Batman & Mr. Freeze: Subzero (1998) Review:

Warner Bros. DC animated series of Batman and Superman are known for being a part of the best adaptations of said characters. Very few people who are fans of the characters would have a negative opinion of these renditions because of their quality storytelling and production. This is also the reason why the theatrical film Batman: Mask of the Phantasm (1993) was created as well. It was just that popular and well regarded. So with that, it’s no surprise another production would be made. Maybe not as high in scale but still very good. There was one major drawback though and that was its release date. This was all thanks due to the poor performance of Batman & Robin (1997). Which it’s likely true many also are aligned with their feelings on that production too.

Directed by Boyd Kirkland, and co-writing with Randy Rogel who both worked on Batman: The Animated Series, the story is mainly about Mr. Freeze (Michael Ansara). The chilly villain that is more tragic than just insane. The film is an important link between the first two seasons and the later rendition of the show. Without this, what happens to Mr. Freeze doesn’t make much sense. After sinking under the ocean with his wife Nora, Freeze lives a life of solitude before being disturbed once again by outside forces. Almost losing his love again, Freeze captures the financially desperate Dr. Greg Belson (George Dzundza) to perform the needed organ transplant. Being that Nora is a rare blood type, the two do some back alley digging and find Barbara Gordon (Mary Kay Bergman) as the perfect match for the job.

What this film puts on display is truly the last amount of humanity that Mr. Freeze ever had. He’s just one of those villains that really doesn’t hurt for the sake of chaos. He causes chaos, but out of his desires that are of course to most, seen as selfish but he sees out of love. There will always be that moment where the viewer will say to themselves “If only he had done…he wouldn’t have to do what he’s doing now”. Again, not seeing this feature creates a gaping hole in the next story to focus on Mr. Freeze in the TV show. Unfortunately, for someone who wants to watch things in which they were released will cause this issueIt was probably the right move to not to release this feature alongside the financial blunder that Batman & Robin (1997) ended up being, but still.

It also doesn’t help that the later series had differing designs for all the major characters. It’s truly not the biggest problem considering the story arc does not change but it is jarring either way. The feature itself still maintains the original series design and look, no complaints, just observation. Although there is one added addition and that is the use of CGI in various shots. Some of which is okay, while others are a bit rough. That’s not to say the rest of the animation doesn’t hold up. It’s also very difficult to tell (except for the CGI) that the budget wasn’t the same as Batman: Mask of the Phantasm (1993). All the scenes animated and colored look great and provide a lot of visual entertainment for the audience. The action sequences also help a lot in that too.

The same could be said for the voice acting which has always been top notch in quality. Because the focus is more on Mr. Freeze, Michael Ansara really had time to shine and in his final acting role. Additionally, George Dzundza had voiced Scarface in other episodes of show. As for Mary Kay Bergman, she sadly passed away a year after but voiced several other characters in shows like South Park and The Little Mermaid. Finally, the music had the right idea too. Surprisingly not composed by Shirley Walker, the score to this picture was handled by Michael McCuistion. However, the reason why the music still works is that he too supported the TV show. While Batman’s theme isn’t really heard, it all sounds like its cut from the same cloth. Additionally, there are other themes related to Freeze’s wife Nora. With almost an hour of music, it is definitely something to have with the collection.

Some will be scratching their heads when seeing the animation revert to old designs and filling in missing story elements if going by release date, but that shouldn’t be a big deal. The CGI can be iffy at times but the story is still good, as is the acting, music and animation.

Points Earned --> 7:10

Pokémon the Movie: Kyurem vs. the Sword of Justice (2012) Review:

The Pokémon franchise has made quite a habit of using their film entries to introduce new legendary Pokémon to their seemingly unlimited roster. One thing though that would be nice is to try something different in structure. Sometimes very slight alterations were made which helped, but very much the overall execution was the same as before. It really could be that the director and writer pair Kunihiko Yuyama and Hideki Sonoda are running out of ideas, or this is what truly satisfies the fan base. For a franchise to go on like this however, there should be something to keep feeling new and nostalgic about it, once time passes on. The earlier films might retain more of that feeling for varying reasons. As for the latest films to come out after the new production company took over, the entries just haven’t been as unique.

The plot for this film does actually take another approach as what is being asked here. It’s not enough, but credit should be given where a request is fulfilled. The story is about Keldeo (Vic Mignogna), a Pokémon looking to become a sword of justice, which is a group of other noble Pokémon that consist of Cobalion (Tyler Bunch), Virizion (Emlyn Morinelli) and Terrakion (David Manis). All of whom are telepathic, can create a sword-like horn of light out of their head and fight for those in need. In order to become a sword of justice, Keldeo is to train and battle Kyurem (Marc Thompson), the strongest dragon in the world who contains the power of Zekram and Reshram. Oh and it’s also telepathic. Really this is Keldeo’s movie and character story. Ash and his friends are in this movie too, but are definitely not the focus. Team Rocket just has cameos this time!

So the change in focus is different, that’s fine but the amount given is a little drastic. It almost feels like Ash and friends don’t even really need to be involved. Can’t there be a balance? It can’t be all Ash or nothing. As seen in the film though, there really is no development among the recurring characters. So what’s their purpose other than to move things along? One thing that’s definitely been overdone is the whole telepathic Pokémon aspect. Thankfully, Keldeo is also nowhere near the same design as others like Victini, Mew or Celebi, but the design feels closer to that of My Little Pony. That’s not an insult, it’s more of how the design fits in with other characters. Even more strange is that Keldeo shoots geysers from the bottom of his hooves. That just doesn’t look very useful other than for jet propulsion.

Voice acting can’t be knocked here. All the voice actors in their recurring roles do just fine now that they’ve established themselves well. Even the voice actors who voice the swords of justice and Kyurem match what is on screen in energy. It’s just weird seeing a bunch of telepathic Pokémon talking to each other with no humans involved. Vic Mignogna is known for voicing Broly in Dragonball Z. Marc Thompson voiced Duke Devlin in Yu-Gi-Oh. Tyler Bunch has also worked as a muppet performer. Emlyn Morinelli has played miscellaneous characters in some Pokémon episodes, while David Manis hasn’t done much voice acting at all let alone Pokémon. The right cast members are here to get the job done, it’s just the quality of the script that is lacking unfortunately.

Visually the animation is also competently handled. There aren’t any noticeable spots that looked unfinished or needing touchups. Cinematography which is again this time taken care of by Shinsuke Ikeda is unclear for what reason. There are some scenes that look like realistic photo backgrounds were used…perhaps that’s what the cinematography was needed for? Finally, the film score by Shinji Miyazaki is stock at this point. There really isn’t a whole lot to his music right now as it feels like very much the same from entries before. The only good thing is that the runtime on this entry is the shortest of all so far, which makes the viewing experience somewhat painless. Too bad, because that’s not how a film should be seen as.

Right now it seems like the franchise is on autopilot with its entries. The production continues to be good whether it be the voice acting or animation. But the music and variety in how the story is executed has been one too many of the same kind presented before. The difference here is, it’s about a Pokémon’s journey, not Ash and his friends.

Points Earned --> 4:10

Duel (1971) Review:

To even the most uninvolved moviegoers, the name Steven Spielberg is not something easily forgotten. Crowned as the inventor of summer blockbusters with films like Jaws (1975), many consider this guy one of the greats with hit after hit after hit coming out early on in his career. Although now he takes up more of a producer credit in most productions, he occasionally still lends his directing abilities to projects he wants to helm. Before he was really on the map though, he did direct some lesser known features and of them was this made for TV movie. Believe it or not though the studio threw extra money at Spielberg just to have more added to the story. As a result, this bare bones budget film still pulls some pretty hard punches at the viewer with an interesting setup.

The film, directed by Spielberg and written by Richard Matheson is about a regular guy by the name of David Mann (Dennis Weaver) who’s taking a business trip out west. While out on the road passing by numerous vehicles, he ends up behind a fuel truck. A very well worn, grungy, smoke billowing fuel truck. Ok, not much to really consider here. As he begins to pass, he receives an annoyed response. Thinking nothing much of the exchange, little does David Mann know that the driver behind the truck has just had one too many drivers go by. And what Mann thinks of as just another one-off occurrence, will end up being an encounter he won’t so easily avoid. Considering the time this movie was released, it still can strike an impression with viewers today. Any reasonable person understands that people act differently on the road in their own vehicles.

Sometimes though, it’s never known what the other person not in the same car or truck is thinking. Some individuals just snap and go off the deep end. This is essentially the entire conflict of the film but what makes this thriller significant is just how realistic this situation could be. To a person in Mann’s position, it’s not only scary but could be completely horrific. In some ways the film almost feels like a horror film only because the driver of the truck is barely visible. If those specific shots were not shown, it would almost feel like the truck itself was alive and yet it still comes across that way of having a personality of its own. This is partly why the tension created in the movie is fairly effective. The other part is the psychological aspect. Sometimes audiences will here Weaver playing the inner voice of Mann, thinking of what to do next.

