The Toxic Avenger Part II (1989) Review:

Lloyd Kaufman and Michael Herz are not directors of Oscar awards caliber due to their version what they consider entertainment. The kinds of movies they make lean on the edge of soft core pornography with the amount of gratuitous sex involved. This however only amplifies those who enjoy movies in this kind of raunchy genre. Considered among their best work though was The Toxic Avenger (1984). Not because it was deep in any aspect, but because of the pure spectacle the movie created with its limited budget, gory practical effects and simple story of seeing good triumph over evil. It was their way of doing a superhero story in the style they knew best. With that success in viewership, the two felt it was time for a sequel five years down the road. Maybe sticking with one was enough.

The story continues a little time after the events of the first. Melvin Junko now known as Toxi (John Altamura) has rid his home of all the evil from Tromaville. That is until another evil entity enters the picture under the name Apocalypse Inc. headed by the chairman (Rick Collins). In order for the company to take control the last place they need to conquer is Tromaville and they need Toxi out of the way. With that, they trick him into traveling to Japan to find his estranged father. This time, this sequel was penned by Kaufman and now Gay Partington Terry who helped provide additional material to the first film. The second entry isn’t far worse than the first but it is not easy to get through a lot of the time. Continuity is a bit of an issue here.

For one, Toxi’s original love interest Sara (Andree Maranda) doesn’t appear here. Instead, his new interest is Claire (Phoebe Legere), who also happens to be blind. So what was the point of renaming the character? The continuity seems to be unchecked here. Additionally, the story is lacking being that the original film had a basic idea which was understandable and got to the point. This particular entry has less of a story as the main characters are boiled down to one dimensional individuals with no real depth. The Apocalypse Inc. company is just an idea. It has no real weight in the story as the people behind it have no significance either. Again though, this is probably what Kaufman found to work in the original and just amplified it more. Worser still, the run time is unnecessary as the extra twenty minutes pads out the experience.

Scene after scene it feels like things carry on for far too long. Fight sequences drag, dialogs feel like they go nowhere, while car chases go on and on. Either the pacing needed to be sped up or the run time needed to be cut. The acting from the main cast is as campy as one would expect after seeing the original film, which at this point is okay and expected. John Altamura as Toxi looks very much like Mitch Cohen of the first movie. Phoebe Legere as Toxi’s new girlfriend is fine too. Rick Collins as the chairman bares his teeth for almost every scene he’s in. Rikiya Yasuoka who plays Toxi’s father does the same thing by over exaggerating his facial expressions. Helping Toxi find his father in Japan is Masami (Mayako Katsuragi) who is played okay for an actress with broken English.

Believe it or not, this was also the film debut for Michael Jai White who would later play in Spawn (1997). Visually speaking Kaufman kept the over the top gore and practical effects which come into play for this film. It is still quite grotesque and disgusting but that is what gave the first film its charm too, so credit is due there. The camerawork fits in line with keeping the effects realistic but that’s about it. James A. Lebovitz who did an okay job on the first seemed to have missed the mark here. While the some of the settings take place on the streets of Japan, there’s nothing that exciting to see or watch when it comes to the action. Even more interesting is that the music improved a little with the help of composer Barrie Guard actually creating a recurring theme for Toxi but overall, since there is no official score it is still not that noticeable.

While acting and practical effects remain the strongest attributes of the franchise in terms of likability, the rest of the feature is hard to get to the end. Music and cinematography aren’t that special with really bare bones storytelling. Plus, the runtime and pacing make it painfully slow to watch.

Points Earned -->4:10

Step Up (2006) Review:

Channing Tatum is one of those actors who came from out of the blue from the alternate career he once had. Originally using the skill of dance as his money maker, it would only be until he starred in He’s the Man (2006) alongside Amanda Bynes did he start gaining traction in his movie roles. However, that same year he would star in this film too where Tatum would return to his original career path but in movie form. All the crazier is how he would return to a much more significant film under the name Magic Mike (2012) which would gain him critical success. If anything, this could be seen as his starting point to that of what he would later be best known for. The thing is for this movie, it’s a little bit standard in the execution.

The story’s setting takes place in the urban city where Tatum plays Tyler Gage, a foster child who grew up among others in the streets with no real role model. One day after being caught trespassing in an arts school, he is sentenced to community service cleaning up the school. Little did he know that he would not only find Nora Clark (Jenna Dewan) as a possible partner but also as a dance partner after her main partner injures himself. The narrative was written by Duane Adler and Melissa Rosenberg who would later write for the Twilight (2008) franchise. Directing the feature was Anne Fletcher in her directorial debut and as her first outing it is fine. There are various parts to the film that needed fine tuning but overall the handling of it was okay.

The weak points in the story are mainly just how the story plays out. For those who have seen a lot of films may see all the twists and turns to come because of how formulaic it is. For example, being that the genre this film is in is mainly drama and music, audiences will obviously know that there will be sexual tension between Tyler and Nora and the ups and downs that come from that. It’s just bound to happen. Tyler also has two friends from the hood Mac (Damaine Radcliff) and Skinny Carter (De'Shawn Washington), whom of which he hung out with and got into trouble with. At the beginning of the film, they scuffle with a gang leader…well, at some point that’ll come back to bite them. These kinds of setups are painfully transparent in how they’re set up and how it’ll finish.

There’s even Nora’s friend Lucy (Drew Sidora) and Miles (Mario) who Tyler befriends. At some point these two characters make a connection and it’s apparent what’ll happen between those two characters too. From an acting perspective, all thespians do their jobs correctly. While the playout of the story is very familiar the actors do what they can to make their characters convincing and it works. Channing Tatum easily plays Tyler as the thug bad boy with no direction despite having a skill he doesn’t take advantage of. Jenna Dewan as Nora clearly can play an upper class person who has no understanding of what Tyler is going through. Coincidentally Jenna Dewan would get married to Channing Tatum shortly after and be with him until 2018. While that’s just trivia, that’s not all the good parts.

Visually, what’s on screen is good too. Michael Seresin is credited as the cinematographer to this movie and he captures all the right things. All the dance scenes are well shot too. Started with movies like Rambo III (1988) and two years before ended up helping with Harry Potter and the Prisoner of Azkaban (2004). The dancing itself is also well choreographed where it looks like no one had issues following how to perform in that respect. Lastly for music, the score to this feature is not that prevalent. Since it is a dance genre film, the majority of the music belongs to soundtrack artists. Even with that though Aaron Zigman supposedly scored the film. The same composer behind The Notebook (2004), which is surprising considering how popular that love story movie turned out to be. There’s no score available that can be found for this movie though, which isn’t surprising.

The story is very generic and music belongs mainly to the soundtrack, which makes sense for the genre. It’s just not as entertaining as it could be, although it still holds up. The acting is good as are the dance sequences and the camerawork.

Points Earned --> 6:10

Dragon Ball Z: Dead Zone (1989) Review:

It seems like in most mainstream animes that gained large popularity among fans, feature films would come out after every season. The release schedule to these franchises are mostly consistent. The best example of this is Pokémon. The Sailor Moon series looked to be fairly on point with this as well, even though the first and final season were not bookended by any films. The original Dragon Ball show run followed this rule though. After every season, a film was released which made sense in terms of execution. However, the concepts for this films were quite different. For some reason, the creatives behind it felt it was better to retell various sections of the show in a different continuity. So far for the sequel series, Dragon Ball Z, the film release is sticking closer to the show.

Fans start off with Gohan (Stephanie Nadolny), Goku’s (Sean Schemmel) son being kidnapped by a group of demonic warriors. The leader of this group is led by a character named Garlic Jr. (Chuck Huber), an individual who has a bone to pick with Kami and Piccolo (Chris Sabat). Garlic Jr.’s hope is to become immortal and destroy the world in the name of his father Garlic Sr. The original script behind Akira Toriyama’s manga adaptation goes Takao Koyama. This is the same individual behind various episodes to Dragon Ball and Dragon Ball Z. The same goes for director Daisuke Nishio and who also worked on the first two Dragon Ball films. For this feature, there are points that make it a much better start than the Dragon Ball films before it, but still not totally a bullseye.

What works for the story is that this narrative technically can work as story that comes right after the end of the last Dragon Ball season. Reason for this, it is before the arrival of Raditz, Goku’s brother, and the reveal of his now iconic origins. Additionally, the rivalry between Piccolo and Goku is the only thing spoken of during this film. So the timing stands correct. This is where the alignment ends though. Garlic Jr. and Sr. are one big missing story throughout the shows history. There is proper context given as to why Garlic Jr. seeks revenge on Kami for wronging his father but that’s the extent of it. Unfortunately, there was no actual episode depicting this character in the show, so it feels sort of just thrown in there. This last minute add feels very similar to that of how Dr. Gero would appear in the cell saga. Dr. Gero was apparently around but was never depicted.

The voice acting is great though from most performers. Sean Schemmel is the definitive English dub of Goku. The same goes for Sonny Strait as Krillin, Stephanie Nadolny as Gohan and Chris Sabat as Piccolo and Kami. Chuck Huber as the disgruntled Garlic Jr. works fine. Sadly, Huber’s voice is very recognizable and if anything, for those who can get easily confused may think Garlic Jr. is Emperor Pilaf and that’s because Huber also voices the character. There’s just not much of a distinction between the two characters and how they sound.  There’s also brief voice appearances from Mike McFarland as Master Roshi, Tiffany Vollmer as Bulma, Cynthia Cranz as Chi and Dave 'Squatch' Ward as the Ox King. The animation to the film is done nicely. It is still a product of the 1990’s anime style which gives it a very nostalgic look.

