Godzilla x Kong: The New Empire and all the images you see in this review are owned by Warner Bros. Pictures
Directed by Adam Wingard
We’re five movies deep into the Monsterverse, plus one TV series I haven’t bothered to watch yet, and excepting Kong: Skull Island, none of them have left much of an impression on me. A bit of an odd thing to say when it comes to movies about giant monsters getting into fist fights, but something’s always felt missing that kept me from engaging with it beyond a very rudimentary level, and it seems unlikely that we’ll be pulling things back to see what can be fixed when they can just go bigger with each movie. Then again, we’ve come quite far since the dreary days of Gareth Edwards’s Godzilla feature, and if nothing else the addition of a robot arm for Kong and pink highlights for Godzilla show that they aren’t afraid to escalate the goofiness which could be just enough to get me back on board. Will the pieces finally fall into place in this latest monster mash, or has this franchise simply left me behind without even glancing in the rearview mirror? Let’s find out!!
With the discovery of the Hollow Earth, the world has somehow managed to keep on trucking with Godzilla on the surface to bash any monsters that start giving humanity funny looks, and Kong enjoying an early retirement in the Hollow Earth; chilling under waterfalls and basking in whatever the equivalent of sunlight is in the Earth’s core. Still, retirement can be a lonely thing for the last of one’s kind, and Kong can only talk to his awesome warrior axe so many times before it gets weird. Thankfully, the Hollow Earth is like an ogre in that it has many layers, and he stumbles into the home of a race of giant apes like himself. Before we can throw Kong a family reunion, however, it seems these apes are not too friendly towards the big guy and something about their reemergence has put Godzilla into butt-kicking mode as he powers himself up for whatever happens next. What are these apes up to in their own little corner of the world, and will it spell doom for the surface world? Can Kong show these apes a path towards peace, or will he be forced to take them down alongside his frenemy Godzilla? Seriously, who had the foresight to make Kong a power glove? What, did they think he’d have to win an arm wrestling tournament to save humanity!?
Ghostbusters: Frozen Empire and all the images you see in this review are owned by Sony Pictures Releasing
Directed by Gil Kenan
I came into the last Ghostbusters film with more than a little ambivalence, and to this day I still think I overcorrected and gave it half-a-star too high in the final score. I can’t say I’m any more optimistic going into this one, since it looks like all the same nostalgia bait without any of the context, but I’ve been wrong before about movies I expected to disappoint me. Maybe by doing away with any pretense, we can get a proper adventure movie that forges its own path instead of an attempt at redoing the comedic magic of the original! Ghostbusters on Ice? Lots of potential there! Will this take advantage of its premise to grow past the shadow of the franchise, or is this content to stand still and not budge an inch as long as people continue to clamor for Venkman, Stanz, and Zeddemore? Let’s find out!!
Following the events of Ghostbusters: Afterlife, the Spengler family consisting of Callie (Carrie Coon), her two kids Phoebe and Trevor (Mckenna Grace and Finn Wolfhard), and their new step-dad Gary (Paul Rudd) have moved to New York and into the good ol’ firehouse to start up the Ghostbusters yet again. Things seem to be going well as the kids are growing into their roles as busters, but after a particularly destructive chase through town gets them in hot water with Mayor Peck (William Atherton), Phoebe is shelved until she turns eighteen which leaves her with nothing to do but be a teenager, and who wants that, am I right? On top of that, an ancient artifact ends up at the bookshop of Ray Stantz (Dan Aykroyd) which seems to contain a spirit more powerful than anyone has seen before and seems to be connected to the family of Nadeem (Kumail Nanjiani), the guy who sold to Ray in the first place. On top of that, there’s also a new Ghostbusters franchise being led by Winston Zeddemore (Ernie Hudson) that’s making some interesting discoveries about ghosts, but perhaps are missing the forest for the trees when they’re confronted with Ray’s mysterious artifact. Oh, and on top of that, Trevor is trying to catch Slimer in the attic because… well, I guess if you’re gonna get Finn Wolfhard, you’ve gotta give him something to do. Can Phoebe find a place that she belongs, especially after meeting a fellow teenage ghost who seems to understand her better than her family? Will this artifact unleash a great threat to the city that only the Ghostbusters can take care of? What do you say, fans? Is any of this doing it for ya!?
