Charlie Sheen narrates, as cast and crew share their personal experiences making the Academy Award winning film, Platoon. This non-union, low budget, independent film was cast almost ... See full summary »
With almost twenty years of military and law enforcement experience between them, Rocco and Eli are about to combine their talents and embark on a new adventure. Rocco and Eli are the new ... See full summary »
An elderly dementia patient must decide whether to leave this world under his own conditions, before he loses his dignity, or give in to his loving family and nursing home roommates' appeals to fight on and risk losing it.
A drink-soaked Vietnam veteran still bears the emotional scars of that terrible conflict. However, when a rogue mobster on the run with $15 million crosses his path, he sees his chance to ... See full summary »
A young couple sets out on a weekend getaway in hopes of mending their failing relationship. However, a seemingly innocent weekend turns dark when the man discovers a videotape chronicling the events of a murder in his very own hotel room from years before.
After their father (a decorated veteran/cartel gun runner) passes away, two brothers are forced to reunite. One struggles with keeping his father's secret as he runs on a political campaign, while the other is forced into his old business.
"Brothers in Arms" is the latest in the sub-genre of 'hip-hop westerns', which stills strikes me as a great idea, but has yet to be realized into something more worthy than direct to video fare (Wild Wild West included). This film doesn't change that. It does have passable performances from Gabriel Casseus and Raymond Cruz to off-set the outright horrible ones of Antwon Tanner and Kenya Moore. Better than average (at least for direct to video) cinematography is overshadowed by the stale production design, dismal writing, dead action sequences, and repetitive stock hip-hop music. Hip-hop could hack it in a western, just hear T-Bone Burnett's work with the Nappy Roots in "The Ladykillers" and imagine the possibilities. But here, it's a complete distraction. How Jean-Claude La Marre ever nabbed David Carradine for this, I can only guess, but he does as good a job as anyone could've done with the writing and, in this kind of wreck, professionalism is the most you could ask for.
The last 5 minutes are so pretentious and melodramatic, they border on unwatchable. Please, save the song for the credits next time. If you want the scene to be powerful, give us a character that we have a reason to care about.
Here's to the next effort in this sub-genre, may it be something deep and resonant... Ernest Dickerson, where are you when we need you!
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