Welcome to the 159 episode of the Monkeys Fighting Robots podcast, this week we review THE ROOKIE starring Nathan Fillion, Spider-Geddon #2, and THE CHILLING ADVENTURES OF SABRINA. On the second half of the show, U-God of the Wu-Tang Clan calls in to talk about life and his new book. Thanks for listening, and enjoy the show.
Do you have a question for the show? Email robotsfightingmonkeys@gmail.com
Never heard of Matt Sardo? For starters, he made the Kessel Run in less than 11 parsecs. Prior to that, he gave Doc Brown the idea for the flux capacitor and led the Resistance to victory over SkyNet – all while sipping a finely crafted IPA. As a radio host, he’s interviewed celebrities, athletes and everyone in between. He’s covered everything from the Super Bowl to Comic-Con.
One of the bands of all time, Queen, has finally gotten a movie dedicated to their story. Was it worth the wait? Bohemian Rhapsody tells the story of the band and their lead singer, Freddie Mercury leading up to their legendary performance at Live Aid.
To address the elephant in the room — no, this film didn’t live up to its namesake. In fact, it is a very standard and by-the-book music biopic, which is admittedly disappointing given the legendary status of Queen and their music. That being said, as a fan of Queen, the movie is entirely enjoyable.
At its core, this is a pure crowd-pleaser. For the most part, it skims the surface in terms of character development and deep storytelling in favor of giving the audience moments that they will appreciate. Nothing particularly insightful about the musicians or their artistic process is gained from the film. Instead, it is a fun time watching the story of one of the greatest bands of all time and listening to their music.
L-R: Ben Hardy (Roger Taylor), Gwilym Lee (Brian May), Joe Mazzello (John Deacon), and Rami Malek (Freddie Mercury) star in Twentieth Century Fox’s BOHEMIAN RHAPSODY. Photo Credit: Alex Bailey.
The movie is also somewhat contrived and convenient at times. It is obvious that there were quite a few dramatic liberties taken with the true story for the purpose of making the story seem more cinematic. For example, in the lead-up to the finale, the subplots wrap themselves up too nicely. Furthermore, the film’s timeline is questionable. There are multiple jumps in time that prevent the audience from getting to know the members of the band and their work more.
That being said, what would otherwise be an average movie is turned into a solid one by some great performances. It still isn’t to the level at which it should have been, but it is watchable. Rami Malek’s performance as Freddie Mercury is utterly engrossing. He truly becomes the character. This has to be one of the best transformations all year, because Malek absolutely nails the mannerisms and persona of the singer. In a few scenes, his lip-syncing does get slightly off, but he is otherwise great. Also worthy of note is Gwilym Lee, who plays Bryan May. Although Malek steals the show, it is almost shocking how closely Lee mirrors the real-life subject.
L-R: Gwilym Lee (Brian May), Ben Hardy (Roger Taylor), Rami Malek (Freddie Mercury), and Joe Mazzello (John Deacon) star in Twentieth Century Fox’s BOHEMIAN RHAPSODY. Photo Credit: Courtesy Twentieth Century Fox.
Additionally, the film does a great job with some elements of the story in particular. For example, the way in which the story develops Mercury’s relationship with Mary Austin is quite effective. This storyline gives the movie much of its emotional grounding and provides for what is perhaps the best scene in the film. Other highlights include the negotiations with record producer Ray Foster (Mike Myers), the scene in which the eponymous ballad is written, and, of course, the brilliant recreation of the Live Aid concert.
In addition the standard writing, the movie also has some other issues, particularly with its execution. The film can’t seem to decide on a consistent visual style. There were some scenes that were very fluid in both their cinematography and editing, but there were others that were notably rough. For example, there is a montage showing Queen’s various tour stops that uses animated graphics. These were noticeably distracting.
Overall, even though Bohemian Rhapsody isn’t quite the biopic that a musician as great as Freddie Mercury deserves, it is still a lot of fun. You surely won’t be bored, and you’ll probably have a hard time getting the music out of your head after seeing the film.
Mobile Homes is a new film by director Vladimir de Fontenay, an adaptation of his short of the same name. The movie is about a young mother who drifts between motels with her untrustworthy boyfriend and 8-year-old son, trying to make it by in any way possible.
The film certainly wasn’t bad, but it has a lot of issues and inconsistencies that kept it from being as impactful as it wanted to be. Although the story contains some ambitious commentary on the prevalence of poverty in the modern-day United States, it isn’t able to fully take advantage of this potential to create a compelling narrative.
