I’m stunned that in a world where we have no shortage of entertainment about zombies, and the zombie apocalypse, that there has never really been a movie surrounding indigenous people. Zombie movies are almost always about fighting for land, dominance, and or resources, so it seems only natural that we’d have at least twenty by now featuring indigenous main characters. “Blood Quantum” is the first of its kind centering on indigenous characters, all of whom are facing a world where they’ve inherited the Earth, and have to figure out where they stand in it.
Director Peter Berg is a man of varying flavors of cinematic outputs. He’s been a working man’s director more than an artist, but some of his work has been very good, while his other films have been complete dreck. Falling squarely in the “dreck” peg, there’s one of his earlier efforts, 1998’s “Very Bad Things.” It’s pitch black confused mess that takes us through a spiraling vortex of violence, as a group of emasculated men struggle to maintain their lives after a bad night involving a prostitute, a bachelor party, and disturbing murder. Continue reading
Ang Lee has always been a visionary director who has challenged conventions with certain genres. While he doesn’t always hit a home run, Lee can at least be appreciated for wanting to take ideas to help usher in classic films. “Gemini Man” should have been a slam dunk. It would have been a slam dunk. But as a film, it’s so much more a concept meant to do pretty much everything but tell a story that’s engaging. It flexes its CGI, as well as Hollywood’s current fetish for de-aging stars and trying to find ways to beat mortality for the sake of cashing in on them as long as possible.
When you get down to it, you can examine “Klute” as something of a neo-noir set in the darkness of New York City where society shifted out of the Free Love era and in to much dimmer years. But deep down “Klute” manages to be a rather fantastic character study about a woman who is hopelessly and probably forever exploited by the world. Throughout “Klute” she struggles with whether she wants to have what she perceives as an easy ride and allow herself to become exploited, or resist, and try to carve out a better world for her that’s more respectable, but so much tougher than she’s prepared to handle.
Harley Quinn has been one of the most popular DC Comics anti-heroes of the last twenty years, and for good reason. She went from an abused spouse who served her partner thanks to years of mental abuse, gas lighting and Stockholm Syndrome, to someone who cast off the shadow of the Joker to carve out her own niche. Harley Quinn should be an easy adaptation but DC and Warner haven’t quite mastered it yet. After stealing the show in “Suicide Squad,” she steals the show again in “Birds of Prey” but still never quite comes out unscathed thanks to what is an imperfect and brutally flawed, albeit balls to the wall entertaining action movie.
Like many movie lovers, you mainly associate Alastair Sim with his iconic portrayal of Ebenezer Scrooge in the 1951 masterpiece “A Christmas Carol.” His take on Scrooge remains one of the most celebrated and imitated to this day. But Alastair Sim also had a very seasoned career in various film roles that challenged the performer, and the cinema curators at Film Movement have made his other under seen, otherwise under appreciated performances from the period of 1947 and 1960 available for purchase.
I was never aware of what “Carnival Magic” was until “Mystery Science Theater 3000” covered it years ago. I’d never seen an alleged kids’ film that was so adamantly uncomfortable, and droning, and inappropriate before. Al Adamson, who was known mainly for adult exploitation films, took his hand at making a children’s adventure film, ends up making in inadvertent cult item that promises to confuse and dumbfound movie lovers for years in the same ilk as “Manos: The Hands of Fate,” and “Troll 2.” I don’t know if I’d call it a cult gem, but it certainly is a cinematic oddity.