Unseen Terror 2022: Day 3

It's no secret that I'm a pretty diehard "kaiju eiga" fanatic, which stems back to when I saw my first Godzilla films around the time that I was entering second grade. In the three decades that have followed, I've been able to witness the genre twist and turn into all sorts of directions while still retaining some of its utter majesty and, well, coolness. As technology advances forward (with the likes of The Big G and King Kong themselves being entirely digitally rendered now), a motion picture like 2019's Howl from Beyond the Fog is a welcome throwback to a time when these features were doing what they could with what they had in terms of financial backing (if any at all). In this case, Howl is a beautifully done low budget short film featuring a cast comprised of nothing but puppets.

No, you certainly didn't read that wrong. Remember what I said yesterday?

The story is set during Japan's Meiji era, which ran for close to sixty years back in the 1860s. A young man named Eiji returns to Kyushu to meet his mother but when he arrives, he is startled to meet a blind woman named Takiri living with her, who instructs him to never speak of their encounter because according to her she's "supposed to be dead." One evening he spots Takiri near a lake. She hums softly and summons a giant creature from the water. Initially frightened, Eiji flees, but soon discovers through Takiri that this monster (named "Nebula") is quite misunderstood. Around this same time, developers are attempting to convince Eiji's mother to sell her land to facilitate the construction of a dam. Without going too much into spoilers, things...don't go well.

What makes Howl feel like a such a special little piece isn't just its aforementioned filmmaking choice, but how much they're able to accomplish by nearly make you forget that you're staring at primarily stone-faced marionettes and dolls. It also has remarkably good atmosphere in utilizing fog and water effects without it looking very jarring or the contrast being too noticeable. The score is also artistically orchestrated but not overpowering. I suppose that if I were to have any complaints (other than wishing this was a full-length feature and not a short film) it would be that the voice acting is a bit on the hit-or-miss side. Eiji and Takiri's performers are very good, but the film's primary antagonists sound very static or unenthusiastic rather than menacing or cruel. Those are very minor complaints though, as the positives far outweigh the negatives here.

I'm likely preaching to the choir here, but Howl from Beyond the Fog is an essential watch for those who are searching for something that is a love letter to the kaiju genre that doesn't seem like pandering. It's a beautiful passion project made by and for fans who yearn for something a little different but not distinctly alien. Currently, it's streaming on both Amazon Prime and Tubi. The actual movie itself runs for about thirty minutes, and the second half of its "runtime" is a behind-the-scenes look at its inception and creation. Pretty sweet.

Oh, I didn't mention that Nebula is cool, did I? Because Nebula totally is.

Tomorrow, we're ditching class and elegance and going back to Italy for some BRAAAAIIIIINNSSS.

Into the Hive Presents: End of the Line (Part 5)

At the time of this writing, the 89th annual Academy Awards is less than thirty minutes away from airing. So, without further adieu, here are the remaining twelve choices in my personal countdown, and what would be considered my take on a "best of" list.

12. Green Room



If you're expecting me to gush over Jeremy Saulnier's intense, horrifying, and all-around excellent follow-up to the riveting Blue Ruin, then I have some very bad news for you: I've done it before. And if you have access to Amazon Prime, you can view this story about a touring punk rock band who is forcibly locked inside of a neo-Nazi club after they stumble upon a murder scene for no extra charge.

11. Rogue One: A Star Wars Story



If rebellions are built on hope, then director Gareth Edwards' prequel to the original, titular juggernaut from 1977 delivered the best one that we could have asked for. Admittedly, the new batch of characters aren't nearly as well-rounded as they should be, but they are all instantly memorable and chocked full of the traits and characteristics that made us fall in love with the franchise oh so many decades ago. The final battle on the planet Scarif is the modern day, fantasy equivalent to the opening sequence from Spielberg's Saving Private Ryan.

