By: Henry J. Fromage –
Another weekend, another shit-fest with Oberst, this time remotely. I also had time for some of my signature 2019 randomness.
154. Creating Rem Lazar
This 48 minute internet-adored bizarrity is a musical ostensibly for children is an earnestly delivered story of two children who make their own God, who takes them to NYC, predicts 9/11, them drags them to the woods where they presumably die, hallucinating making friends with a screaming 2-D graphics abomination in their final moments. Required viewing. Six Pack.
155. Ninja the Protector
Hong Kong director Godfrey Ho has directed 148 films, the likely majority of which have ‘Ninja’ in the title. Clearly the man feels Ninjas can improve any film, and as he was notorious for doing, in Ninja the Protector he puts ninjas in what looks like a 75% complete soft-core romance film. It… does not work, but goddam is it the right kind of stupid, in explicable, and incompetent. Six Pack.
156. Alita: Battle Angel
Well, the first big bomb of the year wasn’t really one due to global grosses (320 million vs a paltry 85 million domestic tally against its 170 million budget), but I think it’s safe to say those sequels aren’t happening. All-in-all, though, it’s a got the CGI bombast and action it promised and world-builds pretty well, but falls prey to the fairly similar sci-fi dystopias that we’ve seem plenty of and the fact that anime rendered as live-action always comes off, well, a bit too bizarre. Four Beers.
I love how Netflix is game to fund and host just about anything without restrictions on content, format, etc. This surprise music video from Thom Yorke courtesy of Paul Thomas Anderson has a real dystopian vibe with a surprisingly emotional dance routine core that’s a little bit Terry Gilliam, a little bit 1984, and so very Thom Yorke. A Toast.
158. Lords of Chaos
This account of the early years of Norwegian Death Metal does its best to match the sheer fucked-upedness of the true history will still positing the taboo, often criminal actions of these young men as those of poseurs with no idea of what they stand for or even really of what they’re rebelling against. It’s a fascinating approach, but ends up melding into the feel-bad film of the year. Four Beers.