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*** This review may contain spoilers ***
I'm really not sure what it is - serendipity, or what - but the 2013,
Eric England-directed "body horror" film "Contracted" is the second
horror film in a week I've watched that concerns the dangers of sex and
sexually-transmitted diseases (STDs) (or the more current PC term,
"sexually-transmitted infections" - "STIs"); the first film I watched
was "It Follows" (2014). Like "It Follows," as it is here in
"Contracted," unprotected, promiscuous sex leads to unspeakable horror.
I have to admit, I've been recently thinking about the nature of horror
films and why it is that protagonists many times have to confront some
kind of unimaginable evil. We think about people, especially young
people, innocent and full of life and who have their whole lives ahead
of them, and yet ironically many times many of them will not live to
see those promising young lives fulfilled. And you think, how would we
react in a horror movie situation?
Those thoughts crossed my mind when I watched "It Follows," and it
caught up with me again when I just finishing watching "Contracted." In
the film, Samantha (Najarra Townsend) is a young waitress in Los
Angeles who has a fight with her girlfriend Nikki (Katie Stegeman) and
one night finds herself at a party being thrown by her best friend
Alice (Alice Macdonald).
At this same party, Samantha meets the smooth-talking BJ (Simon
Barrett, whose face is obscured in his only major scene), and the two
soon wind up in the backseat of someone's car. Over the next three
days, Samantha starts to get sick - like, really sick. How sick? Well,
much of it cannot be described here, because it would spoil the
gross-out delights to be experienced and because it would just be too
gross to describe what happens to her. The short of it is this: BJ
passed an STD onto Samantha the first time that they had sex, but what
she's coming down with is no ordinary STD, and is in fact - as
evidenced by this film's final moments - something much, much worse.
First off, I've learned my lesson from many times past from watching
so-called "body horror" pictures - by legendary horror masters such as
Stuart Gordon ("Re-Animator," "From Beyond") to the king of "body
horror" himself, David Cronenberg ("The Fly," "Easter Promises,"
"Videodrome"). My lesson: never eat anything while viewing a "body
horror" flick because you'll lose your appetite (if not your meal)
pretty quick.
I took that to heart when watching "Contracted." While the characters
are difficult to like and sympathize with, "Contracted" serves up some
truly grotesque shocks and sights. The film does miss a few
opportunities to talk about the full ramifications of some of the
issues it raises - such as date rape - but this film does offer a new
take on some well-worn horror material (which won't become clear until
the very end of the picture).
"Contracted" serves partially as a cautionary tale on the dangers of
unprotected sex, while offering a new spin on an old staple of the
horror genre. I only recently discovered that there's a sequel in the
works, so hopefully it opens up more of the mystery surrounding what
goes on in this picture.
7/10
The new 2014 horror film "It Follows" (released earlier this year in
March of 2015) is one of the most talked-about horror films to come out
in years. "It Follows" is, in many ways, a kind of throwback to the
relatively gore-free, atmosphere-rich shock-fests of the 1970s, with
films such as "The Exorcist" (1973) and "Halloween" (1978) - the latter
of which this film invokes especially during the course of its
100-minute running time. And because of these deliberate invocations of
horror films from 40 years ago (while also breaking with a number of
well-known horror movie traditions and stereotypes), it's hard to not
buy into the high amount of praise "It Follows" has received.
Writer and director David Robert Mitchell has stated in interviews that
"It Follows" is rooted in nightmares he suffered from as a child, where
he was chased by a malevolent, slow-moving, shape-shifting supernatural
entity that followed him everywhere he went. This idea managed to work
its way into his second feature, where Detroit teenagers on the cusp of
adulthood find themselves stalked by such a supernatural entity.
The film opens unsettlingly enough - and with a pulsating synthesizer
score by Disasterpeace (which is another key invocation from the 1970s)
- with a scantily-clad young girl running from her house, getting into
her car, and driving away. We next see her on the beach, tearfully
calling her parents and telling her how much she loves them and that
she's sorry for all the bad things that she's put them through. The
next morning, the young girl is found brutally murdered.
We're then introduced to Jay Height (Maika Monroe). Jay has a date with
a 21-year-old hunk named Hugh (Jake Weary) that starts innocently
enough. We next see them having sex in the backseat of his car. From
this little encounter, Jay soon finds herself stalked by the
malevolent, shape-changing supernatural entity (of Mitchell's childhood
nightmares, remember) that will follow her everywhere she goes until it
finally kills her - unless she can save herself by having sex with
someone else and thus passing the curse along to them (even though we
also learn that's really no guarantee she'll be fine - because if it
kills the next person she passes it on to, it will come back for her).
