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

Pokémon 3: The Movie – Spell of the Unown (2000) Review:

As what would be expected since Pokémon’s TV series release in the United States, movies were on their way too. Following the same structure as the other entries, after Season 3 came to a close the third theatrical film was released as well. And if the prediction was the story would revolve around a powerful new Pokémon, then the formula is beginning to become familiar. Thankfully, the story displayed in this entry is a lot more believable considering the realm this show has created for itself. It’s known by now that the adaptation of the Japan dub hasn’t been very well done for past entries. Thankfully, the story here is more on par with the first film as oppose to the second one. However, to say it’s going to win over any new people is a doubtful claim.

The story this time is about a friend of Ash Ketchum named Molly (Amy Birnbaum) whose widower father Professor Spencer Hale (Dan Green) is researching legendary Pokémon called Unown. Unfortunately, after getting trapped in the Unown’s dimension, orphan Molly captures the attention of the Unown as well making her dreams real and bringing forth Entei as her protector. Of course it just so happens, Ash and company are headed towards Molly’s location by chance. According to imdb, directing this feature was no one else by Kunihiko Yuyama who also worked on the first two films for Japan. No English adapting director this time. The writing was also handled again by Takeshi Shudo, Hideki Sonoda and Marc M. uncredited. While the setup is essentially doing what is always does, the plot here at least feels like it fits into the series. Unlike Pokémon 2000 (1999) which alluded to Ash Ketchum being the so called chosen one.

What also makes this entry more interesting to watch is the antagonist Ash and company square off on. Here, Entei is seen as a villain to Ash & company at first, but that’s only because of the circumstances experienced and feelings Molly exudes when her father disappears. That is much more understandable that just some random rich boy hanging out in a floating fortress collecting rare Pokémon for some unexplained reason other than throwing the world into chaos. At least it’s explained and makes logical sense to a degree. On top of that, the stakes are little higher too because of Molly’s relation to Ash’s family including his mom and Professor Oak. There are some who would probably think this entry is more annoying though because of the focus being placed on a whiny little girl. Again, the character has more to it than the last one. So there’s that.

Of course this does not make up for development of the protagonists. Ash Ketchum, Misty, Brock and even Team Rocket are more or less in the same passenger seat as the audience. None of them really learn anything new that changes them. This is okay to a fan of the franchise, but as its own entry it doesn’t really work. Adding to that are more shoehorned characters like Lisa, a trainer Ash has a battle with at the start of the film. Her contribution could have been handed off to any other character to perform. So really, her role is about as important as Maren or Melody from the last film. Also some plot conveniences appear throughout the film that may have the viewer scratching their head. Like how can one character find a missing person in an ever changing labyrinth so easily? This doesn’t take away from the voice acting though.

Like the last two films, the English dub cast all perform like they usually do and that’s to their credit. Consistency is met there. The only new addition to the cast is Dan Green who most people can recognize instantly. His performance is also on point with everyone else. Cinematography again was handled by Hisao Shirai as there must be a reason behind it, but it’s not clear. There’s also Hisashi Kagawa serving as chief animation director and it shows, as now this film contains much more apparent CGI with unowns. While the action may not be as abundant as the last film, the movement still looks great. Lastly again Ralph Schuckett disappoints because no score was released and the music itself works for the scenes but isn’t memorable. It’s amazing how well his and Loeffler’s work from the first film sticks, but everything else has not.

Fans of the series should find this entry more interesting to watch than the last movie. Development of the main characters, plot conveniences and music still may not be at its best. However, the animation and voice acting are still great, and the foe the heroes battle against is not just a simple one note individual.

Points Earned --> 5:10

Maniac Cop 3: Badge of Silence (1992) Review:

It’s no surprise that the longer a franchise continues to make sequels, the less they capture people’s interest. Especially for types of films that came from a certain decade. The 1980s was the decade known for extreme violence and horror icons to name a couple. While many of those now famous characters popped during the early years, there were some last minute late bloomers to the party. They were characters like Pinhead from Hellraiser (1987), Chucky from Child’s Play (1988) and lastly Matt Cordell from Maniac Cop (1988). For the Maniac Cop franchise, while the story itself wasn’t anything drastically new, it was given an interesting spin on things allowing it to stand out from the regular hack and slash crazy killer film. The first sequel followed a similar execution but included an unnecessary side character to main antagonist.

This official final installment in the series though would end up being the least popular. Mainly because returning director William Lustig walked off set after he learned the original intended narrative changed focus. The total amount of footage available to use was only 2/3 a standard theatrical film. So the fact that additional footage was shot as just filler is remarkable the movie is able to continue the story from Maniac Cop 2 (1990). Written by Larry Cohen, who also wrote for the previous two films and The Stuff (1985), the story picks up from the last film as some voodoo artist named Houngan (Julius Harris) resurrects Matt Cordell (Robert Z’Dar). Meanwhile, Sean McKinney (Robert Davi) returns with Katie Sullivan (Gretchen Becker) who end up getting entangled in an incident involving intentionally misreporting newscasters lead by Tribble (Frank Pesce).

The first thing that doesn’t work in this sequel is the confusing motives for characters. Aside from a loose tie-in dealing with dishonest media coverage, Matt Cordell doesn’t seem to have a clear intention. The first film dealt with the character getting revenge on the precinct that left him for dead. The second film was about getting revenge for fouling up his original plan. Here though, because he’s resurrected by someone else he feels more like a vessel. Julius Harris’ character explains the reason for Cordell’s resurrection but it’s all in vague platitudes that won’t enlighten any viewer. The next piece to this feature that doesn’t help are some typical clichés one would expect from the horror genre. McKinney ends up meeting this young medical worker Dr. Susan Fowler (Caitlin Dulany), want to guess what develops between them? The question is, why? Who cares?

