Anime-Breakdown: Satellite Girl and Milk Cow (2014)

Korean animation, much like India animation industry, are things I know almost nothing about. They usually get overshadowed either by Hollywood, Japan, and heck even the French in that area. While South Korea do have their success story like The King of Pigs which is a generally well received movie. Anime fans on the other hand know South Korea for their work on trashy knockoffs like Super Kid, Diatron 5, and Blue Seagull. All three which are infamous for their bad quality, and in the case of Diatron 5 a classic among the so bad it’s good anime. The general public on the other hand is unlikely to clearly name you a Korean animated movie, or TV series they like from the top of their head. Would you believe me that AKOM, a South Korean animation studio actually animated over 200 episodes of The Simpsons, and also worked on Batman: The Animated Series, Animaniacs, Bob’s Burger, and several other series. Shocking I know South Korea animation industry contributes a lot more than what the average person probably think they do. Today’s movie likely won’t cause that huge wave of exposure Korean animation desires to match Hollywood, or Japan, but the strange, and charming movie might get you more interested in checking out their stuff.

Wizard toilet paper, not the strangest thing you’ll see in the movie

Satellite Girl, and Milk Cow tells the everyday story of KITSAT-1, a satellite, who wants to learn about human emotions, and crash lands on Earth. After crash landing on Earth, she is transforms into a girl, and tries to help Kyung-chun who has been transformed into a milk cow. As unusual as the premise sounds, don’t worry this is only the setup to a strange, but charming love story. Offering a strange cast of leading characters to follow; you have a satellite who falls in love with a musician after hearing one of his songs, you have a musician who turns into a milk because he’s broken hearted, and magical wizard named Merlin who got turned into toilet paper. Once you accept the strange story the character themselves are a lot fun to be around. KITSAT-1 is trying experiencing human emotion for the first time, and Kyung-chun is trying to sort out of his life, and his love life. The film does a good job exploring both of these characters conflicts. Giving both characters a fair amount of screen time tackling their issues together, and on their own to reflect what they’re looking for in life. Providing a full understanding where each is coming from, and taking the time to slowly show how they change.

A consequence of the film’s runtime is parts of the film are rushed, and in some cases lead to some head scratching moments. One of these happens late in the movie where a woman calls the police on Kyung-chun in his Milk Cow form suspecting him of attempting to abduct a child. During the scene, Kyung-chun acts out of character, and instead of sorting out the situation he goes to eat grass letting KITSAT-1 calm the angry citizens. Parts of the story aren’t properly explained like the organization the villain works. A minor complaint about the writing is aspects the world aren’t clearly explained. You’ll be left wondering where in the world did the Incinerator come from, and how widespread is the problem of broken hearted human being turned into animals is. Part of it remedied by keeping the conflict confined, and the villain’s motivation simple. Yes, it’s all about money. However, a lot of it charm seeps through the weaker aspects of its writing. Everything about the film feels sincere in its efforts to have fun while touching on the theme of love in its unique way. Not shying away from taking advantage from the strange world it created, even if the results is all over the place.

As individual characters both KITSAT-1, and Kyung-chun have satisfactory arcs, but in the romance department the bonding moments are rushed at times. One moment it’s all lovey dovey, and the next moment it’s the sorrowful we can’t be together. It still works since the story puts effort into ensuring they have plenty of bonding moments, but if allowed to play out more naturally it would have end up feeling more meaningful than it did.  Lastly, wizard toilet paper Merlin appears in frequently in the movie. For the first act he’s on screen, but after that his appearance is random. Given he has magical abilities some of the film conflicts could have been resolved easier if he was present his is made more noteworthy because of it. Although, Merlin is given some great, over the top dialogue which makes him a pleasant whenever to see on screen.

Ah, the magic of toilet paper

The studio behind this is Now OR Never Studio, with animator/director Chang Hyung-yun handling of the project initially looking rough. When you do see 2D digital animation for the first time it is rough looking. Seeing a 2D cow running away from a mechanical Incinerator with jenky 3D movements, and obvious 3D background. The animation is consistent in quality. In particular when it comes to framing, and moving the camera in certain shots eliminating any semblance of perspective. The rotation of the camera in points inadvertently makes the 2D part look really bad.

Thankfully, a good chunk of the movie looks just fine. While it pales in comparison to 2D from other countries it works fine here. Generally the movie is colorful, and the backgrounds are decently detail in 2D. Always trying keep what’s on screen in motion. Offering some nice visual gags along the way, as well as some strange sights like Merlin the wizard toilet paper having arms, and legs. It’s strange to witness, but overall charming.

When it comes to voice acting both the Korean, and English tracks are pretty good. Thankfully, the English dub actually dubs the Korean songs in English. So you won’t get taken out of the moment when viewing the movie. I personally prefer the English dub because Kirk Thornton who voices Merlin is the highlight. He delivers such goofy sounding dialogue with plenty of charisma its infectious. I also like Daniel J Edwards (assuming he sang it) of the few songs that get played. However, there’s the consequence of the voice not matching the lip flaps of the characters on several occasions. It’s very distracting, though didn’t ruin the experience for me.

Satellite Girl, and Milk Cow is jenky in its animation, and wonky in its writing at times, but a lot of its charm seep through despite these issues. The production team is clearly trying to create a good film, and it shows through in the final product. It’ll a take a while to get over it shortcomings on all front, and you’re willing to a give it a chance despite that you might just find a good underneath the rough, and strange front to enjoy.

Rating: 7/10

Some Quick Thoughts On: Yagami Family Affairs (1990) OVA

If you have seen anime long enough you’re bound to find those bizzare titles that make you question everything logical. First one that usually comes to my mind is how that did I get to a point where I watched a anime that tackles incest, terrorism, essentialism, and with penguins involve in a anime series called Mawaru Penguindrum (2011). I don’t know, but it what an interesting experience. That’s the kind thing you gotta expect, especially when you go out of your way to check out obscure anime on a whim. Most of the time, I simply don’t bat an eye at an anime I watch. However, this is one of those certain anime titles that make me question what in the world I’m watching, and it’s a thought that never leaves my mind.

