elicopperman

One of the strangest films I've ever had the chance to see is the 1975 Japanese experimental short Atman. The entire 11 minute long film depicts a demonic figure sitting in an outdoor environment wearing a robe and a Hannya mask. Believe me when I say that as short as the film is, you feel the figure's presence in every frame.

The film was executed through receding and shifting images utilized in a frame-by frame manner. With the addition of strange color palettes and hypnotic music, the best way to describe this transformative method of jumbled cinematography is something straight out of a fever dream. Much of this is contributed to avant-garde composer Toshi Ichiyanagi, whose score transcends the numerous different view points of the demon with melodies that will haunt your dreams for a while.

As scary as this film is, I would recommend it to anyone interested in the intrinsic experience. It's not going to everyone's cup of tea hence the short runtime and odd concept, but if you're looking for the closest thing you can think of experiencing a real life demon, this is the best bet you'll have. Enter at your own risk but keep in mind that it's up there for all to see.

If you were to be asked the first early 80s coming of age high school film that came to your head, Fast Times at Ridgemont High would probably be on that list immediately. Marking the debut of writer turned filmmaker Cameron Crowe and director Amy Heckerling, the movie garnered a massive financial status and a huge cult following amongst gen Xers and fans of 80s pop culture. Nowadays, its status has grown significantly higher and it's also regarded as one of the better teen based dramedies of its time. Watching it now with a genzier's perspective, it's more than easy to see how well it's aged.

The film details high school sophomores Stacy Hamilton and Mark Ratner who go about their new year at Ridgemont High with their older friends Linda Barrett and Mike Damone, both of whom believe they are wiser about romance than they actually are. What seems like your typical coming of age teenfest turns out to be a surprisingly fascinating look into feminine sexuality and toxic masculinity. Stacy herself goes through a lot in the film, such as falling for guys who don't care for her to facing the consequences of unprotected sex, and Jennifer Jason Leigh portrays her in a relatable fashion that makes us empathize with her struggles. Although most people tend to remember this film for its raunchy stoner humor, the core of the feature is an emotionally charged narrative about teen curiosity that I'm sure many people can resonate with regarding their high school years. In subversing teen film tropes by having the girls be just as sex enthused as the guys, Fast Times's title speaks for itself on how fast things might go for teenagers during early periods of their lives.

But of course, most people tend to go back to this movie for the ensemble cast of characters, including the stoner surfer senior Jeff Spicoli. Although Sean Penn's performance is equipped with hysterical one-liners, Spicoli is actually more sympathetic when he has to deal with his stern yet reasonable history teacher Mr. Hand. In addition, Stacy's older brother Brad goes through numerous obstacles from job after job to relationship struggles, and Damone might be the most nuanced as far as romance knowledge goes in spite of his callous attitude, which is highlighted whenever Ratner has to deal with him. Lastly, Stacy's friend and coworker Linda remains the most sex enthused woman in the whole film both in stature and experience, complete with one of the most paused scenes in cinema history. Complete with then new now well known faces amidst the cast such as Phoebe Cates, Forest Whittaker, and even Nicholas Cage and you've got one of the funniest and most memorable pack of supporting characters you'll ever see in a 80s teen dramedy.

As for other notable qualities, the filmmakers managed to capture the aesthetic of high school through the production design and cinematography quite well. The Van Nuys High School backdrop keeps the primary school setting afloat with many attributes ranging from small yet raucous hallways to classroom settings that elicit claustrophobic uncomfortableness during any of the side character's shenanigans, including Spicoli. In addition, the cinematography allows each sequence to feel naturally lit yet colorfully heightened to present the feeling of teenaged nostalgia without emphasizing any forced sentiment in favor of brutal honesty in what teens faced. Much of this can be attributed to the soundtrack, which adds into the fun of the film while also subtly speaking on behalf of the more dramatic moments, although some scenes still get their own share of upbeat rock songs to add to the 80s flavor of it all. In being a time capsule of early '80s teen memorabilia, this movie's impact on pop culture has stood the test of time arguably more than other films of its subgenre.

While Fast Times at Ridgemont High may seem like your typical juvenile high school flick of its day, its genuine dramatic heart, lovable cast of characters and spot on replica of 80s pop culture make it a thoroughly appealing time capsule that has stood the test of time in more ways than one. Whether you're a die hard fan of this film or not, it's absolutely worth a watch for anyone curious about the earlier works of the cast and crew. Now that teen based dramedies seem to be far and few in between and inconsistent in quality, wonderful time capsules like this are always worth the price of admission and significance.

In 1973, newcomer director Hal Ashby and up and coming screenwriter Robert Towne adapted Darryl Ponicsan's 1970 naval themed novel The Last Detail into a motion picture. Starring Jack Nicholson in the lead role, the film garnered largely great reviews and prestigious awards, including a Best Actor award for Nicholson at Cannes and a Best Supporting Actor nomination for then newcomer Randy Quaid. Often seen as a quintessential rebellious 70s dramedy, this feature is often sighted as one of Ashby and Nicholson's best works to date, and it's easy to see why through its raw nature.

The film follows career sailors Buddusky (Nicholson) and Mulhall (Otis Young) who are assigned to escort a young emotionally withdrawn recruit named Meadows (Quaid) from their Virginia base to Portsmouth Naval Prison in Maine. At its core, The Last Detail is a thoroughly enticing road movie from start to finish thanks in large part to Towne's bravely profane script and the lead cast's unabashed performances. As the film goes on, we can see how much Buddusky and Mulhall resent their task based on the insipid crime, and that alone makes their goal of showing Meadows a real good time before his imprisonment truly human and relatable. In honoring the bonds between manhood, so much adventure and new discoveries occur between the trio, whether it be getting Meadows drunk for the first time, attending a Buddhist community, or even getting the young man laid. There is rarely a dull moment to be found in our lead's journey, which makes its inevitable conclusion all the more saddening once it's all over. It's not often when you root for officers and recruits in such dire situations.

Going into the actual performances, Jack Nicholson gives this movie its much needed edge, which contrasts well with the strict orders he's given for something so insignificant. In addition, Nicholson and Otis Young share great chemistry as Buddusky and Mulhall in how much conflict and resolution comes up in their differing attitudes yet similar choices of fate. That being said, Randy Quaid nearly steals the show as Meadows, as he brings genuine devastation through subtle gestures and facial acting, even when his character is having fun. Much like how this film is a critique on systemic corruption, its themes of human injustice are shown through Quaid's reasonably depressed state of being, and it's shocking how well he did compared to his later comedic roles. Other notable performers only appear when a scene calls for it, but they all serve their roles in showing people at their most cruel and most endearing in different ways. When the right actors are chosen for such a small group of core characters, you get some of the most intrinsically real performances out there.

As far as other notable qualities go, Ashby's direction keeps the film grounded in the cold winter season with brutal realism that fits the film's reflectively cynical nature. This film marked legendary cinematographer Michael Chapman's first venture into that field, and his work captures an almost quasi documentary approach to natural light, which further adds into the tension of any given sequence focusing on our leads' rauctious escapades. The editing contributed to Robert C. Jones lets each scene play out as long as it needs while making strong usage of dramatic jump cuts and looming scenic transitions to show how much time is passing without much of a care given by Buddusky or Meadows. Lastly, while only used sporadically, Johnny Mandel's somber score allows us to empathize with the aforementioned passage of time that makes this feature such a minimally harrowing human experience. So much attention to detail and care was placed into capturing the natural side of human discourse through talented filmmaking, and that's just part of what makes this film special.

To this day, it's remarkable how little fame The Last Detail has garnered, since its reasonably cynical content, powerful performances and strong low key filmmaking earn it as a definitive staple of early '70s cinematic mastery. If you're a fan of Ashby, Nicholson or overlooked gems from appraised decades in cinema, this film is a must watch for anyone out there, and there is still a lot to get out of its critiques on the questionable power moves laid on us by those who don't know any better. It has been 50 years since its release and it has rightfully aged even better than beforehand.

In 2015, acclaimed screenwriter Charlie Kaufman and stop-motion filmmaker Duke Johnson released a fascinating adult themed psychological dramedy Anomalisa. Based on Kaufman's own 2005 audio play of the same name, the film went on to receive strong critical attention and massive awards recognition following its slow yet steady rise from an independent short into a full blown feature length film. It's amazing to see an R rated animated feature get that much attention. Now looking back on the film nearly 10 years since its original release, how well does its introspective take on loneliness hold up?

The film tells the story of a middle-aged customer service expert named Michael Stone, who perceives everyone as identical except for one notable woman, Lisa Hesselman, whom he meets in a Cincinnati hotel. Although Anomalisa's premise seems straightforward on its own, its central theme of overbearing loneliness is what makes it a thoroughly engaging watch from start to finish, especially with a primary character who views everyone around him as the same person. In spite of Michael's generally successful life and status, his constant misery from nothing bringing him any pleasure and a past failed relationship are what cause a gap in his life to go anywhere truly worthwhile. Much like how the film's title is a play on the word, Lisa herself is a true anomaly in Michael's existence that inexplicably fills said gap with her vulnerable yet genuine personality, aided by a charming performance from Jennifer Jason Leigh. Rather than being a general romantic story about love, this movie can best be described as a unique reflection on the absence of love.

As for the characters themselves, not only does Kaufman's screenplay present Michael and Lisa with emotionally natural dialogue, but David Thewlis and Leigh share such somberly passionate chemistry with one another. As Michael strives for someone who can change the course of his mundane life, having Lisa go from feeling insecure about herself to feeling special is just the key to opening a new light. But perhaps the most fascinating character in the whole film is literally everyone else, as they are all voiced by and resemble actor Tom Noonan, including the women in Michael's life such as his ex and wife. As conceptually weird as this may seem, this core creative choice cleverly brings in the theme of how everything that one sees as undesirable appears to be the same, thus making the fact that Lisa is truly unlike anyone Michael has ever met. It's rare when a film only features a handful of players and comes off as strong as works like these, and yet works like this remind us that sometimes less is more to convey the inner complexities of human desires.

