2018 Catch-Up: Part I

Well, 2018 is nearing its conclusion. With that said, there are plenty of films I either didn't get to cover or didn't give me enough material to devote full reviews to. Now then, let's get on with the show...

INCREDIBLES 2

Practically on par with the original, Incredibles 2 does everything you'd want a sequel to do and then some. It brings back the core elements that made its predecessor work and is refined into a work that may go on to be regarded as even better than the first as the years pass. It builds on the character arcs in a satisfying way, it polishes the whole Silver Age Superheroes by way of Saul Bass and Frank Lloyd Wright aesthetic, and provides some observant drama involving parenting that's on par with the mid-life crisis business from the first film. Outside of a villain that doesn't feel fully fleshed out, this is a thoroughly entertaining flick with some slick, imaginative action setpieces and a gattling gun full of great jokes. Suffice it to say, this was worth the fourteen year wait and more proof that Brad Bird is one of the best talents modern animation has to offer (as if you needed it). Let's just hope it takes less time to get a third time.
[RATING: 4 Lack of Funny Rating Ideas out of 5]

JURASSIC WORLD: FALLEN KINGDOM

How a film this stupid can be as well-directed as it is will forever remain a mystery. I mean the screenplay is a clunky mess, some of the effects are iffy, and the attempts at social commentary feel like they couldn’t have been more than an afterthought. But, I’d be lying to you and myself if I said I didn’t have a ball with this. Still, the actors pulling this nonsense off with a straight face makes said nonsense even more entertaining and there are a couple great setpieces (I’m predicting the climax inside the mansion is going to terrify a whole bunch of kids). Why people take this franchise so seriously is beyond me. Also, I have a hunch people are going to be steamed at the ending for the next couple years. Without spoiling anything, it’s the stupid cherry on top of a very dumb sundae.
[RATING: 2.5 Hybrid Dinosaurs out of 5]

GEMINI

Plays more like a demo reel barely held together by a narrative that’s not really worth putting thought into. The script’s about on par with an episode of Girls. Seriously, they literally use the words “as you know” in the dialogue. That’s the level of laziness we got here. Anchored by a lead performance that’s dead in the water from the moment her character first appears on-screen and a soundtrack that’s pure chillwave whitenoise, this thing is utterly boring and my patience was already being tested at the ten minute mark. It’s got all the visual panache of the average perfume commercial, it’s hollow and kind of pointless by the time it’s over. Whatever, man. You've seen this done before and better elsewhere.
[RATING: 2 LA Noir Drone-cores out of 5]

LIKE ME

Like Me is a film I almost feel like I shouldn’t be reviewing. Not because it feels perverse or scandalous (although you could make an argument that it’s both of those things), but rather because I don’t know exactly what to make of it. No matter how hard you may end up trying to, I can promise you won’t forget that’s for sure. Slightly obvious yet still worthwhile social commentary on the way social media warps our psychology interrupted by moments where everything goes into full-on abstract nightmare territory. Absorbing and bugnuts insane, you’re not going to find another movie quite like this year or any other.
[RATING: 4 Deranged Viral Sensations out of 5]

TAG

Better than the mediocre trailers and premise suggest, this is a fun and funny way to kill 100 minutes. Hannibal Buress and Isla Fisher are the MVPs (one with an endless stream of amusing non-sequitors and the other with surprising ferocity that's used for some really good laughs). Also, seeing Jeremy Renner play tag with Terminator-like precision backed up by cocky narration is kind of a thing to behold. For what its worth, I’m holding out hope that this and Game Night are a sign that comedies are being steered in a more creative direction than two-hour improv sets thinly held together by plots that may as well be non-existent.
[RATING: 3.5 Hannibal Buress Non Sequiturs out of 5]

That's all I have for now. Stay tuned for part two! Thanks for reading and (as always) fly casual!

BAD TIMES AT THE EL ROYALE Review

BRIEF ASIDE: I cannot stress this enough. Please go see this movie before reading my review. Aside from my desire to avoiding spoiling the film's many surprises (and, boy howdy, there are many), I believe that a lot of modern criticism is too rooted in a futile pursuit of objectivity. Life is short. Like what you like. I shouldn't be the final arbiter on any film's quality. I'm just here to gush about movies that I think are cool and drone on about ones that aren't so cool. With that out of the way, on with the show....



There are times where I question whether my skills as a critic. Do I focus way too much on the technical stuff? What are some ways to sound more subjective and effectively convey my experience with the film in question? In regards, that first question almost immediately evades my thoughts because spoiling any plot information outside of the basic premise would be most impolite in regards to Bad Times at the El Royale. Much like Drew Goddard's previous directorial effort, I cannot recommend going into this cold highly enough. Not only can I say it's as good as Cabin in the Woods, I'd go as far as to say that it surpasses it quality-wise. This is a group of masters banding together to elevate pulp to something that's both pleasantly artistic* and suitably entertaining all the same. Look, all this verbose nonsense is my way of seeing this picture rocks like no one's business.

What's the setup? Seven strangers with dark secrets all seek temporary refuge at a run-down hotel where things start to unravel quickly. That's all you really need to know going in. You could teach a class on how this script works. From the tightly shot opening scene to the end, it maintains the suspense thoroughly. The cast here are all-around top tier players. Of course, Jeff Bridges brings his brand of seasoned old-timer swagger to this material. If nothing else, he has the most quotable line of dialogue in the whole picture. Lewis Pullman and Cynthia Erivo are welcome newcomers, providing this rough-and-tumble crime yarn with a necessary touch of empathy and humanity.  Jon Hamm is good, even if I get the feeling he'd be great had his role been more substantial. And then, there's Chris Hemsworth. Call me cliche if you must; but, you've never seen him like this before. Equal charismatic and unsettling, he comes in near the end of the second act like a force of nature laying waste to everything and everyone in his path (not unlike the storm that rages outside the eponymous hotel). Oh yeah, and if you've seen Nick Offerman's name pop up in the trailer, don't get too excited. While his appearance is definitely a welcome one, his role is little more than a cameo that doesn't even last five minutes

With his sophomore effort, Goddard reveals himself to be even more accomplished as a director than he is as a writer and that's saying something when you go through his past body of work. There's an aura of confidence that's too hard to deny. It's rare when I say this: I geniunely didn't where this was going. All of the twists and turns are immensely satisfying (even if there are a few loose ends that should've been tied up). Michael Giachinno's score covers some interesting new ground when compared to his usual work and is used in an economical fashion. I automatically put this leagues above a good chunk a lot of contemporary thrillers or horror flicks just because it recognizes that silence can be just as effective as any overbearing soundtrack or obvious jump scare music (if not more so). Several key scenes chose to forego the score entirely much to their benefit. An early sequence with Jon Hamm exploring a newly discovered corridor in the hotel is unbearably tense for a myriad of reasons and this is one of them. Good lord, does this have some fantastic needle drops here. Think less the psychedelic rock, counterculture '60s and more upbeat, Motown '60s (although there's a couple great music cues involving the former once Hemsworth enters the actual narrative that are so well chosen and make his character even more memorable that it'd be a crime to give that away here). Seamus McGarvey really outdoes himself with the photography here, constantly finding interesting angles to show what is admittedly a limited setting and displaying a masterful use of lighting.



I've heard a lot of comparisons made to Tarantino's filmography leading up to this. While I understand and kind of agree with the sentiment, simply branding it as Tarantino Lite is way too dismissive. Especially when there are much more apropos similarities to filmmakers like late-era Alfred Hitchcock, Sam Fuller, the Coen brothers and Sam Peckinpah. Bits and pieces are certainly treading familiar ground; but, not to the point where it doesn't feel like its own thing. It's old and new in the best way possible. To put it simply, it feels like the most twisted novel James M. Cain never wrote. It's an intense, deliriously entertaining ride that's bound to warrant multiple viewings. Whether or not there's something more under what I took away from this first viewing remains to be seen. Nevertheless, I can comfortably say it's my favorite movie of 2018 thus far and to check in with it once again.

