Wednesday, 21 June 2017

Commando



Title: Commando
Director: Mark L. Lester
Released: 1985
Starring: Arnold Schwarzenegger, Rae Dawn Chong, Dan Hedaya, Vernon Wells, James Olson, David Patrick Kelly, Alyssa Milano, Bill Duke,

Plot: Retired Commando John Matrix (Schwarzenegger) has settled into an isolated life with his daughter (Milano), only to find himself being forced to carry out a political assassination when his daughter is kidnapped. Now Matrix has eleven hours to rescue his daughter from her kidnappers.


Review: Having launched himself into the public conscious with the Conan movies and “The Terminator” with this film we really started to the see the foundations of the Arnie formula starting with his introduction in this film consisting of close up shots of his muscular frame which only seem to make everything seem bigger and more impressive than it is. Even the chainsaw which looks pretty tiny when we see it, looks like its 6 ft long in its vanity shot.

The opening shot of Schwarzenegger carrying a log over his shoulder is such an iconic shot and feels almost like the studio introducing a major star being introduced  and it could be considered so seeing how compared to the films which came before it, it’s tonly very different with Schwarzenegger trading in the sword and sorcery antics of his early films (Conan / Red Sonja) being changed out for one liners and heroic gunplay which would become the foundation of the classic Schwarzenegger movie formula. Its only on rewatching the film that you also realise just how bonkers that opening title sequence is as we go from shots of the all powerful, man of the earth to shots of Matrix and his daughter getting ice cream and hand feeding a deer, which while important to show the life that Matrix has made for himself since his retirement from the special forces tonely is just such a random switch.

The plot itself is paper thin and really only serves to guide the audience from one exciting moment to the next, especially when Matrix has to do very little work to find his way to the villain Arius’s (Hedaya) hideout on the fictional Val Verde which was also referenced in both “Predator” and “Die Hard 2: Die Harder” which like this film needed a Spanish speaking country like Cuba or Nicaragua but at the same time wanting to avoid any potential diplomatic issues. Sadly the film really lacks a defined villain so it ends up that the henchmen here are actually more interesting than Arius with of course the most key being Vernon Wells “Freddie Mercury on steroids” Bennett another stone cold psycho as Wells channels the same kind of driven intensity which made “Wez” in “Mad Max 2” such a memorable villian, though the questionable fashion choices remain present as here he trades in his ass-less chaps for a chain mail vest! His knife fight with Schwarzenegger though at the finale is the stuff of action movie legend.

Of course the Arnie formula isn’t quite perfect at this point as Matrix is not only shown as being the muscular badass but also capable to superhuman feats of strength such as the ability to tear phone boxes out of the ground or throw nine mall security guards through the air. The strength element is always played down usually with Schwarzenegger’s body size being more of a key element than any kind of strength. These moments as a result end up being pretty jarring when they occur though this film more than nails is the ridiculous elements of heroic gun play which in turn would form the blueprint for the action movie genre.

The action scenes are unquestionably the best parts of the film and only build as the film goes on from a hotel room fist fight with Bill Duke’s green beret (he eats them for breakfast) hanging David Patrick Kelly (who looks comically short throughout) off a cliff. The grand finale being the now legendry shootout with Arius’s personal army which see’s Matrix not only getting to pull out all the “War Toys” but also fire countless bullets without ever having to reload but also find something to turn into a weapon regardless of how cornered he appears to be. The body count alone for this finale might be one of the largest ever filmed.

The other noteworthy aspect of this film and certainly its most overlooked come from Rae Dawn Chong’s unlikely sidekick and air hostess Cindy who is initially unwillingly coerced into helping Matrix get his daughter back only to turn out to be surprisingly resourceful let alone perhaps the first ever member of the “Girls with Rockets” club by taking out a police truck with a rocket launcher. Why is it so rare to see women firing rocket launchers or similar in films? Certainly its a question which came to me when I was on the “Exploding Helicopter Podcast” discussing “Hard Ticket To Hawaii” and lead to me creating a list on Letterboxd to log every film this happens (feel free to name your ideas) so its safe to say thats this film should also get a credit for being so forward thinking to have her weld such a traditionally male weapon with just as much competence as her male counterpart….even if she does initially have it the wrong way around.

