Due to the overabundance of snake movies, distributors had improvising their own method of flute chanting to enthice people, in this case by slapping on the cover Pat Morita’s name, and with special effects curated by the Chiodo Brothers of Killers Klowns From Outer Space and Critters fame.
Well, that sure would have gotten my attention, but even the funny Erik Estrada cammeo wouldn’t properly mask how this is the squintillionth Jaws rip-off.
That’s literally it.
I know i did eventually described the same plot over and over since lots of b-movies ripped off Jaws in everything, you wanna know the context that lead to a giant snake hybrid breaking loose? Fine.
Ah, yes, the three inescapable truths of life: death, taxes and SNES caveman platformers that somehow you didn’t play or knew existed, like todays’s Congo’s Caper, just recently rereleased on the NSW Online subscription/retro apps.
This one it’s a bit more recognizable than stuff like Prehistorik Man, as it’s basically a spin-off of the Joe & Mac: Caveman Ninja series by Data East, but also the second game in the series, since it was actually sold as Joe & Mac 2 in Japan and PAL regions.
And i kinda get why, as Data East also recycled some characters from the mainline Joe & Mac series, like the devil or the first stage t-rex boss , and the controls are similar, as it retains the high jump, but not the weapons, as you use only a small club to attack.
The more distinctive feature is the player character turning back into a monkey if hit, and regaining your human form with a red crystal (Mario style), with the ability to enter a “super saiyan” invincibility state too, you’re a half-monkey man after all.
Controls are actually pretty smooth, arguably better than the original Joe & Mac, the new protagonist has some new abilities like hanging from vines, so it should be better…. and it arguably is, it’s definitely more polished, has a lot more levels, BUT it’s too easy for its own good, it’s fun, but it lacks challenge, and the level themselves are very short, while also not providing anything you haven’t seen (or heard, as some of the sound effects are pretty much “ripped off” of Super Mario World…. or its sound libraries) done better in terms of level design.
So it’s not a bad game, but a decent one that could have been potentially quite good.
So, Nintendo opened its maw again to spit out another meager assortment of old titles for the NES and SNES Online services, but this time it did add Rival Turf, as in the localized version of the first Rushing Beat, so i guess it’s time to complete my trifecta of reviews for the Rushing Beat trilogy, with the others being localized as Brawl Brothers and The Peacekeepers respectively.
Like The Peacekeepers the throwing and suplex moves are so overpowered that you’ll rely too much on those, especially since the enemies knows this as well, and can deal way too much damage even without using throws, made worse by the fact this is the only beat ‘em up i know that has “recovery damage”, as in you lose life even by getting up from getting knocked down.
At least it works for both you and the enemies, but still, weird.
Everything else is crappy bootleg Final Fight, from the bootleg enemies with smaller sprites, the iffy collision detection, the punches and moves lacking much “oomph”. The only difference being the “run” button which allows to also execute dash moves, despite the hilarity of the character not so much running (there’s no running animation per se) but “walking-gliding” at a faster pace.
It’s also such a blatant rip-off of Final Fight you really have to compare it to that game, and its own only reason of being was the 2 player co-op mode that the SNES release of Final Fight lacked, but nowadays means squat.
It’s aged crap from Jaleco, and while the sequels – mostly – improved gameplay…. there’s very little reason to bother with the original Rival Turf/Rushing Beat, unless you’re a beat em up buff on a mission to play them all for fun, education and/or profit. There’s worse.
Also known as American Ninja: The Magnificent, would it really be a 80’s ninja movie from the depths of Godfrey Ho’ “ninja mines” if i didn’t have at least one alternative title? And didn’t have a guy named “Elton Chow” in it?
Yes, this is the 100 % new ninja movie review i promised, and i hope you’re still hungry for Filmark/IFD Film and Arts brand of ninjaxploitation shit, because there’s more, there’s always more.
This one though it’s arguably one of the better known of the bunch, thanks to it being more widely distributed and also happening to be one of the more fun of these “cut-n-paste” cinematic meatloaf servings, as it features Brad Jones’ beloved obscure actor Pierre Kirby, taking the mantle of the ninja protagonist that otherwise was mostly worn by a very reluctant Richard Harrison.
You might or might not celebrate the upcoming festivity, be indifferent, but in the spirit of the holiday, let’s take a break of sorts and on this today go away from the non-budgets or the endless parade of director-actor-producer-writer one-man homegrown created film featuring either a giant or man-sized rabbity thing (NOT of Purcellian’s descent) going around killing people.
We already “did” Beaster Day/ The Beaster Bunny, and i will have that as a representative of the “ rabbit horror movies” subgenre, with 90 % of these belonging to the “no budget” category and often more than not just being more about rabbits than Easter, see for example the previously covered Bunnyman trilogy, which at least doesn’t pretend to be themed around the holiday (as it isn’t).
So instead we’ll talk about the 1999 crime thriller Resurrection, about a detective (played by Christopher Lambert) and his partner (Leland Orser) hunting down a serial killer emerging in the weeks preceding Easter, with the blasphemous plan of creating a new Jesus Christ by sawing together body parts taken from his victims, carefully selected by following the canon, literally.
I’m honestly surprised how – aside from the tired zombie jokes – there’s barely anything in terms of actual horror movies using a similar or the same macabre idea of “my very own flesh boy, JC”, or the theme of resurrection that’s the main point and what this holiday celebrates/it’s about.
