Pokémon Giratina and the Sky Warrior (2008) Review:

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

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

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

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

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

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

Points Earned --> 6:10

Pokémon: The Rise of Darkrai (2007) Review:

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

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

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

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

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

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

Points Earned --> 4:10

The Addams Family (1991) Review:

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

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

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

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

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

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

Points Earned --> 7:10

The Toxic Avenger (1984) Review:

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

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

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

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

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

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

Points Earned --> 6:10

The Skulls (2000) Review:

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

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

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

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

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

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

Points Earned --> 5:10

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

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

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

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

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

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

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

Points Earned --> 3:10

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

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

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

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

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

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

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

Points Earned --> 5:10

Oculus (2013) Review:

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

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

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

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

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

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

Points Earned --> 8:10

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

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

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

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

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

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

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

Points Earned --> 6:10

House (1985) Review:

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

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

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

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

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

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

Points Earned --> 5:10

Pokémon the Movie Destiny Deoxys (2004) Review:

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

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

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

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

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

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

Points Earned --> 5:10

Candyman (1992) Review:

Horror novelist Clive Barker may not be as ear catching as Stephen King, but he should be considered very much on the same level. Even though his creations would receive critical acclaim years after King’s adaptations, they were still well deserved. Despite having a rough start, having his licensed works being completely changed, it was his self-directed film Hellraiser (1987) that got him on people’s radars. And while the character of Pinhead was iconic by itself, Barker would help in creating another iconic horror figure in another feature, being this. With assistance from director Bernard Rose, who also spoke with Barker, the pair was able to recreate a short into a full length feature film based on a written work by Barker known as “The Forbidden”. The difference is, instead of originally taking place in England, the setting was moved to the US, more specifically Chicago.

The story for this film revolves around people living in the projects of Cabrini Green. There they are terrorized by a ghostly assailant known as Candyman (Tony Todd). Wanting to understand more so they could add credibility to their thesis is Helen Lyle (Virginia Madsen) and Bernadette Walsh (Kasi Lemmons). What they don’t realize is just how serious the matter is and how the locals feel about the situation that’s been going on. All the while tenants like Anne-Marie McCoy (Vanessa Williams) have nowhere to go despite the uneasiness of the subject. Adding to that is Helen’s husband Trevor (Xander Berkeley) having the usual female students flirting around for silly reasons. For this film, Bernard Rose directed and wrote the screenplay which can be difficult, but it looks like that wasn’t an issue for him.

What works really well in this horror film is the change up in the usual tropes witnessed in this genre. There are no dumb teenagers looking to fornicate every second. The area in which the story is based on is an actual place in the US. The lead characters are self-reliant and the overall story reflects on the historical context of the setting. That’s the big picture. From a more focused perspective, the actors who perform in this picture give quite a show. Virginia Madsen, known at the time from starting in films like Dune (1984) and Highlander II: The Quickening (1991), will really make the viewer sympathize with her character. The same could be said for the characters played by Vanessa Williams and Kasi Lemmons. There’s even DeJuan Guy in his first feature film giving a believable display.

Adding to that are supporting actors like Xander Berkeley better known as John Conner’s step father in Terminator 2: Judgment Day (1991), and even appearances from Ted Raimi and Rusty Schwimmer. Last but not least, the film would not be so well known if it wasn’t for Tony Todd who brings in so much charisma into his role. His presence as Candyman feels very much just as imposing as Doug Bradley playing Pinhead. It’s that memorable. Unfortunately, the small weak points to the movie are predictable outcomes for side characters. That and the on screen violence isn’t as abundant as one might think. The gore and creep factor is there, but it’s all for the most part aftermath, which isn’t exactly the same. Nevertheless, it can get fairly intense.

When it came camerawork, it was another added benefit to the experience. Handled by Anthony B. Richmond, the scenes shot are able to give the audience a very clear picture how much Cabrini Green is in dire need of support. From the dilapidated building structures, the practically unusable facilities and dangerous gang members lurking around, how would anyone feel comfortable being there? Finally, the film score composed by Philip Glass is another key component to watching the film. Despite him not really being known for working on horror films, Glass managed to create chilling album. Using mainly organ and chanting choirs, Glass’ score haunts unlike other any horror scores. There are no stings either and thankfully, this work did get an album release which should be rightfully done. The main title sequence alone is a great track that isn’t even in the album!

