kevinxirau Reviews

Godzilla Minus One (2023)

A haunting revival of a beloved monster king.

[9/10 · 9 December 2023]

Man, I've been looking forward to this one! In the wake of a struggling American cinema, Japan graces us with a brand-new kaiju film that shockingly impressed Western audiences left and right. That, folks, is "Godzilla Minus One".

Plot: A few years after WW2, disgraced kamikaze pilot Shikishima struggles to settle down with his new family and friends. However, a ghost from the past has returned to haunt him as well as the nation, the saurian Godzilla, mutated by nuclear radiation. As the monster vents his rage and plunges Japan in despair, Shikishima and his cohorts face their inner demons and unite to defend their homeland when no one else could.

This film is cinematic in every possible way. The story tackles the trauma the Japanese people had to deal with after the war head-on: failures on top of a crippling defeat, personal loss, government failings, and economic decline. Shikishima is a great protagonist, wracked with guilt to the point of reoccurring nightmares yet deep down wants to make amends and help those close to him towards a brighter future, helped by his lovable bunch of companions with their own distinct personalities and insecurities who also served during the war. The drama and interpersonal conflicts are powerful, really making you feel their turmoil, so much so that even when the monster isn't around for a long stretch, they keep you engaged (I actually heard someone in the audience crying from such scenes!). All this serves to emphasize the theme of living and rebuilding after such harrowing times.

As for Godzilla, he's presented as an aggressive territorial animal. He feels huge yet personal, his mere presence spine-chilling and power very impactful. This is helped by haunting music (though you still get the classic theme) and equally scary imagery and hard-hitting violence (not overtly bloody, mind you, but enough to leave an impression). There were even moments where it felt like "Jaws" in a good way. The times when he uses his atomic breath alone are straight up jaw-dropping. The army's battles with the kaiju are also done well, a good amount of destruction and utter fear, with a climax that's creative in its concept and execution. All this spectacle is done with excellent special effects despite being a fraction of the usual American budget these days; I could practically count every scale on Big G.

All in all, "Godzilla Minus One" is a must-see that is well-deserved of the large amount of praise it's getting. Not only does it present the monster in a scary light that borders on horror, but it also has human characters that keep your attention, not to mention great music, effects, action, and story. My only slight critique is that the second half does drag a little. I should note that, as of the timing of this review, it's in Japanese with English subtitles, though the actors use a lot of facial expressions to convey the right emotions even when not talking. It gets my recommendation to those who haven't seen it. Long live the King of the Monsters!

Gamera: Rebirth (2023– )

The Guardian of the Universe comes back with a bang.

[8/10 · 13 September 2023]

We truly live in a glorious age of titans. Godzilla, King Kong, and even Ultraman have been gracing us with their presence for a decade now, but, weirdly, someone was missing. Godzilla's old box office rival, the giant turtle Gamera, had been absent from cinema since 2006. In comes Netflix to the rescue as he's given a 6-part anime series to give him much-needed life: "Gamera Rebirth". Did it succeed?

Plot: In the year 1989, four children suddenly find themselves amidst numerous attacks by man-eating kaiju that are especially fixated on them. Lucky for them, one beast, Gamera, comes to defend them, though the military is very reluctant to trust him. Where did the kaiju come from? Why is Gamera different? What makes these children special? Grand battles and shocking revelations ensue.

The best way I can describe this series is "Stranger Things" with giant monsters. Though the protagonists are children, don't mistake this for silly kid stuff. They occasionally find themselves in violent situations and even swear from time to time; there's a shocking number of F-bombs thrown in. We get insight into what makes each of them tick and why they are so close, and the story and conflicts allow them to mature and contribute in individual ways. There are a few standout characters too like James, a jaded man with dreams and insecurities of his own forced to watch over the children, and an American army general struggling to deal with the crisis. There are also some sprinkles of social commentary like military relations between Japan and America to help spice things up a bit. Admittedly, the way the characters look and move in the animation are a little odd, but the writing behind them compensates for it.

Gamera has never looked better, ferociously taking action without hesitation and putting others before himself as is true to the spirit of the character. He also comes with a rockin' musical theme that gets you pumped for action. The turtle's enemies, most of which have been absent from film for half a century, are all given awesome updates and are treated as formidable foes for both Gamera and the humans, providing intense fight scenes that don't shy away from being bloody and violent as combatants throw each other around, trade blows, and show off cool abilities. The mystery surrounding the kaiju and their origins was engaging, leading to big reveals that I didn't see coming in a good way, especially with how the humans play into them. I do think the pacing of the episodes can be improved by speeding things up a little.

All in all, "Gamera Rebirth" is a smashing shell of a good time. Slight shortcomings aside, it is a much-needed refreshing take on a classic monster that provides both monster mayhem and a compelling human narrative interweaved into it. Hopefully, another season is made as well as a new movie.

Transformers: Rise of the Beasts (2023)

Packs a mechanized punch.

[8/10 · 18 June 2023]

While Michael Bay's Transformers films have their fans, there is no question they have issues. The last film in that series was such a disaster it's no wonder a reboot was in order. "Bumblebee" was the result and turned out quite good, so a sequel wasn't far, that being "Transformers: Rise of the Beasts", which promised to bring old and new generations of our favorite shape-shifting robots together for an epic clash. Did it live up to expectations?

Plot: The ultimate evil Unicron, with his legion of Terrorcons, seeks the Transwarp, a device that can transport its users to any place and time, so he can freely consume any and all planets for sustenance. To prevent the device from falling into the wrong hands, the Autobots seek aid from not only a pair of underdog humans, but also the beastly yet noble Maximals. The race is on for the fate of all worlds.

Like with "Bumblebee", there's a greater emphasis on characterization, story, and themes than in Bay's films. The focus here is on sacrifice, family, and seeing value in others. The human companions this time are Noah Diaz, an ex-soldier desperate to help his family in need, and Elena Wallace, an archaeologist out to prove herself in her field. As characters, they work fine within the story, having compelling reasons for going along with the Autobots and coming to satisfying conclusions. The real stars, of course, are the Transformers, who feel like genuine characters with a good range of emotions and personalities rather than just accessories that are there just because, though some get more focus than others. Optimus Prime goes through a solid arc, at first stern due to the scars of the war but growing to accept his new circumstances and the views of his allies. This is especially pushed by his newfound relationship with Optimus Primal (Ron Perlman), who suffered his fair share yet offers a fresh new perspective through own experiences, particularly with his connection to Earth. The Maximals easily steal the show whenever they're around, especially the majestic Airazor (Michelle Yeoh), though the Autobots are also pleasant company. The big standout is Mirage, who offers a few laughs but also provides some emotional support through his bond with Noah. In fact, there's quite a few good dramatic moments that elevate this beyond a mindless blockbuster.

As far as action goes, this film excels. Whereas Bayformers put such an annoying emphasis on the US military to the point of overshadowing the robots, here we purely get Transformers vs Transformers, what the franchise was built on. Each character has unique fighting styles/weapons to keep you on your toes, with the Terrorcons, led by the ruthless Scourge (Peter Dinklage), being truly formidable foes; quite refreshing to have other villains other than Megatron. The last battle where Autobots and Maximals fight side-by-side is so epic it literally had the audience cheering at a few points; very well-staged, choreographed, hard-hitting, and everyone having their moments to shine.

All in all, ROTB is a worthy film in the franchise with good action/effects but also an engaging story with high stakes and solid payoffs for its characters, not to mention a little setup at the end that had my jaw dropping. It was also nice seeing the "Beast Wars" characters finally come to the big screen and given their due. Not necessarily high art, but worth seeing.

