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  • Batman (1989)

    Batman (1989)

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    Following the end of the 60s TV series in 1968, Batman’s popularity started to decline and continued into the 1970s. In 1979, producer Michael E. Ulsan purchased the film rights with the intent to create the definitive Batman film. Unfortunately, because of how the character was represented in the 60s series, several major studios turned him down. Eventually, Warner Bros. agreed to produce following the success of 1978’s Superman, with producers Jon Peters and Peter Guber joining. Many directors were attached to the project before Tim Burton was brought following the success of Pee-Wee’s Big Adventure. Sam Hamm was hired to write, and the film was finally greenlit after Beetlejuice was a critical and commercial hit. After extensive casting, Michael Keaton, Jack Nicholson, and Kim Basinger were chosen for the leads despite some controversy over Keaton. Following a decade of development, Batman was finally released in the summer of 1989.

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    Synopsis

    Gotham City has become a den of crime and corruption, the citizens terrorized to walk the streets at night. Despite efforts from district attorney Harvey Dent (Billy Dee Williams) and Commissioner Gordon (Pat Hingle), crime continues to surge. However, rumors have begun spreading of a mysterious creature of the night taking out these criminals known as the “Batman”. Photographer Vicki Vale (Kim Basinger) teams up with reporter Alexander Knox (Robert Wuhl) to investigate the validity of these rumors. Soon, Vale becomes romantically involved with billionaire playboy Bruce Wayne (Michael Keaton), who became Batman following his parents’ murder. Meanwhile, local mob boss Carl Grissom (Jack Palance) sends his right-hand man Jack Napier (Jack Nicholson) to raid Axis Chemicals. During a scuffle with Batman, Napier falls in a vat of acid, becomes the Joker, and takes out Grissom. Will Batman be able to defeat the Joker and save Gotham City?

     

    Review

    Batman is not only one of the most important comic book movies ever, but it’s also one of the best. First off, Michael Keaton is both an excellent Bruce Wayne and Batman, despite controversies about his casting. As Bruce Wayne, he’s very unassuming and weary, but when he’s Batman, he is quiet, stoic, and naturally intimidating. Jack Nicholson steals the show as the Joker, reveling in his insane antics and having a blast doing so. Kim Basinger is good and has good chemistry with Keaton, but she somewhat devolves into a typical damsel in distress. Despite limited screentime, Williams, Hingle, Palance, Wuhl, Michael Gough, Tracey Walter, and William Hootkins have their standout moments. Tim Burton’s direction is on point, the production design is exquisite, and Danny Elfman’s score compliments the film so well. Above all else, this is the purest and most faithful Batman film of its time.

    However, Batman isn’t without its shortcomings, namely in terms of the story and some rather outdated music choices made. Story-wise, they make it so that Jack Napier killed Bruce Wayne’s parents to create a link between Batman and Joker. Not only does this feel contrived, but the point was to inspire Bruce from stopping crimes, which are usually random. Some have complained about Alfred letting Vicki into the Batcave, but I wasn’t nearly as bothered by it. Also, as much as I love Prince’s music, the inclusion of his songs makes the film feel outdated. Granted, those songs are somewhat catchy and their outdatedness adds to its charm, and the Danny Elfman score overrides them. Even with all that said, this is still an impressive comic book movie that showed these could be taken seriously. Overall, Batman is a somewhat flawed but still enjoyable film deserving of its classic status.

     

    Buy Batman from Amazon: https://amzn.to/2uWchyX

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  • Ghoulies (1985)

    Ghoulies (1985)

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    Back in the Charles Band Productions era, future Oscar-winning effects artist Stan Winston worked on 1976’s Mansion of the Doomed. He also worked on makeup effects for 1977’s Dracula’s Dog, which was directed by Albert Band, Charles Band’s father. This started a friendship between Band and Winston that lasted for many years, even after Winston went onto bigger projects. Most notably, Winston worked on the creature effects for Band’s 1982 film Parasite, which starred a then-unknown Demi Moore. Around this time, Winston and Band were discussing ideas for a potential film called Beasties, centering around tiny creatures. Nothing came of the project, but Band revisited it after Joe Dante’s Gremlins was released in 1984 to massive success. He hired Parasite co-star Luca Bercovici to co-write and direct, as well as John Carl Buechler to do the effects. The result was the 1985 creature feature Ghoulies.

