Tag: Franchises

GUARDIANS OF THE GALAXY VOLUME 3 – Review

Ah, May is finally here! The temps are rising, the sun’s shining, the flowers are blooming and it’s time (as it has for the last ten years or so) for another trek into the Marvel Cinematic Universe (MCU) courtesy of your friendly neighborhood multiplex. Now for this flick, we can accentuate the U, because after “getting small” in the Quantum Realm three months ago and diving deep into the ocean waters near Wakanda we’re going to catch up with that “bunch of A-holes’ zipping around the fringes of way, way out outer space. It seems like it’s been a long time, but they’ve kept busy in other MCU franchises along with Thor and the Avengers, and even had their own streaming holiday special last year on Disney+. As this is their third solo outing, the filmmaker at the helm has promised that this is his last, perhaps marking the end of the “official trilogy”. And so let’s grab a seat on the good ship Milano, crank up that killer soundtrack, and brace ourselves for GUARDIANS OF THE GALAXY VOLUME 3!

As shown in the aforementioned holiday “special presentation”, the old crew is still fixing up the ramshackle floating spaceport Knowhere. Peter Quill AKA Starlord (Chris Pratt) is hitting the bottle hard as he still yearns for Gamora (in ENDGAME we know that she’s now an “alternate previous version” who never fell for him). And while everyone is still fixing up the “joint”, Rocket (voice of Bradley Cooper) is reflecting on his past, going back to when he was “genetically enhanced”. His memories are interrupted by the destructive arrival of the super-powered space being Adam Warlock (Will Poulter), who comes to “retrieve him” for his “mother” Ayesha (Elizabeth Debicki), and her new “overseer”. Luckily the interloper is brought down and captured, though Rocket is wounded and in a coma. He’s not responding to the medical equipment leading Nebula (Karen Gillan) to discover that his “upgrades” can only be fixed by finding his project “data file”. So begins a mission to go to Orgo HQ and steal it. But they need the aid of the Ravagers, which leads to Peter working alongside their second-in-command, Gamora (Zoe Saldana). Oh, but it turns out that Orgo, led by the cruel scientist known as the High Evolutionary (Chukwudi Iwuji) is out to thwart them as he unleashes all of his forces to reclaim his “property”, Rocket. So can the combined might of Starlord, Gamora, Nebula, Groot (voice of Vin Diesel), Mantis (Pom Klementieff), and Draz (Dave Bautista) save Rocket’s life and keep him from the clutches of this fiend, or could this be their last planet-hopping adventure?

Thinking back on the story, it becomes clear that its main focus is Rocket, other than his importance as the desired “force” (with the Guardians wanting to save him and the Orgo group wishing to “retain” him). Though he’s unconscious for most of the action, the story in his mind, his “origin” is the most compelling. Cooper’s voice is “tweaked” in order to give us a view of him as a youngster, just becoming “sentient” after the “tinkering” by the “lab coats”. Also the bonding between him and the other “projects” is heartbreaking, especially his affection for the otter Lylla (voiced by the affecting Linda Cardellini). As for his humanoid pals, Pratt may have his most complex character arc, going from self-medication right into a courageous leader, who is almost undone by being near that former love. Pratt conveys that aching while being frustrated that he can’t break through to her, to rekindle what was taken away. Saldana as Gamora, is all business, blocking Quill’s romantic pleas, while slowly showing a touch of sympathy to this “wounded puppy”. Her toughened exterior is matched by Gillan as her sister, who puts up a brave front while also mourning the Gamora she once knew. Providing much of the film’s humor is the terrific Batista whose Drax still has a socially awkward nobility, while we now see that his treatment from the others cuts into his pride as he fears being labeled a simpleton. the comes out in his great pairing with Klementieff’s Mantis (they were the heart of the inspired holiday special), whose affection is tested by Drax’s often stubborn nature. But she cares for him nearly as much as she does for her newfound brother (again from the special). And once again, Diesel does wonders with the same three words, eliciting the correct emotions needed by the now teenaged creature (a toddler in the last flick, now a beefy oak-like creature, far from the tall strolling “driftwood” we first met).

Hey Marvel maniacs, here’s the first full-fledged appearance of Adam Warlock as drawn by the great Gil Kane!

And now we meet the “newbies” to the series. At the top of the list is this story’s “big bad”, Iwuji as the demented megalomaniacal mad scientist the High Evolutionary, a narcissist to rival his inspiration Dr. Moreau of the classic H.G. Welles novel (and the 30’s fright film ISLAND OF LOST SOULS). Unlike many researchers, he’s not interested in aiding others, but instead desires to be in control, crushing any who stand in his way, and treating his “projects” with callous casual cruelty. Iwuji tosses aside any humanity to give us perhaps the most interesting MCU mastermind since Thanos (who really thought he was helping save several worlds). His greatest asset may be Poulter as the naive Warlock, whose dedication to “mother” makes him a very powerful ‘loose cannon”, more like a super-powered adolescent in need of better guidance, someone who will keep his raging ego in check. Also bringing in extra comic relief is Cosmo the Spacedog, now voiced by Maria Bakalova (Borat’s daughter) who is an asset to Knowhere while irritating the testy Kraglin played once again by Sean Gunn (who still can’t do that “arrow tick” like his late mentor Yondru).


And that filmmaker in charge is returning director/solo screenwriter James Gunn, bidding a fond farewell to the MCU (he’s now the co-boss of the, as Stan Lee would say, the “Distinguished Competition”, and plotting the return of Superman himself). He’s tried to make this an epic romp, but many may be stunned at that very dark “origin” story at its center. It’s perhaps only a sixth of the film’s runtime, but its grim intensity may induce nightmares in the small fry and perhaps “trigger” older pet-owning viewers in its condemnation of animal testing and experimentation (message received “loud and clear”, Mr. Gunn). Aside from that, we get more of the freewheeling teamwork of the GOTGs and the rapid-fire comic turns (although it begins to be a tad repetitive by the third act). The soundtrack’s not as bouncy and fun as in the previous two outings, though it does bring the melodies into the 21st century. Kudos to the many artists that helped create these stunning new vessels and alien landscapes. Unlike those two movie “star” franchises. many of the sets have a clay-like organic feel rather than the shiny metallic surfaces seen in most space flicks. There’s also a nice retro-feel to many of the otherworldly creatures, especially on Counter-Earth which is a 70’s suburbia populated by Orgo subjects whose full-face prosthetic designs recall the original PLANET OF THE APES and previous Moreau adaptations. The main problem with the film is one that continues to plague most action epics (comic book inspired and others). The chaotic climax doesn’t really know when to conclude, giving us multiple finales. with one set exploding while something else must be resolved before we get the big expected “showdown”, which is delayed by a sacrifice made by a principal (a Tony Stark-ENDGAME riff). Once the debris settles, we get a sweet send-off to some of the crew, while the obligatory mid-credits bonus scene teases us of a possible detour. Despite its bombastic final half-hour (contributing to its overlong 150-minute runtime), franchise fans will relish blasting off for a final time with the GUARDIANS OF THE GALAXY VOLUME 3. Just make sure you have enough Zargnuts to share.