10. The Nice Guys



Much like yesterday's entries such as Popstar and The Handmaiden, writer/director Shane Black's (Lethal Weapon, Kiss Kiss Bang Bang) hilariously clever action-comedy-mystery thriller was managed to near-perfection in every subcategory. The plot, though slightly tricky to pay attention to at times, revolves around two private investigators and their decision to take on the case of a missing adult film star. The Nice Guys was an undeserving bomb at the box office, though the lot of folks who did bother to see it during its opening weekend were treated to witty, snappy, and smart dialogue coupled with a surprisingly interesting narrative and developed cast of characters. Thankfully, HBO Go users can track this down and make it up to themselves by catching it now rather than later. Plus, Shane Black is still getting the chance to direct a new Predator installment, so maybe there was still a bit of light in the dark for the uber-talented guy?

9. Hell or High Water



Admittedly, I'm cheating by throwing this neo-Western flick onto my list, because I only managed to catch it less than a week ago. Attributing this to laziness or lack of luck from the Redbox (cue me shaking my fist angrily at getting two different copies that would not play) will only get me so far though. Regardless, I was ecstatic to finally view what many of friends were calling a triumphant effort in the crime/thriller genres, and they were not wrong whatsoever. Chris Pine (Star Trek) and Ben Foster (3:10 to Yuma) play a couple of brothers from west Texas who have been robbing banks in order to pay off a reverse mortgage on their mother's house. Meanwhile, an elderly sheriff portrayed by Jeff Bridges (The Big Lebowski, Crazy Heart) begins to track them down; expertly piecing together their patterns and next likely targets. Hell or High Water sports a killer list of performances, a GREAT soundtrack (composed by musician Nick Cave and graphic novelist Warren Ellis), and a wild sense of uncertainty. I imagine that over the years, this one will likely grow on me.

8. Arrival



Perhaps the most scientifically accurate depiction of how our own top experts would react to communicating with other world lifeforms, the quiet, slow burn known as Arrival was showered with praise even before it managed to hit theaters (and justifiably so if you ask me). Amy Adams, who absolutely deserved an Oscar nomination for what could easily go down as the best performance of her career, is fascinating to watch and listen to. If you're going into this one expecting another version of entertainment akin to, say, Independence Day, then you will disappointed beyond belief. Those with an open mind who are seeking truly original visions in the occasionally predictable world of modern science fiction will find Dennis Villeneuve (Sicario)'s newest effort spellbinding.

7. Sing Street



Take a good coming-of-age story, throw in elements of The Commitments and School of Rock, and mix in a dash of less-than-stellar Irish upbringing, and you've got one of the better hidden gems of 2016. There's so much amusing charm permeating throughout its brisk running time that you can't help but fall in love. I firmly believe that it was a bit of a crime that writer/director John Carney's (Once) story about a young man who sporadically forms a band in order to impress a girl who hangs outside of his new school didn't make its way into more theaters during its initial theatrical run. It sports a fantastic list of original (and copyrighted) songs, earnest performances, and above all else, has a ton of heart that is undeniably easy to identify with. Seek this one out however you can.

6. Captain America: Civil War



Wait, you're going to debate me on a comic book movie being so high on my personal list? Well, to quote the picture posted above, "I can do this all day." Watching the Marvel Cinematic Universe come together has been an absolute treat, so being given the opportunity to watch the world within it start to unravel and fall apart is equally as thrilling, if not slightly morbid. A story about the concept of accepting the consequences for your (rather big) actions is the most basic way to describe the plot of Civil War, but in a way, this is the true Avengers sequel that we deserve. Though most battles in this are fought amongst the heroes themselves, they are exciting, brilliantly choreographed, and have real meaning to them. Even if I'm slightly concerned for the state of the team and their future once Infinity War has come and gone, at least we have a tremendous piece of work right here to watch on repeat should we choose to.

5. Zootopia 



I love to root for the little guy, and truth be told, that was why Kubo & The Two Strings was originally slotted to appear above Disney's Zootopia. In the end, however, I concluded that this little ditty is just a better picture all-around. It sports very important, and relevant lessons for younger viewers, offers commentary on racism that is so desperately needed in a climate that has unfortunately been overtaken far worse than it ever has been, and serves as a great reminder than you should never be held back from your dreams because they aren't what your "type" normally achieves. Oh, and it's very funny to boot. Did I mention that?

