TV Review: Sons of Anarchy (2008-2014)

Also known as: Forever Sam Crow (working title)
Original Run: September 3rd, 2008-December 9th, 2014
Directed by: various
Written by: various
Music by: Bob Thiele, Dave Kushner, Curtis Stigers
Cast: Charlie Hunnam, Katey Sagal, Mark Boone Junior, Kim Coates, Tommy Flanagan, Johnny Lewis, Maggie Siff, Ron Perlman, Ryan Hurst, William Lucking, Theo Rossi, Dayton Callie, Jimmy Smits, Drea De Matteo, David Labrava, Niko Nicotera, Glenn Plummer, Taryn Manning, Ally Walker, Mitch Pileggi, Kenneth Choi, Kurt Sutter, Titus Welliver, Walton Goggins, Henry Rollins, Hal Holbrook, Malcolm-Jamal Warner, Marilyn Manson, Kim Dickens, Chuck Zito, Ray McKinnon

Linson The Company, Sutter Ink, Fox 21, FX, 92 Episodes, 41-81 Minutes (per episode)

Review:

*Written in 2015.

This is one of those reviews that will probably turn a lot of my friends against me. I care not. I must tell it like it is from my point-of-view.

Sons of Anarchy is a show that I have developed a like/hate relationship with. I don’t say “love” because I’m not that enthralled with the positive aspects of it. It does however, have some positives amidst a sea of negatives. And I guess that makes me go against the popular opinion, as nearly everyone that I have talked to, has loved this show.

But I guess this isn’t a show for me. Where I expected something more like The Sopranos on motorcycles, this was more like a mindless action flick full of an overabundance of violence, bad CGI, bad acting, bad writing, bad music and really stupid and unlikable characters. Sons of Anarchy is geared more towards the male millennial crowd than it is for people who want good and groundbreaking television or at the very least, some sort of coherent plot.

This show is a mess. It is a moderately enjoyable mess at times but it is a show that constantly tries too hard and falls short. Yes, there are shocking and intense moments but they lose their meaning and significance almost immediately. For one, it is hard to care about any of these horrible characters. Also, with the show trying to constantly outdo itself and escalating further and further from episode to episode, things eventually get so over the top that it becomes unintentionally ludicrous.

The premise of the show also changes as it goes on and it loses sight of itself just a few seasons in. Maybe this is intentional but it really just feels like the weight of this ratings beast forced the showrunners to make quick, big decisions, which may have increased ratings further but sacrificed whatever integrity and soul the show may have had early on.

For instance, the show’s main drive in the beginning is the main character Jax’s obsession with his dead father’s writings. The writings talked about what the motorcycle club was supposed to be, how it got away from itself and how butt hurt Jax’s dad was about it. Jax then makes it his mission to right the wrongs and make the motorcycle club respectable. Maybe he would’ve been more inspired and followed through had he actually read more than two paragraphs of his father’s writings at a time. Maybe Jax has a bad attention span. Maybe that is why he couldn’t follow through because he got distracted by doing really stupid shit every episode.

In any event, the show evolves away from the club’s redemption through Jax’s leadership and instead shows the club fall on hard times and then even harder times. It just gets worse and worse, Jax stops reading his dad’s journals and pretty much turns into the asshole his stepfather Clay is. He actually turns out worse than Clay by the end of it all.

I could write a book about how much of an idiot Jax is but I’m not going to waste my time. I could also write a book about how much of an idiot his mother Gemma is.

All the characters really suck and all of them, for the most part, are stupid morons. They are the dumbest criminals I’ve ever seen. Darkwing Duck had smarter bad guys than the members of the Sons of Anarchy.

As far as likable characters, there are really only five. There is Wayne, who is on a tragic journey that ultimately ends up sucking really bad for him. Also, he had terminal cancer “eating away” at him in season one but somehow survived seven seasons. There is Jax’s ex-heroin addict wife who goes on to redeem herself and she’s about the only character you are happy for in the end. Then we have Nero, the pimp and tragic lover of Gemma. I really liked Nero but Jimmy Smits is awesome in every role. There’s Piney, who saw the bullshit for what it was and tried to hold everyone accountable. Since he was the voice of reason in a sea of shitty people, he was killed off. This brings me to my favorite character: Juice.

