Hackers.

Review #1128: Hackers.

Cast: 
Jonny Lee Miller (Dade Murphy / "Zero Cool" / "Crash Override"), Angelina Jolie (Kate Libby / "Acid Burn"), Fisher Stevens ("The Plague" / Eugene Belford), Renoly Santiago (Ramόn Sánchez / "The Phantom Phreak"), Matthew Lillard (Emmanuel Goldstein / "Cereal Killer"), Laurence Mason (Paul Cook / "Lord Nikon"), Jesse Bradford (Joey Pardella), Lorraine Bracco (Margo Wallace), Alberta Watson (Lauren Murphy), Penn Jillette (Hal), and Wendell Pierce (Special Agent Richard Gill) Directed by Iain Softley.

Review: 
I suppose it makes sense that this I encounter Hackers, since it seems to linger on how hip and weird it wants to be, even if it shows its age more so than actual people from the 90s. After all, what other movie can you think of that showcases Jolt Cola? (of which I can safely say I have had a cup of). Or offbeat hairstyles and fashion choices that make bow-ties seem sane by comparison? No doubt, the highlight of this is seeing the virtual environment and computer screens that we can see on people's faces without much problem. This is a film that certainly had some sort of curiosity about hacking and cyberpunk subcultures, where Rafael Moreu (screenwriter for the movie) talked with actual hackers to help develop inspiration for the movie, which the cast also ended up doing, to the point where Miller attended an actual hacker's convention. By the time this film was released, hackers even had their own manifesto out in the open. Sometimes, the best thing to say about a movie is to say that it's "just a movie", for better or worse. How can I take this movie seriously when the stakes and situations presented are so ridiculous in execution? This is a film that has a scene of our main lead hacking a local TV station's computer network to get it to show The Outer Limits (not that there's anything wrong with that choice) and leads into a hacking showoff with another hacker that has the imagery of cassette machines fighting over what tape to show. On one side of the film is a bunch of hacker heroes who like to roller-blade and listen to electronic music, while on the other side is a villain who un-ironically goes by "The Plague" who likes to skateboard around when working who plays the cliche of the corporate adversary, complete with a theft scheme right out of Superman III (1983). Actually, the fact that Penn Jillette (of the comedy magic duo Penn & Teller) is featured in a supporting role probably doesn't break the top five of weirdest things to note in this movie. One could probably write an entire essay over the strange nature of a film made in a time where people weren't as familiar with the Internet as they are today - you're reading this on a virtual screen, after all. Although the movie (made on a budget of $20 million) was not much of a success with audiences at the time, it does endure with its own cult following.

Miller does an okay job at handling a main role, but there are times when he feels a bit dry and not always too interesting, particularly when others are on screen who stand out in their own ways. After all, you might say he's a hacker, not a fighter. Jolie (in her third ever appearance on film) for example, has a certain kind of energy and nature to her that invites interest even with her closed off character and a hacker rivalry with Miller that goes (mostly) the way one would probably expect. They do share some chemistry with each other, at least, although the fact it is in a movie as weirdly built as this one is amusing. It proves amusing to see itself try to subvert the cliche romance, mostly because you'll find yourself involved with the hacking more. Santiago is fine, and Lillard certainly inspires hit-or-miss moments with his scene-stealing moments of hacking and weird hair. Mason and Bradford round out the hacker group, and they are both fine in their brief time. Clearly, the one who munches attention is Stevens, the keyboard cowboy (as he puts it) who makes the experience worth it in playing the role of the adversary without taking it too seriously or too amusingly. In lesser hands, it would've come off as silly nonsense, but Stevens is adept at being compelling to watch be the smug and clever foil, even if the stakes aren't particularly too high. Oh sure, a bunch of oil tanker fleets will capsize to cover a hacking scheme, but there is something truly amusing about the levels of tension (and occasional humor) the film wants to draw for its climax, complete with rollerblading, hacker-themed pirate TV show hosts, and splotches of color and imagery for a hacking showdown. Interestingly, the cyberspace effects are not computer generated imagery, but instead naturally created, using methods such as animations, motion control, or other methods. The cutting edge-ness that I'm sure the film had in 1995 is more of a soft edge now, but there is something to watch in its entertainment value regardless, whether for laughs or not. It's dumb and cheesy, but there's a certain feeling to its cheese that makes it one you can't reject too easily out of hand. I'd hesitate to easily call it a cult classic, but it's certainly the kind of film you could watch late at night and point at with chuckles, for better or worse, even if I can't quite give it a positive endorsement. It isn't much as a crime film, but it is certainly something on an entertainment level. It's entertaining junk of the weirdest order even with over two decades of age behind it.

Overall, I give it 6 out of 10 stars.

eXistenZ.

Review #1127: eXistenZ.