In part, the action that’s animated on screen is awesome too. The hand to hand combat and Goku using his power pole are the fun parts. And there’s always one Kamehameha on screen too. Still like many other anime films, Motoaki Ikegami is credited as the cinematographer to this production. Ikegami essentially had a hand in most of the Dragon Ball films too. Why though, will go unexplained. Finally, the music to this production is a little sad to hear. Instead of Shunsuke Kikuchi’s memorable score cues being use throughout, the English dub went with a new score composed by a gentleman by the name of Mark Menza. Weirdly enough he’s not credited on IMDb but is listed in the credits of the film. Perhaps this is because he didn’t get credit for productions until the mid-90s. Either way, Menza music is okay, but just isn’t for Dragon Ball Z. It sounds like an early version of Bruce Falconer’s music to the series later on.

While the narrative starts off right with acceptable continuity compared to the first set of Dragon Ball films, it still falls short with the villain being rather random. The musical score is also recreated which isn’t necessary. Thankfully, the voice acting and animation keep it mildly okay to watch.

Points Earned --> 5:10

Sailor Moon SuperS: The Movie: Black Dream Hole (1995) Review:

For many franchises, when it comes to trilogies the third film can hit two spots. The more unusual route is the final film being a knockout end to fantastic story. Normally though, final films end in the lowest of the lowest rating compared to the ones before it. For the Sailor Moon series, despite it being delayed in sending out its set of films, they started out solid with Sailor Moon R: The Movie: The Promise of the Rose (1993). This was after the second season. Then after the third season finished, the franchise came out with Sailor Moon S: The Movie - Hearts in Ice (1994) as the second entry and it was a little weaker in storytelling. And finally, after the end of the fourth season this movie was released and it is better than the second film. Of course it still has its flaws to contend with.

The story follows the sailor guardians facing off an evil witch who employs henchman fairies with magic flutes to whisk children away into a realm where they will never grow up. They only discover this after Chibiusa (Sandy Fox) is almost kidnapped by the hypnotic sound of the pied piper-esque villains. Of them though, one fairy named Perle (Colleen O’Shaughnessey) disagrees with what’s being done and joins Sailor Moon (Stephanie Sheh) and friends. Writing this feature is Yôji Enokido, who’s also a writer to the show. Doing the English dub is Lisa Lumby-Richards who also worked on the English dub of the show. As for directing, Hiroki Shibata returns from the last film to head this project. From the story side of this film, the underlying message of understanding growing up is apart of life is a significant one. There’s just no way around it.

Additionally, the lesson that a child’s ambitions and beliefs change over time as they grow is also important. The main issue though outside of that is the witch Badiane (Tara Sands). The motive behind the villain and her backstory is largely absent and comes across weak in development. In a way Badiane is just another bland villain from the inventory of evil doers to come and go. The only thing that Badiane is after is the children’s “sugar energy”, which in all honesty sounds really corny. It’s also interesting because practically all of the fourth season of the show was about dreams. And this feature focuses very much of that again on children and the dreams they have. It’s actually quite surprising how often this is mentioned through that season and this film. The other thing that doesn’t make sense is why Perle disagrees with Badiane. No explanation was provided.

The performances from the English dub voice cast are all welcome once again for their roles. Stephanie Sheh is and always will be Usagi Sailor Moon. Sandy Fox as Chibiusa Sailor Chibi Moon is as boisterous as ever. Perle the fairy by Colleen O’Shaughnessey is convincing in the role despite the character being a boy. O’Shaughnessey would also voice Jasmine Fenton and the Danny Phantom series as well as Tails in the animated and live-action Sonic the Hedgehog films. Tara Sands as Badiane despite not being a fleshed out villain also does well. Sands would later be known as the voice of Pokémon’s Bulbasaur and even Yu-Gi-Oh’s Mokuba. And as a surprise the other worldly sailor guardians Uranus (Erica Mendez), Neptune (Lauren Landa) and Pluto (Veronica Taylor) return as well for a little screen time.

Cinematography is again apart of this film which by no means is clear as to how. Credit goes to Motoi Takahashi for this even though, it doesn’t seem necessary. Besides that though, the look of the animation is well done. There’s a lot more noticeable frames to the movements in scenes that make things move much smooth. The design of Badiane is also quite unique to look at. Finally, the music which was once again composed by Takanori Arisawa is on point. Since children are the main focus, Arisawa composes a little march for them as the tune Badiane’s henchman play to hypnotize them. The remaining parts of the score are performed by classic orchestral pieces that play right into the scene at hand. Without this component, the film will not have the same amount of appeal.

The villain to this feature is not well developed and one key character’s motive goes unexplained. The themes behind it though play a larger part. The animation, voice acting and music bring the third original Sailor Moon film back to a better standing than the first sequel.

Points Earned --> 6:10

Dragon Ball Z: Bardock - The Father of Goku (1990) Review:

For Akira Toriyama’s Dragon Ball manga series, many readers were enamored with the main character Goku. And for viewers of the anime once it aired, fans were all the more interested by the lore created around the characters. How was there such an incredible boy that defied the odds in so many ways and yet still managed to overcome such challenges? Goku was no ordinary child, not solely because of his skill but most notably because of the strange anatomical feature no other human had – a tail. Topping that off was that during the full moon, Goku would transform into a great rampaging ape. Little did anyone know that Toriyama would end up creating the story to how Goku came to be. Not to mention that it would end up being one of Toriyama’s favorite stories.

The narrative is centered around Bardock, as mentioned in the title, the father of Goku. Essentially serving as the prequel to Goku’s origins, Bardock is the unsung hero who tried to do something only his son would end up finishing. After completing a routine mission with his team ordered by his boss Frieza (Linda Young), Bardock (Sonny Strait) is magically gifted the ability to foresee future events. These events give him glimpses of his son and Frieza. With that, he sets out to learn the truth. Directed by Mitsuo Hashimoto and Daisuke Nishio who both worked on episodes of the show headed this project. When it came to the English dub, Neil Bligh again handled this part with Takao Koyama and Katsuyuki Sumizawa penning the original script. For the most part this feature is watchable albeit some minor issues.

For one, the concept that Toriyama had created and bringing it to screen is great. As mentioned before, the mystery of Goku and his history is revealed here which is unlike any other story told before. Learning of where Goku came from, his ancestry and how his lineage ties to the overall bout between him and Frieza is one big twist. The fact that Frieza thought he would never come across another person like Goku is one big kick from karma. There is a little continuity error fans may notice and wonder why it was never referred to. That being Raditz who openly confirmed his relationship to Goku at the start of Dragon Ball Z. Here though, Bardock makes no acknowledgement of his other son. Strange, it makes sense if there was no good way to put Raditz in the story, but at least make a reference.

From the acting side, all the English dubbing is performed well. Sonny Strait better known for his role as adult Krillin, is also a strong force as Bardock. His voice has just enough gruff to make the character sound like a much more hardened Goku, being that he looks almost exactly the same. Linda Young as Frieza in her starting stages as the ruler of the universe definitely knows how to play the role well. Throughout the special, audiences will also see other treats like Zarbon and kid Vegeta voiced by Chris Sabat. Unfortunately, Sabat also voices Nappa instead of Phil Parsons, which doesn’t sound right but its only for a line or two. Lastly there’s little tidbits of Chris Forbis as Dodoria, Stephanie Nadolny as baby Goku and Sean Schemmel as adult Goku. All of them give performances fans will recognize.

The animation to this project looks great. Like all other films in this franchise, it very much has all the same look. Especially since this is late 1980s, early 1990s anime. Surprisingly there is no person credited for cinematography in this film. This honestly, makes more sense since animation would not require a physical camera to film what’s being put to screen. However, music is a bit of a disappointment. For some reason, instead of sticking to Shunsuke Kikuchi’s score used in all previous projects, a new score was composed by Mark Akin, Andy Baylor and Dale Kelly. This background music is unfortunately very dated sounding and does not match the setting used except for a few scenes. A lot of it sounds like hard rock, metal and rap. This just isn’t what this franchise is.

This feature provides a wonderful eye opener to those who want to know the origins of Dragon Ball’s favorite main character. The animation and voice acting are all spot on (minus one). The music to this though is less than to be desired.

Points Earned --> 6:10 

It Takes Two (1995) Review:

Family entertainment in films has taken all sorts of forms. There’s movies that involve a mix of live-action and animation. There’s ones that involve fantasy and others involving more mature themes. The one thing though that tends to fascinate people in general are the concept of identical twins. There’s just something about two people who look and sound exactly alike and can sometimes be completely different. However, the similarities can overlap greatly in personality and sometimes even psychologically despite most thinking it is only cosmetic. One of the most recognizable set of twins to come out of Hollywood was Mary-Kate and Ashley Olsen, also known as the Olsen Twins. If it weren’t for the Full House TV show in the 1980s, it’s hard to say how popular they would have become. By the time this film came out, they were practically ending that series.

The story is about two twins living completely separate and different lives. Amanda (Mary-Kate Olsen) is a down on her luck orphan. She just can’t seem to find a good set of parents to adopt her with the help from her sponsor Diane (Kirstie Alley). Then there’s Alyssa (Ashley Olsen), the daughter of a successful business man Roger (Steve Guttenberg). By chance, one day Amanda takes a trip with her fellow orphans to the Callaway camp that Roger lets others use. Little do any of these four individuals know that their lives will be turned upside down when the twins discover each other and switch places. In a way, this is like The Parent Trap (1961) and its remake of 1998 although sharing a closer resemblance to the Prince and the Pauper. The script was written by Deborah Dean Davis known for penning a couple of episodes to various TV shows like Magnum P.I. and Knight Rider.

