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  • Arena (1989)

    Arena (1989)

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    After Trancers and Eliminators became minor hits, Danny Bilson and Paul De Meo were assigned more scripts by Charles Band. One assignment he gave them was a sci-fi wrestling movie with aliens, which the duo wasn’t entirely sold on. They took the job anyway and used 1947’s Body and Soul as a reference for their screenplay. Their original concept was more of a spoof of boxing movies from the time, which didn’t sit well with Band. At some point, the script went through many rewrites after Bilson and De Meo left to work on The Flash. Peter Manoogian, who previously helmed Eliminators and Enemy Territory, was given $2 million to film Empire’s most ambitious film. The movie was shot in the old Dino De Laurentiis studios in Rome and finished in 1988. Unfortunately, due to Empire’s bankruptcy, Arena wouldn’t see a release until 1991.

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    Synopsis

    In the year 4038, on a lone space station, alien races battle in a gladiatorial arena for dominance. The reigning champion is the cyborg Horn (Michael Deak), whose promoter, Rogor (Marc Alaimo), is rigging the fights. After Horn pummels her last fighter, Quinn (Claudia Christian) desperately seeks a new one to take on Rogor’s champion. Enter Steve Armstrong (Paul Satterfield), a young man from Earth who’s a cook working with his friend Shorty (Hamilton Camp). He gets into a fight with one of Quinn’s fighters, and she’s so impressed that she offers him a contract. Steve initially turns it down, but once Shorty receives threats over gambling debts, he agrees and becomes a good fighter. Feeling threatened, Rogor sends his henchmen Weezil (Armin Shimerman) and Skull (William Butler) to sabotage Steve’s fight with Horn. Will Horn defend his title, or will Steve become the new champion of the Arena?

     

    Review

    Arena has the ingredients to make a fun sci-fi movie: likable characters, unique creature designs, and a decent story. Despite this, the film can’t decide whether to take itself seriously or have fun with the premise. This movie is a standard rags-to-riches boxing story, even with its outlandish setting and otherworldly aliens. It’s Rocky in space but without the heart and soul of John G. Avildsen’s original classic. How differently would the movie have played out if they had used Bilson and De Meo’s original script? Unfortunately, what we got was a predictable boxing movie that happens to have a decent setting and unique monsters. That said, you can see the $2 million budget on the screen with the elaborate sets and alien designs. While John Carl Buechler handled much of it, the highlight is Screaming Mad George’s contribution.

    Paul Satterfield makes for a decent leading man, giving the role plenty of charm and charisma to make him endearing. It helps that he looks like a blonde Christopher Reeve, which makes me wonder why he never got bigger. The rest of the cast includes character actors like Hamilton Camp, Claudia Christian, Marc Alaimo, Shari Shattuck, and Armin Shimerman. Most people will recognize them from roles in shows like Babylon 5 and various iterations of Star Trek. They all do a serviceable job, though Hamilton Camp stands out for his goofy charm and comedic timing. Peter Manoogian’s direction is decent, Mac Ahlberg’s cinematography is good as usual, and Richard Band’s score gets the job done. If the film had more camp and didn’t take itself as seriously, this would be an underrated gem in Empire’s catalog. Overall, Arena isn’t terrible, but there are better Empire movies to check out.

     

    Watch Arena on Amazon Prime: https://amzn.to/3YsTgh3.

    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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  • Terror of Mechagodzilla (1975)

    Terror of Mechagodzilla (1975)

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    Months after the release of Godzilla vs. Mechagodzilla, assistant producer Kenji Tokoro selected Yukiko Takayama to write the next film. Having won a writing contest held by Toho, Takayama had to submit three subsequent rewrites before getting final approval. Jun Fukuda was asked to return to direct, but he refused, saying he had enough of the series. There were rumors that Godzilla vs. Hedorah director Yoshimitsu Banno was considered, but series veteran Ishiro Honda was eventually hired. Having been absent from the series since 1969’s All Monsters Attack, this was Honda’s final film before retiring. This was meant to be darker than the previous entries in the series, which were more lighthearted and goofy. The film was released in March 1975 as Terror of Mechagodzilla in Japan, while the US got it years later. Independent distributor Bob Conn Enterprises released the movie as The Terror of Mechagodzilla in March 1978.

