DC League of Super-Pets, at Look Cinemas

It might be the “Summer of Superman,” but Krypto has been the biggest winner from the trailer release. If you think he is cute there, check out Krypto All In #1. Every panel fully capitalizes on his adorableness, while still telling a dramatic story. Hopefully, Ryan North and Mike Norton can sustain that high quality. At this point, most viewers probably still know Krypto best from this animated film. He is a bigger Krypto, but he probably had to be, since he is voiced by The Rock in Jared Stern & Sam J. Levine’s DC League of Super-Pets, which has a special family screening this Tuesday at Look Cinemas.

Originally in the comics, Krypto landed on Earth after Superman. In League of Super Pets, he jumped into the escape-craft with Kal-El (in far and away the cutest scene of the film). Of course, they grow up to be Superman and Krypto, inseparable superhero buddies, protecting Metropolis from villains like Lex Luthor. However, Krypto feels like Lois Lane is on the verge of breaking up the band, like an animated Yoko Ono.

Ironically, it is not Luthor who renders Superman and Krypto powerless. It will be his literal guinea pig, Lulu, whom Krypto rescued from Luthor’s lab. However, Lulu did not want to be rescued, because she absorbed Luthor’s villainous persona. Consequently, she works on her evil scheme to refine Orange Kryptonite from the animal shelter, where she is imprisoned with Ace the Boxer, Merton the turtle, PB the potbellied pig, and Chip, the squirrel, who really shouldn’t be in a domestic adoption shelter, but whatever. Together, they all gain superpowers as a result of Lulu’s Kryptonite super-charge.

Krypto got off on the wrong paw with Ace and his pals, because he is not good with other pets. However, they all start to grow on each other. Krypto also promises to hook them up with nice farm homes in Smallville. Unfortunately, Lulu acclimates to super-villainy much quicker than the Super Pets adjust to super-heroism.

League of Super-Pets is undeniably kid-friendly and amusing, but sometimes maybe in ways that are a little too silly for fans of the DC Animated Universe, which this film is not a part of. Arguably, the talking animal business drives the film rather than their roles within the DC Universe. Obviously, Krypto has an honored place in the Universe and Ace is also an established member of the Bat-Family. Chip and Merton have precedent but they are very loosely based on their namesakes, while PB and Lulu are entirely original.

The best moments capture the human-animal bond shared by Superman and Krypto, who are nicely voiced by John Krasinski and The Rock. Conversely, Kevin Hart is a lot as Ace—sometimes too much. Natasha Lyonne and Vanessa Bayer are almost as much as Merton and PB. However, there are some standout guest voices, notably including Keanu Reeves as Batman (that one makes a lot of sense, right?), Alfred Molina as Jor-El, and Keith David as Dog-El, Krypto’s father, whose hologram provides some of the best jokes for hardcore DC fans.

Nautilus: What Lies Beneath

For decades, the giant squid attack in Richard Fleischer’s 20,000 Leagues Under the Sea was fondly remembered as the peak of American kaiju-making. The new “reconceived” series held back the massive cephalopod for two full episodes. At least they do not make viewers wait much longer in “What Lies Beneath,” this week’s episode of creator James Dormer’s Nautilus, which airs tomorrow on AMC/AMC+.

There is an unwelcome East India Company “stowaway” aboard the Nautilus, but the only crewmember smart enough to expose him is young Blaster’s dog, Archie. However, Nemo has more pressing issues than a barking dog, like the depth charges from the Company’s Dreadnaught battleship at the end of the previous episode, and the giant squid they stirred up at the start of “What Lies Beneath.”

The undersea action is nicely rendered and their deliverance is rather clever, even if it stretches credulity. Unfortunately, the rest of “Beneath” reverts to the same stilted mistakes of the first two episodes. A new bad guy will be introduced, the “White Rajah.” He looks promising, because the great Richard E. Grant portrays him, but this time, he hardly seems to enjoy his villainy. Instead, Grant’s scenery-chewing appears to give him indigestion.

Waiting for Superman, at Cinema Daily US, Pt II

Superman is often presumed an invicible, well, "superman," but the DC Animated films have done a great job humanizing him. A a result, they represent some of the best superhero movie of the last 20 years. For  those eqagerly awaitnng the new movie, my survey of DC Animated Superman fiolms concludes at CINEMA DAILY US here.

Act of Valor, Starring Real U.S. Navy SEALs

Perhaps the unlikeliest action sequence in this film is based on a real-life event, in which Private Channing Moss survived the impact and injuries from an unexploded Taliban RPM that struck his abdomen with full force. It hardly needs to be said, but don’t try that at home. It also depicts the potentially catastrophic consequences when Islamist terrorists try to exploit the porous southern border, but surely we have fixed all those problems in the time since this film first released in 2012, right? Regardless, the courage and dedication of the U.S. Navy SEALs and Special Combat Crewmen remain a source of national pride. Many of the dedicated real-life Navy SEALs and Crewmen played fictionalized versions of themselves in Mouse McCoy & Scott Waugh’s Act of Valor, which makes fitting viewing for the Fourth of July weekend, when it airs on El Rey Rebel.

It starts in the Philippines, with the assassination of the American ambassador, who was instrumental in coordinating anti-terror alliances. It was perpetrated by the pro-terror alliance of Chechen Islamist terrorist Mohammad “Yuri” Abu Shabal and his old pal, “Christo” Troykovich, an international smuggler-money launderer. Operating out of failed states like Somalia, they are training suicide bombers to infiltrate the United States from Mexico, with specially designed vests would not set off metal detectors.

SEAL Team 7’s Bandito Platoon only learns of the evil plan from intel gathered after they rescue CIA Officer Lisa Morales from Christo’s thugs. Suddenly, their mission extends and expands. That is rather inconvenient for Chief Dave Nolan and his close friend, Lt. Rorke James Engel, who is due for leave in anticipation of his son’s birth. Yes, that kind of happy news never bodes well in movies, does it.