This is also Davis’ only theatrical film credit, which is sort of surprising because this is also one of her last credits to date. For viewers who have seen many movies before this one, will not be that new in terms of ideas. The predictability is very standard. Two twins aren’t happy with their current situations so they devise a plan to change that and most can anticipate where that leads to. Further making that more blatantly apparent is the reason Alyssa makes her plan with Amanda. Her mom has long since gone and daddy Roger has found himself a new woman Clarice (Jane Sibbett) who is clearly there for other reasons. It’s just plain as day, when it’s been seen, it’s known how the narrative will be executed. The directing from Andy Tennant doesn’t improve it by that much either.

Tennant would direct a year later Fools Rush In (1997) and even later Hitch (2005). From how the characters are written though, the main ones are still likable in their own way. Kirstie Alley has the very mom-like attitude towards Amanda and that makes her significant. Most remember Alley from her role in Cheers.  Steve Guttenberg as Alyssa’s father is also friendly. He’s doesn’t come off as a jerk in any way, just very blind to his flaws. Guttenberg is well known for his parts in the Police Academy (1984) franchise. As if anything needs to be said about the Olsen twins, their acting is fine. They don’t come across annoying either. Jane Sibbett plays her part well as the woman who hangs with Roger for other obvious reasons. And there’s a butler Vincenzo (Philip Bosco) who also had some parts in other movies like Three Men and a Baby (1987) and Shaft (2000).

The chemistry between actors all seem to work out okay. There are some moments where things are taken too nonchalantly or various scenes seem over the top to be taken so seriously. But this does add to the humor. Filming the project was Kenneth Zunder. Having a mixed history of working on TV shows and movies, Zunder’s work is fine for this okay movie. The shots taken of the camp area and Callaway mansion are very spacious to look at. Zunder’s best credits belong to Chicago Hope and Lois & Clark: The New Adventures of Superman. Lastly the musical score wasn’t that memorable. Mainly because the score wasn’t that prevalent. Composed by Sherman Foote the music behind the scenes are just sprinkled throughout while most of what is heard is the soundtrack. Really not that interesting.

Aside from nonexistent music and a rather straight forward script that makes it quite transparent in story, it’s okay to watch. It’s a nice throwback to various actors people have come to enjoy and remember. The characters are written for each actor well, which gives good chemistry and the camerawork is serviceable.

Points Earned --> 6:10

Sailor Moon S: The Movie - Hearts in Ice (1994) Review:

Japanese anime during the 1990s had fairly solid properties going on even before Pokémon hit the scene. Sailor Moon had proven to be quite a hit starting in 1992. By this time, the series had already aired three seasons and one film. Despite the show feeling very much like a little girl’s cartoon, many were enjoying it. So unsurprisingly, the next entry in the show’s film log came around. The first film was a fairly decent beginning in its set of movies to come. This one however feels sort of familiar to that of the last which doesn’t make it that unique. The viewing experience is not a total wash, there were just aspects that could have used fine tuning or a simple change up in how execution was to be done.

The plot to this entry is about Usagi, Sailor Moon (Stephanie Sheh) and the rest of the sailor guardians crossing paths with a couple who are in a rocky place in their relationship. Kakeru (Chris Hackney) is an astrologist, hoping to discover the Moon Goddess. Feeling that his lifelong dream sounds like a fairy tale is his girlfriend Himeko (Eden Riegel). They both don’t see eye to eye but with the help from Luna (Michelle Ruff) and the sailor guardians, there’s a chance they will fall in love again. Meanwhile an evil ice witch on a comet is headed towards Earth and if nothing’s done, the planet will become a frozen wasteland. The screenplay was once again written by Sukehiro Tomita, who also wrote the previous film. Directing the feature was Hiroki Shibata, who began their career with an Akira Toriyama Dr. Slump movie.

For what’s in the film, as mentioned before the plot feels similar to that of Sailor Moon R: The Movie – The Promise of the Rose (1993). The difference is, instead of the antagonist having a connection with one of the protagonist like Tuxedo Mask (Robbie Daymond). This time the antagonist revolves around Kakeru and Himeko. It’s just not that different in how things play out other than which character is actually interacting more with the antagonist than the other. Additionally, Luna the cat develops an affinity for Kakeru after she has a brief encounter with him. The issue is that some of these motivations behind the characters feel like they’re stretched further in believability than they should be. Obviously the universe this show takes place in has a lot of magical items that are not actually real, but there are parts where the reality of certain situations is a little beyond the shows established rules of possibility.

Despite these flaws within the films experience, there are still several good parts. For one the voice acting is all commendable. The couple of Kakeru and Himeko sounds like a believable relationship despite one feeling strongly for science and the other for magic beings. Stephanie Sheh returning as Sailor Moon works her magic well. The same goes for Cristina Valenzuela as Sailor Mars, Kate Higgins as Sailor Mercury, Bennett Abara as Sailor Jupiter, Cherami Leigh as Sailor Venus, Sandy Fox as Chibiusa, Lauren Landa as Sailor Neptune, Erica Mendez as Sailor Uranus and Veronica Taylor as Sailor Pluto. All the actors (mainly actresses) give the performances they are best known for in the show and it all sounds acceptable. Michelle Ruff probably has to provide the most emotional performance of all of them, due to Luna’s involvement with the couple.

Visually speaking like other anime reviews, the cinematography is a credit that goes misunderstood. As to what kind of camerawork is needed for animation is yet to be confirmed. However, the animation though is as good as it would look like for 1994. The scenes have a lot more detail added to them than the typical episode which makes the scenes look that much better. Finally, the music to the film score by Takanori Arisawa provides another great listening experience. For the more tender moments, Arisawa sounds like the used xylophone but then breaks out into a full orchestra. It is very sweet to hear, and equally pleasing to the ears like the last film and the show with fluttering flutes. There is a Japanese album to listen to and it covers eighty to ninety percent of the film.

Sadly, this particular entry seems to recycle some ideas from the previous film into this one. The music, animation and voice acting are still all great to experience. It’s just that some aspects seem a little more out of whack than normal this time.

Points Earned --> 5:10

Dragon Ball: Mystical Adventure (1988)

For Akira Toriyama’s Dragon Ball series, the set of films to be released during its run hasn’t been the best. Curse of the Blood Rubies (1986) was more or less a summation of the first season despite it leaving out some key elements. Sleeping Princess in Devil’s Castle (1987) was more of a recap of the first few episodes of the second season. So to expect this film to follow any kind of order for the third round would be improper. This third film was released towards the end of the eighth season. With that said, the alignment of how this story sits is going to be all kinds of jumbled parts thrown together. Is it better than the others before it? That’s debatable as there are parts that still don’t make a lot of sense.

The story is like the other films where the characters known from the show are in an alternate timeline. This time Chiaotzu (Monika Antonelli), Tien’s (John Burgmeier) loyal companion now acts as an emperor. Tien, Mercenary Tao (Kent Williams) and Master Shen (Chuck Huber) serve under his wing. Their goal is to locate all dragon balls so they can find Chiaotzu’s long lost wife. Meanwhile, Bulma (Tiffany Vollmer), Yamcha (Chris Sabat), Krillin (Laurie Steele) and Goku (Ceyli Delgadillo) are working to collect the dragon balls too. Along their travels they encounter Upa (Kara Edwards) and his father Bora (Dameon Clarke). Together they help Goku and friends to help collect the mystical items to help make their wish come true. Directing this feature goes to Kazuhisa Takenouchi who has also worked on the show and the Sailor Moon series.

Writing the original script for Japan goes to Yoshifumi Yûki who also wrote for the previous two films as well as two Dr. Slump movies originally created by Akira Toriyama. Working on the English version of the script is Neil Bligh who also worked on Curse of the Blood Rubies (1986). From an English dub cast perspective, the people attached are the preferred among many. All actors listed are the ones who voiced their characters throughout the series, that is except for one. Again as to why Stephanie Nadolny was unavailable considering she voiced Goku in the show doesn’t make a whole lot of sense. Ceyli Delgadillo who also played Goku’s voice in the previous film Sleeping Princess in Devil’s Castle (1987) just doesn’t cut it. From a storytelling angle the amount of coverage this movie tries to cover is too way long a span.

There is no consistency as to how the stories are being readjusted. Curse of the Blood Rubies (1986) seemed like it had an idea by condensing a season into one movie. Sleeping Princess in Devil’s Castle (1987) didn’t even try for the whole season two. The story here is now trying to cover everything that happened from season three to season eight. That’s a lot to cram in and the bulk of it really covers parts of season four, five and seven. Making things even more random is that Arale from Dr. Slump appears in this movie as an easter egg so to speak. The inclusion of the character is played just as a comic relief foil to Mercenary Tao. Obviously it was put there for a reason but it wasn’t necessary.

Visually speaking, the animation looks as good as always. Although every decade has its moments of strangeness and wonkiness, anime in the 80s and 90s are quite appealing. Also as expected this movie has Motoaki Ikegami as the credited cinematographer. The question of why, remains to be answered. Motoaki Ikegami also did the same for work for the last two films. Lastly the music once again supplied by the talented Shunsuke Kikuchi knows no faults. The music seamlessly blends with the scenes show on screen and it’s all fun to watch and listen. This is also one the rare cases where themes from the show are recycled in for the feature bears no issue. It’s not always a good thing but Kikuchi’s music really doesn’t need a substitute for the work.

