetov, director of “Wanted” and “Abraham Lincoln: Vampire Killer.” Tondowski begins his film impressively enough with a long take, nearly 7 minutes, of setting up the two women, Jess and Caroline, into their catalytic moment that forces into hitchhiking. After that, “Accident” becomes strictly popcorn cinema on a downward slop of insufferable filmmaking that maintains an afloat affliction with moderately entertaining special effects that include a slow motion car crash, an intense helicopter crash, and a 50 caliber machine gun.
Each and every single character in “Accident” was written without an ounce of redeeming value and Stephanie Schildknecht (“Death Race 2”) and Roxane Hayward (“Death Race: Inferno”), who were Jess and Caroline in the film, couldn’t rile up a brief moment why the plight bestowed upon them should have not have happened to them. The suspicion of how Schildknecht and Hayward received their roles might be due to the fact that they both look damn good in a bikini and black lingerie, featured when they strip to the said garments in a gas station bathroom during an back and forth dialogue. Don’t know why they removed their clothes, but that was certainly an aesthetic highlight. Tyrone Keogh (“Death Race 2” – if you haven’t noticed, three out of the four main stars have been in “Death Race” sequels) and Keenan Arrison portray the two car thieves, Fred and Thomas, who pick up Jess and Caroline to have everything they need, fast car and beautiful girls, so Fred states.
While the production value for “Accident” is top notch and ultra-glossy, that’s roughly the sole positive aspect of the film. The script by Dan Tondowski is a wild hose of loose-to-absent plots and subplots chased with misplaced dramatics and cringe worthy dialogue, the latter already stated earlier with the “cheeseburger and Ryan Gosling” line in the context of being the very one thing a person would want on the brink of death. The overall script as a whole is terribly superficial without much substance to care why these four joyriders should be saved from the pain that’s barreling their way and the answer to that is there is no recourse for any of the characters; no one single redeeming value is actioned or given in exposition to rejuvenate them to a higher standing. Jess is wish-washy with her life choices and a patsy to Caroline, Caroline deceives her mother and neglects her friendship with Jess, Fred wishes everyone dead to save his own butt, and Fred is a potential rapist with pivoting change of heart. Neither of them have self-respect and so when they’re thrown violently into a mix of blood and bullets, an agonizing amount of wait time goes by until their ultimate demise. The plot dissolves around the importance of the car and it’s connection to the great threat that descends upon the four naïve adolescents. At one point in post-crash, the carjackers find a suitcase thrown from the vehicle and they dig through it to only find clothing. The scene is awkwardly out of place and fizzled after the initial “AH-HA” interest that might have shed some light on what the hell was going on.
Exclusively on digital come April 3rd, Well Go USA is releasing Dan Tondowski’s action-thriller “Accident.” The feature-film will be not rated and have a runtime of 89 minutes. The image and audio quality will not be critique for this review due to the digital platform that varies in qualities and no bonus features were included with the digital screener. In closing, “Accident” crashed and burned after the nice 7-minute single take that dapples of nice imagery from then on out and figures to quickly run through the digital market, but with the Tondowski’s cinematography, I expect the filmmaker to only get better from here.
Mike, a mild mannered, middle-aged man, notices a young couple moving into the vacant house next door. His mundane marriage roots out a curiosity infatuation with Jenna, a young and beautiful woman, next moving in. Jenna and her husband Scott, a fast talking exotic car salesman, have recently only have been married for the short time of four months and Mike feels something isn’t quite normal with Scott when he witnesses and overhears violent behavior from his new neighbor toward his wife. Concerned for her wellbeing, Mike, at first, attempts to interject the best way he can without over stepping his bounds by offering to assist with Jenna’s work-in- progress garden or just chatting over the yard dividing wall when Scott isn’t around, but when he assumes things become physically abusive between them, Mike is forced to do more than just mind his own business at the request of his wife and friends. Is Mike willing to risk everything, such as his long term marriage, in order to help a complete and total stranger he barely knows?
