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  • Mad Max (1979)

    Mad Max (1979)

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    Though he studied to become a doctor, Australian-born George Miller always dreamed of making movies. The early 1970s saw numerous Australian-made exploitation films being released, such as Stone and The Man from Hong Kong. After witnessing numerous car crash injuries as a doctor, Miller used this as inspiration for a car-centric action movie. With co-writer James McCausland, Miller drafted a story about car crashes in a dystopian future. Miller initially sought Irish-born James Healey for the titular hero, but he ultimately hired a 21-year-old Mel Gibson. The rest of the cast comprised relative unknowns and bikers from local gangs, and the shooting began in late 1977. With a relatively low budget and a first-time director, the crew used new and innovative techniques to bring it to life. After a grueling shoot, Mad Max hit Australian cinemas in 1979, followed by an American release in 1980 through AIP.

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    Synopsis

    Society is on the brink of collapse in the not-too-distant future as crime runs rampant and the authorities are dwindling. The Main Force Police, or MFP, is among the last remaining groups enforcing the law and needs help. Thankfully, they’ve got Max Rockatansky (Mel Gibson), a good cop who can get the job done, though not for long. With the rise in violence, apathy of the locals, and his family at risk, Max is considering leaving the force. Meanwhile, Toecutter (Hugh Keays-Byrne), the leader of a biker gang, wants revenge for the death of his second-in-command. They go after Max’s partner, Jim “Goose” Rains (Steve Bisley), which convinces Max to leave the force for his family. Unfortunately, things turn tragically when Max’s wife Jessie (Joanna Samuel) and son Sprog (Brendan Heath) are killed by Toecutter’s gang. Now driven mad, Max hops into his Pursuit Special to get revenge on Toecutter.

     

    Review

    Modern audiences who’ve only seen Mad Max: Fury Road might dislike the slower tone of this movie. However, if you love what George Miller has made now, you can see how 1979’s Mad Max laid the groundwork. For a first-time director, Miller showed excellent potential in working with a limited budget and making it look bigger. The low-angle camerawork and the undercranking of the camera make the car scenes more dynamic and intense. Also, the stuntwork is excellent, though I worry that many of these stunt actors suffered traumatic head injuries. Regardless, the raw, visceral energy of the action sequences is something you could only get from late 70s indie movies. It helps that the action sequences serve the story rather than being there for the sake of being there. You genuinely care about what’s happening instead of waiting for the film to end.

    Regardless of how you feel about him, there’s no denying that Mel Gibson is solid here as the titular hero. He plays the character with quiet stoicism, but you see early on that he’s a relatively normal guy. As the film goes on and more bad things happen to Max, you see him transform into a ruthless anti-hero. It’s an excellent character arc that leaves you wondering if his actions toward the end are justified. Also, Hugh Keys-Bearne shines as the villainous Toecutter, chewing up every bit of scenery around him while still being intimidating. Steve Bisley is also fun as Max’s good friend Jimmy the Goose, and what happens to him is tragic. Joanne Samuel also shines as Max’s wife, and Roger Ward has some fun moments as Fred “Fifi” Macaffee. All around, the cast is excellent, though some of them are better than others.

    It’s interesting reading contemporary reviews condemn the film for its violence and “ugliness” when it’s not that gruesome. Sure, the movie is vicious, but you don’t see the violence, only the aftermath, which is somehow more disturbing. Also, composer Brian May’s score is excellent, adding to the intensity and brutality of the film with some softer touches. My only real complaints are nitpicks that can easily be explained by the limited budget, but they’re worth addressing. Some of the audio is a bit off, the editing can get erratic sometimes, and there’s little characterization. Complaints aside, this is still a landmark of Australian cinema and worldwide cinema that launched many careers. Plus, at only 93 minutes, the movie blazes by without feeling like it’s rushing to the end. Overall, Mad Max is a classic that still holds up 45 years after its release.

     

    Buy Mad Max from Amazon: https://amzn.to/3wC366S.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Mad Max (1979)

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  • Kingdom of the Planet of the Apes (2024)

    Kingdom of the Planet of the Apes (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.25.1″ _module_preset=”default” global_colors_info=”{}”]On a budget of around $150-190 million, 2017’s War for the Planet of the Apes grossed over $490 million worldwide. Critically, it was the best-received of the trilogy and earned an Oscar nomination for Best Visual Effects. Following Disney’s acquisition of 20th Century Fox in 2019, the studio announced a new installment was in development. While Mark Bomback and Matt Reeves expressed interest in returning, Wes Ball of the Maze Runner trilogy got the job. Ball wrote the screenplay with co-writer Josh Friedman during the COVID-19 Pandemic, and the actual production commenced in 2022. With a $160 million budget, the movie was shot in Disney Studios Australia from October 2022 to February 2023. The story would be set many years in the future with a whole new cast of characters. After premiering at the TLC Chinese Theater, Kingdom of the Planet of the Apes hit theaters in May 2024.

