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I'm spinning with all kinds of emotion, but I loved it. Alita is one of my favorite protagonists of the last decade or so, and she's all in service in one of the most genuine, exciting, and traditional blockbusters I've seen in years. No wonder critics hate this film, it goes against what they've been trying to prop up for years. It's not the same, it's not what they've come to expect, it goes in deep with it's anime roots in ways I'm amazed the studio allowed to let pass. I wonder just how much hand James Cameron had in pushing the heads to keep it exactly how he and Rodriguez wanted. It has the adventure, the epic scale, the mystery, drama, and anxious moments I've been longing for in films for awhile. It doesn't even feel like a film that should exist, not in this year, and that's why I'm so happy. I, like, actually cared about the characters, it has Cameron's touch of cinematic storyelling, translating it's original manga source material to his style. This is how empowered characters should be written. The visual cues, development, deeply emotional moments, just, aw, I was tense the whole time. It has a Back To The Future era bar sequence. It has it all. I'll write more later, or discuss it in our podcast, but Alita is a fantastic movie from an unfortunately bygone era.

"You hear that? That sounds like a bird, but it's not, it's a fucking ant."

I can't get enough of this film.

I love every thing about it. Jordan Vogt-Roberts more than pleasantly surprised me. I will not doubt him in the future.

The set-up, the story, the characters, the set pieces, the direction, the soundtrack, visuals, the colors, the action, just, everything. I don't understand how someone could not love this.

Even though the original 1933 King Kong is still the best film to date, Kong: Skull Island comes close to matching it's brilliance. Many people have to remember that while the 1933 classic was undeniably groundbreaking for it's time and carries a more subdued and personal story of beauty and the beast, the core story of the film is very much basic.

Here's a rundown:

A group of people are brought together for a mission to go to an uncharted island in the south pacific, dubbed Skull Island. They don't know what's there, but decide to head there to finally unravel the mystery behind one of the last unexplored places on Earth. Once they arrive, things go to hell. They meet natives, all sorts of creatures that want to eat them alive, and they encounter a giant destructive ape. The surviving explorers have to survive the horrors of the island and make it off alive in one piece.

Did I just describe King Kong (1933) or Kong: Skull Island (2016)? Eh, they sound similar? Both have different characters, subplots, and completely different tones, but metabolically is the same.

John Goodman is great in any role he's in. His best scene is his monologue towards Sam Jackson's character, Packard. Tom Hiddleston plays a standard mercenary, named James Conrad. He's a badass bar-fighting navigator who's paid to join Monarch's escort mission. Just same the as Goodman, he's great at delivering memorable lines. He reminds me a lot of Indiana Jones. But the emotional core of the film comes from John C. Reilly's character, Marlow. He lands on Skull Island back in World War 2 and is stranded there for over 20 years with a fellow enemy from the war. After the uniforms come off, they practically become brothers. He makes for a good comic relief, but soon takes over the story, as he reveals he has a wife and possible son that he's never met. He's the one you really root for, hoping he makes it off the island alive. I was surprised how deep Packard got as far as a character. He becomes a more tragic villain towards the end, as he slowly grows more and more obsessed with taking down Kong. After witnessing the giant ape take down all of his men, he kind of snaps. He couldn't handle another defeat after Vietnam, or has he says it, "We abandoned the war," and so his sanity was barely hanging on. Very pleasant surprise and Jackson does a great job as always. My favorite line of his is, "Bitch, please!" that he snaps at Brie Larson. Pretty epic shit.

Of course, Kong is just as amazing as ever. They perfected him this time around, the special effects are as good as you can get, on-par with the amazing Peter Jackson version. Before I went into the film, I was worried Kong was just going to become a standard giant monster that you wouldn't be able to relate to or get emotional with, but I was proven dead wrong. When I look at this ape, I see the same Kong I love and grew up with in the 1933 and 2005 versions; he's just a lot bigger here.

Jordon Vogt-Roberts absolutely nails the style of this film. I suppose a lot of the credit could be given to his cinematographer, who also does all the work for Zack Snyder, on films like 300 and Watchmen. But the slow-motion shots of the helicopter blades rotating, sunrise backdrops with Kong in the foreground, and Hideaki Anno style shots are littered all throughout... and it is just glorious. This is one of the most gorgeous films I've ever watched in a theater. The colors just pop out in every shot; every shot is just teaming with detail and beauty. I can't get enough of it. The slow-motion sequence with Tom Hiddleston in the green smoke, the blue and red color contrast in the bar scene, the sunset backdrop with the helicopters flying, the IMAX camera shots of Vietnam mountains, and the final monster battle are all wonderful. I can't list them all, because the entire film is just beautiful. Absolute perfection on a technical level here.