Let’s also not forget the dialog. But before that’s covered, it must be made apparent that the actors cast in this film are all special in their own way. They all perform well and give good performances. This also includes the likes of Grand L. Bush, Paul Gleason, Jackie Earle Haley, Robert Forster and Doug Savant. However, it’s what theirs and other characters say and do that make this entry so over the top. Cops make comments while on scene that are not appropriate, doctors visit lunch tables while wearing soiled aprons, reports using curse words while on a hot microphone. It’s safe to say not even the characters from the first movie were that careless. The action and stunts in this movie are well staged. Again, because of the year it was released very little if any CGI was probably used. Therefore, all the action was probably live pyrotechnics.

With that said, visually speaking the film is adequate looking too. The special effects and violence are all practical and executed professionally. Behind the camera was Jacques Haitkin as cinematographer. Prior to this film he also worked on A Nightmare on Elm Street (1984) and A Nightmare on Elm Street 2: Freddy's Revenge (1985). And later would serve second unit filming in the same role for The Expendables (2010) and Furious 7 (2015). However, the music composed by Jerry Goldsmith’s son Joel Goldsmith was a bit of a letdown. Considering the family name, one would think Goldsmith would carry on the original motif composed by Jay Chattaway from the first two films. Unfortunately, he does not and the new one provided doesn’t add a whole lot to it. Sadly, there’s not even a score to get the full listening experience to see if there are some redeeming qualities. A missed opportunity because there are probably people who’d want to complete the collection of maniac cop scores.

As expect, it’s the weakest entry in the series, but it’s not unwatchable either. The actors provide some fluff from time to time and the visuals are on point. But the second sequel delves too much in over the top characters and uncertain motives. It doesn’t help that the music isn’t the same either.

Points Earned --> 5:10

Pokémon the Movie: 2000 (1999) Review:

Every production studio knows if they have a successful franchise property, no matter how well a story could be ended, they’d rather continue pumping out more content. This is the typical route, and most of the time the formula runs dry fast. In the late 1990s, Japan’s Pocket Monsters, better known as Pokemon in the States was a big hit with western TV audiences. When the first theatrical film came out it only made the appetite for fans wanting more. The first theatrical film was almost thought of being a final send off to the series, but that never happened of course. Shortly after Pokémon’s second season was about wrapping up, came the second theatrical film. Despite it performing moderately well, it’s surprising that it even did so. If fans thought the first film had a bad plot, it’s even worse here.

The story picks up with Ash Ketchum, Misty and his new found add on Tracey, traveling to one of the orange islands, which was explained in the TV show. While traveling though, a mysterious character not even named in the film begins to disrupt the peaceful harmony surrounding them. With that said, it’s up to Ash and friends to discover the secrets to this disruption and how it ties to the greater wellbeing of people and pokemon. Generic sounding right? Well that’s because it is. The plot to this film is almost nowhere to be found, which is quite sad considering the first theatrical movie was already running on fumes. Essentially, this “movie” should be treated as an extended episode because it adds very little to any character within the franchise’s universe. There’s just one new thing fans of the show will learn about Ash after the end credits roll, but this doesn’t change the main character’s life in any way after that.

The team behind this film was the same behind the first movie, which is shocking. You’d think they would see how they could improve from their original mistakes. Apparently, Michael Haigney as director and co-writing with Norman J. Grossfeld didn’t change anything. Unlike how Mewtwo had a butchered backstory that wasn’t translated well from the Japanese to English dub, the villain known as the collector (Neil Stewart) contributes nothing to the story. There’s just nothing interesting about the character, nor is the audience given any kind of history on this individual. He’s just some weirdo who lives on some flying contraption in the sky. There’s no depth to the antagonist’s motivation. There’s also other additional characters like Maren (Tara Sands), Melody (Amy Birnbaum) and Slowking (Nathan Price), but again they don’t appear later on in the show.

The one of two things fans cannot fault this movie for is the voice acting. Even though the characters in general do not receive any kind of meaningful development, the performances from all cast members is as good as it has been. Ikue Ôtani as Pikachu, Veronica Taylor as Ash, Rachael Lillis as Jessie and Misty, Eric Stuart as James and Brock and Ted Lewis as Tracey all do fine with the dialog given and how they speak. It’s just unfortunate that there wasn’t more for the characters to do aside from getting caught up in shenanigans and actually have an interesting story to get involved in. Being that it was originally written by Takeshi Shudo, who also wrote for the first film, it’s probably fair to assume the story had more to it than what is seen in the English dub. Thanks for always meddling 4Kids.

Strangely again, Hisao Shirai is credited as the director of photography. Perhaps this was more for storyboarding? Yet there’s already a credit for a storyboard artist…so it’s unclear. What can be said though is the animation looks great. There are parts that contain CGI, but much of it is still classic animation that can be appreciated on screen. Credit to Sayuri Ichiishi as the chief animation director leading the way. Lastly the music is another unfortunate aspect to this feature. Produced by returning composers John Loeffler, Ralph Schuckett and additionally John Lissauer, the music just doesn’t hold up like past score made for the first movie. Here the music is adequate for the scene but doesn’t produce the same kind of emotions. This is most likely related to how bland the story is. Sometimes music is able to make up for a bad plot, but it just doesn’t cut it here.