One of the biggest problems in the movie is evident from the very first scene — the protagonist just isn’t particularly likable. The film makes her pitiable rather than sympathetic, and as such, the audience spends most of the movie thinking that her son would be better off without her. As such, it is difficult to approach her story. If the film had instead focused on her son as the protagonist, it would have been much more enjoyable and impactful.
It’s a shame that the supporting characters are far more well-developed and sympathetic than the protagonist. The movie easily could have turned Ali into a strong and empowered woman, but instead made her feel weak-willed and distant. It is possible that Fontenay was trying to go for gritty realism, but the character instead feels like a silhouette of what she is supposed to be.
The story’s pacing is also inconsistent. For the most part, it isn’t super slow, but it also isn’t quickly-paced. However, there are a few short bursts of intensity and a few long gaps of nothingness. These distract from the movie’s overall purpose and narrative. The film could have spared to be about twenty minutes shorter.
That being said, the movie did have some compelling emotional moments at times. There are a few scenes that really stick in your mind and have an actual impact. These flashes of promise make the film watchable despite its flawed script.
Additionally, the movie is well-executed. The cinematography is quite good, especially for a low-budget feature. It is simple, but effective. The performances are also all very strong. Although her character isn’t the most well-written, Imogen Poots does a good job in her role. She slips into the role well and is completely believable. Callum Turner gives a solid supporting performance, too, having some of the best scenes in the film. The child actor, Frank Oulton, is great as well, adding more nuance than you would expect from someone so young.
Overall, Mobile Homes is a well-made, but questionably-written movie. Honestly, had there been a few revisions to the script to make the characters more compelling, it could have been amazing, but as is, it’s just okay.
Don’t Go is a new drama/psychological thriller starring Stephen Dorff. The film follows Ben, a writer who is grief-stricken over the death of his young daughter, as he begins to believe that he can bring his daughter back through a recurring dream he has,
Towards the beginning, this movie was extremely successful at characterizing its protagonist. In the first few scenes of the film, the audience is able to form an emotional connection with Ben because of the situation in which he finds himself. Because of this, the audience cares about the character’s actions for most of the first half.
Unfortunately, the film wrecks this strong development around the halfway mark with a frustrating “twist”. At this point, the movie makes the protagonist no longer feel like a victim of fate and instead a person being punished for his wrongdoing. The sympathy fades and with it goes the audience’s investment in the story.
Additionally, the story requires an absolutely ridiculous amount of suspension of disbelief on the part of the viewer. The creativity that the writers show is certainly worthy of praise, as the plot has some legitimately new ideas, although these ideas do not seem to be based in any fact or religion. In fact, the plot device that pretty much drives the whole movie is rather far-fetched.
Due to the increased need for suspension of disbelief, much of the sincere emotion established by the film is replaced by a somewhat goofy-feeling supernatural storyline. It almost feels as if the movie had a hard time committing to either style and instead tries to handle both (and it isn’t particularly successful in so doing).
The film also struggles with its pacing. Even though its runtime clocks in at just around an hour and a half, it feels much longer. The story is quite slow, and while there are moments of intrigue, these are few and far between. Between the slow pacing, far-fetched storyline, and eventual abandonment of characterization, it becomes pretty easy to zone out.
That being said, the movie is surprisingly well-executed. The cinematography is (for the most part) quite minimalistic, but that works for the scale of the film. The score is also very well-used, crafting the tone. The main focus of the movie, though, is the highly nuanced lead performance by Dorff. His ability to portray emotion lends the film what realism it actually has.
Overall, Don’t Go has some strong moments, but is weighed down overall by its supernatural elements. Apart from a great lead turn by Stephen Dorff, there isn’t much about this movie that is particularly memorable.
Don’t Go is in select theaters and on VOD beginning October 26.
Airbnb has become a more and more popular service over the years as homeowners look for a way to make a quick buck off of unused property and renters look for a cheap place to stay on vacation. The new film Killer Kate! brings to question the security of services like this.
Directed and co-written by Elliot Feld, the film follows a woman who attends her estranged sister’s bachelorette party at a remote cabin in the woods upon the request of her dying father. However, as the night progresses, the party turns into a bloody and violent battle for survival.
The premise of this film has a lot of potential. The bachelor(ette)-party-goes-wrong formula is certainly nothing new, but the murderous spin on it is interesting. If only the filmmakers could have taken that premise and made something that was actually scary and/or funny. Instead, the film stumbles through its first forty-five minutes and rushes through the last thirty.
