Film Review: Tucker & Dale vs. Evil (2010)

Release Date: January 22nd, 2010 (Sundance)
Directed by: Eli Craig
Written by: Eli Craig, Morgan Jurgenson
Music by: Michael Shields, Andrew Kaiser
Cast: Tyler Labine, Alan Tudyk, Katrina Bowden, Jesse Moss, Chelan Simmons

Eden Rock Media, Looby Lou, Reliance BIG Pictures, Urban Island, Magnet Releasing, 89 Minutes

Review:

“Holy shit. We have go to hide all of the sharp objects!” – Tucker

I really liked this movie when I first saw it, which was way back when it came out in 2010. Weirdly, I hadn’t revisited since that initial viewing. Going back to it now was refreshing, as there hasn’t been a whole lot that I’ve liked in the horror genre, as of late. Especially in regards to comedy horror.

The premise of this film is great and it kind of makes you rethink horror films from the past. This is a movie that is about a series of misunderstandings and misinterpretations based on preexisting biases and well, other horror movies.

Tucker and Dale are two hillbillies that are driving to their vacation home in the woods. On their way, they meet a group of college kids and Dale is smitten with a girl in the group named Allison. He tries to talk to her but is nervous and comes off to the kids as a crazy, creepy, backwoods redneck. The kids are on the immediate defense because they’ve obviously watched too many horror films about killer rednecks in the woods.

Following the setup, the rest of the film is full of other misunderstandings that convince the college kids that these two hillbillies are trying to murder them. In reality, they are two nice and chill guys. The college students try to save a friend that the hillbillies have in their house, as she is recovering from an injury. As the college kids swarm the house, some of them end up killing themselves accidentally in the chaos. Tucker and Dale are left thinking that these kids are trying to kill Allison and have some sort of suicide pact. The surviving kids continue to think that Tucker and Dale are savage killers.

While the premise is fantastic it wouldn’t survive without good and clever writing and without some surprises thrown in. Eli Craig and Morgan Jurgenson penned a stellar script and Craig also did a fine job behind the camera, directing the action.

Tucker and Dale are incredibly likable characters, as is Allison. Other than that, it’s great seeing all the other kids get maimed, disfigured and killed in a myriad of interesting ways. I also loved seeing how freaked out Tucker and Dale were, as they couldn’t make sense out of what was happening.

Alan Tudyk played Tucker and he’s fun to watch in any role. However, Tyler Labine really stole the show as Dale. He was a true everyman and was just good at it. He wanted to win the girl, he didn’t look the part but through his heroics, bravery and loyalty to those he cares about, was able to win in the end.

There have been rumors about a sequel for years. In fact, a script was written but it was terrible and they decided against making it. So kudos to the filmmakers and actors for not just trying to cash in and ride the wave of success from the first movie. Besides, this is a very satisfying film on its own and doesn’t need a sequel just to have one.

Rating: 8/10
Pairs well with: Other good recent horror parodies: Cabin in the WoodsShaun of the DeadZombieland and What We Do In the Shadows.

Film Review: The New Barbarians (1983)

Also known as: Warriors of the Wasteland (alternate), Metropolis 2000 (West Germany)
Release Date: June 10th, 1983 (West Germany)
Directed by: Enzo G. Castellari
Written by: Tito Capri, Enzo G. Castellari
Music by: Claudio Simonetti
Cast: Fred Williamson, Giancarlo Prete, George Eastman

Deaf International, 91 Minutes

Review:

“The world is dead. It raped itself. But I’ll purify it with blood! No one is innocent! But only we, the Templars, are the ministers of revenge!” – One

Between 1990: The Bronx Warriors and Escape From the Bronx, Enzo G. Castellari made this terrifically badass flick. And like 1990: The Bronx Warriors, this film stars Fred Williamson in a supporting but show stealing role.

This is one of ten dozen Mad Max ripoffs but the post-apocalyptic genre of film was at its height in the ’80s thanks to the surprise success of Mad Max. There were ripoffs galore, some good, some atrocious, but some of them at least brought something new to the table. I can’t call this a good film but I like it a lot because it takes an oversaturated formula and gives it some sweet style.

The Italians could have really taken what they did with spaghetti westerns and started a whole spaghetti apocalypse trend. While they made films like this, as this is one of them, they never quite took off like the spaghetti western trend in the late ’60s and early ’70s.