Weirdly uneventful for only being the second theatrical pokemon film, this entry barely has a story. The voice actors all do nicely and animation looks great. But that doesn’t atone for the almost nonexistent character development, stock music and questionable plot.

Points Earned -->3:10

2001: A Space Odyssey (1968) Review:

The 1960s was a decade of many things. The topic that was not of this world during that time were literal space travel, like moon landings. Space and future science fiction stories would all become a staple for those ten years and onward. In film, more and more movies were beginning to revolve around this kind of setting too. From the late sixties, this film was one that has left people talking about it despite its bashing on release. More significantly, the man behind the film Stanley Kubrick is another reason why this movie has the reputation that it does. One thing to keep in mind is, Kubrick is not your standard director. So to expect something familiar or something close to familiar would be not wise if interested in seeing this film. That’s not saying this movie is bad, but it is tough to get through.

The story, adapted by Kubrick and Arthur C. Clarke author of the original literary work, is about a small space crew who goes to find out about a mysterious dark slab of whatever. This is about as much as the audience will receive on this. For a film that runs two and half hours, the next question is, what else goes on? Well…a lot of scenes that go nowhere. The biggest crime this film commits against its audience is robbing them of their time. Despite its run time, it seems Kubrick added almost all the wrong ingredients to make full use of the story and its characters. There are several irrelevant scenes that appear throughout the runtime which do not provide any clarity or explanations related to the plot at hand. Such wasted time went into presentation and very little into development.

One can sympathize with being meticulous with a project and making sure establishing shots look good. However, when those kinds of shots take up multiple sections of the narrative, then the story ceases to captivate the viewer’s attention. There are very few characters that take the focal point of the story. William Sylvester plays Dr. Floyd who’s informed of the strange dark free standing tabletop. Then the writing jumps to Dave Bowman (Keir Dullea) and Frank Poole (Gary Lockwood), two humans aboard the space ship investigating the mysterious item. Accompanying them is their super computer guide HAL9000 voiced by Douglas Rain. Unfortunately, the only character who actually comes out remotely memorable is Rain’s performance as HAL9000. However, this doesn’t mean the computer is a well-rounded character. Most remember HAL9000 because of the soft and creepy voice over work Rain provided.

Another issue with the execution is the tone Kubrick is trying to convey in the story. There are moments where the scene being portrayed feels like it supposed to be whimsical or lighthearted and then it abruptly shifts to what should be a horror film. These kinds of emotions are felt especially because of the music. Pacing though is by far the worst element to this picture. Most film fans are aware of how controlling Kubrick was with his films. Coming from a photography background, Kubrick seems to enjoy focusing on various shots in order to convey a message or have the viewer create their own message. However, for example, when the viewer has to see how a character executes a piece of machinery step by step, it is beyond boring. Taking the time for certain things are needed. Taking the time all the time is not.

If there’s one thing that does work to this film’s credit is the cinematography. Why? Well it’s Kubrick’s biggest strength. With support from Geoffrey Unsworth who would later shoot for Superman (1978) and Superman II (1980), the visuals are great for their time. With much of the backgrounds being mattes, much of looks photorealistic. There’s no discrediting it. It’s just that, these shots would’ve been better suited being sold as art at an auction, not in a movie. Lastly the music used in the film is okay because it is so well known now and launched several parodies later on. But with knowing that, it can’t be taken as seriously here either. Topping that off is that originally composer Alex North scored the movie, only for Kubrick to ultimately not use it. Thankfully North got a release of his score. It would’ve been nice to see it used instead.

Presentation is the word for this film. All other important components that make a movie work come dead last. However, anyone who enjoys Kubrick films should find it enjoyable, although that’s not saying much. For anyone else, there’s practically no story, the tone is misguided and the execution takes forever to gain traction.

Points Earned --> 2:10

Sleeping Beauty (1959) Review:

During its early years the Walt Disney company had established itself as the studio for making animated films. There was a talent for converting classic fairytale stories from the books to film that caught everyone’s attention. Despite the massive success though, even the mouse house waivered later on its years. While this film apparently opened successfully when released, it was not as financially beneficial in the long run. At the time, it was the costliest animated film to date for the studio. One of which would lead to change in direction of the company for a while thereafter. So was it the film that didn’t work or just the accrued costs involved? More than likely the latter, but when looking at this film now, it’s a classic yet not exactly as unique as one might think or remember.

Headed by supervising director Clyde Geronimi, a slew of other sequence directors and with the story adapted by Erdman Penner who both did Peter Pan (1953), the story is about a princess named Aurora who is betrothed to wed the prince of another kingdom and bring the two lands together. The plight of this story is when the sorceress Maleficent enters the picture. After not being invited to the kingdom’s ceremony, she bestows a curse on Princess Aurora that she will prick her finger on a spindle and fall into a deep sleep during her 16^th birthday. From there it’s up to Aurora’s fairy “god mothers” Flora, Fauna and Merryweather to keep her from making this curse come true. The concept sounds different, honestly it really isn’t by a lot. Not to mention it has been recorded that Disney didn’t want audiences drawing parallels to that of their first film Snow White and the Seven Dwarfs (1937).

