The team of Zucker and Abrams is a shocking bit of cinematic lunacy that many comedy directors attempt and rarely achieve. “The Kentucky Fried Movie” is nothing but an endless barrage of brilliant comedy, and laugh out loud sight gags that appeal to an audience of an era that lived on television and movies. Though dated in some respects, “The Kentucky Fried Movie” manages to be one of the funniest and incredibly sharp lampoons that’s fearless, bold, and absolutely original.
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The Killers (1964)
There aren’t many films in the ilk as Ernest Hemingway’s “The Killers.” Though I’ve yet to see the Burt Lancaster original from 1946, “The Killers” is never without its assortment of merits and high points. You want cool? You turn to Clu Galagher. You want power, you turn to Lee Marvin, and lo and behold, “The Killers” teams both actors together to form a B grade thriller that’s stylish and entertaining. The duo Siegel’s film centers on are a searing team of hit men. Clu Galagher is bad ass, and Lee Marvin is just great. I can see why Quentin Tarantino would be inspired by this for his own characters Vinnie Vega and Jules Winfield.
Katy Perry: Part of Me (2012)
At the end of the day, Katy Perry’s awfully immediate documentary about her life on the road is as hard hitting and candid as your normal fluff piece on an entertainment TV show. “Part of Me” is really supposed to be a film for the Katy Perry fan club where she strives, enjoys life, and reveals her hardships from a struggling Christian singer to a fairly so so pop star. It’s all fluff and should really be called “Katy Perry is Amazing” when all is said and done. Continue reading
Kiddy Kiddy Bang Bang (2012)
Dick Jane’s short film is obviously just a prologue to further adventures of its two heroines. It’s either going to be the first in a series of short films, or “Kiddy Kiddy Bang Bang” is a pitch for a feature film in the making. If Dick Jane gets it off the ground, I can imagine Troma being more than willing to scoop this up and make this in to a cult classic. As a short film it’s exploitative, ridiculous, far-fetched, and the entire story just makes no damn sense. I also snickered at the dedication to sexual abuse victims in the final scene.
Killer Eye: Halloween Haunt (2011)
If you’re a hardcore Full Moon Entertainment fan and really follow their films by the tee, then you’ll love “The Haunt.” Basically it’s a self-aware meta-sequel to their cult classic “The Killer Eye.” This time though the movie is simply just a movie in this reality and in this world we set down on, Full Moon is just a company that treads out horror movies. We visit with a group of hormonally unbalanced lesbian best friends who spend their time dancing, and flirting with one another all the while preparing for a big Halloween exhibit one of the girls’ mother is throwing. Of course they spend the night drinking and unpacking the props for the Halloween house which are obviously nothing but Full Moon props.
Kidnapped (Secuestrados) (2010)
At the end of the day I really wanted to love “Kidnapped,” but the problem with Miguel Angel Vivas’ lengthy and dreary home invasion picture is that he sends out mixed messages and can never be sure where he wants to lead the audience. Sometimes our characters are merely horror movie cannon fodder to be bashed around and humiliated at a moment’s notice, and other times Vivas seems to really want to depict these characters as fleshed out human beings for the audience. And he fails at accomplishing both tasks. From minute one Vivas almost wants to show us this family bond that is lacking from the get go and never gives us a reason why we should quite care about these people.
The King's Speech (2010)
Director Tom Hooper’s British drama about the power of words and the man lacking the stature and power of such abilities in the face of a looming evil with the power of speech is something of a quaint animal. Seemingly sneaking out of nowhere, Hooper’s drama is a film not only about a man stricken with the disability of stammering, but a man finding his power in the face of ultimate powers around him. This is a man of pure impotence, a man whose felt dwarfed by the importance around him. And when he’s finally forced in to the world that demands his capacity to become an individual, now it’s a time where he must show the world that he is someone of immense presence. He is someone demanding of a capable individuality. Even to his wife whose unabashed support is laced with a sense of patronizing tone and dominance over his lack of speech functionality.