A group of bank-robbing bikers hits a town where the local marshal has given up on carrying a gun years before after an incident on the job, their violence force the marshal to get back into action and defend his small town.
I originally checked out “White Snake” when it was at the Fantasia Film Festival last year, and it’s not what I’d call the best anime movie to open 2020 with. While I love and appreciate the brilliant animation, “White Snake” is somewhat of a shallow and dull anime epic that packs in a lot of sub-genres and themes involving demons, war, the supernatural, dragons, and a very exhaustive reliance on ancient mythology. It would probably help the experience of “White Snake,” but having to do research to enjoy a movie is not appealing, even for movies that garner my interest.
As Disney soaks up just about every viable property and franchise in Hollywood, studios have sought out some of the more vacant properties, and here comes the long dormant “Bad Boys” series. With the nineties as popular as ever, “Bad Boys For Life” is a great property to revive. The new sequel acts as a soft reboot that could potentially help it live past Will Smith and Martin Lawrence and in to the “Fast and the Furious” long road. “Bad Boys For Life” is a shockingly good restart for a new series, and I like how the producers take the titular heroes and allow them to grow in a world that’s becoming harder to keep up with.
I think that when the smoke clears, director Todd Phillips’ “Joker” is going to be a lesson to Hollywood that—people want dark, violent comic book movies… which shouldn’t be what’s learned, if you ask me. “Joker” lends credence to the long held opinion that comic books are art and not just pop fodder for adults that refuse to grow up. Comic book movies, much like comic books, can be compelling art, and “Joker” proves that, even in spite of its inherent flaws. “Joker” is a shockingly good movie, even though it really wants to be a Scorsese film.
“The Reliant” is that movie you watch when you thought that 1984’s “Red Dawn” wasn’t jingoistic enough and well–just didn’t preach enough about the love for guns and God, dagnabit. What we get is post-apocalyptic clap trap where a group of wholesome, blonde, upper class, white kids and their guns survive an economic collapse as they are relentlessly hunted by evil, gun toting atheists. “The Reliant” is based on a book that is perfect fodder for Kevin Sorbo and his increasing library of movies that preach about Christianity, and the danger of not being Christian.
With director JJ Abrams returning to the “Star Wars” universe once again (taking the reins for Rian Johnson), he’s able to repeat history of generations’ past. He offers fans the final film of a three movie saga that never quite hits the high bar set by the previous films. “The Rise of Skywalker” is a great movie in its own right, but like “Return of the Jedi” it is held back due to many unfortunate screenplay inconsistencies, characters that don’t do much of anything, and blatant retconning that Abrams commits to at the expense of the story. “The Rise of Skywalker” is a very good movie and great closer to the Skywalker saga, warts and all.
It’s hard to find many good zombie apocalypse Christmas musical comedies out there, but when you do, it’s a treat. John McPhall’s wonderful “Anna and the Apocalypse” is a great film teeming with massive cult potential that I think will big momentum soon. It’s that kind of movie warranting a big Broadway production a la “Rocky Horror.” On its own though, the Scottish born “Anna and the Apocalypse” is a great reprieve from the massive holiday rush. While the holiday season is filled with an overflow of maudlin movies, “Anna and the Apocalypse” is that right dose of holiday glee with some great zombie carnage to boot.
In 1969, America was forever rocked by the vicious Tate-LaBianca murders which saw the Charles Manson family convicted for murdering five people including up and coming actress Sharon Tate. Decades later, Hollywood and many artists are still considerably fascinated not just by Charles Manson, but the Manson Family. On the anniversary of Sharon Tate’s murder, a lot of Hollywood jumped on the band wagon to find a way to highlight or explore the events leading up to her terrible murder. Except for Quentin Tarantino. “Once Upon a Time in Hollywood” has managed to become yet another Tarantino masterpiece that has sparked endless discussion and arguments.
Despite the fact that Tarantino stages another alternate reality where the bad guys endured horrible deaths, “Once Upon a Time…” still managed to get approval from Sharon Tate’s family. And that’s probably because, refreshingly, Tarantino takes the piss out of Charles Manson and the Manson Family.