It’s because of this and the driver being so elusive that can make a viewer bite their nails like crazy. The parts viewers may not totally get behind is the lack of main characters. There are other supporting characters that show up, but none are important enough for the story to hang on to. Not to mention, the personality of David Mann is not the most charming. Sure, people could sympathize with the character and his problem, but as for the character in general not so much. David Mann comes across very much like a book worm or someone who doesn’t have much of a backbone. On top of that are some choices made, by either Mann or the antagonistic truck driver. Of course, without these decisions maybe there’d be no movie? But some of what the characters do is just illogical when it comes to safety and consequences of the actions.

The cinematography was a great component to the viewing experience. Shot by Jack A. Marta as the director of photography, there a number of shots emphasizing the dangerous speeds that are reached between the two dueling vehicles. Marta also does an excellent job concealing the truck driver as well as highlighting the menacing front of the truck itself. Marta would also shoot for the original Walking Tall (1973). Finally, the score by Billy Goldenberg was an interesting listening experience. Known for his music on the Columbo series, Goldenberg composed music that would rightfully get an album release much later after the film’s release. The score is a mix of mostly strings and harps, with the occasional piano going in and out. While there’s no real main theme, the score makes sure the viewer hears the uncertainty and erratic nature of the plot.

For a TV turned theatrical production, this simple almost no cast film is still able to create a high strung thriller based on an identifiable matter most people could bump into. While the main character isn’t the most affable and some really nonsense choices are made, the music, camerawork and acting all make this a story no one would want to deal with.

Points Earned --> 7:10

Pokémon The Movie: Black / White - Victini and Reshiram / Zekrom (2011) Review:

Starting off the first year of the 2010s, Pokémon’s Black and White finally let go of Ash’s remaining friends he had met from the beginning of the anime. However, that basic group outline would stay consistent. Venturing into the unova region he would be joined by Iris and Cilan having somewhat similar roles to fill as previous characters. Along with that came a new film entry but released in a very weird way. For some reason two productions were made having the same storyline except for some slightly different scene changes. As for reception of the release, it seemed like many enjoyed it. This is good for familiar fans of the show but to anyone just joining, it still would be hard to get fully involved. Realistically though, this is one of the weaker entries in this shows run of films.

The story feels overly complex dealing with ancient ancestry and how a kingdom was removed from its rightful place. This was done after two legendary dragon Pokémon Zekrom and Reshiram clashed. To settle the spat, another legendary Pokémon by the name of Victini gave its powers to accomplish just that. And it just so happens Ash and his new friends are headed in that direction. Considering again the guys heading it – Mr. Yuyama and Sonoda, this entry or set of entries is nothing to feel invested over. Making it all the less inviting is the release of this film. What is the point of having two similar versions of this story? If it’s a director or producer’s cut, that’s something, but just altering various scenes to fit a different perspective? It just feels very horseshoed in. Which one should a viewer watch, both?

If so, that’s truly wasted time. What also doesn’t help is the over reliance on main characters with cuteness. Victini is too reminiscent of several other tiny “legendaries” that have appeared throughout the franchise of films. Now, it’s just overstaying it’s welcome. This doesn’t mean the antagonists don’t have development, but it is very distracting when the main focus always pivots on the tiny big eyed Pokémon. One other thing to note of is the change in Team Rocket and their approach taken in stories now. Yes, for this they are still relegated to sideline characters, but they are far more competent than what they used to be. Instead of making jokes, puns, rhymes or even blasting off, they actually manage to hold their own. What got into them lately?

The acting is good even though some consider the black and white series main characters not as great as others. Eileen Stevens who voices Iris plays her character well. Having voiced Zorua in the last film, her expansion into a full blown recurring character works. Jason Griffith voices Cilan and his performance doesn’t miss a beat either. While he hasn’t spent too much time with the franchise, he did voice some minor characters in Pokémon films before as well shows like One Piece and Sonic X. Then there’s also J. Michael Tatum playing Damon, Leah Clark as Carlita and Lisa Ortiz as Luisa, who are natives and descendants of the old kingdom. All of whom have experience working on other animes. The animation is also credible.

Being how far the films have come since they began, the CGI components are not as jarring anymore when next to their digitally animated counterparts. Cinematography is still a questionable thing to have in an animated film unless explained. The only shocker here is that it’s not who it normally is. This time its Shinsuke Ikeda which is their first time working on a Pokémon film. As for score, the music is again composed by Shinji Miyazaki which again provides a very underwhelming experience. For some reason, the music here is just not that interesting to listen too. Maybe the guy just needs a break? That’s probably understandable after working on it for so long. At least he likely didn’t have to score music for both versions of the film.

The animation and acting are really the only highlights because they are competently done. That’s not to say music or the basic story structure isn’t, but it just feels stock. Having a big eyed baby sounding Pokémon at the center of the film has been done enough times now. Additionally, making two versions of the film with practically no differences makes no sense.

Points Earned --> 4:10

Turbulence 2: Fear of Flying (1999) Review:

Movies range between all kinds of entertainment levels. The most surprising to viewers are the ones that are bad enough to still make a lasting impression. Then there are those that are just bad. Turbulence (1997) was one of those bad movies. There wasn’t much to enjoy because of how frustratingly idiotic the script was while watching it play out. Who puts criminals onto a civilian aircraft? Despite the cast of actors being relatively well known, the acting was bad and the lead was really not that engaging. The film didn’t even make its budget back. So with that kind of outcome, who would be stupid enough to produce a sequel? Well apparently someone, because Turbulence 2: Fear of Flying (1999) came out two years later. The thing is, why make it a sequel if it has nothing to do with the last film? This is not a franchise, who are these people trying to kid? This is just the beginning of shockers.

The story for this entry is about a group of random people who, cue the title name, have a fear of flying. Really, like no viewer could tell. Apart of this group is Martin (Craig Sheffer), Jessica (Jennifer Beals), Elliot (Jeffrey Nordling), Russ Bell (Andrew Kavadas) and assorted other lesser known actors. All of whom have their own goofy quirks that make them sort of one dimensional except for the few specifically mentioned. Together, they attend a class to overcome taking a flight to another destination. Is that even a thing? Little does anyone know that something dangerous has secretly been brought on board too. The script for this entry was written by three people; Brendan Broderick, Kevin Bernhardt, and Rob Kerchner from Casper: A Spirited Beginning (1997) and Addams Family Reunion (1998). The director was David Mackay from Breaking Free (1995) and The Lesser Evil (1998).

Most of the credits listed so far don’t mean a whole lot considering where they stand among popularity. Though this does say something in regards to the quality of the script. The writing itself is nothing special. Characters are formatted a certain way that any familiar viewer would be able to anticipate their outcome by the completion of the film. If there’s a love triangle somewhere, there’s bound to be a change in that since there’s always got to be a guy who ends up with a girl or vise versa. Most of the acting is also very unenthusiastic. The movie even has Tom Berenger in the film as ground control and almost every line that comes out of his mouth sounds tired and annoyed. More interesting is that joining ground control is Tamara Phillips playing the boss of Berenger’s character. Phillips would later voice Komari Vosa in Star Wars Bounty Hunter for PS2.

However, despite these callouts, the lead characters are far more inviting in their performances. Jennifer Beals may not have the craziest of roles but she puts up a far better front than the previous female lead in the first film. Craig Sheffer as Martin is okay as the lead. At least for him, he sounds intelligent and seems like the most reasonable person. His voice also catches the ear pretty well too. Lastly the villain behind the whole situation is by far the most entertaining for one sole reason; they are terrible at their job. Half the time, the villain is throwing tantrums and nonchalant comments that no real threatening hijacker would make. This is the main reason why this entry is so much more watchable than the first film, which may have people scratching their heads. Wasn’t Ray Liotta in the first film just as over the top? Yes, but his performance felt too familiar since he’s played killers before.

This villain is played by someone nowhere near the same level and managed to make it something. The cinematography shot by Gordon Verheul was decent. Having done only TV work prior, as his first theatrical run it pays off. The interior shots of the plane and lower deck look real. There are only a couple shots of CGI that don’t look believable but it’s not much. Lastly the film score by Don Davis wasn’t much to say anything about. The musical tracks themselves sound very stock and generic making them practically indistinguishable from each other. It’s kind of a shame considering that he would compose music for The Matrix (1999) of the same year. Maybe he got too caught up in that. Yet somehow this sequel got its own album release. That’s very amazing.

As a franchise, it doesn’t pull up much from where the first film left off but does have a little more to give. The music and story are still bland and overall acting still isn’t good. However, the main leads are okay with decent cinematography and a wildly moronic villain.