So she has to call upon her friends to help her extinguish a lethargic,
invisible entity that only she can see, and this does lead to some
genuinely frightening moments later on in the film (in particular, a
climatic final showdown involving the teens at a community swimming
pool).
Many reviewers have also read into this film's events as an allegory on
the dangers of STDs and promiscuous sex. When "Scream" (1996) premiered
19 years ago, it commented - albeit satirically - on how it is usually
in slasher films ("Halloween," "Friday the 13th," "A Nightmare on Elm
Street," etc.), that the virgin always survives and that one of the
only ways to not die in a horror movie is to simply abstain from having
sex. (This has caused some to analyze some movie slashers such as
Michael Myers or Jason Voorhees as moral avengers slaying promiscuous,
drug-abusing teenagers and young adults.)
But in "It Follows," that concept is turned on its head: sex is the
only way to survive. But the filmmakers are not saying that sex is the
key to prolonging one's existence here - however long that may be,
since, according to the "rules" surrounding the creature/curse here,
there's no guarantee of survival by simply passing "it" along to
another person. The filmmakers have commented that the STD comparison
is a fair interpretation, but David Robert Mitchell seems to suggest
that it's more about the fear of your own mortality - and yet sex in
itself, is about living, and connecting, physically and emotionally,
with someone else. Personally, I would even go further to suggest the
possibility that the film is really more about the fear of the unseen,
the unknown - which can also connect to a fear of death, which many
people, especially young people, cannot see or comprehend: These teens,
in a figurative sense as well as a literal sense, must out-run death,
from which there may ultimately be no escape. Really, any
interpretation is fair here, and key to understanding the feature.
"It Follows" is one of the best new horror films of the new millennium.
It has a low budget, but like a lot of low-budget horror features, it
is also stunningly well-made but most importantly, it has ambitions,
ideas, that are realized in spite of its financial limitations. I've
commented in the past that the British cult classic "The Descent"
(2005) is the best and scariest horror movie I've seen so far since the
beginning of the 21st century; like "It Follows," "The Descent" was
also inspired by horror films of the 1970s, which is perhaps why these
two films are so outstanding on a number of levels to me.
This film will definitely require multiple viewings to fully understand
everything it has to offer you.
8/10
When I was growing in the late 1990s, I had heard from my classmates
about a new cartoon show that was so vulgar, irreverent and hilarious,
that it seemed impossible for me to ever watch it - given my sheltered
upbringing. By chance, late one night, I had the opportunity to view
animated, adult-themed-comedy heaven; its name was "South Park."
I was 12 in 1997 when "South Park" debuted - and was created by Trey
Parker and Matt Stone - and caused an uproar with parental watchdog
groups who contended that the show contributed to the downfall of
American society in the cynical, politically-correct 1990s. Most
importantly, however, they also argued that "South Park" was
responsible for corrupting American youth.
I especially like the second part, simply because I have such a hard
time arguing that it's not true. "South Park," as an adult-themed
animated comedy series, was the cartoon show that I was waiting for at
that time - a cartoon series that pulled no punches for the sake of
political-correctness. And it was just so gosh-darn hilarious and
profane; there was no way you could turn away from the comical
mis-adventures of foul-mouthed South Park Elementary School
third-graders Stan, Kyle, Cartman, and Kenny.
And on top of all that, "South Park" also found the time to satirize
aspects of American pop culture and relevant social issues - including
racism, censorship and free speech, homosexuality, abortion, war,
religion, gun control, etc. - yet not take a single side in any
argument; Parker and Stone gleefully tout themselves as
"equal-opportunity offenders."
While I can say that I haven't watched this show in a long while (I
guess you could say that I aged out of it once I hit high school), I
still remember the uproar that it caused. It's really just too bad that
shows like "Family Guy" and "American Dad" usurped its position as
too-vulgar cartoon television. But "South Park" still paved the way for
raucous, offensive animated comedy. And for that, it will never grow
old.
10/10
A few vague, scattered news reports of a strange viral outbreak. A few
others about grisly killings in which the victims appeared to have been
eaten. Martial law, mass chaos, and Panic In The Streets ensue...
And so this is how "The Walking Dead" begins, or should I say its new
spin-off series, "Fear the Walking Dead"? "Fear the Walking Dead," as
has been indicated in previews, acts as a prequel of the events that
lead up to "The Walking Dead" - including, presumably, the initial
zombie outbreak - which premiered in 2010 and has since become a
cultural phenomenon.
