MCKillswitch123
-
Posts
8,602 -
Joined
-
Last visited
-
Days Won
1
Content Type
Profiles
Forums
Events
Blogs
Gallery
Annual Subscriptions
Media Demo
Posts posted by MCKillswitch123
-
-
Y10 Organized Schedule
SpoilerJanuary 2nd
Sony vs. Nintendo - Documentary - dir. Lisanne Pajot and James Swirsky - PG-13 - $10m budget - 2,701 theaters
January 9th
Puckshot - Sports/Dramedy - dir. Charles Stone III - PG-13 - $18m budget - 2,879 theaters
The Scavenger Wars: Remastered - Re-release/Sci-Fi/Epic - dir. Matt & Ross Duffer - PG-13 - $5m budget (original budget of $225m) - 3,200 theaters
January 16th (MLK 4-day weekend)
Money Heist - Heist/Thriller - dir. Steven Spielberg - PG-13 - $100m budget - 3,877 theaters - In IMAX / PLF's
Tailypo - Folk Horror - dir. Alexandre Aja - R - $10m budget - 3,402 theaters
January 23rd
Toppings: A Pizza Romance - Coming-of-Age/Romance - dir. Sam Levinson - PG-13 - $30m budget - 2,727 theaters
January 30th
Operation Finality - Sci-Fi/Horror - dir. Leigh Whannell - R - $80m budget - 3,340 theaters - In IMAX / PLF's
February 6th
Viva Las Vengeance: The Cinematic Experience - Concert Film - dir. Bruce Hendricks - PG-13 - $12m budget - 2,450 theaters
February 13th
The Valkyries vs. The Galaxy - Computer Animation/Sci-Fi/Jukebox Musical/Comedy - dir. Ian Jones-Quartery and Jennifer Kluska - PG - $140m budget - 4,062 budget - In IMAX / PLF's
Room 131 - Psychological Thriller - dir. Tate Taylor - R - $12m budget - 2,768 theaters
February 20th
The Legend of Hollis Brown - Neo-Western/Drama/Romance - dir. Clint Eastwood - R - $20m budget - 3,180 theaters
February 27th
A Ghost Tail - Family/Dramedy - dir. Marielle Heller - PG-13 - $10m budget - 3,235 theaters
March 6th
Speed Demon - Thriller/Supervillain - dir. David Yarovesky - R - $17m budget - 3,455 theaters
March 13th
Klonoa: Door to Phantomile - Animation - dir. Angus McClane - PG - $150m budget - 4,008 theaters - In IMAX / PLF's
March 20th
Gran Turismo 2 - Sports - dir. Jamie Babbit - PG-13 - $60m budget - 3,267 theaters
March 27th
Lions and Dragons - Animation/Fantasy - dir. Troy Quane and Nick Bruno - PG - $100m budget - 3,623 theaters
April 1st (Wednesday before Easter)
Father vs. Son - Action/Thriller - dir. Antoine Fuqua - R - $70m budget - In IMAX / PLF's
April 3rd (Easter Weekend)
Cruis'n World - Sports - dir. Sebastian Schipper - PG-13 - $60m budget - 3,500 theaters
April 10th
The Enormous Radio - Drama/Fantasy/Romance - dir. Christina Choe - PG-13 - $45m budget - 3,321 theaters
April 17th
Penpal - Coming-of-Age/Horror/Mystery/Thriller - dir. David Robert Mitchell - R - $25m budget - 3,310 theaters
April 24th
Stallions - Nature Documentary - dir. Drew Fellman - G - $5m budget - 2,450 theaters
May 1st
Grand Theft Auto: San Andreas - Action/Thriller/Crime - dir. Adil El Arbi and Bilall Fallah - R - $75m budget - 4,002 theaters - In IMAX / PLF's
May 8th
Time After Time - Sci-Fi/Romance/Thriller - dir. Tom Harper - PG-13 - $50m budget - 3,658 theaters
May 15th
Doraemon - Family/Comedy/Drama - dir. Karyn Kusama - PG - $80m budget - 3,478 theaters
May 22nd (Memorial Day Weekend)
The Set-Up - Romantic Dramedy - dir. Claire Scanlon - PG-13 - $17.5m budget - 3,475 theaters
DC’s The Siege of Savage - Superhero - dir. Jeff Fowler - PG-13 - $275m budget - 4,430 theaters - In IMAX / PLF's
May 29th
12 Angry Veggies: A VeggieTales Movie - Faith-Based/Animation - dir. Phil Vischer and Mike Nawrocki - PG - $5m budget - 1,985 theaters
June 5th
Old Men Walking - Action/Comedy/Western - dir. Chris Columbus - PG-13 - $40m budget - 3,280 theaters
June 12th
Flesh - Sci-Fi/Action/Animation - dir. Harold Kingsley - R - $25m budget - 3,260 theaters
LittleBigPlanet - Animation/Fantasy/Adventure - dir. Erica Milsom - PG - $120m budget - 4,010 theaters
June 19th
Berserk: The Golden Age - Animated Epic Medieval Fantasy - dir. Zack Snyder - R - $235m budget - 4,280 theaters - In IMAX / PLF's
June 26th
The Secrets That Love Brings - Melodrama/Romance - dir. Castille Landon - PG-13 - $15m budget - 3,078 theaters
July 1st
Ping - CGI Animation - dir. Cal Brunker - PG - $80m budget - 3,830 theaters
July 3rd (July 4th weekend)
51 - Found Footage - dir. Jonathan Liebesman - R - $5m budget - 3,218 theaters
Freedom Day - Horror/Thriller/Sci-Fi - dir. Levan Gabriadze - PG-13 - $3m budget - 2,879 theaters
Second Dimension: Battle for North Kingdom - Fantasy/Action - dir. Chloé Zhao - PG-13 - $180m budget - 4,000 theaters - In IMAX / PLF's
July 10th
The Furby Movie - Animation/Comedy/Adventure - dir. Chris Wedge - G - $45m budget - 3,665 theaters
July 17th
Lifeguards - Romantic Comedy - dir. Peter Billingsley - R - $25m budget - 3,204 theaters
The Lottery - Drama/Thriller - dir. Sarah Polley - R - $25m budget - 3,270 theaters
July 24th
Green Lantern Corps: Evolution - Superhero/Sci-Fi/Epic - dir. Christopher McQuarrie - PG-13 - $275 million budget - 4,405 theaters - In IMAX / PLF's
July 31st
Wii Sports Resort: Vacation on Wuhu Island - Family/Comedy - dir. B.J. Novak - PG - $50m budget - 3,125 theaters
August 7th
Tornado - Action/Disaster - dir. Ric Roman Waugh - PG-13 - $100m budget - 3,451 theaters
August 14th
Tatiana's Journey - Live-Action & Animation Hybrid/Sci-Fi/Action/Comedy/Romance - dir. Mike Owens and Shadi Petosky - PG - $175m budget - 4,002 theaters - In IMAX / PLF's
A Walk in the London Rain (Limited Release) - Drama - dir. Emma Seligman - R - $20m budget - 4 theaters
August 21st
Six Souls - Horror/Supernatural - dir. Bryce McGuire - R - $5m budget - 2,875 theaters
A Walk in the London Rain (Limited Expansion #1) - Drama - dir. Emma Seligman - R - $20m budget - 10 theaters
August 28th
Burnout Revenge - Action - dir. Robert Rodriguez - PG-13 - $42m budget - 3,119 theaters
Coyotes Wild - Nature Documentary - dir. Mark Linfeld - G - $5m budget - 2,450 theaters
A Walk in the London Rain (Limited Expansion #2) - Drama - dir. Emma Seligman - R - $20m budget - 300 theaters
September 4th (Labor Day weekend)
Providence - Sci-Fi/Thriller - dir. James Wan - R - $100m budget - 3,761 theaters - In IMAX / PLF's
Smile - Animation/Coming-of-Age/Teen Comedy - dir. Kirsten Lester - PG - $80m budget - 3,574 theaters
A Walk in the London Rain (Wide Release) - Drama - dir. Emma Seligman - R - $20m budget - 1,130 theaters
September 11th
9/11: Never Forget - Documentary - dir. Keith Maitland - PG-13 - $10m budget - 2,506 theaters
Adam & Cindy ft. Cersei, in: Guinea Piggest - Comedy - dir. Barry Sonnenfeld - PG - $7.5m budget - 3,009 theaters
A Walk in the London Rain (Wide Expansion) - Drama - dir. Emma Seligman - R - $20m budget - 2,342 theaters
September 18th
Fishergirls - Fantasy/Animation - dir. Chris Wayan - R - $15m budget - 3,207 theaters
September 25th
Kris' Plan - Sci-Fi/Drama/Thriller - dir. Hanelle Culpepper - PG-13 - $80m budget - 3,560 theaters - In IMAX
Sweet Tooth - Horror - dir. Adam Robitel - R - $10m budget - 2,785 theaters
October 2nd
Pac-Man - Comedy - dir. Gil Kenan - PG - $30m budget - 3,215 theaters
Paranormal lamronaraP (Limited Release) - Supernatural Horror/Suspense - dir. Scott Derrickson - R - $10m budget - 5 theaters
October 9th
The Boy with the Green Eyes - Thriller/Musical/Dark Comedy - dir. Zach Creggers - R - $20m budget - 3,023 theaters
Monster Farm - Comedy/Animation - dir. Henry Midas - G - $30m budget - 3,337 theaters
Paranormal lamronaraP (Limited Expansion) - Supernatural Horror/Suspense - dir. Scott Derrickson - R - $10m budget - 82 theaters
October 16th
The Elevator - Horror/Thriller - dir. Scott Derrickson - R - $18m budget - 2,986 theaters - In IMAX / PLF's
Mouse Hunt - Documentary - dir. John-Paul Davidson - PG-13 - $10m budget - 2,423 theaters
Paranormal lamronaraP (Limited Expansion #2) - Supernatural Horror/Suspense - dir. Scott Derrickson - R - $10m budget - 495 theaters
October 23rd
Hilda and the Midnight Giant: Remastered - Re-release/Animation/Dark Fantasy - dir. Patrick McHale & Dana Terrace - PG - $5m budget (original budget of $130m) - 3,000 theaters
Paranormal lamronaraP (Wide Release) - Supernatural Horror/Suspense - dir. Scott Derrickson - R - $10m budget - 1,189 theaters
Red Flag - Sports/Documentary - dir. Jason Hehir - R - N/A budget - 2,500 theaters
October 30th
Life Picture - Drama - dir. Lila Neugebauer - R - $20m budget - 2,975 theaters
Paranormal lamronaraP (Wide Expansion) - Supernatural Horror/Suspense - dir. Scott Derrickson - R - $10m budget - 3,150 theaters
November 6th
MBWII: The Second Monster Bug Wars - Action/Thriller/Horror/Sci-Fi - dir. Beth McCarthy-Miller - PG-13 - $100m budget - 3,672 theaters - In IMAX / PLF's
The Second Water War - Family Comedy - dir. David Bowers - PG - $35m budget - 3,201 theaters
Soil (Limited Release) - Drama - dir. Charlotte Wells - R - $8m budget - 5 theaters
The Unseen - Drama - dir. Jayro Bustamante - R - $10m budget - 2,457 theaters
November 13th
3 Hearts 3 Fires - Action/Thriller/Romance - dir. Natália Grimberg - PG-13 - $25m budget - 3,101 theaters
For Queen and Country - Documentary - dir. Louis Theroux - PG - N/A budget - 2,000 theaters
Let's Eat Dad (Limited Release) - Black Dramedy - dir. Taika Waititi - R - $15m budget - 20 theaters
Soil (Limited Expansion) - Drama - dir. Charlotte Wells - R - $8m budget - 20 theaters
November 20th
King of Kings - Historical Epic - dir. Matt Shakman - PG-13 - $175m budget - 3,967 theaters - In IMAX / PLF's
Let's Eat Dad (Limited Expansion) - Black Dramedy - dir. Taika Waititi - R - $15m budget - 450 theaters
More Than Just a Residency - Concert Documentary - dir. Sam Wrench - PG-13 - $15m budget - 3,077 theaters
The Quest for Buster’s Bones - Animation/Comedy - dir. Steve Moore - PG - $25m budget - 3,256 theaters
Soil (Limited Expansion #2) - Drama - dir. Charlotte Wells - R - $8m budget - 400 theaters
November 25th (5 Day Thanksgiving)
Cloud Cuckoo Land - Sci-Fi/Drama/Epic - dir. Ridley Scott - PG-13 - $200m budget - 3,893 theaters - In IMAX / PLF's
Let's Eat Dad (Wide Release) - Black Dramedy - dir. Taika Waititi - R - $15m budget - 2,785 theaters
Soil (Wide Release) - Drama - dir. Charlotte Wells - R - $8m budget - 800 theaters
November 27th
Meme Run - Comedy/Adventure - dir. Andy Fickman - PG-13 - $10m budget - 2,857 theaters
December 4th
My Winter Retreat - Horror/Supernatural - dir. Rob Zombie - R - $10m budget - 2,831 theaters
Soil (Wide Expansion) - Drama - dir. Charlotte Wells - R - $8m budget - 1,600 theaters
SSX Tricky - Action/Sports - dir. Aaron and Adam Nee - PG-13 - $100m budget - 4,253 theaters
December 11th
Happy Together - Romance/Thriller - dir. Adrian Lyne - R - $45m budget - 3,021 theaters
Soil (Wide Expansion #2) - Drama - dir. Charlotte Wells - R - $8m budget - 3,028 theaters
December 18th
Gateways: The Empire of Zenith - Animation/Sci-Fi Fantasy/Adventure - dir. Jennifer Yuh Nelson and Adam Muto - PG - $250m budget - 4,238 theaters - In IMAX / PLF's
December 23rd (5 Day Christmas weekend)
Hidden Blood - Romance/Dramedy/Thriller - dir. Meera Menon - PG-13 - $25m budget - 3,191 theaters
The Library of Babel - Sci-Fi/Drama - dir. David Semel - PG-13 - $50m budget - 3,110 theaters
December 25th
Floodbath: The Play - Filmed Play - dir. Darragh Carey and Bertrand Desrochers - PG-13 - $10m budget - 2,981 theaters
Maniac Magee - Coming-of-Age Dramedy - dir. Robert Zemeckis - PG - $120m budget - 3,822 theaters
-
1
-
1
-
-
Updated as of December 28th, 2023!
