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adaptation

Miike's 100th movie photo
Miike's 100th movie

Blade Of The Immortal trailer: Takashi Miike's 100th film is bloody samurai mayhem


Way to celebrate #100
May 18
// Hubert Vigilla
Takashi Miike is one prolific guy. At 56 years old, he's about to screen his 100th movie (!) at the Cannes Film Festival. He's like the Robert Pollard of cinema: wakes up in the morning, makes a movie before he gets the coffe...
R-rated Hellboy reboot photo
R-rated Hellboy reboot

Hellboy reboot in the works from director Neil Marshall and Stranger Things' David Harbour


No Del Toro or Perlman involvement
May 09
// Hubert Vigilla
Hellboy may be coming back to the big screen, but it's going to be without director Guillermo del Toro and star Ron Perlman. A Hellboy reboot is in the works from director Neil Marshall (The Descent, Game of Thrones), wi...
The Defenders photo
The Defenders

Marvel's Netflix shows finally come together in first trailer for The Defenders


Hallways for days
May 03
// Nick Valdez
I haven't seen Marvel's Iron Fist yet, but looks like I'm going to have to squeeze that in soon since the big team up show, The Defenders, already looks fantastic. Crossing over four different shows -- Daredevil, Jessica Jone...

Review: The Circle

Apr 28 // Hubert Vigilla
[embed]221468:43538:0[/embed] The CircleDirector: John PonsoldtRating: PG-13Release Date: April 28, 2017 Mae Holland (Emma Watson) lucks into a customer support job at The Circle, a Bay Area tech giant. The company has a sprawling campus full of cush employee amenities, much like the many corporate-capitalist Xanadus that dot the Silicon Valley. They're so flush with cash and a belief in work-as-play that they hire Beck to play a show on campus, which really does make this feel like a technological thriller from 2006. Jeez, guys, was Haim busy or something? ("They also have cooks for their employees, Hubert!" "Yeah, I know. More gravy, Uncle Bill?") Silicon Valley did it better. The company's co-founder, Eamon Bailey (Tom Hanks), is a mix of Mark Zuckerberg, Steve Jobs, and a benevolent dictator. He uses utopian-sounding names to introduce dystopian technological innovations. While the dialogue may be wooden, the screenplay at least has an ear for the grammar of corporate-ese. The new Circle innovation is SeeChange, which basically means putting GoPros on everything. Mae buys into the corporate culture quickly, becomes a model employee, and some other stuff happens that leads to a pseudo Truman Show redux (Truman Show Vista) with live tweets. Black Mirror did it better. The Circle's a bit all over the place, with ludicrous stuff happening just because. For instance, Mae goes kayaking without a life jacket in the middle of the night in San Francisco Bay to... I honestly don't know. To clear her head? Beats me. Most seasoned kayakers would choose a less foggy place to go at night if they wanted to clear their heads. Kayakers would probably just go for a walk, come to think of it. John Boyega's character seems like Mae's love interest. Well, no. He's only got ten lines in the entire movie and doesn't really do anything except offer a bottle of white wine, show Mae some servers, and help obtain some info for the final act. The end. The film seems to set him up as a Circle employee gone rogue, a square peg who doesn't buy into the corporate speak and who stands outside the system possibly to undermine it. The higher ups are smart enough to keep tabs on everyone else in the company except for the guy who doesn't really hang out with everyone else in the company. It's like if The Village from The Prisoner decided to leave Number Six alone. ("Oh, that's a reference I get!" "Yeah, Uncle Bill. I thought you would." "Pass the asparagus.") Director and co-writer James Ponsoldt (The Spectacular Now, The End of the Tour) feels oddly out of his depth with this film. He can't pin down the tone or build out a sustained mood, with scenes unfolding flatly, one after another as if joined by a series of monotonous and-then's. For a paranoid thriller, the film seems almost chipper about being monitored at all times. Scenes breeze by to convey exposition, carry the plot forward, and nothing more. The Circle feels so weightless and rushed and empty, peopled with vessels for plot and decade-old critiques of the modern world. Ellar Coltrane from Boyhood fumbles through a role as one of Mae's old friends. An unplugged luddite, he's angry that she buys into the Circle culture wholeheartedly. She used to do fun things and real stuff, like, man! He comes back in a pivotal scene later in the film that would be a nightmarish indictment of our loss of privacy if it wasn't also an absurd slapstick pursuit in the Benny Hill mode. ("I love Benny Hill." "I know you do, Uncle Bill.") I can't really blame the cast for this debacle. Not even Hanks can elevate this material. He was affable enough in last year's middling Dave Eggers adaptation A Hologram for the King (aka Eat, Pray, Love, Sell IT Solutions), but that only gets a movie so far. I'm not sure I bought America's Dad as Big Brotherberg. Watson can't carry a film with a flimsy character written like she just fell off the turnip truck; in a lot of ways Karen Gillan's overworked supporting character Annie makes for a more compelling protagonist. ("Turnips! We left your Aunt Sandra's turnip green salad on the kitchen counter!" "Oh, we sure did, Uncle Bill. Gosh. Let me get that in a sec, I'm almost done here.") The Circle is like a bad tech startup. There's talent behind it, a pitch with potential, but there's nothing there except buzzwords and BS. Behold: Cinematic Juicero.
Review: The Circle photo
A mobile-ready platform for Dreck 2.0
The Circle is the paranoid techno-dystopian thriller of 2006 released in 2017 and based on a Dave Eggers novel published in 2013. The film's concerns about technology and social media are so dated and quaint, like the stuff a...