Juice is most likely the most tragic character in television history. Juice was a positive on this show even though his end was horrible. You couldn’t not like Juice and feel for him every step of the way. He truly cared about the club and doing the right thing but continually got fucked (literally) and lost his life and stature because the people he invested his love and loyalty in were pieces of garbage. Juice’s journey is one of the redeeming factors of this show. I don’t like how it ended but this show is one big tragedy.

In regards to the show’s music, it is terrible. The main theme is awful but somehow was nominated for an Emmy by some tone deaf Hollywood types. The songs throughout the show are even worse. More often than not, we are treated to some poor slowed down roots rock cover song of a known pop hit. It always feels bizarre, out of place and makes the show come off as generic and cheesy. At least once per season, we get some crappy song sung by Katey Sagal, who probably shouldn’t sing but is most likely encouraged by her husband, who is the show’s creator. That’s probably also why she was cast as Gemma. Lastly, the music selections are almost racist. When the biker gang fights another biker gang there is rock music. When they fight Mexicans: Spanish language gangsta rap. When they fight blacks: generic crappy English language gangsta rap. Asians: make sure to add in some Asian stringed instruments and gongs in over the soundtrack. Irish: Celtic shit. Persians: grab the sitar – hey wait, that’s Hindi you racist bastards! It’s sad and predictable and becomes a distraction.

This show was not The Sopranos on motorcycles, it was a Shakespearean tragedy on motorcycles. Which is perfectly fine. The problem is that the execution was shit and it tried to convince the viewer that it was clever while beating you over the head with its Shakespeareanism. After the tragic, pointless and retarded ending of the show, it even gives the viewer a Shakespeare quote before rolling its final credits. I’m sure dumb ass college students for years to come will write papers about how fantastic this modern Shakespearean saga is after just skimming over the Cliff Notes of Shakespeare’s work to make them feel the connection.

I don’t hate this show, even though it probably comes across like that. I had a hard time getting through segments of it but I enjoyed it enough to finish it. Granted, the ending was one of the worst in television history but really crappy endings to long-running shows is the trend lately. And maybe that ending just enhanced whatever bitterness I’m feeling.

Rating: 5.25/10
Pairs well with: The SopranosBreaking BadFear the Walking Dead and Justified but these are all better shows. Well, maybe not Justified, I’ll post my review for that soon.

Film Review: Star Trek: Nemesis (2002)

Also known as: Star Trek X (working title)
Release Date: December 9th, 2002 (Hollywood premiere)
Directed by: Stuart Baird
Written by: John Logan, Rick Berman, Brent Spiner
Based on: Star Trek by Gene Roddenberry
Music by: Jerry Goldsmith
Cast: Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Tom Hardy, Ron Perlman, Kate Mulgrew (cameo), Wil Wheaton (cameo), Whoopi Goldberg (cameo), Bryan Singer (cameo), Majel Barrett (voice), Stuart Baird (voice)

Paramount Pictures, 116 Minutes

Review:

“We supported you, Shinzon, when you assassinated the Senate. You told us the timing was perfect for an attack on the Federation. I don’t understand why now you delay.” – Commander Suran

A lot of people despised this movie. Well, good thing I don’t really care about what most people think because this is one of my favorite Star Trek films of all-time. I certainly have some issues with the plot but I’ll discuss that as the review rolls on.

To start, this was a really dark chapter in the Star Trek film franchise, which was definitely welcomed at the time, as the previous film, Insurrection, was a pointless romp and almost felt like a nice vacation for the Enterprise-E crew. This mirrors First Contact in its level of darkness and even eclipses it, as there aren’t a lot of funny scenes like all the Earth stuff from that movie. I guess some people didn’t like how “doom and gloom” this picture was but I dug it in the same way I really dug The Wrath of Khan, twenty years earlier than this.

The thing that really made me like this picture too was that it featured the Romulans heavily. It took ten Star Trek motion pictures to get a Romulan story and this one really setup what could have been a good trilogy of films surrounding the oncoming storm of Romulan civil war.

So many things happened in this film that changed the playing field for not just the Romulans and the Federation but also the crew of the Enterprise. I feel like this should have kicked off a trilogy within the film series, sort of like how The Wrath of Khan started its own trilogy of films surrounding the Genesis Project. I really, truly wanted to see the Enterprise with Picard fighting alongside the Titan with Riker with good Romulans on one side and bad Romulans and Remans on the other. This could have lead to massive, epic things but the film series ended with this picture. I heard that the novels that covered Riker’s time as captain on the Titan were pretty good though. I should check those out.

