"The Vomitorium" - Reviews By KMC Members

Self explanatory thread, everybody! Seen a movie lately and want to give your opinions/reviews? Do it here!

"Stacy" (2001) -

"I watch a lot of the less popular movies because you never know what you'll find". A direct quote from my co-hort, Sandy, at Hollywood Video. With those words of wisdom firmly planted in the back of my mind, as always, I didn't think twice about picking up "Stacy" from the pawn shop this afternoon. $3.99 being the main reason, I was sold on the zombified Japanese school girl, dangling eyeball appliance tactfully edited on the cover art with a "paper rip" effect. $4.20 to the clerk, dash through the door, and it's mine.

"Stacy" is a RomZomCom, manga style, where the country is dealing with an unprecidented epidemic. Girls aged 15 through 17 are overwhelmed by "NDH", or "Near Death Happiness". Serving as a bold social allegory, picked up on later, once this mysterious euphoric state expires, the girls become good old fashioned flesh eating zombies. Families are urged to put their daughters out of their misery before re-animation occurs, going as far as chopping them up and leaving them for the RMKS, or, the Romero Repeat Kill Squad. Meanwhile, in a laboratory cum girls art school, a mad scientist tries to unlock the secret behind the reanimation process. A love struck soldier, whos girlfriend became a "Stacy", a namesake carried over from the plagues 1st victim, unleashed the brood upon the city, and carnage ensues.

Upon first glance, this film looks like a pedestrian fan-film with zero credibility and a lofty storyline. Schoolgirl zombies that materialize from a phantom epidemic? It's not until the stories conclusion when we're able to acknowledge the directors true plot. Love, the lengths we go to maintain it, and learning when to let go. The girl, once smiling and giggling, now reduced to a rotting meatchopper. "If you love them, set them free", which is what's not so nonchalantly suggested by the "Repeat Kill" method of hacking the zombie cuties into 162 pieces. In the spirit of parody, Tomomatsu, throughout the film, hams up the whole "schoolgirl" fantasy to a whole new debauched level. Ask yourself; are they just as desirable with their spinal cords visibly being ripped from their bodies? Didn't think so.

While the bittersweet love story is lurking below, we're treated to a smorgasborg of gore drenched window dressing. Namely, horror film in-jokes and sight gags. As mentioned before, there's the Romero Repeat Kill Squad, who dispose of the 162 piece zombie jigsaw puzzles. Did I forget the "Bruce Campbell's Right Hand 2" chainsaw device, the preferred method of dismemberment. Not to mention a great disembowlment a la Rhodes in "Day of the Dead". Lest we forget the "Drew Illegal Kill Squad", headed up by a gun-toting Drew Barrymore in "Scream" look-alike. All female, glamorized to get across the infatuation with said characters, and call out the social ill in lusting over innocence.

"Stacy", thankfully, was a gamble that paid off in spades. A swift 80 minute film that kept me entertained the whole way through, coupled with a smart, stinging, and eye-opening social commentary, in grand Romero style. Toss in some absolutely incredible special effects, some gut-busting pokes at the Asian culture, the familiar classic American horror film nods, and you've got another unique J-Pop horror gem with all the obscure humor of "Suicide Club" and the punch of "Junk".

"Sleepaway Camp 2"

In keeping with the Horror theme, while more than satisfied in the grue department, I took in "Sleepaway Camp 2". The original, an instant cult classic with a conclusion that will live on in Horror lore for decades to come, the sequels showed signs of waivering. Kind of like the film "career" of one Pamela Springsteen. A once promising franchise, this is one camp that needed one hell of a councilor, and a barber, to keep the kids coming back.

"Sleepaway Camp 2" follows up on Angela Baker, now Angela Johnson, the genre's favorite (and only) transvestite mass murdering teenager. Angela becomes a senior concilor at Camp Rolling Hills. A few years removed from "Sleepaway Camp", her criminal record expunged, and baring a new last name, Angie, "The Angel of Death" plays tough love with a bunch of teens who've decided to go away for the summer.