This isn’t even the strangest thing she does in the OVA.

I’m going to write about one such anime called Yagami Family Affairs. The OVA is based on a manga called Yagami-kun Katei no Jijo which ran from March 1986 to May 1990. I was unable to look up any sales figure to see gauge how popular it was at the time, but apparently it was popular enough to get an 11 episode, live action tv adaptation which I can’t find any information on either. So, without any interesting facts about it to share lets move forward. I should give out a warning that yes, I’m going to partially spoil this OVA, but in the long run the overarching story really doesn’t matter much. If you so desire to watch a incest comedy OVA animated by Production IG (I’m not kidding, they actually did it) completely blind stop reading here. If you don’t care about minor spoilers, I shall continue to ramble on.

Yagami Family Affairs premise is on the ever so classic setup of a teenage boy named Yuji Yagami who loves his mother, and in a incestual kind of way. I would say Japan in particular has some kind of fascination with this type of taboo subject matter, but at the same time Game of Thrones made incest mainstream in the US, there’s also a US book from author V.C. Andrews called Flowers In the Attic which has a incestual plotline selling over 40 millions books world wide, and even my favorite horror movie, the original 1974 The Texas Chainsaw Massacre US movie couldn’t escape having incest on some level in its story. So simply saying Japan has a fascination with it is a bit misleading when I also live in a place that is just as fascinated by it as Japan. However, from what I’ve encounter, incest is typically a sign that whatever piece of media you’re going to consume is likely going to turn out bad since it’s hardly used in quality works.

Moving on, the 3 episode OVA initially makes such a baffling premise for a comedy somewhat watchable for two minutes before derailing itself immediately. The biggest problem is everyone non-chuntantly accepts that Yuji Yagami has a sexual drive for his mother, even his father, and mother seems to be cool with it laughing it off later on in episode 1. I mean, just how am I supposed to make fun of that. There’s a moment in the first episode where several male students talk about how their mothers looks, and how their mothers are unattractive compare to Yuji’s mother. These um, mother fuckers/friends are envious, and rightfully tease Yuji for having a crush on his mother. I mean, how am I supposed to take a scene where a group of teenage boys compare how attractive their mothers are to a particular student. Just, so questionable on so many level. Yuji also ends up sleeping with his mother during episode 1, and no they don’t have sex. Get your mind out of the gutter!

Hmm, I honestly don’t know how to respond to that.

If you think I’m simply overexaggerating Yuji’s affection for his mother, well in episode 2 Yuji teams up with one of his teacher who also has a crush on his mother. Both call a truce because, you know, Yuji’s father is married to her, and both Yuji, and his teacher decide to resume their competition once they get her divorced. There is just so much wrong to untangle from that last sentence, and even more so from Yuji stupidity since how in the world do you forget your own mother is married to you know, your father! Oh man, Yuji Yagami, you’re really stupid. In episode 3, he teams up with a woman named Mitsuko Nanase (image below), whom I gotta admit I do find pretty hot.

Yes, it’s an excuse to post picture of an anime character I like in this OVA for shallow reasons.

More importantly though, Yuji teams up Mtsuko to help her capture the heart of his father. While people are deep in thought wondering what the meaning to life is, here I am wondering what in the world compel the creators of this project to come up with these kind situations. Everything that Yuji does in the service of him potentially hooking up with his mother, and no, no amount of light hearted music is going make cheer Yuji on for that.

The anime OVA exaggerates the humor, and the characters reaction in order to get a laugh out of the viewer. I did laugh somewhat at some of the jokes when they weren’t related to Yuji wanting to bang his mother, or around sex. It eventually gets repetitive when the jokes basically center around Yuji wanting to bang his mother, and the crazy lengths he’ll go just pound his own mother. One of the jokes is Yuji mother getting the measurement of her son’s penis in secret. Yep, that a thing that happened here. There’s also the moment where Yuji imagined his mother naked, and also briefly think about how many times he showered with his mother. If these things don’t have you laughing then maybe the moment Yuji confesses to a girl he likes that he’s in love with his mother, and the girl he likes also seems to be cool with it. The scene doesn’t end there either, he brags about kissing his mother everyday to this girl he likes. I’m in awe in the anime ability to just constantly keep me watching because of how questionable everything it does is.

This moment actually made me laugh.

By this point in this post, if you’re expecting anything resembling normal human behavior from the characters in this OVA just don’t. This is a comedy where Yuji gets hit by a car, and motorcycle at some point, and just brushes them off like he got hit by a spitball. Further adding to the insanity is that it actually has an overarching story with a central message about unrequited love. Granted, the setup is perfect for that because mother/son incest is just plain wrong. However, the overly lighthearted nature, Yuji attempt to want to fuck his mother by any length, and his strong sexual desire towards her makes the whole unrequited love lesson not work at all. It ends with Yuji setting a goal for himself to get over his mother complex, and the viewer doesn’t get to see that in progress. With everything I’ve seen in the OVA I would honestly not like think about what happens afterwards.

Also in episode 2, Yuji comically blows up his classroom with a rocket launcher when they him to make it a threesome with his mother. Seconds later, a character says Yuji can’t take a joke. Yeah, because Yuji who gets constantly teased for having a mother complex would laugh at people telling him to make sex with his mother into a threesome. I should probably do the same kind of teasing with one my friends, and see how he reacts to it. On second thought, probably shouldn’t considering what one of them did, and that will probably be a story for another time. The anime is filled to the brim with odd moments like this that one joke is at least bound to make you laugh.

Context: Son sees teacher cock blocking him for his mother. Obviously you assault him with a tank.

Only other thing to mention is the studio responsible for making this is none other than Production IG. Yes, the same Production IG responsible for Eden of East, Ghost In the Shell, and Psycho-Pass. The animation is actually decent for the comedy; movements are exaggerated, characters are very expressive, and typically filled energy. It’s weird complementing this OVA when I just spend the last couple of paragraphs questioning it story. I have no clue if the entire studio was blackmailed into making this, or the even crazier idea if the studio thought this project would sell well. Going down in anime history as one of its greatest unanswered mystery.