Road House and all the images you see in this review are owned by Amazon MGM Studios
Directed by Doug Liman
There are a lot of movies that I still need to catch up on, but I never thought the original Road House was necessarily one of them. It had the vibe of something that was a clear product of its time, and with so many amazing action movies since then, I was pretty confident that I hadn’t missed out on much. Perhaps that makes me the target audience for this remake, which certainly looked impressive from the trailers, and I’m always happy to see follow Jake Gyllenhaal to whatever wacky project he signs onto. Is this the update to an eighties classic that both fans and newcomers can love, or will this be another soulless cash grab for those nostalgic bucks? Heck, we already got a crappy Point Blank remake, so why not a lousy Road House one too? Let’s find out!!
In the Florida Keys, there is a bar that is being besieged by drunks and punks who like to get belligerent and tear up the place. If the owner (Jessica Williams) wants to keep the bar from collapsing, both financially and literally, she’s gonna need someone to deescalate situations and put a hurt on anybody who takes things too far. What better person for that role than a down on his luck UFC fighter named Dalton (Jake Gyllenhaal) who’s good at breaking arms but can’t mend the pain in his soul! Still, a few weeks on sunny beaches drinking coffee and tossing out drunks couldn’t hurt, right? Well, it turns out that there are more than just a few boozehounds trying to take down the bar, and what should have been a period of self-care for the man turns into the greatest challenge of his life. Can Dalton keep the peace in this small town despite being an outsider? Who is behind these vicious attacks on the bar, and what’s waiting in the wings if they can’t get the job done? Imagine being this cool while ALSO having starred in Bubble Boy!
Love Lies Bleeding and all the images you see in this review are owned by A24
Directed by Rose Glass
Somehow we got two lesbian crime movies released within weeks of each other, and while I sadly didn’t get a chance to see Drive-Away Dolls, at least not yet, this one became a top priority for me when I saw the trailers. Kristen Stewart is already a good indicator of quality for me and A24 has a mostly solid track record, so the math added up, and I went to check it out as soon as I had a window in my schedule. Was this grimy slice of eighties mischief worth getting excited for, or is this a situation where all the right pieces are there, but it just doesn’t come together in the end? Let’s find out!!
One night in Nowhere Middle America, a woman comes into town with big dreams and even bigger muscles. Her name is Jackie (Katy O’Brian) and she catches the eye of the local gym manager Lou (Kristen Stewart) who gives her a place to stay and the two fall madly in love. Sadly, the Beatles were incorrect when they said love is all you need, and their lives start to encroach on their whirlwind love affair as Lou’s estranged dad (Ed Harris) is a local gun runner always on the outskirts of their lives and Lou herself is not exactly the perfect partner for someone who’s been through as much as Jackie has. It all comes to a head when Lou’s sister (Jena Malone) is in serious trouble, and Jackie’s instincts lead her down a dark path that will drag Lou and her entire family down with her. Can Lou keep her love life and her family in one piece despite barely keeping her own life intact? What does Lou’s dad want from her, and what does he want from Jackie as well? Seriously, if there’s this much drama around, why don’t you just move? It’s the eighties! People could actually afford that back then!
Madame Web and all the images you see in this review are owned by Sony Pictures Releasing
Directed by SJ Clarkson
Sony’s attempts at building their own Marvel mini-verse out of the Spider-Man license have yielded mixed results, to say the least. I, for one, appreciated the two Venom films for their shameless swagger and playful take on the material, but Morbius was an absolute bore and I never thought Kraven was a good idea unless they got Sharlto Copley to play the part. Now we have this slice of the expanded Spider-Man canon that Spider-Verse hasn’t laid a claim to, but hey; at least this one has actual Spider-People in it which you’d think would be a bare minimum requirement to making a Spider-Man connected movie. Is this the film to finally get the Sony-Verse on track and competing with Marvel, or are those dreams as lofty as Warner Bros bringing back the Snyder-Verse? Let’s find out!!