"Fear the Walking Dead" was created by Dave Erickson and Robert
Kirkman, the latter of whom created the original "The Walking Dead"
comic book series with Charlie Adlard and Tony Moore. "Fear the Walking
Dead" centers largely around a dysfunctional family in Los Angeles
before the initial zombie outbreak. The pilot episode begins
unsettlingly enough, and serves as a calm before the storm. Here, we're
introduced to school teacher Madison Clark (Kim Dickens), her new
husband who is also a teacher Travis Manawa (Cliff Curtis), and
Madison's heroin-addicted son Nick (Frank Dillane) and Alicia (Alycia
Debnam-Carey).
In the background of this familial drama, a larger story unfolds in
which reports of cannibalism and gruesome murders - believed to be the
work of some as-of-yet unidentified viral epidemic that the government
is in denial of - are taking place. Eventually, the Manawa-Clark family
is drawn into the madness, too, as they bear witness to the events that
we're all familiar with in "The Walking Dead."
I've already read a few lousy comments regarding how bad this show is
and how unlikeable the characters are. I say, give it some time, and
realize that we're watching the beginning of "The Walking Dead," and a
lot is still unknown at this point about the zombie apocalypse. And we
have to get used to a new cast of characters and their story of
survival. But I also suspect that those viewers who are already
lambasting "Fear the Walking Dead" are upset because there are far
fewer frenetic action scenes, gore, and zombie killings (like what
we've had five seasons to become accustomed to). I blame these negative
comments on viewer laziness, above anything else.
"Fear the Walking Dead" is off to a great start. While this isn't the
true beginnings of the zombie apocalypse (seeing exactly where the
zombie virus came from and how it was introduced into the human
population will suffice there), it does give us an idea of what the
world was like before the storm hit. I can't wait for episode two.
10/10
*** This review may contain spoilers ***
Akira Kurosawa co-wrote and directed his black & white detective-noir
"Stray Dog" in 1949 - one year before the international break-out
success of "Rashomon" (1950). In post-World War II Tokyo, Japan is
still in the midst of recovering from its defeat in that devastating
conflict. (While the country is obviously in shambles, incredibly
enough, we never really see any of that, but still, its psychological
impact is felt everywhere you look. But then again, this film is not
about Japan's post-war-era of reconstruction.) During a sweltering
summer heatwave, a pistol belonging to young Detective Murakami (a
young Toshiro Mifune, one of Kurosawa's cinematic regulars) is stolen
by a pickpocket while riding on a crowded city bus one day. The weapon
changes many hands over the next few days, eventually winding up in the
hands of a disgruntled World War II vet, later identified as a young
man named Yusa (Isao Kimura). Murakami, also a war veteran, becomes
obsessed with retrieving his gun, since it is used in a series of
escalating, violent incidents around the city. During this time, he is
also partnered up with an older, more experienced homicide detective,
Sato (Takashi Shimura, another Kurosawa regular, most famous for
"Ikiru" and "Seven Samurai," perhaps), to nab Yusa, the so-called
"stray dog" of the title. "Stray Dog" is yet another classic from Akira
Kurosawa. The film is nicely and beautifully shot; Kurosawa was a
favorite of using the natural weather conditions to symbolize things
happening on-screen, and here he uses the heat to great effect. Like
how Spike Lee would do on "Do the Right Thing" 40 years later in 1989,
we can feel the heat and how the tension, and Murakami's increasing
anxiety and desperation, at solving his case before more people are
hurt, affect him on a deeply personal and psychological level. Rain,
which you would think would cool things down a bit, here, represents
yet another escalation in things to come later on in the film. Perhaps
one thing that "Stray Dog" illustrates best is that Murakami, in a way,
is just like Yusa. As someone else also pointed out, both fell on hard
times after their war service and were angry and frustrated at their
circumstances, but Murakami picked himself up afterward. Also as
someone pointed out, that means that, sometimes, the only thing that
separates the two men from each other is the notion of choice - since
Murakami explains that he could just as easily have become just like
Yusa at some point.
This movie is not to be missed if you're a true fan of the cinematic
master craftsman, Akira Kurosawa.
10/10
I have a strange history with the 1995 neo-noir crime-thriller "The
Usual Suspects."
I saw the film for the first time when I was in middle school; I
remember being thoroughly impressed with the picture and I may (or may
not) have rented it a few times from Blockbuster Video (I entered
middle school in the late 1990s). And then I never really saw it again,
but I do remember that "The Usual Suspects" always stuck with me, even
if 15 years has passed since I last saw it. And then on a whim, I
watched the movie again today. My opinion has not changed on this movie
at all, but today's viewing has only reaffirmed my glowing praise for
this picture.