A fun side note is that originally this film was going to have a sequel which would have been a reworked version of “Die Hard” and seen Matrix being hired to head up a security team at the big corporation were his daughter is also working as a lawyer. Matrix would make up a team of the toughest and most dangerous people he knows only for them to turn out to be inline with the company he’s working for which is really just a front for illegal arms deals. Matrix of course ending up to fight through all the people he hired to rescue his daughter again which sounds like a great plot but at the same time its hard to argue against how “Die Hard” ultimately turned out. Who knows maybe this will be the plot of “Expendables 4”

For mindless fun this is unquestionably one of the key Schwarzenegger films and one whose cult status has only increased in recent years. Here though we get everything we want from an Arnie movie and while it might not be perfect there enough mindless violence and action to make for the perfect popcorn movie.

Tuesday, 6 June 2017

Buffalo '66



Title: Buffalo ‘66
Director: Vincent Gallo
Released: 1998
Starring: Vincent Gallo, Christina Ricci, Ben Gazzara, Mickey Rourke, Rosanna Arquette, Jan-Michael Vincent, Anjelica Huston

Plot: Released from prision after serving five years for a crime he didn’t commit, Billy (Gallo) is keen to get his life in order starting with a visit to his parents. However to maintain the lie of his whereabouts all this time he kidnaps tap dancer Layla (Ricci) to play the role of his fiance.

 

Review: The debut film from the man of many talents Vincent Gallo and who here writes and directs the film, though if your to believe Gallo he was also responsible for the cinematography aswell.

Made on a shoestring budget of $ 1.5 milion this aggressive little indie film is not one for those of use who watch films for escapism or to generally not feel like garbage by the end credits for this is far from the happiest film as Gallo crafts a film full of hate and vitriol as Billy is introduced angry and carries it through for nearly the whole film as he angrily searches for a bathroom, argues with his parents and even gets angry at Layla for daring to actually have feelings for him. That being said though in Gallo’s world view everyone is seemingly just as angry.

A favourite of not only the critics where it appears frequently on the top 50 lists of independent cinema but also the majority of Letterboxd reviewers whose glowing reviews for this film made me wonder if I’d stumbled into a different movie as this was far from the most thrilling cinema going experience as instead I found myself feeling like I was locked in a filthy room with only a single Kleenex to clean up. Honestly I wasn’t sure what there was to enjoy about a film were for the first hour it just seemed to be a stream of people determined to let each other know just how much they hated each other.

Of course there have been other equally grim movies such as “Requiem for a Dream” and “Irreversable” that dare I say I’ve enjoyed, but with those it was clear that there was a destination they were heading towards and that it wasn’t just some demented experiment in endurance that the director was seemingly trying to craft. It’s here of course that I find the biggest question mark about the film in that its unclear what Gallo is actually trying to achieve here other than fuelling his own ego as throughout Gallo ensures that he constantly the focus of the film while the now legendary fallout from the film which saw Gallo claiming that he carried Ricci while refering to her as being a “Puppet”, he also blamed Anjelica Huston for the film being turned down by the Cannes film festival.

As a lead character Billy makes this far from the easiest experience to get through as there is no one that he won’t pick an argument with or shout abuse at and while Gallo might with painful tedium strip aware these layers of aggressive armour as the reasons are revealed from the abusive family home which is layed on thick for if you couldn’t tell by the general bitterness around the family table Gallo throws in a flashback to Billy’s father killing his puppy when he didn’t clean up after it. We also flashback to the events surrounding his imprisonments was he’s interrogated by his bookie Mickey Rourke whose surprise appearance here was one of the spattering of high points scattered throughout the film.

Ricci’s Layla makes an interesting counterpart to Billy as represents the light in this world, even though her lack of concern for her situation let alone willingness to go along with Billy’s plan remained a sticking point for myself especially when Billy is just so continually aggressive towards her only to suddenly fall for her in a moment of sickening smaltz because of course she’s the only one who can save him from his own darkness. Still despite the cliché path for her character here Ricci still manages to craft several moments throughout the film such as a spontaneous tap dance at the bowling alley. But with her doe eyes and general manic-pixie-dream girl aura around her its hard to not like her character

While the film might be a slog to get through it does however incorporate some interesting visual ideas into its cinematography to hold your attention with the best of these coming at the finale were we get to enjoy freeze frame gunshot wounds as the camera moves freely around the frozen figures. For all the flashy camera work though, it often feels like more of a distraction for the general unpleasent tone throughout this film.

Sure this fans might have its fans but like its leading man this was one film whose appeal was lost on me.