The look of the film, the sound and majority of the US voice acting are now where they should be. Yet the actor for Goku still couldn’t be nabbed. Additionally, the writing to this feature is just very bloated with multiple scenes and characters that are trying to recap highlights fans remember from the show.

Points Earned --> 6:10

Anastasia (1997) Review:

When it comes to animation, there are only a few names that people think of who have made an impact with their films. The first is usually Walt Disney for obvious reasons. The second is Richard Williams for having worked on films like Who Framed Roger Rabbit (1988), while directing Raggedy Ann & Andy: A Musical Adventure (1976) and The Thief and the Cobbler (1993). There is a third though and his name is Don Bluth. Originally working for Disney before leaving on his own accord, Bluth went on to create many films people remember from their childhood. He even worked on the animations for the Dragon’s Lair video game that has become known for its notorious difficulty. Before one of his last films, that is Titan A.E. (2000), Bluth directed a film before it that many people feel was his last best film and that was this.

Part of what makes this film remembered so well is that it revolves around an actual historical figure. The story plays to the fantasy of what would have happened if Anastasia (Meg Ryan) had survived the Bolshevik revolution of Russia in 1917 where Czar Nicholas Romanov II and his entire family that she belonged to had been executed. Unfortunately for her in the film, she escapes but at the expense of her memory not knowing her origin years later. The only thing she knows is that she suspects her family is in France after receiving a locket from her Grandmother, the Dowager Empress Marie (Angela Lansbury). To find her way there she finds Dimitri (John Cusack) and Vlad (Kelsey Grammer) who might be able to help. They also might have a connection as well to what Anastasia’s looking for.

The film was directed not only by Bluth but also Gary Goldman who has been with him since. For writing, the screenplay was shared among Susan Gauthier from the Carol Burnett Show, Bruce Graham from Roseanne, and Noni White and Bob Tzudiker from The Hunchback of Notre Dame (1996). Together these four pen a script that is sufficient in what’s put to screen and has moments of entertainment. From a character perspective, all of them feel authentic in their motives except for one. The one character who seems to be the weakest is the villain Rasputin (Christopher Lloyd). It’s not that the character isn’t entertaining, it’s just that Rasputin is kind of there from time to time. It’s like the story can’t find a balance between how much it should focus on Anastasia reaching France and Rasputin trying to eliminate her.

Aside from this though the acting is fine. It was actually quite hard to tell that Kelsey Grammer voiced Vlad. The rest are all pretty identifiable in their performances. Even Hank Azaria playing the anthropomorphic bat Bartok, a sympathetic foil to that of Rasputin was fun to listen to. The character is not even shown how they came to be. Meg Ryan as Anastasia is perfect as she personifies her voice to sound like a strong heroine lead. There is a continuity error with her character and that’s where she miraculously recalls something she didn’t seem to know before. As to how this happens, goes unexplained. There are no other blatant issues that audiences would see here. It is intriguing that again the script was penned by two TV writers. For animation, the look of the film is quite appealing. All the movements of the characters are expressive and are very smooth.

Of course that is why Don Bluth films are regarded in the way that they are. It’s also rather surprising just how visually graphic the character of Rasputin is. He literally falls apart and veins and bodily innards are shown. For a rated G film, that’s unheard of. Lastly the music was decent enough. Composed by David Newman who also worked on The Phantom (1996) and The Nutty Professor (1996) is sadly not heard too much in the album provided. The movie contains more songs sung by the characters which is fine as some may find these songs memorable from their childhood. However, the score itself is rather unattainable for an expanded version. Still, the music in the film is well done and has the right tracks for the appropriate scenes.

Aside from having some focus imbalance on the heroine and the villain and a glaring continuity error, the film entertains like it should. The acting is professional, the animation delivers and the music will find its set of fans to listen to.

Points Earned --> 6:10

Dragon Ball: Sleeping Princess in Devil's Castle (1987) Review:

With the success of Akira Toriyama’s Dragon Ball property hitting big at home, after three seasons Toei Animation felt the series was prime for some movie making as well. For some reason, the first film Dragon Ball Curse of the Blood Rubies (1986) didn’t come out until then, instead within the year. Not to mention that rule stuck for this second film to come out. It’s hard to say why that’s the case instead of annually for every season in other animes that came out after it. That’s not the only thing though, this second production also has the same concept as the last film. Instead of creating a film that fits in the timeline of the series, it sticks to recapping events from prior seasons but in a different way. It’s really unclear as to why this is a thing for this franchise.

The narrative to this retelling of events follows Goku (Ceyli Delgadillo) and Krillin (Laurie Steele) finding Master Roshi (Mike McFarland) in hopes of being trained by him. Rather than doing that right away, he tells them the story of a princess in the devil’s castle and asks them to bring the princess back to him. Only then would he train them. Along the way Yamcha (Chris Sabat), Bulma (Leslie Alexander), Puar (Monika Antonelli) and Oolong (Bradford Jackson) follow the two to what’s called the Devil’s hand. This particular entry was written by Keiji Terui who worked on the show prior going back to season one. Directing was the same person as before which was Daisuke Nishio. As an entry to the start of Dragon Ball movies, this second entry is not staying consistent in the groundwork that the first film laid.

Unlike the first movie which covered almost all of the first Dragon Ball season, this story is very much a summation of the first three episodes of the second season. It’s a disappointing as at least the first film felt like it was trying to cover its bases, but this is one just doesn’t cut it. There’s also some continuity issues with this feature if one is sticking to the Dragon Ball film timelines instead of the show. This is the first film where Goku turns into his ape form, yet one of the characters says “not again”. Since these films are supposed to be an alternative timeline to the show, this line makes no sense. At least if the production company is going to go in a certain direction with their films, at least be on target with what’s happened so far.

Now to be fair, perhaps this was only an issue in the English dub but that still should have been checked with being set for the west. The acting is also very subpar surprisingly for the voice actors on board. Leslie Alexander as the new Bulma is still no close match to Tiffany Vollmer. The same also goes for Ceyli Delgadillo as Goku, who is by no means close to Stephanie Nadolny’s version. Even stranger is that Chris Sabat as Yamcha doesn’t sound like he’s sure of what his character should sound like either. And it’s not like he didn’t know as he was voicing Yamcha in the show before this film was even released. Bradford Jackson and Laurie Steele seem to do okay though. It’s interesting too because Leslie Alexander was in Red Dead Redemption II.

Visually the animation is still appealing to look at. The animation director for this feature was Minoru Maeda who also worked on the film before it. The colors all look sharp and solid, while the character designs are correct with their depictions in the show. Cinematography is a question here with credit being given to Motoaki Ikegami as like the last film. The music though is as solid as it could be with Shunsuke Kikuchi’s themes sprinkled throughout the film. There are a few themes the recur that seem out of place but this might be due to the dub mixing used in the west, which still should have came out better. Can’t knock the film score because that’s one of the few things that remains on point. Without Kikuchi’s score, it may not even be as recognizable.

This entry is not as well put together as the first film for some reason. Music and animation are consistent in their quality but everything seems to be off base for no reason. The story doesn’t recall what’s supposed to have happened from the last film with continuity errors and the acting sounds like a demo reel for some performers.

Points Earned --> 4:10

Sailor Moon R: The Movie: The Promise of the Rose (1993) Review:

Throughout the history of TV, production companies have always tried to appeal to both males and females. This not only goes for animated and live-action, but also anime. What’s surprising is that fans of anime are much more accepting of the different kinds of properties Japan has come out with. Sailor Moon which is mainly focused on younger aged girls has won over young boys as well. Sailor Moon as a series was interesting as it involved mainly girls taking on evil demons along with the help from one slightly older guy wooing them over. As it turned out though, these people taking on these super power personas were reincarnations of beings from another world. It wasn’t childish nor was it deep in maturity. But like most popular anime, the show was able to make a movie.

Coming out after the second season but chronologically sitting somewhere near the end of that specific season is about the Sailor Guardians led by Usagi (Stephanie Sheh) finding out that Mamoru (Robbie Daymond) had an old friend as kid named Fiore (Steven Bednarski). Fiore, an alien came to earth alone only to leave shortly after. The reason for Fiore’s return was to come for Mamoru take him with him. Initially perceiving Fiore’s connection with Mamoru as a past relationship (which feels out of place now, considering the movie came out in the early 90s), turns out to be a threat as Fiore learns of Mamoru and Usagi’s love for one another. Written by Sukehiro Tomita and directed by Kunihiko Ikuhara who also worked on the show had control over this production.

From a continuity perspective it doesn’t make sense why a movie would be made after the second season but take place sometime in the second season. The reason this can be determined is due to the character of Chibiusa (Sandy Fox). This character was introduced in the second season and then left at the end of the second season. It’s also a little confusing as in the second season there was a similar looking alien by the name of Ail. It’s almost like the character was slightly modified and changed names for the film. The story itself though is fine as it demonstrates how caring of person Sailor Moon is and the connection she has with Tuxedo Mask and how that carries over to Fiore. The theme throughout the Sailor Moon show has been about love and that remains consistent here as well.