Puss in Boots: The Last Wish (2022)

Lands on its feet with true grace.

[9/10 · 30 May 2023]

Now THAT'S how you live up to the hype. While Puss in Boots is a beloved character in the Shrek franchise, his first movie was just okay in retrospect, leaving me almost indifferent when the sequel "Puss in Boots: The Last Wish" came out. To my shock, people praised the absolute hell out of it. When it came to streaming, I decided to give it a go, a decision I'm glad I took.

Plot: Through reckless adventuring, our titular feline (Antonio Banderas) lost eight of his nine lives, a fact that comes crashing down on him from a near-fatal encounter with a mysterious cloaked wolf. He goes on a quest for the Wishing Star to restore his lives, joined by his old flame Kitty Softpaws (Salma Hayek) and lovable pup Perrito. Also seeking the Star are Goldilocks (Florence Pugh) with her bear family and the greedy Jack Horner, creating a free-for-all race for the wish.

Talk about a sequel that goes above and beyond, overshadowing its predecessor by a wide margin. The story is very well-crafted, somehow managing to balance many characters, giving each their own goals, conflicts, backstories, and personalities while also fulfilling the narrative's purpose with flying colors. Puss is truly pushed to his limits, his desires and integrity thrown into question by the prospect of his own mortality and his strained relationship with Kitty, who has her own personal issues to deal with. Perrito basically plays the role of Donkey, but brings his own flair to the table being the emotional glue to the main trio with his charmingly positive attitude despite a shockingly dark backstory. The film's multiple antagonists are all executed beautifully. Goldilocks and the Three Bears are a lovable bunch that could easily star in their own film, with interpersonal dynamics that bring laughs and feels. Jack Horner is a truly despicable, irredeemable scumbag and he knows it, which makes him genuinely funny. Finally, there's the Wolf, the true standout. Without spoiling things, he steals the show every second he's around, a genuinely terrifying foe who hounds Puss throughout and exposes his flaws, pushing him into this personal journey and elevating the story beyond simple kids stuff. The animation is a blast, going for the Spider-verse style in aesthetic and motion, which makes the surprising number of action scenes thrill rides with all kinds of twists, turns, and skills being utilized to their fullest, especially Puss' battles with the Wolf. The dark forest adds to this by changing landscapes and obstacles in creative ways based on each individual's flaws, allowing for personal growth in the cast. I also found a handful of the musical tunes catchy enough to stick in my head.

All in all, "Puss in Boots: The Last Wish" brings much-needed life to the animated cinema. It is worth all the praise it has gotten from audiences with its animation, characters, spectacle, and pretty hefty themes and emotions. If you haven't seen this yet, well, what are you waiting for?

The Lake (I) (2022)

Should've stayed in the depths.

[3/10 · 22 March 2023]

Ever had minimal expectations for a movie and still come out disappointed? That's what I got for "The Lake", a giant monster movie from Thailand. I remember seeing the trailer months ago and thought it looked nice. Too bad the nice shine is from a shallow pool. The plot is simple: an egg is found along with a human-sized amphibian creature that goes on a killing spree before being captured. Big momma shows up to find both, throwing the townsfolk into chaos.

The most positive thing about this film is the effects. There's a great blend of CGI and practical effects with the big creature in particular primarily displayed via a massive animatronic reminiscent of the T-rex from "Jurassic Park", all of which looks impressive. The design isn't bad either, slightly humanoid but mostly having fish-like traits. Can't say the same for the rest of the film. There's a smidge of potential with the human characters, who have strained relationships with their families, which contrasts the creature trying to save its offspring. Too bad none of the characters are worth a crap since we barely know anything about them or have time to let them breathe. The constant screaming from the crowds gets so annoying it makes Ann Darrow from "King Kong" seem soft spoken by comparison. Aside from the initial attack scene, there's hardly any action and the beasts do very little; the big monster doesn't even smash any buildings or fight the authorities. Most crippling of all is the horrendous pacing. The movie's 90 minutes long yet it feels twice that much with multiple scenes going on far too long and being uneventful. It bored me out of my mind. There's an English dub, but it's pretty sloppily executed compared to other East Asian films I've seen. Also, the story doesn't really take place on a lake, much less make it a major focus, so add misleading title to the list of sins.

"The Lake" is yet another example of how good effects can never top good writing and direction. Give this a hard pass. If you want a better version of a story where a giant rampaging monster seeks to save its young, watch the 1961 British flick "Gorgo".

Prey (I) (2022)

A successful hunt.

[8/10 · 15 August 2022]

While the Predator is as iconic as monsters come, the films wildly differ in terms of quality. It seems in general that none of the sequels can live up to the standards set by the original and to a degree "Predator 2" as far as fans are concerned, especially after the disappointing 2018 film. That certainly puts a lot of pressure for the latest entry "Prey". Does it bleed or did it make the kill?

Plot: Our story is set in the 1700s. Naru, a young Comanche woman, wants to prove herself a hunter despite doubts from her tribe. However, things take a bloody turn when a Predator comes on safari in her land. It'll take every ounce of will and wit if she's to stand a chance against this otherworldly foe slaughtering man and beast alike.

Prior films hinted the Predator species' long history on Earth with expanded media such as comics telling stories across different time periods, so it's refreshing to finally see this element in full swing on screen. With the main cast being Native Americans that lived centuries ago, it plays into the inherently primal element the thrill of the hunt brings. Amber Midthunder does a good, if not spectacular, job with the lead role, showing Naru having a talent for hunting but still having limits, makes mistakes, and gets roughed up. She grows and learns the hard way as any good protagonist should. Interestingly, the story creates a parallel between her and the Predator (officially known as Feral), who also endures harsh tribulations and picks up on some things. This is a new breed of the monster with his own distinct appearance, personality, and an awesome set of previously unseen weapons at his disposal. The side characters are alright if not overtly special, the standouts being Naru's brother who acts as a supportive yet grounding mentor figure and faithful dog who goes through thick and thin. Of course, it wouldn't be a Predator story without blood and violence and this film definitely delivers with harsh fights and creative kills across different settings, all leading to a climax that puts Naru to the ultimate test. There are nods to the other films, which are sweet and thankfully not taken too far, and great twists that expand on the lore.

All in all, "Prey" is an entry I would place in a high rank in the series; it's not the OG, but it's good enough. It plays with its premise nicely and presents a cool dynamic between the hero and the creature. It's on Hulu at the time of this review, so if you want a good time in the woods with a terrifying monster, then check it out.

Dune (2021)

Inviting yet dull.

[5/10 · 27 June 2022]

For most of my life, I've only heard passing mentions and saw brief clips of the 1984 film "Dune", based on the novel series by Frank Herbert. In 2021, a new adaptation was made featuring an all-star cast, including Zendaya, Jason Momoa, Oscar Isaac, etc. Given the intriguing setting and the positive reception, I decided to check it out to see what the fuss is about.

Plot: Set in the future where planets are colonized by a vast empire, young prodigy Paul Atreides finds himself thrust in a conflict between his noble family and a conspiracy threatening to kill them all over the desert planet Arrakis, which holds a precious "spice" that grants heightened vitality and expanded consciousness. His only hope is to survive, realize the meaning of his strange visions, and find the local inhabitants called Fremen to ally against their common enemy.