Going into the animation direction, the naturally realistic approach displayed by the stop-motion crew is nothing short of incredible. Considering that some detractors have put down stop-motion as looking off-putting and uncanny, the pseudo-realistic sets and character designs recreate the familiarities of real life into something fresh and unique from the filmmaker's artistic point of view. While many could argue that this type of story could be done in live-action, the metaphorical viewings Michael witnesses throughout the film make it abundantly clear that animation is the perfect medium for this type of psychological drama, complete with precise attention to detail in specific sequences and character interactions. It also helps that being able to actually see the facial lines on the characters adds into the idea that everyone around Michael is a theoretical puppet and he feels lost in a world full of them. Most feature-length animated films tend to embrace a more fantasy-esque approach in their content and visuals, but seeing this film make the most out of reality is pure poetry.

It might seem simple in concept, but Anomalisa is a beautiful introspective look on the reality of loneliness complete with deep human themes, emotionally resonating characters, and high class animation direction. Whether or not you're a fan of Charlie Kaufman's work or you're into more self reflective takes on animated filmmaking, this film is a must watch for anyone curious about such timeless psychological themes. It's a shame that Charlie Kaufman has not had the chance to direct more of his own material into film, since works like this show how much we need to re-examine ourselves as people.

I liked some of the segments and didn't like some of the other segments, but as an ambitious jazz revue conducted by Paul Whiteman and his talented group of musicians and vaudeville comedians, this is a fascinating cinematic landmark. Your viewing experience will vary depending on how much you're into these kinds of concert feature formats, so take it with a grain of salt of course. Considering this film was once considered nearly incomplete to the years onward and is now seen in near full technicolor form thanks in part to Criterion, there's enough to admire from the music, staging and tributes to Broadway magic. By far the highlight is Whiteman's rendition of George Gershwin's acclaimed harmonious jazz composition Rhapsody in Blue, which has arguably been brought to life in better ways than this, but is still soaring through bold conduction and lively choreography. So all in all, take this movie for what it ultimately is: a charming time capsule to an era that was just starting to embrace sound and music together in the world of film.

25 years ago, Universal released their own remake of their 1932 horror film The Mummy starring Brendan Fraser in the lead role. In spite of the feature's mixed critical reception, it was a huge commercial hit and spawned two sequels, a prequel and a short lived animated series. Looking back on the film now, it stands well enough as one of the typical action summer blockbusters made when CGI was dominating that market. As for how it holds up nowadays on its own, while not all that different from the average blockbuster of its day, there's just enough to enjoy from its entertainment value alone.

The film follows adventurer Rick O'Connell who travels to Hamunaptra, the City of the Dead, with a librarian and her older brother, only to accidentally awaken Imhotep, a cursed high priest with supernatural powers. As an adventure film, there's plenty of cliches to go around surrounding O'Connell partnering up with Evelyn and Jonathan Carnahan, the former of whom is both an aspiring Egyptologist and an obvious love interest from the get go. That being said, this is meant to be an Indiana Jones inspired adventure epic complete with high scaled action, swordplay, and dodging dangerous obstacles, and this movie has plenty of it all. While nowhere near as sharply engaging or funny as the better Indiana Jones movies, the tribute is still there and it makes the horror elements work well enough with the sets and effects shown throughout the feature. Many plot points are predictable as popcorn, but anything to keep the story on its feet is fine by me. The film is somewhat self aware enough to know that its story is more about the show than the substance, and it works well in the end.

In addition to Brendan Fraser serving as the perfect swashbuckling lead who doesn't always take himself too seriously, the cast make the most out of the otherwise cheesy material. Rachel Weisz in particular is impeccably sharp witted and beautifully bold as Evelyn, and the bumbling chemistry between her brother Johnathan is often funnier than John Hannah's admittedly corny performance. Kevin J. O'Connor also makes for delightfully cowardice as the greedy yet pathetic Beni Gabor and the accompaniment of Jonathan Hyde as Dr. Allen Chamberlain and his men allow for much needed tension when the rival team is searching for the same treasure as our heroes. Lastly, Arnold Vosloo's straight laced presence as Imhotep still remains bone chilling and intimidating from start to finish, elevated even further by his spot on motion capture performance as the character in corpse ridden form. In a silly popcorn flick that mashes horror and comedy within its adventure, a cast of remarkable talent is just what's needed to keep things from losing steam too soon.

Now with the special effects being the main selling point for this movie, the phenomenal optical and digital work of ILM holds up today in varying degrees. On one hand, some mystical effects and character animation come off as dated from their rendering alone and there are numerous post production add ons that wouldn't be necessary when compared to the practical production design on display. That said, some of the supernatural elements like the flesh eating scarabs and Imhotep's reawakened minions are still frightening by design, and the insane amount of dedication to making these insane effects work well are no wonder the crew finished the film on the day of its premiere. Much of these effects are carried through the intensely powerful score of acclaimed film composer Jerry Goldsmith, complete with bombastic conduction and a mixing of traditional European orchestral and cinematic Egyptian melodies. Whether the effects hold up well or don't, the actual viewing experience of this film will be determined by all the well coordinated ambition displayed on screen.

As an epic action adventure film with horror and comedy mixed in for effect, The Mummy (1999) remains a fun staple of its time that can be enjoyed nowadays on its own for how much nostalgic value it offers. In a day and age where computerized effects have completely dominated filmmaking in more ways than one, seeing a big scale production like this at a time when the technology was still in its early years makes it stand out as a charming treasure from an older era. Whether you prefer this over the original 1932 film with Boris Karloff or the 2017 reboot with Tom Cruise, this one will be a good time for you.

Back when nerdy filmmaker Kevin Smith was a brand new face in the indie filmmaking scene, his View Askewniverse had kicked off to a good start with cult hits like Clerks and Mallrats. One of the films in that franchise, Chasing Amy, has endured one of the better stand alone legacies in Smith's filmography, mainly for its sensitively portrayed themes of conflict between love and sexuality. Not only have Smith enthusiasts viewed it as a fascinating grey area in depicting cinematic relationship conflict, but its lasting impact has stemmed partially from its portrayal of queer people during a different time in our culture.

The film follows a comic artist named Holden McNeil who falls in love with a struggling writer named Alyssa Jones who turns out to be a lesbian. This causes complications in Holden's personal feelings and his relationship with his best friend and partner Banky Edwards. Loosely inspired by a crush that Smith's producing partner Scott Mosier had on lesbian filmmaker Guinevere Turner, the feature is often at its most intense in depicting how brutal these kinds of relationships can be for anyone who takes love seriously. The complicated relationship between Holden and Alyssa are elevated by Ben Alleck and Joey Lauren Adams's flaunting chemistry as they grow together and apart on account of just how complicated their feelings are for one another. As crude and immature as the setting might be, the film's themes of problematic tension are handled with such raw honesty that anyone who has ever been in a serious relationship can feel for the leads in more ways than one. It's hard to believe such a thorough depiction of relationships could come from the world of Clerks.

In addition to its central core of complicated romance, the film also explores how frustrating bromance can be for two best friends. On top of the aforementioned Banky being resentful to Alyssa's queer presence, his close partnership with Holden borders on uncomfortable due to faltering plans to bring their popular comic series Bluntman and Chronic into the mainstream. While seemingly despicable and unpleasant, Jason Lee adds an extra layer of relatable intensity into how much Banky doesn't want to lose his best friend to some stranger who isn't attracted to him in the way he thinks, no matter how repugnant he may seem. Other notable characters add into the hilarity behind Holden's complicated relationship such as the flamboyant black comic creator Hooper and the legendary duo that is Jay & SIlent Bob, the latter of whom share a similarly heart wrenching story as Holden's. Considering that Kevin Smith went out of his way to feature as many recurring actors from his older projects as possible, it makes the feature all the more like a proper View Askewniverse endeavor.

Now with all of that said, it's best to acknowledge on whether this film's depiction of the LGBTQ community holds up or not. Considering that this film reflects more on a straight man learning about what it means for a woman to be gay and fall for them at the same time, it makes the depiction of gay women around Alyssa's life feel more like after thoughts in service of the main narrative. While this film was fairly progressive for its time period, knowing where queer culture has grown since then might rub some viewers of today the wrong way in the context of the film's main narrative focus. However, I think it's best to analyze this film less as a legitimate breakdown of the lesbian experience and more as a wake up call for those who cannot see past their own views on romantic relationships. Whether people would like to admit it or not, heterosexual dudes of the late '90s were still coming to terms with their own feelings in the wake of queer revolution, and smaller stories like this are just a dime a dozen as far as what Smith and his friends were getting across since their beginnings.

So while its queer representation might not be as authentic as today's standards, Chasing Amy holds up well as an emotionally raw romcom that tackles its tricky themes with genuine honesty and frustrating introspection smoothly. Unless the work of Kevin Smith isn't your cup of tea, I highly recommend this for anyone who has been in similarly tumultuous relationships as the ones depicted in this feature and especially to newcomers of the View Askewniverse. Even after 27 years since its release, this film has managed to seep into pop culture so well that it's hard to imagine anyone who also hasn't been chasing Amy either.

In 1984, a film adaptation of the 1979 fantasy novel The Neverending Story by German writer Michael Ende was released. Directed by acclaimed German filmmaker Wolfgang Petersen, the film was the most expensive feature produced outside the US, and it went on to be a critical and commercial success across the world. Often regarded as one of the most celebrated children's fantasy films of the 1980s, this movie has endured a growing legacy due to its boldly ambitious content and craftsmanship that has lied rent free in people's heads for over four decades. So 40 years later, how much does it hold up now?

The film tells the story of a boy named Bastian Bux who finds a magical book that depicts a young warrior setting forth to save the wonderland world of Fantasia from a dark force known as the Nothing. As Bastian continues reading the book, his imagination ends up dictating how the book's inner world functions. As a metafictional take on the "use your imagination" trope common in children's media, The Neverending Story comes off as fascinating in how it brings the book's inner world to life through such a seemingly simple journey. The tale of warrior Atreyu setting out to find a cure for a dying land is fairly intriguing on its own, but the framing device of Bastian practically bringing the world to life through his own engagement adds much needed suspense and thrills to an already epic journey. Whether or not the film was truly faithful to Ende's original book is a discussion within itself, but as a stand alone adventure shown from the eyes of a gifted outcast, this feature shows how much worth there is in connecting to what seems to be mere fiction, especially to other children.