Anyway, I also really liked Tom Hardy as the villain Shinzon, even though I didn’t like his backstory. Shinzon was a clone of Jean-Luc Picard and was there to sort of challenge the core of who Picard is. Could he be this psychotic evil man under different circumstances? At the same time, could Shinzon be a noble and heroic character if he were raised under similar circumstances as Picard. I like how this plays out even though I felt that the clone part was incredibly cheesy and friggin’ strange.

But this also tapped into Data sort of having his own clone in the movie too, as the crew discovers an older model of Data on a remote planet. Data spends time trying to help the new android evolve and adapt beyond his simple programming and B4, this new android, is even given Data’s memories at one point and essentially carries Data inside of him.

It’s interesting that Brent Spiner, the man who plays Data, helped write the script, as this is very much a picture where Data is the focus and his journey here is his most important in the character’s history. I feel that Spiner’s inclusion in the writing process helped to enrich this part of the story in a more personal way.

I also thought that the special effects were a big step up from Insurrection, which was the first Star Trek movie to go full CGI instead of using models for the ships. This film didn’t feel as cheap as its predecessor, which came off like a “made for TV” movie for the SyFy channel.

I also loved the design of Shinzon’s battleship. That thing was sick and is one of my favorite Star Trek vessels of all-time.

I really like this film but unfortunately, it didn’t give fans the right sort of closure that they should have gotten with this exceptional cast. And for me, it left me hanging, wanting to see where the Romulan storyline could have gone.

Rating: 8/10
Pairs well with: The other Next Generation films: Star Trek: GenerationsStar Trek: First Contact and Star Trek: Insurrection.

Film Review: Alien: Resurrection (1997)

Also known as: Alien 4 (working title)
Release Date: November 6th, 1997 (Paris premiere)
Directed by: Jean-Pierre Jeunet
Written by: Joss Whedon
Based on: Charcaters created by Dan O’Bannon, Ronald Shusett
Music by: John Frizzell
Cast: Sigourney Weaver, Winona Ryder, Michael Wincott, Dan Hedaya, Brad Dourif, Ron Perlman, Gary Dourdan, Kim Flowers, Raymond Cruz, Dominique Pinon

Brandywine Productions, 20th Century Fox, 109 Minutes, 116 Minutes (Special Edition)

Review:

“[voiceover] My mommy always said there were no monsters. No real ones. But there are.” – Ripley

Alien: Resurrection is a film that shouldn’t have been made. At least not in its existing form. Ripley died but they bring Weaver back as some sort of clone made from her DNA that conveniently has her memories and is basically Ripley. It’s a terrible f’n attempt at keeping the franchise’s star at the forefront instead of just moving in a new direction, which was needed but didn’t happen until 2012’s Prometheus.

For the most part, this is a terrible film that at least has some good actors and a few cool bits in it. The stuff featuring Brad Dourif and his xenomorph captives is pretty well done. I also liked the look of the standard xenomorphs in this chapter.

People everywhere love Joss Whedon like he’s some sort of golden boy. Well, he wrote this script and the story and this is one of the prime examples I give when battling it out with Whedon fanboys. Did he have a few good ideas, sure. However, even the good ideas were pretty unrefined and made this feel more like a fan fiction fantasy than anything that fits cohesively within the already established Alien mythos.

The Ripley stuff was just dumb, the human/xenomorph hybrid was strange and bizarre and not in a good way and the whole tale just seemed like a pointless side story in some pocket of the Alien universe where I just didn’t care about a single character or their mission, even if Earth itself was in imminent danger.

It’s hard to believe that I didn’t care about anyone. I like Weaver, Ryder, Perlman, Dourif and Wincott a lot. They have all done things that have spoke to me and had me invested in their characters. I don’t in any way blame them, I blame Whedon’s weak script and the director, who was the first in the franchise that I am not even remotely familiar with. Okay, upon checking he did Amélie but that was after this and I haven’t seen it in a long time, so I can’t judge it. I kind of liked it back in 2001 or so, though.

Alien: Resurrection is an example of a major studio turning a property into their whore that has to keep turning tricks to keep making the pimp money.

The underwater sequence was kind of cool, so I do give this film some props for that. Usually underwater stuff comes off as terrible. But then, maybe this film should’ve focused on its strength and taken place entirely underwater. I’m being facetious, that would’ve been shitty.

