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Archive for the ‘Reviews’ Category

Godzilla x Kong: The New Empire

Thursday, April 4th, 2024

GODZILLA x KONG: THE NEW EMPIRE is the fifth of the “Monsterverse” movies, and to me the best one. Don’t get me wrong, I kinda liked the attempt at a serious Spielbergian approach in GODZILLA, and the more fun and colorful (but weirdly nostalgic for Vietnam War imagery?) take of KONG: SKULL ISLAND, and the Hesei nightmare atmosphere of GODZILLA: KING OF THE MONSTERS, but my previous favorite was GODZILLA VS. KONG, because it finally went headlong into having cool giant monster fights where you’re still in awe but you get to see what’s going on.

GxK is the first one with a returning director (Adam Wingard, YOU’RE NEXT) and he’s able to hit the ground running and improve on GvK with a crazier mythology and a better-integrated human story. I had a big smile on my face pretty much the whole time, without having to say “Well, too bad they were just traveling in that tunnel for a third of the movie.” My only real complaint is that the great Brian Tyree Henry (WIDOWS) still has a dumb one-joke character to play – a Roland Emmerich type “funny conspiracy guy” updated to have a podcast and a Discord – but he not only gets some laughs but gets to be around the actual monsters this time instead of trapped in a needless b-plot. (read the rest of this shit…)

The Crow: Salvation (second review)

Wednesday, April 3rd, 2024

The producer I always associate with THE CROW is Edward R. Pressman. That’s a guy with a storied career – his name is on everything from BADLANDS to CONAN THE BARBARIAN to BAD LIEUTENANT, and he played Mr. Trend in CRIMEWAVE. He died last year but will have his credit on the upcoming THE CROW movie.

Apparently not involved in that new one was the guy who brought the project to Pressman in the first place, Jeff Most. According to a 2005 interview with Clint Morris at Moviehole, it all started when the young producer was looking for a comic book artist to do illustrations of a John Shirley script he was trying to get made. Someone told him to look at James O’Barr’s recently published The Crow and he was so impressed he reversed his plans and had Shirley write a script based on the comic. But getting someone to finance an R-rated comic book movie was difficult. He says 51 people said no before Pressman said yes. (read the rest of this shit…)

Downtime (1997)

Monday, April 1st, 2024

DOWNTIME is a 1997 British film set in a dilapidated apartment building. I feel like somebody might’ve recommended it to me here years ago, but maybe it’s just in my head because the cover says “MOVE OVER BRUCE WILLIS, A BRITISH ACTION MOVIE TO DIE FOR.” I didn’t really think of it as an action movie, but the DIE HARD connection is obvious: it’s mostly set in one building, and much of it involves elevator-related danger, including climbing up onto the top of the elevator, climbing around inside the shaft, and the elevator falling and exploding. And it’s got a good look to it, with the camera moving around confidently (courtesy of ENEMY MINE and FIREBIRDS d.p. Tony Imi), so maybe there’s some McT influence in there.

But what makes it interesting to me is how much it still feels like something different. While DIE HARD is a pure action movie strengthened by the relationship drama in the middle of it, this feels like it’s a relationship drama that sometimes gets interrupted by some DIE HARD stuff, and keeps trying to brush it off and stay on track. Obviously straight ahead action is my preference, but I appreciate the originality of this approach, and it kept surprising me which directions it went. (read the rest of this shit…)

Lost Phoenix

Thursday, March 28th, 2024

Fairly often I get emails from people who made low budget movies, sometimes they seem to be familiar with me, sometimes they don’t, but they’re trying to do the very hard work of getting people to notice their needle out there in the haystack of what’s available. I sincerely wish every one of them well, but I don’t take very many of them up on it. My fear is that 99.9% of the time it’s not gonna be some hidden gem, or even some crazy failure, it’s just gonna be okay for what it is. And I know I’ll feel bad for them and want to say nice things, but what good does it do them for a niche critic like me to be nice about their movie being okay? I don’t know.

But this particular one, LOST PHOENIX, I decided to watch. After a long time. I was kind of slow about it. But writer/director James Couche (who is also editor and fight choreographer) had a good pitch for it: it’s his micro budget take on “90s mid-budget action movies with shades of inspiration from Hong Kong thrillers.” He also mentioned EL MARIACHI as an inspiration, production-wise. But it takes place in September 2020, and was shot from October 2020 through October 2022 in Richmond, Virginia. I know there are a ton of COVID horror movies shot out in the woods somewhere while people were bored, but this is the first time I heard of an action one. (read the rest of this shit…)

Catch the Fair One

Wednesday, March 27th, 2024

I guess I would classify CATCH THE FAIR ONE (2021) as a thriller more than an action movie, but it’s a certified badass thriller. It’s the first acting role for Kali Reis, the former world champion boxer who recently starred with Jodie Foster in True Detective: Night Country (her reward for this, I believe). Reis also co-wrote the movie with director Josef Kubota Wladyka.

