I was pleasantly surprised with what Netflix did with their version of Tarzan and Jane, ditching much of the baggage that had accumulated over a century of books, movies and television shows, all dealing with the world’s most famous jungle man, by taking the fresh premise of Tarzan and Jane meeting as teens and becoming…
Author: Mike Brooks
Film grad who spends most his time trying to catch up on his "To Watch" pile of movies.
Upgrade (2018) – Review
With advances in computer/human interactions reaching levels that surpass even what we saw on shows like The Jetsons, with Siri, Google, and Alexa invading millions of lives, it’s not surprising that we are going to get more “fear of technology” themed movies. In 1968, Stanley Kubrick’s 2001: A Space Odyssey gave us the chilling HAL…
Mandy (2018) – Review
If your response to a religious cult burning your wife alive is to forge a badass axe, hunt them down, and violently murder them all, you should take a look in the mirror because you might be Nicolas Cage. When one settles in to watch a Nicholas Cage movie, it’s a good idea to know…
The Happytime Murders (2018) – Review
In 1988, Walt Disney Productions released the classic film Who Framed Roger Rabbit, a movie about a world where humans and cartoons coexist. A year later, Peter Jackson gave us an R-rated puppet movie called Meet the Feebles, a film full of puppet sex and violence. Now, thirty years later, Brian Henson, son of legendary…
Blood Fest (2018) – Review
When making a meta-commentary on a genre, is there a line that shouldn’t be crossed? When Wes Craven gave us Scream, with its rule-spouting characters, the self-awareness of genre clichés was somewhat fresh, but now, post-Cabin in the Woods, the subversion of the genre has almost become a cliché in and of itself, and herein…