GLASS Review

BRIEF DISCLAIMER: There may or may not be a couple minor spoilers in the following text. With that in mind, I'd recommend seeing the film and bookmark my critique for after you've seen it. It's my belief that criticism that should be supplemental material to aide one's appreciation of art, not a deciding factor on whether or not said art is worth your time. Also, if you're not familiar with Unbreakable or Split, fix that before seeing this.



There's nothing new to say about this guy, is there? Every praise about his few good films has been sung and everything afterwards has become fodder for that depressing corner of online film culture that only likes talking smack about movies generally. So, is M. Night Shyamalan really back on track after a string of high-profile failures or was Split just an entertaining fluke? Now, I recognize that I'm probably in the minority opinion here; but, my answer is a resounding yes. What we're given is a tough film to love (albeit one that's endlessly intriguing nevertheless). In fact, I feel like I might have jumped the gun when I called Widows the least audience-friendly mainstream release of recent years. What it lacks in thrills it more than makes up for in ideas. Big ideas. Ideas that not everyone in the audience is going to be on board with. But, they're big, bold, and worthy of kudos for even diving into them.

Anyone reading this is most likely aware that the "realistic superhero movie" isn't much of a novelty these days. We've seen the Zack Snyder/Christopher Nolan cycle of the DC movies, Kick-Ass, Logan and even Shyamalan's own Unbreakable (which has been around for the better part of two decades); but, as much as I love all of those, I'd say Night has gotten the closest towards fully realizing this realist conceit. What few action scenes there are go for a more intimate, awkward and cluttered approach than the crowd-pleasing epic scale brawls common to the likes of the Marvel Cinematic Universe. Plus, this take on what superheroes and their stories mean in the broader cultural context is one I find fascinating due to its balanced levels of contempt and respect for the genre. It's taking material seriously as art rather than strictly as adaptation. Glass has the slick appearance of subtlety and grace even if its creative head honcho's artistic flourishes are anything but. Aside from all that pontifical weight, it's got some real directorial strength to brag about. It's methodically paced, imaginatively shot and the various narrative yarns are fairly well-balanced. There's a shot during the second act of Sam Jackson's eye that feels like nothing less than a clever tribute to John Frankenheimer's Seconds that I greatly appreciated among other wonderful references and homages.

Despite working at the top of his game for the first time in eons, some of M. Night's worst habits also crop up every now and then. Although, they're not prevalent enough to bring the whole show down. There's the spectre of schizophrenic tonal shifts and narratives that don't entirely add up have always loomed large over his body of work and this is no exception. If there's a weak link in the cast, I'm disappointed to say that it's Sarah Paulson. To be fair, her character is the worst written in the entire film; so, she's given almost nothing to work with; but, her flat affectations don't add anything to the proceedings and (intentionally or not) manages to make the stilted dialogue feel even more unnatural. Everyone else is thankfully operating in top gear. Once again, James McAvoy is the standout whenever's he's effortlessly switching back and forth between The Horde's various eccentric personalities and he's even given some effective comedic moments*. Samuel L. Jackson isn't afforded the level of screentime one would expect from the title; however, when he gets time in the sun during the climax, he really comes to play and his presence is magnetic. Of course, it's also nice to see a recent movie with Bruce Willis where he seems act like he actually wanted to be on set besides the paycheck.



When I think of Glass, I recall an idea once posited by the great Francois Truffaut: that a film being interesting is far more important than any perceived measure of quality. As much as I've dunked on Blumhouse over the years, I highly respect Jason Blum for being a sharp-witted businessman and the fact that he gave Shyamalan carte blanche to make a film only he could've made. Despite being all over the place in others respects, it stirkes a stable mix of the meditative moodiness of Unbreakable and the schlock sensibilities of Split (ditto for West Dylan Thordson's phantasmagorical score). It's built from the ground up to be a polarizing experience. When the absolutely bugnuts third act rolls around, you're either going to go along for the ride or you're going to instantly tune out and it'll bounce off you. It's the kind of thing that can spark hours upon hours of conversation about whether or not it even really works. Structuring the climatic entry in a trilogy to be deliberately unsatisfying or even downright puzzling is a bold choice that's not going to click with everyone. For now, I'm happy to say this is the most fascinating and out there work in the superhero genre since Logan (or hell maybe even Batman v Superman).

GLASS gets a...
KINO PAR EXCELLENCE out of TEN

Jack's Favorite Movies of 2018

2018 has been a tough year for many people and even I've had my lesser moments. Thankfully, we've had plenty of awesome flicks to pass the time in between all the chaos. A lot of good stuff flew under the radar and I'm going to try to give all of it some time in the sun (be it in this article or some other down the line). Likewise, I won't do a "Worst of the Year" list because they're tacky, boring and ultimately unproductive. Besides, why would waste my precious time pissing and moaning about films I either didn't care for or outright despised? Never have, never will. End of discussion.

