Prepare for the Super Bowl: Fantastic Football Films

Before Baltimore Plays San Francisco, Get Warmed Up with These Gridiron Greats

By Chris Sabga

The Super Bowl is this Sunday, and there's no better way to prepare for the big game than by watching a few great football films. The following list is by no means comprehensive; like a small platter of chips and dip, it's merely designed to whet your appetite.

Rudy: Most of you have likely already seen "Rudy," but no list of great football movies can begin without it. Despite being smaller than the average football player, Daniel E. 'Rudy' Ruettiger (Sean Astin) dreams of getting on the field for Notre Dame. Needless to say, it's one of the most heartwarming and inspiring stories ever put to film – about sports or otherwise. Movies about scrappy underdogs fighting for their dreams are a dime-a-dozen in Hollywood, but stellar performances by Astin and Charles S. Dutton (TV's "Roc") elevate this material. They're the reason why "Rudy" is as beloved as it is.

The Longest Yard (both versions): The 1971 original starring Burt Reynolds is one of the most dramatic and tense sports movies ever made. The 2005 remake with Adam Sandler and several pro wrestlers is the exact opposite: it transforms the story into a silly comedy. While Sandler's version is not a great movie, it is a perfect example of how remakes should be handled. The Reynolds original is still around, still easily viewable, so there's no need to rehash it. Sandler's take on "The Longest Yard" manages to be very faithful to the source material – including some fun nods to the 1971 version – without ever seeming repetitive.

Hometown Legend: Despite being written by Jerry B. Jenkins ("Left Behind") and featuring Terry O'Quinn ("Lost") in a prominent role, no one gets taken by the rapture or stranded on a strange island in this lesser-known film about a small town's final season of high school football. A coach (O'Quinn) finally returns to the school after the death of his son during a game ten years earlier. Now he must guide a new player (Nick Cornish) with problems of his own. Together, they will try to give a small Alabama town one last hurrah.

Gridiron Gang: In one of the best – and most underrated – performances of Dwayne "The Rock" Johnson's career, he plays a coach who tries to transform the lives of teenagers at a juvenile detention facility by putting them on the football field. Based on a true story, "Gridiron Gang" is raw and real.

Lucas: A small-for-his-age 14-year-old high school freshman (Corey Haim) has a crush on an older girl (Kerri Green), who of course likes the captain of the football team (Charlie Sheen). Is this incredible coming-of-age story from 1986 really about football? No, but the DVD cover does its best to make you believe otherwise. "Lucas" may not be a football movie, per se, but its young hero does try out for the team in a very memorable scene.

Two for the Money: There's more to football than what happens on the field. With powerhouse performances by Matthew McConaughey and Al Pacino, "Two for the Money" explores the cutthroat world of sports gambling. The astronomical numbers they play with are more riveting than the high score of any Super Bowl game.

We Are Marshall: On November 14th, 1970, a plane crash took the lives of coaches, fans, and almost every player from Marshall University's "Thundering Herd" football team. It remains one of the most heartbreaking chapters in sports history. "We Are Marshall" tells the story of a school and a town dealing with unimaginable grief while attempting to rebuild its football program. It tackles the tragedy from every angle. With incredible performances from Matthew McConaughey, Matthew Fox, Anthony Mackie, David Strathairn, Ian McShane, Kate Mara, and Brian Geraghty, I personally consider "We Are Marshall" to be the greatest football movie ever made.

That small list only scratches the surface, but if you don't like football at all, here's a fantastic film about more of a thinking-man's sport:

The King of Kong: A Fistful of Quarters: The World "Donkey Kong" Championship is serious business. This 2007 documentary covers the kongpetition between Steve Wiebe and Billy Mitchell, both of whom were locked in "mortal kombat" to become the reigning "King of Kong." Bad puns aside, this is actually a fascinating look at an interesting subculture. Most people under 50 enjoy a good round of "Donkey Kong" every once in a while, but very few know the nuances of the game. If you've never heard of a "kill screen," you will after watching "The King of Kong." 

Review: The Long Ride Home

Even in the Wild West, There are New Yorkers

By Chris Sabga

Release Date: May 27, 2003 – U.S.

