Category Archives: Films

My Thoughts on: Mad Max Beyond Thunderdome (1985)

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*note: This review was requested by Patreon subscriber @AlienPizzareia as part of his reward tier.

Believe it or not, all this time I’ve never seen a Mad Max film before. I’m not sure if Mad Max Beyond Thunderdome was the best place to start but for better or worse this was my introduction to the Mad Max series and I have…thoughts.

The one thing I did know about this film going in is that it’s set in a post-apocalyptic time, after nuclear conflict devastates the world. As a result, the land (Australia in this case) is crawling with insane gangs that ride around in souped-up ramshackle vehicles and dressed all kinds of crazy. As crazy as it all looks, it also feels scarily believable, like, if the world did exist past an apocalypse I could almost believe that it would be full of people like this, that dress and act like this.

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I love Tina Turner as Aunty Entity. She comes across as something of a b*tch, but if you think about it, as sadistic and harsh as her “laws” are, they DO preserve some semblance of law and order in Bartertown (though I do use the words “law and order” extremely loosely). She is such a badass though, I liked watching her do her stuff. (And am I crazy or was she wearing an outfit made out of chainmail?)

My favorite part in the whole film was the fight in the titular Thunderdome. I didn’t think I would like this scene at all but I found myself getting into it, especially when the combatants started springing up into the rafters to get weapons and fight. That fight shouldn’t have been as good as it was, but I liked it and it just worked. Also, the reveal of Blaster as being mentally handicapped came as quite the surprise, since it made me re-evaluate everything the character had done up until the reveal (he’s not really evil, he’s just doing what he’s told and I have a feeling he doesn’t really understand the ramifications of what he’s doing).

I have mixed feelings however, about the plot with the children. It’s not a bad subplot, it’s just, compared to everything you seen Bartertown before this, the sequences with the children and their tribal way of life feels like it comes from a completely separate film. I did like though, how the “tell” narrated for the audience (and Max) how the children got into this situation without making it boring. One wonders how long they’ve been waiting for someone to rescue them. I initially thought these were the children of the adults who left but given how they talk with such mangled English, it’s entirely possible these are the children of the children that were left behind. I just think this plot would’ve worked better as its own film.

I’m glad I finally watched a Mad Max film, I get now why many people like them (those car chases are insane!). I think I’ll have to watch more Mad Max films in the future just to see how they stack up to this one.

What do you think about Mad Max Beyond Thunderdome? Let me know your thoughts in the comments below and have a great day!

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My Thoughts on: Godzilla: King of the Monsters (2019)

*Warning: some spoilers for Godzilla: King of the Monsters follow

Holy sh*t. I say again, holy sh*t! Do I ever have some thoughts on Godzilla: King of the Monsters.

First off, let me say that I was initially not a fan of the MonsterVerse, I can admit that. Godzilla (2014) was okay, and Kong: Skull Island (2017), while better, still didn’t sell me on the concept of a world where Godzilla and King Kong co-exist. And then I saw the first trailer for Godzilla: King of the Monsters and I found myself completely buying in. The idea of seeing legendary monsters like King Ghidorah, Rodan, and Mothra realized in American cinema was so exciting that I couldn’t wait to see how it turned out. This film rocketed to the top of the list of films I had to see this year. Listening to the soundtrack last week only increased my excitement. And having seen it, I have to say…I absolutely love it!

Godzilla: King of the Monsters provides all of the kaiju action you could ever want. The battles between King Ghidorah and Godzilla in particular were incredible to watch. I didn’t understand why Ghidorah needed motion capture until last night, when I realized each of Ghidorah’s heads has its own personality (which makes the monster even more fun to watch). I also like how the major kaiju are introduced in the film, with each having a scene set aside for their proper introduction. What makes it even better is that with each introduction, the film provides backstory that explains how we know the names of these creatures.

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Another thing I like in this film are the Easter eggs that refer back to the original Japanese films. There’s a reference to the Oxygen Destroyer from the original 1954 film, and, unless I’m mistaken, there’s an oblique reference to the twins that are connected to Mothra in multiple films.