Keynotes:
- Saw X has been bumped off the Top 100 DOM OW's list;
- the opening weekend of Seberg and the second weekend of Poor Things have been bumped off the Top 100 DOM PTA's list;
- Shazam! Fury of the Gods and The Boss Baby 2: Family Business have been bumped off the Top 100 DOM list;
- the Chinese films Sister and Warm Hug have been bumped off the Top 100 OS list;
- Insidious: The Red Door has been bumped off the Top 100 WW list.
-
2
-
As I got on the elevator, the man getting off whispered something strange to me.
by u/WorldAwayTweedy, on r/NoSleep
-
-
January
Sony vs. Nintendo - $8m OW / $25m DOM / $40m WW
Puckshot - $14m OW / $35m DOM / $40m WW
The Scavenger Wars: Remastered - $8.1m OW / $17m DOM / $21m WW
Money Heist - $36.1m 3-day OW / $42.5m 4-day OW / $110.1m DOM / $320m WW
Tailypo - $27.2m 3-day OW / $34.8m 4-day OW / $89.1m DOM / $155m WW
Toppings: A Pizza Romance - $7.4m OW / $19.3m DOM / $25m WW
Operation Finality - $44.8m OW / $153.2m DOM / $357m WW
February
Viva Las Vengeance: The Cinematic Experience - $5m OW / $9m DOM / $11m WW
Room 131 - $17.1m 3-day OW / $24.3m 4-day OW / $52.1m DOM / $82m WW
The Valkyries vs. the Galaxy - $54.5m 3-day OW / $70m 4-day OW / $204.4m DOM / $567m WW
The Legend of Hollis Brown - $19m OW / $67m DOM / $96m WW
A Ghost Tail - $9.1m OW / $26.7m DOM / $39m WW
March
Speed Demon - $16.3m OW / $41m DOM / $72m WW
Klonoa: Door to Phantomile - $32.1m OW / $113m DOM / $334m WW
Gran Turismo 2 - $26m OW / $70.2m DOM / $181m WW
Lions and Dragons - $18m OW / $65.2m DOM / $94m WW
April
Father vs. Son - $32.8m 3-day OW / $38.9m 4-day OW / $121m DOM / $210m WW
Cruis'n World - $28.3m 3-day OW / $35.8m 4-day OW / $86.2m DOM / $204m WW
The Enormous Radio - $19.4m OW / $67m DOM / $134m WW
Penpal - $25.5m OW / $98.5m DOM / $168m WW
Stallions - $6m OW / $17m DOM / $27m WW
May
Grand Theft Auto: San Andreas - $61.8m OW / $158.8m DOM / $366m WW
Time After Time - $18m OW / $52m DOM / $84m WW
Doraemon - $28m OW / $88.2m DOM / $224m WW
The Set-Up - $21.5m 3-day OW / $37m 5-day OW / $90.3m DOM / $182m WW
The Siege of Savage - $111.7m 3-day OW OW / $135m 5-day OW / $317.4m DOM / $820m WW
12 Angry Veggies: A VeggieTales Movie - $11m OW / $28m DOM / $32m WW
June
Old Men Walking - $21.9m OW / $66.3m DOM / $153m WW
Flesh - $18.6m OW / $59m DOM / $105m WW
LittleBigPlanet - $26.1m OW / $92.9m DOM / $193.2m WW
Berserk: The Golden Age - $95m OW / $247.1m DOM / $625m WW
The Secrets That Love Brings - $6.9m OW / $14m WW / $30.3m WW
-
3
-
-
JUNE
Flesh
dir. Harold Kingsley
SpoilerFlesh continues Fossil Record/The Workshop, Inc.’s tradition of hiring fictional voice actors and directors to make their movies. While it is commendable to try to hire workers who are not particularly established, especially in the world of voice acting and animation, this makes an absolute hassle out of trying to read these films, as attempting to let the film play out in your head can be sort of pointless with people who don’t even exist and have no known usable traits (mainly in the actors’ case). I’d encourage El Squibbonator to please stop doing this.
As for the film, it definitely benefits from some badass worldbuilding, where modern day mass hunting and industrial farming/slaughtering has been adapted by time travelers opting for dinosaur meat (even if the logic supporting its world is questionable, but, eh, I just went with it). But the story, even though not bad per se, is rather slight, amounting basically to a cat-and-mouse chase between our lead characters and the antagonists. There are still some semblance of character arcs, making it a passable story, but it’s not much, leaving the film’s worldbuilding, atmosphere and graphic kills to really do the heavy lifting. As such, it’s a decent watch, but nothing to really write home about. (And, though this is not Fossil Record’s fault as they had already scheduled the film for early June, the rescheduling of Lager’s Berserk for one week after the release of this is definitely gonna hurt its box office prospects.
2.5/5
Berserk: The Golden Age
dir. Zack Snyder
SpoilerLager PIctures’ landmark film of the year, a harrowing vision from the mind of our favorite visionary (jokes aside, Snyder is at the very least an interesting director, and only him could really come up with a film like this), brings forth an adaptation of a Kentaro Miura manga/anime and promises to be one of the biggest scale blockbusters of the year.
Berserk: The Golden Age, an animated film about a young mercenary who is recruited by a charismatic fighter to join his band in the midst of a century-long war of nations, dives into some brutally visceral themes, exploring notions such as friendship, comradery, survival, child abuse and the meaning of having, or not having, a purpose in a post-traumatic world. Guts, the lead character (voiced by Dacre Montgomery), is a sympathetic protagonist, driven by the stubborn wish to live for the sake of living, in an unforgiving world where he was deemed undesirable. As he struggles with the devastation of his upbringing, and living through fine on the notion that he just wants to survive, his world changes when he meets this band of ragtags led by a fascinating, charming character driven by a heavy ambition, which starts making him question whether or not he should seek a greater purpose. It’s the characters’ interactions and the dilemmas they carry internally that makes Berserk an instantly memorable film, telling a story with thought-provoking concepts while retaining the relative structural simplicity of a blockbuster. The ensemble voice cast is uniformly strong - though, beside Montgomery’s lead performance, Sophia Wilde stands out as an immediate highlight, as her character Casca gets one of the most thorough arcs of the film; while Dave Bautista nearly steals the show in his supporting villain role - but really, everyone is great. The dark 2D/3D Spider-Verse-style animation fits greatly with the tone of this manga adaptation, which does not shy away from unflinching visuals (seriously, people are graphically split and gutted by swords and weapons-alike in this film from beginning to end lol) and even more unflinching thematic content (not recommended/potentially triggering for people sensitive to sexual abuse-related content, i.e.).
If there are some complaints to be had about Berserk, I guess I’d start off with the structure of the film overall. Personally, I wasn’t overly bothered by this, but I will say that, after a certain point, the film starts cutting back often between flashbacks and the present day storyline, which, a bit into it, really did start feeling as if the pace of the film was taking a hit. The storylines all do pay off meaningfully, but you gotta wonder if some people will be more prone to be irked by the film’s pacing. Speaking of storylines, while as a whole the film concludes its primary arcs satisfyingly, some of the looser threads left by the film’s final moments (won’t spoil directly, but the film definitely leaves some elements to be explored for a potential sequel) nagged me a little, and dare I even say felt somewhat anticlimactic, especially one such element involving three characters that felt a bit of a disservice to the overall point of one of its characters in particular. And as for what might be an elephant in the room for some people, the three hour-length? Personally, I think the film was (mostly) solidly structured and streamlined, which made the film breezy enough for its massive duration (ergo, its near-60k word count, 150+ pages, practically a novel-sized read lol), but again, your mileage may vary. Otherwise, again, it’s not a film I’d recommend for people who are sensitive to its incredibly mature content, which in of itself raises questions for its commercial viability as a big budget film.
But as a whole, I walked out fairly satisfied with Berserk. It’s surely trying to build a franchise and suffers from some slightly pasty structuring, but with its layered characters, powerful themes, magnetic visuals (seriously, *gorgeous* film to look at), insanely well made action sequences, uniformly terrific voice cast and mostly satisfying pacing (on top of a really neat soundtrack), The Golden Age is the kind of blockbuster that definitely takes risks, but the gamble was worth it in the end. Bound to be one of the most talked-about films of the year.
Honestly, I struggled with the rating here. In the perfect world, it’d be a 3.75/5, but since this is not the thing in Letterboxd ratings (I only do LBXD ratings, shut up) and because 3.75/5 rounds to a higher number, the rating will be a 4/5
-
1
-
-
Updated as of December 20th, 2023!