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    Synopsis

    Jonathan Graves (Peter Liapis) and his girlfriend Rebecca (Lisa Pelikan) have recently moved into the estate of Jonathan’s late father. They invite several friends over for a party to celebrate, and Jonathan decides to perform a ritual with them downstairs. Though nothing seems to happen initially, the ritual ends up summoning several tiny creatures called Ghoulies, who become Jonathan’s servants. Soon, Jonathan becomes more and more obsessed with the occult and the estate much to the dismay of Rebecca. Eventually, Jonathan ends up performing a ritual that resurrects his late father Malcolm (Michael Des Barres), a satanic cult leader. Turns out Jonathan was supposed to be sacrificed as a baby but was protected by his late mother. Now with Malcolm restored, he takes control of the Ghoulies and plans to steal Jonathan’s youth to remain young forever. Will Jonathan and friends escape, or will Malcolm and his Ghoulies succeed?

     

    Review

    While the film may have been made to capitalize on the success of Gremlins, Ghoulies is still an entertaining watch. One thing that makes this stand out is the gothic scenery and atmosphere, giving off a very eerie presence. For a first-time director, Bercovici shows some promise behind the camera, and the late Mac Ahlberg’s cinematography compliments this. The Ghoulie puppets themselves, though not as intricate as the Gremlins or Critters, are still impressive and uniquely designed. The late great John Carl Buechler was always Band’s go-to guy for makeup and creature effects, and with good reason. No matter how small the budget or how limited the resources, Buechler always delivered some quality work. He’d go on to do effects for other Band films including Re-Animator, Trancers, From Beyond, TerrorVision, and Demonic Toys. Sadly, he passed away in 2019 due to prostate cancer, and he’ll be missed.

    Acting-wise, the cast ranges from decent to not very memorable, aside from a few exceptions, namely Liapis and Des Barres. As the villainous Malcolm, Des Barres is clearly reveling in playing such an over-the-top villain, but still makes it believable. Liapis does a good job going from likable protagonist to obsessed creep then back to hero struggling against evil. Character actor Jack Nance (Eraserhead) pops in as the groundskeeper, but he doesn’t have much to do until the end. However, Ghoulies is also noteworthy for featuring a then-unknown Mariska Hargitay years before becoming famous for Law and Order: SVU. The rest of the cast is mostly there as cannon fodder, but none of them are particularly annoying or hateful. Despite these and other issues, this was still successful enough for Empire Pictures to continue making movies throughout the 80s. Overall, Ghoulies is a fun creature feature with memorable monsters.

     

    Buy Ghoulies from Amazon: https://amzn.to/2PudSD6

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  • Interview with Faking Star Wars Radio

    Interview with Faking Star Wars Radio

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    Earlier this month, I had the opportunity to interview with Faking Star Wars Radio podcast with co-host Storm Duper. We talked about the Star Wars franchise as a whole, the fanbase, good and bad, and other recent movie news. I had such a great time sharing my thoughts on recent films and the current state of the industry. If you’re a fan of the Star Wars franchise, check them out online and give their podcast a listen. They’ve done series retrospectives, covered recent Star Wars news, and delivered tons of snarky commentary along the way. This is the first time I’ve ever been on a podcast, so let me know what your thoughts are. Should things go well, I hope to appear on future FSW episodes or even on other similar podcasts. Again, thanks so much to FSW, and enjoy the interview with Faking Star Wars Radio!

