If you abhorred the darker side of Christmas in 2003′s ‘Bad Santa,’ you aren’t likely to find much more light in the 2016 sequel ‘Bad Santa 2,’ in theaters everywhere. Returning some thirteen years later is the same level of misogyny and crassness that made the initial feature such a refreshing change of pace to the typical Tim Allen-style Christmas film. But where the original was a trailblazer, the sequel leans a bit too heavily on the same jokes, knocks and overall insults that we’ve seen already – and in that regard, the ‘more of the same’ mentality ultimately deflates some of the expectations that we had going into the sequel, coupled with some new character additions that mess with the original film’s strong cast cohesion.

Gone is Lauren Graham. Gone (RIP) too soon are both John Ritter and Bernie Mac. Instead, we are handed the likes of Kathy Bates, who unsuccessfully attempts to out gross-out Billy Bob Thornton’s “Willie” as his mother- probably the film’s most glaring deterrent- and Christina Hendricks (“Mad Men”), who does a serviceable job in her role, but it takes a fair suspension of disbelief to think that she would somehow fall for the grotesque part-time Santa that Thornton portrays in any universe. Fortunately the triumphant return of “Thurman Merman” (Brett Kelly) absolutely makes ‘Bad Santa 2′ worthwhile, with the sort of innocence in the face of obviousness that yields the film’s most uproarious moments.

While many of the movie’s jokes hit, seemingly just as many of the miss- and miss badly- and the premise that ultimately unfolds is fairly obvious within ‘Bad Santa 2′s’ first twenty minutes. Thornton’s little-person partner “Marcus” (Tony Cox) reprises his signature role from the original, though again, the jokes that run at the expense of his height seem to be used far too often as a crutch as the film unfolds. With the original managing to find good fortune in the darkness of a bottle of ‘Old Grand-Dad,’ ‘Bad Santa 2′ plays out as a watered down version of its predecessor- with less compelling characters, a predictable story line and punchlines that are uncomfortable rather than laugh inducing.

And still, all that said – as far as sequels go, ‘Bad Santa 2′ is certainly watchable. Not nearly as unique as the original, the film taps into just enough goodwill for fans of the first movie to appease that dark-holiday movie appetite. It’s nice to see ‘Willie’ and ‘Marcus’ back together again, planning out their latest heist. We just wish the circumstances surrounding it would have been more carefully constructed.

“Bad Santa 2” starring Billy Bob Thornton, Kathy Bates and Christina Hendricks is rated R, has a runtime of 92 minutes, and is in theaters everywhere now.

- Dave Gendelson

If you didn’t know that “Knight of Cups” was an actual film written and directed by the acclaimed Terrence Malick (The Thin Red Line, The Tree of Life), you may have figured that you had stumbled into a rambling, sometimes non-sensical two hour commercial for a new men’s fragrance. The movie is layered with an array of hazy yet quick moving jump cuts, which can be slightly confusing even into its first full hour.  But with “Knight of Cups,” the audience members at our showing who foolishly left the theater prematurely likely out of sheer confusion, missed out on a strong overriding message delivered by the film which stuck with us long after our walk home from the theater.

Christian Bale stars rather mysteriously as ‘Rick,’ a quickly ascending Hollywood writer- one whose troubled relationships with both his younger brother (Wes Bentley) and his father (Brian Dennehy) have left him incapable of real intimacy.  You wouldn’t necessarily know any of this from watching the film though, as Malick’s entire story is left to be interpreted through time jumps and voiced over dialogue. The movie unfolds as Rick immerses himself in different relationships with six different women of differing types- Cate Blanchett, Natalie Portman, Freida Pinto, Imogen Poots, Teresa Palmer and Isabel Lucas. As time continues to pass, Rick seemingly moves from one women to the next with little care or feeling, despite the fact that each of these relationships appears to be fairly serious. By doing so, Malick is able to illustrate that despite these characters’ relative importance to Rick while in the moment, the minimal impact that some folks have on our own lives can wind up being fairly minimal in the end.

The cast boasts a slew of notables utilized in cup-of-coffee cameos and comedic actors like Tom Lennon, Nick Offerman, Joe LoTruglio, Kevin Corrigan Nick Kroll and Joe Manganiello serve little purpose other than for a quick moment of recognition by the audience- more likely a bucket list moment for the actors to work with a director of Malick’s acclaim.

Fascinating as the film’s prevailing message may be, the ride getting there is less than compelling. “Knight of Cups” definitely feels like every bit of its two hour run time in the hopes that something, anything develops. And yet, looking back, the film’s effectiveness still managed to be rather poignant long after the credits hit the screen. Says narrator Ben Kingsley, “Pay attention to this moment. Just this moment. It’s all there. Perfect and complete. Just as it is.” And as we walked back from the theater, we managed to follow his advice- the bright New York skyline, the colorful yellow cabs, the footsteps all around us- the moment was, just as the film suggested, beautiful and all there, in its own way.