The other reason that this movie stuck with me for so long was because
this film made the reputation of its director, a then-29-year-old Bryan
Singer. I came to know Bryan Singer through his work on the "X-Men"
movies - "X-Men" (2000) and its superior sequel, "X2" (2003). Although
I won't go into the details why, I've long been a fan of the X-Men
superhero team and I've long believed that Singer - through certain
aspects of his personal background - was the perfect director for the
first two films in that series and he brought those particular aspects
of his personal background to make those films his own. That is
something I'll always be thankful to him for, and "X2" is my personal
favorite film that he's ever done (if not necessarily his best).
But still, let's go back to the film that started it all for Bryan
Singer...
Let me just say that I consider "The Usual Suspects" to be the best
crime-thriller of the '90s. Yes, I said it, "The Usual Suspects" is
even better than "Pulp Fiction" (1994); while I like Quentin Tarantino,
I've never truly liked "Pulp Fiction" and have considered that to be
Tarantino's weakest effort - yet Tarantino won an Oscar for Best
Original Screenplay, so he obviously did something right. I don't think
that it's any coincidence that a year after Tarantino won his first
Oscar for Best Original Screenplay, screenwriter Christopher McQuarrie
won an Oscar for Best Original Screenplay for his script for "The Usual
Suspects," which I obviously feel is the better of the two. I've just
found "The Usual Suspects" to be far more inventive - and watchable -
in its story and characters, and complex and involving story-line.
"The Usual Suspects" is one of the most compelling, original,
frightening, and (occasionally) blackly humorous thrillers ever made,
with one of the greatest, and shocking, plot twists in cinematic
history. The film begins in the aftermath of a mysterious ship
explosion and firefight in San Pedro Bay in Los Angeles, California.
The police arrest cripple and con man Verbal Kint (Kevin Spacey, who
won an Oscar for Best Supporting Actor for his performance here), who
was only one of two survivors. While being interrogated by U.S. Customs
agent Dave Kujan (Chazz Palminteri), Kint reveals that six weeks
earlier in New York City, he and four other small-time criminals - Dean
Keaton (Gabriel Byrne), a corrupt ex-cop who's since been trying to go
straight; professional thief Michael McManus (Stephen Baldwin);
McManus's partner Fred Fenster (Benicio Del Toro); and Todd Hockney
(Kevin Pollak), a hijacker and explosives expert - were arrested and
interrogated by the New York City Police Department on trumped-up
charges in connection to a gun shipment robbery.
Kint goes on to further explain a rich and complicated back-story, in
which the five of them enter into a series of complex criminal schemes
that eventually brings the attention of a mysterious crime figure named
"Keyser Soze," whose criminal exploits and ruthless reputation are so
feared that he has earned a near-mythical status in the criminal
underworld. It all leads to a shocking revelation of just who it is
that's been pulling the five men's strings the whole time - Keyser
Soze, or someone else?
I have to admit that I loved every moment of "The Usual Suspects." This
movie definitely earned every bit of praise heaped upon it by the
mainstream and independent movie press upon its release in 1995; just
as an aside, this film was released into theaters three days after my
tenth birthday in 1995. Kevin Spacey earned his Oscar for Best
Supporting Actor here in one of the great performances of the '90s.
Though the work of the four principal actors cannot be discounted -
Gabriel Byrne is by far the most sympathetic of the quintet as their
de-facto, albeit highly reluctant, leader, Dean Keaton; Stephen Baldwin
(whom I personally took the greatest liking to) as Michael McManus and
this is probably his best-known film role before his career took a hit
in the late '90s and early 2000s; Benicio Del Toro as the
mangled-English-speaking Fred Fenster, who would go on to become an
Oscar-winner himself in just a few short years (for "Traffic" in 2000);
and Kevin Pollak as the one true common-man of the group, Todd Hockney.
Neo-noir crime-thrillers were big in the 1990s after "Pulp Fiction"
almost single-handedly reinvented the cinematic medium; "The Usual
Suspects," with its gripping story and characters, and snappy dialogue,
was the next (and arguably) greatest thing to come from that era. It's
a brilliant, mesmerizing viewing experience from a film-making team
that struck cinematic gold. And how can anyone not mention John
Ottman's touching, occasionally brooding and mysterious film score? I
just had to mention that also before I finally close this out.
"The Usual Suspects" is certainly not your "Usual" mid-1990s
thriller...
10/10
The Millennium-Era series of "Godzilla" features - released over a
five-year period between 1999 and 2004 in Japan - is an interesting
film series, to say the least. I have been slow in getting to it,
having grown up on both the Showa-Era (1954-1975) and Heisei-Era
(1984-1995) "Godzilla" film series. The first film I ever saw from the
Millennium Era was 1999's "Godzilla 2000" - which, as I remarked in
another review - was the last film I ever saw at the now-defunct
Cineplex Odeon at my local shopping mall before it closed down forever
in early 2000. I was 14 when that movie came out and when the Cineplex
Odeon finally closed its doors.