As I said in my previous review, This is the movie Jurassic World wanted to be. It's an epic, funny, loud, explosive, and visually incredible film giving us tons of great character moments and monster action. I absolutely love this.

A gripping, underrated horror film that relies on it's characters and old fashioned cinematography to step up it's game. Leonetti coming up being the camera operator for many old and new classic horror films like Poltergeist and The Conjuring, uses simple direction to his advantage. I miss horror using laidback tricks and basic blocking to deliver the scares, all too many now rely on stylish or even action choreography to create it's jumps, but Annabelle opts for looks that reminisce 70's and 80's horror, fitting for the story's time period. No offense to James Wan, but this is the best looking (and sounding) out of the Conjuring series. The leads and film's social commentary though are what really strike with me. Many fail to understand the point of the Annabelle trilogy, being it's all a story of the destruction of the family bond and even the nuclear family image. Repeatedly at the start of the film, it's made clear that times have changed, it's not okay to keep your doors unlocked anymore, and the innocence of the American family has been destroyed. The nail in the coffin is their attack by the occult members and a fire damaging the house, prompting the couple to leave it behind and have their newborn baby in an apartment. All a great metaphor for the changing times. The importance of religion to the story can not be understated, that every action has it's roots deep in biblical and satanic text, the film is built around the idea of the corruption of innocence, the separation of a mother from her child, and the sacrifice to save a life, even if it's resolution is twisted. God honors sacrifice, and our sacrifices touch God's heart, and move his hand. Something simple as the demon waiting for Mia at the end of a staircase, shrouded in black is an unforgettable image. I love the bevy of details like Mia trapped on the basement floor of her apartment, but the elevator won't go back up. She hits the floor 6 button 3 times, by which point, the demonic activity rapidly increases and she's forced to ascend the staircase herself. As Mia had stated earlier in the film to Father Perez, there are some things we have to do ourselves.

This movie gave me a revelation. About movie-making. Both in a good way and a bad way. On one side of the coin, you now have studios like Blumhouse and Rat-Pac making decent competent horror movies that will satisfy audiences, as opposed to the shit that was being churned out for the last few years. But on the other side of the coin, they're not doing anything super unique or original. You always have to have child actors, you have to have the priest, you have to have a demon, you have to have this old secluded house where people move in, and etc. It's not automatically bad or lazy to use these tropes, but only if they're done with a unique style. And the problem is, I've seen a TON of movies lately use these common ingredients. I liked Ouija: Origin of Evil, but again in that, there was a demon possession, a priest, and house with a dark history to it. I get that doing this is safe and people will go to see it, but I'm hoping directors like David F. Sandberg and other people working with Rat-Pac try to move away from these plot threads. I don't know how much longer I can stand studios think they can get away with using this story over and over. That goes for you too Blumhouse.

Sorry, that was something I had to write down, because I started thinking about it a little more towards the end of this movie. In general, I start to know how I'm going to rate a movie when I reach a certain point. And I knew then how I thought of this Annabelle: Creation. It's safe. It works, but it's safe, and I don't know if I like that or not. I'm a huge fan of older horror pieces and B-movie-esque grindhouse, and it's a little sad directors and executives aren't trying to push the envelope.