4. Hidden Figures


For once, the Academy Awards actually seems to be acknowledging the amount of incredible motion pictures that African-American filmmakers and/or actors have been churning out over the past few years. The true story of three black women who worked as mathematicians during the "space race" days of NASA was one of the easiest films to root for and get fully wrapped in, as it was just smart enough to not alienate itself from general audiences, but also not blatantly pandering to Joe Public. Everybody was in fine form here, including Empire queen Taraji P. Henson and even The Big Bang Theory star Jim Parsons (if you know me, I can go on for hours about why I loathe that show). Though it feels like the movie was slightly shunned in favor of more Hollywood-friendly flicks (a.k.a. La La Land), it's still a great one to track down and add to your queue.

3. Lion



Perhaps one of the most emotional, and slightly overlooked movies of the year, the true story of a young Indian boy who becomes lost on the streets of Calcutta, only to be adopted and seek out his biological mother twenty-five years later is stupendous. Dev Patel reminded us of why people loved him so much in movies such as Slumdog Millionaire, while Nicole Kidman churns out a very somber performance as the woman who just wants her child to be happy, even if he may not be of her own flesh and blood. Yes, the first half of Lion is a little stronger than its second, with a very Charles Dickens-esque aesthetic and structuring, but it doesn't detract from the overall experience. Plus, young newcomer Sunny Pawar is just so adorably innocent, that you may want to take him home with you yourself......but that could be considered illegal very soon. Fucking Trump.

2. Fences



Okay, yes, this adaptation of August Wilson's award-winning play of the same name doesn't fully separate itself from just feeling like a big screen version of a stage production, but god damn, that is such a small, insignificant complaint about this powerful, crushing story of a working-class African-American father attempting to raise his family while struggling with his own problems in life. The always fantastic Denzel Washington sits in the director's chair for the first time since 2007's The Great Debaters, and brings this polarizing, often-times unlikeable lead character to vibrant life, while simultaneously managing to ensure that the immensely talented Viola Davis finally secures her first Oscar win. And by Lemmy, if either of them go home empty-handed after this, I will be legitimately upset.

1. Moonlight


After finally catching a screening of Moonlight, I wasn't quite sure if it would even end up in my top five. But over time, it managed to do what the best of the best usually do: it stuck with me. As outstanding as every other movie is in this entry, this is haunting, oddly poetic, funny, gut-wrenching, and beautiful tale of a young African-American boy and the various stages of his life (each separated by chapter cards representing his different nicknames) is levels above them all. Moonlight's most fascinating and important aspect comes from lead character Chiron having one other distinguishing characteristic about him (that is unjustly ignored in nearly every trailer): he is a homosexual. Yes, we have been treated to a number of stories about how difficult it is to grow up in "the hood," but as long as I can remember, we rarely, if ever see stories such as this one. Actor Mahershala Ali (Predators, House of Cards) steals the show as one of the main character's earliest parental figures, and every actor of every age who plays Chiron is breathtaking with their range and emotion that is put forth on screen. Moonlight isn't just a good coming-of-age film, and it isn't just an incredible motion picture from a very talented African-American filmmaker, but for my money, the best movie of 2016.



And there you have it! Now, if you'll excuse me, I have to watch a bunch of crusty, rich white men snub the best aspects of cinema from 2016 in favor of the stuff that was....still okay?

Unseen Terror 2016: Day 10

All across Manhattan, people have been disappearing or turning up dead under mysterious circumstances. While police initially suspect this to be the work of a serial killer, the main culprit has actually been a soaring serpent, a seemingly resurrected version of the legendary Aztec deity named Quetzalcoatl. It's attacks are brief, yet horrific; they rain blood and limbs from a lacerated sky, scattering all over the city and shocking pedestrians down below. Perplexed as to how and why these gruesome assaults are taking place, the force suddenly finds that luck may be on their side after all. A wannabe conman named Jimmy Quinn knows of Quetzalcoatl's location, but isn't so willing to give up the information. Well, at least not for free.



