If you’re going to watch “Species” for any reason, you have to see it for Natasha Henstridge. Surely, the cast is dynamic with the likes of Michael Madsen, Forrest Whitaker, and Ben Kingsley respectively, but Henstridge is a pretty great scene stealer rivaled only by Marg Helgenberger. I vividly recall “Species” grabbing a ton of attention back in 1995 mainly for the fact that “Species” was such a unique and erotic bit of horror and science fiction, and for the most part, it’s an okay movie. But what saves it is Henstridge and the great effects.
I’m not entirely sure why, but I hated “Killer Klowns” when I was a kid. And I say this as someone who loved “Spaced Invaders.” That said, watching it years later, it’s shocking how great “Killer Klowns” is as much as it is creative. You can tell “Killer Klowns” is working on a tight budget, but it’s also obviously spending every single penny meticulously to work toward the movie’s benefit. While the film isn’t perfect, “Killer Klowns” earns its cult classic status as a very unique horror comedy. It’s creative, it’s funny, it’s delightfully gruesome and you have to love that theme song.
“Up in the sky, look! It’s a bird. It’s a plane. It’s Superman! Faster than a speeding bullet, more powerful than a locomotive, able to leap tall buildings in a single bound, this amazing stranger from the planet Krypton, The Man of Steel: Superman! Empowered with X-ray vision, possessing remarkable physical strength, Superman fights a never-ending battle for truth and justice, disguised as a mild-mannered newspaper reporter, Clark Kent.”
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.