The 2nd installment in the franchise was never expected to reclaim the glory or stylings of the original. Thankfully for them, there were NO expectations for this film. Basically, Angela firmly believes it's her duty to weed out the bad seeds. All the 80's Horror flick no-no's are her motivations for disposition. Drinking, smoking, fornicating, and sporting a mullet got you a one night stand with Angela's weapon of choice. Wether it be a fire pit, battery acid, or a knife, you were going to get yours.

What turned me off most was Angela's lack of enthusiasm. C'mon, you herm! These kids are breakin' the law, and all she can muster are some unenthused one liners and then play nice to the rest of the crew as she picks them off? Please. It wasn't much help that many of the kills were "suggestive", never showing the "final act". That's something this movie should have taken the liberty of doing, considering there was nothing else to keep the viewer engaged with the feature. As the cover art suggested, there were the obligatory Horror movie references, a black kid in a Jason mask complete with machete, and some mulleted assclown with a LIGHT TAN fedora and a work glove with some knives taped on it.

All in all, avoid this movie like..well..it was a "Sleepaway Camp" sequel, because in all honesty, I'm sure watching someone suffer from the plague would have been a better investment of time than this film.

"Sleepaway Camp 3"

As a disclaimer, I only watched this film because I have seen the other two, and I will be selling my "Sleepaway Camp" DVD boxed set this week. It's only for educational purposes that I know what happened. That said, how about a scathing review?

"Sleepaway Camp 3" opens with Angela behind the wheel of a GARBAGE TRUCK, mowing down a young girl in an alley, with strategically placed garbage bags. In an instance of SHEER COINCIDENCE, Angela's hairstyle matches that of this poor New York State crack fiend teenager. Imagine rapper Krayzie Bone with split ends and white streaks. Under the assumed identity of Maria Nacastro, Angela's back to kill more kids at Camp New Horizons, formerly Camp Rolling Hills, just with new management, new direction, and eclectic mix of preps and underpriviledged kids.

Camp New Horizons, this season, is playing host to a split camp of underprivileged city hoods, as well as some upper-class rich kids. Tempers flare early and often, pointless racism abounds, as does the "Sleepaway Camp" staples for Angela, I'm sorry.."MARIA" to kill by. Her tactics are even less credible and inspired this time. But, all but one person ends up getting killed, and that's how it ends.

That's it. She kills people again and gets away with it. Just like last time. Surprised? I'm not. Don't rent it. Ever. E-Mail Bruce Springsteen and tell him to have Max Weinberg beat Pamela to death with his drumsticks, just to ensure we don't get Pamela in another "Sleepaway Camp" sequel a la "Halloween: H20". I want that ***** DEAD! DEAD I TELL YOU!

"The Interpreter"

Silvia Broome, played by Nicole Kidman, has overheard an assassination plot involving an African Head of State at the upcoming UN assembly. Sean Penn, playing Agent Keller, who rightfully has his suspicions, is assigned to guard Broome as the plot unfolds. As evidence mounts in both directions, the tension builds as the summit lurks near, and the question remains unanswered. Is Kidman's character, given her past associations, in on the scheme, or a victim of circumstance?

"The Interpreter" makes for a good, intriguing, and engaging plot on paper, but when it's applied to the screen, it just doesn't pop. A conspiracy theory is set into motion, there's a solid see-saw plot that could pen this on Kidman as soon as she's cleared, which did indeed keep me guessing. That said, the actual delivery by the major players was just mediocre at best. The enthusiasm required to carry a movie with such attention to detail, and keep the otherwise heavy, interesting characters wasn't there. The pace was made even heavier by a 130 minute run time, which offered an explosion ever 30 minutes, which served as a "Still there..?" alarm to the bored.

Nicole Kidman had been lending herself to more adult, artsy films, and while not a thriller/adventure staple, she clearly didn't convince me, other than being an interpreter of foreign languages. Sean Penn, on the same token, disappointed me. He has the power to grab people through the screen, having done so most recently in "Assassination of Richard Nixon", but his character, too, seemed to be on auto-pilot. The excitement just wasn't there, nether was the necessary pacing, nor the engaging storyline necessary to carry the film at the runtime alloted. Maybe at 100 minutes, cut out some of the Broome backstory which seemed repetitive, as did the Cat and Mouse game, this film would have worked.

