Film Review: Godzilla vs. SpaceGodzilla (1994)

Release Date: December 10th, 1994 (Japan)
Directed by: Kensho Yamashita
Written by: Hiroshi Kashiwabara
Music by: Takayuki Hattori
Cast: Megumi Odaka, Jun Hashizume, Zenkichi Yoneyama, Akira Emoto, Towako Yoshikawa, Kenji Sahara

Toho Co. Ltd., 108 Minutes

Review:

“Godzilla! I still have something to settle with you!” – Lt. Kiyoshi Sato

This was the second to last of the Heisei era Godzilla films and while they tried to up the ante and get really creative, it falls just short of the film before it: Godzilla vs. Mechagodzilla II.

The story picks up the plot threads about Godzilla Junior and the psychic chick from the previous movie. However, it mainly focuses on the arrival of SpaceGodzilla, who basically looks like a larger Godzilla with giant crystals protruding from its body. The creature’s origin isn’t clear in the film but it’s been theorized that he was born from Godzilla’s cells that ended up in the cosmos by either Mothra or Biollante’s spores. It’s believed that the cells were mixed with black hole radiation.

Anyway, the film also features the return of Moguera to the big screen. While this giant robot was never used in a Godzilla film before, it first appeared in Toho’s 1957 film The Mysterians. Moguera had then been used in other Godzilla related media. In the US, the giant robot is probably most recognized as an early boss in the original Nintendo Godzilla game.

In this film, Moguera, now spelled M.O.G.U.E.R.A. is created from the left over tech and armor that was salvaged from Mechagodzilla after its defeat in the previous movie. Since Mechagodzilla was created from left over parts of Mecha-King Ghidorah, it ties all these films together. And frankly, I like that Toho was really trying to keep a tight continuity in this era unlike the Millennium era that followed a few years later.

For the most part, the movie is engaging and enjoyable and it fits well within this series. My only real complaint about it is that the effects feel like they’re a step down from the previous few films. Maybe it’s due to the weird environment changes, like seeing the kaiju battle in a city populated with giant crystals and smoke, as opposed to detailed metropolitan miniatures but it does feel like SpaceGodzilla was created just to find a way to cut the budget in regards to effects.

Also, the Godzilla Junior suit is hokey as hell after it looked really good in the previous chapter.

In the end, though, I really like the baddie and seeing Moguera officially enter Godzilla cinematic canon was cool. But really, this is just more of the same when compared to the rest of the Heisei pictures.

Rating: 7/10
Pairs well with: other Godzilla films from the Heisei era.

Film Review: Fatal Fury: The Motion Picture (1994)

Also known as: Garou Densetsu (original Japanese title), Fatal Fury 3 (informal title)
Release Date: July 16th, 1994 (Japan)
Directed by: Masami Obari
Written by: Takashi Yamada
Based on: Fatal Fury by SNK
Music by: Toshihiko Sahashi
Cast: Kazukiyo Nishikiori, Keiichi Nanba, Nobuyuki Hiyama, Kotono Mitsuishi, Tomo Sakurai, Shinichiro Miki

Asatsu, Fuji Television Network, SNK/Playmore, 100 Minutes

Review:

“Worthless fool! How can you ever help to beat me? By the next time I’m done with you, there’ll be nothing but stinking meat!” – Laocorn

I really dug this anime series in the mid-’90s when I was eating up all the anime my video store started getting in during the boom. These were some of my favorites due to my love of the Fatal Fury video games, as well as all the other Neo-Geo fighting games.

This third film was by far my favorite and even though I own it on VHS, I hadn’t watched it in nearly two decades due to not having a VCR. However, all three Fatal Fury anime films are available on YouTube, at the moment.

Seeing this again, all this time later, this is still my favorite of the lot and it’s actually a pretty good animated movie, from top-to-bottom.

The art is much better than the previous two installments and the running time is longer, as well. But I guess that’s why this is referred to as a “motion picture”. But the extra care given to this production makes it the best installment in the series.

