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  • Morbius (2022)

    Morbius (2022)

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    Morbius, The Living Vampire, first appeared as a villain in The Amazing Spider-Man #101 in October 1971. Created by Roy Thomas and Gil Kane, the character later became a broody and gritty anti-hero in the 1990s. Initially meant to debut in 1998’s Blade, Morbius was one of several planned adaptations between Marvel and Artisan Entertainment. While this never happened, Sony announced in 2017 that they’d be starting a new shared universe of Spider-Man-related characters. Matt Sazama and Burk Sharpless submitted a screenplay to Sony for a potential Morbius movie in late 2018. Jared Leto came on board, but he’d only commit if he could have a say in choosing the director. Eventually, Daniel Espinosa got the job, and filming began in early 2019 and wrapped that June. Due to eventual reshoots, the COVID-19 Pandemic, and shifting schedules, Morbius would not see a release until April 2022.

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    Synopsis

    Dr. Michael Morbius (Jared Leto) is a scientist suffering from a rare blood disease who may have found a cure. He travels to Costa Rica, collects several vampire bats, and experiments on them to find a treatment for his condition. Due to the nature of these experiments, Michael and fellow scientist Martine Bancroft (Adria Arjona) must work in international waters. While he’s successful, Morbius becomes a vampire-like creature with superhuman abilities who must consume blood to stay alive. Soon, his adoptive brother Milo (Matt Smith) learns about what Michael has done and wants the cure, but Michael refuses. Soon enough, the bloodlust consumes Milo as he challenges Michael for denying him what he always wanted. Meanwhile, FBI Agents Simon Stroud (Tyrese Gibson) and Al Rodriguez (Al Madrigal) investigate Michael after a recent string of murders. Will Milo be stopped, and will Michael learn to embrace what he’s become?

     

    Review

    You know you’re in trouble when you hire the writers of Dracula Untold, Gods of Egypt, and Power Rangers. With those credits, it’s no surprise that Morbius is an incomprehensible mess that is equal parts confusing and uninteresting. There’s hardly any characterization aside from some backstories, and even then, it’s hard to care about anyone. Everyone delivers their lines with such lifelessness and gloom that it seems like even the actors don’t care. Jared Leto is acceptable in the lead, but you’d expect a guy who plays outrageous characters to deliver that. Instead, he has the broodiness and edginess of a fanfiction character written by a 12-year-old who loved The Crow. Jared Harris feels wasted here, and Adria Arjano doesn’t offer much other than being the damsel in distress. The only bright spot is Matt Smith, who at least tries to be entertaining in a campy way.

    To make matters worse, this is possibly one of the ugliest-looking movies I’ve seen in quite some time. Everything looks so drab and dark that it’s emotionally draining, giving Zach Snyder a run for his money. It doesn’t help that the editing is so sloppy and haphazard that it’s often hard to tell what’s going on. These cloudy streaks emanate from Morbius that blur what’s happening during any action sequence, and they mix in some slow-motion. The final battle between Morbius and Milo looks like a badly-rendered cutscene in a video game with all the CGI. Going back to the editing, they tried so hard to tone this down to a PG-13 that it’s almost comedic. It feels like whole chunks of the movie are missing, which would explain why it flies by so fast. Overall, there are worse comic book movies, but that doesn’t make Morbius a good one.

     

    Buy Morbius from Amazon: https://amzn.to/3xHq6yY.

    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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  • Cinderella (1977)

    Cinderella (1977)

    [et_pb_section fb_built=”1″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”]After the release of Andy Warhol’s Blue Movie in 1969, a new trend in cinema called “Porno Chic” was born. This trend was a movement where adult films started becoming mainstream and were taken seriously by critics and general audiences. The most successful of these adult films was 1972’s Deep Throat, which grossed a record-breaking $3 million in six months. In the middle of this, there was a mini-trend of adapting children’s stories into adult films, both live-action and animated. Some examples include 1971’s The Erotic Adventures of Pinocchio and 1976’s Alice in Wonderland: An X-Rated Musical Comedy. Seeing the potential at hand, Charles Band decided to make his own adult take on a classic fairy tale. He hired Michael Pataki, who previously directed Mansion of the Doomed, to helm an adult fairy tale including musical numbers. In May 1977, Band’s adult take on Charles Perrault’s Cinderella hit grindhouse theaters.

