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

Magic Mike XXL (2015) Review:

As the usual trend goes, most sequels perform just as well or better financially than their predecessor. However, that doesn’t mean they receive better reviews than the original, which leads to the inevitable downfall of a tent pole franchise. Sometimes though, production crews and the people behind it can be more careful how they prepare the next chapter in the story. Has it always proven to be successful? Most likely not because there is also a fine line between taking the time to prepare a story of equal or better quality and taking too much time. For the Magic Mike (2012) series, it seems like the film crew wanted to make this one different from the past entry. Despite the cast mostly remaining the same, the production was able to keep things feeling new.

The sequel starts with Mike (Channing Tatum) returning to his original dance crew after he received news that Dallas (Matthew McConaughey) and original trainee Adam (Alex Pettyfer) went off to perform in China. On top of that Brooke (Cody Horn) has left Mike as his lifestyle was not for her after all. So with that all said, Mike joins Rich (Joe Manganiello), Tarzan (Kevin Nash), Ken (Matt Bomer), Tito (Adam Rodriguez) and Tobias (Gabriel Iglesias) on a ride to basically find their next place to perform. The script was once again written by Reid Carolin as like the last film. This time, instead of being focused more on Mike and Adam and his intimate relationships, the attention is now on Mike and the bromance he has with his buddies. In a way, it became more of a road trip film than strictly just an adult entertainer and dance film.

Directing the feature this time was Gregory Jacobs, who has served as a first assistant to most films. One of his earlier film credits was a second assistant to Freddy’s Dead: The Final Nightmare (1991). The execution to the narrative is on point with its predecessor. Since things didn’t turn out as planned where the original movie had ended, it was time for Mike to get back to basics. This allows for more development between the character and other supporting characters that only got a little exposure in the prior entry. Now, this allows Rich, Tarzan, Ken and Tito to shine more in their own way. This also allows for more comedic moments to come through for the guys too. For example, Rich (Joe Manganiello) feels like he’s getting to old and is concerned his days are numbered in his career.

Mike has the same concern but is again, looking for a romantic interest. The part of the screenplay that doesn’t add up are some character connections. Like why is Tobias still hanging with the guys if his connections were the cause of some of the plot turmoil from the prior film? There’s also some minor characters that show up played by Jada Pinkett Smith and Elizabeth Banks who don’t really add much to the plot. There’s even appearances from Amber Heard, Andie MacDowell and Donald Glover. The interactions most of these characters have between each other feel genuine and the comedic elements definitely help solidify that. Again though, the series is still not directed towards a straight male audience so in general, it still may not be appealing to all of the masses.

Visually speaking the sequel is just as strong in that department. Returning to shoot for this entry is Steven Soderbergh as the director of cinematography. Despite a lot of the scenes now being on the road, the shots are well lit and work within the narrative’s structure. The dance choreography was again top tier considering the type of movie genre that it is. For the ears, music was also kept consistent although not preferred. Again there was no film score as the soundtrack was the source that dictated what the audience would hear in specific scenes. It’s not bad or inappropriate for the type of movie that it is but a competent film score certainly helps give a movie more dramatic impact when needed.

The sequel is surprisingly a little more entertaining to watch even if the premise is not so much. There is still only a soundtrack to hear and some characters seem sort of unnecessary to keep. However, the acting is still solid, comedy is a bit stronger among the main cast and the dancing is obviously just notable as it was before.

Points Earned --> 7:10

Magic Mike (2012) Review:

Dance films are not usually the strongest of performing movies. Musicals tend to fair better with audiences but that’s because it has songs people can sing along to. Dance films that focus solely on the moves used to create a dance number are not as highly regarded. For some reason there tends to be less investment in the story or they are less unique. Honey (2003) was an okay film but wasn’t propped up and praised for its storytelling. A few years later, Step Up (2006) would arrive starring someone unknown at the time that would end up being revered for this particular feature shortly after. It’s kind of surprising but sometimes it takes time for the appreciation to be given. After all, although not all dance movies are seen as great cinema, hard work still goes into it.

The star being referenced here is none other than Channing Tatum. The plot here is about Magic Mike (Tatum), an up and coming entrepreneur hoping to make his mark on the world. One day on his side job he meets Adam (Alex Pettyfer) who gets taken under his wing at another one of his side gigs. This separate side gig is where he got his alternative stage name i.e. Magic Mike, as a male stripper. Initially hesitant, Adam becomes entangled with the profession and starts working with Mike and his partners Dallas (Matthew McConaughey), Richie (Joe Manganiello), Ken (Matt Bomer), Tito (Adam Rodriguez) and Tarzan (Kevin Nash). Reid Carolin who had one credit before this but is best known for starting this franchise, wrote the script. The film was also directed by Steven Soderbergh who directed the original Gray’s Anatomy (1996) and Erin Brockovich (2000).

