Well now lawdy, lawdy, lawdy, Miss Clawdy! 2022 has been an such amazing year for film, and more importantly cinematic experiences…and we’re only at the halfway mark. We’ve seen the return of The Dark Knight, Top Gun and now The King of Rock ‘n’ Roll. It’s safe to say that going back to theaters is an event again (thank goodness!). Further, seeing Elvis on the big screen is one of the most exciting times you’ll have this year. It sure was for us. Baz Lurhamann‘s long-awaited biopic is headlined by Austin Butler who dons the titular icon’s shoes (and jumpsuit). He delivers the goods and then some! The King casts…
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G-S-T Review…’Jurassic World: Dominion’
It’s actually unfair of us to compare Jurassic World: Dominion (and the other parts of the dinosaur franchise revival) to what Steven Spielberg did back in 1993. It’s not that the director utilized a special effects frenzy to guarantee success. He actually made sure we believed dinosaurs were back. And then he terrified us when he made sure we believed they had been let loose. That’s a sense of wonder few films today have the ability to convey. Does that mean everything that would come after didn’t stand a chance? Up to a point, yes. He even experienced it himself with the The Lost World: Jurassic Park, but at least…
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G-S-T Review…’Top Gun: Maverick’
Top Gun: Maverick is a late arrival to the nostalgia-inducing game Hollywood has been playing for some years now. Deemed as “irresponsible” by Tom Cruise at some point of his life, the project was always clouded by the stance of making a new film about the characters, and not necessarily a sequel. Which is exactly what we got. Even with carbon-copied scenes. In all irony, Top Gun: Maverick is the very definition of a pure Top Gun sequel. However, it represents a concept development that feels complete above anything. It pushes for a character definition we didn’t know we needed, and its plot simply makes sense considering the first film…
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G-S-T Review…’Werewolves Within’
We need filmmakers like Josh Ruben. Not only because they actually make fine movies (we got tons of those), but because he bets on the distinct sides of an industry that heavily relies on formula. With only two feature films, he’s managed to convey an intelligent sense into genre filmmaking. With Scare Me he riskily set out to make a comedy film with horror touches. But in Werewolves Within the odds were definitely higher. Here is a film based on a video game, a horror comedy, and with a subgenre setting that’s far from popular or mainstream. The result is one of 2021’s best films. To filmmakers out there, pay attention. …
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G-S-T Review…’The Matrix Resurrections’
For a film franchise that broke all the rules and changed the entire entertainment industry, one might expect subsequent adventures down the rabbit hole would be welcomed, mind-bending yarns. But alas – system failure – The Matrix Resurrections sports no significant advancements in this upgraded sequel. We’ll get that out of the way up front as it’s probably the worst part about plugging back into the beloved series. So dig in, this is going to take a while. Often times, sequels are all about familiarity and there is a certain comfort when expectations are met. So while Lana Wachowski is never content to do the same thing, she wanted this…
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Podcast Review: ‘Cowboy Bebop’
Hi amigos! How y’all doing?? Here we are, friends, an event we’ve waited for since we first heard those notes of Tank! more than 20 years ago. For all you fans looking forward to a long-hyped live-action Bebop event, Netflix has released a version of the beloved show that, on paper, looked like a home run: Shinichirō Watanabe as a consultant, Yoko Kanno providing new and expanded music, a great looking cast, etc. So before we go any further, we have to acknowledge how we got here. In 1998, Sunrise released the jazz-infused anime that would forever change animation for the better. From Wikipedia, here’s the short run down. “Twenty-six…
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G-S-T Review: ‘Last Night In Soho’
Edgar Wright is one of our favorite directors. His style, skill, and sense of humor are just a few reasons why we’re so endeared to his work. While he’s made a name for himself as a powerful and highly competent genre filmmaker, he’s still growing as an artist. His latest – a throwback ghost story – finds him committing to a kind of period piece as he tries his hand at a murder mystery. Yes, we know, Hot Fuzz is a murder mystery, but it was filtered through the lens of a buddy cop comedy. Last Night In Soho is entirely different. How, you ask? Let me expand. As mentioned…
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Podcast Review: ‘The Suicide Squad’
Over the years, we’ve covered a lot of ground on the site. But one thing we’ve always aimed to do was a podcast. Well, after a lot of waiting we’re finally getting to it. As such, I am happy to have have our newest contributor, Federico Furzan, as my co-host (or RIO for all you naval aviators). I’m thinking of calling it ‘Two Os in Goose‘ because of my fondness for Top Gun, but Federico isn’t on board…yet. For our inaugural episode, we covered a slew of topics, and we had a blast jumping all over the map. So much so that we lost track of time. That said, if…
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G-S-T Review…’Nobody’
Do this experiment: Remove Bob Odenkirk from Nobody. And try to see the film again without his presence. Is it actually a good film without its most prominent element? I believe it is, and this is how the film goes past its well-planned advertising campaign in which we simply saw a comedy actor in a role that wasn’t supposed to be his. Nobody is a surprise and not because it delivered an irreverent role. It’s a good film because its narrative works, the story is interesting enough, and it never stops to ask too much questions. It’s exactly what we look for in an action film. Nevertheless, of course Odenkirk…
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G-S-T Review…’The Water Man’
When it comes to films dealing with tragedy and loss, it’s not very hard to identify some blueprints that every piece of the plot follows. It seems Hollywood is set on showing a final moment, a grief stricken character that can’t let go, and the burning sensation of “it was all for nothing”. I’m sure not every film has to meet these rules, but it’s part of a general, manipulative trend. Death appears to sell. In The Water Man, we feel like we’re part of a known scheme. This is something that can clearly be identified in its first act. However, as the plot is unraveled we come to understand…
