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  • Renfield (2023)

    Renfield (2023)

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    In 2014, Universal announced plans to reboot their classic monster movies as part of a shared universe. Unfortunately, plans were scrapped following the critical and commercial failure of Dracula Untold and The Mummy. Universal still moved forward with modern updates on their monster properties, focusing on unique storytelling. Robert Kirkman of The Walking Dead fame pitched a concept for a movie focused on Dracula’s servant, Renfield. With a script by Ryan Ridley, Rocketman director Dexter Fletcher was hired but left for a reboot of The Saint. In 2021, Adam McKay got the directing job after delivering a pitch that the studio liked. Nicholas Hoult was hired for the title role, along with Awkwafina, Ben Schwartz, and Nicolas Cage as Dracula. The movie was filmed in New Orleans between February and April 2022 and was planned for a 2023 release. Renfield hit theaters worldwide in April 2023.

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    Synopsis

    English lawyer Robert Montague Renfield (Nicholas Hoult) visits Count Dracula (Nicolas Cage) to broker a deal for some land. Unfortunately, Renfield becomes Dracula’s familiar, meaning he has to keep Dracula fed from now until the end of time. Ninety years later, Renfield and Dracula have relocated to New Orleans to escape some vampire hunters. While Dracula recuperates, Renfield tries bringing in criminals for his master to feast on, but he wants innocent blood. Meanwhile, police officer Rebecca Quincy (Awkwafina) wants to take down the Lobo crime family for killing her father. She crosses paths with Renfield at a restaurant when Teddy Lobo (Ben Schwartz) and his goons attack. The two slaughter his crew, and Quincy calls Renfield a hero, inspiring him to leave Dracula for a new life. Feeling betrayed, Dracula teams up with the Lobo family as part of his plan to take over the world.

     

    Review

    Renfield does deliver on what the trailers promise, but it’s not quite what you think it will be. When the film’s focus is on the relationship between Renfield and Dracula is genuinely engaging, funny, and even heartfelt. However, the subplot about a traffic cop trying to take down a major crime family seems out of place. Granted, the two plots come together by the end, but it almost feels like two movies smashed together. This leads to the film’s over-the-top gore, which is cartoonishly violent and the primary draw of the movie. While I’m generally not a fan of CGI blood, the use of it here adds to the ridiculousness. There are some excellent practical effects to the film’s credit, particularly when you see a weakened Dracula near the beginning. Also, I’m impressed the filmmakers recreated the look and feel of the 1931 Dracula in the opening scene.

    Nicholas Hoult does a great job as Renfield, who is likable and sympathetic while showcasing his comedic abilities. Awkwafina is fun as the loud-mouthed traffic cop determined to make a difference and has excellent chemistry with Hoult. As he often does, Nicolas Cage steals the show as Dracula, chewing up all the scenery while still being intimidating. Thankfully, he has enough screen time to leave an impact without feeling overdone, as his over-the-top delivery can be overwhelming. Ben Schwartz is another standout as the cocky Teddy Lobo, who tries to be tough despite relying on others. There are also appearances from Jenna Kanell (Terrifier), Caroline Williams (The Texas Chainsaw Massacre 2), and William Ragsdale (Fright Night). The film flies by at only 90 minutes, but the disjointed nature hurts an otherwise enjoyable horror comedy. Overall, Renfield is entertaining, but it could’ve used some refinement in the scripting phase.

    [/et_pb_text][et_pb_code _builder_version=”4.20.4″ _module_preset=”default” link_option_url_new_window=”on” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]Buy Your Tickets on Sale to watch “Renfield” playing in theaters starting April 14th[/et_pb_code][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    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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  • VHS Massacre Too (2020)

    VHS Massacre Too (2020)

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    Upon its 2016 release, VHS Massacre: Cult Films and the Decline of Physical Media was very well received. The film won several accolades at the Telly Awards, WorldFest Houston, and the Miami International Science Fiction Film Festival. Since then, Tom Seymour and crew have noticed how history is being repeated in the streaming era. Much like movies were subject to censorship in the VHS era, independent filmmakers faced obstacles from large conglomerates today. Years after the original, Seymour decided to make a follow-up documentary showcasing the struggles of independent cinema. They got several interviewees from the first documentary and YouTube creators James Rolfe and Shawn C. Phillips. Once again, Troma picked up the distribution rights to the documentary and had its premiere in early 2020. In 2022, VHS Massacre Too made it to Blu-ray before premiering on Troma Now in 2023.