BAD TIMES AT THE EL ROYALE gets an...
GRADE A CINEMATIC PULP out of TEN

*Believe me, this is one of the few contexts where the word "pleasant" gets anywhere near this picture.

MISSION IMPOSSIBLE: FALLOUT Review

For the longest time, the Mission Impossible franchise has been a phenomenon I've been observing almost strictly as an outsider… that is until I actually sat down to marathon all of them before watching this new entry in the series earlier this week. On a few occasions, I've gone on record for calling this series "Fast & Furious but for smart people" and I turned out to be right in the assertion. These are all very similar with a new director for each new installment; however, what makes these far superior to all those dudebro car worship flicks is a sense of reverence for classical action filmmaking techniques and a noticeable evolution as the years went on. Now then, how does all of this relate to Fallout? Because the series has had something of a high streak since 2011 and this raises the bar even higher.

I can't think of much here that isn't a superb display of craftsmanship. Seeing a PG-13 action movie with violence that feels visceral and (most importantly of all) consequential is always appreciated. The action here is relentlessly hard-hitting while having enough levity and playfulness to keep things from getting too dark. For a picture that clocks in at about two and a half hours, it sports a rather tight screenplay that doesn't waste any time and manages to keep the stakes high up until the very end. Rob Hardy's cinematography is top notch, capturing the action clearly while managing to plant striking frames in between the chaos (in the first fifteen minutes, there’s a shot of Tom Cruise's silhouette contemplating in a warehouse that brought to mind legends like Walter Hill and John Boorman). Having the whole thing shot on 35mm film also adds a texture of clarity and grittiness that enhances every shot. All of the setpieces are top notch. From an early white-knuckle scuffle in a nightclub bathroom to the climatic helicopter shootout (a scene that's on par with the Burj Khalifa sequence from Ghost Protocol for excellent tension and stunt work), the cast and crew gives it their all and it consistently pays off.



The Mission Impossible franchise may not be one of the best action franchises of all time; but, it's one of the most dependable and consistent. All of these films are well-done thrillers but this is the peak of what can be done with this series. Fallout is terrific blockbuster entertainment with some of the finest craftsmanship put into any genre film this year or any other. It's a stone cold stunner that demands to be seen in a big theater with great projection. Don't miss it!

MISSION IMPOSSIBLE: FALLOUT gets a...
TOTAL KNOCKOUT out of TEN

Before I go, I'd like to encourage everyone here to rewatch Rogue Nation before seeing Fallout because this acts as a direct sequel to that.

GODZILLA: KING OF THE MONSTERS Arrives At SDCC With An Awesome Trailer

Yes, folks. It’s that time of year again where a bunch of folks gather up in a sun-drenched San Diego convention center for stuff you’d probably be happier experiencing from the comfort of your own home. Nah, I’m kidding. I’m just as hyped for all of these big announcements as the rest of you guys.

Earlier today, Warner Bros. Aside from the hype train focusing mainly on the ever-growing Harry Potter universe and the DCEU going forward among countless other things, we got the first trailer for the upcoming Godzilla: King Of The Monsters. Take a look, if you’d be so inclined.

Now, those who know me know that I wasn’t that huge on the 2014 reboot from Gareth Edwards. Outside of good things like Bryan Cranston’s performance and a powerhouse finale, it wasn’t much to write home about due to weak characters and a lack of anything interesting enough to make up for that. With that said, Kong: Skull Island was great enough to turn me around on Legendary Pictures’ "MonsterVerse" and this looks like following that same path. The heavy use of colors (especially those atomic blues) against beautiful shots of widespread monster destruction is a creative decision that I’m totally on board with. Seeing schlocky B-movie plots and characters being treated like high art is still a novelty that has yet to wear out its welcome. It’s got a pretty great ensemble to survive all the chaos and Michael Dougherty is a director I’m fairly confident in for this kind of material. Everything here just looks so massive and apocalyptic. It’s just incredible. Overall, this looks like a major improvement from the first one and just a cool monster movie period. Now, if you’ll excuse me, I’m going to be counting down the minutes until Godzilla: King Of The Monsters hits theaters next May.

Bad Robot's OVERLORD Debuts With A Mind-Blowing Trailer

After months of impatiently waiting after hearing about how awesome the CinemaCon footage was, Paramount and Bad Robot just dropped the trailer for their latest piece of genre pulp earlier this morning. It's called Overlord and it looks totally gnarly. 

Oh yeah, that looks like pure badassery. For the most part, this hits all the beats the CC footage did and it's so satisfying to finally get an actual look at that. Soldiers dropping out of planes, Wyatt Russel in a role that'd probably make his father Kurt proud, what appear to be some sort of Nazi zombie-vampire creatures, so on and so forth. That use of AC/DC's "Hells Bells" is such a good touch. I'm having a hard time coming up with articulate ways of expressing how much I like this trailer.

Every time I think of a sentence, I scrap it and just want to jump from my desk, shouting "[insert your favorite expletive here] YEAH! THIS LOOKS SO AWESOME!". Anyway, all joking aside, this is one of my most anticipated releases of the year. J.J. Abrams producing a grindhouse-style sci-fi horror action war picture with a hard R rating is unquestionably within my wheelhouse. Oddly enough, this may be the least cryptic and most straightforward piece of marketing I've ever seen for a Bad Robot production. There's no hiding what this is (except for a few twists and turns that'll probably be awesome) and bless its heart for that. It looks creepy, action-packed, utterly bizarre and just a great old-fashioned time at the movies.

We'll see if it lives up to the hype, come November 9th*.

*NOTE: This was originally supposed to come out on October 26th, which is a shame that it changed because it would've been really cool to see this on Halloween night. Still, it's not that far away I suppose.

Nic Cage Rage Is On Full Display in First Trailer For MANDY

NOTE: Yes, I'm aware this trailer came out weeks ago. Whatever, I had this already written. So, here's some more content.

Having one of the more bizarre careers out of any well-known modern actor, Nicolas Cage and insanity go together like peanut butter and jelly. Unless we’re talking about his earliest work or his direct-to-video paycheck gigs, he’s a great talent who makes good movies even better and bad movies compulsively watchable. His latest picture comes from Panos Cosmatos, a filmmaker who gained notoriety a while back thanks to his feature debut being the psychedelic cinematic wonder Beyond The Black Rainbow. It goes under the title Mandy. Take a look for yourself, will you?

...well, that was certainly something, wasn’t it? And, here I was, thinking that Mom And Dad was the only Nicolas Cage movie worth paying attention to this year. So much to unpack for a quick trailer. Lots of hazy, colorful visuals of the cryptic and unsettling variety like Cage hammering together a sleek looking battle axe and the Hellraiser-looking dudes that kidnap his wife. Strange animated cutaways. Cage filled to the core with anger and covered in blood. A tease of a swordfight with chainsaws that’s so utterly bananas, it could’ve been ripped from a certain Tobe Hooper picture. It’s a lot of cool stuff to take in. If this doesn’t end up being the weirdest movie of the year, the rest of 2018 is going to be pretty gnarly.

Having been screened at both Sundance and Cannes months ago, the reception’s been more than intriguing. Jacob Knight from Birth. Movies. Death. (a fellow critic I trust above many others) went as far as to describe it as “Ghost Rider by way of Alejandro Jodorowsky”*. Also, this is going to be something of a posthumous release seeing how the score was done by the late Jóhann Jóhannsson (who unfortunately passed away a little over five months ago). I can’t say that I’m entirely prepared for this craziness; however, that doesn’t mean I’m not hyped out of my skull to see it when gets unleashed on September 14th.

