[EXPRESSO] Joker: Foliè A Deux (2024) | Pierrot Le Bore

Cards on the table: i didn’t like the first Joker, but it was influential, and more importantly, it made money, also i guess Todd Phillips was still bummed about people calling his (mostly) garbage comedies antiquated garbage, so Joker 2 it is.

Though i will admit that, on paper, the idea of a Joker sequel taking into account the reception of the first movie, as it basically became an unintentional big budget “incel manifesto”, deliberately not giving the audience what it wants, in order to do a character assassination of the Arthur/Joker persona.. it’s quite the interesting idea.

Problem is, it does so over a grueling 2 hours and 20 minutes of Todd Philipps exposing the thesis/message that should have been obvious in the first Joker, overexplaining it over and over, now wih musical numbers that are made to be loathed by musical fans and haters alike, so overabundant and pointless are these song inserts with lyrics either too vague or on the nose.

Just to make the whole thing feel even more of a punishment, not only for the people that saw the first movie as an endorsement of Joker’s actions, as Foliè Au Deux doesn’t have anything else of substance to add or say to compensate for what it purposefully sets out to deny… probably because it would have contrasted with the need to make people hate the film (and by extension the Joker persona) on purpose.

Which it does accomplish greatly.

I almost wanna like it for its unflinching committment to its unpopolar vision, but there’s still no amount of “post-irony” that changes the fact this is a boring overly long slog, too content to having “outplayed” its audience, too happy to wallow in its own smugness on having “made a point” to care about being entertaining.

One Piece Pirate Warriors 4 – DLC Pack 5 PS4 [DLC REVIEW]

Before the final reveal in december, i honestly hoped this would have been a One Piece “Film Villains “DLC packs, but nope, the “reveal” (the silhouette gave it away since we knew of the this second Season Pass existing in trailer announcement form) of Uta was simply to indicate this was gonna be a One Piece Film Red DLC characters pack.

Which makes sense, since Film Red was beyond successful at the box office, it was arguably the goddamn best One Piece film since Film Z, and it also big a vehicle for j-pop singer Ado helped it making it the 6th grossing anime (and japanese) film of ALL TIME so far, so yeah, you bet your ass the production committees and suits were gonna push it into related One Piece products.

Still, it’s a shame because i do think a One Piece film villains DLC characters pack would have also sold really well if it picked some fan favourites like Zephyr or Shiki, but alas, this is not the case. Maybe in Pirate Warriors 5, whenever will that materialize.

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[EXPRESSO] Inu Oh (2022) | Rock The Biwa

Masaaki Yuasa is back in cinemas after 2019’s Ride Your Wave, as in it finally hit theathers here, and this time he’s ready to bring in a tale of Heike era Japan’s Sergent Pepper Magical Mystery Tour, minus the Earth Wind And Fire collab and the quest for the musical instruments, but with fantasy elements set to blow the minds of the 14^th centhury Japan’s musical scene.

Set in ye old medieval Japan, the movie follows the friendship of a blind musician Tomona, and a physically deformed dancer that calls himself Inu Oh (“Dog King”), as they travel through the Ashigaka era, performing in an odd troupe and rising to fame to their artistical prowess, despite them being ostracized by society for their appearances and differences..

It’s a fantastic and creative take on jidai-geki narrative, posing the question of what would it be if a rock n roll revolution swept through 14^th centhury japan, with the protagonists not only expressing themselves though fame and success, but also being literal mediums of ghosts from the Heike era that just want their stories told, to be heard, even if they don’t belong in the approved history chronicles the government is redacting and enforcing for the sake of unification.

It’s a beatifully, psychedelic animation musical that pays homage to classic rock music but doesn’t just pay lip service through the surreal and stylish visuals Yuasa is known for (handled masterfully by Science Saru), the amazing musical numbers as they retell the stories of spirits that history forgot, an ode to the ones on the margin, the rejects, the exponged, and how despite everything, someone will come to give them a voice, to tell their tales through the power of art.

