M3GAN is a nice little treat – a killer doll/robot movie with a solid execution of the premise, a good sense of humor, and plenty of personality. And as a Blumhouse/Atomic Monster production it’s got a decent budget, so the effects are excellent. It’s a similar idea to the okay-not-great CHILD’S PLAY so-called-remake (out-of-control AI, no supernatural evil) but the way they made their doll look and behave is creepy and delightful in a fun new way.
Gemma (Allison Williams, THE PERFECTION) is the adult in the situation, and part of the joke is that she’s not a responsible one. When her niece Cady (Violet McGraw, DOCTOR SLEEP, The Haunting of Hill House) loses both parents in a car wreck, Gemma steps up to become her temporary guardian, but is too occupied by her job at a toy company to pay close attention to her.
A gifted roboticist, Gemma got in bad with her boss David (Ronny Chieng, GODZILLA VS. KONG) by surreptitiously blowing a bunch of money on the M3gan (Model 3 Generative Android) project, a life-sized robotic little girl designed to “pair” with its owner, use A.I. to learn and perform tasks from reading bedtime stories to teaching science. Now that’s cancelled and she’s back working on dumb old Furbie-like Perpetual Petz (designed to make wiseass comments, fart and poop little pellets while the kid plays related games on the internet). (read the rest of this shit…)
There I was the other night with both physical and mental lists of all the recent movies I want to catch up on, scrolling through them on the various streaming services, failing to decide which one to watch first. So then I clicked on one I never heard of before called MY NAME IS VENDETTA (2022). Very productive.
ATHENA is an astonishing piece of filmmaking. I have no idea how they did it. I have one (1) huge issue with it, which prevents it from being one of my top movies of last year, but it’s a big ass spoiler that I will deal with separately at the end of this review. And you may disagree with me, so don’t worry about that for now. What’s important is that this is a thrilling cinematic experience and about as epic as a movie could feel while clocking in at less than 100 minutes. And it’s on Netflix – it’s one of the ones that actually wouldn’t exist if they hadn’t funded it – so it’s a very accessible way to get knocked flat on your ass by a concussion grenade of impeccable spectacle.
RESURRECTION is an interesting 2022 horror-thriller you can find on disc, VOD or Shudder. I saw the trailer play before movies many times and found it kind of intriguing, but I could never remember the name. I must’ve confused it with the 1909 D.W. Griffith short, or the silent films from 1910, 1912, 1917, 1918, 1923 and 1927, or the pre-code Tolstoy adaptation from 1931, or the Italian one from the same year, or the 1943 Mexican film, or the 1944 Italian one, or the 1958 German/Italian/French one, or the 1960 Russian one, or the 1968 British one, or the 1980 one starring Ellen Burstyn, or the 1999 Russell Mulcahy one I still haven’t seen although you guys really convinced me I have to and then Vinegar Syndrome even put it out on blu-ray, or the one from 2001 or 2010 or the three from 2016. But this is a different RESURRECTION, the one starring Rebecca Hall (
THE BIG 4 is the new one from Indonesian writer-director Timo Tjahjanto, who gave us 
THE PHANTOM CARRIAGE is a phantom movie that came well before 
JOE KIDD (1972) is Clint Eastwood’s only movie directed by John Sturges (
Well, would you look at that? Guillermo del Toro (
I don’t usually post on Fridays, but here is my second one today, because I got two last stocking stuffers for you before the holiday weekend. Here are reviews of two Christmas related shorts, one horror, one crime (sorta). Pretty obscure ones, but both worth checking out.
THE PRESENT filters the classic American form of the killer Santa movie through a more Japanese (and specifically manga) style of fucked-upness. It’s about a little girl named Yuko (Kiyo Ôshiro) who wakes up on Christmas Eve, terrified by a nightmare about Santa. She has a Christmas tree in her room and a stocking on her bedpost – I’m not sure if that’s how they do it in Japan, or if it’s weird. But her parents comfort her and tell her to go back to sleep and she’ll get presents because she’s a good girl (though “if you do bad things he’ll come and get you.”) 
TOYS OF TERROR is a 2020 Christmas horror movie that’s exactly what it sounds like – a movie about toys coming to life and doing evil toy shit. It seems to have premiered on SyFy, and it’s on DVD and VOD. The director is someone named Nicholas Verso (BOYS IN THE TREES) and it’s written and executive produced by Dana Gould, the comedian, Simpsons writer and podcaster. I had no idea when I rented it that anyone notable was involved, and I respect that Gould seems to have just wanted to make a straightforward, non-parody Full Moon type movie. But it comes from the dystopically named “Blue Ribbon Content” division of Warner Bros. Television, responsible for some DC Comics web animation plus the DTV movies DAPHNE & VELMA and THE BANANA SPLITS MOVIE, and has better craft and production value than many of the actual Full Moon movies, especially the later ones.