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    Synopsis

    Many generations have passed, and apes are the dominant species while humanity has regressed to a feral stage. Noa (Owen Teague), a chimpanzee from a clan of bird experts, prepares for a coming-of-age ceremony when tragedy strikes. Ape raiders armed with electric staffs burn his village, kill Noa’s father, and take the rest of his clan prisoner. Having been left for dead, Noa journeys in search of the raiders to get revenge and rescue his clan. Along the way, he meets an orangutan named Rakka (Peter Macon), who teaches Noa about Caesar’s history and knowledge. They also meet a human they nickname Nova (Freya Allan), only to discover she speaks and her name is Mae. Eventually, Noa finds his clan, which is held captive by the self-proclaimed king Proximas Caesar (Kevin Durand). Will Noa save his clan, or will Proximas succeed in acquiring whatever is hiding behind a mysterious vault?

     

    Review

    I was surprised when I heard that a new Planet of the Apes movie was coming out. Given how War for the Planet of the Apes perfectly wrapped up the trilogy, I thought there wouldn’t be more. While Kingdom of the Planet of the Apes doesn’t quite live up to its predecessors, it’s still a decent movie. For one, seeing how far the ape’s civilization has grown since the last film is interesting. Like before, the apes are the best part of the movie, helped by outstanding visual effects and solid performances. While Andy Serkis is missed, Owen Teague does a great job as Noa, coming off as likable and strong-willed. Peter Macon also stands out as the wise orangutan Rakka, who imparts wisdom to Noa to disguise his exposition-laden dialogue. Though he doesn’t show up until halfway through, Kevin Durand’s Proximas is a great villain with a larger-than-life personality.

    Unfortunately, like the other movies, the humans aren’t the greatest and feel more like plot devices than characters. Freya Allan isn’t terrible as the human lead Mae, but it seems overly convenient how she knows so much. It’s not adequately explained how she already knows so much about human civilization after its downfall hundreds of years ago. Also, William H. Macy feels wasted in a role that might as well be a glorified cameo. Granted, the idea of a human working alongside the apes is interesting, but it’s not executed well. On the other hand, the film explores ideas of one’s teachings being interpreted differently in a way that echoes religion. While Rakkas believes Caesar’s teachings of apes staying strong and united, Proximas uses his teachings to assert power. While it’s not as deep as the other installments, it’s still more insightful than your average blockbuster.

    At its core, the film tells a straightforward story of revenge and awakening the hero within. Though derivative, it’s a storyline that generally works, and when the movie focuses on that, it’s engaging. Once the human characters and the vault are introduced, it’s not as engaging, and the story feels bogged down. If it had just been Proximas capturing Noa’s clan and forcing them into slavery, that would’ve been good motivation. Adding the vault feels like the filmmakers wanted to give Proximas more motivation when it wasn’t needed. Like Avatar: The Way of Water, this seems more interested in setting up sequels than being a good standalone movie. Thankfully, this isn’t nearly as long, though slightly over two and a half hours is pushing it. Overall, Kingdom of the Planet of the Apes is decent but not entirely up to par with the previous installments.

     

    Buy Kingdom of the Planet of the Apes from Amazon: https://amzn.to/48wulOy.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • War for the Planet of the Apes (2017)

    War for the Planet of the Apes (2017)

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    2014’s Dawn of the Planet of the Apes grossed over $710 million, becoming the 8th-highest-grossing film of the year. The film earned widespread critical acclaim and even an Oscar nomination for Best Visual Effects, guaranteeing another sequel. 20th Century Fox was so impressed with Matt Reeves’ cut that they signed him onto direct one more installment. While the studio had a planned release date, they gave Reeves and writer Mark Bomback additional production time. Andy Serkis returned to play the ape leader, Caesar, with Woody Harrelson, Steve Zahn, Gabriel Chavarria, and Amiah Miller joining. With a budget of around $150-152 million, filming took place in Vancouver from October 2015 until March 2016. While initially planned for a 2016 release, 20th Century Fox announced they’d delay it to the following year. After premiering at the SVA Theatre, War for the Planet of the Apes hit theaters in July 2017.

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    Synopsis

    Following the last film, the apes are at war with a human militia, the “Alpha-Omega,” searching for their colony. Specifically, they’re after the ape’s leader, Caesar (Andy Serkis), who’s searching for a new home for the apes. Unfortunately, a raid by the human militia leads to his wife and eldest son dying, so Caesar vows revenge. Caesar and a group of apes journey to the militia base to eliminate their leader, Colonel J. Wesley McCullough (Woody Harrelson). Along the way, the group meets a young mute girl (Amiah Miller) and an ape called “Bad Ape” (Steve Zahn). Eventually, they make it to the militia base, where they see several apes captured and forced into labor. In addition, it turns out that the Simian Flu has mutated to where those infected lose their intelligence and devolve. Will humanity reclaim its place in the world, or will the apes win the war?

    Review

    Often, the third part of a trilogy tends to stumble and fall rather than end things on a solid note. Films like The Godfather: Part III and Star Wars: The Rise of Skywalker are perfect examples of unsatisfying trilogy conclusions. Thankfully, War for the Planet of the Apes is one of those rare exceptions that ends the trilogy strong. First, the effects are easily the best since the first film, showing how much CGI has evolved in six years. The fur, textures, and muscles on the apes look so lifelike that you almost believe they’re real. Of course, it helps that they have great actors like Andy Serkis to make these feel more three-dimensional. Serkis perfectly plays an older, wiser Caesar trying to win a war he never wanted but has to fight. His is a great character arc that comes full circle by the end of this film.