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    Synopsis

    Cinderella (Cheryl Smith) lives with her oppressive stepmother (Jennifer Stace) and her stepsisters Drucella (Yana Nirvana) and Marbella (Marilyn Corwin). While she’s stuck having to tend to their every need, Cinderella longs for the day she’ll be free. Meanwhile, The Prince (Brett Smiley) is wary about marriage, which worries The King (Boris Moris) and Queen (Pamela Stonebrook). With The Prince’s 21st birthday approaching, The King decides to host a ball so his son can find a bride. The stepsisters go to the ball, but not before humiliating Cinderella as she has to stay at home. While sleeping, a cat burglar/crossdresser (Sy Richardson) breaks in and convinces Cinderella he’s her fairy godmother. With his help, she gets to go to the ball and have a night with The Prince. Unfortunately, she runs off before The Prince finds out who she is, so he goes out searching for his bride.

     

    Review

    Cinderella is undoubtedly a product of its time, for better or for worse, which will affect your enjoyment. First off, if you’re uncomfortable with gratuitous nudity and copious amounts of sex, this is not the movie for you. However, if you have an affinity for 70s adult entertainment, this is one of the more entertaining ones. For one, Michael Pataki’s energetic direction keeps the film upbeat and full of energy, so you’re never bored. What also helps is the cast, who all play their parts well and have fun with the material given. On top of being gorgeous, the late Cheryl “Rainbeaux” Smith brings an undeniably sweet charm to her role. Sy Richardson is hilarious in his debut role as the loud-mouthed, snarky, and devious fairy godmother. Admittedly, his character is one of the many elements that date the film considerably and would not fly today.

    The musical segments are surprisingly catchy and will stick in your head quickly, particularly “Snapper” and “Do It To Me.” The rest of the cast gleefully chew through the scenery as they prance about and constantly get naked. Given that this was the 1970s, be prepared to see more bush than a topiary garden that hasn’t been trimmed. Going back to the humor, most of it consists of sexual innuendos and puns, which can get stale fast. Also, while there isn’t much of a plot aside from the original story, this simplicity works in its favor. It serves its purpose of stringing together sex scenes and musical numbers without bogging things down with unnecessary subplots. At slightly over 90 minutes in length, the movie gets in and out quickly and doesn’t overstay its welcome. Overall, Cinderella won’t be for everyone, but fans of oddball adult entertainment should check it out.

     

    Buy Cinderella from Amazon: https://amzn.to/43ncJnf.

    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 Cinderella (1977)

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  • Big Gus, What’s the Fuss? (1973)

    Big Gus, What’s the Fuss? (1973)

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    By the early 1970s, Lloyd Kaufman was only a few years away from co-founding Troma Entertainment with Michael Herz. Kaufman had two directing credits under his belt, The Girl Who Returned and The Battle of Love’s Return. Around this time, producer Ami Artzi had his first film, The Dreamer, premiere at the 1972 Cannes Film Festival. Artzi convinced Kaufman and Herz that making a G-rated family comedy in Israel would be easy money. Not only would it be a hit in Israel, but the film could also play at American synagogues. Unfortunately, the trouble started when the original script Kaufman and Herz turned in was drastically rewritten by the Israeli producers. In the end, Kaufman and Herz lost money when the film flopped upon release due to war breaking out. In 1973, Schwartz: The Brave Detective, aka Big Gus, What’s The Fuss? came and went.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.15″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”25″ bar_bg_color=”#E02B20″ _builder_version=”4.15.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.15.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.15.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.15.1″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Detective Schwartz (Bomba Tzur) is a former cop turned private investigator who works alongside his partner Simcha (Yosef Shiloach). A wealthy man has hired them to spy on his wife, who he fears is cheating on him. The wife has an affair with her doctor, so the detectives decide to take on the case. While they manage to get photographic evidence, they accidentally lose the footage, and the doctor finds out what they’re doing. In retaliation, he hires a mob boss to send his goons after Schwartz and Simcha to hide the truth. A series of “wacky” hijinks follow as our heroes try to outrun the mob and expose the wife. Thankfully, Schwartz and Simcha have friends in high places who can help them out of this jam. Will our heroes succeed, what will happen to the wife, and just who is Gus?

