Scott Douglas Brown’s “Stadium Anthems” is a movie that is just fine when all is said and done. The direction and production values are very good, and most of the cast keeps the film afloat with their charisma. It’s an okay movie that ultimately feels like with a bit of alterations it could have been great. I am always a fan of mock documentaries about rock bands, and varying shades of egos, et al. It’s just that “Stadium Anthems” suffers from feeling like there are just too many ideas struggling to rise to the surface, and it drags it down big time.
If you haven’t checked out Shinichirou Ueda’s indie horror comedy hit “One Cut of the Dead” by now then you’ve truly missed out on a prime piece of filmmaking. The film has been a festival darling, has become a hit on streaming and is being given excellent treatment for physical media collectors in a deluxe Steelbook. “One Cut of the Dead” is a genuine horror comedy gem that is best appreciated going in with as little information about it as possible. Although most reviews have given this advice of avoiding any and all spoilers, it’s sage wisdom that will only help improve an already excellent film.
In 1969, America was forever rocked by the vicious Tate-LaBianca murders which saw the Charles Manson family convicted for murdering five people including up and coming actress Sharon Tate. Decades later, Hollywood and many artists are still considerably fascinated not just by Charles Manson, but the Manson Family. On the anniversary of Sharon Tate’s murder, a lot of Hollywood jumped on the band wagon to find a way to highlight or explore the events leading up to her terrible murder. Except for Quentin Tarantino. “Once Upon a Time in Hollywood” has managed to become yet another Tarantino masterpiece that has sparked endless discussion and arguments.
Despite the fact that Tarantino stages another alternate reality where the bad guys endured horrible deaths, “Once Upon a Time…” still managed to get approval from Sharon Tate’s family. And that’s probably because, refreshingly, Tarantino takes the piss out of Charles Manson and the Manson Family.
Quentin Tarantino has always been a connoisseur of Hollywood and the concept of filmmaking and storytelling. There’s a certain peculiar magic that comes with creating a narrative and how it allows the creator to do whatever they want. With all of Tarantino’s movies, he’s paid tribute to ideas like Chopsocky cinema, gangster pictures, blaxploitation, and with “Once Upon a Time… in Hollywood” he pays tribute to Hollywood and the one and only Sharon Tate.
Taika Waititi has always been a filmmaker that’s managed to challenge conventions and deliver tales that are always completely out of the ordinary. With “Jojo Rabbit,” it’s another in a long line of tales about the male ego and the weird world that they belong to. In Waititi’s case, it’s the briefly controversial “Jojo Rabbit,” a movie that received a lot of buzz for its depiction of Adolf Hitler. Once you got down to the meat and potatoes of the narrative though, you learn that it’s the destruction of Hitler and how he’s so uncomplicated that he’s reduced to an imaginary friend of a young child.
The explanations I’ve read on online for “Simon, King of the Witches” insist that the obscure Andrew Prine movie is not meant to be taken seriously. It’s strictly dark comedy. But then you watch one of the most nonsensical unnecessary opening monologues ever filmed, and wonder if the writer himself was high while creating this genre confused tedious mess. “I really am one of the few true magicians,” Simon insists in the prologue, while declaring his affinity for magic, and aspirations to be a god. It is then followed by the man being arrested for vagrancy while being hulled away from his home: a sewer.
2009’s action horror comedy “Zombieland” is something of a cult classic, and while not exactly a masterpiece, it’s been admired in its own right for a decade. After many, many years, Columbia brings us a sequel that’s probably way too late. After fans demanded a sequel shortly after the release of the 2009 film, “Zombieland: Double Tap” finally graces us with the characters we love—and it does absolutely nothing new with them. It also doesn’t take us in to any kind of new area of Zombieland that we haven’t seen before, which ends in disappointing returns in a follow up with occasional bright spots.
I have to say that I liked “The Dead Don’t Die.” It feels a lot like Jim Jarmusch’s “The Dead Don’t Die” doesn’t just seem to feel like his effort to give his own spin to the sub-genre, but it also feels like the proving ground for the man to be as bizarre and often stupid as he possibly can. With “The Dead Don’t Die” it’s a bit of an experimental and bizarre zombie comedy that has absolutely no breaks on. It throws everything at the wall to see what sticks, from terrible breaking of the fourth wall, clunky symbolism (chairs that look like tombstones! Hah! Get it?), sub-plots that go nowhere, and space ships.