Here is my recommend comedy viewing list. When planning your big budget, space-set action/adventure, maybe you should choose a stronger inspiration than the likes of 1984’s Ice Pirates. But as the years have passed I have grown bitter about how Hasbro fucked up my favorite series from when I was a kid. But in learning the language of the film, we can draw conclusions about what makes a good kaiju film, and what makes one worth watching. There are no such creatures in the movie, just astronauts covered in Saran Wrap™ running around and smacking each other. It has space herpes. Ali meanwhile offers a glimpse into the mind of a man whose guilt is uncertain but whose need for connection is clear.
We aren’t actually going to try and give space an STI, but rather see how viruses handle the extreme conditions of space flight, which is important as our species continue to strive for an interstellar existence. By point of comparison, that 1983 film is a masterpiece in forging atmosphere and crafting imaginary worlds. It is their humanity that made this movie more frightening. So how did they screw up the first D&D movie? Suffice it to say this comes to the fore after her mother falls ill with cancer and she and a boy her mother took in off the streets discover an old booklet with names and figures in it. Another problem area is the astronaut’s fluid circulation. The game begins with an introduction to Amanda, a capable engineer for the Weyland-Yutani corporation, and her ongoing search for her mother.
Todd Reinhart (friend of mine) for example, he’s been dating and is now engaged to this one girl who is Catholic. But there is quite a memorable scene as Holden and Miller flee from legions of vomit zombies while suffering the effects of acute radiation poisoning. Warner Bros. states. That’s not to say there wasn’t sci-fi, but the space adventures in theaters seemed, for all purposes, dead. Lash’s Cronies – Rejects from a Flock of Seagulls. Honestly, it’s worth the price of admission for The Searchers and Rio Bravo alone.
Both are fantastic — the former is a beautiful goddamn western with some brutal things to say about the reasons we treat others the way we do, and the latter is as close to a perfect, eminently re-watchable film as you can get. A group of thieves escape into the sky with their stolen millions, but when one of them exits the plane with their bounty the others parachute after him intent on getting it all back. Kids would eat it up. Mary Crosby works best as the eye-candy her wardrobe was designed for. William Wesley’s late ’80s horror flick succeeds with some creative touches, fantastic gore effects and effective sequences. It does wonders with its low budget and night-time setting by crafting an eerie atmosphere and fun horror beats. It’s a favorite of mine that I used to subject friends to on laser disc, and Scream Factory’s new Blu-ray offers it a face lift alongside some solid extras.
Like Bumblebee, the autobot that transformed into a Volkswagon Bug. It’s collected and kept in a vacuum, and brought back to Earth. She captures his mind and his heart, but their time together is challenged by a secret she’s hiding from her own past. The creators of 2012’s indie horror hit Resolution follow up that introspective tale with a film filled with beauty, romance and something truly monstrous. The film takes its time allowing viewers to experience an unfolding love story against a stunning Italian backdrop before slowly teasing what’s rippling just beneath Louise’s skin. It’s a refreshing tale, one that evolves from the expected into something stunning with grace and tentacles in equal measure. Here Captain Butt eats an alien egg during a meal (on a dare, no less), and it eventually returns as a diminutive alien creature that seems to imprint on him as Mommy.
The streets of Baltimore, like many of America’s big cities, are awash with drugs and and the associated pains that follow. I’m not going to subscribe on the off chance I might get a bit part in a movie. The series follows a grand over-arching story from the perspectives of both sides and from the battlefields of the streets, the schools, the media and hallways of political power. Longer missions could make them shrink by as much as 40 per cent. But if you eat too much chocolate you’re bound to get sick and Alien:Isolation is too much chocolate. 26 mins – Stop talking to yourself man, now your dad’s doing it. Few TV shows can claim to be as thought-provoking or as consistently challenging.