3 Out of 4

GUARDIANS OF THE GALAXY VOLUME 3 opens in theatres everywhere on Friday, May 5, 2923

JOHN WICK: CHAPTER 4 – Review

Keanu Reeves as John Wick in John Wick: Chapter 4. Photo Credit: Murray Close

I’m guessing that a lot of action blockbuster movies aficionados have been thinking that the multiplexes have been pretty quiet this year so far. I mean the second AVATAR swam in just before the end of 2022. As usual, the Winter has seen lots of horror thrillers, plus a couple of superheroes swooped in for the latest installment of their respective franchises. Ah, now there’s another franchise that brings a smile to the “big stunt spectacle” film fans. The fellow at the tentpole’s forefront doesn’t have a “tech suit” or a sculpted rubber and cape ensemble. No sir, though his fighting attire is a simple black suit, filled with a massive arsenal. His skill is his “super-power”, as we turn the cinematic page to JOHN WICK: CHAPTER 4.


As the film opens the air (and the theatre’s audio system) vibrates from the pounding fists of Mr. Wick (Keanu Reeves) as he trains in the underground lair of his old pal, the Bowery King (Lawrence Fishburne). From there JW is dispatching the head of The Table in a quiet desert. But that assassin agency is tough to stop. Like the hydra of legend, another head pops up to take the last one’s place. Back in NYC at the sanctuary hotel, the Continental, manager Winston (Ian McShane) is startled by the arrival of the Harbinger (Clancy Brown), who orders the place to be evacuated in an hour’s time. With the aid of the concierge Charon (Lance Reddick), it is done. But Winston’s remaining “muscle’ is no match for the crew that serves and protects the High Table’s new head, the Marquis (Bill Skarsgard). He strips Winston of his duties and plans to demolish the establishment. The story shifts to Paris where the Marquis extorts a former agent, the blind assassin and friend of Wick, Caine (Donnie Yen) to track down his pal. But it turns out that he’s at the Continental…in Osaka, Japan. John is in hiding, under the protection of Koji (Hiroyuki Sanada), much to the ire of his daughter, the concierge Akira (Rina Sawayama). But the battle comes there as Caine, the Marquis’ elite guard, and a “freelancer” named Tracker (Shamier Anderson) attack. When their effects fail, Wick meets with Winston in NYC to hatch a plan. In order to earn his freedom, Wick will challenge the Marquis to a one-on-one”old-fashioned” duel. But Wick must be part of a “family” and since his “paper was torn” he must go to Berlin and be “reinstated” by the Ruska Roma. All of those “frequent flyer” miles finish on the streets of Paris as a city-wide chaotic war of skilled killers concludes with a final showdown at dawn.

Whew! talk about “workin’ hard for the money” (I can almost hear Donna Summer crooning)! With his fourth outing in the tile role, Reeves proves himself to truly be a “man of action”, due to his stoic, very rare, line delivery. Actually, he may have less dialogue in this over the entire quartet of flicks. But yes, those actions speak volumes, whether he’s scoping out a plan of attack, or giving a look of aggravation as he tosses away another empty ammo cartridge (imagine if he got a “return deposit” on them, like the old soda pop bottles…oh the dough). Oh, but Skarsgard feels almost “chatty” as this story’s evil mastermind as he tries to temper a sadistic grin, while his evil eyes dart about, keeping everyone around “off balance”. He has the posture and manners of a fancy gentleman but inside lurks a rabid beast. The greatest addition to the series is Yen, as the reluctant nemesis. He relies even more on body language as his non-functional eyes are shielded by a pair of dark shades. Yen reserves his movement until he has a “purpose” and a “target” (that “head tilt” is the “go signal”). McShane is still silky smooth as Winston, though he’s placed more in the “center of the storm” here with everything to lose. He and the late, much-missed Reddick as Charot are a terrific team. And McShane is a nice counterpart to the boisterous flamboyant Fishburne as Wick’s “corner man” (or Alfred to JW’s Dark Knight). Other “newbies” of note are Anderson’s “dinero-driven” Tracker, who loves his bank statements as much as his loyal canine sidekick, Sawayama as the hotel (and Daddy) defender Akira, and Brown as the somber solemn Harbinger.

To call this an action extravaganza would be a true understatement. It certainly subverts the old “law of diminishing returns” with sequels. By the time most franchises get to the fourth entry, they’re usually showing signs of fatigue. With this new outing they really want to give the fans lots (and I mean lots) of bangs (and fights and explosions and chases) for their bucks. Plus this may be the most “globe-hopping” of the series, rivaling the Bonds and Bournes, and Impossible Mission teams for the far-flung locales. The mayhem begins in the Big Apple, shifts to Japan, then to Berlin, before giving the “City of Light” a chance to shine, making the cinema setting feel fresh and replacing romance with danger lurking just past every bistro. “Upping the ante” considerably is returning director Chad Stahelski who gives the chaos a lush gleam via the expert showcasing of the exotic exteriors and interiors, from the palace of the Marquis to the neon cool of the Osaka hotel, to a stadium-sized techno dance hall bathed in glistening non-stop rain. Of course, as the carnage continues, the authorities are nearly non-existent, perhaps due to the power of the High Table, eh? Well, that’s a bit “nitpicky” since the legions of fans (are they Wick-warriors) will be ecstatic (and yes the “head shots” are staggering). I can imagine that the video storyboards for the stunt sequences were more intricate than most animated features. Big colossal kudos to the army of superb stunt people whose coordination and physicality rival all the dancers in the MAGIC MIKE trilogy. And praise must be given to the sound team (sitting in the back row I felt as though the vibrations gave me a nice “spine treatment” as a bonus). Sure, you may want to question the “physical endurance’ of the title character, but set aside science and buckle up for the high-octane thrill ride that is JOHN WICK: CHAPTER 4.