Points Earned --> 5:10

Pokémon Zoroark Master of Illusions (2010) Review:

Pokémon’s Diamond and Pearl generation may have started off uneven with fans but performed okay and has garnered a deserved following. The films revolving around the series though were just as spotty in their quality of storytelling. At least the last film for this particular generation sort of put itself back in place. Unlike the last three which added on legendary behemoths in each additional sequel, this film took the one off approach. This is actually good because the trilogy of films revolving around Palkia and Dialga were not that interesting to begin with. That’s not to say this movie is miles better, because it does have issues. In short it’s another standard film that fans would enjoy but nothing not seen before. Thankfully it ends the 4^th generation of Pokémon decently enough.
 
Directed and written by the duo everyone should be expecting by now, Mr. Yuyama and Sonoda made a slightly better entry this time. Ash and company continue moseying onto their next destination when they encounter a new Pokémon by the name of Zorua (Eileen Stevens). As it turns out, the main cast learn of an evil business man who has the power to see into the future named Grings Kodai (Sean Schemmel). It’s this power that he uses in order to make gains solely for himself by secretly using Zorua’s protector Zoroark to deceive the public. Ash and company also meet Karl (Wayne Grayson), a journalist looking to uncover Kodai’s secrets as well. Again, at least the story is different and explanations are given for certain characters’ motivations. Then again, it also doesn’t in some places.
 
One good example of this is the purpose of Zorua being telepathic? This feels all too much like Pokémon Giratina and the Sky Warrior (2008). When looking at the film, even if Zorua couldn’t communicate in English, the story would’ve went along just fine. Also the concept of Zorua and Zoroark being a shape shifter isn’t new either. Ditto was the original Pokémon who could do that. Despite that though, the supporting characters feel a bit more natural as opposed to the last bunch. There not some extraordinary group of individuals with hidden powers. They’re literally just regular people. What’s also gratifying to see is the acknowledgment of previous Pokémon that have appeared throughout the series run that take on the role of supporting characters too. Also don’t forget that Pikachu and Piplup have come a long way in partnership chemistry.
 
Acting from the recurring voice cast and other members were fine. As usual the team rocket characters continue to run parallel to the events that take place. Even for Zorua who is not the most necessary of characters is voiced well by Eileen Stevens for her first time joining the franchise. Erica Schroeder who first played a role in Pokémon Lucario and the Mystery of Mew is fine as the assistant to the main antagonist. Wayne Grayson as Karl does well. For those familiar with his voice, fans may recognize some of his lines and how he reads them. The same could be said for Sean Schemmel who everyone recognizes as the voice of Goku in dragonball z. It’s not always apparent, but when Kodai yells or makes certain statements, fans can pick up on that it’s him.
 
When looking at the presentation of the feature the animation is now fairly consistent from the last couple of films before it. The cinematography was again handled by Takaya Mizutani, as expected and the reason for it still isn’t there, which was also expected. Not like that’s it though when it comes to expectations. Reason being that Shinji Miyazaki composes the film score to this entry. Didn’t see that coming. What wasn’t seen coming was that for this entry, Miyazaki’s contribution is weirdly underwhelming here. Miyazaki really hasn’t had any times that didn’t work, but it can always happen. While the music isn’t bad, it’s just not memorable. The score does have different vocals in certain scenes but somehow doesn’t overcome the blandness. Oh well, can’t win them all.
 
Surprisingly music wasn’t as impactful as previous entries. Also the addition of another telepathic Pokémon feels very repetitive in nature with the series of films before it. The animation and voice acting is good though. It also helps that the story is independent from the last three films and changes up some of the more typical aspects of the shown prior.

Points Earned --> 6:10

Pokémon: Arceus and the Jewel of Life (2009) Review:

While Pokémon’s initial start with their new voice crew was shaky at first the diamond and pearl series breathed back energy to the franchise. Over time the characters have become just as significant as the older seasons from before. From a movie perspective, the entries have varied in storytelling but mostly average on the side of acceptable. For diamond and pearl, this trilogy of films revolving around the legendary Pokémon of different realms has been inconsistent in its stories despite them being all connected. The Rise of Darkrai (2007) felt more like set of random events because of a misunderstanding. While Giratina and the Sky Warrior (2008) kind of picked up the slack. Only to then for the ball to dropped slightly on this finale. It all feels very up and down.

The plot in this story wraps up the encounters of Ash and company from the last two films involving Palkia, Dialga and Giratina into a final conflict. The new legendary Pokémon to be revealed is Arceus (Tom Wayland), a creator of worlds. Essentially a god. After being awakened by the ripples in dimensions thanks to Palkia, Dialga and Giratina, Arceus seeks what it created ages ago called the jewel of life. Unfortunately, the memory Arceus last recalled was being betrayed from Damos (Dan Green) the last person it encountered, so now Arceus descends with the intent of payback. Meanwhile Ash and company meet Sheena (Carrie Keranen) and Kevin (Wayne Grayson), two specialists in the background of Arceus and who can also connect with Pokémon’s hearts. Strange but ok.

As there should be no shock, the Yuyama Sonoda duo are back again for another round of directing and writing together. It’s crazy how long these guys have been doing it for. What’s also crazy is how uneven they’ve been as well in their entries working on this franchise. Continuity cannot be discredited here as this and last film both have made sure to acknowledge past events very clearly. On the other hand, this does not change the fact that the story telling is very repetitive in this entry. When Ash and company first learn of Arceus is past they are told by the Sheena and Kevin. Then through a series of flashbacks it’s told again. There are even flashbacks within flashbacks in this entry. It’s not terrible but it feels more like padding than actual storytelling.

Another thing that doesn’t make complete sense are the timelines involved. Pokémon The Movie: 2000 (1999) was bad because it had randomly put Ash at the center of a prophecy. Here it does something like that but in a different way and also including his friends. That should bring into question more things than just altering certain events. Voice acting performances though were good despite only some of supporting characters actually participating. Wayne Grayson, Carrie Keranen and Dan Green are known for their roles in Yu-Gi-Oh. Tom Wayland also has experience in various dubbing of Japan related content like One Piece, Mobile Suit Gundam Seed and even Teenage Mutant Ninja Turtles. And nothing needs to be said for the other main actors as they’ve already proven themselves over time to make themselves the characters know and enjoy.

Visually the animation is nothing really to criticize over. Animation is digital now and no longer cell driven so the scenes that take place look good. Cinematography again was handled by Takaya Mizutani but not much can be said about it since no real camera exists in regular animation. CGI has been integrated pretty well now into the show and its film entries. The film score composed by Shinji Miyazaki is another component expected to be around and with no domestic album release. For what is heard though sounds appropriate for the scene displayed and for the movie as a whole. Nothing that stands a lot but it’s worth hearing if given the possible opportunity to do so. The question is when will a domestic album be available again? It’s crazy there’s not enough interest for these scores.

Rounding out the stories from previous films, this entry shows how all the events are connected which is good. And while the voice acting, animation and music are all from what one would expect, the timelines involved and narrative repeats itself more than necessary. This leads to just an average finale.

Points Earned --> 5:10

Die Hard (1988) Review:

When the name Bruce Willis is mentioned, very few would remember or even think of him playing lighthearted character roles. The first thing people normally think of is either him just as an action star or the film Die Hard (1988). Like so many other movie stars, it only takes one popular film to cement one’s name for the rest of history. Plus, according to Willis it is still his favorite film taking part in. Before this, it was hard even for him imaging that being a thing since all he played before that were more comedic aimed roles. However, that pigeonholed reputation would no longer hold water after seeing Willis perform in this picture. Not mentioning the sequels that would spawn afterward, the film itself has become another staple of the 1980s as time has gone on.

The story takes place in what feels like the real world where New York cop John McClane (Bruce Willis) is headed to Los Angeles to visit his separated wife Holly (Bonnie Bedelia) at her new company’s Christmas party. Unbeknownst to anyone, the holiday gathering has a set of uninvited guests. Enter Hans Gruber (Alan Rickman) and his followers who are intending to take over the floor and get what they came for. Originally conceived in a novel by Roderick Thorp, the screenplay would be tweaked by Jeb Stuart in his first writing credit and Steven E. de Souza who wrote Commando (1985) a couple years before. Directing the film was John McTiernan, who a year before directed Predator (1987), the only film in a slew of sequels people feel legitimately deserves existing.

Honestly what works in this movie is Bruce Willis playing what feels like a real person. The character of McClane is about as human as one can get. He’s trying to amend his relationship with his wife, he doesn’t have a high paying job, nobody else thinks real highly of him, nor does he fit into this whole holiday bash that’s going on. Add to that the violent criminals now taking over the building, man is his luck just fantastic? It’s not only the setup that makes McClane a lead audiences can back, but the lines written for Willis. Quips that are just the right blend of deadpan and sarcasm lighten the mood just enough not to feel like an action comedy but to point out there’s got to be a way to cope with the issues going on at the moment.