Again though, anyone watching this movie not having watched the show will be likely lost in what’s happening. Voice acting is competent and consistent as well with what’s put on screen. Stephanie Sheh as Sailor Moon is excellent in her role. The same could be said for Robbie Damond as Tuxedo Mask, Bennett Abara as Sailor Jupiter, Kate Higgins as Sailor Mercury, Cherami Leigh as Sailor Venus and Cristina Valenzuela as Sailor Mars. All of which have participated in numerous anime projects for decades before and after. Visually speaking the animation has the classic 90s anime look that can only be defined by that decade. The animation director was Kazuko Tadano who also worked on the Sailor Moon series. Much of it is much more polished up looks vibrant in color.

Again though like other anime productions, a cinematographer was involved. For this, a credit is given to Motoi Takahashi who worked mainly as a camera operator but has worked on other anime productions. Again as to what 2D requires from a cinematographer isn’t that clear. As for music though, the score was composed by Takanori Arisawa. Although the music as popular as other scores it is still very memorable and somewhat relaxing for a strange reason. The music consists of main orchestra, softer themes for the tender moments and even what feels like jazz interludes that keep the listening experience interesting. Most would probably not expect to hear harmonica in an anime movie. There’s plent of music to listen to. Arisawa was also the composer to the Digimon franchise.

For the first Sailor Moon film debuting after two seasons, the narrative very much sticks to what makes the tv show so interesting to watch. The overall message, music and acting are all on point. Animation was kicked up a notch to look better since it’s a movie. Just the continuity of where it sits in the timeline is a little out of place.

Points Earned --> 7:10

Dragon Ball: Curse of the Blood Rubies (1986) Review:

If there’s an anime that were to come to anyone’s mind right off the bat without a thought, it would be Akira Toriyama’s Dragon Ball franchise. There’s no shade being thrown at animes before it that paved the way for one’s like this to exist like Gigantor (Tetsujin 28) or Astro Boy. They deserve their own acknowledgement. However, there’s something about Toriyama’s endearing story that has completely captivated its fans while creating new ones to this day. There’s just something about the characters, the martial arts, the comedy and heart behind everything. With that said, it is no surprise that Japan would begin making films during the TV show run as well. After three seasons, Toei Animation released their first Dragon Ball film. Since the origins were from Japan, US audiences would get their own version but not a more proper one until much later, which is what’s being reviewed here.
 
The story is very much a similar summation of some of the past seasons in the show. Introducing audiences to Goku (Colleen Clinkenbeard) and his innocent life being transformed into a chase for magical spheres that could grant any one wish. All this is kicked off when he meets Bulma (Monica Rial). One the way, they meet Yamcha (Chris Sabat), his pal Puar (Brina Palencia), Oolong (Bryan Massey) and the one and only Master Roshi (Mike McFarland). Together this crew of characters end up coming across a heavily frustrated community where a little girl named Pansy (Cherami Leigh) asks for help as the ruler, King Gurumes (Jeremy Inman) wants nothing but blood rubies. Written by Toshiki Inoue who worked with Akira Toriyama before and directed by Daisuke Nishio in his first credit put together a feature film that’s alright for shear initial curiosity.
 
Readapted by Sean Teague who mainly does voice acting, made the English dub as good as it can get. Unlike other animes later like Pokémon or Sailor Moon which attempted to connect the movies to each season to make a flowing story, it seems like making truncated versions was the method here. This doesn’t make a whole lot of sense as it just tells the story already seen through the show with different alterations. For one, when the third season ended Goku had only defeated muscle tower of the Red Ribbon Army. If the movie was supposed to recap parts of this, it did not. Just to the end of season one for the most part. To some, perhaps that’s okay. Some scenes from the show are redone with minor changes as not every single character that appeared in the show appeared here like Chi-Chi (Goku’s future wife).
 
The voice acting to this feature is a mixed bag even for the latest English redub. The plus side is some of the well-known North American cast have redone their lines. Actors like Chris Sabat and Mike McFarland make the film feel that much closer to the show. However, for whatever reason Stephanie Nadolny was not available to do kid Goku and Clinkenbeard filled in who is not exactly the best. Yet she’s voiced kid Goku and Gohan versions in dragon ball before. Other actors like Monica Rial is sort of close to Tiffany Vollmer but doesn’t quite get there. Similarly, Bryan Massey sounds sort of like Brad Jackson’s way of speaking but not completely. It’s disappointing that the complete cast from the show could not completely return, as consistency is what keeps fans coming back.
 
The visuals to the film are what one would expect from the show level of quality. It is a feature film but like many others, an extended episode or special of sorts. Minoru Maeda as animation director keep things looking decent except for one obvious scene in the beginning where a scene change happened right over an existing shot which was surprising. Cinematography was also in play from Motoaki Ikegami which for animation films doesn’t make a whole lot of sense since there was no digital 3D modeling of any sorts yet. Lastly, the other good aspect to the film was the score provided by Shunsuke Kikuchi. There is absolutely nothing that beats classic dragon ball film score and Kikuchi’s themes nail it.
 
As a first feature, it recaps some of the events of the show but mainly up to the first season even though by the time it was released, the show finished its third. Animation and music are spot on. And some of the voice acting is appreciated because it is the most widely known voices, while the others are less desirable but not bad.

Points Earned --> 5:10

Yu-Gi-Oh: The Movie (1999) Review:

While some may consider Yu-Gi-Oh!: The Movie – Pyramid of Light (2004) to be the very first film of the anime. Technically there was one before it, however there’s a reason some may not consider it. That’s because it was only watched in Japan with no North American release. It’s unfortunate when this happens because there then becomes a rift between fans of the franchise based on geography. Maybe not a large one but it’s always disappointing when a certain region receives something and the other doesn’t get anything. It’s basically like being left out of a party and only finding out much later about it. There’s also the other side of the coin, where maybe it was okay to be missed. For this particular case, it seems that it hits middle of the road here.

The story to this thirty minute feature follows the same familiar characters fans know from the manga and after season zero. Seto Kaiba (Hikaru Midorikawa) is at it again, looking to obtain every single rare and most powerful card known in the game. Among Yugi Moto (Megumi Ogata), Joey Wheeler (Toshiyuki Morikawa), Tea Gardner (Yumi Kakazu) and Tristan Taylor (Ryôtarô Okiayu), another character takes the spotlight. Shogo (Eiko Yamada) is a shy boy looking to get in on the game too, when he happens to buy small card pack and it turns out being the Red Eyes Black Dragon. Unfortunately, Shogo is too timid and just holds onto the card. It is up to Yugi and his millennium puzzle to help him get past this. The script was written by Yasuko Kobayashi who also help pen for season zero.

Directing was Junji Shimizu who a year later would direct One Piece: The Movie (2000). For what is on screen, it serves sort of like a lost episode that belongs in its own timeline. For one, Miho Nosaka, the extra character that appears in season zero with Yugi and friends is featured but also is not included in the later seasons. In another way, this feature is very similar as to how season one begins where Shogo is Yugi and obtains a special rare card that Kaiba wants. Shogo as the character needing moral support is irrelevant too as he too doesn’t appear in season zero or the later ones. If anything, the movie qualifies more as a long nostalgic spectacle advertising for the now popular game. And there’s nothing wrong with that because of its short run time.

The story itself is very short and not that in depth. This movie may also turn off English viewers as they may not want to watch subtitles and listen to the Japanese dub. Although, the likelihood of that is low as most who enjoy anime, enjoy various dubs. The Japanese voice actors do a fine job though as expected since this is the origin of the anime, manga, game and all around concept. All voice actors partaking in this project were all a part of the original season zero so there’s no questioning their capabilities there either. Not to mention all of them have taken on hundreds of other roles in popular animes people are fans of. It would be cool if there was a redub of this in English but that wouldn’t happen.

The other aspect this feature has in its favor is the charm of its animation. The look of anime during the 1990s was all its own. Seeing the iconic monster cards and hologram counterparts in a form other than what people remember from the North American release is refreshing. That also includes the main characters as well. Hiroya Iijima as the assistant animation director did a nice job giving it that look. There was apparently cinematography as well from Jun'ichi Takeda but the reason for it is unclear. Lastly the film score was composed by an artist who goes by B.m.F. For whatever reason, there was no release of the music nor can it be found anywhere online. The music itself seems fine, but again nothing can be heard isolated from the film itself.

Music and animation are its best parts. The same could be said for the Japanese cast if one can get past that part. As for story, it is very quick and similar to how season one begins. Also the character of focus never existed before or after this so it’s a bit weird the story would focus on them.

Points Earned  --> 5:10

Maleficent (2014) Review:

There’s a saying that a protagonist is only as good as their antagonist. This in some cases remains true, while other times it depends. The original Disney Sleeping Beauty (1959) was a beautifully animated film but was very much seen as recycled material from Snow White and the Seven Dwarfs (1937) involving a young heroin put into a deep sleep by a jealous witch. To be awakened, only love’s true kiss could unlock the spell. Since then, many fans were impressed with how intriguing the villain of Maleficent was. The design of the character and the color palette used. Naturally, with Disney deciding to relaunch their classic properties in live-action form, they chose to flip the expectations for many by focusing on Maleficent this time instead of Aurora (the sleeping beauty). Did it turn out okay? Sort of.