Enzo G. Castellari really made his mark in spaghetti westerns and dabbled in some horror. The two really prepared him for making post-apocalyptic movies, as they share similar qualities: barren wastelands, gunslingers, violence and terror. And hell, trade out the horses for motorcycles and you’ve got a spaghetti apocalypse movie, as I call these pictures.

The New Barbarians or Warriors of the Wasteland, as it is also called, is an energetic and engaging picture for what it is. It wasn’t intended to be a game changer or exceptional, it was just made to cash in on a genre craze but still had enough of its own originality and style to stand apart from its primary influences.

Castellari was the master of these sort of films and The New Barbarians just solidifies that. It is well executed with awesomely shoddy effects and surreal action. It has weird dialogue, weird characters and weird costumes. It’s like some sort of bizarre European post-apocalyptic themed fashion show from the ’80s. I don’t really know how else to sum it up in a single sentence.

This film, along with Castellari’s Bronx movies sort of form an unofficial trilogy in my mind. They have similar themes, similar style and are cool to experience. This is a better film than the two Bronx movies: slightly beating out the first and completely surpassing the second, which actually isn’t very good.

Rating: 7/10
Pairs well with: 1990: The Bronx Warriors and Escape From the Bronx. It also has a lot of similarities to the more modern film Turbo Kid.

Book Review: ‘Paddle Your Own Canoe: One Man’s Fundamentals for Delicious Living’ by Nick Offerman

You will most likely recognize Nick Offerman as the anti-government government worker, Ron Swanson from the fantastic show Parks & Recreation. The real man isn’t too far from living up to the awesomeness that is his fictional counterpart. Now while his political philosophy may not be as hardcore in real life, he is just as much a man’s man and a complete badass. He’s also a die hard Cubs fan, so there is that too.

This book is primarily autobiographical. Nick tells tales of his childhood, his life, his struggles and everything in-between. He spends a good deal of time talking about the men who helped shape him into who he is.

He also discusses his love of the Cubs, his love of woodworking and his sweet breakdancing skills. He covers his thoughts on diet and health, which is important coming from the man who on television only ever seems to eat turf & turf while pillaging through cigars and Scotch. He also goes into facial hair, which is just one of many things that he has earned expert status on.

The highpoint and best parts of the book, which are sprinkled throughout, are the times where he talks about his love for his wife, Megan Mullally. The book is almost a love letter to his wife and although it is somewhat mushy and sweet, it still comes off manly as fuck and is a good lesson to other men on how to treat and see their wives or girlfriends.

Finishing this book, I wasn’t left unsatisfied. I expected it to be a good primer on who Nick Offerman is and I was left with a lot more than that. There isn’t a chapter in this book that one can’t learn something from. Paddle Your Own Canoe is not just a well-written, educational and entertaining book, it is a valuable book.

Rating: 9/10
Pairs well with: Nick Offerman’s other books: Gumption and Good Clean Fun.

Film Review: Family Plot (1976)

Also known as: Alfred Hitchcock’s 53rd Film, Deceit, Deception, Missing Heir (working titles)
Release Date: March 21st, 1976 (Filmex)
Directed by: Alfred Hitchcock
Written by: Ernest Lehman
Based on: The Rainbird Pattern by Victor Canning
Music by: John Williams
Cast: Karen Black, Bruce Dern, Barbara Harris, William Devane, Ed Lauter

Universal Pictures, 121 Minutes

Review:

“[to Fran] We’re gonna have to kill these two ourselves.” – Arthur Adamson

Family Plot has the distinction of being Alfred Hitchcock’s last film. It also proves that even in old age, the director was a true auteur that never lost his mojo. This is an engaging and entertaining motion picture that while it isn’t Hitchcock’s best, probably deserves more recognition than it has gotten over the years.

The plot is about one giant misunderstanding. Unfortunately for the nice duo, it becomes a big mess, as the other duo locked in this cat and mouse game aren’t nice people and in fact are pretty evil and dangerous.