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    Synopsis

    After the last film, Interpol agents take a submarine to search the ocean depths for the remains of Mechagodzilla. Unfortunately, the sub is attacked by a giant sea monster named Titanosaurus, leading to Interpol starting an investigation. They enlist the aid of marine biologist Akira Ichinose (Katsuhiko Sasaki), who tracks down where Titanosaurus came from. It’s revealed that Titanosaurus is controlled by reclusive scientist Dr. Shinzo Mafune (Akihiko Hirata), who’s allied with The Simeons. Under the leadership of Mugal (Gorō Mutsumi), Mafune is helping the aliens rebuild Mechagodzilla so they can wipe out humanity. Also, Mafune has a daughter named Katsura (Tomoko Ai), who is revealed to be a cyborg with Mechagodzilla’s controller implanted. As Interpol and the army try taking down Titanosaurus and Mechagodzilla, Godzilla arrives to do battle once again. Like the last film, it’s a two-on-one fight, except Godzilla is alone this time.

     

    Review

    It’s a shame the Showa era of Godzilla movies had to end with Terror of Mechagozilla because it’s not bad. This was Toho’s attempt at something more serious after years of pandering to kids, and I think they did ok. While it does have the same alien invader plot we’ve seen in other installments, it’s not nearly as ridiculous here. Also, Dr. Mafune’s backstory of a disgraced scientist shunned by society is handled well and makes him sympathetic. Sure, Akihiko Hirata’s performance is somewhat over-the-top, and he’s given a bad wig to wear, but it doesn’t ruin anything. It’s also nice that this film is a direct sequel to the last one, whereas the others were loosely connected. Ishiro Honda’s direction is top-notch, and Akira Ifukube’s score fits the somewhat darker tone of the movie well. Plus, it has one of Godzilla’s most awesome introductions.

    As for the monsters, Mechagodzilla is just as cool as before, even if there’s nothing new to him. Titanosaurus is one of Godzilla’s most interesting-looking monsters, but his roar can sometimes be grating, if not laughable. Like many Godzilla movies from this period, it takes a while to get going, but the fight scenes are entertaining. Unfortunately, they’re a step down from how wild and crazy the fights in the last movie were. Godzilla vs. Mechagodzilla had that campy, Saturday matinee feel of other late Showa movies, but it worked there. I’m not saying the film should’ve been goofier, but the fights should’ve matched the last film’s energy. While it’s not great, it’s easily one of the better films from this era, despite being the last one. Overall, Terror of Mechagodzilla isn’t as fun as the last one, but it’s a decent effort.

     

    Buy Terror of Mechagodzilla from Amazon: https://amzn.to/3DUqEDG.

    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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  • Curtains (1983)

    Curtains (1983)

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    After producing the hit Prom Night in 1980, Peter Simpson teamed with writer Robert Guza Jr. for a new project. With slasher films continuing to be profitable, Simpson wanted this one to be more adult-oriented for an older audience. He hired cinematographer Richard Ciupka, whose prior credits included Ilsa the Tigress of Siberia and Atlantic City, to direct. They hired John Vernon from Animal House, Samantha Eggar from The Brood, and Lynne Griffin from Black Christmas. Unfortunately, the film was plagued with production issues, mainly from Ciupka and Simpson disagreeing with the tone. Due to these disputes, Ciupka left the project in 1981, having only filmed 45 minutes of material. Simpson finished the film, though Ciupka has his name replaced with “Jonathan Stryker,” a character from the movie. After numerous rewrites and reshoots, Curtains opened regionally in the US in February 1983 before opening nationwide a month later.

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    Synopsis

    To prepare for an upcoming role, actress Samantha Sherwood (Samantha Eggar) feigns mental illness to be committed to an asylum. Unfortunately for Samantha, her director, Jonathan Stryker (John Vernon), plans to audition six girls for her part in her absence. Five actresses arrive, including Patti (Lynne Griffin), Brooke (Linda Thorson), Laurian (Anne Ditchburn), Tara (Sandee Currie), and Christie (Lesleh Donaldson). The sixth, Amanda Teuther (Deborah Burgess), gets killed on her way to the audition at Stryker’s rural New England mansion. However, Samantha shows up unannounced as she has escaped the asylum and plans to get revenge on Stryker. One by one, the girls are attacked by a mysterious sickle-wielding killer, whether in a jacuzzi or on the ice. As the bodies pile, it becomes a whodunit as the girls try to find out who the killer is. They better find out fast, or it’s Curtains for them!

