[EXPRESSO] Choose Or Die (2022) | Curse Text Adventure

It was just a matter of time before we got a movie like Choose Or Die, not only due to the rising prominence of videogames in popular culture, but also as a byproduct of the various legends like the Polybius one, and inadvertly of the metacurrent, as i got whiffs of an hypothetical Pony Island X Jumanji reboot crossover (plus references to the Waterworld Atari contest and the likes) from this.

Plus, it has Robert Englund in it. Always nice to see, regardless of the movie.

The plot sees two friends booting up an old 80s videogame, intrigued by the fact there was a competition with money on the line, but nobody ever claim the rewards in the following decades.

To their dismay, they actually enter the game, Curs<r, and will have to survive the surreal world laying before their eyes, as the game it’s actually, literally cursed, and can alter reality with destructive, immediate effect, forcing the player to make horrible binary choices.

It’s a simple premise but it’s novel enough, and the execution it’s surprisingly good, the direction is confindent has quite the bite, taking advantage of the premise (in this case the videogame elements) in a straightforward but also quite interesting and satisfying manner, leading to some really grisly (yet not over the top in terms of graphical violence) setpieces that show off some style to boot.

The likeable characters (especially the main protagonist), and compact runtime round up the package, making Choose Or Die a very nice surprise, overall, especially for Netflix’s often lacking offerings in terms of horror films.

It’s nothing special or deep, and maybe it was a bit longer it could have actually explored in any depth some of its themes, but regardless, a solid, fun, fresh teen horror romp with some pizzaz.

Resurrection (1999) [REVIEW] | In Lambert We Trust

You might or might not celebrate the upcoming festivity, be indifferent, but in the spirit of the holiday, let’s take a break of sorts and on this today go away from the non-budgets or the endless parade of director-actor-producer-writer one-man homegrown created film featuring either a giant or man-sized rabbity thing (NOT of Purcellian’s descent) going around killing people.

We already “did” Beaster Day/ The Beaster Bunny, and i will have that as a representative of the “ rabbit horror movies” subgenre, with 90 % of these belonging to the “no budget” category and often more than not just being more about rabbits than Easter, see for example the previously covered Bunnyman trilogy, which at least doesn’t pretend to be themed around the holiday (as it isn’t).

So instead we’ll talk about the 1999 crime thriller Resurrection, about a detective (played by Christopher Lambert) and his partner (Leland Orser) hunting down a serial killer emerging in the weeks preceding Easter, with the blasphemous plan of creating a new Jesus Christ by sawing together body parts taken from his victims, carefully selected by following the canon, literally.

I’m honestly surprised how – aside from the tired zombie jokes – there’s barely anything in terms of actual horror movies using a similar or the same macabre idea of “my very own flesh boy, JC”, or the theme of resurrection that’s the main point and what this holiday celebrates/it’s about.

And for a nice festive surprise, it’s actually a pretty decent detective thriller, and a solid film overall, the horror element is strong, the idea of the “DIY messiah” is quite grisly and unsettling, with some good gore effects, and yes, you get to see the final frankensteined flesh conscruct, quite the thing.

Sure, it ain’t too original in terms of characters (and the flashback of the incident involving the main detective’s son it’s so trite that becomes unintentionally kinda funny, given how cheesy it is), but it’s well acted, it has a recognizable cast with great actors, even David Cronenberg acting as the red herring creepish pastor, and Russell Mulcahy’s direction (with this movie marking his continuining collaboration with Lambert after the first two Highlander movies) it’s fairly gripping, hitting all the expected beats of the detective thriller flick, with the fake outs, the religiously obsessive serial killer leaving fittingly themed Bible references on the victims, supported by the great cinematography of Jonathan Freeman and decent dialogues with a few memorable quotes.

It’s no masterpiece, but it’s a really robust offering, definitely in the decent-to-good tier of detective thrillers, it has a very young looking Christopher Lambert in it, and to seal the deal, it’s most likely streaming on Amazon Prime Video in your neck of the woods too, so if you like the premise and-or don’t want to bother with crappy Easter themed horror movies, this is an easy recommendation.

I don’t have much to say about this, in all honesty, but in this case i’d say it’s a good sign, and i’m not gonna inflate this review for the sake of it.

[EXPRESSO] C’Mon C’Mon (2021) | Kids Know

I’m not familiar with Mike Mill as a film director, but it’s shot in black and white, it stars Joaquin Phoenix? Indeed, quite the easy prey we can be.

Though, “prey” it’s honestly unfair. It’s a movie with ambition and that wants to investigate upon important themes like parenthood, family dysfunctions and all those entangle, from the constant struggle it require to the its “failings” and how it affects the children in return.

The premise for this is set as Johnny, a radio journalist famous for his interviews and documentaries, goes on a tour of the United States asking kids from varying cities and background about themselves, their fears and hopes, their outlook on the future, etc etc.

One day he gets asked from his sister to take care of his nephew Jessie for a few days, as she has to help her husband to deal with his recent bout of mental illness, so Johnny takes Jessie with him on his work days, and the two form a very special bond.