- Dave Gendelson

- Kevin Costner

(Photo Credit: Michael Priest Photography)

In the midst of growing racial tensions in neighborhoods around the country, “Black or White” (PG-13) utilizes overtones as the back drop for a story that revolves around an interracial custody battle. Reuniting director Mike Binder with the film’s star (and chief financier) Kevin Costner for the first time since 2005′s “The Upside of Anger,” the two hour drama is both poignant and contemporary, funny yet touching. And though the film eventually boils down to a courtroom war between a well-to-do rich white lawyer and a hustling, hard working grandmother from Compton, the sides are inevitably more similar than they are different.

The story has many different facets underlying the obvious battle that shares the movie’s moniker- from drug use and addiction to love and loss. But where the script takes a somewhat predictible turn, there are moments brought out by the movie’s fantastic cast that allows an unusual premise to be more believable. Fellow Oscar winner Octavia Spencer absolutely shines as the overbearing Rowina, a desperate mother and grandmother that supports an oversized Compton family with a slew of side jobs. In her efforts to keep her deadbeat son in line to retain rightful custody of his daughter, Rowena enlists the help of her brother (played brilliantly by Anthony Mackie), a cut throat attorney with a win-at-all-costs mindset. Once a heart throb, now portraying a grandfather, Costner (Elliott Anderson) is especially phenomenal here as a mourning, deeply distressed caretaker- just trying to do his best to raise his young granddaughter. And Bill Burr more than holds his own as Elliott’s representation both in and out of the courtroom.

In anticipation of the film’s release, Columbia University Film Professor Annette Insdorf welcomed Kevin Costner to the Upper East Side’s 92Y on Thursday evening as part of the “Reel Pieces” series. Celebrating Costner’s incredible career, the jam packed auditorium was regaled with clips from some of the actor’s most lauded films before settling in for an advance screening of “Black or White.” Following the film, Costner himself would join Insdorf on stage for a candid conversation about the struggles in having the movie made, his ardent belief in the viability of the screenplay and the necessity to sometimes exceed any blurred racial lines to create a film that came off as real.

Often we deify the celebrities that appear before us on the big screen as larger than life personalities- perhaps more often, when doing so, they tend to disappoint in real life. Costner’s electric persona on the stage in front of us was captivating from the start as he passionately detailed his determination to create this specific film for the viewing public, financing much of the movie himself in order to do so- with the hopes that ‘we’ would see it. Charismatic, funny and down to earth, the nearly hour long conversation breezed by as Costner touched on his slate of films from “Water World” and “Field of Dreams” to “Dances With Wolves” and “The Bodyguard.” But what’s most striking about Costner’s appearance is his ability to be almost poetic- even without a script in hand. His love for the history of cinema oozes with each passing word, humbled by his own fame and success- an unlikely ending given his troubled beginnings. Inspired and spirited- the full video can be accessed here.

“Black or White” starring Kevin Costner and Octavia Spencer is rated R, has a runtime of 121 minutes, and is in theaters everywhere now.

- Dave Gendelson

You can probably put the pieces together yourself when posed with the question: What happens when you put a Jason Statham action movie in Las Vegas? Out today in limited release is “Wild Card” (R) featuring the British-accented heartthrob cast as a bodyguard who’s one part ‘world’s most dangerous man’ and one part gambling degenerate. Flanked by a cavalry of impressive supporting actors, the 91 minute film is a fun and predictibly violent glance at the criminal underworld of Las Vegas and one man’s revenge fueled efforts to win at all costs.

“Wild Card,” a slight remake on 1986′s “Heat” (a decided flop) is a quick cutting and captivating trip through the underbelly of Las Vegas, though it’s not likely to fetch much in the way of critical praise. Statham to his credit has remained firmly entrenched in his own comfort zone, churning out a steady slate of entertaining flicks a few times each year between stints in “The Expendables” and “The Transporter” franchises. Here, the film’s focus is more on story, but that’s not to say that Statham’s gory glory doesn’t rear its head in several breathtaking fight scenes.

The story follows Nick Wild (Statham) who’s been self-tasked with carrying out a revenge beating on the slimy Danny DeMarco (Milo Ventimiglia) for having beaten and assaulted his call-girl friend Holly. But DeMarco’s connections to the mob have made Wild a targeted man. In the midst of all this physical tension, Wild is also approached by a young software mogul named Cyrus (Michael Angarano) willing to pay an exorbitant sum to be mentored by Wild into becoming a man behind the ruse of hiring him as a bodyguard. Inevitably, each of the backstories intertwine in grand fashion and as it turns out, the down on his luck Wild needs Cyrus far more than he initially had thought.