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Eliza Dushku developing, starring in adaptation of Glen Cook's The Black Company


Else, you'd be like who? If pic current
Apr 26
// Rick Lash
The Black Company, a fantasy series written by Glen Cook and begun in 1984 spanning ten books, deals with magic, and an elite mercenary unit. It's kind of right up Eliza Dushku's alley, as you may remember her from her time o...

Tribeca Capsule Review: November

Apr 25 // Hubert Vigilla
[embed]221420:43534:0[/embed] NovemberDirector: Rainer SarnetRating: TBDRelease Date: TBDCountry: Estonia/Poland November is an adaptation of various Estonian folktales which are mashed together yet don't quite cohere. There's a werewolf girl in love with a peasant boy, but the peasant boy is in love with a sleepwalking girl who's part of the gentry. There's the threat of the coming plague, which leads villagers to resort to foolish remedies. The Devil wanders the woods at night, and for a little bit of blood he can give your kratt at soul. Somewhere and somehow these different threads might have braided together, but they instead feel too discrete. Even though I loved how strange these disparate tales were (though some of them didn't have any sense of an ending), strangeness alone isn't always sufficient. I longed for something more to care about than just weirdness--plot, character, a sense of direction, some basic set-ups and payoffs. Admittedly, my disconnect from November may be cultural. There are probably aspects of Polish and Estonian history and the national character that would have informed my viewing of the film. Instead I watched in a kind of baffled awe, wondering where it was going, just going with it, and not knowing what to make of things once I arrived at the end of the film. If anything, November is so exquisitely shot that I wasn't necessarily bored by it. There's always something beautiful or strange to look at. The kratts (which sadly don't play a major part in the story) are works of brilliant tool shed/junk pile puppetry. There's a procession of ghosts in the woods at night that only really comes up once, but it's so hauntingly beautiful, with figures in white moving past torches and trees with an elegiac grace. The sumptuous black and white imagery plays with shadow and fog so well that even when my mind check out of the story by the halfway point, my eyes were transfixed from beginning to end.
Review: November photo
At least it looks really good
I want to describe the opening scene of Rainer Sarnet's November because it's absolutely bonkers. There's a sentient creature comprised of three scythes and a cow skull. It moves in a herky-jerky fashion using its scythe...

R-rated Watchmen cartoon photo
R-rated Watchmen cartoon

Warner Bros making R-rated animated Watchmen adaptation that no one wants


Milk that IP until it bleeds
Apr 15
// Hubert Vigilla
According to Comic Book Resources, Warner Bros. will release a cartoon adaptation of Watchmen that will likely be rated R. CBR obtained a screenshot from a WB "A-List Community" survey that describes the project as a faithful made-for-video adaptation of the Alan Moore/Dave Gibbons comic. Hurm. Here's the screenshot in question:
Mary and Witch's Flower photo
Mary and Witch's Flower

New Mary and the Witch's Flower trailer showcases magic from ex-Ghibli talent


From Hiromasa Yonebayashi
Apr 13
// Hubert Vigilla
Even though Hayao Miyazaki is no longer retired, Studio Ghibli is in a transition period. The venerable studio went on a hiatus in 2014. The following year, producer Yoshiaki Nishimura and other Ghibli members started their o...
Transformers 5 photo
Transformers 5

New Transformers: The Last Knight trailer is incomprehensible yet mesmerizing nonsense


A Michael Bay fever dream
Apr 12
// Hubert Vigilla
The trailers for Transformers: The Last Knight have been absolutely daft. It's like Michael Bay has turned over his toy box and made big battles out of whatever action figures fell out. Now, this sounds great in theory--it's ...
The Mist trailer photo
The Mist trailer

Trailer for Spike TV's The Mist series takes the Stephen King story beyond the store


It's all foggy and misty
Apr 12
// Hubert Vigilla
Frank Darabont's 2007 adaptation of The Mist played out like a long, taut episode of The Twilight Zone. The movie offered one hell of a downbeat final scene--maybe mockingly downbeat--that differed drastically from the closin...
Joe Manganiello DnD photo
Joe Manganiello DnD

Joe Manganiello wants to make a Dungeons and Dragons movie, has co-written script


Roll for initiative
Apr 10
// Hubert Vigilla
Dungeons & Dragons has plenty of high-profile devotees, from Stephen Colbert to Vin Diesel to Junot Diaz. You can add Joe Manganiello to the list. He's been open about his geekdom before, and recently played D&D at Ne...

