[EXPRESSO] Lupin The IIIrd The Movie: The Immortal Bloodline (2025) | Mystery Of Monkey

So, i did decide to just go see this new Lupin The 3^rd film for funsies, i mean, i sure do love me some Lupin (and it’s a freakin institution here in Italy, so it’s already screening here), and is directed by Takeshi Koike, of Redline fame, i am in.

Problem is, i haven’t really kept up with Lupin many anime iterations, i’m more of a casual enjoyer, and this is meant as the conclusion of Koike’s “Lupin the IIIrd” subseries, maybe a send off for the character of Lupin itself, as it also takes story elements from the very first Lupin The 3^rd movie, The Mistery Of Mamo.

Not that you needed this digest as the movie does a handy recap, which also makes it obvious this isn’t a random Lupin movie at all, but for what concerns this film, is about Lupin & the gang being lured into an uncharted island by someone that knows them very well, and forced to face not only the island venomous mists, but an apparently immortal being known as “Muom”….

I don’t know if this will actually be the last Lupin III film ever, doubt it, but it’s the first one in 30 frigging years made in traditional animation, and it sure as hell looks great, even with the occasional 3D CG bits for the monsters, it’s very stilish, the action is great, but it’s also lacking on plot and character development, despite the very strong start the pacing also suffers as soon as the story does, so it ends up being “almost good” but nothing feels properly developed, more focused on being stylish old school pulp action (more serious in tone than “classic Lupin”), which it is still fun, but the film does ultimately suffer from it.

Decent, but kinda disappointing.

[EXPRESSO] The Running Man (2025) | Twitch Rage

In this era of remakes and reboot, this is one that makes some sense, especially since the older film adaptation of the Stephen King novel (originally published under the “ Richard Bachman” pseudonym) was a fun 80s slice of “Golden Age Schwarzenegger” beefcake action, more heady than the actor usual fare, but not much so, as its revels in being the very kind of thing its supposedly satirizes, with by the plot’s premise of a far future dystopia where a fascist state pacifies the masses via a reality tv bloodsport, The Running Man.

Here indesiderables and anyone that doesn’t obey is labeled a criminal and terrorist, pitted against a gaggle of chasing units, with the task of surviving as long as they can, while there is a “snitches get riches” for civilians reporting – or killing yo’ ass, with a billion dollars prize money for “runner” surviving against all odds and hunting units sent after them, all live on national television.

This version has the protagonist being an enraged father that has been blacklisted from most workplaces for trying to have justice and unionization, signing up for the Running Man show so he can rack up money needed to cure his daughter, and maybe even give his family a better life outside the slums.

It’s a more faithful adaptation of the story, and honestly it’s just a far better film, actually timely in this moment where the dystopian sci-fi futures are pretty much undistinguishable from reality, flying cars aside, with what were once charicatures being plausible, while still delivering lots of bombastic blockbuster action, stylish use of “oldies” for the soundtrack and embodiying the current – and apt- sentiment of “fuck you all, let it burn”, with an ending that might feel like a cop out but isn’t necessarily such.

The Spooktacular Eight # 30: Zombie Ass: Toilet Of The Dead (2012)

Can’t believe we’re finally doing this, but after post-poning it for years and basically featuring every other Noburo Iguchi film, it’s time to go deeper into the septic tank with one of the lesser known films from the well known (among the expected circles) gonzo gorefest-pink film-tokusatsu extraordinarie director, his Zombie Ass: Toilet Of The Dead.

What a fuckin title. Can’t say you didn’t know what it was about when you walked in.

I would love to play the “what has this blog gone to?” bit more but i was this close to feature Monsturd in a previous Spooktacular Eight, but didn’t, not yet, hope this literal zombie shit fest will do as i also consider it kinda the “cut off” film for Iguchi, even though he didn’t actually stop making films like these, heck, the same year as Zombie Ass he also directed the aptly titled segment “Fart” for ABCs Of Death, and his last movie is 2023’s romance anthology Tales Of Bliss And Heresy.

So while his career didn’t die, i guess the foreign fan and specialized press interest around japanese horror gorefest with ludicrous premises, excessive displays and absurd special effects kinda petered out around that time, and i would assume this would be the case in Japan too, though that didn’t stop other directors to put out similar stuff like Bloody Delinquent Chainsaw Girls live action adaptation (which i didn’t know got two sequels in 2019, taking notes).

Enough foreplay, what is Zombie Ass: Toilet Of The Dead about?

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[EXPRESSO] Bugonia (2025) | The Andromeda Strange

Is with extreme apprehension i approaced Lanthimos’ newest film, Bugonia, since i was kinda let down by Kinds Of Kindness and appearantly i’m on a streak of being beyond disappointed.

A sci-fi comedy-thriller with once again Emma Stone and Jesse Piemons in the leading roles, as is the current fancy of Lanthimos, Bugonia (an english language remake of the Korean 2003 movie Save The Green Planet!) is about a couple of conspiracy theorists that decide is time to get off the keyboard and do “something about it”.

In this case it means kidnapping the very influential CEO of a big pharmaceautical company, as they believe she’s an alien bent on destroying planet Earth.