"My Summer of Love"

Based on the novel by Helen Cross, "My Summer of Love" chronicles two young women from two totally opposite sides of the spectrum. Mona, a tomboy born into a broken home, headed by her brother, who can't shake a violent past, meets Tasmin, the pampered, mysteriously engaging prep scholar. The two, having led similar lives in the respect of being sheltered or unable to explore their own worlds, spend the summer becoming closer than they ever expected, opening up doors they never knew existed.

In all fairness, an IMDB reviewer had claimed that "You don't have to be a lesbian to enjoy this film!". This film has universal appeal, and in its uniquity, there's something that appeals to EVERYONE. For everyone, there's one person who can change your entire existence. This was pulled off MASTERFULLY by two young actresses in Nathalie Press (Mona) and Emily Blunt (Tasmin). While Mona settled and reveled in the small world she knew, Tasmin created her own, becoming a self proclaimed fantasist. The two complimented one another flawlessly in their craft.

"My Summer of Love" ran the gambit of exploration in human companionship. The two shared a friendship, found what they had in common. That evolved into a special understanding, in that they were both alone, never having the opportunity or bravery to venture. From that, they found true love with one another, complimented by acknowledging one another's beauty. Not the aesthetic beauty, or the superficial, puppy love like so many would associate with a lesbian, or summer fling. Mona's life took a violent turn, as her brother, a born again Christian, had to face his demons after a confrontation, sending Mona back to Tasmin after her brothers imposed exodus, she, who's flaws were exposed, leading to an awakening for Mona.

The ending was surprising, and while hard to understand at first, it was ultimately poetic and made perfect sense. As a fan of independent cinema, this one comes highly recommended for those who want a very convincing drama, that you'll come away from enlightened and more understanding in regards to something that isn't as taboo as suggested, after viewing.

"The Lost World" (1925)

Long before "Jurassic Park" and its sequels, there existed the Harry Hoyt helmed "The Lost World", based on the book by Sir Arthur Conan Doyle. This, a silent era Sci Fi film, set the standard for movie monsters to come such as "King Kong", "The Mighty Joe Young", and even Godzilla, in the way of stop motion special effects. Professor Challenger claims to know of a "Lost World", an island in Brazil that he swears hosts these prehistoric creatures, but alas can give no proof to the London critics. Funded by reporter Edward Malone's publishing company, he, the professor, as well as the daughter of now Lost World inhabitant, Paula White, and Sir John Roxton set sail for the dangerous plateau.

Silent era Sci Fi films are a rarity. Sadly, of the 9 existing prints of the film at the time, each was equally as haggard as the other, so much so, a complete, original version of Hoyt's film no longer exists, but was pieced together fluently by Image. There's a solid story of excitement and expedition, complimented by the old school physical acting of the silent players, and of course the tribulations brough forth by the (at the time) realistic looking dinosaurs. While the film isn't a masterpiece, it's still fun to watch, and serves as a cornerstone in special effects in cinema.

"The Gold Rush" (1925)

Charlie Chaplin had mentioned that this was the film by which he wish to be remembered, and for good reason. A literal genius in the arena of slapstick, in the film, the Tramp finds himself wandering about the Klondike in search of gold. Instead, he stumbles upon a wanted felon, a cabin with a hungry inhabitant, and the love of his life. Of course, madcap slapstick is soon to follow, and it all works out in the end.

This, surprisingly, is my first exposure to the work of Charlie Chaplin. "The Gold Rush" is the epitome of perfection in slapstick. The physicality he exuded, necessary to pull off such a demanding genre film, wouldn't be topped until America was introduced to the Marx Brothers, who also had witty banted to rely on. Charlie didn't. A silent film comedy icon, he used all his tools. From his shy cunning, his bushy eyebrows, to his exagerrated, eccentric attitudes, and genius in storywriting. He was the total package.