Rating: 5/10
Pairs well with: Other films in the Alien franchise but this one is one of the weakest.

Film Review: Sleepwalkers (1992)

Also known as: Stephen King’s Sleepwalkers
Release Date: April 10th, 1992
Directed by: Mick Garris
Written by: Stephen King
Music by: Nicholas Pike
Cast: Brian Krause, Mädchen Amick, Alice Krige, Ron Perlman, Glenn Shadix, Stephen King, John Landis, Joe Dante, Clive Barker, Tobe Hooper, Mark Hamill

Columbia Pictures, 91 Minutes

Review:

“Stop looking at me! Stop looking at me you fucking cat!” – Charles Brady

I didn’t like this film when it came out way back in 1992. I was in middle school, at the time, and all the kids were obsessed with Stephen King. While I love many of the film adaptations of his work and did enjoy a couple of his stories, Sleepwalkers was not among King’s work that I found worthwhile. I did see it in the theater, after having my arm pulled by several friends and because I was crushing hard on Mädchen Amick back then, thanks to her character on Twin Peaks.

Seeing it all these years later was not a better experience. It didn’t age well, there wasn’t some sort of endearing or charming quality to the film and frankly, it was hard to sit through.

The special effects are pretty crappy. the transformation animations when the werecat characters’ faces shift is quick and fluid but just looks insanely hokey and bizarre. It is on par with something you would see in a music video from the same era. And while I’m aware that this movie had a modest budget, other similar horror films with modest budgets were doing better effects a dozen years earlier. Look at An American Werewolf In London and The Howling, for instance. Hell, look at the amazing effects in Fright Night, which came out in 1985, seven years before this.

The film also suffers from being completely bogged down by awful 1990s cliches. The fashion, the music, the overall style… it all just reeks of the worst things that decade had to offer. Sleepwalkers is teen horror at its worst and the 90s panache really just shovels a few extra pounds of shit into this gaping hole of a movie.

The creature effects, once the monsters appeared in their final form were okay. The werecat vampire monsters looked fairly cool but it wasn’t anything that could save the picture.

At least the film had cameos from several horror directors and also had small roles for Ron Perlman, Mark Hamill and Glenn Shadix.

So does Sleepwalkers deserve to be put through the Cinespiria Shitometer? To quote the legendary professional wrestling manager Paul Bearer, “Ohhhhhhhh, yessssssss!” So the results read, “Type 4 Stool: Like a sausage or snake, smooth and soft.”

Film Review: Cronos (1993)

Also known as: Chronos, La invención de Cronos (alternate Mexican title)
Release Date: May 3rd, 1993 (Cannes)
Directed by: Guillermo del Toro
Written by: Guillermo del Toro
Music by: Javier Alvarez
Cast: Federico Luppi, Ron Perlman, Claudio Brook, Margarita Isabel, Tamara Shanath

Fondo de Fomento Cinematográfico, Instituto Mexicano de Cinematografía, Universidad de Guadalajara, Iguana Producciones, Ventana Films, Prime Films S.L., October Films, 92 Minutes

Review:

“That fucker does nothing but shit and piss all day, and he wants to live longer?” – Angel de la Guardia

Cronos is the film that introduced the world to the talents of one of the most sought after film directors of the last several years, Guillermo del Toro. It was also del Toro’s first feature length film, following his shorts Geometria and Doña Lupe. He also had eight unreleased shorts before those.

This film is a vampire story but not in the traditional sense. While humans become monsters that need blood to survive, it is a uniquely original take on the concept.

In Cronos, there is a device that is in the shape of a golden scarab. Within the scarab is an insect connected to a lot of clock-like gears. The mechanism attaches to a person, taking their blood but giving them youth and vitality. The human then needs to drink blood to feed himself and the machine. An antique dealer and a rich eccentric battle over the ownership of the device with the rich eccentric employing his hulking nephew (Ron Perlman) as his muscle.

The device itself seems like a respectful nod to the Lament Configuration from the Hellraiser film series. It is a tiny mechanical device imbued with supernatural power that physically hurts its possessor while giving them extraordinary gifts and eventually pain and death. I don’t know if this was intentional by del Toro, not that it even matters, but the two devices have a lot of similarities.

While del Toro had a lot of practice making a slew of short films, being that this is his first real feature, it is impressive. It is visually stunning and uncomfortably enchanting. It is a dark fantasy world but feels like it is within the boundaries of reality. It is gritty and beautiful and there is a great balance between light and dark from a visual and narrative standpoint.