Additionally, this doesn’t try to tell an anime version of a video game story. It actually branches off into a new direction with new characters and I’m not sure if any of the new villains actually made it into the video games.

This also has a very Indiana Jones vibe to it, as the villains are hunting down multiple MacGuffins in ancient ruins and temples in an effort for their leader to essentially become a god.

Fatal Fury: The Motion Picture is just a lot of fun, really f’n cool and is a more refined and perfected version of the two chapters that came before it.

Rating: 7.75/10
Pairs well with: the two other Fatal Fury movies.

Film Review: Highlander: The Final Dimension (1994)

Also known as: Highlander III: The Sorcerer (original title), Highlander: The Magician (Sweden VHS title)
Release Date: November 30th, 1994 (Philippines)
Directed by: Andrew Morahan
Written by: Paul Ohl, Rene Manzor, Brad Mirman, William N. Panzer
Based on: characters by Gregory Widen
Music by: J. Peter Robinson
Cast: Christopher Lambert, Mario Van Peebles, Deborah Unger, Mako, Clancy Brown (archive footage)

Fallingcloud, Initial Groupe, Karambole Films Productions, 99 Minutes

Review:

“I’ll see you in hell!” – Kane, “I’ll be the judge of that.” – Connor MacLeod

While the Highlander series should have stopped at one film, this third entry is at least much better than the second. Granted, it’s still fairly shitty.

Christopher Lambert returns as Connor MacLeod and once again, he has to fight another Immortal because sequels gonna sequel. It doesn’t matter that he killed the last Immortal (other than himself) in the first film. Actually, he does that in the second one too.

However, at least this doesn’t try to make sense out of the terrible, second film and this really just ignores that it ever happened. But that’s another problem with this series, as each new chapter just sort of did what it wanted. It’s kind of like the Terminator franchise without a big budget or bankable star.

The only good thing about this movie is that I liked the villain. While Mario Van Peebles’ Kane has the most generic name ever and he isn’t nearly as badass as Clancy Brown’s The Kurgan, I liked the sorcerer twist to the character and he looked fucking cool.

Plus, Van Peebles really seemed to be enjoying the role, as he got to be a total bastard that looked like he was truly relishing in his bastardness. Sure, he was hammy but he was good hammy while the rest of the film was shit hammy.

Other than that, this movie is a fucking mess and it’s really damn hard to sit through in one go. I had to pause it about three times to walk around the house and stare into the abyss of my empty fridge, as there was nothing to curb my boredom hunger.

That being said, this is still a more enjoyable and palatable picture than its direct predecessor. But that movie was so bad it was used to torture information out of terrorists.

God, I really don’t want to have to watch the fourth and fifth films in this franchise.

Rating: 4.25/10
Pairs well with: the other Highlander sequels, none of which come close to the cool and original first film.

Film Review: Beverly Hills Cop III (1994)

Release Date: May 25th, 1994
Directed by: John Landis
Written by: Steven E. de Souza
Based on: characters by Danilo Bach, Daniel Petrie Jr.
Music by: Nile Rodgers
Cast: Eddie Murphy, Judge Reinhold, Hector Elizando, Theresa Randle, Timothy Carhart, John Saxon, Alan Young, Gilbert R. Hill, Bronson Pinchot, Stephen McHattie, Michael Bowen, Al Leong (uncredited), Al Green (cameo), George Lucas (cameo), Joe Dante (cameo), Ray Harryhausen (cameo), John Singleton (cameo)

Eddie Murphy Productions, Paramount Pictures, 104 Minutes

Review:

“[his last words] Axel, you on a coffee break? Go get that son of a bitch.” – Inspector Todd

The words “they waited too long” definitely apply to what was Beverly Hills Cop III.

This was one hell of a dud that lost many of the key players and only brought back Eddie Murphy, Judge Reinhold, Gil Hill… just so they could kill him in the opening sequence, and Bronson Pinchot, who only appeared in the first movie in two very minor scenes.