Review: Ghost in the Shell

Apr 01 // Rick Lash
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Ghost in the Shell has been on my list of to-sees for some time. While I was never a reader of the original Japanese manga which premiered in 1989, I am a fan of the televised anime from 2002. Indeed, Ghost in the Shell: Stan...

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New It reboot has trailer, will terrorize kids birthday parties


Tim Curry nods seal of approval
Mar 29
// Rick Lash
It, the re-clown-boot, which previously underwhelmed, nay, whelmed with first look material has put on its big boy clown pants for this new teaser trailer (clocking in at a full 2:32). Allow me to say, I'm intrigued again. No...
Justice League photo
Oh...alright
Justice League is technically one of Flixist's Most Anticipated of 2017 out of morbid curiosity. After getting a glimpse at this first official trailer, I'm not really sure what to think. It seems it has a less dour tone than...

Spider-Man  photo
Spider-Man

Check out these slick Spider-Man: Homecoming posters


Mar 25
// Nick Valdez
YOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO Spider-Man: Homecoming opens July 7th. 
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First trailer for Netflix's live-action adaptation of manga / anime Death Note


Mar 22
// Rick Lash
It's been a while since we reported on the adaptation of the Death Note manga, but apparently director Adam Wingate and crew have been busy for there's a new trailer for the Netflix original film Death Note: Death Note ...
Akerman in Rampage photo
Akerman in Rampage

Malin Akerman in talks to play Rampage villain opposite Dwayne Johnson, plot details emerge


Is she playing the entire US Army?
Mar 16
// Hubert Vigilla
The live-action adaptation of Rampage seems to be moving forward without any hitches. Dwayne "The Rock" Johnson is playing the hero of the film, and director Brad Peyton promises scares and the feels. Today Heat Vision report...
Terry Gilliam is quixotic photo
Terry Gilliam is quixotic

Quixotic Terry Gilliam tries to make The Man Who Killed Don Quixote yet again


Impossible Dream v Unstoppable Dreamer
Mar 14
// Hubert Vigilla
You'd think that Terry Gilliam would have given up on The Man Who Killed Don Quixote by now. The original 2000 production of the film was plagued by awful luck and fell apart, the process chronicled in the 2002 documentary Lo...