Sunday, 4 June 2017

MBDS Showcase #49 - Dog Soldiers / Cannibal Holocaust



Fellow Brit Zoe (Zobo With A Shotgun) joins me for this latest episode to share her love of all things dark and twisted which formed the basis of her site. 

On this episode we look at British horror with Neil Marshall's "Dog Soldiers" aswell as the notorius former video nasty "Cannibal Holocaust"

We also discuss the censorship and the darker side of horror, living near horror movie sites and Zoe reveals which horror icon she'd most like to take for a pint.



You can find the full MBDS Showcase movie list here

Opening Theme: "Hyperfun" - Kevin Macleod (http://incompetech.com/)

End Theme: "Out of Limits" - The Marketts


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Saturday, 27 May 2017

Zoom



Title: Zoom
Director: Pedro Morelli
Released: 2015
Starring: Gael Garcia Bernal, Alison Pill, Mariana Ximenes, Tyler Labine, Jason Priestley, Don McKellar, Claudia Ohana, Jennifer Irwin

Plot: A comic book artist who works in a sex doll factory, a model who wants to be a novelist and an egotistic film director discover that their lives be more inter dimensionally linked than they realised

 
Review: A random little indie film which seemingly slipped under the radar only to randomly turn up recently on Sky Movies in their independent cinema section, but at a loss for something to watch recently I thought I would give this a watch if only to cross off another Gael Garcia Bernal title off the watchlist.

Crafting the sort of tale that we’d expect to come from the mind of Charlie Kaufman, this is certainly an ambitious concept that director Pedro Morelli attempts to tackle for what is only his second film. Still here he attempts to craft this interconnected not to mention interdimensional tale which switches back and forth between its three leads.

First we have Emma (Pill) a comic book artist who works with her boyfriend in a sex doll factory, while she harbours her own fantasies of a comic book heroine figure. At the same time she is writing a comic book about the chauvinist director Edward (Bernal) unaware that what she is drawing is actually happening in Edward’s world.

Edward heads up the second plotline in particular him being struck down with a micro-penis thanks to some vengeance alterations on Emma’s side. Keeping in tune with the comic book theme his segments are all shot using rotoscoping which adds a unique element to the film and perfectly suits the reality he’s living in. Edward also provides the link to the third plotline with his film being about the model and aspiring writer Michelle (Ximenes)

Michelle’s story is also one of the weakest of the three as she has spent her life getting by on her looks, only to find that no one including her boyfriend Dale (Priestley) believe in her abilities as a writer. Of course the book she is writing also happens to be the one controlling Emma’s reality bringing everything full circle….still keeping up with us?

Initially this was film which didn’t sit with me and it was only after the first thirty minutes that it really clicked and all started to slowly pull together. It’s key to note this as I can see this being a film which a lot of people could dismiss on that opening half hour which serves to introduce the three plot lines while at the same time with perhaps the exception of Emma neither of the other two leads exactly jump out and this sadly remains the case for Michelle’s story which remains pretty much a non-starter throughout.

The main issue for Michelle’s story is that for the most part it feels like any “discover yourself” style story, as she skips out on the luxury apartment and good looking boyfriend to escape to Brazil to write her book, along the way of course discovering this sense that she doesn’t need any of the finary. Its the kind of story you can plot out pretty soon after it starts and its really once the worlds start to blend during the finale that things actually get interesting for her character. In fact its the moments of blending between the worlds that provide the actual moments of intrest for her character which is otherwise largely forgettable. I mean she’s not even featured on the poster or the DVD cover which kind of only further highlights what an afterthought her story was.

Emma’s story feels like it could have been its own film without the inter-dimensional cross over which if removed could have been a lightly comedic crime thriller as her story moves from her getting superheroine style breast implants to her and boyfriend Bob trying to move a large quantity of cocaine she gets in the mail thanks to a postal screw up. It could with these plot elements very much be a Coen Brothers style crime caper which we ultimately only get hints of here due to Morelli having to juggle the three plotlines.

Gael Garcia Bernal’s plotline as Edward takes alittle longer to warm up of the three as he initially comes off as a totally unlikeable character as he engages on sport lays and surrounds himself with people who massage his already inflated ego. This of course makes for the best setup for the main meat of his tale which see’s him suddenly being struck down with a micro penis thanks to the meddling from Emma’s side. This sends him on a quest to reclaim his manhood which includes experimenting with the Rolls Royce of fake phalluses.