     

    Review

    Over the years, Lloyd Kaufman said Big Gus, What’s The Fuss? “did more damage to the Jews than Mein Kempf.” While Lloyd’s statement might be hyperbolic, it’s not like Big Gus, What’s The Fuss? is some misunderstood masterpiece. Perhaps it’s a case of culture clash since I’m not Israeli, but I can’t imagine enjoying this if I was. Cultural issues aside, this is one of the most confusing and disjointed films I’ve seen since starting this site. What’s strange is that, at first, it begins simply enough as a goofy comedy about two bumbling detectives. The plot goes off the rails into pure chaos at some point as it devolves into a string of gags. They make no sense in context and come out of nowhere, including one involving a random couple rehearsing a scene. It doesn’t help that almost none of these gags aren’t the least bit funny.

    From what I understand, many of the cast members were famous in their native land and considered superstars. Admittedly, I’ve never heard of these actors, let alone seen their previous work, so I can’t say for sure. Most of them resort to simply mugging for the camera and making silly noises thinking that’s funny. It seems like they’re trying to capture the madcap energy of Benny Hill without understanding what made him work. It doesn’t help that this film is G-rated, meaning we don’t get the sexy shenanigans Benny Hill was known for. The soundtrack comprises only two songs repeatedly played throughout, which adds to the painful viewing experience. While not as bad as It’s Pat or Freddy Got Fingered, this is still a terrible comedy. Overall, unless you’re a Troma completionist, Big Gus, What’s The Fuss? is best left forgotten.

     

    Download Big Gus, What’s The Fuss? from Troma Direct: https://bit.ly/3qsWAZM.

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  • Crash and Burn (1990)

    Crash and Burn (1990)

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    After the collapse of Empire Pictures, Charles Band returned to the US and started its successor company: Full Moon Entertainment. While most of the Empire library went to other studios, Band released some under his new studio. The first three films released under this new company were Puppet Master, Meridian: Kiss of the Beast, and Shadowzone. Unfortunately, one of the films Band lost when Empire collapsed was Robot Jox, which went to Triumph Pictures. Since it took so long for Triumph to release the movie, Band decided to capitalize on it. Much like how Roger Corman made movies capitalizing on his previous successes, Band took a similar approach with this. Using much of the same crew as Stuart Gordon’s giant robot epic, Band churned out his own big robot movie. While Gordon’s movie hit theaters in November 1990, Band’s Crash and Burn arrived on video store shelves in September.

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    Synopsis

    In 2035, the powerful corporation Unicom is controlling the world after a massive economic collapse. Most of the earth is desert, and massive “thermal storms” caused by a depleted ozone layer are a daily hazard. A Unicom agent named Tyson (Paul Ganus) is delivering some freon to one of the last remaining TV broadcast stations. He meets the station manager Lathan Hooks (Ralph Waite), who instantly distrusts Tyson due to his resentment towards Unicom. Tyson also meets Lathan’s granddaughter Arren (Megan Ward), schoolteacher Parice (Eva LaRue), and technician Quinn (Bill Moseley). Unfortunately, Tyson has to stay the night at the station due to a thermal storm, trapping everyone else inside. To make matters worse, Unicom sent a “synthoid” to kill the station manager and anyone who gets in its way. Who is this mysterious killer, and who will be left alive to fight off the assailant?

     

    Review

    While not one of the better early Full Moon titles, Crash and Burn is a pretty entertaining mash-ups of genres. At its core, it’s a slasher film with a cyborg, a cross between Friday the 13th and The Terminator. What makes it stand out is its post-apocalyptic setting and how an economic collapse causes it, which is unique. You can tell that this was when Full Moon had extra capital through Paramount, given the production values. Despite its low budget, the set design and visual effects are surprisingly effective, though it helps they had talented artists. Future Oscar winner Greg Cannom, who also worked on Vicious Lips, Cherry 2000, and Meridian, designed the makeup effects. Empire/Full Moon regular David Allen handled the stop-motion alongside Chris Endicott, who later managed visual effects on Avengers: Endgame. It shows that a talented crew can compensate for a meager budget.