Additionally, this closing chapter in the franchise was mostly devoid of any real humor, as Eddie Murphy barely told any jokes, barely did his signature laugh and kind of just zombie walked through his scenes giving one of the flattest performances of his career.

In fact, his scenes with Bronson Pinchot actually show how dry Murphy is in this, as Pinchot steals the scenes right out from under him.

Judge Reinhold was made to look like a total doofus and they ignored what was established with his character in the previous film, which saw him open up and reveal that he was a gun nut similar to Eugene Tackleberry from the Police Academy movies. Here, he just carries a tiny pistol, looks the opposite of badass and pretty much just acts like a total dope.

Being that this was directed by John Landis is absolutely baffling. Landis is a top notch director that made several classics over the course of a decade and a half before this movie. I’m not sure if the script ended up getting butchered or if a lot was left on the cutting room floor but this is, hands down, one of the worst things Landis has ever had attached to his name.

Harold Faltermeyer didn’t return to score this film and man, it really shows. The score is generic as fuck and the famous Axl Foley theme is reworked and completely destroyed by brass instruments, completely taking away from the funky synth grooves that we got in the first two pictures.

In fact, when the brass gets real heavy in the score, it almost sounds like its trying to emulate a James Bond movie. I guess that’s fitting as Bronson Pinchot essentially plays a ripoff of Q and Axl Foley has a bunch of weird gadgets to use ala Bond.

I think that the franchise should’ve just ended with two. This proves that it’s really, really hard to catch lightning in a bottle for a third time.

Rating: 4.75/10
Pairs well with: the other Beverly Hills Cop movies, as well as the 48 Hours and Lethal Weapon films.

Film Review: Serial Mom (1994)

Release Date: April 13th, 1994
Directed by: John Waters
Written by: John Waters
Music by: Basil Poledouris
Cast: Kathleen Turner, Sam Waterson, Ricki Lake, Matthew Lillard, Mink Stole, Mary Jo Catlett, Justin Whalin, Traci Lords, Suzanne Somers, Joan Rivers (cameo), L7, John Waters (voice)

Polar Entertainment Corporation, Savoy Pictures, 93 Minutes

Review:

“If ever there was a time to go on record against the death penalty, wasn’t it that night? Capital punishment is already the law in the state of Maryland. So what are we waiting for, fellow Christians? Let’s just do it.” – Father Boyce

It’s been years since I’ve seen this but man, it was really refreshing seeing it again for probably the first time since it came out on video back in the mid-’90s.

I forgot how fantastic this movie was. But then it’s a John Waters film and his style of humor mostly works for me. And his ’80s and ’90s movies were a bit more palatable for mainstream audiences.

While Kathleen Turner is a damn fine actress, I don’t think she ever had a better time than she did making this movie. I mean, she looks like she is having a blast in every single scene. She commits to the bit wholeheartedly and gave us a stupendous and iconic performance in this film.

Granted, this wasn’t a big hit and is sort of a cult movie but that also kind of makes this cooler, as not a lot of people know about it and the few I brought it up to don’t even remember its existence. Although, I’m not sure how this went down the memory hole, as it’s an entertaining romp full of cold blooded murder and a solid critique on the celebrity status of serial killers in American culture.

It also peers beyond the facade of mainstream Americana. While this was a pretty common trope in the movies of the time, when it works, it works and Waters has a certain panache that others can’t match or attempt to replicate.

I love that this takes place in the ’90s but has a strong ’50s sitcom feel to it. But Waters was a master of channeling nostalgia from that era.

While Turner is the absolute centerpiece of this film and owns every scene, the rest of the cast is outstanding as well. Especially her family, played by Sam Waterson, Ricki Lake and Matthew Lillard.

My only complaint about the film is that sometimes characters’ motivations are confusing. Like how Turner’s family supports her and wants her to get off from the six murders she’s being tried for but then are immediately fearful when she gets away with it and is coming home.

