-
Review: THE FIRST OMEN, A Prequel to a Horror Classic That Fails More Often Than It Succeeds
Fifty years ago, William Friedkin’s adaptation of William Peter Blatty’s bestselling 1971 novel, The Exorcist, not only broke box-office records while receiving critical acclaim, it also kickstarted a minor boom in religious-themed supernatural horror from major Hollywood studios. Many tried to duplicate The Exorcist’s commercial and critical success. Many tried and failed, but one of those studio-financed attempts, Richard Donner’s The Omen, capitalized on pre-millennial fears involving a rapidly changing, destabilizing world, the end times prophesied in the Bible’s Book of Revelation, and the final battle between the Antichrist and a reborn and/or resurrected Christ.
Focusing primarily on a preteen Antichrist, The Omen postponed the promised apocalypse, leaving it to another, later film, The Omen: The Final Conflict. The second sequel after the time-wasting, water-treading Damien: Omen II, The Omen: The Final Conflict failed to deliver on the series’ promise of world-shattering battles for control of the Earth’s resources and humanity itself, instead telling a small-scale, no-budget story about a corporate CEO played by Sam Neill as a smug, self-entitled, ruthlessly efficient businessman with delusions of grandeur.
Somehow, though, the series didn’t end there. Even as audience interest dwindled, the series’ producers moved forward with a TV sequel almost no one saw, and a full-fledged series focused on Damien before he fully embraces his destiny as the Antichrist and all that implies. It was canceled after one season. But where corporate-owned and controlled IP (Intellectual Property) is involved, a reboot, remake, or prequel will follow. Eventually.
All of which brings us to The First Omen, a prequel set in 1971 Rome as a secret cabal within the Catholic Church itself, unhappy with the secular turn of the late 20th-century Western world, allies itself with the darkest of Satanic forces to usher in the Apocalypse (belief in the Catholic Church and its teachings, they think, will follow actual evidence of the Antichrist). At least in part, they’re inspired by current-day extremists (left or right) who only see a corrupt, irredeemable system with either revolution or complete abstention from participation (e.g., let fascism and its brutal policies take over, revolt later, and somehow help bring a more just world into existence).
It’s nothing short of dangerously naïve, but it’s that worldview, more than those who believe in that worldview, who ultimately threaten the safety and sanity of The First Omen’s central character, Margaret Daino (Nell Tiger Free), an orphan and novitiate in the Catholic Church. She arrives in Italy both to work at a church-run orphanage and to prepare to take holy orders under the guidance of the orphanage’s abbess, Sister Silva (Sônia Braga), and the watchful eye of her longtime mentor, Cardinal Lawrence (Bill Nighy).
Despite getting a taste of Rome’s hedonistic nightlife thanks to another novitiate, Luz (Maria Caballero), Margaret doesn’t stray from her ideals or the desire to become a nun. Unfortunately for Margaret, it’s not that simple. Far from it. The same dark forces have a plan already in motion and Margaret’s natural curiosity, plus the usual assortment of strange goings-on, bizarre behavior, and at least one premature death, put her squarely in the center of the supernatural action.
What starts promisingly enough with Margaret, a supernatural mystery, and jolts of the supernatural or the Satanic, however, quickly devolves into an increasingly wearying assemblage of barely related scenes, ideas, and themes, made all the worse by the decision to connect The First Omen with The Omen itself through repeatedly unnecessary shout-outs to the 1976 original. Subtract the predetermined outcome (Damien’s birth) and The First Omen ultimately fails to justify its existence as either a standalone film or a prequel worthy of Donner’s film.
Still, The First Omen isn’t without some positives, beginning with a cast willing to put body and soul into their performances, no matter how underdeveloped and one-dimensional their respective characters might be or where their characters’ untethered motivations might lie. As Margaret, Free makes for a suitably forward-thinking protagonist, believably playing a character-driven first by natural curiosity, then by compassion for an ill-treated orphan, and lastly by a strong sense of morality, to overcome the natural and supernatural obstacles in her way.
Like the recently released Immaculate, The First Omen veers into deliberately discomfiting, Cronenberg-inspired body horror, focusing, both narratively and thematically, on issues of consent, bodily autonomy, and forced births. The periodic splashes of blood and gore when a particular character expires onscreen are nothing compared to two pivotal birthing scenes, each one showed in cringe-inducing explicitness. (A wary MPAA repeatedly balked, forcing the studio to edit the birthing scenes several times before giving The First Omen an R rating.)