    Unlike the last two, this one focuses much more on the apes than the humans, which is a step up. However, that isn’t to say the movie lacks humans; they play a more minor role. While she has no speaking lines, Amiah Miller is memorable as the mute girl the apes name Nova. She shows how, despite conditions for humanity worsening, there’s still hope that they can coexist with the apes. On the opposite end, we have Woody Harrelson as Colonel McCullough, who’s ruthless in his efforts to save humanity. Harrelson does a great job playing such a horrible villain that you almost understand where he’s coming from. He’s not evil for the sake of evil but rather a man who thinks he’s doing good but is wrong. Also, Steven Zahn helps bring some fun as comic relief but never derails the tone.

    Like the other two, this one delivers on the action while telling a tense, dramatic story that never lets up. It’s a thrill ride from the opening sequence of the militia hunting the apes to the attack on the compound. Admittedly, the film slows down after that opening sequence, but the pacing is solid enough that it never feels dull. It’s also interesting to see how things have progressed, such as the Simian Flu evolving and apes fighting alongside humans. Little details like this enhance the film while never feeling like they’re there just for the sake of being there. It’s the longest of the trilogy at two hours and twenty minutes, but there’s enough story to justify that runtime. Regardless of how this series continues, this film shows how the franchise lasted for decades. Overall, War for the Planet of the Apes is a fitting conclusion to the trilogy.

     

     

    Buy War for the Planet of the Apes from Amazon: https://amzn.to/4dA2FKQ.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Dawn of the Planet of the Apes (2014)

    Dawn of the Planet of the Apes (2014)

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    On a $93 million budget, 2011’s Rise of the Planet of the Apes grossed over $480 million worldwide. Naturally, 20th Century Fox wanted to make a sequel, hopefully with some of the same people as before. While writers Rick Jaffa & Amanda Silver and actor Andy Serkis came back, director Rupert Wyatt ultimately left. Due to Wyatt’s departure, actors James Franco and Freida Pinto confirmed they wouldn’t return, their characters dying of Simian Flu. Cloverfield director Matt Reeves replaced Wyatt, and Live Free or Die Hard writer Mark Bomback rewrote Jaffa & Silver’s script. On a budget of around $170-235 million, principal photography started in April 2013 in British Columbia and finished in June. Weta Digital, who handled the effects for the last film, returned to refine the work that earned them Oscar nominations. After premiering in June 2014, Dawn of the Planet of the Apes hit theaters in July.

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    Synopsis

    Ten years after the last film, the human population has reduced significantly due to the Simian Flu outbreak. Meanwhile, the hyper-intelligent apes led by Caesar (Andy Serkis) have established a colony in the San Francisco woods. Their peace is interrupted when a group of humans led by Malcolm (Jason Clarke) unknowingly crosses paths with them. They’re trying to restore a hydroelectric dam that’ll bring power to the settlement they’ve created in the city. After some tension between the two groups, the apes allow the humans to work on the dam in their territory. Koba (Toby Kebbell) opposes this alliance and hatches a scheme to eliminate Caesar, leading to an assault against the humans. As community leader Dreyfus (Gary Oldman) organizes their defenses, Malcolm and his group nurse Caesar back to health. It’s up to Caesar to stop Koba from starting a war that neither side will win.

     

    Review

    A sequel rarely improves upon the original, yet Dawn of the Planet of the Apes manages to do that. While the digital effects in the last film were impressive, the CGI here is a giant leap forward. From the opening close-up shot of Caesar’s eyes, it’s evident Weta made advancements to make the apes much more lifelike. It helps that they have some great actors doing the motion capture, including the always-dependable Andy Serkis. The performances of Serkis, Toby Kebbel, and Judy Greer, among others, make these apes feel like full-fledged characters. Even though most of their dialogue is through sign language, they’re still captivating enough that you don’t mind. Kebbel stands out as the traitorous Koba, who makes for a great villain with whom you somewhat sympathize. Seeing how he stages the human-ape war from behind the scenes is tense and suspenseful, and it never lets up.

    The human cast is serviceable, though similar to the last film, I was more interested in the apes. That isn’t to say all of them are bad, as Jason Clarke and Gary Oldman deliver solid performances. Keri Russell, Kodi Smit-McPhee, and the rest of the human cast are decent, but their characters aren’t particularly memorable. I would compare this to the Michael Bay Transformers movies, but none of the humans here are annoying or obnoxious. Plus, while watching the film, I wanted to see the apes and humans work together to find peace. It’s the age-old tale of two opposing forces trying to get along only to tear each other apart. Matt Reeves does an excellent job delivering a movie that’s exciting and entertaining while injecting some thought-provoking storytelling. It’s hard to believe this is the same guy who made the 1996 romantic comedy The Pallbearer with David Schwimmer.