The film was sheer fun from beginning to end, and it showed on the face of Mr. Chaplin, and when you can literally see someone enjoying their craft, recognizing their own potential, and going above and beyond it, you know you're getting their all. The film seemed so fluid, as if he asked his co-stars to just play along with him, not having to dig deep for motivation, just acting naturally, as it seemed he did. That's love, and that's Chaplin.

"Kicking and Screaming"

Competition. It's all too familiar between fathers and sons in the arena of sports. Take for instance Phil Weston (Ferrell). His father Buck(Duvall) is accustomed to winning. He's a local legend, has his own sports emporium, and now, having traded his grandson to a winless team, forced to match wits with his own son, the new coach of the Tigers. Like his father, Phil subconsciously becomes his father, applying the same "win at all costs" attitude toward a deviant soccer team. At the same, his own son feels the sting of getting lost in the competition.

"Kicking and Screaming" would have worked with virtually anyone at the lead, because Will Ferrell's talents were wasted here. A role as interchangable as the plot, having been visited in "The Bad News Bears", "Ladybugs", and countless other rags to ritches kids sports team stories. It's a family movie, the characters are all relatable, there's a message at the end, there's identifiable hardships, and some adult humor to keep the elders in check. Otherwise, it's a very mediocre movie, with very little substance.

Mike Ditka was surprisingly entertaining, and dare I say ended up OUTSHINING WILL FERRELL!? Did I just say that? Indeed I did. So, unless you're under the age of 14, have kids that play sports, or will see even the worst of Will Ferrell's career moves, I'm not suggesting this one.

"Fever Pitch"

Introducing Ben. a local Boston high school math teacher, and absolute die hard Bo-Sox fan. Ben meets Lindsey, a corperate suit who at 30, has been waiting to settle down. Lindsey thinks she's found her perfect match, that is, until baseball season comes around, and Jimmy Fallon's Ben becomes a whole 'nother person all together, allowing baseball to consume every facet of he and Lindsey's (Barrymore) life.

Going into this one, I didn't expect much, if anything at all. It was a very fresh approach to what we consider the modern day date movie. I was appreciative of the unique approach, with the thematic chapters, like a baseball season, only relating to relationships. I found the situations were CREDIBLE, and not exagerrated for effect. There were differences, hard times, and the all too familiar scene of teaching your girlfriend about sports so that she can follow, lol. It's nice to see actual PASSION for things in movies like this, not just lust and puppy love. Jimmy Fallon was fun to watch, Drew Barrymore seems to have matured over the years, and Ben's "extended family" at Fenway were always entertaining, as was his not too far fetched devotion to the team.

All in all, yeah, it's a good date movie, and a solid 105 minutes well spent with a significant other. It'll hit home even harder for sports fans and Red Sox fantatics, especially.

"A History of Violence"

Tom Stall is an everyman. That's the impression you'd get from your first glance at the Viggo Mortensen helmed character. The Stall clan resides in the sleepy little town of Millbrook, Indiana, where they own and operate a anytown coffee shop. Before closing one evening, Tom is approached by a couple of would be robbers. With undue provocation, Tom leaps into action, seemingly unassumingly, given his demeanor, albeit, comfortably. That evening tugs at a thread, subsequently unraveling a spool of questions in an interrogation brought on by Ed Harris as Carl Fogarty.

David Cronenberg's films are usually best when he has full creative control, as he did with "The Brood", "Existenz", "Scanners", and "The Fly" to name a few. This time, he assumed "the chair", so naturally, the following tirade is not entirely his fault. Cronenberg, who is bluntly hit or miss, with the respective extremes. "Violence", on the whole, was a unimpressive film. The Atlas of the film, Mortensen's Stall was one dimensional. Unassuming, but nothing to lend to his credibility as a once troubled individual with ties and a disposition. Maria Bello's wife-figure inherited the range for most of the cast.