With that said, it seems like they already knew this might be a gamble and it sort of shows. Some people remember this film fondly for being a part of the classic Disney princess lineup. However, it seems this film is remembered more for the opposite reason. The cast of actors playing the main roles feels what only can be described as the last of the golden age of Hollywood voices. Actors like Bill Thompson, Barbara Jo Allen, Barbara Luddy, Verna Felton and Mary Costa all participated in other movies that most would consider long before their time to know. The voice acting itself is fine for the roles the cast play, but what people tend to recall the most about this feature was Maleficent (Eleanor Audley). Not sure if it’s the stark gothic design of the character against the rest of the background but the character has only grown in popularity since.

However, the antagonist is not enough to carry this picture. The main characters themselves feel very hollow. While the character designs are friendly looking, they don’t add much to the story when it comes to development. Princess Aurora who is more a plot device than an actual character is pretty yes, but she says very little of importance and the same could be said for her betrothed partner Prince Phillip. The real main focus goes to the three fairies who work to keep Aurora secretly hidden from Maleficent. That’s fine, but the title of this film isn’t the three fairies, it’s sleeping beauty! It also really doesn’t help that this film shares similar plot elements to that of Snow White. A female antagonist places a curse on a young more beautiful princess that puts them in a deep sleep. And love’s first kiss is what’s needed to break the curse? I can’t imagine why the story felt familiar.

Yet with a run time not even at an hour and a half, the pacing feels slower than usual too. Perhaps it’s because there are very few characters who leave a lasting impression. The animation though cannot be discredited. Several other Disney films before it were not featured in widescreen format, but this one is and it definitely adds scope to the fairytale. Not only is the animation fluid, but well drawn with lots of detail. Imagine the effort it took to animate every cell of this feature, what a painstaking process. Lastly the music composed by Disney familiar George Bruns did a decent job. While there aren’t very many songs that will stick in the viewer’s head like other Disney classics, the sound is still very much reflective of the scenes that play out in the movie.

It may be considered a part of the Disney classics, but it’s not as entertaining as one might think. The villain is surely the most memorable component along with its animation coming in second. But it’s the under developed main characters, pacing and similar plot elements that make this fairytale a snoozer.

Points Earned --> 5:10

Graveyard Shift (1990) Review:

Working late night hours is not usually anyone’s preference. However, when people either need the money or if their schedule only works within that time frame, then there’s a reason why the 3^rd shift exists. Of course, with that comes the drawbacks like the usual lack of sleep. The one thing that should be taken care of before any of this occurs though is proper safety clearance. A building and or facility must be approved at meeting the standard levels of safety before touting their late night hour opportunities. That doesn’t seem to be the case here, let alone anything else, like calling it the “graveyard shift”. Despite that, this film manages to be entertaining enough for a little fun in the dark. After all, it’s based on a short story from who else; Stephen King. What a surprise.

Written by John Esposito who has worked on the newest incarnation of Creepshow and directed by Ralph S. Singleton, in his only theatrical credit, this monster film is unique to watch mainly for the experience. Not because of how the story is executed.  The story is about a group of mill workers sweating it out during their shifts to make ends meet for their selfish warden Mr. Warwick (Stephen Macht). On top of that, the lot they work in is infested with vermin. When one of the employees dies mysteriously in an “accident”, a new member is brought on board by the name of John Hall (David Andrews). While Singleton only directed this feature he had experience prior being assistant director to Death Wish (1974), an associate producer to Pet Sematary (1989) and a production manager to Harlem Nights (1989).

As mentioned before the execution to the storytelling is its weakest point. There’s nothing about the narrative that makes it different from other creature features or other Stephen King films. Characters are written plain as day from the very beginning, so to expect something new would lead to disappointment. There’s no explanation provided as to how the creature in this film came to be, which can make it tough for some since it takes place in what seems like contemporary times, not the near future. What probably makes the story the most baffling is how unrealistic the working conditions are. Thousands of rats litter the work site and this place is still allowed to run daily operations? There’s even a cleanup crew where they’re literally moving junk from one end of the room to the other. What exactly is being accomplished here?

Aside from these issues though, the actors all do a decent job in their roles. Better known for later playing Robert Brewster in Terminator 3: Rise of the Machines (2003), David Andrews as the lead is believable. Kelly Wolf as Jane Wisconsky is a good second actress to that of Andrews. Stephen Macht as Mr. Warwick plays an interesting antagonist. He’s definitely different from all the rest. The fact that he harasses his employees makes it all the more unrealistic. This kind of stuff doesn’t stand nowadays. There’s also appearances from Andrew Divoff from the Wishmaster films, Vic Polizos who played a Coroner in Night of the Creeps and even Brad Dourif playing an exterminator. Most of the actors involved, seemed to have gone on to be successful in one way or another.

Visually speaking, the film looks great for its time. Since its budget was low to begin with, it looks like most of that went into the practical effects and set design which are fantastic looking. Viewers will know these actors were handling real props. While gore and blood isn’t always on screen, there is enough to satisfy. This is also thanks to Peter Stein working as the cinematographer, who also worked on Friday the 13th Part 2 (1981) and Pet Sematary (1989). Finally, the music composed by Anthony Marinelli and Brian Banks provided a decent effort in their discography. Having composed over one-hour music in their newly released album, the score is very textural and dissonant which resonates very well for this feature. Typically, stronger themes are required to make a film memorable, but they figured this one out surprisingly well. Considering they started with Pinocchio and the Emperor of the Night, it’s definitely a one up.

The pitfall of this movie is just how highly improbable the situation is and also the narrative being too formulaic for horror fans. This doesn’t mean the other components should be discredited. The performances are fine, along with great looking visuals and eerily creepy music.

