1987’s “The Lost Boys” is often examined as a film with heavy overtones of homoeroticism, and the idea of embracing the vampire mythology in a broader scope. It somewhat re-invented vampires, and even influenced many a creator in modern vampire fare. One of the reasons why I absolutely adore “The Lost Boys,” among many others, is because of its commentary on male models and debasing the antiquated idea of the nuclear family. While “The Lost Boys” is a play on the term from “Peter Pan” about a group of boys that never age, the title is also a play on the recurring theme of male role models and lack thereof.
I’m glad we’re living in a time where teen movies are becoming so much more diverse and open to various audiences. Once upon a time, teen movies were basically about upper middle class Caucasian teenagers living through something bad. And while I don’t begrudge John Hughes for tapping in to the zeitgeist, seeing someone like me on screen these days is so refreshing and allows a new generation to see themselves on-screen. Representation matters. And it counts for a lot.
Before the late aughts, there were a select few teen films about minorities. One of the best of their ilk was 2003’s “Raising Victor Vargas.” It’s a movie I’m shocked doesn’t get discussed very much these days, as it’s so much in line with John Hughes’ teen drama comedies.
For a movie that’s almost as old as I am and features many a flat tops and pastel vests, “House Party” is a movie that’s barely aged. In fact, it’s a movie that so many studios have tried to duplicate but never quite have captured the same magic and enthusiasm. There’s just something about “House Party” that’s kept it a vessel of pop culture, hip hop, and comedy that was shifting from the eighties and in to the nineties. Not even the sequels lived up to what is basically the perfect party movie when all is said and done. The movie advertises itself in the title, but while the movie is centered almost completely on a party, it’s also a pretty excellent coming of age comedy.
In 2000, Syfy (then known as Sci Fi Channel) was undergoing a transition in programming that included the introduction of “original programming.” Among these new shows was “The Invisible Man,” a series that mixed classic HG Wells’ science fiction classic, with comedy, drama, crime, science fiction, fantasy, and some good old fashioned espionage and heist antics. The story followed Darien Fawkes (Vincent Ventresca), an inept cat burglar who accidentally murders the owner of a condo attempting to steal some jewels. He’s caught by authorities and given life in prison with only one way out: he can go free if he promises to sign up for a clandestine government program by a mysterious government benefactor.
He agrees to the stipulation and is injected with an experimental formula known as “Quicksilver.”
Before the over-the-top mayhem and dark humor of Amazon’s The Boys, before the post-apocalyptic nightmare of The Walking Dead, before the sprawling space adventure of Avengers: Endgame, there was MARS ATTACKS! The original pulp sci-fi card set, released by Topps in 1962, influenced them all.
Now nearly six decades later, The Topps Company has licensed Mars Attacks to SideKick Lab, who will develop, produce, and publish a new series of Mars Attacks trading cards, which is currently crowdfunding on Kickstarter. This campaign was fully funded in just over an hour!
If you were a witness to Bong Joon Ho’s historic victory at the Oscars this year, as he was the first to ever win Best Director, Best International Film, and Best Picture all in one night, this was a long time coming. Bong Joon Ho has managed to deliver so many cinematic gems over the last twenty years, including the painfully overlooked science fiction epic “Snowpiercer,” and 2006’s utterly fantastic “The Host (Gwoemul).” Joon-Ho’s 2006 science fiction epic is a masterpiece of monster cinema that’s intelligent, innovative, and reaches down to the basic core of family unity to propel its story beyond science fiction conventions.
Hollywood loves to look for new angles on public domain fairy tales and intellectual properties. They’re always looking for a platform for a brand new franchise, and they either go the horror route or the action route. If one fails, they automatically revert to the other a few years later. “Cinderella” and “Snow White” have been brought to the big and small screen as pseudo-horror movies and action bonanzas, with varying degrees of success. The one fairy tale that hasn’t dodged the massive overhaul for a new generation is “Hansel and Gretel.”
The Academy is always a fan of the historical epic. They love movies about perseverance to hard times during a bygone era, from “Lincoln” and “Glory” to “Amadeus” and “Saving Private Ryan.” One of the movies that they didn’t touch in 2020, despite being a relatively mesmerizing picture, was Jennifer Kent’s 2019 “The Nightingale.” Despite it being a virtually gritty and gruesome journey in to darkness a la “The Revenant,” the Academy never offered the film its due, even in the realm of cinematography and or acting. There’s not even a best original screenplay nod handed to the thriller, and it’s a shame. Jennifer Kent’s revenge period piece is the antithesis of the glossy Oscar fodder that they stumble over themselves to honor every year.