Part of what paces the film along nicely in the non-action scenes are cameos by the likes of Sofia Vergara, Jason Alexander, Anne Heche and Stanley Tucci- in the sort of ‘oh, look who else in this movie’ simplicity that makes these brief appearances so enthralling. But its Statham’s charisma that’s allowed him to carve out a niche for himself in these types of films. Sure the script could be more air tight, and certainly, there’s some questions about what’s physically plausible here and there- but for an hour and a half, Statham allows us to escape ourselves in “Wild Card,” a concise, no-nonsense thriller with enough fight scenes to appease any action film fan.

“Wild Card” starring Jason Statham and Milo Ventimiglia is rated R, has a runtime of 91 minutes, and is in limited release on Friday, January 30th.

- Dave Gendelson

]]> http://www.localbozo.com/2015/01/wild-card-jason-statham/feed/ 0 http://www.localbozo.com/2014/12/no-sign-of-the-good-guys-in-take-care/ http://www.localbozo.com/2014/12/no-sign-of-the-good-guys-in-take-care/#comments Fri, 05 Dec 2014 21:46:10 +0000 LocalBozo http://www.localbozo.com/?p=9207

The little known cast that surrounds actress Leslie Bibb (“Talledega Nights: The Legend of Ricky Bobby”) in her first leading role actually lifts the 93 minutes of “Take Care” (NR) beyond the shackles of the film’s hard-to-believe premise. Despite the charismatic personalities that shine though, we’re left with a film that is bereft of main characters to root for and as a result there’s simply not enough substance to elevate this romantic comedy much past ‘meh’ status.

The story follows Frannie (Bibb), a thirty-something female living alone in a small New York City apartment where she’s in the early stages of recovering from being struck by a car. Once realization sets in that she’s unable to rely upon those closest to her to help out with the most menial of day-to-day tasks, Frannie turns to her ex-boyfriend Devon (Thomas Sadoski), who’s just struck it rich with a $6 million app sale to Yahoo!. Citing the fact that Frannie had nursed Devon through years of colon cancer treatments only to be dropped once he recovered, Frannie guilts Devon into caring for her every day until she can ‘take care’ of herself. Despite their initial aversion to each other, the pair seems to re-ignite their old flame with one main problem: Devon’s girlfriend Jodi, the film’s true highlight played by Betty Gilpin (Nurse Jackie) is very much in the picture.

We’re introduced to Devon initially as ‘The Devil,’ which makes the playful scenes between Sadoski and Bibb fairly difficult to stomach. She’s injured and heartbroken, yet all of the important people in her life simply don’t have the time or the will to care for her (nobody to root for!) and as a result she turns to the one person who’s inflicted more hurt on her than the driver that hit her ever could. And by re-falling for him she’s simultaneously inflicting that very same pain on the likable Jodi! Once you also consider the irritating neighbor who conveniently is also good looking and single yet still insists on being standoffish and playing his music at annoying levels- we’re left without a horse in the race.

While “Take Care” certainly offers up some chuckles, there were hardly many laugh out loud moments. And a film dubbed a ‘Rom-Com’ that isn’t necessarily funny should at least deliver some relatable characters that you can sympathize with and/or care about. The characters here seem to breed upon similar selfishness and perhaps that’s what continually draws Frannie to Devon and vice-versa as the film progresses. Unfortunately, with nothing left to root for and not much to laugh at, we’re left with a film that’s cute- certainly watchable for both sexes- but that’s about all.

 “Take Care” starring Leslie Bibb and Thomas Sodoski is not-rated, has a runtime of 93 minutes, and is in theaters Friday, December 5th.

- Jane Van Arsdale

It’s Steve Carrell‘s most noticeable attribute and yet most of the buzz that surrounds his latest film “Foxcatcher” (R) revolves around the fact that it’s shrouded by a prosthetic. Though Carrell’s nose is strangely covered by makeup in his portrayal of John du Pont, it’s that layering that allows you to forget about his days as the bumbling Michael Scott and Brick Tamland and get lost in the eerie creepiness that pervades his newest role.

The film, based on a true story, follows the amateur wrestling ascension of the Schultz brothers- Mark (Channing Tatum) and Dave (Mark Ruffalo). Dave, the more revered of the two, has mentored his younger brother throughout their lives together and continues to do so despite being settled down with a family. Mark meanwhile is lost outside of his training and when approached by du Pont about relocating to Foxcatcher ranch and building out a wrestling team to train for the 1988 Olympics- an opportunity that seems too good to be true- he jumps at the chance to establish himself outside of his brother’s shadow. As his relationship with the wealthy du Pont grows closer, it’s clear that something is suspect and the opulent life that’s been offered to Mark has more conditions than du Pont’s simple philanthropy.