3.5 Out of 4

JOHN WICK: CHAPTER 4 opens in theatres everywhere on Friday, March 24, 2023

SCREAM VI – Review

Melissa Barrera (“Sam Carpenter”), left, and Jenna Ortega (“Tara Carpenter”) star in Paramount Pictures and Spyglass Media Group’s “Scream VI.”

In my reviews last week I mentioned a new installment coming soon from a big horror film franchise. Well, the time is now. It might just seem that we were in this scary “cinematic universe’ and you wouldn’t be too off the mark, since the last one filled the multiplexes a mere fourteen months ago. The timing’s also a bit quirky since this March has no Friday the 13th and we’re several months away from Halloween (also weird since that major holiday figures into both the setting and overall plot here). Oh, and unlike that last year’s entry, which reused the original’s tile, we’re back to the “digits” with the “slicin’ and dicin'” of SCREAM VI.

As with the other flicks, it all starts with a flirty phone conversation that quickly turns creepy and very deadly as the Ghostface killer claims another victim. Now there are some new twists, as he switches his “stalking ground” from Woodsboro CA to the Big Apple (insert fruit-cutting metaphor), mere steps from a bustling street filled with pre-Halloween revelers (perhaps the Saturday mere days before All Hallows). And that’s the first of many alterations to the “formula”. Oh, this is also the new locale of the Carpenter sister from the last flick. Tara (Jenna Ortega) is a college freshman, who’s making risky choices at the campus parties, and her older sister Sam (Melissa Barrera) is her hovering protector, working a couple of jobs while going to therapy sessions to deal with her haunted past. Plus they’re sharing a big off-campus apartment with the “frisky-flirty” student Quinn (Lianna Liberato). Did I mention that two more Woodsboro transplants are there, sibs Mindy (Jasmin Savoy Brown) and Chad (Mason Gooding)? When word leaks out, the Carpenters are naturally called in for questioning. But on the way, they have their own deadly reunion. Luckily the sisters make it to the police station where they meet Quinn’s PD papa, Bailey (Dermot Mulroney), and GF survivor now FBI agent Kirby Reed (Hayden Panettiere). But she’s not the only alum, as Gale Weathers (Courtney Cox) charges in, complete with a news crew. Luckily she guides them to a shuttered movie theatre that’s been turned into a serial killer shrine complete with stolen police evidence. Despite this break, can this “united front” discover who the copycat is donning the black robes and long white mask before his (or her) blade claims the Carpenter sisters?

Aside from the masked murderer, the Carpenter sisters are the story’s main focus. Particularly Barrera’s Sam who may be having more than a twinge of survivor’s guilt. leading to her “hovering” her kid stepsister. She shows signs of exhaustion and PTSD in her near-lifeless eyes, even as Sam must deal with an online campaign saying that she “got away’ with the last Westboro bloodbath. Ortega, coming off a real “breakthrough” year culminating with her star turn as teenage Wednesday Addams, has a more prominent role in this one as she strains to break free from big sis, while also dealing with her own still healing flesh (and psyche) wounds. As for the returning “vets”, Cox treads a fine line between exploiter of tragedy and the avenger of a lost love. Her Gale is the ultimate reporter-heroine who’s always ready to throw down the mike to take down her nemesis. As for the other “grad”, Panittiere is a most welcome ally, who wears her own GF scars as a badge of honor, strengthening her resolve as she “bends” the laws to stop the legacy. Brown brings in the shark while laying down the “meta manifesto” as the cinema-savvy Mindy, while Gooding brings his beefcake nice guy charm to Chad, who’s now quite smitten with Tara. Mulroney is a sympathetic father figure as the grizzled plainclothes cop, while Liberato scores lotsa’ laughs as his “playa” daughter. Also of note, are some entertaining cameos from Samara Weaving, Tony Revolori, and Henry Czerny as Sam’s rattled therapist.

Also returning from the last outing are the “tag-team” directors Matt Bettinelli-Olpin and Tyler Gillet who infuse some new energy into the franchise by the big city locale and the “up-ended” opening sequence. They also appear to be having some fun with new high-tech devices while taking welcome jabs at social media “trolling”. And they ease up a bit at the “aren’t-we-clever” self-awareness this time out, although Mindy’s long “franchise rules” monologue starts spinning its wheels and dragging down the pace. Ah but soon it’s back to “slasher city” as the near-unstoppable Ghostface “did that thing” (much like Ms. Bassett) in attack/action set pieces that go on and on (it takes a long time to finally hear those sirens). A crowded subway attack has involving claustrophobic energy, but it cuts (literally) to a mind-numbing final showdown that’s dulled by a villain speech explaining everything in exact detail and a fight to the death where everyone now has rubber bones and the slashing “butcher” knives inflict scratches and pin-pricks that cause little loss of plasma, perhaps to have the option of more returning characters in a hoped-for part seven. But with the series now a teenager (sweet seventeen already), it’s feeling more than a little tired. Hardcore fans may get a kick out of the lingering shots of old props and photos in the hidden museum, but the rest of us may be longing for its final exhibit, just before the gift shop, to be the more tiresome than terrifying SCREAM VI.

1.5 Out of 4

SCREAM VI is now playing in theatres everywhere

CREED III – Review

C3_19200_RC Michael B. Jordan stars as Adonis Creed and Jonathan Majors as Damian Anderson in CREED III A Metro Goldwyn Mayer Pictures film Photo credit: Eli Ade © 2023 Metro-Goldwyn-Mayer Pictures Inc. CREED is a trademark of Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved.