Since real deal SEAL were involved in Act of Valor right from its inception, the action sequences are highly realistic and consequently very intense. Rorke Denver and Dave Hansen develop some nice comradery as Engel and Nolan. Beyond them, the rest of the SEALs have little character development or even identifiable personality types. However, pro-thesps Roselyn Sanchez and Nestor Serrano look and sound smart and snappy together as Morales and her colleague, CIA Officer Walter Ross. Indeed, it is refreshing to watch a film that considers the CIA part of the good guys.

Attack on London, in The Epoch Times

Netflix's ATTACK ON LONDON: HUNTING THE 7/7 BOMBERS adddresses important subjects, like the extremist-Islamist roots of terrorism and the questionable official agency oversight (pre- and post-bombings), but it is undermined by the inappropriate tabloid true crime-like presentation. EPOCH TIMES review up here.

Batman Ninja vs. Yakuza League, on HBO

In Batman Ninja, the time-traveling Dark Knight had to channel Toshiro Mifune in a Chanbara adventure. This time, he must find his inner Takeshi Kitano or Ken Takakura. Batman and the extended “Bat family” are back in their proper Bat-time, but history has changed. Japan is now a land of Yakuza clans, much like the planet of Chicago gangsters in Star Trek’s “A Piece of the Action” episode. Unfortunately, the alternate Justice League has also gone full Yakuza in Junpei Mizusaki & Shinji Takagi ‘s animated Batman Ninja vs. Yakuza League, which premieres today on HBO or Max, or whatever.

Batman and Robin (his son, Damien) returned to the right world, but Japan no longer exists. Instead, an alternate Japan was created in a sort of liminal zone that only the Bat family (also including the former Robins, Nightwing, Red Hood, and Red Robin) can see, because they traveled through the previous time vortex, or something like that. This Japan is entirely governed by Yakuza, with the Hagane Clan on top, thanks to their super-powered enforcers.

Sarcastically dubbed the “Yakuza League” by Robin, they consist of Bari, Ahsa, Zeshika, and Karaku, the evil Flash, Aquaman, Green Lantern, and Superman, as you might surmise from their Katakana-rendered names. However, Daiana Amazone is still good and just, thanks to the power of this Japan’s analog to Paradise Island.

Even allied with Daiana, Batman might look outmatched, considering the League’s powers remain the same. However, he believes he holds certain advantages. For one thing, this League has never fought anyone with remotely equivalent powers, so they aren’t used to slugging it out in a real fight. Batman has also had long-standing contingencies to take down his fellow JLA teammates, “just in case” the need arose. That revelation does not completely shock his son. Not at all, really.

The first act plays out somewhat hectically and rushed, but Mizusaki, Takagi, and screenwriter Kazuki Nakashima really settle down and deliver a darned good Batman story thereafter. Arguably, they show the value of guile and “family,” which turn out to be superior to superior to brute force. For genre fans, there are also a lot of knowingly hip Yakuza details.

40 Acres: Indie Preppers

This movie predicts that in the post-apocalyptic near-future, the most valuable commodity will be fertile agricultural land—exactly the sort of American farmland China has been buying at an alarming rate. The Freemans’ farm happens to be in Canada, but there is no way they would have ever sold, even in better days, because the family went through so much to get it. Unfortunately, outlaw gangs keep trying to steal it. The latest prospective claim-jumpers will be the most savage in R.T. Thorne’s 40 Acres, which opens today in theaters.

Viewers can see from the prologue Hailey Freeman and her family know how to protect what is theirs. That is why her ideologically-charged home-schooling curriculum makes absolutely no sense. They are preppers, through and through. A vague semblance of community persists, maintained by shortwave radio, but each week another farm goes dark. Freeman is not inclined to stick her neck out for anyone, but her son Emanuel has teenaged hormones and not a girl his age in sight. Not surprisingly, when he secretly spies Dawn enjoying a swimming hole during a scavenging trip, she makes quite an impression.

Unfortunately, the latest batch of marauders attacking family farms are particularly nasty, in ways similar to The Road. They aren’t just stealing food. They’re hunting it too. Is Dawn one of the cannibals or is she a post-apocalyptic normie? Emanuel probably wouldn’t be the best to judge.

At its core, 40 Acres is largely a prepper survival thriller in the tradition of Homestead and One Second After, but with casting and cosmetic stylistic changes made to appeal to diversity-conscious film fest audiences. Yet, it hits the same notes and offers the same takeaways as every previous prepper shoot-out. Basically, it boils down to: expect the worse and prepare yourself, first and foremost, by heavily arming your family.

Yet, by the standards of the genre, 40 Acres (an obvious reference to Union Gen. Tecumseh Sherman’s promise of reparations, which actually never mentioned the mule) is quite well made and surprisingly grabby.

The cast is consistently strong, especially Danielle Deadwyler, who maybe delivers a career best performance as the exhaustingly intense Freeman matriarch. Michael Greyeyes nicely compliments her as Freeman’s second husband, who projects a reassuring calm, but is really just as fiercely protective. Arguably, Elizabeth Saunders makes it all watchable with her scene-stealing comic relief (until stuff gets even more dire), as Freeman’s ex-marine crony, Augusta Taylor.

Superman’s Good Guy Gang (graphic novel for young readers)

Did Superman immediately display superpowers as a child or did he grow into them? It depends on which Earth, which multiverse, or which narrative continuity you might be reading. DC Comics can be downright Schrodinger-esque. Two contradictory events can be true at the same time. It just depends on where you look. In this graphic novel for young readers, Superman had powers at age eight, but don’t call him Superboy in Rob Justus’s Superman’s Good Guy Gang, which just released.