    Of course, with this movie being a summer blockbuster, you’d expect many big action sequences, and this movie delivers. Thankfully, the action never feels like it comes at the expense of the storytelling but instead feels like a payoff. Whether it’s the ape’s assault on the human colony or the showdown between Caesar and Koba, it’s all exceptionally handled. The film also has fantastic production design, with the human stronghold and ape colony being particular highlights. It’s an exciting contrast to see the ruins of human civilization versus the rudimentary yet promising ape civilization. At just slightly over two hours long, the film never feels slow, and the pacing flows naturally. While surprised by how good Rise was, I’m astounded by what Reeves and company did with this sequel. Overall, Dawn of the Planet of the Apes is one of those rare sequels that’s better than its predecessor.

     

    And now, what should follow the Dawn but a War?

     

    Buy Dawn of the Planet of the Apes from Amazon: https://amzn.to/3wvJDEJ.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Dawn of the Planet of the Apes (2014)

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  • Civil War (2024)

    Civil War (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.25.0″ _module_preset=”default” global_colors_info=”{}”]Writer-director Alex Garland made a name for himself by writing the scripts for Danny Boyle’s 28 Days Later and Sunshine. He also wrote and produced 2012’s Dredd, in which he became an uncredited co-director with Pete Travis. While working on that film, Garland reexamined an idea for a movie he had in his childhood about artificial intelligence. The idea grew into Garland’s official directorial debut, 2014’s Ex Machina, which was both a critical and commercial success. He followed this up with 2018’s Annihilation, which underperformed at the box office despite earning similar critical acclaim. His next film, 2022’s Men, didn’t fare well either commercially and wasn’t as highly praised as his first two outings. That same year, A24 announced that they’d be producing Garland’s next film, which would be their most expensive to date. After premiering at SXSW, Alex Garland’s Civil War opened in theaters in April 2024.

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    Synopsis

    America is in ruins as a new civil war has erupted, though The President (Nick Offerman) believes victory is assured. Meanwhile, renowned war photojournalist Lee Smith (Kirsten Dunst) is trekking to DC to interview The President. Accompanied by her colleague Joel (Wagner Moura) and mentor Sammy (Stephen McKinley Henderson), they set their sights on reaching Charlottesville. However, unbeknownst to Lee, Joel brings along a wannabe photojournalist named Jessie Cullen (Cailee Spaeny), who idolizes Lee. As the group journeys from New York to Charlottesville, they see how people are being affected by this war. Some actively stay out of it, others merely try to survive, and a few take advantage of the lawlessness. Along the way, Jessie learns what it truly means to be a photojournalist as Lee shows her the ropes. Will our heroes make the trip successfully, or will they be another casualty in this civil war?

     

    Review

    Given the political climate we’re living in, it was quite a risk for Lionsgate to release Civil War. The film doesn’t take a side one way or the other, but the conflict isn’t the central focus. Our focus is squarely on this group of journalists as they travel across a war-torn country to document what’s happening. It reminds me of World War Z (the book, not the movie), only without zombies and the conflict still happening. Like Max Brooks’ iconic book, this film explores what would happen if society crumbled and how people would respond. Some choose to ignore what’s happening, some run rampant and commit unspeakable acts, and others try to survive. Admittedly, the movie doesn’t explain what the war’s over or how the conflict started, but that’s not the point. While I don’t want to dissuade anyone from seeing this, you should know what you’re getting into.

    Kirsten Dunst does a great job playing a somewhat disgruntled photojournalist who’s almost lost hope. You feel that she’s seen a lot in her day and is numb to everything that’s going on around her. Conversely, you have Cailee Spaeny as the young, ambitious, wannabe photojournalist who wants to live up to her idol. While she’s certainly seen quite a bit, she isn’t as exposed to the horrors of war as Dunst’s character. By the end, she goes through quite a character arc and becomes as despondent and almost unfeeling as Dunst. Wagner Moura and Stephen McKinley Henderson help balance things out and provide some good back-and-forths with Dunst and Spaeny. Since we’re following these four the most, it helps that they’re engaging and likable enough that we don’t mind. Also, a special mention goes to Jesse Plemons, who steals the show during his short screen time.

    Like with his other movies, Alex Garland’s direction is solid, perfectly capturing a sense of chaos and dreariness. Whether it’s a long tracking shot or through the use of handheld cameras, he makes you feel like you’re there. Unlike many filmmakers who rely heavily on shaky cam, he uses it just enough to intensify the action. Also, the movie is violent but never gratuitous, which helps sell the point without going too far. Admittedly, the thought of California and Texas allying isn’t very realistic, which throws a wrench in the film’s credibility. Still, this film is a compelling cautionary tale of how easy it is for the US to fall into chaos. You may disagree with what’s shown, but it’s still thought-provoking and worth watching at least once. Overall, Civil War has some fantastic direction and excellent performances, but some might find its message divisive or controversial.