    On top of having a sweet mullet, Paul Ganus makes for a decent leading man and has plenty of charisma. Future Full Moon regular Megan Ward is fun as the young Arren and has tons of charm to spare. Cult actor Bill Moseley easily steals the show, especially when he goes full Nicolas Cage in the second act. Jack McGee is appropriately gross and slimy as the movie’s Rush Limbaugh stand-in, and he works as the comic relief. Ralph Waite brings some class to the production and Eva LaRue has decent chemistry with Ganus. While not exceptional, Band’s direction works, using low lighting and shadows to create an effective mood. Despite teasing some giant robot action, we only get five minutes worth towards the end of the movie. Overall, Crash and Burn isn’t quite as good as later Full Moon productions, but it’s a decent ninety-minute watch.

     

    Buy Crash and Burn from:

    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 Crash and Burn (1990)

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  • The Last Airbender (2010)

    The Last Airbender (2010)

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    On February 21, 2005, Avatar: The Last Airbender premiered on Nickelodeon and became an instant hit with critics and fans. The show ran through three seasons, received universal praise, and won several awards, including an Emmy and a Peabody Award. In 2007, Paramount Pictures announced a live-action film was in production, with M. Night Shyamalan attached to write and direct. Initially, the show’s creators, Michael Dante DiMartino and Bryan Konietzko, were excited about Shyamalan’s involvement and wanted to offer input. Despite his then-recent track record, the producers were confident in Shyamalan’s abilities to bring the show to the big screen. With a $150 million production budget, plus $130 million for marketing, this was Shyamalan’s most expensive film to date. Unfortunately, the film ran into controversy over the casting, resulting in fan backlash and even boycotts. After months of production, The Last Airbender hit theaters on July 1, 2010.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.6.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”20″ bar_bg_color=”#E02B20″ _builder_version=”4.14.9″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.6.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.6.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.9″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    For centuries, the four nations of Water, Earth, Fire, and Air have lived in peace and prosperity. Unfortunately, the Fire Nation declared war on the other nations, wiping out the Air Tribes and enslaving the Earth Nation. One hundred years later, Katara (Nicola Peltz) and her brother Sokka (Jackson Rathbone) find a young boy frozen in ice. By accident, they free the boy, Aang (Noah Ringer), who turns out to be the last surviving Air Bender. Meanwhile, Prince Zuko (Dev Patel) is searching for the Avatar, who can master the four elements. To reclaim his honor, he seeks to capture the Avatar for his father, Fire Lord Ozai (Cliff Curtis). It turns out Aang is the Avatar, and he must master the four elements to restore peace to the world. With his friends Katara and Sokka and his flying bison Appa, Aang must master the first element: Water.

     

    Review

    Even with its infamous reputation, I wanted to give The Last Airbender the benefit of the doubt. When they recreated the opening sequence from the show at the beginning, I thought, “Well, how bad could it be?” Sadly, once the opening text crawl showed up with Nicola Peltz’s narration, I knew I was in trouble. She delivers several expository monologues throughout the movie that make Harrison Ford’s narrations from Blade Runner sound riveting. Most of the acting here is flat and wooden, with Jackson Rathbone being the worst offender. Noah Ringer’s acting isn’t great either, but child actors usually aren’t that great, and he has some unintentionally hilarious deliveries. Dev Patel and Aasif Mandvi are at least trying to deliver decent performances, but even they can’t save the script. It’s unfortunate, considering Patel went from starring in the Oscar-winning Slumdog Millionaire to appearing in this.

    The film’s biggest problem, aside from the acting, the script, and the action, is that it’s dull and uninteresting. It’s as if the movie sucked out all the humor, emotion, drama, and excitement from the show. Given the montages and voice-overs, you can tell that the filmmakers tried cramming as much material as possible. James Newton Howard’s score is exciting, and some of the visuals are decent to give the movie some credit. I could go on about plot holes, character inconsistencies, and deviations from the source, but there are too many to list. While it’s easy to blame Shyamalan since he wrote and directed the film, I believe there was some studio meddling. Considering the show’s creators were not on board and had their input denied, I suspect Paramount is responsible. Overall, The Last Airbender is a poor adaptation and a terrible movie on its own merits.

     

    Buy The Last Airbender from Amazon: https://amzn.to/3KxQlLN.