As I never read the novel or saw the old film, I will judge this by its own merits. The setting is pretty interesting; fascinating technology, power dynamics, distinct cultures, and the iconic giant sand worms are cool. The visual style is like something out of an epic documentary if it was done by Ridley Scott. The main cast is overall decent with a few relationships I found engaging, my favorite being Momoa's character Duncan as he brings a lot of charm to the screen. The action and effects hold up fairly well with much of it boiling down to sword fights (with combatants having energy shields), chases, and some explosions. With these positives, I really wanted to like this movie, but alas it falls short. The most damning aspect of the film is the pacing. At two and a half hours long, it is VERY slow. It relishes in its atmosphere, vast expanses, drawn-out dialogue scenes, and Paul having lots of vague visions. The basic story beats are good, but the film just crawls from one to the other. It comes across as being very self-indulgent, making me struggle to stay interested even when the action happens. With a few exceptions, most of the characters speak with low tones that can make things a bit tricky to pick up and the music is very monotone, further making this it drag at times. The story also ends on a cliffhanger, which, given that this is the first half of the book we're talking about, is understandable, but it felt like the storyline was suddenly cut off without much resolution and honestly I was glad it's over.

"Dune" 2021 had grand ideas, but failed to suck me in. On the upside, it made me a bit curious about the original 1984 movie. All in all, a mild curiosity and little more in my eyes.

Primal (2019– )

A tale of an unbreakable bond in the face of savagery.

[9/10 · 7 November 2021]

Genndy Tartakovsky is a man of considerable talent. Animator, director, producer, screenwriter, storyboard artist, comic book writer and artist. His resume includes "The Powerpuff Girls", "Dexter's Laboratory", the first Clone Wars cartoon, "Hotel Transylvania", and most notably "Samurai Jack". Now, he returns to take us back to ancient times in the new miniseries "Primal". The story centers on Spear the caveman and Fang the T-rex. Both suffered tragedies in their lives and have found kinship within each other. Together, man and dinosaur work together to get by in a savage, unforgiving world where survival is the only rule.

Something Genndy is known for in previous works, especially "Samurai Jack", is having extended scenes where there is no dialogue and the visuals tell the story, though characters do get to speak when needed. For "Primal", dialogue is nonexistent as Spear, our one human connection, mainly grunts, growls, and shouts while the rest of the creatures make sounds of their own. Detailed facial expressions and body language help communicate what the characters are thinking and feeling, allowing for moments that range from intense to dramatic to occasionally light-hearted. This is especially apparent from the interactions between Spear and Fang as they learn from each other and deal with shortcomings/obstacles. A few flashbacks also help flesh out the primitive duo and how they relate to their present conditions. In fact, some scenes hit you right in the feels like in episodes 1, 3, and 5. Genndy also excels at action and this is no exception. This show is by far his most violent, featuring blood, gore, and sometimes a high body count with Spear and Fang having their own fighting styles that often work in unison against the most vicious and frightening foes this world has to offer from other dinosaurs to oversized variants of more familiar animals to malevolent tribes. The brutality here is no joke, though normally not too gratuitous, and there tends to be consequences to everyone's actions. I also gotta give credit to the art and animation; nearly every frame is a sight to behold with striking character designs, solid colors, lush jungles, and desolate places that breathe life of their own. It looks like an updated Hanna-Barbera cartoon like in "Jonny Quest" with higher quality animation.

Currently, there are 10 episodes for this season. Supposedly, a second season is said to be considered, but as of yet hasn't been released. Here's to more prehistoric fun with Spear and Fang.

Godzilla Singular Point (2021)

A monster mash trying hard to be smart.

[7 July 2021]

I'm shocked Japan has made very little animation of its most iconic monster. Coming straight to Netflix is "Godzilla Singular Point", a 13-episode anime that takes Big G and his monstrous costars to a brand new direction. There was some hype from fans like myself surrounding its release, but did it live up to expectations?

Plot: Engineer Yun Arikawa and graduate Mei Kamino are individually drawn to an Indian song tied to a scientist who disappeared years ago. Shortly after, a red dust with strange properties is discovered and it spawns monsters that evolve and multiply rapidly, the worst being Godzilla. Working with their allies, the two must unlock clues to stop the upcoming catastrophe from engulfing the universe.

The art style is beautifully drawn with a stunning array of colors ranging from scenic to apocalyptic and the animation is pretty solid. The main characters are basic but fine and have good designs that make it easy to tell them apart. The standouts include Mei who's cute in a dorky way, elderly but energetic Goro Otaki who is so entertaining to watch, and brilliant but prideful Bearach "BB" Byrne. I'm a little iffy with Yun; while functional, he's mostly straight-faced and not charming. By contrast, the kaiju are done with CGI with wicked designs heavily drawn from nature. Each has time to shine with some having a little personality like Anguirus. Godzilla only becomes active in the second half. When he shows up, he does what he does best: blowing stuff up and showing others who's boss. Most surprising is the robot Jet Jaguar, once infamously known from the silly "Godzilla vs Megalon" now a badass, endearing character that develops over time with a fairly heartfelt conclusion. There's substantial destruction (some of it reminiscent of "Shin Godzilla"), plentiful monster mayhem, fun fight scenes, and a real sense of escalation. Outside the classic Godzilla theme, the music is pretty memorable from the catchy opening theme by BiSH to the several iterations of the main song "Alapu Upala". Longtime fans will also spot the numerous nods to the franchise.

For all the good here, the anime is bogged down by certain elements. The story heavily centers on theoretical physics. While a unique concept for the franchise, there are extensive lectures of how this dimensional mumbo jumbo works and what the mystery scientist did prior to the events of this series in every episode. Even when they try to explain in simplified/comparative terms, it's still very hard to follow. Some of it is delivered via rapid fire text message conversations that go on longer than needed. It messes up the pacing and leaves little room for the protagonists' development beyond their base traits, not helped by the large cast. Mei and Yun spend most of the time apart on separate quests, which almost feels like I'm watching two different anime; a sci-fi disaster with borderline Lovecraftian horror and a monster-of-the-week action show. Despite enough screen time, Godzilla isn't the center of the story, more an accessory to a larger threat and a simple final boss, which is a real bummer. What's more, his few scuffles with other kaiju are very brief. Certain questions are left unanswered by the end, magnified by an after-credit scene that appears to tease a second season.

"Godzilla Singular Point" leaves me with conflicted feelings. The monsters and action are fun, Jet Jaguar is cool, and the humans are decent enough to carry the overall good story, not to mention nice music and animation. On the other hand, the show would benefit greatly from being longer, cutting down/out the overly complicated science, developing the protagonists more, and Big G being the main focus rather than a symptom to a bigger problem. All an all, an anime with ups and downs.

Mulan (2020)

This brought dishonor to us all.

[4/10 · 13 June 2021]

In recent years, Disney made a big push towards nostalgic properties. While there have been some successes, much of the material they released has been met with increasing criticism, especially with their live-action remakes. When I saw the trailer for "Mulan", I was enthusiastic given that the original is an old favorite of mine. Sadly, circumstances were not in its favor: critics and fans alike tore into it, the socio-political climate surrounding its release in the US and China was terrible, misleading promoting, and the absurd Disney+ price at the time. Hearing this negativity made me reluctant to see this remake, but as a fan and a film enthusiast I felt obligated to do so. Is it as bad as everyone says it is?

Positives: Visuals are lovely, some striking color and environments from Mulan's circular home to an icy sulfur lake. The action scenes are okay, mixing martial arts with chi this time, allowing stunts straight out of classic kung fu films, this time with more blatant, albeit bloodless, deaths (though the editing could be better). A new character I like is Mulan's quasi love interest Chen Honghui, who brought a lot of positivity and was very accepting even before her gender reveal. Mulan's relationship with her father is serviceable, a must if she was to head out to be a soldier in his place. The soundtrack is a pleasure to hear, especially the musical rendition of "Reflection". There's also a wonderful cameo by Ming-Na Wen, the OG Mulan, which did get me little giddy.

