This one is an italian production directed by Ernesto Pagano, with some narration by Manuel Agnelli in the original italian release, and by Iggy Pop in the english/international one.
The documentary goes into the early discovery of the tomb of pharaoh Tutankhamun in 1922 by english aristocrat Howard Carver, talking about the impact on western popular culture the discovery had (including popularizing the “pharaoh’s curse” in various medias) and showing the preparations made for a London based exhibition that started in 2019 to put on the display the many treasures and relics found inside.
All with commentaries by various “talking heads” from the egyptian, italian and british side of things.
It’s not a bad documentary, necessarily, but it’s one that feels like it has to appeal to everyone, so it doesn’t quite committ to a certain direction nor goes into any detail. For example, in a docufilm about Tutankhamun you don’t learn much that wasn’t already common knowledge, you’d think they took the opportunity to actually go further and try to depict who this young pharaoh was a person (more than in a couple of passing lines, anyway), his lineage, the historical background he lived in…
Heck, i would have preferred some more footage of the exhibition itself (since due to COVID pandemic the tour stopped and Egypt decided not to move the artifacts out of the Giza museum), but nope, we have a cool narrating voice trying to fashion some kind of fictionalized “epic” scenes… only to then move to scenes of people slowly misuring, cataloguing and inspecting the artifacts.
It’s not “offensive” nor a complete bore, and it’s short, just 80 minutes long, but that exacerbates the feel this was made just to have something out celebrating the 100th anniversary of “King Tut”’s tomb being discovered.
You know what day it is: it’s that day when we post that image from Porco Rosso.
And since here in Italy it’s a proper festivity, i’m gonna take a small break instead of reviewing a nazisploitation flick to mock the punchable bastards, fuck em forever.
Also, it comes with the added benefit of you not having to read about Holocaust II: The Revenge (almost ironically an italian production, yeah), i don’t ever need to make these up, of course if Titanic 2 exists, anything goes regardless.
Really not feeling it when The Northman it’s out in theathers now here, so expect an EXPRESSO review of that out on Tuesday.
One might wonder why review Jump Force now, as it got “internet spanked” quite enough when it came out in 2019. Aside the fact i don’t need a reason to do so… Namco Bandai gave me a big one, by announcing they would remove the game from digital storefronts, alongside the 2 season passes, the DLCs characters and content by february 8th 2022, with online functionalities and features shutting down entirely by August 24th 2022, this on all platforms.
Now, i know this would be reason for joy to many, but i’m an archivist at heart, and while i won’t miss the microtransaction laden bullshit, i find it silly that they didn’t even managed to make a complete edition of it with all the content on disc, only the Deluxe Edition on Switch with the Season Pass 1 content baked in the cart.
So years in the future you won’t be able to play the Season Pass 2 characters at all, which isn’t exactly a loss given the game wasn’t good to begin with, but it’s even more soon-to-be legally lost content. The loss of the online functionalities was inevitable, to a point, but the rest not so much.
Think watching The Star Wars Holiday Special each year it’s not the hipster “christmas tradition” it was before? If so, i will propose something that’s also not new, as it has a cult following, but very very smaller in comparison, since it doesn’t have the Star Wars branding.
Santa and The Ice Cream Bunny.
If this didn’t trigger a PTSD-like reaction, i’m here to share my cursed knowledge upon you, because in a way this fits the Christmas period, and its deranged insanity.
Hindsight it’s a terrific thing, otherwise one wouldn’t be able to say that we’re at a point where 3 different “Halloween 2” exist, this one actually being a follow up to 2018’s Halloween, a direct sequel to the original film that did so well to eventually become the first part of a trilogy by David Gordon Green, with this Halloween Kills being the middle part and Halloween Ends the conclusion.
The 2018’s movie was honestly pretty good and i would have stood as good conclusion to this continuity, but the original Halloween II already proved there’s no final rest in the industry, so i’m not instantly miffed they are making “Part II” again, this series had far worse ideas than that, as most horror fans already know the franchise’s incredibly messy history.
So the plot sees Michael Myers survive the huge fire at the end of the 2018’s movie, and then go back to Haddonfield, Illinois, where everything started, and killing whoever he stumbles upon.
This enrages the locals, haunted for 40 years by Michael’s legacy of terror and finally decide to take the matter into their own hands and end their nightmare once and for all.