Bernal here gives another great performance while somehow managing to work once more with unusual material which not only makes it easy to go with, but somehow manages to reflect in her performance the audiences confusion. His willingness to take on such unique material continues to make him such an enjoyable talent to watch while bringing back memories of Johnny Depp’s early work before the oddness essentially consumed his originality alongside his overwhelming amount of collaborations with Tim Burton. Its especially impressive that he can still project his performance as well as he does despite being rotoscoped while giving us such fun scenes as him drinking a cup of tea during a threesome or attempting to deal with a malfunctioning phallus its fascinating to watch.

While this might not be the greatest experience there is still a certain amount of originality which has to be commended even if it feels like an attempt to imitate Charlie Kaufman’s style, there is something to this film which make it worth giving a look, especially if you want to see something different and its to that extent that I wish that this was slightly more polished as when it works its great, but far too often it just doesn’t making it all the harder to recommend. Still in terms of originality its certainly up there.

Tuesday, 23 May 2017

The Woman



Title: The Woman
Director: Lucky McKee
Released: 2011
Starring: Sean Bridgers, Pollyanna McIntosh, Angela Bettis, Zach Rand, Lauren Ashley Carter, Shyla Molhusen

Plot: Country lawyer and supposed family man Chris (Bridgers) capture a primal woman (McIntosh) he finds in the woods during a hunting expedition, whom he proceeds to chain in his cellar while making plans to “civilise” her, not realising the effect she will have on his family, who are already a fractured unit to say the least with his wife Belle (Bettis) suffering from his casual abuse, while he seems to be moulding a monster in his own image with his son Brian (Rand), meanwhile his eldest daughter Peggy (Carter) lives in constant fear of her father, with the only one untouched by Chris’s influence seemingly being his youngest daughter Darlin’(Molhusen), while this family clearly is a powder keg waiting to explode and the woman could be  the spark to do just that.


Review: There are times as a critic were you will encounter a film, which makes you stop and say “I really have no idea, how the hell I’m going to review this” and much as was the case with “Martyrs” arguably the closest film I could compare this to and once again I’m presented with exactly the same situation, so this is going to be real interesting to see how this works out….so here goes nothing.

Lucky Mckee one of the more fiercely independent horror directors currently working, having first burst onto the horror scene in 2002 with “May”, he has continued to maintain his indie roots while continually proving to be one of the few continually exciting horror directors currently working in the modern horror scene. A reputation which he further cements with this film, which could also be his most controversial to date as  he once again teams up with horror writer Jack Ketchum for his second adaptation of Ketchum’s work after previously directing “Red”. While “The Woman” might be the sequel to Ketchum’s “The Offspring”  it is not essential to have read that book or even seen the film version, to get into this film as it is still very much a standalone movie,

Since its premier at Sundance “The Woman”, were a man in the audience walked out complaining about the violence and misogyny featured (as shown in a much discussed YouTube clip), it has essentially has been a hot bed of controversy since then, with Director McKee crafting a potent mixture torture, nudity, rape and visceral gore, but surprisingly the most shocking thing on here is more the casual abuse which Chris is happy to hand out to his family, to maintain his position as the head of the household. When all these factors are combined this is far from an easy movie to watch, yet Mckee still manages to keep a vice like grip on your attention, slowly twisting the tension as he builds up to the inevitable meltdown.

The cast are all pretty much faultless with Mckee’s once again casting his long term partner in crime Angela Bettis once more having cast her in all his film since, playing the titular “May” in his debut feature she has proven more than capable of adapting herself to the various roles Mckee has written for her in the past and here she perfectly embodies the character of Belle, who has now been reduced to a timid shell of a person, to the point were she unquestionably follows her husbands plans to civilise the woman, without Chris bothering to properly explain his intentions, while being certainly even less willing to stop him tearing the family apart. Bridgers is equally fantastic as Chris, easily switching between his dominating side he reserves for his family and the southern gentleman face he projects to the public on his day to day life, while only truly revealing the true depth of his evil at the climax which like his third side comes seemingly out of nowhere. Still he is very much in the mind of the end justifying his means, as he regularly beats the woman when she disobeys his commands, while not even thinking twice to use a power hose to clean the dirt of her body.