    Link to interview: http://www.fakingstarwars.net/2020/02/24/disney-star-wars-fandom-fsw-radio-podcast/

    FSW on Facebook: https://www.facebook.com/realfakingstarwars

    FSW on Twitter: https://twitter.com/fakingstarwars

    FSW on Instagram: https://www.instagram.com/fakingstarwars/

    FSW on YouTube: https://www.youtube.com/channel/UC2FFjHJtLJ8-SZaNaICzViA

    FSW on Patreon: https://www.patreon.com/fakingstarwars

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  • Sonic the Hedgehog (2020)

    Sonic the Hedgehog (2020)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]In the 1990s, video game companies Nintendo and Sega were competing for dominance with the Super Nintendo and Sega Genesis. To try and compete with Nintendo’s mascot Mario, Sega created Sonic the Hedgehog and introduced him in 1991. The first game’s success led to a successful franchise that went through many ups and downs over the years. Plans for a film were brewing in the early 90s, but Sega was nervous given the failure of other adaptations. Then in 2013, Sony acquired the rights and was moving forward with a Sonic movie scheduled for release in 2018. However, Paramount ended up buying the rights in 2017, but they retained the same crew, including first-time director Jeff Fowler. Originally scheduled for release in November 2019, it was delayed due to the negative reception of the titular character’s design. After an extensive redesign, Sonic the Hedgehog was released in February 2020.

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    Synopsis

    For the past decade, Sonic the Hedgehog (Ben Schwartz) has been in hiding since escaping from his homeworld. Things change when he accidentally releases an electromagnetic pulse with his supersonic speed that catches the US government’s attention. In response, they send the eccentric but brilliant Doctor Robotnik (Jim Carrey) to investigate and track down the creature. While trying to make his escape, Sonic catches the attention of the local sheriff, Tom Wachowski (James Marsden). The two end up running from Robotnik and his drones as they try to make their way to San Francisco. Turns out Sonic’s rings, which can create portals, ended up getting lost on top of the Transamerica Pyramid. Along the way, the two become the unlikeliest of friends, and Sonic starts to consider staying on Earth. Will Robotnik catch up to our heroes, and will Sonic be able to save the day and his friends?

     

    Review

    Before I get to the elephant in the room, I’ll start by saying Sonic the Hedgehog is a fun time. First off, Sonic looks fantastic, and Ben Schwartz’s performance is pitch-perfect, giving him the appropriate amount of cockiness and heart. James Marsden does a good job as the straight man, and his back and forths with Sonic are a highlight. Of course, Jim Carrey steals the show, giving an over-the-top performance similar to Ace Ventura: Pet Detective or The Mask. The rest of the human cast does a serviceable job, though none of them stand out that much. The action sequences are fun and exciting, though they use slow-motion sequences done better in X-Men: Days of Future Past. While many of the jokes don’t land, there are still plenty of laughs here, as well as heartwarming moments. Also, while there’s some Olive Garden product placement, it’s not all that distracting.

    When the first few trailers came out back in early 2019, many people were pretty critical of the film. I, myself, was also wary about its overall quality, especially the pretty horrifying original design of Sonic. Thankfully, the studio heard the complaints, admitted fault, and gave Sonic a complete do-over, which is a massive improvement. Sadly, the company behind the redesign, Motion Pictures Company Vancouver, ended up going bankrupt, which is a major sore spot. That being said, I hope these animators find jobs because the work they’ve done here is impressive given the circumstances. Had they gone with the original design, Sonic the Hedgehog would have been worse, but it wouldn’t have changed much. While it is an enjoyable watch, there’s not much substance and the plot is pretty predictable and unoriginal. Overall, Sonic the Hedgehog won’t set the world on fire, but it’s still worth a watch.

     

    Buy Sonic the Hedgehog on Amazon: https://amzn.to/409Ot6M.