Having been touted as a suspense, there was virtually none to speak of. A one minute standoff with his son in holding was about as "guess what happens next" as the movie ever got. Naturally, almost like a poor man's "Bourne Identity", Stall flipped on the Hulk switch, and the scene deviated to violence you knew the outcome of from the beginning. Gore galore. The signature Cronenberg stylings were, at times, out of place, uncomfortable, contrived, and at times, totally uncredible. It took some guesswork to determine wether or not Tom's son, Jack, would act violently against provocation, testing Tom's morals, which, in the final act, we come to find are no better than they were before "the change" occured.

Style over substance seemed to be a reoccuring theme in this film. Sex and violence sell, obviously. Too bad movies can't have cohesive, engaging stories to keep themselves rolling. That's one Cronenberg styling that was missing from this one. Quality. Instead, we got a boring, predictible thriller with scenes of questionable "ooh" enducing violence and forced sex scenes to make us forget that the story was really over, and you could have drawn your own conclusion, and had been right, about 45 minutes into the movie.

"Unleashed"

The Luc Besson penned drama/actioner "Unleashed" is the story of Danny the Dog. Subserviant since his capture at the hands of Bart, one Bob Hoskins, Li's character had been held in a dank underground cage. Used as a literal human weapon, for anything from extortions to fight night payoffs, that was the only way of life Danny had known. When a supposed mob hit was taken out against his captor Bart, Danny escaped, and re-united with a friend in Morgan Freeman, a piano tuner who takes him in with his step-daughter. A craft that held some relevence we'd come to find. Danny, having started a new life, was enjoying his new found freedom, when Bart set out to look for his lost dog. Unwilling to abandon his "normal" life, Danny is determined to fight for his freedom and make Bart understand that he no longer serves any master.

In only their second film together, the combination of Director Louis Leterrier and Writer/Director Luc Besson, make sparks once again. A entriguing, unique story with some real drama, real struggle, credible characters, heartfelt emotion, signature Besson cinematography, and what was probably most surprising, a great pace for a mutt of a movie, considering its elements. This is probably Jet Li's best movie. His mannerisms were on point, and as an ACTOR, he's grown. Bob Hoskins, whom I admittedly haven't seen enough of, was brilliant as well, and of course Morgan Freeman's resurgence is unstoppable.

For such a rich story, it's very easy to follow, which I appreciated. Danny's taken captive, literally bred as a dog, he escapes and makes a new name for himself, is re-captured, but has become self-aware, and can distinguish right and wrong, and that violence and vengeance aren't the most fulfilling forms of retribution. The collar's significance, we'd find, was mental, and poetic in the end. A very nice conclusion.

There are scenes that will make you cringe, scenes that will make you laugh, and those that will take your breath away in the way of choreography, courtesy of Master Woo Ping. All in all, it was a very satisfying movie with a great soundtrack, a unique and enjoyable tale, characters with depth and pull, and a well polished effort from one of my favorite writers of all time.

"The Specials"

For a while, a dysfunction group of semi-super heroes called "The Specials" were the jobbers of the crime fighting industry. Called in when absolutely nobody else was available, The Strobe and crew leapt into action. When The Specials' big break comes in the way of a new action figure deal, it all pretty much goes to hell, and becomes the biggest test for this band of not so super heroes yet.

With "Mystery Men" having flopped a year earlier, "The Specials" fate was sealed before it was even released, settling for a video release from Pioneer Entertainment. Sadly, this film I found, was sorely underappreciated, and what "Mystery Men" SHOULD have been, given its roster. "The Specials" boasts a slew of names that ended up making it big. Oscar Nominee Thomas Hayden Church, "West Wing-er" Rob Lowe, funnyman Jamie Kennedy, and the lovely Jordan Ladd of "Cabin Fever". A SOLID cast, better than expected for a B movie.

The cast, as we've established, was great. Performances, especially. The story was HILARIOUS! This group has to deal with an egomaniacal leader, a misanthropic Nightcrawler wanna-be, a happy-go-lucky lesbian who babies a supposed alien shapeshifter, extramarital affairs, money crunches, infidelity, heroes leaving for other factions, aaaaaaand a new girl whos super-power is laying eggs. The toyline in itself is absolutely uproarious. It's a movie that says "superheroes go through shit too", albeit, it's much funnier than our everyday lives.

