Minions: The Rise Of Gru (2022) - Movie Review

Illumination might be in trouble. While they’ve certainly found their lane with a mixture of old-school animated slapstick and embracing the popularity of villains, their most recent features have been the epitome of diminishing returns. Their take on The Grinch was okay, but not exactly going to replace Jim Carrey anytime soon, the Secret Life Of Pets sequel was closer to a pilot for a TV show than its own film, and Sing 2 showed a noticeable drop from the rousing effect of the original. At this point, it’s easy to argue that the studio should stick with their prime cash cow (the Minions), since their ability to deliver with other franchises isn’t working out… but as their latest has shown, even that is in question.

Men (2022) - Movie Review

I love fucked-up movies. To me, there are few feelings I love more than when I’ve just finished watching a movie, and my first instinct is to scream “What the fuck did I just watch?!” while sporting a massive grin on my face. I’ve looked at quite a few films on this blog that have genuinely gotten that reaction out of me, like The Greasy Strangler, Malignant, Where The Dead Go To Die, and Titane, and the experiences I had watching them for the first time are memories I hold onto quite closely. But when the latest film by Alex Garland, whose last two films were certified sci-fi king hits, popped up in a cinema close(ish) to me, I can’t say I was expecting it to join that illustrious collection. But sure enough, here we are.

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.