As for the characters around the inner world of Fantasia, Atreyu steals the show as being the most sympathetic if not most endearing side lead thanks in large to Noah Hathaway's passionate performance as the brave warrior who learns more about confidence through the journey than beforehand. While there are many notable characters throughout the land who stick out from their costumes and minor quirks alone, few get to be as uplifting as the faithfully guiding dragon Falkor or the gnomes that are as beneficial to Atreyu's personal development as they are humorous on their own accord. Other notable characters in the real world include the bullies who harass Bastian and the grumpy bookseller Carl Conrad Coreander, the latter of whom only has one scene yet makes the most out of it thanks to Thomas Hill's intimidating presence. Although Bastian may be the central viewer of all the imaginary miracles established in the book, the general cast are what truly bring the seemingly never ending story to life, allowing us as the audience to feel connected with at least one player.

Going into the revolutionary aspects of the feature, the phenomenal special effects work bring the creatures and lands of Fantasia to varying degrees of success. On one hand, the puppetry, costume work and set design for the land is endlessly creative both in concept and execution, and it's remarkable how much time and money went into perfecting all of the technical details in reimagining the world through and through. That said, as much as technical limitations are the reason for this, the abundance of blue screen compositing and still photography on more elaborate set pieces make the practical effects feel cheap by today's more advanced standards. Having seen this film on the big screen recently, the sound design and Klaus Doldinger's accompanying score do just enough heavy lifting to keep the viewers engulfed in the experience without lingering too much on the effects. Lastly, no matter what anyone tells you, Giorgio Moroder's techno-pop theme for the American release remains an ear worm for its catchy melody and uplifting performance from Limahl.

Although it might not offer everything substantial from the original novel, Wolfgang Petersen's The NeverEnding Story has aged well in its unapologetically imaginative themes, well casted characters, state of the art craftsmanship and intriguing nostalgic value. Whether you're an age-old fan of this film or you're a newcomer, definitely check it out at least once, and also consider reading Michael Ende's book while you're at it. Even if you don't consider yourself to be much of a bookworm, products like this are more than enough to engage anyone into the realm of fantasy, be you a child or adult.

In 1984, Japanese animation legend Osamu Tezuka released a made for TV animated feature film called Bagi, the Monster of Mighty Nature. Intended as a critique on the Japanese government's approval of recombinant DNA research happening around that year, the film has fallen into obscurity compared to Tezuka's more prestigious works and has only garnered a marginal following of internet anime fans. Looking at the film nowadays, while its earnest intentions led to a fairly heartbreaking story, it's better to acknowledge this as more of an experiment than a fully realized experience.

The film's story is told by a young Japanese man named Ryo, who recounts how he reunited with his old pet cat named Bagi, a sentient creature that was the result of genetic engineering, to unravel the cursed mysteries of her past. At its core, Bagi does mostly keep its focus on the unethical nature of genetic experimentation fairly intact, mainly through incorporating themes of losing connection with the ones you cherish the most and the trauma of finding out how you were made in the first place. Bagi herself is a tragic figure who had been lonely for so long and does not want anymore abominations like her to suffer like she did, hence her devout love towards Ryo as her only friend. Speaking of Ryo, his arc of going from a rebellious teen biker to a loyal friend who will help Bagi at all costs lends to some emotional albeit naughty chemistry between him and the titular character. The feature is arguably at its most harrowing whenever these two are split apart not just from bad circumstances, but the consequences that come from those who mess with nature.

With all of this said, the execution of the story is somewhat disjointed as it jumps from Ryo in the present being sent to hunt Bagi to him at age 15 helping Bagi find her past. It does help paint several key scenes in context from past to present, but it leads to some unnecessary buildup for little payoff and causes some characters like Ryo's dad and certain government agents who are out to get Bagi to get sidelined more than you'd think. Also, the third act is possibly the weakest point in the whole film due to some unneeded additions from people setting Ryo up to find Bagi in the present. Not to mention, some moments are too uncomfortable to watch due to the filmmaker's insistence on portraying Bagi in a fairly risque manner, which is added more by certain shocking moments that come off as more inappropriate than anything else. Lastly, although Ryo's mother being the one who created Bagi has some weight to the narrative, she is sadly undermined by incompetent politics and not handled well to gain much empathy for her, no matter what the filmmakers insist.

Outside of that, the animation direction is quite impressive given its made for television presentation. Despite some occasional janky camera pans and often jerky character movements to meet the film's deadline, the animation crew made the most out of the limitations with well composed chase scenes, gorgeous environments and a creative barrage of sci-fi machinery. The transitions of showing Bagi at a young age to her full grown self years later also helps distinguish her visually as she develops. The score of Kentaro Haneda adds into the suspense of the feature, although some of the music compositions do come off more dated than the animation due to some insistence on early to the occasional mid '80s synthesized tracks. As a more original project of Osamu Tezuka's studio, this is the closest they got to do as far as experimentation is concerned for a televised animated feature based on such a bizarre concept. While the script may have some questionable choices here and there, the production crew seemed to get the story well enough to show how rough the edges can seem.

At the end of the day, Bagi is a boldly flawed cautionary tale about what can go wrong if increased scientific experimentation is left unchecked. Unless this kind of material isn't something you find appealing, I would recommend that people check this obscure rarity from Japan at least once. If you can get past the off putting fanservice elements and uncomfortable creative choices, you might walk away with the idea that perhaps we need to be more careful with how we treat our species beyond what we normally think. Only someone like Osamu Tezuka could pull a concept like this off with such integrity.

Although Shrek is still regarded as a revolutionary modern classic for both Dreamworks and mainstream animation, its first sequel Shrek 2 is just as culturally significant as its predecessor, if not arguably more-so. Released in 2004 to strong critical and audience appraisal, the film held the record for the highest grossing animated feature length film of all time for the remainder of the 2000s decade and has gone down as one of the finest sequels of a beloved popular movie out there. So as this sequel happens to be one of my childhood favorites, how well does it hold up after 20 years in the spotlight?

The film continues with Shrek and Fiona now being married and getting invited to Fiona's parent's kingdom of Far Far Away. When the zealous Fairy Godmother becomes adamant about Fiona marrying her son Prince Charming, she plots to destroy the ogre's marriage. As a continuation from the film's happily ever after conclusion, this sequel focuses on Shrek struggling to be around his in-laws and coming to terms with him and Fiona being ogres amidst the kingdom's standards and practices. The film's heart lies in how devastating Shrek and Fiona's relationship becomes in confronting their distinct backgrounds, resulting in a conflict between prophesied fairy tales and true love. Thanks in large part to the genuine affection between Shrek and Fiona and the strong chemistry between Mike Myers and Cameron Diaz, the theme of remembering those you care about in spite of societal expectations still holds up well throughout the feature. It's shocking how much a pop culture spewing comedy like Shrek 2 could have such a strong statement on the pros and cons of true love.

Speaking of pop culture references, a lot of the movie's humor is at its strongest in playing with the newer characters and scenarios introduced in it. Of course the satirization of Disney movies is still prevalent as always, and arguably more blatant than the first film, but the humor is more reliant on twisting fairy tale formulas and tropes and throwing as many humorous gags and puns throughout the world of Far Far Away. It's saying how much detail was put into the production design when the variety of stores and buildings across the kingdom work well as off brand puns for famous companies. While the barrage of pop culture references might not be to everyone's taste, the cast and filmmakers keep the timing and character interactions energetic enough to warrant giggles from just a single line delivery and spoof of media at the time. As much as Shrek 2's story works well as an expanded continuation of events from its predecessor, its heart and humor are part of what make it stand strong as a worthy successor to an already uniquely fractured fairy tale.

As this feature introduces a new cast of characters in addition to Shrek, Fiona and Donkey, they all stand out well on their own with their distinctively conflicting roles and enjoyable personalities. Much of this can be attributed to the strong cast, including Antonio Banderas as the noble yet feline frenzied Puss in Boots, John Cleese as the stern yet rightfully concerned King Harold, Julie Andrews as the more reasonable Queen Lillian, Rupert Everett as the selfishly spoiled Prince Charming, and Jennifer Saunders as the pathologically powerful Fairy Godmother. While Myers, Diaz and Eddie Murphy continue bringing the needed enthusiasm and inner emotion into the characters we know and love, the newer cast elevates this sequel so well that the adventure wouldn't be the same without it. It's really saying how much fun the actors were having when Jennifer Saunders' cover of I Need a Hero is arguably more memorable and thrilling than the original. With a strong blend of familiar faces and genuine newcomers, this might be the most enthralling cast in a Dreamworks sequel to date.

Going into the animation direction, Shrek 2 does show its age the most here and yet still has its own dated charm from a time when CGI was still in its primitive stages. Since the Shrek films were intended to be crafted from a pseudo realistic approach, the otherwise top of line craftsmanship shown on screen does pale in comparison to today's more advanced computer generated family movies. That being said, the amount of detail and talent displayed by the crew is nothing short of impressive, especially with the vast scope and scale of Far Far Away as an expansive metropolis in lieu of its kingdom backdrop. In addition, the highly expressive character animation makes up for the lanky character designs that mix up humans and fairy tale creatures smoothly in their own world. Some notable creative touches can include the diverse magic from Fairy Godmother's wand and Puss's agile abilities, and it's almost a miracle that all of the cast's hair, fur and cloth turned out so well for its time. Regardless of its age, the animation remains uniquely grounded for all the right reasons.

By adding new concepts, characters and world-building than initially thought, Shrek 2 has aged like fine wine as a strong successor to a celebrated phenomenon of a mature animated family film. Arguably more expensive, heartfelt and hilarious than its predecessor, this is easily the go to Shrek movie for fans and newcomers alike, and it's still worth checking out after all these years. Maybe I'm only saying this based on pure nostalgia alone, but I'm always happy to sing this feature's praises as much as the next genzier. I guess I love this movie the same way Shrek and Fiona love each other so fondly today.