     

    Review

    While not quite a slasher classic on par with Halloween or Friday the 13th, Curtains is nonetheless a fascinating watch. For one, the acting is better than expected from this kind of movie, especially Vernon, Eggar, Griffin, and Thorson. John Vernon does a great job playing a pretentious, somewhat sleazy director willing to push his actresses to the edge. Samantha Eggar is fantastic as an aging actress trying to stay relevant, and her scenes with Vernon are great. While the other main actresses do well, Lynne Griffin and Linda Thorson stand out in performance and character. Griffin is sympathetic as a comedian-turned-actress struggling to be taken seriously, and Thorson shows plenty of vulnerability in her role. Like any good slasher, this one has memorable kills, the most famous being on a frozen lake. While none are particularly bloody, they’re shot and edited well.

    Unfortunately, the movie’s troubled production creeps in when certain characters and plot points are dropped. For instance, Samantha Eggar’s character somehow escapes the asylum, but we’re never shown how, but instead given a throwaway explanation. Also, without giving away any spoilers, the ultimate payoff feels so thrown together that it’s disappointing. That said, the theme of several young actresses willing to debase themselves for a role is still relevant today. These women will sleep with the director, endure humiliation, and be forced into uncomfortable situations just for a shot. While I’m sure this aspect was always intentional, the somewhat disjointed nature unintentionally makes the film stand out. Even if it’s not scary or bloody, it’s so bizarre and off-putting that it’s worth seeing. Overall, Curtains is confusing and disorienting, but the performances and unique kills make this a fascinating watch.

     

    Buy Curtains from Amazon: https://amzn.to/45gigdu.

    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 Curtains (1983)

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  • Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)

    Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)

    [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=”4.21.2″ _module_preset=”default” global_colors_info=”{}”]Since its comic book debut in 1984, Teenage Mutant Ninja Turtles has been one of the most popular franchises ever. In 1987, creators Kevin Eastman and Peter Laird licensed the characters to Playmates Toys, who developed a multi-billion-dollar toy line. That same year, Playmates hired Murakami-Wolf-Swenson to create an animated series lasting for ten seasons from 1987 to 1996. Following the success of Batman, Golden Harvest produced a live-action movie that became a massive hit and spawned two sequels. A new animated series was created by 4Kids Entertainment in 2003, followed by a CG-animated film in 2007. By 2009, the franchise was sold to Viacom, producing two new animated series for Nickelodeon and two movies for Paramount. In 2020, Nickelodeon announced a new CG-animated film in development, with Seth Rogen and Evan Goldberg producing. After premiering at Annecy, Teenage Mutant Ninja Turtles: Mutant Mayhem hit theaters in August 2023.

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    Synopsis

    Scientist Baxter Stockman (Giancarlo Esposito) creates a family of mutants when soldiers from the Techno Cosmic Research Institute (TCRI) invade. Stockman dies in an explosion, the mutants go free, and the mutagen that created them is dumped in the sewer. A rat named Splinter (Jackie Chan) finds four baby turtles contaminated by the mutagen and decides to raise them. Years later, the turtles – Leonardo (Nicolas Cantu), Donatello (Micah Abbey), Michaelangelo (Shamon Brown Jr.), and Raphael (Brady Noon) – are ninjas. While going out for supplies, the turtles run into April O’Neil (Ayo Edebiri), a would-be reporter investigating recent break-ins. The turtles offer to help track down the source, discovering a mutant housefly named SuperFly (Ice Cube). He and his army of mutants from Stockman want to enslave humanity by creating more mutants. It’s up to our young heroes in a half shell to save the world from a Mutant Mayhem.

     

    Review

    Teenage Mutant Ninja Turtles: Mutant Mayhem is an animated film that both longtime fans and newcomers can enjoy. For one, Mikros Animation did an incredible job of bringing the film to life and giving it a unique aesthetic. How the characters, objects, city, etc., are designed reminds me of the doodles in a high school student’s notebook. It’s very similar to the art style of Spider-Man: Into the Spider-Verse, which isn’t bad if done differently. While this film has a similar look and feel, it does just enough to set itself apart to stand out. Also, the four teen actors hired to voice the turtles do a great job and feel like four brothers. Some of the film’s best moments are when the turtles banter back and forth or joke around with each other. Jackie Chan is a great anchor to the turtles as the sagelike yet uncertain Splinter.

