[EXPRESSO] John Wick 4 (2023) | Knights Of The High Table

Wasn’t sure if to review this one, but i eventually watched the first John Wick on Netflix for the first time, so yeah, whatever, gonna marathon this series days before seeing the new one in theathers.

So apparently the series as a whole has people kinda divided, but honestly i’m not quite getting the confusion as even the first movie was chock full of ultra stylish ultra violent revengeance that drew from many influences, indeed was a revitalizing kick in the ghoulies for the action genre, and already seemed like it was the best adaptation of a violent cult comic book that never was.

For the 4^th outing, it’s no surprise we get even more focus on the mythology of the assassins’ codes and the rules of this world that invites the same questions as WH40K does (“who cooks the meals without being bound via a blood pact to some finger collecting mob boss, etc.”), as we continue to see John Wick take on the High Table itself, after basically declaring war against it before.

Honestly i like these movies and how they try to up the ante every time, but if John Wick 3 seemed a little longer than necessary, Chapter 4 might result as downright bloated, as it pushes for a nearly 3 hours runtime, and could have benefitted to trim some of its many spectacular fights that sometimes go on so long they kinda start to grate on the audience a bit.

But i can forgive the excess as there’s plenty of very good action, and the pretty satisfying ending making it clear this is the intended end of the franchise, so hoping they will just stick with the already planned spin-offs, i’d say John Wick 4 it’s indeed quite “the blast” to end the series with.

Nezura 1964 (2020) [REVIEW] | #giantmonstermarch

Would it really be a Giant Monster March if i didn’t reserve a spot for a japanese monster movie?

This time though we’re going for a triplette, as this one does not only – indirectly – involve the Friend Of All Children himself, but also it’s a dramatized biopic of a now defunct movie studio regarding the failed production of the Giant Horde Beast Nezura, which was slated for a 1964 release in theathers, but was never finished or completed.

Which led the company, Daiei, to try again in entering the kaiju market, this time with a more shameless but also safer choice of a reptilian creature, a giant turtle with fangs, the ability to travel through space by rotating firejets when retracted into its shell, Gamera, and squarely aim its movies at a far younger audience than what the Godzilla series targeted at the time.

But before he could fly into the deep abyss of space to defend all the younglings of the universe, Daiei was indeed planning something else, something else that wasn’t original at all either, as the producers were inspired by Alfred Hitchcock’s The Birds, with the idea to replace the swarm of avians with one of rats.

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Devil Monster AKA The Sea Fiend (1936) [REVIEW] #giantmonstermarch

Really feeling the old with this one, but i don’t really care since it’s one of the few – as far as i know, the only – monster movies about a killer manta ray. And thankfully it’s so old that it is in the public domain (in the United States at least) and can be found at the Internet Archive… at least in his edited version released in 1946, which was apparently more focused on South Seas drama and also supplemented the 20 minutes of material cut from the original with stock footage of native girls, half dressed ones, which was oddly a loophole for the Hays Code prohibition on nudity by considering them “etnographic scenes” of “native” life (the parenthesis doing a lot of lifting here).

The old art of technically correct nudity, the best kind of nudity.

Also, in a similar fashion to Universal’s treatment of their monster movies back in the 30s, there was a different Spanish language version shot back-to-back, called El Diablo De Mar, which also used some of the same actors and footage from the 1936 english speaking version, upon which we’re basing this review, and which can be found on Youtube at the time of writing.

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Big Octopus (2020) [REVIEW] | #giantmonstermarch

Ah yes, the forgotten Splatoon lore of kids now, squids now, and chinese movie makers bootlegging the Squid’s sworn enemies for feature length b-movies.

Or something about Octaman’s mom.

For one i can’t deny mainland China’s output of these monster movies it’s quite abundant, so i really could have chosen from the many of these “killer animals/mutated animals” that can be found online, but i picked this one, going by the international title of Big Octopus, because the name it’s so to the point, it’s good to see some takodachi representation and octopi are now a lot less represented, unless it’s a Lovecraft (or Lovecraft inspired) adaptation of sorts.

Or Splatoon, once again.

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[EXPRESSO] Shazam: Fury Of The Gods (2023) | Atlantomachia

Superhero time again, this time of the DC Comics variety, with the sequel to 2019’s Shazam, which introduced new audiences to the magic-powered hero and its origin story, before we got a DC Extended Universe entry related with last year’s spin-off film about Shazam’s nemesis, Black Adam, but honestly i’d rather not discuss of that movie again, what’s the point since their MCU attempt was such a mess that they hired James Gunn as well to reboot the entire thing?