With his seemingly endless bankroll and a relentless pursuit of appeasing his own mother, du Pont’s strange, child-like behavior is unearthed with almost sexual overtones throughout the film. We’re left waiting to understand du Pont’s motives- his need to be recognized as a leader despite his inability to add much to the mix of the growing team. It soon becomes clear that all along, du Pont’s been using Mark to attract the superior Dave to join his team and the conflict between two of the three adds an uncomfortable element to the film at all times. The story devolves in startling fashion as film-maker Bennett Miller (Capote, Moneyball) utilizes the real life story’s main components to chillingly concoct a tale of opulence versus necessity and inherited wealth versus family in a method that is interesting and captivating throughout.

Tatum and Ruffalo to their credit deliver especially strong performances, authentically re-creating the Schultz brothers with incredible amateur wrestling realism. From their walk to their style on the mats, it’s clear that both actors spent considerable time physically training for their turns in “Foxcatcher” with Ruffalo the soft-spoken father figure to Tatum, the younger more physical brute of the two. Carrell as mentioned steals most scenes in which he appears because those unfamiliar with the story will spend much of the film trying to identify where “Foxcatcher” is headed in the attempt to uncover what du Pont has to gain with his involvement with the United States Men’s Wrestling Team. “Foxcatcher” is very often uncomfortable and undeniably strange, but the performances of the three lead actors lift an otherwise slowly moving film to awards-worthy buzz based on their collective believability amid a pervasively puzzling setting.

“Foxcatcher” starring Steve Carrell, Channing Tatum and Mark Ruffalo is rated R, has a runtime of 134 minutes, and is in limited release now.

- Jane Van Arsdale

One of the main event mainstays of the professional wrestling game over the past two decades has been Glenn Jacobs, better known to fans of World Wrestling Entertainment (WWE) as the demonic Kane- the sadistic storyline half-brother of iconic character The Undertaker. It feels like just yesterday the red menace walked through ‘hellfire and brimstone’ making his terrorizing presence felt through a multitude of explosions and pyrotechnics, wreaking havoc as his character debuted. But in reality, Kane has astonishingly been in front of our very eyes for more than 17 years.

Over that time, he’s shared ring time with some of the wrestling business’s biggest names- “Stone Cold” Steve Austin, The Rock, Triple H, John Cena, Mick Foley, Bill Goldberg, Shawn Michaels- and for a short while, was even crowned WWE Champion. But despite a storied in-ring career, this month marks Jacobs’ return to the big screen, reprising a role he first tackled with 2006′s slasher film “See No Evil.” In “See No Evil 2,” Jacobs returns as Jacob Goodnight, a vicious brute thought to have been left for dead who works at a cold-blooded and unstoppable pace until all of those around him have been killed.

Despite the passing of eight years between films, the sequel resumes where the original film leaves off as Goodnight and his victims are each brought into a local morgue, presumably for embalming. There, the night staff led by scream queen Danielle Harris (Amy) receives each body and immediately gets to work. But the work late into the morning forces Amy to cancel her birthday plans at the last minute and as a result, a group of her pals opt to surprise her instead- hosting a makeshift party right at the morgue. As they’ll soon find however, Goodnight is still very much alive. And from there, Jacobs begins doing what he does best: tormenting and terrorizing his victims.

Although “See No Evil 2″ hardly reinvents the horror genre, it’s a captivating and gore-filled slasher film that is never too gruesome to look away from the screen. The story, while far-fetched, manages to keep your attention for all 90 minutes as (in traditional horror fashion) the viewer will find many of the characters’ motives hard to fathom as they attempt to avoid being trapped by this monster. But it’s that suspension of disbelief that makes these kinds of films so much fun- and it’s that same concept that makes being a fan of the WWE product so understandable. Glenn “Kane” Jacobs has the ability to make you get lost in a character and he certainly comes through in that regard in “See No Evil 2.”

LocalBozo.com sat down with Glenn “Kane” Jacobs for an exclusive interview. Listen to the above or check out our transcribed text below as we discuss how he learned that a sequel was being made, the differences in filming “See No Evil 2,” the WWE releasing a rated R film in their typically PG world, shooting the entire film in just 15 days and much more. And wrestling fans- we chat about Jacobs’ nearly twenty years in the WWE, the challenge of getting up for live events in smaller towns, his favorite memories and moments that perhaps don’t have the lasting power that they deserve, what he loves to watch on the WWE Network and his memories of working in the New York area. For close to fifteen minutes, we pick the brain of one of the brightest professional wrestlers of our era- one with unparalleled longevity and one that capably lends his character to the big screen.

“See No Evil 2″ starring Glenn “Kane” Jacobs and directed by The Soska Twins (“American Mary”) is rated R, has a runtime of 90 minutes and is available now on DVD and Blu Ray and Video on Demand everywhere.

- Dave Gendelson

The interview has been transcribed for your reading pleasure below.

LocalBozo.com:  It’s been eight years since you initially starred in the gore-filled “See No Evil” as the menacing Jacob Goodnight, probably the most well received film that WWE has put out to date.  When did you initially hear about talks for a sequel?