Superman has all his grown-up powers, but he doesn’t believe it is cool to hang out with six-year-olds like little Lex Luthor. Instead, he forms a “Good Guy Club” with Guy Gardener and Hawkgirl, even though she’s not a guy. In fact, negotiating their name is a highly fraught business. Some also might question Gardener’s “good guy” credibility. However, his atrocious bowl-cut makes more sense at that age.

Regardless, the trio must band together to fight the renegade milk-shake-making robot Luthor innocently created to get Superman’s attention. As it happens, Justus somewhat follows the trend of some of the recent Superman comics, by inviting sympathy for Luthor. Arguably, he might just be the most likable character.

Sound of the Surf: When California was Fun

It is the only rock & roll subgenre that has largely been instrumental. Yet, ironically, its most popular artists are considered phonies by the real fans, because of their vocal harmonies. They would be the Beach Boys. Surf musicians might have played for beach bums, but virtuoso guitar work was always part of package. The original Surf music pioneers look back on Surf culture’s early 1960s heyday in director-cinematographer Thomas Duncan’s documentary, Sound of the Surf, which releases today on VOD and DVD.

Its closest cousins were garage rock and punk rock, but the founding Surf music musicians had two major influences. Not surprisingly, 1950s instrumental rock guitarists like Duane Eddy and Link Wray were significant musical role models. However, most of the Surf music veterans have more to say about jazz artists, especially big band drummer Gene Krupa.

In fact, jazz musician Tom Morey, who also invented the Morey bogie board, expressly compares jazz and surfing, because both require improvisation. Alas, nobody discusses Bud Shank by name, but his soundtracks for Bruce Brown’s surfing documentaries are duly acknowledged. Regardless, jazz collectively gets its full due.

Dick Dale claims the title as the original Surf music guitarist for himself and pretty much everyone Duncan interviewed agrees with him. Indeed, Dale had some of the biggest Surf hits, including his reverb heavy arrangement of “Misirlou,” which became popular again thanks to Pulp Fiction. Eddie Bertrand, co-founder of the Belairs and Eddie & the Showmen represents a not-so-distant second.

Yet, one of the more prominent voices turns out to be Kathy Marshall, who gets her overdue credit for her contributions to the Surf music scene. Technically, she never recorded commercially, but she performed regularly with Eddie & the Showmen and the Blazers, even though she was still a teenager. Plus, viewers also hear from Kathy Kohner-Zuckerman, a.k.a. the real “Gidget,” whose father wrote the novel the film and TV series were based on, building on her accounts of her new surfer friends.

Appleseed Alpha, on Tubi

In this film, the two heroic protagonists of Masamune Shirow’s Appleseed franchise sort of get the DC treatment. They are the same characters fans know and love, but they now have a new narrative continuity—familiar, but slightly different. It is also sort of a prequel, but Briareos is already a cyborg—and partly on the fritz. Unfortunately, the world is also still mostly destroyed, especially the post-apocalyptic New York City, or perhaps it is just post-Mamdani. Regardless, hope is in short supply, until Briareos and his comrade-life partner Deunan decide to go out and find some in Shinji Aramaki’s anime feature, Appleseed Alpha, which starts streaming today on Tubi.

WWIII bombed out Times Square, yet the jumbotron remains, broadcasting old, pointless propaganda. Some people still call the City home, including the cyborg gangster, Two Horns (because of his Viking-like headpiece). Unfortunately, Deunan owes Two Horns money, so she and Briareos must complete dangerous assignments, like that of the opening prologue, to pay off the debt.

Rather ominously, the two former soldiers suspect Two Horns has been setting them up for failure. Yet, they have little choice, because Two Horns’s maintenance guy is pretty much the only game in the post-apocalyptic town. Without power, Briareos cannot do much, so they accept the next crummy gig: neutralizing and scavenging a pack of rogue soldier-bots outside of town.

This would be easier work if Briareos were in better shape. Regardless, things get interesting when a group of mech-mercs drive into the drone zone with their abductees, Olson, an enhanced but not full cybernetic former soldier, and Iris, the young girl he was protecting. It turns out they are from the rumored sanctuary of Olympus, which will mean a lot more to longstanding franchise fans. They are also on a mission that Briareos and Deunan will join and ultimately embrace. Meanwhile, the shadowy cabal trying to capture Iris follows their trail back to Two Horns, bringing him into the fray as an unstable wild card.

Essentially, Alpha arranges things differently on the timeline, but it closely hews to the heart and spirit of the previous anime films. Briareos and Deunan are a compelling beauty-and-the-beast couple, who have terrific battlefield chemistry together. That last part is important, because Aramaki unleashes wall-to-wall action. This kind of light-mecha combat really plays to his animation strengths.

The computer-generated motion-capture (but not full rotoscope) animation looks better here than it did in Aramaki’s later film, Starship Trooper: Traitor of Mars. Perhaps the distinctive, practically robotic look of Briareos (who reportedly influenced the design of Blomkamp’s Chappie—you can see it in the ears) and Two Horns helped focus the efforts at humanization on Deunan, Olson, and Iris.

Waiting for Superman, at Cinema Daily US, part 1

Fans are hoping for greatness from the new Superman movie, but there have already been over a dozen  thoroughly entertaining Superman movies you might have missed. They happen to be animated. The first part of my animated Superman survey is now up at  CINEMA DAILY US here.

Snegurochka of the Spring Breeze, Manga

In the early 1930s, the Soviet Union was a “land of plenty,” but famine was everywhere—and deliberately so in Ukraine. Likewise, medical care finally available for all, yet the only care available for frail teenager with amputated legs is that of her servant, who is blind in one eye and suffers from a rare blood disease that renders him weaker than her. Since they are known as Bielka (meaning “Squirrel”) Zaytsvena (derived from “hare”) Sneguroya (evoking Snergourchko, or “snow-maiden)) and Shchenok (meaning “puppy”) they are clearly hiding their identity. Presumably, they have a darned good reason for doing so during the Stalinist era of Hiroaki Samura’s award-winning manga, Snegurochka of the Spring Breeze, which just released in a translated edition from Kodansha.