    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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  • Def by Temptation (1990)

    Def by Temptation (1990)

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    In the 70s, James Bond III was a prominent child actor known for the short-lived series The Red Hand Gang. He also made appearances on popular shows like Wonder Woman, The Love Boat, and The Waltons. In 1988, Bond starred in Spike Lee’s second feature-length film, School Daze, with Laurence Fishburne and Giancarlo Esposito. While working on the film, Bond became acquainted with some cast and crew members, including cinematographer Ernest Dickerson. Once filming wrapped, Bond recruited some of his School Daze costars to appear in his directorial debut film. Bond cast Kadeem Hardison, Bill Nunn, and a relatively unknown Samuel L. Jackson from the earlier production. Troma stepped in to help with filming at some point, including having Redneck Zombies director Pericles Lewnes handle the effects. In March 1990, Bond’s only directing effort, Def by Temptation, held its premiere in Chapel Hill, North Carolina.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.14.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.14.8″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.14.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Joel (James Bond III) is a devout Christian studying to become a minister when he decides to take a break. He meets up with his brother “K” (Kadeem Hardison), an aspiring actor who’s happy to have his brother stay over. While showing him around New York City, they stop into the One Step Down club for some drinks. The night before, “K” met his dream woman (Cynthia Bond) and hopes to find her there again. Much to his dismay, she sets her sights on Joel and latches onto him, completely blowing off “K.” He becomes suspicious after noticing she has no reflection, so he asks his detective friend Dougy (Bill Nunn) for help. According to Dougy, she’s been seducing and killing men for years, and they discover she’s a succubus. Joel is in for the ultimate test of his faith unless his brother can save him from Temptation.

     

    Review

    Like many great low-budget films, Def by Temptation manages to rise above its limitations to become something special. It’s a shame this is James Bond III’s only directing effort because he shows a lot of promise here. With help from cinematographer Ernest Dickerson, he uses colored lighting and soft focus to give the film a nightmarish quality. Bond also uses fog and darkness to further add to the already spooky mood established. Additionally, the gore effects are surprisingly decent for such a small budget, and gorehounds will be satisfied. Admittedly, some makeup effects look slightly dodgy, but the quick editing and low lighting help hide it. This ties into what’s probably the film’s biggest flaw: the budget was unfortunately not enough for the filmmaker’s ambition. You don’t need huge budgets to make a good movie, but they might’ve bitten off more than they could chew.

    In terms of the acting, it’s very hit or miss, but you can tell many of them are trying. While a decent director, James Bond III isn’t the best at acting, coming off somewhat flat and wooden. It helps that his costars, Kadeem Hardison and Bill Nunn, can carry the film with him. However, the performance that stands out the most is Cynthia Bond as the captivating yet deadly temptress. She owns every scene she’s in, and you have no trouble believing her ability to seduce any man she wants. It’s a shame she didn’t act in much else after this because she’s easily the film’s highlight. Also, despite the marketing plastering his face all over, don’t expect Samuel L. Jackson to have a significant role here. Overall, Def by Temptation is a highly underrated supernatural horror film that genre enthusiasts should give a watch.

     

    Buy Def by Temptation from Amazon: https://amzn.to/34lQORM.

    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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  • The Batman (2022)

    The Batman (2022)

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    In 2014, Warner Bros. announced a Batman spin-off after Ben Affleck was cast in Batman v Superman: Dawn of Justice. Affleck agreed to star, co-write, produce, and direct the film, but he started losing interest in 2017. With Affleck gone, the search began for a new director, Ridley Scott, George Miller, and Denis Villeneuve being potential candidates. Eventually, Matt Reeves, who previously helmed War for the Planet of the Apes, was hired to direct the film. However, Reeves asked to have complete creative control, including rewriting Affleck’s script, and Warner Bros. agreed, believing in his vision. In 2019, the studio announced that Robert Pattinson would be playing the Cape Crusader, which was received poorly by fans. Unfortunately, Reeves put filming on hold due to COVID-19, which took the life of dialect coach Andrew Jack. Despite numerous setbacks and delays, The Batman finally hit theaters in March 2022.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.14.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.14.8″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.8″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    For two years, Bruce Wayne (Robert Pattison) has been operating in Gotham City as a masked vigilante called The Batman. After the murder of Mayor Don Mitchell Jr. (Rupert Penry-Jones), officer Jim Gordon (Jeffrey Wright) asks for Batman’s help. During his investigation, Batman meets Selina Kyle (Zoë Kravitz), a waitress working at the Iceberg Lounge for Penguin (Colin Farrell). With her help, he discovers that all the victims are city officials tied to organized crime, including Mitchell. Soon, the killer reveals himself as The Riddler (Paul Dano), who has been targeting officials to expose some corruption. As the body count continues to grow, Batman learns some horrible secrets about the city and his family. He also starts developing a romantic relationship with Selina, further jeopardizing the mission and making him question his motivation. Regardless of how the investigation turns out, the answers will shake the very foundation of Gotham City.