BADaptation: Mighty Morphin Power Rangers: The Movie

Mar 09 // Nick Valdez
[embed]215186:39856:0[/embed] Mighty Morphin Power Rangers: The MovieDirector: Bryan SpicerRating: PGRelease Date: June 30, 1995 I'd like to clarify a few things before I get started. This article isn't a review of some kind where I'll point out whether MMPR:TM is a good or bad film (although a good deal of us can agree and which end of the spectrum it lies). I'm going to focus on why it's a bad adaptation of the original TV show, and how it's "badness" affects the property overall. Also, I'm very aware that the TV show itself uses Japanese blah blah blah (although I didn't learn about it until I saw an episode of VH1's I Love the 90s), but that doesn't matter here either since I'm going to reference the show as the standalone version it's meant to be. Okay now since that's out of the way, we can get to the good stuff.  Mighty Morphin Power Rangers was a Saturday morning TV show on FOX Kids (then later weekdays) about five "teenagers with attitude" picked by a giant floating head named Zordon to fight the recently awakened Rita Repulsa (and later Lord Zedd). To fight this evil, they're given the powers of dinosaurs and were able to transform into five/six colored heroes. MMPR: The Movie however, greatly changes this formula. In the film, the six teenagers instead have to fight a new villain, Ivan Ooze (the amazing Paul Freeman!), but instead are launched to an alien planet in order to gain the "ancient powers of Ninjeti" (or ninja skills to pay the bills) and save Zordon, who has now been reduced from a floating head to a dying man.  One of MMPR:TM's (which I'm going to refer to as The Movie from now on to save time) first inherent issues is that it has to take a story from a 23 minute an episode series and expand it to fit at least a 90 minute film. And to fix the problem, The Movie's solution is to just tell a standalone story all together. While this all well and good, since not every adaptation needs to rely on the original's material to succeed, it's a little disheartening when you realize that the show's wide array of available, expandable stories weren't deemed worthy enough to get a bigger screen, wider audience version. By taking only key elements of the original, it's hard to see how The Movie is an adaptation at all.  But sadly it is. The Movie needs to be an adaptation to work since it apparently wants to be a companion piece to the show. It assumes the audience has an established familiarity with the franchise and eschews traditional character introduction. It boils down the "teenagers with attitude" to "teenagers who participate in extreme sports," there's no origin story (the Power Rangers are already Power Rangers), and lots of information and terminology are thrown around without real weight given to anything. And on top of this is the original story which introduces brand new characters to the franchise (Ivan Ooze, that pig thing, the Tengu warriors, and Dulcea) and treats them (with the exception of Ivan Ooze) like they've been a part of the series forever. I'm sure this must have been confusing as all get out for the poor parents (mine, of course) who were dragged by their kids to see this.  And if the new content is delivered in a confusing manner and not tied to show in any fashion, how important is that new content? The greatest thing about the Power Rangers television series is that despite the goofy look of everything and quirky dialogue exchanges, everything is given importance and weight while still tinged with humor. Every fight in the series is for the fate of the Earth and those five kids seem like underdogs who eventually overcome great odds. With The Movie's larger budget (which means mo' money mo' problems), the teens get new suits with all sorts of fancy gadgets like headlights and infrared vision, different weapons like tasers, and are now suddenly able to perform all sorts of fancy acrobatics and wire work. Even when they lose their powers for a bit (spoilers?) and become awesome ninjas, there doesn't seem to be a big difference between their powerless selves and powerful selves. These Power Rangers are unrecognizable.  So now we have an adaptation, that's not a true adaptation, full of unrecognizable characters. Were there any positives? Did The Movie manage to adapt anything well? Well...yes and no. For some reason when The Movie adapts a factor of the original series well, it somehow makes the adaptive material look more ridiculous than it should. For one, the series and film take place in the city of Angel Grove and answers a question I had for a long time. Where are all the people? With the extra run time and money available to The Movie, Angel Grove is full of people that do things. In the show, there's no room for normal people problems when there's giant robots to be had. But in giving the citizens something to do (and for having them exist in the first place), it makes the Power Rangers look like terrible heroes. In the film they're so wrapped up in defeating Ooze and saving Zordon, the citizens of Angel Grove nearly jump off a cliff. They're only lucky some random kid stuck his nose into their business.  Another great choice The Movie makes which hurts the TV show is giving the film a great standalone villain. Since the film's budget could afford a great actor like Paul Freeman (Dr. Belloq in Raiders of the Lost Ark), it unfortunately makes the TV show's villains seem more ridiculous than they purport to be. Freeman is great as Ooze. He hams up the screen, and his performance lies somewhere between perfect in tone and borderline ridiculous. And CG animating the giant robot fight at the end seems like a good decision, but it just takes what supposed to be a great event and turns it into a huge joke. The Power Rangers' new Megazord is now just some weird robot with no face (but still has a conspicuous blonde mustache) who crotch kicks to win.  All in all, Mighty Morphin Power Rangers: The Movie was perfect to me at the time. As a kid, I was so enamored with the premise I had no idea The Movie actually takes the original's material and tries to turn it into some sort of epic story that doesn't work. There's an air of seriousness about the film (but without the accepted ridiculousness the TV show brings) which sort of takes the soul out of Power Rangers. Sure the goofy humor and all the characters you love and recongnize are still present, but they're not themselves.  Oh I almost forgot something. What kind of Power Rangers movie doesn't feature the ridiculawesome rawkin' theme song for more than thirty seconds? For all of the reasons above, my friends, Mighty Morphin Power Rangers: The Movie is...a BADaptation. 
Power Rangers BADaptation photo
It's Morphin' Time...apparently
[Editor's Note: This feature was written four (!) years ago in anticipation of a rumored Power Rangers reboot. It has been re-posted for Power Rangers Month.] I knew as soon as I joined the Flixist staff that one day I would ...