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    Synopsis

    The documentary starts with film critic/horror host John Bloom, aka Joe Bob Briggs, giving a history of film censorship. He goes over the Hays Code, first introduced in 1934, then the formation of the MPAA in 1968. Interestingly, he mentions how films like The Texas Chain-Saw Massacre are regarded as classics today but were trashed upon release. From there, we see how physical media has declined, thanks partly to Blockbuster excluding exploitation/independent films. Filmmakers Debbie Rochon, J.R. Bookwalter, and Lloyd Kaufman discuss how streaming has financially hurt them and other independents. Rochon and James Rolfe also share stories about the difficulty of supporting themselves while making a movie for no money. Lloyd Kaufman also talks about how even the term “independent cinema” has been co-opted by the major studios. To top it off, the filmmakers even visit the last Blockbuster in the country, located in Bend, Oregon.

     

    Review

    VHS Massacre Too significantly improved over its predecessor, even if the title is a bit of a misnomer. This documentary is about censorship and how changing times affect independent filmmakers, which was the first film briefly touched on. While the decline of physical media is covered, it’s not given as much attention as the original. The best parts of the documentary are hearing the stories of independent filmmakers dealing with bad distribution deals. Hearing Debbie Rochon’s story about trying to get her film Model Hunger released made me want to watch it. Another highlight is Joe Bob Briggs pointing out the news publications’ hypocrisy in giving exploitation filmmakers attention when they die. The New York Times won’t review Larry Cohen’s The Stuff, but they’ll write a loving obituary for him. It shows how people who willingly talk about exploitation movies today were ashamed of it before.

    Including James Rolfe and Shawn C. Phillips is an interesting choice, but it also seems out of place. Nothing against Phillips, but Rolfe has much more experience behind the camera and understands the struggles more. The feel of the documentary is generally negative, but it offers suggestions for improving the state of independent cinema. It presents the idea that while independent cinema is dying, there are ways to take power away from the conglomerates. This documentary is also excellent for fans of exploitation cinema as it talks about how important these films are. Many classic exploitation movies shattered taboos and challenged how people think, which many of today’s mainstream movies fail to do. At 77 minutes, the documentary goes by quickly and doesn’t overstay its welcome, providing enough entertainment without dragging things out. Overall, VHS Massacre Too is an excellent documentary about censorship and truly independent cinema.

     

    Buy VHS Massacre Too from Amazon: https://amzn.to/3MOM37c.

    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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  • Air (2023)

    Air (2023)

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    While watching the documentary series The Last Dance, screenwriter Alex Convery got interested in how Nike signed with Michael Jordan. Convery wrote the script between 2020 and 2021 under the title Air Jordan and was on that year’s Black List. In 2022, Amazon Studios acquired the screenplay and hired Ben Affleck and Matt Damon, with Affleck as director. Before production began, Michael Jordan met with Ben Affleck to give his blessing if the script was changed. Mostly, Jordan wanted specific figures included, namely George Raveling and Howard White, along with the removal of Tinker Hatfield. Jordan also asked for his parents’ role to be further expanded and requested that Viola Davis play his mother. Once the changes were made, the movie was shot in Los Angeles between June and July 2022. While initially planned for a streaming-only release, Amazon decided to release Air to theaters in April 2023.

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    Synopsis

    Set in 1984, Nike is considering closing their basketball division because of poor sales and competition from Converse and Adidas. Nike’s basketball talent scout, Sonny Vaccaro (Matt Damon), has to find a player to be the new spokesperson. Vaccaro thinks young up-and-coming Michael Jordan (Damian Delano Young) has potential, but he’s considered off-limits because he loves Adidas. After meeting with Jordan’s former Olympic coach George Raveling (Marlon Wayans), Vaccaro flies to Wilmington to meet with Jordan’s parents. Vaccaro assures Michael’s mother, Deloris (Viola Davis), that Nike will provide everything the competition can’t. Despite Jordan’s agent David Falk’s (Chris Messina) warning, Vaccaro and Robby Strasser (Jason Bateman) start working on their pitch. They ask designer Peter Moore (Matthew Maher) to develop a shoe specifically for Michael Jordan, which they call “Air Jordan.” The future of Nike’s basketball division depends on whether or not this deal will go through.