Glenn “Kane” Jacobs:  It would have been right after Summerslam of last year (August 2013) actually- or maybe right before.  The ironic thing is that I was going to take about six weeks off or so, and then I get a call  – “they’re going to do a sequel,” which was surprising to me, you know, because it had been so long after the first– after two years, “we’re probably not going to do a sequel.”  So that was a surprise, that they were going to carry through with it.  But then, I was like “well, this is going to be cool,” and then I saw that [directors] the Soska Twins had signed on to do the movie and frankly I didn’t know very much about them so I had to do some research.  And I was like “okay, this sounds pretty cool,” and they gave me a copy of “American Mary,” which is a great movie actually- and I was like, “well, if ‘See No Evil 2‘” is anything like “American Mary,” it should be a winner.  So I really started to look forward to doing it.

LB:  Your character on television is one that certainly seems to lend itself to this role.  Based on your initial turn in the original film, is the sequel something you had been hoping to tackle for quite awhile but had given up hope on because it took so long?

GKJ:  Pretty much, yeah. Like I said after about two years, I figured there wasn’t going to be a sequel.  But I think what happened was the film division at WWE was going through a lot of changes after “See No Evil” and we had just different personnel, different visions- that sort of thing.  And then a couple of years ago, they hired Michael Luisi, who is a Hollywood veteran, as the head of WWE Films and Michael has a very specific vision for the film division.  It’s to make genre movies, it’s to put our guys- WWE Superstars- in roles in which they can succeed, which means that we may not always be the lead in the movie.  For example, in [2013's] “The Call,” we had Halle Berry as the lead but nevertheless we had guys play an important part in the movie.  And then with “See No Evil 2,” and it was shot in 15 days, so what he’s trying to do is make profitable movies but yet have quality movies- and make them as much as possible, movies that are going to succeed.

LB:  In WWE’s PG world, it’s a bit surprising that the company is releasing a horror movie that’s rated R- which is certainly going to appease fans just begging for a return to a product that caters more toward adults.  How fulfilling was making the film for you personally knowing that you’d be able to go all out with a script and with effects that wouldn’t skimp on the slasher side of a true horror film?

GKJ:  What was neat about “See No Evil 2″ is- of course it is a horror movie, but there’s also a lot of other elements in it.  It’s not just a slasher flick.  It has a good plot.  It has very good characters.  Also, in “See No Evil 2″ we get to explore the life of Jacob Goodnight a lot more.  We see the influence that his mom has had on him and get into that further.  So it’s really a  throwback to the old-fashioned 80′s style slasher flicks.

LB:  The film is now officially available everywhere- both on Video On Demand as well as on DVD and Blu Ray (10/21).  Though it’s been eight calendar years since it’s release, the film actually picks up a day after the original and your character terrorizes a group of friends at a city morgue.  How much of making this film came easier to you because of your work in the original and what were some of the differences you encountered this time around?

GKJ: First of all, we shot it a lot faster.  It was a fifteen day shoot as opposed to the first movie which was done over two months.  So it was much more intense and much more in an environment of urgency and getting things done as quickly as possible.  The entire movie industry has changed, I mean the technology is now different.  The first “See No Evil” was shot on film.  This one was shot digitally.  I think that helps the process move faster as well.  You know, also this was all shot- the first “See No Evil” was shot on a sound stage- this is shot in an old mental hospital which, there’s lots of stories about that.  This is Riverview Hospital outside of Vancouver and it’s been used for all sorts of stuff- “The X-Files,” “Falling Skies”- all sorts of television programs and movies have been shot there.  I think my experience with the first movie prepared me for the sort of ‘hurry up and wait’ atmosphere of movies, you know?  Movies are somewhat like football in that you have ten seconds of frenzied activity and then a minute of standing around; except in movies it’s a little longer.  You have five minutes or two or three minutes of frenzied activity and then fifteen minutes of standing around.  Or in some cases getting ready and then sitting all day not doing anything and then a few minutes of frenzied activity and that’s it.  So I guess I was a little more prepared for the business aspect of movie making.

LB:  The Kane character is one that’s actually celebrating its 17th anniversary in WWE this month- but you’ve actually been with the company for closer to twenty years.  First off, with two decades in the wrestling business, how’s your body feeling on a day to day basis and are you still enjoying the grind?

GKJ:  Yeah I still enjoy it.  The hardest part about our job is the travel.  People see what we do in the ring and of course, that is physical and it is challenging.  But I always find that it’s the travel which gets to me more than anything.  But I’ve been fortunate that I don’t have any really terrible injuries so in that respect I’m doing very well.  And I also try to keep myself in as good of shape as I can.  I work out pretty much every day and I’m still feeling good after all these years.