Negatives: I had trouble connecting with this Mulan. She lacks expressions much of the time and her line delivery is off. She doesn't struggle nearly as much being already so talented and powerful due to her chi and she's accepted by her underdeveloped peers almost right away. Her conflict is more about dealing with repressing herself to avoid suspicion than earning her skills and respect while maintaining cover. This might work with a little tweaking, but her lack of flaws and real challenges make her not as compelling as her old incarnation, who relied more on wit and ingenuity. She never really builds a bond with the soldiers and often trains alone, not that she needs to given that she's better than them. Also, there are stunts she does that just look ridiculous like her habit of kicking objects/weapons with uncanny proficiency. In place of the intimidating Shan Yu is Bori Khan, who, while motivated by revenge rather than conquest and is shown to be cunning at times, is fairly bland as a villain. The witch serving him is meant to parallel Mulan, but, despite a nice backstory, she's poorly done as her methods/motivation made little sense. She also brings to question the nature of chi; it's basically life energy, but the witch shape-shifts and possesses people, not something it does in philosophy and other depictions. Might as well be magic. The way chi is explained is inconsistent as multiple characters give conflicting descriptions. Replacing Mushu is a phoenix aka fenghuang, which has no personality nor does it truly interact with Mulan (could've been cut out). Jet Li as the emperor is cool yet he seems to be dubbed over with a terrible voice. There's some bad writing like how the witch reveals the villain's plot to Mulan while on opposite sides, the matchmaking incident being more everyone else's fault than Mulan's, and how the rescue in the avalanche is handled. This extends to the film's messages, which go against everything the animated version and the legend stood for. Don't expect songs this time around because there are none, only half-hearted references to them.

Mulan 2020 isn't quite as bad as I thought it would be. There were things I liked that made it a bit more uplifting to watch. It's certainly a better remake than the 2019 Lion King, which is just a lifeless copy-and-paste. That said, the problems really do hold it back much like Mulan did to herself. Maybe it's nostalgia or public opinion influencing me, but there's a reason why the first movie is so iconic and this one so despised.

Zack Snyder's Justice League (2021)

A lost vision brought into the light.

[22 May 2021]

Well, well, the fans have spoken. After the controversial "Man of Steel" and "Batman v Superman", both directed by Zack Snyder, Warner Bros sought course correction. During the filming of "Justice League", Snyder suffered a family tragedy and left the project (also, WB apparently planned to axe him anyway). Joss Whedon was brought in for reshoots, resulting in a crossover that not only bombed financially, but was just average, which, for freaking JL, is embarrassing. For years, fans demanded to see the original version, whose status bordered on legend. 4 years later, WB delivered via HBO Max. While I wasn't super hyped, it garnered my attention. Did it live up to the hype?

In general, Snyder's JL is better. Characters are fleshed out more, especially Cyborg who not only expresses more emotion but goes through a solid arc about accepting his change and forgiving his father. In fact, he's basically the main character given the amount of focus he gets. Flash's jokes are less cringy and he's generally more useful to the team while Aquaman is given greater depth and emotional attachment to the League. Batman is more effective in combat with a few new tactics/gadgets to give him a needed edge and his reasoning for bringing together the team is given further justification. Wonder Woman doesn't do much new, but is still well-acted, kicks plenty of alien butt, and being the team's voice of reason. Lois' grief over Superman's death is expanded on, which leads to a bigger emotional payoff later on that's given time to truly breathe. Not only does the villain Steppenwolf look much better with a monstrous design and shifting armor, but he's given substantial pathos, motivated by redemption rather than blind conquest. For what little screen time he has, Darkseid is suitably menacing with a cool voice to boot. The function of the Mother Boxes is explained further, being sentient supercomputers with powers beyond reckoning and at times challenging the heroes rather than being simply plot devices. Action scenes are longer, allowing characters to go further with their skills/abilities, though this time there's blood and stakes that feel impactful. The music is also slightly more memorable, the standout being the Amazon theme which has a lady choir singing (which does get overused).

This version isn't without faults. The big overarching issue is that it tends to be self-indulgent. Snyder's love of slow-motion is excessive; scenes like the Flash going fast are called for, but other times like Hippolyta simply running it's unwarranted. It makes the first half especially very tedious to get through. The 4-hour runtime is pushing too far as there are moments and even entire scenes that could've been cut out or cut down such as the post-apocalyptic epilogue (Joker is annoyingly out of focus most of the time), WW fighting British terrorists, and creepy Icelandic women singing to honor Aquaman. The muted color filter makes it look almost black-and-white sometimes; works for Batman, whom Snyder clearly loves, but not as much for the other heroes. Elements like Aquaman's origin conflict with what's established in films diverging from Snyder's vision. A few plot holes/gaps in logic aren't fixed like an aspect of Flash's power, Steppenwolf's teleportation, and Darkseid somehow forgetting both the film's MacGuffins and the supposed one planet he lost to. The dark/evil Superman gimmick is so overplayed these days I'm sick of it and how it's used here still makes little sense. Another hero is introduced, which, while well-designed and casted, is pointless to the story. Oddly, there are parts the theatrical version does better like certain dialogue exchanges and Lois' arrival to stop a rampaging Superman. The Snyder Cut also does a lot of sequel baiting, leaving plenty of elements unexplored/unexplained, which, given how much the DCEU is struggling to get a foothold as of now, are unlikely to be paid off.

All in all, Snyder's JL is an interesting experience, especially when compared to the theatrical version. Both have their strengths and weaknesses, but if you were to ask me which is ultimately better, then that would be the Snyder Cut.

Mortal Kombat (2021)

Not flawless, but a victory.

[7/10 · 24 April 2021]

MORTAL KOMBAT! Dun dun dun dun dun-dun dun dun dun! Sorry, had to get that out of the way. While I don't play much of the games, I respect it as one of the most famous game franchises. The original movie is enjoyable if cheesy (with a super catchy opening theme to boot) and there's no disagreement the sequel should go to the Netherrealm. Cut to 2021 and we got ourselves a brand new reboot. Can Raiden's lighting strike again?

Plot: Former MMA champion Cole Young finds himself chosen to participate in the interdimensional tournament Mortal Kombat, the goal being to prevent Earth's invasion by the malevolent Outworld. This makes him and his family a target for assassination by the dark forces. Reluctantly, Cole joins a band of heroic fighters including Sonya Blade and Liu Kang among others, led by the thunder god Raiden. Together they must unlock their true powers in order to stand a chance against their evil counterparts.

There's a large cast of characters, which is both its strength and weakness. On one hand, it allows a diverse set of fighting styles and abilities, not to mention a good-sized body count. On the other, it means some will be more developed than others and some character storylines will have to take a backseat, though this mostly falls onto the villains. Acting is a somewhat mixed; while no one is bad, some line delivery comes across as stiff while the rest is done well. The main characters are likable enough to carry the movie, faithfully adapted from the games with some going through arcs that connect with their abilities and relationships. The standout is Kano, who eats every last chunk of the scenery and provides much of the comic relief. The iconic rivalry between Scorpion and Sub-Zero is also done well with the film's opening being one of the stronger emotional scenes, leading to an excellent payoff later on. Cole Young is made exclusively for this film. Not the best protagonist, but is serviceable and acts as an audience avatar learning about MK as much as the viewer. Of course, we have numerous fight scenes spread throughout, each set in visually distinct locations. There's a superb balance of martial arts and magic, playing to the strengths of each combatant and often ending in super gory fatalities, the latter something missing from the old films. These are complemented by great special effects that blend CGI with practical elements. There's lots of fan service to go around with many callbacks to the franchise like a recreation of the theme music, classic catchphrases, and a little fun poked at spamming attacks, very few of which are intrusive. Admittedly, the first half is a little sluggish in its pacing, but afterwards it picks up nicely and ends with a bloody finale.

