Dynasty Warriors Gundam PS3 [REVIEW] | #musoumay

I don’t think Mobile Suit Gundam needs an introduction, given its one of the more popular and old mecha franchises that are still around, arguably THE mecha franchise if there ever was one.

You know it, you love it… i mostly kinda experienced it via osmosis, as i never fully bothered to be invested in any of its many iterations, be it the classic 0079 original, the Z Gundam one, the super deformed Three Kingdoms ones, the ones about milfs and kids building Gunplas.

Or the space tomato lesbian one. Or whatever the new Gundam series that will come out in the meantime of me posting and you reading this will be about.

I didn’t even plan to ignore Gundam, i just never really went deep into any of its iterations, as it happened, and – as i think i’ve said before – i’m actually way more familiar with frigging Sgt. Frog (yes, Keroro) than actual Gundam, so it both kinda counts and not really counts at the same time, meaning i’ve been told the series is about the horrors of war more than the cool robots… but the robot do LOOK cool, there’s no anti-memery (or counter arguments, and so on) to argue that at simple skin deep fact, them mobile suits design are legendary stuff.

So in a way i’m really not “qualified”… or i was, because this did serve as a gateway entry for me, sure i love them Dynasty Warriors, make them cool looking robots instead of superhero fantasy warlords, just as good, or even better, i will finally learn what the fuck the original Gundam and some other of its series are about with Dynasty Warriors Gundam, why not?

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Musou May is back on the menù

yes, indeed, as promised, Musou May is back this year, with a mix of rewrite and brand new reviews all throught the month! Also the planned works for the summer most likely won’t change much, i’ll make a post about those in more (any) detail later down the month.

[EXPRESSO] Kaiju No. 8: Mission Recon (2025) | Kompilation Kaijus

I usually rag on compilation films for anime series… for the obvious reasons, but i did watch Kaiju 8 Mission Recon it because i was curious about the manga but i never had time to check that or the anime out,, so i guess compromise it is.

Speaking of, the premise it’s set in a sci-fi future where academies train young people into anti-kaiju troops to dispose of the endless hordes of big ass monsters attacking Tokyo on a daily basis.

The protagonist, Kafka, actually a man in his 30s, working on cleaning up the kaiju remains and debris, after he flunked his entry exam as a soldier, but one day, while on the job, he’s infected by a parasite that lets him turn into a humanoid kaiju…

Obviously one of these new series that rose up after Attack On Titan success, even if the similarities are only superficial , as Kaiju 8 is more inspired by Ultraman (and a bit by Patlabor) than anything else, and the tone is more akin to One Punch Man than AoT… and honestly i think it’s pretty fun.

Nothing we haven’t seen before, but done fairly well, the animation is quite good, the action is solid, the kaiju designs are pretty cool, the cyberpunk aesthetic is well done, and i do like the protagonist being an older man than usual (despite being a teenager at heart) not just used for comedy bits.

The new material is a post-credits slice of life bonus episode about the other characters’ day off duty, which i feel is needed because these recap films of shonen battle manga series usually sacrifice most non-action scenes, especially if they aren’t about the protagonist.

Hope i can set some time aside to see Season 2 when it airs later this year.

Rabio Lepus/Rabbit Punch (Arcade Archives) NSWITCHDDL [REVIEW] | Cho Usagi

This year we won’t review crappy horror no-budget slockfests about killer rabbits, i’m quite fed up with killer easter bunnies and we can done those next year, anyway.

So we’re instead digging up a fairly obscure 2d spaceship shooter/side scrolling shoot ‘em up from the late 80s arcade resurgence, and as i guess it’s almost mandatory for forgotten games of this genre, its only home console port was on the PC Engine… in Japan, North America did get this released in arcades, localized as Rabbit Punch, but we Europeans never did in any shape, not until the recent Arcade Archives rerelease, in this case the Switch one (it’s also available on PS4).

The plot is fairly simple and starts off the “ol’ fashioned” (as in “putting cats in bags and throwing them in the river to drown” ye old fashioned) royal kidnapping by a mechanical army of space aliens that come down to the peaceful planet of Bunnyland, taking awat the rabbit themed king (he has a rabbit onesie), the princess and her sister (which are just Playboy bunny girls… to commit to the theme, yes), so it’s up to the rabbit shaped mecha unit to save the monarchy.

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Monster Armageddon/2025 Armageddon (2022) [REVIEW] | #giantmonstermarch

I’ve lamented the downright lethargic, nearly comatose state and distinct disinterest, so nested and in a rot The Asylum is with their output in this last period, i’ve done that before.