Shchenok is Sneguroya’s servant, but he often refers to her as “older sister,” even though he is obviously her senior. Similarly counter-intuitive, the wheelchair-bound Sneguroya clearly prioritizes Shchenok’s safety above her own, even though he is supposedly her caretaker. For some reason, they have a keen interest in a confiscated dacha in northern Karelia, even though it is not much of a dacha by the majestic standards of the Czarist royal family.

Of course, interest in the nobles’ former real estate is a good way to draw the attention of the OGPU (the forerunner to the KGB). Indeed, sickly Shchenok barely survives the light torture that serves as his interrogator’s typical how-do-you-do. At least their fragility seems to preclude them from serious espionage, so they are remanded into the custody of Victor Stepanovich Mikhalkov, an OGPU agent temporarily taking possession of the same dacha, to execute or employ as servants. He choses the latter, for distinctly unedifying reasons with respects to Sneguroya.

Spring Breeze is a fascinating tale of Stalinist era tragedy and intrigue, featuring compelling real-life characters, like Sneguroya’s future ally, Maria Spiridonova. A former Socialist revolutionary,  Spiridonova turned against her former Communist comrades, becoming a prominent dissident and prisoner-of-conscience from 1918 until her execution in 1941.

Nautilus, on AMC+

Before The Hunt for Red October, he was the best-selling literary submarine captain. In the first two episodes, calling him “Captain” Nemo rather overstates matters. Nevertheless, he has full command of the East India Mercantile Company’s experimental submersible. It starts with Jules Verne, but leans heavily into the kind of anti-colonialist ideology you would hear from a PhD candidate with zero real world experience. The Verne material is the stuff that works in the first two episodes of creator James Dormer’s Nautilus, which premieres tomorrow on AMC+.

Humility Lucas was educated as an engineer, but she won’t be able to live the life of science and industry she aspires to after her impending arranged marriage to a wastrel blueblood. She will not quite admit it yet, but when Nemo takes her as a hostage/survivor on the Nautilus, it represents a golden opportunity. Suddenly, she is turning cranks down in the engineering room with Gustave Benoit, the French inventor who created the sub.

As we see in flashbacks, Nemo was one of the prisoners-turned slave-laborers who constructed the Nautilus under Benoit’s direction. Originally, the East India Company promised him it would be a scientific vessel like the Calypso, but they predictably weaponized his creation, so they conspired together to hijack it.

Obviously, Nemo knows far more than a typical prisoner of the Raj. That is why Benoit relied so heavily on his expertise. However, the steadfastness of his current crew is rather suspect, because they had to leave in a hurry. Similarly, Lucas and governess-minder Loti were “rescued” after Nemo sunk the Company vessel delivering them to her fiancée, so they still harbor notions of escape.

The steampunky Verne-ish designs of the Nautilus interiors and exteriors are very cool. The underwater action scenes are also decently competent. Consider it one or two steps above the Hallmark literary classic adaptations of a few years back. Unfortunately, Dormer (sole credited writer for the first two episodes) shows more interest in exploring Victorian social mores and prejudices than pursuing adventure—at least thus far.

Shazad Latif broods charismatically as Nemo, but there is zero chemistry between him and Georgia Flood, as the nauseatingly entitled Lucas. We know they will get together, because that is the obvious cliché, but they have yet to build the heat to make it believable.

Countdown, in The Epoch Times

Prime's COUNTDOWN is a grabby counter-terror thriller that works on a procedural level becaus of the team comradey and the unusually higgh stakes. It is also quite topical, given the way porous borders and Mexican drug cartels aid and abet the nuclear terrorism afoot. EPOCH TIMES review here.

The G (Don’t Call Her Granny)

Whenever someone tells you they are doing something for your own good, they are really mostly likely doing it to benefit themselves. A cynical grandma like Ann Hunter basically already knew that. Unfortunately, she relearns it the hard way when an exploitative embezzler assumes legal guardianship over her and her ailing husband in Karl R. Hearne’s The G, which opens today in theaters.

Hunter is one of those tough grannies who cuss and drink and prefer to go by “The G,” rather than Grandma. In fact, she is the original tough granny. There is also talk she has money squirreled away somewhere, which is why scummy Rivera petitioned the court to become her guardian. That is all part of his business model, bleeding seniors dry and then disposing of them. There was no reason for it because the G remains sharp as a tack and she received regular visits from her adoring granddaughter Emma.

Maybe the G has money hidden somewhere, but Rivera cannot find it. If she does, some of it probably came from her early life, which he did not do his proper due diligence on. Originally, the G hailed from a crime-family of cowboy gangsters in Texas, who send an enforcer to her unspecified depressed industrial town to help set things right. Emma is not taking matters lying down either, but she maybe stirs the pot a little too much.

The G is gritty as heck and lethally effective. It is also an alarming cautionary tale that anyone over fifty-five years of ages should pay close attention to. Such viewers who ignore Rivera’s abuse of the legal system, do so at their own peril. Nor should they simply dismiss him as a “white collar” criminal. State agencies could commit similar injustices, but with even less legal resistance.

Ice Road: Vengeance, Starring Liam Neeson

Sure, climbing Everest is a struggle, but the twisty mountain roads getting there are no picnic either. Of course, that part is Mike McCann’s specialty. He made a cool $200K delivering rescue supplies for trapped miners in his first movie appearance, but his brother Gurty was murdered in the process. He now has a persistent case of survivor’s guilt, but when he comes to Nepal for closure, he finds action instead in director-screenwriter Jonathan Hensleigh’s Ice Road: Vengeance, which opens today in theaters.