The story is a soft reboot prequel of the franchise. It tells the story about who Maleficent was before she became the character everyone remembers her for from Sleeping Beauty (1959) and then some. Originally, Maleficent (Angelina Jolie) was a kind hearted fairy who enjoyed a magical realm known as the moors. The moors contained other magic creatures that lived in harmony. Unfortunately, they coexisted with humans where King Henry (Kenneth Cranham) wanted to conquer that area, which lead to some bad blood. But time waits for no one as the King was beginning to die. Along comes Stefan (Sharlto Copley), an ambitious man who befriends Maleficent and ends up getting lost in his overall goals and leaves Maleficent in the process. Linda Woolverton, a veteran from Disney’s renaissance era including Beauty and the Beast (1991) and The Lion King (1994) wrote the script for this film.

What does work in favor of this feature is giving Maleficent her background for context purposes. Conceptually speaking this would be fine if this story led up to the events of Sleeping Beauty (1959), but it does not and goes beyond that changing other things along the way. It’s different yes but what ends up happening is something to be expected in today’s day and age of this kind of relaunch and it’s predictable. It’s a bit disappointing too considering who wrote the script and the history of films they’ve worked on. Acting wise is commendable though. As expected Angelina Jolie as Maleficent certainly fits the role and acts close to the animated version too. Elle Fanning who plays Aurora does a good job too. Sharlto Copley is another good actor who has seen his fair share of films like District 9 (2009) and The A-Team (2010).

There’s also Lesley Manville, Imelda Staunton and Juno Temple who play the three fairy god mothers to Aurora. Sam Riley plays Maleficent’s bird companion which is a more interesting character than from the original. Lastly Brenton Thwaites plays Prince Phillip who has been in other movies like Oculus (2013) and later Pirates of the Caribbean: Dead Men Tell No Tales (2017). From a visual perspective, the film is a mixed bag. The physical set designs look good when shown on screen. The interior of the castle and Stefan’s storage room look very interesting in their setups. The physical props and makeup effects used by the various actors are also good looking such as Maleficent’s horns and the king’s royal garb. But that’s about it when it comes to the good aspects. The CGI used throughout the film though is mostly bland and contains little charm to it.

The wooden guardians and troll like creatures living in the moors are just ugly fake spectacles. The battles between these beings and humans is also fairly uninspired in several ways. Hence why it’s disappointing to say the cinematographer behind this production was Dean Semler. This is the same guy behind The Three Musketeers (1993), Eye See You (2002), We Were Soldiers (2002) and Bruce Almighty (2003). Somehow, Semler couldn’t blend the physical and digital together for a nice look. Director Robert Stromberg should know better too as he started his career in matte paintings! Lastly the music was a decent effort provided by James Newton Howard. Being that Howard has worked on Disney projects before like Atlantis: The Lost Empire (2001), Treasure Planet (2002) and even The Dark Knight (2008), it is no surprise he composed a fairly hefty score to this feature too.

Those looking for only a prequel film to Sleeping Beauty (1959) may not be pleased to see that the story does not end there, but moves forward in its own direction. Visuals are middling at best and overall direction is a bit obvious even though it does provide an interesting background for Maleficent. The acting and music are fine though.

Points Earned -->6:10

Hustle (2022) Review:

Everyone loves a good underdog story. It’s been done many times over and it doesn’t always have to revolve around a singular character. Other times it circles around a team or entity, but mostly it is focused on a unique individual. A good example of this in the mainstream conscience is Sylvester Stallone’s Rocky (1976). Underestimated characters span across multiple actor credits and Adam Sandler is no stranger to such a concept either. Most people think of Sandler and his self-owned Happy Madison Productions always makes low brow humor movies. And yet, Sandler proves time and again he can make a compelling film with more than just that. He’s done in it in The Wedding Singer (1998), The Waterboy (1998), Hotel Transylvania (2012), and even Uncut Gems (2019). This movie however is about that but is not about him completely.

The narrative follows Stanley Sugarman (Adam Sandler) the spot guy for the 76ers basketball team. Wanting to move up and become a coach, he is tasked with finding one last promising talent. Unfortunately doing this job for several years has put strain on his wife Teresa (Queen Latifah) and daughter Alex (Jordan Hull). That is until he finds Bo Cruz (Juancho Hernangómez) a diamond the rough coming from the ghettos of Spain. The issue is, Sugarman is under strict competition with his boss Vince Merrick (Ben Foster) with trying to get a new player. The screenplay was written by Taylor Materne in their first film credit, and Will Fetters of The Lucky One (2012) and A Star is Born (2018). Jeremiah Zagar as the director is also fairly new to the scene as well since majority of his credits are shorts or independent films.

The only thing that is a weak point to this feature is that the story is a familiar one to those have seen underdog films before. The main character is down on his luck and finds a path to redemption. And on that said path said character has to overcome various obstacles that may not be triumphed over the first time. There are set backs and moments of hopelessness, and then the final stretch where everything comes together. If a viewer is familiar enough to remember one, then this is not that different to another.  That doesn’t the mean the story is formulaic though. For one, the story revolves around Sandler’s role but the focus is put on Hernangómez’s character. It was like if in Rocky (1976), instead of focusing on Stallone’s role, it was aimed towards how Burgess Meredith’s character found Rocky.

The acting in every aspect is well done. Again for those who think Sandler only makes amateur comedy films, really should look at this or the others named earlier. Sandler still adds some bits of his usual humor to lighten up various scenes, but nothing gross or childish. The same could be said for Queen Latifah adding her own flair to the parts that she’s in. Even for Juancho Hernangómez who only has this film to his name was very believable. His relationship to his mother and daughter played a big part to his character and the emotion can be seen through the performance. This also adds good drama to the story because there were multiple risks involved that both Sugarman and Cruz take. That’s partly why the story feels deeper than that because there are pitfalls each character can get in to.

 As mentioned before though, there are moments where humor is injected to make sure the story isn’t always serious. There’s also a slew of basketball stars that appear throughout like Kenny Smith, Shaquille O'Neal and Charles Barkley. The camerawork was also very unique here, shot by Zak Mulligan. The shots shown are not wide angle but are close ups to show the skill involved with playing the sport of basketball like dribbling and passing. Mulligan doesn’t even have a lot of films people would recognize to his name. Finally, the music composed by Dan Deacon is a decent effort although there’s no available music that can be found. The score does have its moments of heart considering what is being put on screen. Deacon also doesn’t have too many mainstream film credits, but one of his most recent projects was Venom: The Last Dance (2024).

This is one of those Sandler films where the comedian shows that he is not just a goofy actor but also can play serious roles. The acting, music, cinematography and drama all work effectively. The only thing sort of on the downside is that it’s an underdog sports movie which there are many of.

Points Earned --> 8:10

Munster, Go Home! (1966) Review:

Blooming franchises are always an exciting thing to see come to fruition. For the 1960s, there were two spooky family sitcoms that had viewer’s attention. One was The Addams Family and the other being The Munsters. Both were very successful despite the fact that each ran for only two seasons. Sometimes when a TV show does good enough, more interest is generated into expanding the property onto the big screen. Unlike The Addams Family which technically didn’t get one until 1991, but with a small TV movie in 1977, The Munsters got their first movie with this feature two years after the show ended. Quite interesting that this is how it played out considering both shows were evenly popular among American audiences. There’s definitely pitfalls this feature could have avoided but much of it is a good time for anyone who enjoys the show.

Joe Connelly, Bob Mosher and George Tibbles are the writers to this film who also had hands in several episodes to the show. The narrative is about Herman Munster (Fred Gwynne) receiving a notice that he is to inherit a place called Munster Hall located in England, which he and the family head out to visit. However, what they don’t know is that something shady is going on at Munster Hall along with relatives Freddie (Terry-Thomas), Grace (Jeanne Arnold), Lady Effigie (Hermione Gingold) and their butler Cruikshank (John Carradine). With that, it’s up to Herman, Grandpa (Al Lewis) and Lily (Yvonne De Carlo) to figure out what’s going on. Meanwhile, Eddie (Butch Patrick) gets to see Marilyn (Debbie Watson) try to bring home another guy who won’t run out on her after meeting her family – this time being Roger Moresby (Robert Pine).

There’s actually some similarities between this movie and Halloween with the New Addams Family (1977). For one, writer George Tibbles would help write that script too. The second thing is the movie to its credit and fault is that it feels very much like an extended episode or TV movie…not so much a theatrical film. So much of it was kept the same that the translation from a TV series to the big screen doesn’t quite fit. The points that make this plainly obvious is the pacing and comedic timing. Directed by Earl Bellamy whose credits almost completely encompass directing TV series, kept that feeling. For those feeling like this will be a feature that cranks up the franchise to a new height will be disappointed. The film doesn’t really build much momentum. And part of that also is compounded by the comedy elements.

Now this is not to say it doesn’t work but there’s one key element missing from this – the audience laugh track. Now of course, as a feature film – comedies don’t include this. However, this was something that helped make the series work and without it, the jokes sound off without it. Again that’s not to say the punch lines don’t work but it’s not as impactful. This also doesn’t take away the acting of any sort from the slew of veterans attached to this project. Gwynne, De Carlo, Lewis, Patrick, and Watson all play their characters fine. It’s interesting to see even Chris Pine’s father play a role in a Munster film. The English cast members also perform well too from Thomas, Gingold, Carradine and even Bernard Fox playing Roger’s father.

One other similarity that this movie shares with the Addams Family film of 1977 was that it was finally shown in color. Filming these scenes in bright new color was Benjamin H. Kline, the same cinematographer for the TV series. Sufficive to say, Kline was perfect as he kept the look of the show intact for this feature. Credit goes to the production crew for all the interior shots of Munster Hall and all the sets created, as so much of it is impressive to look at. Lastly the film score was composed by the same man from the series, that being Jack Marshall. Again, it only makes sense that since Marshall scored the show that he would for this movie. Surprisingly, an album to this was released with an hour of material. While the main theme isn’t heard like usual, it is referenced and all other tracks have their own unique sound and flare that only Marshall could create.

