Robert Zemeckis’ “I Wanna Hold Your Hand” is a charming, if flawed tribute to the Beatles and the rampant Beatles Mania that ran throughout much of the late sixties. I’m sure Zemeckis bear witness to a lot of the “Beatlemania,” and his film seems to come from a place of experience. For folks that loved movies like “American Graffiti” or “Dazed and Confused,” Zemeckis’ 1978 comedy is one of those movie set over the course of a night that centers on a group of teenagers that are so devoted to the Beatles, they risk just about everything to see them on the Ed Sullivan Show.
I know “Kolobos” mainly from late night cable where I was able to watch the final half of it back in 2000 was kind of blown away by it. Granted, this was before I’d seen a ton of movies and I was still young, but I remember loving it. Over the years it’s garnered a pretty loyal fan base and cult following, all of whom love it, warts and all. I mainly know it for being one of the last hurrahs of the video store age where low budget horror fare was reduced to straight to video on shelves, and not Saturday premieres on the Syfy channel.
It should just about go without saying that “Audition” is basically Takashe Miike’s masterpiece. If not then it’s the most accessible in where Miike is able to basically cut loose in a horror movie that begins as a romance about a man finding love again that descends in to darkness and torture. Twenty years later, “Audition” is a masterpiece of the genre, of film, and hasn’t aged a single bit since its release in 1999. It embraces romance, drama, a hint of dark comedy, and builds up to a fever pitch of a climax that’s both horrifying and will leave audiences feeling physically pained.
In 1993, Brad Pitt was one of the golden boys of Hollywood depicted as nothing more than a sex symbol. For years Pitt tried to reverse that image, and “Kalifornia” is one of his many efforts to break that sex symbol pigeon hole in favor of revealing his inherent acting ability. Paired with the right material, Pitt is a very good actor, but “Kalifornia” isn’t one of his best performances, no matter how hard he tries to channel his inner slime ball. That’s because “Kalifornia” is a bland and forgettable thriller with a great idea that it manages to piss away quite well.
Ryan Coogler came storming out of the gate with “Creed,” a spiritual sequel to “Rocky” that was so good, it stood side by side comfortably with the original “Rocky.” As all things in Hollywood, despite Stallone’s attempted justification for re-visiting old story lines, “Creed” made money, so we have “Creed II.” I mean, there is room here for the writers to explore the whole dynamic between Adonis confronting the man who murdered his father, but much of that is sidestepped in favor of usual “Rocky” movie tropes, boiling down to a sequel that’s pretty damn—erm, okay. It’s not a bad movie, but it’s not “Creed.”
It’s not even “Rocky II.”
After 2007’s failed reboot “Nancy Drew” starring Emma Roberts, I was surprised anyone bothered to take the property in to theaters again. Roberts was very good in the role of Nancy Drew, but her take on the character was more self-aware and an homage, rather than a new, more modern approach for a new generation of girls. Thankfully Katt Shea approaches “Nancy Drew and the Hidden Staircase” with the definite desire to restart the series, and Sophia Lillis is now playing the iconic teenage sleuth, and manages to help deliver (co-Produced by Ellen DeGeneres) a satisfying mystery and a very good reboot.
After the downbeat ending of “The Avengers: Infinity War,” there stood some beacon of hope in the post credits scene where Nick Fury pressed a pager, signaling someone from outside Earth. That someone was Captain Marvel, Marvel Comics’ most dynamic and entertaining super heroine who is finally brought to the big screen. Not only does “Captain Marvel” stand on its own as a great, fun movie about empowerment and learning how to conjure up your inner strength, it sets the platform for Captain Marvel charging in to “Endgame,” and it also sets up the foundation for phase four of the Marvel Cinematic Universe.
Hammer always approached their version of Dracula with a serialized attitude, making every chapter of his emergence as something unique and entertaining. After 1958’s “Dracula” which shown his battle with Peter Cushing, he is defeated and left to basically stay as ash in his old castle in England. Of course, as we learn with all of Dracula’s Hammer exploits, he eventually is revived by some human error or devotion to his powers that amount to his re-emerging in “Prince of Darkness.”