Cast: 
Jennifer Jason Leigh (Allegra Geller), Jude Law (Ted Pikul), Ian Holm (Kiri Vinokur), Don McKellar (Yevgeny Nourish), Callum Keith Rennie (Hugo Carlaw), Sarah Polley (Merle), Christopher Eccleston (the Seminar Leader), Willem Dafoe (Gas), Robert A. Silverman (D'Arcy Nader), Oscar Hsu (Chinese Waiter), and Kris Lemche (Noel Dichter) Directed by David Cronenberg (#816 - Crimes of the Future)

Review: 
Believe it or not, this review has been delayed quite significantly by roughly a week. It was supposed to be completed before the review of Legacy of Blood. However, I found that it was easier to come up with thoughts for the plethora of reviews that have come out in the past week. I hope that this review is satisfactory to the standards that I try to have for this show. 

What does it mean to live in reality? Particularly in our day and age, where virtual reality seems more than just a pipe dream? For something like this, a science fiction body horror film, eXistenZ likes to throw questions and gooey things at its audience, and it is the ways that it plays games with its viewer that help in seeing if the film actually succeeds in telling its intriguing ideas. It's a mind-game of a movie, filled with gooey imagery and a fairly game cast willing to showcase this weird world and its situations, and it isn't hard to see why this could be considered a cult classic. For me, it borders on the line of average, but there are aspects of the film that are fairly interesting, along with parts that aren't as bright. Undeniably, the best one to shine in this film is Leigh. She has a certain energy to her that has its shares of cynicism and intrigue (such as when talking about the plot) that makes her a person worth following, which makes sense even now with how people treat creators of things that certainly spring creativity of any kind - whether in technology or some other field.

The same can't be said as much for Law. Perhaps it is the nature of the character that makes him a dry one to follow (being a PR guy) that makes him not as interesting to go along with, although Law can prove decent at times at reacting to the weirdness that this film can verge itself into. Holm and McKeller prove okay, providing the kind of support you'd expect in a situation presented like this (if that makes sense, anyway). Dafoe proves a fine highlight for the time he is on screen, being the most interesting person playing off Leigh and Law for most of the film. This is a movie where people put squid-looking things in their lower back. In an age where people like wear big headsets to experience "VR", who can judge? People certainly love the creations that invite creativity and imagination, whether it blurs the line between fantasy and reality or not, much like how a filmmaker creates the world that encompasses a movie. The film moves at a casual pace in its 97 minute run-time, having a look and feel that plays against expectation that feels welcome in a sense. Where one might expect darkness and jargon, one finds a different sort, a weird energy of events and things that has a fine cinematography from Peter Suschitzky (who had done work on films such as The Empire Strikes Back and other previous Cronenberg films such since Dead Ringers in 1988) to go with it. The ending likes to twist itself with a sort of relish for trickery and mystery, and while I'm not the biggest fan of it, I will say it ends the film without turning it into a joke.

The best way to describe the film is to imagine a philosophy lecture with a professor that happens to have goo in its presentation. For a general crowd, it could prove frustrating, particularly if one doesn't have much patience for something that is suited for examination and discussion a bit more different than a usual talk about a general movie. It certainly isn't something like Tron or The Matrix, that's for sure. But if one takes the film and looks under the surface, I think they will find something that is worth the game it wants to play with the mind.

Overall, I give it 7 out of 10 stars.

Warning from Space.

Review #1126: Warning from Space.

Cast: 
Keizô Kawasaki (Dr. Toru Itsobe), Toyomi Karita (Hikari Aozora / Ginko), Bin Yagisawa (No. 2 Pairan), Shôzô Nanbu (The Elder Dr. Itsobe), Bontarô Miake (Dr. Kamura), Mieko Nagai (Taeko Kamura), Kiyoko Hirai (Mrs. Matsuda), and Isao Yamagata (Dr. Matsuda) Directed by Koji Shima.

Review: 
Warning from Space (also known as Uchūjin Tokyo ni arawaru) is a film that is a science fiction tokusatsu (a term to describe a film that uses many special effects) that came after the popularity of Gojira (1954). It is loosely adapted from a novel by Gentaro Nakajima, with the creatures being designed by avant-garde arist Tarō Okamoto, which had a starfish resemblance with one eye. It was produced and distributed by Daiei Film, which produced films such as Rashomon and the Gamera film series prior to its merger with Kadokawa Pictures in 2002. In a decade that brought the first color feature for Japan with Carmen Comes Home (1951), this happens to be the first Japanese color science fiction film. I can't say that this film comes out a winner, but I will give it credit for occasional sparks of imagination. The sequences with the creatures (which contrary to the posters are human scale and not large) certainly lend themselves attention, since they stick out in their own way from usual films with creatures, having a weird but amusing look to them. Any time the aliens are on screen makes the film have some sort of energy and life. Actually, one other sequence is amusing, involving an alien trying to disguise herself as a human, complete with leaping ten feet in the air when playing tennis and materializing wherever she wants.

