Take the unabashed violence of the eighties action films where all that stood between peace and war was one guy with a gun, throw in a slasher film, and you have what is one of my absolute childhood favorites. “Cobra” brings me back to a time where I’d watch Marion Cobretti bring down a thug with the cold hard steel of his Colt .45 and still have time to go home and unwind with some left over pizza. Thankfully “Cobra” still pretty much holds up today as a mixing of two very popular genres from the decade, and it works for the most part.
I wish I liked “Lost Holiday” a lot more. While I think the premise has a ton of potential to be an off kilter drama mystery, it works a little too much in the bizarre comedy spectrum to really involve the audience. Michael and Thomas Matthews mix a coming of age comedy with a crime mystery, focusing on a gum shoe of a woman who has no idea how to keep herself from falling over, but decides to solve an unusual kidnapping that only sees her descend deeper in to catastrophe.
Miles Morales was introduced to the Marvel universe in 2011, established in the alternate label the “Ultimate” universe. When that universe’s Peter Parker died, Miles stepped up to become Spider-Man. Since then Morales has become one of the banner Spider-Man iterations that have taken on the mantle of the hero. Morales wasn’t just welcomed in to the primary Marvel universe, but he’s managed to become just as popular as Peter Parker and the original Spider-Man. Some fans will even argue he’s better than Peter Parker’s Spider-Man. It’s general sentiment that’s been accepted by many because Spider-Man is not a person, it’s a movement. It’s a movement where literally anyone can wear the mask and strive for the same goals Peter Parker did.
If there was ever a movie that could be an introduction to the sheer indescribable beauty and sexiness that was Marilyn Monroe, it’s “Some Like It Hot.” My first introduction to the movie was when I was a pre-teen in 1997, in the middle of a busy classroom on a free day. The teacher slipped the movie on for everyone to watch, and every one of my classmates had run off to chat or goof around, but I sat and watched “Some Like It Hot.” Suffice to say Billy Wilder’s romance comedy was a first real taste of classic film I’d ever had and it sparked an interest I never really got over.
Even in this day and age, 1992’s “Batman: The Animated Series” remains the definitive iteration of Bill Finger’s Batman. Combining all of the best elements from past Batman lore, Bruce Timm’s iconic animated series is a mature, often compelling take on the Dark Knight that’s action packed enough for children, but sophisticated enough for older audiences to appreciate. Timm approaches the Batman with enough care and delicate creativity to allow the character to flourish in a contemporary setting, embracing the fantasy elements of the character as well as basing a lot of the aspects of the character and his background in reality as much as possible.
Over the years, Hollywood has been trying to increase the demand for more female oriented movies by re-conditioning franchises that have been gestating or thought long dead. After the disastrous “Ghostbusters” retread I was very worried about a female oriented version of “Ocean’s Eleven.” After barely finishing “Ocean’s Twelve,” and skipping “Ocean’s Thirteen” altogether, I had no confidence in “Ocean’s 8,” no matter how many fine actresses were assembled. Thankfully “Ocean’s 8” is proof that these series can be altered to fit the female dynamic and reach a brand new section of movie goers without feeling like pointless pandering, a la (sigh) 2016’s“Ghostbusters.”
Director Brian Henson explained in an interview that he hopes the wrong audience doesn’t accidentally see “The Happytime Murders.” So I have to ask: Who is “The Happytime Murders” meant for? Who is the target audience here? It certainly has aroused the ire and vitriol of Muppets fans, horror fans mostly dislike it, and it has inspired nothing but groans and eye rolls from comedy movie buffs, so who is this movie for, anyway? Despite Henson’s best efforts to pad the wet thud that is “The Happytime Murders” by labeling it a “guilty pleasure,” you’d have a much better time putting socks on your hands and barking random expletives to yourself.
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.