I was stressed to learn I’d been tricked, that this was only cowritten by Malignant‘s James Wan, actually directed by the NZ guy who made Housebound, but it didn’t turn out to matter – good movie about twisted AI, quite timely. Doll scientist Allison Williams is running secret experiments behind the back of idiot boss Ronny Chieng, cutting corners (like parental controls) to get an evil doll to befriend her newly orphaned niece. Then after the company discovers the doll’s capabilities and decides to mass produce it, Allison switches to trying to interrupt the public launch by proving the doll did murders (she did – chasing a creepy boy into traffic after ripping his ear off, and melting the neighbor’s face with lawn chemicals).
This happens to all murder-droids in the end, and it only makes them angrier:
Colin Farrell is oscar-nominated for Banshees, and I think we should give Colin 3 or 4 oscars, but Yang is also very beautiful in this (Justin Min of nothing else). Colin lives with Jodie Turner-Smith (Queen & Slim) and their girl Mika, and unfortunately Yang was an out-of-warranty refurb technosapien and unfixable, so he’s being donated to research, which, if these things are so proprietary-secretive, should be against the license agreement. Colin tries to understand Yang’s chosen memories and discovers his hang-out buddy, clone Haley Lu Richardson. A major Lily Chou Chou reference, for some reason, and Yang had a Pentax camera if that’s anything. A weepy movie: “His existence mattered – and not just to us.”
Carrying on where we left off from 1.11, and the wikis confirm that the stuff I didn’t remember from the series (suicidally British pilot Mari) is new to the movies. Doubling down on the Christianity stuff and the teen nudity. Asuka jumpkicks an angel to death, then when her robot becomes possessed, the bosses remote-pilot Shinji’s eva and beat the hell out of her. Some good action, slowed down by a couple of lame pop songs – and it’s fun that the subtitles only translated song lyrics in the final scene instead of the dialogue that might’ve explained what is happening.
For not having seen this in 20 years, I recalled some scenes very well. Funny to watch a 4k restoration of a movie with so many SD-video elements (three long TV newscasts, Robo’s POV screen). Not so many people in the theater on a weeknight, which bodes well for tomorrow’s screening of The Conversation.
Since I’ve recently rewatched Peter Weller in Naked Lunch, it’s time to complete the trilogy and rewatch Screamers. Our other cop hero is Brian De Palma muse Nancy Allen, whose rocket attack on Ray Wise is a comic highlight. Robert DoQui of Coffy gets a good role as the sarge; other cops are incidental, disgruntled and trigger-happy.
As the invincible druglord crimewave baddies, That 70’s Dad and Laura Palmer’s Dad are joined by a Shawshank guard, a Greatest American Hero regular, and a doctor in The Day After.
At the Company that controls the cops, RoboCop project lead Miguel Ferrer is killed by corrupt ED-209 project lead Ronny Cox (he’d play another evil authority figure in Total Recall), who is fired to death by bossman Dan O’Herlihy (Twin Peaks sawmill owner who dies twice).
Toxic Roxy is young and blonde, frees buried criminal Kate Bush, who murders all Roxy’s friends then escapes, leaving the whole community angry at Roxy and her hairdresser mom. This all takes place on another planet, populated entirely by women who shun electronics and chemistry, after the earth became uninhabitable… well, only shunning these things to a point, since they have guns and androids (both named after fashion brands). While waiting for Kate, Roxy and her mom (Elina Löwensohn of course) bond with Kate’s fancy rich neighbor Sternberg, with her male android Olgar 2 and weirdo bounty-hunter bots Keifer and Climax.
Extremely horny sci-fi, Roxy masturbating at every opportunity, with dreamy visuals. We got zombie horses, geode-faced creatures, energy weapons, a pubic third eye, hats and fur coats everywhere, and everything is slimy or dripping and cross-faded onto everything else. I felt bad about not liking The Northman last night, then today I double-featured this with Mad God at the Plaza, and now I am feeling much better.
Is it already five years since I watched the series? Afterwards I didn’t want to launch into the movie remakes until there was some evidence that the series would ever be completed, and now that part four has premiered, I’m diving in. It’s been long enough that I’m getting reacquainted with the characters and had forgotten some of the early plotting and the monster battle particulars, but not so long that the whole thing doesn’t feel somewhat redundant despite my poor memory. I guess I’d pictured more of a reimagining, a different style, instead of a minor tweaking of character art and background textures.