But with everything out of the way, this on it's own isn't bad. It's pretty good. The child actresses all do a great job with the script they're given and I believed I was watching actual children interact with one another, which is a problem sometimes with kids. Lulu Wilson, who already starred in Ouija: Origin of Evil, gives another solid performance, and I want to see what else she does with the horror genre, if she decides to keep acting in it. I would love to see a The Exorcist-eque movie with her getting possessed. I believe she could pull off a Linda Blair. But in this, she isn't the one who gets taken over by a demon, but still perseveres and gives us a great scared child acting job. Talitha Bateman, who acts opposite Wilson and the two of them are like bonded sisters, she especially delivers an exceptionally dreary and depressing performance. She's crippled with polio and spends most of the movie in a wheelchair or walking with a support. And what I liked about this facet, is that it wasn't a tacked-on sub-plot or sob story; her condition plays into some of the scares. In one scene, she uses the automatic moving chair thing on the staircase to get away from the demon that's coming closer to her. The chair makes it's way down, but stops and malfunctions half-way down. Then the chair starts to go back up, and the demon is waiting for her right at the top and there's nothing she can do about it. If she didn't have the condition, she could've just ran out of the house. But little touches like that can make for a richer story. It's also why the girls are surprised later when she can walk fine, because she's taken over. Another great scene was in the barn with one of the older girls, played by Grace Fulton, when the demon takes over a scarecrow and slowly unscrews the lightbulbs in fixtures to turn off the lights. I don't know why the demon would care about something trivial like light-fixtures, but I guess you could say because the demon is used to being shut-in the darkness, so whatever. It was a nice set-up.

And this re-telling leads me to one of the bigger pros and cons with the movie. Each of these scary sequences are great, well-done little pieces, but as a whole feature, doesn't really flow well. There isn't a lot of super big tension built up or a looming threat that lurks over the picture. In one scene, Wilson is terrified beyond belief as the doll and the demon have made their way into her room and the bed underneath her bunk-bed. But then, the scene ends, she falls asleep, and it's the next day. Next we see her, she's happily playing with the other girls. Are we not going to talk about what just happened there? And that's my only big problem with this. David F. Sandberg started out doing short horror movies and that seems to be his expertise. These are great little scenes, but don't complement one another always in the larger scope of it all. However, the movie does get really good towards the end, when the demon goes all out on the girls. It was nice to see something quite grand and on an ambitious scale. A lot of times with these movies, the finale is just a small group of people trying to get out of a house and there's a couple jumpscares there and here. But Sandberg decides to throw in everything he can. The demon teleports all over the place and gets at the different separated groups of kids. Scarecrow in the barn? Check. Creepy adventures in the basement? Check. Car won't start? Check. Hiding in the doll room? Check. I know all that sounds very cliche, but it's done rather unique, as it's not the same person who experiences all of it.

But I think I've rambled on long enough. It's a little funny seeing how these origin prequel horror movies end up being better than the originals they're based off of. Now people are going to go watch the first Annabelle and remember just how fucking terrible it is. But I am a little worried about the state of horror movies. I liked this, it was good, I had fun watching it, but I want to see more come out of this genre. I don't really want to see the same plot threads being copied over and over. If you just want to see a fun horror movie to share with friends or family, you'll definitely get a kick out of this, I recommend it. However, as massive fan of this genre, I want more.

I had to see it twice to confirm if I was crazy that I enjoyed this conventional safe corporate product. and to see Statham naked again, i ain't gay You all know what this is and what to expect from it. Just look at the poster and the title. The bar for quality has been set right there. But does that make experience inherently not worth bothering with? Would you be satisfied putting your money down for it? I can argue I got my money's worth, even if some of the blood and gore was neutered to reach a PG-13 and Chinese market. A shame uncut and more grotesque scenes were filmed, but will never be completed due to money. Despite it's lack of Piranha 3D ludicrous blood shed, there is a lot of action and spectacle to be had with The Meg. The plot is nothing more inventive than what The Asylum and syfy would greenlit, I've never read the novel, so I can't speak for the consistency. What bolsters the script up from it's depths of potential obscurity, is it's high budget crowd pleasing intuition. Lots of emphasis on quips, something I'm usually against, but luckily are implemented smoothly into each character. Not everyone is a damn comedian, it just feels more natural, only once did I feel the placement of a joke was unneeded. This is like what you'd expect from an old 70's exploitation flick, Statham is like the classic adventure hero; even one scene, he lifts his hat up like Indiana Jones. After a traumatizing incident in which he's forced to leave behind a group of people to save another set, he quits diving and retires to Thailand. But when an ocean trench expedition involving his ex-wife goes wrong, he's persuaded to come back in and help. The first half of the film is like Deep Blue Sea, setting up the locations in characters; it's more of a rescue set-up for the megalodon to come in later. It's not like the story of Gareth Edwards' Godzilla, how Godzilla's origins are deeply intertwined into the narrative. This, you could replace the shark with any deep sea creature, it doesn't matter too much, except for the finale. Once the titular monster comes on screen, the movie officially begins. From there, you get the dumb fun you want, and there's a good amount of it. Want to see the shark swallow a diving cage whole? Sure, why not? Anything you want to see the shark do, it's in here somewhere. It's like Rampage in the sense it understands you just want dumb fun. I can respect a blockbuster that doesn't aim for quality, just looking to give you loads of delicious flavorful eye candy. What makes something like this work over another "dumb fun" blockbuster like Pacific Rim: Uprising, comes down to two things: The Meg isn't a sequel with expectations to be lived up to, and there's a competent story, start to finish. While it's not original, could be to blame that the novel is old, it works enough. The characters make up for any tiny lack of shark presence. If we can get more Asian actors in front of the camera like this, by all means, go for it. I'm just a sucker for the Asian aesthetic, see, this whole movie takes place in China and stars one of the country's biggest stars, so you can see why it's doing so great at the box office. This is how you do a silly summer cheese fest, it's not too over the top, it understands you want to see the shark, it has a classic story behind it, and places emphasis on the leads being at least entertaining to latch onto. Did any of you notice the nod to Jaws at the end? When the Meg sinks to the bottom of the ocean, it makes the same growling sound the blown up shark in Jaws did. Trivial knowledge for the hardcore fans out there.