Just yesterday, I watched "Godzilla Against Mechagodzilla" (2002).
Today, I just finished watching its direct 2003 sequel, "Godzilla:
Tokyo S.O.S." When I remarked how interesting the Millennium Era is, I
mean that it's interesting in that like the Heisei-Era "Godzilla"
films, it completely disregards all the films that came before it -
pretending that they never happened - and instead goes right back to
"Gojira" (1954), the gloomy black & white monster flick that started it
all. But unlike the Heisei Era, each film in the Millennium series is a
stand-alone feature that not only disregards all previous "Godzilla"
features from different eras, but each film in the Millennium Era prior
to it is also disregarded. So, in other words, "Godzilla Against
Mechagodzilla" disregarded the three films that preceded it.
"Godzilla Against Mechagodzilla" is the only film to have a sequel,
which is "Godzilla: Tokyo S.O.S." "Tokyo S.O.S." is a better film than
its predecessor, and also a unique one. Since "Godzilla Against
Mechagodzilla" and "Godzilla: Tokyo S.O.S." are stand-alone features
that started 45 years after "Gojira" - these two films are unique in
that they also include a loose continuity of sorts with other
non-Godzilla-related Toho "kaiju-eiga" (Japanese giant monster films),
namely "Mothra" (1961) and "War of the Gargantuas" (1966); for this
sequel, "Mothra" is the film most referenced and shares the greatest
continuity, and it also includes a few references to "Godzilla vs.
Mothra" (1964) - the latter film of which has the benefit of being
Godzilla's last portrayal as the bad guy in the Showa-Era film series.
"Godzilla: Tokyo S.O.S." is set in 2004, one year after Godzilla
ravaged Japan, but was thwarted by the Japan Self-Defense Forces'
(JSDF) Mechagodzilla, a.k.a., "Kiryu" (meaning, "Machine Dragon" in
Japanese). Mechagodzilla, as you remember, was built around the remains
of the first Godzilla that was killed in 1954, and shares that
long-dead monster's genetic memories. Though Mechagodzilla managed to
save Japan from Godzilla, the monster cyborg was heavily damaged and
needed to be repaired.
Now, the JSDF is pondering whether or not to deploy Mechagodzilla into
the field again, being that its most powerful weapon, the Absolute
Zero, is damaged beyond repair and without it, Mechagodzilla will not
be able to defend the country against Godzilla. Japan Air Self-Defense
Force (JASDF) mechanic Yoshito Chujo (Noboru Kaneko) is on vacation at
his uncle's house when he's visited by the Shobijin (Masami Nagasawa
and Chihiro Ohtsuka), the miniature twin fairies who act as guardians
for the benevolent insect monster-god Mothra. Chujo's uncle is none
other than Dr. Shinichi Chujo (the late Hiroshi Koizumi), the Japanese
linguist who first discovered Mothra and the Shobijin on their native
Infant Island and witnessed Mothra's subsequent destructive rampage in
Japan 43 years earlier in 1961.
The Shobijin have come to warn them that because Mechagodzilla is built
around the skeletal remains of the original 1954 Godzilla, that this is
why Godzilla keeps returning to attack Japan. If Mechagodzilla is
returned to the bottom of the Pacific Ocean, then Mothra will gladly
take its place to guard Japan from Godzilla's attacks. Meanwhile,
Godzilla surfaces once again to attack Japan, and Mothra joins the
fray. Pretty soon, though, the JSDF also realizes that Mothra alone
will not be enough, and that they have no choice but to deploy
Mechagodzilla once again into battle - but the question remains of
whether or not the mighty Mechagodzilla will survive another lethal
encounter with Godzilla?
Maasaki Tezuka returns behind the camera to direct this stellar
follow-up to "Godzilla Against Mechagodzilla." The greatest thing to be
said about this feature is to see Hiroshi Koizumi, a regular during the
Showa Era in numerous Toho kaiju-eiga, reprising a role he first took
on over 40 years earlier. As a supporting player to a younger
generation of cast members, Noboru Kaneko makes for an effective
leading performer who is dedicated to his job and knows every inch,
inside & out, of the cyborg creature that he has been charged with
maintaining. He also has a close friendship with Kiryu pilot Azusa
Kisaragi (Miho Yoshioka) - having replaced Akane Yashiro (Yumiko Shaku)
from the previous film and who appears here in a brief cameo. I was a
little startled to learn that Yumiko Shaku wasn't going to be the lead
in this sequel, as I did find her replacement in Miho Yoshioka to not
be as engaging or sympathetic as she was in "Godzilla Against
Mechagodzilla." This was really my only serious disappointment with
this flick.