Before the events of the first film, Gurty survived his Iraq deployment and so did his “in-the-event-of-my-death” letter, but McCann only just uncovered it amid their old papers. Evidently, he wanted his ashes dispersed on Everest, so off McCann goes.

Fortunately, he hired a dependable sherpa, Dhani Yangchen, who also happens to be a veteran (and a Buddhist, but the film never specifies which kind). That means both spring into action when two assassins try to hijack their bus. They intend to kill Vijay Rai, the son and grandson of activists resisting a sketchy dam project, but, obviously, everyone else on-board will be collateral damage.

In an extremely ironic twist, McCann and Dhani must lead their fellow passengers across the Chinese border, where they will be safe for the corrupt Nepalese cops collaborating with the assassins. To get there, they must traverse some extremely steep mountain roads and maneuver several ridiculously twisty hair-pin turns, but that sort of thing happens to be McCann’s specialty.

The original Ice Road was a Netflix hit, but obviously Chinese sources took over funding the franchise. At least there was an effort to be subtle, but there are still several positive references to China’s Belt-and-Road initiative, which is really a predatory lending scheme designed to enmesh developing nations in CCP debt. There is also a dubious association between the Chinse side of the border and law & order. For the reality, ask India about Chinese cross-border violence.

Smoke, on Apple TV+

If Rober De Niro in Backdraft was the last fire department arson investigator you can remember seeing in movies or TV, you might want to keep it that way. You will definitely remember Taron Egerton in this series, no matter how hard you try to forget him playing arson investigator Dave Gudsen, who never stops talking. During his rare quiet moments, he either grinds out his thinly fictionalized, wish-fulfillment “novel,” or engages in dangerous criminal behavior. Those arson investigations won’t solve themselves—or at least that is what Gudsen hopes in creator Dennis Lehane’s 9-episode Smoke, which premieres tomorrow on Apple TV+.

Gudsen has been investigating not one, but two serial arsonists. One is a nasty serial killer, who uses fire to kill his victims. The other is the D&C, or “Divide & Conquer” arsonist, who takes advantage his competitors’ three-alarm fires to set his own impulsive blazes. So far, Gudsen hasn’t caught either, partly because he happens to be the latter.

Lehane and the battery of co-writers make little secret of Gudsen’s guilt. His new partner, Det. Michell Caderone on loan from the real police, also figures out pretty quickly. Gudsen’s current wife #3, Ashley, does no suspect him of outright criminality, at least not yet, but she is getting pretty tired of his attitude and anger management issues. However, Gudsen’s boss Harvey Englehart remains shockingly cluesless.

As both arsonists grow increasingly reckless, Calderone assembles a task force to catch Gudsen, which includes his former partner Ezra Esposito, whose disgrace Gudsen engineered and her boss, Captain Steven Burk, whom she dumped as her lover as soon as he decided to leave his wife for her. They obviously have a lot of collective baggage, but the two arsonists each have more individually.

Frankly, Smoke probably sounds much more twisty and thrilling than it really is. Unfortunately, it is hamstrung by tonal issues that start with Egerton, who seems to think he is playing the Joker in the latest Batman movie. Seriously, Egerton is so ridiculously over the top, it is impossible to believe anything that comes after the first episode. Yet, it is based on the very real story of John Leonard Orr (an arsonist-arson investigator with literary ambitions), who was the subject of the Firebug podcast Lehane used as source material, as well a true crime book by Joseph Wambaugh.

Egerton was terrific in Lehane’s Black Bird, but he is embarrassingly unintentionally funny as Gudsen. In fact, casting was generally disastrous for Smoke, because Jurnee Smollett is also miscast as Calderone, but not to such a spectacular extent. To give credit where it is due, she even has some poignant moments when processing Calderone’s family trauma and betrayal.

Stealing Pulp Fiction

During the mid-1990s, tons of filmmakers “stole” from Quentin Tarantino. Presumably the mediocre ones were only borrowing. Regardless, he must be used to getting ripped-off by now, but he understandably draws the line at physical theft. Of course, a couple of knuckleheaded movie buffs prefer to consider it a sincere form of flattery when they get the bright idea to rob Tarantino’s personal print of Pulp Fiction from his own movie theater in director-screenwriter Danny Turkiewicz’s Stealing Pulp Fiction, which opens this Friday in theaters.

If Jonathan and Steve saw this film, they would probably slam it for being a pale carbon copy. After watching a special screening of Tarantino’s print at a theater not specifically identified as the New Beverly (presumably for legal reasons) they hatch the brilliant to steal it. The “and do what” part is always a little vague. For such an undertaking, they will need some back-up, so they recruit Jonathan’s caustic frenemy, Elizabeth, whom Steve carries a torch for.

Ill-advisedly, the criminal masterminds also enlist their mutual shrink, Dr. Mendelbaum, who recently moved his practice into the back room of a martial arts dojo. It is there that another patient, Rachel, catches Jonathan’s eye. Their plan is not particularly well-thought-out, but they roll with it, at least until Tarantino’s presence at the second screening gives them cause to pause and reconsider.

There is no question Seager Tennis’s portrayal of Tarantino, or “Quentin F’ing Tarantino,” as the film calls him, is by far the funniest thing going for it. In fact, Tarantino would probably laugh at Tennis’s tough guy persona, which would not be out of place in his films. Unfortunately, Jason Alexander gets a lot more screen time as the ultra shticky Mandelbaum. Basically, his performance is on par with his cheesy mayonnaise commercials.

Frankly, it must be hard for Cazzie David, Larry David’s daughter, to see Alexander sink to such levels. However, she maintains her dignity as the ruthlessly snarky Elizabeth, whose withering commentary often echoes the audience’ sentiments.

