The legendary text scroll that set the world ablaze, the musical score that folks would recognize long into the future, and the series of movies that fans would come to love so devotedly that the director's cut would become shunned and spark controversy. That's right, it's time for some Star Wars reviews. Sure, sure, everyone has most likely seen them that actively wants to see them, and in turn already has an opinion on them, but all this site is is my opinion anyways, and sometimes I get it in my head that you guys want to know what I think of a well known movie so you can get a better feel for how accurate my opinions are to yours.
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Long before monsters invaded our world from the deep pacific, back further in our past then found footage of a strange giant creature attacking New York, there was one creature that struck fear into the hearts of man on a gigantic scale: Godzilla. The titled King of Monsters, Godzilla graced the world with the idea of giant monsters, and made such an impact it's even referenced in a song by the Blue Oyster Cult. Godzilla is also probably the single reason why I love the man-in-a-suit monster genre as much as I do. This particular entry, admittedly, is a bit in the "Millennium Branch" of Godzilla, but although the long-running series of movies has an over-arching plot between them, each can be thoroughly enjoyed as a stand alone title.
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Imagine if you will a world without feeling, where anything that might cause feelings are banned and the very act of feeling is a crime punishable by death. This is a world brought to life in Equilibrium, a film that many who have seen it consider a bit similar to Fahrenheit 451 if in nothing else but concept. I've found it to be an often unknown movie, something that somehow - despite being an amazing movie - has slipped quietly under the radar of the masses for no logical reason whatsoever. Well, at the very least, I can do my part to remedy that right now.
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Taking the spirit of Discovery 's Shark Week into heart, I'd like to spin you a cautionary tale of knowledge about a misunderstood creature: B-movies are a much enthused genre of movies for folks looking for all manner of fun - be it stupid and grotesque, or intellectual and unique - but made on a (normally) less-than stellar budget. Over the years, these films have developed their own set of cliches and styles, which is sometimes emulated by producers who have a bit more money to throw at it than others (such as SyFy channel's notorious strings of original movies), while still retaining the low brow humor and fun often associated with them. Many are even made mockingly of more well known of higher budget films. However, in the existence of all these films, one groups stands aside as hands down the worst movies I have ever seen (seriously, they'd be as bad as Uwe Boll if it wasn't for the fact that I think they try to be bad intentionally) - and thy name is Asylum.
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This one has been labelled as a classic, and I frequently have had it recommended for me to watch it by Netflix. Well, most of the general reviews have it listed as "style over sustenance," and I think I can see why. To be frank, I don't expect this to be a long opinion piece like many of the other ones, simply just on the principle of what this movie is and isn't. As a last word to the forewords, let me just state that this is not a movie for the younger audience - if you wouldn't let them watch Game of Thrones (for example), then you will want them to stay very clear of this.
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Insert some Black Sabbath and say "I am Iron Man." I mean, really, that's the first thing to come to mind when anyone thinks of Iron Man, right? Well, he's back in animated form (the character, not the actor) with a small scale assortment of known heroes and some distinctly Japanese-flavored new ones in this animated adventure. If you're a bit pressed for time, let me assure you that if you enjoyed his live-action romps, then you should find yourself a happy place for this one.
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There's a certain charm to older movies, before everything was CG this and cookie-cutter that. Visions of the future in comparison to today seemed as though they where far more out there in relation to the times, with flying saucers and more grandiose thoughts of technology. Forbidden Planet has this charm and imaginative wealth, and it really is a nice change of pace from the modern science fiction where everything seems so functional and slightly modern. Back in the 1950's the future looked so alien .
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The third installment of the Men in Black series, this one adds in the complex theory of time travel. The aliens, the agents, the adventure and world-saving all return, but the humor feels less frequent than the first two movies - even if most of the second movie's jokes where crude puns if anything (ballchinian?). Does the tag team duo of Agent K and J suit up for another thrilling film, or is this one more ho-hum than the last?
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Ever wonder where calling out points for pedestrians came from? Surely most of us as young little punks who didn't know any better at one point or another blurted something stupid like "Oh, that one's worth 20 points!" without ever realizing that what we were doing was actually a movie reference. Ah, yes, but in Paul Bartel's Death Race 2000, it's not just a stupid kid thing to say, its an actual totally legit scoring method, where women's rights activists will be glad to know that they are always worth 10 points more . The real question is, how does this little cult classic feel when watched almost 40 years later by someone who just happened to have seen remakes or never heard of it at all? Keep reading, or listening, and let me fill you in.
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In 2004, Paul W.S. Anderson took the proverbial peanut butter and jelly of two sci fi series with long running comics, novels, and even previous incredible movies and gave us a rather mediocre sandwich for our dinning pleasure. Although it wasn't by any means a terrible meal, it left a bit of a peculiar aftertaste in the mouth, one that many would call the salty flavorings of the tears of franchise lovers. We have already been over my opinions of that back here, but the more important topic is that of the sequel soon to be discussed. Is it possible that the Brothers Strause threw off the shackles of bland mediocrity as they did with the PG-13 rating, or did they feebly try and salvage what was left of a situation too scarred by its plainness to make a difference?
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Since times long forgotten, things have been better when combined - peanut butter and jelly, ham and turkey, sunny days and beaches - and movies, comics, and games have even been known to launch titles that crossover between them. Sometimes, we find out that even when we add two great things together, they come out less spectacular then we originally thought. Alien vs Predator has been around for quite some time (since 1989) and has notably done quite well in many of its comic, video game, and novel forms when Paul W.S. Anderson got the idea that it should in fact be time to combine these two great things (now having spanned to successful series of movies singularly) into one wonderful sandwich of awesome.
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