Well hello Larry Cohen! I didn't realize that three whole years have gone by since you last made an appearance during Unseen Terror. Oddly enough though, his 1982 foray into the crossover realm of fantasy-based horror, the strangely-titled Q - The Winged Serpent (alternately known as simply Q), somehow feels the least like a production from the man himself. There doesn't seem to be any sort of underlying message about abortion or parental instincts like in It's Alive, or the anti-consumerism that permeated throughout the absurdly silly experience known as The Stuff. Instead, this tale about a flying, man-eating creature with ties to the Aztec civilization just feels like a big, gory love letter to bizarre science fiction and fantasy works from titans such as Ray Harryhausen (Jason and the Argonauts, The 7th Voyage of Sinbad) and that individual's own mentor Willis O'Brien (King Kong).


The titular monster is brought to life by the use of stop-motion effects, which was actually considered to be an ancient and outdated method by the time that this film was released to cinemas (this criticism was also echoed for 1981's Clash of the Titans). Thankfully, Q's own screen time is primarily kept to brief glimpses and cameos (save for the final ten minutes), and that may end being a good thing, seeing as how suffocating the audience with too much of it could have actually detracted from the surprisingly enjoyable human cast that acts alongside of it (more on that below). Q's design resembles that of a larger version of a Dimorphodon, with Randall William Cook (Lord of the Rings) and David W. Allen (The Howling, Honey, I Shrunk the Kids) providing some neat, if not sparse effects that ultimately do the forefathers of the genre proud. Old-fashioned as it may look to newer viewers, there is just such a unique charm to the thing that you can't help but grin at every time that she (yes, it is female) swoops down to feed on hapless sunbathers. Heck, when the freakish demigod isn't busy feasting on poor suckers or posing for that really awesome-looking poster that you see above (submitted by Heavy Metal Magazine notable Boris Vallejo), she even gets the opportunity to fight Shaft (Richard Roundtree) for a minute or so!


Oh, I did mention the collection of human actors above, didn't I? Well, yes, there are some delightfully entertaining performances to be found throughout Q. Its two main attractions (other than the airborne man-eater itself) are Michael Moriarty (Law & Order) and the late David Carradine (Kung Fu, Kill Bill). Both are pretty exceptional when you consider the subject matter here. The former tends to steal the show during every opportune chance that he is afforded. He's a real riot, playing the greediest, sneakiest of lowlifes who isn't evil per se, but in reality, is just a gigantic asshole. You are most certain that you would never wish to be friends with the guy, but his charisma and delivery of some occasionally cringe-worthy dialogue is just undeniably fun. I legitimately had to stop and rub my eyes when I saw the name Malachy McCourt pop up during the opening credits, since I was apparently unware that the brother of Angela's Ashes author Frank McCourt had delved into the world of acting after his family endured and survived one of the most hellacious childhoods that I have ever read about. Seeing him smoke a pipe, sport an ill-fitting, in & out English accent, and playing a hardened police commissioner is so peculiar.


Before I watched Q, I was trying to wash the taste of the mediocre The Girl on the Train out of my mouth. Thus, even with the amount of fun that I was provided with Cohen's killer dragon movie, I feel as though this might require another viewing in the next few months. There are more than a handful of enjoyable moments and surprises to keep you glued to the screen (and come on, that tagline is way too gnarly to ignore), even if the unfortunate side story involving a string of murders related to human sacrifice does distract a bit from what you have paid to see. Personally, I would not be completely opposed to seeing Q receive the revival or remake treatment one day (technically, this is a reimagining of a 1946 motion picture bearing a similar title), but if you want to keep the same magic alive, you should retain the same stop-motion animation that made this so beloved by fans of cult classic cinema. Q - The Winged Serpent is readily available to rent on Amazon Prime and ITunes, streaming for free on YouTube, and can be purchased on Blu-Ray for less than ten dollars on the aforementioned Amazon as well.



Besides, if this were to receive an update, there isn't any way in hell that it could be worse than the redoing of Cohen's own It's Alive, right? At least the possibility of Bijou Phillips appearing again is slim to none.




Tomorrow (well, technically today), I am turning 31. Hooray. To celebrate, I shall be discussing something special that crosses horror with one of my other favorite hobbies and interests that has surprisingly stood the test of time!