OLD REVIEW:

The second best Godzilla film ever made, right behind the 1954 original. That's quite an accomplishment, but it's Hideaki Anno, so I mean, what did you expect?

Right now, the film is nominated for an astonishing 11 Japan Academy Prizes. It really is one of the most beautiful films I've seen. It's easily my personal favorite film of 2016, just barely ahead of La La Land.

Anno's signature editing and block direction is all throughout this film. His set-up of shots, for example, with electrical poles and train cars framed horizontally, are just so gorgeous, but there are just too many gorgeous ones to list. Godzilla standing in front of a wall of fire, Godzilla blowing non-stop flames out of his mouth while the city around him just collapses, and the final shot with the humanoid creatures coming out of Godzilla's tail gave me nightmares.

But most importantly, I'd like to mention that the reason I rated so high is that it's not a typical monster film. This is an attack on Japan's government and U.S relations. There are plenty of hysterical scenes in this where the Prime Minister and the rest of the senators have to take literally 5 minutes in board room meetings to approve to start firing at the monster. That, and the requirement later on in asking the U.S military for assistance in taking down the monster.

There's also a lot of allusions to the 3/11 earthquake and tsunami disasters in Japan. The original 1954 was based off the 1945 atomic bomb droppings on Hiroshima and Nagasaki. So now, this film has it's own disaster it's based on. Some shots in the movie are exact references to found footage of the tsunami disaster, and Godzilla himself starts out the movie flooding the canals in Tokyo Bay.

Overall, this film is incredible. It's better than the 2014, but in itself, it's a masterpiece. The music by Shiro Sagisu is like a voice from the heavens, and a plea for forgiveness from God. The song "Who Will Know" is actually told from the perspective of Godzilla, telling us he's not just a monster rampaging Japan, but he's a messenger. He's the voice of all the people killed by the incompetence of the Japanese government, and he's here to let them know that.

Literally the greatest film I have ever seen. Marvel can just go the fuck home. They've got nothing on this academy award winning masterpiece. 'Batman v Superman' is going to end up in a hospital after witnessing this absolute blessing onto the world, not like my ex-wife who I thought was a blessing to me...

I thought 'Jaws' and 'King Kong' were my favorite movies of all time, but pfffff, bruh. This is the real classic. Those other two are fucking trash in comparison.

I can't even tell what I was watching, I remember hearing dialogue and a lot of pop songs, but fuck you. I remember listening to 'Paranoid' as I argued with my ex-wife. This movie is funny because I said so. Jared Leto as the joker was a brilliant choice. Who was that fucker, Heath Ledger? No one cares about him, Jared is the REAL choice pick for the joker. All 5 minutes of his screentime made me orgasm, his Hot Topic portrayal would totally appeal to mainstream critics.

Actually, all the characters would appeal to critics. Will Smith totally sells this movie and Jai Courtney is the greatest actor of all time. I used to love Marlon Brando and Robert Shaw, but those two fuckwads don't stand a chance in an audition against Jai Courtney. I loved it when Courtney terribly read dialogue off a prompter with no emotion. Best Actor Award winner right here, folks! I bet my ex-wife would win Best Actress.