    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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  • Meridian: Kiss of the Beast (1990)

    Meridian: Kiss of the Beast (1990)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]After the fall of Empire Pictures, Charles Band’s Full Moon Features was formed, releasing Puppet Master in 1989. Years earlier, Band was traveling through Italy and came across the Park of Monsters, or “Parco dei Mostri”. He was instantly captivated by the location, but he didn’t have any projects he felt would suit the location. Once Full Moon was started, Band came up with the concept of a gothic/erotic horror love story. Now that he had the concept, he decided to utilize the Park of Monsters and nearby castle as the backdrop. Many former Empire regulars were brought on board, including Ted Nicolaou, Mac Ahlberg, Dennis Paoli, Greg Cannom, and Pino Donaggio. The resulting film would be the second film released under the Full Moon banner, paving the way for their future. Released in 1990, we have Meridian, or Meridian: Kiss of the Beast.

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    Synopsis

    Catherine (Sherilyn Fenn) has recently moved from America to Italy after inheriting her family’s castle following her father’s death. She reunites with her old friend Gina (Charlie Spradling), who’s working as a fine art restorator for the local church. While reminiscing about old times and getting reacquainted, Gina spots a nearby traveling circus that has stopped by the castle. They decide to check it out and soon meet the ringleader, Lawrence Fauvrey (Malcolm Jamieson) and his World of Wonders. After the show, Catherine invites Lawrence and his circus for dinner, where she and Gina end up being drugged. Gina gets seduced by Lawrence, while Catherine is seduced by his twin brother Oliver, who both transform into large beasts. Trying to figure out what happened, Catherine learns more about the castle and the Fauvrey brothers than she ever imagined. It’s a twisted love triangle in this strange gothic fairy tale!

     

    Review

    Even for Full Moon, Meridian is one of their stranger films, but it’s certainly one of their most unique. While many of their later films were either straight horror or science-fiction, this one is more of a gothic romance. It takes elements from classic fairy tales, particularly Beauty and the Beast, and adds a contemporary twist to it. The use of an authentic Italian castle and the general locations help make the film more expensive than it was. Most of the performances are solid, particularly a then-unknown Sherilyn Fenn and Malcolm Jamieson, though Charlie Spradling has her moments. Though it can be tricky for one actor to play two characters and make them distinctive, Jamieson pulls it off. Greg Cannom’s make-up effects are impressive, particularly the creature design, even incorporating transformations similar to An American Werewolf in London. This shows the potential Full Moon had at the time.

    However, especially in the age of the MeToo movement, Meridian: Kiss of the Beast is a somewhat problematic film. Despite the film being billed as gothic romance, the inciting incident involves rape rather than romance, which makes it awkward. Even though one brother is good and one brother is evil, neither is any better than the other. It doesn’t help that Catherine ends up falling in love with the good brother despite him drugging and raping her. I’m not sure if this was an intentional decision, but it’s more likely that they didn’t realize the implications. Given that it’s Charles Band and Full Moon, it’s is more focused on nudity and strange creatures than anything else. In the end, while it’s not one of their best films, I can appreciate them experimenting in different genres. Overall, Meridian: Kiss of the Beast is a problematic yet interesting watch.

     

    Buy Meridian: Kiss of the Beast 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 Meridian: Kiss of the Beast (1990)

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  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)

    Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)

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    Following the success of the two Tim Burton Batman films, an animated series was created, airing between 1992 and 1995. One of the most popular characters first introduced in the show was Dr. Harleen Quinzel, aka Harley Quinn. Serving as the Joker’s accomplice and love interest, Harley Quinn’s character was further expanded upon over the years. After appearing in animated series, comics, and video games, she was brought to life in 2016’s Suicide Squad. Portrayed by Margot Robbie, her portrayal was among that film’s few bright spots, creator Paul Dini saying she “nailed it”. Before that film’s release, Robbie was pitching a spinoff film to Warner Bros as “an R-rated girl gang film”. Robbie served as producer and star, with Cathy Yan hired to direct and Christina Hodson (Bumblebee) hired to write. The result was 2020’s Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn).