     

    Review

    Ever since the initial trailers for The Batman were released, I have been highly anticipating this film’s release. Some doubted whether or not Robert Pattison would succeed, most based on his performances in the Twilight movies. However, anyone who saw The Lighthouse knows that Pattinson can deliver an outstanding performance, and The Batman is no exception. While he’s not the typical suave playboy we’ve come to expect, he brings real humanity and darkness not seen before. When he dons the cape and cowl, he has this presence where you know you’re in trouble. Zoë Kravitz has a very seductive and charming quality to her performance, and she has excellent chemistry with Pattinson. Though he wears a mask for most of his screentime, Paul Dano is believably deranged and psychotic as The Riddler. His performance is almost comparable to Heath Ledger’s Joker from The Dark Knight: over-the-top without being campy.

    Matt Reeves’s direction is solid, making great use of darkness and shadows to create dynamic visuals with limited lighting. The fight scenes are well-choreographed, well-shot, and aren’t overly edited to the point where the fights are incomprehensible. In particular, there’s a shootout sequence where the only lights are the muzzles from the guns. Combined with the sound design, it’s an expertly crafted sequence that would’ve looked terrible in a lesser director’s hands. The film also has one of the most exciting car chases I’ve seen in quite a long time. Even at nearly three hours, the pacing never drags, and it goes by fairly quickly without feeling rushed. While it doesn’t reach the same heights as The Dark Knight, it’s still an excellent take on the caped crusader. Overall, The Batman is an exceptional blockbuster that delivers on the action while also delivering a thrilling story.

     

    Buy tickets to The Batman through Fandango: https://fandan.co/3Kht00L.

    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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  • Eliminators (1986)

    Eliminators (1986)

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    While working as an AD on David Schmoeller’s The Seduction, Peter Manoogian met Charles Band on Parasite 3D. Since Embassy Pictures produced both films, Manoogian worked with Band on his 3D monster movie as first assistant director. He was so impressed with Manoogian’s work that he hired him to work on Metalstorm: The Destruction of Jared-Syn. After founding Empire Pictures, Band gave Manoogian his directorial debut by helming a segment of The Dungeonmaster. While shooting Ghost Warrior, Band asked Manoogian to direct a script written by Danny Bilson & Paul De Meo. The two previously wrote Trancers and Zone Troopers, but they had another story they presented before those two. Manoogian jumped at the opportunity, and he worked very hard to make it as good as possible. After an arduous shoot, Eliminators hit theaters in January 1986, around the same time that Troll came out.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”65″ bar_bg_color=”#EDF000″ _builder_version=”4.14.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.14.8″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.14.8″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.8″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    The evil scientist Abbot Reeves (Roy Dotrice) has been using a Mandroid (Patrick Reynolds) to steal artifacts through time travel. After the most recent assignment, Reeves orders his assistant Takada (Tad Horino) to dismantle the Mandroid, but he refuses. Instead, Takada helps the Mandroid escape the facility and tells him to find Colonel Nora Hunter before dying. The Mandroid finds Hunter (Denise Crosby), who agrees to join him and stop Reeves from taking over the world. Along the way, they hire riverboat captain Harry Fontana (Andrew Prine) to be their guide to Reeves’ hideout. Soon, the group gets attacked by Reeves’ men and even runs into cave dwellers brought to the present day. They also run into Kuji (Conan Lee), Takada’s son, seeking revenge against Reeves for his father’s death. With a cyborg, a scientist, a mercenary, and now a ninja, they make up The Eliminators!