    Ayo Edebiri is also fun as a new take on April O’Neil and doesn’t come off as standoffish or snarky. Ice Cube was also a great choice as the villain SuperFly, making the character both fun and intense when needed. John Cena and Seth Rogen are good as Bebop and Rocksteady, even if they don’t do much in the movie. The other big standout is Paul Rudd as Mondo Gecko, whose “dude bro” attitude perfectly compliments Michaelangelo. The action sequences are big and chaotic but never overwhelming or confusing, punctuated by a fantastic soundtrack. Also, I appreciate that this movie is only 100 minutes long, which is refreshing nowadays. Admittedly, a few jokes don’t land, and some plot elements don’t work, but these don’t ruin the experience. Overall, Teenage Mutant Ninja Turtles: Mutant Mayhem is a fun movie for kids and adults alike.

     

    Buy Teenage Mutant Ninja Turtles: Mutant Mayhem from Amazon: https://amzn.to/3AcZbze.

    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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  • A Blade in the Dark (1983)

    A Blade in the Dark (1983)

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    The son of acclaimed Italian horror director Mario Bava, Lamberto Bava got his start working as his partner. He was an assistant director on Planet of the Vampires, Dr. Goldfoot and the Girl Bombs, and Danger: Diabolik. After a chance meeting with fellow filmmaker Pupi Avati, Lamberto made his directorial debut with Macabre in 1980. This led to Bava working with Ruggero Deodato on Cannibal Holocaust and Dario Argento on Inferno and Tenebre. While working with Argento, Lamberto was approached by writers Dardano Sacchetti and Elisa Briganti with a new project. The initial plan was to film four 30-minute segments for a TV miniseries, each ending with a murder. However, the censors deemed the series too gory for television, so Bava re-edited the material into a feature film. Following its 1983 Italian release, the film was released in the US as A Blade in the Dark in 1986.

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    Synopsis

    Bruno (Andrea Occhipinti) rents a villa from Tony Rendina (Michele Soavi) so he can work on a horror movie soundtrack. While staying at the villa, Bruno is visited by Katia (Valeria Cavalli), a neighbor who stops by without revealing why. Soon, a mysterious figure kills Katia with a box cutter, which Bruno doesn’t realize until he finds blood stains. He soon discovers her diary, which mentions Linda, a mysterious woman who leased the villa and disappeared soon after. Later surprise visits include his girlfriend Giulia (Lara Lamberti), Katia’s friend Angela (Fabiola Toledo), and his director Sandra (Anny Papa). Unfortunately, just as these women come by to see Bruno, they get killed more gruesomely than the last. Bruno starts uncovering more about the mysterious Linda and her connections to Sandra’s movie as the bodies pile up. Just who is Linda, and who is responsible for all these murders?

     

    Review

    I wouldn’t say A Blade in The Dark is one of the best giallos ever, but it’s a decent watch. Like any good Italian horror film, this one has plenty of gruesome kills involving box cutters, knives, and plastic bags. There’s plenty of bloody carnage, though none of the kills are memorable, like in Tenebre or The New York Ripper. Also, the cinematography is solid, with plenty of POV shots, contrasting shadows, and a few tracking shots. The music from Guido and Maurizio De Angelis, aka Oliver Onions, is catchy, even if the same theme plays throughout. The cast has a few memorable faces in Italian cinema, including Andrea Occhipinti, Giovanni Frezza, and future director Michele Soavi. Plus, at roughly about 90 minutes in length, the movie doesn’t take up too much time and gets out quickly. It’s a shame this is a pretty average giallo/slasher film.

    I’d say the movie’s biggest flaw is that, in between all the murder scenes, there’s tons of filler. There are many slow scenes of characters either fiddling with their equipment, swimming, or wandering around the villa. It doesn’t help that the sequences play out the same: a random woman visits, talks to Bruno, then gets killed. On top of that, we’re not given much character development, so there’s not as much impact when they die. I’m not saying every slasher film needs deep characterization, but this doesn’t give us much of anything. That said, as boring as this movie can be, it led to Lamberto Bava making more exciting genre fare. We wouldn’t have gotten incredible movies like Demons, Blastfighter, or Demons 2, so I give this film some credit. Overall, A Blade in The Dark has moments, but it’s best recommended for hardcore giallo fans.