Reis plays Kaylee “K.O.” Uppashaw, a former pro boxer whose younger sister Weeta (Mainaku Borrero) went missing two years ago. Kaylee doesn’t fight anymore, she’s living at a women’s shelter trying to stay off drugs and working as a waitress. But she’s also in her BATMAN BEGINS stage of building up to find her sister. Her friend Brick (fellow pro boxer Shelly Vincent), who reminds me of Joe Pesci (in a good way), not only helps her train to wrestle and fight men much larger then her, but finds a recruiter (Isabelle Chester, THE FALLING WORLD) willing to take a bribe to bring her in with a “new batch” of workers for the traffickers she believes have Weeta. (read the rest of this shit…)

Moon Garden

Tuesday, March 26th, 2024

MOON GARDEN (2022) is a strange little fantasy film from writer/director (and also editor, and sound designer, and production designer, and art director, and visual effects artist, and colorist, and animator) Ryan Stevens Harris. Oscilloscope Laboratories gave it an arthouse theatrical run, and recently put it on blu-ray and DVD, and it’s also on Shudder at the moment, though I wouldn’t really think of it as a horror movie.

I realize I’ve written more than one review lately that starts out by saying how simple the concept is, but that seems silly now because this is a simple one. A little girl named Emma (Haven Lee Harris, seven year old daughter of the director) falls down some stairs, goes into a coma, finds herself in a creepy dream world where she can kind of hear things from reality, and sometimes goes into her memories, as she tries to wake up. There’s a little more to it that I will go into in a minute, but mostly it’s not about talking, she doesn’t seem to have much scripted dialogue, the sound effects are more important than most of the words that are spoken. It’s mostly a series of strange experiences, encounters and images, an Alice in Wonderland/RETURN TO OZ type of story, but very DIY, and stylistically and tonally reminiscent of the works of Jan Svankmajer and the Brothers Quay. It also made me think of Phil Tippet’s MAD GOD, though Harris said he hadn’t seen that yet when he was promoting this. And I suppose there’s a trace of BEASTS OF THE SOUTHERN WILD in there.
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Road House (2024)

Monday, March 25th, 2024

ROAD HOUSE (1989) is one of my all time favorite movies. It is simultaneously extremely of its time and absolutely of all times. There’s nothing like it, nothing as good as it, it’s a lightning bolt and they stopped making the type of bottle you would need to even try to catch it again. But it is possible to make a fun remake of it, and I know this because after many years of threatening somebody finally went through with it. ROAD HOUSE (2024) skipped theaters because it was made for the Amazon Prime Free Product Shipping and Digital Television Network, but I liked it more than any non-JOHN WICK or M:I theatrically released Hollywood action movie of recent years I can think of. It’s funny and badass and different enough from the original to stand on its own. (read the rest of this shit…)

Tony Manero

Thursday, March 21st, 2024

After watching EL CONDE, I was reminded that Pablo Larraín was also the director of TONY MANERO, a movie I’d always wondered about where a guy is obsessed with John Travolta’s character from SATURDAY NIGHT FEVER. I think I even considered watching it back when I reviewed SATURDAY NIGHT FEVER and STAYING ALIVE last summer, but it didn’t pan out until now.

It’s from 2008, and it’s Larraín’s second film, following FUGA (2006). And watching it plays as kind of a distant cousin to EL CONDE in that it’s a distinct mix of the creepy and the absurd, plays off of movie iconography in strange ways, is not a fan of Chile’s tyrannical past, and is not easily classifiable. It’s basically a character study about a guy named Raúl who dreams of being the best Tony Manero impersonator in Santiago, and also sometimes kills people. Mostly the former, though, honestly. I’ve seen plot summaries that describe him as a serial killer, which is technically true, but this doesn’t play like a serial killer movie. Killing is not where he puts most of his energy.
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El Conde

Wednesday, March 20th, 2024

EL CONDE is a pretty simple idea: what if Augusto Pinochet, the dictator of Chile from 1974 through 1990, was in fact a vampire? Sort of the opposite of our “what if Abraham Lincoln was a vampire hunter?” It’s kind of a horror movie in that it shows us graphic bloodlettings, beheadings of both humans and animals, eating a cat, crushing a skull, and it puts even more revolting imagery into our heads through verbal descriptions. It also gets a classic horror atmosphere going with its gorgeous Academy Award nominated black and white cinematography by Edward Lachman (LIGHT SLEEPER, THE VIRGIN SUICIDES, THE LIMEY, CAROL). But mostly it’s a satire hitting on a very old, very obvious, but still very relevant point: the rich and powerful are monsters. You could say we’re all human, we’re all petty, but that doesn’t make us all the same. These people are fucking weirdos, the bad kind. I don’t have the statistics in front of me, but it seems like more often than not the type of people who seek power, and the families who inherit it, and feel it is their right, there’s something very wrong with them. Absolute power corrupts absolutely, but also it attracts a bunch of freakos in the first place. I mean, part of the joke of this movie is that the fucking guy wears a cape. Like Dracula. (read the rest of this shit…)

Saint Maud

Tuesday, March 19th, 2024

When I first saw the trailer for LOVE LIES BLEEDING I thought “I need to see SAINT MAUD, don’t I?” It’s the first movie from writer/director Rose Glass, which was heavily hyped after playing TIFF and Fantastic Fest, and was picked up by A24, who of course gave it an intriguing trailer that was playing on all the horror movies. But that was in 2020, so the pandemic happened, it got delayed for a while, and ultimately only received a limited release in January of 2021, which was a no-go for me because it was well before vaccines were available.

So the hype train grinded to a halt, and personally I needed it to push me over the small hill of it looking like religious horror. You know, you put “Saint” in the title, you show her in some kind of robe on the poster, you show her levitating, I’m gonna assume it has something to do with possession or some shit. I can watch a movie like that if it’s a really good one, but I need some encouragement. Glass’s follow-up looking amazing gave me that. (read the rest of this shit…)