So, talking about Fury Of The Gods, we have our boy Billy Batson and his foster siblings having to face a new menace, the Daughters of Atlas (played by Lucy Liu and Helen Mirren), who have come to reclaim a world ending artifact.

As you can guess, thanks to the new foes we get the explore the lore a bit more, learning of the origin of their powers, the world of Greek gods long gone, which also means it’s a great “excuse” to have a pandemonium style of monsters from said mythology run amok, from cyclops to harpies and manticores, and like the first you can tell this is from a horror director, because a lot of people get straight up killed (or worse) even in the prologue.

I was very pleasantly surprised by the first Shazam movie, and this one it’s just as good, being also a n everincrensigly rare specimen of superhero movie that isn’t plagued by tonal issues, has genuinely funny comedy bits (and the style of writing fits more with the protagonists being young teens), and balances well all of the aforementioned with the more emotional moments, which do feel earnest and not just there because the template says so.

Third act could have been a lil’ shorter, but still, lots of silly but genuine fun.

Galgameth (1996) [REVIEW] | #giantmonstermarch

We already discussed the best known film from legendary South Korean director Shin Sang-ok (whom sadly passed away in 2004), and i feel one really deserves the epiteth of legend given the history behind the 1985 Bulgasari/Pulgasari, especially as it feels like a last middle finger to the then current North Korean dictator, as him and his wife (kidnapped to make movies for Kim Jong-il, again, not joking, at all) managed to escape while at a Vienna’s film festival.

We went through the whole ordeal for that movie’s review, so i’m not gonna repeat myself too much on this regard, but i do think we’re long overdue for a movie about the whole ordeal, since it’s a perfect case where reality is crazier than fiction.

After his escape in Vienna the director and his wife became US citizens for a while, and during the 90s he made some movies under the pseudonym Simon Sheen, including some “3 Ninjas” sequels, and today’s feature, the ever-so-obscure Galgameth, also known/released as The Legend Of Galgameth or The Adventures Of Galgameth, of course it has alternative titles.

And Galgameth is of interest for us because director Sean McNamara basically recycled the script from Shin Sang-ok’s Pulgasari/Bulgasari remake (the original 1962 Pulgasari is sadly a lost film) but made it into a sword and sorcery film for children. As you do.

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[EXPRESSO] Empire Of Light (2022) | UKinema

From director Sam Mendes (American Beauty, Jarhead, 1917, Skyfall) comes this drama set in 1980’s UK, about the cinema Empire, which used to be a majestic theather with 4 screening rooms (alongside a restaraunt), but is now on the decline due to recession and the cinema’s owner, Mr. Ellis, not really doing much to get the estabilishment’s luster back.

The soul of the place is actually his segretary, Hillary, who is the real glue holding together the place, the workers and the morale with her dedication, despite her ailing mental health and questionable love life, and she is struck by this new recruit, a black man called Steven, as they forge a difficult but sincere relationship, all made more heavy by the overwhelmingly racist tendencies that spike during periods of recessions like this period in british history.

With the expected takeaways of how cinema can be a healing escape, a brief one , while also serving as a way to mend together a broken populace that during recessions and hardships are quick to scapegoat minorities with all kinds of violence, and despite sounding a bit preachy and kinda obvious, they work as the movie takes its time to fully flesh out the characters, their relationship, their issues and how they relate to the turbolent fragment in time the movie it’s set in.

And with a top-notch cast of familiar faces giving out great performances, that helps as well. 🙂

Empire Of Light it’s definitely one of those movies that will require some patience due to arguably slow pace in its first half, but it’s worth waiting for the movie to get into gear as the set up does pays off, and the drama does pack quite the punch.

Maybe more “familiar” material than some might like, but still quite good.

Village Of The Giants (1965) [REVIEW] | #giantmonstermarch

Starting this Giant Monster March with one of the lesser discussed Bert I. Gordon flicks, Village Of The Giants, which also marks the first time our notorius B.I.G would harass poor H.G. Wells, specifically his novel The Food Of The Gods, which would later adapt again in a slightly “less loose” manner with 1976’s Food Of The Gods, spawning a fittingly loose sequel 13 years later, Food Of The Gods Part 2, which didn’t see Bert I. Gordon involved at all, and has somehow even less to do with H.G.Wells’ book.