Now, with that being said, the film does have its flaws. One of the biggest issues for me are the plot points dealing with the Hollow Earth. I understand, for the most part, what they’re going for with this concept, but I also feel it hasn’t been explained enough. Furthermore, if you went in to Godzilla: KOTM without first seeing Kong: Skull Island, the Hollow Earth theory will be completely new to you, when actually it’s first mentioned in Kong. Now, if I understand the information revealed in the credits correctly, the Hollow Earth is going to be more explored in Godzilla vs. Kong, however I feel like some of those revelations are going to come too late for some and should have arrived in their own separate film, or in THIS film. Basically, what I’m trying to say is, while THAT underwater scene with the Hollow Earth was really cool to look at, I needed more exposition as to how all of that could exist where it does.

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Another flaw that bugs me the more I think about it is Charles Dance. Given how incredible the actor is, I feel like we didn’t get as much of him in the story as we should have. Yes, he has a few good scenes, but I thought there would be a lot more. Also, I really don’t like that his plot arc is essentially left hanging. Did he get away? Did he die with his associates? We don’t know because the movie doesn’t tell us (and as far as I know, he’s not cast in Godzilla vs. Kong). Apart from that, I liked the human story in this film. I agree it’s not the fanciest story ever told, but then again, it’s a Godzilla film, it doesn’t have to be fancy to work.

Overall, despite its flaws, I really enjoyed Godzilla: King of the Monsters. As I suspected, the music elevated certain scenes to epic levels of greatness. I really hope that there will be more films in the future that feature Rodan, Mothra, and the other kaiju now that they’ve been properly introduced. I also think this is the film that finally cemented the MonsterVerse as a solid concept.

Let me know what you think about Godzilla: King of the Monsters in the comments below and have a great day!

See also:

Soundtrack Review: Godzilla: King of the Monsters (2019)

Kong: Skull Island (2017), my thoughts

Film Reviews

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Soundtrack Review: Godzilla: King of the Monsters (2019)

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The official soundtrack for Godzilla: King of the Monsters is now available. The music for the third installment in the Monsterverse (following Godzilla (2014) and Kong: Skull Island (2017)) was composed by Bear McCreary (The Walking Dead). This film sees the world under assault from a series of titans, including Rodan, and the seemingly almighty King Ghidorah. It will ultimately be up to Godzilla to prove himself the alpha monster and take his place as King of the Monsters.

Regarding the score, Bear McCreary had this to say:

“For Godzilla, I chose to incorporate and adapt the legendary Akira Ifukube’s iconic theme, and for Mothra, Yuji Koseki’s immortal ‘Mothra’s Song,’ both being classic themes from the franchise’s origins,” McCreary explained. “I hoped to form a connection between Ifukube’s uniquely brilliant style and the aesthetics of modern blockbusters.”

Additionally, “director Michael Dougherty used the term “Monster Opera” when describing the magnitude and importance of the score to the storytelling.”

I definitely get the sense of “Monster Opera” when listening to McCreary’s score for this film. The music overall creates an epic sense of scope that matches what I’ve seen of the monsters in the previews thus far. The music proclaims what we’ve long known: Godzilla: King of the Monsters is going to be an epic clash on every level.

McCreary does a masterful job incorporating Ifukube’s iconic theme for Godzilla into the score. It’s played relatively straight in the main title, but then McCreary…heightens it, if that makes sense, by incorporating a variety of instruments, remixing the theme to help it reach even greater levels of grandeur. The original theme reappears throughout the score, and I love that McCreary took the time to musically tie this Godzilla film back to the original, as if to say “this is a true successor to the original Godzilla, the music say so.”

Aside from the tracks that include McCreary’s take on the original theme, “Rodan” is quickly becoming one of my favorite tracks in the score. I’m not sure if this is Rodan’s theme or simply music associated with his appearance in a scene (there IS a difference), but I love this music anyway. I think this track exemplifies just how dangerous Rodan and the other titans are. McCreary incorporates loud trumpet blasts that I suspect might be mimicking the sounds that Rodan makes (that is a complete guess on my part, I haven’t seen any of the original kaiju films that have Rodan in them so I’m not sure what he sounds like). And if nothing else, these trumpet blasts symbolize the danger that Rodan represents. This music is loud, it’s blaring, it practically screams “Oh my god, RUN!”