     

    Review

    Much like Ford v Ferrari, Air is a fantastic biopic you can enjoy whether or not you’re a sports fan. I don’t claim to be a sports expert, but I found the story captivating and was riveted throughout. It helps that everyone in the cast is giving a phenomenal performance, and the script is incredibly well-written. Matt Damon is relatable as the middle-aged, slightly overweight guy trying to do a successful job at work. His scenes with Jason Bateman and Ben Affleck are among the film’s many highlights as they exchange tons of banter. Like every other film she’s been in, Viola Davis gives an outstanding performance as Michael Jordan’s mother. Marlon Wayans does an excellent job in the few scenes he has, as do Chris Tucker and Chris Messina. Honestly, there isn’t a single bad actor in the entire cast.

    Returning to James Mangold’s 2019 film about the rivalry between Ford and Ferrari, the film touched on the American Dream. Similarly, Air exemplifies how anyone can succeed with the drive and perseverance to overcome larger-than-life obstacles. Some might see this as a giant advertisement for Nike, but the film is more about proving your worth. Not only is Vacarro’s job on the line but so are the livelihoods of his coworkers and his entire department. The fast pace can sometimes be overwhelming, but the movie keeps the story engaging. At slightly under two hours, there isn’t a spot that drags, and even the slower scenes are entertaining. It’s hard to say since 2023 isn’t halfway over, but this might be one of the year’s best films. Overall, Air works, thanks to its fantastic cast, solid direction, snappy writing, and riveting story.

    [/et_pb_text][et_pb_code _builder_version=”4.20.4″ _module_preset=”default” link_option_url_new_window=”on” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]Buy Your Tickets on Sale to watch ” Air” playing in theaters starting April 5th[/et_pb_code][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    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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  • Evil Bong 3: The Wrath of Bong (2011)

    Evil Bong 3: The Wrath of Bong (2011)

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    Like the original, Evil Bong 2: King Bong was a hit for Full Moon Features, so a sequel was inevitable. After the release of Avatar in 2009, there was a resurgence in 3D, and Charles Band wanted in on it. Band hadn’t made a 3D movie since Parasite 3D and Metalstorm: The Destruction of Jared-Syn, so this was exciting. Unfortunately, he lacked those movies’ budgets, but luckily, cinematographer Thomas L. Calloway, aka Terrance Ryker, had a solution. Calloway had previously worked on the 3D film Long Day Journey, so that they could rent the equipment from that production. Full Moon held a writing contest, with the winner being video game reviewer Patrick Klepek. He sent them a complete outline, which they turned into the script, though he was given a writing credit. Evil Bong 3: The Wrath of Bong had a small theatrical run in 2011, complete with scratch-and-sniff cards.

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    Synopsis

    Stoners Brett (Brian Lloyd) and Bachman (Mitch Eakins) are running their weed shop when a weird guy (Irwin Keyes) arrives. He found a strange alien bong near a crashed meteor and wants to sell it to them. They take it but notice an abnormal growth on his body and that the Alien Bong (Circus-Szalewski) can speak. The guys get Larnell (John Patrick Jordan) and Allistair (Peter Stickles) to help, but that’s not enough. Larnell calls Gramps (Jacob Witkin), now a weed doctor working with Nurse Hookah (Christina DeRosa), to try and help. He brings the Evil Bong Eebee (Michelle Mais) to try communicating with the Alien Bong, but even she’s perplexed. Soon, the guys are sent to the Alien Bong’s homeworld, where some foxy aliens try sucking their essence dry. Will our heroes stop this alien invasion, or will the Alien Bong be able to take over the world?

     

    Review

    If you’ve seen the first movies, you’ve more or less seen Evil Bong 3: The Wrath of Bong. I’m not exaggerating when I say this is like the last one, but swap the jungle for outer space. While much of the cast is the same, Alistair is recast again, changing Brett Chukerman for Peter Stickles. Compared to Chukerman, Stickles plays the part more like a stereotypical nerd like David Weidoff in the original. Unfortunately, he’s not given much to do here, which might explain why he didn’t return for the later sequels. The rest of the cast plays their parts like before, with Jacob Witkin again being the highlight. Robin Sydney has a few scenes, but she’s another standout as the snobby and airheaded Luann. Also, Sonny Carl Davis looks like he’s having a good time, especially in the alien world.