LB:  After so many years in the wrestling business, does it become a challenge for you to get up for some of the non-televised live events in smaller towns, considering the fact that you’ve performed in front of tens of thousands of fans in arenas an even in stadiums on other nights?

GKJ:  Sure, it is different, of course.  But sometimes it’s even more fun to be in front of the smaller audiences because you really do get that personal interaction.  It becomes much more intimate.  You can have more fun- you can do more stuff that you can’t do in a bigger venue.  It’s different, but I wouldn’t say that it’s a challenge to get up for the smaller towns or anything like that.

LB:  Looking back on your career, what’s perhaps your favorite match or favorite moment that you don’t think gets the credit or has had the lasting power that it probably deserves?

GKJ:  I’m not really sure.  My favorite moment was beating “Stone Cold” Steve Austin for the WWE Championship and the thing about that is- yeah, I only held it for a day but nevertheless, the next night on [USA's "Monday Night] Raw,” the match between Austin and I did the highest rating that “Raw” had drawn to that point.  That felt like one of the launching points for the ‘Attitude Era.’  That was one of the points to where things shot up from there.  And the fact that, you know, there I am in the ring with arguably the guy that would go on to become the most popular wrestler in WWE history and I’m part of all that- so that was a really big moment for me.  There’s been a lot of other stuff of course, but that’s my favorite moment.  It would be that one.

LB:  As per usual, the roster has a full schedule coming up- Sunday, October 26th is the ‘Hell in a Cell’ event from the American Airlines Arena in Dallas, but locally, New Yorkers can catch the WWE Live Holiday Tour returning to Madison Square Garden on Friday, December 26th.  We’re based out of New York City- Glenn, can you reflect a bit about what the New York Market has been like for a southern-bred guy like yourself over the years?

GKJ:  Well Madison Square Garden is the most famous arena in the world and definitely the high point for us is to go to the Garden.  It’s unlike any other show that we do.  And then of course to have had Wrestlemania in New York/New Jersey at [MetLife] Stadium was just awesome.  Everything that surrounds that particular show, I mean, the entire world is watching you because it’s coming from New York.  And then of course also Wrestlemania XX which was the first Wrestlemania in which I was unmasked and The Undertaker comes back- that was a big deal.  And the night before that, we had the Hall of Fame ceremony in which I inducted Pete Rose into the Hall of Fame.  There’s just been all sorts of stuff that’s gone on in the New York area and even after all these years, New York is the home of WWE and it’s still the most important market that we go to.

LB:  We’ve heard a constant stream of promotion over the last six months for the WWE Network.  As a current member of the roster, what do you find yourself going back to watch on the Network most often?

GKJ:  The WWE Network is great because I get to watch the stuff from when I was growing up- the stuff that I remember.  Not only WWE, in fact, awhile back I watched a show from Madison Square Garden and the main event was Hulk Hogan versus ‘Big’ John Studd at the Garden.  And then- just all the other stuff that’s on the Network too- the old stuff from WCW and the NWA before that, the first Starrcade, and then- World Class Championship Wrestling with the Von Erichs and seeing The Freebirds and the Von Erichs go at it.  It’s just great and that’s what I watch, you know?  Because I’ve lived through so much of the other stuff, I’ve been a part of so much of the other stuff, I’m really intrigued by the previous generations to myself.  To me, that’s the best part of the WWE Network is going back and watching the Vault and watching the archives of all the stuff from the early 80′s and that time period.

LB:  Glenn, can’t thank you enough for your time today.  Is there anything else you’d like to leave for the readers of LocalBozo.com?

GKJ:  Just thanks so much for the interview.  As you said, “See No Evil 2″ is coming out and we’re looking forward to seeing the reception that it gets and I’d just like to say ‘Hey’ to all the WWE fans and thank them for all the support through the years.

A love story fit for the modern era is perhaps the best way to describe Ira Sachs‘ new film “Love is Strange” (R). It’s a touching and sometimes funny effort that evokes emotional elements from situations that we’ve become accustomed to seeing and yet meanwhile, creating such a film even a full decade ago- at least on this scale- feels unimaginable. Our collective acceptance and societal celebration of same sex relationships have undoubtedly improved- especially here in New York City- likely as a byproduct of the partnerships forged in front of us in so many trailblazing Hollywood scenarios. “Love is Strange” is most certainly a love story, and in many ways though identifiable, is also, at least in film, a bit strange.

Sachs utilizes an absolutely stellar ensemble to deliver his poignancy as the film follows the marvelous pairing of Alfred Molina (George) and John Lithgow (Ben), as two long term homosexual partners and life mates. It’s a loving relationship that their families have long supported- for more than four decades- but it’s also one that proves disastrous for George, a music teacher at a strict Catholic school. Once word of the pair’s marriage is made public to school officials, the loss of George’s job means that the men, now in their 60′s, are forced to leave their apartment and subsequently, their love is tested by the necessity of having to live separately among their family members as they seek out new quarters.