Helping the audience relate to McClane is local cop Al Powell (Reginald VelJohnson) who is called to the scene by a fire alarm. While Powell does not get involved physically like McClane, the character also has his moments of relatability when it comes to taking orders and other things that get tied up bureaucratically. VelJohnson would shortly thereafter play the father in Family Matters. Of course one cannot talk about these two characters without covering Alan Rickman as Hans Gruber. Despite his hesitations, Rickman’s performance even in his first theatrical film was impressive as an antagonist. Gruber is crafty and merciless. Enough said. Aside from these three, other actors like Paul Gleason, William Atherton, Hart Bochner, James Shigeta, Robert Davi and Grand L. Bush make appearances too.

The only parts that may disappoint is the action. Some may think before seeing that it’ll be a high octane action romp; not so. Additionally, because this film feels so much like it takes place in real life, some scenes that occur would likely not be able to happen in real life. That’s where the realism is a bit over the top. Camerawork nonetheless though was proficient shot by Jan de Bont. The action set pieces and slower moving scenes all work in showing the surroundings they take place in. Finally, the music composed by Michael Kamen was interesting. The film score surprisingly does not include a main theme but he does manage to incorporate various holiday and classical related tunes in his tracks. Now with a final album in 2018, fans of Kamen can listen to three hours of music. That’s a lot.

The story feels so grounded in the real world, that anything crazy may feel unrealistic. That and it’s not a mindless blow ‘em up kind of film. The music and camerawork help along with Bruce Willis and his supporting cast members giving very authentic performances that any viewer could enjoy.

Points Earned --> 7:10

Batman: Mask of the Phantasm (1993) Review:

Long before cinematic universes were a thing started by Marvel and DC was trying to catch up on that, the comic book brand had already initiated such a phenomenon with their animated universe back in the early 1990s. It all began with Batman: The Animated Series. Adopting various parts of Tim Burton’s live action films and taking inspiration from other Batman works, the animated series proved itself to be quite eventful for many fans of the property and newcomers alike. It was even more surprising to many when Warner Bros. decided to not only produce but also theatrically release an animated movie based on the TV show. And unlike much of Warner Bros. live action films, this one got some fairly decent praise. And it seemed like that trend followed through with many of the other future animated films.

The story is about a mysterious cloaked vigilante going around doing in very well-known mobsters in Gotham. Being mistaken for Batman by city official Arthur Reeves, Bruce Wayne begins investigating who is behind the mask. Simultaneously, an old friend and ex-lover by the name of Andrea Beaumont returns throwing Wayne off balance due to their complicated history. Written by Alan Burnett, Paul Dini, Martin Pasko and Michael Reaves, the story is very much a fun ride to experience with some expected flaws. The structure shows Wayne’s dive into becoming what he is best known for now. Adding to that are the things he wants versus what he knows he must do. All the writers mentioned have had experience working on various other shows prior to this. The same goes for directors Bruce Timm and Eric Radomski.

The progression at which Bruce Wayne transforms into someone not sure of his path, to confirming for himself what he must be, is an interesting one to watch. All viewers love Batman, but to be Batman means sacrifice and that’s never easy to watch let alone actually go through like the main character. With that there comes some intriguing revelations as more of the mystery is uncovered. This historical background adds some extra depth to some of the main characters’ relationships. However, with that comes new questions to be asked that may not ever be answered. These kinds of issues though are far and few between though. The voice cast behind the characters is of course top notch and should not be underestimated. And to those who are starting with this instead of the TV show, some may also be quite shocked.

Although best known as Batman now, Kevin Conroy began a career in live action roles in TV shows. However now, one cannot deny how much Conroy is practically Batman as much as vice versa. The same could be said for Dana Delany playing Andrea Beaumont. Her career trajectory was very similar in path. Hart Bochner playing Arthur Reeves is fine. Coincidentally he also played the love interest in DC’s live action Supergirl (1984). Stacy Keach who voices Andrea’s father Carl Beaumont and the masked mystery man does well too. There’s also voice appearances from Abe Vigoda, Dick Miller, John P. Ryan, Efrem Zimbalist Jr., Bob Hastings, Robert Costanzo and lastly Mark Hamill who some still can’t believe voiced the Joker. And if you don’t know who Mark Hamill is,…please come back after watching Star Wars.

From a visual perspective, the movie looks good. The animation very much throughout the run time is crisp and has plenty of dimension to it. Even for what many would consider a cartoon, the violence and action is also more intense than the cartoon itself. There was also cinematography by Sung-Il Choi in his only credit for this role. Perhaps this was only for the opening CGI intro where the camera pans over the city. Finally, the music composed by Shirley Walker is only a mere extension of her work from the TV show. The themes resurrected from Tim Burton’s films remain along with new themes to listen to. Additionally, the extended album comes with a rare song sung by Tia Carrera. Overall it’s an album hardly any Batman fan would ignore. It’s definitely not the hardest to find either.

Looking further into the details on the story raises some new questions on the historical background of certain characters. Cinematography credit isn’t the clearest either but that’s nothing compared to the entertainment provided from the charismatic voice acting, thought provoking story, expressive animation and music.

Points Earned --> 7:10

Pokémon Giratina and the Sky Warrior (2008) Review:

Despite the change in the Pokémon franchise with ownership and the voice actors behind it, newcomers still found it entertaining. It also wasn’t like these changes would halt any production going forward because some avid followers would still watch whether the original voice cast was there or not. With that said, it should be no surprise that after one bad anniversary special and a film entry in the lineup, another one would come around. Interestingly enough, this entry somewhat improves upon the last film but is still needlessly complicated in the world this franchise is trying to expand. That’s not to say there isn’t effort here but there are several questions about what gets set up. As it has been before, the Yuyama Sonoda duo are the main headers to this entry, which is good but some are probably wondering how much longer are they going to remain attached.

The story relatively picks up where the last film left off where Palkia and Dialga had their spat over what seemed like nothing. However because of the last event, another Pokémon called Giratina is annoyed by this. Giratina who is the Pokémon of the reverse world watched as its home became invaded by the disruption the two others causing dark matter to appear. To try and stop that from happening again, Giratina tries trapping Dialga in its realm only to be foiled by another Pokémon called Shaymin who has powers that can convert pollution into freshness. Meanwhile a man by name of Zero (Christopher Kromer) is seeking to get his hands on Giratina to control the reverse world. So it’s nice to see the consequences of the last film impacted this one, which kind of explains the reasoning behind it too. Why that couldn’t be said for the film itself instead of here, who knows.

There is reasoning why Shaymin is involved with the plot which is helpful. Sometimes these tinier Pokémon seem to be thrown in more for cute factor based on marketing more than anything else. However, the use of this character has nowhere near the same kind of charm compared to previous ones. For some reason this particular Shaymin can communicate via telepathy with Ash and company. The reason why is never explained as it is later shown other Shaymin exist and do not interact with such abilities. Okay…whatever. That’s not where the issues end though. Although it is more entertaining compared to the last story, a couple minor subplots do not get resolved when it concludes. For the characters though, the actors put in well-earned performances. The five main cast members who voice the characters fans know and love are fine.

The new characters to join for this film are Shaymin also voiced by Michele Knotz. Shaymin as a character is ok for the story but personality wise comes off frustrating. Christopher Kromer is good for voicing Zero having past roles in Berserk and Giant Robo. Lastly there’s Marc Thompson voicing Newton Graceland a scientist also studying the reverse world. Thompson has also had various roles in anime like Duke Devlin in Yu-Gi-Oh. He even had a role on the Fresh Prince of Bel-Air. Aside from those additions, everything else is very much standard which means nothing to really go on about because things have been in place now for quite some time. With this entry being apart of the eleventh season, the new voice actors have had enough time to settle in.

The visuals to the film were fine. Takaya Mizutani as the default cinematography was acceptable for however that applies. Maybe. The blend of digital animation and CGI have gotten pretty good now where the renders don’t look completely out of place. Lastly the music from Shinji Miyazaki is no shocker either. He’s been scoring the series for several films now and looks like he’s just another component to the franchise as like the Yuyama Sonoda duo. And of course, no domestic release on the soundtrack. The tracks heard in the film have that familiar sound which is good. Nothing really felt out of place, but an album would have been nice sometime.

The story reverts back to its sort of status quo entertainment value which is okay. From a narrative perspective it misses on some subplots and explanations but perhaps that’s expected by now. The animation, voice acting and connective tissue to the last film makes up for that a little bit.

Points Earned --> 6:10

Pokémon: The Rise of Darkrai (2007) Review:

The Pokémon films all have on average performed with acceptable storytelling so far. Only some were truly just lousy in their execution. Some depending on weak villain motivation or backstories. When audiences can see through that, is when it feels very disappointing. It’s even more disheartening though when there is no villain and viewers are left to seeing events happen due to nonsensical reasons. As the first feature film with the new US voice cast after getting through the rough time that was The Mastermind of Mirage Pokémon (2006), fans would be expecting an improvement. After viewing, it’s slightly better…but still has issues but for different reasons. Really, it comes down to the how the story is set up more than anything else and this is unfortunately where it gets difficult to sit through.

