Magical Girl Of The End/Magical Girl Apocalypse manga [REVIEW] | Pervert Cop VS the Murder Megucas

While we can’t really blame this on “Madoka Magica Effect”, we can’t because this isn’t even trying to lure you …. still, you know that series’ success was bound to spawn magical girl manga like this.

Frankly, this isn’t the more absurd “magical girl but edgy” take, heck, this predates Magical Girls Ops Asuka, which has them weilding realistic firearms and getting PSTD, maybe we’ll do that sometime, but i wanted to do something magical girl related because the new Madoka movie somehow finally released in Japanese theathers not even a week ago.

That said, after all, what do you expect from an action horror manga called Magical Girl Of The End… or Magical Girl Apocalypse,, but i prefer the original title.

Written and illustrated by Kentaro Sato, Magical Girl Of The End begins where most of these shonen horror series do: with a massacre in a Japanese high school class, where an average and distant teen, Kii Kogami, sees a weird gothic lolita dressed humanoid appear and explode people heads like the Fourth Of July, only for the cadavers to rise as zombies, and thing have started going to shit outside too, as a flood of those weird monsters chanting “magical” drops from the sky.

Kii manages to escape the school alongside his childhood friend Tsukune and other survivors, bending together to try escape these “magical girls monsters” as they keep swarming and causing even more death and destruction…..

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[EXPRESSO] One Night Only (2026) | The Premarital Gex Purge

I was able to see a preview screening for this one, i was curious, as One Night Only has the unique hook of “What if The Purge was about fucking and framed as a quirky rom com?”.

It’s a ni– it’s an elevator pitch that gets you attention, but immediatly you wonder why is this not a dystopian thriller (or horror thriller), as it takes place in an America where they passed a ban on premarital sex, so single people now can copulate only 1 night of the year, with biochips on their arms to enforce compliance.

One guesses it doesn’t apply to non-hetero people, i do guess because we just have the lesbian roommate of the lead girl saying how this is “a thing for the straights”, not that there’s any thought about the terrifying implications of this (or how masturbation factors in), or any of its themes, as the focus is about Allie and Owen, one in search of romanticism during “Fuck Night”, the other having practically broke with her long time girlfriend hours before.

Even if you could ignore ALL OF THAT (and you won’t), the two leads really have little chemistry and you’ll wonder why in this context they didn’t immediatly fuck, not that you’ll care about these two milquetoast characters.

It’s both too heady and nowhere enough, as it wants to be just a casual meet-cute thing, but ultimately is an incredibly regressive, self-righteous, disgusting little film that’s sex-negative, yet wants to be a raunchy sex comedy…. without actually showing any nudity, that you’ll pine for the days of frigging Porky’s.

The movie itself literally says “being an incel is a badge of honor now”, just in case it didn’t already come off as fascist government propaganda selling “The Sex Purge” as a positive thing.

[EXPRESSO] Spider Man: Brand New Day (2026) | Un(Thethered)

I remember quite liking No Way Home, for better or worse, but it has been a while, and it’s not like it matters, i was gonna see this away, i did want to see it.

In a way i feel bad because i think this one is actually trying to be less shackled by the MCU stuff, and it stings because it almost succeeds, as in, it manages to do some good emotional stuff with the character of Peter Parker, as he struggles to reconcile with the fact he still feels fragile and alone, despite being able to become NYC resident hero once again… we’ll because he can do so as everyone forgot about him at the end of No Way Home.

While some ideas like having The Punisher as an ally-ish character to Spidey is nice, and there are some fun action scenes, there’s no denying of the second half being overly long and overburdened by the ties to the “MCU obligations” of having to seed stuff for future films, which also entails the admittely better than usual villain (which i’m not gonna spoil), an entity that goes around possessing people’s minds/body hopping and using them to search for something kept hidden by a governative company specialized in repairing propery damage caused by heroes and villains activities, while Spider Man has to deal with his body undergoing unexpected mutations…

Even putting aside the villain’s plan actually makes no sense if you think about it (and that Spider Man has basically Big Brothered the entirety of NYC), then there’s how the climax is resolved identically as in Thunderbolts, are we at the point of recycling climaxes almost verbatim?

This in contrast with the cast actually giving some of the better performances in these films, so, overall, i’d say it’s decent.

Kandagawa Jet Girls PS4 [REVIEW] | Censorship Waves

As promised last summer when we reviewed the Kandagawa Jet Girls TV series, we’re finishing up this niche multimedia series by talking about the game of the same name, released westward digitally on PS4 and PC via Steam.

As with most of these niche (and honestly non-niche as well) anime multimedia franchises, both the game and TV series exist as their own semi-separate thing, despite having the same basic premise and, to promote each other, basically, and this also using some lifted sequences from the anime.

