Dogs Are Man’s Only Best Friend in the “John Wick” Universe

“You Hit My Puppy.” – Mr. Nobody

When we first meet John Wick, he’s already hanging on a thread. He’d all but expended his humanity on his past life. He’d spent his entire life as a ruthless hit man known as the dehumanizing name of “El Baba Yaga.” All sense of what makes him a person had been lost thanks to the mythologizing of his time as a career hit man. When he meets his wife Helen, he sadly loses her to terminal cancer, which ultimately causes him to reflect on not only giving up but relinquishing whatever trace of heart and soul that he had left. When Helen leaves him a young Beagle named Daisy, much to his surprise and chagrin, she’s not only giving him a purpose but a part of his humanity. If she can’t be there to take care of him and love John, at least he can have Daisy to care for and become friends with.

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BAD MOVIE MONDAY: Verotika (2019)

I’ve written at length about what makes a good bad movie, but what makes a BAD bad movie? This is what I’d like to talk about in today’s review because I think I found the perfect example. Here is a movie that is so bad, so incompetent, so mind-numbingly lazy, that I can’t just overlook its flaws and give it the benefit of the doubt like I normally would. This is a movie that is insultingly and aggressively terrible. Yes folks, I’m talking about VEROTIKA.
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Querelle (1982) [LA&M Film Fetish Forum]

Director Rainer Werner Fassbinder’s adaptation of “Querelle” is a divisive movie and has been for a long time. It’s a movie that originally split some critics and journalists, as it’s a movie that’s been explained as a film you’d have to be almost exclusively gay to watch. That’s not a criticism or chastising, but the popular opinion I’ve read seems to indicate that it’s mostly clicked with gay audiences. “Querelle” is very much tailored to gay audiences, as it’s a movie about self discovery and main character Querelle searching for a sense of identity.

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Renfield (2023): ‘Dracula Sucks’ Edition [Blu-Ray/DVD/Digital]

Chris McKay’s take on the Dracula dynamic with Renfield has a lot going for it, but it also has so much stacked against it from the starting gate. In a year teeming with Dracula iterations, “Renfield” has a real shot at standing out among the other interpretations of Bram Stoker’s lore, but never really rises to the occasion. That’s mainly because while the concept is interesting “Renfield” never decides what it wants to be. It wants to be a satire on “Dracula,” and a commentary on abusive relationships. It tries to be a cop action, a buddy comedy, a vampire film, and straddles the dangerous line of being a satire on the abuser and abused relationship at times.

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The Angry Black Girl and Her Monster (2023)

Bomani J. Story’s horror film is one part family drama, one part Frankenstein, and one part Re-Animator. Deep down beneath its grue and gore is a very relatable and heartbreaking tale of a family divided by death and a girl determined to beat it. Much of “The Angry Black Girl and Her Monster” is centered around young Vicaria, a literal mad genius who is convinced that she can cure death, and like most mad geniuses, she finds out along the way that what is dead should stay dead, and that her madness might be symptomatic of the world she lives in.

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Spider-Man: Across the Spider-Verse (2023)

While “In to the Spider-Verse” demonstrated Stan Lee’s philosophy that anyone can be Spider-Man, and anyone could be a hero, “Across the Spider-Verse” is an exploration of the hero’s biggest mantra. “Spider-Man’s” core philosophy has always been that with great power, comes great responsibility, and with the follow up to the immensely successful “In to the Spider-Verse” we garner a look at the fallout from the abuse of massive power, and how it can corrupt even the best of us.

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Influencer (2022)

One of the best things about “Influencer” is about how absolutely unprepared I was for it. I didn’t know what was getting in to with Kurtis David Harder’s film, as I knew almost nothing going in to “Influencer” and I ended up with what amounts to a pretty slick and tense crime thriller. “Influencer” is a movie that is absolutely disarming and completely out of left field, as director Kurtis David Harder successfully subverts a lot of expectations with thrillers of this ilk. The movie is set in a foreign, mysterious land, centered on two gorgeous American women that are traveling abroad. From that smaller concept, Harder uses this as a launch pad to introduce us to one of the more sociopathic and cunning movie villains that I’ve seen in years.

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