Heated Blogs and Reviews

Mad Max (1979): Review

Mad Max #1

In 1979, fledgling filmmaker George Miller brought to life a dystopian world from a different perspective: from down under.

Where Peter Jackson’s The Lord Of The Rings trilogy has that distinct New Zealand kiwi vibe, Miller’s Mad Max series has that balls-to-the-wall Australia Aussie feel, the films going to extremities in terms of production and story. It all started with Mad Max, the indie that started it all.

In the near-future, gangs run rampant in dystopian Australia. Leading the police force is Max Rockatansky, for whom the stakes will become personal.

Without Mad Max, we wouldn’t have The Road Warrior

We wouldn’t have Beyond Thunderdome

We wouldn’t have Fury Road or Furiosa.

It all starts here, but unlike the films mentioned, Australia isn’t a complete wasteland, but a dystopia with law maintained by the Main Force Patrol. The MFP govern the highways, which are besieged by motorcycle gangs. Enter Max Rockatansky, the cop the movie centers around.

Miller and Co make the action all the more believable by doing everything practical. Mad Max is produced before the days of computer-generated imagery and features some jaw-dropping stunts for a 1970’s indie film. Cars drive through trailers. Kids (or dummies) are put in peril. The end results are made all the more realistic as Miller himself studied medicine before becoming a director.

Max Rockatansky is probably one of the more believable cinematic ‘heroes’ on the template: Beat cop wants to retire, but he continues, only to be the bane of Toecutter and his motorcycle gangs. Things will be made personal as this costs Max the lives of his wife and son, leading to vengeance. This explains why the Max we know is so miserly and quiet, while remaining stoic. This is made real by Mel Gibson‘s portrayal.

Mad Max I think does have Issues with its storytelling as the climax doesn’t come until the third act. The tale of vengeance doesn’t start until the film’s third act and I think the script focuses too much on the cop storyline before jetting into Max’s tale of revenge.

**High Keays-Byrne** as Toecutter. Keays-Byrne would return to the world of Mad Max as Immortan Joe in *Mad Max: Fury Road*

Brian May (not the guitarist/vocalist of Queen) composes the music for Mad Max

IF (2024): Review

From the John Krasinski, director of two The Quiet Place films comes IF, a family-friendly coming of age tale.

When troubled Bea starts seeing other IF’s (Imaginary Friend), she and her neighbor work to unite the IF’s with people in need.

Krasinski pulls all the stops to make IF a cinematic experience. Hire Janusz Kaminski, Steven Spielberg’s regular cinematographer? Check. Oscar-winning VFX house animating the CGI IF’s? Check. Hire Pixar golden boy Michael Giacchino to compose the musical score? You bet.

There is a good movie inside IF but it took an uphill battle to keep me interested. I believe the story is original but I find it a bit convoluted and the first half a bit of a bore. Bea and her eccentric neighbor Cal (Ryan Reynolds) try and take time to team up IF’s with new children only to reunite them with their original kids, all grown up now? This later second half of the film however is where IF works and soars. The IF’s are interesting enough but there are a lot to know and memorize for one movie all at once. From using CGI on A Quiet Place, Krasinski has matured in his VFX blocking and staging. I took notice of Cosmo (voiced by Christopher Meloni) and Lewis, the elder Teddy Bear as I wondered who voiced him. It turns out to be Louis Gossett Jr.’s final cinematic role.

Like A Quiet Place, Krasinski isn’t afraid to have emotional beats and this is where IF works for a theater-going experience. Bea is a grounded character as she has real-world problems to deal with and we can relate to her as the audience. To get through all of this she must learn and mature. Really if you had an imaginary friend growing up, then you can relate to the side characters of IF. The film earns it’s syrup as the last third is cathartic beat after beat.

If you take notice of things then, like me, you can see one of the major twists coming. It doesn’t really change the story, just a little nitpick.

Oscar-winning composer Michael Giacchino composes the score for IF, giving the film more of that whimsical emotional touch.