It’s clear whatever “magic” they summoned with Sharknado didn’t last long, and now just rest on their laurels, so to speak, as even the usual aficionados of trash got disinterested in the same way the company itself seems to be with whatever they cram out, they keep doing their thing but just because it’s what they have always done, and will keep doing until there’s not any money left off mockbustering.

I remember from a class in genre cinema i once took that – broadly speaking – a genre has reached a stage of severe stagnation when it starts becoming metatextual, to speak of itself more than anything else, as it can obstensibly find nothing else to iterate on, so it “turns on itself”.

And while it no longer hold completely true, as we’re now in a post-meta phase, if you will, there’s still a valid argument in there, because films like Monster Armageddon (released as 2025 Armageddon in trying to fool more people) validate the implied drying up of the “creative well”, and are a testament to this decade of post-irony, meta overdosing incestinal multiverse crossovers, of finding out there’s no bottom of the barrel, no real lowest of the low that can’t be “improved” upon.

I remember buying the DVD for this one for 5 bucks, sight unseen, on Amazon back in 2023, i knew it was an Asylum joint, and the cover art was nice, featuring a lots of monsters and creatures.

As with Monster Island (their mockbuster response to 2019’s Godzilla II: King Of The Monsters), the cover art is way better than the movie itself, but this time around it isn’t a complete lie like it was with that movie… as in it’s not technically a lie.

It’s worse… or is it?

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[EXPRESSO] The Electric State (2025) | Mr. Peanut, Break Down This Wall

VERY loosely based on Simon Stålenhag’s 2018 retro-sci-fi illustrated book of the same name and directed by the Russo brothers, The Electric State is set in an alternate 1990s where robots, gaining sentience after decades, rise up and engage a full on war, ultimately won by the humans using headgear controlled remote drone soldiers. After the war, the headgear/vr sets are sold commercially to pacify the masses, while the surviving robots are sent to a giant desert prison colony.

We follow a juvenile delinquent, Jessie (Millie Bobby Brown), whom lost her family in a car accident years ago and is now a foster kid, as one night she gets visited by a robot of Kid Cosmo, her beloved brother’s favourite childhood cartoon, which claims to actually be him, leading the two in a roadtrip-escape adventure…..

One that plays it super-straight, all in an attempt to get us invested into this world… hard to when there’s simply no charm, with the movie actively refusing to embrace its inherent sillyness AND doubling down on being “gritty”, which backfires on a nuclear scale.

There’s a palpable attempt at telling a Spielberg style tale, but there’s no soul or substance to it, just a Ready Player One masturbatory penchant for pop culture regurgitation (that makes NO SENSE in context, to boot), well known actors half-assing their admittely bad characters, and a plot being a senseless, meaningless hodgepotche that makes even less sense as it goes on, never committed to anything besides vague, overly basic metaphors, or Funko Pops-friendly character designs.

Those that aren’t already well known brand figureheads like fuckin Mr. Peanut (what is this, Food Fight?).

It’s not even boring, but it’s quite bad, stupid, mostly just so confounding you had to wonder “Why?”, especially when it had a 320 million dollars budget.

[EXPRESSO] Mickey 17 (2025) | Hardspace Shipbreaker Multiplicity

From Bong Joon-Ho (Parasite, Snowpiercer, Okja), we now have Mickey 17, an intriguing original brew of comedy, drama, romance, sci-fi, takin place in the future, where a down on his luck guy, Mickey Barnes, finds himself – due to a huge debt – signing up as an “expendable” for this religious backed colony envoy led by a zealot ex-congressman (Mark Ruffalo), meaning that basically he’s used as a guinea pig to test viruses, be given deadly jobs in the cold of space and then the ice-laden planet they want to colonize, thrown against the wildlife.. doesn’t matter, as they keep back ups of all his memories and just 3D print him a new body when he inevitably kicks the bucket.

One day he’s just left to die in a icy crevice, but miracolously manages to find himself alive and travels back to the outpost, only to notice they didn’t wait around to clone him again…

It’s an interesting film because it can jump to having romantic comedy scenes to serious sci-fi drama, throwing blunt satirical boulders about class warfare, tense thriller scenes, and yet, despite it sounding like it should be a fuckin mess, it all comes together organically, as the star studded cast delivers an incredible range, making the characters believable, even with the wild swings in tone… minus the two main villains, the zealot fascist cult-leader and his fitting wife (Tony Colette), i get why they are so over the top, i do, but they stick out as way too cartoonishly evil (especially when everyone else has some complexity or grounding in this specific sci-fi reality), to the point they become a detriment to what is still a great movie.