Cassie Web (Dakota Johnson) is living a normal, unassuming thirty-year-old life in the early 2000s as she drives an ambulance with her best friend Ben Parker (Adam Scott) and… well, that’s about it. She does have a mysterious past as her mother died in Peru while researching spiders, but hey, what Gen Xer doesn’t have some weird stuff going on with their parents? Cassie just wants to get through life one day at a time without making any strong connections or getting wrapped up in other people’s problems, but fate has other things in store for her as a near-death experience starts to awaken future-seeing powers that are a real drag when you’re just trying to get through your shift. With great power comes great responsibility, however, as she sees three young women (Sydney Sweeney, Isabela Merced, and Celeste O’Connor) getting attacked on a train by what appears to be an Evil-Spider-Man (Tahar Rahim), though since this takes place before Spider-Man, I guess that would make Spider-Man the good version of whoever this is, and manages to save them while putting a target on her own back for the Spider-Jerk. Why are these three girls so special that they incur the wrath of the Wicked Web-Head, and what role does Cassie have to play in this clash of destiny? Does the Not-So-Friendly Neighborhood Spider-Man hold the secrets to Cassie’s past that she’s been desperately searching for? If Spider-Man doesn’t exist yet, does a guy walking on walls and wearing a spandex bodysuit even read as a spider?
“Why are we being chased by a sticky man!?” “What even is his gimmick? Mr. Adhesive?” “How about The Human Lint Roller?” “How about we run, instead!?”Continue reading “Cinema Dispatch: Madame Web”→
I’ve got to say that 2023 was not the easiest year to come up with a Ten Best list. Partly because I had to cram a dozen movies into December to have a well-rounded list, but also because the year itself just felt underwhelming. The continued move to streaming has started to take the spark out of the theater-going experience, and without the constraints of the theater, it feels like movies are filling space rather than inspiring and exciting. Still, even with all this noise and overabundance of content, there are genuinely amazing creatives out there working on fantastic movies and I’ve collected ten of them to talk about today! Let’s get started!
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Honorable Mention – Spider-Man: Across the Spider-Verse
I gave this movie a lot of praise on its release, and the accolades it’s received are well deserved. However, 2023 ended up being the year that I got sick of movies that got halfway through their story before telling us to come back later for part two. Unlike a traditional sequel which promises a new story, these films dangle the conclusion of the current one over our heads in a way that doesn’t have me on the edge of my seat but makes me want to turn back the clock and just wait to watch the entire story once it’s finished getting made. Spider-Verse has a lot going for it and there is little doubt that the story will feel complete once part 2 is released, but until it is I don’t feel like putting it in a proper spot on this list.
It’s a cliché to talk about how bad a year had been in a retrospective like this, but 2023 was pretty rough for me; so much so that, for the first time since starting this website, I took an extended hiatus to try and get my house in order in this nightmare we call modern life. Still, I tried my best to catch up on the big releases right before the end of the year and have been stewing on this list for a month until I finally found time to get my thoughts on the page. The elephant in the room as always is that we are still in a post-pandemic world, or at least it would be if we weren’t still dealing with COVID and its massive impacts daily, so some of these movies can undoubtedly trace some of their problems to the disruption it caused in the entertainment industry. That’s why I try to keep this list constructive with good faith analysis and a limited number of cheap shots. Granted, the last few months have left me feeling a bit salty about things in general, but I’ve done my best to keep the unproductive dunking to a minimum. Let’s get started!
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Fool’s Paradise
Fool’s Paradise is owned by Roadside Attractions
Directed by Charlie Day
Frankly, I don’t want to come down too hard on a guy’s directorial debut, even if it’s someone like Charlie Day who has a reasonable amount of clout to throw around. Making movies isn’t easy and not everyone can make a graceful leap from actor to director; especially on their first attempt. That’s very much the vibe of the movie; something that was made with passion but not enough discipline. Everything from the obvious Hollywood satire to its homages of the silent era is not as clever as it thinks it is; nor as ambitious as its inspirations. The jokes have no wit to them and the story is held together with outdated caricatures of the Hollywood elite that still aren’t goofy enough to carry this silly premise and so the narrative bends over backward to try and make it work to with middling results. Also, while I wouldn’t call myself an aficionado of silent comedies, I’ve seen enough to know how half-hearted the slapstick is, and that lack of effort here compared to the immense effort and genius that went into crafting a lot of those classic films says a lot about this movie. It’s like reading the first chapter of a textbook and thinking you’re as knowledgeable as the professor, or assuming you can be a professional chess player after watching a few YouTube videos. By all means, follow your passions and be inspired by the talent of others, but maybe let the ideas cook for a little bit before presenting to the class.