Unseen Terror 2015: Day 6

At the request of his girlfriend Lori, Aaron Boone begins visiting a shrink by the name of Dr. Phillip Decker. The troubled man has confessed to dreaming of an area called Midian, where monsters roam freely and, instead of being shunned, are accepted. Through manipulation and heavy drug use, the doctor convinces Aaron that he has actually committed multiple homicides that has plagued the news lately, leading to him running and searching for his dream utopia so that he may escape from this reality. When he happens upon a graveyard seemingly in the middle of nowhere, he discovers that Midian is in fact a new world beneath the burial grounds, though the residents are not too fond of normal humans trespassing and making their way below.


Clive Barker's cult classic Nightbreed may have been my most anticipated pick of the season. Initially released in the early months of 1990, the film was considered to be a commercial and critical flop, with some folks curious as to how and why this came from the same mind that created the more beloved first two installments in the Hellraiser franchise (a.k.a. the only two worth watching more than once). Over the years, many have attributed this failure to a number of problems, including heavy editing (there are THREE different cuts of this movie out there, with two being more easily accessible to the general public) and a marketing campaign that presented it as just another "slasher" picture. For any single person who wasn't sitting around playing with their cat's turds, we were aware that its proper classification is more akin to a darker fantasy epic with strong horror overtones, not a "blood and guts galore" knockoff of less sophisticated titles. I mean, if Stephen King can write a lengthy piece of macabre literature like It, who says he that isn't allowed to also pen something such as Stand By Me?


Mind you, I'm not going to say that Nightbreed met my expectations or exceeded them. In fact, for as many things that I could praise Barker's second directorial effort for doing right, it does just an average job on something else in return. Yes, Craig Sheffer (One Tree Hill....maybe the only time you'll see that show's name appear on here) and Anne Bobby are rather enjoyable as our two leads and lovebirds, but they seem to feel like the only rounded characters in the entire plot. Noted director David Cronenberg actually decides to get up from sitting down in the chair and decides to participate in more than just a cameo, turning in a rather odd, if not slightly obvious performance as Boone's psychotherapist who may or may not be living a bloody double life himself. The "breed" themselves seem to be having a rollocking good time, and while they are somewhat one-dimensional as the "sympathetic, misunderstood beasts," I often found myself sad whenever they weren't on screen. Hell, maybe that's what it was like to have an imaginary friend when you were a child. I wouldn't know though; mine grew up and moved out after I told them I liked Predator more than The Terminator and Bret Hart more than Shawn Michaels............what?


I was not surprised in the slightest to find that Doug Bradley (Hellraiser) has a small role in Nightbreed, as I'm almost certain that he and Mr. Barker are good friends and would want one another to achieve as much success as possible. One name that I did NOT expect to see was composer Danny Elfman (Batman, Beetlejuice), who turns in a pretty darn great score that is just ripe with personality, accentuating and enhancing the more fun and daring parts of the movie, while inserting hints of the more calming and gothic tone that could only be fitting for a Clive Barker work. Truth be told, the more technical and practical aspects of Nightbreed are what I think warrant the most attention from cinephiles. There are at least fifteen, yes FIFTEEN people who worked in the makeup department here, and though I'm far too tired to list them all, they all deserve praise for creating some absolutely wonderful monsters and set pieces (one particular lead's first exploration of the underground world of Midian is a glorified showcase for creations of all sorts). At an early point on in the film, Boone is given heavy psychedelics by Decker, and there are many moments during which you can't tell if he ever truly came down from his "trip," especially when you see women that have quills sprouting from their bodies or people who can turn into smoke. It is wildly inventive, making you wonder if toy companies such as NECA would ever decide to do a line based on this property.



Nightbreed is definitely far from perfect, but it's a very compelling experience that still ends up very watchable in the end, driven by an intriguing story and great imagery that only someone as bizarre as Clive Barker himself could imagine. I'm often guilty of repeating things during Unseen Terror entries (then again, I believe most people who write about motion pictures are), but I really would like to watch this again sometime in the near future, with my preference going to its mysterious "Cabal" cut that is apparently only available to the general public through very select festival screenings. If you are so inclined, the "Director's Cut" of Nightbreed is available to watch on Netflix Instant Streaming. Speaking of said cut, you can also order it from Shout! Factory on Blu-Ray and DVD HERE and HERE.



And hell, it beats sitting through Lord Of Illusions again.