    Michelle Mais is as crass and loud as Eebee, and Circus-Szalewski makes for a great contrast as the Alien Bong. He gives an appropriately stern and intellectual tone, which reminded me of Jeffrey Combs’ performance in Re-Animator. The late great Irwin Keyes is memorable in his small role, and it’s a shame he disappears after twenty minutes. You can tell these movies are getting cheaper when you look at the sets, just some tiny rooms. The alien world is just a black room with a few props and topless women with body paint. The Alien Bong prop has a unique look with its large horns and pupilless green eyes. Several spots drag at slightly under ninety minutes, and I can’t imagine 3D making this better. Overall, Evil Bong 3: The Wrath of Bong has its moments, but the same tired material is repeated.

     

    Buy Evil Bong 3: The Wrath of Bong from Amazon: https://amzn.to/3L0eVrP.

    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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  • Slashening: The Final Beginning (2021)

    Slashening: The Final Beginning (2021)

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    Upon its release in 2015, The Slashening was well-received among critics and horror fans for its satirical wit. At the 2018 Milwaukee Twisted Dreams Festival, the film won the Best Supporting Actor and Best Makeup awards. Given its success, Brandon Bassham decided to crowdfund a sequel on IndieGoGo, much like he did on his other films. While most of the cast was new, Billy Bob Thompson and Patrick Foy returned for the sequel. Of the $10,000 flexible goal, the film raised over $8,000 for production, which added to the total $15,000 budget. Regarding the sequel, Bassham promised that it would be “the bloodiest, dirtiest horror/comedy ever made.” Like Bassham’s last two movies, Troma picked up this one for distribution and was released in 2021. In April 2021, Slashening: The Final Beginning had its LA premiere, followed by a release on Troma Now.

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    Synopsis

    Five years after the last film, Madison Santangeli (Addie Weyrich) moves to Brooklyn and joins a support group. Her father owned the pizza parlor where the murdered delivery drivers worked, killing his business and leading to suicide. The support group is led by Pat (Patrick Foy), who survived his mutilations, with his girlfriend Cher (Madonna Refugia). There’s also Viv (Jean Louise O’Sullivan), Bex (Jaime Lutz), Greg (Carl Foreman Jr.), Dylan (McManus Woodend), and Kyle (Jon Bershad). Maddie seeks solace in her friend Kim (Rasheda Crockett), who helps her cope with talks in the bathtub. Unfortunately, a copycat killer is picking off the support group members one by one in increasingly gruesome ways. As the body count rises, Maddie learns more about the killer than expected, including the number of killers. Will she survive her attackers or be another victim of the new slashening?

     

    Review

    If you enjoyed The Slashening, you’d most likely enjoy Slashening: The Final Beginning since it’s more or less the same. Like that film, this one has plenty of gags and gore to keep you entertained, though your mileage may vary. Admittedly, some of the jokes don’t land, but there are plenty that hit, and no group is spared from ridicule. These include guys pretending to be feminists to get laid and white women threatening black business owners with negative reviews. Unfortunately, there are times when the gags are stretched out too long, but luckily, they’re few and far between. It’s a horror-comedy that leans a bit more into comedy, but plenty of horrors can be had. The gore effects are minimal, but there are plenty of bloody moments and inventive kills involving ukuleles and corkscrews. There’s even some nudity added in, which came as a shock.

    Everyone in the cast does a commendable job taking the material seriously while being in on the joke. Addie Weyrich makes for a likable lead, acting as the straight man to all the insanity around her. Jean Louise O’Sullivan and Jaime Lutz are having fun playing two stereotypical stuck-up, entitled white women you love to hate. Patrick Foy is funny as the lone survivor from the original, and Madonna Refugia is excellent as the insane girlfriend. Speaking of hateable characters, McManus Woodend plays into the incel trope well, and hearing people insult him is hilarious. Some might find the humor too political, but it works because both sides are made fun of. Some parts of the movie drag at an hour and twenty minutes, but watching with friends is still fun. Overall, Slashening: The Final Beginning is a hilariously bloody slasher spoof that builds on what made the original enjoyable.

     

    Watch Slashening: The Final Beginning on Troma Now: https://bit.ly/3MAlkew.

