DRACULA WEEK
When we first see Gabriel Van Helsing in “Van Helsing,” he’s on the pursuit of Mr. Hyde, a hulk-ified version of Dr. Jekyll. While the Stephen Sommers movie was a bust, “The London Assignment” at least takes its best shot at filling in the gaps. “The London Assignment” is an okay attempt a prologue for Gabriel Van Helsing, where we follow him in his efforts to stop the vicious murder spree of Dr. Jekyll and his monstrous alter ego Mr. Hyde.
Damnit. Timothy Woodward Jr’.s “Til Death Do Us Part” is a wonderful idea, one ripe for a great horror comedy with a ton of action and what we ultimately got was just… not what I was completely expecting. Granted, the movie does have a wonderful grasp on what it’s trying to do, but the delivery just felt off. It’s a movie that clocks in at almost two hours, and rather than charge in head first with the laughs and action. Instead the movie takes a lot of time, at least twenty or thirty minutes, establishing the initial storyline and back story.
There was just something so appealing about playing “Twisted Metal” as a kid. I fondly remember when it first came out on Playstation in 1995 and was hooked. When we got our first Playstation we played “Twisted Metal” for hours, finding new ways to eviscerate our opponents and win the battles. For those that have never had the pleasure, “Twisted Metal” is a based on an all out free for all battle video game where you man one of multiple armed vehicles in an attempt to come out the victor. The big bad of the game you’d have to ultimately face off against was the armed Ice Cream car with the clown on top called “Sweet Tooth.” There was always room for “Twisted Metal” to become something of a live action property, but now that video game movies are on the verge of become hotter than ever, it seemed like the right time for an adaptation.
My favorite thing about watching “bad” movies with my friends is when we accidentally find one that’s really well made. It’s such a nice surprise. Like when you expect that something will taste sour but instead get a mouthful of sweet nectar. On the surface BAD BEN looks like it should be perfect for a bad movie night. It’s very low budget, it’s made by someone who is arguably an amateur, and it’s one of the many imitators following in the footsteps of the found footage genre that The Blair Witch Project catapulted into popularity. However, I enjoyed the hell out of this. Yeah, it’s got a few rough edges, but if you’ve ever read any of my previous reviews you should know by now that I like it rough.
A man jumps in the back of another man’s car while he’s on the phone with his pregnant wife who is in delivery. Soon, it turns to a hostage situation with a lot of discussion and discoveries.
Although Charles Band and his studios are mainly known for horror, Band also dabbled heavily in to action, comedy, porn, and yes, especially fantasy films. “The Primevals” in spite of its limited budget is perhaps the most complete and richly developed Charles Band backed film I’ve ever seen in the studio’s entire history. David Allen has a clear vision of what kind of adventure film and he fully realizes it in what is such a fun, inventive and vintage action adventure. With obvious influences from Harryhausen, RKO Pictures, movie serials, and the Fleischers, “The Primevals” is a damn good bit of matinee fare that I could easily myself re-watching and re-watching on VHS when I was a kid.
Christopher Nolan has an eye for spectacle and an eye for scale, and he evokes worlds that are massive and almost always on the brink of destruction. With “Oppenheimer” ambitiously ventures in to a more personal film that is a lot about power and a world almost always on the brink of destruction thanks to man delving deep in to the power that they are capable of. Nolan trades spectacle for a more personal albeit just as intense dramatic thriller about “Father of the Atomic Bomb” J. Robert Oppenheimer, the scientist that invariably opened up a Pandora’s Box with his hand in the Manhattan Project.