     

    Buy Civil War from Amazon: https://amzn.to/4f9FO98.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Abigail (2024)

    Abigail (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.25.0″ _module_preset=”default” global_colors_info=”{}”]Radio Silence Productions got plenty of attention after 2019’s Ready or Not became a critical and commercial success. The directing duo of Matt Bettinelli-Olpin and Tyler Gillett helmed the fifth and sixth installments in the long-dormant Scream franchise. Both films received positive reviews and grossed over $100 million at the box office, cementing their place in horror history. In April 2023, they announced work on a new project with Universal Studios loosely based on 1936’s Dracula’s Daughter. Universal Studios clarified that they wanted each film to stand alone and give filmmakers more creative freedom. With a $28 million budget, filming started in Dublin in June before being suspended due to the SAG-AFTRA strike. Filming wrapped in December, but sadly, cast member Angus Cloud passed away in July from a drug overdose. After premiering at the Overlook Film Festival, the newly-retitled Abigail hit theaters in April 2024.

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    Synopsis

    Crime boss Lambert (Giancarlo Esposito) hires a group of six criminals to kidnap young ballerina Abigail (Alisha Weir). After kidnapping her, the group must wait in an old mansion while Lambert negotiates with the girl’s father. While the rest of the group keeps a lookout, group member Joey (Melissa Barrera) must be Abigail’s sole caretaker. As the night goes on, they get picked off one by one under mysterious circumstances, leading to internal struggles. On top of that, the mansion’s security system activates, trapping them inside with seemingly no way out. Soon, the group learns the truth – Abigail is a vampire, and the whole kidnapping was a trap. What started as a seemingly easy job becomes a fight for survival as the thieves fight off the young vampire. Before long, the group learns more than they bargained for as they try to fend off Abigail.

     

    Review

    I’m glad I never saw a trailer for Abigail because I was surprised by how good this movie was. This is one of the most fun, violent, and entertaining movies I’ve seen in quite some time. I wish I hadn’t known about the vampire twist, but I understand the movie needs to sell its gimmick. Admittedly, going in knowing that adds to the suspense as you’re left wondering when she’ll turn and attack them. It helps that Alisha Weir delivers a standout performance, going from scared and helpless to evil and conniving without fail. Everyone in the cast does a great job, and none of them feel secondary in the slightest. Melissa Barrera is tough and likable, Dan Stevens is wonderfully despicable, and Giancarlo Esposito shines in his few scenes. Kathryn Newton and Kevin Durand’s relationship is sweet, Will Catlett is strong, and the late Angus Cloud excels.

    Like their 2019 outing, Bettinelli-Olpin and Gillett deliver a bloody good time with tons of practical gore effects. By the movie’s end, not a single room in the mansion is left unstained by blood, and it’s great. The movie is so bloody that the directors had to apologize to the actors for how much blood they used. Thankfully, it never feels like the gore is there for the sake of being there, like so many other movies. The movie also reinvents the vampire lore by showing that specific weaknesses aren’t practical in this universe. The film introduces a ton of lore, but it never feels unnecessary or detracts from the rest of the story. Also, the movie takes some genuine twists and turns that I wasn’t expecting, and I was pleasantly surprised by them. It helps that the movie clocks in at slightly under two hours long.

    On the topic of this being a remake, this movie honestly doesn’t share much in common with Dracula’s Daughter. Not once is Dracula mentioned by name, nor is Abigail referred to as being The Count’s daughter. The only significant connection between the two is using the Swan Lake theme, which is a nice touch. If I can be honest, I’m struggling to find things to discuss with this movie without getting into spoilers. In a time where we’re inundated with sequels, remakes, and reboots, original movies like this are a rarity. The cast is excellent, the effects are gruesome, the direction is solid, and the pacing works. You’ll have a good time if you’re a horror fan who enjoys splatter and liked the directors’ previous work. Overall, Abigail is one of the most fun theater-going experiences I’ve had this year, and I highly recommend it.

     

    Buy Abigail from Amazon: https://amzn.to/48yffYO.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Monkey Man (2024)

    Monkey Man (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” global_colors_info=”{}”]In 2018, Oscar-nominated actor Dev Patel announced he’d be making his directorial debut as suggested by previous collaborator Neill Blomkamp. In addition to directing, Patel would be starring and sharing writing credits with Paul Angunawela and John Collee. Patel originally wanted to film in India in 2020 but had to postpone due to COVID-19, ultimately settling for Indonesia. Filming wrapped in 2021, and Netflix later acquired the distribution rights but considered canceling the release due to political concerns. At some point, Jordan Peele watched the film and loved it so much that he came on as a producer. Through his company, Monkeypaw Productions, Peele convinced Universal to buy the movie from Netflix for under $10 million. The film premiered at South by Southwest in March 2024 and received critical praise, generating an early buzz. Less than a month later, Dev Patel’s Monkey Man opened worldwide in April 2024.

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    Synopsis

    The film follows a young man (Dev Patel) who witnessed his village burned and his mother killed as a child. Years later, he’s trying to make ends meet in an underground fighting ring as “The Monkey Man.” Along the way, he plots revenge on religious leader Baba Shakti (Makarand Deshpande) and police chief Rana Singh (Sikandar Kher). Shakti orchestrated the village’s destruction to acquire the land, and he hired Singh to lead the massacre. Through his underground connections, our hero gets a job from Singh’s cohort, Queenie Kapoor (Ashwini Kalsekar), naming himself “Bobby.” Unfortunately, Bobby flies too close to the sun and nearly dies, though to be saved by spiritualist Alpha (Vipin Sharma). With help from Alpha and his transgender commune, Bobby trains with a newfound sense of purpose and makes his return. Now more driven and determined than ever, Bobby seeks vengeance and justice for those wronged.