Even though the film isn’t really scary and the side characters are more or less predictable, there’s so much more going in the movie’s favor that makes it stand out from the typical horror film. The actors in general give great performances, especially Tony Todd. The camerawork captures the environment well and the music is a new listening experience.

Points Earned --> 8:10

Pokémon: Jirachi - Wish Maker (2003) Review:

While Pokémon has been one of Nintendo’s mascots for a long time, even popular icons go into hibernation. After the lackluster performance of Pokémon: Heroes – Latios & Latias (2002), the franchise would finally begin its venture into home video territory with this sixth film installment. For some tent pole franchises, this is the kiss of death as most don’t return to theatrical releases. Additionally, that means the stories lose more and more of their connections to the original films. However, because these films are playing in line with the TV show, that hasn’t seemed to be the case yet. Which is good otherwise that would really throw off the legions of fans who watched the episodes religiously. Another thing to note is that while this entry is the beginning of home video releases, it is also the beginning of other changes.

The story, taking place during the sixth season of the show, follows Ash, Brock and their new crew comprised of May and Max where they seek to catch a glimpse of the millennium comet. It is said the comet contains a large amount of energy capable of generating lots of power. Making its appearance in parallel to the comet is Jirachi (Kerry Williams), a Pokémon with special powers who befriends Max (Amy Birnbaum). Where they meet is at the local festival headed by Butler (Wayne Grayson) and Diane (Megan Hollingshead). The script and direction were headed by the usual crew members working on the past films There’s also a bit of additional support from Norman J. Grossfeld returning for script adaptation as well as voice actor Eric Stuart doing direction adaption for the first time.

What both Japanese and American crews accomplish in this feature is changing the formula slightly for fans who have been wanting something more. Of course by no means would the sixth film in a series change any new comers but for fans of the show, this should be entertaining enough. For once, the plot revolves around a main character other than Ash. While he is a central character, laying him off for a while is needed and it fits in with the show since much of Season 6 essentially reset Ash and has put him more in a mentor role than a mentee. That’s a nice way to show Ash is growing up…despite the fact that he’s still the same age even though it seems like years have passed. But that’s not something that can be really faulted for, as fans have come to accept this.

The structure of the story also has slightly changed for the better. This entry did not start off like it typically does with Ash battling some stranger with the current season’s theme song behind it. Even the continuity is adequately referenced for the most part. Unfortunately, even with all these good parts, the film does get caught up in some real juvenile things like not giving the antagonist a very clear backstory. It’s certainly not as bad as the antagonist from Pokémon the Movie 2000 (1999), but there are parts that feel like more could be said. It’s just not that clear. The acting though is still great. Veronica Taylor who used to voice only Ash now also plays May and her interactions with the other voice actors is good too. Kerry Williams as Jirachi is fine, the Pokémon is supposed to be childlike so it seemed like an easy role. Mike Pollock also steps in as narrator instead of Roger Parsons, who sounds fairly close in performance.

What still makes no sense as to why it would be needed is cinematography. This time not only handled by Hisao Shirai but also Takaya Mizutani. Seriously, what is camerawork needed for in animation? The only thing maybe is digital camera movement for anything CGI but who’s to say? Shirai has been doing cinematography for the series since the very first film. Lastly Shinji Miyazaki returns as composer to this feature which looks to remain intact even for the English release. That’s always good, but again no domestic album release. What can be said is at least there’s consistency in the production where people who’ve worked on an entry before come back again for another time.

None of the Pokémon films have ever managed to hit ground breaking levels of entertainment and this one is no different. It still makes no sense how cinematography is incorporated and the villain still doesn’t have the best backstory. But the production crew that work on these films are a reliable bunch with acceptable voice acting and good music. The direction has also been slightly modified to keep its fans attention.