Planet Of The Apes (1968): Review

Planet Of The Apes #1

Planet Of The Apes is directed by Franklin J. Schaffner and writing is credited Rod Sterling (of The Twilight Zone fame) and Michael Wilson. Planet Of The Apes would spawn a franchise that continues the lore today, with contemporary prequels explaining the evolution of the apes and dehumanizing of man.

Three astronauts crash land on a world where apes are the dominant species and mankind subverted

With this first film you can see why the Planet Of The Apes brand has survived this long (2024). The first film has everything a general audience member could want: action, suspense, romance, and themes that could still be relevant today.

Planet Of The Apes gives you details about the three0 astronauts so that you care for them but we’re all here to see either Charlton Heston or the films legendary ending. This was made in a time when genre pictures were not acting taboo, and Heston gives it his all, acting mute, fighting apes spewing quips. Taylor is the badass while nullifying monkeys and standing up to simian authority. The character has layers as the man isn’t afraid to snog out a female ape (Kim Hunter as Zira) much less a female human (Linda Harrison as Nova).

Ape society is explored sparingly in this first installment but we come to know ape politics and hierarchy, be it flogging out humans in cages or attending debates. I actually like the political debates here as the culture is explored. There are apes that are sympathetic to the humans. It is nice to hear the apes use human jargon as a nice touch. Using spare external set pieces, the filmmakers populate Ape City with a lot of extras to give the film believable ape populace.

There are times where the film feels like it goes on forever. We return to the same locations several times, like the ape cages. Really that is all that I can criticize.

(l-r) **Roddy McDowell** as Cornelius, **Kim Hunter** as Zira, and **Charlton Heston** as Taylor

Jerry Goldsmith collaborates with director Schaffner to compose music for Planet Of The Apes. Goldsmith created an avant-garde sound for the film, utilizing bowls for sounds of the new world. Goldsmith wore an ape mask while conducting as a joke to the orchestra. Schaffner and Goldsmith would collaborate again on Patton

Kingdom Of The Planet Of The Apes (2024): Review

Who knew this series would be going strong since 1968?Kingdom Of The Planet Of The Apes is directed by Wes Ball and written by Josh Friedman. It stars Freya Allen and William H. Macy as the humans of the story, with Owen Teague, Kevin Durand, and Peter Macon portraying the principal apes in motion capture.

His ape clan ravaged and captured, Noa sets out to save his family, meeting a few new individuals to aid him in his journey.

I enjoyed the previous three Apes installments. The storytellers knew where to take the character of the ape Caesar, and everything fell into place with these productions. Kingdom takes place three-hundred years after War, leaving room for the story to grow.

These films are renowned for their advancements in special effects. The original films and the Tim Burton remake are known for their advancement in makeup effects. Now the new films set a high bar for computer generated imagery and Kingdom rises to the occasion. These apes are hyper real and beautiful to look at. I’ll use Raka as an example. Think an Orangutan with Peter Macon’s voice spouting out religion regarding ape religion? Pure science fiction-film bliss.

This is a Planet Of The Apes film and the film has that sense of adventure. It is good escapism and if you were invested in the previous films world building, then you are in for a new evolution. Being north of two hours, the film takes its time in explaining this new world. The apes have rituals with eggs. They have relationships with eagles, seeing them as great companions. Through Raka we are given monologues based on ape religion and how to be an ape based on the principles of Caesar, like “Ape Shall Not Kill Ape”.

Freya Allen and William H. Macy play the principal humans and both do their job for the most part. Allen makes herself vulnerable here and often has to change expression frequently, and does so with subtle expressions. She lets her emotions flow freely based on the situation, looking stoic but exposed as an intelligent human being. William.H. Macy plays the human lackey to Proximos and is pessimistic on the advancement of the human race, giving up on the human resistance.

