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.
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.
Chaplin’s “The Circus” is the perfect encapsulation of what The Little Tramp is and why he’s so special. He’s an underdog hero that always seems to keep the good faith, despite the fact that he’s in constant pain, and almost never gets a happy ending. There’s something so insightful and poetic about the truth of “The Little Tramp” character. We root for him, and we cheer for him, and at the end of the day he doesn’t really get the women, or the fortune, or even much fulfillment. And that’s why the character is so mesmerizing and engaging.
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.
Quentin Tarantino has always been a connoisseur of Hollywood and the concept of filmmaking and storytelling. There’s a certain peculiar magic that comes with creating a narrative and how it allows the creator to do whatever they want. With all of Tarantino’s movies, he’s paid tribute to ideas like Chopsocky cinema, gangster pictures, blaxploitation, and with “Once Upon a Time… in Hollywood” he pays tribute to Hollywood and the one and only Sharon Tate.
I was always such a big fan of movie serials and pulp superheroes even before my initiation in to comic books. I loved characters like Superman and The X-Men, but I also loved The Shadow, Commander Cody, and the Green Hornet. Some of those heroes made up some of my most entertaining fantasies, and it wasn’t a big adjustment considering most of the nineties’ superhero movies were mainly adaptations of pulp heroes like “The Phantom” and “The Rocketeer.” Kerry Conran remains one of the most prophetic filmmakers of all time.
No one loves Kevin Smith more than Kevin Smith. He’s a fan of not just building this façade of an extended universe with his films, but the smug idea that he ultimately rejected Hollywood when all is said and done. After endless efforts to hit the mainstream vein, and re-invent himself as a horror director, Smith has come back to doing what he does best: Repeating himself, repeating the same old jokes, and giving his hardcore fans a ton of weed jokes, and near endless pop culture references about “Star Wars” and “Batman.”
Johannes Roberts’ “47 Meters Down: Uncaged” is a real testament to the concept of the score and how a great score can often help enhance a movie going experience. A lot of times the score can even become its own character. “Uncaged” has a score that genuinely stinks with a droning blaring bass that sounds more like library music than anything else. And that’s when there is a score since inexplicably, only about twenty percent of the movie’s run time has an actual score. The rest is complete silence that punctuates this absolutely awful sequel.