Director Kristian Mercado Figueroa’s short musical is a brilliant and excellent look at the end of the potential creeping end of the American territory known as Puerto Rico. Though fiction, Mercado brings to light the very troubling developments that could change how Puerto Ricans connect to their homeland. In the near future, the raw land of Puerto Rico has been destroyed in favor of a futuristic dystopia now known as Nuevo Rico.
After the travesty that was the 1998 Roland Emmerich reboot of “Godzilla,” the king of the monsters went in to hiding from the states for a long time. It was until Legendary came along to hop on the expanded universe band wagon to finally give Gojira and his merry band of monsters and allies a chance to win a new generation of fans. Despite some bumps and tumbles, Gareth Edwards’ “Godzilla” is a giant step up from the 1998 embarrassment and still manages to travel well, with or without the impending “Godzilla vs. Kong.”
I missed the boat when Invincible had its run in Image Comics, and I regret it, especially as a fan of “The Walking Dead.” Robert Kirkman is one of the group of Image comics heavyweights who manages to offer up his own superhero tale, but it’s given a massive twist that’s both bold and insanely violent. Taking the animated route this time out, producers Seth Rogen and Evan Goldberg help realize Kirkman’s epic “Invincible” for the small screen, sticking true to many of the comics original storylines, and unfolding what is a unique, exciting, albeit imperfect at times, saga.
After relentless caterwauling from fans for four years, director Zack Snyder is allowed to return to the DCEU once again to offer his original vision (or a very close facsimile) of what he had planned for the “Justice League” and the DCEU. While I don’t miss Snyder and his involvement with the DC movies (the man loves his slow motion), his “Justice League” is, shocking enough, an infinitely superior adaptation than the 2017 Joss Whedon lemon. I wouldn’t call it a masterpiece, but if pushed in to a corner, I’d happily rewatch the “Snyder Cut” again, with warts and all.
Please introduce yourself.
First, thank you for the invitation! My name is Anouk Whissell, I’m a writer-director based in Montreal, Canada. I graduated in Traditional Animation, worked in animation studios for 10 years while making short films within the RKSS Films Director Triforce with François Simard and Yoann-Karl Whissell. Together, we’ve made our feature debut TURBO KID, which premiered at Sundance in 2015, where we returned a few years later with our follow-up film SUMMER OF ’84. As a director, I thrive on passion, my love for genre and character-driven stories.
If you don’t remember that there were two movies prior to “Paws Unite!” then I personally don’t blame you. The first two movies basically took a painfully derivative premise and did a pretty okay job creating a talking animals’ action movie for the whole family. The third film in the series that no one asked for, “Paws Unite!” pretty much works as a loose sequel. It’s loose because it’s apparent that the screenwriter never actually saw the original films.
For Women in Horror Month 2021 I got a chance to talk to Adrienne Wilkinson. Wilkinson is a character actress who mostly belongs to the science fiction and fantasy realm, but dives head first in to the horror genre to co-star in “Dreamcatcher.” Wilkinson discusses her career, her inspirations, and her feelings about acting in the horror genre.
Director KEFF’s ‘Tapei Suicide Story” is one of the most somber dramas I’ve ever seen. It’s a film about life affirmation but also about the inevitability of death. Do we have control over our lives if we can control our own deaths? Are we merely embracing fate and are oblivious to it? “Tapei Suicide Story” is a very quiet and quaint drama that works on a very dark and inherently morbid premise.