It is a Lanthimos movie alright.

One that does a lot despite most of the events relegated to the house the conspiracy crazies hold the “alien” hostage, as they want to try and negotiate a deal quickly, believing it’s just a matter of days before the alien mothership will go away.

It’s Lanthimos take on the world burning down and how mankind really had it coming, with the expected themes class warfare, of corporate poisoning and social “divide and conquer” tactics, and while i’m not surprise by a Lanthimos movie being morally ambiguous (water is wet, after all), in this case it feels done more so the movie can put itself above these questions.

Curiously Eddington, for all its flaws, did commit better to its “both sides” satire, where Bugonia instead plays it a bit too safe but on the other hand it’s a better movie that remembers a comedy has to be funny.

It’s also strangely “tame” by Lanthimos’ standards, and not just in terms of visuals, which has the upside of working as a good “entry level” for his filmography, but leaves one kinda disappointed.

[EXPRESSO] HIM (2025) | They Forgot That I Am

If Opus cemented my belief the “eat the rich”-”social horror” strain of horror has been overdone to death … HIM is just further, further proof.

To be fair, it’s not that the idea of a horror movie set in the “american football/rugby” biz about its status of unofficial national religion is bad in itself.

The concept has potential, but the movie doesn’t explore anything, and i mentioned Opus, because it’s basically the same plot, just substitute the music biz and the “Not-Jamestown” commune led by old popstar with a brutalist football dungeon governated by an aging, nearly retired legendary NFL quarterback, Isaiah White giving a second chance to Cameron “Cam” Cade, an aspiring quarterback suffering from head trauma that could jeopardize its entire career, so Cam accepts do to a special training in the isolated facility led by Isaiah….

Like Opus, the entire thing is thinly held together by its lead actor performance, in this case Marlon Wayans playing Isaiah… or would, despite Wayans’ great performance this time i feel it’s not enough to suffice, especially with his character mostly devoid of a personality, and the entire thing being too obvious, downright spelt out as the movie it’s too afraid you won’t get some of the more obvious symbolism ever displayed, all the themes sanded down to be as broad and generic as possible, meaning nothing as the movie confuses parroting an arthouse modern “social horror” aesthetic for actual substance, since it has none, it’s all “pigskin deep”, talking about “no pain no gain” on and on yet unable to actually commit to its ideas.

While aware of its inherent silliness, it doesn’t know how to use that to enhance the horror, so it just amounts to a big ball of stupid, of well produced imagery that ultimately means nothing.

[EXPRESSO] Dangerous Animals (2025) | Three On A Sharkhook

New shark movie with a big budget, a widespread cinematic release and it’s not a Jason Staham trashfest romp, another gonzo shark movie about an Esper Shark (TM) or something done with lunch money-allowance budget?

What has the gone world to?

Apparantly something good and conceptually simple, i guess that’s why it took so long for someone to make a good shark movie that also plays the “Uno reverse” card on the concept without overcomplicating it or being outlandish.

Meaning that Dangerous Animals is about a serial killer that hides his murderous calling by posing as a shark cage experience activity for tourist in Australia (which fittingly all good modern shark movies seem to hail from), killing people and filming as he feeds them to the sharks.

His next victim is a surfer girl, Zephyr, living a nomadic sort of lifestyle, whom finds herself kidnapped by the killer in preparation for his macabre rituals…

it’s so simple that a shark movie like this hasn’t been made before, but on the flipside it’s actually pretty good, thanks to a good budget, very solid acting and good characters, with a resilient leading lady/final girl and a good psychotic villain that does have a humourous side that actually makes him more believable as he use it alongside some charm to better camouflage his true self, without going overboard and making him feel cartoony or excessive.

It’s also pretty gory without going into full splatter territory, going for a more realistic tone to the chases and attempts of his victims to escape his grasp, making for a very tense film that is less predictable than one would expect, yet very satisfying even when it hits the expected notes, one also basically devoid of filler, exactly as long as it needs.

Pretty good.

[EXPRESSO] War Of The Worlds (2025) | Redditors VS Aliens

Yep, we doing this one.

The plot sees a Homeland Security officer, Will Radford (Ice Cube) at work being “benign Big Brother” for the government (while also monitoring his family, to their dismay), when a meteorite shower reveals to be a worlwide attack by alien machines, forcing Will to do what he can to save his family and help fight back the invaders however he can.

On paper it’s not necessarily a bad idea to make a modern War of The World remake focusing on the aliens taking over data infrastructures in the surveillance state internet reliant reality where everyone’s on their phones, playing up the “government conspiracy” angle… and proposing it as a screenlife thing, like a sci-fi Unfriended.

Yeah, that already sets off more bells than a Blue Oyster Cult comment section, and makes it abundantly obvious this was shot during the 2020 Covid pandemic, with Amazon sitting on it for 5 years before they remembered, “bothered” to do post-production and made it available on their streaming service.