Points Earned --> 6:10

Waxwork (1988) Review:

Wax figures always seem to get the least appreciation when it comes to three dimensional art. Unfortunately, the reason for that is their eerie presence and synthetic likeliness to that it was based on. It’s also because of these traits that they’ve been best used in horror pictures starting with films like Mystery of the Wax Museum (1933), House of Wax (1953), Nightmare in Wax (1969) and Terror in the Wax Museum (1973). All of which had the same idea but only the original and remake are known the best. After that, feature length films disappeared focusing on this concept…until this film came along. Thankfully this movie does something unique with the premise instead of rehashing for another round of familiarities. However, the way the premise is used tends to make it more camp than anything else.

Written and directed Anthony Hickox, who would later direct Hellraiser III: Hell on Earth (1992), makes his debut with this feature. Sometimes when doing more than one task the end result is not the desired outcome, but here it fairs out okay. The story is about Mark Loftmore (Zach Galligan), China (Michelle Johnson), Sarah (Deborah Foreman) and some other friends who get invited to a mysterious waxwork building headed by a nameless man (David Warner). Little do they or other strangers know that behind the displays are parallel dimensions where people can be transported and trapped. As mentioned before, it’s a twist on the classic story, just this time it’s not a crazed psychopath going around killing people off the streets. There’s a little more fantasy involved here.

Sadly, this still doesn’t remove the campy experience viewers may feel. There’s a couple reasons for this. First, the main characters themselves lack any relatable charm. Zach Galligan best known from Gremlins (1984) plays what seems like a character who wants to grow up, yet he still cares about who China (his ex) sleeps with. Michelle Johnson known for also later playing in Dr. Giggles (1992) is okay but again her character seems conflicted in motivation. In fact, so does the character of Sarah. There’s too much flip flopping. Nevertheless, the actors perform well with what they have. And despite the main characters not feeling strong enough, they are well supported by other veteran actors like David Warner better known from Tron (1982), Joe Baker who’d voice Lon in Disney’s Pocahontas (1995), Patrick Macnee who had roles in The Howling (1981) and A View to a Kill (1985) and even a cameo from John Rhys-Davies.

Two other aspects that play against the experience of this film are the rules explained in the story. While there is a moment where a key part is explained, there is another scene where another variation to the proposed rule is countered. Some consistency or at least clarity would’ve been good. The other issue is just the plot itself and the antagonist’s motivation. In all honesty, it’s a rather vague and preposterous plot why this whole situation even occurs. This is why the experience of watching this film feels campy. It’s just a ridiculous idea. The effects in this film are credible for 1988. There’s a good volume of blood and gore to be had even though the tone does not convey serious horror. Working on those effects was Bob Keen, the same guy behind movies like Superman (1978), Alien (1979), Highlander (1986) and Hellraiser (1987).

Behind the camera for this film was Gerry Lively, who also worked on Hellraiser III: Hell on Earth (1992) and even Friday (1995). The scenes shot by Lively are decent and show competence in their presentation. The best shot belongs to the waxwork building. Finally, composing the film score to this feature was Roger Bellon. Surprisingly, it is an interesting work that has gotten an album release. Bellon has a number of themes that occur throughout the run time and are memorable in their own way. The listening experience is very dated though by the instruments used. Almost anyone could tell it came from the 80s from certain tracks. For Bellon, this might be the work he’s most remembered for because much of the rest of his filmography is in the TV Movie realm where few scores get publications.

This movie puts an interesting spin on the old wax museum tale from past films. While the main characters feel inconsistent at times and the plot is just silly, it does provide mild fun. The camerawork is decent, the music is composed well and the supporting cast contain some big names.

Points Earned --> 6:10

Pokémon: Heroes - Latios & Latias (2002) Review:

The Pokémon franchise has always been one of the most recognizable icons of Nintendo. There’s an intense loyal fan base who take pride in the wide variety of Pokémon events. One of those moments being the annual film releases. With Season 5 coming to a close, the next film was on its way for fans of the show. While this film itself marked quite a low for the brand due to its poor box office return, over time it has garnered a following because of course it would. Despite the nostalgia many fans have for Pokémon: The First Movie – Mewtwo Strikes Back (1999) and that the majority of those watching this entry would only be fans of the show anyway, this movie actually surpasses the original film to some degree. This is in part due to technology and the rest is because of the experience in general.