As we get closer to Spring (and that most welcome “break”), the multiplex will present a new addition to a beloved franchise. Some may be indifferent to it, but it’s unique in several ways. For one thing, it’s not based on a comic book (though another ‘s on its way in a couple of weeks), nor are its roots in video games, toys, or TV shows. No, it’s a cinema original, though technically it is a spin-off of the first series that’s almost (gasp) 47 years old (this youngster only has eight years under his championship belt). Oh, it’s also the rare sports film franchise like MAJOR LEAGUE and THE MIGHTY DUCKS. But it’s not about a team, instead, it focuses on an individual as that protege of Rocky Balboa steps back into the ring for “round three” actually CREED III.


Surprisingly this new challenge begins with a flashback from nearly twenty years ago as teenage Adonis Creed sneaks out of his stepmom’s plush LA home to join his slightly older pal Damian.”Donnie” acts as a “corner man” for Damian in an “underground” boxing league at an “after hours” club. Damian easily earns “the purse”, but the duo’s celebration is cut short when Donnie uses his own fists on an old enemy outside a liquor store. The “rumble’ ends when Damian pulls out a pistol and the police arrive. The scene fades out to Donnie running to his home as the sun begins to rise. Flash forward to now as World boxing champ Adonis Creed (Michael B. Jordan) barely retains his title in what he promises is his last match. And why not, since he’s “living large” in a Beverly Hills mansion with his wife Bianca (Tessa Thompson), who’s now working behind the scenes as a music producer, and their adorable five-year-old daughter Amira (Mila Davis-Kent). When he’s not having a tea party with her, Adonis is the owner of a big boxing gym/club and is managing an “up-and-comer” fighter named Felix (Jose Benavidez). Trouble is, well, he trains too hard and is scaring off sparing partners.. That problem is suddenly solved by the unexpected return of Damian (Jonathan Majors), just out of prison and itching to get back in the ring, despite his age. Still feeling guilty over their dark past, Adonis hires him, not knowing that Damian is working out a master plan to take the title. When he shows his “true colors”, Adonis must come out of retirement and face down his former pal and confront their shared history. But can Adonis return to fighting shape for the big bout?

In his third outing as the boxing phenom, Jordan succeeds in making his athletic prowess believable (we get an insight into his observational strategy) and in adding a sense of haunting past regret. His teenage decisions are chipping away at him, overshadowing his family life and straining his relationships. Jordan coveys this through his eyes and body language, especially when Adonis decides to break free of the old shackles that weigh on his shoulders. Certainly matching him in the chiseled physique and emotional intensity is rising star Majors, just a couple of weeks after his big screen MCU debut. His Damian is also trying to break free of his teenage sins, though his road to redemption is fueled by ambition and deception. The early scenes of the reunion are soon replaced by his arrogant swagger as he “gets into” his old bro Donnie’s head. His needling insults sting almost as much as his jackhammer fists. Luckily Adonis has Bianca in his corner. Thompson plays his rock with unwavering strength even as her love refuses to “open up” and allow her to see the angry scared teen still in his psyche. As their daughter Amara, Davis -Kent could not be any cuter, the ultimate “daddy’s girl” as she mimics his moves with just the right amount of sass and sweetness. And of course, her “grammy” Mary Ann, playing with serene compassion and wisdom by Phylicia Rashad, dotes on her, along with Amira’s folks.

So, the main man in the ring is the main man behind the camera! Hard to believe that this is the directing debut of Jordan who keeps the story rolling smoothly, holding our interest from fading even as we go from the Creed gym (and bouts) to the lavish Creed household. We suspect that Adonis will lace up once more, but the script by Keenan and Ryan Coogler with Zach Baylin, keeps us wondering before it “sucker punches” us with a creative act two turnabout. Jordan gets us right into the action, slowing things down to show us how Adonis plots out his next moves while focusing on the blows aimed at a ‘weak spot”. We should be relieved that Jordan brings this all in at just under two hours, though the final act often feels a bit abrupt, save for a lengthy dueling “training montages”. Mind you, there’s spectacle to spare in that final fight in a baseball stadium (perhaps a modern colosseum for these two gladiators), but the decision to suddenly flash to a sparse fantasy desert dreamscape may put off some action fans (perhaps the ocean of digital viewers was deemed too “busy”). Aside from this abstract interlude, franchise fans will find Jordan a skilled filmmaker and Majors a very worthy adversary in the battle centerpiece of CREED III.


2.5 Out of 4

CREED III will open in theatres everywhere on March 3, 2023

HOTEL TRANSYLVANIA: TRANSFORMANIA – Review

Dracula (Brian Hull) with Mavis (Selena Gomez) in Columbia Pictures and Sony Pictures Animation’s HOTEL TRANSYLVANIA: TRANSFORMANIA.

So, we’re barely two weeks into the new year and you’re ready for a quick getaway? Well, we’ve got the perfect spot, the place you visited three times before. Remember you had lots of fun because it was filled with lots of familiar faces (and voices)? Yes, it’s the place where all the coolest animated monsters go to chill out after being chased by those pesky villagers with pitchforks. Now, the route to this little hot spot is a tad different this time, but the ole’ gruesome gang has a goofy new adventure ready to be enjoyed in HOTEL TRANSYLVANIA: TRANSFORMANIA (okay, might not be a word, but go with it).

And it just so happens that there’s a big anniversary celebration going on at that familiar “vacay” spot. Plus, the whole monster gang is there to toast Drac (voice of Brian Hull) and his “fair lady” Ericka (Kathryn Hahn), Unfortunately, daughter Mavis (Selena Gomez) has left the event in the hands of her clumsy human hubby Jonathan (Andy Samberg). In a lull in the chaos Drac and Ericka discuss his retiring from managing the place and handing it over to Mavis, who overhears this and passes the info on to Jonathan. Unable to control his excitement, he blurts out his thanks to Drac, who panics and tells a tiny “white lie”: he can only give the place to a monster, not a human. A distraught Jonathan runs off to Ericka’s papa, Dr. Van Helsing (Jim Gaffigan), who actually has a solution. His ruby-powered scepter can shoot out a “Monsterfication Ray” that turns humans into monsters, and vice-versa. With one well-aimed blast, Jonathan becomes a massive lumbering dragon. He then meets with a horrified Drac, who grabs the device, but instead of “normalizing ” his son-in-law. he and many of his pals become (gasp) human beings (well Blobby becomes a plate of lime gelatin dessert). Oh-oh, now the ruby’s run out of juice, and the only replacements are deep in the jungles of South America. It’s then a race against the clock (Jonathan is becoming more, well, monstrous to the “point of no return”) to find a new gem, zap everybody, get back to their ole horrific selves.