Would I recommend Yagami Family Affairs? Yes to be honest because it’s such a bizarre comedy with no semblance of logic you have to witness for yourself. It especially makes for a good viewing in a group where you can share the odd experience together. It’s such a questionable piece of animation that I couldn’t help, but finish it. If the premise isn’t something to your liking it’s understandable because incest is also something that makes me want throw up my soul, and enter into another worldly realm. For those who are okay with watching anything, no matter how questionable, I recommend checking this out, and revel in complete lunacy that is Yagami Family Affairs.

If I were to rate this anime I would give a 1 out of 10.

Anime-Breakdown: Golden Batman (Black Star and the Golden Bat (1979) Movie Review

Golden Batman is a Korean animated movie from 1979 based on a 1967 anime series called Golden Bat or Ogon Bat in Japanese. Created by Takeo Nagamatsu in the 1930s, Ogon Bat is a Japanese superhero that predates the likes of Superman, and Batman. Much to my surprise, Ogon Bat is considered to be the world’s first superhero. Borrowing more traits from Superman than the name of the 1979 film would imply having super powers that include superhuman strength, invulnerability, and the ability to fly. In the original Korean-Japanese production of the 1960s anime series (according to what little information could be found on this series), Golden Bat is apparently the last surviving Atlantean who fights crime wearing a golden skull mask. If you see the poster, or promotional art you’ll notice that the golden skull mask is nowhere in sight. Turns out in 1979 Golden Bat design was updated to resemble Batman.

Seriously though, the golden skull pimp design looks cooler.

Now, the only viewable copy of Golden Batman is a Spanish dub of the film since the film never officially received an international release in the US. Probably because the new character designs rips off Batman. You either have to search to the ends of the world to find an old VHS tape, or search desperately online. If Golden Batman was dubbed in any other language besides English, or Spanish that would be the end of the story. There’s no English subtitles either so unless you know you’re Korean, or Spanish well you’re sadly out of luck. However, that is not the case for me so I’ll discuss the actual film.

Golden Batman (or Black Star vs. Golden Bat according to the announcer in the beginning of the film) story follows a bunch of kids, and their talking pet dog trying to prove their bravery for their dying sick friend. There’s also a subplot revolving around villain Black Star who is kidnapping the world’s top scientists to develop a weapon that can make him take over the world. Pass the opening credit sequence which has cheesy music the first thing the villain, Black Star, is shown doing is watching a news broadcast. This news broadcast basically clarifies a scientist is working on “Rocket TM” which is described to be a robot for an Aerospace Science Central. Black Star after seeing the newscast decides to call the Aerospace Corporation, and announces to them in a phone call that he’s planning to steal the blueprints to “Rocket TM”. With this information you think the Aerospace Science Central would signal Golden Bat, or sing his Korean theme song to make sure Golden Bat appears at the scene in advance to stop Black Star. The Aerospace Science Central does not do that, and instead a army of clone security guards that were in charge of protecting “Rocket TM” fear at the sight of Black Star.

This event make news waves where whoever translated the script into Spanish felt the news broadcast should say (paraphrasing) “We’re living in a time of authentic danger”. Leading me to speculate that regular crime committed by normal people in this world is not considered “authentic danger”. There’s also a pointless cutaway to a child crying where the mom threaten her kid she’ll call Black Star if he doesn’t stop crying. It contributes nothing to the story, but that some hilarious cruel parenting right there. It only takes around six minutes before Golden Bat actually makes first his appearance in the film for some further nonsense. Aside from his ridiculous character design the members of the mafia show their fear by doing some sort of invisible orgy from what I could interpret from the animation. You got one mafioso thrusting the air, and another mafioso thrusting the floor repeatedly. This leads into a badly animated action scene where Golden Bat wins easily. After stripping the mafia down to their underwear, and leaving one of them a red Bat on their chest Golden Bat leaves the scene. So why did Golden Bat go to the hideout of the mafia if it wasn’t to retrieve the blueprints is never explained. Well, Golden Bat is did strip down several mafioso down to their underwear so he had a plan of some sort that wasn’t aimed at kids (the film intended demographic).

This goofy fight while entertaining sadly isn’t followed up on. Instead of following the last surviving Atlean fighting evil on Earth the film shifts focus to a bunch of annoying kids that really like Golden Bat for the majority of the film. Given the film is barely an hour, and ten minutes long the kids remain static characters. Along with the one dimensional kids, neither do Golden Bat, or the villain Black Star have much personality to them than stating the obvious between good, or evil. The movie also has a easy to follow story where you’re just meant to accept everything at face value. There’s a talking Cat, and a talking Dog that wears boxing glove in the film that everyone simply accept in their everyday normal life in this world. In one scene, there’s a kid who disguises himself as Golden Bat to scare off the mafia, yet the disguise changes his height, body structure, and voice simultaneously. I could buy the mafia falling for the disguise, and even Golden Bat flying out of a Lava pit unscrathed, but an entire costume changing a kid body structure is just pushing it.

Among various nonsense of the writing there is Toltry (the main character) father who claims it is normal for his son to break his neighbor windows. I bring this up because the film does this frequently. It shows something to the viewer that is inconsequential to the story, and goes about it business like nothing happen. So for like 40 minutes it does this until eventually the kids discover Black Star cave by accident. The film tries to setup drama by having a sick dying kid in the film, and revealing his tragic backstory through flashback. I laughed at this part in the film so that tells you how much I cared. Not only was the currently sick kid bald for some reason when his mother died, but became good friends with neighborhood kids on a whim. I would have taken the scene seriously if what sounded like bad porno music (the bad voice acting didn’t help either) wasn’t playing in the background during the flashback. Also, in the flashback a kid shed tears, and his tears goes through his glasses. That’s the kind of things you’ll notice when boring kids character are meant to carry an entire film. It’s difficult to care them too when they’re idiots. In one scene, Toltry tells his friend they should leave before they are discover by Black Star henchman. Instead of immediately leaving the evil layer the kids stand in the same place until an announcement finishes saying someone entered the evil headquarters. I know Toltry is the same character is who did animal impression to cheer up his dying friend in an earlier scene, but that was seriously stupid.