"Godzilla: Tokyo S.O.S." has some stellar monster battles, a beautiful
reappearance of Mothra, and an awesome mix of old & new (in more ways
than one). This was the last film before the all-out monster battle
royale that was this series' epic closer, "Godzilla: Final Wars"
(2004).
7/10
This was a good show!, 11 July 2015
*** This review may contain spoilers ***
I have to admit that I've been rather slow in getting to the
Millennium-Era series of "Godzilla" films - meaning, the films that
were made between 1999 and 2004 in Japan. I admit that I know very
little about the Millennium Era, but the first movie I ever saw from
this series was "Godzilla 2000" (1999) back in early 2000 at the
now-closed Cineplex Odeon at my local shopping mall and was
consequently the last movie I ever saw there before it closed.
Over the years, I saw "Godzilla: Final Wars" (2004) and I've only seen
bits & pieces of "Godzilla vs. Megaguirus" (2000), the latter film of
which I was never really impressed with from the few clips I saw of it.
Only today did I watch director Maasaki Tezuka's 2002 "kaiju-eiga"
(Japanese giant monster movie) "Godzilla Against Mechagodzilla," which
marks the fourth on-screen pairing of Godzilla fighting his
cyborg-monster doppelganger, Mechagodzilla (the first three films were
1974's "Godzilla vs. Mechagodzilla," 1975's "Terror of Mechagodzilla,"
and 1993's "Godzilla vs. Mechagodzilla II").
Since all the films in the Millennium series are stand-alone features
with no previous connection to the previous entry, "Godzilla Against
Mechagodzilla" therefore has no connection to its predecessor, and
instead - like "Godzilla 2000" - goes straight back to "Gojira" (1954)
and pretends that any film that came after it never happened; however,
Mothra and the Gargantuas are still referenced (through stock footage).
So, in 1999, a new Godzilla appears out of the Pacific Ocean to
threaten humanity. No explanation is given for Godzilla's sudden
reappearance in Japan, except to say that he's a threat and he must be
destroyed. (I must also say that this is one of the most menacing
portrayals of the mighty King of the Monsters that I've seen in years.)
So, a plan is put into action: in order to beat Godzilla, humanity must
pool their resources to create ANOTHER Godzilla, a Mechagodzilla. Like
the Mechagodzilla of the Heisei Era, this cyborg creature is a creation
of humans (rather than malevolent aliens like in the Showa Era).
However, there's a new twist here: this new Mechagodzilla (given the
codename "Kiryu," for "machine dragon") is a construction built around
the skeleton of the original Godzilla that was killed in 1954. Four
years later in 2003, Mechagodzilla/"Kiryu" is ready to go, and
disgraced Japan Self-Defense Force maser tank technician Akane Yashiro
(Yumiko Shaku) is selected to be the cyborg monster's chief pilot.
You see, Akane was one of the JSDF troops who was first dispatched to
counter Godzilla when he mysteriously re-appeared in 1999, and several
of her comrades were killed in the fray and she was made a scapegoat
and demoted by her superiors as a result. And so now, she's been given
a second chance to redeem herself and prove to her superiors and fellow
Kiryu pilots that she has what it takes to save humanity from Godzilla.
And also, somewhere in there, too, she becomes connected to
Mechagodzilla/Kiryu's widowed biological engineer Dr. Tokumitsu Yuhara
(Shin Takuma) and his young daughter Sara (Kana Onodera).
I've been saying for years that Mechagodzilla remains Godzilla's
greatest opponent - in any incarnation of the character. This was
confirmed upon viewing "Godzilla Against Mechagodzilla" finally. It's
heavily armed with a bewildering array of weapons, heavily armored, and
bad to the bone (quite literally, "bad to the bone") - just like its
two predecessors were. But this version of Mechagodzilla also has a
severe weakness. Because Kiryu was constructed around the skeletal
remains of the original Godzilla killed in 1954, it has that monster's
genetic memories imprinted onto it, so it has a "flashback" (if you
will) moment in the middle of a battle with Godzilla and goes on a
destructive rampage of its own. So for a while, the creature was out of
the control of its human creators. Yet, this is something that is
easily corrected by Dr. Yuhara.
"Godzilla Against Mechagodzilla" also has a great human story. Its
chief dramatic appeal, of course, is the beautiful young JSDF pilot
Akane Yashiro, played quite well by Yumiko Shaku as someone struggling
to overcome past traumatic failures and find some sort of
meaning/direction for her life and try to find some sort of redemption
(which she ultimately does - through her association with the
Mechagodzilla program and Dr. Yuhara and his daughter).