Rating: PG-13

Genre: Western

Running Time: 87 minutes

Director: Robert Marcarelli

Writers: Vaughn Taylor (screenplay), 

Mike Dougherty (story)

Cast: Randy Travis, Eric Roberts, 

Ernest Borgnine, Vaughn Taylor, 

Paul Tinder, Alec Medlock,

Steve Nave, Jeff McGrail, 

Garry Marshall, Stella Stevens,

Jerry Doyle 

Have you ever been drawn to a certain actor without really knowing why? Randy Travis falls into that category for me. Was I the only one who thought he should have been cast as Sean Tuohy in "The Blind Side" instead of Tim McGraw? Probably.

Like McGraw, Travis is mainly a country musician whose songs I've never listened to. Travis's career in the movies is more of a sideline, but he has amassed over 40 acting credits since 1992. He's also a much better singer than McGraw. Actually, I have no idea if that's true.

When I came across "The Long Ride Home," starring Travis, Eric Roberts (another inexplicable favorite of mine), and the legendary Ernest Borgnine, how could I resist?

In the wild west of the 1860s, Jack (Travis) is mistaken for another outlaw (Paul Tinder) and forced to kill in self-defense. For the next eight years, he goes on the run. As the movie begins, he's shot unconscious and left for dead. His body is discovered by a mother, Laura (Vaughn Taylor), and her young son, Daniel (Alec Medlock). They take him in and nurse him back to health.

Laura's love interest, Sheriff Hank Bowman (Eric Roberts), is out of town for a few days. How will he react to Jack's presence when he gets back? Meanwhile, a grieving father (Ernest Borgnine) and his two sons (Steve Nave and Jeff McGrail) want revenge on the gunfighter who killed the rest of their family – the same man Jack was accused of being years earlier.

In a Western, accents are pretty important. Travis, the mother, and the boy each manage to do a respectable job, but it's all over the map after that. Borgnine gives it his best shot – he at least tries – but it's definitely strained at best. An early appearance from Jerry Doyle (fantastic as Garabaldi on the epic sci-fi TV series "Babylon 5") is wince-inducing, but he's Brando compared to what comes after. Garry Marshall doesn't even bother to hide his New York accent – but he's Garry Marshall, so it's impossible to hate him. Eric Roberts, to his credit, does deliver a heartfelt performance – even if it is mostly in his own accent.

Authenticity clearly isn't this movie's number one priority.

The boy is very good, but he looks several years older than his character, who is supposed to be 8. A quick look at IMDB reveals that the actor was 13 when the movie was released, which would presumably put him at 11 or 12 during filming. That disparity is laughably explained away with a tacked-on line about him being big for his age. It's hard to complain too much about his casting though – he is by far the most natural of all the performers in this production.

The flashback sequences look like something out of a horror movie or soap opera – they seem ill-fitting and jarring for this type of film – yet they have a certain nightmarish quality about them that isn't entirely unsuccessful.

"The Long Ride Home" is obviously not a great movie – it's a mixed bag, for the most part – but the story and some of the better actors help carry it along. Even more remarkably, it manages to be entertaining despite a complete lack of overt violence, bloodshed, or profanity. That didn't dawn on me until after the fact, which means I was sufficiently engaged in the material while I was watching.

Take that, Tim McGraw!

Movie Bookshelf: Rue Morgue Magazine’s 200 Alternative Horror Films You Need to See

Climb Under the Covers with This Book of Under-the-Radar Fright Flicks

By Chris Sabga

Edited by Rodrigo Gudiño
and Dave Alexander

I was walking around Blockbuster (yes, those are still around – for now), trying to find two good $1.99 movies for their buy one, get one free sale – as anyone would do, I'm sure – when something interesting caught my eye. Near the checkout, there was a book with a handsome crimson cover and bold white text: "Rue Morgue Magazine's 200 Alternative Horror Films You Need to See." Since I am always on the lookout for new "silver screen surprises," the title of this tome naturally captured my interest.

I walked out of the store with "Adam," "The Last Lullaby" (which carries a blurb by Lee Goldberg, a terrific author and screenwriter), and this book – all for $12 and change.

I haven't watched the movies yet, but I raced through the book's 161 pages in a matter of days. It features a few fright flicks you've probably heard of, and – even better – many you likely haven't. There are hundreds of great reviews, as well as interviews, top ten lists, and full color photographs and artwork.