Of all the movies in acclaimed cult filmmaker Wes Anderson's career, few have proven to be as low regarded as The Life Aquatic with Steve Zissou. Released in 2004 to mixed reviews and poor financial returns, the film has since garnered a strong cult following and is often seen as one of Anderson's more overlooked and underrated endeavors. Made as a parody and tribute to French oceanographer Jacques Cousteau, there is just enough to appreciate in the film for Anderson enthusiasts and newcomers alike, even if it might not give you exactly what you're looking for from first glance.

The main story focuses on an eccentric oceanographer named Steve Zissou who sets out to go after the "jaguar shark" that ate his partner. Despite this sounding like a simple enough premise, The Life Aquatic juggles a lot of different characters and plot points at nauseum, such as Zissou struggling to keep his showstring expedition crew on board and facing the reality of his illegitimate son Ned Plympton coming into the journey. Compared to Anderson's earlier works which are more grounded character narratives with oddball humor, this film goes for a much wackier approach in its story with numerous side characters and obstacles coming into the picture. As a result, there is a bit too much going on to allow for a proper balance between the realistic scenarios and borderline cartoony hijinks ensuing throughout Zissou's misadventurous expedition. Much of Anderson and co-writer Noah Baumbach's trademark witty deadpan dialogue comes into play well enough, which is to say that it may or may not make up for the admittedly disjointed narrative depending on the viewers.

Fortunately, in spite of all the different plot points, the cast and crew make the most out of the runtime. In addition to Bill Murray lending his classic deadpan facade smoothly to Steve Zissou, Owen Wilson adds a lot of charming suaveness to Ned which allows us to feel some sympathy towards the guy in lieu of Steve's cold and often unpleasant personality. Alongside the cast are Cate Blanchett as the pregnant reporter Jane Winslett-Richardson who grows more sardonic at Zissou while chronicling the voyage, Willem Dafoe as first mate Klaus Deimler who views Steve as a father figure, and even Jeff Goldblum makes for a chuckle worthy sibling rival in these unorthodox voyages. Admittedly, Anjelica Huston's finest performance cannot save Steve's wife Eleanor from being more interesting as his chief strategist than as a character, but her scenes don't bog the film down too much so we can look forward to the crazier sequences. This might be the point where Anderson's eccentric characters were coming to form in wackier worlds, and they mostly work well in some flying colors.

Perhaps what people tend to remember this movie for the most are the charming set pieces and visual effects, and rightfully so. As this film pays tribute to the unknown sea life discovered by Jacques Cousteau, the variously sporadic fictional lifeforms range from rhinestone bluefin, crayon ponyfish, electric jellyfish, and sugar crabs. Most of these creatures were created with stop motion animation done by the legendary Henry Selick, and his otherworldly imagination springs to life so much through all of the fascinating design work. While some effects look appropriately cheesy when combining the real actors with these elaborate backdrops, they still feel like they belong in the same world, matching the gorgeous Italian Riviera setting shown all across the feature. Next to Mark Mothersbaugh's lucidly melodious score, anyone in for the tunes will walk away humming to at least one of Pelé dos Santos's Portuguese covers of iconic David Bowie songs. Even if one could argue that Anderson is often style over substance, this film is proof that sometimes the style can be the substance.

So while The Life Aquatic with Steve Zissou might be a little too jumbled in its story for everyone's taste, the overt visual charm and whimsically eccentric characters make this film much more decent than once thought beforehand. In a day and age where Wes Anderson has become one of the most niche filmmakers to get into, earlier works of his like this are fascinating to witness as a time capsule to when he started off kicking it in the mainstream. It might be too quirky for some and not quirky enough for others, and that's just part of the fun that makes this colorfully imaginative dive worth exploring.

What happens when the wicked prosper through a facade of nobility and grace? They almost never get the justice they rightfully deserve, and sometimes the good get left in the dust. Such is the case with the criminally underrated Chuck Jones directed Warner Bros. Cartoon from 1945, Fresh Airedale, which has gone down as one of the director's most misunderstood works in his long career. While hard to sit through due to its cruelly harsh approach in depicting the yin & yang of how humans perceive dogs, it is thoroughly fascinating from start to finish as a biting commentary on the injustice of rewarded selfishness.

The cartoon focuses on a seemingly humble dog named Shep who is incredibly conniving and gets rewarded for actions he does not commit. Although Shep is seen as the perfect dog, his owner is too biased to see the other side of the two faced mongrel, down to viewing his more altruistic pet cat as lowly scum. This allows for Shep to get away with infuriatingly manipulative tactics, including stealing his owner's food for the sake of it and taking credit for the cat chasing away a crook. Right from the get go, Fresh Airedale is an appropriately frustrating short film that details a subject that was not often tackled at the time of its release: evil may sometimes prevail when good is framed for the former's doings. It also helps that the cartoon is somewhat of a political satire on jealousy, since the story takes a dramatic detour once Shep enviously stews over the presidential dog being labeled as "No. 1 Dog." Obvious parallels to FDR's pet terrier aside, it's saying how timely the commentary is when a cartoon from the mid '40s reflects on themes and subject matter that we are still facing in our current climate.

As far as other notable qualities go, the decision to have most of the dialogue spoken by the owner allows for the audience to relate to him while also realizing that we may not be any better than a misguided human being who unjustly favors one pet over the other. In contrast, while Shep and the cat do not speak beyond vocal effects, their poses and facial expressions are so specific and broadly poignant that you'll get what they're thinking and feeling even watching this cartoon with the sound off, like the best work from Chuck Jones. On top of strong animation from the likes of Ken Harris, Ben Washam, Lloyd Vaughan and more, the occasional graphic transitions and bold albeit abstract layout compositions complete the mood whenever the scene comes for it, complete with Carl Stalling's hefty score that elevates the tone through and through. With a film as sharply biting as this one, a powerhouse animation director like Chuck Jones and a brilliant black comedy writer like Michael Maltese were always on fire thanks in part to the efforts of the crew following them.

It is easy to see people either liking or hating Fresh Airedale due to how different it is from most cartoons in the Looney Tunes / Merrie Melodies filmography, let alone of Chuck Jones' own filmography. That being said, there's no denying how daring it was to tackle subject matter as challenging as this between common enemies in such a cynically eye opening manner. Unless you rightfully can't take this kind of content, I highly recommend this cartoon for anyone dying to find something far different from what's expected in older animation, especially as it's one of the few WB cartoons left on Max.

Stories of ancient Jewish immigration have mostly been told through text, but in the case of cinema, one notable narrative example is the film adaptation of Abraham Cahan's novel Yekl: A Tale of the New York Ghetto called Hester Street. Marking the directorial debut of Joan Micklin Silver, the film did very well commercially and earned its leading actress Carol Kane an Oscar nomination, even in spite of its then mixed critical reception. Even following Silver's death in 2020, the film has garnered a strong legacy with critical and festival reappraisal. So what makes this story of immigration assimilation stand the test of time?

The film tells the story of an Eastern European Jewish immigrant couple named Yankel and Gitl who settle in Manhattan's Hester Street around 1896. While Yankel quickly assimilates into American culture and becomes Jake, Gitl has difficulty assimilating, causing severe tension in their marriage. At its core, Hester Street is a story of yin & yang in which a husband and wife are at odds within their lifestyles when coming into another land. In addition to the conflicts Gitl has between Jake's changing persona, it affects their own family as their own son Yossele has to face assimilation in spite of both parents not sharing the same views, which is made more troublesome by Jake's infidelity with Mamie the dancer. The performances of Steven Keats and Carol Kane work off well with each other as constant turmoil arises in Jake's abhorrent resentment to his roots in contrast to Gitl holding onto them in spite of living in a different country. As a cautionary tale of losing one's self in favor of a new life, Hester Street makes light of the cons in cultural assimilation more so than the pros.

As an independent production, Micklin Silver keeps the cast and shooting locations fairly minimal to keep the setting integral to the narrative. With a cast of largely unknown actors amongst the leads, we are able to empathize with the supporting characters well enough to fit in their shoes. Although Mamie can get rather obnoxious in her conflicting views of Jake's own troubles, the neighbor Mrs. Kavarksy makes for the only legitimate voice of reason in a marriage that is falling to pieces, with an abrasively tough performance courtesy of Doris Roberts. In addition to the small but passionate cast, the on location Manhattan street location allows for much attention to detail within a recreated Jewish neighborhood. The black & white cinematography allows this story to feel as authentic as a picture book and documentary capturing even the smallest flashbacks of life from children playing cards, people buying from local street merchants, and discussing plans for the Sabbath. In many ways, the cast and crew managed to recreate a time that can neer be erased so much as cherished.

Now with the low budget admittedly comes some minor yet noticeable hurdles, and that it is most evident in the sound design. While the technological limitations in sound quality can always be forgiven due to the filmmaker's reported $370,000 budget, it is difficult to comprehend much of what the characters are saying with such scratchy sounding dialogue. As the film is spoken simultaneously in English and Yiddish, the film rightfully uses subtitles for the Yiddish spoken parts, but when you're viewing the movie on home media, it's more frustrating when they don't come with subtitle options as a whole. It also becomes a bit hard to comprehend what we're looking at in some sequences with music accompaniment and no dialogue, save for the few tender scenes between Yossele and his parents. Otherwise, the music score by William Bolcom and some arrangements from American cornetist Herbert L. Clarke allow for the right contrast between Jake and Gitl's views of America, and once the film is over, it paves way with that music as beautifully as the old timers.

In summary, Hester Street is not only a romantically bitter tale of immigration assimilation from the Ashkenazic Jewish experience, but its low budget qualities make it stand the test of time as a personal statement from a filmmaker begging to have this type of story heard. As this film is reaching its 50th anniversary next year, now could not be a better time to give it a watch, especially if you're curious to see exclusively Yiddish tales from Jewish filmmakers, let alone female filmmakers. And to think tales like this are just one of the many to have happened in New York City a long time ago.