This was a good, worthy entry into the "Godzilla" series. I hope to
watch its direct sequel "Godzilla: Tokyo S.O.S." (2003) tomorrow and
see where it goes from there.
6/10
The mid-1990s relived!, 9 June 2015
I turned nine in 1994 (in fact, according to Wikipedia, "Superhuman
Samurai Syber-Squad" debuted on my ninth birthday in 1994), and at that
time back then I was still hooked on the likes of Spider-Man, Batman,
X-Men, "Teenage Mutant Ninja Turtles," "Transformers," and "Mighty
Morphin Power Rangers." So obviously, "Samurai" was a natural fit into
my afternoon after-school/weekend-morning viewing habits.
Unlike those other shows, however, "Superhuman Samurai Syber-Squad" was
the one show I just never got around to watching for some reason. It
seemed like it was never on TV, or I always somehow missed it, and it
was soon gone before I knew whatever happened (it only lasted for 53
episodes over the course of just one season between 1994 and 1995).
Yet, I also collected the action figures this show inspired, and I
still have at least one of them in my bedroom somewhere (it's safely
stored away in a box in the corner).
And thanks to the wonders of TV-on-DVD, this show is now available for
the first time on home video, where those of us who grew up in the
1990s can relive all those afternoons wasted in front of the television
after school (when we should have been doing our homework instead).
"Superhuman Samurai Syber-Squad," like "Mighty Morphin Power Rangers"
before it, was one of several original Japanese superhero "tokusatsu"
("special filming," or "special effects") TV shows adapted for American
audiences in the early '90s and used English-speaking American actors
in newly shot scenes integrated with the original Japanese footage.
"Superhuman Samurai Syber-Squad" came from the original Japanese
superhero series "Denkou Choujin Gridman," which I've never seen and am
unsure if it has ever been made available outside of Japan. On a side
note, "Superhuman Samurai Syber-Squad" (and its original incarnation
"Denkou Choujin Gridman") were both produced by Tsuburaya Productions,
which was responsible for Godzilla back in Japan.
Sam Collins (Matthew Lawrence, of "Mrs. Doubtfire" fame in 1993) is a
kind and caring, but otherwise normal teenager who heads his high
school rock band (as its lead singer and guitar player) Team Samurai -
with his three closest friends, the jock Tanker (Kevin Castro) on
drums; Tanker's crush, the brainy and tech-savvy Sydney Forrester
(Robin Mary Florence) on keyboards; and the curiously strange and
intellectual Amp Ere (Troy Slaten) on bass; later on the in the series,
Amp was replaced by Lucky London (Rembrandt Sabelis).
Of course there has to be a girl in there somewhere, and Sam pines for
the beautiful cheerleader Jennifer Doyle (Jayme Betcher), who seems to
return his affections. Sam's only rival is the megalomaniacal teen
hacker Malcolm Frink (Glen Beaudin), who also vies for Jennifer's
affections. Frink later sides with the rogue military program Kilokhan
(voice of Tim Curry), to create "mega-virus" monsters that later run
amok in computer and electronic systems that go on to cause havoc in
the real world.
But have no fear, good people, help is on the way...
Sam's life takes a strange turn when a power surge zaps him into his
computer and he becomes the computerized superhero Servo, based on a
high-tech video game character he was developing on the side. Together
with Tanker, Sydney and Amp, Team Samurai becomes the Superhuman
Samurai Syber-Squad - here to save the virtual world AND the real world
from all manner of Malcolm and Kilokhan's legion of digitized monsters.
And somewhere in there, the teens of Team Samurai have to still find
the time to be ordinary teenagers with ordinary teenager problems, like
girls, grades, and making awesome music as a high school rock band.
I guess I'll be the only person to compare this show to "The Matrix"
(1999), which was just five years off at the time of this show's debut.
I'll admit that this comparison is superficial at best, but it is worth
noting that both the show and the film feature epic battles that take
place inside of a computerized virtual world. Of course "The Matrix"
had groundbreaking special effects, and this show just had people in
elaborate costumes. (I should also point out that this show does remind
me of the Japanese superhero shows "Ultraman" and "Ultra Seven," which
I also adore.)
Either way, I still get a kick out of "Superhuman Samurai Syber-Squad"
after all these years. It makes me yearn for a far simpler time, when
television was much simpler and certainly more entertaining and
care-free. It was a lot easier to lose yourself for a half-hour with
the Power Rangers or Team Samurai, as a kid growing up in the '90s,
than it is now, unfortunately, since these kind of shows don't air on
television much anymore.