It will come as no surprise to horror diehards that the writers and editors of Rue Morgue Magazine have done their homework and clearly know their genre inside and out. If a movie has been inspired by an earlier work, they'll reference that. If certain elements aren't up to par (which isn't exactly unheard of in many of the low-budget productions mentioned), they'll point that out while explaining why the film is still worth watching.

The most fervent fans of any particular genre are obviously going to pick up on qualities that mainstream critics and general moviegoers tend to overlook or dismiss. The Rue Morgue crew is no different when it comes to horror. On that note, I especially like the book's impassioned defense of much-maligned movies – such as the threequels "Halloween III," "Alien 3" (as long as it's the Assembly Cut), and "The Exorcist III" (which – interestingly enough – wasn't originally supposed to be an "Exorcist" movie at all). It is always refreshing to see a major publication take a bold stance and ignore conventional wisdom, especially when it's done in such an intelligent, informative manner.

The top ten sections are great fun too. '80s horror-comedy classic "The Monster Squad" is listed as one of the best "Family Frightfests" and the underrated "Daybreakers" earns a spot in the "Alternative Vampire Films" category.

The ultimate aim of a book like this is to give its readers new options to consider. "Rue Morgue Magazine's 200 Alternative Horror Films You Need to See" succeeds in doing just that. I know I certainly plan on watching several of the movies mentioned within.

Movies My Sister Made Me Watch: Pitch Perfect

Unexpectedly Quirky But Also Frustratingly Formulaic

By Chris Sabga

Release Date: October 5, 2012 – U.S.

Rating: PG-13

Genre: Comedy, Music, Romance

Running Time: 112 minutes

Director: Jason Moore

Writers: Kay Cannon (screenplay), Mickey Rapkin (book)

Cast: Anna Kendrick, Skylar Astin, Ben Platt, Brittany Snow, 

Anna Camp, Rebel Wilson, Alexis Knapp, Ester Dean, 

Hana Mae Lee, Elizabeth Banks, John Michael Higgins, 

Christopher Mintz-Plasse

It was with great reluctance that I sat down to watch "Pitch Perfect" with my oldest sister and youngest niece. The things we do for the ones we love!

The film is about two competing a cappella singing groups from the same college. They are the all-male "Treblemakers" (great name) and the female "Barden Bellas." I am generally not a fan of movies with a heavy musical element. Unless it involves Dolly Parton or Queen Latifah (preferably in the same movie), or Eddie Murphy or Little Orphan Annie (hopefully not in the same movie), count me out.

The opening scene did not bode well for the film's overall chances. In the middle of a competition, the attractive leader of the Bellas spews out a long, violent rainstorm of projectile vomit. I groaned and hoped the next two hours wouldn't be equally as repellent.

It wasn't, but maybe it should have been. Ironically, the movie works best when it's at its oddest.

In an early scene, incoming college freshman Beca (Anna Kendrick) tries to sign up for the DJ club – but its members aren't disc jockeys. The joke is horrible and inappropriate – and it garnered one of the longest, loudest laughs of the entire movie.

It gets even weirder. After the previous year's regurgitating-related mishap, the Bellas have fallen from grace. As the only two members left, puke-prone Aubrey (Anna Camp) and her sidekick Chloe (Brittany Snow) are desperate to attract new blood. They approach Beca, who rudely refuses their invitation. Shortly thereafter, Chloe overhears Beca singing in the shower – and walks right in. Both women are naked, but the scene is far too bizarre to be sexually titillating. (The tame PG-13 rating probably helps – or hurts, depending on your perspective – because not much is actually shown.)

If that wasn't enough, we're also introduced to Fat Amy (Rebel Wilson, "Bridesmaids"), who calls herself that so people don't have to do it behind her back. She makes the most of every moment she has, blurting out bizarre, blunt observations whenever she can.

In the midst of all this madness, Christopher Mintz-Plasse (McLovin from "Superbad") shows up randomly for a couple of scenes.

Elizabeth Banks and John Michael Higgins are also solid gold as bickering commentators who cover the competitions.