The narrative itself definitely is more developed than other dance movies. Additionally, there’s a personal connection to it. This film could in other words be called a loose adaptation of Channing Tatum’s life in some ways as he too used to be male stripper. So to that, there’s some relatability to the story. There only seems to be two hang ups on the screenplay and it is an unresolved subplot involving Mike trying to obtain a loan. The other being the audience demographic. In this day and age, sexuality is no longer seen as something taboo as it used to be. However, the idea of straight men going to see this may not be as intrigued. To confirm the male stripping isn’t on screen the entire film, but it’s also not something every moviegoer might want to see. Overall though the characters are fleshed out pretty well for the story.

Magic Mike although maybe seen as crude to some because of his dance profession, is a solid person with a decent conscience. The character really does try his best to do the right thing and take care of Adam at the same time. Of course with that though, Mike has his own vices to figure out – like does he really like Joanna (Olivia Munn) or is he really attracted to Adam’s sister Brooke (Cody Horn). He also has to contend with how his partner Dallas does some of his business dealings – like involving hustler Tobias (Gabriel Iglesias) and his unknown shady connections. They are situations one can get involved with of which can complicate one’s life. All around the acting is done well from all actors cast within the feature. Those who enjoy McConaughey will obviously get their fill of his southern drawl.

From a visual perspective, this is one of the few times the director is also the cinematographer. Soderbergh also took care of the camerawork which in all honesty makes his life easier as he doesn’t need to tell someone how to take the shot, he just does it himself. The dance choreography and sequences are all done well too, partially thanks to Tatum having the experience already and not having to have someone do his own stunts. All of it is well put together and flows nicely. The only component that is nonexistent in this movie is the musical score. There was no composer to the film as the tracks are applied to the dance numbers. Could music be played in other scenes? Yes, but it seems for this case that was omitted.

The target audience may be questioned by some and film score enthusiasts will be disappointed. This also doesn’t hurt the films ability to entertain. The dance sequences are well shot with good cinematography, the acting works and the story is interesting for its loose adaptation of the main star.

Points Earned --> 6:10

Beetlejuice Beetlejuice (2024) Review:

Continuation of classic stories is a gamble. Even when the right people are involved, expectations are very high and can lead to disappointment. Diminishing returns are unfortunately inevitable and are only avoided on rare occasions. Even then, whether it is better or not, gets debated on back and forth depending who really feels strongly about it. For Beetlejuice (1988), it was a special movie that has a very devoted following. The name other than being associated with the constellation, is now recognized as a Halloween icon. Languishing in development limbo for decades (not even years), it became very hard to believe that a sequel would be worth it. Of course many people would love a return but with too much time passing, possible cast members not returning or essential components being left out are all things viewers should rightfully be concerned about.

Surprisingly though, things actually turned around. Director Tim Burton finally returns to head the sequel to his original classic. As like the release of the original, many years have passed since the events of the first film. After the death of Lydia Deetz’s (Winona Ryder) father, she and her daughter Astrid (Jenna Ortega) come home to her mother Delia Deetz (Catherine O’Hara) to pay their respects. Meanwhile Beetlejuice (Michael Keaton) is looking to get out of the neitherworld again somehow. Whether that be by finding Lydia or another way after his ex-lover Delores (Monica Bellucci) goes on the hunt for him. The script was written by Alfred Gough, Miles Millar and Seth Grahame-Smith. All three have decent credits to their name where the first two worked on Spider-Man 2 (2004) and Smith from The Lego Batman Movie (2017). With that said, the film does a very good job at keeping connections straight which is very important.

Backstories for all the time passed between this film and original are a must and it was done expertly. Using Charles Deetz’s death for the reason to move the plot is perfect since disgraced actor Jeffrey Jones should no longer be cast in movies. Explaining why the Maitlands did not reappear within the film is also spot on for covering. It’s those little details that really help make the audience feel like care when into the story. The narrative itself is good too, as it naturally gives Beetlejuice a good reason to be involved. However, there are two main flaws to the final screenplay. The first being that as like the original film, there are a couple of sing along sequences. That’s fine, but it seems to be drawn out for longer than needed. The first film had it short and to the point for a gag payoff. This one felt like it took its time.