It’s still a notable, engaging and interesting film that fully deserves to be seen in cinemas,

Dr. Cyclops (1940) [REVIEW] | #giantmonstermarch

I’ve mentioned this before alongside Bert I. Gordon’s The Cyclops (which we’re actually gonna review this year), and i since came in possession of a restored DVD copy of it, so let’s follow up the teasing, by tackling what’s actually a very important B-movie, with 1940’s Dr Cyclops, directed by Ernest B. Schoedsack, better known for something called King Kong released 7 years prior.

Ah yeah this it’s a bit of classic, even though nowhere as good or influential as King Kong (few films are ever as such, after all), not only for its status as the first true american sci-fi film in Technicolor, but because it did establishing a trend that would continue for a decade and that the 50s would flip around leading to 1957’s The Incredible Shrinking Man, as in shrinking people to minuscule dimensions, in this case by a mad scientist that wants to shrink people in order to reduce the impact of humanity on the enviroment.

And doesn’t take well when a group of people that go on an expedition to the jungles of the Amazon encounter his lab and instead of leaving (after basically being told to fuck off immediatly), keep snooping about his uranium reserves and such, so human free guinea pigs for his experiments!

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[EXPRESSO] Captain America: Brave New World (2025) | The Credible Hulk, Part 2

I haven’t seen the Falcon And Winter Soldier this apparently continues from (in general i don’t care about the tie-in shows for these), i honestly don’t care too much about Captain America, the character itself or the film subseries, but sure, Harrison Ford is here as the US president (not that one?) and Giancarlo Esposito is here as well, so why not?

I honestly think it’s decent, it’s fine, it’s far from the worse ones, again, considering what we should expect from these era Marvel movies, but it also has most of the issues we’ve come to expect, from trying to juggle too much without fully committing to anything in terms of themes, with subplots and characters that are set up to be important but (most likely by the many documented and reported reshoots, rewrites and production troubles) don’t really add up to the plot.

A plot which itself it’s half reharshing The Winter Soldier, half being basically the unofficial sequel to the 2008 Hulk movie, so much returns and comes to play from that film into what’s extensibly a movie about the new Captain America trying to advert a conspiracy meant to undermine the new presidency of General “Thunderbolt” Ross, trying to turn a new leaf after his questionable past, as the new “Cap” is trying to live up to Steve Roger’s legacy.

On the upside, Mackie makes for a good “Cap’”, some plotlines that were seeded in other movies but were then mostly “abandoned” get revived or given a purpose, the action is often good, but the “New Cap” VS “Harrison Ford as Red Hulk” brawl (which features some iffy special effects) kinda feels there because they based the marketing on that and the movie it’s almost over, so it had be squeezed as the unintentionally anticlimactic climax.

Avenzers: Italian Super Heroes (2023) [REVIEW] | Spaghetti-Fi: Endgame (ft. Anatar from the Anatar series)

Remember the bright minds behind the italian duck parody of Avatar, Anatar, one so stupid and cowardly it couldn’t even release before or close to the second Avatar movie it wanted to leech off?

No? Well, i did a review of Anatar, go read that. It’s definitely quite the something.

Today we’re talking shit. Super hero shit.

In one way, i can at least understand the idea of Anatar: it’s a mockbuster of a franchise that made gajillions and had a new movie coming out back then.

Tale as old as cinema itself.

This one is even more dead on arrival, it is when you do an Avengers parody, an Avengers Endgame parody after what feels like a decade since movie released, with Marvel still pumping them out to a public that notably was reasonably confused to see the sagas go on after something called “ENDGAME”, and reasonably tired of them trying to redo the same magic but cheaper, faster, taking for granted you just had to press the “redo button” to actually duplicate the success.

But it just fits, it’s that outdated, decades late to the party, or unaware that the building you rammed a tank through even had a party in it, that attitude defining most of the lowest fuckin italian media trash.

And like Anatar, Avenzers was outdated (moldy, even) the second it came out, and i still believe it actually releasing in theather is a psy-op of sorts, just gaslighting people into believing that it did receive a theathrical release, despite very few evidence to be found online, aside from an european theather chain, UCI Cinemas, advertising as it did with Anatar, and a report of it raking the miserable box office of 1.200 euros.

Which is so fuckin pathetic it ain’t even funny, just plain sad.

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