However, the film likes to focus more on its plot (much like another film that took influence from it - Gorath, released six years later), there is a certain feeling of boredom that levels in due to the resulting scenes not being particularly compelling. The cast don't do a terrible job with what they're given, with Yamagata being a fair standout, although this is more of a movie that strolls to its destinations. Nobody is too particularly over-the-top, not too underplayed, but it's the kind of performances that play to the sci-fi cliches without really giving too much life to the film. Oddly enough, this film has slipped into the public domain, which makes it readily available on the Internet. The version I watched was dubbed in English, which was produced at Titra Sound Studios by Jay H. Cipes and Edward Palmer. If one is curious to view the film, I would advise to try and fine a good quality print, as opposed to prints that have a washed out look (as is the case with some films in the public domain) that hurt the viewing experience since it is in color. The film as a whole has a decent look, but it isn't anything that shines over other sci-fi films of its ilk. However, it, along with other sci-fi films of its time had an influence on Stanley Kubrick, who made 2001: A Space Odyssey twelve years later. On the whole, this isn't a terrible experience, in part because of the effects that shine on occasion. At 87 minutes, it may move a sluggish kind of pace, but it may prove worth it for people looking for something to pass some time with sparks of curiosity.

Overall, I give it 5 out of 10 stars.

Mr. Peabody & Sherman.

Review #1125: Mr. Peabody & Sherman.

Cast: 
Ty Burrell (Mr. Peabody), Max Charles (Sherman), Ariel Winter (Penny Peterson), Stephen Colbert (Paul Peterson), Leslie Mann (Patty Peterson), Allison Janney (Edwina Grunion), Stephen Tobolowsky (Principal Purdy), Stanley Tucci (Leonardo da Vinci), Patrick Warburton (King Agamemnon), Zach Callison (King Tut), Dennis Haysbert (Judge), and Leila Birch (WABAC) Directed by Rob Minkoff (#073 - The Lion King and #746 - The Haunted Mansion)

Review: 
In a world where any kind of show or segment can be adapted into a show, I suppose it only makes sense that this exists. This is an adaptation of "Peabody's Improbable History", created by Ted Key that appeared as a segment on The Adventures of Rocky and Bullwinkle and Friends from 1959 to 1960. It is also the 28th film from Dreamworks Animation, which seems to want to churn out as many products of entertainment as it pleases, which can certainly lead to some interesting things - for better or for worse. The best thing I can say about this film is that it will get the job done in terms of entertainment for its target audience, for better or worse. There is a certain charm that the movie has with its jokes, having an eccentric nature that combines with some engaging animation to carry the movie more often than not. Burrell does a fine job, being fairly clever and interesting to watch while generating a fair share of amusement. Charles does fine, having a spunky boyish nature that plays well with Burrell in the history segments, with the family segments playing off okay. Winter does okay with what she's given, but her character generally comes off as annoying and self-serving, and her chemistry with the other two is more irritating than dynamic; with her first scene (involving her calling Sherman a dog), you'd think she was actually playing an adversary. She lightens up slightly, but not entirely to make a winning trio. The only other person with significant screen-time is Janney, playing a bureaucrat that is an unwanted presence each time she pops up, not generating any sort of laughs, representing the time when the movie slows itself down to try and create conflict. There are three main timelines covered in the film, with a varying consistency that don't plod too much, with the Troy marginally being the best one with its energy, with Warburton helping out in that regard. Nothing says "history lesson" like puns and goofy portrayals of history, reminding me a bit of History of the World, Part I (1981), albeit with attempts to connect the plot together. The story, written by Craig Wright (writer for shows such Six Feet Under) is usually up to task. The time travel story does weave itself a bit complex, but it proves workable without being too cliched. However, the film's problem is its elements besides time travel. Perhaps there wasn't a way to make a film without introducing a third to go with the main duo, but then I remember that Back to the Future (1985) and the Bill and Ted films worked out just fine with weaving its time travel and humor with its duo. The whimsicalness can only go so far when the emotional arc tries to wedge itself in, for better or worse. The climax is okay, but its shoehorned parts about the nature of the duo's relationship (in an attempt to establish "heart", I suppose) border on cringing the audience. When the movie wants to have zany fun and not try to go through the motions of predictability, it is engaging and worth a fine time, making for a solidly average but serviceable movie. At 92 minutes, it won't torture its audience, working as decent fare for families and anybody looking for a decent time to travel with.

Overall, I give it 7 out of 10 stars.

The Beast of Hollow Mountain.

Review #1124: The Beast of Hollow Mountain.

Cast: 
Guy Madison (Jimmy Ryan), Patricia Medina (Sarita), Carlos Rivas (Felipe Sanchez), Eduardo Noriega (Enrique Rios), Julio Villarreal (Don Pedro), Mario Navarro (Panchito), Pascual García Peña (Pancho), and Lupe Carriles (Margarita) Directed by Edward Nassour and Ismael Rodríguez.

