This review is a little bit delayed. Normally I review a film a day or so after watching it for review purposes. I watched the original Terminator film way over a week ago, literally right before seeing Terminator Genisys. So yeah, I took my time getting this done. I hadn’t seen the film for a couple of years. Terminator is one of those films I grew up with back in the days when parents gave zero shits what their kids watched. Oh the 80s was a grand time. So, how does James Cameron’s (second) first film hold up today? Really fucking well actually. Click below for wordstuffs.
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The good thing about a franchise compromising of two universally praised films and two universally panned films is that a director, in this case Alan Taylor, only has to aim for mediocre in order to be regarded as the third best. Of course, it helps if the film is more on the side of good though. In that regard Alan Taylor has pretty much managed to hit a home run. In as much as Terminator Genisys is pretty decent and enough above mediocre to be on the right side of enjoyable. But lets go into more detail shall we? A semi spoilery review coming up. Although none more spoilery than the trailers have been really.
After reviewing that Teenage Mutant Ninja Turtles film from last year, which has the odd distinction of being a film that “didn’t make me angry”, I pledged to review the older TMNT films at some point. I still haven’t done that. But I have watched the documentary about the creation of those Mutant Turtles and my review of that is right here… so… that let’s me off, right?
I don’t make new year’s resolutions, mostly because I’m a grumpy old twat, but mostly because I’m terrible at doing what I say I’ll do. Granted, that’s probably the point of a new year’s resolution but… that’s just, like, your opinion… man. What I aim to do this year, however, is get a more consistent review schedule going. There’s been a little slacking off due to my Youtube channel growing, which has led to me focusing more on that. The aim is to balance this out. Part of this balance includes picking out a more eclectic mix of films to review, which I’ll start with tonight by reviewing Takashi Miike’s remake of Eiichi Kudo’s 1963 film 13 Assassins. Click the link below for my review.
Watch out, ya’ll ’bout to get shell-shocked… or so the theme tune to this new take on the heroes in a half shell goes. Being shell-shocked is an odd thing to associate with a film based on a kids range of comics, toys and cartoons, but I think, maybe… just maybe, they were going for a play on words there. Because they’re turtles. Turtles have shells. Do you see? DO YOU SEE?! Anyway, this is my review of the new teenage Mutant Ninja Turtles film which, for some reason, has only been released in the UK this past week. We’re like a third world country or something now. Click the link below.
I’m just going to come out and say this right from the start. If you want a spoiler free review it’s best to go elsewhere, or at least not past this first paragraph. Age of Extinction is such a horrendous, vile and horrible film in so many ways I just have to go into all of it. So, here’s a mini review. It is not as bad as Revenge of the Fallen. It actually does a few things right. Excels at times even. I just think that, perhaps, my resistance to the works of Michael Bay has finally worn out and as a result I have to pick this film apart. You’ll see what I mean about the film being horrible and yet being capable of excellence as I go along. Shall we get started?
Well, this is the end of an era. The Showa era to be exact. See, Godzilla films are generally split into 3 distinct eras. The first being named Showa, the second Heisei and the third Millennium. All 3 series use the original film, Gojira, as a jumping off point with 1984’s The Return of Godzilla (Godzilla 1985) being a direct sequel to the original, as was Godzilla 2000/Millennium. None of the following eras keep any of the continuity from the Showa era. When Toho made Terror of Mechagodzilla they never intended for Godzilla to be laid to rest forever but they recognised that they needed a break. This last film almost serves as an attempt to correct some of the misguided tangents taken by some of the more recent entries in the series. Ishiro Honda returns as director and, thankfully, Akira Ifukube returns as the film’s composer. Returning too is the more serious and dark tone, though not to the same degree as the first film. How does the Showa era’s finale pan out? Click the link below for my review.