Barbara Harris plays a fake psychic that swindles rich old ladies out of their money. She partners up with a crafty cab driver played by Bruce Dern. The two of them are given a job that will reward them with $10,000 upon completion. That job is to find a long lost heir to a family fortune and return him to the fold. What they don’t know is that this heir is a career criminal and conman. The conman thinks that he is being pursued by the duo because of something heinous from his past. The heir is teamed up with a often times reluctant accomplice played by Karen Black. The film becomes a chase where the mostly good guys keep finding themselves in over their heads and the bad guys are running in fear of what these do-gooders may have on them.

The plot is well structured and executed marvelously for the most part. My only real complaint about the film is that it seems a bit too drawn out. Hitchcock loved a two hour-plus running time and frankly, this could have been 100 minutes and been just as good.

I loved seeing a younger Ed Lauter in the movie and with Bruce Dern and Karen Black, this just has a really cool cast. The fact that these actors also got to work with Hitchcock is kind of impressive. Not because they aren’t capable, they certainly are, but because it’s a teaming of great talents from different generations.

Speaking of which, it was also really neat that John Williams got to score a Hitchcock picture. Two different artists that defined two different generations in very different ways came together and made something that worked to benefit both parties. Williams score here isn’t anywhere as well known as those that he’d do for George Lucas and Steven Spielberg but it enhanced the overall experience of Hitchcock’s Family Plot and gave it some life it might not have had with a less capable composer.

I really enjoyed Family Plot. I wasn’t sure what to expect but it exceeded any expectations I could have had, even if I knew more about it before diving in.

Rating: 7.75/10
Pairs well with: A lot of Alfred Hitchcock’s later work from the late ’60s into the ’70s.

Comic Review: G.I. Joe: Target Snake Eyes

Target Snake Eyes is the culmination of several stories. It is a conclusion to all the stuff that happens after the big Cobra Command event, which followed the massive Cobra Civil War crossover.

This is the final chapter of the larger arc that is spread over G.I. Joe: Deep Terror, G.I. Joe: Cobra, Vol. 2: Son of the SnakeG.I. Joe: Cobra, Vol. 3: Oktober Guard and G.I. Joe: Snake Eyes & Storm Shadow, Vol. 1.

Additionally, this sets up the new comic book series G.I. Joe: Special Missions, which happens alongside the events of two other new titles, G.I. Joe: The Cobra Files and G.I. Joe (the third main series for the franchise at IDW). This list here will help you make sense out of the timeline and the multiple titles since IDW is pretty confusing on how they release G.I. Joe stuff.

This kicks off with G.I. Joe and Cobra hunting for Snake Eyes and his Arashikage ninja brother Storm Shadow. Snake Eyes is believed to be working against the Joes and Storm Shadow has taken his clan and left Cobra. Snake Eyes has his own agenda, as that’s sort of his modus operandi. This eventually leads to Storm Shadow feeling betrayed and a rift forming between the two, once again.

Target Snake Eyes also deals with Joe and Cobra teams that aren’t in great shape. The Baroness comes up with a massive scheme to give Cobra a lot more power but the scheme fails and she finds herself in the crosshairs of Cobra Commander.

There is a lot of Serpentor, Coil politics, Arashikage politics, Cobra politics, Joe politics and a big crescendo that finishes the story and gives you a sense of narrative completion other than a few open ended bits that will carry over into future story arcs.

Overall, this is a really good book if you are a fan of the ninja side of the G.I. Joe universe.

Rating: 8.25/10
Pairs well with: The two stories that lead into it: G.I. Joe: Deep Terror and G.I. Joe: Snake Eyes & Storm Shadow, Vol. 1.

Video Game Review: Castlevania (NES)

Every kid in the ‘8os played Castlevania. Well, if they didn’t, they missed out on one of the greatest experiences of their generation. Sure, it wasn’t as massive as Super Mario Bros. or The Legend of Zelda but it is just as much a classic and has had a similar level of staying power, as sequels are still made and it even has an anime show on Netflix that is currently running.

The game sort of takes the Universal Monsters and throws them into a 2D side scrolling adventure of badass proportions. The big boss is Dracula but you also face Frankenstein’s monster, a hunchback, a mummy, several gillmen, as well as other classic monsters that weren’t in the Universal Monsters canon like the Grim Reaper and Medusa. There are also zombies, giant wolves, giant bats and dismembered Medusa heads that fly at you. There are deadly traps, pits and water that is instant death. The game throws a lot at you and pulls no punches.

