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Star Trek Beyond gets a second trailer


May 23
// Rick Lash
Back in December, Paramount released the first trailer for Star Trek Beyond and basically it told us one thing: it's a sabotage! That was according the Beastie Boys track of the same name that was the entire musical score for...

Harley Quinn to get her own movie

May 16 // Matthew Razak
Harley Quinn photo
Gee, Mr. J! My very own movie!
Suicide Squad isn't even out yet, but DC is pretty sure they've got something good with Margot Robbie's Harley Quinn. THR is reporting that Warner Bros. will be launching a stand-alone Harley Quinn movie... or a movie ce...

Assassin's Creed Trailer photo
Assassin's Creed Trailer

First Assassin's Creed trailer parkours into my heart


With arms wide open
May 12
// Nick Valdez
I guess Jimmy Kimmel Live is the place to go for trailer premieres since the first trailer for Assassin's Creed hit last night. Regardless, I've been interested in this for a while. Based on Ubisoft's Assassin's Creed videoga...

Power Rangers, reboots, and you

May 10 // Nick Valdez
We are currently in the midst of a 90s nostalgia boom. Just as the last decade was obsessed with capturing the vibe of the 80s, cocaine and all, the 2010s have seen an increase in 90s pop culture revivals. Because "90s kids" like myself have grown into a subculture with true buying power, cinema is trying its best to cater to that market, So that means stuff you used to love as a kid now has a chance of coming back. I'm sure you've seen some of the fruits of nostalgia lately: a new Powerpuff Girls series, Samurai Jack is returning to Cartoon Network, Hey Arnold is returning to Nickelodeon for a TV movie, Space Jam is finally getting that sequel, Gilmore Girls' new season, Fuller House and Netflix's upcoming slate in general. It has gotten so ridiculous there is even talk of more Star Kid, Cruel Intentions and The Craft. If you saw it on VHS as a kid, there's probably a new version of it in the works.  Given the reboot crazy nature of cinema at the moment, it was only a matter of time before Power Rangers would get the film treatment as well. As a property, it's a film company's dream. Sure it's going to be expensive, but Power Rangers has a rabid (and largely untapped) fanbase, name recognition, and more importantly, there are the toys. Saban has a history of focusing on toys more than everything else given that much of their production is reliant on Toei, the Japanese parent company that owns all of the footage Saban decides to use. From the beginning, any original idea Saban came up with was influenced by toy sales. The original Mighty Morphin ran for as long as it did (combining footage from two different Super Sentai series) because it was still a money-making juggernaut. So for the first few seasons, they kept the suits but changed most everything else.  Completely American additions such as Lord Zedd, the Tenga Warriors, Rito Repulsa, their shark cycles, the few times the Ninja Megazord combined with the first season zord Titanus, their weird sparkle suit power up, and even as far as keeping Jason David Frank on as the Green, and later White, ranger despite the sixth ranger being written out of the series early on were all a result of toys sales. This mentality followed the series through its entirety due to the superhero boom. Power Rangers has always competed with some sort of superhero material, and it has only gotten more egregious thanks to Marvel essentially dominating shelves. Thus Saban and toymaker Bandai are used to changing designs as they see fit in order to compensate. Back when Saban reacquired the Power Rangers license in 2011 and released Power Rangers Samurai, they tacked on original, "mega" armors each episode in order to not seem plain compared to the numerous Avengers toys littering the shelves.   With the toy design first mentality in mind, it is time to discuss the issue at hand. A few days ago, Entertainment Weekly revealed how Saban and Lionsgate's Power Rangers will look and it didn't exactly light the world on fire. The fans seemed divided between "Oh man, this is the mature Power Rangers I've always wanted" and "They're all Iron Man." Unfortunately, everyone is kind of right in this situation. Given the design, the upcoming reboot will most likely be a little darker. Hopefully not so dark as to either scare kids away or fill it with subjects that will fly over their heads, but it is definitely not being made with kids in mind. Given the sultrier design of Rita Repulsa (thus taking the meaning out of her name) and the rangers themselves, and the tone of the images released thus far, I'm not expecting anyone in this movie to say "morphinominal" or indulge in any of the goofiness the series made itself known for.  The "Iron Man" designs are, once again, reflective of Saban and Bandai's toy first outlook. Since the film is wholly an American creation, and since it cannot rely on the popularity of a currently running series like the first movie did, we've gotten designs reflective of it. Although the suits look terrible, expect a line of  light up chest toys or maybe the red, blue, and black rangers in a set in the same aisle as next year's Marvel films. That's also why these rangers, along with some leaked photos of their zords (which I'll post here once there's an official release), look alien and Transformer-esque. Saban is merely reflecting what is popular now, just as they did back when the first movie released. And although these designs are reminiscent of the original movie's suits, they lose what makes the property distinct. As production chases current pop culture and design, it further digs itself into a hole. Power Rangers is trying so hard to stand out among the rest of the toys, it is doing the exact opposite.  