Though in this specific case you really could have guessed this was based on a videogame, since the whole setup is so light on story, but heavy on “plot”, and just the idea itself of mixing shooting into jet ski racing is very videogamey, borne from the need to spice up the basic formula and find a way to incorporate clothing destruction into this one too, as it’s the brainchild of Kenichiro Taniguchi, the creator of Senran Kagura.

Of course it’s him. Though this time is developed by Shade Inc (the Bullet Girls series, Gun Gun Pixies, Samurai Maiden) and Honey Parade Games, the latter also having co-developed the Splatoon-clone of Senran Kagura: Peach Beach Splash, so it fits thematically in the “literal wetworks und anime lesbians” sense.

Just this time with the framing of a Wave Race style game.

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[EXPRESSO] Deep Water (2026) | Shark Ditching

Renny Harlin, better known as the director of the original Deep Blue Sea, Cliffhanger and Cutthroat Island, having finished early this year the new awful Strangers trilogy nobody asked for, he’s back doing what he’s best known for: sharks.

Actually, that’s kinda unfair, as Deep Water is mostly a survival film about an international flight that crashlands somewhere in the Pacific Ocean, with the surviving passenger and crew members forced to find a way to survive and escape the deadly debris of the torn plane, while also avoid being picked off by a group of shark cycling around them.

Mind you, i’m glad there are sharks in the film, frankly i would have been surprised if they weren’t, because this is such a deliberate throwback to late 90s disaster-survival films and horror b-movies of this ilk, with just a veneer of realism to avoid it killing any tension.

Do not let the fact some of the characters we’re presented before or on the plane include esports squads, grandmas saying “you’re a 5 out of 10” impropted to people, ipad kids, the attitude and cliches are done in such a retro fashion, from the characters being either rude assholes or saints, with an expecially assholish one that you know has a “shark food soon enough” label, and which you indeed look forward to see its inevitable fate come to pass, the kid character being clever yet tempting death at least twice, the heroic sacrifice by the consumate character actor that is arguably on autopilot, etc.

Deep Water is essentially a 90s styled disaster-survival-shark film, and its retro nature it’s both charming but also obviously dated…. yet in this case i think it comes off as a decent genre thrill ride of yore, and better because it’s confident in what it is.

[EXPRESSO] A New Dawn (2026) | Deidara Docet

Directed and written by Yoshitoshi Shinomiya, A New Dawn is an anime film about the creeping effect of gentrification, and how it effected an historical fireworks factory held by the Kaitewaki family for centuries, and in turn Keitaro and Sentaro, the two young sons, and their childhood friend Kaoru, which drifted apart after Keitaro’s father disappeared, leaving the property to rot, while government officials have waited to prey on it for “renovation”.

Sentaro and Kaoru left for the city, but some years after Sentaro drags Kaoru into talking Keitaro out of his reclusive stay on the old family home and factory, as the city is gonna tear it down in a matter of days, which brings the trio close as they once were, and provides them with an occasion to pull off the complex firework display concocted by the father (called “Shuhari”) but never put into action, something that involves a special pigment and pattern, as something of a farewell…

While there is a romantic subplot, A New Dawn is mostly a drama about confronting with the past, coming to terms with modernity but without giving up on craft, tradition and art just because it falls out of fashion, is outright rejected or simply becomes more and more obsolete by the new norms, and it’s a pretty dang good one, with great realistic teen characters, amazing melanchonic vibe, a really good artistic painting-inspired style, and while animation is already damn good, it’s commendable how it’s willing to experiment with stop motion animation sequences too.

Also, A New Dawn fittingly also feels like a light of hope for the anime industry maybe still able to have new talents (this is the directorial debut for Yoshitoshi Shinomiya, whom previously worked on Makoto Shinkai projects) emerge in spite of… well, of itself.

Recommended.

[EXPRESSO] The Odyssey (2026) | Our 1UP Man

I will say that there are legitimate criticism to be made about this new Nolan adaptation of the greek epic, especially those about historical accuracy, in a movie that opts for a realistic war movie-ish tone…. but on the other hand, what did people expect when Anne Hathaway is Penelope and one of the first thing we saw about the film were those superhero style armors?

Since it not even a 3 hours long film, it doesn’t opt for a complete retelling, but in line with Nolan’s style, the whole thing is framed as “ memory box/machine” for Odysseus to unravel as he wakes up from 7 years of oblivion (as the lotus flowers he was fed make people forget) on Calypso’s island, this after ending the 8 year longs Trojan War via his wooden horse ploy, and had many adventures on his attempt to reach his home island of Ithaka.

There his wife, Penelope, has held off contenders to the throne for 20 years via a scheme, and his son, Telemachus, that still believes his father is alive, goes searching for him, while Odysseus himself comes home posing as a vagrant, only to prove his identity and slaughter the disrespectful contenders that leeched off his hospitality.

