We’re living in a time of uninspired movie titles. Part of that is because the major studios are so fixated on building franchises that they approach movie titles the same way McDonald’s approaches naming menu items. (“Jalapeno McChicken” vs. “Marvel’s Ant-Man,” for example.) Part of it is because streaming services’ recommendation algorithms do a lot of the studios’ marketing work these days. Part of it might also be because there’s just less creativity at work in the movies these days, although I hope that’s not the case. In any event, they don’t make movie titles or movies like “Bloodsucking Pharaohs in Pittsburgh” anymore. Continue reading
The moment a movie’s title appears on-screen is always a huge opportunity to set the tone for the audience. So what does it say about “King Kong Lives” that the movie’s title appears over a shot of desktop computers with gentle music better-suited for something with Sally Field? This is a title that demands an exclamation point, but gets a weak little shrug instead. “King Kong Lives, I Guess.” Or, considering what actually happens in the movie, you could call it “King Kong Lives…For A While.” But we’re getting ahead of ourselves. Continue reading
Earlier this year, there was a minor outrage directed at a dopey-looking dog movie because someone leaked a video that made it look like a dog was pushed into a water tank against his will to make it look like he was swimming. That bit of behind-the-scenes mistreatment is nothing compared to “Wild Beasts,” where what was filmed is often so appalling and cruel that you shudder to think what was going on when the cameras weren’t rolling. “Wild Beasts” is the first horror movie I’ve seen where what happens in the movie isn’t nearly as stomach-churning as thinking about how they must have gotten it on film. “Wild Beasts” is an Italian production shot in Germany, and my theory is they did this because the producers figured that by the time the authorities figured out whose jurisdiction it was under, they would have the movie in the can.
The original “Death Race 2000” isn’t just a nearly perfect slice of drive-in junk food, it’s one of my favorite movies ever. Working off a recipe that balances black comedy, action and sleaze in precise proportions, director Paul Bartel and writers Robert Thom and Charles Griffith created one of the best and most entertaining products to ever come out of Roger Corman’s schlock market. It would take more than another movie to combine road racing with wholesale slaughter to clear the bar set by “Death Race 2000,” and “Death Race 2050” certainly tries. Continue reading
I have to assume that the people who made “Blue Monkey” intended it to be a withering screed against the Canadian healthcare system. Yes, the movie points out that the hospital it takes place in was built around the time of the Civil War and they reference Washington D.C., but this movie is very obviously Canadian well before the credits thank the good people of Ontario. The presence of Joe Flaherty is enough on its own, but there’s also the way all the characters say “oat” when they mean “out.” So, when a string of administrative blunders in this hospital leads to a giant grasshopper ripping people’s heads off, it’s hard not to think there might be some veiled commentary about the socialized medicine of our northern neighbors.
“Attack of the Killer Tomatoes” was guaranteed to be a perennial entry on numerous “worst movies ever made” lists even if a single frame of it had never been shot. The kindergarten-joke-book nature of the title ensured that it would be an easy target for the likes of Michael and Harry Medved’s “Golden Turkey Awards” and other fans of “so bad it’s good” cinema. Everything you need to know about what kind of a movie this is can be found right there in the title, so it wouldn’t be too surprising if a lot of the people who rank it up there with “Plan 9 From Outer Space” actually haven’t seen it. To say “Attack of the Killer Tomatoes” is one of the “worst movies ever made” only indicates that you need to see more movies. Continue reading
At the end of an especially long and acrimonious election season, it’s totally natural to want to just escape into some mindless entertainment. After more than a year of doom-saying and apocalyptic imagery pummeling you into submission, there’s nothing wrong with wanting some spectacle, some whiz-bang action and some light-hearted adventure to remind you that not everything is about hate and resentment. That’s what big blockbuster summer sequels are made for, after all. Well, most of them are. Unfortunately, there also exist movies like “Transformers: Age of Extinction,” which leaves you feeling like you just watched a Super Bowl commercial for nihilism.
“Transformers: Age of Extinction” has the distinction of being the second-most misanthropic movie I’ve ever seen, topped only by Sylvester Stallone’s “Cobra.” At least that movie had the excuse of being an R-rated cop movie made in the 1980s based on a trashy pulp novel. This movie is based on a line of toys and cartoons made for children but still somehow manages to be hateful, bleak, and practically irredeemable. This is a movie in which a villain character flippantly says “Just run them over!” during a car chase through a crowded street and it doesn’t land as a joke because it seems so thoroughly consistent with everything else we’ve seen up to that point. This is a movie where the hero solemnly says “Honor to the end” seconds after stabbing his enemy in the back and splitting his head open. This is a movie where not a single character is motivated by anything other than greed, mistrust, or hatred. It is a grueling experience, and ranks up there with “Happiness” as one of the most uncomfortable movies I’ve ever watched. I write this review as a form of therapy. Continue reading