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 »
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.
Medieval knight Lord Gregoire, who has been betrayed by his own advisor and warriors for an abundance of gold and riches, vows that after these traitors revel in ten life-times of excess, he will have his bloody revenge.
Follows the final nine days in the lives of four hit men who are secretly brought together in a covert operation to fight the nation's drug trafficking epidemic. Underneath their ... See full summary »
The feature weaves an intricate tale about childhood best-friends that have an unusually strong bond and a more intriguing secret. Both young men are on the right path to promising futures,... See full summary »
"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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