Keynotes:
- Jujutsu Kaisen 0 has been bumped off the Top 100 DOM OW list;
- the opening weekends of Kokomo City, Eileen and Close have been bumped off the Top 100 DOM PTA's list;
- The Addams Family 2 was bumped off the Top 100 DOM list;
- the Chinese film Under the Light was bumped off the Top 100 WW list.
-
2
-
MAY
Time After Time
dir. Tom Harper
SpoilerBased on the novel of the same name, as well as a remake of the also homonymous 1979 film (I have no attachment to either, so this is a fresh take), this sci-fi adventure is a fun, light and rollicking romp across modern history, tying into H.G. Wells’ life and achievements appropriately, while retaining a sharp critical view of the world since the 20th century, calling out the dehumanization of capitalist society that has been a trend in modern times. The romance rides a slight edge of weirdness at first, but it pays off in a nice-meaning way, so it’s fine; and the cast gives a fun turn here, with Hoult and Smith playing nicely off of each other. I’d say my only real gripe here is probably the McDonald’s/Sprite product placement (lmfao), but even then, I understand what the film is trying to do there, so it could be worse. This is a very fun, thrilling adventure, fitting for the Summer season. Nice stuff.
3/5
The Set-Up
dir. Claire Scanlon
SpoilerCookie Pictures subsidiary Nicely Packaged Films distributes this rom-com from Strangers in the Town director Claire Scanlon, reuniting the To All the Boys I Loved duo of Condor and Centineo once more (I’ve never seen any of those films, ftr lol). For what this is, a teen coming-of-age rom-com, it’s a sweet, charming and light film, with a heartfelt script and a charismatic central pair with plenty of chemistry. Perhaps The Set-Up’s best asset, beside Condor and Centineo themselves, is indeed Scanlon’s vision to turn the usual genre tropes upside down and try to give an interesting little spin on the formula, which ends up exploring whether or not some connections should go the extra mile, and what really does love mean in high school. It’s not a huge home-run of a film, but it’s a romantic comedy with genuine effort that succeeds at its job, and for that, it earns praise, especially as a Summer flick.
3/5
The Siege of Savage
or, DC's The Siege of Savage
dir. Jeff Fowler
SpoilerWith Sonic director Jeff Fowler at the helm, this massive Endless DC Universe crossover event is one of the biggest blockbusters of the Summer, for sure. Quite honestly, the novelty of seeing a huge ensemble of superheroes together has more than worn out a long time ago - but, thankfully, The Siege of Savage breaks through the defects of its formulaic issues and makes for an overall fun superhero movie. Its best element is how it manages to consistently give some of its characters a clear, shining spotlight, with solid character arcs that actually make me more interested in a follow-up to their own stories than their actual previous standalone films did - this is most evident in the case of the Martian characters (I remember not being too high on Martian Manhunter originally, though I believe if I rewatched it, I’d find it okay, I suppose), and the Green Arrow characters (except, ironically enough, Green Arrow himself, who’s kept mostly in the leader role, but nothing too out there). Lyric Ross’ M’gnn and Lana Condor’s Arsenal stand out as evident highlights, getting plenty of the film’s meatier storytelling, and they carry their presence with grace. Some of the other superheroes are relatively underdeveloped, but the film does still give them *something* to do, including some fan-pleasing action sequences that are well directed and genuinely entertaining.
As for Benicio Del Toro’s Savage, well, it’s BDT hamming it all the way up to 11 in a really stupid DC premise, so it’s at least a sight to watch. He’s far from the most interesting supervillain, but he’s adequate enough as a foil for the hero ensemble. The film doesn’t really do anything unexpected or out there (it follows the same type of structure and keymarks as any other superhero film), but it succeeds at getting you attached with the characters it best focuses on and makes for a satisfying watch. It ain’t as fresh as The Avengers was, nor does it keep all its characters at the same level of development, but it’s definitely a much better DC crossover than Joss Whedon’s Justice League (not that this is a high mark to beat, but I enjoyed it).
3/5
12 Angry Veggies: A VeggieTales Movie
dir. Phil Vischer and Mike Nawrocki
SpoilerThe latest entry in this franchise of animated films targeted at Christian families is as off-beat as ever, ditching the "doing its own thing" approach of Y8's strange misfire Citizen Kale and instead returning to closely following classics, this time being Sidney Lumet’s all-timer 12 Angry Men. To my surprise, this remake is actually not too bad. The structure of the film is identical to that of the original, with only a few writing kicks to keep it from being a total copy-and-paste. Where the movie does differentiates itself is in the presentation of its messaging, as well as the unraveling of the story - in the latter's case, it happens a bit too easily and disappointingly fast; but utilizing religion to spread positivity and try to fight stigma and discrimination is actually a clever way to approach faith-based themes, while respecting the original film. The amount of Christian gospel in it does still irritate me, but I guess that’s because I'm not the target audience for these films. For what it is, it’s edible.
2.5/5
-
1
-
-
Studio: Phoenix Fire Pictures; The New Yorker Studios
Based On: The Lottery by Shirley Jackson
Director/Writer: Sarah Polley
Cinematographer: Florian Hoffmeister
Composer: Hildur Guðnadóttir
Genre: Drama/Thriller
Release Date: July 17th, Y10
Theater Count: 3270
Rating: R
Format: 2D
Budget: $25 million
Runtime: 110 minutes
Cast:
- Michaela Coel as Tessie Hutchinson
- Bryan Cranston as Mr. Summers
- Michael Hogan as Old Man Warner
- with Frances McDormand as Mayor Dolores
- and Daveed Diggs as Bill Hutchinson
- Unknowns in the other roles
Plot Summary:
SpoilerIt is a clear, fresh sunny day in an unnamed contemporary middle America small town. Children play happily, townspeople live in harmony and everyone is excited for the day. This includes the Hutchinson family, composed of hard-working construction man Bill Hutchinson (Diggs), leader of building operations for major and mid-major projects in the city; and Tessie (Coel), his modest, simple housewife. Their three children, a baby boy, a 5-year-old boy and the oldest, their 7-year-old daughter, are happily playing and interacting with kids of their age out on the streets. Tessie kisses Bill, as she says: "Today's the day."
CHAPTER I: THE LOTTERY
We see the day preparations of the town as something special seems to happen. Streets are decorated and everyone is hyping up "tonight". Children, with which are included the middle and oldest children of Tessie and Bill, are gathering rocks and stones in the middle of the street, while Mr. Summers (Cranston), a crumpy town-keeping do-it-all, gathers every inhabitant's names on pieces of wood. There are some people who seem less than happy about having their names taken, while others are buzzing. Mr. Summers talks to Bill and Tessie when getting to the Hutchinson's home. Tessie tells Mr. Summers that she's excited about tonight, but "I've been more in the past". Bill tells her there's nothing to worry about, since luck is gonna be their way. Mr. Summers eyes them sketchily. Summers does tell them that this is something he's been doing ever since Graves died, but it "gives me pleasure to keep the names before the lottery". Bill and Summers shake hands before the latter leaves, and Bill and Tessie share a kiss, as they head on the day. Children have just finished school, a lot of workers are on vacation and the elders are grouped in local gathering houses talking about the procedures. We pan on Old Man Warner (Hogan), who is recognized as the oldest man in the town, socializing with his compatriots, in what is told to us as a "rare moment" for him, usually a hermit.
At dawn, we get a shot with Warner leading the elders to the town square, where he, somberly, quotes an old proverb: "Lottery in June, corn be heavy soon." As everyone arrives - about 300 people - we see everyone from the film up to this point, including the Hutchinsons and Mr. Summers, who brings, along with him, a black box with somethings contained in it. The children playfully run around, teasing that they're gonna do"it" to each other and the adults, while Bill and Tessie aren't readily preoccupied despite standing there with their own kids. Old Man Warner hears from someone that "the north village is gonna stop doing the lottery next year"; he is disgusted, understanding that "ending the lottery is the next step to going back to caves... nothing but trouble". Mr. Summers speaks to Bill, saying that "his efforts to change the writing papers to wood has been successful", but when Bill asks him what else he's been trying to change, Summers says that: "it don't matter, they wouldn't want it."
Soon, Mr. Summers starts what is considered to be the yearly ritual, the lottery: each person of the town is called upon to recieve a paper, which they cannot open until everyone has drawn one of their own. Once all inhabitants have their papers, they will open and read them. Whoever has the dot will be sent to the second part of the lottery, where their family will see all their individual members redrawn... that person, once drawn again, will be the one. We see generally different reactions to the lottery, as Bill and Tessie begin to show slight worry, but nothing too much. Old Man Warner is stern and rigid, drawing a paper with a smile in his face. Some hours later, the inhabitants all have papers in their hands, and Summers officially grants everyone permission to open their paper. Soon, we see faces of horror in Bill and Tessie... as word quickly spreads that "Bill has got it". Sure, we see the paper on Bill's hand has a dot in it. Tessie quickly revolts, saying that "it's not fair... it's not fair, Bill didn't have time to pick a better paper", but everyone ignores, even if chatter has already began about the inevitable fate of the Hutchinsons. Tessie is terrorized, while Bill, admitedly terrified, tries to remain calm, telling Tessie in cracking fashion that "Mr. Summers wasn't lying when he eyed us that way", while Mr. Summers, somewhat sympathetically, tells them he's sorry. Tessie tries to stop the event from happening, but the locals throw her on the ground, forcing Bill to grab her. "We can't stop it", he tells her, followed by: "It'll be me, I'm sure", to which Tessie, tearful, pleads the Gods above to have mercy on them. Summers says that, because the Hutchinsons have to re-draw as a family. Tessie, Bill and the three kids (Tessie draws for the baby) are forced to draw again, as Tessie shows evident fear. Bill breathes in, as Old Man Warner, sneakily, readies himself and his compadres, with a smile on his face. After some moments of tension... Tessie has drawn the lottery's luck. Aghast, she cannot contain her panic, and starts cursing the lottery, for being unfair.
But no one bats an eye. Bill and the kids step back, but Bill tells the two children to run away, while the baby is left by the side. The other kids and everyone else stay in the square... and start grabbing gathered rocks. Tessie says that "it's unfair, it's unfair, it's unfair"... and Bill says, in an apparent future scene: "And they all came on her". Cut back to the lottery scene - every town inhabitant begins stoning Tessie. A gruesome sequence where Tessie's bones are battered by the constant rocks plunged at her. Bill almost throws a rock himself, but stops himself before it, while his and Tessie's baby cries, as do some of the children, while everyone else, including a sadistically happy Old Man Warner, and a dubious Mr. Summers, keep the ritual going by continuously throwing. After a few minutes, Tessie is immobile on the ground. Everyone assumes she's dead. Bill, teary eyed, can't believe it, while Mr. Summers, with a cold tone in his voice, says: "More next year. Thank you." Everyone else ungathers.
CHAPTER II: THE SENTENCE
Bill has been telling what happened to the two elder children, while the baby sleeps. Bill tells the kids that he's unsure about how he's ever gonna live with himself again. The older daughter says: "But daddy... isn't it what everyone in the town wants?" - Bill, crossed, doesn't know how to answer.
We cut back to Bill, followed by Mr. Summers, with some of the old people - including Old Man Warner - watching from the back, dragging Tessie's body away to the graveyard. Bill is horrified at having to bury his wife, but Mr. Summers, even if quietly and in empathetic form, tries to incentivate Bill to do it. Bill almost begins to do it... but can't bring himself to, just yet. Mr. Summers, calmly, tells Bill to come back tomorrow. He went home and now is where we're at.