The key problem i have in Kingdom Of The Planet Of The Apes is in its storytelling. A lot of the film feels borrowed from other installments, like there’s a template now. Noa must save his family from the villainous Proximos, but haven’t we been here in the previous film with Caesar, his children, and Woody Harrelson’s villain? Proximo is the villain here but he almost comes off as a cartoon (I know, technically he is animated) and feels like a pastiche of villainy as he oversees his villainous plot.

**Peter Macon** as Raka, the actor performing the character using motion capture.

John Paesano works with director Ball after composing music for the Maze Runner trilogy. Paesano uses his own sounds for Kingdom Of The Planet Of The Apes, using different objects for different musical sounds. Paesano also adapts portions of Jerry Goldsmith’s score to the original 1968 film into this score, harkening back to that film’s frenetic sound.

The Fall Guy (2024): Review

Apparently The Fall Guy was a TV show back in the 80’s . Different generations, I guess.

The Fall Guy is directed by David Leitch and stars Ryan Gosling and Emily Blunt. Written by Drew Pierce,the film is a modern adaptation of the classic TV series.

An ex-Hollywood stuntman, Colt Seaver is pulled back into the world of filmmaking when his crush is directing, only to become involved in a conspiracy.

The Fall Guy comes to us from David Leitch and his 87North production company so you know the film is going to be full of practical action. As much as it is a summer blockbuster, the film itself is a tribute to the world of Hollywood stunts, and what people will go through to entertain the audience. There are thrills as mostly every aspect of the stunt world is explored in moviemaking, from vehicle chases to blank-firing guns to dog stunts (what is it with David Leitch and Chad Stahelski with dogs?)

The film features A-list actors (and their stunt doubles) in these action scenarios and the results are thrilling. You can see why Gosling took on the role, both as a fun romp as well as paying tribute to his stunt costars. Seeing Emily Blunt kick some ass and getting in on the fun is invigorating. Hannah Waddingham chews the scenes she is in as an over the top movie producer.

Really as a critic the only thing I can say negatively about The Fall Guy is that really when you strip away all of the levity surrounding the picture it really is an expensive stunt show. But it really isn’t dumb. You are here to see Gosling and co. Kick ass. Really I wasn’t drawn into the murder mystery aspect of the film and was more enthralled with the action side of things. Turn your brain off ever so slightly and The Fall Guy is a good time.

Colt Seaver (**Ryan Gosling**) converses with Jody (**Emily Blunt**) mid-stunt

Dominic Lewis scores The Fall Guy after scoring Leitch’s previous film, Bullet Train

Challengers (2024): Review

Challengers is directed by Luca Guadagnino, and stars Zendaya, Mike Feist, and Josh O’Connor.

Tennis prodigy Tashi trains her husband Art to be the ultimate tennis player. After suffering a losing streak, Art must face his best friend Patrick not only on the tennis courts but in his mind as well.

After seeing Guadagnino’s previous directorial outings I was interested in seeing Challengers. The movie looked like a mature and psychological take on a sports movie. It is most definitely not your most average sports movie.

As an audience member yours truly was curious to see Zendaya in a more mature film role and Challengers proves she can carry a film. Here in Challengers she is manipulative, cold, sexy. Driven. Mike Feist and Josh O’Connor play both best friends and rivals well. As the movie progresses and their rivalry blossoms they engage in mind games as their sports careers evolve.

Tennis is a very visceral sport and during the matches Guadagnino puts you right in the action of the tennis court, immersing you in the chaos as these players try to outdo their opponent. Everything production-wise comes into play, from Sayombhu Mukdeeprom‘s camera work to the sound of tennis rackets and tennis ball impacts.

Really the movie is told in non-linear fashion down to specific captions reading one week ago and what not and it took me out of the film a bit. Art and Patrick Being best friends that the characters are, the homo-erotic tones of some scenes had me scratching my head (I’ll never look at a churro the same way again). Being more of a drama I question why this is in iMax.