The other issue was that it felt like there were just too many characters. The essential characters from the first film are not in question. Lydia is now a popular paranormal TV host and her manager Rory (Justin Theroux) is there trying to keep her going. There’s also Willem Dafoe playing Wolf Jackson, a dead actor who’s in search of capturing Beetlejuice playing a glorified cop. There’s also Lydia’s husband Richard (Santiago Cabrera) who Astrid really wants to get to know better. Astrid even meets Jeremy (Arthur Conti) a boy she thinks she likes. All in all, these plot threads all convene on each other at some point, but really clutter up some of the flow too. If the undead cop and ex-lover were removed from the film, the time they took up could have been used elsewhere and the story still could have played out the same way more or less. It’s a little frustrating that wasn’t looked into further before finalizing on the script.

The acting is as good as usual though. Michael Keaton brings it his all with his return as the leading bio-exorcist. The quips are still there, along with occasionally breaking the fourth wall which the character is great at doing. It is great to see Winona Ryder and Catherine O’Hara return as well with their off brand humor. Jenna Ortega is also good as an add on to the franchise. All other actors perform well too. For visuals, the cinematography was handled by Haris Zambarloukos, who also shot for Mamma Mia (2008) and Thor (2010). The look and feel is very much the same to the original as are the practical effects, which includes stop motion animation and real props. Music is also kept equally competent with Danny Elfman returning to score the movie. These are the parts that make this sequel worth a watch.

Some could see shortcomings in the script having too many characters and some scenes that take a little long but it’s not a massive issue. Everything else is from the acting, effects and music are completely maintained to that of the first movie.

Points Earmed --> 7:10

Pokémon: Secrets of the Jungle (2020) Review:

Long running series like Pokémon at some point began falling off movie critic’s radars. Movie reviews in the mainstream seem to only cover new material that comes out that no one sees coming. When a franchise is deep into its more than ten film run, most viewers who don’t follow to tend to drop off. It’s only recently that Marvel Studios has been feeling similar pain due to the oversaturation of properties, timelines and multiverses flooding the franchise. At this point anyone who were to watch something continuing for that long either must be a super fan, or is just devoted so much to keeping track of how the franchise progresses or regresses. For Pokémon, it has had its fair share of upward and downward swings. Recently it has done better in its outings, but it definitely took time.

Written by Atsuhiro Tomioka and Tetsuo Yajima, who also directed, this feature seems to be another one off movie set in another time than the anime. At least there’s no expectation of it fitting in anywhere within the anime now. The story for this entry has a different character starting off with the audience. A Zarude Pokémon which happens to be quite aggressive in nature happens to stumble across a human infant. With no success in trying to find the child’s parents, the Zarude (Edward Bosco) becomes Dada and the infant becomes Koko (Kimlinh Tran). There the two bond and learn about their world with a little help from everyone’s favorite Pokémon trainer, Ash Ketchum (Sarah Natochenny) and Pikachu (Ikue Ôtani). As the last Pokémon film to date, it is a decent last watch although not as epic feeling.

What sets this story apart from others is that Ash plays a side character to this movie. The main focus is on Dada the Zarude and Koko. Writing focuses a lot on where one belongs, how they fit in and one’s true purpose. These are all good questions every individual asks themselves at some point or another. This also gets put on both Koko and Dada. The Zarude Pokémon feels out of place with his own kind and the human isn’t sure what to make of himself. The dynamic between the two also feels very authentic as with a child having no other parent that it seems only natural that’s how they would react. The last time there was this much attention put into a mysterious character pairing was from Pokémon 3 The Movie: Spell of the Unown (2001).

There are other characters that appear like team rocket and Dr. Zed (Billy Kametz) who is in search of important information that belongs to the area Koko comes from. It is only because Ash does this character get involved. Otherwise there would be no plot moving forward from that point on. Even with that said, the scope of which this takes place doesn’t feel as grand. For the voice acting, all perform well. Sarah Natochenny in her last film entry playing Ash gives her all like usual despite not being the main character. The same could be said for Kimlinh Tran, Kellen Goff and Edward Bosco who all have many voice acting credits to their name prior to this even if it wasn’t from Pokémon. Michele Knotz and James Carter Cathcart as team rocket always provide a good showing as the second set to voice the usual villains that follow Ash.