Worked on by the same Yuyama Sonoda duo, the story is about the city of Alamos which has two musical towers built at the center of it all. The two towers represent space and time which is also related to the legendary Pokémon Palkia and Dialga respectively. Unfortunately, when these two creatures cross paths their dimensions’ warp causing catastrophic damage. The only one who seems to be aware of this is Darkrai (Scott Williams), a Pokémon that causes nightmares and is shunned from the city of Alamos. And of course, Ash and company are headed straight towards that event that is bound to happen. There they also meet Alice (Khristine Hvam) and Tonio (Rich McNanna) who are close childhood friends. The concept sounds initially okay…but upon further analysis, things don’t really add up or seem rather pointless.

The biggest issue is the conflict between characters…in this case the Pokémon. Palkia and Dialga are this entry’s “big baddie” Pokémon. But the thing is, they aren’t villains and that’s okay. The problem is their purpose. The whole plot is due to them crossing paths and deciding to fight about it. For what? What’s the reason? Does one want the other’s job? Or did just one Pokémon wake up that morning in a rotten mood? And being that their Pokémon and answer in English is like expecting to win the lottery; the chances are beyond low. Prior to the main story, the film refers to all past movies and shows how Pokémon live among each other…including the legendary ones. So why can’t Palkia and Dialga? Aren’t they aware of each other’s presence? If these two hard heads didn’t get mad each other, then this whole issue could have been avoided.

Not to mention wasn’t Celebi from the 4^th movie the Pokémon that controlled time? Topping it off are the other side characters. Of the new characters Alice is the only one who has stake in the game. The script probably could have found a way to just make it about her and the two new legendries mitigated Tonio and Darkrai altogether. The problem is, the characters just aren’t that interesting. Darkrai just plays elusive the whole time despite that it’s a Pokémon that can speak English like Team Rocket’s Meowth. Speaking of which, Jessie, James and Meowth have more of a part to play in this feature. Why does it have to be when the story isn’t as good though, is hard to tell. And although the side characters are not that interesting, the voice acting is better than The Mastermind of Mirage Pokémon (2006).

Emily Bauer as Dawn joins Sarah Natochenny in Ash’s company after doing Season 10 of the show and she performs just fine. Rich McNanna as Tonio also voice Jack Walker in Pokémon Ranger and the Temple of the Sea (2006). Khristine Hvam as Alice was her first voice acting credit and managed fine too. As for Scott Williams as Darkrai, he actually managed to sound like Dan Green sometimes. How Darkrai became a liked character is a mystery. Cinematography was again taken care of by Takaya Mizutani but again not sure what that was. If anything the animation and music composed by Shinji Miyazaki was nice to hear. Although not many tracks were distinguishable and no domestic album release is available, the main song Orácion is quite nice to hear coming from an organ.

The actors all perform well along with some different sounding music. Regrettably, this does not make up for the premise this particular entry is based on. The reason for the whole plot feels baseless and the majority of supporting characters feel like they weren’t exactly needed to resolve it either.

Points Earned --> 4:10

The Addams Family (1991) Review:

Among the many macabre and bizarre characters to make a popular landing, The Addams Family created by Charles Addams seemed to have stuck with audiences the most. Originally starting as a series of illustrations and then adapted for television in 1964 for a brief period, it was mainly syndication airing did other generations get exposure. Thankfully, that influence worked its way to a movie producer’s child which lit the green light for a theatrical film version. Despite Charles Addams not living long enough to see it, most would probably think he’d enjoy it. This first shot at bringing the characters from the small to big screen is a very faithful tribute. There are though things to discuss within its execution as avid fans of the franchise may be a little surprised after learning of the story.

Larry Wilson, writer of Beetlejuice (1988) and Caroline Thompson writer of Edward Scissorhands (1990) are credited for this screenplay. It is often a mistake that although both have worked on Tim Burton project, that this film is one of them. When in fact, the movie is directed Barry Sonnenfeld in his first credit in such a position at the time. The story is about Gomez (Raul Julia) fretting over an argument that happened decades ago between him and Uncle Fester (Christopher Lloyd). Now upon the “anniversary” of that moment, Gomez is hoping his brother will come home. Meanwhile, lawyer Tully Alford (Dan Hedaya) is hoping to seize the Addams’ family fortune to pay off loan shark Abigail Craven (Elizabeth Wilson). To do this, Tully convinces her to use her adopted son Gordon (also Christopher Lloyd) who looks awfully like Uncle Fester.

On paper, the story sounds interesting. After all, the Addams family were always known for being super wealthy. In regards to character focus it can be disappointing to fans as the story is not aligning itself with the basic structure the show was known for. The concept of the series was that “father knows best”. It was the top down who led the way (mostly). Perhaps it’s due to the change in times but turning the spotlight into something of an Uncle Fester chronicle is not exactly what fans may have been expecting. Especially since this is the first outing on the big screen. Why make it about Uncle Fester? Making it less Addams family oriented are the side characters like Tully and his wife Margaret (Dana Ivey). They just aren’t needed; it could’ve just been about Abigail Craven if necessary.

These are really the biggest issues. However, everything else with the film is spot on in any way one can think. The main actors and their performances are by far the best part – especially Gomez and Morticia. Raul Julia as Gomez brings the right flair to the title role and is equally as charismatic as John Astin was in the TV show. Anjelica Huston as Morticia may not play her character like Carolyn Jones but it is just as passionate and attractive. Playing Wednesday and Pugsley are Christina Ricci and Jimmy Workman respectively. Both have charm but of course many remember Ricci for her deadpan delivery. Christopher Lloyd is decent as Uncle Fester although he could have made his voice a little higher in pitch. Judith Malina as Mama Addams is fun to watch as is Carel Struycken as Lurch even though he only growls with no dialog. Christopher Hart as Thing must have had an interesting job playing just a hand and even John Franklin plays Cousin Itt, even though he’s never seen.

Visually speaking the film properly reflects the gothic imagery known to be in the Addams family. The production design from Richard Macdonald makes the Addams’ house feel ten times larger than the TV version. Credit should also go to Owen Roizman for helping make that happen as cinematographer even though Sonnenfeld had taken over by end of production. Music to boot was fantastic. Composed by Marc Shaiman, the La-La Land release contains the full soundtrack and score material using all kinds of instruments although mainly organ and full orchestra are heard. Thankfully the original Addams family theme composed by Vic Mizzy is also referenced within the album and film for those who feel it should be acknowledged. With over an hour of material including bonus tracks, it should be stressed any fan of the series should acquire this for an entertaining listening experience.

The core of story may not be what fans want but this doesn’t make the entire experience insignificant. Side characters aren’t really important but the actors chosen for the roles perform well. The comedic dynamic between the family members are just as strong as before. The look of the film also wins big points as well as the music.

Points Earned --> 7:10

The Toxic Avenger (1984) Review:

In the world of movies, many know of the main genres that cover all kinds of stories. But like anything else, there’s always sublevels to these groups which can be broken down even further into their own genres. These genres are not the ones people either readily know about, have access to or is spoken of. An example of this are films produced from “The Asylum”. Their reputation has become known for either making cheap knock offs or making cheap sequels to popular mainstream blockbusters. There are people who actively invest their time into those films. The same could be said for films made by Lloyd Kaufman under the Troma Entertainment banner. In a way, it’s just another acquired taste like the previous company mentioned earlier. And although Kaufman was directing films a decade or so before this movie, it was this that got people’s attention.

The story written by Kaufman and Joe Ritter in his first credit is about the fictional town of tromaville located on the outskirts of New York. The town is filled with polar opposite citizens; those who have common sense and others who literally do the most absurd things no reasonably sane person would ever do. Among them all is Melvin Junko (Mark Torgl), a loser pool boy at the local health club. He’s by no means socially equipped to navigate through such an environment and is easily bullied. One day after a group psychotic adults play a practical joke exposing him to toxic waste, he transforms into The Toxic Avenger (Mitch Cohen) and voiced by Kenneth Kessler. Now having superhero strength, Melvin takes it upon himself to rid the evil in his town of Tromaville. The film was also directed by Kaufman and Michael Herz, who collaborated with Kaufman on a few previous projects.

What works in the movie’s favor is the tone audiences will experience from the execution. It’s a simple plot about a discarded protagonist whose misfortune seen to others, turns out to be the best thing that could have happened to him. While out on his crusade Melvin crosses paths with a blind girl named Sara (Andree Maranda) and soon develops a connection. Its cliché but seeing the protagonist earn the respect from someone is something anyone would want. Does that mean the acting and characters well rounded? Absolutely not. Except for Melvin and Sara, no other character has redeeming qualities or resembles that of any regular human being. The way the actors play them and the way they’re written are bizarre caricatures of what someone having no idea how a real person would behave.