The story for this entry follows Ash & company to the city of Alto Mare, the Pokémon version of Venice Italy. There they learn the legend of Latios and Latias, the legendary Pokémon that protect the city after it was once attacked from an evil Pokémon trainer. Keeping the city alive is the soul dew, an orb that contains the past Latios’ essence who saved the city. This would all be fine if it weren’t for Annie (Megan Hollingshead) and Oakley (Lisa Ortiz), top members of Team Rocket looking to steal the soul dew. Watching over this item is Bianca (Tara Sands) and her father Lorenzo (Wayne Grayson). The crew behind the Japanese and English productions are again the same pretty much as they’ve always been. Original direction is from Kunihiko Yuyama and the adaptation was done by Jim Malone. The script was written by Hideki Sonoda.

While the production crew is very much the same set of people, the reason why this story hits a higher mark than the last is due to a number of factors. For one, the story is dialed back in scale. Pretty much every film before it felt huge when it came to the number of Pokémon and trainers involved. Here, the narrative is focused more on Ash and the new characters introduced. Not even Jessie, James and Meowth do much in this film despite them also having their own scenes. And somehow that’s okay because of how the story is executed. Not everyone has to be involved every waking minute. Additionally, the fact that the antagonists in this feature have a clear background and the audience will easily understand their intentions is a good thing too. Perhaps the one thing that doesn’t make sense is a hint of a romantic relationship between two characters.

What throws this off though is that it is between a human and a Pokémon. It’s a little…odd and because of the situation, it’s not specified what it was really supposed to mean. Of course, voice acting is going to be good. The regular recurring cast members who voice Ash and company do what they do best, no questions asked. Tara Sands as Bianca who’s no newbie to anime in general or Pokémon does just fine. Wayne Grayson is also not fresh to anime voice acting before this but became best known for playing Joey Wheeler in Yu-Gi-Oh. The same could be said for Lisa Ortiz as Oakley, who also voice Serenity Wheeler. Megan Hollingshead as Annie is also best known in Pokémon as Nurse Joy. As for action, while it’s not as abundant as the previous entries, it is just as entertaining mainly because of the look of the film.

Cinematography again was provided by Hisao Shirai and it still isn’t the clearest on the usage. With the use of more prominent CGI, there are sweeping camera shots in the film. Maybe it was used there? This does make the experience feel more cinematic than any other Pokémon entry before it. This also blends well with the animation which not only has better shading but more detail as well. It’s the best it’s ever looked. Lastly the music composed by Shinji Miyazaki was a great listen. Unfortunately, the soundtrack did not get a domestic release but it still can be enjoyed because of how unique it sounds. Because of the setting, it has a more Italian feel with instruments sounding like they came from the country. Additionally, there’s the usual Pokémon cues and even a new spy genre motif for Annie and Oakley. Also, the song Secret Garden by Madoka is a very relaxing song.

Deep into the series, fans of the franchise should find this entry not only entertaining but also even better than all other entries before it. Aside from one little out of the blue romantic subplot and cinematography, if that exists, the animation, acting, action and music makes for a solid Pokémon feature.

Points Earned --> 7:10

Night at the Museum: Secret of the Tomb (2014) Review:

When Night at the Museum (2006) was released it was a box office success and the franchise has proven to be a successful trilogy to boot. Although it’s unclear probably to most, how much people really thought it would do well when it first began. It was such a strange idea making a hybrid adventure about something the History Channel would talk about and Pixar’s Toy Story (1995). That apparently was enough though to get audiences’ attention, not only watch it, but have it financially perform well too. Honestly, it’s nothing ground breaking. The whole franchise is more or less a standard kid friendly family adventure franchise. So to say it’s below average isn’t justified just because not all of the writing is expected to be pure art. Sometimes the most profitable things are of lesser quality. Essentially, that’s what the franchise is; escapist entertainment.

Of course that doesn’t mean its second sequel and finale to the franchise is perfect. It does however round out the stories into a nice little trilogy putting itself back in the same place as the original film. While the film was again directed by Shawn Levy, the writers David Guion and Michael Handelman are brand new to the franchise. They both have one film to their name of which was Dinner for Schmucks (2010). That’s not saying a lot but it’s something. The story is about again Larry Daley (Ben Stiller) back again at New York’s Museum of Natural History heading the evening night show until things go awry when Ahkmenrah’s tablet begins losing its energy. Meanwhile Daley is also trying to understand his up and coming son Nick (Skyler Gisondo) with what he plans for his upcoming career.