So gear up, and get ready to Kick Some Giga-butt, with Team Samurai and
"Superhuman Samurai Syber-Squad"!
10/10
A well done "Soldier", 1 June 2015
*** This review may contain spoilers ***
I guess I should admit up front that I'm not a fan of Captain America,
or patriotic superheroes in general. Which is why I have been extremely
hesitant about approaching Marvel's "Captain America" film series. I've
just never been a fan of the character, that's all.
So, I approach Captain America the same way I approached DC Comics'
Superman, in which while I never read the original comics that inspired
the character, I entertain myself with the big-budget cinematic
depictions, and go from there - like reading the comics if I chose to.
I haven't seen 2011's "Captain America: The First Avenger," but I was
eager - however - to see its 2014 sequel, "Captain America: The Winter
Soldier." Part of the problem I was even more hesitant to see these
movies was the casting of Chris Evans. I remember Chris Evans from the
two "Fantastic Four" movies where he played Johnny Storm/The Human
Torch and as one of the few people to like that two-film series, I
thought he was perfect there. I have a personal rule about Hollywood
actors playing more than one superhero (I'm looking at you, Ben
Affleck) - since the superhero bandwagon is one ride it seems that
everybody wants to hop onto. But, Evans's golden-boy good looks and
straight-forward attitude make him an ideal pick for the role of Steve
Rogers/Captain America.
The first "Captain America" was set during World War II. The sequel,
"The Winter Soldier," is set in the present (2014), and features Steve
Rogers trying to embrace his role in the modern world - since the
patriotic ideals and values about freedom and democracy that he fought
for 70 years earlier have given way to a shadier, morally gray outlook
for the future of humanity. In other words, he doesn't feel he's
fighting for the same good reasons now, that he was during World War
II.
Part of the problem stems from his immediate superior, Nick Fury
(Samuel L. Jackson), the director of S.H.I.E.L.D., who stresses that
things have changed drastically since Cap's WWII heyday. As the film
begins, Rogers and his chief associate Natasha Romanoff/The Black Widow
(Scarlett Johansson) uncover a conspiracy within S.H.I.E.L.D. that
refers to the ghosts of the World War II era - namely the rogue Nazi
science division HYDRA, which apparently did not die out with the
surrender of Nazi Germany to the Allies in May 1945. So Captain America
and The Black Widow are forced to go on the run as enemies of the
government, and the pair are forced to confront the "Winter Soldier," a
Russian heavyweight who has a frightening connection to Rogers's past.
Also along the for the ride is newcomer Sam Wilson (Anthony Mackie), an
Iraq War veteran with a secret of his own - he possesses an
experimental flight harness that reveals him to be the superhero The
Falcon, who in comics history was the first black-American superhero
and who was also one of Captain America's closest allies in the comics.
I partially wanted to see "Captain America: The Winter Soldier" to see
the Anthony Mackie debut as The Falcon.
"Captain America: The Winter Soldier" is a big, loud superhero-fest.
The co-directing team of the Russo Brothers - Anthony and Joe - is one
of the more interesting brotherly cinematic pairings in recent memory;
the script - by Christopher Markus and Stephen McFeely - is also quite
inspired (it draws heavily from a critically acclaimed comic book story
arc called "The Winter Soldier" by Ed Brubaker, which I haven't read).
The Russo Brothers and Markus & McFeely do pay particular attention to
the fact that Steve Rogers is now a man out of his time, fighting for
reasons that are vastly different from what he originally became
Captain America for. Another thing the movie also does well is how it
pays attention to how much the world has changed since the beginning of
the 21st century, or more particularly, after 9/11, and how some people
believe that some freedoms must be sacrificed in order to ensure
security (and how some will surely exploit the loss of those freedoms
for their own purposes). The movie also plays up some of the more
recent conspiracy theories that have cropped up as a result of this -
and having film legend Robert Redford (as Alexander Pierce, Nick Fury's
close friend and colleague), who appeared in a number of conspiracy
films back in the 1970s (which resulted from Vietnam and Watergate), is
just the icing on the cake here.
In some ways, this is one of the more "mature" superhero films produced
since the beginning of the 21st century (I would argue that honor goes
to "Spider-Man 2," which came out all the way back in 2004, but I know
for a fact that I'm surely outnumbered on this assertion). But as can
be expected, some of the attempts at slowing things down to get a grasp
on the characters and story and some of the underlying conflicts
between the beliefs and ideals of the past (and how they relate to the
present day) get drowned out by the special effects and explosions.
That's not a fault of the Russo Brothers, really, but just the fact
that Hollywood has come to expect so little from some of those in the
audience that DO want more, and not less.
8/10
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