So, the different route I mentioned earlier is streaming, not in movie theatres as with the previous three entries in the franchise. Oh, and there’s a big vocal cast change in that Adam Sandler’s not speaking for Drac (ditto with Kevin James as Frankie), not that the wee ones will notice as Hull gives the same bouncy Bela-like lilt to his line (same for Brad Abrell as big bolted Frankie). Plus the folks at the helm have changed. Yes, it’s an “s” since artists Derek Dryman and Jennifer Kluska have been handed the reins from Gendy Tartakovsky, who did co-write the screenplay with Amos Vernon and Nunzio Randazzo. To be honest I couldn’t tell the difference from the now ten-year-old original. And yes I skipped two, three, and a stand-alone short, but I’ve always said that a flick should work on its own, as though you’re entering the series “fresh”. Sure the vocal performances are still strong especially Samberg’s big excited doofus “normal” and Gaffingan’s cranky riff on all the late-shot horror scholars as Van Helsing, though Gomez and Hahn are woefully underused. The script tries to strike a balance between the quest of Drac and Jonathan intercut with the monster gang trying to cope with their new human forms. Frankly, the Hotel hubbub has little energy, as the same gags are reused (Frank’s now a vain “poser”, werewolf Wayne can’t cope with his litter of pups, much as with the piglets in SING 2, and the now visible Griffin can’t cover his “modesty”). Luckily the colorful designs and backdrops really pop (the jungle settings are so vibrant), and the characters are “rubbery” without losing their “weight”, though the constant frantic movements can get exhausting. It all comes down to your affection for the franchise, so if you liked them you’ll probably enjoy this. But for those “newbies”, it may feel like another “inter-changeable” celeb-voice-driven CGI fluff that won’t entice you to check in again, despite the capable artisans behind HOTEL TRANSYLVANIA: TRANSFORMANIA.


2 Out of 4


HOTEL TRANSYLVANIA: TRANSFORMANIA streams exclusively on Amazon Prime Video beginning on Friday, January 14, 2022

SCREAM (2022) – Review

So, for the last four weekends, one film has dominated, really ruled the box office. I’m talking about the latest installment of a near twenty-year-old franchise. So, what could possibly challenge this “rock-solid” tentpole and knock the “webhead’ off his perch? Perhaps the “de-throner” will be the latest installment of a franchise that’s over twenty-five-years-old. Oh, and it’s far less “family-friendly”, so maybe it’s not for the same audience. So, leave the kiddos home, when this masked knife-wielding maniac starts stalking the teens once again. “Ghostface” returns, hoping to make movie audiences (and studio coffers) SCREAM.


Alright, who’s “dying’ to revisit Woodsboro? Well your wish is granted with this flick’s opening sequence, which harkens back to a familiar night in 1996. Phone “tech” is a lot different now (texts, video chat, etc.), but it finishes with a brutal attack on young Tara (Jenna Ortega). Several miles away a frantic call sends her sister “Sam” (Melissa Barrera) sharing a ride home with boyfriend/co-worker Richie (Jack Quaid). When they arrive, a mini-reunion begins with Tara’s over-protective BFF Amber (Mikey Madison), twins Mindy (Jasmine Savoy Brown) and Chad (Mason Gooding) who’s never far from his “bae” Liv (Sonia Ammar), and Wes (Dylan Minnette), the son of Sheriff Hicks (Marley Shelton). She and Sam clash immediately, so the still-stunned big sister decides to consult with the “vets”. But the bitter reclusive former lawman Dewey Riley (David Arquette) is at first hesitant, but he sends a message to ex Gale (Courtney Cox), now a network tv news “morning anchor” in the Big Apple. The chain begins when she in turn calls Sydney Prescott (Neve Campbell), now a busy big city mom. So will the trio reunite in their old “stomping grounds” before Ghostface slices and dices the “new kids”? And what about the “ghost of movies past’ who pops up to haunt Sam?

Oh, but she’s also haunted by memories as Barrera makes Sam a more complex screen “scream queen”, a young woman who wants to escape her hometown. But she’s pulled back by that burg’s history forcing her into action. Barrera has us investing in the heroine who’s not sure of herself. Plus Ortega as Tara truly tests that sisterly bond, resenting Sam but still needing her nurturing nature, Ortega turns Tara from “fodder’ into a fiesty spitfire, almost matched by Madison’s snarky, acid-spewing Amber. Quaid is quite entertaining as the beau who feels out of place, wanting to be there for Sam, but fearful of being “fresh meat’ for the deadly village. Ably filling the role of pop culture savant is the engaging Brown who seems more than a bit giddy to be part of the “re-qual”. But the movie’s “heavy lifting” is done by the tired but still standing original trio. Arquette’s Dewey has a world-weary affability, knowing of the threats but ready to put a stop to the “legacy”. As with previous incarnations, Cox’s Gale seems to be using the tragedies as a “self-promotion” until her inner-defender is awakened. It’s Campbell as Sydney that sounds that alarm, making her one of the genre’s greatest survivors, always thinking ahead and never backing down. Perhaps she can be spun off for a horror/road trip series, bashing creeps all over the globe.

The producers faced a big challenge as the series original scribe, Kevin Williamson, stepped down and the director of the previous entries, Wes Craven, sadly passed away in 2015. Stepping up are the directing team of Matt Bettinelli-Olpin and Tyler Gillet (READY OR NOT) who recreate the pacing and action dynamic of the first entry. Though it feels familiar they’re able to give each scene an air of dread and doom. Ultimately they’re tripped up by the sneering script from James Vanderbilt and Guy Busick that feels the need to drag down the midsection in a “meta mess”, skewering online trolls, while poking holes in the “fake Stab” movie series, which echoes the previous entries of this one, while also name-dropping other horror franchises. It all becomes tiresome very quickly giving the last act a “not as clever as they think they are” vibe. This leads to a final sequence denouncement that’s just plain silly and sophomoric (that’s the force, or farce, behind the body count). And though most thriller fans don’t find it a problem, the aggressive, extreme violence just seems to be a celebration of vicious cruelty. But I did like Tara’s admiration for “art-house horror” and Campbell is always a welcome movie presence. The fervent fanbase of the franchise will no doubt revel in this, but if I had to endure another “inside joke”, I was afraid that I’d clear out the theatre with a loud SCREAM.