From a visual point of view, the animation maintains the same level of quality that has been presented in the past few features. With over twenty animation directors on board the production, it looks like the right people were there to keep things on track. Ryô Kujirai being credited again for cinematography still isn’t clear and at this point, oh well. Lastly the music composed once again by Shinji Miyazaki was average at best. The music wasn’t all that memorable even though it feels like this film had elements to that of a musical, which is not a thing for this franchise. Perhaps this was just changed for the northern American markets. That’s just a guess though. Either way, still not as impactful as the music used to be for a lot of the earlier films.

Cinematography and music are side components that still don’t leave a lasting impact anymore. The scale of which the plot takes place doesn’t feel as high in importance either. However as the last film to date, the voice acting is still spot on, the animation looks good and the script changes its focus a little to help keep the viewer’s attention.

Points Earned --> 6:10

God’s Not Dead (2014) Review:

The concept of God is a question that has challenged philosophers and the communities they belonged to for centuries. Whether it be a religion that focuses on a single deity or multiple, it is about following a higher order that directs its people to act a certain way to live a better life. Of course there are those who don’t believe in this either or anything at all. In a perfect world, everyone should be able to live among each other no matter what their beliefs are. Sometimes, those values and morals are challenged and people have to make a decision on it. To some, viewers may find this particular film very simplistic in the message being conveyed but even so, it’s always a possibility of this scenario coming up. In a time where people are constantly being challenged for the groups they belong to, the story is only all the more relatable.

Written by Hunter Dennis, Chuck Konzelman and Cary Solomon, the script is about college freshman Josh Wheaton (Shane Harper) beginning his first semester at his dream college. Unfortunately, things don’t start off strong when his philosophy class headed by Professor Radisson (Kevin Sorbo) asks Wheaton and his peers to denounce the existence of God. Being a devout Christian, Wheaton challenges Radisson, only to be put on the spot and having to put all his focus on passing that class than the rest of his courses. Meanwhile Josh’s girlfriend Kara (Cassidy Gifford) tries to keep him focused and leave the whole debate behind. The movie was directed by Harold Cronk who has directed productions before this but is probably best known now because of this feature. Writers Konzelman and Solomon have also worked on productions together so there’s credit to that team too.

For the story itself, it is serviceable for the overall message it is trying to tackle. It’s important to stand up to adversity and remain fervent in one’s feelings. There’s absolutely nothing wrong with that and one should always expect there will be naysayers. With that said, it felt like the script could have used a couple more revisions before finalizing it. For one, the character plot threads are more intertwined that one might realize. This can definitely make the stories feel a little too convenient in their execution. That’s not to say that it’s not a small world out there. But too many connections in one sitting gets a little hard to believe. The other issue with the production is that it is a Christian genre movie. Although there’s nothing wrong with that either, it will only interest those of that faith and a few here and there who would be curious or considering converting over to watch. However, that is less likely.

For the cast performances, most of it is acceptable. Shane Harper as the main lead is convincing. Although he was in only some TV shows prior, this probably became his big break. Kevin Sorbo, best known for starring in Hercules: The Legendary Journey’s and Andromeda is unique in playing the challenger to the main character. The counter arguments they exchange together is interesting to listen to. There is however one character played by Dean Cain that is completely over the top. His character is made to be 100% callus but it comes across unbelievably inhuman. Maybe there are people out in the world like that but it seems highly exaggerated. Other than this though the other actors do fine. There’s appearances from David A.R. White, Willie Robertson, Marco Khan and even The Newsboys band consisting of Duncan Phillips, Jeff Frankenstein, Jody Davis and Michael Tait.

From a visual perspective the camerawork is handled professionally. Shot by Brian Shanley who has multiple credits to his name prior to this production does a decent job. All scenes have proper lighting and there are no shots that are disorienting to look at. For the musical score, the composer was Will Musser. Both Musser and Shanley worked on similar productions together so it’s no surprise they are together again. The soundtrack itself contains multiple songs from various Christian performers like The Newsboys and even Shane Harper. The score itself although short on the album is well composed using guitar, piano and strings. It’s too bad there wasn’t more of the movies score to feature as that particular component can be just as effective as the soundtrack music. Considering it is a Christian film though, getting anything is rare.

Being that the film is religious to begin with, may be a turnoff for some. Writing felt like it could have used some touchups as the character stories cross a lot and one character is written very cartoonishly. The music and camerawork are still solid in their execution though. Additionally, the topic of focus along with decent acting still makes this movie a little better than average.

