3 Best Movies To Watch After Mission: Impossible III (2006)
Aquaman and the Lost Kingdom
A decade's worth of superhero movies goes out with a big, stupid grin on its face. One would hope that a film franchise with as much money poured into it as the DC Cinematic Universe would rage, rage against the dying of the light. Yet here we are, limping towards the end of a slate of superhero flicks marred by terrible reviews (Shazam! 2), controversy (The Flash), or sheer too-little-too-late-ness (Blue Beetle). As the superhero genre continues to flag in a year of duds, DC's set for a reinvention, a clean slate courtesy of former Marvel it-boy James Gunn and co-head Peter Safran. Before they can wipe the board and start all over with the label's slate of classic capes, though, there's a few rounds left in the last guy's chamber to fire off. That's what Aquaman and the Lost Kingdom feels like, easily the least objectionable of the DC films to come out in 2023. Problem is, that's not saying much. A sequel to Aquaman should have been a slam dunk: Director James Wan's 2018 take on the King of Atlantis was a welcome breath of neon-soaked pop art in a franchise studded with Snyderesque dourness, leaning into the innate silliness of an underwater take on Flash Gordon. Jason Momoa is as effortless a casting as you could imagine for DC's hardest-to-pin-down superhero, brimming with giddy frat-boy energy. At its best moments, Aquaman and the Lost Kingdom leans into its star's goofiness and even lets it infect some of the rest of the cast. But there's no escaping the feeling of weariness, both for a cast and crew who are just repeating the novel beats of the first and an audience that's just plain starved for something new. Continue Reading →
Blood Rage
Serve up this bizarre, oddly funny 80s slasher as part of your holiday entertainment feast this year. Though Quentin Tarantino and Robert Rodriguez’s retro horror double feature Grindhouse met with audience indifference, the collection of fake movie trailers during its “intermission” became amusing pop culture ephemera. Of the four featured, Eli Roth’s “Thanksgiving” is probably the most fun to revisit, mostly because of its loving dedication to capturing the unique seediness of an 80s slasher film. There’s something so familiar about the murky film quality, the low budget special effects, the incoherent plot (it appears to be a trailer for two different, unfinished movies stuck together, as was the case for many 80s horror movies), the glimpses of T&A, and of course, that hilarious voiceover and excellent tagline, that it seems unbelievable that it hadn’t actually already been made. Though it took over 15 years, Thanksgiving is finally a full-length feature, released to largely positive reviews just last weekend. It is not, however, as has been claimed elsewhere, the first Thanksgiving slasher film. Before that, there was 1987’s Blood Rage, a movie that leans into all the best and worst tropes of its genre, while also being deeply strange and often undeniably funny. Continue Reading →
Sorcerer
If Sorcerer’s sole highlight was Roy Scheider's descent into hallucinatory madness amidst an almost lunar rock field, it would still be a special movie. Scheider is Jackie Scanlon, an American getaway driver turned washed-up exile in the isolated Columbian village of Porvenir. He’s the last survivor of a desperate mission to transport increasingly unstable dynamite to a burning oil well. The blaze is so bad that only controlled explosions to burn off its fuel stand a chance of extinguishing it. Everything that could go wrong has gone wrong, including Jackie’s kibashed truck giving out a long walk from the well. Haunted by—or just plain hallucinating—the laughter of his dead co-driver, he stumbles forward. Surrounded by the surreal with nothing but a rickety crate between him and the hair-trigger death, it’s all he can do besides die. Continue Reading →