2 Out of 4

SCREAM opens in theatres everywhere on Thursday evening, January 13, 2022

Top Ten Tuesday: Finest Film Franchises!

We all know what goes into making a movie franchise… more than one sequel, sometimes desired by the masses, sometimes, not so much. Generally speaking, these are big budget blockbuster films, but the genre varies slightly from action to horror to comedy and even fantasy. But, the more pertinent question on the minds of the Movie Geeks is… What makes a movie franchise great? In this week’s Top Ten Tuesday, we attempt to answer that question by compiling our own list of the ten greatest movie franchises of all-time!

Honorable Mention: INDIANA JONES

RAIDERS OF THE LOST ARK (1981)
INDIANA JONES AND THE TEMPLE OF DOOM (1984)
INDIANA JONES AND THE LAST CRUSADE (1989)
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)

In the 80’s, the Indiana Jones franchise was on an epic, legendary role. I have met few people in the world who have had anything bad to say about the first three films. Yes, you would be correct in correcting me on there being four films. I’m getting to that… While Kingdom of the Crystal Skull had it’s redeeming moments — in fact, I quite enjoyed the first half or so, prior to the “alien/UFO” reveal — the fact is it was sub-par compared to it’s predecessors. Raiders of the Lost Ark is quite simply a masterpiece of cinematic adventure. This movie introduced the thrill-seeking anthropologist (Harrison Ford) to audiences and we fell in love! Ford combined the reckless charisma of Han Solo with the intellectual charm that would dominate his later roles. How better to exemplify this than to reference the scene when Indie faces a local thug with a sword… someone apparently never told him not to bring a knife to a gunfight, but Indie taught him his lesson. And when it comes to iconic moments in movie history, the infamous “boulder” scene with Indie escaping the deadly cave with the golden idol is unforgettable.

As for Temple of Doom, some (with good reason) call it cheesy… I call it classic Indie fun! Yeah, it’s a tad cheesier than ROTLA, but then again, the melting Nazis at the end of the first film gave me nightmares as a kid… for a bit, then I got over it and loved the movie even more. TOD is just filled with old school adventure and gross-out fun. I classify TOD as roughly the same type of sub-genre film as Romancing the Stone and Jewel of the Nile, including the “romance”. Finally, The Last Crusade (my 2nd fave behind Raiders) is a brilliant example of where a [trilogy] franchise “should” end. Introducing Sean Connery as Indie’s father was brilliant, and he nearly stole the film. TLC proved to have all the elements that made Raiders classic, even giving the film a very subtle, slightly Bond-ish subtext. For my money, Indiana Jones is and always will be one of the best cinematic franchises of all-time, despite it’s illegitimate step-brother from outer space.

10. BACK TO THE FUTURE

BACK TO THE FUTURE (1985)
BACK TO THE FUTURE PART II (1989)
BACK TO THE FUTURE PART III (1990)

Quite possibly one of the most under-rated (perhaps even forgotten on some level) movie franchises, BACK TO THE FUTURE solidly holds it’s place in pop culture. Director Robert Zemeckis had just come off directing the huge hit Romancing the Stone (1984) and was comfortable in the action/comedy genre. Michael J. Fox was a huge television star at the time (Family Ties) and was looking to make the jump to becoming a movie star. Due to scheduling conflicts, Fox had to turn down the iconic role and Eric Stolz (Mask, Some Kind of Wonderful) was cast as Marty McFly… and shooting began.

After deciding Stolz wasn’t right for the part (no, really?), Zemeckis persuaded NBC to let Fox shoot Back to The Future at night while taping Family Ties during the day. (That explains why so much of the first film takes place at night.) The decision ultimately paid off — Back To The Future was the top grossing movie of 1985. It was nominated for four Academy Awards and won an Oscar for sound editing. The movie also generated a #1 album on the Billboard charts, thanks to the extremely popular-at-the-time Huey Lewis and The News. The two subsequent sequels weren’t as big, but fans flocked to see Michael J. Fox reprise his role as the lovable Marty McFly, alongside the difficult to resist bumbling mad scientist Doc Brown, played by Christopher Lloyd.

09. PLANET OF THE APES

“You Maniacs! You blew it up! Ah, damn you! God damn you all to hell!” — George Taylor

PLANET OF THE APES (1968)
BENEATH THE PLANET OF THE APES (1970)
ESCAPE FROM THE PLANET OF THE APES (1971)
CONQUEST OF THE PLANET OF THE APES (1972)
BATTLE FOR THE PLANET OF THE APES (1973)

The original five PLANET OF THE APES films (1968-1973) chronicled the fall of humankind and the rise of intelligent apes through the points of view of astronaut George Taylor (Charlton Heston), the ape Cornelius (Roddy McDowall), and his ape-son Caesar (also played by McDowall). They were all box office hits with their winning combination of intelligent science-fiction concepts for adults and talking chimps and action for the kids. I’ve always found it extremely clever how the final three films are at the same time both sequels and prequels to the first two. The PLANET OF THE APES films inspired a TV show, an animated cartoon and a huge industry of APES merchandise. Tim Burton’s 2001 reboot was poorly received but a prequel to that is rumored to be on its way so maybe they’ll get it right.

08. PIRATES OF THE CARIBBEAN

PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL (2003)
PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST (2006)
PIRATES OF THE CARIBBEAN: AT WORLD’S END (2007)
PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (in the works)

A movie made from a ride at a theme park? You’re kidding, right? But of course this wasn’t just any ride at just any theme park. This is the iconic Pirates of The Caribbean ride made famous at Disney Land (California) and Walt Disney World (Florida), probably one of the most popular attractions of all theme parks. Everyone remembers going there as a kid and what fun it was to ride in the boat and see all the animatronic pirates running around to the crazy pirate music. And that’s what Disney was betting on when they came up with the idea for the movies. But it was a risky move. The concept seemed a little cheesy to most, and it didn’t help that director Gore Verbinski didn’t have an especially successful track record (Mousehunt… Really?) But then you add the stroke of genius that is Johnny Depp and it worked brilliantly. Throw in Orlando Bloom, who himself is no stranger to franchise success (Lord of the Rings trilogy), Keira Knightley, and Geoffrey Rush and you have a very wide audience appeal.