Cade: The Tortured Crossing and all the images you see in this review are owned by Neil Breen Films
Directed by Neil Breen
Neil Breen has been a curious figure in the recent cinematic landscape as critics and audiences alike are always on the lookout for the coveted So Bad Its Good movies and seem to have found a cash cow in the form of Breen’s bizarre and uncomfortably amateurish productions. His latest feature, a sequel to his quasi-superhero flick Twisted Pair, has certainly garnered some buzz off of his reputation and the silly trailer he released, but the thing about Breen that makes him endearing is his clear earnestness and how fame hasn’t stifled his creative drive. He could be out there on the Tommy Wiseau circuit and embrace the clownish reputation of his work, but he comes off as a sincere, if utterly incompetent and a little regressive, auteur who wants his movies to have genuine acclaim for their deep ideas and disturbing revelations. Well, I plan to give him what he wants and to take this movie seriously. No cheap shots, no, tired jokes, and no feigned bafflement at what we’re seeing. We’re here to find out if Neil Breen has improved as a filmmaker and if his latest project is worth anyone’s time who isn’t in on the joke. Will this be one step closer to Neil making his Oscar-worthy magnum opus, or has the king of bad movies somehow regressed further into incompetence? Let’s find out!!
After the events of Twisted Pair where Cade Altair (Neil Breen) crushed the Cuzzx empire using his AI science-magic superpowers, he’s gone into philanthropy and has donated lots of money to a nearby mental asylum. All is not as it seems, however, as the head doctor (Amy Solomon) is in cahoots with an evil corporation to perform horrible experiments and extract precious fluids from their patients. A good doctor (Nicole Butler) is trying her best to make the situation better, but Cade is unimpressed when he realizes the terrors going on at this asylum and vows to help its patients become warriors of humanity and justice. Seems straightforward enough, but what Cade doesn’t know is that his long-lost brother Cale (Neil Breen) has been hired by the corporation to kidnap patients and is trying to use the extracted fluids to make himself as powerful as his brother Cade once again. Will Cade be able to save these patients from the dastardly corporation and bring justice to the world? What does Cale have planned for Cade if he was to find out about his misdeeds, and is there any hope for him to turn his life around? Is it just me, or does it seem that Neil Breen watched The New Mutants during the Pandemic and literally nothing else?
Teenage Mutant Ninja Turtles: Mutant Mayhem and all the images you see in this review are owned by Paramount Pictures
Directed by Jeff Rowe
To be frank, I just never got the whole Teenage Mutant Ninja Turtles thing. I like the original live-action movie well enough, but it’s not a franchise that I ever got invested in as it just felt like one of those Gen-X holdovers that overstayed its welcome. Well, now the joke’s on me as my childhood is now getting eye rolls from the Zoomers who also can’t escape the prevalence of their previous generation’s obsessions. It’s the circle of life I suppose, and TMNT is taking yet another stab at staying relevant to the youngsters. Will this be another hit for the franchise to go alongside Rise of the Teenage Mutant Ninja Turtles, or will we be begging for the Bay-Turtles to come back by the time this is over? Let’s find out!!
In the beginning, there was ooze; and said ooze landed on a quartet of cute turtles as well as a very paternal rat. The ooze mutated them to be humanoid, but their ninja skills came from their adoptive rat-dad Splinter (Jackie Chan) looking for a way to protect his kids from the outside world. The turtles are now teenagers named Leonardo, Michelangelo, Raphael, and Donatello (Nicolas Cantu, Shamon Brown Jr, Brady Noon, and Micah Abbey) and while they can kick all sorts of butt with their ninja skills, they’re mostly used to get groceries and hide in the shadows; away from the scary humans who would surely reject them if they were to come out of the sewers. Sounds rather bleak if you ask me, but fortunately, they run into a high school reporter named April O’Neil (Ayo Edebiri) and she doesn’t immediately turn them in to the authorities to be dissected but instead comes up with a plan to make them heroes so that they can be accepted and go to high school, and she can get the scoop of a lifetime! Their mission is to take down the mysterious Super Fly (Ice Cube) whose been wreaking havoc all over the city with daring heists of top secret scientific hardware, and while the Turtles want nothing more than to live normal lives, getting closer to Super Fly also gets them closer to some very uncomfortable truths about themselves. What is this Super Fly after, and are his goals as evil as his means of achieving them? Is this a win-win scenario for all involved, or will the world never accept them even if they do save the day? Would we honestly be that shocked to learn of sentient turtles in the sewers who fight crime and eat pizza? I mean Congress had a hearing on UFOs and that barely lasted a day in the news cycle!