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  • The Super Mario Bros. Movie (2023)

    The Super Mario Bros. Movie (2023)

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    With a $48 million budget, the 1993 Super Mario Bros. movie only made $38.9 million and received generally negative reviews. Because of this failure, Nintendo became more protective of its IPs and put future films on indefinite hold. In 2015, Nintendo announced a partnership with Universal Parks & Resorts to create Mario-themed attractions, ultimately creating Super Nintendo World. This partnership led to Mario creator Shigeru Miyamoto meeting with Illumination founder/CEO Chris Meledandri, and the two started collaborating. Miyamoto felt that Meledandri would be perfect for heading a Mario movie, with Nintendo making an official announcement in 2018. In 2021, Teen Titans Go! creators Aaron Horvath and Michael Jelenic were hired to direct, with Matthew Fogel writing. Fans became concerned about Chris Pratt and Seth Rogen voicing Mario and Donkey Kong, respectively, but the studio defended them. The Super Mario Bros. Movie hit the big screen in April 2023.

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    Synopsis

    Brothers Mario (Chris Pratt) and Luigi (Charlie Day) are Brooklyn plumbers struggling to find work after starting their own business. While trying to fix a sewer leak, the brothers are sucked into a pipe and get separated. Mario lands in the Mushroom Kingdom, while Luigi is in the Dark Lands, ruled over by King Bowser (Jack Black). After meeting Toad (Keegan-Michael Key), Mario is taken to Princess Peach (Anya Taylor-Joy), hoping she’ll help him rescue his brother. She agrees to bring Mario and Toad along as she travels to the Jungle Kingdom to ask for their help. Their leader, Cranky Kong (Fred Armisen), will help if Mario can beat his son, Donkey Kong (Seth Rogen), in combat. Mario wins, so Cranky agrees to lend his army to help Peach fend off Bowser from conquering the Mushroom Kingdom. Will they succeed, or will King Bowser win Peach’s hand in marriage?

     

    Review

    I’d compare The Super Mario Bros. Movie to the first Sonic the Hedgehog movie: it isn’t groundbreaking but entertaining. Honestly, that’s all I was hoping to get out of this, and this movie pulls it off. This feels like what Super Mario Bros. should’ve been like back in 1993, and it probably would’ve done better. I often find Illumination’s animation mid-tier at best, but it looks fantastic here and does the franchise justice. It’s very bright and colorful, and the locations are varied, from the fantastical Mushroom Kingdom to the realistic-looking Brooklyn. There are plenty of Mario references sprinkled in, but it’s from a love of the franchise rather than forced recognition. Further adding to this is the fantastic score by Brian Tyler, which includes remixes of classic songs from the games. They add to the feel that this is a Super Mario Bros. movie.

    Despite how people initially reacted, Chris Pratt does a fine job as Mario, reserving the “Wahoos” to a minimum. If he had just done a typical Mario voice throughout, it would’ve gotten old quickly, so he was fine. Charlie Day is fantastic as Luigi and has excellent chemistry with Pratt, so it’s disappointing that they’re separated early on. Jack Black is another stand-out as the villainous Bowser, who has some hilarious musical interludes about pining over Princess Peach. Anya Taylor-Joy is another excellent casting choice for Princess Peach, as is Seth Rogen as Donkey Kong. I’d say Fred Armisen was the weakest as Cranky Kong, as he doesn’t sound as cranky as he should be. My only other complaint is that while Brian Tyler’s score is excellent, there’s some 80s rock that’s out of place. Overall, The Super Mario Bros. Movie isn’t perfect, but it’s a good time for fans.

    [/et_pb_text][et_pb_code _builder_version=”4.20.4″ _module_preset=”default” link_option_url_new_window=”on” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]Buy Your Tickets on Sale to watch ” The Super Mario Bros Movie TOS Promo” playing in theaters starting March 10th[/et_pb_code][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    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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  • Necropolis (1987)

    Necropolis (1987)

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    As I mentioned in my Breeders review, Charles Band hired adult filmmaker Tim Kincaid to produce several direct-to-video movies. These were to be released under Band’s home video label, Wizard Video, which he started after leaving Meda Home Entertainment. While Kincaid was the primary director, he did hire other filmmakers for these projects, like Peter Manoogian for Enemy Territory. Enter Bruce Hickey, a theater actor from Chicago best known for playing Danny Zuko in the original production of Grease. In addition to acting, Hickey directed a few plays, including an adaptation of Hatful of Rain and Fool For Love. At some point, Tim Kincaid contacted him about producing a low-budget horror film shot in New York City. Hickey wrote a screenplay about a 300-year-old witch living in modern times, using cast and crew members from Kincaid’s camp. After a 1986 UK home video premiere, Necropolis got a 1987 US release.