With such controversial material on display, I found myself questioning how much the younger cast members were aware of the content of the film? Still both Carter and Rand handle their roles wells with Carter certainly being one to watch, with her portrayal of Peggy proving to be especially memorable, as she takes the audience with her on an emotional journey, as she struggles to handle the chaos around her, let alone the fact her parents are keeping a feral woman in the cellar. Yet at the same time you feel that she longs to feel the same acceptance that her father shows to her brother, frequently emasculating her appearance by cutting her hair short and wearing baggy clothes, seemingly to disguise her femininity ideas sadly not explored further, much like a last minute pregnancy accusation which comes out of nowhere, yet to which Mckee seems especially keen to nail down, even when the audience is doubting it’s plausibility, let alone that it is used as the breaking point for the family. Rand on the other hand is more of the curious teenager and monster in the making, as his father bullies him constantly to mold him in his image, while when left to his own devices even starts imitating his father’s actions with the woman, quickly changing from the naive teenager into something a lot more dark and sinister whenever he is near the woman.

McIntosh is truly believable as the titular woman, whose statuesque figure embodies this Amazonian like character, whose very nature is deeply rooted in our most primal instincts as she lives only to further her own survival, happily chewing off Chris’s probing finger without seemingly the slightest bit faze by the violence of her acts, while communicating only in the most basic of grunts and howls. Even though she seems to understand what is happening around her, the woman remains true to her primal instincts throughout, as especially shown during the bloody climax were she truly shows what she is capable of, as she sets about extracting her own brand of revenge on her captives.
Despite several moments of extreme gore, outside of Chris loosing a finger, Mckee has make the bold decision to keep the gore for his shocking finale were he delivers in spades and truly ensures that the film gets a bloody send off, while seemingly being more happy to torture the audiences psyche until then, through scenes of Chris’s torments let alone a rape sequence which is handled in a thankfully non gratuitous manor and serves solely as a representation of the decline in morals that the woman brings out in the men in the family, as Mckee once again demonstrates a keen intellect behind his desire to shock.

While it might be easy to get caught up in the sexual politics which Mckee continually plays around with throughout to varying degrees of success, it is essentially best to leave these points open to personal interpretation, while for myself I found it to be a film which worked best when looked on as a grim portrait of picket fence hell, while proving once more that hell truly hath no fury like a woman scorned.

Friday, 12 May 2017

Texas Chainsaw 3D



Title: Texas Chainsaw 3D
Director: John Luessenhop
Released: 2013
Starring: Alexandra Daddario, Dan Yeager, Trey Songz, Scott Eastwood, Tania Raymonde, Thome Barry, Paul Rae, Bill Moseley, Gunnar Hansen

Plot: Picking up the shortly after the events of the original film as a group of vigilantes burn down the Sawyer family home and seemingly killing every member of the family. Decades later Heather (Daddario) finds out she has inherited a mansion from her grandmother, only to find out that it holds more than its share of secrets.


Review: A film I’d originally dismissed as another attempt to cash in on the legacy of Tobe Hooper’s breakout film and former Video Nasty which wouldn’t get a UK release until 1999. Despite this the studios have frequently been keen to milk the franchise and turn its chainsaw welding maniac into another iconic slasher figure. Due to this I had little intention of watching this film, especially after the abysmal “Texas Chainsaw Massacre: The Begining” which kill dead any potential momentum the original and surprisingly decent remake had. It was infact only after hearing Emily and Christine recommend the film on their podcast “The Feminine Critique” that I thought it was time that I finally give it a watch.

In a unique twist this film doesn’t attempt to remake the original film, but instead takes the unique move of following on directly after the Tobe Hooper original ignoring all the films which followed which if you haven't seen already director John Luessenhop helpfully spoils by giving you a highlight reel of all the best parts. True this does help bring the viewer up to speed to were he wants to start his film, but I can’t help but feel this is kind of a downer for anyone who chooses to start with this film or enters it expecting a delayed follow up to the 2003 remake. Suprisingly the film was originally pitched as a new trilogy with the films being released out of order with the first film being set in a hospital, the second film would act as a prequel and the third completing the storyline. The producers however feeling that audiences might not get the ambitious idea instead scrapped the plans in favour of the film we have now while for no discernible reason also releasing it in 3D.

Seemingly a fan of the series Luessenhop opens with a siege on the home of the family of cannibals now known as the Sawyers in a scene which not only attempts to rip off the opening siege of “The Devils Rejects” but also features some of the worse CGI fire effects ever. Still for the fans we get cameos from Marilyn Burns, the original Leatherface Gunner Hansen and Bill Moseley who played Chop Top in “The Texas Chainsaw Massacre 2”. Having killed off the family and burned the house to the ground we now move forward to present day and the introduction of Heather and her friends as they road trip out to the mansion she’s now inherited from the grandmother she never knew she had.