Tomorrow, we go forward to 1991, and we take a look at an obscure gem directed by....one of the guys from Porky's?! Yeah, okay, why not.....

Dragon Ball Z: Resurrection 'F' (2015) Movie Review

Many years ago, the evil space overlord Freeza paid a visit to the planet Earth in the hopes that he would find and destroy the one who defeated him previously: the "Super Saiyan" known as Son Goku. Instead, he would meet his demise at the hands of a young man known as Trunks, a half-saiyan who had come to the past to warn us of a larger, greater threat. Much time has passed, and while the tyrant suffers in the bowels of hell, a small pocket of his remaining forces and servants have gathered the dragon balls with the hope of reviving their master. Once his restoration is complete, the universe's greatest evil plots for revenge, but only after he can achieve a new level of strength in which to combat his enemies.



It just dawned on me: it's been twenty years. Mind you, not since we last dove into the fantastical and bizarre world of Dragon Ball, but it's been two decades since my first exposure to the initial thirteen episode run (originally distributed here by Canada's Ocean Productions) of said Japanese franchise. It had all the wonders of similar properties that I was fond of at the time, such as Power Rangers and X-Men, but there was something magical and uniquely amusing about creator Akira Toriyama's take on the old Chinese novel "Journey To The West." Without a care in the world, I've never looked back in anger or shame and have been proud to call myself a fan since that time in my life. My goodness, I've even contemplated getting tattoos to commemorate my fanaticism, which is an idea that outside of Godzilla, I haven't even reserved for other geeky niches of mine.


And yet, never in my wildest dreams did I think that there would be several new pieces of animation created throughout the first several years of the 21st century revolving around Son Goku and his friends. In 2008, the short film Dragon Ball: Yo! Son Goku and His Friends Return was released as a tribute to the weekly anthology "Shonen Jump," which is where the series got its initial start. It was fun and sweet, though somewhat forgettable. Five years later, we received a full-length motion picture titled Dragon Ball Z: Battle Of Gods, a charming piece of nostalgia that also served as the first piece of continuity in the realm of cinema for the series (previous entries were, to put it lightly, incredibly difficult to fit into the series' timeline and of varying quality). So what better way to follow up Dragon Ball's glorious return than with another trip down memory lane, albeit with a very familiar, sinister face?


In terms of familiar faces, most of the cast from Battle Of Gods returns, including its previous antagonists Beerus and Whis, and some newer faces such as Freeza henchman Sorbet, a blue, diminutive homage to old accomplices such as Piano (from Dragon Ball). Sadly, a small portion of the "post-Freeza" heroes are conspicuously absent from Resurrection 'F'. The lack of Trunks, Goten, and Mr. Satan might be disappointing to some, but it imbues the movie with a more distinctive feel, giving us the indication that this is a natural followup to the saga that seemed to take an eternity to wrap up when it first aired. For longtime fans such as myself, I don't see why any single person would complain about seeing Tenshinhan or Master Roshi get a little bit of time to shine and fight, especially considering how any person who was a pure-blooded human being got the shaft after the aforementioned arc had come to a conclusion (just as any woman who had served her purpose in the series became a mother and stopped participating in anything dangerous). There's also the introduction of a recent and rather funny creation of series mastermind Akira Toriyama in the form of Jaco The Galactic Patrolman, who assists in providing a great chunk of the lighthearted humor that permeates throughout its ninety three minute running time. Still, if you aren't familiar with the character's prior existence (if I'm not mistaken, this is his first animated appearance in anything outside of video games), his inclusion may seem puzzling or shoehorned in for anyone who isn't a diehard fan.


To the chagrin of some of my own friends, I've always been fairly outspoken about my dislike for the dubbed versions of Dragon Ball, as it just wasn't what I grew up with or what I was accustomed to (even the Ocean Dub seemed a little off to me after I discovered the Japanese version on the obscure Maryland television station known as The International Channel). No one should hold grudges over something so petty though, as I've grown to just accept them for what they are, and the Japanese audio is just as readily available these days for older folks like me anyway. In retrospect, it's actually a good thing that importing fansubbed VHS tapes is a thing of the past now, especially in this economy that we live in. Chris Ayres is just as good at voicing Freeza as original performer Ryusei Nakao was. He gets the character, and he understands his nuances and personality while still managing to not go too overboard unless the end is nigh or he's been angered to the brink of insanity. Kyle Hebert is a fine Son Gohan too, as are Master Roshi and (personal favorite) Pilaf's voice actors. I'm still not sold on the choices they made for Son Goku, Vegeta, or Piccolo (for western actors, Scott McNeil is my favorite for the latter), but again, power to the people that like them and also grew up with those the same way that I grew up with mine. My years of being a complete snob about Funimation's cast are dying a slow death.