“The Neighbor” is a dramatic thriller from the 2011 crime drama “Catch .44” writer-director Aaron Harvey co-written with first time writer, long time editor, Richard Byard. Harvey and Byard attempt to explore the very common situation of what do you do when you’re exposed to marital violence and how much involvement one should put themselves into assisting the battered party. In short, you’re morally obliged to dial call 9-1-1 and report spousal abuse, but to ensure entertainment value for us viewers, the filmmakers pen Mike as something far worse – a concerned spectator. Instead, Mike wallows about by attending to his garden, working on his technical writing from home, or slicing tomatoes in the kitchen all the while being a part of the problem of the domestic violence next door and it’s not as if the violence is even in question as Jenna flat out tells Mike that Scott has a behavior problem whenever he drinks too much. Right then and there, Mike should be ringing the police the next moment a flare up occurs. Mike is the epitomized reason audiences would be vacuumed into the story as each and every one of us could potentially be a passive Mike in a similar situation.
One of the more underrated actors in the industry today, William Fichtner, steps into the comfy slippers of the garden trowel wielding Mike. The “Armageddon” and “Drive Angry” Fichtner’s chiseled and unique facial features typically casts him as hard nose characters – military types, villains, etc., – but “The Neighbor” offers Fichnter a chance to play normalcy. However, Fichtner’s approach to a house husband bears an uncanny resemblance to Michael Myers from John Carpenter’s “Halloween.” With stiff, straight arms by his sides, soulless eyes, and an absent personality, Mike has the gait and the expressions of the William Shatner masked psychopath that’s churns out an awkward performance that blurs the character’s intentions between either being righteous and obsessed. The good looking couple next door are played by Australian born Jessica McNamme and Michael Rosenbaum, also of “Catch .44.” Rosenbaum plays an impeccable dick so well there’s a surefire chance that his character, the fast talking exotic car salesman, will be disliked and as a stark contrast, Namee’s channels a sweet disposition that surfaces the question, why these two are even together? Yet, the Jenna wish-washy stance with Scott makes her frustrating which Mike takes with an astonishing grain of salt. Jean Louisa Kelly, Colin Woodell, and Erich Anderson “Friday the 13th: The Final Chapter” costar.
With a solid cast with a few quirks, “The Neighbor,” under the directorial eye of Aaron Harvey, should have shaped up to be an apprehensive, nail-biting thriller. Instead, some aspects of the Harvey’s film didn’t feel right. For instance, Lisa (Jean Louisa Kelly) and Mike’s marriage was never rocky; the union might have been stagnant from just the day-in-day-out repetitiveness and the longevity of knowing someone from an extended period of time, but there’s a scene when Lisa abruptly decides to throw Mike out of their house. The moment is so random and so unexpected the momentum and the weight of the story changes, pivoting too acutely to compute why Lisa would doghouse Mike over his justifiable concerns over Jenna’s safety without prior marital complexities between them. The entire film almost feels like it’s from Mike’s perspective as everyone, from his friends to his wife and son, seem to unacknowledged his presence whereas Jenna brightens, smiles, and welcomes him in conversation, advice, and even a little intimacy, but that may or may not have transpired.
The Michael Bruce Pictures and Blood Moon Creative produced “The Neighbor” is currently in select theaters from Vertical Entertainment. With a runtime of 105 minutes, “The Neighbor” will drag out under an engaging plot that ultimately goes sluggish at the tail end and even though brilliant and colorful in his prior work, Fichtner is a complete shell of his former characters as a expressionless zombie softly hellbent on saving a train wreck of a young woman from her volatile husband. Overall, “The Neighbor” falls flat to technically write how to right a situation without being caught in the middle of the situation.
Just off the rough stormy shores of Nova Scotia is a remote island where American Tom Doherty becomes the newly hired lighthouse caretaker in search for good money. Already overwhelmingly cloaked with the lighthouse’s creepy adjacent housing and being forewarned by the island’s infamous legends, an isolated Tom experiences the abilities of dark force first hand and doesn’t know whether the forces are real or madness has swallowed him from the extreme isolation. As Tom continues the work, he discovers clues along the way that suggest the island holds a nefarious past involving murder, suicide, and cannibalism, but an old bible with a list of names is the key that has the potential to unlock all the island’s mysterious doors and can also be Tom’s unfortunate undoing if he maintains being the lighthouse caretaker.
