At the end of the day I think “Justice League” is a very—okay movie, with glimmers of greatness. But that’s the problem, sadly. Fans waited and waited, and didn’t want an okay movie. We fans wanted a great movie, and despite bringing in Joss Whedon in the final hour, “Justice League” feels less like the beginning of an epic saga of superheroes, and more like a throwaway episode of a mediocre superhero series. And what with “mustache gate” and the continued controversy over the original cut of the film, “Justice League” will carry a lot of baggage with it forever. Which is sad, because I still didn’t hate it as much as I did “Batman v Superman.”
“Gate 2” has been a rarity for years and finally gets a very good re-release by Scream who treats us to a sequel that’s nothing like the original. That’s both a good and bad aspect for the film as Tibor Takacs returns to direct, and complete his story arc, while also advancing the mythology. With Stephen Dorff on to better pastures, we follow his more reluctant friend Terry, who is now all alone after his friend moved away with his big sister. With no one around to corroborate their adventures in a hell dimension, Terry is now a pariah. Anxious to re-open the gate properly this time, Terry is egged on by two local bullies to let them take part in the summoning, promising them wish fulfillment. Much to their surprise, they manage to trap one of the minions of the gate, and Terry keeps it, hoping to find out its secrets.
The “Cloverfield” universe is the next step in cinematic universes where it exists not just on cinema, but on the world wide web, as well. Sprung from the spontaneity that fans adore, “The Cloverfield Paradox” is the next wave in the story of “Cloverfield” and tackles another corner of the mythos that fans just might appreciate. In 2008 when fans spotted something falling in to the Atlantic ocean which spawns the emergence of the giant beast Clovie, many assumed it was from an experiment that went awry from the evil organization Tagruato, the enigmatic company that’s been running the viral sites. With “The Cloverfield Paradox” we finally get an explanation as to what occurred, and so much more.
The follow up to the hilarious “Wayne’s World” has much more of a coherent ending, but that’s about all it has to offer. In the way of a sequel, rather than trying to continue bringing us new hilarious comedy bits like the car sing along, and product placement spoof, “Wayne’s World 2” either repeats those jokes in a new form, or extends them to where it’s boring. For some reason “Wayne’s World 2” is less a sequel and more of a spoof that confuses itself as some sort of David Zucker movie. The characters break the fourth wall constantly, ruining any momentum, and even touch on nineties fads once again. Instead, rather than a weird but funny appearance by the T-1000, there’s a cameo by the “Jurassic Park” T-Rex.
Rian Johnson has created what is easily one of the most complete and well developed “Star Wars” cinematic installments since “Empire.” While it does have the occasional pitfall (Porgs), “The Last Jedi” is a masterstroke for the series so far. Johnson manages to skillfully build on this new universe while also answering a lot of the pressing questions that the fans had for “The Force Awakens.” This is the second film to usher in the new generation and ease out the originals, turning this in to a war where the underdogs are still the rebels and they’re filled with reverence for folks like Luke Skywalker and Leia Organa. Johnson focuses primarily on the “How,” and “Why” questions from “The Force Awakens,” allowing fans closure on a lot of the nagging questions that left them excited and or baffled.
If you loved the out there nature of “WolfCop,” you’ll be happy to know that director Dean Lowell rewards fans for their long wait for a sequel with “Another WolfCop,” a sequel that is so far out there, it’s surreal at times. Director and writer Lowell channels a lot of classic films once again, centering on our vigilante WolfCop as he protects his small town in the most violent methods, all the while concocting a premise involving the furry vigilante that feels like an amalgam of “Halloween III,” “V,” and “Howling II,” if you can believe it. That’s not where the wheel stops spinning though, as director Lowell deals his furry crime fighter a new villain that is beyond anything he’s ever experienced.
It’s ironic, and perhaps not incidental, that Vestron would release the entire movie series for “Wishmaster” and “Warlock.” They’re two weak attempts at movie maniacs in a pretty stale decade for horror, and deep down while they have potential to be menacing and terrifying horror villains, they’re poorly realized, and potentially trail off in to absolute nothingness. “Warlock” is not as bad a slope as “Wishmaster,” as it managed to gain some momentum in the nineties, even sporting a Sega Genesis video game in 1995 which involved platforming, and fighting off zombies and demonic beasts with magic spells. 1989’s “Warlock” is a tonally confused movie that wants sorely to be a horror film, but ends up sliding in to dark fantasy territory by the time it draws to a close.
Nickelodeon’s “Hey Arnold!” was one of the banner animated series from the heyday of the 1990’s. It was a subtle, sweet, and often funny coming of age show with a lot of heart and some brilliantly memorable moments that evoked pure emotion from its audience. Despite ending in 2004, Nickelodeon gave the series a final send off in 2002 with a flimsy and absolutely wretched big screen film that did nothing to close the world we’d come to love. Most of all, it did nothing for the story arc of main character Arnold, who spent a majority of the series under the care of his elderly eccentric grandparents.
Mid-way through the series, we learned that Arnold’s parents were explorers who spent their days traveling, and the last they ever saw of him was before they left for one last adventure to help a village suffering from a mysterious illness.