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    Synopsis

    In 1686 New Amsterdam, the satanic witch Eva (LeeAnne Baker) placed a curse on Dawn (Jacquie Fitz) during her wedding. Unfortunately, Eva is killed by the local villagers before the ritual is finished, but not before swearing vengeance. Three hundred years later, Eva returns as a goth biker chick in New York City circa 1986. She uses her powers to rebuild her satanic coven and reclaim a powerful ring imbued by The Devil. After she leaves a trail of bodies, Detective Billy William (Michael Conte) investigates the deaths, which he rules as suicide. However, local reverend Tony (Andrew Bausili) believes the newly reincarnated witch killed these people. Eva can manipulate people’s minds, driving them to either self-harm or sell their souls to Satan. With the help of Detective Williams and Dawn’s descendant, Father Tony sets out to stop the witch for good.

    Review

    Given the outrageous premise, you would expect Necropolis to be a cheesy, fun, low-budget B-movie with plenty of laughs. Unfortunately, the poster and premise massively oversell the actual movie, which is a boring mess with some awful acting. LeeAnne Baker, who previously had minor roles in Breeders, Psychos in Love, and Galactic Gigolo, gets the lead role here. Sadly, it’s easy to see why she had bit parts considering her acting is on par with a bad porno. Seeing her try to be intimidating and seductive with her constant awkward dancing is unintentionally hilarious. It doesn’t help that the rest of the actors are dull and only highlight how horrendously bad Baker is. Granted, the dialogue is so bad that I can’t imagine even a good actor delivering some of these lines convincingly. Given Tim Kincaid’s involvement in this, it’s easy to see where the movie’s priorities lie.

    Like Tim Kincaid’s other productions, Ed French designed the makeup effects again, and they’re easily the best part. While we don’t get to see them much, the zombie followers of Eva look effectively creepy and weird. Also, the six breasts that Eva sprouts occasionally are done well for what it’s worth. Sadly, the same can’t be said for the general filmmaking on display, which is poor all around. So many night scenes are shot so dimly lit that it’s hard to tell what’s happening. Even at an hour and seventeen minutes, the movie drags to where you’ll be begging for the ending. I’ve seen plenty of low-budget films that didn’t have a lot of resources that still look better than this. Overall, Necropolis could’ve been a decently fun exploitation cheapie, but besides some ok makeup effects, it isn’t exciting. Moral of the story: don’t trust a movie’s box art.

     

    Buy Necropolis from Amazon: https://amzn.to/438S3xn.

    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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  • Story of a Junkie (1985)

    Story of a Junkie (1985)

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    Originally from London, Lech Kowalski moved to the U.S. with his Polish parents, where he spent much of his upbringing. In 1969, Kowalski began experimenting with Super 8 filmmaking and made his first film, The Danger Halls. After surviving a car accident, he moved to New York and studied filmmaking at the School of Visual Arts. In 1976, Kowalski made his first documentary, Sex Stars, about adult film actors he met during this time. Entering the late 1970s, Kowalski became entrenched in the punk scene and attended various clubs, eventually meeting Tom Forcade. In exchange for an editing job, Forcade financed Kowalski’s 1981 documentary D.O.A., about The Sex Pistols’ only U.S. tour. During this time, Kowalski became fascinated by the drug scene in New York’s lower east side. He made the pseudo-documentary Gringo, released by Troma as Story of a Junkie in 1985.

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    Synopsis

    The film mainly follows Gringo (John Spacely), a heroin junkie living in New York’s East Village, going about his day. He talks about what it’s like living on the streets and how the drug dealing business works. As he tells his life story, we see Gringo buying cigarettes, picking up women, and trying to find his fortune. Sprinkled throughout are scenes featuring drug busts, confrontations with dealers, and various drug houses getting raided by the police. These moments are reenactments of stories as told by Gringo taken from his day-to-day life on the New York streets. We also learn about Gringo’s history: how an ordinary family raised him and what led to his downward spiral. He tells us tall tales about losing an eye in a fight and confronting doctors about a botched surgery. Learn more about the life of a drug addict in Story of a Junkie!