They knew they were sitting on a turd, one so riddled with brazens self-promotion it’s comical (the climax of the movie involves an Amazon drone helping save the day), not that the movie actually decides if it’s against or pro “Big Tech”, and while Ice Cube’s acting is bad, it’s not like he has much to work with, the entire thing is so fuckin stupid and becomes even stupider, and a cinically rushed shitshow with plenty of IA generated news segments (and stock footage that looks bad enough to be IA generated slop too), on top of very shitty special effects.

And yet it’s so fiercely bad it does actually become one of the rare modern “so bad it’s good” movies, it has that kind of entertaiment quality to it.

Pinata Survival Island AKA Demon Island (2002) [REVIEW] | Cinco De Pantyo

This is the “something” i eventually went with as an excuse for having to cut down One Piece August reviews (which are coming up soon after this), some rando film i had in my Amazon Prime Video watchlist, Demon Island…. under its Italian title, Pinata: Terror Island (still showing the title of Pinata: Survival Island in the film itself, as you do), which immediatly has primo “please rent me from Blockbuster, please!” direct-to-video trash film energy.

And now is a 20 years old aged serving of trash filet, hopefully so, let’s roll the dice with something from the directors of King Cobra (the cobra killer movie with Pat Morita i did review back then), National Lampoon’s Dorm Daze and the tv mini-series Deadtime Stories.

One might wonder why retitle a movie called “Demon Island” as “Pinata” or “Pinata Survival Island”…. unless you actually read a synopsis and realize it’s a bit more direct, since that’s the source of the daemons.

You see, an isolated tribe, cursed by spirits for their sins, decides to craft a pinata to house all their evil, and then sends the thing into the fuckin ocean to get rid of it and advert famines and such.

Not their problem anymore, i guess, so its up to a couple of teens to find the pinata on a island, while they are there to do a weird fraternity-sorority thing during Cinco De Mayo, which is getting fraternity guys and sorority girls put into teams of two and…..basically do a Senran Kagura questline that somehow never happened but easily could have, as in they compete for who can find the most underwear strewn around the island, with a prize of 20000 bucks for the winners.

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Kancolle 1944: Itsuka Ano Umi De/See You Again On Another Quiet Blue Sea (2022) [REVIEW] | The Real Fleet Girls

So yeah, that “season 2 which it’s actually not a second season” of the Kancolle anime did happen, i wasn’t able to re/write any of my old pieces on the first season and the follow-up movie, but we can actually do that next year, since this – let’s make it EXTRA clear – this ain’t the continuation/second season, but a completely different Kancolle anime project that had been years in the works without any info or proof it wasn’t scrapped… until it resurfaced in early 2022 as Kancolle 1944: Itsuka Ano Umi De, translated/localized “Kancolle 1944: See You Again On Another Quiet Blue Sea”.

And by “years in the works” i mean that there was enough time for rival series Azur Lane to make its own anime series with Azur Lane: The Animation, and then adapt a spin-off 4 panel manga into animation with Azur Lane: Slow Ahead… so much time that i did review that!

Look, i’m sure Kancolle still has its fans (me included) and a decent player base in its original browser game iteration, but even when this new anime series eventually surfaced… it did so to a dead fanbase, as the franchise was basically “dead” in terms of international appeal, with most people moving on to either Azur Lane, give Arpeggio Of Blue Steel a rewatch, or moving on to other gacha (or gacha adjacent) games with a similar theme, a healthy playerbase or some other anime-multimedia franchise that had content and had become popular, like Umamusume Pretty Derby, with the anime series and its seasons managing to keep interest even when the main product (a F2P smarthphone game) was delayed for 3 years before even just Japanese players could get their hands on it, alongside the spin-offs, related projects, even a brand new feature film.

Sometimes there’s taking so long that the fanbase dies in the meantime in terms of “being late”, as Kancolle 1944 demonstrates, but let’s get to it!

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[EXPRESSO] Dedalus (2024) | Game Of Influence

Italian film time again, with Dedalus from director Roberto Manzetti, which premiered last December at Noir In Festival, and is now hitting theathers (during the now usual nationwide summer cinema promotional sale for European and Italian films).

The premise sees 6 influencers selected to partecipate in “Dedalus”, a highly marketed social network event that will see the partecipants compete in a series of trials, all livestreamed from a secret location, with the promise of further fame and riches.

But as the program goes on, the trails reveal themselves to be more and more dangerous, as the influencers end up caught in an elaborate vengeance plot…

It’s odd, because at times it looks like a influencer version of Squid Game, but it’s not that, yet it’s not really Saw, nor it’s akin to “PG13 non-horror Saw” that was Escape Room (there no enviromental puzzles or elaborate escape scenarios), and while it occasionally uses horror imagery and some horror adjacent material, it’s not a horror film.

I’ve seen a decent share of modern italian films that flirt with horror without having the nerve to actually commit to that, or do but give up half-way or simply don’t label themselves as such…. this one actually works well and i wasn’t left wishing it was gory, it works quite well (in spite of a shaky first act) since it is a thriller about vengeance at heart.

Also, Dedalus has some good atmosphere, good acting, some good plot twists too, i do like how utterly despicable – to be kind – its protagonists are, and while it could dig more into the modern themes – and issues of the social media world we live in – it tackles, i do like how it also avoids trying to clump together some cheap moralisms and “excuse” anyone.