First-time feature director Arkasha Stevenson occasionally over-emphasizes jump scares over steadily rising tension and suspense, but ultimately acquits herself well, especially during a first half that’s mostly free of the fan service that mars the second half. She’s freer during that first half to focus on story, character, and atmosphere. Taking an unobtrusive approach to the material, Stevenson rarely calls attention to the camera and its movements in and around the Italian orphanage where most of the action unfolds. That much, at least, suggests Stevenson will fare better when she’s not hamstrung with studio-owned IP and can make a film more in line with her tastes, interests, and style.
The First Omen opens Friday, April 5th, via 20th Century Studios.
-
Sleeping with the Enemy in FEMME
A breakout debut feature that delivers a complex and visceral psychodrama
FEMME is one of those films that shakes you up to the presence of real talent. Not just in front of the camera, but behind it too. After debuting their short film Femme at SXSW back in 2021, writer/director team Sam H. Freeman and Ng Choon Ping scaled up the look, feel, and impact of that outstanding work into a complex and visceral debut feature.
The film opens with a bang, as we witness Jules, (Nathan Stewart-Jarrett, Candyman) bursting onto the stage as their drag persona Aphrodite Banks. Colorful, confident, reveling in the limelight, and the audience that adores her, and friend that congregate around her afterward. Afterwards changing into less ostentatious, but still femme attire, Jules sneaks a quick cigarette outside and notices a sullen man across the street clearly checking him out. When acknowledged, this man Preston (George MacKay, 1917) swiftly moves on. After the partying dies down, Jules heads home, stopping off at a corner shop and while waiting to checkout, in walks Preston with a pack of belligerent friends in tow. Loutish behavior provokes a retort from Jules, making a mockery of Preston and once outside, a viscous assault begins. Time passes, wounds heal, but the psychological trauma persists. Withdrawn from friend and his former life, Jules finally ventures out to a gay sauna where he has a chance encounter with the Preston, who clearly has no idea they have met previously. A connection is made, numbers are exchanged, and an opportunity for revenge arises. But how close does Jules need to get to this closeted and violent man to expose him.
So FEMME plays around with the old scenario of sleeping with the enemy. The risky strategy of getting closer to danger to achieve your aim. In this case, revenge porn, to reveal self-loathing Preston engaged in homosexual acts Of course the additional complication is the emergence of a relationship between the pair as immersion in a lie can flip thoughts or perspective, or feelings, of both parties. This could all be handled in a blunt force way, but instead, FEMME is as nuanced, and tender as it’s title implies. These two men differ not just in their approach to their sexuality, but in their upbringing, politics, race, and social class. Adding further complexity to their interplay, and the shifting power dynamic between them. MacKay, who always seems more fitting in these darker, twisted roles, plays Preston like a physically coiled and angry snake, just waiting to strike. A veneer of self-loathing cracks as things progress to reveal something buried within, brought out by this relationship with Jules. Stewart-Jarrett builds an entire spectrum into his character, one that runs the gamut of emotions from vulnerability and sensitivity, to anguish and anger, and above all, empathy.
FEMME is a remarkably composed effort from first-time feature directors Sam H Freeman and Ng Choon Ping. An enthralling investment in Jules’s plight and journey, that comes with a visceral emotional punch. It’s this human component that is remarkably developed to hook the viewer, and add surprising elements to a story that in lesser hands might unfold as a more conventional revenge thriller. Cinematographer James Rhodes showcases the texture and grit of London’s underbelly, and potently leverages light and dark for thematic and character effect. Similarly important is the considered crafting of Buki Ebiesuwa’s costume design. The different iterations of outfits that Jules/Aphrodite don through the film reflect mood and confidence, and whether stripped away or ostentatious, speak volumes. Where FEMME really flexes is in highlighting the the impact of transgressive behavior and hate, and countering it with the beauty and belonging of drag and the LGBTQI+ community, where identity and acceptance is paramount. An enthralling, complex and visceral psychodrama, there is no neat ending here, no clean lessons. Its murkier and more morally gray than that, which is often the reality of things.
FEMME hits theaters nationwide on April 5th
-
WICKED LITTLE LETTERS is Prim, Proper, Profane and Paper-Thin
Olivia Colman and Jessie Buckley reunite in this telling of the Littlehampton libels scandal
We’re in an age of connectivity where a friend or colleague is just a click away. Enemies or victims too. The internet affords a veil of anonymity, meaning the rise of cyberbullying and people are more inclined to send a tweet, email, or DM from behind a digital façade. Of course harassment is nothing new, and for a long time snail mail provided the origins of the original poison pen letter. It might take a few days to arrive, but the hurtful remarks still land, even if we view a handwritten letter as something rather quaint these days. Wicked Little Letters is inspired by the Littlehampton libels, a scandal that unfolded in the aftermath of the first World War, when the Royal Mail seemingly became a messenger in a harassment campaign against a pious woman, but the reality was not as straightforward as it seems.