ONE YEAR LATER
It's June again, and Bill hasn't been the same ever since what happened to Tessie. The two oldest children, now one year older as well, can't live with themselves after the traumatic events of last year. Bill, tearfully, tells them: "Everything is gonna be okay - we know Mikey is with Aunt Eddie, so he's gonna be fine. He'll never have to see this again." When the daughter asks Bill why they haven't left the town yet, Bill says that: "It's... it can't be done. It just can't." The kids cry, as Bill shows evident conflict over what happened.
Mr. Summers, now sterner and with a long beard, but with the same cheery attitude, leads the day of celebration with the exact same ritual happenings as last year, having a long conversation with Bill about the consequences. He tells Bill that they've been over this: "It happens every year, you think you're the only one? Everyone goes through the lottery." Bill tells Summers that "Tessie was saying it was unfair before it happened... do you not think it is?"; Summers stays quiet for a moment, before saying: "...do you?". Bill simply says, after a moment of silence and uncertainty: "I don't." Summers looks down, while Bill remains somber. Meanwhile, Bill's kids run around the house, playing with the other kids, but evidently scared and unable to keep up the same way. They are teased by this, and then told: "Your mom wasn't it. We all could be hit. The lottery hits anyone. It's the luck of the game." The younger boy pushes one of the kids to the ground, and a small fight ensues, forcing Bill to break it away.
Old Man Warner has returned from his near-hermitage once again, greeeted happily by all the villagers. He's told that the lottery has now been suspended in the north village - he shakes his head, saying that "their crops are gonna rot... don't they know that Summers are getting hotter? The weather men keep saying more tornadoes are coming. It's gonna be their doom". Some agree with him, others not.
At last, night comes. The yearly lottery begins again. Bill, the kids and everyone else attend, with the children looking absolutely horrified. As Mr. Summers speaks, Bill's boy breaks into tears, as do some of the other kids, who are rumored to have also lost loved ones. The inhabitants begin drawing papers again. Hours later, the time has come for them to open them. Bill looks on... as everyone in the village opens their papers, and EVERYONE has a dot on their papers. Widespread confusion goes on, while Old Man Warner cries heresy, saying that: "The tradition cites that only ONE person is drawn! This is an outrage!" Bill, to his end... releases a small smile, while, from behind... Tessie is revealed. She's alive, to the shock of everyone.
CHAPTER III: THE REVENANT
It's revealed that, after being left to die on the graveyard... Tessie was actually still breathing, despite being concussed, beaten and bloodied. However, somehow, by sheer willpower, she was able to get up and drag her battered body away from the town, taking all the fibers in her body. Bill, when realizing Tessie has disappeared from the graveyard, initially cries, thinking her corpse had been buried by someone else, or stolen. He's distraught. Mr. Summers finds him early on, and tells him that "it's natural." Bill punches Summers in the face, with Bill screaming about how natural it is for him to die the same way his wife did. Summers allows Bill to take it out, but tells him that: "When everything clears... you know we have a reason to do what we did, as do you." Bill asks him what is reason is, Summers says: "Because it's a lifetime's tradition." Bill, hesitant, stops, as Summers says that "can't go on trying to stop the culture of our town. Our elders would never forgive you". Bill looks at him disgusted, saying that he seems happy to be coerced with all of this. Summers says nothing, as Bill runs off.
Tessie was nearby and heard the conversation. She drags herself to a road, and is taken away by a worried bypasser who is driving to the north village. There, she has a meeting with a doctor (McDormand), who treats all of her wounds and saves Tessie's life. Tessie, grateful, does not know how to reply to the doctor, who then says that she, as Town Mayor, says she simply was doing her job. Tessie is shocked to find the Mayor, who allows her a conversation. The Mayor seems to know right away that Tessie was victimized by her town's lottery. Tessie says that she tried to stop it from assaulting her family. The Mayor asks her if she's angry, and Tessie says that she is, but deep down, she knows that she can't do anything to stop it. The Mayor then makes a cutting question: "...why?" Tessie doesn't know how to answer. She stutters to say: "Well, because... it's... I don't know, it's been done forever now. It's like Christmas." The Mayor then says: "It hurt me too to stop the lottery in this town. But... (she hesitates a little) When... you have the blood of children, elderly, women, men... in your hands... how is it like Christmas?" The Mayor then asks Tessie if she's ever actually *tried* to stop it. Tessie says that she tried to say that Bill didn't have time to get the right paper, but says that she is afraid everyone would riot if the lottery ended. When asked by the Mayor if she's ever considered empathy or mercy for anyone who's been victimized, Tessie does not respond, conflicted and agonized, with the Mayor cutting through her by saying that "she only started caring when it happened to her". Tessie is hurt by this, but then replies that the Mayor is right. "That said, I just... I just don't know if I'll ever convince them to stop. Especially folk like Old Man Warner. Bloke's a radical". The Mayor tells Tessie to wake up and stand by her suffering. She calls Tessie is a revenant, and that she's already been on the doors of death. If she's survived, that means she has a chance to do what everyone before her hasn't: to remind the villagers just how awful the lottery is. "The way I see it... it's not Christmas. More like a matador fight." Tessie considers this.
We then see Tessie recover throughout the remaining months, slowly preparing herself to return to the village, as she begins writing a plan to avenge her near death and fuck with the next year's lottery. She investigates whether or not the lottery is law in the local legislation; it isn't, even though it's usually a local holiday. Tessie begins doing anonymous protesting against the lottery online, and watches as the north village she's staying on officializes their own former lottery holiday as a "memorial day" instead, despite some protesting it, with more conservative elements claiming that "they'll bring it back in a few years".
Some time just before Summer of the next year, Bill is tipped to meet with an anonymous person at midnight. He is tipped to do this by believing he's on a dating app, where he's slowly developing chemistry with a woman who also shows anti-lottery affection. Surely, the woman in question is actually Tessie herself utilizing a fake profile (but with no pictures). Bill and Tessie meet again, and Bill cannot believe his wife is alive. Their reencounter is a scene of absolute euphoria for both of them. Tessie explains that she survived the lottery somehow, and now, she's taking a chance to remind the world that it's not impossible for the lottery to end altogether. Bill says he doesn't know if it'll ever happen, but Tessie says that she has a plan... because if the lottery can't be stopped... then they will force them to stop.
Back to present day, Tessie reveals herself to the town as alive, and says that she and Bill have secretly worked a plan to screw over every single person who stoned her the year before - by making EVERYONE the victim of the lottery. The elders, mainly Old Man Warner, are outraged by the breaking of tradition, with Warner saying: "You are insane! You have doomed us all! YOU HAVE DOOMED US ALL!" - Tessie then says that there's nothing in the tradition that says that she *can't* do this, because there's no law about the tradition. "Now it actually happened - what are you gonna do about it?" The townsfolk are aghast, before Tessie admits she's only doomed those who "were setting themselves up for it." Everyone is shellshocked... and soon, everyone becomes afraid and horrified, as they realize that one woman has the power in her hands to kill them all. Tessie does also order Bill and her children - who are euphoric to find their mom alive, though also terrified she seems intent on killing them - to stand with the townspeople in the square. When some murmurs begin about rioting against Tessie, she appears outraged and shuts them down by saying: "It's funny how y'all couldn't give a damn about all those people you killed for all these years... but when YOUR backs are against the wall, you'd try too to break the so-called tradition. It doesn't mean as much to you when it's your lives at stake, right?!", sending all the townsfolk on a pensative edge. Warner and Summers look increasingly furious, while Bill and the kids are unsure and hesitant. Tessie goes: "I even remember how my own husband nearly threw a rock at me... but he chose not to. He chose."
On the moment of truth, everyone stands, trying to guard themselves, while Tessie, rubbing her hands, prepares herself to plunge rocks at everyone in the town, including her horrified family. But before it happens... Tessie stops, saying she "chooses not to kill my children... I choose not to kill my husband...", and... one by one, she calls every single town inhabitant, except Old Man Warner and Mr. Summers, who are left to the end. She says she chooses not to invoke the lottery on anyone... because she CAN, and everyone CAN, choose, not to follow the lottery. "We can make that choice. Let's make it:" Summers, who appeared cold this whole time, snaps, admitting that Tessie has ruined an eternal tradition, while Old Man Warner tries to grab a rock and throw it at Tessie from behind. Bill, however, loses his mind after noticing Warner's movement, and tackles the man to the ground, but Tessie stops him before he commits an atrocity. Summers is stunned, with Tessie telling him that, as far as she's concerned, the tradition is over. Summers says that she'll regret the day she's turned on the town, but Tessie shows no fear. The scene ends with the townspeople, in a post-trauma moment, gathering all together and spending the night in harmony, even if a very divided harmony, with groups of people split between themselves.
-
2
-
-
APRIL
Father vs Son
dir. Antoine Fuqua
SpoilerNot a particular fan of Antoine Fuqua as a filmmaker, but it is nice to see Denzel get some CAYOM action, especially alongside his son and a solid supporting cast. As it turns out, this is (somewhat disappointingly) more of a John David Washington vehicle, with Denzel having pretty much a supporting role, despite being top billed (I guess it was written in his contract). But for what it is, this is a serviceable at best Taken or John Wick-style action thriller. It does not surprise or loop in any way, making for a routine, clichéd and predictable film in every conceivable manner; but JDW is a solid physical actor who can carry action sequences decently, while Denzel absolutely steals the film as the criminal kingpin father (by far the movie’s best aspect). It’s a decent time, overall, but absolutely nothing special whatsoever, apart from Denzel, and honestly, pretty been-there and forgettable, so I’m giving it a lesser rating here.
2.5/5
Cruis’n World
dir. Sebastian Schipper
SpoilerI honestly remember very little of Cruis’n USA (the CAYOM film), other than Kristen Stewart bafflingly being in it and it having pretty cars and visuals (Hell, though, even my Gran Turismo films tried harder lol)... but, well, it made a lot of money at the box office, so I guess it was enough for most people. This sequel, for what it offers, is literally just more of the same, from what I can recall. Pretty sceneries, a great ensemble cast playing irrelevant characters in a goofy-ass movie and a third act set in the Moon, for some reason. Weird stuff, but honestly, as far as fillers go, I’ve seen worse. At least it’s nice to look at, if anything.
2/5EDIT: Updated rating - 2.5/5
Penpal
dir. David Robert Mitchell
SpoilerOne of the highest-profile releases of this first half of the year, this Amblin-produced, Lager Pictures-released adaptation of a notable coming-of-age horror novel by It Follows and Under the Silver Lake director David Robert Mitchell has been on development Hell for years now, including an infamously unreleased completed version that was then sent back for reworkings after not-so-great initial feedback.
I literally had to take a night’s sleep to really process this experience, as I personally found it to be, well… devastating, more than just scary. Penpal explores the core foundation of the meaning of memories and how we allow them (mainly the traumatic ones) to warp our perception of the world, the people who care about us and even the childhood we wish to cherish. The story of Dathan, bending a number of different timelines together, is interwoven together about as seamlessly as possible, as the vast ensemble cast does its job to make the mystery coherent and engaging from start to finish, with Kate Siegal being the immediate key link that ties everything together perfectly (impressive performance from her). The sound design and the cinematography are also absolutely noteworthy - nothing unsurprising from Mitchell, here - making for a film with appropriately nightmarish visuals; and the delivery of its messaging and themes packed a powerful punch, especially after coming through so much relentless trauma (a certain image relative to the payoff of the film will haunt me for a long time). Reminds me a lot of Lager Pictures’ own Borrasca on that note (which makes sense, since both are based on r/NoSleep creepypastas).