Also, the ending was just sort of okay and predictable.

Additionally, the first two-thirds of the movie are perfection. But things slow to a crawl and become less interesting once the trial starts.

Still, this was a motion picture that I was really happy to revisit. And ultimately, it made me realize that I need to go back and work my way through John Waters filmography again.

Rating: 8.25/10
Pairs well with: pretty much anything by John Waters.

Film Review: Death Wish V: The Face of Death (1994)

Release Date: January 14th, 1994
Directed by: Allan A. Goldstein
Written by: Allan A. Goldstein, Michael Colleary
Based on: characters by Brian Garfield
Music by: Terry Plumeri
Cast: Charles Bronson, Lesley-Anne Dowd, Michael Parks, Saul Rubinek, Ken Welsh, Robert Joy

21st Century Film Corporation, Trimark Pictures, 95 Minutes

Review:

“Let the law take these guys down. You know, sometimes the law works.” – Lt. Mickey King, “And sometimes it doesn’t! These people, they steal, they murder, they destroy people’s lives and they get away with it! They have alibis, money, lawyers, power. They have everything.” – Paul Kersey

This is the worst Death Wish movie. But that’s like saying that missionary is the worst sex position. Because frankly, you’re still having sex and that’s way better than not having sex.

Charles Bronson is back for the final time and this round, he gets to ham it up with Michael Parks, who makes a good final villain for the series.

This one is kind of bizarre though, in that it all takes place in and around the fashion industry. Bronson’s new girlfriend (and soon to be fiance a.k.a. dead) owns a fashion house but her ex-baby daddy is a piece of shit gangster that has his slimy hands in the business and is making her life hell.

Bronson’s Paul Kersey tries to fight back to save his new love and her daughter but this bad guy pretty much owns the town. So leaks in the district attorney’s office lead to tragedy and thus, intense revenge at the hands of Kersey.

Robert Joy also pops up in this, as probably the creepiest character he’s ever played. The scene where he’s dressed in drag, sneaks into the women’s restroom and then starts smashing Kersey’s fiance’s face repeatedly into a mirror is absolutely fucking brutal. And while I wouldn’t say that this is as violent as the Death Wish movies put out by Cannon, the moments of violence seem much more realistic and terrifying.

Despite a heaping pile of flaws, this is still damn enjoyable to Death Wish fans. It’s lacking that ’80s Cannon Films magic but Bronson, Parks and Joy all carry the picture. Additionally, Saul Rubinek brings something solid to the movie too.

Rating: 5.75/10
Pairs well with: the other Death Wish movies and the Dirty Harry film series.

Film Review: Tammy and the T-Rex (1994)

Also known as: Tanny and the Teenage T-Rex (Singapore)
Release Date: December 21st, 1994
Directed by: Stewart Raffill
Written by: Gary Brockette, Stewart Raffill
Music by: Jack Conrad, Tony Riparetti
Cast: Denise Richards, Theo Forsett, Paul Walker, Ellen Dubin, Terry Kiser, Buck Flower, Efren Ramirez

Greenline Productions, Platinic Films Inc., 82 Minutes, 88 Minutes (R-rated “gore” cut)

Review:

“Oh, Michael what have they done to you?” – Tammy

So I heard that there is an R-rated “gore cut” of this film being released later this year. I guess the version that was shown in Asia was much gorier but the US video release of the film is severely toned down.

Regardless, I wanted to check this film out in its regular US version, as it’s a cult classic but incredibly obscure. On a side note, for those who want to watch this, it is on YouTube, at the moment.

This is a goofy, over the top and ridiculous film. But it’s also a hell of a lot of fun and it works for what it is.

The average person would probably watch five minutes of this and turn it off, deeming it shit. But it’s that special kind of shit that if you stare at it long enough, it blasts you in the face with colorful, enjoyable and overwhelming insanity.

It’s endearing and charming in spite of its immense flaws. It will resonate with those of us who have a love for films like Mac and Me (the same director), The Room and Troll 2.