Set in the Sussex region of England, just south of London, the town of Littlehampton is home to spinster Edith (Olivia Colman). Devout in her faith, she lives with her misogynistic dad (Timothy Spall) and overly dramatic mother (Gemma Jones). A standup member of her community and her church, she is currently embroiled in a clash with her neighbor Rose (Jessie Buckley). An Irish immigrant, and single mother, who has no time to waste on varnishing the truth in her words. The pair were friends, and in addition to the tensions between them, there is the small matter of the hate campaign being lodged against Edith through the mail. Hand-written letters filled with expletives and insults that even her father struggles to read aloud. With the ongoing fallout between the pair, and Rose’s sharp tongue being known for miles around, she is painted as the prime suspect and eventually taken into custody. But a young policewoman, Gladys Moss (Anjana Vasan), suspects there is something more to this case, and despite the protestations of her boss, decides to do a little investigating of her own.
Director Thea Sharrock (The One and Only Ivan, The Beautiful Game) turns in a capably composed feature, one that makes good use of it’s rather twee surrounds in this cozy hamlet, and the period setting. The aesthetic, production work, and costume design, all add a veil of authenticity and texture, but this veneer conceals an altogether more threadbare affair.
The leading duo, reuniting here after co-starring in The Lost Daughter, do add some compelling moments, most notably a during courtroom scene involving Buckley, but overall they’re just not given enough to work with. The background characters too, are either exaggerated or thinly sketched, even when invested by the talents of notable actors such as Timothy Spall, Joanna Scanlon, Gemma Jones and Eileen Atkins.
The script from comedian Jonny Sweet invests most of its stock in the concept of prim and stuffy Brits reading aloud some crude expletives and insults. As a Brit myself, we’re notably adept at mining a character or situation for comedy, here it’s largely left to “*gasp* you said a swear”. The ‘mystery’ behind the crime is anything but, which might be forgivable if the rest of the film has something to offer, but it doesn’t. Elements of the story do flit with an exploration of misogyny and prejudice, both at home and in the workplace. Several key characters bear the burden of abuse, grief, and discrimination, but again, it’s explored in a largely superficial way.
At first glance, Wicked Little Letters seems like a slam dunk. A real-life scandal, one set in a quaint bygone era in the North of England that should only serve to underscore the humor within the impropriety on show. Add to this two of the most in demand and talented actresses working today in Colman and Buckley. But, despite this foundation, Wicked Little Letters is paper thin, mining little from its premise or cast. An underdeveloped plot, scant character development, and some superficial laughs mean the only letter this film gets is a C.
Wicked Little Letters opens wide on April 5th
-
In Honor of GxK, it’s APE-RIL at Cinapse! This Week’s Two Cents Roundtable: CONGO!!
Two Cents is a Cinapse original column akin to a book club for films. The Cinapse team curates the series and contribute their “two cents” using a maximum of 200-400 words. Guest contributors and comments are encouraged, as are suggestions for future picks. Join us as we share our two cents on films we love, films we are curious about, and films we believe merit some discussion. Would you like to be a guest contributor or programmer for an upcoming Two Cents entry? Simply watch along with us and/or send your pitches or 200-400 word reviews to [email protected].
The Pick: Congo
In honor of Kong’s return in Godzilla x Kong: The New Empire, this month the Two Cents Film Club is going ape for APE-RIL!! We’re looking at a lineup of ape-themed movies (not just Kong) with some surprises in the mix.
Our first entry is 1995’s Congo, which was at the time a follow-up of sorts to the smash hit of Jurassic Park as a new Michael Crichton adaptation. And like that beloved film, it adopted a similar mix of a science-fiction premise, a broad mix of action-adventure and comedy, a troupe of established and upcoming character actors doing their thing, and some creature violence with a dash of body horror. Unlike that film, it wasn’t particularly well received and certainly didn’t launch a new franchise.
