Once upon a time, Kevin Smith decided that he liked “Scott Pilgrim vs. The World” so much that he’d copy the cliff notes and paste them on to a recycled fossil of his former glory in the shape of “Clerks” and build himself a brand spankin’ new cult classic. Instead what we get is a movie pandering to teens that is very obviously made by a fifty year old man if he were trying to write like Diablo Cody. I imagine Kevin Smith spent much of his time writing his screenplay for “Yoga Hosers” and promising to cast daughter Harley Quinn in it if she helped with the dialogue and much of the modern colloquialisms. Meanwhile he stuck to what he knew: which is stuff about convenience store clerks, and mocking Canada wholesale. There are shelves of maple syrup in the background, and boxes of cereal like “Cheeri-EHs.” Plus, our two main characters begin their work shift (almost in a subliminal apology to the audience) muttering in repetition “Sawrry Aboot That.”
After storming the box office in its native Japan, “Yo-Kai Watch: The Movie” comes to America in a very limited run for hardcore fans of multimedia series. If you haven’t had enough of the TV series, the video games, and the toy line, fans will get to watch the big screen adventure of hero Nate, and his friends, the Yo-Kai. For those unaware, Yo-Kai are spirits in Japan that can be good or evil. Nate has a magical Yo-Kai watch that allows him to summon, catch, and catalogue the various Yo-Kai. And they’re a massive variety that stem from nature, the city, and literally anywhere else.
Though director Lamont Johnson’s “You’ll Like My Mother” is generally well received, I found it to be a mostly flat thriller with a lot of the attempted suspense lost in translation. “You’ll Like My Mother” is a mix of “Misery” and “Flowers in the Attic,” in where a young woman tries to reconcile with her dead husband’s family and gets much more than she bargained for. The late Patty Duke plays Fran, a very pregnant young woman who ventures in to Minnesota in the dead of winter to visit her husband’s family and perhaps make peace with them.
A group of gay friends welcome one of the guys’ new boyfriend in their mist. Joe is just like them they think, except for the fact that he is a serial killer who doesn’t bother to hide it. In fact, he flat out tells his new man George who thinks it’s some hilarious long running joke. As people around them start to disappear and the random idle chatter never ceases, George may need to reassess his new adorable boyfriend. The story written by Jim Hansen and Jeffery Self has a fairly simple premise: What happens if a serial killer, after admitting it to himself, is completely open about what he’s doing but no one pays attention because we are all too busy talking about our lives and celebrities?
It’s tough to imagine a better horror comedy for fans of golden age horror. Director Mel Brooks concocts a formula that’s almost impossible to duplicate, playing brilliant comedy with deadpan dramatic sincerity, and implements a wide cast of amazing comedy actors to perform what is a demented twist on “Mary Shelly’s Frankenstein.” One of my favorite memories about “Young Frankenstein” was when I was a kid and my mom brought home the VHS to watch for the night. For all intents and purposes, the movie looked like a horror film, and I went in to it convinced of the idea. Mid-way I was laughing so hard, it was impossible to hear the dialogue.
I have a history with “Youngblood” as I do with a lot of movies from the eighties. It was one of those movies that always played on local television and all I remembered about it was the idea that hockey involved a lot of fist fighting, and methodical fist fighting at that. “Youngblood” was always that really entertaining sports movie that was more about the idea of the male spirit than the sport of hockey itself. It’s not the most sports oriented movie, but more a coming of age action flick with a hefty amount of romance, bromance, and typical eighties homoeroticism. And I still find it to be a raucous action drama, regardless of its age.
Mel Brooks’ horror comedy classic completely and utterly challenged any and all norms and perceptions of formula comedy that I had when I was a kid. It was a black and white movie that was a comedy and though the film bordered on absolutely insane in the comedy meter, the cast in the film played everything with a straight face. Particularly Gene Wilder whose entire performance is deadpan and dramatic in spite of the fact he’s probably the funniest character in the film.
For readers unaware, the Turkish film industry has a long and hilarious history of taking Hollywood films and remaking them sans copyrights and approval from creators. Cult film lovers know of Turkish films and their many knock offs but to see them for yourself is an experience. The Turkish film industry has created their own low budget versions of films like “Superman,” “Star Wars,” “The Exorcist,” “The Wizard of Oz,” “ET,” and of course “Batman.” These films can only be found by bootleg dealers and online sources as they’re so illegal and ripe with potential for lawsuits, the chances of seeing deluxe editions is laughable.