Points Earned --> 6:10

Zootopia (2016) Review:

If there are lessons in life people should be crystal clear about when growing up, it’s that no one should determine who you are except yourself and you can’t paint with broad strokes. Everyone’s opinion will have different angles to it because of their own life experiences. With that said, it’s important to try and listen to the other side from where they’re coming from. While this film came out in 2016, it is still just as relevant then as it is now, with so much mislabeling going on in society. People are more disconnected than ever believe it or not and a dialog needs to be had, whether an agreement is made or not. What’s great is that anyone of any reasonable age can watch this movie and take that message away from it.

Written by Jared Bush and Phil Johnston and directed by and Byron Howard, who some of which worked on the popular Wreck-It Ralph (2012), the story is about a small town bunny named Judy Hopps (Ginnifer Goodwin) making her way to become a police officer in the place called Zootopia. A city where all animals live among each other; predator and prey. However, things are not all fluffy clouds when not everyone is so friendly. Meanwhile, some citizens are going missing and there might be more to it than just it being a strange issue. As Hopps learns this, she teams up with a street fox named Nick Wilde (Jason Bateman) to see what she can dig up. The plot itself behind the story is nothing that breaks new ground, but it’s the overall message and themes behind the film which are so poignant.

Judy Hopps is a bunny, an animal considered by many as prey in the animal kingdom. This however does not stop her from becoming what she desires most. Even though her parents were very much satisfied being the status quo. Too each their own per scenario, but the idea of taking a risk and stepping out of the comfort zone to embrace logical positive change should not be something that is feared. Fear is unfortunately one of the strongest emotions and it can wreak havoc among not just a single individual, but a society as well. What’s great about the characters is that focused writing. Even Nick has a backstory that allows audiences to get a better understanding of his perspective as well. This again, all goes back to the getting to know people and not assuming things based on similarities to others.

As for characters and the actors that play them, it is quite interesting to see who plays what. Ginnifer Goodwin who’s known for doing Snow White in the Once Upon a Time series has made a lasting impression as Hopps. Jason Bateman known for being in all kinds of comedies plays a great foil to that of the straight performance from Goodwin. Idris Elba plays Chief Bogo, Hopps’ boss. Jenny Slate plays Assistant Bellwether, as her character would call a glorified secretary position to actual Mayor Lionheart played by J.K. Simmons. There’s also Nate Torrence playing Clawhauser, a donut eating cheetah. There’s Octavia Spencer playing the wife of a missing animal, Alan Tudyk as a weasel, Raymond S. Persi as Flash the slow moving sloth and even Maurice LaMarche in a special role that won’t be disclosed.

The animation is another great component to this movie. Supported by animation supervisors who have worked on Treasure Planet (2002), Big Hero 6 (2014), Paperman (2012) and Frozen (2013), it’s no surprise the visuals are creative, colorful and well detailed. Credit also should be given to Nathan Warner listed as cinematographer for designing the unique layout location that is Zootopia. How that architecture would ever become a reality today is big question. Lastly the musical score composed by Michael Giacchino is an added bonus. Unfortunately, he did not create a main theme for the movie which he easily could’ve done with Shakira’s “Try Everything” pop song. But that doesn’t mean his music isn’t effective. Having worked on The Incredibles (2004) and Star Trek (2009), how could it not be worth a listen?

Plot wise, it’s not something people haven’t seen before. However, it’s the way that it’s worked into the execution and relies heavily on the themes and morals it wants to get across is what makes it special. Everything from the characters, music and animation make this an entertaining family film.

Points Earned --> 8:10

Manhunter (1986) Review:

Crime and cop movies have been around for a long time. The idea of seeing the authorities catch their perp before they commit their next act is always something people want. Of course most people would expect the criminal to be a simple one. It’s when that criminal is more slippery and hard to understand, that it begins to get tough and super stressful. While this particular film did not get many awards or nominations, it is still considered a decent crime film thanks to the material it was based on and the people involved. This was also the third film for director Michael Mann who would later direct The Last of the Mohicans (1992), Heat (1995), Ali (2001) and Public Enemies (2009). Blackhat (2015) is also under his name but let’s forget that one. The only thing is here, for a thriller it doesn’t do much of that, which is kind of surprising.

Based on the book “Red Dragon” by Thomas Harris, with a screenplay written by Michael Mann, the story follows William Graham (William Petersen) a former F.B.I. agent being reeled back in to help solve a crime no one seems to understand. Hoping to make it his final time since his last encounter was with the traumatizing Hannibal Lecktor (Brian Cox), Graham agrees to help with his friend Jack Crawford (Dennis Farina) leading the case. Another reason why Graham will not take another assignment after this one is because he has a wife Molly (Kim Greist) and son Kevin (David Seaman) he’d rather not endanger. The killer who’s being nicknamed the “Tooth Fairy” (Tom Noonan) so far has been getting away with his killings without leaving a trace. Noonan would not long after this role be known as Cain in RoboCop 2 (1990).

Believe it or not though, this film displays many familiar faces on screen before they created their signature characters. William Petersen is best known now as Gill Grissom from the original CSI: Crime Scene Investigation show. Brian Cox has been in all kinds of popular movies like X-2: X-Men United (2003) Trick ‘r Treat (2007), Fantastic Mr. Fox (2009) and R.E.D. (2010). Joan Allen who plays a film developer assistant in the movie would be in the The Bourne Supremacy (2004). A very young Stephen Lang appears too but would get noticed more in Gods and Generals (2003), Avatar (2009) and Don’t Breathe (2016). There’s Dan Butler known for voicing Mr. Simmons in Nickelodeon’s Hey Arnold! Paul Perri who plays a friend of the main character Will would have a shining moment in Demolition Man (1993).