And then there’s the music associated with Ghidorah, the monster I’m most looking forward to seeing apart from Godzilla himself. I can’t name these particular tracks because it might lead to some spoilers, but the music that makes up Ghidorah’s theme and is otherwise associated with him left me completely enraptured. I swear McCreary has incorporated into the music a sense of motion that mimics Ghidorah’s three heads moving and twisting about. I am very excited to hear this music in context once the film comes out.

Overall, this is a fantastic film score. For the sake of avoiding potential spoilers I’m not covering the entire soundtrack but believe me when I say this soundtrack latches onto you and doesn’t let you go until the end. Some tracks are fraught with tension, and in others you can almost feel the monsters stomping about as the music plays. Even though the film doesn’t come out until next week, I’m convinced that McCreary has created a score that will seamlessly intertwine with the action to create a spellbinding story. You should definitely listen to this soundtrack when you get the chance, it is one of the best I’ve heard so far this year.

Once you listen to the score (and see the film), let me know what you think about the soundtrack for Godzilla: King of the Monsters in the comments below and have a great day!

See also:

Film Soundtracks A-W

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Soundtrack Review: John Wick: Chapter 3 (2019)

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The soundtrack for John Wick: Chapter 3-Parabellum, is now available for purchase from Varèse Sarabande. In this third installment of the adrenaline-fueled action franchise, skilled assassin John Wick (Keanu Reeves) returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn. The score for this film was once again composed by Tyler Bates (Guardians of the Galaxy, Atomic Blonde), who to date has worked on every film in the John Wick series.

Regarding John Wick: Chapter 3, Bates had this to say:

“While his fight, stunt, and weapon work is second to none, Chad [Stahelski] embraces original music with equal passion – setting the table for Joel Richard and I to experiment and create a distinct “sound” for the John Wick world. Five years ago, we cranked “Killing Strangers” at concert volume in my studio. And now John Wick is a trilogy. Working with Chad has been a truly amazing experience.”

Having now seen all three John Wick films, I have to agree that the music for these films are very distinct indeed. One thing I like about John Wick: Chapter 3 and the series overall is that the music sounds the same across all three installments. As soon as you hear the first beat of music, you know you’ve come back to the world of assassins and John Wick. I’ve never quite been able to define the nature of the music in firm words, but the words that come to mind the most often are “techno-futuristic.” The music Bates creates weaves into the background and fight scenes almost seamlessly, creating this edgy, near-futuristic world that’s inhabited by Wick and a seemingly endless legion of assassins.

There’s some nice twists in this score also. “The Adjudicator” has an almost militaristic sound (fitting given the role she plays in the film) while “Elder Tent Offering,” quite ironically given what happens in that scene, has some of the most lyrical music in the score. But I think one of my favorites is “Winter at the Continental,” which is essentially a techno-remix of Vivaldi’s “Winter.” I remember hearing “Winter” played straight before the fight began, but I either didn’t realize or didn’t remember that there was also this fast-paced remix, which is really fun to listen to, since Bates takes Vivaldi and “modernizes” it for Wick’s world.

I really like the music Bates has created for John Wick: Chapter 3. It’s edgy, it’s fast-paced, but it also slows down when necessary, and it fits the film’s world perfectly. I love how Bates can insert slow moments out of nowhere, it’s easy to forget about them since most of the film is devoted to fights, but the slow moments are just as beautiful.

Let me know what you think about the music for John Wick: Chapter 3 in the comments below and have a great day!

See also:

My Thoughts on: John Wick: Chapter 3 (2019)

Film Soundtracks A-W

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My Thoughts on: High Life (2019)

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*note: minor spoilers for High Life follow

I knew I wanted to see High Life from the moment I saw the first trailer. I have a keen interest in science fiction cinema that’s only grown stronger since I finished my dissertation, and I’m always looking for that best kind of science fiction film, the ones that really make you think about what they’re trying to tell you.

And let me tell you, High Life is without a doubt that kind of film.

One thing that’s interesting about High Life is the story isn’t told in a regular, linear format. The story opens after most of the action has already happened, then jumps back and forth, filling in the pieces of the story bit by bit. This is a process that can go horribly wrong if not done properly, but here it works. With each piece of the story that’s told, you feel a growing need to continue with the story, to find out what happens next.

