Written by Yann Brion and Frédéric Schoendoerffer and directed by the latter, Fast Convoy is a road movie and a drug movie while it also kinda feels like a heist movie in that these guys, in multiple cars, are basically trying to make it to a destination with illicit merchandize. The film is rather character-based with each character traveling with a co-pilot and taking orders from an unseen man. The story builds around them as they drive. While the title is a bit misleading, the film does have a few car-chase-ish scenes which have occasional nods to different car films and may or may not be influenced by the Luc Besson way of shooting cars on the road (low to the ground, front car pov). The car stuff is really one of the main appeals to this film and the scenes are well done and shot.
If you loved the out there nature of “WolfCop,” you’ll be happy to know that director Dean Lowell rewards fans for their long wait for a sequel with “Another WolfCop,” a sequel that is so far out there, it’s surreal at times. Director and writer Lowell channels a lot of classic films once again, centering on our vigilante WolfCop as he protects his small town in the most violent methods, all the while concocting a premise involving the furry vigilante that feels like an amalgam of “Halloween III,” “V,” and “Howling II,” if you can believe it. That’s not where the wheel stops spinning though, as director Lowell deals his furry crime fighter a new villain that is beyond anything he’s ever experienced.
What I love about “Kong: Skull Island” is that while it’s essentially a good old fashioned matinee monster movie at heart, it’s also a pretty clever take on the Vietnam war. “Kong: Skull Island” implements the classic trope from the classic giant monster movies taking a group of armed men and women in to the wilderness, and uses that as an allegory for the Vietnam war. Like the aforementioned war, US soldiers storm in to a wilderness they were unprepared to do battle with, except they face an unparalleled force of nature. Also very effectively setting up a cinematic universe, Jordan Vogt-Roberts aspires for a lot, and succeeds as a simple and harrowing adventure with big monsters, and menacing creatures far and wide.
Nickelodeon’s “Hey Arnold!” was one of the banner animated series from the heyday of the 1990’s. It was a subtle, sweet, and often funny coming of age show with a lot of heart and some brilliantly memorable moments that evoked pure emotion from its audience. Despite ending in 2004, Nickelodeon gave the series a final send off in 2002 with a flimsy and absolutely wretched big screen film that did nothing to close the world we’d come to love. Most of all, it did nothing for the story arc of main character Arnold, who spent a majority of the series under the care of his elderly eccentric grandparents.
Mid-way through the series, we learned that Arnold’s parents were explorers who spent their days traveling, and the last they ever saw of him was before they left for one last adventure to help a village suffering from a mysterious illness.
If “Batman v Superman” was Zack Snyder’s own way of exploring how antiquated Superman is, “Justice League” is the proof by Joss Whedon that Superman is actually a bad ass with the right mind behind him. I won’t pretend that “Justice League” is a masterpiece of the comic cinema boom, but I can’t claim it to be one of the worst movies of the year, either. With some spit and polish, it could have risen to be a fantastic film, but in its final form, it’s a neat diversion with a manic energy, and the return of a modern cinematic Superman who presents an iota of positivity, charm, and hope. Finally.
I’ve seen so many hours of Looney Tunes that it’s obscene. My mom bought my brother and I about five or six Looney Tunes compilations on VHS when we were kids and I saw them at least eighty times a week. When I got cable television, I watched looney tunes almost obsessively. From the “Bugs & Tweety Show” Saturday mornings, to various hour blocks on Cartoon Network like “Toonheads” and “Acme Hour,” to twenty two day blocks of Bugs Bunny called “June Bugs” my appetite was insatiable. One of the big things you learn being a Looney Tunes fanatic is that Bugs Bunny was not the OG of the Warner animated gallery, it was in fact Porky Pig.
I was not at all a fan of the original “Batman” animated movie, as I felt it was somewhat unfocused. Thankfully “Batman vs. Two Face” not only gets the idea more about the Batman series, but uses Two Face quite cleverly. As most fans know, the original Adam West Batman show wanted Clint Eastwood to play Two Face, but deemed the character too disturbing for viewers. Producers for this animated movie go back to re-cast Two Face for their show, but bring aboard another television icon to play the villain, William Shatner. Shatner is perfect for the role of the duplicitous deviant ne’er dowell known as Two Face, and what makes the pot even sweeter is that he’s turned in to an allegory for homosexuality.
Shout! Factory once again comes forward with a nifty collection for fans of action, science fiction, and Halo, comprising four of the web series from the mid-aughts that chronicled the “Halo” game universe. With a tight package and a slew of great extras and bells and whistles for the fans, this video collection is strictly for the die hard Halo fanatics that want to see more of this world, and learn so much more about the Spartans and war that’s ensuing.