In 1985, the third and final Mad Max movie before Fury Road came out called Beyond Thunderdome. Co-directed by series co-creator George Miller and George Ogilvie, this has often been regarded by fans as the weakest of the original Mad Max trilogy due to a slightly more light hearted tone compared to the first two features in the franchise. That being said, the insane ambitions the filmmakers went for the feature are easy to appreciate and it's no wonder the critics and audiences took a liking to it enough to grant it a big success at the time of its release. So is it really that bad?

The film follows Max Rockatansky as he ends up in the trading post Bartertown and gets exiled after defying the town's ruler Aunty Entity. After discovering a lost group of children, Max teams up with them to rebel against Bartertown. With this premise in mind, perhaps Beyond Thunderdome might be a little far fetched in its concepts of introducing a child cargo cult into a narrative of Max going against a ruthless trading post, especially when the first two features focused on seeing what happens when adults lose their minds over economic turmoil. It doesn't help that this plot point is introduced in the second hand almost out of left field, and as a result feeling like a sudden shift from survival of the thickest to survival of the lost boys. Fortunately, the actors who play the kids are fun to watch as their longing to reach a new world beyond the stranded land they occupy allows us to empathize with their sudden jump into Max's story. The kids might feel out of place in some capacity, but they keep the themes of going against arrogant tyranny and hope in times of darkness strong enough on their own.

However, outside of the kids coming into play, the rest of the movie is pretty good in its own right. In addition to Bartertown's methods of operation being just as if not more unhinged than the first two Mad Max films, the actual Thunderdome base is a frightening battle cage with just the right amount of fierce fighting choreography and bone crunching editing to make it come to life in action. As for those running the joint, Tina Turner is just delightfully menacing as Aunty Entity, who is as campy in her glorious costume as she is threatening in the deals she manipulates people with. On top of that, the Master behind Bartertown makes for a solid macguffin in different points during the first and third acts, and the henchmen can make one shudder from their mere costumes alone. The only casting choice that I think could've been different was having Bruce Spence return as a completely different character, since it's almost impossible to imagine him as anyone but the Gyro Captain. Even if this cast aren't as sadistic as the last bunch, they're still fun for their roles alone.

Now as this film was the highest budgeted Mad Max movie at the time, the set design and locations are much more grandiose than before. As this is more of an epic journey compared to the first two features, the post apocalyptic Aussie desserts feel much more dangerous and harrowing just from all the different areas Max encounters, and not just the kids' hideout. Returning from The Road Warrior, cinematographer Dean Semler captures the multiple locations with harsh color palettes and grainy atmosphere that is as dissipating to watch as it is engaging. The music by Maurice Jarre accompanies the stakes quite well and is enough to put one on the edge of anyone's seat, even with slightly less car chases and road rage than before. At times, the score might take up too much of the runtime when it doesn't need to, but the ending sequence is probably where it shows to be at its most effective. Sometimes, a truly heart wrenching journey is just as effective as the people we're witnessing in it, and films like these are no exception with all the collaboration on board.

So while Beyond Thunderdome might not be as narratively concise or spine tingling as the first two Mad Max movies, it still offers a harrowingly rebellious side of Max and the people he meets and defends, alongside strong choreography and car chase stunts that people know and love from the series. While it is easy to put aside this feature in favor of arguably better installments in the franchise, I would still recommend this to anyone interested in seeing all the Mad Max films from start to finish. As a followup that strays away from the series' formula without losing its overall appeal, this film does the job quite well.

Sometimes, in order to acknowledge how brutal and horrendous colonization and racial violence is, you need to depict it in a manner that most audiences are viscerally uncomfortable with. In the case of Babadook director Jennifer Kent's second feature length film The Nightingale, the film garnered critical acclaim yet understandable controversy when its depictions of SA and murder disturbed many viewers in the festival circuit. While the film is hard to stomach in many respects, it's still an important film for many people's awareness.

Set in 1825 in Van Diemen's Land (now Tasmania), the film follows a young Irish convict woman named Clare Carroll who seeks vengeance against the sadistic English Colonial Force Lieutenant Hawkins for assaulting her and murdering her family. She is aided by an Aboriginal Tasmanian tracker named Mangana who also seeks vengeance for the murderous Black War against his own people. As a period piece depicting genocide against the natives of Tasmania, the film is shockingly honest in how much it depicts history as what it really was. Much of the dialogue between the Aboriginal natives is in palawa kani, a first for a motion picture, and the brutality shown on screen allows us to emphasize with those we are not familiar with, not just Mangana. In addition, Clare being an Irish convict has every reason to go against the British as Mangana does once their friends and families are needlessly destroyed, and both Aisling Franciosi and Baykali Ganambarr work off well in overcoming their own prejudices to make for a sympathetic duo.

Now with this depicting such controversial subjects, your tolerance of what you see on screen may vary as this is not a film that will hold your hand in any way. On top of Sam Claflin's deplorably ruthless portrayal as Hawkins making one's skin crawl in nearly every scene he's in, many of his right hand men are more cowardly yet do what they can to go against anyone they abduct and mistreat. It's saying how unapologetically graphic this film is when its depictions of SA go beyond that of Clare herself, but the violence itself extends to people you would never expect from most thrillers. When even the most sympathetic people in the film make you relieved to see any semblance of humanity, you feel for Clare and Mangano's pleas for justice during such a pivotal period of violent colonization. Death and vengeance have rarely been depicted with such harrowing consequences in film before, so there's a high chance this film will upset you more than please you, but that's the point at the end of the day.

Admittedly, while the tone is not pretty in the slightest, the cinematography is gorgeously crafted, allowing the harsh regions of Tasmania to stick out through lush jungles and misty greenery. The choice to shoot around location keeps the time period as engagingly authentic as it is frightening from start to finish. The choice to keep much of the music sporadic and mostly in use during Clare's traumatic nightmares and the songs she and Mangana chant in honor of those who have passed on in their lives works in favor of letting bits of beauty and humanity seep within those who were damaged through no real fault of their own. Perhaps the one weak spot in the feature, besides how straight forward some of Clare and Mangano's journey is, is that the conclusion and climax might be a bit too abrupt to let us soak in much closure after such a devastating runtime. While it doesn't take away from the impact of the film's overall message and themes, it might come off as less emotionally resonating than one might imagine.

Regardless of any uncomfortable content or questionable storytelling choices, The Nightingale works well as a palpable revenge thriller disguised as a historical drama. Considering the history depicted in the film was often viewed as rubbish by many native Australians for years, Jennifer Kent and the filmmakers managed to leave a rightfully harrowing impact on viewer's senses all around. I would argue that this is not a film for the faint of heart, but it is one people should see to remind them just how awful historical colonization truly was to those who faced it from the effects of those who took over their lands.

Perhaps one of the most relatable movies I'e recently seen would have to be the 2005 cult indie comedy Waiting...with Ryan Reynolds. Marking the directorial debut of former restaurant worker turned filmmaker Rob McKittrick, the movie was not well received critically but did well enough at the box office to garner a cult following. Looking on it nowadays, this is one of the most relatable comedies I've ever seen speaking as a former restaurant worker.

The movie centers around the restaurant staff at ShenaniganZ who all go about their lives differently. There's the clueless boss Dan, the smooth talking lead guy Monty, the young guy Dean who feels like his life is passing by too soon, the flamboyant waiters, raunchy cooks, and eccentric bus boys with all their bizarre personalities. Anyone who has worked in this type of restaurant environment will be able to relate to many of the character's frustrations and insecurities, including the pressure of facing a job opportunity you don't want like assistant manager, putting up with college door room pranks in the kitchen, dealing with miserably petty customers who care less for the staff than their food, and general rage venting up from years of back breaking labour with little change in scenery. The movie is arguably at its funniest when it depicts these scenarios and it's all the more enjoyable as a result.

Now since this film was made when the post American Pie gross out shock genre was still going on in adult comedies, some of the film does often rely on juvenile humor that can range from disgusting to borderline homophobic to even questionable by today's standards. Considering that there is a subplot relating to Monty and Dan hitting on the soon to be 18 year old hostess Natasha, much of the content outside of the waiting and food prep scenarios might leave a sour taste in people's mouths depending on your sense of humor. Fortunately, the general cast consisting of Anna Faris, Justin Long, David Koechner, Robert Patrick Benedict, Luiz Guzman, Chi McBride and especially Alanna Ubach as the foul tempered waitress Naomi and Dane Cook as the crudest cook Floyd make up for any gag that goes nowhere they're so funny in the film. It's saying how relatable these characters when the quiet trainee Mitch gets his time to shine at such a crucial point in the movie's third act.

As this is a fairly low budget indie flick, the actual filmmaking is most reliant on standard editing to keep the flow of transitions smooth and reliant on the lunch and dinner rushes. In addition, the actual food shown throughout the movie looks appetizing enough to warrant future viewings solely for the cuisine alone, even during otherwise grossly contaminated punchlines. Of course, being a mid 2000s adult comedy, the soundtrack will instantly be dated yet fun to listen to, as nearly every number fits the scene well enough without feeling distracting. Perhaps some scenes can feel a bit too abrupt to let the song sink in on first watch, but you'll still get a bang out of the soundtrack regardless. Without feeling too try hardy in its content, this feature feels right at home as a time capsule at a time when you could get away with a lot more in adult comedies than you can nowadays.

Yeah, Waiting...is as crass and juvenile as any other raunchy comedy of its time, but its central restaurant setting lets the story, primary humor and characters feel far more relatable and endearing than they could've been from a lesser setting. Sometimes, the best way to make these kinds of movies work is if the filmmaker themselves actually worked in those environments, at least so the audience won't have to. I'd say it's worth at least one viewing after nearly 20 years later, much like when you try out any other restaurant you'e never been to.

Aileen Wuornos was often regarded as one of the most mentally unhinged American serial killers in the final quarter of the 20th century, and her ultimate conviction from murder during street prostitution has led to ongoing debate on whether she truly deserved her outcome or not. The 2003 biographical feature depicting said period in her life known as Monster continues to ask those questions, especially as its status has been highly acclaimed from critics and audiences and even won lead actor Charliez Theron her sole Oscar. But how well does the movie age today compared to 20 years ago?