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Robert Pattinson is great in this film. I admit, I haven’t really seen any of his work before this. I haven’t watched the Harry Potter films he appears in, I haven’t even watched any of the Twilight saga, so I wasn’t sure what to expect from him, but he does a really good job playing a man struggling to fulfill a multitude of roles all on his own. Many times he acts like he’s right on the edge of insanity, but there’s always something to bring him back in the end.

There’s one detail in High Life that surprised me very much, and that’s how…sexual the film is. I knew from the previews that the film centered in some part around the birth of a child, but the sexual undertones and the sexual imagery still took me somewhat aback. I’m not saying that part was bad, just that it was a shock to my system that at times left me feeling deeply uncomfortable. Looking back though, I think that was the idea; we were supposed to feel uncomfortable, especially during THAT scene between Monte (Pattinson’s character) and the doctor.

If you get the chance, you need to see High Life. It is a beautiful addition to the science fiction genre and one that will leave you thinking for quite a while after the credits roll. Let me know what you think about High Life in the comments below and have a great day!

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My Thoughts on: Prospect (2018)

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Ever since I’d seen the first trailer for Prospect, I’d been excited to see this movie, mostly because it was science fiction, but also because it looked like good science fiction. There was the added benefit of having Pedro Pascal (best known to me as Oberyn Martell on Game of Thrones) as part of the cast. I’d hoped to see this movie months ago, but it never screened on any theaters near me, and obtaining a copy to review proved…difficult. But I was finally able to get my hands on a copy this past week and sat down to watch it yesterday.

What a disappointment. I barely made it halfway through the film before I had to turn it off. That in itself is saying something, since I almost never turn a movie off in the middle. Now it’s entirely possible that I might be able to watch this film all the way through in the future and be able to appreciate details that bugged me, but not right now.

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Prospect isn’t all bad, don’t get me wrong. I thoroughly enjoyed the look of the alien moon. It’s strange to see such a lush environment that is actually toxic if you breathe the air in (though now that I think about it, the same scenario exists in Avatar). The film has this little detail I really enjoyed where, as the characters are walking through the alien forest, you can see these little particles floating in the air. My brain interpreted this as a sign of the moon’s toxicity.

I also liked the look of the drop ship that brings the main characters to the planet. Just looking at it was enough to make me question what year/century this was all occurring in. Everyone looks human enough, but if you look closely, the instruments are labeled in a strange language that isn’t English (even the main character writes in a language that isn’t English). So it made me wonder, does Prospect take place in a future so distant that English has ceased to be used as a language? It’s an interesting detail that I liked.

 

Now to talk about what I didn’t like, and that’s the dialogue. The reason I had to turn the film off is the dialogue was driving me crazy. Considering this is a science fiction film, the dialogue, especially from Pascal’s character Ezra, just felt all wrong to me. It didn’t fit. I can enjoy almost every aspect of a film, but is the dialogue is wrong, it just ruins the film for me.

While I enjoyed a few parts of Prospect, I was bitterly disappointed overall by the portion of the film I was able to watch. I couldn’t really get into the story because of the dialogue, which threw everything else off for me. Let me know what you think about Prospect in the comments below and have a great day!

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My Thoughts on: John Wick: Chapter 3 (2019)

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*warning: I don’t think I let any spoilers slip but it’s possible I did without realizing it

Two years.

We’ve been waiting two years to find out how the story of John Wick continues after he was sent running for his life with a one hour head start. After two years of waiting, our patience was finally rewarded with John Wick: Chapter 3 and my god did it ever deliver.

The story picks up immediately after the ending of John Wick: Chapter 2 and follows John Wick fighting to stay alive with every assassin in New York City and the world after the bounty on his head. The fight sequences are deliciously brutal, and the tension rarely lets up once the story gets going. It might be my imagination, but it feels like the fights are getting more brutal with every installment. Also, that scene with the horse is absolutely perfect.

Halle Berry as Sofia is a great addition to the John Wick universe, my only gripe is that I wanted more of her in the story. She’s clearly a complex character with a complex past (much like Wick) and I would love to learn more about her in future installments. Also, her dogs are just as awesome as you think they are.