     

    Buy A Blade in The Dark from Amazon: https://amzn.to/4aCbrIB.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch A Blade in the Dark (1983)

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  • Dolly Deadly (2016)

    Dolly Deadly (2016)

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    Hailing from Northern California, Heidi Moore has wanted to direct movies for much of her life. She started Wretched Productions as a way to get her films off the ground, as well as help fellow artists. In 2012, she directed a short called Mommy, initially intended as a segment for The ABCs of Death. That same year, she made the short film, Boyfriend: Hell Hath No Fury Like a Wo-man Scorned. In addition to being a director, Moore was also a mother of two sons named Lawrence and Justin. For her first feature film, she took inspiration from the torment she saw her son Justin go through at school. Moore got her movie off the ground with some bribery and a few favors, but mainly through hard work. At some point, Troma acquired the distribution rights and released Dolly Dearest in August 2016.

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    Synopsis

    After witnessing his mother’s death as an infant, Benji (Justin Moore) has to live with his grandma Mitzi (Kimberly West-Carroll). She and her slob of a boyfriend, Donald (Jay Sosnicki), constantly mock Benji for playing with dolls. Even the neighborhood kids, Crystal (Paloma Couoh) and Kenny (Lawrence Moore) hassle him for his doll obsession. In his solitude, Benji retreats into dreams of his mother, Tina Lyn (Dana Nelson), reminding him that she loves him. At one point, Benji leaves home and runs into Rock Bottom (Donny Gonzalez), who shares some bizarre stand-up comedy. He also meets a homeless guy (Christopher Calvano) who says, “Do unto others as they would do unto you!” This inspires Benji to no longer take the abuse and kill everyone who mocked and tortured him. Benji is no longer a neglected child but instead is now Dolly Deadly!

     

    Review

    Going into Dolly Deadly, I expected it to be some run-of-the-mill generic slasher film about a creepy doll. However, what I got instead was a fascinating character study of a mentally scarred kid pushed to his limit. It brings to mind similar movies like Sleepaway Camp or Silent Night Deadly Night, where the killer is almost sympathetic. You may disagree with them killing people, but you can understand what drove them to this point. Like the controversial Christmas slasher, this one deals with a character’s identity crisis, with the killer embracing who’ve they become. The cast does a phenomenal job, even the kid actors, which is rare even in big-budget movies. Even if it is nepotism, Justin Moore does a fantastic job of playing a kid who just needed some love. He’s excellent at being sympathetic and terrifying, and I’m excited to see what else he does.

    Kimberly West-Carroll and Jay Sosnicki do a great job playing such hateable characters that it makes their deaths more satisfying. The death scenes are creatively gruesome, and the practical effects are top-notch, given the low budget. While the film mostly has an intentionally flat look, some dark sequences utilize brightly-colored lighting, adding a surreal, dreamlike quality. It reminds me of the colors used in Creepshow to give that film its comic-book look. If I had any complaints, I’d say that a few scenes, particularly with Donny Gonzalez, feel out of place. Even at less than 90 minutes, parts of the movie feel padded, and it takes a while to get going. But despite its flaws, this is still an impressively horrific yet heartfelt character study/slasher film that exceeded my expectations. Overall, Dolly Deadly is worth checking out if you want something twisted yet deep.

     

    Buy Dolly Deadly from Amazon: https://amzn.to/3pW8gav.

    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 Dolly Deadly (2016)

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  • Barbie (2023)

    Barbie (2023)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]In 1959, American businesswoman Ruth Handler created Barbie, a doll made for little girls based on Germany’s Bild Lilli. Ruth’s husband Elliot co-founded the toy company Mattel, so she brought the doll to him, and the rest is history. Since its inception, Mattel has sold over a billion Barbie dolls and just as many accessories, clothes, vehicles, etc. In 2009, Mattel announced that Universal would work on a live-action movie, but nothing came of it. Sony Pictures was brought on to produce in 2014, with Amy Schumer and Anne Hathaway both in talks to star. Unfortunately, numerous delays led to Mattel reacquiring the rights and partnering with Warner Bros, leading to Margot Robbie being cast. Also serving as a producer, Robbie hired Greta Gerwig to direct, who agreed if her partner Noah Baumbach co-wrote. Following a few reshoots, Barbie finally hit the silver screen in July 2023.