The film follows the aforementioned Wuornos struggling through the dangerous world of highway prostitution while trying to obtain a normal life through a naive gay woman named Selby Wall. As this feature depicts the spiraling downfall of Wurnous's life that inevitably led to her being sent to death row, it also knows to display some form of human connection within Aileen's broken lifestyle, which is anything but difficult. Thanks in large part to Charlize Theron's brutally harsh performance and the brilliant makeup work, it is next to impossible to grasp just what Wurnous was feeling and thinking in both her fluctuating body language and vulnerable outbursts. While Wurnous's actions were truly reprehensible, Theron and director Patty Jenkins empathize with the subject more than enough to present her as troubled and complicated based on where she ended up rather than demoralize her from the get go. It's hard to transform into a real life person and make them convincing, but Theron found a way to make us feel for Aileen in more ways than one, and that is no small feat.

As for those in Wuornos's life, while Christina Ricci might not have been the ideal choice for Selby Wall, she still captures the emotionally tumultuous side someone brought into the life of someone who trusted an otherwise dangerous criminal. Considering Selby is a fictionalized portrayal of Wurnous's real-life girlfriend Tyria Moore, Ricci's intentionally clueless demeanor as the character allows us to see the devastation brought on from someone who wanted to see the world beyond their boring Christian lifestyle without understanding the repercussions of doing so. Many other characters either show a little bit of humanity towards Aileen like her only real friend Thomas or one notable law enforcer, or just view her as a piece of meat like the men she did in or those who rightfully show concern for Selby's well being such as her family. With the exception of the truly repugnant men Aileen witnessed, almost nobody in the film is truly seen as either a good guy or bad guy, and that could not have been portrayed better in any other fashion besides a documentary than this earnest biopic.

In regards to other notable qualities, the actual filmmaking is pretty good if not completely remarkable, but that is to be expected of lower budgeted indie films from this time period. While the Florida setting is mainly used as a backdrop for Aileen's misadventures, the themes of christian misdoings are displayed through the mundane and the unordinary, mainly through the typical yet shady towns Aileen and Selby roam through and the seemingly wholesome environments that are anything but pleasant, down to an amusement park coming off as a character motif for Aileen's little semblance of humanity left. Some scenes might end a bit too abruptly to get to the main purpose of the feature, but the film knows not to waste any time in allowing the more raw moments to sink in. Lastly, the soundtrack is a lot of fun to listen to in its own right, and the inclusion of Journey's hit song Don't Stop Believin' works well as symbolism of Aileen's own struggles as a thoroughly lonely victim that is partially their own worst enemy. Sometimes smaller production qualities can make a film work better than lavish ones.

Regardless of anyone's personal views towards Aileen Wurnous, Patty Jenkins' Monster remains a remarkably saddening tale of self destruction and dangerous consequences from one's own actions caused by themselves and those that damaged them. Unless you rightfully cannot handle the subject matter, this film is worth your time by means of understanding a slightly different point of view of a convicted murderer that the media often refuses to acknowledge. In a day and age where we are empathizing on what led to serial killers committing their crimes more and more, this feature holds up like fine wine.

In the fall of 2023, a strange black comedy thriller called Saltburn was released to the public, marking the second feature film directed by Emerald Fennell. While the film did garner fairly positive reviews and modest box office success, the film had already been massively anticipated due to new rising stars Barry Keoghan and Jacob Elordi being in the lead roles. So with a fairly hyped up movie at float, it briefly became a hit for Amazon MGM and garnered a strange cult following on TikTok. But what exactly made this film such a talked about phenomenon on social media a few months ago?

The film follows socially awkward Oxford student Oliver Quick who arouses a popular, aristocratic student named Felix Catton. After Felix invites Oliver to spend the summer at his eccentric family's estate, the seemingly naive young man slowly begins to con his way into their lifestyle. Now as much as this film seems to have taken clear inspiration from arguably better received works like The Talented Mr. Ripley and Brideshead Revisited, I would rather analyze the film for what it does on its own rather than waste time on comparing it to works I have not yet seen. With that being said, the story of Oliver wooing his way into the life of a young man with a higher social class than himself is well established as a questionably unsettling tale of lies and corruption from a charismatic grifter. As much as the film critiques the rich and elite, it does so at the expense of presenting Felix and his family as people too caught up in their lies while still having genuine concern for one another. It's great to see a narrative like this tackled in the modern age, especially with how disturbing its subject matter is.

However, with all that said and done, perhaps the film thinks it's a bit more clever and profound than it actually appears to be. Because the film implies that Oliver is more in love with Felix as a concept relating to a status he dreams of rather than as a legitimate human being, the devastatingly immoral actions he performs on him and his family are quite gruesome and shocking in practice. Unfortunately, the depictions of these actions are presented in such a juvenile manner that Oliver feels more like a comical cartoony villain rather than legitimately intimidating. It doesn't help that the film's commentary on rich classism is never explored much beyond the Catton's eccentric lifestyle and delusions of grandeur, so it makes the conclusion a bit too obvious for its own good. Also, while some characters like Felix's distant cousin Farleigh and sister Venetia have good roles in opposing Oliver's actions, they aren't utilized enough to feel as impactful as they could have been. Maybe the cast could have benefited from more screen time, especially when what we're mainly seeing on screen is more silly than scary.

Admittedly, the filmmaking techniques employed in Saltburn do a nice job of bringing us into its lush extravagant environments and settings, complete with elite production design and phenomenal world building. The costumes also reflect the Cattons' day to day livelihoods quite well, if not just for showmanship. Unfortunately, as gorgeous as the production qualities are, there doesn't seem to be much to take away from them beyond it fitting the straightforward murder story that is set in stone, so what you're left with is a sadly hollow array of beauty and vigor not worth caring much for. It's not to say that the filmmakers didn't do their job at crafting such luscious environments so much as they seem to just do obvious ploys for Olier's actions like creeping stairwells, trippy mazes or even bathtubs pathetically enough. Even Anthony Willis' chilling score doesn't stick out much from other psychological thrillers of this caliber. So it should be safe to say that the crew behind the film made the most out of their resources, albeit not in a way that feels as fresh or engaging as they should be.

There has rarely been a film I've been as torn on with my feelings on as Saltburn, since its mere existence fascinates me more than it genuinely intrigues me. On one hand, the film's commentary and subject matter are far more superficial than it might say otherwise, but on the other hand, what it offers could still intrigue people from its mere presentation alone and for just how messed up it is, regardless of the quality. I suppose it wouldn't hurt to at least check out for curiosity's sake, although don't be surprised if you walk away having almost no idea how to feel about it afterwards.

As of this month, a four part documentary mini series has come out on Investigation Discovery called Quiet on Set: The Dark Side of Kids TV. The series has garnered a strong reception from critics and audiences for detailing the behind-the-scenes world of children's television from the late 1990s to the early 2010s, and most notably chronicling how much the tenure of former Nickelodeon producer Dan Schneider was more harmful than the general public thought otherwise. With most of the interviewees being former Nick cast members, this series is a must watch for any enthusiast out there.

Now although Dan Schenider is the big target for this series, Quiet on Set mainly talks about a lot of seemingly inappropriate content on the Nickelodeon shows made during his tenure, let alone his alleged foot obsession. With a series of manipulative and borderline criminal tactics going as far back as hit shows like All That in the mid 1990s, many writers, directors and especially former child stars like Katrina Johnson, Bryan Hearne, Kyle Sullivan, and most infamously Drake Bell share so much more about their experiences than what can be seen as just shocking. The addition of having some of the victims' parents reflect on the trauma and damage inflicted on their kids from Schenider and other notably creepy people behind the scenes sheds a disgusting light on how dangerous the entertainment industry can be for minors. Let it be stated wholeheartedly that this series is not for the faint of heart, and if any parent jus happens to be watching it by any means, let it be a wake up call for you to seriously consider never allowing your own kids to enter into a similar field like that of the Hollywood industry.

Believe when I say that just trying to comprehend the horror that this series documents won't be able to scratch the surface. Nothing that went on behind the scenes of these otherwise beloved Nickelodeon shows should have been allowed and the victims have every reason to call out their abusers. If you're looking at this series for ammunition to go against scumbags like Dan Schneider who will never get proper justice, you should instead be focusing your energies towards helping victims of child abuse and manipulation, as this series so rightfully suggests. We need to do better as adults, and that cannot be understated.

As of this month, the highly anticipated new release from A24 known as Love Lies Bleeding has been unleashed. Marking the second feature film from writer / director Rose Glass, the film has been garnering widespread acclaim from both critics and audiences going as far back as its Sundance premiere. In addition to starring the likes of Kristen Stewart, Jena Malone, Dave Franco and Ed Harris, this film is said to be somewhat of a breakout role for actor / martial artist Katy O'Brian as the co-lead. So has this film lived up to its hype or is there not much to it beyond all the pulpy glamour?

Set in 1989, the film follows a reclusive gym manager named Lou who falls for an ambitious bodybuilder named Jackie who is headed for Las Vegas, only for their love to inflict drama-filled violence within Lou's criminal family. What seemingly starts out as a saucy thriller laced with lesbian romance and dangerous criminal intake becomes far more intense and gratuitous than one might ever expect upon first viewing. As much as the film emphasizes love woven into a crime-like narrative, Lou and Jackie are far more complicated and messed up than their physical attributes say otherwise. On top of strong chemistry shared by Stewart and O'Brian, the dynamic passion between the cynical isolated woman and the unstable rising bodybuilder is partially what drives them into corruption in both their general lives and the ties between Lou's own family. There is rarely a dull moment to be found as the two go through their troubled environments through adoration and anger through gory violence and steaming drug addled bonding, and that's just part of the fun of the feature.