Combat-wise, nothing in Dragon Ball Z: Resurrection 'F' has the same impact as some of the more memorable moments of the various series (Son Goku's first battles with Piccolo and Vegeta, the first Super Saiyan transformation for Son Goku, Vegetto v. Majin Buu), but there are a small handful of scenes that will stick with you for at least the following few days after you've left the theater. They are animated exceptionally well and thought out as if it were a real motion picture, with every combatant present in the film getting a time to shine and most of the blows being dealt fast, but not too fast. A common complaint about the franchise is also tossed aside as not every sequence is overloaded with energy blasts to the point where you can't see what is happening. Hell, when characters such as Jaco and even the Turtle Hermit leave you beaming with excitement and wanting to thrust your fist up in happiness, you know that you've done something right. Fans of the entire Dragon Ball canon (not just DBZ) will likely be able to appreciate the structure and layout of these fights more than the casual Dragon "Bro" fan.


It isn't likely to convert any new fans, but Dragon Ball Z: Resurrection 'F' is an unabashed love letter to the older and/or more established fans anyway. I mean, my Kami, we even had an on-screen introduction from the folks at Funimation, complete with behind the scenes footage and trivia with the voice actors, that played before the flick began. If that isn't genuine love for its audience, then what is? During the same week where our animated heroes will be combatting the forces of Tom Cruise and a superhero franchise going through yet another reboot, it seemingly may not stand much of a chance. Mind you, that is solely at first glance. Perhaps the main reason as to why I would recommend that you see this on a larger screen is not just because it's a good deal of fun for any fan of any age, but because there's a good possibility of this film's success ensuring that we get more of these released theatrically in the future. Though it only grossed $9.3 million in the United States, we fans are still trying to get the taste of that OTHER Dragon Ball movie out of out mouths, and I'm sure that we can show the naysayers over here that it can be done well when it's done with honest adoration and effort.



Now, if you'll excuse me, I have to go download this little gem of a song and play it over and over until my ears bleed and I need Shenron to repair my hearing.

Maleficent (2014) Review

In an enchanted world populated by magical and powerful fairies and assorted creatures, a young fairy named Maleficent lives peacefully and joyously among her brethren. After a chance encounter, she begins to develop feelings for a human named Stefan, who comes from the fairy's bordering neighbors, and eventual enemies, the human kingdom. Over the years, Stefan's lust for power and leadership of his kingdom leads him to commit a terrible act towards the fairy, hoping it will culminate in speeding up his ascension towards the throne. Enraged and saddened, Maleficent begins a long and arduous path towards evil, which will culminate in a dark gift for the newly-crowned king's firstborn, Princess Aurora.


Despite what some of my friends or frequent visitors of Into The Hive may think, I'm always welcome to a new interpretation of a classic story, especially in the realm of classic fairy tale lore. Perhaps Bill Willingham's acclaimed graphic novel series Fables is partly to blame, or it may be my own maturity and attitude towards films of all variety which has helped. When I first caught a glance of Angelina Jolie and Elle Fanning as noted and famous Disney stalwarts Maleficent and Aurora, I was somewhat intrigued, but my apathy towards anything Disney-related that ISN'T animated wasn't leading me towards a ticket purchase. The first round of teasers and full-length trailers did little to bring about any enthusiasm, and discovering that this was in the hands of a first time director made me skeptical, even though this has worked for a multitude of films in recent memory. But for every Evil Dead or District 9, there is always an Aliens vs Predator: Requiem. So, where does this one lie in the pantheon of risk takers?