All in all, this is an enjoyable experience. A little rough around the edges, but it's both a fun film and a faithful adaptation.

Godzilla vs. Kong (2021)

The rematch of the century.

[8/10 · 2 April 2021]

In 1962, two of the biggest icons in cinema history came together for the battle of the century. 59 years later, they return for a rematch. Of the shared universes currently out there, one of the more consistent is the Monsterverse, a world where the most iconic kaiju coexist. Now, it all culminates into an epic crossover, one I've waited for a very long time: "Godzilla vs Kong".

Plot: A period of peace suddenly comes to a halt when Godzilla mysteriously goes on a rampage. Monarch is approached by Apex to convince the now fully grown Kong to help search for a solution in the Hollow Earth. This puts the two alpha titans on a collision course, one that will determine who will be the true King of the Monsters.

The minds behind the Monsterverse took a page from Marvel in carefully planning out this eventually crossover, building on what started with "Godzilla (2014)" in all the right ways and paying off spectacularly. The story is well-paced and told even with the 2-hour runtime, feeling like all parties involved get their due. The main human cast, consisting of three factions, are simplistic but decent and contribute to the story in varying degrees, especially towards the end. I came to like their interactions, some comedic and others having a little weight behind them. They also help explain what's going on with the monsters when needed. Easily the heart of them is Jia, a deaf Skull Island native bonded with Kong who communicates via sign language. Her expressions really sell it when a scene calls for it, leading to some touching moments like one she shares with the big ape during the rain. Only two minor characters come up short in terms of potential and overall roles. While not as deep as previous entries in terms of story and themes, the film does explore the value of trust, reflected in different ways among the cast, human and monster, as the story progresses.

At the center are the monsters as one would expect. Kong is the arguable protagonist as he goes on an epic journey of discovery wrought with trials and tribulations. You feel the raw emotion as he goes through tough times. While having less screen time, Godzilla is given as much respect. He truly feels powerful and menacing as a force of nature should, though he's also sympathetic when his motives are understood. Whenever they battle, it lives up to the hype; both have clearly defined fighting styles, lots of back and forth as each deals heavy blows with everything around them being utterly wrecked. Unlike in the OG film, this clash of titans has a clear winner. There are other monsters, including a famous Godzilla character that's executed brilliantly in design, portrayal, and sheer power. The environments are pure eye candy from the neon-lit Hong Kong giving stunning illumination to the wondrous Hollow Earth with its unusual wildlife and trippy landscapes. Junkie XL's music is another highlight, capturing the scope of the film and giving each monster their own musical cues based on which is more dominant on screen. I also dig the many nods to previous movies like an iconic moment from the OG version. The cinematography is top notch; much as I love suitmation, the CGI allows for incredible angles to make the fights more visually grand like brief POV shots from Kong and underwater scenes. My only gripe is that the film does cut a few corners, mainly where the aforementioned humans are concerned with a few missed opportunities.

"Godzilla vs Kong" is like a roller coaster, starting off slow to set the mood and then becomes a thrill right with constant action. Watching my childhood heroes duking it out got me giddy in my seat. This is an event that lived up to expectations and then some. It's certainly better put together than "Batman v Superman" which tried to do too much at once. It's not the deepest Monsterverse film, but it's sure to please. Two scaly/furry thumbs up.

Monster Hunter (2020)

A troublesome quarry.

[5/10 · 18 March 2021]

Paul W.S. Anderson is at it again, adapting a Capcom video game into a live-action film, this time "Monster Hunter". Though I never played the games, I've become mildly familiar with the world and famed bestiary, which made me slightly curious on how this would play out. Milla Jovovich stars as Artemis, an army captain who, along with her team, become sucked into the world of Monster Hunter thanks to a portal. Running afoul with the monstrous wildlife, she allies herself with a local hunter (Tony Jaa), learning how this world works so she can return home and prevent the monsters from getting into her own world.

Given that this is Anderson we're talking about, I kept minimum expectations after his "Resident Evil" series went downhill. Guess he wanted something with a bigger bite. Anyway, the film for me is a mixed bag. If nothing else, the special effects are a sight to behold. The monsters are faithfully recreated from the games to the finest detail; you can practically count the number of scales on them. While sadly very few monsters are featured, they get their time to shine, especially the iconic Rathalos, and are treated as dangerous as they are relentless. The action around them has enough carnage to entertain with gunplay, swordplay, some magic, and utter savagery. At the center are Artemis and the hunter. Despite a rocky start, they develop a decent dynamic even with the language barrier, learning, fighting together, and sharing a few laughs.

There are significant flaws. The acting from the cast isn't great, the exception being Tony Jaa who mostly uses facial expressions and few words (plus, Ron Perlman is always a pleasure to see). Most of the side characters are uninteresting even with the horrible deaths due to how little time is spent with them. Paul Haslinger's techno music is repetitive and doesn't fit with this world (it reminded me of the music from "Planet of Dinosaurs"). Another kink in the armor is the editing. Too many rapid cuts to let the viewer fully process what is happening, usually during the action but it also happens in a few dialogue scenes. A couple of parts went on for too long as well, especially with the multiple scenes of characters being rocked around in rolling vehicles. After a good climactic fight, the film's blatant sequel-baiting ending promises another big fight right after, not letting the viewer take in any finality. Lastly, I'm so tired of film adaptations having characters/worlds crossing over with our own. Seriously, He-man, Smurfs, Sonic, and so many others did this. It's not only getting old, it's just plain lazy. Fully embrace the fantastical worlds, Hollywood!

As far as movies based games go, this is barely passable at best. Given the poor reception, I doubt any sequel will be made. Perhaps next time "Monster Hunter" gets a movie it'll be under a different director, will have more monsters, and will be set entirely in the world it's set in. One can hope. Either way, this film will give you cheap thrills and little more.

The Relic (1997)

This exhibit should remain closed.

[3/10 · 14 March 2021]

A movie I've heard about for years was "The Relic" directed by Peter Hyams. Made in 1997, it's based on a horror novel by Douglas Preston and Lincoln Child. I knew very little about it, so one day when I happen across it I decided to see what the fuss was about. Sure wish I can take that speck of life back.

Plot: Set in the Field Museum of Natural History in Chicago, a police detective investigates a series of strange, gruesome murders before a series of new exhibits are open to the public. The deaths happen to coincide with the arrival of a strange artifact. As the night sets and the museum opens, it soon becomes clear that the killer isn't human and it's hungry.

I didn't have high expectations for this going in and for what it is the basic story is interesting. That said, the execution leaves much to be desired. The detective and main biologist are okay I guess, but I couldn't get into the rest of the cast. In fact, a lot of them are straight-up @$$holes, almost reveling in their smugness. The film is also very dark much of the time, though not as bad as "Alien vs Predator: Requiem" as there's a decent lighting from time to time. The biggest problem comes down to pacing. This is a film that could pretty easily be 90 minutes at minimum and yet it drags at 110. A lot of fat needed trimming to cut to the chase. The highlight is, of course, the monster Kothoga which you finally see a little past the halfway point. Designed by the great Stan Winston (Aliens, Terminator 2, Jurassic Park) and portrayed via puppetry and CGI, it's a unique-looking beast with reptilian and feline traits with a dash of insect. It has the right mix of power, speed, and intimidation and delivers buckets of blood+gore. My issue is how Kothoga appears from one end of the museum to another so quickly with little explanation, like it shows up when it's convenient to the plot.

