Suddendly, another ninja rewrite appears in his colored jumpsuit, because i like the challenge of rewriting these, and it does become harder as these movies over time do indeed start bleeding into each other, even more as there are literal dozens upon dozens of these made by – or at least credited to – Godfrey Ho or Joseph Lai, which were very prolific during the 80s.
But this time it’s gonna be followed by a brand new ninja movie review.
Robert Eggers is back, this time not going for a psychological horror-thriller, but a way more straightforward tale of revenge, based on the legend of scandinavian prince Amleth (upon which Shakespear himself based his tragedy), here a young boy welcoming his father back, only to killed by his uncle for the throne and spouse. Amleth escapes, woving bloody vengeance.
Years pass, and as he wanders the lands as a berserker unit, he heards the name of his uncle and then concocts a plan to reach the isolated island where he scurried back some time ago, and exact his long held life-time wov made to his brutally murdered father.
And indeed brutal is the keyword here, as this movie really warrants the title of a “brutal viking epic”, as it depicts this nordic barbaric world inhabited by cruel men more akin to beasts, where pillage and murder exist on daily bases, villages hold ritual sacrifices (even human if need be) to appease their gods, mystical rites are held, witches reveal visions of inescapable fate, etc.
It’s that kind of barbarian middle ages, and The Northman sure as hell doesn’t shy away from showing raids, people being burned alive in houses (and a lot more graphic stuff), and it’s fittingly inhabited by refreshingly unapologetical, unflinchingly brutal characters that all perfectly fit in this world, as even what in other movie would be “the hero” it’s arguably even more despicable than the “villain”.
A lot of style (with Eggers’ touch easily recognizable in some weird psychedelic sequences), great characters, amazing atmosphere, superb cast and a captivating, graphic vengeance tale that enraptures from beginning to end.
It’s just hard to look away, even when a guy it’s getting an unrequested Skeletor-style “nosejob”.
To quote Nathan Explosion yet again: “Brutal”. In all the right ways.
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.
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.
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.
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.
We’re not doing Night Of The Lepus, i’m not feeling like talking about that again, and frankly i don’t have anything else to say about that movie, only that while not good, nor that intriguing and throughly laughable… in time i had a new found appreciation for it, after witnessing shit like Beaster Day: Here Comes Peter Cottonhell, also known as “The Beaster Bunny”.
I’ve reviewed this one before for the older italian blog, but it feels like it was aeons ago, i was more naive, i didn’t yet dive proper into the trashy abyss of the homegrown, DIY no budget cinema waters, where often you wonder why the direct didn’t direct a porno instead that week.
So here we have the counter-example, the mirror image of the Polonia Bros output, as in John Baccus mostly makes cheap “porno spoofs” of whatever random movie series or not, giving us stuff like “Playmate Of The Apes”, “Kinky Kong” or the surprisingly recent “Mad Maxine: Frisky Road”, while occasionally making horror stuff without “erotic” in the title, like “Frankenthug”, or “Bloodz VS Wolvez”, just shy at writing these in leet.
This is one of such occasions, where most of the effort is put into the pun-reference to Rankin/Bass’ Here Comes Peter Cottontail (of which this is extensively a parody, but i wouldn’t really known), and the puppet of the “beaster bunny” itself.
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).
Decided to dip my toes once again into the Netflix new releases, still not much luck.
The Bubble it’s honestly kinda sad as it has a nice idea, being a comedy happening on the set of the new movie in the fictional “Cliff Beasts” B-movie series, completely taking place in the hotel where the cast it’s quarantined in until the movie it’s finished.
The first problem is that The Bubble it’s a satirical comedy that not only loses all its edge as it dwells on the expected themes and almost comes off as hypocritical, poking fun at the movie industry when it was written in a rush in early 2021 in order to make itself relatable to the viewer, goes for a lot of comedy low-hanging fruits, and hopes the excellent cast of comedy actors would suffice.
The other problem is that it feels incredibly dated already and worse, it’s not really that funny, to be blunt.
It has its moments where it works, undeniably, so it’s not a completely laugh-free Netflix affair, and it’s not grating, but the straightforward approach and scattershot nature of the movie as a glorified series of improv sketches doesn’t help, and makes one wonder why the fuck it’s 2 hours long.
The self-awareness about content for content’s sake might have worked if it didn’t feel so depressingly leaning into the audience having compassion for it more than being entertained by, which gets extra depressing and ironic due to how incredibly ancient it feels out of the box.
It’s a shame because there could have been something to it, there’s an effort in making the premise work, but instead it comes off a depressing and kinda desperate comedy that even at peak freshness feel like it was imprisoned in a space capsule alongside Rita Repulsa.
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.
Wise Cafe (International) 