It’s very strange to watch but that’s partially the appeal because it is so out there. Of the adults that badger Melvin, Julie (Cindy Manion) and Wanda (Jennifer Babtist) are the women of the group who have the most reprehensible interests. Topping it off though are their partners beating up grannies in the street who are rightfully named Slug (Robert Prichard) and Bozo (Gary Schneider). How more obvious can a movie be with how serious they want their audience to take these characters? It’s ridiculous and stupid to watch. Surprisingly, many of the actors in this feature didn’t move on from it. The only two to kind come away with a career was Patrick Kilpatrick and Pat Ryan. The rest kind of dropped off shortly after. Adding to that are the violence and special effects.

This is mostly the reason why Troma Entertainment got more attention. Many of the films before were strictly adult. But somehow this found a wider release. There’s plenty of blood and gore for those who love it despite not being a horror film. The camerawork by James A. Lebovitz was acceptable. Some of the not so hidden things within the filming process were not even noticeable and the action sequences are decently put together too. Lloyd Kaufman also assisted in this work. Finally, the music behind this movie was mediocre at best. There was no soundtrack unfortunately to get the full experience. There is a recurring theme for the Toxic Avenger…and it sounds familiar, but can’t pinpoint it. There’s other original songs sprinkled throughout the movie making it clear this is from the 1980s, but nothing that’ll be a real ear catcher or sung by any popular artists.

This is by no means a great film. The characters and the acting behind it is so outlandish it’s beyond realistic. Music wasn’t that memorable either. Yet with that said, the way the simple story is executed along with good effects and camerawork make this worth a watch even if it wastes time.

Points Earned --> 6:10

The Skulls (2000) Review:

In life, people learn to like all kinds of things. In time, they will realize there are groups for these interests. Some groups are just for recreational reasons, while others can be for more serious topics. There are also some people who don’t even know about it. The reason is for the amount of power or influence these associations may have on society. The thing is, what most of these secret cliques have in real life is the capability to conceal itself so far that it is very hard to pinpoint. This of course leads only to a very select few who can speak to it but in the end, sound like they’re out of their mind. In short, conspiracy nuts. That’s essentially the topic of focus in this feature film. It’s an interesting idea, but the overall execution is just average. It’s nothing out of the ordinary.

Written by John Pogue (U.S. Marshals (1998)), the plot is about your everyday looking college student Luke McNamara (Joshua Jackson) hoping to be a success after he graduates. He, his best friend Will (Hill Harper) and close female friend Chloe (Leslie Bibb) very much share the same values. Additionally, they all think a group known as “The Skulls” is one of the strangest ones around. That is until Luke is brought in to join them. That’s when things turn all upside down for him. Again, the idea of secretly powerful societies is not an uncommon plot but if done right, can be captivating to watch. This unfortunately is just watered-down. For one, the group is publicly known but operates secretly. It’s a bit contradictory to say the least. Who operates a tight ship with sloppy security? How is that even allowable?

That’s just one question out of many. The group has a rule book of over 100 things to follow by. Yet, there seem to be a lot of loose ends hanging around. Additionally, while the group is promoted internally as being able to effect outcomes elsewhere, there’s no examples of it. Much of everything is so vague someone could assume they could impact anything. That’s not the only odd thing going on. Once Luke the protagonist and his “soul mate” Caleb Mandrake (Paul Walker) meet at their first initiation, Luke’s character flips to the exact opposite of the values to Will and Chloe. It’s not that Luke is an unlikeable character, but he is a clichéd dull one. It’s surprising director Rob Cohen who wasn’t fresh to the job by this point didn’t callout any of these issues.

Not even Caleb Mandrake is consistent in his character arc. One moment he’s saying one thing and the next he’s doing the exact opposite. That’s not saying the acting is unwatchable though. Joshua Jackson is believable as the lead. It’s just his character is motivationally confused. Paul Walker who at the time was mostly unknown still pulls in a performance that mostly makes sense for the story. Leslie Bibb is also okay despite her character falling into the expected clichés as well. She would later have roles in Trick ‘r Treat (2007) and Iron Man (2008). What’s more interesting is that William Petersen is also in this movie as a member of The Skulls and would later share screen time with Hill Harper in the CSI shows. There’s also appearances from Christopher McDonald, Craig T. Nelson and Steve Harris.

The camerawork was acceptable for the picture. Shot by Shane Hurlbut, the camera makes use of its surroundings as well as incorporating dizzying shots to convey hysteria. This is pretty good considering this was his first theatrical film credit. Also done acceptably was the film score composed by Randy Edelman. While known for having more stock sounding music, Edelman does create a main theme for the story. It’s not the most memorable, but it’s not really forgettable either. Better that than just soundscape textural noise produced by other composers. What Edelman relies on for this work is piano keys to convey the feeling of the tracks. Thankfully the album is very much easy listening as well. Like usual though, Edelman’s albums do not consist of much runtime. So best not to expect too much.

The crew behind the camera and actors performing do their jobs like they should. It’s just the writing that challenges those things and weighs it down. The premise seems sloppily put together and the character arcs are erratic.

Points Earned --> 5:10

Pokémon: The Mastermind of Mirage Pokémon (2006) Review:

The Pokémon franchise has had much success in its long run of episodes and films. Occasionally though, there’s bound to be one or two things about it where mistakes are made. To most who enjoyed the original set of voice actors, the new set to take over in Season 9 is the first biggest mistake. However, there was another moment where the voice cast was in the middle of a change. Upon its tenth anniversary, the franchise released a special to commemorate that milestone. Again, from the Japan side it was played fairly consistent with the voice cast being who they’ve been since it began. Not so much from the US side though. This special is unique all right, but for too many bad reasons. There’s really nothing about it that makes it worth a ten-year recognition.

The plot is about Ash and company being invited to the laboratory of Dr. Yung (Bill Timoney), a colleague of Professor Oak’s. It is there he wants to test out his newest creation of what he calls “Mirage Pokémon”. To accomplish this, Dr. Yung uses sophisticated technology to extract DNA from Pokémon using a database and then creating holograms that produce the same kind of effects as regular Pokémon. That is until a mysterious figure known as “The Mirage Master” kidnaps Dr. Yung and intends to use this new creation as a means of world domination. The script was handled by a different duo from Japan. Masamitsu Hidaka directed who also headed Pokémon: Mewtwo Returns (2000) and writing was by Shinzô Fujita, who is no stranger to the franchise either. What doesn’t make sense is just how uninspired the story is.

The identity of the mysterious mirage master should be of no surprise to anyone who’s been watching all episodes and films up to this point. It’s just not hard to figure out. Additionally, why was it that if this antagonist wanted to rule the world, why did he invite Ash and friends and even Misty? Of course it’s because that’s what fans recognize, but at least include characters that would make sense in the plan. Misty has no reason of being there other than to make fans happy that the original trio is back on screen. Additionally, the whole concept of mirage Pokémon speaks for itself. It’s an idea that should never become a thing as it’s just not practical or improve the style of Pokémon in any way. Who wants to own holograms that can think and act like real life Pokémon? It’s not like they take up a lot of room; hence the full name pocket monsters? At least the villain has a backstory this time though.

It just feels random, kind of like just another episode with an extended run time but with lazier writing. Which thankfully still is rather painless as to if it were a full length film. What further makes this hard to watch is the voice acting from the US side. Unfortunately for those who saw this when it originally aired, Sarah Natochenny wasn’t the voice of Ash just yet, even though she did a redub to this special later on. Originally, voicing the main character was Kayzie Rogers who really only voices Max in Season 9. Rogers as Ash is shaky at best and that’s probably because she was trying to get the feel for the character. Michele Knotz also voices Misty in this special and it’s an okay showing but nothing significant. Not even Bill Timoney as the mirage master is interesting and he’s done voice work for other animes.

Really, the iffy voice acting and half-hearted story barely allows even for mild fluff. Making things more confusing is cinematography and animation which looks again to be of the regular episode quality. It’s surprising since Pokémon: Mewtwo Returns (2000) was also a special but had a much crisper and vibrant look to it. Hisao Shirai returns for this special as director of photography but it’s unclear where the digital camera sits as there’s no swooping shots of any sort. Then there’s Shinji Miyazaki returning to score the special which does have merit since he has been working on the franchise for quite some time. And to expect an album release at all for the cues composed would be a great misstep. Not even an album was released in Japan for this.

About as lame as the plot to Pokémon the Movie 2000 (1999), there’s very little to enjoy out of this special. The plot is random, with uneven voice acting and the animation doesn’t look any better than the TV show episodes. Music and runtime are probably the best things about this at all.

Points Earned --> 3:10

Pokémon: Ranger and the Temple of the Sea (2006) Review:

Ever since Pokémon’s anime began, fans could not get enough of the adventures of Ash and friends. Season after season and film after film, the truly devoted Pokébuffs would be there to watch the adventures unfold. Much of the reason behind this was the original voice cast and the studio behind it. 4Kids Entertainment may not have been the most prestigious of children’s programming but they did assist in bringing anime to the west. However to many followers’ shock, the company wouldn’t renew their representation agreement thus handing over the brand to new management beginning 2006. With that came one the most notable changes; different voice actors. To this day, several people remain unhappy with the abrupt turn and have not followed the franchise since. That doesn’t mean the franchise itself stopped though because a new film came out anyway.