Review: 
What can one really say about a movie that combines a Western with dinosaurs? For the first hour, the only thing you can think is surprise that it takes so long to show the beast, and then the last twenty minutes the only thing you can think about is the sheer strange nature of a dinosaur being in a Western and share some sort of joy. Nothing says a good introduction like a faceless narrator telling us about this supposed hollow mountain in a back country that is supposedly evil - spooky, I suppose.  Filmed with an animation process called "Nassour Regiscope", the best parts of the film are obviously near the end with the monster, which certainly appeals to monster lover along with anyone looking for more than the conventional cattle rancher rival story presented for most of its 81 minute run-time. The idea for the film came from Willis O'Brien, who you may remember for his effects work on King Kong (1933) and Mighty Joe Young (1949), among others, although he was not involved with the film besides just giving the idea. This was an co-production between the USA and Mexico, filmed in CinemaScope (combined with stop-motion animation) while having English and Spanish versions filmed simultaneously.

Nobody from the cast generates too much excitement or interest. Madison and Medina fit the mold of conventional people in a movie that would've been just fine for prior decades. This can also apply to the generic adversary played by Noriega or the mildness of the kid played by Navarro. Everybody has a standard feel to them that is incredibly stale when faced with the fact that they dominate our attention for over an hour with barely a hint of a "beast", with the highlight moment to make fun of being a brawl between two characters that comes out of nowhere. Actually, I take that back, the sequence where footage of cattle stampeding is sped up to look more menacing is pretty amusing. The effects for the beast is interesting to look at, in a Saturday morning cartoon kind of way, complete with a large tongue. Four people provided effects work, with Louis DeWitt and Jack Rabin doing photographic effects, while Henry Lyon did model work and Nassour did the stop-motion animation work. The monster doesn't look too imposing in certain shots, and the minimal body count associated with it doesn't make for a particularly riveting experience, but on a basic level there is some enjoyment to be had with a dinosaur stalking a bunch of people. The climax is a bit abrupt, in that it just ends quickly without much closure given to these characters - for better or worse. One has a few options to watching this film - they could watch the film all the way as intended, or they could watch the 2017 riffing by Mystery Science Theater 3000, or they could simply watch the last 20 minutes with the dinosaurs. This isn't a good movie in any sense, but it will provide a basic mode of entertainment if one is in the mood for some junk.

Overall, I give it 5 out of 10 stars.

Legacy of Blood (1971).

Review #1123: Legacy of Blood.

Cast: 
Rodolfo Acosta (Sheriff Dan Garcia), Merry Anders (Laura Dean), Norman Bartold (Tom Drake), Ivy Bethune (Elga), John Carradine (Christopher Dean), Richard Davalos (Johnny Dean), Faith Domergue (Veronica Dean), Buck Kartalian (Igor Garin), Brooke Mills (Leslie Dean), Jeff Morrow (Gregory Dean), John Russell (Frank Mantee), and John Smith (Dr. Carl Isenburg) Directed by Carl Monson.

Review: 
The most interesting thing about this movie is the fact that there isn't one consistent title - there are three. The titles are Legacy of Blood, Blood Legacy, and Will to Die, but I think I will go with the first one, since that one was used for the opening title sequence. It also happened to be featured on Elvira's Movie Macabre with that same title, who I imagine had more fun delivering commentary for a cruddy film like this than I could generate. In any case, this is a movie that is described as a "mystery slasher" - and I put that term in quotation marks because the film is barely a mystery and barely a slasher in any respectable sense. Basked in cliches, the only surprise is how frustrating it operates itself, having minimal gore but maximum tedium. None of the situations or characters presented aren't too particularly interesting. The best thing one can say about the cast is that Carradine is the only one adept at making something watchable - even material boring as this. He's kooky, but he commands attention that the others can't do as well. There isn't anyone to follow with, whether to cheer or hiss at, just a bunch of oddball people who look like they are either doing it for a paycheck or doing it for "the art", whatever that means. Everybody else comes off as stale or not particularly exciting to follow with, unless you count sideburns as something to look at. The body count goes up at a snail's pace while the soap opera type plot serves to irritate its audience, with its best scene being one single shot - a lamp, which relates back to an earlier line about one character's past. How does a movie manage to make a bee sequence come off as boring? Have the setup to said sequence not make much sense. The climax (and its "twist" ending) is like a big joke to its audience, since it comes out of nowhere while bringing itself to a crashing halt - with a last line that breaks the fourth wall that is a sure groaner. Ultimately, this is a dull experience that is more horrible than horror.

Overall, I give it 3 out of 10 stars.

Beerfest.

Review #1122: Beerfest.

Cast: 
Jay Chandrasekhar (Barry Badrinath), Kevin Heffernan (Phil "Landfill" Krundle / Gil "Landfill" Krundle), Steve Lemme (Steve "Fink" Finkelstein), Paul Soter (Jan Wolfhouse), Erik Stolhanske (Todd Wolfhouse / Young Baron Ludwig), Nat Faxon (Rolf), Will Forte (Otto), Ralf Möller (Hammacher), Mo'Nique (Cherry), Eric Christian Olsen (Gunther), Jürgen Prochnow (Baron Wolfgang von Wolfhausen), Cloris Leachman (Great Gam Gam Wolfhouse), Donald Sutherland (Johann von Wolfhaus), Blanchard Ryan (Krista Krundle), and Gunter Schlierkamp (Schlemmer) Directed by Jay Chandrasekhar (#1121 - Super Troopers)