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    Synopsis

    After splitting from the Joker, Harley Quinn (Margot Robbie) tries to pick herself up and make a life for herself. Through a series of events, she gets captured by mob boss Roman Sionis aka Black Mask (Ewan McGregor). Turns out he’s lost a valuable diamond, which Harley finds out about and agrees to help him find it. Young pickpocket Cassandra Caine (Ella Jay Basco) has stolen the diamond and swallowed it, so Harley manages to find her. At the same time, police officer Rene Montoya (Rosie Perez) is working on building a case against Sionis. She learns about the diamond and the bounty on Caine through nightclub singer Dinah Lance aka Black Canary (Jurnee Smollett-Bell). Also, a crossbow-wielding assassin calling herself Huntress (Mary Elizabeth Winstead) has been killing mobsters leading up to Sionis. Eventually, all these women come together to form an unlikely team: the Birds of Prey.

     

    Review

    Though I didn’t think it was nearly as bad as others noted, 2016’s Suicide Squad was not a great film. Despite its numerous flaws, I thought Margot Robbie’s Harley Quinn was probably the best live-action version we could hope for. Thankfully, Birds of Prey is not only a great vehicle for her character, but it’s a fun movie in itself. Firstly, Robbie is absolutely the star of the show and practically dominates the screen, delivering a fun and energetic performance. That’s not to say the rest of the cast is lacking, but it’s her movie first and foremost. Ewan McGregor steals the show as Black Mask, going full over-the-top and devouring the scenery around him, maybe too much. The rest of the cast, including Basco, Perez, Smollett-Bell, and Winstead also deliver strong performances and have their moments. Plus, the action sequences are well-filmed, exciting to watch, and very creative.

    Visually, Birds of Prey is a treat to the eyes with its use of color and dramatic lighting. While many modern superhero films intentionally desaturate the color, this goes for a Guardians of the Galaxy type vibe. However, I do have some complaints, particularly with the frankly unoriginal story and lack of strong character development and growth. Except for Harley, many of the other characters are given the most basic of setups without further development. We do get backstories for them, but there’s not much in terms of further developing them. The plot is uninspired, being another film where someone has to escort a kid, much like Logan or Deadpool 2. While I’d probably watch Wonder Woman, Aquaman, or Shazam! over this, it’s still better than the lesser DCEU films. Overall, Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn) is a flawed but entertaining ride.

     

    Buy Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from Amazon: https://amzn.to/47K7ale.

    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 Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)

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  • Little Women (2019)

    Little Women (2019)

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    In 1868, Louisa May Alcott’s semi-autobiographical novel Little Women was published and was considered a critical and commercial hit. Since its publication, the book has been adapted for the stage and screen, having seven film adaptations as of currently. The first was a silent film released in 1917, which has been lost as with most films of the time. After a 1918 silent version, the first sound adaptation was made in 1933 starring Katherine Hepburn and Joan Bennett. This was followed by the first color adaptation in 1949, which featured then relatively unknown Elizabeth Taylor and Janet Leigh. 45 years later, another adaptation was made, this one starring Winona Ryder, Samantha Mathis, Kirsten Dunst, and Claire Danes. There was also a 2018 adaptation that mostly flew under the radar before actress/director Greta Gerwig stepped in. So, her adaptation of Little Women was finally released in 2019.

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    Synopsis

    Taking place between 1861 and 1868, the film follows four women from their childhoods to their adult years. There’s Josephine aka Jo (Saoirse Ronan), Margaret aka Meg (Emma Watson), Amy (Florence Pugh), and Elizabeth aka Beth (Eliza Scanlen). Each has their talents: Jo writes, Amy paints and draws, Beth plays piano, and Meg cares for the family. They live with their mother Marmee (Laura Dern) who does her best while their father (Bob Odenkirk) is at war. The film goes back and forth between their childhoods and the present, where Jo is working on a novel. They have their disputes, they find love, they develop their talents further, and they get into mischief during their upbringing. Eventually, things change for them, including getting married, one of them falling ill, wanting to abandon their dreams, etc. Despite all the obstacles, these sisters remain close to each other and stay strong.