(L-R) Danielle Burgess as Angie, Abby Eiland as Mel, Amaris Davidson as Sara, and Alexandra Feld as Kate in the horror film “KILLER KATE!,” a Freestyle Digital Media release. Photo courtesy of Freestyle Digital Media.
One of the film’s biggest issues is its lack of character development. In the first act, the film jumps between the stories of the killers and their victims. As a result, neither storyline is fully explored and none of the characters are fully developed. The film is trying to be “edgy” by attempting to make the killers seem sympathetic, but that is in no way effective.
Instead, the characters all feel shallow and archetypal. The supporting characters are especially frustrating and stereotypical. Because of this, it was extremely hard to get invested in the story. The only likable character is Kate, the protagonist, and that comes over time. That being said, the film never establishes where her “killer instincts” originated, which is disappointing, as the film easily could have made her an extremely strong female character.
(L-R) Danielle Burgess as Angie and Alexandra Feld as Kate in the horror film “KILLER KATE!,” a Freestyle Digital Media release. Photo courtesy of Freestyle Digital Media.
The film’s humor also just didn’t land. The film attempts to be self-aware and meta, but is unsuccessful, as the jokes it makes just aren’t that funny. Additionally, the film adheres too closely to the tropes of the genre to be funny in a subversive way. Towards the end of the film, it attempts to be different, but instead just feels stupid. The writers attempted to give the film a meaning, but it didn’t make any sense.
That being said, the film does have some very good technical qualities. The film does a solid job of taking a (mostly) confined setting and making the most out of it. Although it could have spared to be more suspenseful, the close quarters do create a decent amount of tension. Additionally, the cinematography was frequently great. There are some really interesting shots, especially during the kills.
Overall, Killer Kate! was a rather disappointing film. Despite having a large amount of potential, the film fails to deliver, being mostly unfunny and otherwise underwhelming.
Killer Kate! is in theaters and on VOD beginning October 26.
The new arc of Mighty Morphin Power Rangers from Boom Studios is having some difficulty with the new cast. The fans were hyped for this ragtag group of different Rangers from different teams across the mythology. Will this be the issue where they pull themselves together?
After the mysterious ranger stole their power source, the team has no choice but to pursue despite their limited powers.
Writing
The best word to describe this issue is awkward. Everything from the plot, to the characters, and even the artwork seems like it is struggling to connect properly. There are patches where it seems like a team dynamic is starting to form between characters but at the same time they feel more like hints of attempting individuals to be shipped together. Both Kim and Heckyl and Mike and Tanya have moments where it appears like they are looking into each other’s eyes longingly as if to showcase they are falling for one another. Kinda feels like there should be more team building first before you start putting people in relationships.
Writer Marguerite Bennett seems to have fallen into the trap of overusing technobabble and just as much “tell not show” in this issue. One of the best examples comes later in the issues when as as mysterious ranger bonds with her companion. The dialogue seems more exposition than it feels more like two individuals who have known each other for a while bonding. Hopefully this will get resolved more in subsequent issues.
Artwork
Sadly the artwork doesn’t escape this sense of awkwardness either. The pencils by Simone Di Meo and inks by Alessandro Cappuccio seem to struggle with the free range they have to introduce new characters into this fresh setting. The villains designs used are scary but the same time they’re making the comic feel like an entirely different series. With all the different cannon fodder villains Power Rangers has had over the years you think they’d be able to use at least use one as a more recognizable threat to help ground the series.
The colors by Walter Baiamonte and Francesco Segala help with setting the scene the book takes place in another dimension. Sadly it does nothing to help the flow of the action scenes which seem to be all over the place with character positioning and direction. These elements are essential for helping the reader to follow how the fight is playing out.
The lettering by Ed Dukeshire does help with the flow of the conversation but does nothing to aid with the previous complaint of the chopping action scenes. You’d think if anything would be able to save the issue it would be the work Dukeshire who has been on the series the longest of everyone.
Conclusion
This issue of Mighty Morphin Power Rangers still doesn’t help to make the team click together and sell the interest of the new arc. Maybe it’s because the story has made the characters more reactionary than showing them in more natural situations. Still, this issue isn’t without hope and there is still a chance this storyline can redeem itself moving forward. Let’s just hope it comes sooner than later.