The premise is batshit crazy. A mad scientist played by Bernie from Weekend at Bernie’s takes the brain of Paul Walker and puts it inside of a mechanical dinosaur. No, not a real dinosaur… but a mechanical one like the full scale animatronic T-Rex robots that you’d see in shopping malls or seasonal science attractions in the ’90s.

The film also stars Denise Richards, who in her prime, was the hottest girl I had ever seen. Especially, through my teenage eyes in the ’90s. Plus, she was really charming and sweet in this and it’s damn near impossible to not get pulled in by her. I also really enjoyed her gay friend in this, as he was f’n hilarious in every scene.

Tammy and the T-Rex is a film that is sort of perfect as a bad movie that’s so bad it’s great.

My only real complaint about it is the butchered editing. But I blame that on the complete exclusion of the gore that the film intended to show. So hopefully, the soon to be released “gore cut” fixes those issues. And honestly, the inclusion of the gore may take this film to the next level and vastly improve upon it.

Rating: 6.5/10
Pairs well with: other Stewart Raffill movies: Mac and Me, The Ice Pirates, etc.

Documentary Review: Crumb (1994)

Release Date: September 10th, 1994 (Toronto International Film Festival)
Directed by: Terry Zwigoff
Music by: David Boeddinghaus
Cast: Robert Crumb, Aline Kominsky-Crumb, Charles Crumb, Jack Harrington

Sony Pictures Classics, 120 Minutes

Review:

Robert Crumb is a pretty intriguing guy. He’s one of the greatest cartoonists of his generation and he made several iconic comic strips that will go on to outlive him. The man is such a unique character that he can carry this documentary on his own.

And I guess that’s a pretty good thing as this film just sort of follows him around on average days. It doesn’t really go too much into his work and his impact, it kind of just assumes that you already know who he is. Some important career things are mentioned and discussed a bit but this really is more or less “a day in the life of…” than a retrospective or biographical work.

But that’s kind of a problem for me.

You see, I know who Robert Crumb is, I am familiar with his more famous work but this film should have had a lot more about why this guy is important, as I feel like the layperson might not pick up on it. They may just see this and go, “Oh, that guy is good at making art caricatures and stuff” and then not really appreciate the context of what’s happening on screen and why Crumb is a pretty important cultural figure.

This is enjoyable but for something lacking context and narrative depth, it’s too long. There just isn’t enough meat, even though director Terry Zwigoff is feeding you a pretty large meal.

I need more protein and less filler, thank you.

Rating: 6.75/10
Pairs well with: Comic Book ConfidentialIn Search of Steve Ditko and other older comic book documentaries.

Film Review: Ghoulies IV (1994)

Also known as: Ghoulies 4 (Germany)
Release Date: August 17th, 1994
Directed by: Jim Wynorski
Written by: Mark Sevi
Based on: characters by Luca Bercovici, Jefery Levy
Music by: Chuck Cirino
Cast: Peter Liapis, Barbara Alyn Woods, Stacie Randall, Raquel Krelle, Bobby Di Cicco, Tony Cox, Arturo Gil

Cinetel Films, 84 Minutes

Review:

“[after shooting an armed robber] Clean up on aisle 4.” – Jonathan Graves

Ghoulies IV isn’t really a Ghoulies movie if you take into account that there aren’t any actual Ghoulies in the picture.

Instead, we get two troll characters that don’t really have much to do with the overall plot and pretty much just crack bad jokes and break the fourth wall. It’s like Deadpool stole their whole shtick.

Now this is related directly to the first film because the main character is the same. However, Jonathan Graves (again, played by Peter Liapis) is no longer some twenty-something warlock. He is now a detective for some strange reason. He also tries to act like Sly Stallone’s Cobra character but is really unconvincing.

Graves’ ex-occultist girlfriend from Hell comes back to steal some magic gem from his necklace. She’s trying to resurrect some dime store Satan guy and nothing is really ever that clear in this movie. It’s crazy shenanigans, has no Ghoulies and is pretty boring, overall.