This new Blu-ray release remasters the series into HD widescreen for the first time, and while some people see that as ringing false to the show’s original intentions the results speak for themselves. Shit, I really need to have a talk with my casting director. Even worse, a devilish cult is hot on their trail too. Meanwhile, Nova is doing background work on Lash and barely escapes. The performances and visuals struggle to hold attention and create drama, but they’re not nearly as compelling as the story they’re attempting to support. It doesn’t help that the three trailers preceding the feature are all for pretty fantastic horror movies. An insane asylum on lock-down draws an elite assault team in for a rescue, but they discover the cause of the disturbance is something really crazy.
Two space pirates are captured, sold to a princess, and recruited to help her find her father who disappeared when he found information dangerous to the rulers. I also had no clue what a herpe was when I was a kid, I just thought it was the name of the worm creature. Apparently After Dark Films produced the movie only to realize it was not up to their (or Lionsgate’s) usual standards, so in an effort to fix the situation they had someone new come in to write a “comedy screenplay” adding the commentary and some additional scenes. The end result is an incomplete tale that fails as a horror movie while managing to generate a handful of laughs along the way. Oddly, for the effort they expended to “fix” the film Lionsgate’s DVD packaging still markets the movie 100% as a horror film. It was a very exciting prospect. This is recreated as the jaw-breaking Guilalanium, which of course proves to be the giant monster’s downfall.
Director Joseph Ruben (and Dimension Films… welcome back to the ‘90s!) deliver a solid thriller occurring mostly in a single location, and while it doesn’t break any new ground it does the job for 85 minutes. Nicky (Will Smith) is a career flim-flammer who long ago graduated from picking pockets to managing a double-digit team of hustlers who target populated tourist areas stealing watches, wallets, purses, luggage and more. He finds a new protege in Jess (Margot Robbie) after conning his way into a meal at a fancy restaurant and meeting her as she attempts a sloppy swindle of her own. They hit it off, but he soon insists they go their separate ways. This android is beautiful and fit, but never really comes across as an independent, self-directed, individual entity. One of the expected aspects of movies about con men is the understanding that any of the characters can be playing anyone else at any time, and half the fun for viewers is trying to stay one step ahead — or at least no more than one step behind — as the scams, reverse scams and triple twists start flying. As for the barbarian babe in #2…I personally prefer the wizard babe in #1.
That’s due more to Smith and Robbie than their characters, but it still works to keep us focused on the game and its players. A pandemic has swept the globe turning people into people eaters, and as the hordes grow a small group of survivors struggle to escape their undead clutches. It’s a familiar plot presented once again with a lack of originality or engaging characters. Hell, they’re not even bearable characters. The picture is washed out, the CG is over-used and it’s not long before you’re siding with the monsters. Jupiter Jones (Mila Kunis) hates her life, but everything changes when a gaggle of alien creatures attempt to kill her before being thwarted by the universe’s only hairless werewolf, Caine (Channing Tatum). It seems Jupiter is the reincarnation of a deceased galactic queen who wisely planned ahead and bequeathed a fortune to herself, and that newfound wealth includes ownership of the Earth.
The Earth! Very seriously. Some want her property, some want her life and one just wants a shot at humping her leg. (It’s Caine. Caine is the one who wants to hump her leg.) Here’s the thing. When planning your big budget, space-set action/adventure, maybe you should choose a stronger inspiration than the likes of 1984’s Ice Pirates. (And I say this as someone who truly enjoys Ice Pirates.) Because when a movie best-remembered for featuring “space herpes” can boast the same degree of world-building competence as your $200 million, star-filled, wannabe blockbuster that’s probably a bad sign.
U.S. Marshal Raylan Givens (Timothy Olyphant) is being re-assigned away from Kentucky, but before he goes there’s one final case he’d like to put to bed. Boyd Crowder (Walton Goggins) is his old friend and constant nemesis, and as the two draw together for one final confrontation it becomes clear that neither are safe. See! The highlight of course is more screen time shared by the two leads. They’ve frequently been far apart enjoying their own separate story lines, but here they intertwine tighter than they have since the show’s first few years. A terrorist bombing at a hotel in late ’60s Milan leaves several people dead, a killer with a conscience on the run and a populace in fear.