I’ll start with the positives: there’s a lot of kills, great gore effects, and it’s pretty entertaining.
…. if you care about anything else, you won’t find it in Halloween Kills, as the plot could make some sense on paper but it’s senseless ridiculous gibberish that pisses all over the good stuff the 2018 movie did, and welcomes all the bullshit it avoided. With the subtlety and meaning of a hammer to the scrotum, nothing at stake, dumb ass characters that should absolutely know better.
One step forward and six backwards, so Halloween Ends will have to work hard to be worse.
So, a month or something ago the new anime adaptation of Shaman King dropped as a Netflix exclusive, and after watching the first 8 episodes, i think there is something to be said (in a non-elaborated, just “vomiting my thoughts without much editing or revision” way) about Shaman King and its legacy, and how this new adaptation is indeed trying to propose a very old shonen series to modern audiences, but staying as loyal as it can to the source material, which is nice but it also shows how old and fairly ancillary feels this series today, with many others Jump series that came out at the same time, later or before and still left a bigger, longer lasting mark on the genre.
Remember how i touched upon that plan Toei had about putting out One Piece TV specials in summer and winter, with abridged retellings and original stories?
Well, since we got two original stories back to back with the two previous TV specials, guessing it was yet again time for abridged remakes of older One Piece material was a safe bet to make.
Indeed it was, heck, and “safe” it’s also the perfect way to describe the choice made here.
Or stale and creatively lazy, as one would preferably talk of it, because we already had an East Blue story arcs abridged recap to be found in various bits of other “remake recap specials”, we didn’t really need to make another one of these so we could insert some previously not redone parts of the story. And even that comes off as a compromise on top of a compromise, since it’s only covers the origin or main arc of Luffy and his first four crewmember, Zoro, Sanji, Usop and Nami.
Writer: Hirohiko Kamisaka, Jin Tanaka, Tomohiro Nakayama
Runtime: 108 minutes
I’d say “SPOILER ALERT”, but it’s not like the title itself even tries to hide it, with the subtitle being “Overcoming Ace’s Death”, and since i have seen people parade this “spoiler” arounds anime cons pretty much anywhere (combined with Jump banking on his life status for later derivative works, like One Piece Novel A).
That aside, with “3D2Y” we’re finally getting started for real, finally talking about quite interesting and intriguing stuff, with some ambition and scope to it, instead of just being an abridged retelling or a cute filler-type mini-story, and utilizing the 2 year time-skip to its advantage, not only to evoke an emotional response, but to fill some of the narrative “gaps” left in the story.
In this case, the special is set during Luffy’s training on Amazon Lily, as he learns to control Haki/Ambition from Silver Rayleigh on the island of Ruskaina. Suddendly Navy ships are being attacked and destroyed by Byrinn World, an incredibly powerful pirate that was betrayed by some of its crew members and was held in Impel Down, but escaped after the Paramount War/Marine Ford events. Now reunited with his older brother and the rest of his crew, World kidnaps Boa and Marigold Sandersonia (Hancock’ sisters), so Luffy and Hancock set out to rescue them from World’s ship, while the other Warlords Of The Sea are summoned to deal with the issue at hand.
As already pointed out, E3 coming back this year was kind of a big deal, as the pandemic made it impossible to be held as usual in 2020, and even with the usual croc of shit that the event is and promotes… it’s a ritual, it’s a tradition for many people with huge interest in videogames, it’s a communal experience.
But i wonder if one year of non holding the event made many companies just forgot what the hell the expo was even supposed to be, like old people forgetting something they usually did out of habit because they had to stop doing it for a reason or others.
Mind you, E3 history is full of cringy – and often legendary – conferences often full of people that barely could speak english or had any PR experiences, overblown lies and hype for everything, announcements of announcement without nothing to show for titles of interest, so it’s telling this year’s output was a complete mess.
The final piece of rambles-recap-highlights i’m gonna write about this E3 edition… before the actual “final piece” of considerations and overall evalution.
First the long awaited Nintendo Direct, often topped only by the community basically setting themselves up to expect the moon and bitching about when they don’t get it…. or when they get it, because a certain set of people enjoy ranting and being miserable about the videogames they say to love so much, instead of actually playing said interactive entertaiment. You can’t please people that don’t even know what they want.