If the merchandise does not catch kids' attention, it's pretty much a death sentence. The first film may make enough money to warrant a sequel, due to folks appeasing a curiosity, but without the toy sales and child audience that keeps the TV show afloat the reboot and franchise potential will stagnate. That's why it is so important to keep the light and airy feel of the show intact. If you make the property more "grounded" or "mature" in order to appeal to the rose colored glasses of fans my age, it will lose the goofy stuff which made it fun to reenact at playtime. One of my favorite memories was playing with the morpher and blaster as a kid and pretending I was cool enough to be a "teenager with attitude." It was because everything was so brightly colored, and admittedly stupid, my parents didn't mind that I was actually watching a show with a lot of violence. Blood replaced by sparks, the kung-fu lite fight choreography on guys in suits was deemed "TV-Y7," and the people therein were talented and attractive enough (even Billy the "nerd" was jacked) to draw attention. But that is not the path the reboot is headed in. Instead it is already closing itself off.  At its core, Power Rangers has always been about equal opportunity power and this was reflected at playtime. Although the first American team featured two women in conventionally feminine colors like pink and yellow, it was a response to the lack of women in the Japanese version of the show, Kyoryu Sentai Zyuranger. Realizing they wanted more girls to buy their toys, they cast a woman for the male yellow and the footage went on just fine. It was a show breaking ground in more ways than one. Multi cultured teams and a strong foundation of teamwork and gender equality. The first season may be filled with weak plots and PSAs a la Captain Planet, but as they got their footing things improved. As the show evolved over the years, it was also better to its women. Character development improved, they wore more masculine colors, and more toys depicting these women were made. The Japanese design of the suits themselves always were minimalist. The only way to really tell them apart was a skirt sometimes. In the reboot, the suits are definitely not appealing to little girls. The reboot design may take on the tightness of the original spandex (replaced by the alien technology the reboot is pushing), but they're far too detailed. The boob plates and heels are definitely unnerving and little girls are way smarter than that. And since the pink and yellow rangers look so feminine, it's going to mean boys won't want them either. Rather than the collect them all frenzy of the original rangers, boys are only going to want those rangers specifically designed with them in mind. And if boys don't buy the pink and yellow rangers, their toys will be produced less and they will get less development as a whole moving forward. Since this trend has a precedent in the way the TV show has been marketed, it only worries me more so. When Power Rangers Super Megaforce, the "anniversary" series, released, Bandai produced a line of "Legendary Ranger" keys. In the show, these keys were used to transform into any of the heroes from years past and they were definitely a money-making idea. But each set released only featured the red, blue, and black rangers from each team and neglected to include the women. Even their current running series, Dino Charge, has a weird production ratio. For every five red, blue, and black rangers, there are only one or two pink ones. And while that show has been better at capturing that feeling of nostalgia than the reboot likely will be, only two of the series's ten (TEN) Power Rangers are women. Despite the gender swap casting it has done in the past, Saban refuses to do so again because they have dug themselves into such a non-inclusive hole that they only safe way to make money is to double down on what little masculine audience they have left.  The Power Rangers are so dear to me, I really want the reboot to succeed. But seeing Saban make the same mistakes yet again on a larger scale is troublesome. In trying to put its best foot forward among the litany of comic book films and other nostalgia ridden properties, it is merely becoming a carbon copy of those that came before. But instead of doubling down on a troubling methodology, the production should double down on what really helped the original series succeed for as long as it did. After losing the rights to Disney, and only getting them back five years ago, Saban has never quite reached the same levels it used to.  Sure the show had bad writing or bad acting at times, but Power Rangers managed to capture the zeitgeist of living in the 90s. It truly understood what growing up at the time meant. It meant obnoxious colors, obnoxious sayings, and even more obnoxious styles. Part of what dates it also makes it that much more relevant. True nostalgia is all about recapturing the feeling of those halcyon days of youth. We have enough cinema making a statement or delving into gritty themes (just take a look at what are supposed to be the most comic booky films of the year, Captain America: Civil War or Batman v Super: Dawn of Justice), but we don't have enough films where teens just beat up on monsters while making forced puns. I mean, the reboot is so serious it doesn't even carry the Mighty Morphin' moniker.  As it stands, the Power Rangers reboot won't appeal to anyone. Not even adding the original show's theme to a trailer will save it. 
MMPR Reboot photo
Reboots with a negative attitude
I f**king love Power Rangers. When I say love, I mean I've been following the show for twenty-two years. Every awkward season, every bad theme song (Operation Overdrive has a rap, if you were wondering which one was the worst...