Plagued by a troubled past, London Fields is a new neo-noir thriller finally making its way to theaters. It is based on the novel of the same name by Martin Amis, following a terminally ill writer who finds his swan song in the story of a femme fatale who begins a love affair with three men despite knowing that one of them is going to murder her.
The film was supposed to debut at the 2015 Toronto International Film Festival, but was pulled from the lineup due to legal troubles. First the director sued the producers over creative control. Then the producers sued Amber Heard, accusing her of not fulfilling her contract. Now that this legal trouble has been settled, the movie is being released, although maybe it would have been better off staying in limbo.
The best word to describe this film is bizarre. At once, it is an absolute mess, a fun neo-noir romp, and an ambitious story about art, fame, and death. Somehow, despite its glaring flaws, the movie manages to be oddly alluring. It doesn’t really fall into the “so bad it’s funny” category, but it also isn’t frustratingly or unbearably bad. It is truly difficult to express in words the overall quality of the film because it is so all over the place.
The main mystery of the story is compelling, but predictable. From the beginning of the movie, it is obvious where it is going to go and what the ending is going to be. However, the film manages to make it even worse by making the ending feel unresolved. There isn’t enough explanation as to what led to the ending. It is all extremely convenient and requires a great deal of suspension of disbelief.
The romantic subplot is also quite frustrating. The basic structure of having three guys fall for one girl is obviously nothing new, so a movie has to make it compelling for it to work and stand out. It doesn’t do that. Largely due to lackluster character development, the romantic storyline feels completely inconsequential.
The protagonist just isn’t developed well enough. There are some hints of an interesting character every now and then, but he felt really shallow. His purpose was to serve as the audience’s perspective rather than a rounded character on his own, and that wasn’t a good decision. The other three lead characters are all very flat. They move the story along, but that’s it.
There are also some elements of the story that felt very random, their inclusion in the story not making any sense. For example, the film is set in a dystopian future. There are plenty of visual cues that make it easy to see the temporal setting. Yet this doesn’t ever play a big role in the story. So much of the movie is meant to be a throwback to noir that this counters the futuristic setting.
Additionally, there is a subplot about darts. Yes, competitive darts. One of the main characters is a professional darts player, and a significant scene in the film is set during a darts tournament. While it does provide for an intense and interesting scene, why darts? There doesn’t seem to be any symbolic purpose. It doesn’t really add anything to the story or the character. Furthermore, this storyline introduces some of the more inexplicable elements of the plot. Why is Keith’s rival in darts also a mob-boss like character from whom he borrows money? It just feels awfully convenient.
That being said, the movie’s visual style and execution is actually pretty solid. It’s a shame that these things weren’t utilized more effectively to complement the story. The cinematography and production design are both good, a combination of the old and the new. The editing is innovative at times, with some unique strategies being used to make the film more thrilling. The soundtrack is great. Also, despite the problematic material they were given, the actors give surprisingly decent turns. Billy Bob Thornton, Amber Heard, Jason Isaacs, and Johnny Depp all give enjoyable performances.
Overall, London Fields is a hot mess, but a very watchable one at that. This is one of those movies you have to see to believe, because it is unfathomable how it got to this point.
Rami Malek secures a Best Actor nomination in Bohemian Rhapsody, out this weekend.
Directed by Bryan Singer (kind of), Rhapsody is the story of Freddie Mercury (Malek), Queen, and their rise to superstardom in the 1970s and 80s.
Now, this is not a “Queen movie”. If you’re looking for an in-depth chronicling of their history, look elsewhere. Spanning two decades in just over two hours, the film actually breezes through the band’s success. But that’s not to its detriment; it’s so that it can be a stronger study of Mercury. That’s its purpose.
However, that being said, one of the film’s strongest attributes is how it portrays the band as a whole. Singer and screenwriter Anthony McCarten make sure to give each member his due, and show how vital they all were to Queen’s success. The filmmakers show outright how Brian May, Roger Taylor, and John Deacon were each responsible for some of the band’s biggest songs, a few of which Mercury had almost nothing to do with. If there’s one thing to take away from Bohemian Rhapsody, it’s that Queen was not just “Freddie’s band.”
Left to right: Joseph Mazzello as John Deacon, Ben Hardy as Roger Taylor, Rami Malek as Freddie Mercury, & Gwilym Lee as Brian May.