Based off the Angela Townsend book with the same title, “The Forlorned” is the 2017 silver screen adaptation of Townsend’s mystery-thriller from “Dead Noon” director Andrew Wiest who has helmed a jolting, supernaturally visual and auditory accompaniment to Townsend’s literary work. To maintain authenticity, Townsend co-wrote a script alongside Wiest and Ryan Reed that’s riddle with an ill-omened story leading audiences down a path of insanity-ladened darkness. But what exactly is “The Forlorned?” Forlorn has two definitions: 1) pitifully sad and abandoned or lonely 2) unlikely to succeed; hopelessness. Either of the disparaging definitions, if not both, can be used to described “The Forlorned’s” eerily gloomy story that’s saturated in a motif of burdensome loneliness and relentlessly bashes the concept into our heads in a constant reminder that no one can ever escape the island even in postmortem. The character Tom is the very definition of the forlorned. Whether because of due diligence or a dark force, his role of caretaker is a permanent position allotted to him unwillingly by a sadistic, secret-keeping demon that seeks to swallow more unfortunate souls.
Colton Christensen inarguably shapes the role of Tom Doherty into his own with a solid solitary performance for more than half the film. Christensen also, for much of the last ten minutes of the story, had to systematically break away from his character in order to forge a combative persona to Tom and while Christensen does the job well for one character, shouldering a second didn’t suite the actor’s abilities despite a total embrace of character and a few jabs at his own humility. Wiest has worked with Christensen prior to “The Forlorned” and has seemed to continue the trend of using his own entourage of actors with the casting of Elizabeth Mouton (also from “Dead Noon”). Mouton’s character is briefly mentioned near the beginning as a little girl of a previous caretaker, but her adult version only makes the scene in the latter portion of the story to provide a better clarification and exposition into the demon’s background. Also serving exposition as story bookends and peppered through as emotional support is Cory Dangerfield’s “Murphy,” a sea-salty old bar owner who liaisons with the lighthouse committee and can make a mean clam chowder. Murphy hires Tom to do the restoration and caretaker work and while Murphy initiates Tom existence into the fold, Murphy, for the rest of the film, serves as slight comic relief and, in a bit of disappointment, an unfortunate waste of a character. I also wanted Benjamin Gray, Shawn Nottingham’s priest character, to be built upon and expanded more because the character is a key portion that, in the end, felt rushed with quick, messy brush strokes in order to finish painting the picture.
At first glance, Townsend, Wiest, and Reed’s script screens like a typical, if not slightly above par level, haunting where Tom encounters sportive spirits, ghastly visions, and a slew of ominous noises inside a time-honored lighthouse home, but then a twist is written into play, pitting Tom against a masterminding demon whose conquered many other bygone caretakers and whose the epicenter of all that is sinisterly wrong with the island. The demon, who has taken the form of a man hungry hog, lives only vicariously through the camera’s point of view, never bestowing an appearance upon to Tom or even the audience, but referenced numerous times by island locals and boisterously given hog attributes whenever the demon is near. The concept fascinates with this demon-hog thing kept stowed away deep inside the isle’s bedrock even if the dark entity never makes a materializing appearance, but where that aspect thrives in “The Forlorned,” a pancake thin backstory for the demon goes simply construed with a slapped together account of its languished two-century long past and wilts the demonic character wastefully down with backdropped uncertainly, powerlessness, and puzzlement that’s forlornly misfired. There’s no deal with the devil, no selling of the soul, no medieval rite that gives the demon-hog it’s power; it just turns into an evil spirit out of greed.
Andrew Wiest’s production company, Good Outlaw Studios, presents “The Forlorned” that found a distribution home in Midnight Releasing, the fine folks who released “Blood Punch” and “WTF!” “The Forlorned” is available on DVD and multiple VOD formats such as iTunes, Vimeo, Vudu, Xbox Video, and Google Play. Since a screener was used for this critique, a full review rundown of the technical specs will not be provided and no bonus materials were featured on the disc. Director Andrew Wiest and his cast and crew entourage are able bodied participants in assembling a good, entertaining, and sufficient indie mystery-thriller brought to fruition out of Angela Townsend’s story with the author’s pen ship assistance. With a little tweak here and there on the antagonistic demon-hog, “The Forlorned” might have necessarily escalated into a richly dark territory of a more volatile, blood thirsty spirit that’s scribed to have racked up body after body, century after century; however, the fleeting chronicle of how the demon-hog came to be a malevolent being leaves a bittersweet aftertaste on a premise that started out spooky and strong.