The acting is pretty solid and Ron Perlman is really great in this. I kind of wish his part was a bit bigger but it established his long-time friendship and working relationship with del Toro and even though he had a lot of acting credits before this, it kind of feels like a new chapter in his career, moving on from mostly being known behind a lot of makeup as the Beast from the late 80s Beauty and the Beast television series.

I liked this motion picture quite a lot. It doesn’t have as strong of an effect as del Toro’s later pictures but it is certainly his movie and fits well alongside the others.

Film Review: The ‘Police Academy’ Film Series, Part II – The Post-Mahoney Years (1988-1994)

These three films differ from the first four in the series in that they are missing the character of Sgt. Carey Mahoney. Steve Guttenberg left the series and thus, took the main character with him. For the first two films post-Mahoney, we got a new lead actor played by Matt McCoy. Now McCoy is a decent enough actor but he is a straight laced kind of guy and not a great funnyman like Guttenberg.

Some people think the series should have ended with Guttenberg’s exit but then some people thought it should have ended after the first movie. If that were the case, it would have been forgotten and not have become a beloved comedy franchise. Personally, I think it should have ended with the sixth film but I will get into how horrible the seventh and final film is after I discuss the two before it.

Police Academy 5: Assignment Miami Beach (1988):

Release Date: March 18th, 1988
Directed by: Alan Myerson
Written by: Stephen Curwick
Music by: Robert Folk
Cast: Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, George Gaynes, G.W. Bailey, Lance Kinsey, George R. Robertson, Matt McCoy, Janet Jones, Tab Thacker, René Auberjonois

Warner Bros. Pictures, 90 Minutes

Review:

“Proctor! Where is Proctor?” – Capt. Thaddeus Harris

This is the first Police Academy film to take our characters out of their familiar setting. Since it is the fifth film, the producers were probably out of ideas and wanted to turn the fifth film’s production into more of a vacation.

Audiences weren’t happy going into a film without Mahoney, as the focal point, but what made all of these films work was the ensemble cast. Now without Mahoney, the spotlight was a little bit brighter on his cast mates. Hightower, Tackleberry, Jones, Hooks, Callahan, Harris, Proctor, Commandant Lassard and House all had more to do in this movie. I like this film because it expands on them and lets them continue on with these great characters.

Sure, the film is a step below the previous ones but it isn’t as bad as critics and IMDb would make you believe. If you are a fan of the series up until this point, you should still like this installment.

The Capt. Harris and Proctor bits in this film are some of the best of the series. The action sequences are also well done, as they take to the Everglades on airboats in an effort to chase down the villain. And the villain, who is played by René Auberjonois, is my favorite bad guy in the film series. It may also be my favorite Auberjonois role after his parts on Star Trek: Deep Space Nine and Benson.

Police Academy 6: City Under Siege (1989):

Release Date: March 10th, 1989
Directed by: Peter Bonerz
Written by: Stephen Curwick
Music by: Robert Folk
Cast: Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, Bruce Mahler, George Gaynes, G.W. Bailey, Lance Kinsey, George R. Robertson, Matt McCoy, Kenneth Mars, Gerrit Graham

Warner Bros. Pictures, 84 Minutes

Review:

“Oh, crapola!” – Mayor

The sixth film isn’t very good. It has some redeeming things about it, as the cast of familiar characters are there once again, providing the audience with laughs. Watching this though, you could tell that the creative staff were out of material and out of jokes.

This was the first film in the series to play like a whodunit mystery but that felt out of place in a series where the movies were a series of random comedy gags with just a bit of plot sprinkled in to string it all together.

The villains were the cheesiest of the series, the big mystery reveal at the end was awful and the actors didn’t even look like they were having fun anymore and instead realized that if they wanted to keep making a paycheck, they were stuck churning out Police Academy films annually.

When this movie ended, so did the schedule of having a new Police Academy film each spring. In fact, for a long time, I thought this was the end of the series. It should have been. But then five years later, someone thought it’d be a good idea to do a seventh film.

Police Academy 7: Mission to Moscow (1994):

Release Date: August 26th, 1994
Directed by: Alan Metter
Written by: Randolph Davis, Michele S. Chodos
Music by: Robert Folk
Cast: David Graf, Michael Winslow, Leslie Easterbrook, George Gaynes, G.W. Bailey, Charlie Schlatter, Christopher Lee, Ron Perlman, Claire Forlani

Warner Bros. Pictures, 83 Minutes

Review:

“Everything about me… is real.” – Callahan

This film is easily one of the worst movies that I have ever seen. It pains me, considering that it still has some of those characters I love. But at this point, they have become absurd cartoon characters.