There’s the girl technician from RoboCop 2 (1990), a young Chris Elliot, that one guy who became a thing in John Carpenter’s The Thing (1982) and even David Allen Brooks aka Agent Manners from Jack Frost 2: Revenge of the Mutant Killer Snowman (2000), who’s featured only in an archive video. As for performances go, the actors all do great jobs. William Petersen truly plays his character like a guy who doesn’t want to get involved again but is still determined to catch the killer. Tom Noonan as the “Tooth Fairy” shows even before being in RoboCop 2 (1990) he knew how to act like a mentally unhinged person. Lastly who gets the least screen time but relishes every moment is Brian Cox as Lecktor. Cox plays it smooth but sneaky all the same. It’s an underrated performance considering who would play the character later on.

For cinematography, Dante Spinotti handled the camerawork for this picture. Right from the start viewers should be able to easily enjoy Spinotti’s skill. Because of the wide shots, the camera captures much of the surrounding areas that the story takes place in. Spinotti also later shot for Hudson Hawk (1991), Heat (1995), L.A. Confidential (1997), X-Men: The Last Stand (2006), Hercules (2014) and Ant-Man and the Wasp (2018). Lastly the music composed by Michel Rubini and The Reds had an interesting sound. Amazingly there is a theme for Graham and the music works for the film. Whether it’s memorable or not is debatable. The music is definitely a sound from the time, but the soundtrack does have other moments that stand out featuring other artists like Shriekback, The Prime Movers and Iron Butterfly.

As the start to making of the Hannibal films, this crime thriller has everything but the thrills. This doesn’t make it bad as a good cop film can entertain without it. But it does feel like something’s missing. The acting is exceptional, the story works well, the camerawork is effective and the music is appropriate for the time.

Points Earned --> 8:10

Jimmy Neutron: Boy Genius (2001) Review:

Among the 1990s, children’s programming was beginning to ramp up. Once the groundwork was more less laid out, top competing channels like Cartoon Network and Nickelodeon were taking up most of the attention. While both were neck and neck for viewers, Cartoon Network always came across more for older kids with its line up in dark humor and edgier characters. Nickelodeon had the impression of being more colorful and oriented at younger kids. Part of what helped solidify that image were popular cartoons like Jimmy Neutron. However, the brand wouldn’t have been able to add this character to its roster if it didn’t launch the franchise with its in-house movie studio. While the franchise creator John A. Davis hasn’t been as active as he once was, to this day people genuinely remember Jimmy Neutron as one of Nickelodeon’s well known mascots.

Headed by Davis as director and co-writing with Steve Oedekerk, this duo who was with the concept since the beginning, made a pilot film that marginally still holds up today. The story is about the title character Jimmy Neutron (Debi Derryberry), a young boy with more brain power than your average college science professor. After indirectly making contact with an alien race known as the “Goobots”, the alien race descends upon Neutron’s home of retroville and captures all the kids’ parents for a ritual sacrifice. Before this, Neutron lived an average social life. He’s not a popular kid despite his intellect, but that’s typical even for your regular smart kid. He has two buddies Carl (Rob Paulsen) and Sheen (Jeffrey Garcia) who appreciate his company, but that’s because they’re not your average youth either. There’s also Cindy Vortex (Carolyn Lawrence) who feels slighted, because before Neutron, she was the smartest kid in school.

This is just some of the characters that appear in the film. Others obviously received more focus in the show but there are moments with Miss Fowl (Andrea Martin), Nick (Candi Milo), Libby (Crystal Scales), Judy Neutron (Megan Cavanagh) and Hugh Neutron (Mark DeCarlo). Playing the main two villains against Jimmy Neutron is King Goobot (Patrick Stewart) and Ooblar (Martin Short). Together, the cast of actors all do a great job performing. Unfortunately, the comedy bits are where it’s hit and miss. It can produce a chuckle here and there, but much of the jokes wouldn’t impress an adult showing this to their kid. Jimmy Neutron is probably one of the few adult jokes to come off humorous. Reason being, the main joke is that he’s talking with adult words no one understands. The interactions between Jimmy and his robotic dog Goddard are more comical because they both understand one another.

The dialog between King Goobot and Jimmy are good too, but the rest is mildly juvenile. Sheen is a hyperactive goofball with zero attention span. While Carl is the exact opposite to that. Especially with these two individuals, there were bound to be some gags that were more childish than necessary. The story does have its moments of humanity in it. Jimmy does have loving parents despite his large cranium and there is a lesson to be learned from at the end of the day. Guessing more of the juvenile humor came from Oedekerk. He is after all also the writer to the Thumb Wars parody films. Another strange thing to incorporate into this feature was cinematography handled by Steve Kolbe and Chris Sherrod. Both named people would not go onto do a whole lot more. And what was the reason for having cinematography again? This is an animated film.

Speaking of which, the animation is quite intriguing to look at. Why; because more than likely it’s the exact opposite one would think compared to what will be said next. The animation is actually not badly done. That’s right. Most would definitely agree by today’s standards that it does not hold up. And in some places, it doesn’t. Several backgrounds feel unfinished and too simple in design. But what helps conceal that are the energized colorful characters and their expressive facial features. If the characters don’t look like hollow shells, that’s one step in the right direction. Lastly, the music composed mainly by John Debney and Brian Causey was efficient at their jobs too. Unfortunately, there’s no main theme for Jimmy instrumentally speaking. However, the soundtrack to the film is a nice throwback to times gone by. Thankfully that’s a datedness that is welcome to hear.

