Rian Johnson has created what is easily one of the most complete and well developed “Star Wars” cinematic installments since “Empire.” While it does have the occasional pitfall (Porgs), “The Last Jedi” is a masterstroke for the series so far. Johnson manages to skillfully build on this new universe while also answering a lot of the pressing questions that the fans had for “The Force Awakens.” This is the second film to usher in the new generation and ease out the originals, turning this in to a war where the underdogs are still the rebels and they’re filled with reverence for folks like Luke Skywalker and Leia Organa. Johnson focuses primarily on the “How,” and “Why” questions from “The Force Awakens,” allowing fans closure on a lot of the nagging questions that left them excited and or baffled.
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.
There’s a reason why sometimes a one off joke is used just once. It’s because stretching it out destroys the momentum of the joke. Someone behind “Cute Little Buggers” loved the scene in “The Holy Grail” involving the man eating cute rabbit and decided to turn it in to a horrendous horror comedy. Not that I have anything against movies that take inspiration from Monty Python, but when they have a rhyme or reason, and an actual good idea, I’m all for it. But “Cute Little Buggers” seems centered on the premise of one joke that one joke that gets boring after being used repeatedly mainly since the joke just isn’t that funny in the beginning, anyway.
“Justice League: The New Frontier,” adapted from the late great Darwyn Cooke’s graphic novel is an attempt at a new approach toward the DC universe the heroes behind DC. It’s an engaging, poetic, often brilliant animated film with an adult sensibility and intriguing psychological analysis that features a world on the brink of a new frontier, and its heroes and protectors facing the prospect of not being needed. On the opposite spectrum, their views of humanity are waning and devolving as they see endless cruel violence, and hatred take form through horrendous racial crimes. Director David Bullock and co. dare to present a film that takes a step back looking at the humanity that is affected by a world inhabited by DC heroes.
A being falls to Earth and copies the first image of a human it sees. Living as this girl, she starts learning about family, love, and life. As she does, the girl she has copied lives her life in New York, working in the adult industries and slowly losing herself. As their lives evolve, their meeting is unavoidable and may bring them more than they expect.
The film is written by Tim Ryan and directed by Trevor Ryan who team up here to give the viewer a completely insane experience in which it’s hard to know what is true and what is a hallucination. The film plays with this constantly with only a few characters being sober and all there. The film also mixes in a tv show the locals watch called Fist of Justice which stars Dolph Lundgren. This addition sounds ridiculous at first, but it works in the film’s context. The way it goes back and forth between the two groups of people and the tv show creates a chaotic feeling for the story that works great with its insanity. The way characters created here are ridiculous but feel like real people in their environment and against one another.
With the outstanding success of James Gunn’s blockbuster films “Guardians of the Galaxy,” it’s the right time to re-visit the roots upon which Gunn established his film career. Gunn is of course a student of Lloyd Kaufman who began his filmmaking career working at Troma, and eventually worked his way up to his first feature film debut in 2006, directing the schlocky and fun “Slither.” Gunn’s 2006 science fiction horror thriller is very much what you would expect from a Troma alumni, as Gunn conjures up cult stars, and builds a premise that’s ridiculous but oddly entertaining. Scream Factory takes it upon themselves to not only deliver a deluxe edition on Blu-Ray (after originally being ported to the now obsolete HD-DVD), but to celebrate everything weird and wild about James Gunn.
With “Prometheus” Ridley Scott met the other side of his “Alien” mythology by visiting the very early dawn of his universe that saw the very evolution of his xenomorphs. After it hit with a thud resembling a wet diaper smashing in to a garbage can, Scott hits the other extreme by delivering a movie in the vein of “Prometheus” that’s just as flat and just as stupid. Director Ridley Scott has lost the grasp of his own film and has really failed to learn how to deliver a well measured and compelling horror tale teeming with themes about sexuality and human biology. Instead now he gets to literally have his cake and eat it too, by offering up a ham fisted goofy prequel that feels like a glorified fan film. All the while also continuing his descent in to pseudo-intellectualist allegories and on the nose metaphors about God, the Devil, Heaven, Paradise, evolution and birth.