Review: Dragon Inn

May 09 // Hubert Vigilla
[embed]220493:42920:0[/embed] Dragon Inn (Long Men Ke Zhan, 龍門客棧)Director: King HuRating: NRRelease Date: May 6, 2016 (limited)Country: Taiwan An evil eunuch named Cao (Ying Bai) has seized power from one of his political enemies, putting him to death and exiling his children. Cao makes a power play to assassinate these exiles, which leads to a conflict with three heroes on a mission to prevent this from happening. There's a dashing rogue who carries an umbrella (Shih Chun), and there's a swashbuckling brother and sister duo consisting of a bullish hot-head (Hsieh Han) and a woman so skilled with a sword she causes gender confusion among her foes (Lingfeng Shangguan). There's conflict between these warriors, which has to be set aside to save the day. Sure, it's a familiar dynamic that isn't particularly complicated, but Dragon Inn is such an undeniable joy, like a grandparent's cooking. Yet to call it high-end cinematic comfort food sells Hu's craftsmanship short. He's mastering the form with just his second film in the genre. Like certain scenes of Come Drink with Me, much of the tension in Dragon Inn is the result of keeping heroes and villains in close quarters with one another. Cao's goons overrun the eponymous inn, which is situated in the middle of a rocky wasteland--part sanctuary, part target; a little bit Motel 6, a little bit Alamo. The heroes are grossly outnumbered, and they're always targets or under siege. When Chun's dashing rogue appears, there's a sense of calm about him, as if all is well while he tries to control the situation, eventually leading to a scruff. Lingfeng and Han have some comic moments, particularly during one scene where they dine with their enemies as a bit of subterfuge and do their darndest to avoid being poisoned. I mentioned the gender confusion earlier, which is a common trope of martial stories of all kinds--women warriors mistaken for men given their prowess. In many of King Hu's films, he has women as the front-and-center heroes. It's Cheng Pei-pei in Come Drink with Me (who would later play Jade Fox in Crouching Tiger, Hidden Dragon) and Hsu Feng in A Touch of Zen. Though Chun's mysterious rogue is the primary badass of the movie, Lingfeng's young heroine in Dragon Inn gets a fine moment to shine against dozens of goons, and this gender confusion offers a great way of undercutting traditional gender roles and gender expectations with the draw of action, as if skewering sexism, the patriarchy, and machismo with an elegant jian. The fights of Dragon Inn are staged like a movie musical, which may have a lot to do with the influence of Peking Opera. There's also the feel of a samurai movie about the fights since the visual rhythms and vocabulary of the Chinese martial arts movie were still in development. There's a major leap made between Dragon Inn and A Touch of Zen in terms of the pacing, staging, movements, and editing of the fight scenes, which makes both films essential for action aficionados. There's a softness to the fights here that hardens in Zen, as if Hu would ironically discover the visceral stuff of combat while making his meditative spiritual epic. A similar leap was made from Come Drink with Me to Dragon Inn. When the genre eventually turned away from swordsman pictures to the unarmed fighting genre, the vocabulary, grammar, and sheet forcefulness of the action would change again. Beyond its history, Dragon Inn is so watchable because it's a pure delight. The rousing Lan-ping Chow score is like some sonic representation of a dashing chilvaric code, all flight and blades and evasions. The height of the wuxia film in the late 1960s is still a glorious landmark nearly 50 years later.
Review: Dragon Inn photo
King Hu's landmark early wuxia film
While King Hu's 1971 epic A Touch of Zen is his towering masterpiece, his earlier film Dragon Inn may be the best entry point into the director's work. This 1967 adventure is one of the essential early martial arts ...

Power Rangers photo
Power Rangers

Nick reacts to the new Power Rangers look


We're not Iron Man
May 05
// Matthew Razak
We got our first look at the Power Rangers movie villain and we know the cast, but now we finally get to the see the Rangers in their suits. As our resident Power Rangers expert we shall now go to Nick Valdez for his ini...