Same ol’ story: emo kid saves the world, again and again, becoming increasingly emo. The show is pretty good at mortifying Shinji – the only people who are ever nice to him for saving the world are a couple classmates, and that’s only after they beat him up.
“In case you’re wondering I’m essentially an infinite me.”
They finally did it. I haven’t rewatched the originals since their premieres, but all essential backstory is dutifully repeated here. I love that in all their possible messed-up futures, Bill and Ted are still together – it’s never even dreamed that they wouldn’t be together. Their daughters Billie and Thea, traveling through time collecting famous musicians like in the first movie, are clearly being set up as the actual chosen-ones who will play the song that heals all of time and space – so clearly that the actual reveal is less of a “whoa” and more of a “yeah finally” – but maybe this was designed to distract us from the movie’s real twist, that the perfect song Bill & Ted spend all movie (and half their lives) looking for doesn’t exist. It doesn’t matter what they play, as long as they all play it together. This… should not have made me cry… and I’m not saying it did… but it’s been a heavy year, huh?
From the original writers and the director of Galaxy Quest. Thea is from Three Billboards, Billie from Action Point, Kristen Schaal replacing Rufus (who appears briefly as a hologram), and they’ve got the original Death. NoHo Hank from Barry plays a robot assassin, and I love this guy in everything. Brittany Runs a Marathon star Jillian Bell is couples therapist for Bill & Ted and their princesses (who have been recast to be younger: Erinn Hayes of Childrens Hospital, and Jayma Mays of American Made). Kid Cudi is most excellent as himself.
Katy says the challenges in the book are all about solving complex puzzles, and it sounds like the whole 1980’s obsession is explained better, but we’re at the movies now, so some quick backstory narration and a killer car race will do just fine. Our dude Parzival (Tye Sheridan of Joe and Mud, young Cyclops in the last X-Men) figures out how to cheat at the racecar event and win the first of three keys in a massive contest to gain control over the virtual-reality universe that all the poor suckers on the dying planet of the future spend all their time in, meanwhile falling for Artemis, a hot red avatar his own age who turns out to be an actual hot girl his own age (Olivia Cooke of Thoroughbreds). Parzival’s badass tough-dude engineer buddy H turns out to be Lena Waithe (Master of None) and his ninja friend Sho is actually 11 years old – they’re all kinda okay kids, but I don’t know if it’s a happy ending when they’re handed the keys to the global economy at the end, and besides shuttering the evil company run by lame Ben Mendelsohn, they close the internet for a couple days per week so kids have time to make out.
Alison Willmore calls it an accidental horror movie:
A lot of the pop culture references in the adaptation have been updated, improved, added to, or made more cinematic, including a sequence in which The Shining gets turned into a survival horror experience in a way that’s both blasphemous and easily the most memorable part of the movie. But onscreen, even though familiar characters (Duke Nukem! Gundam! Chucky!) fill the frame, franchises cross, and the legal fees to clear everything must have been astronomical, Ready Player One doesn’t really feel like it’s about nostalgia. Instead, it seems more concerned with escapism, and how much its characters use pop culture as a womb to shelter them from the ugly realities they’ve accepted from the world outside. It’s not about looking back so much as looking away.
We didn’t want Downsizing to be our official final film of 2017, so we rewatched Inside Out on new year’s eve, then after a couple of attempts, managed to make this early Ghibli feature our first movie of 2018. The early ones are cool, but we’re more taken by their later works (Mononoke and everything after).
A couple of orphan kids from different backgrounds meet and end up saving the world by teaming with pirates to stop a power-mad government agent from harnessing the destructive power of an ancient and abandoned floating city called Laputa. The boy Pazu (pronounced POT-sue in the Disney dub) is from a factory town, and the girl Sheetah is descended from Laputa royalty, and that’s about all we learn about them before the movie erupts into battles, pirate humor, and tons of flying machines.
Every Miyazaki movie has a standout piece of character or vehicle design – in this one it’s long-armed bird-loving robots.