    [/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=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.21.0″ _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” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Life in Barbieland is splendid as Barbie (Margot Robbie) lives her days with her fellow Barbies and Ken (Ryan Gosling). However, things turn sour when Barbie starts asking about death, her routine is thrown off, and her feet go flat. She consults Weird Barbie (Kate McKinnon) for help, and Weird Barbie suggests she find the child playing with her. With Ken stowing away in her car, Barbie travels to Venice Beach, where they almost immediately get arrested. While Barbie looks for her owner, Ken wanders off and learns about the patriarchy, leaving Barbie to spread the word. Elsewhere, Barbie and Ken’s antics get the attention of Mattel’s CEO (Will Ferrell), who’s determined to bring them in. Soon, Barbie finds her owner, Sasha (Ariana Greenblatt), who drops some harsh truths on her, making her question her existence. Things only worsen once Barbie sees what Ken has done to their home.

     

    Review

    To get this out of the way, Barbie is a feminist “take down the patriarchy” movie through and through. I’m not here to discuss gender politics, societal roles, or anything like that, so I’m not getting into that. As to the movie itself, I think there’s a lot to like about it, from the performances to the directing. First, I can’t think of anyone other than Margot Robbie playing a live-action Barbie, and she nails it. Not only does she look and fit the part, but she has a great character arc as her worldview expands. Ryan Gosling steals the show as Ken and shows off his comedic talent through his back-and-forths with Robbie. He’s hilarious when he’s just Ken and even funnier once he brings the patriarchy back to Barbieland. Also, Michael Cera is memorable as the even more forgotten Alan, somehow more pathetic than Ken.

    The production design for Barbieland is a sight to behold, feeling like a dollhouse come to life. It reminds me of the neighborhood from Tim Burton’s Edward Scissorhands, looking so idyllic that it’s almost creepy. It’s a great contrast to the mundanity of Los Angeles, though I almost wish more time was spent in Barbieland. While some jokes land, quite a few miss the mark and go overboard explaining the joke. Sometimes, it feels like the filmmakers interrupt the movie to preach about gender equality and women’s rights. Also, so many characters are packed in that it can be overwhelming, especially when most have the same name. At slightly under two hours long, there isn’t a ton of padding, and it moves at a decent pace. Overall, Barbie has some good qualities, but some material might be somewhat offputting for certain audience members.

     

    Buy Barbie from Amazon: https://amzn.to/3YMAjrp.

    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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  • Oppenheimer (2023)

    Oppenheimer (2023)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]While working on Tenet, Robert Pattinson gifted director Christopher Nolan a book containing speeches from theoretical physicist J. Robert Oppenheimer. This sparked Nolan’s interest in Oppenheimer’s history, the creation of the atomic bomb, and the consequences of those actions. After announcing the project’s development in 2021, Nolan read the 2005 biography American Prometheus and based his screenplay on that. Around this time, he cut ties with Warner Bros. after they decided to release movies theatrically and on streaming simultaneously. A bidding war over the script ensued, with Universal coming out the winner and agreeing to Nolan’s stipulations. With a $100 million budget, the movie was shot between February and May 2022, mostly in and around New Mexico. The film featured an all-star cast including Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr, and Florence Pugh. After an extensive post-production period, Oppenheimer premiered at Le Grand Rex in July 2023.

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    Synopsis

    After earning his Ph.D. in physics from the University of Göttingen, J. Robert Oppenheimer (Cillian Murphy) returns to the US. He teaches quantum physics at the University of California, Berkeley, and Caltech and eventually marries Katherine “Kitty” Puening (Emily Blunt). While teaching, Oppenheimer is visited by General Leslie Groves (Matt Damon), who wants him to develop an atomic bomb. Fueled by his hatred of Nazis and their Antisemitism, plus his Jewish background, Oppenheimer agrees and starts assembling a team. With some government funding, a small town is built in Los Alamos, New Mexico, and work on the bomb commences. Their work culminates in the bombing of Hiroshima and Nagasaki, which leads to Oppenheimer speaking against developing nuclear weapons. This makes the once-renowned physicist a suspect as the government questions his loyalty to the US, given his communist ties. Will Oppenheimer be remembered as an innovator or a traitor?