*That bit was paraphrased. You can read his thoughts here: https://boxd.it/nUuaT

Neill Blomkamp is Bringing RoboCop Back To The Big Screen

According to film journalist Jeff Sneider and confirmed by press outlets like Deadline, critical wonderboy director Neill Blomkamp (director of District 9, Elysium, and Chappie) is working on a new project: RoboCop Returns. At the time of writing, it’s been confirmed that this new film will be a sequel that sort of acts as a soft reboot. Justin Rhodes (writer of both the upcoming Terminator reboot and the Green Lantern Corps film that's still in development over at DC) has been chosen to pen a revision of a screenplay written by franchise creators Ed Neumeier and Michael Miner (written ages before comics legend Frank Miller was brought on to do RoboCop 2 instead).

Personally, I think there’s a 50/50 chance of this being any good. As much as I love the original (seriously, it's in my top 25 favorites), the RoboCop franchise as a whole is a very mixed bag. Starting out with an all-time classic and a pretty decent sequel, things took a massive nosedive when RoboCop 3 hit theaters in 1993 with its inferior PG-13 rated anarchy and an even worse excuse for a reboot about two decades later. Outside of a couple decent comics and videogames, there isn’t much of value to this venture; yet, I’m not going to write this new movie off because I’ve been burned in the past.

They’ve got some talented people for this latest picture. While I remain skeptical about who they’ve selected to write it, I’m curious to see what he does with this film and how a filmmaker like Neill Blomkamp will work with that. I’ll go on the record by saying I find Blomkamp’s work to be a bit overhyped in the grand scheme of things. Still, I admire that he is one of the few directors willing to work big ideas into the average sci-fi popcorn flick. He’s proven to critics and studios that he’s a go-to guy for entertaining science fiction action pictures with heavy social commentary underlining them. So, that and his statement regarding his love for the original along with hints at what he plans to do with this new film are reassuring. As for what a new sequel could entail, your guess is as good as mine. I’ll keep an open mind about this upcoming feature and I hope you all do the same.

ANT-MAN AND THE WASP Review

Quick Memo To The Readers: For those wondering why the site's been a bit of a ghost town lately, it's because I haven't much to report or opine on; but, don't worry. I've got a Review Round-Up coming very soon with my takes on Incredibles 2 and Jurassic World: Fallen Kingdom, Comic Fade (the other site I write for occasionally) is relaunching in a couple days or so with an article I wrote about what's going end up being this year's wildest release, and the yearly gold mine of movie news output that is San Diego Comic-Con starts in a couple weeks. So, good times are ahead. For now, please enjoy my take on the latest Marvel joint.



It's taken me quite some time to realize this; but, I've had something of an epiphany in regards to the Marvel Cinematic Universe that I have a good feeling fellow film nerds are going to agree with. The less these movies are concerned with the overall narrative status quo of the franchise and setting up future sequels, the better they end up being as individual works (hence why the only two films in this whole venture I'd consider classics are the Guardians of the Galaxy flicks). I bring this up because Ant-Man & The Wasp is a good example of this principle in action. It takes what made the first film good and expands on those elements well enough to where it considered better than its immediate predecessor.

Paul Rudd remains as charming and likable as ever. Thankfully, Evangeline Lily gets more to do here than she did last, proving to be a real force of nature in the action sequences and an endearing screen presence in the slower moments. Michael Pena offers some good laughs in the midst of all this chaos. Hannah John-Kamen and Walton Goggins make for two well-done antagonists, with the former being quite sympathetic and surprisingly well-developed character wise while the latter is just fun because he's Walton Goggins (who is awesome even in small doses such as with his appearance here). No further justification needed. Oh, and it's always to see Michelle Pfeiffer and Laurence Fishburne show up in anything.

This time around, all the big setpieces are even more playful and creative. You thought having a destructive climax in a room of children's toys was fun? Wait till you see all the tricks that are up this film's sleeve. From a murderer's row of re-sizable vehicles getting put to good use in car chases to resourceful uses of kitchenware, director Peyton Reed keeps finding ways to keep this central conceit ceaselessly amusing. That much was expected when I got my ticket. What I was pleasantly surprised by was how it tried to grow it's characters. Outside of this and Guardians of the Galaxy Vol. 2, I can't recall any other films of this ilk that really change their characters as people. Sure, it's awesome to see them run around in flashy costumes and punch other dudes in similar attire; but, what makes us want to keep paying attention is the little moments in between and this does it really well.



As the Marvel phenomenon keeps chugging along like a runaway train, one can be forgiven for fearing that there will come a time when there's nothing interesting left to say about these movies. For now, I've found a couple points to latch onto to keep that inevitable situation from happening for just a little while longer. First, everything since Doctor Strange has been fully embracing what makes the material strange or unique and this is no exception. Second, one of the big things that makes each film interesting is how they try to infuse other genres into their superheroics (like how Captain America: The Winter Soldier is tinged with 70s paranoid spy thriller trappings and Thor: Ragnarok seems to have more than a little love for the era of Flash Gordon and Masters of the Universe). In this instance, much like some of the original comics, the Ant-Man movies have a charming sense of reverence for 50s and 60s science fiction. Heck, they even go as far to make a clever gag at the end with a miniaturized drive-in screening of the classic B-movie, THEM! (you'll have to see the movie if you want more on that). It's a nice popcorn flick that's light and breezy but has just enough emotional weight to keep it from being ephemeral. Plus, it has giant ants playing drums! What's not to like?

ANT-MAN AND THE WASP gets a...
FUN WEEKEND MATINEE out of TEN

One last point, it would feel crass if I weren't to acknowledge some rather tragic Marvel news here. Yesterday, comics legend Steve Ditko (you can thank him for helping create Spider-Man, Dr. Strange and countless other greats) passed away at the age of 90 and his influence was far too important for me to gloss over. Rest in peace, goodsir. Your contributions will forever live on.

THE PREDATOR Trailer Is Here In All Its R-Rated Glory

DISCLAIMER: If the title of this article didn't make clear enough, I'll be discussing a red-band trailer. Those have more swearing and violence than usual. So, don't say I didn't warn you, if you're not into that sort of thing.

After a couple disappointing teasers and a surprising amount of apathy from the online film press, we have our first real trailer for Shane Black's The Predator. Take a look for yourself, will you?

Like I just said a moment ago, the past two trailers weren't exactly what you would call satisfying; but, I've been optimistic about the film regardless and it looks like this trailer justifies said optimism. We get a far more clear sense of the plot (the suburban setting appears to be nice change of pace), some classic Shane Black dialogue (Keegan Michael Key's "videogame" one-liner killed me) and we get a couple good gory action bits. If nothing else, it's nice to see among all the glut of superhero flicks and other blockbusters clogging up the multiplexes as of late, we're still able to have a strange B-grade genre flick from one of our best mainstream talents slip through the cracks. 

Also included in this bit of news: a pretty cool looking poster* depicting the severed head of a normal Predator being held by the bigger one we got a glimpse of near the end. A rather ominous (but also really cool) image to go off of. Now, if you'll excuse me, I'll be patiently counting down the days until September 14th comes around to hopefully blow our minds with this picture.

*Seriously, now, THAT is how you do a poster, baby!

Review Round-Up #4

Yeah, yeah. I haven't put out a lot of content over the past couple months. I'll be getting reviews of Incredibles 2 and Jurassic World: Fallen Kingdom out to you fine ladies and gentlemen when I can. For now, please enjoy some coverage of other films new and old.

OCEAN'S 8

While it doesn’t reach the heights of Steven Soderbergh’s iconic trilogy, Ocean’s 8 is a fun summertime distraction with a likable cast and enough energy to keep things humming along smoothly. The editing’s slick (if a tad distracting at times), it runs at a good clip, the soundtrack is surprisingly excellent and everyone involved seems to be having a blast with the material. By no means is it a classic; but, you could do a lot worse than this.

