365 Days: This Day (2022) - Movie Review

I’m not going to say that I was looking forward to this film in any reasonable fashion; after how disastrously its predecessor turned out, that’d just be dishonest of me. But between the thoughtful examination of sexual liberation in X, and me re-examining my understanding of films primarily targeted at women off the back of How To Please A Woman… I’m at least open to the idea that this film could be a little easier to sit through. And to a degree, it is… but only in one specific aspect. Everything else has somehow taken a turn for the even worse.

The Exorcism Of God (2022) - Movie Review

Well, here’s a little curio that I stumbled upon. While skimming through YouTube for new film releases to review, I came across the trailer for this film, which included the scene of a demonic Jesus jumpscaring a priest. I am nothing if not easily intrigued, so I decided to check it out. I went in expecting something campy and, considering the over-saturation of the sub-genre, been-there-done-that, and that is definitely what I got… along with an especially foul taste in my mouth.

Chip 'n Dale: Rescue Rangers (2022) - Movie Review

Along with being a certified cinematic classic, and one of my personal favourite films, Who Framed Roger Rabbit? has become quite influential in how modern tentpole cinema is marketed nowadays. From Ready Player One to Ralph Breaks The Internet, right down to Avengers: Endgame, the big studios have been banking on productions that exist primarily for crossover potential between the different properties that they own. Except, while its position as an intercompany crossover is certainly part of the appeal (seeing Bugs Bunny and Mickey Mouse on-screen together still carries a certain childish thrill to it even today), Who Framed Roger Rabbit? was about much more than just the crossovers. Up to this point, it seemed like it would be one of many Hollywood successes where all the wrong lessons were taken as to why it was successful, just so modern studios can try (and repeatedly fail) to recapture that magic. Well, until this film, that is.

Jackass 4.5 (2022) - Movie Review

Well… I said I’d review this when it came out, and while I’m a little late to the party on this one, I’m holding up my end of the bargain. Except how does one review what is essentially behind-the-scenes footage combined with B-roll that’s been pressed into a feature length? I try not to pat myself on the back too much for what I do around here, but being able to squeeze out a lengthy-ish and informative review about this shit deserves credit (and that goes for everyone else who’s managed to do the same).

How To Please A Woman (2022) - Movie Review

I don’t have the best history with ‘chick flicks’. Not just with the ones I have reviewed on here, but with my general attitude towards them as well. In the past, I’ve lambasted quite a few features that fall into this heading for being empty wish fulfilment fantasies, which I perceived as talking down to their intended female audience with how contrived and basically gutless they came across. But then look at how many power fantasies I’ve reviewed that cater to the more masculine set, which arguably suffer from the exact same deficiencies, where I don’t tend to make such judgement calls. Or, at least, don’t make them nearly as often. If I had to guess, I think one last sliver of influence from the Nostalgia Critic is hanging on for dear life, as I initially got quite a bit of my perspective on the sub-genre from him, and… well, I’ve been doing this critical gig for many years now; what is a teacher if not someone to grow beyond?

I’m bringing this up both because this is something I’ve been wrestling with for a while, especially when looking at films like this, and because what appeals to women and the futility in making any blanket statements on the matter are some of the central themes of this film in particular. It’s an Aussie romantic comedy with a very Aussie approach to all things sex, where the frankness and lack of flinching about what gets discussed makes for quite refreshing material.

Last Seen Alive (2022) - Movie Review

The latest B-movie product starring Gerard Butler starts out with a decent enough idea. Will (Butler) and his wife Lisa (Jaimie Alexander) pull into a gas station, and while Will is filling up the car, Lisa… disappears. With nothing to go on, and a lot of hard scepticism in his way, Will sets out to find her. For an action-thriller, it’s a very Neesonsploitation premise, but the framing leans more into the ‘thriller’ side of that genre heading. A loved one vanishing (heh) into thin air, not having a clue where they went and not getting any help; even on paper, it sounds exhausting, so surely, it’s gotta work on the big screen, right? Well, it’s not as if this is the first time an American version of The Vanishing didn’t work out.