     

    Review

    For his directorial debut, Dev Patel excelled and then some with Monkey Man, and I anticipate his next outing. Unlike many contemporary action movies, Patel isn’t afraid to go for the jugular and presents brutal, unflinching violence. You feel all the hits that are dealt, and the violence gets progressively bloodier and bloodier as it goes on. Admittedly, the editing can get choppy during the action sequences due to tight zooms, quick cuts, and shaky camerawork. While the editing does get better later on, parts of the first act are nearly incomprehensible because of the editing. Also, after a frantic first act, the film grinds to a near halt in the second act. The second act has plenty of story and character development, but it feels like tonal whiplash. Don’t get me wrong, Patel did an excellent job on his first outing, but there’s room for improvement.

    In addition to doing a solid job directing, Patel delivers one of his best performances since The Green Knight. He does a great job playing the strong, silent type with a look of determination and focus on his face. Seeing how his revenge plan plays out is fascinating, and you feel for him when things start to go south for him. Though his screen time is limited, Sharlto Copley chews up all the scenery around him when he’s on screen. He steals every scene he’s in, and I wish Copley had been in the movie more. Another highlight is Sobhita Dhulipala as Sita, a sex worker whom Patel’s character forms a bond with. You feel the hurt and struggle she’s going through, and you get the sense that she’s lost faith in humanity. Sikandar Kher plays a great villain and even outshines Makarand Deshpande, who’s technically the real villain.

    The fight choreography is excellent, and every hit feels visceral and natural, probably because a lot of it was. Amongst all the violence and fight scenes, there’s also plenty of political and social commentary that isn’t particularly subtle. From the look of Mumbai poverty to the subjugation of trans people, it makes sense why Netflix might’ve had reservations. The fact that a major studio like Universal was willing to take on a project like this says a lot. What’s also refreshing is the film’s short runtime of under two hours, a rarity in Hollywood today. Even if the second act somewhat drags, it’s not enough to make the experience feel longer than it is. Despite its flaws, this is an incredible action thriller worth your time, and I’m excited to see Patel’s next outing. Overall, Monkey Man is rough around the edges but has something special going for it.

     

    Buy Monkey Man from Amazon: https://amzn.to/4fcKdZg.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Godzilla x Kong: The New Empire (2024)

    Godzilla x Kong: The New Empire (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.24.2″ _module_preset=”default” global_colors_info=”{}”]Godzilla vs. Kong was a massive success, grossing $470 million worldwide against a budget of around $155 – 200 million. It was the 8th highest-grossing film of 2021, HBO Max’s most successful launch title, and a hit with critics. Naturally, with that kind of success, a sequel would follow, formally announced in March 2022. Adam Wingard agreed to direct this follow-up, with much of the last film’s cast and crew also returning. With a budget of $135 million, principal photography started in July 2022 around the Gold Coast, Queensland. Filming wrapped in November in Australia, and a year’s worth of post-production followed, with Alessandro Ongaro supervising the visual effects. Meanwhile, Toho released Godzilla Minus One, a financial and critical hit that earned an Oscar for Best Visual Effects. After premiering at Grauman’s Chinese Theater, Godzilla x Kong: The New Empire premiered in March 2024.

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    Synopsis

    Since the last movie, Kong has made Hollow Earth his home while Godzilla defends Earth from various Titans. All is well until a Monarch research station detects an unknown signal, which triggers Jia (Kaylee Hottle) to have hallucinations. Sensing that something’s wrong, Jia’s adopted mother, Dr. Ilene Andrews (Rebecca Hall), recruits Bernie Hayes (Brian Tyree Henry) for help. Alongside Titan vet Trapper (Dan Stevens), they travel to Hollow Earth to find the signal’s source and discover what’s happening. Meanwhile, Godzilla is spotted attacking nuclear power plants and absorbing their energy, possibly preparing for something big. Back in Hollow Earth, Kong discovers a group of giant apes living deep underground led by the tyrannical Skar King. It turns out that the Skar King plans to invade the surface with his apes and an ice-breathing Titan, Shimo. Kong and Godzilla must team up to save the world once again!

     

    Review

    While I wouldn’t call this movie unique or groundbreaking, Godzilla x Kong: The New Empire is at least entertaining. Honestly, entertaining is all this movie had to be, and it more or less succeeds at providing pure popcorn entertainment. Sure, this film isn’t as good as Godzilla Minus One, but it was never going to be, and that’s fine. As the last movie demonstrates, Adam Wingard knows what his audience wants and delivers on it tenfold. Admittedly, G-fans may be disappointed that Godzilla doesn’t get as much screen time as Kong, who’s more-or-less the central focus. Besides teaming up for the climax, this might as well be Kong: The New Empire with special guest star Godzilla. Granted, there are a few standout Godzilla moments, mostly him battling other monsters and even napping in the Colosseum. Seeing them team up to fight different monsters is all worth it.