Though I will say that, in that regard, Penpal definitely delivers on the trauma - a bit too much trauma, in fact. The film’s structure takes a bit of a hit in the middle to late-middle portion as it just sorta begins to redo the same notions of merciless punishment to its main character over and over again, making for an emotionally draining experience that, at certain points, could have been a little truncated as to alleviate a certain feeling of repetition. I was still forgiving enough of this because I was engrossed in the mystery, but I’m not sure it will fly over with everyone just fine.
Overall, this is a beefy, tough read. It takes strength to pull through, but it ends up rewarding you with a meditative experience on courage, willpower and the sheer strength to allow yourself to be defined by the memories that you cherish, not those that pain you. A strong ensemble cast, equally strong craftsmanship and a time-bending narrative, along with some horrifying imagery, make for one of the year’s bound-to-be key outings.
4/5
Stallions
dir. Drew Fellman
SpoilerHorses are majestic creatures that I like a lot, which make for a likable subject matter in a nature documentary. That’s all I have here, since every film in this genre pretty much blends together (at least the CAYOM ones).
2.5/5
-
3
-
-
MARCH
Speed Demon
dir. David Yarovesky
SpoilerDid some research before reading this; there are a myriad of different comic book characters named Speed Demon, but none whose alter-ego is “Jason Michaels”, so… I presume this is an original film? Would make sense, given how it’s from the same director as Brightburn. Anyway, this is a solid, decently entertaining, but pretty unremarkable supervillain film. I feel like it’s a disservice to Yarovesky to compare it to other superhero characters, but this is essentially a “Reverse Flash but Reverse Flash is now a bloodthirsty killer” movie, which kinda shows one of the core issues with these origin story superhero/villain films, especially as Yarovesky’s own formula becomes evident, between Brightburn and this. Cantu is fine in the lead role and I do prefer this R-rated take to just about any of the more tame efforts that Marvel or DC would put out; but it’s definitely a formulaic, tropey film, and it always hurts to see some talented actors be essentially given little to do. Still, it did its job, it’s competently made, written and acted, and it managed to moderately entertain, so, it’s a passable timewaster.
3/5
Klonoa: Door to Phantomile
dir. Angus MacLane
SpoilerStudio Groundswell's past video game animated films have varied in results - some better (like the charming Banjo-Kazooie and Kirby films), and others not so much (namely, the Animal Crossing misfire). Klonoa, directed by Lightyear filmmaker Angus MacLane (whose directorial filmography I personally find to be mediocre, apart from the BURN-E short), falls into the lower echelon. But I'm willing to say this could potentially benefit from rewatches, as the third act reveals story elements that really elevate some of the more odd going choices on hindsight, such as the idea to make Klonoa a nothing character throughout the whole thing.
Our lead hero is a complete audience surrogate stand-in for the would-be player in an actual video game. This makes the movie feel hollow, and not even his friendship with Huepow - the presumed emotional core of the film - is all that explored, as so much time is devoted to Klonoa doing fetch quests for a bunch of different tribes and not really to him growing as a hero or friend. The overly video gamey structure, coupled with uninteresting characters and an amplitude of fantasy clichés, make for a film that, no matter the absolute onslaught of action sequences and pretty animated visuals, felt like a “I’m watching someone else play a video game” kind of slog for the most part. The third act makes up for some of this, but it's really not until the absolute ending that the whole film starts to retroactively make some sense. So, fuck it, spoilers ahead:
I found that the concept of Klonoa being an invention from a dream all along was honestly fascinating. He’s portrayed as a perfect do-it-all hero, which actually makes a lot of sense when you’re made to know that he’s a creation from a dream, spawned to rescue an entire kingdom. The ultimate hero that can only be conjured from fantasy. This is a subversion of tropes that sorta makes the film feel more humanized and emotive, grounding its fantasy world and characters in themes of hope that make the film a little bit more positive to rewind to. And while my complaints about the filmic structure of Door to Phantomile and Klonoa as a character are retained even after it ends (and I could also easily introduce conflicting feelings over the fact that the lead character, the hero of the story, is literally a supernatural creation and unreal even in the actual world of the film), I do find that the concept introduced in the final twist makes the film before it more interesting. Maybe I’m overhyping the twist and word won’t really spread out that much on it, but my first take on it was that it was cool.
So yeah, this is not a good movie as a whole, but with the caveat of its ending, maybe it’ll hit more when you know what’s up with it.
2/5
Lions and Dragons
dir. Troy Quane and Nick Bruno
SpoilerThe first film from newcomer studio Zimmer Pictures puts Spies in Disguise filmmakers Quane and Bruno to test with a fantasy animated tentpole that… can serve as a pass-the-time for young children? I don’t see this film doing much else other than that, with all due respect to CAYOM’s brand new player and their effort to put something out for the first time (it’s never easy at the beginning, I know that myself). The setup has some potential and the world of the film could bear some interesting elements, and there’s nothing inherently incompetent about the way the story is structured; but the whole ordeal feels infinitely underdeveloped and generic to a core, other than the spectacle of talking lions, dragons and mutated critters all in the same continuity. A resounding meh, even if, again, shoutout to this new player of the game for getting out there and doing it.
2/5
-
2
-
-
Voltron: Rise of Lotor, Y2
Tower of Babylon, Y7
American Spy, Y9
From Y10, not sure if supposed to be personal or by other player, so I'm choosing Tailypo
-
FEBRUARY
Viva Las Vengeance: The Cinematic Experience
dir. Bruce Hendricks
SpoilerI like the few Panic! at the Disco songs that I’ve heard, so, at least, this is a better choice of artists - for my tastes personally, not trying to objectify this lol - than others in past CAYOM concert films. That’s really all there is to say here from my end.
2.5/5
The Valkyries vs. the Galaxy
dir. Ian Jones-Quartery and Jennifer Kluska
SpoilerI pre-read this for YM! and I noticed a few changes, but I’m just going to slightly paraphrase (with some edits) what I wrote to him when I read it originally:
I feel like this is the closest Endless Animation have gotten to the true Lord/Miller spirit (ignoring the worker abuse allegations temporarily lol) since the original Gateways. This is a movie that lavishly shows off its flashy colors, bright style and quick humor, but lives off a golden heart with some smart, if slightly simplified remarks on the music industry. I like the concept of an animated film about a teen girl band being kidnapped and forced to participate in an intergalactic battle royale of bands, that serves as a metaphor for the music industry preying and feeding off of the talent and work of young aspiring musicians, as well as the passion of their fans, in this case literally serving as the industry's fuelers (slaves, even). It's a smart connection, and RuPaul’s Cosma is literally an instant classic CAYOM villain. Cunning, intelligent, manipulative, and when pushed to the limit, terrifying. They are the soul of a movie that explores the feelings of three teens caught up in the motions of becoming, or trying to become famous with their music, and remembering overtime that they oughta be better friends to each other instead. The voice cast is fun, and the many other tiny gags and links to the music industry are amusing enough for what they are.
I guess my biggest issue with the movie comes down to the simplicity of the protagonist characters in an otherwise complex story, though. The three teens are fine for what they are, don't get me wrong, but I feel like they are perfect versions of their tropes for the most part. Halle Bailey’s Celie is the only one that goes through an interesting character arc. Rachel Zegler’s Harmony has the makings of one too, but beyond the repeating gags of her being a stuck-up diva, I think that some of the finer details of her story are not fully earned in terms of how they’re inserted in the narrative. And Maitreya Ramakrishnan’s Sydney, while improved from the original pre-read version, still feels a bit sidelined compared to her two co-protagonists. This is a shame, because I think the supporting cast make for fun characters - beside Cosma, MacFarlane’s King is fun, and I even like the morally odd but true to their honor Platinum (Olivia Rodrigo is a big yes in this role), which makes the flounder of the main characters feel the more strange. I also think that some of the jokes didn't fully land, and that there were elements of the film that could've been a little bit more refined.
But yeah, this is a good one. The retouchings helped elevate an already good movie, and what we have here is something that symbolizes Endless Animation’s motto: a fun, colorful, energetic, imaginative story with unique commentary on its subject matter, and a strong ensemble voice cast giving it their all. Very good time.
3.5/5
Room 131
dir. Tate Taylor
SpoilerO$corp Pictures has also returned, after a very long seven-game year hiatus. It is so nice to see them return to action, particularly so in a landmark year like this, and I’m more than happy to see what they have in store. But I gotta say… this film was… something.
Full disclosure: the only Poison and Wine film I’ve read was the original, and back then, I thought that it was thematically interesting, but pretty sluggish and overlong, on top of repetitive in structure. Like a semi-improved Fifty Shades and little more. I did not read the follow-ups, which I’ve heard a lot of memeing on, but I know just about enough to understand what this was about; but I will also say that Room 131 stands on its own ground as its own wacky thing, so there’s that. Film-wise, this is a movie whose existence I fully respect, giving all credit to Hiccup here, since I believe it was very personal and an outlet for him to express his emotions and feelings. It’s certainly on-brand for a lot of O$corp Pictures’ most out-there, unorthodox films - when I say that, I really do mean that, after an inconspicuous start, this takes a left turn and goes places lmfao. The batshit craziness and ludicrousness of the film’s second half is quite something to behold, and it literally ends on two of the wildest CAYOM scenes (post-credits included) ever seen! But, to its credit, not just basking in its insanity, this is a film with a proper structure and a very powerful set of themes at its center. While it ain’t particularly subtle with its religious overtones, it does make for a very idiosyncratic character study on its lead character, and it at least becomes far more memorable and strangely entertaining - even if on a purely “wtf is going on” spectacle kind of way - than the first Poison film.
I will give it all the merit for being unique and single to its own creator, and I think Tate Taylor did a fine job directing this too. As is, it’s certainly an experience of a film lol. But I’ll give it a higher score than I normally would, simply because I feel like the themes at its center are all too harrowingly depicted to feel indifferent.
2.5/5
A Ghost Tail
dir. Marielle Heller
SpoilerHer first CAYOM film since the hit Ms. Blakk 4 President, under the umbrella of Studio Groundswell. Though, I gotta say that this isn’t really akin to Marielle Heller’s previous films. Heller is known for her incisive, piercing, LGBT+-proactive writing and directing; but this plays more like a very PG, Disney Channel-esque ghost haunting comedy. Which makes the director + material pairing feel extremely off-putting, to say the least.
Though, if you want to ignore that and accept things as they are… this is still a merely okay film. I think the themes of cherishing the lives of your pets are heartfelt; the core concept and the execution of it is uniquely subversive and interesting; and Beanie Feldstein is a dope choice of protagonist. At some points, it’s hard not to feel massive empathy for the film’s characters and storytelling, and I’d say it succeeded in feeling different from its usual brethren. With all that said, I think A Ghost Tail (clever title, btw) suffers from similar issues as other Groundswell fantasy comedies, like a Tongue Tied or, especially, a New Tricks: it feels a bit too saccharine, oversincere, hammered down and even kiddish to the point of cringe, as it gets a PG-13 rating but really aims at a PG crowd at best, with a sense of naivety in its storytelling (primarily, its writing - again, Disney Channel Original-esque) that doesn’t really do the director justice. Had this been directed by a Chris Columbus or a Jeremy Garelick, it would have worked much better. I couldn’t help but think that most of the jokes, main plot beats and emotional moments of the film didn’t quite land the way they anticipated they would, and again, I assume that this is partially related to the mere bizarreness of seeing Heller direct a film of this specific kind.