And for a nice festive surprise, it’s actually a pretty decent detective thriller, and a solid film overall, the horror element is strong, the idea of the “DIY messiah” is quite grisly and unsettling, with some good gore effects, and yes, you get to see the final frankensteined flesh conscruct, quite the thing.
Sure, it ain’t too original in terms of characters (and the flashback of the incident involving the main detective’s son it’s so trite that becomes unintentionally kinda funny, given how cheesy it is), but it’s well acted, it has a recognizable cast with great actors, even David Cronenberg acting as the red herring creepish pastor, and Russell Mulcahy’s direction (with this movie marking his continuining collaboration with Lambert after the first two Highlander movies) it’s fairly gripping, hitting all the expected beats of the detective thriller flick, with the fake outs, the religiously obsessive serial killer leaving fittingly themed Bible references on the victims, supported by the great cinematography of Jonathan Freeman and decent dialogues with a few memorable quotes.
It’s no masterpiece, but it’s a really robust offering, definitely in the decent-to-good tier of detective thrillers, it has a very young looking Christopher Lambert in it, and to seal the deal, it’s most likely streaming on Amazon Prime Video in your neck of the woods too, so if you like the premise and-or don’t want to bother with crappy Easter themed horror movies, this is an easy recommendation.
I don’t have much to say about this, in all honesty, but in this case i’d say it’s a good sign, and i’m not gonna inflate this review for the sake of it.
(A review of Mamoru Hosoda’s Belle is coming VERY soon, btw)
As the remake of the first House Of The Dead game is set to release soon on Switch (as a retail packaged release too), i’ve just realized how incredibly really no company before Sega with this remake has tried to bring on-rail shooters to the only current-gen (kinda) popular console that still retains Wii style pointers controls via the Joycons.
Given how the nostalgia market will only grow even larger in time, i’m surprised Namco didn’t dig from its huge backcatalog and pushed out a Point Blank or Time Crisis collection, or made compilations of some of the many others games of this kind that only existed as arcade cabinets.
I named Namco, but heck, even Konami and Sega were quite prolific back in the day, though Konami nowadays it’s better when they just licensed compilations-ports of their older titles to people who care (like Digital Eclipse, also handling the recently announced TMNT Cowabunga Collection), and Sega quite likely simply doesn’t care.
Digging deeper into the kaiju crevices, we find a lot of minor monster flicks from the “monster factory of Nippon”, Toho, in this case being a mini-series made of 4 episodes and with a confusing release history, as it was completed in 1964, but wasn’t broadcasted on Fuji TV until 1968, after Toho realized the project involved two of their own talents, with Fuminori Ohashi (Tsuburaya’s special effects apprentice) and writer Shinichi Sekizawa, already proven for penning other kaiju classics such as Mothra, Mothra Vs Godzilla and Godzilla VS Mechagodzilla (the 1974 one), and the company was convinced that Agon didn’t directly step on the nuclear toes of their monster star.
I said a confusing release history because in mid 90s the episodes were recompiled into a feature lenght film and distributed internationally onn VHS as Agon: Atomic Dragon… and i can’t find any source that actually pinpoints when exactly it was released in the 90s, Letterboxd instead says it was in the 80s, and there’s also a japanese DVD release in 2005 by King Records.
Thankfully is not hard to find in any form, as the english subbed episodes can be found on Youtube, and you might stumble upon fansubbed releases of the feature lenght compilation version.
You know we had to do this one eventually, as The Giant Claw’s titular monster is the stuff of b-movie legends, for hilarious reasons etching the movie in the history of monster movies with one of the most laughable creatures ever conceived and built.
And if you never saw it before, it was eventually released in the Cold War Creatures boxset by Arrow Video, alongside three other Sam Katzman produced films, The Werewolf, Creature With The Atom Brain, and Zombies Of Mora Tau.
A pretty good boxset that in the case of The Giant Claw contains extras such as a video essay by Mike White on Sam Katzman’s output and the theme of Cold War paranoia in his produced movies, alongside a theatherical trailer, the usual photo gallery and a condensed 8mm version of the movie.
I always feel a bit anxious about reviewing newer adaptations of classic Agatha Christie’ novels, since i’m not really much familiar with the often many previous ones both released in cinemas or as TV movie and-or miniseries. But i did quite like Kenneth Branagh’s 2017 film adaptation of Murder On The Orient Express, and i was looking forward to this one as well, so let’s talk about it.
It’s not really a sequel to that, meaning that aside some returning cast members, the obvious returning character of Hercule Poirot (and Branagh talking about a “Christieverse” of sorts in the long run), this is its own self-contained story that doesn’t require prior viewing of Hercule Poirot VS The Sinister Six or shit like that. Those thankfully still exist, FIY.
The basic plot doesn’t really require much explanation, as the story itself it’s pretty well known, and it’s a classic murder mistery that has eccentric and beloved detective Hercule Poirot founding himself strung into a murder case (this time committed on a river boat sailing the Nile) while invited by an acquaintance of his and “employed” by a couple to ward off a crazed stalker.
It’s definitely old-fashioned, down to the “ol’ school Hollywood” dance scenes, the story it’s still quite good and worth retelling, Branagh is phenomenal as Poirot and the ensemble cast it’s excellent, but it’s bogged down by a not small amount of not that important material, like a whole war flashback that almost entirely exists to explain Poirot’s mustache (i’m not kidding).
When it gets going it gets good, but it’s questionable if you can or want to forgive the fact the movie just takes WAY more than its sweet time to get going properly.
I personally do, but mileage might and will vary, justifiably (and rightfully) so.