To some now, this kid’s film will feel dated, which in some areas it is. This is mainly in the parts of the jokes. There’s also cinematography…where? Animation may also seem less detailed, but overall the characters are what counts, the voice acting is great and so is the music.

Points Earned --> 6:10

The Grudge (2004) Review:

In horror films, spirits and ghosts are popular creatures used in hauntings and spook fests. Sometimes though, the incarnations featured in the US don’t come across unique or creepy. With that, every now and then international influence helps rejuvenate an industry. Movies are no different when it comes to the US as well. Which is why this film was made, when Sam Raimi saw the original movie released in Japan under the title Ju-On (2002). Usually when a story is adapted into a foreign market, there is a loss in translation due to cultural differences. That doesn’t seem to be the case here though, as this Americanized version of the film seems to be handled with just as much care.

Directed by Takashi Shimizu who also directed the original Japanese film, the story is about transfer student Doug (Jason Behr) and his girlfriend Karen (Sarah Michelle Gellar) who moved to Japan to receive caretaker credit. When an assigned caretaker doesn’t report into work for a specific residence, Karen fills in only to discover something isn’t right about the location of the house. Adapted by Stephen Susco in his first theatrical writing credit, the story is clearly disturbing in way that’ll keep its viewer watching with intrigue. The person who lives at the house is Emma (Grace Zabriskie), the mother of Matthew (William Mapother), Susan (KaDee Strickland) and mother in law to Matthew’s wife Jennifer (Clea DuVall). When Karen reveals to local police detective Nakagawa (Ryo Ishibashi) that she saw a creepy child named Toshio (Yuya Ozeki) is when the plot thickens.

Most of the characters depicted in this story are an interesting bunch. Sarah Michelle Gellar best known for her roles in Cruel Intentions (1999), Scooby-Doo (2002) and Buffy the Vampire Slayer TV Show, plays a likable lead even though she’s not totally the main focus. The reason for this is the slightly disjointed execution from director Shimizu. In order to explain why this residence has a lingering spirit, the movie takes its audience through a series of different flashbacks at different times. They are not hard to follow, but the moments at which they begin and end feels like they’re in the wrong place. Or at the very least could been shown at a different time in the story. Runner up to Gellar’s performance was Ishibashi’s role as detective Nakagawa. Rounding out the cast, the movie also has appearances from Bill Pullman, Rosa Blasi, Ted Raimi, Yôko Maki, and Takako Fuji.

What also makes the story to this horror film entertaining is the inclusion of Japanese mythology. Based loosely on the belief on how it occurs, the title of the film appropriately lends to the nature of the disgruntled antagonist. Perhaps the only other component to the film that won’t please in particular the gore hounds is the level of violence. It’s not much, but considering it’s a PG-13 rated film, that’s rare. Plus, the original Japanese version didn’t have any. Besides, ghostly apparition films are more psychological than they are gory. The effects are also very well put together despite its budget and year that it was made. Very little of it is CGI and the parts that actually show the spirit, look like stop-motion but are indeed the talent of the actor, which is very impressive to say the least.

Camerawork was also skillfully shot for this picture. Hideo Yamamoto served as the cinematographer. Yamamoto also worked on the original One Missed Call (2003), another popular Japanese horror film and a year later would do the same for Tetsujin 28 (2005). As for music, the score was composed by famed gothic composer Christopher Young. Although part of the sound heavily relies on dark brooding soundscapes, Young did compose two main themes which in their own right are memorable for the franchise. Considering Young also composed other great works like Hellraiser (1987) and Species (1995), it’s nice that director Shimizu chose him to provide the music for this film. Thankfully an album exists and has just the right amount of creep factor to it to entertain.

The way the story is told can feel out of place and gore may seem light to those who want it, but that’s not much compared to the entire experience. The plot which includes some Japanese culture is captivating, the visuals are good and the music is entertaining for the genre.

Points Earned --> 7:10

The Muppet Movie (1979) Review:

He’s been known for many things related to television. He made the word “Muppet” a common term. He created Sesame Street, a children’s show everyone has enjoyed for all ages. Most importantly though, he reinvigorated an industry that was seen as old fashioned and viewed as almost laughable. Ventriloquism and puppetry seem like a trivial way of entertainment, but before special effects and CGI were a thing, it has long been a means for that reason. Just because it’s old doesn’t mean it no longer has value nor contributed to the evolution of the industry it’s related to. Rightfully so, with the success of The Muppet Show, Jim Henson took the next step in his film career by making a movie about them. What results is a strong first entry in Henson’s theatrical movies.

The story although not credited at all to Henson, is an allegory to Henson being able to make his Muppet movie. Even with the success of The Muppet Show, Henson had trouble finding someone to support his first theatrical film. Kermit the frog (Jim Henson) is enjoying his life in the swamp when he’s visited by a Hollywood agent telling him he could be a star. Feeling he could make an impact, Kermit sets out on the road and meets all his other friends people come to love and know so well. In a sense, it’s an origin story. The script was written by Jerry Juhl and Jack Burns, both who had worked on The Muppet Show as well. Directing the feature was James Frawley who had more experience heading TV shows like The Monkees and Magnum, P.I.