Outside the creature, "The Relic" is a pretty dull film. With some tweaking and better directing, it could've been better as I do like the general setup. As is, I suggest you skip this one if you happen to run into it.

Frankenstein Meets the Wolf Man (1943)

The OG crossover

[7/10 · 8 October 2020]

Movie crossovers are in a league of their own. Seeing fictional characters meet each other is bound to draw attention, whether such meeting is fitting or just plain out there. Now, we're practically drowning in crossovers (or shared universes if you prefer) with the MCU, DCEU, and MonsterVerse being prime examples. However, this concept goes WAY back. The craze began with the classics Universal Monsters and the film that birthed a thousand crossovers was none other than "Frankenstein Meets the Wolf Man". Though set after "The Ghost of Frankenstein", it primarily serves as a direct sequel to "The Wolf Man".

Plot: Four years after his apparent death, Lawrence Talbot returns. Unfortunately, the werewolf curse lingers. Seeking to end his seemingly immortal life of murder and guilt, he learns of the life-and-death experiments of Dr. Frankenstein and travels to Vasaria. There, he runs into the famed scientist's monster, also still alive, in the old castle. Dr. Mannering and Baroness Elsa Frankenstein offer to help end the monster curses, but fate will not be kind to them.

Continuing the role of the Wolf Man is the legendary Lon Chaney Jr., who, like before, brings out the tortured soul of his character convincingly while delivering the ferocity of his inner beast. His transformations are always a pleasure to see. The Frankenstein Monster is played by none other than Bela Lugosi of Dracula fame. He's no Boris Karloff, but he gives a somewhat charming if limited performance. The story manages to make these two work thematically with one seeking death and the other embodying life, both thrust into a world of violence. The rest of the cast do well with understandable motivations like the old woman Maleva and Elsa. Mannering is sort of the exception as he remained consistent throughout until he randomly makes a weird decision that contrives the climax. I like the aesthetic of the film from the graveyards to Frankenstein's ruined castle, complemented by the black-and-white. I also dig Hans J. Salter's score, especially the main monster theme, though the Festival of the New Wine song is charmingly goofy. Then there's the big clash at the end. Despite the aforementioned contrivance and future crossovers having better battles, the scuffle between the Wolf Man and Frankenstein Monster is short but sweet and shows off their contrasting fighting styles. I should point out, though that there are continuity errors, especially where the last Frankenstein movie is concerned, and the Wolf Man suddenly changes clothes whenever he transforms.

"Frankenstein Meets the Wolf Man" has some bumps, but is overall entertaining with good performances and a decent way of bringing two legends together. More importantly, without this film, we likely wouldn't have gotten the likes of "King Kong vs Godzilla", "Aliens vs Predator", or even "The Avengers". Not bad for a werewolf and a walking corpse.

The Giant Gila Monster (1959)

A bore even by this era's standards.

[3/10 · 20 September 2020]

As a kid, I used to own a VHS of "Fantastic Dinosaurs of the Movies", a documentary/compilation of movie trailers from the 50s and 60s. Among them was the trailer for "The Giant Gila Monster", a 1959 film my dad saw as a child. Given that we're both fans of this classic era of monsters, we decided to watch it together. When a couple goes missing, a sheriff and young mechanic look into it. With more deaths, the culprit is revealed to be a massive Gila monster, the apparent result of gigantism. Naturally, chaos ensues.

While I typically don't expect a masterpiece when it comes to 50s B movies, I usually expect to be entertained. What I got here was boredom. While a few basic character arcs are fulfilled and there are a few mildly amusing moments, I struggled to stay invested in the cast with the lead actor's constant singing getting old after a while. The film is almost laid back in its presentation, which in this case does not work to its benefit, especially with a big hungry reptile running around. Speaking of which, they use a live animal walking among pretty decent miniatures to portray the creature. It's not even an actual Gila monster but a close relative called a Mexican beaded lizard. The animal is rarely motivated to do anything exciting even when it's supposed to "attack" people and the attacks themselves are poorly handled, often cutting away from the killings. It does have a distinct eerie theme music, but even that is slow and dull.

Frankly, I'd rather watch the laughable "The Giant Claw" than "The Giant Gila Monster". Surprisingly, it was remade in 2012 as a made-for-TV film titled "Gila!", but even that looks terrible. In short, not worth your time.

Reign of Fire (2002)

Man has a new predator.

[8/10 · 16 August 2020]

There are many good movies out there that I feel are terribly underrated or flat out overlooked by the general public. One such instance is the unique 2002 post-apocalyptic flick "Reign of Fire" starring Christian Bale, Matthew McConaughey, and Gerard Butler.

Plot: The world is brought to an end by a seemingly endless swarm of dragons, awakened from man digging too deeply into the Earth. Years later, Quinn (Bale) does his best to keep his people safe from the winged terrors in hopes of outlasting them. One day, military leader Van Zan (McConaughey) arrives offering a permanent solution to the dragon problem, which may cost more lives than it's worth.

I can't emphasize enough how original this setting is, blending fantasy with a grounded reality in a way that feels believable. These dragons are the most ferocious and scary since Vermithrax from "Dragonslayer". They are fast, persistent, powerful, savage, and cunning, not to mention having a wicked design that would later carry on to the likes of Smaug. Even for the time, the effects used on them still look very convincing. As soon as one appears, you know s*** just got real. The cast does a solid job making their characters likable with Quinn and Van Zan often butting heads over their means of dealing with the beasts, both strong in their arguments but neither being completely right or wrong and each method having their risks. The world is filled with ruined cities and barren charred landscapes, which adds to the drama and desperation the characters (and even the dragons) are experiencing. With things already tense as they are, the actions scenes are true thrill rides, especially the scene involving a dragon chasing skydiving soldiers, with each death being impactful. The tense climax especially is like something out of "Jaws".

Among all the dragon-centered movies, "Reign of Fire" ranks at the top and certainly deserves more recognition. Fittingly, Bale would play a fairly similar role in another post-apocalyptic film ("Terminator: Salvation"). If you want to see a film with a simple but original premise or if you're a dragon enthusiast, then this will do the job just fine.

Underwater (2020)

An okay dive into the horrifying unknown.

[6/10 · 25 May 2020]

What if you take the basic premise of "Alien" and set it in the deep sea? You get "Underwater", directed by William Eubank. It's one of the last films released by 20th Century Fox before Disney bought it, which led to it being released at an unfavorable time for cinema. This contributed to it being swept under the rug, which is kind of a shame since this film has a few merits.

Plot: The story centers on a drilling crew (chief among them Kristen Stewart). The group were working at the Mariana Trench, the deepest part of the world. However, there are some places man was not meant to dig and, sure enough, they end up awakening something hidden in the dark depths. This forces the gang to risk venturing out to find a means of escape while being hunted by monstrous entities.

