Review – Reel Film Chronicles

Cuckoo

Cuckoo | dir. Tilman Singer | 103 min Cuckoo is the kind of bonkers bizarre-concept movie that could only have been willed into being in the world of low-budget films. The land of big budget blockbusters is a hostile environment for this particular breed, and it’s exactly the kind of movie that needs time to properly gestate and thrive in a more welcoming habitat. Perhaps the only well-known production company consistently birthing low-budget horror films these days is Blumhouse, but even their seeming embrace of low-budget blood and gore is built on a model of success by dominating the lottery; you put out enough movies, eventually at least a couple are going to find an audience. This is also known in circles as the Netflix Gambit, though as part of their official creed, they boil everything down to the lowest common denominator of content as opposed to art or storytelling. And Cuckoo has a story to tell. At its heart, Cuckoo is a story about family, and no matter how weird the reveals get–and they do get pretty weird–this core…

Extinction

[ 2018 – Ben Young – 96 min ] The 2018 Netflix sci-fi film Extinction holds the distinction of being one of the films that I only discover by perusing the depths of the app, in what I can only describe as a terrifying gauntlet of finding a movie suitable to watch with my parents. It’s quite a daunting task to find a so-called “good” movie that satisfies the interests of both my discerning parents, and I’m sure many fellow film enthusiasts can relate to this challenge. At the beginning of every movie now, there’s a tense few minutes where I wonder if my mother will hit that pause button and ask if this “gets better” and I drag my phone out to find another candidate, as a movie is tossed to the bin of dismissal. Extinction, I’m glad to report, passed the five minute test, and seemed to hold our collective interest (save for my father, who is inevitably going to fall asleep regardless of a film’s quality). The star power of Michael Peña and Lizzy Caplan caught my attention and…

Latitude Zero

[ 1969 – Ishirō Honda – 89 min ] In following Tears_in_Rain’s excellent Godzilla & Friends Marathon list (boxd.it/2GRQW) I’ve really taken an appreciation in the (somewhat) non-monster films, and the world of super powerful submarines. Latitude Zero unexpectedly delivers me another great sub, but also a very Wakanda-ish civilization hiding at the bottom of the ocean living their best lives – and they are very long lives. Every Thursday night I put on one of these films, and I must say I was taken aback at first that the film was entirely in English, but glad to see that there wasn’t any egregious dubbing, in fact quite the opposite: the Japanese actors were speaking English throughout, and the usual tomfoolery and outlandish plots and characters were still fully intact to fit alongside the other sci-fi entries of this era. Dr. Malic is delightfully evil, bringing along some wonderfully deranged monsters (mostly all regular size, I should note) and his own advanced submarine that just can’t quite compete with the good guys, but his diabolical plans and go-to attitude doesn’t let…

The Fast and The Furious: Tokyo Drift

Year: 2006 | Dir: Justin Lin | Runtime: 104m It’s easy to conceive of a universe where The Fast and The Furious franchise simply dissipated into the ether like a puff of exhaust from the tailpipe of a 1970 Dodge Charger. The Fast and the Furious: Tokyo Drift had all the hallmarks of a direct-to-video release and a total lack of any confidence in its success on the part of Universal. With none of the stars from the first two films returning, Tokyo Drift appeared to be an attempt by a major Hollywood studio to capitalize on whatever shred of popularity they could sink their greedy little claws into. On paper, it seemed to be a Fast and The Furious movie in name only: it featured all new characters in an all-new setting with a narrative completely divorced from the movies that had proceeded it. All signs pointed to Universal trying to squeeze the last few drops of profitability from a (at the time semi-) recognizable brand name before discarding its desiccated rinds into the gutter like so much scrap metal. Tokyo Drift might very well have sealed the…

Captain America: The First Avenger

Year: 2011 | Dir: Joe Johnston | Runtime: 124m If I didn’t care about The Avengers in my youthful comic book collecting days, then I cared even less for Captain America. I would write him off as a relatively flat, simple and boring hero that was completely boring to my younger self; it’s no secret that when I pictured myself as a Marvel hero on the playground and in my imagination, it was a Wolverine-esque indestructible mutant with cool cybernetics that pulled from my favourite sci-fi films. Or maybe that was a secret. Either way, I never once picked up a Captain America comic, allowing only his cameos in other books and his depictions in pop culture as my basis for my (poor) opinion. When the film was announced, I did not approach with any excitement save that this was the next entry in the great experiment that was the Marvel Cinematic Universe and a lead in to the properly gigantic Avengers film. So when I came out of the theatre, I gave my head a shake and realized this…