Testament, in The Epoch Times

A strong ensemble cast and intriguing alternate history world-building make Angel Studio's TESTAMENT, a modern dystopian retelling of THE ACTS OF THE APOSTLES highly watchable, even for viewers who do not identify as Evangelical or Catholic. EPOCH TIMES review up here.

In Vitro, Near-Future Australia

Cloning started with Dolly the Sheep. Apparently, Jack and Layla’s cattle farm brought it full circle. However, the resulting cattle are not resting easy. Strang happenings are afoot in Will Howarth & Tom McKeith’s In Vitro, which releases this Friday in theaters and on-demand.

In Vitro is set in the near-future Australia, but the couple’s ranch looks like the hardscrabble U.S.A., anytime over the last twenty years. Jack made the visionary decision to embrace biotech. Unfortunately, a lot of the resulting cows have been dying lately. Layla suspects a stranger has been stalking the farm. She is also getting weird vibes from Jack.

Maybe you can guess what is going on quicker than Layla, but the reveal is suitably dramatic. This is probably the angstiest speculative fiction you might have seen in quite some time. Yet, it is the dysfunctional central relationship that really drives the action.

Co-screenwriter Talia Zucker shows amazing range and flexibility as Layla, in ways that would be spoilery to explain. Yet, she is also always very grounded and reserved. Ashley Zukerman never overplays his hand either, hitting the right vaguely creepy notes, but not to an overbearingly menacing degree as Jack. They successfully convey the dysfunctional nature of their chemistry, born out of years of difficult shared history, as well as a nagging sense that something is profoundly wrong between them.

It is hard to write about In Vitro without being too revealing. Compounding the trickiness, it also happens to be an unusually quiet film. Both the eerie sound design and lonely setting contribute to a distinctively austere vibe. Yet, it suits Howarth, McKeith, and Zucker’s themes and motifs.

Into the Wonderwoods, from Vincent Paronnaud

It is another environmental fairy tale for kids, but this time, it is like Gru and the Minions are trying to burn down Fern Gully. Obviously, the evil alien calling himself “Ultra” is a lot meaner than Gru—and he originally sounded much more French. He has been razing the forest in search of the fabled springs of immortality. Litle lost Angelo could use some of those waters too, for his beloved ailing grandmother in Vincent Paronnaud & Alexis Ducord’s Into the Wonderwoods, adapted from Paronnaud’s graphic novel (written under his Winshluss pen-name), which releases tomorrow on VOD.

Angelo is also a lot like the Home Alone kid, because his family never notices when they leave him behind at a rest stop. In their defense, they are concerned about Grandma—and his father is also busy quarreling with the GPS AI. (It should be further stipulated, his jazz-listening dad deserves credit for his better taste in music). Angelo always imagines himself a brave explorer, in heroic 2D animated interludes, so this is his chance to prove his resourcefulness. He will simply cut straight through the forest to reach grandmother’s house.

Frankly, he barely survives the ants. Nevertheless, he starts to meet various forest dwellers who are willing to stand up to Ultra’s terror and destruction. Angelo might be the catalyst the “Resistance” needs. That is why Ultra takes an unwelcome interest in him.

Arguably, Into the Wonderwoods represents a cornucopia of borrowed genre elements, even including the character of Goouh, a hulking embodiment of vegetation, who is sort of like “The Green” in Swamp Thing comics, but more anthropomorphic. (In fact, the “Goo” character design work is rather cool). Regardless, the overall fusion is sufficiently weird to keep animation fans tuned in.

Great artists steal, right? And Paronnaud has made several great films, especially Persepolis, in collaboration with Marjane Satrapi. Along with Ducord (who co-helmed Zombillenium), Paronnaud creates an offbeat fantastical world, beneath the forest’s natural surface level. Indeed, zigging in a science fiction direction instead of zagging towards fantasy represents a shrewd strategy.

Missing on the Moon, Graphic Novel

In this alternate history, the Soviets beat the United States to the Moon, yet somehow, we won the Cold War sooner. That sounds like a heck of a story, but it is only the stuff of footnotes and appendices in this hardboiled lunar noir. A cynical detective’s search for a missing girl takes him into the underground community of Soviet descendants in Cory Crater’s graphic novel, Missing on the Moon, illustrated by Damian Couceiro, which is now on-sale.

Rendered obsolete by robot cops, Daniel Schwinn ekes out a living by “mopping up” junkies. However, his old boss Oz has a real case worthy of his old skills. A senior senator’s daughter Penny has been abducted. So far, the only clue is a shoe found abandoned on the moon’s surface, without any footprints or body-parts leading away it.

Schwinn’s investigation soon focuses on the post-Soviet “Darksider” revolutionaries, who presumably kidnapped Penny for leverage. However, the Darksiders have the drop on Schwinn and might even have messed with his head, in ways that might turn him outlaw against his wishes.

The idea of a noir mystery set within a retro world of Chesley Bonestell-esque lunar colonies sounds endlessly intriguing. Unfortunately, Crater neglects the promising alternate history premise, in favor of an overly familiar and highly ideologically-charged sf setting. Disappointingly, the world of Missing on the Moon is nearly indistinguishable from that of Outland, the Alien franchise, Murderbot, and dozens of other polemical near futures built around companies that act the way that governments actually behave in real life. Frankly, the results are boring.

KPop Demon Hunters, in Cinema Daily US

Both the music and the animated martial arts sequences are cleverly executed in Netflix's KPOP DEMON HUNTERS, which clearly reflects a thorough grounding in K-Pop idol culture. CINEMA DAILY US review up here.

