For the upcoming release of Pirate Warriors 4 (which i though wasn’t gonna happen until it was revealed in the summer of 2019), i’m gonna review all the previous Pirate Warriors titles before it reaches Europe on the 27th of March, so here we go! Continua a leggere “One Piece: Pirate Warriors PS3 [REVIEW]”
So yeah, i was expecting to see Lupin III – The First movie and at least review the new american The Grudge reboot/remake/whatever, but many screening are being delayed indefinitely (unless it’s garbage, a national production or was already screening/i’ve already seen it), so who knows when i’ll be able to see Leigh Wannel’s The Invisible Man, and i don’t feel the mass hysteria will have died down before the 5th of March, so yeah, sorry, but these are the circumstances for now. Not good.
Since basically this screwed up my plans for EXPRESSO reviews, guess is time to get some use out of Netflix. ¯\_(ツ)_/¯
Stay safe, wash yourself (like you’re supposed to), and stop raiding supermarkets, this isn’t fuckin Judgement Day, fools.
Yes, we didn’t get this till now, and i was honestly looking forward to see this, to witness how bad it was, for someone that never saw or cared about the play or Thomas Steams Elliot book upon which the musical was notoriously based on.
Maybe it’s because of this, but i was expecting a mountain of weird and baffling stuff, and i wasn’t disappointed, actually found myself quite enjoying it as a “so bad it’s good” experience.
What’s the plot? A group of cats calling themselves “Jellicle Cats” find an abandoned new cat in the streets, they present themselves to her in musical fashion (as you’d expect), tell of their annual dance communion, which culminates in a contest to determine which Jellicle Cat will be sent to the Heavyside Layer in order to be reborn. But an evil magical cat (that seems to have eaten the Sand Sand fruit) wants to sabotage the ritual in order to be chosen for the “cat rapture”.
Why the human-cats hybrids’ size and proportions are constantly changing and not quite matching the size of streets and interiors? Why are they both naked AND clothed at the same time? Why do they look so fuckin creepy and uncanny, being frankly unbelievable in every sense of the word, despite the CG being not cheap by any means? Why is Ian McKellen here to basically mutter and meow like he’s just minutes away from dying? Why Tom Hooper (definitely not the right choice) decided to direct it?
Why Judie Dench is so freaky as Old Deuteronomy, and becomes even more uncomfortable to watch when she lays in the cradle, splaying and spreading?
Really, she’s uncanny.
Not that you’re supposed to ask many (or preferably, any) of these questions. It don’t matter anyway.
A quick rant, since Koei continues to takes the piss hard with their business policies, because even now that they don’t have to necessarily physically reprint a game for the expanded/upgraded… they still charge obscene prices, pretty much making more sense to wait for a price drop on the physical edition of the upgrade/expanded game.
So after Sega decided to let the internet hivemind make artistic decisions for its Hollywood blockbuster movie based on its most iconic franchise, after that FX studio fixed the ghastly design Paramount was originally gonne use for Sonic (and got axed, as proof that karma is a phantom under capitalism), after the delays from late 2019 to now, the live-action Sonic The Hedgehog movie hit theathers.
The premise here sees Sonic as an alien who escaped to Earth from his home planet after being hunted for his powers, and hides for years in a little town in Montana called Green Hills, until he accidentaly causes a power outage, prompting the authorities to send the eccentric genius known as Dr. Robotnik, and Sonic has to run for its life, helped by Tom, the local cop who accidentaly discovers him, in a quest to recover the lost magical rings.
I was skeptic and waiting for this one to be a regression after the Detective Pikachu movie, and it’s Sonic, there are legitimate reasons why the series has this sketcky (at best) reputation nowadays outside of the 2D style releases. … and sadly i wasn’t too far off. Mind you, it actually fairly good as an adaptation, with pretty much all elements associated with Sonic displayed or worked into the plot, but it’s also a very formulaic kids movie at heart (no “liar reveal”, thankfully).
And while having Jim Carrey back to chewing the scenery with mighty gusto like he did before is nice, he isn’t given very funny lines, and it all feeds into the 90 nostalgia this movie leans heavily on without trying much on anything else.
It’s not bad, at all, but i’m not gonna say it’s decent just because we are trained to expect weird baffling shit from Sonic as a brand.