While to storytelling still slips a bit, the writers seemed to have reeled back the cluttering that was in Night at the Museum: Battle for the Smithsonian (2009). Make no mistake there are still some special appearances to be had, but definitely not the same volume as the first sequel. However, these are more like funny cameos as opposed to fully developed roles. What was nice to see was the return of Bill Cobbs, Mickey Rooney and Dick Van Dyke reprising their security guard roles one more time to close the franchise. Despite this, there are still continuity errors riddled between this and the other entries. It seems like no one can tell or knows the full history. And there’s also a forced subplot involving another history figure developing a romance with another human, this time a night guard Tilly (Rebel Wilson).

Yes, it’s for comedic purposes but it makes no logical sense. This also happened in the previous entry, why repeat the same silly plot thread? Unfortunately, comedy in general is still a bit scattershot. Stiller continues to play his character the same way he has for the last two entries which is befuddled and straight faced which only works in certain situations. Other characters like Sir Lancelot (Dan Stevens) should produce a good number of laughs with what he gets involved in. Then there’s also the mediocre humor like a monkey urinating. Oh that’s so hilarious, please stop making the audience feel like mindless boneheads. Acting in general though can’t be knocked. Everyone performs as to what is called of their character. Everyone from Rami Malek, Ricky Gervais who’s looking better in health, Ben Stiller who’s not looking as spry as he usually does and lastly Robin Williams in his final on screen performance.

The special effects all around still hold up, except for maybe a select few. Considering the budget was less this time than last, it’s not bad. Handling the camerawork was Guillermo Navarro, the same director of photography behind Desperado (1995), Spawn (1997) and even Hellboy (2004). While each entry has had a different cinematographer, Navarro helps keep the consistency here too. Lastly the music was once again composed by Alan Silvestri who creates a score to fit this sequel like he did for the last two films. While it’s not the most memorable in his works, it does feel like he too put in even more effort since this was the last film in the franchise. It makes all the difference when there’s closure to a story and the music is right there helping it along.

The final entry in this series still has continuity issues and the comedy is hit and miss. That’s not to say it’s not worth watching though. The acting is still good, the effects and characters are also more focused. Additionally, the music and camerawork are consistent enough to make this a solid franchise to watch among families.

Points Earned --> 6:10

Pokémon 4Ever: Celebi – Voice of the Forest (2001) Review:

Sequels always face uphill battles to their predecessors. Whether it’s the first iteration or if it’s many others down the road. Usually, being able to stand on its own is hard to do. So far, the Pokémon series has been on average okay but nothing that is overwhelmingly groundbreaking. Really there’s only been one horrible entry and that was Pokémon 2000. The rest have been serviceable. Now four entries in, this sequel believe it or not manages to make itself feel very much the same to that of the original film that came out. Of course there are issues with it like all others that came before it, but there’s something else to it that allows it to stand out. Unfortunately, not much detail can be given in order to keep it spoiler free but that should be all more of a reason why to see this entry for fans of the show.

The plot takes place after season 4 of the show where Ash & company find themselves in a forest where they spot the legendary Pokémon Suicune. However, what they don’t know is that they’ll also come across Celebi another mystical Pokémon which has the ability to travel through time. Of which the gang will cross paths with a boy named Sam (Tara Sands). Together they seek to protect Celebi from an aggressive hunter known as the Iron Masked Marauder (Dan Green) looking to capture it. The film crew working behind the scenes on this movie hasn’t changed for the most part. Hideki Sonoda is now heading the script writing and English adaptation is still being handled by Michael Haigney. Kunihiko Yuyama is credited as the director and Jim Malone did the English version. 

Acting again is as credible as its going to get. All the main actors reprise their role and it all works well. Dan Green who’s now been taking part in three Pokémon features should no longer be a surprise either. What is different though is Green playing a confident villain as oppose to a misunderstood one. Green as the evil Iron Masked Marauder certainly plays up his masculine voice to be as dangerous sounding as possible. Tara Sands who’s also a franchise veteran playing Sam does a good job. It’s an obvious Mokuba clone from Yu-Gi-Oh however, but that’s okay. What makes the story to this entry unique though is how it plays into the history of Pokémon. Normally time travel is a risky element to use in a story that isn’t in the science fiction genre…but it doesn’t go to crazy into detail either.