[RATING: 3.5 Fake Jewels out of 5]

HAPPY DEATH DAY

Unlikable protagonist and glacially paced first act aside, there’s some creative flourishes to what could have been just another run-of-the-mill slasher flick. It’s got some fun editing, memorable kills, some good tongue-in-cheek humor, a decent score and a great premise; but, it’s also got those flaws I mentioned earlier coupled with annoying jump scares, a moronic twist in the third act and a desperate need to be a lot scuzzier than it actually is (seriously, an R rating would make this a lot more fun). Still, what we have here is certainly watchable and it’s upcoming sequel has plenty of potential to be better.

[RATING: 3 Poisoned Cupcakes out of 5]

A FUTILE AND STUPID GESTURE

I’m far from the first person to point this out; but, for a biopic about one of the most unique comedic institutions of the twentieth century, this is a pretty conventional flick. That being said, it’s still a pretty well-done picture with enough good jokes and decent acting to get it by on charm. If nothing else, it’s one of the better Netflix productions. Here’s hoping this is a sign of progress towards more consistently good releases.

[RATING: 3.5 Fourth Wall Breaks out of 5]

PHANTASM

Genre legend Don Coscerali’s debut initially feels like something of a Ray Bradbury-riff (weird comparison I know, but this did remind me a bit of Something Wicked This Way Comes) for adults and eventually morphs into something far stranger, darker and more interesting. It builds a rich sense of atmosphere that it sustains throughout the entire running time, thanks to some great directing and music. A total dream all in all.

[RATING: 4.5 Chrome Balls of Death out of 5]

HOW TO TALK TO GIRLS AT PARTIES

Valley Girl if it was directed by Alex Cox. A choppy and inconsistent but incredibly sweet and charming (occasionally kaleidoscopic) romance between two young misfits. Incredibly strange and refusing to conform in any conceivable way, it’s a sight to behold for those with the acquired taste for it. It’s a movie so strange yet so laidback and charming that you can’t tell what’s stranger. The alien society that Elle Fanning’s character comes from? Or Nicole Kidman’s perplexing Labyrinth-era David Bowie impression (speaking of sights to behold)? Did I mention that the soundtrack totally owns? Because it owns and owns hard.

[RATING: 4 Weird Alien Customs out of 5]

BAD TIMES AT THE EL ROYALE Gets An Awesome Teaser

Drew Goddard is a name that should be on everyone's radar at this point. From writing things such as The Martian and directing Cabin In The Woods, he's established himself as a remarkably strong talent with only a relatively short list of credits and that's also including his work for television. That being the case, let's check out the trailer for his latest effort behind the camera, shall we?

First things first, what is going on with Chris Hemsworth here? We need GIFs of him dancing as soon as possible. So many other cryptic and twisted visuals to dissect. In all honestly, this reminds me of 10 Cloverfield Lane in that I wish more trailers nowadays were as enticing and mysterious as those two. Not only that, but it's an original film whose trailer entices you by just throwing enough puzzle pieces at you to make you go mad and say "What's gonna happen? I have to see this movie." Now then, I've been hyped for this ever since the title was revealed a while ago. The only official synopsis for this picture that I could find reads as follows:

"Seven strangers, each with a secret to bury, meet at a run-down hotel in Lake Tahoe in 1960s California. Over the course of a fateful night, they all get one last shot at redemption before everything goes wrong."

With a plot and cast like this, we're in for something pretty bloody special with this picture. Will this be as Goddard's previous work? Only time will tell. For now, I'll say that if this is even half as good as Cabin in the Woods, we're all down for a twisted good time. Bad Times At The El Royale hits theaters on October 5th. For now, get hyped!

Michael Myers Returns In First HALLOWEEN (2018) Trailer

After much speculation and hype, David Gordon Green's upcoming Halloween sequel (simply titled Halloween, for some confusing reason neither you nor I will probably ever know) has gotten it's first trailer. Take a look for yourself!

After scrolling through social media this morning, it seems like the general consensus for this is pretty positive with a steady amount of hype coming in from horror fans and critics who grew up as horror fans. As for my take on this teaser, I'm pretty mixed on it. On one hand, this just looks like it's going through the motions as some of the other sequels from a narrative standpoint and very little here that seems to provoke any extreme reactions, positive or negative. The difference in visual quality between the nighttime and daytime footage is literally night & day in this case. With a couple exceptions, almost every shot in daylight is stale and kind of cheap looking. Compare that to the stuff taking place at night, that's about as interesting and colorful as this sort of film could hope to look. On the other hand, there's plenty of positives to keep me intrigued. Jamie Lee Curtis looks ready for action, Nick Castle (the original guy who played Michael Myers so well back in '78) seems to slip right back into character, the kills are very promising (that gag with the bloody teeth made me shiver). Plus, it seems like everyone involved is putting their heart into making a film that's genuinely scary instead of being a bog standard slasher flick. Plus, a new score from John Carpenter is most definitely a tantalizing prospect. Overall, I'd say I'm cautiously optimistic for The Shape's return to silver screen come October 19th.

Review Round-Up #3

UPGRADE

One of the smartest and most handsomely produced B-movies I’ve seen in quite some time. Logan Marshall-Green gives a good performance with some interesting physical ticks to give off his newly transformed vibe, the gore is top-notch nastiness, it shows really creativity with the action (the camera movements and depth of field experimentation really stand out), it’s got a sharp script and the music compliments it all quite well; but, wow, does it end on one shockingly dark high note. Imagine if you crossed 6 Million Dollar Man, RoboCop, Death Wish, and a little bit of Black Mirror together, you’d get this awesome ride of a film. If this playing near you, absolutely check it out!
[RATING: 4.5 Bionically Enhanced Quadriplegics out of 5]

THE GREATEST SHOWMAN

Modern day Broadway lyricism synched up to classical Hollywood production values. In theory, I should love this movie. Hugh Jackman makes it all sing, some of the songs are nice, and it all looks & sounds incredibly lavish; yet, all that clashes with hokey dialogue, predictable story turns, shockingly bad lip-syncing and the elephant-in-the-room that is lionizing a man who was in reality little more than an exploitative con artist. Divorced from historical context, this is perfectly fine (albeit still questionable nonetheless) I suppose; but, I still can’t help but feel like I was right on the money when I said this picture is like the kid in class who you know is giving it all he’s got even if the best he can end up with is a C-.
[RATING: 2.5 Ham-Fisted Morals out of 5]

BLACK DYNAMITE

Without a doubt, this is the only good parody movie to be released since Mel Brooks made Robin Hood: Men in Tights in the early-90s. Adam from YMS once said anyone who doesn’t like this picture has no soul and he’s correct in that assertion. It’s consistently entertaining, lovingly satirical of the blaxploitation genre (come to think of it, this may be a better grindhouse pastiche than Grindhouse considering how much the film is committed to its vintage aesthetic) and never overstays it’s welcome. No wonder this spawned an Adult Swim cartoon.
[RATING: 4.5 Film Grain Filters out of 5]

TERMINAL

Yeah well, I’m just going to put this alongside Mute in the list of “Neon Noirs That I’m I Like But Everyone Else Hates”. Is it an amiable mess that values style over substance? Sure, but that doesn’t make it any less entertaining. Plus, if your movie looks this spectacular, I don’t see the point in complaining when just kicking back and letting it all wash over you is a much more desirable option.
[RATING: 3 Gleefully Insane Margot Robbies out of 5]

SCOUT'S GUIDE TO THE ZOMBIE APOCALYPSE

Ceaselessly juvenile and braindead jokes aside, this is still a decently entertaining horror comedy that has no pretenses of seeming smarter than it actually is (provided you can stomach the whole dudebro vibes). Tye Sheridan is a nice lead as well as a good counterbalance to his bumbling friends, the gore is fun and it occasionally gets a few modest chuckles. Also, as an Eagle Scout myself, it’s nice to see Scouts portrayed as something other than your usual wonderbread, alarmingly chipper goodie-two-shoes schtick. If nothing else, that poster is awesome and has more thought put into it than this sort of nonsense deserves. I just wish it made me laugh a bit more. Had this undergone a few more rewrites, this could’ve been something far more special.
[RATING: 3 Battle Prepping Montages out of 5]

SOLO: A STAR WARS STORY Review

Going into Solo with an aura of skepticism isn't entirely unsurprising, considering its troubled production history and the common symptoms that plague prequels of any and all stripes. Honestly, I went into this expecting something like Ant-Man where the movie itself escapes all the production controversy relatively unscathed and comes out as a relatively solid flick. What I didn't expect was for this to be my favorite thing to hit the multiplexes with the Star Wars brand slapped on it since The Force Awakens back in 2015.