A good method to sell horror is isolation and there are few places more terrifying than the deep sea; darkness, cold, intense pressure, and life forms too alien to describe. The cinematography is done well, bringing forth claustrophobia within the station's cramped halls and the characters' POV when they walk outside in diving suits in low visibility. The horrors plaguing the crew, while not scaring me much, are effectively creepy. Though obscured by the environment much of the time, the film shows just enough for the viewer to get an idea of their appearance. Further details sprinkled throughout indicate something out of Lovecraft's playbook. The characters are kind of meh. None are bad, in fact a couple I liked such as T.J. Miller, but none leave a big impression outside decent character moments and interactions. Kristen Stewart, while not a great actress, at least has more to do here than let sparkling vampires whisk her away. Part of the issue is that after the cool opening credit sequence establishing the setting, the chaos happens almost right away, leaving little room to familiarize with the crew members before their perilous journey. I will say I didn't quite expect the conclusion to play out the way it did (in a good way).

"Underwater" admittedly doesn't offer much that's Oscar worthy and even I wouldn't call it one of the great horror classics. That being said, the setting and presentation do make it stand out, resulting in a passable experience.

Son of Godzilla (1967)

Every king needs an heir.

[7/10 · 9 April 2020]

Around the 1960s, the famed Godzilla franchise was targeting younger audiences for wider appeal after the radioactive dinosaur evolved from a destructive force of nature to a more heroic figure. This resulted in the creation of one of the most divisive entries in the series, "Son of Godzilla". I suppose if King Kong gets to have a child, then why not Big G. Returning to the director's chair was Jun Fukuda, who, alongside composer Masaru Sato, worked on the previous film "Godzilla vs The Sea Monster".

Plot: A group of scientists, led by Dr. Kusumi, are conducting weather control experiments on a tropical island. After one such experiment goes awry, the island's native predators, giant mantises called Kamacuras, grow supersized and soon uncover an egg. Out of the egg hatches Baby Godzilla, whose cries attract the big guy himself. As Godzilla protects and raises his newfound child, the crew endeavor to survive and escape the island.

This is one of those love 'em or hate 'em films and I, for one, am of the former. As a kid, this was one of the handful of films I watched and my fondness for it hasn't faded. I'm always a sucker for tropical settings and the premise takes advantage of it with the weather control and the isolation the characters endure, helped by Sato's catchy score. The cast features iconic actors such as Akira Kubo, Tadao Takashima, Akihiko Hirata, Yoshio Tsuchiya, and Kenji Sahara who all give good performances. Joining them is the lovely Beverly Maeda, playing a woman who has lived on the island longer than most and forms a friendly acquaintance with Baby Godzilla. With a smaller cast and no cities to stomp, the characters interact with the monsters quite a bit, making the scenes where they are attacked more personal and intense.

Now to the monsters. While Godzilla and his son (Minilla/Minya) suffer from a design standpoint with the latter looking pudgy and barely resembling his father, they make up for it in personality. The normally grouchy Godzilla mellows more now that he's found another member of his species. It's here that we see he really does have a heart and will fight to the bitter end to defend his adopted son. I can't help but find Baby Godzilla endearing with his playful nature, his friendliness towards humans, and his rough yet heartfelt relationship with Big G. In fact, the ending still gets an emotional reaction out me. Kamacuras are decent antagonists, attacking both man and monster alike. Though the puppetry behind them isn't special, they at least move more fluidly than America's "The Deadly Mantis". The bugs, however, are mere pests compared to Kumonga, a giant spider that serves as the final boss for the Godzilla duo, allowing for an entertaining climax.

This may not be one of the great Godzilla films, but it has its merits. It's meant to be a fun little monster adventure with heart and it certainly achieves that in my book. If you have children especially, this will entertain them and you might see a bit of yourself in Godzilla when he deals with his own kid.

Baby: Secret of the Lost Legend (1985)

A nostalgic dinosaur adventure.

[7/10 · 1 April 2020]

As a kid, dinosaurs were one of my favorite things and they still are. Back then, I used to watch this 1985 film all the time with the folks called "Baby: Secret of the Lost Legend". In retrospect, I'm surprised I was even able to watch it given that, despite being PG, there is a lot of mature content. Then again, the public's view of PG was different compared to today and the rating PG-13 was just invented a year before. Still, I have a soft spot for this film and decided to revisit it.

Plot: Married couple Susan and George Loomis (Sean Young and William Katt) are in the African jungle on the trail of an old legend locals call Mokele-Mbembe, "he whose body stops the flow of rivers" (which is an actual cryptid). It is here that they discover a mated pair of Brontosaurus and their infant. The Baby befriends the humans, who must now protect her and save her family from the greedy Dr. Eric Kiviat (Patrick McGoohan), backed by his hired army, who is out to catch them all.

Los Angeles Daily News referred to the movie as "A cross between RAIDERS OF THE LOST ARK and E.T." and that is an apt description. The tone and presentation are very much in line with those films with a mix of light-hearted moments and the action and edge of a classic adventure. Susan and George work fine as a couple with decent acting behind it, though the latter's sports career and initial conflict involving it are quickly forgotten about once the pair begin their journey. Dr. Kiviat is a good if standard villain; he'll do anything to catch the animals alive and will resort to every dirty tactic needed to do so. While many greed-driven baddies tend to be over-the-top, he's at least played straight. Baby is an endearing little troublemaker. Her cute interactions with the couple make me smile, and one scene involving her almost makes me cry. The dinosaurs are brought to life using a mix of men-in-suits and animatronics and, while not always convincing, they're look and move pretty good for the time with the adult Brontosaurs feeling like huge lumbering beasts and the African setting adds to their mystery and allure. There are decent action set pieces ranging from chases, fights, guns and explosions, and one of the dinosaurs smashing its way through a village. Jerry Goldsmith (Alien, Star Trek: The Motion Picture) did the music, which sets the right mood for an adventure and setting like this.

I should note that the film does feature nudity. Many the African tribal woman are topless, which definitely conflicts with the PG rating. Again, the meaning of PG was quite different back then and to the film's credit these woman aren't sexualized in any way. From what I know, there are tribes in the real world that are like that. I've also heard a few people here complain about the blood, but while several people do die there's barely any bloodshed shown.

Honestly, "Baby: Secret of the Lost Legend" is an underrated flick. Sure, its content is a bit at odds with its rating and it's not on the same level as "Jurassic Park" or some of the older films like "One Million Years B.C.", but it has its merits. Watching it today, it still holds up fairly in both narrative and presentation. Plus, I find Mokele-Mbembe to be one of the most interesting cryptids out there and would like to see more movies with it.

Sonic the Hedgehog (2020)

An unexpected surprise movie adaptation.

[7/10 · 25 February 2020]

"Gotta go fast!" In 2019, a trailer dropped for the live-action adaptation of Sonic the Hedgehog and BOY did it terrify us with the character's uncanny human proportions. More unbelievable was how Paramount delayed the film's release to fix up the design, something studios hardly ever do. When the new look was revealed, it was a huge improvement, but I was still skeptical. I almost considered not seeing it, but the film gained some unexpected positivity from audiences, so I went to see it.

The movie is kind of an origin story for this version of the Blue Blur. He comes into our world to avoid others abusing his power. However, he catches the unwanted attention of Dr. Robotnik aka Eggman (Jim Carrey) who relentlessly hunts him with his trusted army of robots. To evade capture by the mad scientist, Sonic travels with aspiring sheriff Tom (James Marsden), the two forming an unlikely bond in the process.