Thankfully, that’s to its benefit because the time travel aspect is left ambiguous due to the mysteriousness surrounding the legendary Pokémon. That’s the wiggle room of the script. However, what doesn’t work in its favor is a blatant plot hole that was clearly shown in the original film that doesn’t occur here. Consistency is key when rules are made about how a certain universe works. That doesn’t mean the story itself isn’t interesting to watch. In fact, it’s safe bet that this film had a much more emotional punch to the gut than that of any other sequel. This factors into the rating and why it’s getting more credit than the last couple features. It does beg the question though about the people who travel through time, does that make them all knowing? Is it possible they have a deeper connection with certain characters more than the audience or other characters know? The film kind of answers that but also doesn’t.

And until there’s clarity as to why cinematography was needed, it’s just not going to make sense. It’s very likely Hisao Shirai’s skill was used somewhere for the film….but it’s not clear how cinematography works into animation. That’s where things get interesting. The animation is a much more even mix of CGI and regular animation and it looks good. Also the action isn’t completely based on Pokémon battles which is a change in pace. Lastly the original music composed by Hirokazu Tanaka and Shinji Miyazaki was used this time as opposed to it being rescored. While it’s not all catchy tunes, it definitely works for the scenes at hand and does bring in that recognizable battle theme. Sadly, there’s no domestic score available for this so it’s not as easy to hear the tracks separately. Maybe someday, but only in Japan.

There’s an obvious plot hole and the ending raises questions how much and what some characters really know. Besides this though the voice acting, animation and story have more to offer than the last few outings which makes it more at the level of the first movie.

Points Earned --> 6:10

Shaft (1971) Review:

After the wave of civil rights movements and protests throughout the 1960s, a new wave of influence began to emerge. Despite Hollywood being a massive enterprise, various independent productions were able to nab the spotlight. For Shaft (1971), it was the beginning of what some would remember as the era of blaxploitation films. It's even been considered the definitive movie of such a generation. What it's also best known for is being the beginning of Richard Roundtree's acting career. There's something about the setting and story that bring about a different world the audience may not have been familiar with. This kind of eye-opening experience is important for those who seek a new experience and want see their world through another lens. While it's not flawless, this action film has class and style.

The plot of the film is about private eye John Shaft (Richard Roundtree) being hired by mob boss Bumpy Jonas (Moses Gunn) to rescue his daughter after being mysteriously kidnapped. Being a wild card on the force, Shaft wants to work the case his own way. Only involving the department and his direct supervisor Vic (Charles Cioffi) when necessary. Otherwise, it’s Shaft’s way or no way. In his search, Shaft also teams up with Ben Buford (Christopher St. John) to find more about Bumpy’s daughter’s whereabouts. Lastly there’s Shaft’s girlfriend Ellie (Gwenn Mitchell) who supports him when possible. The script was written by John D. F. Black based on a novel from Ernest Tidyman. Black was a writer to various TV episodes like Star Trek & Charlie’s Angels. Tidyman the same year would write the screenplay to Robin Moore’s The French Connection novel.

What makes the narrative of Shaft so intriguing to watch is the way the main character holds himself and communicates with other individuals. Unfortunately, this is mainly based upon the focus of race and differences in culture. The reason why it’s unfortunate is that anything that focuses only on the color one’s skin can further alienate others. That’s not to say the film itself tells its audience only certain people should watch the film, but it does feel as though part of the film’s influence is in spite of the times. Then again many people could sympathize with that. In the end, any regular person should be treated equally. Either way, the execution of the film by Gordon Parks was well done. Before this, Parks also directed The Learning Tree (1969).

Character wise John Shaft stands out as the most charismatic private eye in a while. The character can lay down the wisecracks and get the job done. The way he dresses is smooth but also has a forceful presence. Credit to Richard Roundtree for his performance as it’s one that viewers today don’t see much of now. The dialog itself is almost extinct compared to what’s being used today. Nobody says “don’t jive me” or “stay loose” anymore. It’s phrases like these that could make a viewer long to experience days like those again. Coming in second for a great performance is Moses Gunn as Bumpy Jonas. While Gunn plays his character more straight faced, he still comes off just as serious and even shows a little humanity in spite of his mob role. All other cast members perform well too, but they don’t really show too much of their own uniqueness.