For those who enjoy the Muppets, the film gives the viewer a good idea as to how Kermit hit it big with Hollywood and was able to gather his group of diverse and colorful friends. Characters like Fozzie Bear, Miss Piggy, Gonzo, Rowlf, Dr. Teeth, Animal, Scooter, Beaker, Bunsen and more get their introductions one way or another. The script also loves to break the fourth wall with the audience, letting them know the Muppets know it’s a movie. The puppeteers and voice actors all do a great job making these characters feel like they are their own individual. Not to mention as expected, the movie also contains several cameos from big name actors at the time like Charles Durning, Austin Pendleton, Edgar Bergen, Mel Brooks, James Coburn, Dom DeLuise, Bob Hope, Carol Kane, Richard Pryor, Orson Welles and Caroll Spinney playing who else but Big Bird.

Perhaps the only thing that suffers in the movie is pacing. It’s not a bad thing, but it’s most likely the weakest link in the production. At times, audiences may feel the story is kind of taking a wacky detour. This comes down to the incidents Kermit and his friends get involved with, some of which don’t make a lot of sense. Perhaps that was a part of the comedy? It’s a bit hard to tell, but that doesn’t mean the movie isn’t funny. There are plenty of moments where the characters get involved in over the top antics. The effects used in this movie are also commendable. There are a number of illusions used in the movie that are mind blowing for the time that show a puppet can fully exist on screen without being attached to a puppeteer. It’s very creative.

These camera tricks were caught by Albert Einstein lookalike cinematographer Isidore Mankofsky. From what is shown, Mankofsky filmed several nice countryside backdrops along with varying streets of California. Lastly, the music composed by Kenny Ascher and Paul Williams is notably an important piece. Having worked very famously on the second A Star is Born (1976) remake, it’s no shocker they created memorable music here too. Songs like the “Rainbow Connection”, “Movin’ Right Along”, and “I’m Going to Go Back There Someday” are all songs that bring out the proper emotions for the scene. Making it all the more enjoyable are the small snippets of score that they composed throughout the film. Thankfully the album exists and has been reissued. Definitely something worth adding to a collection.

Pacing is probably the only thing that falters from time to time. That should not be too bad though because the acting, guest appearances, story, songs and cinematography all make this an enjoyable family picture.

Points Earned --> 8:10

Underworld (2003) Review:

Universal Studios’ classic monster movies from the early days of cinema continues to be one of those milestones that filmmakers look to inspiration for. Whether it’s creating new horror figures or working with already existing ones, werewolves and vampires have remained as one of those top types of monster classes. And while these creatures had their fair share of separate features, they did not often cross paths. But of course, once The Matrix (1999) came out along with “bullet time”, everyone wanted to try a film with this. Leave it to newcomer director Len Wiseman to make this happen by combining these two horror classes in one picture. With that, came the franchise fans couldn’t seem to get enough of, despite critics panning it. In order to like it though, one kind of has to be into the style and story.

The story penned originally by Kevin Grevioux and scripted by Danny McBride in his first theatrical credit is about a lengthy ongoing war between Lycans (Werewolves) and Vampires. While hunting Lycans led by Lucian (Michael Sheen), one of the vampires named Selene (Kate Beckinsale) sees them following a human named Michael (Scott Speedman). Curious as to why, she makes it her mission to find out what their plans are. Concurrently, Selene’s superior Kraven (Shane Brolly) tries to keep her from overstepping her place for soon the lead vampire Viktor (Bill Nighy) will awaken to finally crush the Lycans. For a premise, it seems entertaining enough but that’s pretty much where it stops, because there are equally bad parts for the good. It’s another surprise seeing that the film was successful, yet fails to impress all completely.

The acting in this film is acceptable. All actors give performances probably one would expect. The characters themselves though are the ones that come off odd. Beckinsale’s Selene has an interesting history, but why does it seem like she’s the only one hunting Lycans? All the other vampires under Kraven dwell in a fancy mansion sitting in fancy chairs. Is that all they do? They don’t seem to be in any centuries long war. The character who stands out as the most intriguing is Lucian. He seems the most enthusiastic about fighting the war between the factions and for good reason. That’s it though. Not even Scott Speedman playing the macguffin of the plot lends for any strong attention. He also plays a predictably written subplot to that of Beckinsale’s character.

Adding to these story clichés is the padded run time. The film just breaks two hours and somehow feels longer than that. If the film trimmed off at least twenty minutes, it would have been reasonably paced. Instead, scenes feel longer than necessary. Not to mention the decently shot action sequences matching very close to the slow motion shots filmed in other action movies. All those slow moving frames add up. The picture also ravishes in showing its viewers the set design, which is built very authentically. However, there’s a lack of variety. Much of the set pieces are of same locations over and over again. Let’s also not forget that there are no daylight scenes. The setting is always dark and rainy. Is this Earth this story takes place in or some other planet?

Camerawork was handled like it needed to be however. Tony Pierce-Roberts served as the director of photography and had also worked The Remains of the Day (1993) and Kiss Kiss Bang Bang (2001). Roberts also makes sure to show the audience a good amount of gore in case anyone was worried the R rating wasn’t fortified. Lastly, the score was composed by Paul Haslinger, who had scored films before, but would breakout here with this effort. While much of the work is more atmospheric, there are moments of thematic music that pops in every now and then. Perhaps the more standout components to Haslinger’s score is during the action scenes where the music kicks into gear with heavy percussion and synthetic clicks. It’s not a great score and works in some places, but overall not impressive.

Acting and camerawork are the best parts to this franchise starter. The premise itself is an idea, but the execution is slow in a number of places. Very few characters will get a viewer’s attention, the settings are majority singular and the music is more of a product of its time.

Points Earned --> 5:10