Robert is a tire. Robert is in the ground. Robert gains a consciousness and decides he doesn’t want to be rubble. Robert gets up and starts rolling down the road. He blows things up with its will. It squashes bugs. Now that it’s caught the eye (?) of a gorgeous young traveler, Robert is rolling down after her and is intent on garnering her attention.
Why? No reason.
Does there have to be a reason?
As an unofficial capper to the pop culture bash that has been “Shaun of the Dead,” and “Hot Fuzz,” I wish I could bring greater tidings to fans of Pegg and Frost who anxiously awaited their third foray in to another genre adventure, but as it stands “Paul” is merely an okay movie. It’s not the worst comedy of the year, but it’ll far from be remotely remembered as the supreme comedy the gentlemen Nick Frost and Simon Pegg partook in. “Paul” feels like a watered down dose of Edgar Wright fare and unfortunately without him in the equation, this third outing as a team doesn’t entirely succeed as a comedy.
After the massive box office bust that was “Tron” it was surprising that Disney would ever invest in another movie from the property again. In many ways while the film was a failure, the concept was merely ahead of its time and it deserved another chance at box office gold and a fan base. Even decades after the film caught on with cult buffs and garnered a fan base, the success of another “Tron” is still in doubt and with this sequel, it’s all still a gamble. Especially in the age of cynicism where CGI epics are a dime a dozen. “Tron Legacy” isn’t so much about a game and the user that masters it as it is a son re-connecting with his dad.
There’s something absolutely genius about director Matthew Kohnen’s horror comedy in which he concocts a formula that’s been done before, and yet feels absolutely brand new. We’ve seen it a thousand times: the government is devising a new toxin for war fare and before they realize it they’ve created a breeding fluid for zombified soldiers. Choosing instead to do away with it, they camouflage the chemical as baby formula and drive it off to a deserted locale. Thanks to inept truck drivers, a barrel falls off the truck and in to a local town behind a bowling alley.
Able to leap tall booties in a single bound, it’s Superman XXX! As a long time Superman fan since the age of five, I’ve found myself oddly intrigued by what they could do with a Superman related porno movie. Batman and Wonder Woman are easy targets for porn parodies. Batman’s entire shtick is based around black outfits and hanging around young girls and boys in caves, while Wonder Woman’s entire crime fighting routine is based on bondage and wrapping men in rope to get them to do and say what she wants. She’s the original dominatrix. But Superman is a tougher concept mainly because he’s such a boy scout it’s tough to imagine anything with Superman even remotely pornographic.
I’m still shocked Guyver never became a huge American film franchise. Sure, we had two films in America, but they were direct to Video dribble. The first film was nothing but schlocky camp based around lampooning the concept, and the sequel almost got it right by staging a very stern and sleek action science fiction picture that barely anyone saw.
A ridiculously talented cast leads what is easily one of the most underrated films of the last few years; “Monsters vs. Aliens” is a Mad Magazine style action adventure film that not only manages to pay tribute to the classic science fiction B movie tropes of the golden age of cinema, but also manages to create its own monster squad, that show they can save the world and not terrify it. “Monsters vs. Aliens” teams a blob, a gill man, a bug man (Hugh Laurie in his noticeable smug but likable demeanor), a giant grub, and a 50ft woman to take on archetypal alien menaces as they go on an exploration of themselves and their strengths as a team.