The director of this film is an idiot. For whatever reason, he must be really into acrobatics because there was a lot of characters jumping around doing bizarre flips throughout the film. It made no sense and it was, for lack of a better set of words, fucking stupid.

There were also sound effects that didn’t fit and were bizarre as hell.

Additionally, the camera was often times zoomed in way too close to the actors’ faces. It was disorienting and visually annoying.

This film features the talents of the legendary Christopher Lee and the bad ass Ron Perlman. I feel sorry for them for having even been anywhere near this picture. Also, Claire Forlani is in this for some reason.

You would do yourself a huge favor by steering clear of this film at all costs.

Film Review: Pacific Rim (2013)

Release Date: July 1st, 2013 (Mexico City)
Directed by: Guillermo del Toro
Written by: Travis Beacham, Guillermo del Toro
Music by: Ramin Djawadi
Cast: Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Burn Gorman, Rob Kazinsky, Max Martini, Ron Perlman, Brad William Henke

Legendary Pictures, DDY, Warner Bros. Pictures, 131 Minutes

pacific-rim-poster4Review:

Let me start by saying that it has been a long time since I’ve had as much fun at the movies as I had the first and second time I saw Pacific Rim. Yes, I saw it twice. That is incredibly rare for me, as time isn’t a luxury I usually have but I enjoyed the film so much that I wanted to experience it on a big screen one more time before it left theaters. Besides, good or bad, how often do we get to see a kaiju versus mecha live-action cinematic feature?

Yes, this film is at parts cheesy and over the top and relies on a lot of CGI, things I am often times critical of. However, in the vein of kaiju films, these elements are almost customary. There is a place for such things and a film about giant robots fighting massive kaiju is that place. Regardless of those more traditional giant monster movie elements, this film still delivered a serious and emotional story that was entertaining despite the giant battles.

Have you ever seen Idris Elba in anything and not been pleased? Once again, in this film, he delivers and gives a great epic speech that rivals Bill Pullman’s speech in Independence Day. Apart from Elba, Charlie Day from It’s Always Sunny In Philadelphia played a smart version of the character people have loved on his FX series. Day was awesome and I wish I’d see him in more roles. Ron Perlman, who shared almost all of his scenes with Charlie Day, played an entertaining character that was a perfect marriage of goofy and bad ass. Perlman’s Sons of Anarchy co-star Charlie Hunnam was the film’s lead but he was just as drab as he always is and I really didn’t care about him or his struggles. The other characters made up for Hunnam though. On a side note, with all these actors from FX shows packed into this film, I anticipate it being in regular circulation on that channel, all the time.

The action sequences in this film were spectacular. Pacific Rim actually has one of the best openings that I’ve ever seen in a summer blockbuster film. The Hong Kong battle is also a high point of the film, as a trio of Jaegers (the giant robots) take on a pair of kaiju. The big confrontation starts in the harbor and carries over into downtown Hong Kong.

Director Guillermo del Toro (Hellboy, Pan’s Labyrinth and many other films) serves up his patented visual style but does so on a much larger scale. This is my favorite of his films and has me hopeful for its sequel, even though he isn’t directing it.

There are only two negatives I want to point out about the film.

The first, is that the score is mediocre. The music is generic sounding and really repetitive. It does its job for the most part but it also distracts from the picture. There is nothing memorable about the soundtrack, other than it just feels like the same damn theme playing over and over again and it isn’t that good to begin with.

The other negative was the design of the kaiju. They were fairly cool but there wasn’t much to make them unique or anywhere near as cool as the kaiju of the 1960s and 70s. They all generally had the same look with a few minor tweaks here and there. The coolest was the one with the big knife on its head but that was really just a modern version of the much more awesome Guiron from the Gamera franchise. But then again, this is a movie where giant robots fight giant monsters and it was pretty effective, regardless of mediocre monsters.

If you want a film that is just a smash’em up ass kicking epic blockbuster, this is your movie. If you don’t want that, you are probably dead inside.

Rating: 7.5/10
Pairs well with: Pacific Rim: Uprising, 2014’s American Godzilla remake, Kong: Skull Island.