That said, it is competent in structuring and outlining; the cast, despite most characters being superfluous, is talented (and again, Feldstein is good in the lead role); and I really did like the themes and the subversion of ghost haunting tropes it has to offer. It’s not a bad film by any means, but I can’t deny being mixed on it.
2.5/5
-
3
-
1
-
-
Updated as of December 12th, 2023!
Keynotes:
- the opening weekends of Poser and Black Adam have been bumped off the Top 100 DOM PTA's list;
- PAW Patrol: The Mighty Movie was bumped off the Top 100 OS list (although, it could jump back inside?).
-
2
-
FLOODBATH
THE PLAY
Studio: Phoenix Fire Pictures
Director: Darragh Carey and Bertrand Desrochers
Playwright: D.C. Moore
Based On: Floodbath, by Leigh Whannell
Genre: Filmed Play
Release Date: December 25th, Y10
Theater Count: 2981
Rating: PG-13
Format: 2D
Budget: $10 million
Runtime: 103 minutes
Cast:
- Unknown British actors
Plot: An adaptation of the Y8 film Floodbath in play version:
SpoilerIn a house within a mountainous region of Alaska, we see a woman in her early 20's (Annalise Basso) taking care of a 2 year old girl. The older woman is very playful and very caring of this child, and she refers to herself as "her mommy". Enter a man in his mid 20's (Hero Fiennes-Tiffin), who kisses the woman and asks "Lauren" how things have been with the little girl, Victoria. Lauren tells "Andrew" that they've been the usual, as Victoria is a bright little girl, her mommy's love, but she's a bit uneasy lately because she wants to be with her dad. This leaves some hurt on Andrew, who knows that he may not be Victoria's father, but he loves her like a daughter, and Lauren is pleased to be reassured that Andrew has her back and kisses him. We then see Andrew take care of Victoria, while Lauren texts someone named Louis, who says he is coming to pick up Victoria in about 2 days. Lauren texts him back, asking him to not make things messy again, and Louis texts that he'll try.
We see Lauren take care of Victoria on the next late afternoon after arriving from work, letting the babysitter go, while reports are going that analysts are predicting that a massive earthquake will shake the region within a few days, asking locals to evacuate, leaving Lauren a bit uneasy. Andrew and Louis call her immediately at the same time, and she decides to answer Louis (Brendan Meyer) first, who says that he's coming to pick Victoria up tonight, in the wake of the earthquake news. Lauren is ok with this, but once again asks Louis to try to take things easily when he arrives there. He once again says that he will. She then hangs up and answers Andrew, who says that they should evacuate with Victoria, but Lauren tells him that not only she can't just walk out of her job like that, but as far as Victoria is concerned, Louis is picking her up today - which leaves Andrew a bit relieved, but also upset that he doesn't get to spend more time with his girlfriend and step-daughter both in family. Lauren looks conflicted.
We cut to Louis arriving at Lauren's house at night, Andrew opening the door to him. They shake hands, but with some tension between the two. Louis then hugs Victoria, who is delighted to see her dad. Lauren tells him that Victoria's been dying to see him, and Louis tells her that he's also happy to see his daughter. He tells Lauren that he's taking her away from town for the week, longer than the extended period they had agreed to, and this upsets Lauren, but Louis tells her that it gives them time to escape the quake, and Lauren should do the same as well. Lauren says that she can't go away, she's got a job here that she can't just leave, but Louis tells her that she's an idiot if she prioritizes her work over her own safety, which causes Lauren to slap him. Louis, grabbing his face and calming himself down, says he knows that this poor paying job really isn't what she wants. Louis then, somewhat sorrowfully, tells her that she always cared more about her job than she did about him or Victoria. At this point, Andrew steps in to ask Louis to calm himself down, and Louis says he's calm and asks Andrew to watch out for Victoria while he has a "calm" talk with Lauren. Lauren nods, saying she can handle this, and Andrew goes away with Victoria. In the next shot, Andrew is playing with Victoria in the kitchen while we hear the muffed sounds of Louis and Lauren screaming at each other. Then, we cut to Louis leaving the house with Victoria, but not without telling Lauren first to remember what he said. Lauren just tells him to go away, which he does. Andrew asks her what did Louis say. She shuts the conversation down, even after some insistence by Andrew who's thinking it might've been something offensive. In bed, as Andrew sleeps, Lauren cries herself to sleep.
The next day, thunder and rain are furiously storming outside. Lauren and Andrew are getting ready to go to work, despite their tension regarding the incoming earthquake. Lauren then harkens back to the conversation she had with Louis last night, and tells Andrew that she's had a change of mind - she wants to leave Alaska until the quake has passed. Andrew asks her what made her change her mind so quickly, and Lauren just says that she never thought the idea was bad to begin with, and this rollercoaster of emotions lately simply hasn't made things all that easy for her emotionally. She asks him not to be surprised if she changes her mind again. The two pack things up, tell their bosses in advance that they are evacuating - and, to Lauren's surprise, she finds out she's far from the only one - and say that they are going to Andrew's parents', since it's closer than Lauren's. But before Lauren can walk out the door, Andrew stops her and jokingly asks her if she's still sure to go. As she begins to answer... the quake hits. The two are thrown and rattled around the house and try to escape, but a big piece of furniture falls on Lauren's leg, breaking the leg. Andrew stays behind to try to rescue her, and she begs him to save himself, but Andrew says he's not leaving without her. Andrew tries to carry Lauren in his arms, but then, the roof of the house falls on the two, and they're trapped inside. Beneath them, the floor crumbles, and they fall further down.
As the rain continues to pour down, Lauren and Andrew, both with some visible bruises and cuts, are trapped under their own house, with only an opening illuminating them (from the direction of the camera) and giving them a little bit of fresh air to breathe. Lauren, still in agony over her broken leg, says that now they're under this rubble and it was all her fault, but Andrew blames himself, as he stopped Lauren from walking out the door five seconds before the quake hit. They hug each other, asking one another not to think about blame, but rather about they fact that they have each other and they're still alive now that the quake has passed. Help should be out here soon. They then talk about whether or not did Louis make it with Victoria out of Alaska, and while Andrew is sure that they escaped, Lauren is skeptical, and super scared that that might've not been case. She's clearly afraid of the prospect of her daughter having been caught in the disaster and being possibly dead, which makes her weep even further than the pain alone. Andrew comforts her. As they talk, the rain pouring from outside is coming in from the entrance, flooding the floor they are on. They don't take note of this at first, still a bit shaken from what just occurred, but eventually, Lauren notices how she, who is on the floor, is quickly getting submerged. They start to panic again, and Andrew does everything in his power to try to lift up the rubble, while he and Lauren scream for help to the response of apparently no one. Lauren tries to get up and aid Andrew in lifting some rubble up, but the pain on her broken leg is too bad and the rubble is too heavy. Andrew tells her not to worry. But Lauren does worry, because they are quickly being overtaken by the water. Time flies as they continuously try to lift and scream for help, but nothing seems to work. As the water is already flooding them up to their chest, Andrew tells Lauren that no matter what happens, she'll always be special to him, and she retorts the same. Suddenly, Andrew feels the rubble above him break, and he tries to lift it up... but instead, it collapses on him. The camera follows Lauren go underwater to try to save him, the "money seconds" of the shot being a low angle perspective on the shadow of Lauren, highlighted by the light coming from the entrance above the water, trying save Andrew. But once again, her pain is too bad and the rubble is too heavy. She can only watch as Andrew drowns in the flooding, helpless with the weight on top of him. Lauren mourns Andrew's death, and thinks to herself that that is it for her too... she's never gonna see Victoria again. Then, as Lauren looks on, defeated, we finally cut away from the shot to flashback to the conversation that Lauren and Louis were having the prior night...
...Louis, after some shouting and arguing over the whole "you cared more about the job than the family" thing, which Lauren vehemently denies, tells Lauren that the quake will probably be devastating, Lauren tells him that she knows, and she still hasn't totally discredited the idea of evacuating with Andrew. Louis then, tears in his eyes, tells Lauren that, deep down, he wants her to escape too because he still has feelings for her. Lauren is in shock with this, and she tells him that a future together seems impossible after everything, but her face tells that she didn't immediately reject this notion. Louis accuses her of being with Andrew as some form of denial over their own breakup, and Lauren aggressively dismisses that, saying that she loves Andrew, prompting Louis to immediately apologize. But he remains firm that he still likes Lauren. While he can't make Lauren choose to go with him or force her to do anything against her will - nor would he ever want to do something like that - and he wants her to be happy above all else, he does wish that she think about that. Victoria would love nothing more than for her parents to be reunited again. Lauren doesn't know how to respond, mumbling to herself that she loves Andrew and her time with Louis is over.
We cut back to Lauren in real time, meditating over whether or not Louis' point rings with her, and whether or not is he still someone worth fighting for. She then harkens back to Victoria, and all the times that Lauren and her spent together, and even the good times that Lauren, Louis and Victoria all spent, as well as the good times spent with Victoria and Andrew. She figures out for herself that yes - it's worth fighting to live for those you love. And then, she also thinks about the great times spent with Andrew, and figures that it's also worth fighting to honor those who we love but have perished by fighting to live a great life as they look down on us. She gets up on one leg and with the help of her surroundings, and tries everything in her power to lift the rubble and escape. As her efforts show themselves to be futile, she screams and screams, trying to fight her way out. About a minute or two later, she finally hears sirens coming from outside. She screams for help, urgently. Soon enough, firemen arrive, breaking her out of the rubble and the flooding, and stretchering her out to an ambulance. Fade to black.
We fade in to Lauren in a hospital bed, with her broken leg wrapped in plaster. Victoria and Louis arrive, and they both hug Lauren, who hugs them back. Victoria shows clear worry for her mommy, and Lauren, washed away in tears, says she was so worried she would never see Victoria again either. Louis says he's happy that she's alive, although he gives her his condolences over Andrew. Lauren cries, but thanks him. Louis makes no mention of their conversation. We then cut to Lauren, on crutches, Louis and Victoria attending the funeral of Andrew, as well as that of all the other victims of the quake and floodings. Lauren is crushed by this, and cries in Louis' arms, Louis himself shedding some tears and Victoria being confused, but understanding that something happened. Lauren and Louis then talk peacefully over the sorrow of losing someone you love, and Lauren, while visibly upset, says that, at the end of the day, Andrew's memory will live on in their hearts... the ones who live have to fight to not just honor the dead, but continue with the living that still love them. Louis couldn't agree more. They leave.
We then jump a few months later, when Lauren, Louis and Victoria are in a restaurant together. Lauren brings up the argument that she and Louis had on the night before the quake, and she says that thinking about him, amongst other things, was what made her not give up altogether on life. Well, technically she was saved by the rescue team, cause if it had been on her own account, she would've died all the same - but, the intention counts. Louis laughs, and says that he's glad that Lauren thinks this way. Lauren says that she's still not over Andrew's death... but, whether or not is there a chance that she'll go back to Louis one day? Maybe. It depends on how Louis behaves himself from here on out. Louis jokes that it depends on her not getting overworked, to which she gives him a death stare, but he says he's joking and the family laugh together, Victoria included. We pan out from the restaurant and the city as it seems the future holds good things for the survivors of the disaster.