     

    Review

    At the time of writing this, I have not read the book or seen any of the previous adaptations. That said, while it’s not my go-to type of film, Little Women is still enjoyable enough for its target audience. The performances are solid, the four main actresses feeling like a close-knit group that has grown up together. Saoirse Ronan, Emma Watson, and Florence Pugh (Midsommar) are at the heart of the film and deliver the strongest performances. The supporting cast, including Scanlen, Dern, Timothée Chalamet, Chris Cooper, and Meryl Streep also stand out even with limited screentime. Directing-wise, Greta Gerwig manages to capture the look and feel of the mid 19th century while adding some contemporary references. The gorgeous set design, elaborate costumes, and Alexandre Desplat’s score further help to cement the film’s historical setting. From a visual and acting standpoint, Little Women mostly succeeds at that.

    However, my biggest issue with the film is that there isn’t much of a central plot to speak of. Little Women feels more like a collection of scenes that are strung together rather than having a cohesive narrative. The film jumps back and forth between the present and seven years prior, but it often feels jumbled and disjointed. Because of this, it can be difficult to follow along with and discern when everything is supposed to be happening. Also, the film has a strong feminist message, which I’m all for, but it felt somewhat on the nose here. Much of the dialogue is either trying to hammer in its feminist angle or criticize anyone who criticizes someone’s work. Some of it may be from the book or invented by Gerwig, but it still hindered my enjoyment slightly. Overall, Little Women, though disjointed and preachy, is still an enjoyably heartwarming film.

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  • Marriage Story (2019)

    Marriage Story (2019)

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    New York-based filmmaker Noah Baumbach has been working since the mid-1990s, debuting with 1995’s Kicking and Screaming. In 1997, he wrote and directed Mr. Jealousy followed by Highball, which he later disowned due to some production issues. Additionally, Baumbach worked alongside filmmaker Wes Anderson as a co-writer on Life Aquatic of Steve Zissou and Fantastic Mr. Fox. His 2005 film The Squid and the Whale earned Baumbach his first Academy Award nomination for Best Original Screenplay. Interestingly enough, Baumbach also co-wrote 2012’s Madagascar 3: Europe’s Most Wanted, the same year he directed Frances Ha. During post-production on 2017’s The Meyerowitz Stories, Baumbach decided that his next project would focus on divorce and its effects. After doing much research, including interviewing divorce lawyers, judges, and mediators, his next film was released to Netflix in 2019. That film was the family drama, Marriage Story.

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    Synopsis

    Charlie Barber (Adam Driver) is a successful theater director in New York married to former teen actress Nicole (Scarlett Johansson). Unfortunately, the two of them are going through a divorce, and it’s taking a toll on their lives. Nicole gets a job on a TV series in LA, so she takes their son Henry (Azhy Robertson) with her. Despite them agreeing to not hire lawyers, Nicole hires family lawyer Nora Fanshaw (Laura Dern) to represent her. Charlie flies to LA to visit but is served divorce papers, so he consults with lawyer Jay Marotta (Ray Liotta). He decides not to hire Jay because of his brash nature, but he still needs a lawyer according to Nora. He eventually hires the more empathetic Bert Spitz (Alan Alda), but things soon spiral out of control when arguing custody. No matter what, these events will change their lives forever.