Batman: Mask of the Phantasm

When Batman criticizes you for being a violently unstable masked vigilante, maybe you should reconsider some of your life choices. Instead, the Phantasm keeps killing gangsters. Ordinarily, that would not break the Dark Knight’s dark heart, but he gets the blame thanks to their vague resemblance in Eric Radomski & Bruce Timm’s Batman: Mask of the Phantasm, which screens tonight at the Mahoning Drive-In.

According to the novelization, Robin was away at college during the events of Phantasm. Regardless, Batman is always comfortable operating as a lone wolf. That is the Phantasm’s style as well. After it kills two mob bosses in the first act (technically the Phantasm merely “drove” one of them to his death), the emphysemic Salvatore “The Wheezer” Valestra reluctantly to turns to an old colleague for protection. Of course, involving the Joker only further destabilizes the chaotic situation.

Unfortunately, sleazy city councilman Arthur Reeves capitalizes on the spurious accusations to turn the Gotham PD (except Commissioner Gordon) against Batman. It turns out Reeves is also his rival for the affections of Andrea Beaumont, Bruce Wayne’s college girlfriend, who recently returned from abroad.

Originally conceived as a special within the world of Batman: The Animated Series, Phantasm was scaled up for theatrical release. Despite sharing similar character designs with the series, it proved DC comics could draw an audience for feature-length animation, paving the way for the DC Animated Movie Universe (DCAMU), which is definitely a thing.

In fact, Phantasm is quite visually striking in a film noir kind of way. There are some incredibly cinematic backdrops like the Joker’s lair amid the abandoned installations of the Gotham World’s Fair, which were clearly modeled on the 1939 New York Exposition.

For many fans, Phantasm is the film that firmly established Kevin Conroy as their favorite Batman voice. Similarly, it also represents Mark Hamill’s peak Joker voice-over performance, arguably surpassing his work on the animated series. Regardless, the Joker arguably represents Hamill’s greatest legacy outside Star Wars.

The Mercy Ships, in The Epoch Times

The stories of service recorded throughout Angel Studios' THE MERCY SHIPS uplift and edify, but the crew and staff tend to come on rather forcefully when discussing their faith. Nevertheless, the intentions are noble on both sides of the camera. EPOCH TIMES review up here.

Found Footage: The Making of the Patterson Project

Chase Bradner wants to be an indie auteur, but his first movie will be a rip-off of The Blair Witch Project and the “Patterson-Gimlin” footage you might remember seeing on old In Search of… episodes. That is assuming he manages to finish it. The outlook is questionable, because all the usual production issues that plague indies will be compounded by strange demonic forces in Max Tzannes’ Found Footage: The Making of the Patterson Project, which opens today in theaters.

French documentarian Rochelle Dupont had vastly more experience than Bradner. Neverthelss, she filmed behind-the-scenes on his production of The Patterson Project, for a series on DIY filmmaking. That is how viewers get to see the chaos that unfolds.

Frankly, the whole production is rather iffy from the start. Frank Eikleberry agreed to produce the film, after hiring Bradner to shoot his furniture store commercials. However, it seems Eikleberry intends to generously skim from the investment he solicits from the elderly and addled Betsy Hannigan, whose only condition is the mandatory casting of her favorite actor, Alan Rickman. Sadly, Rickman is obviously dead, so Bradner must get creative.

Somehow, Bradner starts shooting in their primary location, a time-share cabin that his girlfriend (and assistant director) Natalie Sayers’ parents are not currently scheduled to use. Rather ill-advisedly, the crew stows their gear in the satanic shrine in the cellar, which apparently frees a demon to unleash havoc during the shoot. Sayers and the production assistant, Peter Wallsnacky largely accept the supernatural source of their headaches, but Bradner and Eikleberry remain seriously in denial.

It takes a while for this horror-comedy to get to the horror, but when it does, it really starts to click. The backstage demonic shenanigans captured by Dupont’s crew are pleasantly creepy and the film-making chaos grows funnier as the progresses.

Mafia, on Viaplay

Radovan Jakovic was sort of the Swedish Whitey Bulger. Det. Gunn Thorngren rather ill-advisedly facilitated his criminal ascension by arresting the rivals he informed on. At least she realized the extent of her mishandled informant-handling earlier than the FBI. Arguably, Jakovic was also a Serbian government employee, because they supplied the contraband he smuggled into Sweden. Balkan wars complicate Swedish organized crime in lead writer Axel Stjarne’s six-episode Mafia, which premiers today on Viaplay.

Before the fall of Communism, the Yugoslav government offered its criminals a choice, domestic prison or immigration to Sweden (where many Iron Curtain defectors re-settled), to work for the Yugoslav mob. In exchange for carry out assassinations at the request of the UDBA secret police, the state supplied contraband cigarettes, which were very profitable on the Swedish black and gray markets.

Jakovic correctly identified an opportunity to move into this lucrative business. However, Valter Sokol, an ardent Croation nationalist, controls the distribution. “Boris,” the local UDBA station chief, would like to cut him out of the business, but he needs someone with sufficient standing, like Jakovic’s reckless boss Drago. However, if Drago gets caught red-handed, Jakovic’s childhood friend Goran would naturally succeed him.

Unfolding over the course of the 1990s, Mafia compounds the organized crime intrigue with the unfolding power struggle and tragedy in the Balkans. Ironically, it also exposes the folly of the sin taxes passed by Sweden’s failing socialist government, which raised the price of cigarettes exponentially (and passed with behind-the-scenes lobbying support from Jakovic’s organization).

The Yugoslavian UDBA angle definitely differentiates Mafia from other mob dramas. However, the portrayal of Jakovic searching and failing to find family through his mafia ties evokes familiar Godfather-esque themes, but Stjarne and lead actor Peshang Rad execute them with intelligence and conviction.