I love how cringeworthy every line of dialogue is. This is supposed to be a group of funny characters in the style of 'Guardians of the Galaxy' but this movie actually works. Not like my ex-wife. Batman makes a small appearance here and there, which makes me can't wait to shill hard for the new Batman solo production. I can't wait to see the high score on Rottentomatoes for it. I heard Ben Affleck had to go to rehabilitation for alcohol addiction. Why go to rehab for alcohol addiction? I love beer and I don't have an addiction...

The rest of the characters I don't even know they're names, but they all said some funny dialogue, so that makes them well-developed and likable characters. Harley Quin was super hot, I loved the way her body looked in that outfit, like how my ex-wife's body looks in the bathtub. Crocodile head made me laugh a lot and Boomerang, AKA Jai Courtney, has the most useful super power on the planet. I never realized all you needed to be a super hero was having a boomerang as a weapon.

A true cinematic masterpiece. 'Casablanca' and 'Star Wars' have nothing on this true work of modern art. I wish I could talk more about, but the cops just showed up to the front door, so I gotta go. See y'all later!

Happy April Fools' Day!

Shit, this is better than Blumhouse's Truth Or Dare. At least it shows some blood.

As a sequel to Final Destination 3, and even just a separate horror film, it's a ridiculous cheap disaster... however, if you take it as a comedy, this is a blast. Must watch, for sure, I put this shit on in the background doing work, one of those kind of movies. Every scene in this offers hilarious laughs, start to finish. The priceless NASCAR race sequence, topped with cars and debris just flying straight into the stadium's audience... and no other direction, those people are walking targets.. The punch lines spoken right before an impending death, the musical cues, and the outrageous antics that keep upping the last. Why the hell does a mall explode when there's no explosives anywhere to be found? What's with the EXTREMELY mouse trap death set ups needed in order for our terrible protagonists to be killed in? Why does someone start bleeding at the mouth because their foot is cut off? Why is there a bunch of explosives behind a movie theater screen? Why does a fence have sharp enough blades to cut through a guy's stomach? This movie rocks. It's some good garbage, and I think they knew what they were doing when making this. It's a trashy 'ol good time. The deleted alternate ending is pure fucking gold insanity.

Oh, how the might hath fallen.

There isn't anything I can say that hasn't been stretched out to a two hour YouTube analysis video, but the state of Star Wars is depressing to say the least, and Disney knows it. The High Republic project they just announced is a direct response to the fans' disdain for this entire sequel trilogy and it's disrespect to the last six films. You have grade-A talent on display, in front and behind the camera, and the result is a two film story squished in to two hours, strung together with some of the most headache inducing pacing I've seen in a major studio film. Ian is wasted as the great Emperor Palpatine, John has no arcs as Finn, Daisy has the same expression she's had in the last two films, stonefaced and Pennywise, and Oscar Isaac wished they killed his character off in the first film so he wouldn't have to do the next two. The only thing I can feel during the final scene at Luke's old home on Tatooine is heartbreak. Hearing John Williams' brilliant last score for the series (and probably just a few years before he dies, he's so old), but coupled with the imagery of Rey taking the spot for herself feels so unearned and lost potential. Had our main lead been written with so much more thought and consistency, it could be a real heart tugger like it's meant to by, but all it does for me is remind me how the series has been ruined in just five short years. It's never explained who made the Sith wayfinders, who made the dagger, why they made the dagger, why they made it the way they did, who are the Knights of Ren, how did Palpatine come back, is he a clone, or is he the original version, how did he have all the resources to make like a thousand Star Destroyers (all with planet killing weapons), who are his faithful followers, what happened to the Republic that was destroyed in The Force Awakens, how did Han come back (was that really a memory or a vision, because it's never revealed Han could have force powers), why can force ghosts interact with the physical world, when did force healing become a thing, why is the Holdo maneuver one in a million, and so on. The film is a complete disaster when it comes to the writing, because it's very evident the film is a collection of twenty or so re-edits all with clashing ideas, in some desperate vein to get fans back on board after the abysmal The Last Jedi. But instead of digging themselves out of the coffin, they put the final nail in.

I got the chance to see the film again, this time without the muddy 3D. Boy, oh boy, did removing the 3D glasses make this movie better. I guess the glasses darkened the picture, because now, in standard 2D, the colors popped even more this time.