The best part of the movie is easily whenever Golden Bat appears on screen because ridiculous things happen on screen. It’s a shame he’s delegated into the background since the climax is the highlight in the movie. During the climax, the film could care less about the tiny details like logic, and rational thinking as Golden Bat beats up everyone in his path. Golden Bat fights against an army of clone henchman, a robot, and eventually the villain with just whatever came up to the animators mind. Golden Bat is so powerful that he even survives falling into a pit of Lava, and flies out of it without a scratch to fight the villain of the film. The final confrontation is entertaining seeing Golden Bat fight a villain who can seemingly shoots laser out of anything he touches. If the movie offered more cheesy superheroes antics over annoying kids than the film would have been more enjoyable, though probably just as badly written. It would make the moment where Golden Bat karate chops off Black Star arm off look less out of place given the intended audience was obviously for kids.

Animation is odd. Unfortunately I was unsuccessful in finding the studio behind this film. Then again I guess it’s for the best since the animators have a clear butt fetish in the film. Characters are slapped in the butt, kick in the butt, patted on the butt, and a couple of shots to show fat kid butt. Putting some detail into them which questions where the animators priority were at. Throughout the film there’s many examples of bad animation like a character face being colored differently from the rest of his body, a kid head going through a bed sheet even he’s a couple feet away from it, and Golden Bat flying off seemingly out of thin air from a window. My favorite pieces of bad animation is the constant jittering from all the characters in the film that never stops. It’s quite an accomplishment when the animation is so bad that still animation wasn’t done properly. However, the non stop jittering of characters make can scenes unintentionally funny when taken out of context. Usually making it seems like characters are doing something sexual like making it appear like a fat kid is giving his dog a rough time.

I saw the film with a Spanish dub, and regardless of what language you actually understand you can obviously tell this is horrible voice acting. Now I can’t list any specific voice actors since the credits are written in Korean, and the Spanish dub didn’t list any Spanish voice actors in the closing credits either. The only voice actor I would give any compliment to is whoever voiced Golden Bat did a good job in his role. His role was rather limited in screen time, but the voice actor felt self-aware of the role he was playing, and chose to ham it up. It felt appropriate with the tone of the film. Golden Bat was also the only voice actor whose performance was remotely enjoyable because he was intentionally campy. Even though Golden Bat was the hero the evil laugh of Golden Bat as he beats up people is hard not to enjoy. Every other voice actors was terrible. The whole cast simply not caring about their performances. The only things that aren’t dubbed in Spanish are the Korean song tracks. Including two moments where the kids sing Golden Bat theme in their original Korean language, and oh man it’s awful! The kids are out of sync, can’t sing those high notes, and also can’t sing.

Golden Batman is an interesting piece of animation history, as well the source material it’s based on, but there’s nothing to see here. Golden Bat takes a back seat in his own movie even though he has top billing in the film title. While unintentionally funny in parts the annoying voice acting, and the amount of time it likes to waste on pointless diversion it’s better to leave this relic of the past unseen.

4/10

Cinema-Maniac: Sharknado 2: The Second One (2014) Review

The first Sharknado was a welcome surprise from The Asylum thanks to it understanding of B-movies turned out to be stupid, and fun entertainment. It knew it was stupid, but took itself seriously in its treatment that if done with meta humor wouldn’t have taken off the same way it did. With the sequel it follows tradition of going bigger where the main issue arises from. By going bigger the action is no longer focused and supplied in smaller doses unable to top its own opening sequence or its predecessor as desperately as it tries too.

Sharknado 2: The Second One follows Fin and company attempting to save New York from multiple deadly Sharknados. The opening sequence sets the bar high paying homage to the classic “Nightmare at 20,000 Feet” episode of “The Twilight Zone”. This time with sharknado colliding with airplane. It’s a stellar opening sequence quickly providing a dose of the implausible action to come making good use of the setting. I dare say the opening sequence is a work of genius. However, past that opening sequence the remainder of the film is unable to top it until it reaches the climax. This time instead following a single group allowing the shark action to be focused and supplied at a steady stream. We follow three groups in the sequel often cutting back to them over time which also means shorter screen time for B-movie badass Fin Shepard (who gives Martin Brody a run for his money in shark slaying). The action is more scattered and smaller in scale unable to top the opening sequence in its scope until it final stretches. Despite how goofy the series is and will become the writers know what they’re doing. Like the previous film, it’s self-aware of how silly the idea is, but the treatment for it is taken seriously adding to the humor. Though this treatment does go overboard with all the needless news broadcast thrown at the viewer face. These news broadcast are silly at first and flesh out a bit of the fictional world, but the seventh time logic is attempted to be apply to the disaster known as Sharknado it’s worse than beating a dead horse. World building has some success fleshing out the characters. It’s nice knowing that once a movie ends the character lives are still worthwhile beyond the closing credits. One of the characters, April Wexler, wrote a bestselling book called “How To Survive Sharknado” off screen. Surprisingly you don’t need to be drunk to get through it. Characters are given some sort of development and conflict, but is too thin to carry the film from beginning to end. Because of thin conflict and characterization it’s unable to maintain the same level interest as when sharks (plus one sewer gator, don’t question the logic it’s Sharknado) on screen which time is less.