Of the Bellas, Aubrey (which used to be a man's name) is forever going over absurd rules while Chloe makes ridiculous melodramatic speeches. Camp and Snow are both pitch perfect (pardon the pun) in these over-the-top roles.

The main character of Beca is played superbly by Anna Kendrick. She stuck out like a sore thumb in "End of Watch" by portraying a lily-white nice girl. It wasn't believable. Here, she has an edge, and it works beautifully. It's a wonderful, radiant performance.

Her co-worker and possible crush, Jesse (Skylar Astin), is passionate about movie soundtracks. There's a great scene where he excitedly recounts his favorites – with "The Breakfast Club" topping his list – while Beca listens out of polite boredom. She eventually admits that she doesn't really like movies because she loses interest after a few minutes. (Believe it or not, there are people like that in real life – and they're still quite lovely despite this shortcoming.)

Not every character is a success though. There's a near-mute Asian with a purposely contorted face, Lilly (Hana Mae Lee), who isn't even remotely amusing. That isn't a criticism of the actress; even Meryl Streep wouldn't have been able to make this lame sight gag work. Still, as strange and off-putting as the visual effect is, you can't say it isn't memorable.

But just when you think "Pitch Perfect" is going to ratchet up the insanity even more, it disappointingly begins to play it safe.  

The overall plot structure has been lifted from countless other films. The competition aspect, in particular, is completely predictable. (To use one example, the 2012 Queen Latifah/Dolly Parton film "Joyful Noise" follows the exact same pattern.)  There's also a romance subplot, and that too progresses exactly the way you'd expect.

To be fair, it's probably inevitable for this type of movie to rehash certain well-worn formulas. Still, those familiar elements feel even more flat and stale than usual when contrasted against such wacky, inventive characters.

Throughout the film, Bellas leader Aubrey constantly locks horns with Beca over the direction of the group. Aubrey wants to remain conservative on stage, but Beca disagrees and thinks they need to take chances. The movie itself has the exact same issue. "Pitch Perfect" is good, (not-so-) clean fun, but it doesn't go far enough.

Before Sunrise, Before Sunset, and the Announcement of Before Midnight

A Chance Meeting That Will Forever Change Their Lives

By Chris Sabga

A young man and woman meet on a train and decide to spend one enchanted evening in each other's company. Presented almost in real-time, Richard Linklater's "Before Sunrise" follows them as they walk, talk, and explore the stunning streets of Vienna together.  

Their names are Jesse and Celine (Ethan Hawke and Julie Delpy), and virtually all of the film's 105 minutes is devoted to their conversation. There are no grandiose quotes or clever quips, just two real people talking about real life – and it's absolutely enthralling.

When "Before Sunrise" was released in 1995, there was nothing else quite like it. It was and remains one of the truly great "silver screen surprises."

Hawke and Delpy briefly reprised the same characters in Linklater's 2001 animated film, "Waking Life," where they appeared in a dream. However, the likelihood of a true follow-up to "Before Sunrise" seemed to be just that – an impossible dream.

"Sunrise" was a niche favorite beloved by everyone who had seen it, but in commercially-driven Hollywood, sequels are usually reserved only for the biggest blockbusters.

Miraculously, it happened in 2004 with the release of "Before Sunset." Jesse and Celine reunite for the first time in nine years. What have they been up to since their original meeting? 

As they walk around France, they once again engage in a long, in-depth, fascinating conversation. Lingering questions are answered and new ones are asked as they reminisce about their short time together in Vienna almost a decade before and fill each other in on the current state of their lives.

"Before Sunrise" and "Before Sunset" are beautiful travelogues with lovely characters and engaging dialogue, but they're also wonderful meditations on life, love, and those unexpected forks in the road.

Several months ago, there were rumors that a third movie, "Before Midnight," was being filmed in Greece. Still, its sudden premiere this week at the Sundance Film Festival caught everyone by surprise.

Will "Midnight" be the final chapter in this amazing series?  Ethan Hawke considers it a possibility. In an interview, he stated, "we may have come to the end of the story." I hope not. I would love to see these characters meet again every decade or so for the rest of their lives.

• Reviews: Before Sunrise, Before Sunset, and Before Midnight

Review: The Grey

As Drab as the Color

By Chris Sabga

Release Date: January 27, 2012 – U.S.