Anyways, I still really enjoyed this film. I got the chance to purchase the art book and read through the production. Matt Damon got really involved with the project, spending over 6 months in China to get this dream made into a reality. Quite an interesting read, I recommend picking it up. Lots of gorgeous artwork in it too.

As for this film, this time, I was actually able to focus on the story and dialogue a little bit more this time. The first viewing I was little bit more focused on the visuals. I admit, the script should've gone through just one more rewrite. That, or the film needed an extra 10 minutes added. Some scenes feel a little too short, and the funeral sequence came a little too early with not enough build-up to it. It kind of feels like the studio forced the filmmakers to trim the movie down to less than 2 hours, which I think is a mistake. I was a little more satisfied with the ending this time, but I still wish it was longer.

That's the only thing I can really complain about this movie: I wish it was a longer. I guess that's a good thing, that I want more of it, but that's also a negative. I think if it was a tad longer and some scenes were a little more fleshed out, this could be a GREAT film, and not just VERY GOOD.

I still really liked it and I think it is underrated. If you still haven't seen it, I recommend checking it out. Be sure to read my original review for more on the film.

EDIT: I would almost give this movie a 7/10 or something just slightly above what I gave it. Marcus Nispel gorgeously directed this movie. Really great work all around with the design and look of the feature.

Definitely some likable elements and it's worth a watch, but it loses some of the haunting atmosphere the original had. That's not to say there's isn't tension in this movie, as there is quite a bit, and it follows the same idea of a psychotic area of Texas, rather than just one killer. However, the tone and execution are completely different. If there's one thing I have to give credit to this movie over the original is the characters are a little more believable to me. While Marilyn Burns and crew were great fun to watch previously, their characters had the depth and intrigue of walking cardboard cut-outs. That was one of the only complaints I had with the original, but it didn't matter, because it's atmosphere and setting is what made up for it. This time around, the atmosphere is slightly lost, but the gore, scares, and character development is upped a lot. Here's how I envision both of these movies. The original is the nightmare retelling of what the events were like. The remake is like the archival footage. The original wasn't very realistic in it's presentation or execution, making the film looking like a re-enactment, which worked. But now, in an attempt to update, the remake looks like real events transpiring in real-time. You get what I mean?

Just like with the Nightmare remake, some clever character write-ins were a nice bonus and expansion on the original's story, but unlike the Nightmare reboot, I don't know if enough was done here to fully warrant a remake. I still like it and appreciate all it's glorious chainsaw showmanship, but I don't think it's as great as the original. Still very good.

Holy lord, that was the best experience I've ever had in a theater. Went dressed up as Tommy Wiseau, took a picture with a fan, and stood up in front of the entire audience because I was the only one in costume. I would just like to thank the man himself for gracing the world with such an entertaining movie. How can the movie be that bad if it's that enjoyable? The entire audience was getting in on it, pointing out inconsistency errors, reciting quotes, and even throwing spoons (Which caused the police to come into the theater, so we had to stop). It's a sight to behold. Yeah, the movie from a technical perspective has some of the most amateur direction, blocking, scene set-ups, transitions, just everything. Every single little thing is done wrong, but in result, creates for a fantastic viewing party. Love this movie and you should love it too. Remember, if a lot of people love each other, the world would be a better place to live. Glad I didn't get kicked out of the theater for looking like a creepy homeless man who stole a tuxedo. The officers gave me looks as I went to the restroom, I was holding back laughter.

I haven't watched a movie in a couple days, just a little busy with work, but it's tradition to keep showing this classic. I'm a fan of Roland Emmerich and Dean Devlin's films, as controversial as they can be, but the one everyone universally gathers around is their 1996 hit, Independence Day. A smash hit at the box office, the biggest movie in the world, about America, no, the world's independence from extraterrestrial life. While full of quips and stock characters, the action, world building, and surprisingly poignant drama has stood this movie the test of time. The sequel may have came and went, but Bill Pullman's speech will never die. May everyone have a good 4th of July, and let's just have a moment for one of the best speeches ever.