Ian Ziering returns to play Fin Shepard and does another decent job in the starring role. He’s into his character giving a serious performance in the not so serious scenarios. Never once does he ever indicate he’s in on the joke keeping in root with the character experiencing it making him the best actor in the cast. Tara Reid performance in the opening sequence is pretty bad especially in a segment that requires her to scream which gets grating. Thankfully pass that opening sequence she does okay. Vivica A. Fox receives plenty of screen time and her performance is also okay. Any actor who plays a large part are okay which involves them running around allot. Compared to Ian Ziering the supporting cast aren’t allow to jump the shark as much. There’s more attention put into casting unlikely stars in cameos. From the likes of Billy Ray Cyrus, Will Wheaton, Kurt Angle, Kelly Osborne, Andy Dick, D.C. Douglas, Perez Hilton, Al Roker, Jared Fogle (yes, the Subway guy), Judd Hirsch, and so many more get more attention given to them than the actual sharks. The CG is acceptable, though creatively there isn’t as many many moments that make full use of the concept. With the opening sequence and climax providing the only highlights there’s everything else in between that is not able to live up to its goofy promise. These sharks favorite method of attack is going for the head. How the sharks are used doesn’t take full advantage of the possibilities for a majority of its run time. Not even the sight of a flaming shark is enough to forgive the lack of creativity. Though the soundtrack is surprisingly strong getting across that epic feel. Ironic that the music is used for this film given it’s better than the film actually needs, but further add positives to its production values.

Sharknado 2: The Second One understands its audience and gives its concept the proper treatment to be entertaining, but provides less sharks in less creative usage focusing more on cameos and is unable to maintain interest due it jumping between three groups of weak characters. While the opening sequence itself is a classic B-movie scene and homage it’s also sadly where it peaks declining afterward. And the saddest truth to this sequel is the filmmakers are in on the joke. They just don’t know how to keep it afloat in an ironic good way as the first time they told it.

5/10

Cinema-Manaic: Santa Sangre (1990) Review

Santa Sangre follows a young man named Fenix from his traumatizing childhood through the present attempting to live a normal life. The film narrative is straightforward while the way it tells it story is surreal. Right from the introduction of Fenix we understand this young man is not well. Once the flashback begins you receive the foundation that structures religion, sexuality, obsession, and identity into it central themes. Each introduce in odd context that triggers an array of emotions. One scene in particular that stood out occurred after the funeral of a circus Elephant. A huge coffin carrying the corpse is hauled by a truck to a ravine and tipped over the edge to get eaten by the locals in a shanty town. Not only does this easily telegraphed how distraught a young Fenix must be feeling, but also illustrate the contrast between the joyous surreal circus life and the cruel reality when it comes into the picture when Fenix is a full grown adult. It’s a scene that imprint an odd image as much as it does fuel interpretations on its possible meaning. Every scene is easy to read and the meaning upon receiving development become layered. It’s a film that while reliant heavily on metaphors has dialogue that directly gets across the main story. While the metaphors are tackling the subjectivity behind faith indirectly. In the center of attention is the more direct physiological torment of Fenix. Whose unable to free himself from the control of his mother. Fenix and his mother are in hindsight very complicated characters. One lives with a mask of following a faith she herself doesn’t live purely by her faith. Another is a man whose unable to form an identity of himself.

Characters arrive in all forms of personality further adding to that surreal nature of the narrative. Fenix and his mother have the most prominent roles in the story being told. Together these two offer a story about redemption and revenge. In hindsight, Fenix childhood sneakily provides clever characterization or a physiological regression. As a young boy, Fenix wears a man’s moustache to imitate maturity. During his childhood he shows the least amount of childlike fear or sadness arguably in his mentally assured state. As oppose when Fenix becomes an adult he’s unable to detach himself from his mother influence for his own livelihood. Another usage of Fenix characteristics are the usage of birds. When we first meet Fenix, he is locked in a nuthouse, living like a human bird. His obsession with the mime-faced deaf/mute girl centers around her graceful panto of a hawk. Until the birds disappear from visual sight to juxtapose the trap Fenix is in – mentally and physically – with the freedom of being unable to simply ‘fly away’ from his mother control. The best aspect about these birds narrative usage is even if its missed the same intention gets across. Fenix mother, Concha, is positioned in the story in such a way where nothing ever feels lost when it narrative reaches it conclusion. Concha is a given a backstory that conveys her upcoming downfall and a motivation that is shown in developing in her scenes. Becoming a fleshed out character with her own arc. One key moment in the film that is rather genius is the film twist. I was able to catch the usage of birds as metaphors, but this twist genuinely caught me off guard. Not only does the twist has the potential to catch any viewer off guard, but it’s rather fitting for the film surreal nature. Closing the story metaphorically on its themes while directly closing the conflict Fenix faces.

Alejandro Jodorowsky lets his visuals do the speaking more so than his dialogue. The rich color palette adds to the almost otherworldly elements of the visual narrative. Mixing colorful costumes and set designs against the dark context of scene. From the sterility of the hospital gives way to an explosion of vivid colous when we fly to the circus. Before long, this multihued vibrancy is then itself with the bizarre ‘elephant funeral procession’ is burdened with sobering blacks and charcoal complete with a grey American Flag. Jodorowsky visuals is a story tool giving it more meaning than just simply looking pretty. Laid on top of the visuals is an incredibly convincing musical score. Simon Boswell’s soundtrack fluently bonds with the varying moods to become immersed in the Mexican fantasy. Blanca Guerra is excellent in the role of Concha. Her ability to convey far surpasses her co stars who all play characters with their arms in tact. Axel Jodorowsky delivers a more subdue performance which he pulls off. There’s hardly a moment of certainty in the way he deliver his lines going hand to hand with his characters. Where these two actors shine are their scenes working in perfect sync. Using Axel Jodorowsky hands to convey the illusion of Blanca Guerra hands movement in several are synce in movement and emotion. It’s a convincing sight to behold when the actors have great chemistry and can in sync in such scenes so perfectly.

Santa Sangre (Holy Blood) covers various themes both directly and indirectly that is not accomplished very often in filmmaking. It’s a film that has a straightforward story and the viewer understands there’s plenty of layers behind the way it’s made, but never does it offer a moment of doubt in its execution. Not everything Santa Sangre touches on will immediately come around in full circle for a revelation in how it balanced all of it themes. Neither is it lost on the audience telling a straightforward story that even if not the pieces come together the intention of it is never lost. On a technical level it’s an achievement of captivating visuals, the performances are outstanding, and the narrative very fulfilling even without all its meaning being found. Plain and simple it’s a masterpiece.