Review: Captain America: Civil War

May 03 // Matthew Razak
[embed]220556:42944:0[/embed] Captain America: Civil WarDirectors: Anthony and Joe RussoRated: PG-13Release Date: May 6, 2016 Civil War is basically the Avengers movie we all hoped Avengers 2 would be. At the end of my review for that film I worried that the MCU might be buckling under its own weight thanks to the inconsistencies in the film, but Civil War abolishes that worry faster than the Hulk smashing Loki. It's tightly paced, full of both the fun and action we've come to know from Marvel's films and never feels rushed or bloated despite its more than two hour running time. Maybe we needed Avengers 2 to get us here, but this is the one you were waiting for. After the events of Avengers 2 (and any other Marvel film that came along since then) we find that people are getting a little tired of the world getting destroyed by super powered people. Enter the Sokovia Accords, a U.N. resolution that the Avengers and all powered people will not act without permission from the U.N. Captain America (Chris Evans), who distrust of the government was beautifully set up in Winter Soldier, finds himself disagreeing with this new law while Iron Man (Robert Downey Jr.) supports it. Most of the known Avengers split up to one side or the other with Ant-Man (Paul Rudd) hopping in on Caps side, Spider-Man  (Tom Holland) -- making his triumphant debut to the MCU -- on Iron Man's team and Black Panther somewhere in the middle (Chadwick Boseman). From there throw-downs ensue as Cap tries to save Buckey (Sebastian Stan) from being framed for killing the King of Wakanda. There is a big bad guy operating in the background, of course, but unlike in previous MCU films this one is impressively well toned and developed. The character perfectly supports the true themes of the film without being big or flashy. He's a refreshing divergence from what we've seen before and should come as a surprise to many. This all sounds like a lot for any movie to handle. BvS could barely handle three characters and Marvel is here telling a deep and emotional story with 12. They can pull it off easily thanks to experience and history. In fact it all banks on that history. What would traditionally be an overcrowded movie doesn't feel overcrowded at all because all the normal stuff (intros, character development, etc.) has already been done previously. In fact there's almost 10 years of it to work with. This allows breathing room in the script to introduce both Black Panther and Spider-Man with ease despite also developing Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) more, introducing a fantastically banal (in all the right ways) villain and covering that whole civil war thing. Oh, and the best action the MCU has ever seen. The Russo brothers outshine every other director in the MCU when it comes to their action sequences. There are moments in this film that will make your jaw drop because you've never seen anything like it before. The fights are fantastically choreographed and shot so well that they pull you to the edge of your seat breathless. Despite seeing most of these folks fight before everything feels fresh and powerful. Each hero has their own fighting style making every battle unique. Avengers and Avengers 2 may have given us giant action catastrophes, but Civil War brings the action to a personal level allowing for some truly amazing fight sequences littered with iconic shots ripped straight from the comics. There's plenty to be said about both Black Panther and Spider-Man, but to start it must be mentioned just how good Downey Jr. is as Stark/Iron Man. The hero, racked over guilt from his previous actions, is progressively more and more worn down throughout the film and Downey Jr. delivers what is probably his best performance as the character. The bravado steadily peeling away to reveal a truly flawed character. I'm surprised they didn't introduce the character's alcoholism here, but maybe they're just not going to tackle it at all. With the way the character is going they hardly need it at this point.  Meanwhile everyone else brings their A game as well. Boseman is sleek and confident as the Black Panther, pulling off a character that feels drastically different from the rest of the cast -- as he should. Even his movements and fighting style feel new and different, making it hard to wait for his stand alone film. Holland's Spider-Man is much the same, especially since Marvel smartly glazes over origins to get us right into the wise-cracking Spidey. It makes the wait for Homecoming even harder. Hell, every character makes the wait for their next movie even harder and we once again have to ask ourselves why Hawkeye and Black Widow don't at least have their own joint film if not stand alone ones. It's the strength of all these characters, lovingly developed over the years, that makes Civil War work so well. It also works because Marvel knows how to make these movies. If you've been dying for a massive divergence from the MCU's general feel (aside for Guardians) this isn't going to do anything for you. It's the exact right balance of emotion, humor and action that Marvel knows works so well because... it really does work so well. The film keeps things light when it needs to be, heavy when it should be and still progresses a universe building plot without getting in the way of the movie itself. It is the classic Marvel movie formula executed once again, and while you thought that might be getting stale you're once again forced to admit that it just works.  Did I mention the score? It's fantastic. Henry Jackman wonderfully mixes in new themes and old to deliver a musical triumph that never overpowers what is going on onscreen, but always works.  The film's biggest flaw is that it's a Captain America movie. This means that most of the plot and action revolve around him, and we seem to miss out on a bit of the other characters because of it. This leads to it being almost impossible to be on any side but #TeamCap. Yet it is an absolutely fantastic Cap story that helps bring Falcon (Anthony Mackie) and Buckey to the forefront. The second biggest flaw may be for newcomers who might be lost without the context of the previous films. However, anyone who hasn't kept up a little with the MCU probably won't be seeing this movie in the first place and if they do the action is enough to keep you glued to the screen. By this time one would think that the Marvel formula was getting old and that it wouldn't work anymore, and yet the studio just keeps making it better. At some point they may truly stumble (maybe you think they already have), but it sure as hell isn't with Captain America: Civil War. 
Civil War photo
Biceps
I can guarantee one thing about Captain America: Civil War. When you come out of the theater you will have an incredible appreciation for Chris Evans' biceps. Like... woh. I can almost guarantee another thing (though some people are just crazy): you're absolutely going to love it. 

Flash loses director photo
Flash loses director

Director Seth Grahame-Smith runs from Flash movie over creative differences


A DC cinematic universe slow down?
Apr 30
// Hubert Vigilla
Looks like the DC cinematic universe has run into a problem, and we don't mean the box office slowdown for Batman v Superman: Dawn of Justice. Director Seth Grahame-Smith has dashed from The Flash over creative differences, which leaves star Ezra Miller stranded at the starting line.
Shinobu movie photo
Shinobu movie

Sega's Shinobi will get the cinematic treatment because ninjas = money


Other Sega titles also being considered
Apr 30
// Hubert Vigilla
The 1980s were a boom period for being a ninja. There were tons of ninja movies, loads of ninja games, and almost everywhere you went, people were going to college to major in Ninjutsu. (Full disclosure: I majored in Philosop...
The new Lara Croft photo
Another Oscar winner as Lara Croft
Alicia Vikander has been cast as the new Lara Croft for the Tomb Raider reboot, which starts a fine tradition of casting Academy Award winners in the role. Angelina Jolie won a Best Supporting Actress Oscar for Girl, Interrup...

Sherlock Holmes photo
Sherlock Holmes

Sherlock Holmes 3 gets screenwriter


Remember this is still a thing?
Apr 26
// Matthew Razak
The two Robert Downey Jr. Led Sherlock Holmes movies made a crap ton of money and, in all fairness, were a descent amount of fun. You'd think in this sequel hungry world that means we'd see another one as quick as possible, b...