A lot of the time, it is essential to keep original elements unchanged for a big screen adaptation. Unfortunately, the pacing to the original Munsters show is a little heavy footed for a ninety-minute feature. This also doesn’t work as well with the comedy as the laugh track is absent. However, the acting is still good, practical effects look great and the music is wonderful being that is also can be heard on its own.

Points Earned --> 7:10

Just Go With It (2011) Review:

Sometimes it can be hard for people to be easy going. Some people require lots of preparation to do a task such as time, physical readiness and mental justification. Others can just jump right in with no questions asked in order to do what someone needs. There’s usually no in between when it comes to this. Of course there are other factors like how devoted one is to the person making the request. If it’s some random person or if the ask seems highly unrealistic to accomplish, hesitation can set in for anyone. Faking one’s own story though is not that farfetched as it may seem. Many people have taken different identities and went completely under the radar. This is kind of what this Adam Sandler film is about except for sillier reasons.

Directed by Dennis Dugan, known for working with Adam Sandler in his other films. The story is a modernized remake of I.A.L. Diamond’s Cactus Flower (1969). The story follows Danny (Sandler), a successful plastic surgeon who was left at the alter at a young age when he was supposed to be married. In turn, he used his ring (the only memorabilia left) to get into the pants every chick he came across. That is until he happens to cross paths with Palmer (Brooklyn Decker) who he feels he has a connection with. However instead of using his ring to at the beginning, Palmer discovers it only after. This then has Danny make up a story that he’s divorcing his current wife so Palmer doesn’t leave him. With that he asks his assistant Katherine (Jennifer Aniston) to play that role.

The screenplay was adapted by Timothy Dowling and Allan Loeb, both of which surprisingly did not have a hand in any Adam Sandler films before it. Without prior viewing of the original film that this is a remake of and is likely better, as most are, the overall experience is a fair one. Going back to what was mentioned earlier, changing identities is very much a possibility but only some of it gets by super easy. Asking someone you work with to pose as someone else doesn’t seem that hard to do. However, when Katherine has to include her son Michael (Griffin Gluck) and daughter Maggie (Bailee Madison), that’s just pushing the believability. But that’s not even the end of it. On top of that, Danny’s cousin Eddie (Nick Swardson) shows up as well just because he wanted to see the girl of Danny’s dreams in real time.

This kind of stretching the truth is where it just gets ridiculous. How are people this gullible and believe such nonsense so easily? To the film’s credit, not all the comedy is average. The moments where it’s not good is Adam Sandler’s low brow kind of humor for various scenes but they aren’t over the top in this one either. The comedic elements that do work in this movie’s favor are the more wholesome related bits. Deep down, like the main character there is a wholesome core to the film and that’s the comedic element that is well received. Usually that kind of moment is when it comes to Danny working with Michael and Maggie. There’s also other actor appearances such as Nicole Kidman playing one Katherine’s high school rivals. There’s also Dave Matthews playing the husband to Kidman’s role and Kevin Nealon.

The acting in general is fine for the production. No actor sounds like they don’t know how to stay in character. The director of photography for this picture was Theo van de Sande. This is the same person who filmed for the forgettable Volcano (1997) but also the one and only Blade (1998). For what’s shown on the screen, the backgrounds look fine. Being that majority of this movie’s setting takes place in Hawaii, the shots are very scenic and capture lush shorelines. The music was a bit of disappointment though as it was composed by Rupert Gregson-Williams. Williams who also frequently works with Sandler would think an album could be produced but no such thing. Yet he went on to bring Wonder Woman (2017) a tune everyone would remember.

Comedy as usual for a Sandler film is hit and miss as does the music remain largely generic. The story while a bit unrealistic at points is not completely ludicrous either. There are moments of heart, the camerawork is good and the actors all perform fine.

Points Earned --> 6:10

Pet Sematary (1989) Review:

Cats, dogs, gerbils, hamsters, fish etcetera…pets are a normal thing for most families. Rarely is there a family without some kind of animal inhabiting the household. For those who are good families, the memories of a pet will last for years and be a reason for keeping pets around once they pass on. Unfortunately, as with the highs come the lows – the passing of family members including pets are hard to deal with sometimes. It also can be a child’s first exposure to what the concept of death is in general. As like other topics such as Santa Clause, the Tooth Fairy or the Easter Bunny, having children come to this realization can be hard to comprehend. Losing a pet is hard but the thought of bringing them back is not an option. At least, in the real world. This movie though gives a reason as to why it shouldn’t be a thing.
 
Based on the novel and adapted for film by Stephen King, this movie is about the Creed family that recently moves into their new home only to realize there’s a mysterious grave site not far off from their property. At first Rachel (Denise Crosby), her children Ellie (Blaze Berdahl) and Gage (Miko Hughes) are a bit hesitant to understand the significance of it. However, Jud Crandall (Fred Gwynne) who is their neighbor across the road convinces Louis (Dale Midkiff) and his family to visit the area. Turns out the place is a graveyard called the “Pet Sematary” spelt incorrectly for a reason never explained. The reason for all the pet tombstones is due to the carelessness of all the truck drivers speeding through the road right off the Creed’s driveway. What’s more important is the area beyond the graves that is not the place for those looking for something that’ll benefit them.
 
Further out is an ancient burial ground that has “soured” for anything laid to rest there will come back reanimated, but not the same way. The film was directed by Mary Lambert who in her previous credits directed music videos to Madonna. For writing since King as the author had full access to his self-adapted screenplay, the narrative is curiously odd to watch. Everything is interesting except how some characters behave which drives the whole story. Some characters make really idiotic decisions that don’t make any sense. All it does is lead down the path of a significantly worse outcome than before. And yet the reason behind making these decisions goes unexplained. What purpose did it serve? It’s even worse when the characters don’t act evil or have bad intentions. They just seem brainless and in the long run, it can make characters less likable.

Besides this though, because it is a Stephen King novel based movie it still is a creepy watch. Seeing that King is known for mainly his good horror stories, this is one of them. All the actors effectively perform their roles in this movie. Dale Midkiff although not the most recognizable lead, does a good job as the dad. The most seasoned of thespians in this film goes to Fred Gwynne as Jud. Better known for his comedic chops in shows like Car 54 and The Munsters, seeing Gwynne in a role that is more serious and horrific is different as well. Gywnne is believable as the old neighbor next door. Brad Greenquist plays a dead person who warns characters of impending doom. This movie serves as Miko Hughes’ debut in film. He would later go on to starring in Wes Craven’s New Nightmare (1994) and even Spawn (1997). Even the cat who plays Church is a good animal actor too.
 
From a visual standpoint, the movie is well shot. Handling the cinematography was Peter Stein, a familiar to the horror genre. Early on in his career he worked as a camera second unit for the original Friday the 13^th (1980) and then as director of photography for the sequel Friday the 13^th Part 2 (1981) and Graveyard Shift (1990). The special and practical effects all look good too despite it being 1989. There are several early digital enhancements and makeup effects that still feel real watching now. Lastly the film score was composed by Elliot Goldenthal which at the time would be his first work in the horror genre. Thankfully his work has seen an extended release which allows the viewer to appreciate the vocals, strings and piano being used. The main theme itself sounds sad but creepy at the same time.
 
This is a good movie to watch as it is unsettling. The music and atmosphere bring that out and the acting is all done professionally. It’s the choices certain characters make that’ll make the audience question the common sense behind them. Because it really just is dumb.

Points Earned --> 7:10

Ella Enchanted (2004) Review:

Anne Hathaway is an actress many people will remember her face just for her initial break out in film alone. She wasn’t even twenty when she starred in The Princess Diaries (2001) and that is what many will think of first the name is mentioned. Prior to the sequel The Princess Diaries 2: Royal Engagement (2004), she would only take a couple more roles like The Cat Returns (2002) and Nicholas Nickleby (2002), both of which were thought to be well made films. However the same year of the sequel, she played in this movie which is in a way, is Hathaway trying to break off from being type casted without completely flipping off the audience that loved her in that kind of movie. It’s interesting that she played in two princess-like movies the same year – just one is more of a play on the concept than the other.

The story is about a girl named Ella (Anne Hathaway) who has a cursed placed on her by a fairy godmother Lucinda (Vivica A. Fox), where she must be obedient when it comes to anyone telling her what to do. Her mother (Donna Dent) and house fairy Mandy (Minnie Driver) object to this but Lucinda goes through with it anyway. Years later after her mother passes away, her father (Patrick Bergin) marries Dame Olga (Joanna Lumley) with her own two daughters Olive (Jennifer Higham) and Hattie (Lucy Punch). Meanwhile, Prince Char (Hugh Dancy) will be coronated with the help from his uncle Edgar (Cary Elwes). Directed by Tommy O'Haver the path this narrative takes items from various prince/princess genre films and puts them together. That’s not the surprising bit though – this film had five writers.

Michele J. Wolff, Jennifer Heath, and Jennifer Heath have all worked on productions before but none that are fully well known. While the others Karen McCullah and Kirsten Smith are the two responsible for 10 Things I Hate About You (1999) and Legally Blonde (2001). The premise behind this movie and the other execution is just weird most of the time. For a character to have to do every single little thing someone says it just annoying. Rightfully so, that’s the point but it doesn’t really make for good comedy. It’s just predictable and gets tiring. Besides, what fairy godmother in their right mind would give this curse as a “gift” as they so call it? It makes no sense. Adding to that are the clichés used for other characters like Prince Char’s uncle. The pet uncle Edgar carries around is a snake named Heston (Steve Coogan), it can’t be any more obvious – other than the mustache Cary Elwes wears.