Rating: R

Genre: Action, Adventure, Drama

Running Time: 117 minutes

Director: Joe Carnahan

Writers: Carnahan, Ian Mackenzie Jeffers

Cast: Liam Neeson, Frank Grillo, Dermot Mulroney, 

Dallas Roberts, Joe Anderson, Nonso Anozie, 

James Badge Dale, Ben Bray

"The Grey" is a glorified horror movie with an arthouse message. It doesn't quite work. That message – which is both chilling and effective – has the misfortune of being stuck in a dull film with only a few scattered thrills.

The story is pretty threadbare too. Plane crash survivors trudge through the Alaskan snow and fight off monstrous wolves. That more or less describes the entire movie. It's very bloody and violent, yet rarely exciting or engaging.

Liam Neeson is his usual solid self, but none of the characters are developed much. All we ever really find out is that they have a wife or daughter or some other loved one waiting for them. If we were given other concrete reasons to care about these people, the stakes would have been higher and everything would have mattered more.

I suspect "The Grey" intentionally tries to be like the far superior "Alien," but it misses the mark. One of the characters even wears a "WY" hat, which some have speculated is directly related to the Weyland-Yutani Corporation from "Alien." I doubt that, but it is possibly a subtle wink and nod to the similar style of both films.

There are a few moments of brilliance in "The Grey," but the rest of the movie doesn't measure up. However, despite all of its faults, it initially seems to have the perfect ending. Too bad there's a small scene after the credits that waters it down.

Liam Neeson has morphed into a superb action star over the past few years, but watching "The Grey" is more monotonous than slogging through snow.  

Review: A Bag of Hammers

One of the Most Pleasant "Silver Screen Surprises" in Recent Memory

By Chris Sabga

Release Date: 2011 

Rating: NR

Genre: Comedy, Drama

Running Time: 85 minutes

Director: Brian Crano

Writers: Jake Sandvig, Brian Crano

Cast: Jason Ritter, Jake Sandvig, 

Chandler Canterbury, Rebecca Hall, 

Todd Louiso, Gabriel Macht, Carrie Preston, 

Amanda Seyfried (uncredited)

"A Bag of Hammers" begins with two friends, Ben and Alan (Jason Ritter and Jake Sandvig), arguing over the toughness of pro wrestler The Ultimate Warrior. Then they move on to Cloris Leachman.

They're con men who make their money through various grifts. Their favorite scheme seems to be posing as valet parking attendants at funerals, only to steal and sell the cars. Unbeknownst to them, one of those automobiles belongs to Ben's ex-girlfriend (played by an uncredited Amanda Seyfried).

These early moments of silliness demonstrate Jason Ritter's considerable charisma and comedic talent. He obviously learned a thing or two from his famous late dad, John Ritter.

Things become more serious when Lynette (Carrie Preston) and her young son Kelsey (Chandler Canterbury) enter the picture. They live next door to Ben and Alan. She pays them rent. Lynette is in over her head as both a mother and potential employee – qualified for neither. Preston plays the role with sad, angry desperation.

As the film shifts in tone, Ritter and Sandvig shift right with it. In a very emotional scene, Ben and Alan are sitting in a diner across from young Kelsey while Alan's sister Melanie (a waitress played by Rebecca Hall) looks on. Ben uses the death of his older brother to explain to the little boy that life sometimes hands us "a bag of hammers." One can't help but wonder if Jason Ritter was channeling his own feelings about the untimely passing of his real-life father.

Ritter delivers an outstanding dramatic performance in that moment, but he doesn't do it alone – Hall and child actor Canterbury match him emotionally while Sandvig sits back silently and lets his facial expressions do all the talking.

There are more serious moments ahead, but the film doesn't completely lose sight of its fun and whimsy. These series of tonal changes would be fatal in the wrong actors' hands, but Ritter, Sandvig, and Canterbury effortlessly switch from comedy to drama and back again without missing a beat. In that way, watching this movie is like seeing someone hit over the head by a bag of hammers – it's painful and tragic one minute and Looney Tunes funny the next.

"A Bag of Hammers" is as comical as Cloris Leachman and packs the power of The Ultimate Warrior.