And then there is the small yet intimidating supporting cast, all of which make or break Lou and Jackie depending on what pleases them. Of course Ed Harris makes for a scarily intimidating presence as Lou's crime boss father who can make the act of asking a simple question send shivers down one's spine. That being said, in addition to Lou's scummy brother in law J. J. practically being the reason Jackie knows about Lou's family in the first place, his abusive actions are most reflected from his wife Beth, the brainwashed sister of Lou who can't see past her husband's worst moments. The cast pull off these characters well enough that the few scenes they're in make them feel far more interesting than how the script portrayed them, and they bring so much disturbing authenticity to their general mannerisms that even a seemingly insignificant admirer of Lou named Daisy could leave one watching with goosebumps. At the end of the day, a crime family can only be as ruthless as how a cast portrays them to be, and this film is a prime example of the filmmakers giving their all with them.

Now as this film has been compared to the likes of works by James M. Cain, Jim Thompson, David Lynch, and the Coen Brothers, those possible influences feel represented through the actual filmmaking itself. While mostly taking place in New Mexico, the feature makes the most out of its desolate settings with colorfully bleak cinematography, trippy visual sequences, muscle bound editing and an intense soundtrack. The emotional core of both the romantic and pulpy crime scenes are elevated by intense color palettes and powerfully lustful transitions, almost as if the film itself is part concise narrative, part intense trip. Although Las Vegas is not as important in the film as one might assume, it is still presented as the appropriate contrast between the boring mundaneness of Lou's hometown to the point of almost being the achilles heel for Jackie once things spiral out of control. No matter how intense this film can get in its tone and content, the accompanying filmmaking elements add the necessary flavor to make it eye opening from start to finish.

If there is any new release to see immediately during women's history month, Love Lies Bleeding is a must see for anyone into crime thrillers laced with steamy romance and gory violence. At a time when lesbian themed crime films are slowly getting a comeback in mainstream and arthouse cinemas, this movie is bound to get a cult following beyond its earned appraisal across the world. 2024 still feels fresh with the types of widespread indie films getting the right amount of attention, so here's hoping that this is just one of the many more critical and commercial darlings yet to come this year.

Filmmaker Harmony Korine has often been revered for his erratic and transgressive movies that explore taboo subject matter in a highly experimental fashion. One of his more mainstream features has to be the 2012 comedy crime film Spring Breakers, starring the likes of James Franco, Selena Gomez, Vanessa Hedges, Ashley Benson and Rachel Korine. Known as one of the first releases from then brand new indie company A24, the film went on to gross gangbusters compared to its small budget and garnered just enough praise to be considered a cult classic. Looking at the film nowadays, although it's certainly not for everyone, there is a lot to admire in its exploration of self destruction in the modern day.

The film follows four college-aged girls who visit St. Petersburg, Florida on their spring break, only to get arrested for abusing narcotics. After getting saved by an eccentric drug dealer named Alien, the girls end up descending into a bizarre world of drugs, crime and violence. As this is a social commentary on millennial superficiality and pop culture exploitation, Spring Breakers is both a tribute and satirization of the self-destructive themes it is tackling. Perhaps it does indulge in the pop culture obscenities a little too much in the first act, which isn't helped that the film's pacing can get tirelessly repetitive after a while. Now the established contrast between the leads Brit, Candy and Cotty being party animals and Faith being a part of a religious youth group does work in favor of the character's financial difficulty, but them actually getting to Florida takes a bit longer than it really should have. Even once they get to Florida, their indulgence in partying and drug abuse gets too overwhelming to the point of near nausea, and the length of time it takes to showcase this will really polarize anyone's viewing experience. So needless to say, the first act is a bit too much to handle, even if that's what Korine was going for to show us what kind of media that millennials tend to get into.

However, once Alien comes into the picture, the film immediately picks up and becomes far more interesting and intense than meets the eye. As Alien is a "cool boy" white gangster complete with all kinds of crazy gear and narcotics, he is proven to be far out of this world, which leads the girls to engage in his antics and also feel uncomfortable at the same time. In addition, James Franco pulls off such an intimidatingly crazy performance as Alien that you almost wonder if he practically became the character during the making of the movie. There aren't a whole lot of other characters to take note of, but rapper Gucci Mane makes for a strong opposer as Alien's childhood friend turned drug rival Archie, which proves to be another turn on by the aforementioned party girls. What's interesting to note is that the film has often been debated whether it is pro misogynist or feminist, but considering that the girls end up taking over more in Alien's crib than one might expect, there's much to argue that the leads are really just enjoying their spring break while they can without completely succumbing to the drug hustling world. At the end of the day, these girls are taking charge of their own lives, even down to triumphing over a scary drug kingpin in the most unimaginable way.

As far as other qualities are concerned, the cinematography is as intense as the themes presented throughout the film, down to practically becoming a character in its own regard. In displaying just how unhinged college students might end up getting through unadulterated fun, the camera showcases as much glamour as it wants in displaying all of the uncomfortable vices that one would expect in these types of scenarios. The editing also helps to make many scenes feel like extensive trips so that the audience knows what they're getting into is far more wild of a ride than they might assume. It's saying how much this is an arthouse film disguised as a comedy crime thriller when James Franco's poetry juxtaposing with certain events happening on screen adds into the intentionally off putting tone shown across the runtime. Lastly, the soundtrack slaps in more ways than one, which can be attributed to the talents of composers Cliff Martinez and EDM musician Skrillex lending their talents to the wildness of the whole film. The soundtrack not only feels appropriate to the time when this film came out, but it proves just how intense a lot of young adults and late teens will eat this kind of work up without knowing the repercussions of their extensive partying.

So while Spring Breakers is not at all what one might expect from mere assumptions, its erratic social commentary on late millennial culture and gripping performances from the lead cast make it as intense as it is fascinating. Unless you're not the intended audience that this film is clearly made for, I would recommend checking this film out at least once just to see how unapologetic it is in both tone and content. As of now, Harmony Korine is developing a sequel to this extravagant mindgame, so by all means give it a go if you feel ready to do so. You might have to go back to school or work after it's all done, but there's a good chance that you will always remember this trip of a movie.

During the late 90s and early to mid 2000s, teen comedies were all the rage following pop culture and high school centered drama being a big source of revenue for millennials. While many have garnered strong cult status in the ongoing years, the 1999 dark comedy Jawbreaker stands as a fascinatingly sadistic take on the popular girl subgenre inspired by the likes of Heathers. While neither a critical or commercial success upon its original release, the film would go on to become a cult favorite in the years to come, and even after 25 years since its beginnings, there's a lot to appreciate about its subject matter.

The film focuses on a group of three popular girls at Reagan High School who accidentally kill their friend with a jawbreaker during an elaborate prank and accept an unpopular girl into their clique to keep things quiet. Arguably much darker in tone than your typical teen dramedy, Jawbreaker is both a comical exaggeration of stereotypical groups in high school and a cautionary tale of who your real friends are. Although there is a lot of time spent on the popular group leader Courtney Alice Shayne bringing the unpopular Fern Mayo into the spotlight, the film's heart is centered on how detached former member Julie Freeman becomes when the group continuously denies their crime, thus showing how troublesome the idea of fitting in can truly be. Rebecca Gayheart displays the right amount of sympathy in Julie as she comes to terms with the loss of her only real friend in the group, as well as Fern who becomes a shell of her real self. As hysterical as this film is throughout, there is a surprising amount of heart that you often don't quite get in these kinds of darkly comedic coming of age flicks.

Going more into the group, while Gayheart and Judy Greer share strong chemistry as Julie and Fern, Rose McGowan steals the show as Courtney in just how charismatically manipulative the character really is. In addition to practically controlling how others think and feel, including her stooge Foxy and jock Dane Sanders, McGowan is clearly having a ball in portraying such a glamorously despicable bully that one can't help but laugh along with her. Pam Grier also makes for an intimidating presence as the fiercely determined detective Vera Cruz and Carol Kane is humorous enough in her portrayal as the meek yet disgruntled assistant principal Ms Sherwood. Admittedly, despite showing more empathy and care towards Julie and Fern than Courtney and her drones ever could, Zach Tartak is probably the least interesting character in the whole film as he doesn't have much personality beyond his role in the plot. While the lead antagonist might be the sole reason to give this film a curious watch, the remaining cast do add just enough flavor to the feature's charm.

Now perhaps what gives this film its influence of Heathers is its production and costume design, which is nothing short of colorful eye candy. The ambiguous California setting adds into the environments one would expect across Reagan High, and Vikki Barrett managed to blend 1980s fashion trends with brightly colorful outfits for the distinct looking attire worn throughout the film. There's also somewhat of an irony that the costumes reflect the bright colors from actual jawbreaker since much like the candy itself, the characters may look sweet and succulent on the outside, but they could easily break you if you get too close. Adding onto the lustrous costumes and appropriate production design is a cool soundtrack consisting of catchy pop songs that accompany the story as much as they are entertaining in their own right. While it is often weird to hear these rockin' tunes in the context of a sexually charged dark comedy, there is an oddly nostalgic charm in hearing this soundtrack work off of the scenarios so smoothly that the film couldn't have worked as well without them.

Even though I might not be the target demographic for this kind of feature, I highly recommend Jawbreaker for those who are into darkly comedic teen movies like Heathers and Mean Girls. It might not age as well as those other more well known features, but it has an earnest charm in its story, characters and presentation that is just too endearing to resist. McGowan, Gayheart, Greer and others may have gone on to bigger and better things, but this film will always hold a special place in gen ziers' hearts for its uncanny approach to an already tackled subgenre. What a wacky concept elevated by wackier people.

40 years ago, the mockumentary format in cinema was considerably re-explored with This Is Spinal Tap. Marking the directorial debut of actor turned filmmaker Rob Reiner and co-conceived by Christopher Guest, Michael McKean and Harry Shearer, the film was a modest hit on its original 1984 release but was nonetheless met with critical acclaim, and shortly afterwards it would garner stronger status on home video. Known for satirizing the behaviors of rock & roll bands, there is a lot to appreciate about this film both from its historical context and nowadays, and it might be one of the finest mockumentaries out there.