Review: My Life as a Zucchini

Mar 03 // Hubert Vigilla
[embed]221336:43439:0[/embed] My Life as a Zucchini (Ma vie de Courgette)Director: Claude BarrasRating: PG-13Release Date: October 19, 2016 (France/Switzerland); February 24, 2017 (limited)Country: France/Switzerland My Life as a Zucchini opens with the accidental death of a boy's abusive, alcoholic mother. His father isn't around and never shows up, but he draws an idealized, superhero version of him on a homemade kite. The boy calls himself Zucchini (Erick Abbate), and as a police officer drives him to an orphanage, he flies the kite out of the car window. The moment is both beautiful and sad, just like so many other moments in My Life is a Zucchini. The other children at the orphanage are neglected, have had their parents deported, lost their parents in violent ways, or were physically or sexually abused. They're each around 10 years old. This is absolutely bleak material, and it's reflected in the look of the stop-motion puppets of the children. When a new girl named Camille (Ness Krell) arrives, one of the children remarks that she has sad eyes. It's a quality all of the children share. They all have huge, Margaret Keane-painting eyes, but they look wounded rather than doe-like, as if each of them might burst into tears at any moment out of sadness or a fleeting joy. While the situations these children face are so dark, My Life as a Zucchini is a hopeful film, and brimming with sympathy and empathy. I found myself crying through a lot of the film, which is a testament to the effectiveness of the animation. There's something important about the tactile nature of stop-motion I can't put my finger on. Maybe it's because the characters look like toys, and the settings feel like playsets--like the entire film functions as a space for a child to work through the dark things in their head. The English-language voice acting is commendable. The child actors sounded like actors rather than kids acting, if the distinction makes sense. Abbate and Krell have to do so much heavylifting whenever their characters are on screen, but there's no strain to it. I was so wrapped up in the emotion of the film that I didn't sense a flat line read or a sour delivery. Somehow, effortlessly, the child actors sounded vulnerable and true. The adult voice cast was good as well, with Nick Offerman, Will Forte, and Ellen Page disappearing into their roles as caretakers. Amy Sedaris' voice was distinct--very Strangers with Candy--though it fits with the brash, prickly character she portrays. Barras depicts kindness in various gestures between the kids and their caretakers at the orphanage. There's a snow trip with a tiny techno dance party in a cabin. There's play time. There's dress up and parties. When the children grow up, the psychological repercussions of what they've faced might be daunting, but at least there's this orphanage and these people who care about them. The adults try to create some semblance of a normal life free from from solitude and abuse. Things that seems so commonplace are suddenly imbued with a tremendous expression of love and humanity. How good it is, even if just briefly, to give someone the joy of a carefree childhood. My Life as a Zucchini is about children, but it's not a children's movie. That may have held it back in awards season. It was such a longshot to win a Golden Globe or an Oscar (Zootopia took both awards), and its bleakness didn't help matters. The film did wind up winning Best Animated Film and Best Adapted Screenplay at the Cesar Awards, however. Saying all this, part of me wonders how traumatized children might respond to the film. Would they feel less alone? Would they feel loved? Those concerns are more important than a statuette; they're what's most important in life.
My Life as a Zucchini photo
About kids but not a children's movie
There's this pervasive idea that children are resilient, that they're able to cope well even in dire circumstances. In stories about forlorn kids, a combination of optimistic pluck and boundless imagination helps them through...

Donnie Yen Sleeping Dogs photo
Donnie Yen Sleeping Dogs

Donnie Yen will star in a Sleeping Dogs adaptation, probably punch things really fast


The American Donnie Yenaissance
Mar 03
// Hubert Vigilla
Donnie Yen stole the show in Rogue One: A Star Wars Story and was featured prominently in the promos for xXx: Return of Xander Cage. At 53 years old, Yen may be on the verge of a well-deserved Hollywood breakthrough. It may c...