Going back to the Ant-Man comparison for a brief moment, this is another instance where many people would've loved to who have seen the original's directorial vision for this picture (myself included); however, I do find the fact that Disney/Lucasfilm made an inspired move by choosing journeyman filmmaker Ron Howard (mainly because he's probably the closest thing to what George Lucas might've been as an artist had he not decided to continue being active behind the camera, so to speak). It never overstays it's welcome, it keeps a brisk, steady pace and it knows when to balance out serious. All of the action sequences are gangbusters (the famous Kessel Run in particular is a rather tense smash-and-grab that perfectly justifies why someone like Han would become infamous). John Powell should also get credit for his excellent score. Granted, it does use the standard John Williams themes that everyone and their mothers know by heart; but, it doesn't rely on them and has plenty of unique energy in it's own right. Appropriately for the character and story, it's as rousing and swashbuckling as the film itself in many respects.

Of course, note should be made of the cast. Alden Ehrenreich turned out to be quite a charming choice as the young Han Solo, never trying too hard by trying to copy Harrison Ford's iconic work and carving out his own niche while also embodying the character's sarcastic confidence that made him such an icon to begin with. Emilia Clarke is charming as one of Han's old flames. Woody Harrelson has brings some more nuance than one would expect as Han's mentor. Even Paul Bettany's antagonist gets a moment or two to shine. Anyone hyped for Donald Glover's portrayal of a young Lando Calrissian is going to walk away a bit underwhelmed. His role here is basically a glorified cameo. Still, Glover is a ton of fun in the few scenes he does get (the scenes where he and Han play poker in particular are an absolute hoot).

If there's one thing I can this has in its favor over something like Rogue One (above everything else that makes this better than that pile of aggressive mediocrity), its that its clear this GETS Star Wars far better than . Some will accuse this of feeling like über expensive fan fiction like Rogue One; but, this doesn't feel as cynical or boring as that film did. If that film made the same mistake as the fandom's more pathetic members in grotesquely inflating the franchise into something grander than it actually is, this new one is perfectly in tune with why audiences fell in love with the galaxy far, far away in the first place: they're just fun space adventures with likable characters and a hearty sense of gusto. Plus, it doesn't try answer many of the sacred mysteries about this universe that are best left unanswered. Is it better than The Last Jedi? Probably not because TLJ takes some more risks and tries to be something more than fun popcorn entertainment. Then again, I'd be being disingenuous if I didn't say I had an absolute blast with this.

SOLO: A STAR WARS STORY gets a...
EXPERTLY DONE KESSEL RUN out of TEN

DEADPOOL 2 Review

Well then, this review turned out to be harder to write than I initially anticipate. Not in the way that something Blade Runner 2049 where I'm in such awe of the spectacle I just witnessed that I can't properly convey how I felt about the film; but rather because I'm somewhat baffled by what I just sat through last night. Make no mistake, Deadpool 2 is a pretty solid comic book flick and does many things a lot better than the original. Yet, despite all of that, I still left the theater in a strange mood where I'm not disappointed while also feeling like there could've been more here.

Now then, let's focus on the positives because there is certainly a lot to like here. First off, David Leitch is definitely a better director than Tim Miller was (seeing how this film has better action and is far more visually dynamic). Ryan Reynolds still gives his maximum effort and shows really no one else could've done Deadpool as a character better than himself. Josh Brolin is even better here as Cable than he was as Thanos in Infinity War. The good cop/bad cop relationship he has with the titular Merc with a Mouth near the end is a nice touch that brought to mind the likes of Lethal Weapon and especially 48 HRs. Zazie Beets was a welcome surprise as Domino. She's cool, capable and even gets a few good one-liners in between all the chaos Even if the jokes here a lot more hit-and-miss than the first one, there are still a few that make the whole enterprise worth the price of admission. The soundtrack here is pretty killer. Even all the stuff with the X-Force business takes a few unexpected turns that I won't dare to spoil here. There are a couple gags that have been recycled from the first one; but, they're kept to a minimum and the ones they do bring back mostly land on their feet (one in particular outdid the original to where everyone at my screening was in stitches for a solid five minutes).

As for the negatives, there aren't enough to bring the party down so to speak; but, they are still worth talking about. Without a doubt, I can say the film's only major problem is inconsistency. Some jokes feel out of place, the tone is all over the map in any given scene, and it does feel a bit like a thrown together mashup of comic book goofiness. While I do admire the filmmaker's attempts at making Deadpool more of a flesh-and-blood character instead of a one-note joke, I'd be lying if I said they were entirely successful. Still, enough of that stuff works to where you feel like you're getting more out of this than some fun wordplay and gunplay.



Deadpool 2 may be kind of clunky at times and doesn't quite achieve some of its loftier ambitions. Nevertheless, none of its shortcomings keep it from being one of the more subversive and wildly entertaining films in the superhero genre. If the superhero gravy train keeps on going from here on out, here's hoping we keep getting more like this to spice things up a little. Plus, any movie that opens on a snarky dude in red tights murders criminals with a chainsaw while Dolly Parton plays in the background is going to be worth seeing one way or another.

DEADPOOL 2 gets an...
STRANGELY EMOTIONAL A-HA REMIX out of TEN

PS. In case you don't know this for some bizarre reason, stay through the credits. I know it's become habitual for audiences to stay through the credits of superhero movies; but, seriously, they pulled out all the stops this time and delivered what might be an all-timer. Don't let anyone ruin it for you.

AVENGERS: INFINITY WAR Spoiler-Free Review

NOTE: I had a lot of thoughts on this flick. So, I'm going to do a traditional review here and follow it up with a loose, spoiler-filled discussion some time not too long from now. Let's get crackin'.


I have a quick confession to make. Yesterday, I saw Infinity War at around noon and I've waited to start typing my review until the day after for a myriad of reasons. For starters, I've been burned on the Avengers films before. The first one is fine and I'll give it credit for it's importance in blockbuster history; however, I do feel like hailing it as some sort of masterpiece is silly. Age of Ultron ended up amplifying everything that worked and didn't work in it's predecessor, leading to a film that I still can't entirely say I'm for or against. Naturally, I wanted some time to ruminate on the film to give an honest opinion divorced from waves upon waves of hype. Then comes the challenge of finding a way to provide an articulate critique of the film without giving away the major surprises it has in store. Thankfully, I've been able to overcome both and can say that this film rocks!