10/10

Cinema-Maniac: The Holy Mountain (1973) Review

Admittedly “The Holy Mountain” is one of the most difficult film I ever had to interpret. Not because it’s story is so complicated it demands your full undivided attention to every detail in a frame, but because it draws its inspiration from Tarot cards (thank you Mr. Edogawa for those long lessons), Christian Iconology, Latin American History, futurism, mysticism, politics, astrology in a combination to strange images that correlate together into a difficult to decipher theme. Never do it characters explicitly tell you the significant of the events, but much like the characters it’s a journey of enlightenment. It’s also one that’ll leave you scratching your head until you realize you hit a nerve in your skull.

The Holy Mountain gives an omniscient view of what social engineering caused by greed has done to the modern world, but shows us how to live and not give in to a material world. That’s one way to put it or more honestly a series of strange visuals, odd metaphors, and a main character who isn’t even involved in the ending. Breaking all logic of a traditional narrative being a witness of the journey is not at any point off putting. It speaks figuratively rather than expressing itself through a literal sense. If taken at face value the film will leave you wondering what in the world you just saw. Much in comparison to the thief we follow, the film asks its audience to either go on the journey and be open to whatever is let out of the floodgates of the storyteller consciousness, or if to be closed off then to might as well leave. Visually exploring what is the significant of immorality, religion, and beliefs pondering if reaching enlightenment is more important than the journey to achieve it. Over the top humor pokes fun of the lack of awareness of the form of escapism in surreal ways that ranges from manufacturing art with a fully functioning conveyor belt for butt-imprint paintings to conditioning children to hate specific future enemies. Scenes all of which are a natural representation of escapism either be through photographs, paintings, videos, or anything that mentally makes the subject escape reality. Before reaching the end the figurative meaning behind it images will culminate into a narrative that touches on various themes. Each of which make sense (in this film logic that is) in the surreal manner they are presented in. Once it reaches the abstract ending is where there’s a glaring misstep. The ending itself spoon feeds everything the viewer witness in a final dialogue that reaffirms what you just saw was nothing more than it just appeared to be. Misguiding half of the meaning it actually was trying to get across. Then again, from a literal standpoint it goes along with the rest of the film.

Alejandro Jodorowsky is the film writer/director/producer/editor/music composer/costume designer/set designer/painter/sculptor/star and his input is on screen all the time. Creating a world that in semblance is no further than our very own, it’s just presented in a different form. At times the film looks absolutely gorgeous and it’s design are eye popping with surreal designs and bright colors. There is a scene where the thief enters a rainbow room with a single holy man and a camel. A struggle breaks out but the primitive learns that he is not worthy to overcome the much wiser man. Suggesting the brighter the color in the rainbow passage the greater the growth. It’s just one of the symbolic nature elements within. This intricate collective designed is sure to challenge the thoughts and translation of the viewer. As well as the set decorations, props, and the costumes and it pays off as the film is gorgeous to look at even if at times it’s a little hard to decipher without an innate knowledge of world religions and the occult. The whole film is a literal two hour intellectual LSD trip. In the scene where Axon of Neptune and his healthy young army massacre a town, the montage we see of blood, dust and guts isn’t entirely wounds overflowing with deep red or gory close-ups of torn flesh. Instead there are sticky greens and blues bubbling from bodies, obvious red ribbons from the gut and, in a rather touching moment from within the violence, little birds fluttering from the chest of a dead body. This barely scratches the surface of the surreal images you’re going to see in the whole film.

The Holy Mountain is surreal, deep, and one of the hardest films to make sense off if there’s any to be found if we speaking in a literal sense. If taken at face value the series of events will have little correlation, but never is it boring because of it surreal images. It’s a difficult film to recommend anyone to see because while it provides no background on everything it tackles. The abstract interpretation on the series of odd images is more than satisfactory for viewers seeking to challenge their minds. That is until it partially misguide viewers toward the end. No matter how the film is interpreted “The Holy Mountain” is never boring for what it bring to the forefront to the viewers that will confuse as well captivate the imagination.

9/10

Cinema-Maniac: Gayniggers From Outer Space (1992) Review

Gayniggers From Outer Space is about extraterrestrial beings that travel the galaxy to free men “oppressed” by females to make way for an entirely-homosexual society. That’s pretty much sums up the whole movie. I kid you not that synopsis leaves no stone unturned. The only thing left to talk about is the humor. Now the humor wears very thin in the first four minutes which are all about dicks jokes. We are introduced to the crew whose names go as follow; ArminAss, Captain B. Dick, D. Illdo, Sgt. Shaved Balls., and Mr. Schwul are all from the planet Anus. I would make a joke about how the crew names are basically different variations on testicles, but I can’t come with up any. Literally coming up with a creative dick joke is hard. My mind is coming up dry. Oh well. It’s okay since the film is just that. Rinse and repeat the same dick jokes. There is some political incorrectness like a computer database believing Asian people are yellow. Despite the movie title it’s actually not racist. It’s humanitarian wanting gay to be accepted, unless if you’re a woman. Sexist it could be called since the whole point of the…avoid typing to avoid potential offense is to eliminate women to create a Gay universe. There’s something about Lord of the Brown rings and the Holy A*****le, but their potential comedic value gets diminished once expose to the same jokes repeatedly.

On the technical sides it is intentionally design to look like a B-movie. You have cheesy dubbing that’s off sync, production design that is absolutely cheap with most of the mini-budget spent on lots of rolls of aluminium foil and cardboard, costumes looking like eighties disco outfits, and shot in grainy black and white that makes it look older than it actually is. Any actor who doesn’t play an alien will generally say gibberish in other languages. So in that respect it does something right with b movie production values believe it or not. It even pokes fun of the sepia tone transition to color by the end of the film made famous by “The Wizard of Oz”. Other than that the music use is actually good from Jazz to classy music like Richard Clayderman soft piano ballad “Ballade Pour Adeline”. Kudos for the film for having such an unexpected high classy track in spite of what the goofy short film actually is.