Seriously, this really pulls no punches. The game is hard as hell. And maybe the difficulty level is it’s only real negative. It isn’t an unbeatable game, as I have conquered it. But man, it is an incredible challenge that takes hours upon hours of mastery before one can actually beat it. But that was what the best old school NES games were about: mastery.

Another slight negative is the mechanics. Sometimes the jumping is wonky and it’s easy to get overzealous and screw up. Also, the stairs can be a total pain in the ass but eventually you’ll get it.

Castlevania is one of the best games of its era. It had to be to create a franchise as strong as it did. It is a true product of the ’80s and a real blast for old school horror fans.

Rating: 9.5/10
Pairs well with: The other NES Castlevania games: Castlevania II: Simon’s Quest and Castlevania III: Dracula’s Curse, also PlayStation’s epic sequel Castlevania: Symphony of the Night.

Film Review: The Shadow (1994)

Release Date: July 1st, 1994
Directed by: Russell Mulcahy
Written by: David Koepp
Based on: The Shadow by Walter B. Gibson
Music by: Jerry Goldsmith
Cast: Alec Baldwin, Penelope Ann Miller, John Lone, Peter Boyle, Ian McKellen, Jonathan Winters, Tim Curry, James Hong, Al Leong, Frank Welker (voice)

Bregman/Baer Productions, Universal Pictures, 108 Minutes

Review:

“I’ll be there… around every corner… in every empty room… as inevitable as your guilty conscience…” – The Shadow

The Shadow wasn’t shy about what it was trying to be. It was Universal’s answer to Warner Bros. massive success with Batman and Disney’s pretty popular Dick Tracy. It is almost like a blend of the two and I guess The Shadow was the right property to adapt at the time, if you wanted to marry both of those other franchises into one thing. Granted, it also throws in some Asian mysticism but ninjas and Oriental magic were pretty popular back then too.

I wouldn’t call the finished product a big success though. This film pretty much bombed, critics didn’t like it and it felt like it was trying too hard to be those other things that it wasn’t. It’s sad because The Shadow could have actually been a really great movie. It has so many things working for it that you almost have to try to make it not work.

Granted, this film is far from terrible and I like it quite a bit more than I dislike it. It’s just that those bad elements really held this motion picture back.

For starters, Alec Baldwin was boring as hell as the Shadow. He was dry, tried to come off as overly manly and sexy and it just felt silly. His Bela Lugosi illuminated eye trick when he was using his psychic shtick just didn’t work and I’m a huge fan of that method when used correctly. But maybe that only worked well in old black and white Universal Monsters pictures. His weird facial prosthetics also didn’t work for me and just made him look strange.

I also didn’t like John Lone as the villain, who is essentially a resurrected Genghis Khan. At least I think he was, his explanation was kind of weird and confusing. He kind of sounded like Tommy Wiseau with a little Asian flourish to his accent.

I did like the rest of the cast. Penelope Ann Miller was alluring as hell, Ian McKellen was delightful and Tim Curry stole the show, as he always does.

I also liked the score by Jerry Goldsmith. It was made to sound a lot like Danny Elfman’s scores for Batman and Dick Tracy but it wasn’t a total ripoff, it had a very strong Goldsmith vibe to it.

The look of the film was nice but it really was just an amalgamation of Tim Burton’s Gotham City and The City from Dick Tracy. It was actually New York and had the iconic landmarks but the night shots used sweeping cameras weaving around building’s ala Burton’s Batman and featured gargoyles with waterfalls coming out of their mouths and other things that didn’t seem very 1930s New York.

The film did its best to be exciting but it just wasn’t. It was as bland as Baldwin’s performance and to be honest, unlike similar films of the era, I never had the urge to go back and watch this until now. I have seen Batman and Dick Tracy and even The Rocketeer a few dozen times.

Although watching it now, I really liked the sequence during the final showdown in the hall of mirrors. It was a bit hokey but it still looked beautiful and was the best visual moment in the picture.

The Shadow isn’t a complete waste of a film. It’s less than two hours and is a decent time killer, especially if you’ve never seen it and are a fan of similar pictures and 1930s style.

Rating: 6.25/10
Pairs well with: The two films it borrows heavily from: 1989’s Batman and 1990’s Dick Tracy.