How To Do It: Mighty Morphin' Power Rangers Reboot

Mar 03 // Nick Valdez
1. Start over from the beginning. In the press release, the new film is classified as a "re-imagining" of the old show. This makes perfect sense given most of the audience of the first couple of seasons have now grown up and are willing to thrown down major cash on a nostalgic property. The problem with this is, those same people have too fond memories of the show. They've built it up to some pedestal, so any new film is already needing to prove itself. What most of you all out there need to remember is, Mighty Morphin Power Rangers is really, really bad. Bad dialogue, bad acting, and some of the most 90s situations you'll find on children's television.  But that's also not a bad thing. If we go into this new movie with an open mind, and the new film starts over from the beginning,  then we're in for a good time. So to be successful, the reboot needs to use the bankable names of the original five (maybe six) "teenagers with attitude" (Zack, Kimberly, Billy, Trini, Jason) because those are the names we'll remember. Most old fans won't remember who played those characters, so it's not important to bring the actors back, but we will remember the names. Start over from the beginning, tell the same simple origin story (teenagers are chosen by a floating space man to fight monsters), and we're golden. No need to reinvent the wheel.  2. Don't bring back old actors from the show.  When movie studios "reimagine" properties, they cast an entirely new set of people to play the characters we all know and love. That's going to be the case here. In order to completely separate itself (and thus create a new universe of movies), keep the television actors away. For example, Jason David Frank (who played Tommy in over 242 episodes of Power Rangers, and is arguably the most popular actor in the series) is already lobbying his fans to write to "lion gates" in order to get in the new movie. If they have to bring him (or anyone) back, and chances are they will, make sure it's only in a cameo capacity. Maybe have Tommy run the juice bar (like in the Wild Force episode, "Forever Red"), pass the torch to the new kids, and then disappear forever. As much as we might like the guy, seeing a thirty year old man run over in a tight spandex suit for a kid's show (like he is in the upcoming Power Rangers Super Megaforce finale) is kind of sad. Besides, the new kids watching this movie won't really know or care who Jason David Frank or any of these older actors are.  3. Use actors who can believably do their own stunts (and real suits!) One of the reasons Power Rangers became such a hit was because it delivered on things we've never had before. Although the acting and dialogue were bad, it had great action. It had cartoon action brought to real life, and it was pretty f**king cool. The series also still has some of the best fight choreography around. It's important to bring that back. Can you imagine what the fight effects could look like with a larger budget? Remember what the fights looked like in Mighty Morphin' Power Rangers: The Movie? Never mind, those were terrible. But a bigger budget could lead to bigger things. It's simple. Keep the suits real, but CG everything else. Like any other superhero, it's all about tangibility.  And that comes from the actors too. In the show, the teens would still kick butt out of the suits. Story wise, it shows the audience the effect of the power coins, and quality wise, it helps the audience attach the person to the hero. It's very important for us to remember who's in the suits. It's not enough for people to put them on, we have to believe people are in them.  4. Have a good villain.  Whether the new film goes with Rita Repulsa, Lord Zedd or even Ivan Ooze, it's important to have a memorable bad guy. Once again, don't reinvent the wheel. Don't create a new, generic villain for the film unless the right person is behind it (Paul Freeman was the only reason Ivan Ooze worked in the movie), and there's plenty of material to draw from so there's no reason to create a new one anyway. If I could have it my way, I'd go for Rita Repulsa. She's the greater villain since she posed a threat, her powers led to the "Green With Evil" storyline which introduced a sixth ranger, and she has some of the best catchphrases ("You're giving me a headache!" "Magic wand, make my monster grow!").  If they went that route, they could introduce Lord Zedd for the sequel (just don't make him overtly dark or scary, remember it's for kids!), lead in to their wedding, Serpentera, and the possible stories are endless. All I'm saying is the material is there, so Lionsgate would be wise to use it.  5. Do it for the kids.  This is hardest thing to say, but this new movie isn't going to be for me or you, it's for the kids. Although the name is there to get butts to the seats, Saban's probably trying to make this work into a children's franchise. It's going to be an all ages affair, so don't expect a dark and gritty take on these heroes. No blood, no adult situations, and the word "kill" will be replaced with "destroy." But that's the way it's always been, and it's always worked, so no reason to be worried about that now.  As long as the new movie gets the tone right. That's actually the most important thing on this list. Please don't take this movie seriously as nothing about the Power Rangers is serious. And even when the show decides to lean toward heavier subjects, it's only because they're destroying all of the current zords to introduce a new line of zords/toys to kids.  6. Don't forget to have fun.  With the rising amount of gritty reboots these days (just look at Man of Steel, Teenage Mutant Ninja Turtles, Spider-Man, and Transformers), I'm a little worried about how this'll turn out. Power Rangers has survived all these years despite its bevy of bad decisions because it's so lovably goofy. It's always so sincere about its laughably bad puns, heavy handed messages of protecting the environment and teamwork, and telling its stories with a half baked seriousness. Although every week a new monster threatens to destroy the world, there's still time to ride dirt bikes as part of the high school dirt bike club or something. It just all meshes together in a tone that works for everyone.  There's action, comedy, giant robots punching other giant things in the face, and lots of attractive men and women. If the new movie gets even one of those right, that'll be morphinominal. 
HTDI: Power Rangers photo
There's a wrong way, and there's a Morphinominal way
The Power Rangers series is an odd one. It started out as one of Saban Entertainment's many attempts to re-dub a Japanese kids show for American audiences and turned into a juggernaut spanning 21 seasons, comics, videogames, ...