The story, as expected continues the journey of Ash and friends. This time, they’re crossing paths with two parties – the Marina group who are descendants of a tribe called the People of the Water and Phantom the Pirate. What Phantom is after is a Pokémon egg from Manaphy, a rare Pokémon that is known as the prince of the sea. It is this Pokémon that could lead Phantom to his greatest plunder. Despite the US production changing hands, the Japan side hasn’t. The Yuyama and Sonoda duo haven’t gone anywhere and maintain their regular positions. Doing the English adaptation this time was Armen Mazlumian as director and James Carter Cathcart for the screenplay. Both also perform as voice actors. For plot, there’s an attempt to make it stand out but it does walk on very familiar ground.

The execution of the story feels very much like Pokémon: Jirachi — Wish Maker (2003) with some minor changes in perspective. Instead of Max becoming the main focus where he develops a bond with Jirachi, it’s May who becomes attached to Manaphy. While changing the attention to another character is something that should be done, having it feel like the same scenario from another movie doesn’t exactly make it feel all that new. May’s relationship with Manaphy is touching, but enough to say its unique enough. Additionally, Phantom as the villain isn’t all that fleshed out. He’s certain not the poor quality that was Lawrence III, but he’s not better by a huge margin either. Phantom is a pirate…okay so his motivation is just to be king of the sea? It’s pretty generic since that could’ve been the motivation without knowing the whole Manaphy egg subplot.

Regardless of that, the biggest hurdle fans have to overcome is the difference in voice cast. Which in all honesty is acceptable. Upon initially hearing the change it is jarring because it sounds like the actors are trying to play as the original cast. To some extent it can be understood why but it makes it all the more apparent. Nonetheless, over time the voices sound more natural. Sarah Natochenny replacing Veronica Taylor as Ash Ketchum takes some getting used to but it’s best to keep in mind she was given the role at age 19. Also replacing Veronica Taylor and Rachael Lillis is Michele Knotz as May and Jessie. Knotz actually does a decent job taking on these characters almost sounding exactly the same. Kayzie Rogers as Max is okay but the actors who stand out the most is James Carter Cathcart as James and Bill Rogers as Brock. All the acting is fine but it’s just the sound that needs getting used to.

Visually speaking, the look of the film continues to maintain its standard. Cinematography again was handled by Takaya Mizutani however that was done. The animation itself though is on prior entries as well, perhaps improving its CGI renders slightly, but not by much. And as expected, like Mizutani and the other Japanese members listed before Shinji Miyazaki returns again for composing music for this entry. This time, Miyazaki gives his score some Caribbean flavor by adding steel drums to his orchestra. Of course that is when the scene calls for it. And not like it needs to be said either but no domestic album release for this score as well. Guess there really just aren’t enough Pokébuffs out there who demand the scores to these films. Oh well.

Devotees of the earlier seasons may struggle to get over the change in voice cast more than the actual story itself. It’s not vastly different from other entries but can entertain its fan base. The new voice cast gives a good first effort, the music still is nice and the animation keeps consistency.

Points Earned --> 5:10

Oculus (2013) Review:

Within the realm of horror, many things have been depicted as being haunted or possessed. From dolls, to houses, to even people, something wicked usually takes over and enters the living realm. Sometimes though, the more simplified the item, the more ominous it may seem. An example of this is HAL-9000 from Stanley Kubrick’s 2001 – A Space Odyssey (1968). While not haunted in any way, the straightforward design of the character led to some unnerving scenes within the movie. The same could be said for this feature where the main focus is on a mirror, which doesn’t even have an individual face to boot. While having lead other films prior to this one, director Mike Flanagan would make himself more known with this release. He would also later go on to direct Hush (2016).

Despite the title not sounding like it’s at all related, the story is about Tim and Kaylie Russell (Brenton Thwaites & Karen Gillan), a brother and sister who went through a traumatic experience together after the family acquired a strange mirror. Both of their parents (Katee Sackhoff & Rory Cochrane) lost their minds and in self-defense Tim shot his father. Several years later after being deemed sane, Tim reunites with Kaylie only to learn he made a promise to her that they would find the mirror and destroy it. Written by Mike Flanagan as well as Jeff Howard, a frequent co-writer of Flanagan’s work, this supernatural horror film has plenty of things to contemplate over. One of the most intriguing aspects about this story is just learning about the history of the mirror and again, it’s design.

Even though no specific reason is given as to how the mirror became possessed, being explained the background of the mirror is enough captivation. Adding to that, when seeing how this object has affected Tim and Kaylie is all the more tragic. There’s also the dynamic between the two siblings – one coming out of rehab, while the other plotting revenge. Two different perspectives on the events that occurred back in their childhood. What truly happened as to what one was told happened; reality vs logic. Meanwhile the mirror stands idly by, watching and waiting to claim its next victim. What doesn’t work in the films favor is how the character threads overlap. As time progresses, events almost seem liked reflected images of the past, which makes sense with the whole mirror thing going on. However, this raises further questions when it comes to the mirror itself. Is it omniscient; because it’s almost too precise.

Acting is done proficiently within the running time. While the cast is small, viewers can easily recognize most of the actors from other films. Karen Gillan at the time was new, but would shortly star in Marvel’s Guardians of the Galaxy (2014) and Jumanji: Welcome to the Jungle (2017). Brenton Thwaites started out similarly with this feature and would then get involved with Maleficent (2014) and Pirates of the Caribbean: Dead Men Tell No Tales (2017). Katee Sackhoff is no stranger to horror films having been in Halloween: Resurrection (2002), White Noise 2: The Light (2007) and The Haunting in Connecticut 2: Ghosts of Georgia (2013). Rory Cochrane is also well known in films like Dazed and Confused (1993), Argo (2012) and Black Mass (2015). As for the kids, Annalise Basso and Garrett Ryan both are just starting out but show promise in their capabilities.

For visuals, it’s impressive how well the production was able to work around the fact that a mirror can expose tricks used in filmmaking. Michael Fimognari is credited as cinematographer and it looks good. The long standing shots of the dark mirror allows for much dread to be felt. The music was also a decent effort from The Newton Brothers. While synthesis and electronic pulses aren’t normally the most engaging of score material, the composer duo managed to make such an album with said techniques that actually work to the film’s credit. The thumping bass line is the motif for the mirror and there are rarely any stings with in the tracks provided. It still would be nice for them to create more themes for their new works in the future. The album itself does contain over an hour of material and an overall theme for the franchise. It’s worth a listen.

There is some vagueness in how the antagonist to the feature is able to manipulate things, alluding to the fact of it’s true power. Besides this though, the performances really sell the idea along with the eerie music and a foreboding prop design.

Points Earned --> 8:10

Pokémon: Lucario and the Mystery of Mew (2005) Review:

Fans of Pokémon have long since been aware of the film entries after every season finishes. With season 8 also known as "Advanced Battle" completing itself, the next film was on its way. To expect anything above the quality that's been output before is a bit of a stretch, but there's nothing wrong with wanting that. The films of the franchise have more or less been equal to each other with the occasional outlier mainly at the beginning. What’s surprising though is just how much attention this particular entry gets mainly because of one of the characters in the title. For some reason, Lucario took off in popularity. Or at least so it seems. However, when it comes to the experience, the execution to this movie doesn’t step itself up by a lot. There’s still issues but this time in different places and same can be said for the good parts.

The plot is about a telepathic Pokémon named Lucario (Sean Schemmel) who lived during a more medieval time along with his partner Sir Aaron (Jason Griffith) when factions were at war. Unfortunately, when everyone needed him most, Sir Aaron disappeared leaving Lucario locked in a scepter. That is until Ash and company happen to free him in the current time. Now, Lucario wants to understand his place. Meanwhile, a world record holder Kidd Summers (Rebecca Soler) crosses paths with the group as well hoping to find Mew and its connection to the land Lucario once lived on. Again, from the Japanese end is the Yuyama and Sonoda duo. Doing the domestic adaption was Darren Dunstan directing, Kathy Pilon and John Touhey writing respectively. For the story itself it is clear that things are taking a slightly altered approach…initially. Yes, the film begins with the season 8 title music with a Pokémon battle, but there’s more.

In a way like Pokémon 4Ever: Celebi – Voice of the Forest (2001), viewers get to see a little more of what the world was like in the past and the style of the era. Adding to that, is the lore surrounding Sir Aaron as an important figure and how Ash is able to free Lucario. While it’s never been displayed before in the show, new things are learned that better explain why certain characters can do certain things. It is by far a better way of giving the audience a reason why someone could be called “the chosen one” as oppose to how it was executed in Pokémon the Movie 2000 (1999). Sadly, this is where the positives end. When it comes to story, the remaining part of it continues to be what’s been shown before. Elements containing dramatic moments that don’t lead to much of a payoff with the main characters, has been shown before.