Tremors

The moment I saw that a new 4K, special edition of Tremors was announced and coming out, I was online securing my preorder. It’s not often a film announcement gets me excited, but here I was, plunking down a relatively serious amount of money for a boxed edition of a film that I had honestly kind of forgotten about. Obviously, my childhood love for the film rushed forward and took charge: sometimes there are just those films that spur you to action, and Tremors is – apparently – one of those. Does anyone remember Betamax? The alternative format to VHS in the 80s and early 90s, Beta certainly had a comfortable spot in my families home: the basement television. Along with that top, spring loading player came a library of verifiable 80s movies and dubs, including a deep library of Looney Tunes cartoons, random Godzilla movies, a few films like Firebirds, and of course: Tremors. When that package arrived in the mail the other week, I quickly took in the nostalgia of the films imagery as presented in a boxed…

2 Fast 2 Furious

What 2 Fast 2 Furious lacks in story, plot, and character, it nearly makes up for with swagger. 2 Fast 2 Furious marks the low point in The Fast and the Furious saga, which isn’t to say that it’s not without its certain charm. It’s a fun ride, even if it doesn’t nearly reach the heights of the first movie, and it doesn’t quite fit with the later evolution of the series when it truly came into its own as an ongoing story of mercenary spies / borderline superheroes on globe-trotting adventures to save the world and protect their “family.” 2 Fast 2 Furious does, however, add several important elements to The Fast and the Furious lore, including Tyrese Gibson as Roman Pearce and Chris “Ludacris” Bridges as Tej, who would become series regulars, and Eva Mendes as Agent Monica Fuentes, who would also show up for a cameo in a later entry. There’s just a hint of some of the technological ridiculousness that would be fully embraced by later movies in the franchise with the “electric darts” the police use to disable the electronics of speeding vehicles. (Or maybe this is real tech, and I’m…

Underworld: Blood Wars

So in the previous Underworld film (Awakening) we advance the story along by the fact that humans have now discovered that both vampires and werewolves are a real thing, and with that, a number of doors open to some interesting antagonists. But Awakening didn’t even fulfill that, instead using the human factor as a catalyst for the events that went down. That’s fine. What’s not so fine is that Blood Wars completely disregards humanity. With this being the fifth entry, I would have hoped that there was a little more focus and foresight into either ending the series or expanding the world beyond the “simple” war between vampires and lycans. With Resident Evil’s fifth entry coming out around the same time (I think it was in the same month as Blood Wars, actually) I can’t help but draw a simple comparison in our protagonists journey: Alice’s (Resident Evil) story starts off with a lot of mystery and is neatly (and I use that word dubiously) explained and wrapped up the literally titled Final Chapter. Selene’s backstory is seemingly explored to its extent within the first two films and diminishes thereafter in each entry. Instead, those later Underworld movies introduce Selene’s daughter and other…

The Fast and the Furious

2001 | dir: Rob Cohen | 106 m Though The Fast and the Furious has left an indelible mark on the cinematic landscape as the progenitor of one of the most successful and well-known action blockbuster franchises in the world, when it was released in 2001, it was simply a fun movie about street racing, a criminal underworld, undercover cops, and the shameless promotion of undying brand loyalty to Corona. I use “simply” here not in the pejorative sense but in the nostalgic. Now that the franchise that The Fast and the Furious spawned – seven sequels, a spin off, an animated show, and an eighth sequel being released this year – has become so ubiquitous in pop culture, it has become increasingly difficult to separate The Fast and the Furious the movie from The Fast and the Furious the cultural phenomenon. It’s nearly impossible to watch the movie now without seeing it through the filter of the incredible success of its sequels and the iconic status the entire series currently enjoys among audiences who watch these movies with the right eyes. It’s also so far removed narratively from what its sequels have evolved into, and the connective tissue between this and…

Red Planet

If you had to choose a movie to aggressively push out the door from the party that was the 1990’s, then I guess it would have to be Antony Hoffman’s Red Planet, starring Carrie-Anne Moss, Tom Sizemore and Val Kilmer in a perilously blundered trip to Mars. With this much nineties star power fueling the trip, I could see myself and friends eagerly going to see this on a crisp November evening, expecting high stakes sci-fi adventure, featuring the latest special effects and near-future fantasy of humanity’s quest to step foot on our planetary neighbour. Indeed, the poster hints at a silhouetted menace awaiting our crew, as our fearless Kilmer drags his crewmate across the arid landscape toward a multi-legged monster, all drenched in blood red, speaks volumes for intriguing poster design and an action packed thriller at hand. Just as quickly as I can envision us heading into that theatre, I can imagine the group of us solemnly leaving the multiplex with, scratching our heads, while somebody said “at least we got to see Carrie-Anne Moss topless” while the rest…