Cinematography by Urs Furrer was the other weak area to the film. Most certainly the reason is not that the film doesn’t look good or handled poorly. It’s just there wasn’t a whole lot to take in other than the darkly lit urban terrain that was Harlem. However, what is one of the best if not most well-known components to the feature is Isaac Hayes’ soundtrack to the film. The album, containing over an hour of music lights up the film with sounds from the 70s along with other rhythms and tunes that really make the title character have a memorable theme. Not to mention Hayes uses his voice in various tracks as well as composing motifs for Bumpy Jonas and even Ellie. It’s all one heck of collection that feels timeless considering the age of the music it came from.

Camerawork could’ve used some work and the social context behind the film is somewhat to be expected. However, the time it came from is what makes it so entertaining and special. The main characters are fun to watch thanks to the acting. The dialog will keep it audiences’ attention and so will the music due to influence from the time it originated from. 

Points Earned --> 7:10

Pokémon: Mewtwo Returns (2000) Review:

In order for sequels to be successful, the story that continues the original narrative must be cohesive enough to make sense. For the Pokémon franchise, while the very first theatrical film made bank on its budget, it was largely panned for its contradictive message and characters only fans would understand. Since then the series has turned out a feature every year in between seasons, so it’s no surprise the only people who would continue to follow these entries are obviously fans. The first film may have many viewers riding their experience on nostalgia but it can’t be said for the two sequels that came after. One made almost no sense while the other stepped it up slightly, but still felt lesser compared to the original. Now, the first direct-to-video release sees the return of the first film’s antagonist. It’s almost an equal,…sort of.

With pretty much all cast and crew members returning again, there really isn’t a change in the quality of the effort put into the production. The only thing that truly matters at this point is the screenplay, which was originally written by Takeshi Shudo and English adaptation by Michael Haigney. Stepping in and taking full control of direction was Masamitsu Hidaka, who before only served as assistant director for the past entries. Ash, Pikachu, Misty, Brock and Team Rocket meet a couple of people along the way at a location called Purity Canyon. It just so happens that Mewtwo and the cloned Pokémon he created have made a home for themselves there. But Ash and company aren’t the only ones headed towards Mewtwo’s direction. Turns out Giovanni, the leader of Team Rocket wants to reclaim Mewtwo as well.

What works in this feature is the story acknowledging what happened in the past and confirming the current status in this entry. Learning that Giovanni did not have his mind wiped after the events of the first film at least explains why he’s on the hunt to find and control Mewtwo. Also seeing main characters not reacting to Mewtwo the same way they did in the first film was on point as well. Although it does beg the question why Mewtwo didn’t confirm Giovanni had his memory zapped. Guess Mewtwo just assumed Giovanni was killed after he blew up his gym. However, what doesn’t work story wise is Mewtwo’s internal struggle. At the end of the first film and start of this feature, Mewtwo states he understands his wrongs now knowing it’s what you do with life that determines your character. Then he proceeds to exile himself and company from society because he feels they are different.

Why is it that Mewtwo can’t make up his mind? It’s one thing if he and his clones were living among other Pokémon and then ambushed,…it’s another to understand the mistake and then go back on it. What caused the change in comprehension? It’s confusing when that happens. That is not to say the performances are not credible though. All returning voice actors do as good a job as they have been doing throughout the series. Dan Green who also voiced Entei in the last feature replaces Jay Goede as the original voice of Mewtwo. Both sound pretty similar and while Green is more recognizable, Goede definitely had a talent for having an imposing voice as well. Again, there’s cinematography from Takaya Mizutani but not sure how that’s utilized in production of the feature.

Animation on the other hand looks spectacular in this entry. This is the first film to use digital ink and paint coloring instead of the usual traditional animation cel. While classic animation is always great, the digital animation in this feature provide a much sharper and more vibrant image to the world of Pokémon. For the music, much of it is recycle tracks from the first movie composed by Ralph Schuckett and John Loeffler. Which in a sense is appropriate, but because it is a new story, viewers may be expecting some new themes to appear. But that is not the case, which could leave people who find the most entertaining storyline so far disappointed. Reason being is it will only remind the viewers of the scenes the original music belonged to.