Art is subjective and people are free to like or dislike whatever they wish to. I'd also like to note that nothing about this is set in stone or sacrosanct. Chances are these rankings will fluctuate and change over time. My thoughts on each entry may increase or sour as the years pass. That also feeds into why I call these lists my "favorite" movies of the year and not the "best". So, take this with a tiny grain of salt. Now, with all of that expository garbage out of the way, on with the list. The following fifteen films are what I'd consider to be the standout works of cinema from 2018. Enjoy!

#15) SEARCHING

Contemporary techsploitation has finally yielded its first out-and-out success with Searching. Doing a more subtle riff on the likes of Taken (only leaning more towards slow-build tension rather than cheap white knuckle thrills). John Cho and company give great performances in spite of the constraints inherent to this kind of movie. Really, everyone involved gave this project 110%.To say it's refreshing would be an understatement.

#14) YOU WERE NEVER REALLY HERE

Consider this a sort of arthouse Taxi Driver. Joaquin Phoenix gives a gut-wrenching yet understated as a hitman grappling PTSD. Plus, it's all undercut with what I'd say is some of Radiohead alum Jonny Greenwood's best work as a composer and that's really saying something. Words can't properly sum up what it's like to watch this. It's a personal experience that means different things to the different people who've seen and/or loved it.

#13) THE BALLAD OF BUSTER SCRUGGS

A lot has been said about Netflix lacking quality releases when it comes to their film output. Thankfully, it appears that won't be the case for much longer. They've really stepped their game up this year and we're all the better for it. Joel & Ethan Coen gifted the streaming titan with a Western anthology. Veering wildly from the comical to the darkly tragic to the poignant, The Ballad of Buster Scruggs is a nice Western-flavored slice of everything that makes the Coen brothers so endearing.

#12) GAME NIGHT

Frequently hilarious and thrilling, Game Night is a wonderful example of what you get when focus on comedies as movies first and not ninety-minute sitcoms (albeit with leeway to push the envelope a tad further regarding content). Here's hoping this and Tag serve as shots in the arm for a genre that needs to evolve now more than ever.

#11) THE OTHER SIDE OF THE WIND

Whenever the release schedules start feeling predictable, I find that it's always important to remember that pleasant surprises still lurk around the corners. Case in point: The Other Side Of The Wind. Distributed by Netflix, the posthumous final film of the legendary Orson Welles turned out to be a Fellini-esque tone poem that poses the interesting thesis that Welles himself might have far from the genius that film snobs praise him as. Or, for a more recent comparison, a more abstract work in the vein of Birdman. What does it all mean? I'm not entirely certain. Nevertheless, I can't wait to return for several more viewings in the vain hope of figuring out this inscrutable cinematic puzzle.

#10) UPGRADE

Speaking of pleasant surprises, Upgrade seemingly came out of nowhere to the delight of hardcore movie nerds including myself. Every action beat is next-level brilliant, with uniquely mechanical camerawork and a gleefully cavalier approach to gore. All of which is anchored by an appropriately maleable yet grounded performance from Logan Marshall-Green. Combining the best elements of revenge thrillers, body horror and cyberpunk into one unique, it's a fantastic B-movie from Leigh Whannell as well as a showcase the best of what Blumhouse is capable of.

#9) ISLE OF DOGS

Wes Anderson popping up on anyone and everyone's year-end best list stopped being surprising eons ago. What is surprising is how that never became tiresome. 2018 was a mostly solid year for animation and Isle of Dogs reigned supreme among the genre's myriad of offerings. Some misconstrued as an act of cultural appropriation when it turned out to be a sincere work of cultural appreciation. Soulful, quiet, and visually sumptuous, it's a solid family adventure with more artistic flair and high-minded ambition than this sort of fare usually gets.

#8) WIDOWS

If Drive owed more than a little debt to Thief, then this has a lot of Heat in its DNA. Timely, slick and morally uncompromising, it's decidedly an slow burning anti-crowdpleaser which makes it all the more engrossing. The less I say about this picture, the better. If it's still playing in your area, check it out.

#7) MANDY

Nostalgia has become so ubiquitous in the culture that by now that not only have people started to grow tired of its omnipresence; but, complaints and thinkpieces about have grown more tiresome. Then, there comes a movie like Mandy that shows how it can be used to push the medium forward rather than being strictly reflexive. It accomplished the impressive feat of combining Nicolas Cage's cult appeal while also reminding everyone how we continue to underestimate him as an actor. The sophomore film of Panos Cosmatos is a fascinating intersection of art and exploitation, creating a meditative moodpiece out of visuals ripped straight from a Megadeth album cover. Plus, who can't groove with a film that opens with a King Crimson track and climaxes with Nicolas Cage engaging one of the villains in a chainsaw duel?

#6) THEY SHALL NOT GROW OLD

A war documentary that takes the questionable practice of colorizing black-and-white footage and uses it as an indispensable storytelling technique (opting to use it to rather make something old more suitable for modern audiences). Without a doubt, it's the best thing Peter Jackson has made since he remade King Kong almost fifteen years ago. It's a remarkable work of craftsmanship and film preservation all the same. Do not miss this when it opens wide next February. I rarely this phrase because it's as cliched a saying as "instant classic"; but, They Shall Not Grow Old is essential viewing.

