If you’re a tik tok addict as yours truly is, then you’ll have noticed the more entertaining memes of adult Latina women introducing their daughters (or younger female friends or family) to “Selena.” It’s a bittersweet series of memes that inspire big laughs and big frowns all around. Like everyone in the nineties, the young women quickly fall head over heels in love with Selena Quintanilla. And like every person in the nineties, the rug is pulled right under them when shockingly she dies a pointless, tragic death. The series is interesting as it serves only to illustrate how much of a spell Selena put on people around the world.
It’s unreal that Emma Seligman is a newcomer director when watching “Shiva Baby.” She manages to build and introduce us to what is easily one of the most chaotic and absolutely uncomfortable movies I’ve ever seen. “Shiva Baby” is a master class in making its viewer absolutely uneasy and anxious as Seligman just revels in amping up the anxiety to every single bit of her narrative every minute. Seligman, despite making “Shiva Baby” her work of absolute love, is not one who ever lets her characters off the hook. Despite focusing the entirety of “Shiva Baby” on her central protagonist Danielle, Seligman has a great time making her squirm, panic, and just about heave in sheer horror as she twists the screws on her throughout “Shiva Baby.”
Streaming on: Paramount Plus, Amazon Prime Video, Hulu, Redbox
When it comes to revenge pictures, there’s no beating the wrath of a female scorned. Even worse there’s no beating the wrath of female child scorned. The whole concept of a child unleashing their wrath is an underused trope in Hollywood and it’s a shame that there aren’t more of these pictures (There is “The Aggression Scale,” though). For what it’s worth we have Cary Murnion, and Jonathan Milott’s “Becky,” a considerably schlocky but vicious bit of revenge fare that I just love.
I for one got a huge kick out of Kiah Roache-Turner’s “Wyrmwood: Road of the Dead,” because while it was a huge departure from what I usually like in my zombie movies, he compensated with huge creativity and a great series of performances. In particular Bianca Bradey was a scene stealer as the zombie human hybrid Brooke. In “Apocalypse,” Kiah Roache-Turner and Tristan Roache-Turner shift the focus ever so slightly to a new series of characters. Sure they keep the integrity and novelty of “Road of the Dead” in tact, but this time we’re given a wider scope with a new series of villains and some bad ass zombie hybrids.
“When they get to heaven they’ll be forgiven. God will forgive them and let them in. And I can’t live with that.”
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.
Streaming On: HBO Max, Youtube, Google Play, and Amazon Prime Video
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.
Streaming On: Vudu, Amazon Prime Video, YouTube, Apple TV, Google Play Movies & TV
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.”
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.