Okay before I go any further lets just say that there will be a few spoilers ahead, so if any of what I have covered so far sounds interesting then give it a watch and if it didn’t well the original is always going to be there.

Right from the start its clear that Heather is far from the usual scream queen as we are shown her working in a butchers shop, carving up with almost glee meat using a bandsaw while her home she uses as a studio for her bone art. Now I’m not going to say that attractive girls can’t be Butchers or have an interest in the grotesque arts, but this is the movie world and hence nothing can usually exist without hinting at something else and the film really put as spin on the mythos as Heather slowly discovers her links to the Sawyers.

The main plot worryingly starts off perhaps alittle too similar to the original film as Heather and her friends pick up a hitchiker, or should I say they almost hit him with the fan before deciding to pick him up, something which he’s surprisingly not overly upset over since he can blag jerky off them. I was half expecting this hitchiker to have some link to the family which he doesn’t though he does attempt to steal pretty much anything that’s not nailed down when Heather her friends deem him trust worthy enough to leave at the mansion. A strange move seeing how they’ve only known him for about five mins but atleast he ends up falling foul of Leatherface so I guess theres some sort of karma there.

While the hitchiker might be a thieving SOB, her friends are equally none that brilliant as we have her douche bag boyfriend Ryan (Songz) who is off from his first introduction so it comes as little suprise to discover he’s cheating on her with her best friend Nikki (Raymonde). The sole redeaming member of the group is Kenny (Malicki-Sanchez) but he’s frustrating never given much to do making his early departure all the more sad especially when there is much more deserving victims to be had.

While this might all sound like another run of the mill slasher with the good looking teens being chased by the hideous killer, but surprisingly Luessenhop is actually trying to do something different with the mythos this time round by turning an ageing Leatherface into the blunt instrument of justice. For the first half of the film its business as usual for him but by the second half of the film were we find out about the corrupt cops in town and Heathers relationship to Leatherface has been reveals via some rather ropey quick cuts as she looks over a police report it could be seen that Leatherface wasn’t actively hunting the teen but rather defending in his own warped way his home.

Leatherface played this time by Dan Yeager really lacks the required presence that Gunnar Hansen brought to the role or just the hulking size of the 2003 version. Despite being 6’6 here he seem a lot shorter thanks to how he’s shot by Luessenhop which remove a lot of the characters daunting presence and ultimately came off a little tepid while the less said about that stupid tie he randomly puts on for the finale showdown the better. I mean is that supposed to symbolise him going to work?

The kills throughout are a lot of fun with some frustratingly being reworked or recycled from the original film, something alittle harder to ignore when you show us all the original kills at the start of the movie. Still the final pay off gives us a memorable death which is only hampered slightly by the use of CGI, something which is such a common issue in modern horror it almost feels like a pointless exercise to mention it. Sure its easier for the film maker by cutting down on the shot reload time but when it comes at the cost of presence for the viewer should the film makers convenience always win out?
While far from the best entry in the series its equally not the worst and certainly brings enough unique ideas to make it worth giving a look, but this is far from the film to represent the tone of the franchise.

Wednesday, 10 May 2017

AC Film Club #2 - King Kong Escapes




On this episode of the "Asian Cinema Film Club" myself and my co-host Stephen (Eastern Kicks / Gweilo Ramblings) look at the second attempt by Toho to cash in on the appeal of King Kong by this time having him face off against his mecha counterpart Mechani-Kong in "King Kong Escapes"

Directed by legendary Kaiju director Ishiro Honda the plot itself is the usual randomness with Evil scientist Dr. Who creating his Mechani-Kong which he plans to use to dig for “Element X” in the North pole only to find that the radiation emitted by Element X shuts down his creation. Meanwhile Commander Nelson  and his crew have discovered Kong living on Mondo Island who Dr.Who now plots to use to dig out the Element X by hypnotising the giant ape to do his bidding. Of course its not long before Kong goes wild once more while heading for a showdown with Mechani-Kong on top of the Tokyo Tower!!

Also on this episode Stephen shares his thoughts on the Live-action adaptation of "Ghost In The Shell", The anniversary and legacy of Gundam Wing aswell as why "Attack On Titan" is so essential.

Further Watching



Godzilla (1954)

Destroy All Monsters


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