Verbinski was smart enough to know that these should be fun, action, comedic, summer popcorn movies. And he was right. All three movies ruled the box office when they were released, and Depp even scored himself a Best Actor Oscar nomination for his charming scallywag, Captain Jack Sparrow. And we’re not done just yet. 2011 will bring Pirates of the Caribbean: On Stranger Tides, and it looks like it will be as successful as the first three. Oh and that ride at that theme park? It now has an animatronic Captain Jack Sparrow, voiced by Johnny Depp himself. Seriously, the happiest place on earth.

07. HARRY POTTER

HARRY POTTER AND THE PHILOSOPHER’S STONE (2001)
HARRY POTTER AND THE CHAMBER OF SECRETS (2002)
HARRY POTTER AND THE PRISONER OF AZKABAN (2004)
HARRY POTTER AND THE GOBLET OF FIRE (2005)
HARRY POTTER AND THE ORDER OF THE PHOENIX (2007)
HARRY POTTER AND THE HALF-BLOOD PRINCE (2009)
HARRY POTTER AND THE DEATHLY HALLOWS (in the works)

The Harry Potter saga is, ironically enough, not one to be taken lightly. The first film, Harry Potter and the Sorcerer’s Stone, struck that rare compromise between cinematic vision and literary loyalty. Every film since has leaned one way or the other but it seems none have jumped the shark just yet. Of particular note is the third film, directed by Mexican filmmaker Alfonso Cuaron; he brought a distinctively darker and more subtle touch to the series, a theme that current director David Yates re-established in the fifth film. As a franchise, Harry Potter has surprised many critics by maturing with its audience and displaying a surprising cinematic ambition, thanks mainly to the unorthodox directors at helm. The final film has been, thankfully, divvied into two parts, the first of which is due holiday time this year.

06. ROCKY

“No, maybe I can’t win. Maybe the only thing I can do is just take everything he’s got. But to beat me, he’s going to have to kill me. And to kill me, he’s gonna have to have the heart to stand in front of me.” — Rocky

ROCKY (1976)
ROCKY II (1979)		 ROCKY III (1982)
ROCKY IV (1985)		 ROCKY V (1990)
ROCKY BALBOA (2006)

OK, so here’s the thing… while Sylvester Stallone has admittedly become as much of a punch-line as a revered pop-culture icon over the years, you cannot dismiss the genius of the character of Rocky Balboa. Let’s not forget that Rocky was nominated for 10 Academy Awards, including Best Screenplay that Stallone wrote, and won 3, including Best Picture and Best Director. Rocky stole the heart of America and reminded us why we should always root for the underdog. So of course, there would be sequels. And although all six movies were written by Stallone, they weren’t all gems.

One was fair (Rocky II — a sort of boring continuation of Rocky), one was downright awful (Rocky V — retired Rocky trains young fighter Tommy Gunn… seriously?). But the two in the middle (Rocky III and IV) brought us back to the feeling we had after seeing Rocky. Not only were these movies hugely successful, they also launched the careers of another pop culture icon, Mr. T (Clubber Lang), and Dolph Lundgren whose Ivan Drago is arguably one of the most popular franchise characters (Rocky IV was the biggest box-office hit of the franchise, grossing over $300 million worldwide). The franchise spanned 30 years, when in 2006, Stallone decided to give fans a final farewell with Rocky Balboa. The title alone is enough to put a lump in even the hardest throat. For me, this is one of the all-time great franchises of all time, hands down.

05. ALIEN(s)

ALIEN (1979) ALIENS (1986) ALIEN3 (1992) ALIEN: RESURRECTION (1997)

Lt. Ellen Ripley and fellow Nostromo crew members were sound asleep in space where “no one can hear you scream” when they’re woken up to a bogus S.O.S. signal. Next thing you know, people’s chests are either bursting or they’re becoming the main course for a nasty bugger — thus beginning the fantastic sci-fi/horror franchise from 20th Century Fox — ALIEN. All ends well in Ridley Scott’s groundbreaking 1st installment (and Ripley goes to sleep for 60 yrs), that’s is till James Cameron comes along and this time “its fargin war.” A groggy Ripley and the Colonial Marines meet up with a hoard of nasty buggars when they’re sent in on a rescue mission to save a colony and pretty much get their asses kicked. Cool thinking Ellen Ripley goes mano y mano with the Queen of the Buggers in a “Clash of the Titans” type battle for the ages and saves the day. (Fans cheered when Sigourney Weaver became the 1st actor/actress to receive an Oscar nomination in a science-fiction film for her performance in ALIENS.)

In ALIEN 3, just as Ripley is finally getting some shut-eye, her ship pulls a five o’clock charlie and crashes — along with, what else, one little buggar on board and another !gulp! inside Ripley. What’s a girl gotta do to catch a break… and some sleep? SPOILER ALERT for those who’ve been living in a cave, Ripley dies only to be woken up again, 200 years later, as an Alien-hybrid clone in ALIEN RESURRECTION. People have been fascinated since 1979 by H.R. Giger’s horrifying design of the Alien with its defense mechanism acid for blood and double jaw and those nasty eggs filled with exploding face-huggers. The same holds true for Tom Woodruff and Alec Gillis’ nightmarish creation of the Queen Alien complete with egg sack and spiked teeth. The ALIEN franchise is far from over. Ridley and Tony Scott are prepping for 2 prequels, sans Ripley, to be released in theaters either by the end of 2011 or in 2012.

04. THE LORD OF THE RINGS

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001)
THE LORD OF THE RINGS: THE TWO TOWERS (2002)
THE LORD OF THE RINGS: THE RETURN OF THE KING (2003)

Technically speaking, The Lord of the Rings isn’t a “true” franchise and wasn’t even made so much with that in mind, considering all three films were shot simultaneously then released consecutively over a three-year period. Some purists would even call this one films in three-parts… but, semantics aside, we have three separate films that connect into one very long epic that has reached the standard definition of franchise success. Peter Jackson clearly had a vision, but one has to wonder if he ever truly realized how massive the project would become and how massive a success the film adaptations (despite the flaws, you literary fanatics) would prove to be.