The Team
Ed Travis
Laura Linney, Dylan Walsh, Joe Don Baker (Walking Tall), Bruce Campbell, Grant Heslov (Oscar-winning producer & frequent George Clooney collaborator), Tim Curry, Joe Pantoliano, Ernie Hudson, Delroy Lindo, Adewale Akinnuoye-Agbaje (Lost), John Hawkes (blink and you miss him)… you keep watching Congo and the cast just keeps piling on more and more beloved actors. I promise you, because I was there… Congo didn’t quite hit like this in 1995. In fact, Congo may have been one of those movies that helped me, a 15 year old at the time, understand personally that maybe some movies just are not good! I’ve seen Congo several times over the years and it just never quite gelled for me. I’m not here to say it’s all of a sudden a good movie in 2024, but time has certainly done it favors, most notably thanks to the unbelievable talent and fame this cast portended. It takes itself a little too seriously and is never quite exciting enough to be an action movie or intriguing enough to be a sci-fi movie or scary enough to be a horror movie. But as a weird blockbuster attempt to capitalize on the Michael Crichton adaptation phenomenon that Jurassic Park kickstarted, Congo showcased what some serious star power can do, and Amy the signing gorilla is still quite charmingly realized as a “man in suit” character all these years later. Beloved character actor Ernie Hudson swaggers his way through this film in a way he often hasn’t had the opportunity to in his long career. And while Laura Linney doesn’t quite make the case for Laura Linney: action star, it is wild to see this revered actress shooting flare guns out of airplanes to counter heat seeking missiles, or firing diamond-powered lasers at hoards of killer apes, sometimes cutting them in half. Congo is not without its charms, is what I’m trying to say, even if a prime Tim Curry hammy villain can’t quite put it over the top as something that falls into the “good” category.
PS: Eagle eyed viewers will note that Taco Bell had a corporate tie-in with Congo. I’ve never been much of a thief but I have a hilarious memory of finding a giant Congo banner behind a local Taco Bell as a teen and my friends and I running away with it. What to do with an ill-gotten 30ft. Taco Bell Congo banner? I think we made it into a slip & slide, honestly.
(@Ed_Travis on Xitter)Jay Tyler
I had never seen Congo before this watch, and all I knew about it (outside of a cut-away Freakazoid gag) was that it was basically Jurassic Park but with apes. But there are two problems with that. One, despite being a legendary producer with several culture-defining hits under his belt, Frank Marshall isn’t much of a director, especially if you compare him side-by-side with Spielberg. The film feels weirdly cheap, from the edit to shot composition and even some of the set design. This idea had been in development hell for over 15 years, so it is entirely possible it just needed to go and it was deemed the time to strike. But the effect is a movie that feels instantly dated, with effects that would broach past camp even in their day and age.
The other problem is that it’s not really a monster feature set in a confined conceit. Rather, it’s a “jungle adventure” picture, with all of the colonial traps that come with that. Of course, this being the 1990s, it attempts to have its cake and eat it too, spending much of the front half exploring the chaotic political nature of post-colonial Africa, but by the time our band of bizarrely mismatched heroes have made it into the heart of the jungle? It dives deep into tropes straight out of 1940s serials: a lost city, missing scientists, a great white hunter (portrayed by Ernie Hudson doing some kind of accent) and plenty of fish-out-of-water danger abounding. The fact it takes until the final 30 minutes of the movie for the killer gorillas promised in the opening to finally show up is insane, but I suppose that’s only if you are expecting a killer gorilla movie, which I was. The end result is a nostalgia act for a genre that was problematic enough in its heyday, was shaggy in the 1990s, and now feels borderline offensive. If it was more exciting or provided some sense of perspective beyond rehashing old favorites, it might be something. As is, it is probably best left buried in the jungle.
(@jaythecakethief on Xitter)
Justin Harlan
In my youth, I was a diehard Michael Crichton fan and watched so many genre films in the vein of Congo and somehow I never read this book nor watched this movie. Of course, that changed this week, as I finally pressed play on this one.
After seeing others discussing the reputation of this one and how bad it is, I was pleasantly surprised… at first. It has a distinctly 90s feel that works on my nostalgia centers of the brain and the inept moments early on felt mostly endearing.
But, as the film continued on, it was hard to maintain interest and those ineptitudes lost their charm. While never truly bad, the final impression this film left was one of mediocrity. In other words, it commits the cardinal sin of being mostly forgettable… even if the accents of Tim Curry and Ernie Hudson are significantly less forgettable than the rest of the film. I certainly did enjoy both of them a good bit, so I guess it wasn’t all for naught.
(@thepaintedman on Xitter)
For Michael Crichton fans, an interesting component of watching the movies is comparing them to their novels. I enjoy reading Crichton’s books and generally tend to like them a bit more than their film adaptations, but when I read Congo in high school, I found it (for reasons I don’t really remember) a little tedious compared to the adventurous tone of the movie.