The setting is also hard to figure out. It’s narrated as a fairy tale from Eric Idle and looks like it takes place in medival times which includes Ogres like Nish (Jim Carter) and Elves like Slannen (Aidan McArdle). Yet at the same time contemporary music numbers are sung which characters are familiar with. So what era does this story actually take place again? Even Slannen wants to become a lawyer. Did those jobs even exist back in ye olden times? There are some moments that are funny but there aren’t enough to sustain a lot of charm. All the actors perform well in their roles but because of how repetitive the main gag is it gets old quickly. The actor who looked like he had the most fun was Cary Elwes for just being the plain as day character that he plays.

The visuals used in this movie were a mixed bag too. John de Borman as the director of photography did a nice job capturing the European landscapes. Audiences familiar with these types of backdrops should be able to pick them out easily. Unfortunately, these backgrounds are ruined by some really bad early CGI effects. It’s sad too because Borman also worked on Death Machine (1994) a decade before was able to conceal much cheaper effects and make it look good. Music was sadly not much better either as there wasn’t much really to recall about it. Composed by Nick Glennie-Smith, the film score suits the scenes filmed but none of the actual themes shine through. It’s also a shame because Glennie-Smith scored the music to We Were Soldiers (2002) which was a decent album and Highlander: Endgame (2000).

Overall the movie is kind of strange. The premise gets redundant quickly with a setting that can’t figure out what era it wants to stick with. The music is also forgettable. Acting works and can be funny sometimes but the overall idea is short lived. The camerawork looks good until special effects are seen too.

Points Earned --> 6:10

Friday the 13th Part VIII: Jason Takes Manhattan (1989) Review:

In some cases, it has held true that some franchises just don’t die despite how negative reviews are. The Friday the 13^th franchise is one that has stood the test of time very much for the entire decade of the 1980s with consistent entries on practically an annual basis. As a hexology of films now entering the middle of its third trilogy, it is safe to say nothing was left to do in Camp Crystal Lake. Jason Vorhees stormed, slashed and maimed his way through his home camp grounds for years. So with that said, it seems if the story can’t be new and different, maybe Vorhees should at least be in a different setting. Which is just a guess as to why this entry exists in the most basic sense. Even then, it’s not even completely accurate.

Written and directed by Rob Hedden in his first theatrical debut, the story follows a new group of teenagers setting out on a trip to New York City from Camp Crystal Lake for their graduation. It just so happens that some high voltage electrical line defibrillates Jason Vorhees (Kane Hodder) back to life and the rest doesn’t even need to be said. First and biggest issue with this entry, the story. Audiences’ new heroine now circles around Rennie (Jensen Daggett in her first film), who has a phobia of water. Her father Charles McCulloch (Peter Mark Richman) doesn’t feel she belongs on this trip, while her teacher Colleen Van Deusen (Barbara Bingham) feels the opposite. These two varying opinions have nothing to do with anything. There’s nothing to really talk about here. The rest of the cast is more or less fodder for Jason.

There’s only a handful of actors audiences may recognize, starting with Richman known for his TV roles in all kinds of shows. Saffron Henderson who plays J.J. was Gohan and Goku in a couple of Dragonball Z Ocean dub projects. The other being Kelly Hu who people remember from The Scorpion King (2002) and X2: X-Men United (2003). As for the rest of the cast, some of their credits span over several decades while some didn’t last long. None though that have stood out since then. To their credit, they play believable characters just not ones viewers are going to care about. The only other actor to come out fine was Kane Hodder for obvious reasons of playing Jason. Hodder still plays Jason with heaving shoulders and a large height, which is still intimidating. That’s it though because there’s only so much slack Hodder can make up for.

It’s really difficult to say how even with a new setting things are still boring. Pacing is just not in this film’s favor. Despite the run time being only an hour and a half, the execution feels like the story is slogging through things. Perhaps this is also because there really isn’t a story. Yes, Jason is no longer on familiar grounds of the camp but for a while its’ Jason on a boat and later New York City. It’s well known now that part of the film’s performance is due to studio interference but it’s still disappointing. Not even Jason’s kills are that entertaining, which is something horror fans rely on at bare minimum to keep their attention. Some of this lack of interesting kills are likely due to again studio interference but also just lack of creativity. Jason is in a completely different place, there’s got to be other ways people die without looking so ho-hum.

The final good parts that still remain though are the special effects. The practical aspects and makeup all are convincing and do not look fake. The set design for New York is great making the city look like it hasn’t ever been cleaned. The camerawork from Bryan England looks good. England may not have any other mainstream film credits to his name but the shots filmed are convincing and definitely change the view from all the other 13^th films in this franchise. Lastly, the film score again composed by Fred Mollin does a fairly decent job with the material he had to work with. Much of the music still sounds like Mollin’s style like the previous but there are still smatterings of the original theme appearing from time to time. It’s also nice that Mollin’s work has received a full album after a long time being forgotten.

This is not an improvement or a downgrade. This is more or less the same negatives and positives with minor differences. Hodder as Jason still works, visuals and music are still well done. However even though the setting changes, it doesn’t allow for unique deaths, an interesting new story with its cast and pacing is just slower than slow.

Points Earned --> 4:10

Yu-Gi-Oh!: The Movie - Pyramid of Light (2004) Review:

In the late 1990s and early 2000s, the 4Kids production company was on a roll with cranking out anime to US masses. Of course there were other companies dubbing anime as well but 4Kids had the most success with this despite some of the censoring issues. Pokemon was their top money maker but not far behind it was Kazuki Takahashi’s Yu-Gi-Oh!. Although the original first season was never aired in the United States, the following seasons were and it got many people’s attention. Majority of the interest was in the trading cards and game mechanics, but a lot of people enjoyed the storyline and characters that kicked off the whole craze. It’s a little strange but for most successful animes in Japan, a movie is created shortly after. However for this show, a movie wasn’t released until a few seasons in.

The story is about Seto Kaiba (Eric Stuart) still frustrated with not being able to defeat Yugi Moto and his alter ego Yami (Dan Green) in a duel monsters card game. Wanting to know of another way to become the top duelist, Kaiba resorts to his past enemy Max-A-Million Pegasus (Darren Dunstan) as he has some cards that’ll help make that happen. Little does Kaiba know that the cards Pegasus has are even more dangerous that he realizes, holding the ancient evil Egyptian God Anubis (Scott Rayow) waiting to be unlocked. Right off the bat, like many other anime series i.e. Pokemon – if the viewer hasn’t been watching the show from the beginning, this will already be a problem. In some ways this film plays like an extended episode. If the viewer came just to see a movie version of one card game, this might work for them.

The writers Matthew Drdek, Lloyd Goldfine, Norman J. Grossfeld and Michael Pecoriello all worked on the show so the consistency is there. That’s one of the good aspects to this. From a continuity standpoint, the story plays right into what happened after the Battle City Finals. Again though, only fans of the show would understand and get that when watching this. Otherwise any newbie will be completely lost and it would be difficult for them to become invested in anything else from that point on. It is still quite hilarious though when thinking about it. Seto Kaiba, a millionaire,…billionaire…maybe…is so dead set on beating someone else in a children’s card game. Spending thousands of dollars on electronic equipment and personnel just to be named the world’s best duelist. If only life was like that where that was the major issue in the world.

Kaiba could spend some of his time doing good for others,…but no. He’s just got to be number one in a card game. Directing was Hatsuki Tsuji who would later direct the Yu-Gi-Oh! GX series. That doesn’t mean the characters are changed in any way, and that’s because the voice cast remains exactly as they are for this film. All the regular characters return from the TV show who are usually seen. That even includes some of the minor ones too. That means Tristan (Gregory Abbey), Tea (Amy Birnbaum), Solomon Moto (Madeleine Blaustein), Joey (Wayne Grayson), Mokuba (Tara Sands) return, as well as Ted Lewis, Lisa Ortiz, Mike Pollock and Charles Rocket take part in voicing some characters too. These are seasoned voice actors who have taken part in and crossed over with each other in multiple shows produced by the same company so it’s no surprise they are all here.

From a visual perspective the movie looks good. Animation is crisp and has vibrant colors to it. Surprisingly there were four directors of photography on this project - Kang-Ok Kim, Tae Hee Heo, Hiroaki Edamitsu and Duk Gyu Choi. Absolutely no idea what they did that contributed to the film. Not even animation directors Hee Nam Cho or Koung Tae Kim have prior credits. They’re lucky everything turned out looking fine. Lastly the music was disappointing too unfortunately. For whatever reason, the production decided to incorporate a soundtrack and completely omit the film score composed by Elik Alvarez, Joel Douek, Freddy Sheinfeld and Shinkichi Mitsumune. The soundtrack is okay…sort of but it just dates the movie more than it already is. The fact that there is no film score release for the North American or Japanese markets is shocking and sad that that’s the case.

Like other films connected to anime series, the film’s story will only make sense to those who enjoy the property and are familiar with the show. The continuity is definitely kept in place. The animation and voice acting is great too. Don’t expect much for memorable music though, just a generic mid-2000s soundtrack.

Points Earned --> 6:10