All in a packed yet concise 100 minutes runtime.

A masterpiece, highly recommended.

Pinocchi-O-Rama #9: The Adventures Of Buratino (1975)

For this month’s issue of Pinocchi-O-Rama, we’re going back to a “combo mix” of sorts.

We’ve seen live action adaptations, we’ve seen adaptations of the russian version of the novel, The Adventures Of Buratino/The Golden Key, we’ve seen musical adaptations.

So yeah, time to squish them all together for this 1975’s forgotten cult classic Soviet live action children musical TV movie adaptation of Buratino/Pinocchio shenanigans, made by Belarusfilm and released as a 2-parter, because media trends are cyclical after all.

Thankfully there’s no waiting for the climax as it’s almost a 50 yo adaptation, a fairly obscure one that thankfully can be found with hardcoded english subtitles on Youtube (fittingly spit in 2 parts, as well), and at the time of posting still is.

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[One Piece Film Retrospective] #15: One Piece Film Red (2022)

Yeah, bringing back the One Piece retrospective…. kinda, more like continuing it, with a full, detailed review of the last released One Piece movie, Film Red, that hit theathers in 2022, after the EXPRESSO review done at the time it released in theathers here.

For context, that year i was able to see the tie-in episodes of the series during the yearly Lucca Comics & Games convention in Italy, sadly i missed the early projection of the movie itself, but i did see the aforementioned episodes meant to tie-in to Film Red that detailed a young Rufy meeting a young Uta in Fusha Town when Shanks and his crew set anchor there.

Which are cute but as you would expect they’re not mandatory viewing in order to understand the plot of Film Red, it’s a big popular franchise, they’re not gonna risk alienating people who don’t watch or follow the TV series but do follow the manga, for example.

Who’s Uta, you might ask? But she’s the new character and protagonist of Film Red, a world famous livestreamer and renowed singer that is finally having a concert on the island of Elegia, ammassing a huge amounts of fans coming from all walks of life, be it Goverment soldiers, Navy officers or pirate ships, and of course the Straw Hats come too, as Luffy arrives there and reveals he and Uta were childhood friends.

And then he drops the bombshell that Uta is Shanks’ daughter.

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Pinocchi-O-Rama #3: Geppetto (2000)

Yes, we’re doing a Disney Pinocchio movie, but not the ones you might think of, since we’re travelling back to the dawn of the millennium for the kind of Pinocchio film that’s actually more common than you’d think: the musical. One of them, anyway, we’re doing some of the more intriguing ones later this year, today we spotlight a fairly forgotten made-for-tv musical starring Drew Carey and Julia Louis-Dreyfus, simply called “Geppetto” and released in 2000.

The idea – as exemplified by the title itself – is a nice variation on terms of how to retell the story of Pinocchio, because one could reasonably argue how odd that the narrative prioritizes following a character who’s personality basically was “pre-loaded” since “birth”, while leaving mostly in the background the only character that has past and would feasibly benefit from an arc.

At least, that’s what a superficial analysis might lead one to believe, but there is some truth to it regardless, because Geppetto is important to the narrative, and after all he’s the one who wanted so badly to be a father, albeit not in the way the story does.

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[EXPRESSO] The Cuphead Show (Season Three) 2022 | Devilicious

I’m gonna be brutal and make it extra clear (in case you didn’t read the reviews of the two previous season/slices/cours): i’m kinda glad this is the end and i hope there’s not more of this to come.

Unsurprisingly so, the whole cliffhanger with Mugman dragged to literal hell by the Devil and Cuphead finding a way to rescue his brother is immediatly dealt with in the first episode, though at least it’s a longer opener to better make the Devil… basically Squidward. Even more than before.

After that we’re back to the usual episodic fair, but there are still some notable moments that also elicit some legit laughs even for the older audiences, and guess what, once again it’s due to the Devil being such a big pile of luciferian ham.