I haven’t read it again since then, but I’ve seen the movie a couple times and always have a good time with it. It’s no Jurassic Park, but I dig the vibe and especially, as Ed pointed out, the cavalcade of incredible character actors whom I now recognize and greatly appreciate (but wouldn’t have 25 years ago). Ernie Hudson steals the show, fully biting into his role with a fervor and charm that he’s rarely afforded the opportunity. And Tim Curry getting yelled at by Delroy Lindo to stop eating his sesame cake (after being explicitly invited to do so) will never not be funny.
I’m quite fascinated by the idea (which may have been explored more in the novel) of genetically imprinted memories, with Amy, an ape raised in captivity, having such “memories” from her ancestors. It’s such a primal concept that invites rumination.
At the end of the day the movie could definitely use more killer apes (they don’t really show up until the finale), but the film also mixes up the action with an exciting aerial sequence, a hippo attack, as well as some chaotic political intrigue that really sells the idea of really being out of one’s place with no safety or comfort, so I can’t stay mad at it.
(@VforVashaw on Xitter)
Upcoming Picks: APE-RIL! (In Celebration of Godzilla X Kong: The New Empire)
Upcoming picks:
Greystoke: The Legend Of Tarzan, Lord Of The Apes (1984)
Dunston Checks In (1996)
King Kong (2005)
Kong: Skull Island (2017) -
Criterion Review: Nicole Kidman is TO DIE FOR
A new 4K-UHD transfer of Gus Van Sant’s sharp take on obsession
We live in a dire age where fame has given way to celebrity, and even worse, influencers. Fame is not just a result of talent anymore, but drive, persistence, follower count, and often controversy. It’s been a long gestating tilt, one obviously fueled by reality TV and social media. But even before this digital age, magazines and TV shows offered a window into the enviable and glamorous lifestyles of the rich and famous. To Die For is rooted in this era, and prophetic about our present too. A dark and smartly woven satire about obsession, driven by a captivating performance by Nicole Kidman.
Suzanne Stone (Kidman) is a small town girl, one who has always dreamed of being on TV. Not necessarily because of achieving something notable, just being on TV seems to be the main aim. Despite her aspirations of celebrity, she turns up a surprise in announcing plans to marry local boy Larry (Matt Dillon), a man who has little aspiration beyond working in his father’s Italian restaurant. While on their honeymoon, she slips away to attend a broadcasting conference, to schmooze and setup a future beyond her reading the weather forecast on a local cable TV channel. With a host of connections and possibility of network TV in her mind, Suzanne now has a problem, her dead weight husband. Looped into matters are a trio of high schoolers, Jimmy (Joaquin Phoenix), Russell (Casey Affleck) and Lydia (Alison Folland). All are beguiled by Suzanne’s status and words, with Jimmy falling for her other seductive qualities, allowing her to manipulate them into a scheme to free her from both her husband, and the shackles of her hometown.
Adapted by Buck Henry (Grumpy Old Men, The Graduate) from Joyce Maynard’s 1992 novel, which itself was inspired by the Pamela Smart murder case. This vein of truth runs through the film adding to it’s weight, and giving it an edge as it flits with savage satire and black humor. The film itself it intricately structure, stitching together elements of melodrama, comedy, true-crime, a coming of age story, and even a documentary feel. News reports and interview segments both tee up the tale, and expand on events and personal motivations throughout. It’s in this the film finds a more unique voice, in centering largely on a woman’s POV. Her desires and drive, even if twisted, is the driving force for the film while also more widely speaking to the innate human flaws of stupidity, vanity, and desire. Director Gus Van Sant has had some highs (My Own Private Idaho) and lows (Even Cowgirls Get the Blues) during his career. To Die For shows him in fine form. The film is expertly paced, with a snap to it’s wit. Tonal and structural shifts are well leveraged for drama and humor. It’s incisive commentary, on the then burgeoning obsession with tabloids and celebrity, but up against modern day developments, it feels rather prophetic.
Larry is one of those roles that Dillon feels perfectly attuned to, a local lad whose aspirations end at the local bar and sofa at home. The perfect counterpoint to the delusions of grandeur that flood his wife’s mind. Another standout is Phoenix as this hollowed out, vulnerable kid, drawn into Suzanne’s web. The tragedy at play all revolves around a singular figure, brilliantly brought to life by Nicole Kidman. She crafts a prim and proper girl next door, who goes beyond being self-absorbed into a deluded mindset and blinkered course of actions. It’s not just the refined look, but the movement and mannerisms of Suzanne that affirm that this is someone who lacks the societally implanted knowledge of what is right and what is wrong. Disarming and dangerous, just a perfectly painted figure of a cold blooded obsessive, who gets the fame she deserves, rather than the fame she wanted.