Review: Ugetsu

Mar 03 // Hubert Vigilla
[embed]221341:43446:0[/embed] Ugetsu (Ugetsu Monogatari, 雨月物語)Director: Kenji MizoguchiRating: NRRelease Date: March 3, 2017 (limited)Country: Japan  Watching Ugetsu felt like walking into an austere room where an ancient handscroll has been unrolled, spread out, and hung up to observe. Its meters and meters of period narrative are told along the four walls. The scroll starts in one corner, traces the length of the room, and ends in the corner it began. Ugetsu is wonderfully looped and completed, wrapped neatly like an old-fashioned fable or tale. The return to the starting point of the story, that initial tableau, is marked by change, much like the lives of characters in the film. Ugetsu is an adaptation of two braided plots from Ueda Akinar's 1776 book of ghost stories of the same name. One story follows Tobei (Eitaro Ozawa), a bumbling peasant who dreams of becoming a samurai. The other story follows Genjuro (Masayuki Mori), a potter who is seduced and waylaid by a mysterious noblewoman called Lady Wakasa (Machiko Kyo). In the backdrop is a senseless war that ravages the countryside, with samurais pillaging and looting from peasants. In a tense moment early in the film, Genjuro risks his life waiting at a kiln as samurai approach on a rampage. His wife tells him to wise up and flee, yet Genjuro knows that the only future he and his family has are those pots that are firing away, just not fast enough. Throughout the film, the gentry and the warrior classes disregard the people beneath them, while Tobei and Genjuro dream of wealth and status. Both will risk everything for armor and kimonos. Ugetsu contains those perennial critiques of greed and vanity, sins for which the wives of the two men suffer. Even before researching Mizoguchi's background, I could sense his love of kabuki and painting in the visual style and rhythms of the Ugetsu. The film ushers itself in with traditional song, and there's a measured theatricality to the blocking, staging, and performances of this period ghost story. The first time Lady Wakasa appears on screen, she is an otherworldly presence. It's not just the manner of dress, but a manner of being. Her servant follows to her side slowly, and she approaches Genjuro at a pace of her own that defies the bustle of the market. She is not one of these people, that much is clear. Mizoguchi's extended takes are marvels of deliberation. Contemporary filmmakers tend to use long takes as a sort of spectacle, calling attention to ballsy filmmaking craft (i.e., the long-takeness of the long-take) while paradoxically aiming at audience immersion (i.e., this unfolds continuously like real life). There's little sense of how form and content are wed in the contradictory presentation. For Mizoguchi, the extended take is part of the period storytelling. I mentioned the wall scroll idea earlier, which is a fitting way to depict a period tale. The story is fantasy touched by reality; its form and content are rooted in a time and a place and an art tradition that is tied to said time and said place. The 4K restoration of Ugetsu looks excellent, and I was actually thrown by it for a moment. It may have been the digital projection, but there was an uncanny sense of movement about some objects in the frame. They moved a little too smooth, a little too fast, sort of like when watching a new movie on a new TV with the settings just a little off. I don't know if that's a flaw since I eventually adjusted to it, but maybe it speaks to the film being so much an evocation of a period centuries ago that a contemporary presentation made uncanny movement more apparent. But hey, a classic is a classic.
Review: Ugetsu photo
A wall scroll on ghosts, war, and class
The films of Kenji Mizoguchi have been a major blind spot in my life as a filmgoer. I've seen plenty of Akira Kurosawa and Yasujiro Ozu films, but for some reason Mizoguchi had always hovered on my to-watch list, always put o...