Just in time for some delightfully long christmas themed shenanigans, with a 30 minutes Devil-centric Christmas special that also happens to be the best episode, hands down.

Actually, to be fair, this season does involve the Devil more into the various episodes, might as well since his presence stopped being special, and he still the best character by far (alongside Porkrind and King Dice, of course).

As much i really forced myself through all of The Cuphead Show more for completition sake after season one, i can’t deny this show can still whip up some intriguing visuals and show off some nice editing and composition, alongside some decent jokes, not too bad for something that it’s aimed at kids and just isn’t interested in the amazing opportunity brought by its license…. to do anything that resembles the Cuphead “inspiration materials” aside from the looks.

It’s a Netflix style adaptation of a popular franchise/brand alright, but keeping all THAT in mind… it’s alright, it’s inoffensive. It sure is content.

[EXPRESSO] One Piece Film Red (2022) | Idol Live Stream

Managed to catch a subbed preview screening in cinemas here, and actually catched another esclusive screening for the tie-in anime episodes meant to complement One Piece Film Red.

Not that you really need to see those going into the new One Piece movie, you don’t.

As the marketing and title (logo included) strongly implied, it’s a movie that involves series fan favourite Shanks, indirectly, as it’s about the pirate crew reaching a mysterious island where the first live event of the world’s most popular singer, Uta, will take place.

The Straw Hats come to party, Luffy it’s revealed not only being a childhood friend of Uta, but girl herself being the daughter of Shanks, one of the Four Emperors Of The Sea, which attracts other pirates – as well as the Marines – on the island of music, Elegia.

And despite the obvious fact this is also a vehicle for rising j-pop singer Ado, whom provides all the soundtracks (giving Kohei Tanaka some well deserved rest)… it’s also a surpringly good script, with Uta being a very good original character, some intriguing surprises that also justify in terms of narrative the many musical pieces, which are also very intriguing visually and incredibly well animated, while the songs themselves are quite catchy.

Definitely a more original and interesting script than the all-stars extravaganza of 2019’s Stampede (while it’s also the first film appearance for many relatively newer characters like Katakuri), and a fitting return for Goro Taniguchi (Code Geass, Gun X Sword, Planetes) to the series, decades after his One Piece Ganzack’s OVA by Production IG.

Sure, it leverages Shanks’ legacy/importance in the series to rope in fans, but it does not overrely on nostalgia alone, at all, making Film Red a surprisingly strong (and varied) entry in One Piece’s filmography.

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.

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[EXPRESSO] The House (2022) | Trifecta Triumphant

New stopmotion animation film on Netflix with (also) animal people, you know i’m already in.

Even more since it’s a small anthology of 3 stories, one about a poor family meeting a miraculous proposal, one about an anxious ratman constructor trying to score estate success, and the last about an exhausted landlord, all tied together by revolving about the same house, while taking place in different epochs and with different kind of characters, going from humans to ratman and catmen.

The character models aren’t clay or the odd-papermaciè style seen in Mary Shelley’s Frankhole, but go for a very textured felt-wool look, with a very fuzzy feel juxtaposed to the horror atmosphere and visuals, even though just the first story has actual supernatural horror elements, there’s always a sinister or weird tone to most of the events, with some very stilish visuals to match.

Animation it’s top notch, the character models have very good designs and craft, and it’s a quite good trifecta of stories, with a balanced mix of horror, satire, drama and comedy, quite grabbing as you always wanna see where they’re going in exactly. I think the second one it’s arguably the best, as you never quite sure what direction it’s gonna go, gets weirder and has an even weirder ending.

And stuff like a trip-out insects & maggots musical sequence.

And free-roaming hippie catmen.

Honestly, i don’t really have much to complain about or add in general, if your ears peaked up like a fox at “animated stopmotion anthology film with lots of style and fun substance”, the chances are good you’re gonna like this one, easily. And it comes in a pretty good 90 minutes package, with everything in it feeling as long as it needs to be.

What a really great surprise, too. Excellent.