Category Archives: Movie Reviews

Giantess Battle Attack! (2022)

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Now Streaming on TubiTV

After “Attack of the 50ft Cam-Girl,” I assume Full Moon and director Jim Wynorski just thought “Aw, Fuck it” and went ahead with a trilogy of films. What started as yet another iteration of “Attack of the 50ft Woman” transformed into what are now a trilogy of cheaply made, tongue in cheek schlockfests where the main attraction is the giant, busty women knocking heads with one another. They wear tight, short clothing, and tower over the male characters, and there’s a ton of innuendo and double entendres thrown at the audience.

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Godzilla x Kong: The New Empire (2024)

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Now In Theaters Nationwide.

“Godzilla x Kong: The New Empire” in a nutshell:
Kong: Man, I just got my ass kicked. Help a Titan out?
Godzilla: Say less, bruv. We on this bitch.
Mothra: Allow it.

The best thing to remember about “The New Empire” going in to it is that Adam Wingard’s movie is for the monsters this time. There’s a lot less stuff about bureaucracy, and shady governments, and Armageddon. Now that we’ve hit on all those notes, Wingard gives us what can plainly be described as a fun, classic Saturday matinee. It’s a tribute to the classic monster mashes from Godzilla’s heyday where King Kong is the hero who calls upon a few of his friends, one of whom being Godzilla, to take down a new potential threat to mankind. A challenger to the throne, if you will.

So much of it works as I was hooked on the journey we’re taken on with King Kong.

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Godzilla: King of the Monsters (2019)

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It’s pretty much confirmed with “King of the Monsters” that the producers are going for a monster universe fitted for the more general audience. Director Michael Dougherty is back in this sequel to 2014’s bold “Godzilla” that pretty much establishes the kaiju movie universe for this era. Established as “Titans” the movie monsters from the classic Godzilla movie series all make appearances in some form or another, and boy are they terrifying. While the original monsters were all pretty scary, the way that director Dougherty visualizes them is just downright mind blowing. The monsters are all specters and reapers of the apocalypse, all unmatched in their power that are back to basically reclaim the planet for themselves.

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Queen of the Deuce (2023) [Make Believe Film Festival 2024]

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There’s nothing better than a great documentary and “Queen of the Deuce” manages to be one of the best I’ve seen this year. Valerie Kontakos’ biography about NYC figure Chelly Wilson is one of the more excellent documentaries I’ve seen that covers an array of topics from family, LGBTQ politics, and the ever lasting effects of the holocaust. More so it’s a brilliant time capsule of the Deuce, 42nd Street in New York which, at one time, was considered a virtual breeding ground of violence, sex, drugs and all other kinds of depravity.

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Humanist Vampire Seeking Consenting Suicidal Person (2023) [Make Believe Film Festival 2024]

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I’ve been enamored with the French-Canadian “Humanist Vampire…” since the beginning of the year but didn’t quite have the means of being able to view it. I’m glad that I finally had a chance to, since Ariane Louis-Seize creates such a charming, and interesting coming of age horror comedy that re-thinks the whole idea of being a vampire, while also using it as an allegory for restarting our lives. Louis-Seize’s horror comedy, while not entirely original, still excels on being a great slice of life that embraces the absurdity of its premise.

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Immaculate (2024)

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People often underestimate Sydney Sweeney as an actress as she’s someone that can not only act her heart out, but she can also carry a film. “Immaculate” from Michael Mohan excels in every way possible, including Sweeney’s performance. She doesn’t just play a damsel in distress, but also depicts someone that is doing everything she can to fight her way out of extraordinary circumstances. Bound to be compared to “Rosemary’s Baby,” I likened “Immaculate” more to Ti West’s “House of the Devil” where a young girl is thrust in to a situation we, as the audience, are never quite sure what is unfolding, even when we’re explained what the sinister forces have in store for our protagonist.

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