As tired as I am seeing the same premise of a classic character from another world coming to our own (hijinks ensues) like with He-man, Smurfs, and Fat Albert, the film is actually decently made. Sonic's reason for being on Earth is made understandable by the beginning. Despite his energetic, playful personality, he's a lonely creature. This helped with his developing friendship with Tom going through his own arc about wanting to make a difference, having a nice balance of comedy and drama given the right amount of time as they discuss what they desire vs what they need. Okay, the jokes are not drop-dead funny, but they made me smile throughout and had their moments. Jim Carrey's performance is similar to when he played the Riddler, exuding the classic comedic energy we've come to expect from him with a slight edge of menace, not to mention his cool assortment of crazy robots. All in all, he's a good Robotnik. While there are few action scenes, they utilize Sonic's abilities well (a couple of moments look derived from X-Men's Quicksilver) with the final chase being the film's most engaging highlight. Not bad, but I've seen more exciting action from other Sonic media. Also, creds to all the references and creative use of classic Sonic elements like the rings.

As a family adventure-comedy and adaptation, it's fine, which for a video game movie is saying a lot. In fact, Hollywood seems to be slowly getting a better grasp on how to do them right like with "Detective Pikachu". While I would've preferred something grander and more in line with the games, namely as an animated film, in the end, "Sonic The Hedgehog" makes it to the finish line.

White Snake (2019)

A lovely piece of Eastern fantasy.

[8/10 · 11 February 2020]

Here's a flick I've been looking forward to seeing for a few months, the 2019 Chinese animated feature "White Snake". It's a collaborative production between Light Chaser Animation and Warner Bros and is a prequel to a classic Chinese legend that's been adapted many times before in different media. The trailer did well to hook me in with its great concept and visual style, so the day the Blu-ray came out I wasted no time getting it. Worth. Every. Cent.

Plot: This tale is about Blanca, an amnesiac woman found by Ah Xuan, a free-spirited young man from a snake catcher village. As the pair travel together and develop feelings for each other, Blanca soon discovers her true identity. She is a snake demon caught in an epic struggle between her clan and a power-hungry general dabbling in the dark arts. Can a human and demon truly be together in the face of such hatred and darkness?

Snakes are often negatively portrayed in Western media and while there's more of a push to have them outside antagonistic roles (like Master Viper from "Kung Fu Panda"), Eastern cultures always had more respect for them. The legend of the White Snake in particular had me intrigued and this movie made me love the character. The art style bears some resemblance to Disney's, cartoonishly expressive while having enough detail to go around, though it still feels like its own thing. The vibrant colors, no matter the setting and mood, always grab your attention, so you get your eye candy's worth from the vast mountains to a hidden demon marketplace. The landscapes, magic, and creatures are brilliantly brought to life with stunning designs, especially Blanca's majestic snake form. There are also a good number of fast-paced action scenes, complete with martial arts, cool-looking magic each character brings, and a bit of monster fighting with the fluid animation allowing for some really great angles and moves live-action couldn't achieve.

At the center is the romance between Blanca and Ah Xuan, which is executed wonderfully. They have a precious chemistry, their personalities and conflicts complementing each other and providing something missing in their lives, leading to a very heartfelt conclusion. It also plays into the film's themes of love and change as well as pointing out the contradictions and mutual hatred of their species; neither side is entirely good or bad. I also like the other characters like Blanca's fierce sister Verta, Ah Xuan's comedic dog, and especially this playfully seductive fox spirit who has a great design. The voice acting is pretty spot on with the English dub in particular featuring Stephanie Sheh (Hinata from "Naruto") as Blanca and James Sie (Jackie from "Jackie Chan Adventures") as the evil general.

I should note that, despite its appearance, this film is PG-13. Some people do die a bit brutally (albeit not much blood) and there's also a love scene (the most you see, though, is a topless back). This is a story told in a more mature manner, a demonstration that just because something is animated doesn't mean it's exclusively for kids. For me, this works to the benefit of "White Snake", letting it live up to its full potential in storytelling. It's a beautiful, alluring, and refreshing fantasy worth checking out.

Hellboy (2019)

Did hell just get a little colder?

[4/10 · 15 September 2019]

My first intro to the Dark Horse character Hellboy was with the 2004 film by Guillermo del Toro. While not the first hell-spawned hero, he stood out from the rest, largely due to Ron Perlman's performance and the world he inhabits. It spawned a sequel as well as two animated features, all solid watches. It's a shame a third for each series was never made because this time we were given the first reboot directed by Neil Marshall (Dog Soldiers). Needless to say, it left me and plenty of others begging for the OG Hellboy's continuation.

Plot: Hellboy (David Harbour), a demon turned paranormal agent, begins to question his place in the world and his relationship with his adopted father Professor Broom. This internal conflict escalates when he is tasked with tracking down the Blood Queen (Milla Jovovich), who takes a special interest in him for her diabolical ambitions. Together, Hellboy and his band of supernatural misfits must battle their way through all sorts of things that go bump in the night in order to stop the evil witch.

The film adds more stuff from the comics as well as blood + gore to stand out from previous films, a valiant attempt that feels wasted. When I saw the trailer to this reboot, I could tell that it was damned from the start. In fairness, the action is pretty good, the creature designs and visuals are cool, there are a few clever lines/jokes, and there are decent performances (Harbour is OK, just not Perlman). I daresay the story had a potential, challenging Hellboy's beliefs of whether or not he's just a weapon and if monsters really deserve to die. However, it's one thing to have the ingredients, knowing how to properly mix them is another. There are many pointless elements like the fight with the giants and Hellboy's stone right hand. The attempt at moral ambiguity and existentialism isn't resolved in a satiating way and exposition gets repetitive. Much of the humor is flatter than paper and the constant swearing gets old fast as if a thirteen year old wrote this. The quality of the CGI ranges from adequate to downright awful (like late 90s bad), opposed by practical effects that are more consistent. Did I forget to mention that this film loves flashbacks because, holy crap, there's a lot of them, and their scattered use messes up the pacing. Don't even get me started on the blatant sequel-baiting finale and end credit scenes.

If there's such a thing as purgatory, then it looks more like a pleasant day off compared to this. Not the worst superhero ever made (*cough* Catwoman), but Hellboy 2019 is a mediocre film at best. Back to the drawing board.

Brightburn (2019)

Bloody superhero inversion.

[5/10 · 4 September 2019]

What if Superman as a kid turned bad? The answer came in "Brightburn", a superhero horror flick produced by James Gunn. The strange fixation of an evil Superman or at least a darker one, while interesting in of itself, kind of got tedious with the oversaturation of media that play around with this idea lately. Nevertheless, the premise of this film did catch my attention, though I waited for it to be in the rental store rather than watch it in the theater.

The film stars Elizabeth Banks and she does a good job playing the adopted mother of Brandon, the alien child with incredible power and a sinister nature lurking beneath. As someone who raised this child, I understand her reluctance to accept that her "son", when he reaches a certain age, changes for the worst. The film does decently creating creepy imagery with good lighting (and lack there of) during the horror scenes. This kid's expressions, blank stares, and raggedy costume alone wave red flags. The body count throughout the film is unexpectedly low, but it does feature gore that, rather surprisingly, made my stomach a little queasy and this is coming from a guy who's seen the gore fest that is John Carpenter's "The Thing". That being said, I didn't feel an overwhelming sense of fear from "Brightburn". In a lot of ways, this is pretty standard fare for the genre from simplistic side characters I felt little attachment to, who will predictably bite the dust (or the steering wheel in one case), and I pretty much guessed how it would end long before seeing it. The film attempts to make Brandon seem sympathetic at times and he could've been with a rewrite (therefore making his turn to the dark side more impactful), but ultimately what drives him into murder is an external force and he doesn't go through much of an internal struggle of what he should do with his power.

All in all, "Brightburn" is a unique spin on the superhero story, but beyond that it's nothing groundbreaking. The humorous mid-credit scene leaves an opening for a possible expansion of the universe this is set in. That said, this is a film with few thrills to offer to go along with its concept that could've been more.