I have always been a casual fan of the Pokémon franchise. I enjoyed the show as a kid, I still play many of the games to this day, and I even briefly got on board with the Pokémon GO craze that came about in 2016. That being said, while Pokémon, to this day is still a big hit with younger audiences, I’ve always acknowledged it’s older demographic as being a rather niche market. Which is why I never would have expected a film concept as ‘shockingly’ outrageous as Pokémon: Detective Pikachu to be greenlit. Pun intended.Read More
When it comes to stylized, energetic and gloriously ultraviolent contemporary action flicks that aren’t bound to a comic-book mega-franchise, the Chad Stahleski-directed John Wick trilogy are without a doubt, the films that set the standard for the mid/late 2010s and continue to live up to their hype with each instalment. As with its predecessors, John Wick 3 Parabellum delivers another brutal orchestra of elegantly choreographed and over-the-top bloodshed with Keanu Reeves starring as its merciless conductor, using any and every means in the vicinity to put down his enemies, whether it be a gun, a book or even a horse. It gives me great satisfaction knowing that Reeves who was long criticized and disregarded for his ‘wooden’ performances in past performances could spring to life in these films through his energetic movement and innate determination in conducting his own stunts.Read More
During its rather explosive 11 year run, the Michael Bay-helmed Transformers film franchise hasn’t exactly developed a particularly stellar cinematic legacy, with most productions being widely regarded as crass, noisy, explosion-filled, soulless Hollywood drivel with no shortage of puerile sophomoric humour and scantily clad girls draped over car bonnets. For the longest time, this was the status-quo for this franchise, to the point that I’d stopped caring about investing my money in seeing these films at the cinema by the time ‘The Last Knight’ rolled around. This simply boils down to the fact that since 2009, the mere act of watching Bay’s transformers films, with all their typical tempestuous bombast, incoherence and shameless product placement was in itself an exhaustive and mentally-draining endeavour in and of itself. This speaks volumes of the sloppiness and utter creative emptiness that Bay had invested into these films, and the knowledge that a big budget Hollywood media franchise is comfortable to reduce itself to such a state is utterly soul-destroying for modern cinema as a whole.Read More
What do you get when you toss Wolfenstein, John Carpenter’s The Thing, Saving Private Ryan and possibly the most blatant amounts of historical inaccuracy into a blender? You get a feverishly insane, ridiculously ultraviolent, revisionist war horror, schlock-fest that is Overlord. It could easily be dismissed as exactly the kind of unapologetically gruesome and tasteless B-movie pulp that a fourteen-year-old version of me would call a ‘masterpiece’. But in an era where most action productions are shackled to grand executive franchise aspirations, a schlocky revisionist war film about horrific Nazi experimentation with a simple beginning and an end and no loose ends to be tied up in a sequel or big-budget franchise feels like a breath of fresh air.