Good morning. In less than an hour, aircraft from here will join others from around the world. And you will be launching the largest aerial battle in this history of mankind. Mankind, that word should have new meaning for all of us today. We can't be consumed by our petty differences anymore. We will be united in our common interests. Perhaps its fate that today is the 4th of July, and you will once again be fighting for our freedom, not from tyranny, oppression, or persecution, but from annihilation. We're fighting for our right to live, to exist. And should we win the day, the 4th of July will no longer be known as an American holiday, but as the day when the world declared in one voice: We will not go quietly into the night! We will not vanish without a fight! We're going to live on! We're going to survive! Today, we celebrate our Independence Day!

Why was this not nominated for any awards? I'm being genuine, why not? There are parts of the story I would tweak (it's basically Rob Zombie's Bonnie and Clyde), but everything else is masterfully done. Phil Parmet's signature claustrophobic and dirty cinematography had me commenting how great the shots were every other second. The dialogue is sharp and on point, as usual, like, I will be quoting some of the shit in this movie for years on end, this is one of the best scripts ever written. "Boy, the next word that comes out of your mouth better be some brilliant fuckin' Mark Twain shit. 'Cause it's definitely getting chiseled on your tombstone." Zombie has made a reputation for himself of only doing "low-brow" Grindhouse type films, but there's something about them I'm hopelessly attracted to. Zombie's main goal is to entertain the viewer, and I think he excels in doing that in every project he's done. I walk away marveled at the direction, remembering the characters, and downloading the soundtrack. It is unfortunate, I will say, he doesn't take on more accessible genres, so his work gets seen by more people. Even though I loved this, I wouldn't recommend to, say, my grandmother. A shame his clever screenplays are limited to a niche genre within a niche genre. But to say his filmmaking is bad is just dishonest. You want to see a bad movie? Compare the shoot-out openings from both Texas Chainsaw 3D and The Devil's Rejects. You may not have realized it, but the difference is that huge. At least he gets enough funding from his fans and album sales to continue doing whatever he wants. So, the question, should you watch it? Depends how sick you like your horror, or if you'll like be morally conflicted about liking these psychopathic murderous leads. It's the equivalent of genuinely caring for Leatherface and not wanting to see him die. That's why I compare it to Bonnie and Clyde, it takes the side of the criminals, this movie being a huge risk, but pulls it off. There's a bearing resemblance to Butch Cassidy and the Sundance Kid too; example, the final shot is exactly the same. It may sound weird, but once you see Captain Spaulding and Baby clamoring for Tuity Fruity ice cream, there's no going back.

This treasure of quality atmospheric horror is flat-out one of the best films I've EVER watched. It's now almost been 10 years since it was originally released and I've only grown to appreciate it more as time moves on. No other such movie has peaked my interest in real events such as Centralia and Chernobyl quite like this one. It's not a turn-your-brain-off and enjoy jump-scare popcorn shit-fest like some recent studio releases in the past couple of years. This right here is an extremely rare case. Not many movies come out like this anymore. Think about it: It's a video game adaptation that's good, a horror movie that's more about the tone than the scares, and a think piece that requires some thought while watching. Even today, I'm still learning new things about this movie and it's production. Roger Avary, who most know as the co-writer of Pulp Fiction, was the lead writer alongside director Christophe Gans, both of whom are extreme fans of the video games, which is very important in making a faithful yet standalone adaptation. The two amazingly put together such a great ride. GoodBad Flicks made a fantastic video summarizing everything you should know and why you should watch it. I recommend this movie hardcore. It's an underrated and underappreciated masterpiece.

GoodBadFlicks' video: youtu.be/CfEnsMWYisI

I know I'm going to be in the minority when I say this, but let the Monsterverse end here. I don't mean that in the way that, I hate these movies. Exact opposite, King Of The Monsters is my second favorite film of 2019. But given the history of cinematic universes (MCU), the Toho Godzilla series, and the current situation of the Monsterverse, I would rather see this little series end as a trilogy of sorts, discounting Kong Skull Island, and let it stay a self contained epic that completes all it's arcs over the three Godzilla films it currently has. I wouldn't want them to (((drudge))) this out, change it up to be more mass appealing, and lose the spark the series currently has. Legendary currently has the option to keep making Godzilla films as long as they want so long as they renew the license, Toho would let them. But given the financial returns, I don't think that'll happen. They're going to release this early in China, get some money back on their investment, and release it for the fans that still like this stuff. Neutering it down is the last thing I'd want and I'd rather it end now. I know you all would disagree, but end it on this "high note."

EDIT: Fuck, this didn't age well at all.