Movies that are based on or around youtube personalities usually, for lack of a better word: suck. They’re awful, they’re terrible, and only mostly just vanity projects for the creators. So imagine what a shock it was to see “Ashens and the Polybius Heist” and find out that it’s actually quite good. I genuinely giggled during most of the film and loved how it all felt like a hilarious mutant amalgam of “Spaced,” “Ocean’s Eleven,” and “The Hot Rock,” in the end.
Chris De Pretis’ indie horror scifi film has its heart in the right place, but at the end of the day, I can’t say he re-invents the wheel here. I was never quite sure if “Death Blood 4” was intended as a meta-horror movie or not, as it puts up this gimmick of it being a sequel to three movies that never quite existed. It goes about this “Grindhouse” novelty until the introduction of the actual narrative where it’s played fairly straight faced and with a stern tone bereft of any notable satirical content.
If you want to know how much of a tedious experience “Giant from the Unknown” is, it clocks in at barely an hour and twenty minutes, and the monster doesn’t show up until forty minutes in (!). Before that it’s an absolute slog to sit through. When the monster is not on screen there’s the vapid romance between characters Janet (Sally Fraser is absolutely wooden) and Wayne, one of whom is always a damsel in distress. For a movie that advertises a giant, it’s disappointing when it does rear its head, as it tends to look a lot more like a muscle bound Bela Lugosi from “Son of Frankenstein.”
Friends from high school are brought back together when a crisis happens for one of them. These four friends are bonded for life and have been best friends forever, but something had split them and they must now put things aside for the great good of their group.
When Robert Rodriguez is in kids movie mode, he tends to create some of the most syrupy sweet, loud, tepid movies for his intended audience that though they have a lot of the good intention behind them are pretty much destroyed by the climax. That’s the case with “We Can Be Heroes,” a movie so derivative and tired that it destroys a lot of the charming characters and conflicts in the process.
It’s shocking how punk the background of The Go-Go’s is and ended up being. For a band that is known as one of the biggest pop acts of the 1980’s, their roots are deeply embedded in punk rock and heavy metal. Whether or not you think it was homogenized is up to you, but The Go-Gos have a great story, even if you were more of a Bangles or Banana Rama fan.