(l-r) **Mike Feist** as Art, **Zendaya** as Tashi and **Josh O’Connor** as Patrick

Teaming with Guadagnino are composers Trent Reznor and Atticus Ross after previously collaborating on Bones And All. The music here is mostly electronic, giving the score strong techno vibes and giving the movie some good energy.

Abigail (2024): Review

Production company Radio Silence puts their stamp on the vampire horror subgenre with Abigail. Directed by Matt Bettinelli-Olpin and Tyler Gillett, the film is a contemporary spin on a recently ignored subgenre of horror. Guy Busick and Stephen Shields write the screenplay, with Busick having co-written previous Radio Silence efforts.

Things are not what they seem when a group of hired criminals kidnap Abigail, only for the little girl to be a bloodsucking vampire.

Abigail contains Radio Silence’s new feel for contemporary horror experienced in their previous mainstream work. The film, principally directed by Bettinelli-Olpin and Gillett nails the atmosphere perfectly. The tropes we are used to here get subverted perfectly. Where there is horror, there is a sense of macabre humor and fun as blood flies freely.

Abigail features a stacked cast that can show their frightened chops along with their comedic side. Melissa Barrera reteams with Radio Silence after the Scream films and it is her character that earns the audience’s trust through character development. Dan Stevens plays a scheming ex-cop out for money by any means. Rounding out the pack of criminals are Kathryn Newton, Kevin Durand, Will Catlett and Angus Cloud. Giancarlo Esposito kicks off the plot in a supporting role. Abigail is notable as being one of Angus Cloud’s last performances after an accidental death.

The horror and humor here are a great combination. There is a good suspense buildup even if you know the tropes. But here the jump scares felt like they were part of the fun. The film leans on the over the top, splattering blood where needed be (it is a contemporary vampire movie).

One critique could be every opportunity here dealing with a cat and mouse game could be explored. You could have an Alien-esque experience, having our characters explore a darkly lit mansion with a little vampire girl on the loose.

(l-r) Abigail (**Alisha Weir**) attacks Sammy (**Kathryn Newton**)

After collaborating with Radio Silence on Ready Or Not and the two most recent Scream installments, Brian Tyler composes music for Abigail, incorporating

Seven (1995): Review

Seven (Se7en) was released in 1995. Director David Fincher‘s sophomore directorial effort, the film stars Brad Pitt and Morgan Freeman. The acclaimed screenplay is by Andrew Kevin Walker.

Two detectives must track down a serial killer, whose motive is based on the seven deadly sins.

Seven let’s its mood and tone be known from the outset, as the first filthy crime scene is examined. Everything falls into place here, like Arthur Max’s Grade-A gritty production design and Darius Khondji‘s visceral cinematography. All of it perfectly flows through the film, Walker’s script tight and taught with no scene wasted.

The film could be one of the cop thrillers that could be dubbed the police procedural, Pitt’s Mills and Freeman’s Somerset going through the motions to find this deranged killer. The film is dated by the procedurals, the detectives working out clues and events using physical CliffsNotes, library books, and slow methods to examine and break down their quarry. There is tension here, as the killer could strike again at any time.

While Seven is graphic, there is an art piece here. Fincher cut his directorial teeth helming music videos, and it is here that he shows his good visual storytelling. The city is dark and gritty, with a monochromatic look. You can feel the unclean setting, made all the more depressing with constant rain. While we see the aftermath of the killings, the actual events are made visible by photographs examined by our two detectives. The camera is kept moving, allowing for the viewer to immersed in this grimy setting.

Explored just enough is the detectives personal lives so you get to know who they are. Somerset is a seasoned cop loner at home, but contemplative and knowledgeable as he sets out to explore the killer’s mindset. Mills is a new cop, with a wife in a new apartment looking for a new outlook. Both men are made likeable, and anyone could really relate to them based on their character development.

No film is perfect. While the third act of Seven does grab you on the storytelling side the events do feel rushed, to get to the film’s ultimate conclusion.