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One of the things I like best about John Wick: Chapter 3 is that we learn more about the complex structure of rules that governs this group of assassins that Wick belongs to. More of the hierarchy is revealed, and it turns out that some characters that appeared to be all powerful also answer to a higher authority (which in itself was a bit of a shock for me). I actually wouldn’t mind seeing a prequel that explains how this group was established in the first place. There must be a story behind how an organization was formed with this much power all over the world and I would love to see it.

Keanu Reeves is on point once again as John Wick. You wouldn’t think there’d been two years since the second film and five years since the original film, just by watching him. There’s a great range of emotion in his performance, especially towards the end of the film. And speaking of the end…I honestly did not see that ending coming. It took everything I thought I knew about the situation and turned it upside down. That being said, I loved the ending because it practically confirms that John Wick: Chapter 4 will be happening. With all of the hype surrounding this film, it makes perfect sense that they would want the story to continue.

I really enjoyed John Wick: Chapter 3, and I’m excited for the fourth installment that is bound to follow, but I do hope the next installment ends it. I only say that because, while the story was good, some of the fight scenes felt a little long, and I’d rather not see the story become ruined with too many sequels. But for now, I’ll revel in the perfection that is John Wick: Chapter 3. Definitely check it out when you get the chance.

What did you think of John Wick: Chapter 3? Let me know your thoughts in the comments below and have a great day!

See also:

Soundtrack Review: John Wick: Chapter 3 (2019)

Thoughts on: John Wick Chapter 2 (2017)

Thoughts on: John Wick (2014)

Film Reviews

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My Thoughts on: Pokémon: Detective Pikachu (2019)

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*note: very minor spoilers, but otherwise I did my best to avoid them.

Let me start this review by making one point clear: Pokémon: Detective Pikachu is not a bad movie. In fact, there were times I quite enjoyed myself.  The first live-action Pokémon movie could have easily gone the way of so many other video game films and been so much worse.

But then again, it could have been a lot better too.

Sticking with the positive though, I have to say all of the Pokémon in the film are beautifully rendered. Each Pokémon looks real and believable, I’m not even upset there’s only 60 different species represented in the film (for context there are currently around 800 Pokémon). My particular favorites in the film are Charizard and especially Bulbasaur. I also surprisingly enjoyed Ryan Reynolds as the voice of Detective Pikachu. I wasn’t sure about that in the beginning but it works.

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The film’s story is also a minor positive. Once you have all the core components, the film’s premise is essentially sound. We have a setting, a protagonist, a villain, and the villain’s motivations for doing what they do. We also have some convenient twists along the way along with a boy meets girl sort-of-romance angle that felt slightly forced. The problem is, the execution of this plot left something to be desired. Certain plot points are presented in such a convoluted manner that I was left asking questions in my head until almost the end of the film. I understand the writers were trying to create a sense of mystery, but as a result so much time was spent on a winding path of plot points that the story lost something. And while I liked most of the characters, I feel like more time could have been spent with the villain and the villain’s motivations. More character development would have made certain key scenes that much more impactful.

The film’s biggest weakness, for me at least, is the sheer amount of awkwardness. Early on, it felt like the actors were each interpreting the script differently. Some were playing it more or less straight, some were acting over the top, and this is one of the first times I can remember being distinctly aware of a lack of onscreen chemistry between certain characters. I think some of the scenes were meant to be awkwardly funny on purpose, but that kind of humor has never gone over well with me and the film would have been better without it.

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*minor spoiler for this next paragraph*

However, above all else, the thing that bugs me the most comes mid-way through the film when two characters go exploring in a certain rather dangerous area. The way these characters enter this area demonstrates such a lack of common sense and thinking that I was dumbfounded as the scene played out. I know these characters aren’t experts in investigation, but come on, EVERYONE knows you’re supposed to at least try to be sneaky about these things.

To conclude, I did enjoy Pokémon: Detective Pikachu, even though it didn’t blow me away. There’s certainly ample potential for a sequel and I’m not against seeing one made. Let me know what you thought about Pokémon: Detective Pikachu in the comments below and have a great day!