The Package
Criterion offer up an all new 4K transfer, sourced from a 35mm negative, with a restoration approved by director Gus Van Sant and director of photography Eric Alan Edwards. The result is a crisp, flawless image, showing impressive stability, and sharpness throughout. Colors are robust but naturally represented, detail is a standout, in both light and dark sequences. Grain is maintained and adds a natural filmic quality to the presentation. The package/extra features include:
- One 4K UHD disc of the film one Blu-ray with the film and special features
- Audio commentary featuring Van Sant, Cinematographer Eric Alan Edwards, and editor Curtiss Clayton: A pretty packed commentary that is filled with on set anecdotes, production and casting details, and insights into the ‘look’ of the film
- Deleted scenes: Running around 30 min, note these are not given the restoration treatment
- Trailer:
- PLUS: An essay by film critic Jessica Kiang: Within the accompanying liner booklet. A well written piece that largely ties the film into the American obsession with crime, and the fall from grace of beloved celebrities who get thrust into the limelight after illegal acts
The Bottom Line
To Die For is a multi sided story of obsession, blending sardonic, dark comedy, with a scathing critique of celebrity. Gus Van Sant’s layered feature is brilliantly constructed, but the performance from Nicole Kidman as this seductive psychopath is what truly captivates. Criterion’s 4K is pristine, and well supported by the included extras.
To Die For 4K-UHD is available via Criterion from March 26th
-
WILD ZERO 2 is Crowdfunding, and one of the Perks is Turning Patrons into Zombies!!!!
In late 2001 I came across a film that would forever change how I viewed international cinema and Japanese films in particular. At the time I was watching primarily mainstream US indies, 70’s/80’s horror and anime. But to keep up with the new stuff coming out in Japan, I was doing a lot of tape trading for fansubs and I didn’t venture too far into live action Japanese cinema yet. That was until a on a lot of Dragon Ball Z tapes, a guy I traded with a lot threw in a tape that was singularly one of the best double bills EVER committed to analog tape in my opinion – Ryuhei Kitamura’s Versus and Tetsuro Takeuchi’s Wild Zero. It was the kind of double bill that to this day has me looking back on that fateful afternoon hitting play and having my mind literally eviscerated by Japanese zombies, which before hitting play I didn’t even know existed.
Part of that bill, Wild Zero is a film that is as blood soaked and visceral, as it is charming and heartfelt.The film has alien invaders spreading a zombie virus on earth, and humanity’s only hope is a Japanese garage rock band Guitar Wolf, comprised of 3 cool as hell, leather clad rockers – Guitar Wolf, Bass Wolf and Drum Wolf. When the trio isn’t slicking back their rockabilly hairdos, or playing gigs they are riding around in their souped up fire breathing hot rods and killing zombies, all while Guitar Wolf – their leader, yells out motivational English catch phrases. If that wasn’t bizarre enough the film features a rogues gallery of characters all using the chaos of the zombie apocalypse to their own benefit, while we follow our protagonist Ace, who’s also the biggest Guitar Wolf fan, who is just trying to make it through the night alive, while delivering one of the most pro-trans films in the zombie genre.
I bring this all up because after two decades Tetsuro Takeuchi and Guitar Wolf are teaming back up in the hopes of crowdfunding Wild Zero 2 via Kickstarter and of all sequels I would want to see after reading this synopsis I really hope this gets made:
In a world where chaos reigns supreme, the last rocker on Earth, Guitar Wolf, finds himself frozen by the hands of evil during a live performance. Subsequently, Earth faces three major catastrophes: nuclear warfare, the clash between AI and humanity, and a catastrophic meteorite impact, leading to the loss of much of civilization. The world devolves into a dystopian landscape, overrun by UFOs and swarming with zombies.
Fast forward a century into the future, where society has lost both rock ‘n’ roll and civilization. A young girl, descendant of the Wolf Ninjas, finds herself hunted by a tyrant who covets her immortal blood, a gift inherited from her ancestors. Desperate, she resurrects Guitar Wolf from his frozen slumber by blowing the dog whistle passed down from her mother, connecting them as fellow members of the Wolf clan.
If you’re not sold yet, they even have a trailer!
They are looking to raise $332,246 with roughly 37 days left as of writing with $24,979 raised so far. But that being the case some of the perks here are nothing short of amazing, I mean you have the more traditional digital copy of the film, a script/manga, a thank you in the credits. But when you get up to $333 you have the chance to have your photo used in the film and for a mere $66 more, $399 to be exact, you will be immortalized as a CGI zombie in the film and no doubt meet your demise rather horrifically. You can see the process below and boy does this look tempting.