     

    Review

    If nothing else, the poster for Eliminators is probably one of the best B-movie posters ever made. While it has elements from the movie, it doesn’t quite match its overall quality, though not in a duplicitous way. This film had tons of crazy ideas, but the budget wasn’t enough to fully realize them. For instance, the Mandroid has a mobile unit he uses during his initial escape but abandons soon after. Also, we only ever see the Mandroid go back in time once during the opening sequence. If the film had more money, I’m sure they could’ve done something even crazier, but what’s there works just fine. Even for such a low budget, the effects are surprisingly decent, and there are some well-staged action sequences. More importantly, it manages to be fun and have some heart without being stupid or overly sappy.

    Patrick Reynolds is great as the Mandroid, managing to squeeze some humanity into a robotic character. It’s eerily similar to Peter Weller’s character in Robocop, right down to him trying to regain his humanity. As the cocky and arrogant Harry Fontana, Andrew Prine is fun, though part of me wishes they cast Tim Thomerson. Denise Crosby is likable as the scientist Colonel Hunter, and she has some good back-and-forths with Prine. Roy Dotrice is having fun playing an over-the-top villain, and some minor characters like Bayou Betty (Peggy Mannix) also shine. There are plenty of explosions, laser fights, and chase scenes to keep any action movie fan entertained. In a way, it’s like watching an 80s cartoon come to life, and sometimes that’s all you need. Overall, Eliminators is a fun, cheesy, and exciting sci-fi/action movie that’s enjoyable for what it is.

     

    Buy Eliminators from Amazon: https://amzn.to/3MbG3CC.

    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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  • Disco Godfather (1979)

    Disco Godfather (1979)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]

    While Petey Wheatstraw wasn’t necessarily a flop, it didn’t make nearly as much as Rudy Ray Moore’s previous movies. Moore’s producing partner, Theodore “T” Toney, decided that cleaning up his image would help boost his career. At the time, the disco craze was in full swing, and there was an epidemic of PCP sweeping the nation. With this in mind, they decided to make a disco-themed movie that addressed the PCP issue. Rather than rehire Cliff Roquemore, Moore decided to give a new director a shot, so he hired J. Robert Wagoner. While he was initially excited to work on the project, Wagoner quickly grew frustrated and lost interest. Roquemore came back as a writer and producer to help salvage things, but this film was doomed to fail. In August 1979, just days after the Fall of Disco, Disco Godfather made it to theaters across the US.

    [/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=”45″ bar_bg_color=”#E09900″ _builder_version=”4.16″ _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=”4.16″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Tucker Williams (Rudy Ray Moore) is an ex-cop/DJ at a famous disco club, where he’s called the Disco Godfather. Everything is going well until his nephew Bucky (Julius Carry) starts freaking out and must go to the hospital. Dr. Fred Mathis (Jerry Jones) explains to Tucker that his nephew was taking a drug known as “angel dust.” Hearing this makes Tucker upset, so he decides to come out of retirement to stop the spread of angel dust. Meanwhile, Tucker meets Noel (Carol Speed), a local reporter who’s also determined to end the angel dust epidemic. While she leads rallies and protests, Tucker takes the law into his own hands and tracks down angel dust dealers. The trail leads him to businessman Stinger Ray (Hawthorne James), who’s been dealing cigarettes dipped in angel dust. It’s up to the Disco Godfather to clean up the streets from the threat of PCP.

     

    Review

    Rudy Ray Moore has said that Disco Godfather ended his movie career, and it’s easy to see why. While his other movies didn’t offer much aside from surface-level entertainment, they still worked for what they were. With this, they tried going more mainstream by tackling an issue and chasing a then-popular trend that ended up dying. It doesn’t help that the anti-drug message is so heavy-handed that it starts turning into an after-school special. Even the disco theme, which was dying out by 1979, feels like they’re trying too hard to seem cool. Even then, the disco portions only comprise the first 30 or so minutes of the total runtime. Admittedly, these scenes are the film’s highlight, especially with Moore’s declaration, “Put yo weight on it!” He says it so much that you could make a drinking game out of it, but I wouldn’t recommend this.