Review: A Touch of Zen

Apr 22 // Hubert Vigilla
[embed]220492:42919:0[/embed] A Touch of Zen (Xia Nu, 俠女)Director: King HuRating: NRRelease Date: April 22, 2016 (New York, with subsequent expansion)Country: Taiwan A Touch of Zen is such a singular sort of movie. After the success of Come Drink with Me and Dragon Inn, Hu had the creative freedom to do what he wanted, and the result was a movie of different moods and different modes. There is the wuxia element centered around a heroic fugitive named Yang (Feng Hsu), a swordswoman fighting for her life after corrupt government officials have murdered the rest of her family. She's one of Hu's many female heroes, though this movie doesn't have the same level of gender role confusion seen in other martial arts films. Yang is a woman but never mistaken for a man (the common genre convention), and she's the most capable fighter in the film. The centerpiece fight in the bamboo grove is an exhilarating bit of old school swordsman action. When A Touch of Zen was released as two films, the bamboo fight concluded the first movie and opened the second. Hu further adapts the theatrical movements of Peking Opera and the visual style of Japanese samurai pictures (en vogue at the time) to a swashbuckling cinematic form uniquely suited to Chinese martial arts. Trampolines give the heroes and villains a kind of superheroic flair as they clash with one another on rooftops and treetops. Hsu slashes, evades, and ripostes, and Hu cuts the action together to add intensity to the elegant movements on display. The action in A Touch of Zen feels like a transition period in fight choreography between the stage-like combat of the 1960s to the faster-paced cinematic combat that would be pioneered by later Shaw Brothers filmmakers Chang Cheh and Lau Kar-Leung. Yet the first fight doesn't occur until at least one hour into the film. Instead of rollicking adventure, A Touch of Zen opens with the banal rhythms of pastoral life. We follow a bumbling mama's boy/artist-scholar named Ku (Chun Shih), who takes an interest in Yang and a blind man (Ying Bai) who are hiding in an abandoned ruin. Ku is an archetypal fool, and a great vessel for the audience into the story (which has an archetypal opening: a stranger comes into town). While he's crafty, Ku's a coward and he falls in love too easily, which is a great contrast to Yang's ruggedly stoic heroism. Before A Touch of Zen, Chun Shih played the hero of Hu's Dragon Inn. In a subversive move, Hu has a previous star play against type and also against gender stereotype. And then there's the Zen Buddhism, which pervades the film's visual style emphasizing nature, seasons, and impermanence. I mentioned patience at the beginning of the review, and Hu's return to slow rhythms and long takes seems to give the audience a chance to breathe and take in each scene. A group of Buddhist monks show up when Yang is on the run, and they are unstoppable force and immovable object. They're shot with diffuse or star-filtered light emanating from behind them, and they seem to be followed by a supernatural veil of mist. The Zen aspects figure heavily in the film's unexpectedly bonkers finale, which I can only be described as 2001: A Space Odyssey meets El Topo.  The 4K digital restoration looks great during the daytime shots--you can make out the dust on King Hu's camera lenses as he lovingly absorbs hillsides and waterfalls and sky--though I noticed some major issues with image noise during the nighttime scenes. One of the pivotal action sequences in the last half of the film is at night, and it was often difficult to make out what was happening in each scene. Part of it may be the limitations of lighting and photography that Hu had to work with back then, though I sense there might have been an issue with the projection and/or the copy I saw during my screening. I'm curious to see A Touch of Zen again now that it's out in theaters, just to see for myself if the digital noise has been eliminated/addressed. Besides, I could use a little more patience and adventure in my life.
Review: A Touch of Zen photo
The beguiling wuxia masterpiece in 4k
A Touch of Zen is King Hu's masterpiece, yet unless you're patient and a bit adventurous, it may not be the best introduction to his work. Dragon Inn, his straightforward wuxia classic from 1967, might be a more palatable ent...

