I’ve been a fan of Paddy Considine’s since I saw him in his utterly frightening performance as a mentally imbalanced recluse in “A Room for Romeo Brass.” I also loved him in the schmaltzy albeit well-intentioned family drama in “In America,” and he flexes his keen ability to be both menacing and vulnerable with Shane Meadows’ “Dead Man’s Shoes”. Meadows’ revenge thriller is a very visceral revenge film that delves in the fall out from the breaking of a cardinal rule: Don’t ever fuck with a man’s family.
In 2010 movie fans were given two action movies about a group of ragtag military outcasts doing everything they could to prove their innocence and fight a domestic terrorist. There was the long awaited “A-Team” revival and “The Losers.” The latter was based on a comic series from Vertigo comics of the same name, and wouldn’t you know it? The “A-Team” movie ended up being one big rotten egg, while “The Losers” was everything the aforementioned film should have been and received zero fanfare. It’s a damn shame that a decade later, “The Losers” is so utterly unappreciated and overlooked, because—again—this is the type of movie “A-Team” should have been.
While director Edgar Wright is still fresh in to his career and has churned out so many superb films, his ambition has managed to help elevate him in to a better filmmaker, one of bigger substance and larger scale. “Last Night in Soho” prove it, as it feels like that poppy bizarre sixties thriller that we might have actually seen in the sixties. Perhaps starring Natalie Wood? Maybe Peggy Lipton? “Last Night in Soho” has everything going for it; it’s the type murder mystery that audiences have been craving. It has a unique horror bent, and Wright has delivered on pop culture cult films like “Shaun of the Dead” and “Scott Pilgrim vs. The World.”
Streaming On: Tubi, Amazon Prime Video
I’m surprised that “Space Mutiny” came out so late in the eighties, as it feels like it could have easily been dropped in 1985 when “Star Wars” was a juggernaut. In the decade, so many studios were eager to jump on the “Star Wars” band wagon and they did it whether they had the resources or not. “Space Mutiny” is that epic product of the decade that takes everything bad about the “Star Wars” craze and plops it on to one messy, festering pile of nonsense.
Streaming On: fuboTV, Amazon Prime Video, Philo, YouTube, Google Play Movies & TV, Apple TV, Vudu, Sling TV
2011 seems like such a long time ago when you consider the career that Jason Momoa has had since then. He’s been in one of the biggest fantasy series of all time, was in a hit comic book movie as an iconic aquatic superhero, has led acclaimed dramas and crime thrillers, and seems to release a new movie or two every single year. Back in 2011 he was simply just a newcomer who was replacing Arnold Schwarzenneger in the reboot of “Conan the Barbarian.”
“A wraith, man! A ghost! A evil spirit – and it ain’t cool!”
“The Wraith” is one of those B movies from the eighties that is so inexplicable and so bizarre, but so damn satisfying. When I was a kid I spent a lot of my time watching antenna TV (Grade A TV Junkie right here!) and whatever movie was on that peaked my interest, even a little, I would be there front and center. “The Wraith” is one of the movies that caught my attention right away (showing prominently on WPIX Channel 11). It wasn’t only for the revenge tale involving an undead anti-hero, but also for the titular Wraith, who just looks so bad ass
We often tend to classify fantasy movies as movies with monsters, or elves, or space battles. Sometimes fantasy movies can be as simple as a narrative about the world that children can invent in their minds. In the darkest times and most cynical of realities, a child can find beauty and awe in their environment, and Sean Baker’s “The Florida Project” is every bit a fantasy as it is a rich art house drama. It’s hard to imagine anything as measuring up to Sean Baker’s “The Florida Project” from 2017.
I’m not too sure why I didn’t review “Midsommar” back in 2019. Maybe I was just too busy, but suffice to say it made my top ten of 2019, easily. Ari Aster is a man who has managed to really delve deep in to some truly bizarre horror, and “Midsommar” is a pitch perfect example. Aster’s film is always placed in the same vein as “The Wicker Man,” but while it certainly can be appreciated with the aforementioned, “Midsommar” is its own twisted animal.