Points Earned --> 6:10

Miss Bala (2019) Review:

International travel can always be a very rewarding experience. There’s so many places to visit and experience with people never before interacted with. Much of the time, as long as you stay within the means of what is safe and recommend, everything should be fine. Of course this isn’t 100% guaranteed but the best one can do is try. For those who are bilingual and are more familiar with their native roots it can be easier to navigate through what seems like maze of possible terrors. Again though even with this advantage bad timing is always a thing and that’s what happens here in this story, which is actually a remake of the same name in 2011. It’s a little weird since it was done within the decade the original was made seeing that it wasn’t that old to begin with.

The story is about Gloria (Gina Rodriguez), an up and coming Latin American makeup artist. One day, she takes a trip into Mexico for a close family friend Suzu (Cristina Rodlo) who is hoping to make it into the latest beauty pageant being held locally. So with that, Gloria is assigned with doing her makeup for that very thing. Unfortunately, that very night they head out to make connections with Chief Saucedo (Damián Alcázar), a gang called Las Estrellas interrupt and the two are split up. Gloria sadly witnessed the gang entering and is told she will be reunited with Suzu only if she cooperates. These are just not the kind of situations any regular person wants to be put into. It is though something that is quite possible in real life to happen. For whatever reason it doesn’t seem like anyone from the original film worked with the crew for this production.

Writing the script was Gareth Dunnet-Alcocer, who would later write for Blue Beetle (2023). Alcocer has prior credits to his name but they ae not any many would know. Directing the film was Catherine Hardwicke, better known for her big break in movies with Twilight (2008), that kicked off the whole franchise. For the story, it’s a decent effort. One thing the film crew gets right is tension. Since the film sits under the thriller genre, having good tension is key. Again, no right minded individual would want to be held captive by someone in order to find the thing they want most. Perhaps the parts that seem unnecessary are the one note side characters. Suzu’s son and a DEA soldier that Gloria meets are just not given a whole lot. They kind of just play the character they first appear as and that’s it.

Acting overall though is fine. Gina Rodriguez as the main character is convincing in her role. More known for her roles in TV shows like Jane the Virgin and Carmen Sandiego, seeing her play a leading role in a theatrical film is cool to see. Cristina Rodlo as Suzu is okay too, although she’s not around as much since she’s the plot device. Damián Alcázar is a veteran Latin actor and plays his part well. The other actor not mentioned yet is Ismael Cruz Cordova who plays Lino, Gloria’s captor and leader of Las Estrellas. Cordova plays a nice contrast to that of Rodriguez’s character. Cordova would later go on play a role in Amazon’s The Lord of the Rings: The Rings of Power series. From a visual perspective, some viewers may be disappointed that it doesn’t contain a lot of action.

This is more a thriller though so expecting a lot of action may not be realistic for the setting. Shooting the scenes for this crew was Patrick Murguia. Getting his first break in American cinema with movies like Brooklyn’s Finest (2009) and The Frozen Ground (2013), Murguia is competent as the cinematographer. All shots are decently lit and visible for audiences to understand what’s happening in every scene. Lastly, composing the music to this production was Alex Heffes. Although this feature doesn’t have what sounds like a recognizable theme for the story, the score does have moments that help build the tension. There’s an even blend of instruments heard ranging from synthesizers, strings and Latin percussion. It’s not super special but it does match the tone and setting of the story well.

While it may seem like the movie is action packed, it is not recommended to go in with that expectation. The side characters are also a little unnecessary unless they were given more development. Still though the experience is entertaining enough with appropriately tense music, competent camerawork and acting.

Points Earned --> 7:10

Honey (2003) Review:

The entertainment industry is probably one of the biggest fields to get into. At least from a natural progression. There are those who have a meteoric rise to stardom but this has only recently come about with the advent of social media. Prior to this, a lot of this was based on reputation, branding and perhaps internal sacrifices. How this was done wasn’t spoken of very much because it either was considered not important, confidential or it was actually something more. Again, more recently it has come out that some people were pressured into doing certain things no one would repeat. Unfortunately, this is what many people have believed what this particular work place has turned into. It also gets a little hard to believe just how successful some performers become without this coming to mind. However, when someone does make it big and sticking to their gut and morals, those are the best stories to hear.