Review: The Huntsman: Winter's War

Apr 22 // Nick Valdez
[embed]220532:42925:0[/embed] The Huntsman: Winter's WarDirector: Cedric Nicolas-TroyanRating: PG-13Release Date: April 22, 2016 As its title suggests, The Huntsman: Winter's War shifts its main focus to its titular huntsman, Eric (Chris Hemsworth). Before the events of the first film, the Evil Queen Raveena (Charlize Theron) had a younger sister named Freya (Emily Blunt). After the death of her daughter, Freya gains ice powers and goes off to form her own kingdom (complete with a ban on love), kidnapping children and training them as huntsman along the way. Eric ends up falling in love with another huntsman, Sara (Jessica Chastain), but Freya puts a stop to that. Then seven years later (and after the events of the first film), Freya vows to get Raveena's magic mirror and take over Snow White's kingdom.  Just as with the first film, Winter's War oozes with style. While some of its visuals borrow heavily from other fantasy worlds (such as the design of the huntsman themselves), costume design is still top notch. Capitalizing on one of the better aspects of the first film, Raveena and Freya's outfits are outlandish and gaudy in the best way. And although it results in less gaudy but fabulous dresses, the set design has also received an upgrade. Scene settings are more varied and feel more inspired, such as the jungle look of the goblin's den (and the gold chained gorilla goblins), but there's a definite lack of budget that knocks the film's overall presentation down a peg. The film's CG isn't always seamless, but the film tries its best to make sure at least the central women look good. At least Winter's War succeeds in that regard. Because their looks are perfected, Theron and Blunt are free to chew the scenery as they see fit.  And boy does Charlize Theron run the show. It's just a shame that the film keeps her separated from Blunt for the majority of it. The scenes where she's allowed to cheesily tear into Blunt's Freya turns Winter's War into a fantasy version of Dynasty as the two actresses try to out soap opera each other. It's the only time Blunt seems bothered enough to try, and her scenes with Theron clearly make Blunt's performance ring hollow the rest of the time. At least Chris Hemsworth get more to do this time around. The first film was before his breakout in The Avengers, and now he's got this affable personality which helps ease some of Winter's War's more troublesome attempts at humor and personality. But while mostly everyone involved is having a good time, no one really seems to care about what they're saying. It's halfhearted throughout.  Winter's War is further crippled by its poor storytelling. When it succeeds it can be funny, or even compelling, but thanks to its need to clutch to the first film rather than reset everything, the film makes no damn sense for the first thirty minutes or so. Thanks to a weird flashback story then a time jump seven years into the future, everything is rushed. We're never given the time to invest in Eric and Sara's relationship because all we get between the two is a few make out sessions (that linger on for a bit too long) before they're separated. It doesn't help that Hemsworth and Chastain are clearly phoning it in. Their scenes together seem to take the longest, and their faux scottish accents are so heavy, they're almost parodic. These scenes make you wonder when Theron's going to show up again. Given that she's really only in the film for about 20 minutes, the wait seems even longer. Give up the ghost already and give us a full Charlize Theron ham sandwich, Universal.  The Huntsman: Winter's War is a piecemeal fantasy that's just other fairy tales duct taped together into a two hour project. There's clearly an underlying effort being drowned by everyone's apathy (there's not even an effort to keep background skeletons from looking like they were bought in one of those pop up Halloween shops), and Winter's War barely cares it exists. It just does.  Going in I was hoping Universal re-examined the Huntsman series and kept what worked and threw out what didn't. But it did the complete opposite. The Huntsman: Winter's War is less of what we want, and more nonsense we don't need. 
Winter's War Review photo
What is it good for? Absolutely nothing
Despite Kristen Stewart and director Rupert Saunders being pulled from the series after allegations of an affair, bumping up visual effects supervisor Cedric Nicolas-Troyan to debut as director, and the first film gettin...

Power Rangers photo
Power Rangers

Here's the first image of Elizabeth Banks as Rita Repulsa


Green with evil
Apr 19
// Nick Valdez
I've gone back and forth over Lionsgate's upcoming Power Rangers movie too many times to count now. Everyone has specific fandoms they know too much about and one of mine happens to be the Power Rangers. So for the first time...
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Scarlett Johansson contemplates life in first Ghost in the Shell image


Major ScarJo Kusanagi.
Apr 14
// Geoff Henao
Earlier today, Paramount Pictures and DreamWorks Pictures announced that production has officially started for their live-action adaptation of Ghost in the Shell. To commemorate, they have released the first official ima...
Suicide Squad Trailer photo
Suicide Squad Trailer

Newest Suicide Squad Trailer is trying its best to be different


Apr 11
// Nick Valdez
Remember the MTV Movie Awards? WB/DC sure hopes you did! Capitalizing on that all so precious 18-24 demographic (and most likely younger given MTV) is the newest trailer for Suicide Squad. It's got a better handle on itself a...

Review: Hardcore Henry

Apr 10 // Nick Valdez
[embed]220494:42906:0[/embed] Hardcore HenryDirector: Ilya NaishullerRating: RRelease Date: April 8th, 2016 Cheesy as it is, Hardcore Henry is about you. When "Henry" (the audience) wakes up in a mysterious facility with no memory of how he got there, his wife Estelle (Haley Bennett) explains that he's suffered major disfigurement from an accident and this facility has put him back together using machinery (basically a more violent version of the Six Million Dollar Man). Then some shadow organization chases Henry down for 90 minutes. And all while during this, a mysterious man named Jimmy (Sharlto Copley) and his many faces seems to be the only one who knows what's going on.  While I'd hate to classify the film in such basic terms, comparisons to a videogame narrative are unfortunately apt. Hardcore Henry gleefully revels in juvenile wish fulfillment. You'll sit back and watch Henry mow down waves of spawning enemies (with little to nothing to distinguish between any of them), you'll see him utilize a variety of weapons he apparently loots from dead bodies, and you'll watch as he peers around corridors and fights in hallways. Every trope from first person shooter videogames is represented and, for a while, it's fun to see unfold. Characters make quips, the first person perspective leads to some enlightening action angles, and there's definitely a joy and humor to how grotesque its violence gets as it goes on. But after about fifteen minutes of these action scenes, the premise wears thin and the film turns into a collection of hollow gore shots trying to outdo one another in order to garner some kind of reaction. And that's only including the ones you can manage to follow.  Hardcore Henry is so focused on how cool things might look it forgets to tell any kind of story. The film essentially puts all of its eggs in one basket as it hopes the flow of the action will keep you invested. Unlike most action films, Henry's voiceless and faceless protagonist can't add anything to the overarching story. He's got no personality, no defining traits other than a relentless need to kill (for some reason that's never quite elaborated on), and it's not like Henry is an all inclusive point of view either as there as some unfortunate homophobic jokes thrown in the mix and it's heavily male friendly as it vies for that sweet 13 year old Mountain Dew demographic. So you can't even fully immerse yourself as a viewer as multiple moments in the narrative remind you Henry isn't you. At least when videogame narratives do things like this, it eventually hands back control to the individual and gives you other options for immersion. There's just nothing here to latch onto.  The film's one saving grace is by and far Sharlto Copley. He's an absolute joy every time he's on screen. It's just a shame he has to singlehandedly carry the film's weight. He's stuck providing so much exposition, jokes, and personality it's kind of running him thin. It's also not helped by the unintelligible scene settings. Henry ends up in several locations with no way other than Copley's Jimmy to help discern where the action is taking place. The film could take place anywhere between an entire city length and the walking distance between my kitchen and bathroom. The film's main device seems to be holding it back in that visual respect. In reference to an old Simpsons gag, every time Jimmy wasn't on screen I felt myself wondering when he was going to show up again. But I wonder if that's because I wanted more of Copley or I was just starved for something to get me through the rest of the film like a lone floating log in the middle of Hardcore Henry's bleak and monotonous ocean of gore.  Hardcore Henry touts itself as a cinematic experience. The first action film of its kind, it's certainly going to get a lot of attention and praise based on existence alone. But it's lacking the level of immersion or direction its premise promises. If I really had to compare it to videogames, watching Hardcore Henry is like going over to a buddy's house and watching him play a game for an hour. It looks neat, and there are bound to be some things that grab your attention, but before long you'll be so bored you'd rather be at home. 
Hardcore Review photo
Normcore
From its inception as music videos for director Ilya Naishuller's band Biting Elbows, Hardcore Henry boasted an unique central idea: crafting a well told action film entirely through the first person perspective on Go Pro cam...