See also:

Soundtrack Review: Pokémon: Detective Pikachu (2019)

Film Reviews

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Soundtrack Review: A Simple Favor (2018)

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A Simple Favor premiered in theaters in September of 2018. Based on the 2017 novel of the same name by Darcey Bell, the film centers around Stephanie (Anna Kendrick), a mommy vlogger who seeks to uncover the truth behind her best friend Emily’s (Blake Lively) sudden disappearance from their small town. The soundtrack for this mystery thriller was composed by Theodore Shapiro.

Regarding the soundtrack for A Simple Favor, Shapiro had this to say:

The first thing that was really interesting about working on A Simple Favor was finding the tone of it. It was unusual and very tricky because it’s a mystery and a thriller, but also genuinely funny at the same time. This was an instance in which the music had to match the tone of the film precisely…It couldn’t feel satirical or feel like we were goofing on a genre at all. It had to feel perfectly in sync. (credit to Pop Disciple for this interview excerpt)

Listening to the soundtrack, the first thing that jumped out to me is how symphonic this soundtrack is, surely a result of Shapiro’s classical training as a musician and composer. In the film’s title cue “A Simple Favor,” Shapiro introduces a distinctive motif played on a metallophone that recurs in multiple tracks throughout the score. This is by far one of the most traditional soundtracks I’ve listened to. With the recurring motif, it reminded me of the soundtracks you find in more “classic” films, but that’s not a bad thing at all. For all that I love “modern” film scores that are minimalist, electronic, or a blend of styles, I also will always love scores that hearken back to a bygone era of film.

 

Another thing that sticks out about Shapiro’s score is its resemblance to the music you hear in Hitchcock films. One summary I’ve read describes A Simple Favor as “Hitchcockian” and you can definitely hear the similarities to the “Master of Suspense” in this soundtrack. When the music isn’t playing like a symphony, it’s dripping with suspense in all the right ways. The strings hold out notes and set up tension in a way where at times I can almost visualize what’s going on (and that’s a good sign for a film score).

I admit I was surprised by how much I enjoyed listening to this score. Theodore Shapiro crafted a soundtrack that is truly a delight for the ears and I might need to check this film out in the future, just to hear this music in context. Let me know what you think about A Simple Favor (and its soundtrack) in the comments below and have a great day!

See also:

Film Soundtracks A-W

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Soundtrack Review: Hellboy (2019)

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The soundtrack for the reboot of Hellboy released on April 5th. The soundtrack was put together by the award winning composer Benjamin Wallfisch (previous scores include It, Blade Runner 2049, and Hidden Figures). Like the original Hellboy films, this reboot is based on the Dark Horse Comics character of the same name.

Of the soundtrack for Hellboy, Benjamin Wallfisch had this to say:

“I’m thrilled to be collaborating with Sony Music on the release of the Hellboy soundtrack album. Mike Mignola, Neil Marshall and the entire creative team have created an incredible next chapter in this iconic franchise, one that demanded a completely new approach to the score. Sony Music couldn’t be a better partner to bring this music to a wide audience and I’m grateful to them, Lionsgate and Millennium Media.”

Having listened to the Hellboy soundtrack, I found myself impressed with the variety of sonic colors Wallfisch brought to the score. There is a healthy amount of orchestral music mixed in with beats that come straight out of a rock album (and that’s not a bad thing given what I know of Hellboy). But the tracks that interested me the most have a mystical, semi-Eastern quality to them that draws me in the more I listen to them.

Two of my favorite tracks that I recommend checking out from the Hellboy soundtrack are “Psychic Migraine” and “Baba Yaga.” The latter in particular had a sound quality that felt very Goldsmithian to me (i.e. Jerry Goldsmith). It almost reminds me of a section of the score from Star Trek: The Motion Picture (which is also not a bad thing). The way the strings twist and turn, it’s effective at raising the hair on the back of my neck.

The score isn’t perfect by any means. Some of the action tracks are either too “Zimmer like” (too bombastic for my taste) or too generic to me truly memorable. But the tracks that ARE good, are really good. And so for the sake of those tracks, I recommend checking the Hellboy soundtrack out.

Let me know what you think of the Hellboy soundtrack (and the film) in the comments below and have a great day!

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Film Soundtracks A-W

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