It’s not too often that a movie title can take on so many meanings as a narrative unfolds, but director Ilya Naishuller manages to pull off what might be one of the more entertaining play on words of the year. “Nobody” is a pretty excellent film that, while it doesn’t re-invent the wheel, does a lot with the numerous resources on hand to create a thrilling action film that’s darkly comedic, satiric and presents an interesting conversation about the antiquated concept of the nuclear family.
Also known as “Hercules and the Conquest of Atlantis,” and “Hercules Conquers Atlantis,” Vittorio Cottafavi’s is not a total disaster of a Hercules installment. Surely, it’s a weird, bizarre, and occasionally dull picture, but if the sword and sandal films (or “Peplum”) are your bag, this might whet you’re appetite. With its American title, The Film Detective releases Reg Parks’ Hercules debut from Italy in its full form, restored from the original 35mm negative and in crystal 4K clarity.
After the travesty that was the 1998 Roland Emmerich reboot of “Godzilla,” the king of the monsters went in to hiding from the states for a long time. It was until Legendary came along to hop on the expanded universe band wagon to finally give Gojira and his merry band of monsters and allies a chance to win a new generation of fans. Despite some bumps and tumbles, Gareth Edwards’ “Godzilla” is a giant step up from the 1998 embarrassment and still manages to travel well, with or without the impending “Godzilla vs. Kong.”
I missed the boat when Invincible had its run in Image Comics, and I regret it, especially as a fan of “The Walking Dead.” Robert Kirkman is one of the group of Image comics heavyweights who manages to offer up his own superhero tale, but it’s given a massive twist that’s both bold and insanely violent. Taking the animated route this time out, producers Seth Rogen and Evan Goldberg help realize Kirkman’s epic “Invincible” for the small screen, sticking true to many of the comics original storylines, and unfolding what is a unique, exciting, albeit imperfect at times, saga.
After relentless caterwauling from fans for four years, director Zack Snyder is allowed to return to the DCEU once again to offer his original vision (or a very close facsimile) of what he had planned for the “Justice League” and the DCEU. While I don’t miss Snyder and his involvement with the DC movies (the man loves his slow motion), his “Justice League” is, shocking enough, an infinitely superior adaptation than the 2017 Joss Whedon lemon. I wouldn’t call it a masterpiece, but if pushed in to a corner, I’d happily rewatch the “Snyder Cut” again, with warts and all.
10 years after a girl lost her parents and became the charge of her paternal grandfather, her maternal grandparents show up and demand to get custody of her as she lives on an island with her grandfather and her dolphin, something they consider to be less-than and want to fix asap, no matter what it takes.
If you don’t remember that there were two movies prior to “Paws Unite!” then I personally don’t blame you. The first two movies basically took a painfully derivative premise and did a pretty okay job creating a talking animals’ action movie for the whole family. The third film in the series that no one asked for, “Paws Unite!” pretty much works as a loose sequel. It’s loose because it’s apparent that the screenwriter never actually saw the original films.
Warner Animation props up the long rotted corpse of “Tom and Jerry” long enough to produce what I’m sure they hoped would be a blockbuster big screen adaptation. For a series that’s been languishing on video store shelves with cheaply made, watered down animated movies for years, it’s not a surprise that “Tom and Jerry” is about as bland as ever. It’s also not at all surprising that Tim Story is the man called on to deliver such an inoffensive, forgettable, mishmash of weird ideas and concepts.