     

    Review

    Writing a review of Oppenheimer will be difficult because there is so much more that works here than not. First, Cillian Murphy delivers the best performance of his career as the man behind the atomic bomb. He’s very logical and calculating but never comes off as stiff and robotic, showing plenty of emotion throughout his struggles. Whether he’s delivering a monologue or not saying a word, you can feel the emotion in Murphy’s eyes. The rest of the cast does a phenomenal job, with Robert Downey Jr., Emily Blunt, and Florence Pugh standing out. Whether or not you’re a Christopher Nolan fan, you can’t deny that his films look fantastic; this is no exception. The fact that hardly any CGI was used makes the movie feel more natural and adds a more significant impact. The level of detail in the Los Alamos set alone is a testament to Nolan’s commitment.

    One thing going into this movie I didn’t expect was its non-linear storytelling, but it worked for me. The switch between color and black-and-white helps separate which scenes are happening when, but I can understand people getting confused. Also, the movie isn’t just telling the story of how the bomb was built, but also the before and after. It’s a biopic that’s also a character study that turns into a courtroom drama, but it’s handled well. When the film gets to the bomb, it’s quiet mainly, making it all the more impactful. The movie does delve into the politics surrounding the bomb and Oppenheimer, but it never bogs the material. While the three-hour runtime will put off most audiences, it’s an incredible three hours you should experience. Overall, Oppenheimer is Christopher Nolan’s best movie and one of the best movies of 2023 so far.

     

    Buy Oppenheimer from Amazon: https://amzn.to/3Cbld5W.

    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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  • Blade: The Iron Cross (2020)

    Blade: The Iron Cross (2020)

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    After 2017’s Puppet Master: Axis Termination closed out The Axis Trilogy, the long-running franchise was put on hold. In 2018, the famous horror magazine Fangoria released a soft reboot called Puppet Master: The Littlest Reich with Band producing. The following year, Charles Band announced The Deadly Ten, a series of ten films produced in-house at Full Moon. The first two titles announced, Weedjies: Halloweed Night and Necropolis: Legion, were released in October and November 2019, respectively. Another film announced for The Deadly Ten was a Puppet Master spin-off directed by John Lechago of Killjoy 3 fame. The movie would be a direct continuation of The Axis Trilogy that focused on the iconic puppet, Blade. While initially scheduled for a December 2019 release, the film was pushed back to the following year. In mid-2020, during the COVID-19 Pandemic, Blade: The Iron Cross slashed onto Full Moon’s streaming service.

    [/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=”50″ bar_bg_color=”#EDF000″ _builder_version=”4.21.0″ _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=”4.21.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Young psychic Elisa Ivanov (Tania Fox) works as a reporter while holding onto Andre Toulon’s puppets. Elsewhere, Ingenieur Erich Hauser (Roy Abramsohn) has synthesized Toulon’s life-giving serum to create an army of the undead. Hauser has discovered that he can harness bio-energy to bring the recently dead back to life after experiencing intense drama. Unfortunately for him, his experiments lead to several bodies turning up, which Elisa and photographer Barney (Griffin Blazi) discover. Meanwhile, Detective Joe Gray (Vincent Cusimano) also investigates the bodies and discovers the Nazis’ involvement. With their army of the undead rising, Elisa uses her psychic abilities to reawaken Blade to battle the Nazis. Hauser’s ultimate plan is to transmit a Death Ray to wipe out humanity and turn them into zombies. It’s up to a psychic, a photographer, a detective, and a puppet to save the world.

     

    Review

    While Blade: The Iron Cross isn’t the return to form fans might’ve hoped for, it’s not without its merits. For one, gorehounds will appreciate how bloody this movie is, with every throat slash resulting in gallons of blood. Also, it was wise for them to use Blade as the central figure since he’s arguably the most iconic puppet. The cast all do a decent job, with Tania Fox and Vincent Cusimano being the highlights. Roy Abramsohn makes for a proper lead villain, chewing up as much scenery as possible. Speaking of scenery, while the sets reveal the film’s low budget, they’re unique enough to add variety. Admittedly, the film doesn’t have the flair John Lechago lent to the Killjoy sequels, but it has some moody lighting. Lastly, the movie is short, clocking in at roughly 70 minutes, much less than the last film.