So this is basically a horror reimagining of a 70’s/80’s tv series, one i’ve never even heard before i stumbled upon the listing of this movie, but i guess if children shows like The Banana Splits can get remade as horror movies, it’s fair game for everybody.
The premise centers around the eponymous, remote tropical island, where the mystical Mr. Roarke (Michael Peña) makes the most secret dreams of his guests come true. But as the fantasies morph into nightmares, the captive guests have to solve to mystery of the island if they want to escape it, and the true reason they were all brought there.
I frankly don’t know or care if this is a “needed” or random remake of the source material, but even so, i could see this movie working even without the horror elements, which at times they do spice things up a bit, but on other occasions are so tacked on and clichè to the point of being just laughable, just thrown together into the supernatural thriller-drama cauldron, using the premise to link together scenes from different genres (a bit of Saw, a bit of war movie, a bit of heist movie, a family drama) in a coherent way.
And it works, it’s what i would classify as “movie meatloaf”, but it’s entertaining, fairly well acted, has decent characters, but it should (and could) have been shorter, as the last act drags on by using horror cliches, and it’s odd how mostly bloodless it is for a horror movie, not that this one actually needed Braindead/Dead Alive levels of gore, or horror elements to begin with. It’s not a case of “neutering for the sake of PG-13”, it just a story that could have done without being horror “flavored” and not lose much.
First off: i didn’t hate Suicide Squad, but boy it was bad, not the worst, but still quite bad, and was so widely panned i’m kinda surprised they even bothered to go through with this… sequel, i guess.
It takes place after Suicide Squad, but aside from a passing comment from Ms. Quinzell herself, it’s basically it’s own movie, focusing on Harley Quinn, who breaks up “Mister J” and goes solo, at first trying to survive without the impunity she had for being with Joker, and then meeting with three female anti-heroes/vigilantes (Black Canary, Huntress and a cop named Renee Montoya) that are searching for a girl named Cassandra Cain, also hunted by villain Roman Sionis, better known as “Black Mask”, who has a plan for taking control of the city’s criminal underbelly, now that Gotham is Batman-less.
While it retains some of the aesthetical flair of the “previous” movie, Birds Of Prey is a different beast, as in it actually knows what it wants to be, and its highly confident in itself, just as much as Margot Robbie’s perfect interpretation of the crazed anti-heroine, with a fun comic book atmosphere and the whole “magenta rebellion” visual style that you could have easily made this an animated movie (and there is a very nice animated prologue).
That and it actually understand that you can do a movie about “girl power kicking ass” and not undermine your own point by quasi-neutering your vision, as fight scenes are quite fun and are deciliously leaning on the savage side (without going randomly overboard), with plenty of arms and legs broken in slo-mo, fun coreography and setpieces, and a decent story told by and for the qwirky arlequin of Gotham. At times the quirkyness is a bit grating, i gotta say, but still charming.
The director of American Beauty and Revolutionary Road (also behind the last two Bond films, which i simply didn’t see) is back to the war epic 25 years after it’s own Jarhead, so yeah, it’s quite understandable all the buzz and expectations surrounding it, but i gotta be honest, i wasn’t exactly hyped, since the self-explanatory title tells you right away it’s set in WWI, but still, a more interesting proposal than going back to WWII (or Vietnam) again.
Set at the zenith of WWI, the film centers on two british soldiers stationed in northern France, Schofield and Blake, tasked to deliver an order from HQ, which tells of an upcoming surprise attack planned by the retreating German army. With thousands of lives on the line, the two must race through the hostile Western Front to call off the attack, and for Blake is personal, as his brother is in the squadron they’re trying to save.
Like you’ve probably heard by now, the movie is shot in a faux one-take, as to create a seamless single and constant feed over the lonesome journey through the Western Front, to emphasizes the urgency and stakes for everyone involved, capture the atmosphere of the desolated wastelands of the trenches as the character themselves wade through the dismal sceneries and confront the realities of the conflict, despite their task being oblique and minor in the grand scheme of things.
And yes, it works beautifully, making for an intense and captivating experience that doesn’t just rely on a “trick”, as the events and characters are intriguing themselves, making for good drama that is enhanced by the amazing camerawork and directorion, as is the terrific cinematography, the movie is worth seeing on the big screen just for that. Not for Cumberbatch, as he’s barely in the movie.