    Like many other Kaiju movies, the human characters aren’t as significant as the monsters, but they’re at least well-acted. Rebecca Hall is the film’s emotional core and does a great job playing a sympathetic lead. Her scenes with Kaylee Hottle as her adopted daughter are funny and heartwarming, which helps ground the film’s reality. Brian Tyree Henry returns as the comic relief, and while his humor is hit-or-miss, he isn’t overly annoying or obnoxious. Dan Stevens, who starred in Wingard’s 2014 thriller The Guest, is also fun as the brash and arrogant Trapper. Aside from them, there’s not much else to discuss with the human cast since they’re just background noise. Admittedly, the smaller human cast is a welcome change from Godzilla vs. Kong, which had too many human characters. It shows that, sometimes, less is more, especially regarding extra human characters.

    Before writing this review, I decided to see what other critics were saying, and I’m wondering what they were expecting. Many complain that the film doesn’t explore deeper meanings or the implications of these monsters’ existence. Like I said earlier, this film would never explore any deeper meanings, and that’s fine. Not every movie needs to be a profound contemplation on life’s meaning or what being a giant ape means. Sometimes, you need a big, ridiculous, fun popcorn movie to escape from reality for two hours. While filmmakers should strive for more than surface-level entertainment, there’s nothing wrong with making pure escapism. I’m not saying this movie is a masterpiece that will sweep the Oscars, but it’s a fun watch. Overall, Godzilla x Kong: The New Empire falters in some aspects, but it’s a fun way to kill two hours.

     

    Buy Godzilla x Kong: The New Empire from Amazon: https://amzn.to/40q9Wc0.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Godzilla x Kong: The New Empire (2024)

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  • Ghostbusters: Frozen Empire (2024)

    Ghostbusters: Frozen Empire (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.24.2″ _module_preset=”default” global_colors_info=”{}”]Despite a mixed reception, 2021’s Ghostbusters: Afterlife was a box office hit, grossing $204 million against a $75 million budget. Months after its release, Sony Pictures announced a sequel was in development with Jason Reitman returning to direct. However, towards the end of 2022, Reitman was replaced by director Gil Kenan, who previously helmed the Oscar-nominated Monster House. Under the title Firehouse, principal photography started in March 2023 in London, with some shots filmed in New York City. In addition to the primary cast from the previous film, several actors from the original films also reprised their roles. New cast members included Kumail Nanjiani, Patton Oswalt, James Acaster, and Emily Alyn Lind. Filming wrapped in June, and it was scheduled for a December release but was delayed due to the SAG-AFTRA strike. After premiering in New York City in early March 2024, Ghostbusters: Frozen Empire was released worldwide soon after.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”65″ bar_bg_color=”#EDF000″ _builder_version=”4.24.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Following the previous film, the Spenglers and former science teacher Gary Grooberson (Paul Rudd) move into the Ghostbusters firehouse. Though successful, the family tells Phoebe (Mckenna Grace) she can’t continue busting ghosts, or they get shut down. Meanwhile, local Nadeem Razmaadi (Kumail Nanjiani) sells Dr. Ray Stantz (Dan Aykroyd) an orb that supposedly contains an ancient spirit. The team discovers that inside the orb is an ancient evil that was imprisoned after harnessing the death chill. Elsewhere, a depressed Phoebe inadvertently makes friends with a ghost girl named Melody (Emily Alyn Lind), who seeks absolution. While she appears innocent, Melody secretly works with the ancient evil, Garraka, to release him from the orb. Once freed, Garraka plans to engulf New York City and the world in a neverending winter of fear. Will our fearless paranormal investigators save the world, or will they become frozen with fear?

     

    Review

    Some may recall that the last Ghostbusters movie made my Best Films of 2021 list, and I stand by that. Naturally, I was excited for another sequel, though I had doubts after seeing the first few trailers. Having seen the movie, I can say that while this isn’t spectacular, Ghostbusters: Frozen Empire is a decent enough follow-up. The returning cast members still deliver solid performances, though some stand out more than others. Like in the last film, McKenna Grace is charming and likable, and her scenes with Dan Aykroyd are fun. The returning Ghostbusters are given more to do here, though some, like Bill Murray, are little more than glorified cameos. Another standout is Emily Alyn Lind as Melody, the ghost girl with a tragic backstory who becomes friends with Phoebe. Not only is she fabulous, but it’s a different look at ghosts that the series hasn’t explored before.

    Admittedly, this plays into one of the film’s most significant weaknesses: too many characters and insufficient story. So many characters and subplots are going on that the movie loses focus and feels like a jumbled mess. Sure, some of it is interesting, like Winston using his vast wealth to fund further Ghostbusters research, but it’s overwhelming. In all honesty, some characters, like Finn Wolfhard’s Trevor, could’ve been written out, and nothing would’ve changed. Also, the pacing is very uneven, with the first half being relatively dull and the second being more action-packed. While it does pick up in the second half, considering all the exposition dumped on you, it’s hard to care. It feels like Gil Kenan had a lot of ideas but no one to tell him when to pull back. Say what you will about Afterlife, but it at least felt like Jason Reitman had a singular vision.