    Unfortunately, that’s where any positives I can glean from this anemic spin-off end, as this is ultimately a disappointment. Sure, the series dropped in quality after Puppet Master 5: The Final Chapter, but some entries were decent. While this one isn’t a glorified clip show, this spin-off shows how much the series has gone downhill. For one, Blade barely appears in the movie, which happens to feature his name in the title. Some technical problems pop up, such as establishing shots featuring a modern-looking city despite the 1945 setting. Plus, some scenes have an actor donning a Blade costume since they couldn’t afford stop-motion, and it sticks out. But what kills this spin-off’s potential is that it’s boring, which is the worst thing a movie can be. Overall, Blade: The Iron Cross isn’t the worst, but this iconic killer puppet deserved better.

     

    Buy Blade: The Iron Cross from Amazon: https://amzn.to/44BQ8Bk.

    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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  • Sound of Freedom (2023)

    Sound of Freedom (2023)

    [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=”4.21.0″ _module_preset=”default” global_colors_info=”{}”]Mexican filmmaker Alejandro Monteverde made a considerable splash with his 2006 directorial debut Bella, which earned top honors at TIFF. Monteverde followed this up with the 2015 WWII drama Little Boy, which received negative reviews and underperformed financially. Around this time, he and co-writer Rod Barr started writing a script about anti-human trafficking activist Tim Ballard. The screenplay was a biopic about his life, specifically how he went from Homeland Security officer to human rights activist. Ballard requested Jim Caviziel to portray him after enjoying his role in 2002’s The Count of Monte Cristo. The movie was shot in 2018 with 20th Century Fox distributing, only to be shelved once Disney acquired Fox. After the producers repurchased the rights, they searched for a distributor for the next five years before finding Angel Studios. After numerous delays, Sound of Freedom finally hit theaters on July 4th, 2023.

    [/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=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.21.0″ _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” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Homeland Security agent Tim Ballard (Jim Caviezel) is tasked with tracking down pedophiles and anyone distributing child pornography. While he can put several offenders behind bars, he’s upset that he hasn’t saved a single child. Ballard decides to trick Ernst Ohinsky (Kris Avedisian) into meeting child trafficker Earl Buchanan (Gary Basaraba), arresting them both. Through Buchanan’s arrest, Ballard saves Miguel (Lucás Ávila), a Honduran child kidnapped with his sister Rocío (Cristal Aparicio). Ballard promises Miguel and his father Roberto (José Zúñiga) to find Rocío and flies to Cartagena to pursue a lead. After meeting with former cartel member Vampiro (Bill Camp), Ballard establishes a fake club for a sting operation. Despite his boss Frost (Kurt Fuller) telling him to pull the plug, Ballard is determined to bring Rocío home. He’ll go beyond the call of duty, so Rocío and thousands of children will sing the Sound of Freedom.

     

    Review

    Sound of Freedom is a movie I had never heard before until it exploded out of nowhere on the internet. I hadn’t seen a single trailer for this, but I got curious once I saw several YouTube videos discussing it. Having seen it, I can see why it’s getting so much attention, and there are good qualities to be found. Alejandro Monteverde does a competent job behind the camera and remains reserved with the material. It would’ve been easy to slip into exploitation territory, but he gives us just enough to infer what’s happening. Also, Jim Caviezel gives what’s easily one of the best performances of his career, and he cares about the material. His biggest strength is conveying a wide range of emotions at once through his eyes without saying a word. Granted, most of his dialogue sounds like lines explicitly made for the trailer.

    Another highlight is Bill Camp, playing a former cartel boss dedicated to saving children from captivity. He provides some levity while remembering when to pull back the comedy and get serious. I also have to commend Cristal Aparicio and Lucás Ávila for what had to be a challenging role. The rest of the supporting cast is good, though Mira Sorvino and Kurt Fuller don’t contribute much. Like many “based on a true story” movies, this one embellishes plenty of details, which hurts the central message. As many have pointed out, this movie doesn’t accurately portray the reality of child trafficking, instead reinforcing Hollywood stereotypes. While I commend the filmmakers for spotlighting this issue, I urge you to research before saying you know better. Overall, Sound of Freedom is a decent thriller, but it doesn’t fully address the reality of the situation.

     

    Buy Sound of Freedom from Amazon: https://amzn.to/3CcyE5w.

    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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