Speaking of surprises, I was delighted to see that The Russo Brothers nailed it with this film. Sure, Winter Soldier was great; but, I'll still be in the minority of people who think that Civil War a complete letdown. Thankfully, they seemed to have made an anti-Civil War here. Instead of a soulless machine that ends up having zero consequences on the overall story and actively avoids taking risks, we get the exact opposite here. From the first ten minutes, they establish that there isn't a punch they're willing to pull. Anything that can happen pretty much does happen. I'd also like to give the Russos credit for doing a decent job of balancing the focus on the various players. The transitions back and forth between the Earthbound heroes and the more cosmic territories are admittedly a very impressive juggling act (even if it feels a little clunky at times). On the subject of subverting typical Marvel problems, composer extraordinaire Alan Silvestri returns with an appropriately epic score (a perfect sound to match such wondrous visions). Triumphant themes are used to their fullest potential and I was elated to see that a film with such a grim ending opted for the opposite of what we usually get with these movies. Instead of an end credits sequence with pounding melodies and tons of eye candy, we get slow, simple credits with a subdued, quiet rendition of the main themes (allowing an appropriate amount of breathing room from the epic tragedy that just wrapped up).

The cast isn't really worth discussing, seeing how familiar we are with all the major characters as well as the actors and how they each get enough time in the spotlight for maximum satisfaction. Besides, the big question on all of our minds is how well Josh Brolin does as Thanos. Rest assured, he's pretty great. Granted, his motivation from the comics has been heavily altered from the comics; but, I think the changes that were made were for the better and what's here fits better with the thematic core of the Marvel Cinematic Universe. Anyone familiar with Watchmen (be it the original graphic novel or the film adaptation) is going to be picking up very familiar signals here with Thanos. Again, I really can't delve into that too much without spoiling things; but, suffice it to say, our antagonist gets enough pathos to make him more than some big purple guy with a dictator complex.



Ever since it came out back in 1980, The Empire Strikes Back has been the go-to comparison for darker, narrative-rich sequels and (in my humble opinion, at least) has been grotesquely misapplied. You've been hearing it from everyone else and I'll be no exception. Comparisons to Empire fit it like a glove. We all know there's a another chapter coming that'll probably serve as a light at the end of the tunnel, so to speak; however, I say we should take a moment to appreciate the grand-scale tragedy that's unfolding into multiplexes on the unsuspecting masses. Sure, it's still a great time at the movies and has a few moments to make audiences chuckle; but, that doesn't detract from stakes that feel genuine and emotional beats that are well-earned. Overall, I'd say that Infinity War and it's upcoming sequel are probably going to be the superhero genre's equivalent to the Kill Bill saga (in that part one is almost pure action and part two slows down for richer character/narrative beats). If that ends up being the case, the wait until next summer is going to be absolute torture because what we have here may be the comic book movie to end all comic book movies. How they'll follow this up is anyone's guess.

AVENGERS: INFINITY WAR gets a...
CATACLYSMIC AWESOMENESS out of TEN

Review Round-Up #2

Before we continue, I'd like to acknowledge and the death of legendary journeyman filmmaker Milos Forman (the man who made classics such as Amadeus and One Flew Over the Cuckoo's Nest). He was an important artistic voice and it felt inappropriate to say nothing about losing him. May he rest in peace. Anyway, on with the show...

A QUIET PLACE

A Quiet Place earns a snug spot alongside 10 Cloverfield Lane when it comes to great cinematic bottle episodes. Even if it's only his second feature as a director, Krasinski comes out swinging like a champ both in front of and behind the camera. At times, the pacing is inconsistent and the jump scares are hit-and-miss. Aside from making the case for how a PG-13 rating doesn't indicate a horror film's quality, it wrings some genuinely nerve-wracking moments with it's intelligent use of sound and is definitely worth seeing in a crowded theater.
[RATING: 4 Malfunctioning Hearing Aids out of 5]

EVERYBODY WANTS SOME!!

Entertaining humanization of dudebro characters some would argue aren’t worth the effort to humanize. The young cast is incredibly charming (one of the guys is a dead ringer for a young Laurence Fishburne) and it’s lackadaisical, carefree vibes are hard to resist. Still debating whether or not I’d say this is better than Dazed and Confused; but, it’s definitely a worthy successor to that picture rather a pale imitation in a new coat of paint.
[RATING: 4 Beer Kegs out of 5]

THE DARK TOWER

What should have been a sprawling epic with every resource available put behind it (a la HBO's Game of Thrones) has been butchered and mangled into a 90-minute cluster of mediocrity. It’s not without a few positives. Some of the out-there concepts from Stephen King’s novels haven’t been lost in translation, the action sequences are fairly well done, and Idris Elba works as Roland (even if making his character arc second to Jake is bizarrely miscalculated). Still, a lot of those positives are undone by editing via meat cleaver, thinly sketched imitations of the rich characters from the novel and a miscast Matthew McConaughey who jerks back and forth from stilted to puzzlingly unnatural. By no means is it a disaster; but, it sure is a disappointment. One that quickly extinguishes its few flashes of potential.
[RATING: 2.5 Awesome Gunplay Scenes out of 5]

CAT PEOPLE (1942)

Perhaps the strongest example of atmospheric filmmaking from the Golden Age of horror cinema that didn’t have the names James Whale or Tod Browning attached to them. The black-and-white cinematography is immaculate and it has a lot more on its mind than some of it’s contemporaries did. If you’re interested in checking out classic cinema outside of the icons everybody is well aware of, this would be a good place to start.
[RATING: 3.5 Creepy Alleyways out of 5]

POINT BLANK

Crime cinema boiled down to its basic elements before Walter Hill perfected the art come the turn of the next decade. A high point in filmic storytelling of the 1960s and one of the all-time great tough guy movies. There isn’t a moment wasted and even the more laidback moments have their charm. Lee Marvin is at peak badassery here, taking names from scum bags and looking cool while doing it. It all looks like a million bucks and it has the cocksure, masculine swagger only a John Boorman picture can offer.
[RATING: 4 Angry Lee Marvins out of 5]

FRIDAY THE 13th (1980)

Early 80s slasher fare is proof that influence on a genre doesn’t equate to what can genuinely be called a “classic”. It does have a tendency to wander off on boring tangents when nothing is on its mind (which is admittedly pretty often) and the screenplay feels like it was scribbled onto a cocktail napkin. A few moments here & there provide atmospheric scares, Tom Savini’s gore effects are as awesome as usual, and Betsy Palmer does really well as the movie’s secret weapon. Certainly not the best picture in the franchise; but, a decent foot to start out on. Also, Kevin Bacon's in this flick. So, that’s a plus.
[RATING: 3 Dead Kevin Bacons out of 5]

DAVE MADE A MAZE

A strange creature whose quirky, handcrafted charms more than make up for its amateurish faults. The style and atmosphere is completely unique (the cardboard aesthetic makes the proceedings look recognizably cheap and delightfully off-kilter). Usually, this phrase is used as an insult; but, in this case, I use it as high praise. Dave Made A Maze feels like a teenage fan-film and I mean that as a compliment. It’s all made with the youthful energy of something you might’ve shot in your basement with a few buddies at the age of 15. Honestly, I can’t think of a single moment during this where I didn’t have a pleasant little smile on my face.
[RATING: 4 Giant Cardboard Forts out of 5]

Review Round-Up #1

Hey everybody! In case you missed that update I made last weekend, I'm rebranding these little mini-review compilations under a different banner and a wackier rating system. With that out of the way, let's talk about some movies.