I mean Kickstarter is all or nothing and that’s the only thing that scares me about this, is we might NOT get to see this and that would truly be a terrible thing.
-
SXSW 2024: THE FALL GUY Q&A
At this year’s SXSW the cast stuck around for a Q&A. Check out our video of the event below, and read on for a quick summary of my impressions.
The Fall Guy is one of the most crowd-pleasing movies in the last few years. In the Q&A multiple people from the cast and crew noted that they were thinking about the audience the whole time when making it, and every decision was filtered through an audience-pleasing lens.
With some movies that could result in a cloying, flat film without a vision – something that tries to please everyone frequently pleases no one. The Fall Guy avoids this pitfall, largely due to the magnetism of the cast. They’re simply fun to watch. Even if the humor might not fully land for you, the whole thing has a certain golden retriever puppy energy to it where you can’t help but be charmed.
The action is mostly excellent, with practical stunts being highlighted due to the subject matter. The car roll referenced in the Q&A is incredible.
The film moves at such a brisk pace that even if something doesn’t work for you, it’s over and on to something else. I think people will react extremely positively to this, and can see it being one of the biggest success stories of 2024.
-
SXSW 2024: Sydney Sweeney’s IMMACULATE and Q&A
Sydney Sweeney is the driving force behind Immaculate, a new horror film from director Michael Mohan of The Voyeurs. She auditioned for the movie a decade ago but didn’t get the role, but it never ended up being developed. With her newfound star power and cache, her passion for the screenplay brought the film back to life with her as a producer and creative partner.
Sweeney plays Cecilia, a sweet young woman committing herself to becoming a nun at a convent in another country. It seems like a daunting, huge step for her, and it soon becomes clear that although she is committed and passionate, the people around her are hiding something sinister.
It’s a horror movie about nuns, so it’s going to draw comparisons to the 70s nunsploitation subgenre like The Devils (71), Flavia the Heretic (74), and Killer Nun (79); however, it’s story owes the most to Suspiria (without having the same visual flair as either version). It’s a pretty movie to look at, but it doesn’t stretch boundaries – the similarities are in the plot.
Sweeney being the driving force behind the film comes across on screen: she plays the role with passion, and it’s a part extremely suited for her. Everyone else in the cast is appropriately sinister or empathetic, but it’s definitely a vehicle for Seeeney to show her chops, and she really flexes during certain sequences.
I was engaged the whole time with the mystery at the film’s center, and the 89 minute runtime keeps momentum high (love me a 90 minute horror movie). Because of this, some ancillary things aren’t fleshed out, but it’s a trade off I personally prefer.
Check out this video of the Q&A from SXSW.
-
Review: GODZILLA X KONG: THE NEW EMPIRE: All Kaiju Action, All Kaiju Time
Released three years ago at the height of the pandemic, Godzilla vs. Kong, the kaiju battle royale to end all kaiju battle royales, ended not unexpectedly, if somewhat disappointingly, in an uneasy truce between the Big G (Godzilla) and Kong (first name King), temporarily allied to defeat Mechagodzilla, a corporate-created, -owned, and -operated cybernetic monstrosity. Task completed, Godzilla and Kong parted ways as neither friends nor foes. The result might have let Godzilla or Kong fans down, but the fourth MonsterVerse entry was never going to end in anything except a draw or stalemate, at least not where the combined IP of two beloved characters (currently 38 for Godzilla and just 13 for the original kaiju himself, Kong) was concerned.
But that was then. In the now, much-anticipated, ludicrously entertaining sequel, Godzilla x Kong: The New Empire, the erstwhile allies remain divided temperamentally and geographically, Godzilla defending the natural world above from various ill-behaved kaiju (“titans” in the MonsterVerse) while Kong rules the recently discovered Hollow Earth below. Or rather, as the largest, most powerful predator with an enviably large brain, Kong rules by default, defeating — and occasionally eating — the other oversized predators who threaten his habitat. Kong uses a fair measure of cunning, including carefully laid traps, to overcome packs of ravenous, long-toothed predators.
And when he’s finished for the day, Kong — like any anthropomorphized, hygiene-obsessed primate — showers in a waterfall fit for a gorilla king, takes a mid-day nap in the sun, and otherwise enjoys a low-effort, high-reward lifestyle. That doesn’t last, however, as a recurring toothache compels Kong back to the surface world and the free dental care he receives under the auspices of Monarch, the super-secret, kaiju-monitoring organization introduced in Kong: Skull Island, and their generous healthcare package (we should all be so lucky). That development, in turn, reunites him with Jia (Kaylee Hottle), the last survivor of the Iwi people (Skull Island’s one-time/longtime resident human population), and her adopted mother, Ilene Andrews (Rebecca Hall), a senior Monarch anthropologist and linguist.