Hardcore Henry clips photo
Hardcore Henry clips

Watch a clip and behind-the-scenes music video for Hardcore Henry (NSFW)


Violence!
Apr 08
// Hubert Vigilla
Hardcore Henry is now out in theaters, a live-action blood-drenched movie done in the style of an FPS game. In case you were wondering how the action unfolds in a given scene (hint: it's violent!), STX Entertainment put out a...
Warcraft posters photo
Warcraft posters

New character posters for the Warcraft movie are shiny at sunset (or sunrise)


It looks all gamey
Apr 08
// Hubert Vigilla
I'm still pretty ambivalent about Duncan Jones' Warcraft. Jones gets goodwill for Moon, obviously, but the various trailers and promos for the film seem a bit flat and bland. Maybe that's just the nature of some trailers in g...

NYC: 6th Old School Kung Fu Fest showcases the badassery of Bruce Lee, Jackie Chan, and Golden Harvest

Apr 06 // Hubert Vigilla
[embed]220479:42891:0[/embed] Enter the Dragon (1973)Starring Bruce Lee, John Saxon, Jim Kelly, Bolo Yeung Even though Fist of Fury (aka The Chinese Connection) is my favorite Bruce Lee movie, I can't deny the importance of Enter the Dragon. The landmark movie brought Lee international stardom, and it helped kick off my personal martial arts movie obsession. (Ditto Infra-Man.) The film would also help propel the film careers of perennial bad guy Bolo Yeung (Bloodsport) and blaxploitation star Jim Kelly (Black Belt Jones). The set-up is simple: infiltrate an island, punch and kick people really hard, repeat. In addition to one of the most brutal kicks to the head in cinema history and a funky ass Lalo Schifrin score, Enter the Dragon manages to impart some martial arts philosophy amid the mayhem. Sammo Hung makes a cameo appearance, as does Jackie Chan in two blink-or-you'll-miss-him moments while Bruce Lee dispenses of faceless goons. [embed]220479:42892:0[/embed] The Man from Hong Kong aka The Dragon Flies (1975)Starring Jimmy Wang Yu, George Lazenby, Roger Ward, Hugh Keays-Byrne Australian exploitation movies are bonkers in the best possible way. Take The Man from Hong Kong for example. The film stars Shanghai-born Jimmy Wang Yu (Master of the Flying Guillotine, One-Armed Swordsman) as a violent Chinese supercop sent to fight an Australian crime boss played by George Lazenby (James freakin' Bond). The film is recklessly enjoyable. Yu blows up cars, demolishes a Chinese restaurant, blows up buildings, and effortlessly seduces comely Aussie women (whom he apparently detested behind the scenes). Sammo Hung also appears in this movie, as does Roger Ward (Mad Max) and Hugh Keays-Byrne (Mad Max, Mad Max: Fury Road). For more on The Man from Hong Kong and other great Australian exploitation movies, I urge you to watch Mark Hartley's excellent documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation! [embed]220479:42889:0[/embed] Pedicab Driver (1989)Starring Sammo Hung, Nina Li, Lau Kar-Leung, Billy Chow Both Enter the Dragon and The Man from Hong Kong are American and Australian co-productions, respectively. Pedicab Driver, on the other hand, is a Hong Kong movie through and through, featuring hard-hitting action, broad Cantonese comedy, machismo, and extreme melodrama. It may be a matter of taste, but I love that histrionic hodgepodge. (Though its gender and sexual politics are definitely of a different era.) The film follows the travails of some pedicab drivers as they look for love and seek justice against an irredeemable crime boss. Pedicab Driver features an exceptional fight between director/star Sammo Hung and Lau Kar-Leung. Lau was one of Shaw Brothers' premiere action filmmakers, which makes his on-screen battle with Hung feel like a generational passing of the torch. Sammo Hung also dukes it out with Billy Chow (Fist of Legend). Both fights typify the fast, fierce choreography that Hung perfected in the 80s. [embed]220479:42890:0[/embed] Rumble in the Bronx (1995)Starring Jackie Chan, Anita Mui, Francoise Yip, Bill Tung Jackie Chan didn't break big into the US market until Rumble in the Bronx, which received a major push when Quentin Tarantino championed Chan's work at the 1995 MTV Movie Awards. For most Americans, Rumble in the Bronx was Jackie Chan 101: Introduction to Jackie Chan. While not his best Golden Harvest movie, Chan shows off his prowess as a choreographer, stuntman, and cornball comedian, including a memorable clash with a gang in a hideout full of props. Based on the info listed by Subway Cinema and Metrograph, Old School Kung Fu Fest is apparently screening the longer Hong Kong version of Rumble in the Bronx rather than the American cut released by New Line Cinema. This means you get a better-paced film with the original score and sound effects, and you'll be seeing a version of the movie not readily available stateside.
Old School Kung Fu Fest photo
Celebrating Hong Kong action cinema
This weekend (April 8-10) is the 6th Old School Kung Fu Fest, put on by Subway Cinema and held at Metrograph in the Lower East Side. This year's unifying theme is Golden Harvest. Co-founded by Raymond Chow and Leonard Ho, Gol...