-
1
-
-
Life Picture
Studio: Phoenix Fire Pictures; A24; Excellent Cadaver
Director: Lila Neugebauer
Genre: Drama
Release Date: October 30th, Y10
Theater Count: 2975
Rating: R
Format: 2D
Budget: $20 million
Runtime: 120 minutes
Cast:
- Jennifer Lawrence as Faith Hamm
- Ke Huy Quan as Officer Kim
This film is inspired by the real life murder of Beatriz Lebre, a young Portuguese college student who was murdered by a colleague. The film is dedicated to her, all women victims of violence, and all the close ones to these victims.
Plot: One year prior to the events of this film, Beatrice Hamm, a young student at Virginia Tech, is brutally murdered by a friend, who then killed himself after being arrested by the police. The school declared a week of mourning for the girl, which is promptly attended and met with widespread grief and revolt from the community at large. Attending the memorial events and rallying crowds in protests, is Faith Hamm (Lawrence), Beatrice's older sister. Faith is abject and unyielding in her protesting, calling for more protection for women, especially in education environments like college campuses.
One year passes. Faith lives by herself, as, shortly before, her mother passed of illness. Faith mourns her mother, who is buried next to Beatrice, and tells a psychologist that she suspects that Beatrice's death made their mother's health deteriorate fast. Nevertheless, Faith is forced to move on with her life. She solemnly spends her days alone at home, quietly sitting, staring at pictures of her family, while her phone rests by her side, with one particular shot showing it play Nick Cave's "Into My Arms", while being ignored by Faith. A day comes when Shaun Kim (Quan), a local police officer, visits her at home, as per request of a distant family member who lives outside of town and wanted to check in on Faith, who does not answer their calls. Faith rejects Kim's empathy, but with insistence, the two start talking. Faith, evidently traumatized, is hesitant to lean Kim in on much about her life, but Kim eventually gets her to accept taking the distant family member's calls and allowing him to visit more. Kim's visits become formulaic - comes in, asks Faith if she's okay, she says she is (though, every time, she becomes increasingly apart and accepting of the lack of effort it takes to make Kim good for the day) and that's that. Soon, however, Kim takes a hint that Faith is saying she's okay, but her voice tone indicates otherwise. Faith and Kim share a conversation, where Faith admits that she's not over the death of her sister and her mother, but it seems like the whole world is. "I don't understand... it's like... they all moved on from her... and I... I don't know how to do that." Kim, cautiously, says that our time is too short to spend it suffering. Faith retaliates, saying he does not know what's like to lose a mother and a sister, but Kim says that Eric Frank, the kid who committed suicide after murdering Beatrice, was his adoptive brother. Faith, conflicted, does not know whether to apologize or to kick Kim out, unforgiving for what Kim's brother did to her sister. Kim accepts this and exits.
Some time later, Faith visits Kim at the local police station, where she asks him out for some coffee (slightly comical moment). The two, in their noon out, apologize to one another - Kim for hiding the truth from Faith, and Faith for treating Kim so coldly. Kim explains that, unbeknownst to him or anyone in his family, it seems as if Eric had developed an obsession with Beatrice and became dangerous when she rejected him. Faith denounces the vile disrespect to Beatrice's individual rights as a woman, while Kim agrees that Eric's actions ruined his and all of his family's lives, but not as much as the lives of Faith and Beatrice's mom. He does say, though: "That said... I still loved him." Faith, understanding, apologizes to Kim for not having good things to say to him, but Kim says that he hates being selfish and that Faith's suffering is much worse, to which she denies, saying we all have to respect and accommodate each other. Faith, slowly, warms up to Kim's genuine kindness and accepts him into her life. They begin feeling subtle affection for one another, and no time later, a relationship develops. But Faith continues to feel conflict over whether or not she should be dating the brother of the kid who murdered Beatrice. She gets shaming comments from acquaintances and close circle people on social media, who call her easy and a slut for doing this to the memory of Beatrice. One day, she snaps out of her melancholy and makes a call to one of these people, telling them that they have no power over her decisions and no gravity over her life, other than the one she gives, shutting relations down permanently, but confident in herself. Faith and Kim's relationship evolves overtime, but after a few months, Kim begins feeling like Faith is still apart from him, and grows distant from her too. Faith admits that she has grown to love Kim, and that he is the only person she has now, but Kim, after admitting that he does not feel for her that way anymore, breaks up with her, apologizing profoundly, but saying he can't live like that anymore. Faith, shedding some tears, returns to Beatrice and their mother's grave to silently meditate. She mourns them yet again, admitting she has felt lonely for so long, but, in a moment of hope, she says that Kim, ironically, has made her open up to the beauty of the world. And she apologizes to anytime she's ever been cold to them, though saying that "I feel you now as much as I did when you were alive." Courageously, she visits her psychologist again. When asked how much she will let Kim's departure affect her, she says that Kim will always have a place in her mind, but she is happy enough with the memories she has. "It's time to move on."
In the last scene of the film, Faith smiles when looking at those same family pictures we saw her with earlier on. The final shot is her putting on headphones and listening to "Into My Arms" with a smile on her face.
-
1
-
-
1 hour ago, YM! said:
I know it's been a long road but we are back in action for Y10. As we wait for Part 2 of the year, I want to something special while the January through June reviews come in. Like @Rorschach and @4815162342, I'll be going back to reread old film this year. I want people to send in a film for recommendations for me to read, which can be one of your own films or someone else’s films. I've got my own special reread list in the works with a re-review for one of the films coming around the sametime as January.
January should be up sometime today or tomorrow.
Gonna send recommendations the same way as in the Rory thread
Film by me: Warmth, Y9
Films by others: Lord of the Flies by @Alpha, Y2; And the Band Played On... by @4815162342, Y2
-
1
-
-
JANUARY
Puckshot
dir. Charles Stone III
SpoilerFrom the makers of Hoops, comes the confirmation that there is, in fact, a Hoops Cinematic Universe. If it's not a confirmation, I'm fucking disappointed.
Anyways, this is Hoops, but with hockey. If you like Hoops, you'll love this one too, unless you dislike hockey, then you won't... or maybe you'll be conflicted, I dunno. I never liked the Hoops movies much, but honestly, they're just generic, harmless kid-friendly melodrama, so there's really nothing to object much here.
2/5
Tailypo
dir. Alexandre Aja
SpoilerThe triumphant return of Lager Pictures, studio behind films like Borrasca, Attack on Titan and, of course, the Odyssey trilogy. Very welcome comeback in a year that’s down on players/studios and films; but is their first film back worth the hype?
It surpasses it in spades.
Tailypo is, on paper, a simplistic formula. But Piranha 3D and Crawl director Alexandre Aja - utilizing his full creature feature sensitivities learned from both his later affairs, and even some of his earlier outputs, like the maligned The Hills Have Eyes remake - puts on the effort to make every single detail shine. Terrifyingly atmospheric, inhumanely cruel and, yet, cruelly human, this story of a man, who has shielded himself from everyone (apart from his dogs), and comes to meet a deadly creature, is a vicious, gorey ritual that examines how the literal demons that have haunted you - such as, for instance, your poorest choices in life - can wreck your life and take everything you’ve ever wanted. Andy Serkis gives a genuine Oscar contender performance as the lead characters of the story, and if you don’t love his Labrador friends, especially the one who’s given the most in the film, you’re soulless.
A simple script is paired with Aja’s horrifying vision (amazing direction and visuals), a game lead performance, haunting themes about the past, loneliness and karma, and a story that surprises more than it hits predictable notes (which it does, a few times, but not enough to harm the film in any substantial way). If you’re a fan of horror, regardless of whether you’re a more traditional fare fan, or you prefer the more folk-oriented modern works (such as the films by Robert Eggers or Trey Edward Shults), you will love Tailypo. What a return.
4/5
Toppings: A Pizza Romance
dir. Sam Levinson
SpoilerTalk about a shitpost film if there ever was one (and this is coming from the maker of Meme Run and The Turkey Squad). Ignoring completely the surreality of Sam Levinson doing a PG-13 movie (it’s CAYOM, get with it), this “film” is basically the actual cinematic equivalent of pineapple on pizza: it just doesn’t work lol. I guess this is someone’s bizarre imagination of a romantic comedy, where there’s practically no character development and the whole movie is just a punchline about eccentric teen characters. It feels totally random, and not in a good way. Falls right in line with a lot of Studio Groundswell’s weirdcore output, with the positive difference that it’s at least harmless in its content (unlike something like a White Wyvern) - although, if you do wanna think about it, the extreme sexualization of Jenna Ortega’s high school teen character seems pretty problematic, even if it’s basically just Sam Levinson’s brand at this point. I’ll say this: the “no, I’m Samantha” joke did made me chuckle.
1.5/5
Operation Finality
dir. Leigh Whannell
SpoilerRight out of the bat, the screenplay-style writing format with a few grammatical issues threw me in for a loop. I am not in my mental best (not necessarily in terms of depressiveness, but rather in regards to my attention deficit issues) and assumed that this was gonna be a hurdle to jump over, but I quickly adapted and got no less informed of the plot than I would’ve if it was typically outlined as per CAYOM norm. Nonetheless, a heads up for those not expecting it.
As for the film, this is a positive jump in quality in regards to Good Movie Studios’ previous effort, Second Dimension: Last Hope. It’s a sci-fi action-adventure that follows many sci-fi action-adventure tropes and dunnits, don’t get me wrong. The characters, for the most part, are about what you’d expect them to be and the film really has no memorable thematic weight, apart from the expected motions of fighting through anything and everything to save what you love, even if it takes your life. Nonetheless, it is kinda naive to expect that from an ensemble sci-fi action-adventure and, at its best, this films feels like a refreshing return to those 80’s/90’s adult-skewing Schwarzenegger or Stallone-led actioners, like a Predator or a First Blood, only with the space adventure element added in. And as that kind of movie, this does a pretty good job of entertaining from start to finish, with a game cast that has loads of charisma and chemistry, anchored by a badass lead performance from Michael B. Jordan, whose roughened, focused soldier character, hoping to see his family after years of service, does get the most (vast majority of) development out of the ensemble. The rest are charming as well, including Logan Marshall-Green in the most “cool friend that’s always there with the right things to say” kind of character, though, again, you won’t get anything massively substantial out of the film. That said, if you go into it with the right mindset, it will deliver just fine. On top of that, the visuals are really good and the pace is solid and pleasing.
Overall, this is a fine, fun and plenty serviceable action flick. It knows what it is, does that to a tee and leaves you happy coming off the theater, with a cohesive structure, neat visuals and great cast, along with a script that, while not surprising, gets the job done. I do feel there was some untapped potential with elements of the story that kinda diverged a little bit from the usual tropes, but for what it was, I was still satisfied.
3/5
-
2
-
1
-
1
-
-
Alright, one more year at it. January today, we'll see about the rest lol, but all are coming soon (at least, through June).
HERE WE FUCKING GO.