This is his movie though, no doubt about it. McCarten has written a character study more than a biopic. It’s the story of a man who exudes confidence and fearlessness, but who was ultimately terrified of being alone, and of the “in between moments” when he was left to himself. It’s the story of how he seized the world, lost himself in the process, and tried to find his way back. Singer focuses on this – on the small, powerful moments – more than the major milestones to show who the rock star really was. Bohemian Rhapsody is a beautiful, deep look into Freddie Mercury’s psyche that will hit you hard whether or not you already know his story. Because Queen fan or not, we’re all human, and we all have our demons. Freddie was just a man looking for love in any way, shape, or form.
Let me echo what every other critic has already said: Rami Malek is incredible. He disappears completely and becomes Freddie Mercury. The way he moves, his facial expressions, his stage bravado – all stunning. He put a ton of work into getting the mannerisms down pat, and it shows. Malek aside though, there isn’t a bad performance in Bohemian Rhapsody. Everyone delivers. This is one of the best acted movies you’ll see this year.
Side note: the decision to show the entirety of Queen’s Live Aid performance in the film was brilliant. What a masterful sequence. It’ll give you chills and probably a few tears.
Whether you’re a Queen fan or not, go see Bohemian Rhapsody. Again, it’s a beautiful story that shows every legend is just a person with their own hopes, fears, and demons.
In what is becoming a trend in the horror film industry, yet another franchise reboot is coming, this time, with Wrong Turn.
The world needs a series of films depicting a group of friends, whether camping or just hanging out in nature, fighting to stay alive versus a cannibalistic group of mutated forest dwellers.
That’s right, rather than continuing the series, with what was supposed to be the seventh installment in the franchise, the powers-that-be, specifically, creator Alan B. McElroy, are deciding to blow it up and start over, along with producer Robert Kulzer and director Mike P. Nelson.
It’s rare to see the creative team return to reboot its own project, but the new film, according to Deadline, will feature a group of friends, engaged in a cross-country hiking trip, that soon find themselves under a different law, in an inclusive society, and may discover they are not actually the victims in this scenario.
“One person’s American dream is another’s worst nightmare,” Said Kulzer. “Alan’s reinterpretation of his own work and Mike’s vision are a frightening reflection of our world today.”
The series survived six installments, all of which had the same basic theme of following a group of outdoors enthusiasts, detoured or wandering, resulting in coming across a group of mutated cannibal brothers, namely ‘Three Finger’, ‘Saw Tooth’ and ‘One Eye’, bent on killing all trespassers, but usually each had a different retelling of the origin of the family, including a Christmas version, with the fourth film, which took place in a snowstorm.
So, as we prepare for the next round of unsuspecting victims to make a ‘Wrong Turn’, let’s take a trip down memory lane …
What do you think, is the world ready for yet another horror reboot? Are you excited for yet another Wrong Turn? Let us know in the comments section below.
The insanely-talented writer, director and producer Roxanne Benjamin has been tabbed to pen the reboot of Night of the Comet for Orion Pictures.
The original Night of the Comet (1984) tells the story of a comet that wipes out most of life on Earth, leaving just two Valley Girls fighting against cannibalistic zombies and a sinister group of scientists, looking to make every remaining person its own research subjects. It has a nice blend of horror and comedy and, if done right, will be a refreshing full-horror/sci-fi spin on the original.
The original film, written and directed by Thom Eberhardt and starring Kelli Maroney and Catherine Mary Stewart, had a budget of just under $1 million and actually went on to gross over $14 million.
Benjamin wrote Southbound and two shorts, The Birthday Party and Don’t Fall, for XX. She also served as producer on the awesome trilogy, V/H/S, V/H/S 2 and V/H/S: Viral. Moral of the story: She knows how to scare you, while keeping elements of comedy to ease the fear a bit.
If you haven’t had the opportunity to see any of the above films, 1) Why? and 2) What are you waiting for? Southbound tells five interlocking stories of the fate of weary travelers as they confront their worst nightmares and darkest secrets, while driving down a desolate stretch of desert highway. XX is more of the same, as four short stories make up a feature film. What’s cool about this project is that all four shorts were written by women, also including Jovanka Vuckovic and Karyn Kusama. Lastly, the V/H/S series, which tells the story of videotapes, which reimagines horror on the screen, but also brings said horror to life in real time!
Beyond those projects, Benjamin also has one in post-production, which she wrote, directed and produced, called, Body at Brighton Rock, which follows a park ranger that spends the night at a potential crime scene on a remote mountain trail.
What do you think, are you sick of reboots or do you think this film deserves one? Should we leave the awesome 80s in its decade? Let us know in the comments section below.