Review: 
Beerfest is the fourth film from Broken Lizard, released two years after Club Dread (2004), with the inspiration for this movie being a chugging contest at a beer garden in Australia that the group had. Admittedly, this is a film that does have the standards of a mediocre sports movie, just piled with a bunch of gags throughout an 110 minute run-time. The main five do manage to create a fair bit of laughs, for the most part. Soter and Stolhanske serve as the leads for the bare story that accompanies the film, each doing okay with what's given. Chandrasekhar carries this character of talented pathetic nature with competence. Heffernan is fairly entertaining at times. Lemme does okay, although some of the gags with him prove a bit too obvious. Leachman provides some warmth for brief but welcome times. The other members of the cast have their moments of amusement, although nothing too particularly greatly funny. The adversaries (highlighted by Forte) do prove serviceable, silly in their toughness that can be appreciated. For me, I felt that while the first third worked fine with its setups, the other parts come off a bit sluggish, with the pacing not working particularly well with what probably could've been a shorter experience. By the time it gets to the climax with its competition, it's more of a stagger than a sprint. The competition is fine, having a fair amount of amusement (and things you'd expect) that make it fairly worth it, I suppose, and it ends neatly enough without being too forced. Thinking back to Super Troopers (which was seven minutes shorter) reminded me that while it wasn't always a consistent film to go with, it seemed to gel better with its gags and pace that seemed a bit less tiring overall. For people looking for something wild and silly, this may prove up your alley well enough, particularly if you are in the right flavor/mood for something like this. For me, I thought it was an okay venture, but it isn't consistent enough to really think of it as a clearheaded winner.

Overall, I give it 6 out of 10 stars.

Super Troopers.

Review #1121: Super Troopers.

Cast: 
Jay Chandrasekhar (Trooper Arcot "Thorny" Ramathorn), Kevin Heffernan (Trooper Rodney "Rod" Farva), Steve Lemme (Trooper MacIntyre "Mac" Womack), Paul Soter (Trooper Jeff Foster), Erik Stolhanske (Trooper Robert "Rabbit" Roto), Brian Cox (Captain John O'Hagen), Marisa Coughlan (Officer Ursula Hanson), Daniel von Bargen (Police Chief Bruce Grady), James Grace (Officer Jim Rando), Michael Weaver (Officer Samuel Smy), and Dan Fey (Officer Jack Burton) Directed by Jay Chandrasekhar.

Review: 
It is interesting to think about a movie such as this and see the nature of its success and upbringing-the byproduct of a comedy troupe known as Broken Lizard. The five man troupe, which stars as the main trooper group for the film, originated at Colgate University in 1989. It is pretty easy to see influence from films such as Animal House, Caddyshack and Police Academy when it comes to the comedy stylings that this film has in its approach - to have a bunch of ridiculous fun. This was the second directed feature from the group, after making Police Cruiser (1996). Super Troopers was their first major release (with a final budget of around $3 million), premiering on January 19, 2001 at the Sundance Film Festival. After its premiere, it was bought by Fox Searchlight Pictures, which distributed a general release the following year, with the film being a minor success, making $20 million at the box office while inspiring a cult following that led to a sequel in 2018. meow

It is easy to see why this has endured as a cult classic in the years that have followed its release - it's a silly movie, but it's one that knows what its going for with its audience and reaches for amusement with skit after skit. Whether involving wordplay, sight gags, or some sort of mix of both, this is something that managed to warm up to me because it was satisfactory with being wacky. There are more hits in it than misses, with some of the gags in particular sticking out pretty well - such as one involving syrup or a word challenge. The plot is thin, but the film will prove to win itself over by having enough payoff while keeping a good sense of humor that doesn't prove distracting. The main five are entertaining to watch together, such as Chandrasekhar and Stolhanske, who each make for good fun people to follow with. Heffernan proves amusing, playing it with obnoxiousness that lends laughs that contrasts pretty neatly with the others - such as his request for a "litre" of cola. Lemme and Soter prove amusing, making for some amusing shenanigans alongside the rest that generate good times. Cox and von Bargen play the authority roles the way you expect, but Cox is a warm one to go along with while von Bargen makes for an amusing adversary. Coughlan rounds out the cast with significant screen-time (aside from a brief cameo from Lynda Carter), and she does stand out in her own way from the antics played with the others, making for a welcome addition. The 103 minute run-time feels fine to sustain itself enough, with the first and last thirds of the movie holding up the best, never riding the waters of annoyance nor being too slow. The film pulls itself into something to like with the charm that it tries to pull with the numerous gags it likes to throw at the audience, and it has a range of success with the fun it tries to have that I can recommend, provided one is in the right mood for it. meow

Overall, I give it 7 out of 10 stars.

History of the World, Part I.

Review #1120: History of the World, Part I.