INHERENT VICE

A while back, I was talking to a friend about Shane Black’s The Nice Guys. I described it as basically The Long Goodbye crossed with Boogie Nights. Looking back on that, that description feels more apropos for this film than it did for that film. A leisurely stroll through the sleazy, sun-drenched haze of early-70s California with memorable characters and a good central mystery underlining all the madness. Also, Shasta Fay may be the most white-trash name ever and I love that so much.
[RATING: 4.5 out of 5]

LOVE, SIMON

I didn’t have any high or low expectations for this picture; but, coming out of it (pun not intended), I have to say that this was absolutely wonderful. Nick Robinson is a charming lead, it has an eclectic soundtrack, the feel/tone is comfortably naturalistic and there’s a sense of honesty to the film that other high school films lack. Even if you aren’t in the target audience, Love Simon is a likable little love story that hits close to home on a universal level and will probably end up being a personal favorite amongst a few peers of mine.
[RATING: 4 Edgy Teenage Misfits out of 5]

MURDER ON THE ORIENT EXPRESS (2017)

Ridiculous mustache and perplexing Imagine Dragons-scored trailers aside, this is a cracking good old-school murder mystery of the variety that flourished in classic Hollywood. The cast does stellar work (even if director/star Kenneth Branagh does get a little too much screen time), the camerawork here is extremely interesting and creative for a movie that takes place in such a tight location, the score is pretty good and it’s got a charming sense of wit that keeps the proceedings from being too dry. Definitely a pleasant surprise and I defy you to find a film this year that has a better final shot than this one.
[RATING 4 Double Mustaches out of 5]

THE TERMINAL MAN

The Terminal Man is like a 50s B-movie/Twilight Zone elevator pitch filtered the speculative lens of 70s science fiction. It’s got a cool poster, George Segal gives a decent performance, and that’s about it. I guess it wouldn’t hurt to put this on in a lazy afternoon; but, it feels like the kind of thing that should be playing in the background of a Joe Dante picture. Micheal Crichton’s original novel has to better than this, right?
[RATING: 2.5 Strange Mind-Control Devices out of 5]

SPRING BREAKERS

Can’t say I groove on this particular wavelength; but, after half a decade since it’s original release, it still works as a total time capsule of the moment it was made in. The sights, sounds and smells of the quintessential spring break experience distilled in Dadaist sensory overload. James Franco gives one of his best performances as Alien, one of independent cinema’s most memorable characters in ages. While I’m still bitter that I’m technically part of this generation, I can’t help but be fascinated by it. Joins the ranks of Trainspotting and Fear & Loathing In Las Vegas as sleaze epics that double as chemical flashbacks of their respective eras.
[RATING: 3 Tatooed James Francos out of 5]

NIGHT SHIFT

Urban hustle ‘n bustle juxtaposed against allegedly real-life hijinx. It’s interesting to see Henry Winkler play against type as a sad sack loser with zero confidence and young Michael Keaton is an absolute force of nature here. Plus, the fact that journeyman filmmaker extraordinaire Ron Howard cut his teeth on something this morbid and insane is hilarious on its own merits.
[RATING: 4 Obnoxious Boomboxes out of 5]

MOON

Aside of from being one of the most realistic science fiction films I’ve ever seen, Moon is a fantastic directorial debut from Duncan Jones. Sam Rockwell turns in one of his best performances. It’s visually stunning for a movie that only cost $5 million and tackles some heady themes that I can’t delve into too deeply for fear of spoilers. There’s a possibility that this may have been the genesis for the modern sci-fi renaissance as we know it.
[RATING: 4.5 out of 5]

HOBO WITH A SHOTGUN

Shameless grindhouse thrills, relentlessly reveling in its own and refusing to apologize for its filthy nature. Rutger Hauer looks like he’s having a ball, the action’s gory and over-the-top, it has a heavily-saturated color palette that’s both repulsive and appealing & it’s just a blast to watch. Flawed and a tad bit too tasteless in spots (there’s one moment involving a school bus that feels like the director saw the ice cream truck scene from Assault on Precinct 13 and said “Oh yeah?!? I can top that!”); but, I got a kick out of it. Random observation: two of the main bad guys look like what if Andy Samberg decided to start cosplaying as Baby Driver.
[RATING: 3 Rampaging Vigilantes out of 5]

MOM AND DAD

Imagine what if you crossed Home Alone and The Strangers with that one scene in Kingsman where literally everyone is trying to murder each other. The world would be a much better place if Nic Cage starred in more movies like this. Because, he looks he’s having more fun in this than he’s had in any other movie he’s been in recent years. Selma Blair’s also a blast to watch in this. It has an interesting soundtrack and it’s stitched together in exactly a manner you’d think a movie like this would be from one of the guys who made the Crank movies. At times, when it’s not being pedantic, Mom and Dad is a masterpiece of trash cinema.
[RATING: 3 Broken Billiards Tables out of 5]

READY PLAYER ONE Review

First and foremost, let me just say that the amount of pre-release cycle of hatred for this picture has been absolutely ludicrous. The amount of snark and contempt tossed at this whole production is something I've found puzzling, headache-inducing and ultimately tiring. Seriously, has the world deteriorated to a point where we're all so jaded towards to pretty much anything (even something that's an obvious shoo-in such as a new Spielberg joint)? I understand why people are cynical towards the original source material. Even though I can't say it doesn't have its fair share of problems, I can say the novel by Ernest Cline (AKA the literary world's answer to JJ Abrams) is a fun read and had plenty of awesome potential for cinematic spectacle. Plus, this wouldn't be the first time the Wizard of Whimsy made a movie that vastly improved on what its based on. Need I remind you all of how Jaws and Jurassic Park were novels of questionable quality before they became icons of cinema?

Now, with all that complaining and preamble out of the way, comes the question of whether or not the film in question is deserving of hatred. Well, the answer is....not at all. Ready Player One is a ridiculously entertaining ride that immensely improves on the novel and may end up being a sci-fi classic one day. It has a lot of fantastic action scenes, the visual design is absolutely splendid and the references don't feel like they're getting in the way of telling a good story with good characters. Zak Penn and Ernest Cline's witty screenplay serves as a sturdy foundation for the fantastical theatrics (even if a few lines here and there sound a bit cringeworthy).

Tye Sheridan brings a certain sense of likability to Parzival that was sorely lacking in the original novel. Yeah, he's a fairly standard, wide-eyed Spielberg protagonist; but, he's decently written and charming enough to where that doesn't really matter. Olivia Cooke's Art3mis subverts expectations by being a female character with a palpable sense of urgency while having a sweet personality to boot. Ben Mendelsohn is marvelous as the film's dastardly CEO antagonist (even I'd say his character isn't nearly as interesting as the company he runs). I was pleasantly surprised by how effective IOI is as a looming threat. Simon Pegg sadly gets little to do in the film; but, he's still Simon Pegg in a nerdy adventure such as this. That's always a bonus in my book. Ultimately, Mark Rylance ends up giving the best performance in the picture as OASIS co-creator James Halliday. Far from the tech wizard the masses hype him up to be, Rylance portrays the character as a sort-of rockstar reinvention of Elon Musk with subtle gracenotes suggesting he falls on the high-functioning end of the spectrum. Where they take his character struck a personal chord with me that I found quite poignant (seeing how I may be too into the novelties this film wears like badges of honor).

Alan Silvestri's score is an emotional roller coaster, appropriately accompanying the film's dramatic peaks and valleys with seasoned precision. It's easily some of his best work since the first Avengers film back in 2012. Every action sequence is packed to the gills with top-notch thrills. Sure, it's chaotic; but, Spielberg is a filmmaker with a level of maturity to keep said havoc easy to follow and fluid. Much like how I'm keeping my mouth shut on all the pop-culture cameos that run rampant through the film's background, I find that I'd fail my readership if I were to spoil what the film has to say. Suffice it say, I highly recommend that you all go see this on the biggest screen possible because this is pure spectacle in the truest meaning of the word. Fitting for a film mostly set in a nearly infinite virtual void, Ready Player One feels massive and sprawling in the Oasis and cold yet familiar in futuristic Columbus, Ohio.



Lately, critics have been praising Spielberg's more grounded and realistic films moreso than what made him a household name. While I agree that he's been on a winning streak for adult dramas, let's not forget how this and The Adventures of Tintin are near-perfect reminders of how he's the best in the entire business at delivering top-of-the-line popcorn entertainment. He's essentially treating this film as his personal sandbox and I sure like the way he plays. Not only does it supply a good time at the cinema, it celebrates how awesome geek culture is while acknowledging that it has a place in life that shouldn't extend to consuming your life. I absolutely dug it and I'm sure you all will too, even if you haven't the foggiest idea what Buckaroo Banzai is.