“I’m just saying, everyone thinking we’re from Krypton is gonna help us with our PR problem, and it’s not like they can prove otherwise! Heck, we don’t know where that Ooze came from! Maybe it’s from space!” “I think you’re stretching there, Mikey.”Continue reading “Cinema Dispatch: Teenage Mutant Ninja Turtles: Mutant Mayhem”→
When it comes to two movies releasing on the same day the narrative is usually that of a fight to see which one will top the box office, and yet this whole Barbenheimer deal has been one of mutual appreciation which seems to have worked out well for both movies as they had strong opening weekends on the back of solid word of mouth and the novelty of this double-feature. Was this quirk of good timing the perfect way to energize two great movies, or will the memes be more fondly remembered than the movies they were celebrating? Let’s find out!!
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Barbie
Barbie and all the images you see in this review are owned by Warner Bros Pictures
Directed by Greta Gerwig
In the land of Barbies, where all Barbies are named Barbie and all Kens are named Ken, we follow Stereotypical Barbie (Margot Robbie) who is leading her stereotypical Barbie life of fun, empowerment, and dance parties! That is until she starts having some strange thoughts that put her out of step with the rest of Barbie land and she has no choice but to go on a journey to the Real World to find the little girl playing with her that’s giving her all these bad vibes. Not wanting to be left out as he usually is, Ken (Ryan Gosling) manages to tag along on this journey and has his own quest of self-discovery that could perhaps impede Barbie from finishing her own!
Starting things off with sunshine and sparkles, we dive into the bright pastels and infectious optimism of Hollywood’s latest attempt to cynically turn brands into cinematic universes! Well, that’s a little unfair as the movie takes a fair number of risks in creating such a uniquely faithful adaptation; not to any specific work in the Barbie canon, but to the idea of Barbie as a brand itself. What could have easily been an insufferable exercise in cheerleading a doll line manages to have more than enough wit and creativity to rise above its baggage. Of course, it can’t truly be a subversive work given that it’s made with the explicit endorsement of Mattel, but Gerwig and Robbie were still given a surprising amount of room to tell an unconventional and mature story within this pink and plastic world. What I most appreciated was the utter absurdity of it all as it revels in its own dream logic to tell its story; never getting so abstract as to be indecipherable, but never letting unnecessary plot details grind the pacing to a halt or hold it back from telling a funny joke. It’s the kind of storytelling that works for a high-concept fantasy like this where at any moment we could pull back to find the whole plot being elaborately staged by a group of young girls at a sleepover, and if you aren’t going to make a Barbie movie a fanciful journey then why bother making it in the first place? There does seem to be a missed opportunity, however, as they don’t go the extra mile to make this a musical which, to me, would have catapulted it to the camp classic it’s clearly aiming to be. The movie has songs, singing, and even some dancing for good measure, but there’s only one musical number for a movie that is otherwise so bombastic, and on top of that it’s done by the Kens instead of the Barbies which leads us to the other issue I have with the film. Perhaps this is where the gender divide is the most obvious, but when all was said and done I found myself thinking more about the Kens than the Barbies; especially when it comes to Ryan Gosling and Margot Robbie. Robbie is great in the role and she carries this movie from start to finish, but Gosling is a riot throughout and I found his arc to be the more interesting of the two. Barbie doesn’t really have much that she needs when the movie begins and the conflict she has to resolve is thrust upon her by circumstances outside of her control. It’s through the disruption of her routine that she does eventually realize what has been missing, but there’s not much to distinguish her as a Barbie of note compared to every other Barbie in Barbie Land. Ken on the other hand begins the movie with angst and flaws that inform his actions throughout the movie, and where the script ends up taking him is fascinating and utterly hilarious even if it’s the primary obstacle that our true protagonist has to overcome. Again, this may be my own biases talking here, but Robbie just didn’t come across as the most interesting character in her own movie and my favorite moments are things that happened around her instead of anything with her specifically. For me, the movie feels a little pulled back at points which are all the more noticeable given how extra the rest of the movie is, so while it doesn’t quite hit cult classic status as many were hoping for it to, it does end up being a great time at the movie and one that I can happily recommend to everyone with an appetite for something sweet.
The Reviewers Unite 