The story stays true to last events no problem thanks to the returning crew and cast members for the production. The animation is also very crisp and colorful, now if only the music was more than just recycled and Mewtwo’s characterization wasn’t so flip floppy.

Points Earned --> 5:10

Scanners (1981) Review:

Director David Cronenberg may have started making himself known in the mid 1970s, but it wasn’t until the 1980s did his recognition finally take off. The first film to start that decade for him was this film. What people tend to remember the most was the explosion scene at the early start. Shocking yes and unexpected. However, to some unfamiliar with Cronenberg’s history, one would think perhaps things would only get more horrific. After all, Cronenberg had directed several of his own horror films before and of course would be best known for his remake of The Fly (1986) later on. That is not the case for this particular film though. Despite it having some gross moments as one would know what comes from Cronenberg, this genre is not exactly the same as the others.

As usual, Cronenberg is credited as writer and director for this feature. Making this story different from the others is its background. A company called ConSec is a weapon producer and is looking to harness the power of a specific type of individual called a Scanner. These beings have telepathic powers that allow them to control others minds. Cameron Vale (Stephen Lack) a scanner is being sought out to hunt down and bring in another scanner named Darryl Revok (Michael Ironside) who’s killing innocent people and scanners alike. The man giving Cameron the orders is Dr. Paul Ruth (Patrick McGoohan), who also works for ConSec. However, so does Braedon Keller (Lawrence Dane) who feels Dr. Ruth’s studies are irrelevant and wants it discontinued. Now, it’s up to Vale to stop Revok with the help of Kim Orbist (Jennifer O’Neill).

The fact that Cronenberg wrote the screenplay completely different from his other stories which contain similar themes, it’s an eyebrow raiser. There are elements of grotesque horror, but nothing that is meant to be scary. The story takes on a much more scientific espionage approach. There’s twists to how the story plays out and it’s not all about the violence. In fact, there’s not a whole lot despite the explosion scene being the most remembered. Even if the cast does not contain well recognized actors, the performances themselves deserve credit. Of the actors involved Michael Ironside is probably the most recognizable and by far gives the best showing. Not only does he play an interesting antagonist but also a somewhat sympathetic one. Many people know Ironside from later films like Total Recall (1990), Highlander II: The Quickening (1991), Heavy Metal 2000 (2000) and even Terminator Salvation (2009).

Jennifer O'Neill as Kim is a looker for sure and develops her character when meeting Vale. Patrick McGoohan as Dr. Paul Ruth has some of the best dialog explaining much of what needs to be known about Scanners. McGoohan would later be in Braveheart (1995), The Phantom (1996) and even Treasure Planet (2002). Lawrence Dane as Keller plays to what some may see as an obvious character but still puts in good effort. Unfortunately, Keller seems to be the character who knows the least about what’s going on around him. Dane would later have roles in Of Unknown Origin (1983), Darkman II: The Return of Durant and Bride of Chucky (1998). Sadly, the one actor who seems the least experienced is Stephen Lack as Vale. While Lack can perform, his line delivery feels off and often robotic. It’s unclear as to whether that was how the character should have sounded,…but it is odd.

Visuals for the film were good. Special and practical effects all were handled well for whatever gory scenes were actually shown. Some of it even looks digital even though that’s highly unlikely for 1981. Behind the camera was Mark Irwin, the same cinematographer for The Blob (1988), RoboCop 2 (1990) and Wes Craven’s New Nightmare (1994). Here though Irwin’s skill doesn’t feel as perfected, as the shots just aren’t that interesting to look at mostly. Lastly the musical score composed by Howard Shore is a uniquely memorable mix of clicking synthesizers and classic orchestra to bring out the ESP-like themes in the film. Another notable part is that the film does have a recurring motif for the story which will help viewers remember the music a lot better.

A film by David Cronenberg revolves around horror, but this is not that kind of film. The story here takes a different angle and making horror a lesser priority but not sacrificing characters either. The cinematography and the main lead felt like fine tuning was needed. Yet the music, effects and acting pick up the remainder of what falls short.

Points Earned --> 7:10