-
3
-
-
Film by me: Warmth, Y9
Films by other players: Lord of the Flies by @Alpha, Y2; And the Band Played On... by @4815162342, Y2
-
2
-
-
OLD MEN WALKING
Studio: Phoenix Fire Pictures; Happy Madison Productions
Director: Chris Columbus
Genre: Action/Comedy/Western
Release Date: June 5th, Y10
Theater Count: 3280
Rating: PG-13
Format: 2D
Budget: $40 million
Runtime: 105 minutes
Cast:
- Adam Sandler as Tiff
- Arnold Schwarzenegger as Jan
- Katherine Langford as Tiff/Jan
Plot: Tiff and Jan (Langford) are two twin sisters who live in the quiet Western city of Riverside, and their personalities couldn't be more opposed - Tiff is more outgoing and fun, while Jan is calmer and more subdued. The issue is that both are arguing all the time over petty things, being distant and apart from one another even when they need it the most. One day, they find a secret temple ruin by a mountain side, and this turns them into two grumpy male cowboys - Tiff (Sandler) and Jan (Schwarzenegger), who reflect their personalities. As they deal with a conspiracy of thieves that want to steal the temple's reality shifting powers (them possible through a MacGuffin known as "The Swapper"), both sisters realize that the Swapper has made them the images of what they really are: Tiff is wacky and fun, but her eccentricity masks her insecurities, while Jan is larger, buffer, and drier, but therein, lies a heart of gold. The two sisters become closer again, while using their male cowboy powers to stop the conspiracy. Everything is thrown for a halt when the Swapper breaks and both Tiff, Jan and their male counterparts become separate from each other, but in the end, the sisters and the cowboy personality avatars work together and beat the thieves. The end.
-
2
-
-
-
Doraemon
Studio: Phoenix Fire Pictures; Phoenix Fire Artstyles
Director: Karyn Kusama
Based On: Doraemon, by Fujiko F. Fujio
Genre: Family/Comedy/Drama
Release Date: May 15th, Y10
Theater Count: 3478
Rating: PG
Format: 2D, 3D
Budget: $80 million
Runtime: 96 minutes
Cast:
- Gordon Maeda as Nobita Nobi
- Eugene Lee Yang as the voice of Doraemon
- Ryan Potter as Takeshi aka "Giant" (wearing prosthetics to look heavier)
- Kaylee Kaneshiro as Shisuka
- Jordan Nagai as Suneo
- with Carrie Ann Inaba as Mom
- and George Takei as Dad
Plot: Nobita Nobi (Maeda) is a young Japanese-American teenager who lives in a local community in San Francisco. He lives with his strict, pushing and hard-working Mom (Inaba), and Dad (Takei), who, when not working, spends his days watching TV and drinking. At school, he has a crush on Shisuka (Kaneshiro), whom he is close friends with, while being bullied by Giant (Potter), a heavy-built loudmouth who is the self-professed king of the neighborhood. Suneo (Nagai), a rich, bratty teen, enjoys to join in on Giant's bullying of Nobita, but evidently hides insecurities of his own, that are brought up every once whenever Giant berates him on public. Nobita, otherwise, is close with Shisuka, who focuses hard on her studies and always tries to be the best student in class, and has no obvious interest in Nobita romantically, although she seems to dig him as a friend. He, on the other hand, while subtle enough with his romantic attraction to her, has no means of keeping up in terms of studies (being lazy, impulsive and easily distractable), is poor socially, awkward and clumsy. While Mom constantly tries to push his best side, it's to no avail, which disappoints her. Nobita himself, aware of his shortcomings, is tired of his life, and wishes, under a star, for things to change.
That night, after Nobita goes to sleep... his drawer opens, and, from inside, an interdimensional portal brings inside a massive-sized humanoid cat, Doraemon (Yang). The next day, Nobita shrieks at the presence of the big cat in his bedroom - even more so when it's revealed that Doraemon can talk. Doraemon soon says that he became lost from the future, since a mouse followed him and he had to escape, so he jumped in this timeline. Nobita, shaking off the fear from the surreal sight of Doraemon, and realizing Doraemon is from the future, asks him if he can help change his life. Doraemon shows no evident interest, but upon meeting Mom - who is, obviously, terrified at first - he decides he wants to help Nobita, if, in return, he gets a healthy diet of dorayakis (Japanese chocolate muffins). No soon, Doraemon reveals that he carries a pocket on his waist, but it's no ordinary pocket: it is an infinitely spaced vacuum on the inside, which can carry thousands of different futuristic gadgets. He reveals the Capcopter, a little cap-sized helice that you place on your head and fly with, and the Magic Door, a door that teleports you to any desired location (which Nobita promptly uses to go to the beach, the mountains, or to Shisuka's room, where she is studying - he quickly turns around and goes back, upon realizing what he did, while Shisuka does not notice he is there, but is nonetheless confused about whatever happened there). Soon, Nobita goes outside and starts showing off his capacity to fly and teleport, which impresses all the kids in his neighborhood, including Giant and Suneo, the latter who is wowed by the machinery, and the former who just feels jealous. Soon, Giant wants to try Nobita's newfound gadgets, and forces him to do so, stealing the Capcopter, and singing "I am Giant, the king of the neighborhood" with his completely off-tune voice. Nobita cries for help to Doraemon, who is furious about Nobita's clumsiness, and ends up revealing himself to everyone else, while scaring Giant and getting his gadgets back. Giant, humilliated about his public showing of fear, beats up Suneo (cartoonishly-ish, since it's live-action) and parks outside Nobita's house to do the same to him. Suneo, shattered, runs back home, and Shisuka finds him crying. She is humble and comforts him, while he admits that, if it weren't for his family, no one in town, even Giant - who's always been closer to him - would like him. Shisuka understands, nodding to Suneo being spoilt and bratty, but with a heart of gold. Suneo implies that he always felt he has something to prove because of his Japanese ethnicity too, which Shisuka, melancholic, reflects on. She says that their origins are never anything to be ashamed of, but we see in a flashback that Suneo has largely been somewhat distant from his white child peers even before meeting them, while Shisuka, in a flashback of her own, harkens back likewise.
Nobita and Mom have an argument at home about Nobita's wrongdoings with Doraemon's gadgets, with Mom harassing Nobita for still showing no work ethics, while Doraemon panics about big, buffy Giant waiting to beat Nobita outside. Nobita, comically bent between arguing with both Mom and Doraemon, asks the latter for a gadget that can overpower Giant, but Doraemon says he is forbidden from using gadgets that inflict violence. Mom asks Doraemon then to make Nobita smarter, but Doraemon says he cannot alter anyone's brain either, which then makes both shout: "Then what are you useful, for?!", which Doraemon says: "It's not my fault, it's all YOURS!", breaking both of their hearts, while Doraemon immediately regrets. Nobita locks himself in his bedroom, Mom, saddened, returns to chores and Doraemon tries to make up for it, but the house retreats in silence. Meanwhile, Dad, drunk (subtly, as to not provoke the PG rating), comes back home, and Mom does not have the heart to talk to him. Doraemon then has a flashback: it's revealed that, in the future, he's actually supposed to be Nobita's guidance robot who will help him steer towards a future, where he is a responsible, kind-hearted person who can actually be a good friend to Shisuka, a good son to Mom and Dad, and even a reference to Giant and Suneo. Doraemon rejects this notion, claiming he is good enough to be a guide to much better kids, but after that a mouse is strategically placed on his house by Doremi (voice of Hayley Kiyoko, cameo), Doraemon's yellow and pink-colored cat sister, Doraemon is forced to come to Nobita's timeline. There, he reflects on how he can do better for this kid and this family.
Doraemon goes back to Nobita's bedroom, and talks to him about Nobita's issues in life. Nobita claims he just... wishes he could be someone different. Doraemon says he suspects Nobita's brain is different, Nobita saying Mom and Dad have always suspected he might have ADHD. However, Nobita is referring to another kind of "different" - the kind where, even if he were like everyone else brain-wise, he still feels different, and he thinks his origins mean he always has something to prove. We then get images of Giant, tired of waiting for Nobita, going back home, where his Mom, a buff-built merchant lady, who treats him by his name, Takeshi, berates him for being always late, unhelpful and an idiot. She is hurt by having to be mean to her son, but says it's for his good, as he "does not understand what it's like to be a stranger". Giant, hurt and melancholic, understands that his Mom means that her origins, and his as well, have made them the way they are, remembering when some children made fun of him before he bulked up. Shisuka also reflects on what Suneo said, claiming that her Japanese origins have always influenced her family to hope she becomes bigger than she always is, pretty much enticing her to focus way too hard on her studying. Suneo simply looks back at all the bullying he went through in his own life. Doraemon, emotional, says that Nobita should never be ashamed of who he is - whether he's inattentive, clumsy, or, much worse than anything, in belief that his ethnicity is anything but amazing. Nobita is quiet, while Doraemon says: "being who I am... wearing my colors... there's nothing better than that. And I think you should think that way too." Nobita, tearful, understands Doraemon. Meanwhile, Shisuka finds Suneo in his house, and convinces him to try to talk Giant out of beating Nobita. Suneo agrees, but they cannot stop Giant from making a social media post calling out Nobita in public.
Nobita, horrified, calls Giant directly, who then tells him that, if he wants to stop being a chicken, "he'll meet him on a cliff by the Golden Gate". Nobita and Doraemon, terrified, decide to comply... not for their own sake, but for Giant's as well. Giant and Nobita confront one last time, and Giant says that, if he's not taking it out on Nobita, who is he going to take it out on? "Everyone is just so nice, until they release that they only don't make fun of a kid because he's bigger than they are." Nobita and Doraemon try to reason with Giant, but Giant says that if Nobita doesn't fight him right there and then, without Doraemon's help, he will jump off. Nobita, hesitantly, steps forward, and predictably, Giant pounces him around. Nobita allows himself to, and when Giant just asks him why he doesn't ask Doraemon for help now, he says that, clearly... it's Giant who needs help the most. Giant, crying, runs and jumps off the cliff... but not before he stalls mid-air, having a Capcopter on his head that's rotating and bringing him back up. Every other character is then teleported, via Magic Door, to the locale, and everyone comforts Nobita (who is injured and needs medical attention) and Giant. Doraemon talks to Shisuka, Suneo, Mom and Dad at that point, and says that if his destiny is to help these kids, then the best thing they can do... is forgive themselves and adore each other for things they cannot control. Everyone converges. At the hospital, Nobita, Mom and a finally sober and worried Dad have a talk, where Nobita pleads apologies to his parents for not being as good as they want him to be, and Dad convinces Mom to apologize for always wanting too much from him, while Dad apologizes for not always being present. Giant and his Mom have an emotional talk as well, where Mom says she didn't mean to make Giant depressed, apologizing him eternally for it and promising she will be understanding of Giant, while Giant just says her love is everything he needs. Shisuka and Suneo agree to have talks with their own families, in the wake of the near-tragedy.
The next day, Doraemon is called by Doremi, from the future, who asks him that, understanding he nearly made a mess and almost wrecked Nobita's future, he may need a timeout from his mission. Doraemon rejects, saying that, right now, all he wants is to be with Nobita. Doraemon and Nobita, radiantly, decide to tackle life differently, as Doraemon agrees to stay with Nobita for as long as possible, while Nobita tries to change his life for the better, concluding the film on a hopeful note. Mom and Dad offer Doraemon as many dorayakis as he wants, but he says: "if Nobita and all of you are doing okay... that's all I need."
-
2
-
-
Updated as of December 6th, 2023!
Keynotes:
- Gran Turismo has been bumped off the Top 100 DOM OW's list;
- the opening weekend of Aftersun, the OW of Till and the second weekend of Black Panther: Wakanda Forever have all been bumped off the Top 100 DOM PTA's list;
- the Chinese film Cliff Walkers has been bumped off the Top 100 WW list.
-
2
-
1
CAYOM Magazine
in Create A Year Of Movies (CAYOM)
Posted · Edited by MCKillswitch123
@CayomMagazine
This August... the
epic journeySummer vacation of their lives!Olivia Cooke
Finn Wolfhard
Naomi Scott
Dee Bradley Baker
Billy West
with Chris Evans
and Leslie Jones
THEY'RE BACK.
#tatianasjourney