Working with the New Zealand special effects group Weta Workshop, Jackson brought the fantasy creatures and characters to life in vivid detail and realism. The action was spellbinding and the story took form due in great part to the magnificent cast put into place, including Sir Ian McKellen as Gandalf, Christopher Lee as Saruman and Viggo Mortensen as Aragorn, just to name a few. Perhaps one of the most memorable performances in the trilogy came from an actor who never even had an on screen appearance… Andy Serkis quickly became an audience favorite as the ugly, conflicted Golem, even earning himself several nominations and awards for the performance that sparked groundbreaking Academy Awards buzz, which unfortunately did not lead him to the Oscar. Stunning cinematography, beautiful scores and fantasy battle scenes of an epic proportion never before seen on the big screen, The Lord of the Rings earns it’s place in movie history as a franchise that sort of ended when it should, even if The Hobbit is being developed into a two-picture event, we’ll gladly welcome it into our arms with adoring fandom.

03. JAMES BOND 007

Sorry, but with 22 official entries into the franchise, a 23rd on the way and one “unofficial” interloper from Woody Allen… there’s just too many too list. Instead, check out the James Bond Films Wiki page.

Who wouldn’t want to be James Bond? He’s a suave secret agent with a license to kill. He’s tough as nails and makes love to deliciously gorgeous women with names like Pussy Galore, Honey Ryder, and Holly Goodhead. He drinks his martinis “shaken, not stirred” and never seems to lose when he gambles. The 007 films are the most successful and longest running film franchise ever to reach the silver screen.

It’s success lies in its combination of style and action; attractive men and women, exotic locations, desirable cars, boats, helicopters, etc that create a fantasy lifestyle that secretly most of us would like to live. The men want to be Bond and the women want to sleep with Bond. I love all the Bond films (and have seen them all at the theatre beginning with DIAMONDS ARE FOREVER in 1971) and they all have good points — even the bloated Roger Moore films and the grim Timothy Dalton editions. Hopefully there will be much more 007 to come.

02. THE GODFATHER

THE GODFATHER, PART I (1972)
THE GODFATHER, PART II (1974)
THE GODFATHER, PART III (1990)

“Do you renounce Satan?” asks a priest near the end of THE GODFATHER (1972) as he’s baptizing Michael Corleone’s son. “I do” replies Michael just before director Francis Ford Coppola ironically cuts to a montage of the bloody murders of the five rival family heads. It’s one of the most powerful, influential, and brilliantly edited sequences in cinema and perfectly paved the way for a second chapter adapted from Mario Puzo’s novel about crime, corruption, and family.

Some feel THE GODFATHER PART II (1974) is actually a better film than the original and it’s only sequel to win the Academy Award for Best Picture. The sequel expanded the scope of the saga and offered Coppola a chance to go to a broader horizon but overall, the original is preferred because it breathed life into the gangster genre and gave crime films dramatic respectability. THE GODFATHER is cited as the very favorite by more men of a certain age I know than any other film. THE GODFATHER PART III came out in 1990 to far lesser acclaim and many fans of the first two, including myself, have never given it a second visit. Perhaps it’s aged well and deserves rediscovery.

01. STAR WARS

STAR WARS, EPISODE IV: A NEW HOPE (1977)
STAR WARS, EPISODE V: THE EMPIRE STRIKES BACK (1980)
STAR WARS, EPISODE VI: RETURN OF THE JEDI (1983)
STAR WARS, EPISODE 1: THE PHANTOM MENACE (1999)
STAR WARS, EPISODE II: ATTACK OF THE CLONES (2002)
STAR WARS, EPISODE III: REVENGE OF THE SITH (2005)

So, I figure the audience is gonna be split 50/50 on this one… so, here goes our reasoning for why STAR WARS is the #1 greatest movie franchise of all-time: Ca$h Money! Well, not entirely, but that is one element of a successful movie franchise… How much can this property bank? And, as we’ve all known for years now… George Lucas is really good and lining his pockets with this franchise property.

Putting the “green” aside, STAR WARS has it’s merits. Besides, millions of devoted fans can’t be wrong, especially when many have now forsaken their false idol but remained loyal to the films. On that note, STAR WARS has conventions all it’s own. What other franchise can claim that? not even Harry Potter has his own conventions… yet. And, the toys? Don’t get me started! STAR WARS is loaded with memorable characters, sci-tech creations and really, when it boils right down to it… can you get any cooler than a light sabre?

Half of you are probably pleased and delighted to see STAR WARS having topped our list, perhaps even relieved that you didn’t have to scold us for not voting it #1, but the other half of you are probably somewhere between “couldn’t care less” and “are you effing nuts!” For those of you… kudos for having your opinion and sticking to it. See, this is a big part of what makes STAR WARS great… the pop culture love/hate relationship. Love it, hate it, or indifferent… STAR WARS inspires conversation, debate and creatively critical thinking unlike any other franchise, including STAR TREK. (No, endless discussions of alien cultures and sci-fi tech that doesn’t exist isn’t enough.)

As for the films themselves, I think it goes without saying that most people have mixed feeling, even the fans. The very first film — which is of course Episode IV — is a stellar, landmark technological and artistic achievement. Personally, it can be a bit slow in parts, but nonetheless is amazing. For my money, it simply doesn’t get any better than “THE EMPIRE STRIKES BACK (Episode V) which coincidentally, was directed by Irvin Kerschner, not George Lucas. Hmm… I’ll refrain from opening that can of worms… again!

Then comes RETURN OF THE JEDI… and to be quite honest, was a lot of fun, even if the Ewoks were a little too cute. When you think about it, Episode VI was sort of an early heads up warning of what to expect in the pre-quilogy of Episodes I-III. (Honestly, I’m not sure any of us were properly prepared for Jar Jar Binks, but several therapy sessions later I have moved on and can enjoy the finer aspects of the lesser trilogy in the STAR WARS franchise… my favorite being Darth maul.