     

    Review

    Going into this, I knew almost nothing about the filmmaker, though after seeing this, I want to see more. Given who’s making it, Marriage Story is an honest and real depiction of what it’s like going through a divorce. The performances, especially from Driver and Johansson, are some of the best I’ve seen in quite some time. When Driver and Johansson are screaming and arguing with each other over their marriage, it feels so real and authentic. Plus, the film never fully sides with one over the other, showing them at their best and worst moments equally. Also, Azhy Robertson gives a great child performance as a kid who’s unfortunately caught in the middle. Dern, Liotta, and Alda all contribute great performances, as well as Julie Hagerty, Merritt Wever, and Wallace Shawn. This is definitely one of the best-acted films in 2019.

    Directing-wise, Baumbach’s direction is somewhat simplistic, but it adds to the realism and authenticity of the subject matter. While the film shifts in tone throughout, bouncing between dry humor and hard-hitting drama, it never feels disjointed. Rather, it flows naturally and feels like the tonal shifts are more consistent versus the tonal whiplash in Jojo Rabbit. Going back to the simplistic filmmaking, Randy Newman’s score goes well with the film, feeling somber but not overwhelming. While I believe most people have enjoyed this film, it seems like much of the praise is on the performances. I feel that most people are probably put off by the subject matter, which is a fair assessment. However, I welcome films that challenge audiences and tackle the more difficult subject matter since life can be difficult. Overall, Marriage Story is a well-acted and well-written take on something all too real.

     

    Buy Marriage Story from Amazon: https://amzn.to/4i14anP.

    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 Marriage Story (2019)

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  • Laserblast (1978)

    Laserblast (1978)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Well before Full Moon Features and Empire Pictures, Charles Band was cutting his teeth during the 1970s as a producer. His first film was 1973’s Last Foxtrot in Burbank, which was a spoof of the controversial Last Tango in Paris. He produced 1975’s Mansion of the Doomed, which is most notable for featuring an early role for Lance Henriksen. Charles Band even dabbled in adult cinema with 1977’s Cinderella and 1978’s Fairy Tales, both erotic versions of classic stories. He directed 1977’s Crash!, starring José Ferrer and John Carradine, and also produced End of the World the same year. In 1978, Band founded MEDA Home Entertainment, one of the first home video distributors, which later became Media Home Entertainment. The same year, he produced a sci-fi film that would later go on to develop a small cult following. That film was 1978’s Laserblast, the sole directing credit of Michael Rae.

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    Synopsis

    Teenager Billy Duncan (Kim Milford) hates the small town he lives in, feels abandoned by his mother, and gets bullied. Even though he has a loving girlfriend Kathy (Cheryl Smith) that cares, Billy feels dejected by everyone around him. Things change when Billy finds a strange laser gun while wandering in the desert that requires a special pendant. After he starts firing the laser gun, two aliens are assigned to go to Earth and retrieve the laser gun. Meanwhile, Billy starts using the gun against those who bullied him, such as Chuck (Mike Bobenko) and Froggy (Eddie Deezen). As Billy continues his rampage, government agent Tony Craig (Gianni Russo) leads the investigation with help from the local sheriff. As he continues using the laser gun, Billy finds himself being corrupted further, getting green skin and white eyes. Will Billy be stopped, and will the aliens get their laser gun back?

     

    Review

    Laserblast is one of those movies where, after reading the synopsis, you’ll know whether or not this is for you. Most mainstream audiences will be put off by the weak story, mediocre acting, slow pacing, and general ridiculousness. However, if you’re the sort of B-movie connoisseur who enjoys watching these films on late-night channels, here you go. Like I said before, the story, though simple, is fairly weak, not helped by the incredibly dull pacing. With a few exceptions, the acting ranges between mediocre and terrible, with Kim Milford being arguably the weakest. Laserblast does feature classic actors Keenan Wynn, Roddy McDowall, and Ron Masak, all of whom do what they can. Also, the pacing is incredibly slow, with several scenes going on for what too long and not much exciting happening. Despite this, Laserblast is noteworthy for several reasons that make it worth a watch.

