Much like a classic mix tape, “Vol. 2” of “Guardians of the Galaxy” is a movie that’s similar in theme to its predecessor but feels fresh and original. Director James Gunn delivered a truly remarkable adaptation in 2014, and now he offers up a sequel that’s just as good, with a hefty narrative that thankfully has so much going on, but never loses sight of its central themes of family, love, and how music is the soundtrack of our lives. With “Guardians” the group of Starlord, Gamorra, Groot, Rocket, and Drax are back committing to a difficult job for a race of aliens called the Sovereign. They’re tasked with killing a vicious monster called the Abilisk and protecting priceless batteries. In exchange, they give Gamorra her sister Nebula back, who has been held prisoner.
Director Quentin Tarantino has apparently had enough of delivering fans films that are mash ups of genres he loves and instead seems to want to challenge his audience the older he gets. Any artist grows the older they become and Tarantino has grown, exploring cinema that’s gradually more polarizing and alienating as time goes on. Quentin Tarantino hasn’t lost his ability to tell a story and unfold an interesting narrative, as he’s hellbent on exploring a character piece that’s less action and call backs to past genres, and more of an implementation of certain genres to create what has been his most divisive film to date.
If you ever wondered what “The Hills Have Eyes” would look like remade in to a cheap C grade Western, look no further than “Bone Tomahawk.” It’s hard to believe such a rank amateurish and awful film could attract a cast like Patrick Wilson, and Kurt Russell but here we are watching two genuinely excellent performers slumming it in a movie fashioned around sets that look as if they were stolen from an off Broadway period play. “Bone Tomahawk” fashions itself a horror western, but I’d be hard pressed to brand it horror. I’d be hard pressed to brand it a movie, to be honest.
From the beginning, “Poseidon” sets up pins for the potential humongous tidal wave to knock down one by one, and it couldn’t be more obvious if they tried. There’s the over protective father who built the ship, there’s Kevin Dillon playing the worm once again, there’s the independent daughter of the ship’s builder whose boyfriend has an “I’m fucked” sign over his head from minute one, there’s Freddy Rodriguez as a waiter who is hauling his wife aboard secretly. Gee, they may as well have targets on their asses. It’s interesting to note, Rodriguez, one of the few minorities in this corn fed remake, receives the most gruesome, and early death of the entire cast. Curious.