    You can tell that Rudy Ray Moore is still trying despite not being too into the material. Despite him trying to give another exaggerated performance, it’s evident he had to pull back to reach mainstream appeal. Jerry Jones again delivers another understated and reserved performance, and newcomer Julies Carrey gives it his all. Carol Speed, who starred in several exploitation films in the 1970s, deserved way better than what she got here. When it comes to first-time directors, J. Robert Wagoner sadly falters where Cliff Roquemore excelled in the past movies. There are these weird hallucinatory sequences throughout the film, which help keep it from being dull. Admittedly, the idea of an ex-cop turned DJ taking on drug dealers should’ve worked, but unfortunately, it just didn’t here. Overall, Disco Godfather is hardly one of the worst movies ever, but it’s a sad end to Moore’s stardom.

     

    Buy Disco Godfather from Amazon: https://amzn.to/3hpd1kV.

    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 Disco Godfather (1979)

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  • Petey Wheatstraw (1977)

    Petey Wheatstraw (1977)

    [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=”4.16″ _module_preset=”default” global_colors_info=”{}”]While Dolemite was a hit, The Human Tornado was an even bigger hit when it landed in theaters in 1976. Rudy Ray Moore knew he had to keep the momentum going with two back-to-back hit films under his belt. Having been impressed with his work on the last movie, Moore rehired Cliff Roquemore as director and writer. Instead of doing another Dolemite picture, Moore adapted another character from his stand-up routine: Petey Wheastraw: The Devil’s Son-In-Law. Much like how Moore gave him an opportunity, Roquemore decided to help out actors like Ebony Wright. With an estimated budget of around $700,000 to $750,000, this was Moore’s most expensive film at the time. Unfortunately, Dimension Pictures was facing financial troubles, so Transvue Pictures picked up the distribution rights. In late 1977, Rudy Ray Moore’s third major motion picture, Petey Wheatstraw, hit the big screen across the US.

    [/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=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.16″ _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

    During a great Miami hurricane, a young woman (Rose Jewel Williams) gives birth to a six-year-old boy (Clifford Roquemore II). After the boy asserts dominance towards his father (Sy Richardson), his mother names him Petey Wheatstraw. As a teenager, Petey (Danny Poinson) trains under a martial arts master named Bantu (Brian Breye) after getting bullied. Now an adult, Petey (Rudy Ray Moore) is a successful comedian known for insulting the crowd and generally being loud. Rival comedians Leroy (Leroy Daniels) and Skillet (Ernest Mayhand) want Petey stopped, so they hire thugs to gun him down. In death, Petey meets Lou Cipher, aka Lucifer (G. Tito Shaw), who offers to make a deal with him. Lucifer will bring Petey back to life if he agrees to marry his daughter and bear him a grandson. Petey agrees and exacts his revenge, but he plans to double-cross the devil.

     

    Review

    Of Rudy Ray Moore’s movies, Petey Wheatstraw is easily the strangest of them all, which is both good and bad. On the one hand, it’s admirable that they tried doing something different and not retread the same ground. On the other hand, mixing various genres – comedy, horror, drama – might put off fans of Moore’s earlier movies. You know you’ve gone off the rails when a wacky comedy suddenly has a scene of a kid getting shot. Not only that but it’s followed up with an entire group of people getting gunned down after said kid’s funeral. Neither scene is played for laughs, and it’s such a weird tonal shift for such an odd movie. It’s even stranger when the film goes back to comedy, and the earlier dramatic scenes are glossed over. It’s almost admirable how they go all over the place with the film’s tone.

    Once again, Rudy Ray Moore is the film’s highlight, spouting off loud insults and making ridiculous faces. Also, there’s another outrageous sex scene with Moore, but this one’s reminiscent of a similar scene from A Clockwork Orange. G. Tito Shaw is almost the Jerry Jones of the film, delivering a very straight-laced performance with moments of outburst. Leroy and Skillet are funny during their stand-up routine, acting as a black version of Abbott and Costello. You can tell that Cliff Roquemore enjoyed having more control over this film, especially with the running motif of watermelons. There are still signs of the movie’s low budget, such as the laughable demon make-up, but these add charm. Your enjoyment will largely depend on how much you can handle the film’s juggling of genres for what it’s worth. Overall, Petey Wheatstraw isn’t as good as the last two, but it’s too weird to miss.

     

    Buy Petey Wheatstraw from Amazon: https://amzn.to/4ee0cog.

    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 Petey Wheatstraw (1977)

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