Fans of super-hero movies, cult cinema, and just wacky Saturday afternoon UPN material movies need not pass this one up any longer. It's smart, funny, riddled with parody, and totally, totally enjoyable if not for just "The Specials" toy commercial.

"Me and You and Everyone We Know"

Miranda July's loaded directorial debut film takes on many facets. An adults inability to connect in what seems to them as a cold and distant world. Children growing up too fast, and how innocence is becoming lost way too soon.

Frankly, I was disappointed, as the trailers for the film made it out to be a totally different piece. Instead, the interesting characters were relegated to the backstory, and what ended up being pushed was a dry, disturbing look at how children today are making themselves grow up too fast, robbing themselves of their own childhood. The sexual exploration in the film were supposedly "dark comedy" in essence, but came across very uncomfortably, unnecessarily, and clashed with the adult theme of the film, which kept the story interesting, but was spoiled being relegated to the subplot.

In short, "Me and You" had no direction, and it had no frame. While the films personal inspiration was evident, it was unfulfilling. Smart and independent in nature, but at the same very lost. Esoteric and sometimes existential, it just wasn't for me.

"Undead"

Chunks of Haley's Comet have broken off, resulting in massive meteor showers that befall a small fishing community in Australia. The result? People are mutated into flesh eating zombies. The remaining few survivors, including an ammo shop owner and the town beauty hole up to fight off the infestation. When members of the remaining crew are suddenly abducted, things get a whole lot more complicated.

"Undead" has been available only in Australia and possibly the UK until now. I've been in possession of a DVD-R, thanks to James/Tabby999, but never got a chance to view it in its entirety. Suffice to say, I thought it was a brilliant and refreshing take on the genre. The combination of extra-terrestrials and the zombie beings WORKED, and it's hard to believe what was pulled off in the film was possible with such a low budget. Fantastic special effects, a very original plot, regardless of the all too familiar opening, and it was credibly acted all the way through with some memorable characters.
This is Australia's first venture into said genre, and hopefully it won't be their last.

What makes the film stand out to me, from an otherwise totally diluted genre is the story development. It has to be seen to be understood, because it's just so unique, and flowed so seamlessly.
Again, considering the budget, it's a real treat to see first time filmmakers with such a great idea culminate with pleasing special effects, great make up applications, and ultimately present a film that you can see was a blast to make.

"Undead" is available on DVD in the US on 10/11

"11:14"

"11:14" is an independent movie from Writer/Director Greg Marcks. Originally released in 2003 on the indie film festival circuit, the movie is in the same vein as "21 Grams" and at times "Crash", relying on reverse chronology to make the story complete. Taking one characters involvement to its climax, introducing the next characters part, and so forth, until we realize everyone played a small but intrigal part in the outcome. Pre-dating "Million Dollar Baby", the film stars Hillary Swank, Patrick Swayze, Henry Lucas of "ET" fame, Rachel Lee Cook, and Colin Hanks.

From first glance, "11:14" looked to be a total "Crash" clone, only with a murderous twist. Boy, was I wrong. Marcks' film managed to be original and stylish, even in a genre that has had its fair share of copy cats. It had a sensory heavy plot which was laid out and followed through with with ease. Guesswork was minimal, and he managed to get you to be wholly interested in everyones role. The characters were as incredibly original as the situations in which they were thrown into. Said goings-on, coupled with the score, led me to believe that this was actually a very dark, sinister comedy of sorts, which had me relieved, as I first thought it was a serious suspense film of sorts.

Like so many independent features with little to no promotion, "11:14" is a little known gem that will remain such. There's very little else that I can actually critique without giving away plot points and spoilers, so I am recommending the film to everyone reading this review. It's just so different, refreshing, and paced so flawlessly, I don't know how you couldn't like it.

"Demons"

Lamberto Bava, son Italian Horror director Mario Bava (Planet of the Vampires), presents "Demons". A mysterious man invites people in West Berlin to a sneak preview of a new horror film. As the viewers curiously become overcome by a demonic spirit, the rest must fend for themselves.