This movie focuses on this kind of story, following the heroine of Honey Daniels (Jessica Alba). She is a up and coming dance choreographer looking to take her career to the next level. Every day she strolls into the hall her mother (Lonette McKee) rents out in a dilapidated building. People show up and enjoy their time together while practicing their next show. Although everybody looks out for each other, the streets can still be dangerous, which is why Daniels is friends with Chaz (Mekhi Phifer) and Gina (Joy Bryant), who knows how to keep trouble at bay. The script was written Alonzo Brown and Kim Watson in their only theatrical credit. They do have experience in other projects but much of it belongs to music videos, which make sense. The same could be said for the director.

Heading this project was Bille Woodruff, a director who has worked with the likes of Toni Braxton, Céline Dion and the Backstreet Boys. The reason why he was chosen for this is quite obvious due to his music video experience. From a story experience, it is a mixed bag. The execution is fine, but the writing itself is very been there, done that. As mentioned before, hitting it big most of the time in the entertainment business means sacrifices have to be made to move up; some of which are inappropriate. This is where Michael Ellis (David Moscow) comes in. Ellis happens to catch Daniels doing her work and becomes her mentor. He’s the guy with the access to everything upwards but of course he’ll push for what he wants too. It’s as cliché as it gets but also probably what many have to come to expect.

The acting from the cast is fine. Jessica Alba although not acting much now and is still very successful, does fine here. This would be the movie that put her on the road to starring in Sin City (2005) and the Fantastic Four (2005). Mekhi Phifer and Joy Bryant both play good supporting roles to that of Honey Daniels. Lonette McKee as Honey Daniels’ mother is good too. KcKee was in films like The Cotton Club (1984), Jungle Fever (1991), Malcolm X (1992) and Men of Honor (2000). Lastly David Moscow was good as the guy with connections although his role was fairly straight forward. The strongest feature to this movie should be at the least its choreography. Thanks to Laurieann Gibson, that was achieved. Although she had some credits prior to this, Gibson would move on up to other celebs like Madonna and Lady Gaga.

Assisting in that visual contribution was John R. Leonetti who was already well established for his skills. Having worked on films like Child’s Play 3 (1991), The Mask (1994), and The Scorpion King (2002), it is fair to say he was ready to take on the music genre too. Leonetti’s camerawork blends seamlessly with the dance moves and makes it feel very much like an extended music video. Which is no surprise as the film score to this feature is not really there. Apparently Mervyn Warren, who also composed for Steel (1997) and A Walk to Remember (2002) wrote music for this too. Although that’s a little difficult to say where because much of it is taken up by the music played for the dancing that happens throughout the entire film. It’s probably there but likely no one will be trying to find where it plays.

The layers to the story and music are quite thin and uninspired. The story itself though is understandable, the actors are good in their performance and the dance choreography combined with the camerawork entertain on the level that it was intended for.

Points Earned --> 7:10

The Three Musketeers (1993) Review:

Heroism almost feels like stuff of legends now a days. Prior to modern times, so many battles were fought in close quarters. The older the era, the more claustrophobic combat was. It’s crazy that now, confrontation is met with very distant attacks. Drone strikes, missiles, bullets; they all get fired at a distance with extreme accuracy. Now imagine having to charge using the bayonet or with even sharper blades like swords. It’s just not a thing now. In cinema, there are only some stories that have continued to portray such action harkening back to those times. Films like The Mask of Zorro (1998) or Pirates of the Caribbean: Curse of the Black Pearl (2003) brought back swashbuckling to the masses. Believe it or not Disney gave it a shot with this movie too based on the popular story from Alexandre Dumas.

The screenplay was written by David Loughery, who wrote Passenger 57 (1992) the year before. With a plot that’s fairly simple to follow, audiences are introduced to D'Artagnan (Chris O'Donnell) looking to join the king of France’s league of Musketeers. Only on his travels to learn that Cardinal Richelieu (Tim Curry) has disbanded the group with three remaining faithful to their oath. Those three are Aramis (Charlie Sheen), Athos (Kiefer Sutherland) and Porthos (Oliver Platt), hoping to find a way to rid the Cardinal of his treason and his top henchman Rochefort (Michael Wincott). Meanwhile the king (Hugh O'Conor) and his queen (Gabrielle Anwar) are unaware of those plans. The film was directed by Stephen Herek known for heading Critters (1986), Bill & Ted’s Excellent Adventure (1989) and The Mighty Ducks (1992). He would also later direct Disney’s live-action 101 Dalmations (1996).