Eye for an Eye, Co-Starring S. Epatha Merkerson

This Bogeyman follows a long, time-honored tradition in horror. It targets bullies. EC Comics would approve. Bullying has often resulted in macabre comeuppance, but the so-called “Sandman” specifically responds to the bullied to call out their abusers. The guilty receive visits from the Sandman—in their dreams, but the physical scars are always permanent in Colin Tilley’s Eye for an Eye, which releases this Friday in theaters and on demand.

Anna Reeves’ grandmother May Roberts was a popular mean girl in high school, but she never graduated, because of the Sandman. Now, she is a mean old blind woman, but Reeves is sent to live with her anyway after her parents are killed in a traffic accident. Sadly, it was her sister, Reeves’ Aunt Patti who appealed to Sandman for relief from Roberts’ grief.

Out in the swamp, there is a tree where a blind little boy Vincent was reputedly killed by his bullies. According to local lore, if the grossly abused carve the names of their tormentors into the bark, the Sandman starts afflicting them with nightmares. When the sands in his hourglass expire, the Sandman then takes the bullies’ eyes as his punitive prize.

None of this should particularly concern a basically good kid like Reeves. However, she unwisely befriends Julie Cross and her nasty white trash boyfriend Shawn Heard, who thuggishly roughs up a young boy, breaking his leg, while stealing his skates. Much to her shame, Reeve stood by doing nothing to defend him. Her regret increases exponentially when Aunt Patti directs the traumatized boy to Sandman’s tree.

Weirdly, Eye for an Eye shares many common elements with Sidharta Tata’s Soul Reaper, from Indonesia. In both films, the young lead character is menaced by a supernatural stalker in their nightmares, after the accidental deaths of their parents. However, Soul Reaper is by far the more successful and scarier film.

Still, Eye for an Eye notably presents S. Epatha Merkerson, whom most viewers know from several thousand Law & Order and One Chicago episodes in a macabre context, as creepy Grandma Roberts. She is definitely unsettling, chewing the scenery and making the most of a role outside her typical casting zone.

Soul Reaper, Another Strong Horror Film from Indonesia

It is bad enough being in your own nightmare. Finding yourself trapped in someone else’s is even worse. Teenaged Respati discovers he has the power to travel to the dream dimension to witness other people’s nightmares—and their murders, whether he likes it or not. Unfortunately, he does not enjoy it anymore than the Nightmare Detective from the Japanese horror franchise. However, the new girl at school might have some helpful insight for him in Sidharta Tata’s Soul Reaper, which releases today on VOD.

Ever since the accidental death of his parents, Respati has suffered from vivid nightmares. Often, he witnesses their cruel final moments, but lately, he has also dreamed of murders before (or maybe as) they happened. Consequently, his health has suffered from what his guardian grandfather assumes is insomnia. Much to his shock, his recently transferred classmate Wulan seems to understand when he experiences a waking dream. She also has a capacity to consciously explore the dream realm, but it is much more limited compared to his.

Respati’s best bud Tirta makes an alarming connection between the victims he saw killed in his dreams. They all originally hailed from the same village. Ominously, it is the same village that was home to his grandfather for twenty years. According to legend, the villagers had elevated psychic receptivity thanks to the local flora. They also a had a murderous witch, until the villagers turned against her.

Soul Reaper follows in the tradition of Nightmare Detective (and to an extent, Nightmare on Elm Street), because it is the kind of horror movie that derives its terrors from the landscapes of the subconscious and nightmares. In fact, it does so quite successfully. Tata creates an atmosphere of dread that grows steadily heavier as the film progresses.

Hell Motel, on Shudder

The Cold River Motel is more notorious than the Cecil Hotel in Los Angeles or the Stanley in Colorado, so, naturally a small group of true crime weirdos want to stay there for its grand re-opening. Years ago, a pair of satanists tried to summon the demon Baphomet with their human sacrifices. Decades later, they have apparently returned for a second attempt, but maybe someone else had the same idea. That means the rest of unhealthily obsessed but harmless guests find themselves in serious trouble throughout creator-writers Aaron Martin & Ian Carpenter’s eight-episode Hell Motel, which premieres tomorrow on Shudder.

Unwisely, the well-heeled Portia indulged her lover Ruby’s enthusiasm for grisly murders by buying the old Cold River Motel and renovating it a theme resort for oddball fans like her. For the exclusive by-invitation-only opening, they invited Paige Harper, a fading actress, who starred in the exploitation franchise inspired by the real-life ritual murders. Joining her are Andy Lecavalier, a true crime academic, Balke Williams, a podcaster who survived a serial killer attack, Crow, a psychic blah-blah-blah, Kawayan, an artist who specializes in crime scene-themed installations, and Adrianna, who sleeps with serial killers. Their disgusting dinner will be catered by Hemingway, an arrogant celebrity chef, who uses his own blood in his cocktails.

Pretty much any of them could be viable suspects, even before Shirley and Floyd Dantree crash the party. They came seeking shelter from the storm, but what were they doing in the middle of nowhere, anyway?

You can usually guess who gets killed at the end of each episode because they typically have their backstories explained in flashbacks. However, Martin and Carpenter take a page out of the playbook used by the under-appreciated 2009 series Harper’s Island for its first choice of victim. Regardless, they build a great deal of suspense by turning the secret satanic killer loose to compete against the returning Cold River Killers (who are revealed quite early), because even when the survivors come close to identifying the originals, viewers know there is still someone else out there, killing victims while wearing a Baphomet mask, just like his or her predecessors.

Indeed, series director Adam MacDonald maintains a high level of tension, but viewers should also prepare for a good deal of brutal gore. Of course, most of the guests are so creepy, they are almost asking for their grisly fates. For instance, Genevieve DeGraves, Eric MacCormack, and Shaun Benson are each flamboyantly nutty as Adrianna, Hemingway, and Crow.