Review: Logan

Mar 03 // Nick Valdez
[embed]221303:43419:0[/embed] LoganDirector: James MangoldRelease Date: March 3, 2017Rating: R  Logan is both a sequel to 2013's The Wolverine and a ending to the entire X-Men franchise. In the far-ish future of 2029, we find Logan (Hugh Jackman) making his way across El Paso, driving a limo for money. It turns out mutants have essentially gone extinct, and he is only doing odd jobs in order to take care of the now dementia-suffering Charles Xavier (Patrick Stewart), who's loss of control over his mind has made him a threat. But one day he's approached by a woman accompanied by a silent girl named Laura (Dafne Keen) who needs help getting to the Canadian border and some place they call an "Eden for mutants." Begrudgingly accepting the task when he sees Laura shares a few similarities with him, revelations come to light as Logan has to come to terms with the man he's become. Logan is dramatically different than the rest of the X-Men films, and that's notably due to its R rating.  While I was initially afraid Deadpool's R rated success would mean Logan was full of extraneous foul language and violence (but without the cheekiness), what is present feels incredibly natural. Like we're actually seeing Wolverine for who he is for the first time, making every other performance seem neutered in comparison. This Logan is older, broken, and incredibly violent. He brutalizes enemies, but it's never portrayed as monstrous as his attacks could be because Jackman fills the role with a much needed humanity. The film always makes a point to note that he never initiates the attacks (unlike the brash Logan seen in, say, the first X-Men). The added caveat of slowly losing his healing abilities also grounds this comic book film in an unprecedented way. For all intents and purposes, Logan is a lonely, introspective character drama. While the character work admittedly will be more effective if you've seen some of the other X-Men films (at least the first one to explain some of the world's elements), it's not completely necessary. The film opens with a scene heartily establishing everything you need to know about this character, and I'll go as far to say it's the best opening scene in the franchise to date.  Logan is full of outstanding performances. While some kitchy turns from Boyd Holbrook's Pierce (a mysterious guy in sunglasses who's chasing after Laura, but Logan's not about that so mentioning his role in the story seems unnecessary), Stephen Merchant's Caliban, and a villain revealed later in the film tend to remind you it's a comic book film, the three central cast members anchor Logan's harsh reality. Hugh Jackman, drawing on his years of experience with the character, puts forth a stellar performance. As mentioned earlier, with the amenities afforded by the film's R rating, Jackman's performance rings more palpable than ever. Like this is the character he's wanted to portray since he signed on to these films all those years ago. His rapport with the sickly Charles is one of the best features in the film as he and Patrick Stewart have developed a mentor/pupil-father/son relationship over the years. Or at least ably portrayed as such. Then there's the young Dafne Keen, who's Laura is defined entirely through her physicality and manages to carve a distinct presence between the two.  Now Logan isn't perfect. One of the film's overlying themes of fighting one's past becomes a little too literal, the tone is so well established the encroaching X-Men talk feels out of place, and some of the dialogue unfortunately I felt I had to forgive under the "comic book film" qualifier, but thinking back on it, these issues didn't bother me as much as I thought they would have. Logan's imperfections lend credibility to the central character's imperfections. The film's problems mirror Logan's distraught sense of self. Is he the colorful hero of years past? Is he the beaten down man who's lost his sense of purpose after years of struggle? There's a distinct push and pull between the two tones as they blend into something not seen before in the genre. In fact, it seems, dare I say realistic?  Above all else, Logan is a film of consequence. It's the first comic book film weighted with actual drama and character work. There's an overwhelming sense of finality and dread permeating throughout making every one of Logan's struggles more tense than the last. If you've followed Wolverine through every one of his adventures, you're sure to be satisfied with Logan. If you haven't, there's still enough tactile emotion here seeping through Logan's ever-worsening wounds to draw you in even slightly.  I don't need to see another X-Men film, or another comic book film ever again. Thanks to Logan, they've become irrelevant. 
Logan Review photo
Brutal, harsh, and absolutely glorious
(This is a republishing of the original review, which posted two weeks ago.) Logan is a response to a litany of unprecedented events. Comic book films are more popular than ever, the X-Men series is still a via...

Uncharted screenplay photo
Uncharted screenplay

Joe Carnahan talks about his R-rated Uncharted script and its crazy action sequences


Let's get crazy
Feb 24
// Hubert Vigilla
The Uncharted movie looks like it's finally moving forward. Yes fellas, honestly and for reals this time. Joe Carnahan finished his screenplay not too long ago, and Shawn Levy was plucked from left field to direct. In an inte...
Castlevania poster photo
Castlevania poster

Adi Shankar releases teaser poster for the Castlevania series on Netflix


Needs more stupid Medusa heads
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// Hubert Vigilla
Castlevania producer Adi Shankar has been using Facebook as a hype machine. Years ago he teased the potential series on his Facebook page. Shankar would then take to Facebook to confirm two seasons of Castlevania are in the w...
RIP Hellboy 3...? photo
RIP Hellboy 3...?

Guillermo del Toro says Hellboy 3 is dead, creator Mike Mignola hints at creative tension


Aww crap
Feb 22
// Hubert Vigilla
At this point it seems like Guillermo del Toro has a knack for movies getting away from him. They gestate, they build, but they don't come to fruition. The Hobbit, for instance, and also At the Mountains of Madness. Now you c...
Scorsese on Netflix photo
BAH GAWD, THAT'S NETFLIX'S MUSIC
In a totally unexpected move, Martin Scorsese's forthcoming gangster epic The Irishman has moved from Paramount to Netflix. The $100 million film will star Robert De Niro, Al Pacino, Harvey Keitel, and Bobby Cannavale, and co...

Thor: Ragnarok photo
Thor: Ragnarok

Thor: Ragnarok concept art reveals Gladiator Hulk and new villain Hela


Some more Thor for your core
Feb 14
// Nick Valdez
It seems the Doctor Strange home video release is going to pack in quite a bit of goodies. Along with both "Team Thor" shorts, it's also sharing our first peek into Thor: Ragnarok. This concept art revealed during a video tea...
Netflixvania photo
Netflixvania

Netflix Castlevania: Producer Adi Shankar says 2 seasons in works, both written by Warren Ellis


Netflix-vania
Feb 09
// Hubert Vigilla
The animated Netflix Castlevania series was announced yesterday, although it was buried in a press release. Producer Adi Shankar, who teased the series back in 2015 on Facebook, took to social media again to share some small,...

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