I’m very disappointed that it’s taken me so long to watch “The Ballad of Gregorio Cortez,” a Robert M. Young Western drama that has gone shockingly under mentioned for years. A mix of “The Ox-Bow Incident” and “Rashomon,” in many ways it’s a very history accurate and groundbreaking example of the genre. Young’s drama pictures a hideous crime and paints it in the shades of people’s prejudices and how we can perceive certain events when emotions and biases play a big hand.
The thing about RKSS’s latest eighties inspired genre offering is that it’ll poke all the right nostalgia cords with audiences. There’s so much eighties ephemera, that it’ll be difficult not to be charmed by it. But deep down beneath the “Cruel Summer” music cues, and giant camcorders beats the heart of a vicious, mean spirited and dark murder mystery that was often unpleasant and kind of dull. To admit that isn’t easy as I loved RKSS’s “Turbo Kid” and anxiously wanted to see what they would do with a murder mystery. But while you might get shades of “Stranger Things” here and there, the movie itself is pretty crappy.
A teenager goes missing and his mom seeks help from the police. A detective is put on the case and brings with him is own demons. As the search proves fruitless, the detective’s drinking problem becomes more of an issue as he faces off against a peculiar teacher and falls for the victim’s mother.
I’ve pretty much gotten over my immense hatred for the watered down reboot of the “Teen Titans” animated series. It’s here to stay, and I’m over it. So I approached the new big screen adventure with an open mind and rock bottom expectations. All things considered “Teen Titans Go! To the Movies” is a mixed bag. Sometimes it hits with some sharp, slick superhero movie and Hollywood satire and truly engaging protagonists. Other times it feels like the writers are running out the clock with goofy filler and distracting musical numbers.
I’ve seen the frame work for “Rear Window” tacked on to a lot of genres, from murder mysteries, vampire movies, werewolf movies, Bigfoot movies, and so much more. I don’t know if I’ve ever seen Hitchcock’s “Rear Window” turned in to a gangster thriller before. Director Nosipho Dumisa definitely has her eyes aimed at Alfred Hitchcock’s murder mystery masterpiece, but thankfully while the film is pretty much an homage (or remake, perhaps?), “Number 37” definitely manages to stand on its own as a stellar thriller in its own right.
I can safely say that among the long running action franchises out there, “Mission Impossible” might just be my favorite. Not only has the series managed to re-invent itself time and time again, but Tom Cruise continues to impress and compel as series hero Ethan Hunt. He is a classic hero, a man who is bound to his work, or else the world literally falls apart at the seams. He’s a daring, bold, and clever force of nature, but he’s also one chained forever to the IMF, forced to confront not only terrorist threats, but the fall out of his past enemies that have come back to finally haunt him.
I’ve come around on “The Purge” movies in 2018. What I once thought of as goofy exploitation movies, are now goofy exploitation movies with a point. They’re exploitation we need right now, they’re kind of angry diatribes about society that I’ve come to respect. Stuff about the white privileged banking off of the purge, the purge becoming an industry on to itself, “The Purge” posing as an alternate universe tale where the female candidate for president reigned supreme, and now where “The First Purge” begins as an “experiment.”
Ralph Bakshi’s “Cool World” is a movie without a specific audience in mind, and doesn’t seem to know who it’s appealing to. It’s too dark and adult to be considered another “Who Framed Roger Rabbit?” and much too juvenile to be taken as an adult film. I vividly remember collecting comic books as a kid and seeing full page ads for “Cool World” in every single issue I bought, and yet the movie clearly was not intended for a nine year old, and was too underground for teenagers. In a decade where everyone was trying to be Disney, I doubt many audiences were in the market for a dark erotic animated neo-noir satire involving an animated seductress trying to have sex with her creator so she can become a human.