A young woman who has never dated lives in her imagination and in memories of the one boy who made her teenage heart flutter. As she tries to reconnect with him, another option opens right in front of her. What will she go for and how will it affect her life?
Directed by Akiko Ohku who also wrote the screenplay based on the novel by Risa Wataya, Tremble All You Want is a sweet story about holding onto the past, looking for what one wants, having standards, and learning to let go. The way to film is built and written is sweet but not overly so, the lead of Yoshika has an active imagination and it adds a big chunk of whimsy to the story and makes it about more than just a girl chasing a boy who may or may not give her a second thought. Some of the scenes have a bit of a feel similar to that of Amelie while not having a similar color palette and shooting style, something that is definitely good in establishing mood but also in establishing the director as doing her own thing here.
Probably the most disappointing movie I’ve seen all year, I probably would have shut “Flower” off midway were it not for the great turn by Zooey Deutch. Deutch has become a rising star in film, never failing to be charming, charismatic, funny, and beautiful. She’s one of the survivors of Disney television whose managed to convey some genuine humanity and appeal in a variety of roles ever since. It’s just a shame she got saddled with such a mean, vicious, and despicable dark drama romance that’s about as demented as it gets. “Flower” feels like the writers tried to combine Diablo Cody and Larry Clarke in to one twisted freak of a film, and man does it suck.
Steven Spielberg’s adaptation of “Ready Player One” is a fantastic, mind blowing amalgam of “Willy Wonka and the Chocolate Factory,” “Tron,” and “The Matrix” all rolled in to one multicolored strobe of pop culture. You’d think with the rapid fire barrage of pop culture nods and winks to video games, anime, and television series that “Ready Player One” would lose sight of its narrative. In the end, though, Spielberg keeps a firm grip on the novel by Ernest Cline, never once losing sight of what made the original novel such a must read in 2011.
The Wasp is one of the oldest, most important Marvel characters of all time (she was one of the original five Avengers), and she’s also someone who has been waiting in the wings for far too long. In “Ant-Man and The Wasp,” the heroine finally gets her due in a movie that’s about her legacy as much as it is about the Avengers, and Ant-Man, overall. After the two heavy meals that were “Black Panther” and “Infinity War,” Peyton Reed’s return to “Ant Man and the Wasp” is like a nice light after dinner sorbet. It’s a palate cleanser, it’s simple, and it’s quite good.
It’s the end of the world as we know it, and every single surviving human has broken up in to fractions, mini-societies, and tribes that delight in murder of others, and survival of the fittest. “The Domestics” is “The Purge,” meets “Red Dawn,” meets “Mad Max,” meets “The Warriors,” with a dash of “It’s a Mad, Mad, Mad, Mad World” for good measure. Let’s face it, at the end of the day its pure blissful, loony post apocalyptic movie porn and hot damn if I didn’t love every single minute of it from beginning to end.
Based on one of the most iconic and controversial miniseries of all time, “The Death of Superman” is a curious adaptation of the series that suffers from definite pitfalls but comes out in the end as a pretty damn good movie, overall. One of the very few DC animated movies not centered on Batman, “The Death of Superman” is much more centered on the original source material than 2007’s “Superman Doomsday,” and if the final scene is any indication, we’re looking at a pretty length depiction of the story arc from the comic books right down to the Super mullet.
Many years later, director Sam Firstenberg’s “Ninja III” is an out of left field mix of horror, action, and ninjas, all of which were very popular in the eighties. I was never quite sure what happened to “Ninja” one or two, but when I was a kid, “Ninja III” was a bonafide favorite of mine that I’d indulge in every time it was on network television. Thankfully I’m not alone as “Ninja III” has become a cult classic that stands alone, much like “Troll 2.” There’s just something fascinating about a young woman and aerobics enthusiast being possessed by the ghost of a ninja, who begins to seek revenge on his past foes.