There’s the familiar dynamic of “not that mature adults with way too mature kids”, and the themes aren’t exactly unimportant, but honestly the films feels way too ponderous on the fact that “kids are people too”, and the way this dynamic works in here feels kinda contradictory in terms of responsability and parenthood, as the adult has never enough pulse to practice some of its own teachings, as Jessie never shuts up or its reprimended, but he’s overindulged even over the smallest, tiniest misunderstanding regardless.Even if it’s arguably less educative. Ops.

I don’t think this is a bad movie, but it’s a bit too cerebral, too fictitious at heart for its own sake, and bit boring at times, but its held together – despite these issues – by Joaquin Phoenix’s performance.

[EXPRESSO] Sonic The Hedgehog 2 (2022) | & Knuckles

Might as well, since i did watch the first live action Sonic movie 2 years ago, i didn’t hate it, so let’s see if there are some improvements or whatever. Shame that since it’s dubbed here i won’t be able to hear Idris Elba voicing Knuckles, but what can you do?

After banishing Eggman/Robotnik into another dimension at the end of the first movie, Sonic and his acquired human family move to a peaceful town in Montana. Sonic tries to moonlight as a superhero-vigilante but as he causes more trouble by doing so he’s recommended to lay low and wait until his powers will be needed again.

Turns out that time is sooner than expected, as Dr. Robotnik comes back from his fungine dimensional exile, bringing a powerful creature known as Knuckles fighting for him in search of the fabled Master Emerald, while Sonic finds an ally in the two-tailed fox Tails.

To my surprise, this one (in a similar fashion to the actual videogame sequel of the original Sonic The Hedgehog game) is better, still nothing mind blowing, but it’s definitely a step up, not only as the story ups the ante (as expected), introduces more characters, but also has more lore about the world from where Sonic was born, with the owls vs echidnas wars and stuff.

It’s just more fleshed out all around, with even the human characters having some funny bits, the various elements from the game being integrated more into the plot, which is pretty much predictable all the way but quite enjoyable, in no small part thanks – once again – to Jim Carrey’s gargantuan serving of acting ham as Doctor Robotnik, but also due to the more substantial plot.

It’s honestly a decent family-kids movie with a 90s flair (deliberately and fittingly so).

[EXPRESSO] CODA (2022) | Teenage Fugue

I kinda hate the context surrounding this movie, as it forces me to basically aknowledge that the Oscars still matter somewhat… as in, i usually don’t even bother to check on them, they’re mostly pointless and become even more so as time goes on, but i did know of “the slap” and that this year this film won “best movie”. And since it just hit theathers here, figured i’d take a look anyway.

CODA is about teenage girl Ruby, the only person in her deaf family being able to hear and speak (hence the titular “Child Of Deaf Adults”), that at school enters the choir club, and discovers to have quite the beatiful and powerful voice.

She eventually has to make a difficultion decision: continue her musical training, follow her dream and go to a respected music college, or keep helping her family in their struggling business of fishermen, even more as she’s the only link between their family and the rest of the world.

I’ll say this: this is a good film. It’s a coming of age story that deals with hearing disabilities, but honestly does so very well, as it treats deaf people as people, not pity patron saints, actual people, while not weaseling away from the obvious obstacles and perception they receive from others, and manages to balance the drama-comedy ratio quite well, it’s not a mopey affair at all, the characters come off as real but can be quite funny. I really liked the father, what a jolly fellow.

I’m glad i did go see CODA, i am, i do think it’s a good film, overall, but it’s honestly nothing special regardless of how you slice it, even more since it’s a remake of the 2014 french film La Famille Bélier.

Still worth a watch, anyway.

[EXPRESSO] Morbius (2022) | Dr. Acula, MD

The “Sony” side of the Marvel movies now moves from fairly popular and well know Venom to a lot more obscure one, Morbius. General audiences sure aren’t familiar with him, myself i barely know of him as a saw a high quality collectable statue as an upcoming item years ago.

Which is good, makes sense to make movie about lesser known characters from the huge roster of Marvel’s back catalogue (with beloved popular actor Jared Leto in the lead to also ensure huge turn-out) and this one if nothing else follows the trail of the two Venom movies, as in it’s an anti-hero, the doctor Michael Morbius, plagued by a rare blood disease and wanting to save everyone with his illness, Morbius takes a desperate gamble in a remote cave with bats.

What seems to be the long awaited cure turns out to be also a curse, as he start developing a craving for human blood and powers akin to a vampire bat.

If Venom was a reminder that superheroes movies could be sketchy but still entertain despite having a lot of problems, Morbius it’s a throwback to the early to mid-2000s era of the genre, as in, despite a lot of money in effects and a fun premise, they often turned out irremediably boring as shit, lifeless despite the fantastical elements, and a pile of hot garbage overall.

Formulaic, tiresome, boring everything, from plot to characters to themes, even the shitty fights way too overreliant on FXs (complete with an underwhelming final confrontation), Morbius has it all, takes itself seriously, and sequelbaits hard to boot.