     

    Review

    Admittedly, Story of a Junkie is hard to review, not necessarily for its content but for its lack of story. It’s not that nothing happens, but the issue is that there isn’t much in the way of a narrative. The film is more like a series of events than a connected story from point A to point B. While it’s hard to follow, that almost feels intentional, which adds to the sense of realism. Life isn’t like a movie, where there’s a story going from one point to the next in a concise way. You feel like you’re there with Gringo as he goes about his day walking through the lower east side. If nothing else, this film is a great time capsule of New York’s East Village in the 1980s. It’s a unique period we’ll likely never see again, so it’s great to see it preserved.

    The acting isn’t great, but in this film’s defense, none of the people featured were actors but real-life junkies. John Spacely, who plays Gringo, was a heroin addict who tried cleaning himself and pursuing an acting career. Sadly, years of drug abuse and exchanging needles led to his dying of AIDS in 1992. It’s unfortunate because you can see that John had a lot of potential to be a solid actor. Kowalski’s decision to mix documentary footage with reenactments was an interesting choice, blurring the lines between fiction and reality. Also, it’s important to note that the filmmakers don’t try to glamorize or demonize drug abuse but instead be neutral. While this movie won’t be for everyone, it’s still worth a watch for being a look at a bygone age. Overall, Story of a Junkie is sometimes uneven, but it’s a fascinating look worth at least one viewing.

     

    Buy Story of a Junkie from Amazon: https://amzn.to/3ZBiAjO.

    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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  • Super Mario Bros. (1993)

    Super Mario Bros. (1993)

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    Following the video game crash of 1983, Nintendo brought new life to the industry with the NES in 1985. The console launched with 17 games, including the side-scroller classic Super Mario Bros., which sold over 58 million copies. Around this time, producer/director Roland Joffé gained much attention for his Oscar-nominated films The Killing Fields and The Mission. Seeing the rising popularity of the Mario franchise, Joffé met with Nintendo to discuss adapting the game to film. Through his studio, Lightmotive, Joffé promised Nintendo complete creative control, but they felt the franchise was strong enough for experimentation. The studio hired Rocky Morton and Annabel Jankel, the creators of Max Headroom, to direct, though this led to problems. With a cast featuring Bob Hoskins, John Leguizamo, and Dennis Hopper, and a $48 million budget, Lightmotive had total confidence. In May 1993, Super Mario Bros. went from the TV to the silver screen.

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    Synopsis

    Mario (Bob Hoskins) and Luigi (John Leguizamo) are struggling plumbers in Brooklyn who are close to going out of business. One day, the brothers meet Daisy (Samantha Mathis), an NYU student digging for dinosaur bones under the Brooklyn Bridge. While Mario and Luigi help her with a leak, Daisy is kidnapped by Iggy (Fisher Stevens) and Spike (Richard Edson). The brothers follow her and land in Dinohattan, a parallel version of Manhattan, where humans have evolved from dinosaurs. Iggy and Spike bring Daisy to King Koopa (Dennis Hopper), who wants a meteorite piece she keeps around her neck. Koopa wants the fragment to restore the meteor that struck Earth millions of years ago to merge the dimensions. It’s up to Mario and Luigi to rescue Daisy, retrieve the meteorite piece, and stop Koopa from ruling the dimensions. But this ain’t no game, as the universe hangs in the balance.

     

    Review

    Since its disastrous 1993 release, almost everyone has called Super Mario Bros. one of the worst movies ever. While I wouldn’t call this a good movie, I don’t think it’s as bad as its reputation would suggest. Morton and Jankel might’ve been slightly over their heads, but they certainly had some ambitious ideas. The weird, dystopian, sci-fi setting of Dinohattan is unique and has some interesting details, like baby carriages with eggs. Sure, the Blade Runner-like setting is as far removed from the games as possible, but it’s still fascinatingly weird. Also, even if he hated making the movie, Bob Hoskins was a solid casting choice for a live-action Mario. Like Hoskins, Dennis Hopper may have hated the experience, but he’s entertaining as the over-the-top villain, King Koopa. On the other hand, John Leguizamo was an odd choice for Luigi, but he’s likable enough.