While Kong’s getting the best dental care available, thanks in part to an adventurous veterinarian, Trapper (Dan Stevens), Godzilla goes about its business on the surface world, mostly oblivious to the needs or wants of the human population that occasionally gets in the way of its battles against other, lesser-known kaiju. Like Kong down below in his Hollow Earth kingdom, Godzilla enjoys mid-day naps in the sun, especially in the Roman Coliseums (no one says no to Godzilla).’
Despite the promise implied by the title, Godzilla plays a secondary, supporting role in Godzilla x Kong: The New Empire. Kong gets the bulk of the screen time and along with that time onscreen, a fully realized character arc. Long acknowledged as the last of his kind — at least on Skull Island — Kong’s loneliness has long been his defining trait, but when he encounters a rambunctious, poorly behaved mini-Kong (one of the film’s highlights), Kong’s future begins to look a little brighter. That lasts as long as it takes for a group of giant-sized gorillas to attack Kong. Kong unsurprisingly survives, but once he encounters — and fights — the so-called Scar King, a balding, red-haired primate who rules a volcanic kingdom with the help of a subjugated reptilian kaiju, Kong realizes he can’t the battle alone.
It’s become a given in the MonsterVerse that the human characters, whatever their motivations, desires, or backgrounds, are, at best, function as either kaiju fodder or narrative placeholders, the latter linking kaiju-focused set pieces. Not surprisingly, Godzilla x Kong: The New Empire doesn’t stray from that now obligatory formula. Relegated to the role of Chief Exposition Giver, Rebecca Hall ably delivers reams of lore-related dialogue with reasonable conviction, though at least her character gets an arc involving the future of her relationship with her adopted daughter. Understanding the assignment, Stevens gleefully embraces his character’s under-motivated, absurd presence within the narrative. Likewise, albeit to a lesser extent, Bryan Tyree Henry and his returning character, Bernie Hayes, a courage-impaired conspiracy theorist (who’s often right), add a modest dash of comic relief.
To be fair, the presence — or lack thereof — of human characters will be hardly noticed (if it’s noticed at all) by audiences who venture to their local multiplexes to catch Godzilla x Kong: The New Empire on the biggest screen currently available. They’ll get exactly what they both expect and want: Wall-to-wall spectacle-driven almost completely by kaiju-on-kaiju action, all of it generated by budget-straining server farms and the visual artists tasked with bringing Godzilla, Kong, and the other kaiju to fully realized digital life. They succeed more often than not, delivering wrestling-inspired action set-pieces that will warm even the coldest of cold kaiju-skeptical moviegoers.
Godzilla x Kong: The New Empire opens theatrically on Friday, March 29th.
-
Unboxing The BOUNTY HUNTER TRILOGY Box Set, new on Blu from Radiance
This week Radiance brings the Bounty Hunter Trilogy of jidaigeki chanbara films starring Tomisaburô Wakayama (Lone Wolf and Cub), making its Blu-ray premiere in a snazzy new Limited Edition box set of 3000 units.
As with Radiance’s usual Limited Editions standard, this initial offering comes with an obi strip (spine card) and booklet which will likely be absent from any subsequent re-releases if they should materialize.
My copy just arrived and I can’t wait to dive in – Here’s a detailed pictorial of the set.
External/Box Views
The set comes housed in a rigid slipcase with the obi strip initially wrapped on the box’s spine.
Blu-ray Cases (2)
The set’s three films are housed on two discs, each in transparent “Criterion style” Blu-ray case. The inserts are reversible, with the white motif being the default and the red (which better matches the box’s overall aesthetic) as the alternate.
Disc 1 – Killer’s Mission
Disc 2 – The Forest of Death and Eight Men to Kill
Extras/Inserts
A booklet is inserted in case 1, and a set of poster art cards in case 2.
Obi Strip
The obi strip is a little unusual in that it’s oversized to affix to the out box’s spine. So unlike most other Radiance releases, it’s too wide to be neatly be tucked into the spine of a Blu-ray case, which is my preferred presentation.
There are basically a few different ways to store it; kept as is (the back is affixed with a transparent sticker), loose/flat in the box, slid over both of the case spines together (which looks pretty nice), or tucked into the insert area of either case – it fits perfectly.
A/V Out
Get it at Amazon: If you enjoy reading Cinapse, purchasing items through our affiliate links can tip us with a small commission at no additional cost to you.