The film is presented from the lens of filmmaker Martin "Marty" Di Bergi, who interviews the British rock band Spinal Tap and follows them throughout their American comeback tour, all while the band struggles their way through the difficult industry that threatens to fade them into obscurity. As this film sets itself up as a seemingly legitimate documentary, the whole presentation of the picture feels authentic to the gritty reality that these types of edgy rock bands have to face one way or another. Considering that the actors all improvised their scenes, their dialogue and mannerisms feel so on point to the facade that we're witnessing a British rock & roll band rise and stumble during their attempt to be seen in the spotlight again. Michael McKean, Christopher Guest and Harry Shearer come off as appropriately pretentious in their natural performances as David St. Hubbins, Nigel Tufnel and Derek Smalls respectively that you forget you're watching gifted comics honing their improvisational skills. With all the footage we see on screen, there's a lot to marvel at from the lead stars.

As for the remaining cast, Rob Reiner is a perfect player as Marty Di Bergi, as his calm yet stern demeanor throughout the band's trials make for a solid contrast between the band member's diluted egos and his rational grasp of what he's capturing from them. The only other more notable characters are Tony Hendra, the band manager whose patience gets scattered due to low concert sales and constant controversy from Spinal Tap's new album cover art, and David's girlfriend Jeanine, whose ideas for stage presentation lead to conflict amongst the group. While most of the remaining characters are still fun to watch, they're not given much time to shine beyond their basic scenarios since the primary focus is supposed to be on the band. What is interesting to note is that many of them consist of funny actors back in their prime like Bruno Kirby, Fran Drescher, Billy Crystal, Dana Carvey, Paul Shaffer and many more. Regardless if you can recognize these people or not, it's always a delight to see these naturally talented people be themselves without the aid of an unnecessary script.

In regards to other factors of this film working as a music documentary, one of the funnier funnier qualities that come courtesy of McKean, Guest, Shearer and Reiner are the songs featured throughout the feature. The range of genres that Spinal Tap has covered from 60s skiffle rock to early 80s heavy metal are captured well with hysterical lyrics that are as faithful to the genres they're paying tribute to as much as they are making fun of them. The costume design shown throughout the feature also captures the differences in the band's specific eras, down to their own hairstyles reflecting the decade and influence from the music industry at the time. The factor of the music only coming up when needed helps keep the film's mockumentary take as natural as a real documentary, aided further by the help of the editing tightening the film up in a concise 82 minute runtime. Had the feature been any longer, especially with all the footage they did end up shooting behind the scenes, the gimmick would have run out of steam, so it's a miracle they were able to get a decent cut out of everything.

Considering how some people were legitimately fooled on This Is Spinal Tap being a real documentary, its satirical take on both the filmmaking format and the music industry holds up quite well. It was perhaps a bit too ahead of its time to catch on immediately, but the effort that went into crafting its remarkable presentation should never go unseen. Unless you're not a fan of mockumentaries as a whole, this film is worth checking out for its unabashed take on a common subject matter chronicled in documentaries that work well in the movie's favor. Besides, there's a good chance your rating will go up to 11.

As of this year, everyone's contender for the worst film released might go to Sony's disastrous Madame Web feature. Based on the Marvel character of the same name, the film is reported to be the fourth installment in Sony's infamous Spider-Man Universe. Unfortunately, this might be the only time we'll see said character on screen as the film is proving to be a critical and commercial failure, with many people deeming it to be one of the worst superhero movies to date. That being said, there's a good chance this film will have a chance of being looked back on for reasons completely different than intended.

The film follows the titular Cassie Webb who ends up confronting her origins and past while trying to save three teenage girls from the future sensing villain Ezekiel Sims. Right from the get go, Madame Web's central problem is how poorly the filmmakers tried and failed to not only connect this should be stand alone feature into their own universe, but also bit off way more than they could chew storywise. The main storyline of Cassie rediscovering herself is too straightforward and perplexing for its own good, not helped by a stiltedly flat performance by Dakota Johnson, and having three different heroines come into play just makes things even more convoluted. It feels like Sony had no faith in this feature to stand on its own two feet and chose to squeeze in too many characters without fleshing any of them out at all. In addition, the dialogue is lousily written and does not sound like how anyone on planet Earth would communicate with one another. It's really telling how poorly written this movie is when even the leads don't sound like real humans one can relate to.

On top of how poorly constructed the film's storyline is, many plot points that should have been explored either get ignored or get brought up out of nowhere. One could argue that certain plot beats were done as a means to hint at possible sequels, but when little explanation is given to Ezekiel Sims' own motives beyond being cartoonishly power hungry, then that's a sign that a lot more time was wasted than it should have been. Also, for a superhero movie, there's surprisingly a lot more talk than spectacle, as hardly any action comes afloat and any sequences that could be enticing are bafflingly edited and are hard to comprehend. It's to a point where sequences that are supposed to give off the feeling of intensity and suspense feel sloppy and pitiful rather than natural. Not to mention, so many character actions make little to no sense, and certain moments where Cassie and the girls try to protect themselves result in some of the stupidest coincidences you'll ever see in a superhero movie. It's sad how this movie is light on action and somehow lighter in brains.

However, with all of those faults said, this movie is a surprisingly hysterical disasterpiece from near start to finish. While it isn't without its utterly boring eye-rolling moments, just watching the admittedly talented cast trying their darnedest to make their lines of dialogue sound convincing is just enough to snicker at profusely. The script is already laughably broken, and the direction from a first time feature film helmer coming into play just adds into the absurd incompetence displayed on screen. The visual effects feel so out of place and come out of left field so much that one would think they're tripping out instead of seeing a widely released movie from a major Hollywood studio. Lastly, the music score is as subtly interwoven into the feature as the constant barrage of product placement throughout the runtime, including one scene in the third act that had the guts to try and make Pepsi seem like a threat. As much as this film is painful to watch and hard to follow along, at least there is some ironic entertainment value from the baffling ineptitude shown in just under two hours.

By coming off as more laughable and bizarre than enticing, Madame Web should be analyzed as a perfect example on how not to make a superhero film. The story is heinously convoluted, the characters are vastly underdeveloped, the acting is hopelessly wooden, and the other filmmaking qualities are utterly broken at the seams. Because of all that, this film has the chance of developing a cult following as a delightfully disastrous thrill fest, and there's a good chance people will get more value out of this for different reasons than the studio intended. I'm sure glad I got more out of it than I thought I would.

What is arguably considered to be one of the most influential feature length films made in Jamaica, The Harder They Come has remained a cult classic in both the low budget crime genre and how much it brought reggae music across the world. After more than 50 years since its 1972 release, the movie has endured a strong legacy thanks to its unapologetic Jamaican aesthetic and the overall energy it has from its minimal resources. To this day, it's hard not to think of the similarly named song without at least thinking back to this fascinating endeavor. So looking back on it now half a century later, what makes it hold up so much?

The film stars singer/actor Jimmy Cliff as a struggling countryman named Ivanhoe Martin, who lands a recording contract after some hard luck transitioning into the city of Kingston. Following a massive conflict with a manipulative producer, Ivanhoe resorts to petty crime just to make end's meet, all while his record tops the charts. With this premise in mind, The Harder They Come is mainly a tale of struggling in a harsh world, and it hits home as an impoverished Jamaican man of color trying to pursue a dream while also having no choice but to take on the law. Considering that Martin was actually inspired by real life Jamaican outlaw Rhyging, the political hypocrisies and societal downfalls displayed throughout the film are handled with genuine care and unsubtle anger. Many of the obstacles Martin ends up facing are not his fault so much as they are from the dangerous villains on both the streets and within the music industry itself. In managing to combine political realism with its crime-like nature, the film picks up a lot more steam once Martin resorts to crime, with top notch pacing and craft handled by the movie's primary filmmaker Perry Henzell. In refusing to pull any punches, Henzell and Cliff succeeded in capturing a darker but earnest reality to the harsh truths of just trying to survive.

In regards to the supporting cast, much of the film's authenticity comes from the mixing of Jamaican English and Patois. While it can be difficult to determine what they say some of the time, partially due to the low sound quality, hearing the supporting players speak with such genuine vigor and natural annunciations makes one feel as if they're on the Jamaican island. As for the characters themselves, perhaps the most sympathetic one has to be Ivan's love interest Elsa, who is as faithful to the leading man as she is miserable in his worsening criminal antics. Although the film is not a full blown romance, Ivan's criminal acts are partially stemmed from his incapability to do much for his girl, thus making for genuine conflict once Elsa gets caught up in the nonsense. There's also the sleazy music producer and the hostile minister who both make and break Ivan in how little they seem to trust him as a whole. Many of the other players range from elaborate outlaws and police officers out to get Ivan for different reasons, and their scenarios are well cut to the timing of the reggae soundtrack. With a cast as natural as their country of origin, the feature has proven to be just as significant with them as it has with the aforementioned soundtrack courtesy of Cliff, Desmond Dekker and more.

Going into the low budget filmmaking qualities, it's been alleged that the film was in production extensively until it had secured sufficient funding for completion. With that in mind, the filmmakers managed to put together a striking presentation of raw energy and emotional impact thanks to the concise editing and musical accompaniment. Not only is the song of the film's same name catchy and grooby on its own, but it plays as a good juxtaposition to climatic sequences that showcases Ivan's struggles and the many people out to get him. In remaining true to its rebellious streak, the cinematography captures the beauty and ugliness of Kingston through local engagement and free reeling enthusiasm, which might have benefited from how many times the film's production had been legally shut down. In a way, the film's energetic albeit small production qualities are a reflection of its themes on justified anger going to the extreme, and one can just feel how much uncompromising attention to detail was shot and edited together through music and soul. Since the film had come out during a time of worldwide anti-government rebellion, it feels like a time capsule that has aged like fine wine, and the reggae music is just one factor of its contributions towards free thinking retribution.

After more than 50 years since its release, The Harder They Come is a poignantly radical reflection of political injustice and soulful energy encapsulated by its minimal qualities and bombastic soundtrack. While maybe not quite as much of a game changer today as it was back in the early '70s, its dynamic passion remains just as striking as it does eye opening. If you've yet to discover this gem, by all means give it a go and marvel at just how bold it was to tackle these kinds of issues in a country that was just starting to get recognized as a culturally uplifting climate across the world. If you can dance to the song, then you can also jive to the feature where it stemmed from.