Though she has her number of naysayers, Angelina Jolie was born to play this role. She brings layers to a character that had never particularly captured my own affection. Admittedly, I was always more of an Ursula or Cruella de Vil fan, and even though she's guilty of chewing the scenery on a handful of occasions, Jolie manages to make you sympathize with the titular tragic villain whose heart may not be as dark as the original story from The Brothers Grimm would have you believe. This version of Maleficent has the right to be furious at the human race, and it can be argued that she is a stronger female role model than most modern day heroines (she's inarguably better than someone like Twilight's Bella Swan). Disney also must have listened to the masses' feedback about Sharlto Copley's villainous turn in last year's Elysium as well, since he plays the twisted and paranoid king whose slow descent into madness doesn't exactly inspire empathy from the public, be it in the theater or from his own servants. He may be difficult to understand for younger audiences though, but being from South Africa and attempting a Scottish/Irish/Brad Pitt-from-Snatch accent will do that to you. As for the supporting cast, Sam Riley, best known for playing Joy Division's Ian Curtis in Control, portrays Maleficent's right hand….erm, crow, and he's fine for what he is (he could be a dead ringer for Dominic Cooper or Orlando Bloom). The trio of the good fairies are all entertaining and more lively than I expected them to be (being led by the usually brilliant Imelda Staunton certainly helps), but goodness gracious, did all of their humorous bickering and banter have to feel like throwaway gags and routines from The Three Stooges? At least they weren't making Groucho Marx-style puns, otherwise I would have groaned rather audibly in the cinema hall…..actually, now that I've mentioned that, puns such as those would have been pretty awesome, if not incredibly out of place.


A large chunk of Maleficent's visual effects are pretty gorgeous to look at, if not flat out enchanting (makeup is provided by the extraordinarily talented Rick Baker). I went into the film initially having paid for a 3D experience, but the 2D reel was mistakenly played instead. While it didn't upset me in the slightest (I was given a refund for any future screening of my choice. Too bad this didn't happen with Rob Zombie's Halloween), I imagine that a three dimensional screening would have actually looked very impressive, post-conversion or not. From an all around visual standpoint, Maleficent looks pretty damn good and the cinematography is adequate. Great detail has gone into the wings of Jolie's character, and especially with her very elegant, if not slightly ghostly appearance, which is all the more fitting given that she has remained a mystery or myth to many simple-minded humansx. Part of me wonders how much of it actually comes from Angelina Jolie's natural beauty and how much came from computer generated imagery, and in this case, the perplexing nature of this works to the film's advantage.


While it seems like I'm fellating nearly everything related to this picture from that which surrounds Angelina Jolie, this does bring me to two rather vocal complaints that I have. First off, I get that your picture is called Maleficent, so naturally, you want her to be the main focus and be the most well-rounded and developed character. This is understandable. That being said, would it have been so hard to do this as well with your supporting cast? Aurora's presence doesn't feel nearly as important as it should, and even after the introduction of Prince Phillip (the man who would break the "Sleeping Beauty" curse in the source material), we don't get a good sense of who he is and why he cares for her. Yes yes, I know it's just storybook love, but I guess I just expected a bit more from this particular subplot, and I feel it detracts from all of the potential praise it could receive from critics and moviegoers alike.


The second criticism, and perhaps the oddest thing about Maleficent overall (well, odd by a fantasy movie's standards at least) is its criminally short running time. If I remember correctly, Disney has been hyping this particular re-imagining for close to, if not more than two years. With a case such as this, why make the final project a mere ninety seven minutes long? That is just absurd, and I felt a tad bit bamboozled when it seemed to just suddenly end. Something as grandiose as this deserves to at least cross the two hour mark. I do know that this particular motion picture went through several reshoots, so perhaps they're saving what was left on the cutting room floor for the presumably stacked Blu-Ray release to come.


Still, in terms of recent retellings of classic fairy tales and Disney lore, Maleficent stands above the competition (it is infinitely better than Tim Burton's messy 2010 version of Alice in Wonderland), if not a bit awkwardly. They've also accomplished the impossible by piquing my interest as to what the upcoming Kenneth Branagh-directed Cinderella will end up looking like.





Then again, I doubt it will have fire-breathing dragons, so it'll probably be less than stellar.