Cast: 
Mel Brooks (Moses / Comicus / Torquemada / Jacques / King Louis XVI), Dom DeLuise (Emperor Nero), Madeline Kahn (Empress Nympho), Harvey Korman (Count de Monet), Cloris Leachman (Madame Defarge), Ron Carey (Swiftus), Gregory Hines (Josephus), Pamela Stephenson (Mademoiselle Rimbaud), Shecky Greene (Marcus Vindictus), Sid Caesar (Chief Caveman), Mary-Margaret Humes (Miriam), Rudy De Luca (Prehistoric Man / Captain Mucus - The Roman Empire), with Orson Welles (Narrator) Directed by Mel Brooks (#061 - Blazing Saddles, #198 - Spaceballs, #248 - Robin Hood: Men in Tights, #361 - The Producers, #364 - High Anxiety, #623 - Silent Movie, and #655 - Young Frankenstein)

Review: 
History of the World, Part I was the seventh film directed and written by Brooks, with this being an anthology film based around numerous moments in history such as the Stone Age or Rome, making fun of the epics and dramas involving sword and sandals and period costumes. It's easy to say that this is one of his weaker films, particularly when compared to his other parodies such as Blazing Saddles for Westerns or High Anxiety for suspense films. However, this film does have its moments that work despite a disjointed feel in part because of the jokes that get thrown out through its 92 minute run-time. In a sense, it is like a greasy burger (or if you're a vegetarian, a salad I suppose) at a fast-food joint: it's probably not great for you, but it will serve its purpose handy enough and it has some flavor. The film revels in its crude nature and its puns while messing around with the historical situations that it presents, with Welles providing a narration that proves effective each time he is heard on screen. Brooks does a fine job handling himself in playing multiple roles, making each one have their moments of amusement without becoming too much of a caricature. DeLuise has brief time on screen, but he certainly plays off things fine enough. Kahn proves amusing with her expressions and eccentric nature in her third and final collaboration with Brooks. Korman and Leachman also do fine in their brief time on screen. Hines, a dancer-singer in his film debut, does fairly well with his role, eliciting a fine bit of charm. The other actors do fine with what they need to do, with a few cameo appearances from actors such as Bea Arthur and Jackie Mason among others that work out fine. Of the numerous segments of the film, "The Spanish Inquisition" one, involving a song-and-dance number along with stylings of torture devices and aquatic ballet that certainly feels absurd enough for its intent, shines fairly enough. The meat of the movie comes through the segments involving Rome and France, although the former lasts a bit better with its jokes throughout its time. The other segments and bits covered do okay, although the consistency does vary. It is safe to say that this is a movie that can be hit and miss, but it will serve well for anyone in the mindset for something with shades of amusement that won't dull all the senses by the time it is finished.

Overall, I give it 7 out of 10 stars.

Mission: Impossible – Fallout.

Review #1119: Mission: Impossible – Fallout.

Cast:
Tom Cruise (Ethan Hunt), Henry Cavill (August Walker), Ving Rhames (Luther Stickell), Simon Pegg (Benjamin "Benji" Dunn), Rebecca Ferguson (Ilsa Faust), Sean Harris (Solomon Lane), Angela Bassett (Erica Sloane), Michelle Monaghan (Julia Meade), Alec Baldwin (Alan Hunley), Vanessa Kirby (White Widow), Frederick Schmidt (Zola), and Wes Bentley (Patrick) Directed by Christopher McQuarrie (#1117 - Mission: Impossible – Rogue Nation)

Review: 
For a film series that has lasted 22 years and six films, one would wonder if the Mission: Impossible series would ever seem to be slowing down in its execution and quality, and then I realize that Cruise, like the films themselves, seems to be more durable than ever. After all, how can one not be impressed by someone who insists on doing their stunts for a film that showcases a HALO jump and numerous chase sequences to the point where one said sequence led to him breaking his ankle? Stunts aside, this is a film that certainly sticks out from the other installments in the series in more ways than one. For instance, McQuarrie returns to direct and write once again for the series, and he certainly makes a great follow-up to Rogue Nation, amping the stakes and action while not sacrificing the spirit of what makes these engaging films to watch, particularly since each one has improved on the last one since the third one twelve years prior. This one manages to have a story that piles itself with motivations and turns that certainly try to keep up with the action sequences thrown in from time to time, which is helpful for a movie that lasts 147 minutes but never manages to come off as plodding or too long. Some of its beats and motivations with its adversaries may feel a bit obvious before the movie wants to show its hand, but there isn't anything too complicated or insulting to the film's detriment.