(l-r) Mills (**Brad Pitt**) and Somerset (**Morgan Freeman**)

Wanting a good thriller score, director Fincher turned to Howard Shore, based on his music for The Silence Of The Lambs. Both director and composer would collaborate on two future films.

Godzilla x Kong: A New Empire (2024): Review

Monsterverse #5

After Godzilla vs. Kong arrived in theaters to positive reception in the Covid-19 era, a sequel was all but inevitable. Adam Wingard returns to the directors chair after helming Godzilla vs. Kong, as does much of the talent behind and in front of the camera.

A new threat emerges from the Hollowed Earth, forcing Godzilla and Kong to join forces in the fight for world domination.

GxK is unabashedly a popcorn monster movie. The film goes to lengths to entertain you and provide a great movie going experience. In one part Kong uses this annoying kid ape (Suko) as a weapon against other apes. Godzilla destroys three people-filled bridges but continues onward as if lives are not affected. Famous landmarks are destroyed for the audience’s entertainment, and there is a zero-g fight amongst the titans. All of this is packaged in this movie.

Like GvK, GxK focuses more on Kong, the filmmakers seeing the big ape as more emotionally relatable on a human scale. We follow Kong as he fights for dominance, and we sympathize with him as he is seemingly alone in the world. The big ape is nearly defeated fighting by himself. Enter Godzilla. While Godzilla is mainly pushed to the side to favor Kong’s stone, the big monster is given some good character moments, like evolving by nuclear radiation, and using the Roman Coliseum as his own doggy-bed.

Visually the film is beautiful. Wingard uses colors to a great degree here, the same as he did in GvK. Credit the visual artists for offering up GxK on a silver spectacular platter. The colouring is vibrant and visceral, the film looking like a 100-million toy commercial (in a positive light.

After the films that came before it GxK does feel a little episodic. Kong still longs for more of his kind. I think that while I liked the Skar King’s lanky appearance Ape vs. Ape was a little seen – it -before after another well known series features this. The filmmakers have a ton of baddies from Toho’s original Godzilla franchise to cull from.

Tom Holkenborg (aka Junkie XL) returns to the Monsterverse to compose music for the Monsterverse scoring GxK with his associate Antonio Di lorio

Ghostbusters (1984): Review

Ghostbusters #1

Ghostbusters is directed by Ivan Reitman and written by Dan Aykroyd and Harold Ramis. Along with Aykroyd and Ramis, the film stars Bill Murray, Ernie Hudson, Sigourney Weaver, and Rick Moranis. The film would be first in a spawned franchise, Ghostbusters technically being the highest grossing film of 1984.

Three scientists discover paranormal entities are real and form the Ghostbusters, exterminators of specters

In concept, Ghostbusters intrigues me. Two comedy writers deliver a good high concept comedy with science fiction in the 1980’s… What could happen?

As a kid the concept of Ghostbusters had my attention. Its the off-kilter blockbuster: exterminators of ghosts in New York City. I didn’t appreciate the comedy until I grew up, the humor being mostly subtle.

The film grounds itself and fleshes out the Ghostbusters origins, making the concept feasible despite being a comedic science fiction film. Each character has their quirks, like Egon Spengler’s nerdiness and Janine the secretary’s sarcasm. This makes the characters believable and unique to each other. Peter Venkman is the sar womanizer and Ray Stantz is the naive paranormal history expert.

The visual effects; probably state of the art at the time, and expensive for a comedy, are primitive for today’s standards. There is, however, a charm in seeing how these effects are handled, with combinations of practical effects, green screen work and stop motion effects in play (I’m making assumptions here).

As I said the comedy didn’t really hit me as a kid (everything probably went over my head) but as an adult I can appreciate Ghostbusters for the more subdued and refined humor. The film has a rather fast pace to it which I find rushed, as if the filmmakers wanted to get to the climax faster.

Comedy stalwart Elmer Bernstein composes the score for Ghostbusters after collaborating with director Reitman on films like Stripes, creating the musical template for the franchise. The iconic theme song is performed by Ray Parker, Jr.