You don’t always need to be good or perfect, but when everything it’s so shoddy, trite and not very interesting, at least you could be entertaining.

This is sadly just boring garbage. Pity. 😦

Kraa! The Sea Monster (1998) [REVIEW] | Pizza Sentai Aliens To The Rescue!!!

Last year we ended Giant Monster March with Zarkorr!! The Invader, so it’s only right to end this year’s run with the other direct-to-video giant monster movie produced by Full Moon Entertaiment (under their Monster Island Entertaiment label) and directed by Aaron Osborne, Kraa! The Sea Monster.

Always gotta scream your title, to be sure.

The plot sees the intergalactic overlord Lord Doom, master of the Dark Planet, Proyas (likely still salty over Gods of Egypt’s reception), send the giant monster known as Kraa on Earth in order to destroy and conquer it. A squad of the intergalactic teen guardians known as Planet Patrol tries to intervene, but it’s attacked by Lord Doom and so they enlist the only available agent, Mogyar, to reach Earth and destroy Kraa at all cost, even with the help of the planet’s inhabitants if need be.

Continua a leggere

Shikari (1963) [REVIEW] | Circus Cyclops Bollywood

Meant to get around this one last year, but this time i did manage to find a way to watch it with subtitle, as i don’t speak hindi, and what could be called “the Indian King Kong” – to no one’s surprise – was never dubbed or re-released westward. Still easier to find than the dreaded Bacalhau.

Yep, among the many King Kong knock-off, there’s an old Bollywood (kinda) version from 1963.

Gotta love the shit-not giving use of stock footage “ice skating ballet girls, chimps & clown” that a crowd in India it’s supposedly watching, sure it has a dissonant color that makes it more even obvious, but who cares. And it’s not just 1 minute or two of stock footage from a non-indian ice skating show, when the head of the circus and the sponsor set down to see it in order to understand why it’s supposedly taking away business from them… you’re gonna see a good chunk of the show.

Well, at least we start the movie with some ape action, but not of that kind.

Continua a leggere

[EXPRESSO] Belle (2021) | Every Me And Every U

You know what, i did have some expectations from Mamoru Hosoda’s Belle, as i did quite like Mirai, and i hoped the streak would continue… and it kinda did.

That it, when i wasn’t baffled by the script “skipping” to the main scenes but forgetting to introduce actually crucial information that would lead to said scenes, as Hosoda’s ambition it’s sadly overreaching, and the final result really lacks cohesion, coming off as both overwrought and undeveloped in some aspects. Which is a goddamn shame because the premise, the themes and the overall concept are pretty damn good, but are elaborated on in a way where there’s too much to it.

Belle it’s about the 17 yo Suzu, a very timid and shy girl who has lost her mother and lives with her father in a rural small town. One day she receives an invite to “U”, an advanced and immersive social network with millions of users, receives the avatar of “Belle” and – with the help of her tech savvy friend – becomes a sensational hit singer. But soon she meets with a reviled user with the avatar of a dragon-like beast, hunted by U’s “police force”.

The animation is pretty good, the visuals are quite nice and sometimes pretty dazzling, the music – a big part of the movie – it’s also good, some scenes are quite good, so it’s frustrating how it’s dragged down by the oversprawling script, which makes some questionable choices and really could have used more than a trimming to flesh out the characters betters… and to explain how the hell some characters – out of the blue – know plot crucial information, among other things.

Overall, it’s a decent movie, but it’s too all over the place for its own good and ambition.

[EXPRESSO] Licorice Pizza (2021) | Arcadia Of Our Youth

About damn time.

I wondered if it was even worth making this review, as i’m not here to be contrarian for the sake of it, i love P.T. Anderson works, and this one it’s no exception.

What are you reading now it’s essentially just to tally up the word count, not that you can give a well deserved anylisis of a movie like Licorice Pizza in 300 word or less.

The short version: absolutely recommended, without a doubt in my heart, excellent work, might even be a new masterpiece. GO SEE IT NOW.

Soldiering on with the “facade”, it’s very typical in many ways for the director: the San Fernando Valley circa mid-1970s’ scenario, the ensemble cast, etc.

And compared to his previous movie, The Phantom Thread, Licorice Pizza goes for a much simpler set up, as in a coming of age love story, girls meets boy, but aside from the shared trait of the notable age gap between the two, this stands as a complete opposite, as love it’s not sweet poison laced prison of the desire, but it’s the youthful, energic love of life itself.

Of course there is more to the plot than “girl meets boy, they fall in love”, as the high school aged boy, Gary Valentine, it’s actually a very young actor meet this far older girl, Alana Kane, with the two forming a strong friendship, to the point she becomes involved with Gary’s new water bed selling business, among other odd adventures.

It also confirms P.T. Anderson ability to craft a very different movie than its usual output, going for a very energetic, loving, positive tale of youth and love that packs a lot of laughs, incredible writing, excellent performances, while also not compromising on the director’s vision, style or substance for that matter.