The film often reeks of authenticity, depicting the very real burdens that circumstances like aging and finances can play when interwoven in a familial setting, situations which can become perilous as time elapses. You can relate to the frustration of the older men in their attempts to acclimate to their new surroundings, just as you can relate to stay-at-home writer Marisa Tomei (Kate) and son Charlie Tahan’s (Joey) equally frustrating lack of privacy with their new house guest. In the end, family certainly prevails and despite the uneasiness that prevails for much of the slice-of-life piece, Sachs does an admirable job of allowing his characters to tie everything together in a nice bow by the film’s conclusion.

There’s much to be said here for the work of Molina and Lithgow as the film’s leads, both of whom allow moviegoers to escape into these very real portrayals as a result of their vulnerability. Tomei meanwhile is her typically excellent self, the epitome of an actress who continues to churn out strong performance after strong performance in spite of her graceful aging. But the collective cast shines together in Sachs’ vision, a fittingly ordinary portrayal of a New York City couple dealing with an extraordinary set of challenging yet relatable circumstances. And the overarching theme that amid the strife and the chaos, no matter how eccentric the setting, a couple’s love reigns supreme.

“Love is Strange” starring Alfred Molina, John Lithgow and Marisa Tomei is rated R, has a runtime of 94 minutes, and is in limited release on Friday, August 22nd.

- Jane Van Arsdale

The latest adaptation of a dark Cormac McCarthy novel comes to the big screen courtesy of the versatile James Franco, who has harnessed the creativity of a student, an actor, a screenwriter and in this film, a director, into his own personal artistry. “Child of God,” opening in limited release on August 1st, is simply the unveiling of his latest canvas. The film, starring little known actor Scott Haze, is cinematically jarring and almost certain to be a polarizing depiction that straddles the line of questionable obscenity between shock value and performance art. And yet, despite the eye popping scenes which feature actual defecation and startling acts of necrophilia, there does appear to be a certain level of profound introspection that you take from the film- especially if you believe the words of the director himself.

The film follows the often strange story of the ostracized Lester Ballard (Haze) beginning just as his father’s land has been auctioned away from him, following his father’s suicide. Though this begins the viewer’s dalliance with following the violent and troubled man-child, its clear that by this point, he’s been entirely shunned from the townspeople. From here, Ballard’s dialogue is minimal as he is banished to live in the woods with the sole company of his rifle- hunting animals for himself to eat and living and sleeping where he can, until he stumbles upon a running car with two dead teenagers in the back seat. Although teased beforehand, Ballard here crosses the unspeakable line where the misunderstood protagonist effectively reveals his maniacal tendencies and his criminal acts ensue.

Chased by the local town sheriff throughout the film who sniffs out Ballard’s undeniable creep-factor, the lead perpetually returns to his father’s house presumptively to prey upon the man that snatched it from under him. But underneath the hoopla of the ongoing investigation and surveillance lies a startling struggle with a man unto himself, surviving by any means as he physically and mentally tries to cope with his own loneliness. At times, his only friends appear to be his weapon, his animals (both living and stuffed) and some corpses, while most interactions with the living causes him to behaviorally explode. The resulting final scene, which can be a bit squeamish to watch for different reasons, underwhelms some given the crescendo toward which the film had built- but in the end, “Child of God” is an artistic work that deserves to be examined in its totality rather than one that’s discussed because of its difficult-to-stomach subject matter punctuated by a handful of hard-to-watch scenes. And in that light, perhaps Franco’s undeniably difficult adaptation of McCarthy’s work should be summarily lauded.

LocalBozo.com sat down with director James Franco and lead actor Scott Haze to discuss whether the pair had any trepidation in filming some of the more shocking scenes and straddling the line between staying true to Cormac McCarthy’s vision in “Child of God” the novel and depicting the harrowing scenes on film for viewers. Their answers have been transcribed below and may contain spoilers.

James Franco: We shot what was my favorite scene from the book- or the scene that you– sometimes as a director, you have a scene or a moment or something in your head that’s like the thing that just excites you about the project and for me it was that scene where he discovers the teenagers- not because I’m into necrophilia, but because it was such a beautifully sculpted scene that showed character development through behavior.  And I really loved that as a director and actor and writer. We shot that first- so the first day, Scott did that scene where he discovered the bodies and did all that stuff.  For me, when you have people around that you trust and you know on a certain level ‘this is make believe,’ you know– we’re not really harming anyone, we’re all friends together. And I’ve also learned that if you believe in something, then– if I believe in something I have no inhibitions. I’ve done art projects with Paul McCarthy where his dirty ass is like in my face, you know?  So I kind of feel like if I believe in something, then I’ll do anything.  And so, it didn’t feel hard to me at all– I was just directing. Scott may have a better answer for you- I didn’t actually do it.