Good old Bert this time basically used the book reference only so he could crib the idea of people turning into giants… this time via a generic “goo” chemical substance that falls in the hands of a group of teens, making themselves gigantic and decide to rule over the town and its grown ups using this newfound size, because they’re teens, and this movie has a lot more to do with Horror At Party Beach than Food Of The Gods, since it has a lot of elements from the “beach party film” which was indeed quite en vogue at the time, and also about to fizz out before the 70s came to be.

I haven’t strong feelings about the genre, it gave us Beach Blanket Bingo but also Arch Hall Jr. strumming his fuckin guitar while his face looks like they embalmed a Elvis impersonator in wax, and also the classic MST3K episode riffing his ass and teaching the evergreen lesson of watching out for snakes, even when the dub is off sync and the movie might not even have snakes at all.

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[EXPRESSO] Demon Slayer: Prelude To The Swordsmith Village (2023) | Stock Breathing Style (UPDATED)

Okay, i’m not gonna sugarcoat it, this feels a bad joke to pull on the audience.

Sure, this was billed as a compilation film of the second season with the juicy carrot being the inclusion of the first episode from Season 3 of the Demon Slayer anime (covering the Swordsmith Village Arc), which will be airing normally this April, i’m not complaining about that.

But it’s not a compilation of the second season, it’s actually the final 3 episodes of Season 2 plus the never seen before episode 1 of the upcoming third season, and i would question it even being a compilation film, since they did slap the aforementioned episodes together, didn’t even bother to cut out endings, title cards, eyecatches or do any noticeable edits for better narrative flow.

I can kinda understand why only these episodes, as they sports movie level quality animation and are even better to see on the big screen, but this is supposed to be a compilation movie, so it’s a matter of editing… and even then i struggle to use that word, as they mostly added a brief gist of what the series it’s about in form of text over reused footage, and recycled the opening songs over very brief montages of battles and events leading to the action packed finale of the Entertaiment District arc, which you’re thrown upon.

Could have added some voice over narration here and there to give more context than zero or actually summarize the events leading to that, insteading of bugger all.

At least it’s not an extra pricey theathrical release, but still, this is lazy and bad even for a compilation film, complete cashgrab.

Even if episode 1 of Season 3 is quite good, just wait for the season to air regularly as it will.

EDIT 14/03/2022: i was made aware that the original trailer for the movie DID specify the contents as the movie just being the last 2 episodes of Season 2 plus the first one of Season 3, i didn’t know that since why bother seeing the trailer for a recap movie, and many news outlets didn’t quite specify what exactly was in the movie (the ones here in Italy just advertisedit as “recap movie of the Entertaiment District Arc” or something generic and non-descriptive, for once).

So i upgraded my rating to Americano to refelect, as in, it’s at least what they advertised, though this doesn’t fix the fact it was clearly marketed in a vague way by many news outlets (by choice, a malicious person might suggest), nor my complains about it lacking any kind of basic edit of the reused footage,

[EXPRESSO] The Whale (2022) | Smiling Friend

Given the rounds this movie did on Cannes and signaled Fraser return after his career got curbstomped for daring to report abuse, i need not to introduce The Whale (based on a play by Samuel D. Hunter, whom also curated the script for the movie), or his director, Darren Aronofsky (Requiem For A Dream, Black Swan, Mother!, The Wrestler).

Nor to say i was indeed looking forward to this film since announced, with high expectations.

A comedy-drama about an english teacher named Charlie, suffering from acute obesity, as he struggles to do his job remotely, fend off the constant pain of existence caused by his condition, and tries to reconcile with his estranged daughter, whom he abandoned at the age of 8 to live with his lover Alan, trying to win her back somehow, while also being visited by a young missionary boing belonging to an armageddon type of christian sect.

So it deals with some extremely heavy themes of abandoment, death, unconventional love, manipulation and sickness, and even if you argue this one of those movie engineered to make the lead win awards for “best performance”…. this is indeed what one would call the performance of a lifetime, and it does not undermine shit when the movie at the core it’s such a brilliant, scathing flurry of emotionally heavy drama, equally brutal and sweet, with some sparse funny jokes that provide brief levity before ripping your ducts open wide once again, as the misery sinks deep and the plot sees the ambivalent characters scurry in and out the house where “the white whale” resides, revealing more and more traumatic sides of Charlie’s life.

It’s what one would call a real “tear jerker”, profoundly depressing and beautiful for it.

Really fucking good stuff, highly recommended, let’s put it this way.