The cast all do a fine job with what they are meant to do. Cruise has a talent for enduring as long as he has as an action hero by being adept at his feet along being adept at being incredibly easy to follow, never letting the audience down once. Cavill does a fine job, playing his role with a raw sensibility that has a blunt consistency that plays well against Cruise. It is nice to see Rhames and Pegg again, proving fine character moments once again while serving well with whatever the plot wants to throw with them and not just being put aside. Ferguson proves capable to the task given for her, having a charm and energy to her that zips with everything neatly enough. Harris (the first recurring villain in the series) manages to still have a menace to his performance that works enough for the time given without feeling stale. Monaghan does fine with her time on screen, being interesting to see again. Bassett and Baldwin make for capable authority figures in their own ways. Kirby is fairly refreshing with her brief moments with Cruise, having a casual but crucial nature that is sold well. The film has a good deal of intensity with its suspense while trying to not cheat its audience with computer trickery while not going overboard too much. The action can be brutal at times, but there is never a point where the lines become blurred or too unsettling to enjoy, confident in what it shows without risk. The best action sequence is the climax, involving helicopters that certainly has a good deal of air to it, being the peak of excitement. Ultimately, I found this to be an enjoyable piece of entertainment with enough action and charm that one can expect from the series that sets the bar as high as it has ever been for the franchise but also likely for action films as a whole. It is a thrill ride from start to finish that accomplishes everything it sets out to do for its audience and more that I think makes it the best Mission: Impossible film yet.

Overall, I give it 9 out of 10 stars.

Thunderbirds Are Go.

Review #1118: Thunderbirds Are Go.

Cast: 
Sylvia Anderson (Lady Penelope Creighton-Ward), Ray Barrett (John Tracy / The Hood), Alexander Davion (Space Captain Greg Martin), Peter Dyneley (Jeff Tracy), Christine Finn (Tin-Tin Kyrano), David Graham (Gordon Tracy / Brains / Parker), Paul Maxwell (Captain Paul Travers), Neil McCallum (Dr. Ray Pierce), Bob Monkhouse (Space Navigator Brad Newman / Swinging Star Compere), Shane Rimmer (Scott Tracy), Bud Tingwell (Dr. Tony Grant / Angry Young Man / Public Relations Officer), Jeremy Wilkin (Virgil Tracy / Space Exploration Center President), and Matt Zimmerman (Alan Tracy / Messenger), with Cliff Richard and The Shadows (Themselves) Directed by David Lane (#512 - Thunderbird 6)

Review: 
Nearly five years ago, I encountered Thunderbird 6, the second of two movies based on the series. At the time, I did the film on a lark - with strange results. Needless to say, it was not a film that I had too much enjoyment with, although finding it at a store for $1.86 made it somewhat worth it. I never thought I would encounter Thunderbirds Are Go, the first film based on the series - and yet here we are, so I am obligated to close the loop, even if my experience with the show is nonexistent. Hopefully this review will still prove satisfactory to the standards I try to hold regardless of such fact.

Thunderbirds was a British science-fiction series created by Gerry and Sylvia Anderson that went from 1964 to 1966, with 32 episodes produced and distributed by ITC Entertainment during that span, each lasting 50 minutes. It was made in Supermarionation, which is a blend of the words "super", "marionette" and "animation", with this process having been used before by the Andersons in prior shows such as Four Feather Falls (1960) and used in later shows such as Captain Scarlet and the Mysterons (1967). This film was released on December 12, 1966, thirteen days before the last episode of the series; the show ended production due to attempts at selling the show for American networks by show financier Lew Grade failing, which meant that the second series had only aired six episodes by its end, in contrast to the 26 aired in the first series. In any case, both films made off the show were not financial successes, although I can't say that either film is too terrible to watch. I also will say that neither are particularly "good" films, but I can see the appeal.

Perhaps it is my unfamiliarity with the show that hinders my ability to view the movie through its lens, but it's not like I had that problem with other films based off television shows such as the Star Trek films or Maverick (1994). Perhaps this material works best as a show than a movie. The special effects pieces are done under the supervision of Derek Meddings, who would later do special effects work on films such as the first three Superman films and numerous James Bond films such as Live and Let Die. The effects are certainly interesting to look at times, with the destruction moments holding up for the most part. While I can appreciate the ingenuity it takes to make everything work at times, I feel that the movie suffers from pacing and inconsistency in excitement. The dialogue isn't terrible by any means, but it feels very standard and not as inviting as you would probably expect for an adventure like this, having a dryness that never really kicks into full gear. The actors do fine in delivering the expository nature of the dialogue, but no one besides Anderson really stands out. She has a fair bit of charm to her that sticks out fairly well any time she is on screen. The movie lingers between mild feelings of excitement and boredom, with the strangest moment being a dream sequence involving Cliff Richard and The Shadows. It's a ridiculous moment that is too silly to work on any level, but it sure inspires laughs even if it has no real importance. The film runs at 93 minutes, but the pacing can make it feel longer, particularly when focusing on model sequences. The climax is fine for what it is, and there isn't anything that will prove terrible for kids, but on the whole I can't say that this is something that works for me. It has a look that is fine at times, but it can't quite fulfill all of its expectations.

Overall, I give it 6 out of 10 stars.

Mission: Impossible – Rogue Nation.

Review #1117: Mission: Impossible – Rogue Nation.

Cast: 
Tom Cruise (Ethan Hunt), Simon Pegg (Benjamin "Benji" Dunn), Jeremy Renner (William Brandt), Rebecca Ferguson (Ilsa Faust), Alec Baldwin (Alan Hunley), Sean Harris (Solomon Lane), Ving Rhames (Luther Stickell), Simon McBurney (Atlee), Tom Hollander (Prime Minister of the United Kingdom), Zhang Jingchu (Lauren), and Jens Hultén (Janik "The Bone Doctor" Vinter) Directed by Christopher McQuarrie.