So to suspect any of the key protagonists are in any real peril is hardly a thought. Characters of the day like Kidd Summers who just join for their own reasons is just another usual thing these entries have. It would be nice to not have one every now and then. Then there’s the lack of continuity, since Ash, Brock and Pikachu have all encountered Mew back in the first movie. No reference to ever remembering their past adventure.Not even Team Rocket who are more involved in this story seem to remember. Again, this doesn’t take away from the performances as all voice actors do well. Jason Griffith has voiced Sonic the Hedgehog and Sean Schemmel is of course known for being the voice of adult Goku in the Dragonball franchise. Kind of strange that Lucario produces blue energy blasts in a similar fashion to the Kamehameha. Wonder if that was intentional.

Perhaps one of the more interesting things to hear are the three Regi- Pokémon (Ice, Steel and Rock). They have some of the strangest cries…sounding like computer viruses. With respect to sight, the animation is decent with Kazuaki Mouri as executive animation director. Much of movements between characters are very fluid, which adds a whole new dimension. Shockingly there’s no credit at all to directory of photography on IMDb, despite the film crediting Takaya Mizutani as such. The same could also be said for Shinji Miyazaki who composed the film score listed in the film, but IMDb lists Go Ichinose. Even with those mistakes the music is good despite having no domestic album release. That’s definitely not a surprise. The sound though is a mix between more orchestral sounding pieces with occasional synths in the background.

Really the viewing experience to this entry won’t be too different from others. The plot expands and expounds certain things about the world of Pokémon a little more than before, to point where it begins to makes some sense. Even though the direction goes into predictable territory as time progresses. Still the voice acting, music and animation all make it entertaining enough.

Points Earned --> 6:10

House (1985) Review:

Mixing genres in movies is not an unheard of move when it comes to making original ideas. Of those blends, putting horror and comedy together has proven to work. A more recent example of this could be The Cabin in the Woods (2011). Or if looking further back, Gremlins (1984) is another feature that has confirmed such a concept can be profitable. Of course though, with every success comes those who don’t make out as well as they could have, for whatever reason. This feature has an interesting history since it was originally conceived by Fred Dekker, the poor filmmaker who ended up having what he wrote completely changed. Originally to be taken as a straight forward horror film, wound up being changed to contain horror and comedy. With that said, many could understand how that could upset others.

So now, the film that actually is available is about popular novelist Roger Cobb (William Katt) learning that his relative passed away in the house he grew up in. But the house has more than just a childhood history with Cobb. At one point, Cobb lived with his currently divorced wife Sandy (Kay Lenz) and son Jimmy. However, just like the house itself leaving an impression, so did Vietnam as Cobb was a war veteran who lost a partner Ben (Richard Moll) in combat. Doing these rewrites was Ethan Wiley in his first writing credit and it kind of shows maybe changing the original concept wasn’t the right decision. In short the technical aspects to this feature works pretty well, but the story is where it’s hit and miss. It’s unfortunate too because direction was handled by Steve Miner, who also headed Friday the 13^th Part 2 (1981) and Part III (1982).

So why couldn’t competent direction amend some of the experience? It feels as though most of it sits on the star’s shoulders. William Katt as Roger Cobb is okay in his performance, but lacks the charm to really bring in the audience to feel the way the character does. Perhaps some of this alienation is on purpose because most civilians never understand the trauma of war. However, when adding elements of comedy into the mix it’s just confusing. Should the audience be laughing or should it be as awkward as presented in the film? The only character that delivers some comical lines is Harold (George Wendt), a neighbor who is pretty much clueless on every level. The other supporting characters very much play it that same way but don’t seem to make an impact. Surely the production wasn’t banking on Katt and Wendt to deliver all the laughs. Aside from comedic line reading, the acting is acceptable from all actors.

There’s even appearances from Mary Stavin playing another one of Cobb’s neighbors, Michael Ensign, better known as the hotel manager from Ghost Busters (1984), as well as Steven Williams and Alan Autry. Even with that to the film’s credit, this picture isn’t scary. It may frighten smaller viewers or those who just don’t watch horror films…but the scare factor has no kick to it since bad comedic elements were thrown in. The visuals to the feature favor pretty well though. Because of the decade it was produced, much of the visuals are practical effects which all look decently crafted. The final boss looks good too although the verbal mouthing does not completely match lines dubbed in post-production. It’s too bad since those creature scenes could have led to some rather gory deaths.

Cinematography was another professional looking component. Shot by Mac Ahlberg, there are number of imaginative ways the house twists and turns Cobb in different directions; changing from one setting to another. Ahlberg also worked on Re-Animator (1985), Deepstar Six (1989) and Robot Jox (1989). Lastly, the musical score was composed by Harry Manfredini. Best known for creating the iconic score to Friday the 13^th (1980). Manfredini seems to keep some of those familiar themes for better or for worse. While it does sound like it could belong to another Friday film, there are moments unique to this feature alone because of how the track was composed. The album also is a bit shorter in material but it still gives the listener a good idea of what was wanted to be conveyed.

The technical parts to the film are very much on board, with solid camerawork, special effects and music. Sadly, the acting from the actors isn’t enough to keep the experience from feeling dull. There’s nothing horrific or funny about either aspect of the film, partly due to the lead’s lack of appeal. It’s average at best.

Points Earned --> 5:10

Pokémon the Movie Destiny Deoxys (2004) Review:

Despite the Pokémon franchise continuing on and on with its show and some viewers feeling the formula had gotten repetitive, movies were still being released. Of course like any other entry before it, the means of it was to make money whether it had something new to display or not. While the first trilogy of films was unbalanced, the second trilogy seemed to be a stronger effort. Starting in the seventh entry, this film attempts to make a concept fresh out of a somewhat familiar idea. That is a Pokémon from outer space. Okay…that’s not too different from another dimension or time. Unfortunately, it’s because this idea has already been explored more than once that the viewing experience here is not as engaging as would expect. It’s not bad though, more so forgettable. You can’t win them all!

The plot to this installment follows Ash and company to LaRousse City where Ash wants to test his skills at the battle tower. It’s also the location of high tech gadgetry. Living in the city is Tory (Tara Sands), the son of Professor Lund (Sean Schemmel) who four years earlier witnessed the arrival of an alien Pokémon they ended up naming Deoxys. However, because it arrived so suddenly, another powerful Pokémon called Rayquaza seeks to destroy it thinking it’s a threat. Now in LaRousse City, Deoxys returns and so does the impending battle between the giants. As usual the original script and direction in Japan was worked by the Sonoda, Yuyama duo. In the US, Darren Dunstan did the English direction adaptation, while Norman J. Grossfeld, James Carter Cathcart and Kathy Pilon handled the English script adaptation. Honestly though, all these credits didn’t amount to the greatest of entries.

The two biggest attributes to this feature that work against it is first the focus. Unlike the film before which didn’t focus on Ash but on Max, who was also a main character felt acceptable. Ash can’t be the only character to get development among the group. However, this entry aims its attention at Tory who the audience has no history with until now. The character of Tory is about a scarring moment that left him reluctant to be near Pokémon. Why couldn’t this be put one of the original characters? Additionally, while Ash and company visit La Rousse City, they encounter more side characters that very much are the same kind of forgettable characters inserted in past films. Ash creates a small rivalry between another trainer named Rafe (Sebastian Arcelus) and Misty runs into another trainer Sid (Matthew Labyorteaux) who develops a crush on her. Okay, but is it needed?

If Team Rocket’s Jessie, James and Meowth are put in the film only for laughs and not used in the plot, then meaningless cardboard cutout side characters shouldn’t be given anymore or equal focus. The other strange thing about the story is the setting. La Rousse City has security box robots, which manage the area. There are a number of them, but apparently there can be so many that they can be more overwhelming than anything else. That idea is just silly. Aside from this though, the acting is still well done, including the characters that aren’t or shouldn’t be important to the story. The new Pokémon shown in this feature are unique in design and the two giants that cause the whole stir are impressive looking. Deoxys looks intimidating considering it can change form in a number of ways depending on the situation it’s in.

The animation looks good as always though. Rarely has a Pokémon movie looked out of date or had bad animation. This doesn’t omit the fact that there’s still cinematography linked to this film, shot by Takaya Mizutani. For what reason, is yet to be explained for any of the films. As for music, the film score was composed by the consistent Shinji Miyazaki. While he reprises the title theme as done before, Miyazaki also creates a new motif for Deoxys which sounds accurate for the character. The track contains electronic synthesizers that match Deoxys’ mysterious alien qualities. As usual though, no domestic US release for the album. Only in Japan, only in Japan. Still a good listen though if one can get a hold of it.

After two trilogies of films, the next film in the anime franchise starts off rather shaky. Animation, voice acting and music are all fine. But the setting is a little odd seeing how it impacts the story later on, and, the random side characters getting more attention doesn’t make the viewing experience as entertaining.

Points Earned --> 5:10