    To spin this in a more positive direction, I will give this movie props for creating a new villain. Garraka is an intimidating and well-designed villain, and the lore surrounding him is fascinatingly eerie. I think that’s what frustrates me the most about this movie: it has several good ideas but no real focus. It doesn’t help there are more references to the older movies, though it’s not as egregious as critics have suggested. I’ve also seen critics complain that this had a more serious tone, which I wasn’t bothered by. Sure, it isn’t as funny or has many jokes, but remember that the original was shot like a horror film. Despite my issues, and while I wouldn’t say it’s on par with Afterlife, this is still a decent sequel. Much like Ghostbusters 2, Ghostbusters: Frozen Empire is a flawed but enjoyable experience overall.

     

    Buy Ghostbusters: Frozen Empire from Amazon: https://amzn.to/4ec3HMb.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Cemetery Man (1994)

    Cemetery Man (1994)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.24.2″ _module_preset=”default” global_colors_info=”{}”]In 1986, Tiziano Sclavi’s horror comic series Dylan Dog was published by Sergio Bonelli Editore and became a huge success. The comics caught the attention of filmmaker Michele Soavi, and he expressed interest in making a film adaptation. While Sclavi had already sold the movie rights, he gave Soavi a manuscript for a novel to consider adapting. Soavi wasn’t entirely sold, but after producer Tilde Corsi and co-producer/writer Gianni Romoli revamped the script, Soavi signed on. For the lead role, they hired up-and-coming English actor Rupert Everett, who Sclavi based the look of Dylan Dog on. With a roughly $4 million budget, filming occurred in two Italian cemeteries in Carsoli and Guardea. Shooting lasted eleven weeks, and the production had many issues, but they persevered and finished the movie. Originally released in Italy as Dellamorte Dellamore in 1994, the film hit stateside in 1996 as Cemetery Man.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.24.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Francesco Dellamorte (Rupert Everett) is the caretaker of a cemetery where the dead rise seven days after their burial. With his mute assistant Gnaghi (François Hadji-Lazaro), he has to put these “returners” back in their graves. One day, Francesco meets a young widow (Anna Falchi) whose older husband recently passed and falls in love with her. They make love on top of her late husband’s grave, but he rises and bites her, presumably killing her. Francesco shoots her in the head when she gets up, but she comes back later as a returner. After killing her for good, Francesco slips into a fit of depression, culminating in a mass shooting spree. At the same time, Gnaghi falls for the mayor’s underage daughter, Valentina (Fabiana Formica), even after she’s a severed head. It’s a twisted tale of love and death, loss and life, friendship and existentialism.

     

    Review

    Unfortunately, there’s more to the plot that I can’t cover because to describe everything that happens would make this longer. So much wild stuff happens in Cemetery Man that spoiling any of it would be a disservice. Whether you love it or hate it, Michele Soavi’s twisted tale of love and death must be seen to be believed. Like many Italian horror films, this one is more concerned about style than making any logical sense. Speaking of, the film has a dark, gothic look that permeates throughout, with tons of fog and moody lighting. Even the daytime scenes in the cemetery have a strange presence, which offsets the intentionally dull city-bound scenes. While the film isn’t as gory as the works of Fulci and Argento, there are some pretty bloody effects. Italian effects legend Sergio Stivaletti did some of his best work here, especially the zombie designs.

    As the groundskeeper, Francesco Dellamore, Rupert Everett gives an appropriately dry and sardonic performance as a man bored of life. You get the sense that being surrounded by the dead for so long has taken its toll on him. It doesn’t help that his only friends are the primarily mute Gnaghi and a state worker who believes him. While her character isn’t given a name, the undeniably gorgeous Anna Falchi stands out as the young widow. When she returns as a returner, she somehow remains beautiful despite being covered in roots and leaves. She shows up later as two miscellaneous characters, which leads to theories that Francesco might be getting punished. Another standout is the late Mickey Knox as Marshall Straniero, who has some great back-and-forths with Everett. There are so many wild characters that add to the overall absurdity of the film.

    Like many of the best horror comedies, this one achieves that perfect balance of laughs and scares. For all the scenes of zombies rising to attack people, there are just as many darkly comedic moments. For example, when the mayor finds his daughter’s reanimated head, he’s more concerned about her wanting to marry Gnaghi. This sort of movie would fit right at home in either an arthouse or a grindhouse theater. There are plenty of moody, artistic touches for the more artsy crowd, with some sleaze added for exploitation fans. That said, your enjoyment of this movie largely depends on how much you’re willing to suspend your disbelief. So much is left unexplained, and not much makes sense, but you’ll enjoy the ride if you go with it. Overall, Cemetery Man is one of the most uniquely bizarre horror comedies ever and is a must-watch for genre fans.

     

    Buy Cemetery Man from Amazon: https://amzn.to/3NVL6sQ.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Cemetery Man (1994)

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