READY PLAYER ONE gets an...
AWESOME EXPLOSIVE BLAST out of TEN

State of Matinee Everyday and Other Affairs

Ladies and gentlemen, there are a few announcements I have to make. Nothing Earth-shattering; but, notable enough to warrant a whole blog post. The most prescient of these would be that this site will no longer be the sole source of my content. I've recently become a contributor at Comic Fade. If you're interested, my first article can be found here: https://comicfade.com/2018/03/26/80s-week-the-5-best-80s-horror-films/

Granted, you'll still see reviews, and trailer discussions up on this blog. I promise you that this doesn't spell doomsday for Matinee Everyday. Moving on, future reposts of my Letterboxd reviews will go under the title of "Review Round-Up" instead of "It Came From Letterboxd". I've found that this title conveys what's inside more effectively and more newcomer friendly so to speak. Short, sweet and to the point! Speaking of which, I've got a new post coming up after the Ready Player One review is published on Friday. Yes, you heard that right. Seeing how I had some spare time on my hands, I decided to attend an early screening of the film in order to have my review up as soon as possible. Per tradition, there won't be any spoilers.

Finally, I'll be starting up a podcast with a few friends called Can You Dig It? once summertime rolls around. It'll involve discussions about pop culture among other topics. Get hyped or be afraid. The choice is yours when all is said and done.

That's all for now. Fly casual, dear readers!

THE NEW MUTANTS Gets Delayed...Again

It seems like Josh Boone's horror superhero picture can't catch a break. A film that was originally supposed come out less than a few weeks from today is now being released on August 22nd of next year. Naturally, this doesn't bode well for many people (including myself). The strangest thing about this whole situation is that the film has had a couple fairly successful test screenings. Originally, this was delayed until next February to make it more of a standard horror film. Fox was apparently motivated by the success other studios had with recent hits such as It and Get Out.

Now, apparently half of the movie is being reshot to incorporate a new character (source: http://variety.com/2018/film/news/fox-moves-bohemian-rhapsody-delays-x-men-spinoffs-1202737117/). Who that new character will be is anyone's guess. Considering this film is taking a significant amount of inspiration from Bill Sienkiewicz's in the comics, I'd bet there's a decent chance that we may end up seeing Warlock show up. The short version of the story is that he's a robot from space who gradually become a friend of the team throughout various storylines.

With all of that being said, I don't think this production is going to go the way of Fant4stic (I know that's not technically the actual title; but, it's stupid and plastered all over the posters, so that's what I'm going to call it). Heck, just look at some of this artwork from the specific source material this movie is apparently pulling from.

Pretty psychotic, isn't it? So, the leanings towards more of the creepy stuff doesn't seem as inappropriate for an adaptation as it did with that grim trainwreck of a film. Plus, we still have some talented people working on this and the idea at play here is too good to waste. Troubled productions have been able to result in good films. I'm just hoping Fox does everything in its power to keep me onboard with this.

Trailers! Trailers! Trailers! #6

Well then. Seeing how we've got a plethora of new trailers coming out this week and I haven't done one of these in about eight months, I figured it was high time I did another piece where I talk about a whole bunch of new trailers.

SORRY TO BOTHER YOU

I'm getting distinct vibes of both Adult Swim and Terry Gilliam (shades of Brazil, his crowning achievement of sorts, are all over this). Honestly, it looks cool and has a remarkably talented cast. A lot of the visuals seem to complement the satire. Plus, the reactions this thing has garnered from it's premiere at this year's Sundance film festival are extremely positive. I'm pretty confident we're in for a real treat with this one. Oh yeah and Armie Hammer's character seems deranged. Can't wait to see this!

TAG

Not sure if I'm feeling this one. It's a fun premise and it doesn't look awful. But, there isn't a moment that really made me laugh. Maybe, it's just a mediocre trailer; but, I have very little interest in finding out whether this is actually any good. Might make a good Redbox rental, though.

ACTION POINT

Jackass has always been a guilty pleasure of mine and I still a chuckle out of seeing how these guys are still. Likewise, I'm fairly curious about the latest project from Johnny Knoxville and company (especially considering how insane the stories that inspired this are). This trailer is reminding of stuff like Meatballs and I'm okay with that. Not much else to say. Looks charming enough. Moving on...

FANTASTIC BEASTS: THE CRIMES OF GRINDLEWALD

....what exactly do I have to say about this? First off, it's just a teaser. So, we only get a tiny glimpse of what's in for us come this November. Second, I haven't cared about the whole Harry Potter phenomenon since I was eleven years old. However, I did rent the first Fantastic Beasts not too long ago (it was perfectly fine, I guess). My only major complaint is switching from Colin Farrell to Johnny Depp for your film's antagonist is one of the biggest cinematic downgrades I've seen in quite a while. If you're into this sort of thing, get hyped...I think.

THE HOUSE WITH A CLOCK IN ITS WALLS

Love him or hate him (I'm more ambivalent to the man, myself), Eli Roth is a fairly unpredictable filmmaker. Sure, I'm just as tired of stuff like Hostel and Cabin Fever as a lot of others in online film discussions; but, who in a million years would've predicted that he'd have a role in a Tarantino film or direct a remake of Death Wish. But, now, a man who's primarily known for doing brutal splatter flicks is doing a kid-friendly horror picture. That's pretty interesting. The real kicker is that it doesn't look half bad. Jack Black and Cate Blanchett seem charming, there's some atmospheric moments/creative visuals and I am 100% supportive of more gateway horror films to get kids into the genre. Also, the 80s Universal logo in the opening is a nice touch.

And, that's all I got for now. Tune in later this week for when Matinee Everyday reviews Ready Player One.

This DEADPOOL 2 Trailer Should Brighten Your Day

Good morning everyone! Here's the actual factual trailer for Deadpool 2!

Oh yeah! That'll do nicely. Very nicely indeed.

Anyway, I qualify this as this as the "real" trailer because everything else we've gotten as of late has basically been pretty vague (what with the Bob Ross parody and that other one where Deadpool resorted to reenacting scenes with action figures until the effects were finished). This isn't to isn't to say it looks bad (quite the opposite, this looks terrific); however, this is the only trailer that I think properly gives us a sense of what the movie's going to be like in terms of story beats* and new characters.

Speaking of which, it looks like the stuff that worked in the first film will still work here and the new stuff being brought to the table is also pretty wizard. The dynamics between Ryan Reynolds and the first film's returning players looks as fun as ever. I'm warming up to Zazie Beets as Domino more than I expected to; so, that's pretty nifty. Josh Brolin as Cable looks pretty awesome (although, I'm more excited to think of all the poor people who get headaches after seeing this flick and searching up his cartoonishly convoluted backstory from the various comics). Plus, the action looks dope and all the jokes about the X-Force are bulls-eyes. My only nitpick is that's not called The Untitled Deadpool Sequel because come on. That would've been perfect! Still, I'm happy with what we're seeing here and I can't wait until the actual movie drops on May 18th.

*For context, here's what is currently being touted as the film's official synopsis:
After surviving a near fatal bovine attack, a disfigured cafeteria chef Wade Wilson struggles to fulfill his dream of becoming Mayberry’s hottest bartender while also learning to cope with his lost sense of taste. Searching to regain his spice for life, as well as a flux capacitor, Wade must battle ninjas, the yakuza, and a pack of aggressive canines, as he journeys around the world to discover the importance of family, friendship, and flavor – finding a new taste for adventure and earning the coveted coffee mug title of World’s Best Lover.