This is the worst of the Ghoulies films by a landslide. All of the other ones had things that made them enjoyable and entertaining. This one lacks all of that but it also isn’t so horrible that it’s unwatchable. But you don’t need to see it, even if you like the first three movies.

Rating: 4/10
Pairs well with: The other three Ghoulies films, the Munchies films, Hobgoblins and Sorority Babes In the Slimeball Bowl-O-Rama.

Film Review: Interview with the Vampire (1994)

Also known as: Interview with the Vampire: The Vampire Chronicles (full title)
Release Date: November 9th, 1994 (Westwood premiere)
Directed by: Neil Jordan
Written by: Anne Rice
Based on: Interview with the Vampire by Anne Rice
Music by: Elliot Goldenthal
Cast: Tom Cruise, Brad Pitt, Kirsten Dunst, Antonio Banderas, Christian Slater, Stephen Rea

Geffen Pictures, Warner Bros., 122 Minutes

Review:

“The world changes, we do not, there lies the irony that finally kills us.” – Armand

In the ’90s and early ’00s, I watched this film a lot. But I had seen it so many times that I actually haven’t seen it now for at least a decade. But that time off from it made me appreciate it even more.

This is the best vampire motion picture of the 1990s. It is pretty damn close to being a masterpiece. It is a beautiful adaptation of a book that really has become a literary classic, at this point. And it’s great to see that Anne Rice penned this script, as no one knows these characters better than she does.

There are a few minute changes from the book. The stuff with Louis’ wife was omitted and the character of Armand has a different appearance from the literary version. However, these minor alterations don’t matter within the context of this film. Had it actually gotten sequels (and it should have) the Armand thing might of been a bit problematic but I’m still okay with Antonio Banderas in the role for this one-off outing.

Anyway, Neil Jordan did a superb job directing this. He had just come off of The Crying Game, a film that earned him two Academy Award nominations for direction and script, and also had some experience with supernatural gore after his work on the barely remembered film The Company of Wolves. Both of those experiences would serve him well in this film, which had supernatural gore and also tapped into very light homo-eroticism between a few characters.

One thing that really stands out is the film’s score by Elliot Goldenthal. It has the makings of a great classical composition mixed with some very powerful and energetic flourishes that help accentuate the scenes in ways that a less capable score wouldn’t have been able to accomplish. The music also flows with the picture, it’s not distracting or in the way, it just exists to set the tone appropriately and really, that’s all a film score needs to do. But the craftsmanship of these classical tunes is what sets this film apart and gives it such a grandiose feel. There are just few scores that can make this sort of emotional and narrative impact in modern film.

The acting in this is also possibly the best you will see in any vampire movie. Tom Cruise, at first glance, just doesn’t seem to fit the role of Lestat but he was absolute perfection and this is still my favorite performance of his. This was also where I first noticed Brad Pitt. This is where his career was really born, in my opinion, as this was a turning point for him and his exceptional abilities. I could use those same words for Kirsten Dunst and Antonio Banderas, as well. Both of them made such an impact in this that it really helped to set them off towards bigger and better things going forward.

Something else that stands out is the special effects handled by Stan Winston and his team. Most notably, the scene where Lestat is withering away to a corpse on the floor. That moment was masterfully crafted and has held up exceptionally well. It looks better than the vast majority of CGI effects that would have been used to achieve this today. Also, the amazing looking ash remains of Claudia and Madeleine were made by Winston and based off of photographs of victims from Hiroshima.

Interview with a Vampire is a perfect storm. It’s a film where everything, at every level, went right for the production. While there are some other good vampire films from the 1990s, this one takes the cake for me. It’s stellar from start to finish and it’s still an incredibly satisfying experience even after seeing it well over a dozen times.

Rating: 9.75/10
Pairs well with: Bram Stoker’s DraculaNear Dark and The Lost Boys.