Bava enlisted the help of Dario Argento with this one, and even he couldn't really save it. The film wasn't absolutely horrible, in fact, it was fun, but in typical 80's Italian horror fare, it was a cheese fest. The soundtrack boasted tunes from Rick Springfield and SAXON of all bands. How's that for a contrast. The storyline was fun, and the premise was "art imitating life", as if the viewers were watching the movie version of their own bizarre experiences. The dubs were bad, the acting worse, which leaves the make up and special effects as the only decent part of the feature, thanks to Mr. Argento. We can always count on Asia's daddy for more gore.

"Z Channel: A Magnificent Obsession"

California's Z Channel was the nations first pay cable channel. Their programming, headed up by Robert Altman was indie friendly. Playing some of the greatest films that nobody ahd ever heard of, as well as allowing his personal tastes influence programming, Z Channel thrived. In the late 80's, fearing the demise of the channel, Altman took his own life and that of his wifes. This is his story. His magnificent obsession with film.

"Z Channel", directed by Alex Casavetes was a FANTASTIC look into the history of the famed Z Channel and its programming. Altman's dedication and appreciation for cinema in all its facets was something I could relate to, but never fully mirror. His influential programming, and great taste in movies made him a cult figure in the movie and television industry. There were some rich interivews with Quentin Tarantino, Andrei Rublev, Ridley Scott, Penelope Spherris and more, all waxing nostalgic on how he directly made an impact in their lives.

It's a beautiful chronicling of a champion of cinema, including his sad and tragic underlying dark side. It's a very brisk 2 hours, packed with lots of fun for the cinema-addicted.

"Batman Forever"

In the 3rd installment of the "Batman" franchise, Director Joel Schumacher takes up the chair with Val Kilmer as the Dark Knight. Batman takes on dual responsibilities as he faces off against The Riddler, an ex-Wayne employee and Two Face, both who want to run Gotham City. The film also introduces Dick Grayson, better known as Robin, who Batman takes under his wing (no pun intended) and shapes his potential sidekick.

"Batman Forever" was just a boring movie. Schumacher left his bag o' explosions and granduer at home, apparently. The characters were equally as bland, The Riddler was unfunny, Two Face was just drab, his love interest was as wooden as the dialogue shared between the two, and there really was no plot, other than keep Gotham safe. No major threats, no nothing. Sure, the Robin backstory was interesting, but even that seemed a little rushed and hokey.

Kilmer was a great Batman, but a horrible Bruce Wayne, so do yourself a favor, and just rent "Batman Begins" next Tuesday.

Already a step ahead of you. Rented it today, I love my illegal rental chain that releases movies a week in advance.

"Natural Born Killers"

Penned by Quentin Tarantino and directed by Oliver Stone, "NBK" follows the murderous duo of Mickey and Mallory Knox on their murderous rampage, and subsequent onslaught against the media that forced them to live up to a fabricated legendary status. Careful to leave one person alive to tell their tale, on down Route 666 they headed.

"Natural Born Killers" is an exercise in complete cinematic freedom. Literally no director in their right mind would combine the elements of "NBK" and think they'd come out coherent, much less find actors to pull it off. That said, Woody Harrelson and Juliette Lewis are the ultimate acting compliment. Their chemistry was through the roof on this one. Another strongpoint was the dialogue, a fair amount written by Tarantino, the rest was Stone, given it was his cut of the film. Great supporting performance by Robery Downey Jr, as the overzealous "myth making" reporter, and the fuel for the Knox's media firestorm.

The glue that held together this incredibly visually stunning piece was the cinematography. Every single trick in the book was thrown into this one. Melds, psychadelic shading, freeze frames, color filters, warping, audio delays, gaphic ANIMATION. You name it, it was there, and made the film, frankly. It was a bizzarre trip of a film, one that seemed to change directions at the midway point, losing some steam, but thankfully picking up at the end.

If it's been a while since you've seen this manical masterpiece, treat (or subject) yourself once more and get a taste of avant garde cinema.