Scott Haze:  I wrapped my head around it so much so where I would talk to people about the film and they’d say– even after we got done filming the movie– they’d say ‘Oh, you raped those girls.’ And I’d say ‘No, it was- it was his girlfriend.’  So I’d worked the whole situation out where a lot of the stuff people think it’s shocking, although a guy lives in a cave- in times of war, that’s where people lived. They lived in caves. It’s not like he wants to live in a cave because he wants to be bad ass. It’s more like that’s where you go for protection and safety. And maybe- I don’t know- if I was trapped in the woods for a long time and nobody was talking to me and I came across a beautiful girl who had just died…I don’t know. I’m just saying– I worked it out all in my head where nothing was like too shocking. There’s that scene obviously where he goes to the bathroom in the woods. Everyone’s like ‘Oh, you used a stick to wipe his ass,’ and I’m like ‘Well, that’s from the book.’ But it wasn’t too shocking for me. It was when I first read the novel and that’s when I said, ‘I have to go to Tennessee, because I have no idea what these guys are like.’  …The most shocking scene in the movie probably- [was] one that we didn’t shoot. That scene might have pushed it too far to where you lose the audience. I guess my perspective changed after meeting these people and getting to know people who were living in that time and the elders who had that accent and getting to experience– ‘that’s why you live in a cave. Why would you do these things?’ So I guess it changed as I got into it deeper.

“Child of God” starring Scott Haze and directed by James Franco is rated R, has a runtime of 104 minutes, and is in limited release on Friday, August 1st.

- Jane Van Arsdale

You may remember hearing about Zach Braff’s Kickstarter campaign to fund the creation of a movie written alongside his brother Adam. The long awaited follow up to the critically acclaimed “Garden State,” which Braff also directed, finally comes to light with “Wish I Was Here” (R), a sometimes emotional and sometimes funny dramedy about the crossroads of life in which many thirty-somethings find themselves. Often, the film is conflicted between the burdens of family life and the pursuance of dreams, between the existence of spirituality and the realization of what cannot be seen and the struggle between holding on to fantasy and being faced with the prospect of being forced to grow up.

“Wish I Was Here” features Braff as Aiden, a family man married with two kids who is in fact a grown up adolescent. The struggling actor has for years forced his family to sacrifice as he continued his pursuit of acting while his increasingly frustrated wife (Kate Hudson) played the role as breadwinner. When Aiden finds out that his father Gabe (played incredibly by Mandy Patinkin) is gravely ill with inoperable cancer and he can no longer continue to pay for Aiden’s children to attend Jewish private school as a result, the actor must finally come to grips with the impact that his choices have made on his family.

It should be noted that the supporting cast here does an incredible job of alternating between keeping things light and emotionally engaging. Josh Gad provides most of the comedic undertones as Aiden’s uber-lazy and ragged brother Noah, who’s been estranged from their father for more than a year. The aforementioned Hudson meanwhile delivers her most captivating performance since “Almost Famous,” stealing each scene in which she appears including a particularly spectacular and poignant conversation with a dying Gabe in his hospital room. Even child actors Joey King and Pierce Gagnon manage to enhance each scene, sometimes with youthful wonderment and others with a deep emotional understanding greater than their years would otherwise imply. Moreover, fine cameos from the likes of Jim Parsons (The Big Bang Theory), Leslie David Baker (The Office’s “Stanley) and the late James Avery (The Fresh Prince of Bel-Air’s “Uncle Phil”) only add to much of the absurdity of Los Angeles acting auditions and provide some fodder in between wrenching scenes.

Strangely, there are some Sci-fi scenes that metaphorically relate to the film’s backstory as Aiden continually daydreams about his youth where he and Noah had pretended to be superheroes with swords in hand protecting the planet. As the scenes re-emerge, though Aiden is dressed in metallic battle armor, it appears as he is continually running from an object in a black cloak – something akin to running from his deepest fears. Only when he confronts these potential detriments head on- the pending death facing his father, a colleague of his wife’s who is acting inappropriate, challenging his lackadaisical brother to become more involved- does he finally take control of his own life for the very first time. It’s not a difficult stretch to understand the biblical context of Aiden’s conversation with Parsons’ ‘Paul’ toward the film’s conclusion- a character associated with the re-birth of Christ and here, with the rejuvenation of Aiden’s life- nor the parallels with his daughter overcoming her fear of being unable to swim and throwing caution to the wind by jumping into a pool for the very first time.

“Wish I Was Here” is a deep film, far more complex than its main story might imply. It’s about family and religion, adolescence and maturity and finding common ground between beliefs and reality. And it’s entirely moving in a way that will leave you with more questions about your own life as a result of each characters motives.

“Wish I Was Here” starring Zach Braff, Kate Hudson and Mandy Patinkin is rated R, has a runtime of 120 minutes, and is in limited release on Friday, July 18th.

- Jane Van Arsdale