    Aside from how different the film is from the games, the biggest problem is how inconsistent the tone is. While Alan Silvestri is a legendary composer, his lively music doesn’t fit with the grimy, grungy setting of Dinohattan. Given how the dark setting clashes with some of the goofier moments, it’s evident this ran into many production problems. The digital effects range from looking outdated to decent, but they’re better than some late 90s CGI. The film’s best effect is the fully animatronic Yoshi, which looks on par with the dinosaurs from Jurassic Park. At an hour and 44 minutes, the film often forgets specific plot points and drags considerably toward the middle. While it wasn’t the Mario movie audiences wanted, I’m glad it exists as this weird artifact of unhinged 90s filmmaking. Overall, Super Mario Bros. isn’t a good movie, but it’s earned its cult status.

     

    Buy Super Mario Bros. from Amazon: https://amzn.to/3TZyN0Z.

    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 Super Mario Bros. (1993)

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  • Puppet Master: Axis Termination (2017)

    Puppet Master: Axis Termination (2017)

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    After the release of Puppet Master X: Axis Rising in 2012, there was a renewed interest in Charles Band’s catalog. In addition to the launch of his streaming service, many of Band’s Empire Pictures catalog was getting rereleased. Companies like Shout Factory, 88 Films, and Kino Lorber were putting out blu-ray releases of From Beyond, Dolls, and Transformations. In 2015, Band signed a deal with the El Rey Network to broadcast Full Moon’s movies, starting with Puppet Master. Around the same time, Band announced a new entry in the series that would end the Axis Trilogy. Filming began in 2016 at Full Moon’s studios, though additional funding was provided through IndieGoGo, which totaled over $90,000. As an incentive, backers could have small parts, and El Rey ran a contest to be killed by the puppets. With help from the fans, Puppet Master: Axis Termination was released in September 2017.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”50″ bar_bg_color=”#E09900″ _builder_version=”4.20.2″ _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=”4.20.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After Danny (Kip Canyon) and Beth (Jean Louise O’Sullivan) are murdered, the puppets are taken by Captain Brooks (Paul Logan). Brooks is given a special assignment from General Kip Hansard (Allen Perada) involving a group of psychics and puppets. The psychics are led by Dr. Ivan Ivanov (George Appleby), his daughter Elisa (Tania Fox), and Georgina Vale (Alynxia America). Meanwhile, Doktor Gerde Ernst (Tonya Kay) has taken control of the Nazi puppets: Bombshell, Blitzkrieg, and Weremacht. Ernst has been experimenting with help from Sturmbanfuhrer Steiner Krabke (Kevin Scott Allen) and Oberhelfer Friede Steitze (Lilou Vos). She’s found a way to extract more of the serum needed to keep the puppets alive and fighting. As Brooks and the Psychics fight the Nazis, Blade, Pinhead, Tunneler, Jester, Six Shooter, and Leech Woman fight the puppets. With the fate of the free world at stake, who will emerge victorious?

     

    Review

    Given that this was supposed to end the Axis Trilogy, it’s disappointing how lackluster Puppet Master: Axis Termination is. It’s not as bad as Puppet Master: The Legacy, but that’s not saying much, considering it was a clip show. For one, it’s disappointing that they took the previous films’ two leads and killed them off at the beginning. They’re not even given a proper send-off, but instead, they get gunned down in the street before the opening credits. Thankfully, the new characters introduced aren’t terrible, but it would’ve been nice to give Danny and Beth some closure. Some hastily added digital effects, especially the CG blood spray, also took me out of the movie. That bugs me because fake blood is easy to make, and they used real fake blood here. Considering this is the bloodiest entry, they may have run out of corn syrup and food coloring.

    The acting ranges from halfway decent to primarily flat, though there are a few standouts in the cast. Tonya Kay is easily the best part of the movie, playing her role as wickedly and devilishly as possible. Kevin Scott Allen also does a decent job as the psychic agent of Doktor Ernst, and Paul Logan makes for a solid square-jawed hero. The puppet effects are decent, though there are odd moments where they add people in costume on green screens. Seeing the puppets move weirdly fluidly makes me miss David Allen’s stop-motion work from the older movies. The pacing drags even at an hour and fifteen minutes, and the whole film feels anticlimactic by the end. It’s excellent that Full Moon got the fans involved in making this, but it’s disappointing how this finale turned out. Overall, Puppet Master: Axis Termination isn’t awful, but it’s not great, either.

     

    Buy Puppet Master: Axis Termination on Amazon: https://amzn.to/3U17uDn.

    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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