Det. Rolandi is hot on the trail after witnessing the suspect at the scene, but his investigation soon reveals there’s more going on here than a lone bomber. Diretor Luciano Ercoli’s Italian crime thriller is as interested in police corruption and political unrest as it is in playing “cops and robbers,” and it manages to pack a lot in to its 97 minute running time. It’s never dull as it shifts between the players, but it is fairly low key throughout aside from a handful of adrenaline-friendly beats. Is it because you need a budget like that of a small country to make them work? Elsewhere in town a young boy named Quinquin whose days exist solely for goofing around and harassing those around him. Director Bruno Dumont’s nearly 3 1/2 hour film (it originally aired in four parts on French TV) is something of a genre mash-up with mystery, drama and comedy all vying for time, but it’s the comedy — frequently absurd, dark or weird comedy — that quickly becomes the focus.
It doesn’t always work though as the weight of certain dramatic beats is lost amid the goofiness or Dumont’s apparent disinterest. Despite its dramatic failings the film takes hold with gorgeous cinematography and an unpredictable sensibility. I would have liked an explanation as to why most of the town’s male inhabitants are physically or mentally malformed though. It’s been a decade since the events of Monsters, and the creatures have spread to other parts of the world. They’ve made a particular mess of the already messy Middle East requiring a full assault from the U.S. military, but as the soldiers struggle to stay sane amid the daily doldrums one man realizes the real monsters are closer than they appear. I HATE RICK!
The film is a commentary on military involvement in the Middle East and elsewhere, which is fine, but that is the majority of what we get here. The monsters of the title are glimpsed frequently, but they’re nothing more than background noise bearing no impact or weight on the story or characters. Worse, the character drama filling the running time is never all that interesting. A group of rambunctious teens party hard in some spooky woods, but when Paige returns home she quickly realizes she’s brought something back with her. So much for leaving only your footprints and taking only your memories. An evil spirit begins causing havoc at home, and as she digs into its history and desires she moves ever closer to falling victim to his blade. The film earns points for adding more depth to the typical teens vs ghost thriller, but it feels far too cheap throughout from the acting to the effects to the cinematography.
That amateur feel neuters any hope of suspense or scares too. Pussified. A voice repeats “Remember me?” before hanging up, and as the strange events continue to grow Michael grows closer to a truth he might not want to believe. Judd Nelson and Tom Sizemore appear here in small supporting roles, but they’re not enough of a reason to watch. The reveal is fairly uninteresting and executed with a severe lack of suspense, and the journey to that point is more frustratingly dull than anything else. Daniel Holden was released from prison after nineteen years when DNA evidence forces the overturning of his conviction, but barely tastes freedom before being beaten into a coma by men in masks. Season two picks up with Daniel still unconscious in the hospital, but when he wakes the dramas begin anew with his family and the townspeople divided as to whether or not he’s an innocent or guilty man.
The drama is still strong,, but it doesn’t feel as powerful as it did in season one. It’s not for lack of performances as the cast still does tremendous work here, but the season does grow to be more story-focused this time around. One of the first season’s strengths was that it avoided the expected narrative and instead thrived on the emotional currents. Here though the “mystery” is given more time than the humanity. It’s still entertaining and compelling television though that far exceeds what the networks are delivering. Rural China in the ’40s is a rugged and dangerous place due both to the country’s ongoing civil war and the roving bands of bandits who pillage and destroy with impunity. A captain in the People’s Liberation Army decides enough is enough, and with the support of his small but talented squad he decides the time has come to bring the fight to the villains’ own doorstep.
Unfortunately, it’s a highly precarious doorstep as the bad guys operate out of a remote and precariously-located mountain lair. The cast of characters is immense on both side of the moral divide, but only a few of them are given emotional beats. Instead the focus is on the heroic antics of the captain’s team with the spy, Yang, coming off like a dashingly acrobatic Indiana Jones-type as he works his way into the enemy before having to fight his way out. There’s all manner of gunplay, explosions and energetic fights, and it’s there where the film and director Tsui Hark find their strongest footing — provided you can swallow some occasionally sketchy CG.