Review: 
Mission: Impossible – Rogue Nation manages to capture the essence of its main hero with a line that also best fits the franchise in that it is the living manifestation of destiny. It is the destiny of these films to persist in being made after two decades with a consistency and execution that makes for a excellent piece of entertainment. Once again, a new director is at the helm for the fifth film with McQuarrie, whose previous credits include the Academy Award winning screenplay for The Usual Suspects (1995) along with un-credited re-write work on the previous film. It's not hard to say that this is a brilliantly made popcorn flick, filled with setups and sequences that certainly linger on the eyes for the film's benefit. Nothing does this better than the opening involving the plane, with Cruise hanging off a plane in a field, which is certainly an energetic thing to view just as much (if not a bit better) than the Burj Khalifa tower sequence from the previous one. Cruise seems as resilient as ever to be engaging to watch on screen, whether dealing with the plot or trying to keep up with the action (and acting accordingly), being as calmly collected as ever. It is nice to see Pegg once again, having a spunky energy that certainly clicks well when the movie requires it, and the climax uses him to helpful effect. Renner handles himself pretty well for the times needed. However, it is Ferguson who helps steal the show, proving capable in the action scenes while being interesting to follow throughout, particularly when interacting with Cruise. Baldwin does fine with his time on screen, as is the case with Rhames. Harris does a pretty good job as the villain, having a fair amount of menace to him that works handily enough. The film builds itself on its action sequences while sprinkling in its plot without being ineffective in delivering something solid worth watching. It isn't the strongest spy flick by any means, but it won't overstay its welcome at 131 minutes. The climax is fairly satisfying, not degrading itself into too many annoying action cliche, ending itself handily enough. I enjoyed the movie for delivering what it promised - an exciting action piece with a few clever parts and some handy standouts, most of all being Cruise, who certainly has stayed consistent with this franchise in its run over these films. This will work well for anybody who has enjoyed these films or enjoys seeing some fine action and stunts sequences.

Overall, I give it 8 out of 10 stars.

Weird Science.

Review #1116: Weird Science.

Cast: 
Anthony Michael Hall (Gary Wallace), Ilan Mitchell-Smith (Wyatt Donnelly), Kelly LeBrock (Lisa), Bill Paxton (Chet Donnelly), Robert Downey Jr. (Ian), Robert Rusler (Max), Suzanne Snyder (Deb), Judie Aronson (Hilly), Vernon Wells (Lord General), Britt Leach (Al Wallace), and Barbara Lang (Lucy Wallace) Directed by John Hughes (#046 - The Breakfast Club, #207 - Ferris Bueller's Day Off, #249 - Sixteen Candles, #643 - Uncle Buck, and #879 - Planes, Trains and Automobiles)

Review: 
Weird Science was the third film directed by John Hughes, along with the eighth that he wrote (which he reportedly did in two days), released nearly five months after The Breakfast Club on August 2, 1985. The title comes from the anthology comic book series of the same name published by William Gaines and edited by Al Feldstein that was part of EC Comics, for which producer Joel Silver had acquired the film rights to earlier in the decade; the plot is loosely based off the story "Made of the Future" from Feldstein. The film would also inspire a show of the same name that lasted from 1994 to 1998, although certainly the most enduring aspect from the film in the decades that followed is the title song from Oingo Boingo, written by Danny Elfman. In any case, it isn't hard to say that this isn't as good as other Hughes efforts, but there is still an element of fun to be had here, even with something as weirdly built as this. This is a goofy movie through and through, with a silly premise straight out of science fiction, while also being a teenage comedy that will likely hit the mark just enough for its audience target that doesn't take itself too seriously. Hall makes for a fairly likable lead to follow, having the type of timing and wide expressions that you might expect that certainly click at times. Mitchell-Smith does okay, playing the shy wiz kid type that certainly take a bit of time to get used to - but he gets some laughs eventually. LeBrock (a model turned actress in her second feature role after The Woman in Red the previous year) does pretty well, having charm and wit that makes her interesting to watch in getting some laughs and joy that plays well to the movie's advantage. Paxton proves to be a highlight, playing the obnoxious heel with relish and conviction that proves efficient. Downey Jr and Rusler have brief moments on screen, but they do their part well, which could apply to the other castmates, such as Wells and his biker role reminiscent of the one from his part in Mad Max 2. The film, in its 94 minute run-time, manages to play itself neatly with trying to balance its characters with wish-fulfilling and a few choice special effects - some of which work and some of it feeling a bit dated. It isn't too hard to see why it can apply as a cult classic, but it certainly can be a bit of dilemma to wonder if the film really does work. On its own level and terms, that may prove true for people in the right mood for it, proving to be fair entertainment for ones who want to seek it out.

Overall, I give it 7 out of 10 stars.