When Robert Rodriguez is in kids movie mode, he tends to create some of the most syrupy sweet, loud, tepid movies for his intended audience that though they have a lot of the good intention behind them are pretty much destroyed by the climax. That’s the case with “We Can Be Heroes,” a movie so derivative and tired that it destroys a lot of the charming characters and conflicts in the process.
Yet another year, yet another legacy sequel from a movie franchise that we all thought was dead for so many years. It’s a cynical approach but so many of these decades later sequels have stunk—which is probably why it’s shocking to see that “Bill and Ted Face the Music” doesn’t actually suck. In all fairness while it’s not a laugh riot, I appreciated its genuine message about love, the power of music, and appreciating what we have while we have it.
I think even during my days when I was all about KISS (1997-2003), I would have probably found “Phantom of the Park” kind of banal and run of the mill. It’s not so much that it’s a bad movie, but it’s kind of monotonous and tedious, even for the most forgiving fanatic. I mean forgiving as in you even accept their lame attempt at disco: “I Was Made for Loving You.” It’s so void of narrative or substance that not even the great rock music and theatrics from the band at the height of their fame can save what is a ton of filler and about twenty minutes of actual narrative.
When she finds an Easter Egg in her favorite video game, a girl is sucked into the game and gets to have an adventure in the skin of one of her favorite characters along with the adventurous Max Cloud.
A hero from another dimension lives as a homeless man who drinks too much on the streets of Los Angeles. A wannabe influencer finds him and decides to tell his story by shadowing him no matter how dangerous it gets.
Like most elseworlds tales involving Superman and most DC superheroes, “Red Son” examines what the world would look like with a small alteration in mythology. And it’s also a look in to what would happen if Superman was on a different side of history. It’s a history in the controversial albeit acclaimed graphic novel where America loses the Cold War, Russia is the dominant force and Superman is a being whose own personal hell was paved with good intentions. The problem is that with “Red Son,” we’ve basically seen it all before.
Blumhouse has found a little niche market in taking classic comedies and turning them in to bonafide horror movies. After “Happy Death Day 2 U,” they take the creaky Disney classic “Freaky Friday” and add a slasher twist to it. Shockingly, it works more times than it doesn’t. Christopher Landon doesn’t just embrace the classic narrative, but he tops it off with a gory slasher movie, and even injects so many LGBTQ overtones that it wouldn’t surprise me if it picked up steam as a LGTBQ classic very soon.