It does most of the expected stories of the epic, while taking various liberties (especially in the Polyphemus encounter) and arguably omitting a lot, but i’ll say that despite some flaws (the superhero style armours, trying to frame the Greek morality in a certain way, the Hollywood casting), Nolan’s The Odyssey does live up to expectations, delivering a powerful rendition of the poem in a way that calling “epic” does actually seem fit, it has that gravitas and majesty of the old Hollywood, it’s arguably one of Nolan’s best in a while too.

The Mysterious Island AKA Odysseus And The Giant Polyphemus (1905) [REVIEW] | Odeon Days

You know me, i’m not one to go try and please the algorhythm, and since there’s no really much in terms of full lenght features trying to adapt the whole Odyssey itself (there is a recent UK production called Itaka: The Return, but even that is mostly focused on the titular return of Odysseus at his home in Itaka after decades, and not much else)…… you know what, we’re going REALLY back this time around.

Not to the 70s miniseries for TV, back to the 1900s, when cinema was in its “puppet stage”… actually, more aptly it’s “parlor trick era”, since today we’re talking about one of the many films (by now not even registering as short films, or shorts) by the profilic primordial magician of cinema, Georges Meliès, which i feel needs no introduction, otherwise this will turn into an introduction to the early days of cinema, but basically, he was a magician in the literal sense, a stage magician but using film as his tool, and to which we owe a LOT of early cinematic special effects, which now look primitive, but sure as hell weren’t when people weren’t used to video footage of any kind.

For the time it must have felt like real magic, to say the least.

Even more impressive, Melies had been doing these films for a decade, so in a way it’s not too surprising this 1905 adaptation isn’t more remembered than his Voyage To The Moon or The Impossible Voyage, despite not being lost or anything like that, quite the opposite, since – as far as i know – this always appeared in the catalogues of production by Melies’ company, Star Films.

Sure as hell it doesn’t help that its original title was L’ilè De Calypso, literally “Calypso’s Island”, even less when it was sold internationally as The Mysterious Island, or given the subtitle of “Ulysse et le geant Polypheme”, Ulysses And The Giant Polyphemus.

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A Murcielago anime in this economy, Steel Ball Run actual release schedule, the new GITS anime, Tanya Degurechaff is back, AOT 3 and the Mini Summer Of EDF delay

So, Murcielago is a manga about a super serial killer woman with 715 homicides to her name, Komori (she the titular “bat”, since “murcielago” means exactly that, but in Spanish) gets her death penalty halted due to the city being overrun with crime, and Komori gets into assisting the Japanese police in tackling other murderers and criminals that the regular police force fails to catch, helped by the expert driver Hinako and the daughter of a yakuza boss

Komori is also a super lesbian and she basically tries to get into the pants of the many extrabosomed female characters, and even without her there’s a lot of nudity just shy of scissoring because i don’t think you could get away with that on Shonen Gangan. not quite.

It’s delectable action yuri exploitation trash, i love it, i’ve been following and buying the volumes for the past years, but given there’s so much premarital selbian gex and hyperviolence, i never really expected it to get an anime adaptation, heck, it’s ridiculous how much difficult is to see new horror anime exist, which is why i’m not really expecting a Franken Fran adaptation or something.

Yet, a few days ago a teaser trailer for the Murcièlago anime just popped up, and yes, my birthday was earlier this year, but whatever, it may be on time for that since is slated for a generic “2027 release” and i guess will stream on HIDIVE in US territories, we don’t have that here..

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[EXPRESSO] ChaO (2025) | Suzaku’s Choice

I’d say the Japanese had the fascination with mermaids steam from the old fishemen’s tale of the nyngyo but in the case of Yasuhiro Aoki’s ChaO, this is more reminescent of the old American romantic comedy Splash by Ron Howard, not a direct remake but still about a man that finds himself engaged to a mermaid that saved his life, though here he doesn’t remember doing so, yet is pushed into being the fianceè and husband-to-be of the mermaid princess Chao, as the situation is favorable to the man’s boss, a transportation mogul, despite initially being kinda put off by Chao’s out-of-water appearance of a bipedal fish.

I’d say the main issue is that the plot is fairly thin and predictable, but the movie is definitely aware and Yasuhiro Aoki instead decides to focus on the love story AND in delivering insanely creative visuals, with deliberately weird, off-kilter character designs, not just relegated to the magical sea creatures just living alongside humans, but the humans themselves already have a distinct design even when they are regularly proportioned, and aren’t just giant toddlers, have giant heads or spherical bodies, or weird elongated limbs.

It’s very visually striking and interesting, definitely helps to have Hiroshi Takiguchi (also behind many Shinkai films) as the creative director here too, and animation studio 4°C help deliver the remarkable extreme sensory overload that goes along an otherwise very nice, very sweet but predictable romance, most likely because they know the romance itself is fine but not original (despite the political undertones since the marriage is basically sold as a public “race relation PR stunt”), and hence could use some great visuals, even some cool actions scenes and a fitting bonkers direction to go along with it.

Definitely worth seeing, even more as it just 90 minutes.