Gayniggers From Outer Space is neither offensive nor an entirely painful thirty minutes. The humor revolve around a specific body part which gets repetitive when relying on those same jokes for thirty minutes. It’s intentionally poorly made to parody common logic. For that reason you intentionally don’t have to bat an eye at it. Of course I won’t say to stay away from the film since it’s thirty minutes, not much harm will be done. One last thing I might have to address for some that might have the wrong notions. Anyone thinking I’m being harsh on this film, you should know I’m the same person who a gave positive review to a film about killer condoms.

4/10

Cinema-Maniac: The Trial of the Incredible Hulk (1989) Review

Extra! Extra! CM lost yet another case against the general public (aka his college classroom). In his effort to prove Marvel monopoly on superheroes films is no excuse for laziness CM back himself with supporting evidence in court showing several Marvel films side by side. Asking the jury to name a director of a specific film to which they couldn’t differentiate a single film for having a unique style, a different formula, or a different tone. He came prepared and determine to prove a point, but lost with an opposing evidence against him. The side against CM pointed to a positive review of Sharknado found on his profile which was enough to convince the jury his position on trail was futile and unanimously was found guilty in hating anything popular. This is not the first time CM lost a case against the general public. Similarly the same occurred when he declared “The Dark Knight” the worst influence to comic book films and titled the success of “Frozen” the end of creativity in American animation. Neither of those cases prove any success as he became bombarded by large number of defenders. Yes it seems by some colleagues his pursue for there to be great writing in films is coming at the sacrifice of seeing why a particular film appeal even when those supporters who see those same flaws. I’m simply attempting to this introduction as a news story because CM has no other way to open the review. Much the film he’s about to review, this opening is lost potential for something that could have been clever, but ends up falling short of what seemed promising.

The Trail of the Incredible Hulk follows David Banner who is held for questioning about a mob crime, his only chance lies with his blind lawyer. Honestly the title of the film was enough to convince me to see the film. I expected it to be the first Marvel film acknowledge consequences for super powers. In the first act it appears that way with David Banner being sent to prison and meeting his blind lawyer Matt Murdock whose determine to defend him. Sure Banner case will help Murdock in his personal pursuit for justice, but is shown wanting to take the high minded road with the story. Now it should be brought up that the film skims through the background of David Banner and Matt Murdock. What we learn is enough to obtain an understanding for both characters having more in common than one might expect. It’s more geared towards the characters driving the story than a story being driven by action. How the characters act make sense and their handling of their respective ordeals is seen as a logical one from their own view. Banner in this film does not turn into Hulk frequently demonstrating a restraint depicted in being difficult to maintain. We see Banner is a good guy, but not so much the world around him provoking him into madness with a desire to SMASH! We see a Banner not desiring to use powers for any good or bad motives. By the end it’s a given he will use them for good, but brings the often ignored turmoil in depicting a individual that unlike other super heroes cannot be entirely good or evil by complete control.

Back on topic, the title of the film is misleading. Sadly the only time we’re ever in court is in a dream sequence. What makes this dream sequence a tragic lost is if the scenario did happen it would have created a case that made proving Banner innocence allot more difficult. It’s also easily the best sequence in the film showing the most of Hulk abilities and the first ever Stan Lee cameo. Also, the techniques used in this dream sequence put us directly in Banner shoes. Disorienting close ups, uncomfortable zooming in to people faces, and loud noises that won’t stop that frankly just want to make you see HULK SMASH the court. Sadly post dream sequence the film takes a dive downward. Becoming more of a superhero team up than a high minded court film. Following the same formula of villain takes damsel, hero gets defeated, hero regaining his spirit, hero goes to save damsel, and villains get away on high tech flying speed boat from the top of tall building. Okay maybe not that last part, but that’s the general outline. Yet at the same time despite these familiarity there are many moments that makes it feel different from Marvel usual outing. Often seeing Banner and Murdock lives as mundane. Coming from someone who seen a number of Marvel films different is refreshing.

The same notion applies to the technical and cast side of the film. Once again there is some promise among the crew, but along the way falter. Bill Bixby is the director, producer, and star of the film. Bixby dialogue for the first act is simple often saying simple phrases instead of speaking in complete sentences. As the film progresses Bixby has more lines making him able to hold a conversation through his angry voice. However, when Bixby is meant to transform into a green painted Lou Ferrigno his angry face is unintentionally hilarious. This also causes some continuity issues as Bixby beard disappears when he “Hulks-out”. Ferrigno has the best moments in the film despite most of his dialogue requiring him to yell in rage. Sadly he doesn’t get to show much of his strength aside from the trial scene. It shows the film had a small budget with as Hulk does little destruction and Daredevil fights scenes beside being incredibly lame are slowly performed with simple choreography. Spectacles are the one thing the budget can’t contribute. Also, he doesn’t make an appearance in the final act that while it breaks from the norm of the title character saving the day means Hulk is often seen running more than helping people. To be fair though, a green Lou Ferrigno still looks more realistic than CG Hulks. Rex Smith committed as Matt Murdock, though is bland. While I do praise Smith for never blinking in his role as a blind man it does severely limits his range of emotions with constant wide eyes. Plus his costume is just black which makes sense for fighting in the dark, but looks uninteresting when compared the sight of a green Lou Ferrigno. Finally John Rhys-Davies plays the villain Wilson Fisk. Everything he says is cheesy comic-book villainy and he’s a having a blast with it. Embracing the goofy persona of his characters he’s rather fun to see even if he’s the villain. The supporting cast are part of the background with no standout. Some are good and some are hammy. As for director Bill Bixby his technique is just point and shoot. Visually the film ever rarely looks interesting with any noteworthy shot.