The story itself is probably the films greatest weakness, being predictable. That’s not to say it’s bad, not at all. But there’s nothing that feels different or new being told in the execution. It just feels like a very safe rendition of this classic story, which kind of makes sense because this is by Disney at the time. Right from the beginning it’s obvious as to who the main focus will be on, who’s on the bad side and who’s on the good side. That doesn’t mean the acting isn’t professional though. All actors provide a showing that an audience member of any age would enjoy. Chris O’Donnell is the play it safe hero who doesn’t do anything wrong. Charlie Sheen plays the romantic suave member, Oliver Platt plays the goof and Kiefer Sutherland is the more serious of the three.

All of which have acceptable chemistry together although much of their humor is again, really not doing much that’s creative. There are a few slapstick gags that land, but the rest are mainly verbal quips between characters. Some of it works, other times it’s expected because of the role each actor plays. Tim Curry and Michael Wincott are both excellent in their roles but make it plain as day they are not on the right side of things. Making you wonder how the king and queen couldn’t see such obvious trickery. There’s also appearances from Rebecca De Mornay and Paul McGann. Going back to action though, this is where a lot of fun can be had. Sword fights are not the easiest thing to master nor seen anymore. So the fact that the actors not only duel each other well but make it look easy is very gratifying to watch.

Aiding in that visual entertainment is the camerawork provided by Dean Semler. Capturing many green landscapes to show the time period is a great way to establish the setting. The fight choreography was helpful too in making the action fun to watch. Lastly the film score was composed by Michael Kamen. Known for composing scores to many popular films like The Dead Zone (1983), Highlander (1986), Lethal Weapon (1987), Die Hard (1988) and even Don Juan DeMarco (1994) a year later, Kamen produced another good listening experience. Kamen has multiple motifs for the main characters and makes it feel like it’s a part of that era as well as keeping the sound like it is from this century. An album was also released which is nice because it does sound good on its own too.

Narratively speaking, the story is cut and dry – meaning it gets straight to the point and is not complex. This can make it a little too simple, especially with its rather simple humor. That’s Disney for the time maybe. However, audiences shouldn’t completely dismiss it as it is fun to watch with good acting, energetic action, competent cinematography and appropriate music.

Points Earned --> 7:10

The Ring (2002) Review:

Spirits and ghosts are a strange topic for various people. Some have no awareness of such phenomena, while others are quite in touch with the subject matter. So much that they keep a very far distance from anything related to it. Of course there are also others that find it crazy and still decide to pursue answers even though it is not recommended. There’s also complexities in translating supernatural instances like this for certain markets depending on where they came from. For the United States, this kind of movie wasn’t really a big thing. For last several decades, horror films consisted of monsters, serial killers and undead creatures. This film however is what reignited people’s interest.

 Originally the concept was based on a book and adapted into a movie in Japan by Kôji Suzuki during the mid-1990s. The American release would not come out until almost a decade later. The story is about Rachel (Naomi Watts) a private investigator who’s looking into the death of her friend’s daughter. The reason for her death witnessed by her friend was due to a mysterious VHS tape that she had watched a week earlier. Perplexing as that may sound, apparently the girl who died wasn’t the only one who saw the tape. Seeking answers, Rachel pairs up with her separated husband Noah (Martin Henderson) to look into the details of the tape. Meanwhile they try to help their child Aidan (David Dorfman) cope, as he was friends with the recently deceased. The screenplay was adapted by Ehren Kruger, the same writer from the first three Transformers sequels.

 Kruger did have a horror film under his belt before though with Scream 3 (2000). Directing this feature was Gore Verbinski, who after this would go on to direct the popular Pirates of the Caribbean franchise. Together these two produce an adequate viewing experience. The idea and how it began has a nice hook to it. Viewers will definitely find it creepy and for younger viewers not knowing what a VHS is will make it all the more alien. The story itself is also interesting as to how things came about. Slowly but surely, pieces to the puzzle are revealed which allows the audience to understand (mostly) why things occurred the way they did. Not all of it makes sense but the creepy visuals help with that. The practical effects use in the movie look good and the spirit played by Daveigh Chase has burned the iconic image of a horror girl into the mainstream conscience.

 People who love gore may not be as pleased if violence is to be expected. The acting is believable though. Naomi Watts is best known from Mulholland Drive (2001) but has played in several other movies too. Martin Henderson as the father does okay for the role. He would later play a character in Smoin’ Aces (2006). David Dorfman as the child is okay too, being that the character he plays is stricken with grief the emotion doesn’t need to be very involved. Dorfman would play one of the children in The Texas Chainsaw Massacre (2003) remake. Believe it or not, Daveigh Chase is the voice from Disney’s Lilo & Stitch franchise. There’s even an appearance from Brian Cox to provide some context to the story. The acting in general is effective enough to help the story along in what it needs to do.