Last of Us photo
Last of Us

The Last of Us movie probably isn't happening any time soon


But should it ever?
Apr 04
// Matthew Razak
Two years ago we got word that a The Last of Us movie was in the works, and then nothing, but some rumors on casting and whispers of a table read. Many of us probably forgot about it, shrugging our shoulders as we replay...
The Flash photo
The Flash

Cyborg may crossover in Flash movie


Wonder twin powers!
Apr 04
// Matthew Razak
If there is one thing we learned from BvS (and it was hard to really learn anything), it's that DC has absolutely no problem shoving in as many characters as they can into one film so they can get their universe up and r...
Hardcore Henry PSA photo
Hardcore Henry PSA

Alamo Drafthouse PSA: Hardcore Henry gets violent about talking/texting during movies (NSFW)


I'll use my violence on him!
Apr 04
// Hubert Vigilla
The "don't talk/text" PSAs by Alamo Drafthouse have always been great whether they feature intimidation from Michael Madsen or charming repartee by Julie Delpy and Ethan Hawke. Of course, nothing does the job like violence......
Old School Kung Fu Fest photo
Old School Kung Fu Fest

NYC: Check out the trailer for the Old School Kung Fu Fest at Metrograph (April 8-10)


A harvest from Golden Harvest
Mar 29
// Hubert Vigilla
The 6th Old School Kung Fu Fest is coming to New York at the ginchy new Metrograph cinema. The Old School Kung Fu Fest is put on by Subway Cinema, who are also responsible for The New York Asian Film Festival (NAYFF), one of ...
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Suicide Squad goes international with latest trailer


Mar 28
// Geoff Henao
Has the dust settled over the Batman v Superman madness, yet? While I personally haven't seen the film yet, I'm already over the entire debacle and ready for this summer's Suicide Squad. Mark my words: I think it'll be more t...
Warcraft trailer photo
Warcraft trailer

New international Warcraft trailer has wizard lightning, that orc baby, and a possible subtitle


Zap! Fzzzzit! Pew! Pew!
Mar 28
// Hubert Vigilla
The marketing machine for Duncan Jones' Warcraft is starting to kick in as we get a little bit closer to the June 10th release date. A trailer released earlier in the month gave us a little glimpse at a dwarf and an orc getti...
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Wonder Woman

First look at the rest of Wonder Woman's Amazonians


But will she spin in a circle?
Mar 24
// Matthew Razak
With Batman v Superman landing this weekend (review coming soon, but it's not so great) DC has introduced the cinematic world to Wonder Woman and that means that we can start seeing more of her upcoming solo film. Bits a...
Huntsman Trailer photo
Huntsman Trailer

Latest Huntsman: Winter's War trailer is absolutely nuts


Mar 23
// Nick Valdez
To be honest, Flixist has been sleeping on Huntsman: Winter's War. It's not hard to doubt the film given its shaky past and mediocre first outing. When a sequel was announced with everyone but Kristen Stewart attached, I had ...
Warcraft TV spot photo
Warcraft TV spot

Latest Warcraft TV spot teases dwarves, severed orc genitals, serviceable fantasy action


No orc baby, but lotsa wizard lightning
Mar 18
// Hubert Vigilla
The previous Warcraft TV spot didn't inspire much confidence from me, but there's a new TV spot out. I'll give it this much: it's got a dwarf and someone's nards get totally wrecked. The simple pleasures in life, am I right? ...
Old School Kung Fu photo
Eight classic kung fu flicks
There's nothing like a good kung fu movie to make me smile. When done right, they're almost like musicals, just with more kicking in the face. If you live in New York and love kung fu films, you're in luck. The 6th Old School...


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