#5) SOLO: A STAR WARS STORY

There are times where I wonder if I'll ever go a year without having a Star Wars movie in my year-end best list. If I could redo my Best of 2016 and 2017 lists, Rogue One and The Last Jedi wouldn't have made the cut (or, at the very least, wouldn't rank as high as they did). A lot of discussions have popped up around the latter regarding how it radically subverts expectations and attempts to push the franchise forward. On the other side of the storytelling spectrum, you have Solo. A film that was plagued with production issues, had the least necessity for its own existence out of all the various sequels/prequels/spinoffs/whatever else is being pumped out of the LucasFilm system and was casually ignored by general audiences; yet, I'd be lying if I said this wasn't my favorite of the new movies. It stayed true to the spirit of it's title character while expanding his and adding to the overall mythos in satisfying ways. Sometimes, you don't need to reinvent the wheel. Rather, you can do wonders by just polishing and fine-tuning it.

#4) WON'T YOU BE MY NEIGHBOR?

Now, I can't say this is the best documentary of the year; but, it's an engaging reminder of how important Fred Rogers and his messages still are in increasingly cynical times. It effectively brings him down to Earth without being a feature-length hitpiece. It's gentle and sincere while . An emotional yet experience. If you missed it while it was in theaters, rent it when you can. You won't regret it.

#3) READY PLAYER ONE

It's hard to think of any praises for Steven Spielberg that haven't been sung time and time again. Let's face it, he's not going to be around forever. When he's gone, there's going to be a lot of difficult discussions and debates we're going to have over his extensive catalog of work. One of which I've already accepted is that his more serious movies aren't going to be the first things that come to mind. To put it more bluntly, we're going to remember him for stuff like this, Jurassic Park and Close Encounters moreso than the likes of Lincoln or Schindler's List. Matinee friendly popcorn fare like this is going to be the reason we continue to for decades to come. Taking a charming yet clunky novel and deciding to reinvent it from the ground up to make it fit better on screen and sneak in undercurrents of career introspection. it has enough on it's mind to make it more than simple entertainment. Even if you're not digging for subtext, Ready Player One is just an awesome ride from one of the all-time masters of silver screen spectacle. The only way I could've fallen for this even harder is if I'd seen this when I was still a kid.

#2) ANNIHILATION

Speculative science fiction cinema with top-notch production design and gorgeous cinematography while managing to strike a balance of being open to interpretation without coming off as unbearably pretentious. Did I mention it's also perfect nightmare fuel? (that Bear scene still gets under my skin just thinking about it). It's scary for what it shows and even more terrifying for what it suggests. How something this out there and challenging could come out of the studio system is as ambiguous as the note writer-director Alex Garland chose to end his latest masterwork on. I have a good feeling we're going to be  talking about this one for a long time.

As per tradition, I'd like to shift some focus towards some honorable mentions. After all, tons of good movies come out every year and you can't stick everything on a year-end list without losing all the weight that's important to these lists. Anyway, here's a few films I liked even if they didn't find a place on the final list.

MANIAC
Yeah, yeah, I know this doesn't really count because it's a miniseries. You know what? I don't particularly care. If the third season of Twin Peaks can make lists from professional critics in 2017, I don't see why I can't gush about this at the tail-end of 2018. It's so well-executed, intellectually stimulating and skillfully put together it might as well be cinematic.

AQUAMAN
Out of the all the comic book flicks that came out this year, this was far and away my favorite out of the bunch. Did it have the best screenplay? Nope. Was the story the most original? Of course not. But, did it look spectacular and lean into everything that made the comics such goofy fun? You better believe it did! Aquaman is big-budget camp of the highest order and I wouldn't have it any other way.

PADDINGTON 2
File this with Won't You Be My Neighbor under "Cinematic Bastions of Wholesomeness and Positivity" (although you'll probably feel a lot happier after finishing this one).

MISSION: IMPOSSIBLE - FALLOUT
Techinally superb and relentlessly entertaining, Fallout finds welcome company among high watermarks of action cinema.

And, now, my favorite film of 2018 is....

#1) BAD TIMES AT THE EL ROYALE

The downside of having years where there are plentiful cinematic riches is that there's going to be a lot of stuff that gets lost in the shuffle. Such is the case with Drew Goddard's latest picture, Bad Times at the El Royale. A coastal neo-noir set in the late-60s with as much polish and sleaze as such a description would entail. It starts out quiet and unassuming (steadily increasing the mystery of what exactly might be going on)...and then Chris Hemsworth shows up, giving what is arguably the best performance of his entire career, and things go completely off the rails. A crime thriller with a unique setting, inventive story twists and occasionally thoughtful ruminations on redemption. Like a few other pictures on this list, you can trace its cinematic reference points; but, it's like nothing seen before. Once again, looking to the past to see how we can bring art into the future. Top that off with an expertly utilized soundtrack and a remarkably satisfying ending, what you get is one of the most well-crafted slices of cinematic pulp ever made and my favorite film of 2018.

Well, there you have it. If you didn't see a certain title pop up here, never stress. I haven't been able to see absolutely everything this year and I might write about a few in future. Happy New Year!

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.