The cinematography on the other hand was less than desirable. Shot by Bojan Bazelli, the color palette to this movie is just ugly and it wasn’t by accident. The film crew purposefully chose the hue of the movie to completely be muggy, foggy and murky green. There’s only a few moments where other colors exist but they are far and few in between. It’s funny because Bazelli is quite competent with credits to movies like Pumpkinhead (1988) and Burlesque (2010). The film score was surprisingly handled by Hans Zimmer. Not known for composing scores to horror films, Zimmer’s work is a decent effort. It is certainly not the most memorable but it does have its own motif for the franchise, using mainly piano keys. Not much else has to be said about Zimmer as his influence is about as prominent as John Williams.

Although it lacks any kind graphic visual horror or clear cinematography, it is still a fairly creepy film. The story itself is unique, the acting is fine and the music is also effectively spooky. A good start to the franchise.

Points Earned --> 7:10

Instant Family (2018) Review:

Every generation of humans has their set of families. Maybe not every family member has a line but most tend to. There are couples though who can’t decide what they want to do for starting a family. Having a family isn’t easy nor can things always turn out as expected, good or bad. As long as everyone has good intentions things should turn out okay. Having a family also doesn’t require going the natural way; adopting, surrogate and fostering children are a few options too. Well, this film explores one of those alternatives most people probably wouldn’t consider. Fostering is more like a trial period as opposed adopting right off the bat. It’s all based on one’s comfortability level too. It really depends on what everyone makes of it.

The story follows Pete (Mark Wahlberg) and Ellie (Rose Byrne), a childless couple who are looking for a little more meaning in their life. What they don’t realize is what will fill that void just yet. After speaking with some friends they decide perhaps fostering is the way to go. The kids they decide to foster are Lizzy (Isabela Merced), Juan (Gustavo Escobar) and Lita (Julianna Garniz). Written by John Morris (Hot Tub Time Machine (2010), Mr. Popper’s Penguins (2011), We’re the Millers (2013) and Daddy’s Home (2015)) and Sean Anders as well as directed several of the same pictures, this film is very much a feel good story that not only highlights the struggles of being a parent but also the rewards too. The narrative is actually quite realistic in its approach.

That is except for one part where Pete and Ellie are first learning about fostering children. Upon coming to the orphanage where they would be paired up, the people they meet and the sessions they attend seem unsupportive. Lead by Karen (Octavia Spencer) and Sharon (Tig Notaro), the two give some tips along the way in the couple’s development as well as the children. It’s understandable that many people are not ready for what they are about to agree too, but some of its treated like it was obvious. So was it intentional for the protagonists not to be told of some of their challenges they’ll face? It seems kind of wrong to do that. Overall though the story teaches important lessons about becoming a family and learning to be understanding of one and another as hard as it can be sometimes.

Characters are likable and have charm in this movie. While Mark Wahlberg is known for playing his characters fairly the same throughout his movies, the role he has here feels very much like what he could be as a real father. Also since he has starred in comedies, it’s no surprise he’s here. Rose Byrne as Ellie also has experience in comedic films although she is probably best known from Insidious (2010) and its films. Margo Martindale appears as Grandma Sandy (Pete’s mom) who has some funny lines to say too. Martindale also had roles starting in The Rocketeer (1991) and more recently in Cocaine Bear (2023). As for the foster children, Isabela Merced as Lizzy is convincing in her role considering prior to this her biggest break was Michael Bay’s Transformers: The Last Knight (2017). She would a year later play Dora and the Lost City of Gold (2019).

Gustavo Escobar and Julianna Garniz are both very new to acting so there isn’t much to say on them yet other than their performances here were good too. The cinematography was handled by Brett Pawlak and looks good for what’s shot. Pawlak’s only entry at the time worth noting was Max Steel (2016). Lastly for the film score, Michael Andrews was the composer for the music. Originally starting out with Donnie Darko (2001), then Bridesmaids (2011) and Daddy’s Home (2015), the film score sounds very contemporary and is easy listening on the ears and should be so for most audiences. While the album is only thirty-six minutes long, it is a good listening experience. And although there is no memorable theme for the film, there are designated motifs for some of the characters.

Even though there’s one area in the narrative that doesn’t quite make sense, as an experience the movie is wholesomely entertaining. The music, camerawork and characters all mix well together for a film with more heart than some may expect.

Points Earned --> 8:10