    For one, the film marks the first collaboration between Charles Band and stop-motion animator David Allen, which became a partnership. The sequences with the stop-motion aliens looking for the gun are among the film’s highlights, despite not understanding their dialogue. Also, this marked the first time Richard Band worked as a film composer, and he’d continue working with his brother. For being his only directing credit, Michael Rae’s direction isn’t terrible, and he could’ve even gone on to better things. Laserblast has a look that could only have come from the 70s, right down to the drab color scheme. Some audiences might be put off by this, but I look at it as a time capsule of the 1970s. This is often considered one of the worst movies ever made, but it’s nowhere near as bad as that. Overall, Laserblast is a good slice of 70s B-movie entertainment.

     

    Buy Laserblast 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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  • Parasite (2019)

    Parasite (2019)

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    Bong Joon-ho is a South Korean filmmaker that has garnered much critical and commercial acclaim in the last few decades. He’s perhaps most famous for The Host in 2006 and Snowpiercer in 2013, both among South Korea’s highest-grossing films. While working on Snowpiercer, Bong had been talking with a theater actor friend and his experiences as a tutor. In his 20s, he tutored the son of a wealthy Seoul family and considered adapting the experience for the stage. After finishing Snowpiercer, Bong started working on a film treatment based on these experiences and finished it after 2017’s Okja. The film was shot during 2018 and was released in 2019 at the Cannes Film Festival to overwhelmingly positive reviews. It took home the Palme d’Or at Cannes and, as of this writing, received six Oscar nominations, including Best Picture. So, let’s take a look at Bong Joon-ho’s Oscar-nominated film, Parasite.

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    Synopsis

    The Kim’s are going through tough times, living in a run-down basement apartment and working lower-wage jobs, struggling to survive. One day, they’re visited by Min-hyuk (Park Seo-joon), a friend of son Ki-woo (Choi Woo-shik), who offers Ki-woo an opportunity. Min had been tutoring the daughter of a rich family, the Park’s, in English but is leaving to study abroad. He suggests that Ki-woo pose as a university student and take the job, which he does thanks to his family. Once Ki-woo sees how well off they are, he and his family plan to trick them into giving them jobs. Daughter Ki-jeong (Park So-dam) starts teaching art, and parents Ki-taek (Song Kang-ho) and Chung-sook (Chang Hyae-jin) are driver and housekeeper. With their jobs seemingly secure, the Kim’s bask in the wealth they’ve accumulated thanks to them tricking the Park’s. But soon, their deception will come back to bite them.

     

    Review

    Going into Parasite, I knew very little about what to expect, other than the basic premise and its critical acclaim. All things considered, that’s probably the best way to see this film: know as little as possible when seeing it. Parasite is one of those rare films that can appeal to both mainstream audiences and more niche audiences. It has a straightforward-enough plot and relatable characters while mixing in enough weirdness and deeper meaning for the arthouse crowd. Bong Joon-ho’s direction is remarkable, using visual cues to help tell the story and show what the characters are experiencing. Everyone in the cast does a fantastic job, each offering something to make them stand out from one another. The score by Jung Jae-il perfectly compliments the film and adds the final touch that makes this film a masterpiece. This is honestly one of those rare films that are virtually flawless.

    At its core, Parasite is a social satire about the haves and the have-nots, showing two perspectives on similar things. For instance, when it’s storming, the Parks think it’s beautiful, the Kims consider it a matter of life and death. The film makes points about the rich never have to worry, whereas the less fortunate have to scrounge and scheme. Neither family does anything to make them awful people, and you understand where each of them is coming from. Without spoiling anything, while the film starts as a dark comedy, there’s a point where the film becomes a thriller. Thankfully, it’s not one of those reveals that feel out of the left-field, but it seems plausible given the context. Every so often, films like Parasite or The Lighthouse come around that remind us of how powerful cinema can be. Overall, Parasite deserves a spot as one of 2019’s best films.

     

    Buy Parasite on Amazon: https://amzn.to/2U3Dbzk

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