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] 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.

Vlad Love (2021) [REVIEW] | Oshii No Ko

You know an anime it’s gonna be special when Mamoru Oshii is directing and his own sales pitch fo r it is “you’ll see what an old man who doesn’t give any fucks can do” XD

Even more when he partners up with FLCL’s creator, for his first TV anime since his early days on working on Urutsei Yatsura and directing the series’ two feature films, meant to come out in 2020, but the project had some delays, and was eventually released during February of 2021 on Crunchyroll… well, half of it was released at once, in order to make a “broken heart” joke.

Actually, it’s more absurd i didn’t actually manage to review it at launch, but now the occasion-climate seem appropriate again, so let’s remedy to this and try to squeeze some “synergy juice” (or what’s left of it, since i was sick and had to delay this review).

I mean, he was clearly willing to get crazy and embrace its legacy in the most absurd – and memey – ways, like deciding to open the episodes with a mock version of the MGM logo sequence, of course replacing the lion with his beloved bassethound. XD He knows, but doesn’t care, love it.

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Hentatsu (2020) [REVIEW] | A Cat And Oni Walk Into A Bar

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This late june, i was on a kick to discover/watch what else director TATSUKI made after the first season of Kemono Friends, and among them Hentatsu felt in that category of “i’ve seen some images time ago of this, but i have zero idea of what it’s about”.

And after watching the whole series, i still don’t fully know how to answer the implied question, it sure wasn’t what i expected from studio Iroiro and TATSUKI – as you can tell immediately they made it – but it isn’t the usual ensemble of weird animal people or “humans” fighting against weird misterious enemy in the backdrop of a vague post-apocalyptic setting. Continua a leggere “Hentatsu (2020) [REVIEW] | A Cat And Oni Walk Into A Bar”