The Trail of the Incredible Hulk is different from Marvel usual affair. Granted it dated badly in some areas, but which specifically is up for debate. I don’t know about you, but when Lou Ferrigno plays Hulk I can tell he is real and actually there unlike the CG Hulks. Unfortunately unlike CG Hulk, Lou Ferrigno is restricted to slow movements and deliver little in the way of destruction. However, this film does allot right. The characters are made human, Hulk and Daredevil team up is fun, and refreshing to see the title character not be the main hero in a Marvel film. It won’t deliver the spectacles like todays Marvel films, but deliver on its characters and unlike most of Marvel releases it feels different. It’s not as high minded as one would hope given the title, but is a nice distraction sometimes faring better than a higher budget Marvel film.

6/10

Cinema-Maniac: Airplane vs. Volcano (2014) Review

The Asylum is a brand I can trust when it comes to viewing something out of the norm of sensibility and logic. Sure nearly every knock off the studio makes can’t compete with the actual film it’s ripping off, but even those have their own highlights of mediocrity. Earlier this year I witnessed the uneventful and shallow “Apocalypse Pompeii” which was a volcanic disaster movie based around Mount Vesuvius. It was a typical disaster film without a bone of creativity or interesting idea to overcome technical limitations like horrid acting. I bring up “Apocalypse Pompeii” because it takes place in the same universe as “Airplane vs. Volcano” as made clear in news broadcast in the film. As pointless as that bit of trivia might be what is not pointless is knowing that “Airplane vs. Volcano” is not a good general movie, but it is an entertaining B-movie.

Airplane Vs. Volcano is about a commercial airliner trapped within a ring of erupting volcanoes, the passengers and crew must find a way to survive – without landing. It doesn’t take long for the action to get started literally opening with a scientifically goofy explanation on the sudden rises of volcano follow by an instant death of a scientist. What makes it difficult to discuss this film is how much of its own stupidity should I bring up. Part of the fun is in seeing the dumb premise unfold with it even stupider characters we follow. Every single thing these characters do is counter productive losing most of their oil in single a mistake which also almost caused them to blow up in mid air, but also gets passengers and military soldiers killed with every plan hatched. All the characters in the film are one dimensional cliches; the air marshall, the geek, the average joe who lost everything, disaster expert, the unneeded middle eastern attempted hijacker who’s absent most of the duration, the single parent with a child, reluctant military general, but all are all idiots. Like a usual disaster movie it has no time to develop of any of its characters. Jumping between the dire situation on the plane and military command post that examine the disaster and attempt to minimize casualty. It has no time focus on the human element of the story which later undermines the characters plead for help in the third act from resonating. While I would love to poke fun the military solution to save the passengers in detail doing so will ruined any fun to be had in its third act. Although I will say it involves bombs, jet fighters, a military general, and tons of fireballs. The script is plagued with cliches and bad science, but makes up for it with a fast pace and host of creative ideas. It’s setting might be limited, but always keeps it plot moving. Set pieces are guarantee to deliver a laugh and along the way the enjoyably implausible climax. Melodrama is wonderfully cheesy and the conflict is forced to the point that the most illogical path might be the right way to survive the disaster. All doing so with it tongue firmly implanted in it cheeks being a part of the fun that knows when to push itself into absurdity and come in control with cheesy melodrama.

Dean Cain is the leading man filled with a committed cast of hammy actor. Cain, like the rest of the cast, are in on the joke. While Cain doesn’t change his facial impression much looking more like he’s having fun than in actual peril has charisma. He’s fun to be around with his goofy character allowing him to say stuff no one would utter. Not only that, but his arc is one of the few story threads that is decent enough to pull have a small payoff, even if it’s undone seconds later in the climax. Plus I appreciate an in joke on the actor who also played Superman. The only other actor worth a positive mention is Lawrence Hilton-Jacobs who inspite of the material gives a good performance. He’s the closest the cast has to a good actor showing range in his abilities swiftly changing from a tough guy to fun loving air marshall. Jacobs commits putting some emotions in his more dramatic scenes. The two worst actors in the film are easily Morgan West and Mike Jerome Putnam. These two have no chemistry with each other uttering their lines without conviction. They hardly show any emotion with their expression and vocally deliver every line with the same tone of voice through out. Finally Robin Givens is bad in her role. She’s does not seemed to understand what kind of movie she is delivering all her expository line very seriously. Givens always appears upset about volcanoes. The special effects are the usual cheap looking CG Asylum standard. Here it’s they do repeat the same shots of the airplane in peril surrounded by volcanoes for two acts. However, what the filmmakers do with the special effects is varied in its set pieces makes up for the plastic look of it CG.

Airplane Vs. Volcano is an entertaining b-movie. It has hammy acting, a goofy story, and hilarious stupid moments. If you’re part of the audience that enjoys a B-movie “Airplane Vs. Volcano” has you cover getting to the action immediately and keeps itself afloat with creativity. It’s in on the fun and knows how to deliver entertainment as well as a good laugh. While it won’t ever surpass the legendary Sharknado (I recommend if you like b-movies) it’s in the same ball park in being one of “The Asylum” better films.

6/10

Note:

On the DVD box of “Airplane Vs. Volcano” it says “Based on the true story”. Out of curiosity I looked into it and it turns out “The Asylum” has done a film based on a true story before. For instance, “Abraham Lincoln vs. Zombies” is based on the biography titled “Emancipate This!” by someone with the initial JWB. If that’s not historically accurate I don’t know what is.

Cinema-Maniac: Dragon Ball: The Magic Begins (1989) Review

Before Hollywood got their hands on “Dragon Ball Z” and pissed off nearly every fan imaginable with “Dragon Ball Evolution” there was “Dragon Ball: The Magic Begins”. A live action Taiwanese film based on the popular “Dragon Ball” series. Not only that, but it’s also an unofficial live action remake of the first “Dragon Ball” animated film “Dragon Ball: Curse of the Blood Rubies”. It doesn’t take very long for me to find a small error in the film that foreshadows what to come my way. Before even reaching the opening credits, the film own production company couldn’t spelled it own name correctly. If the production company can’t even get its own name right what makes you think they’ll know how to make a live action “Dragon Ball” movie.

Dragon Ball: The Magic Begins follows Goku and his band of misfits in search for seven magical dragon balls before they fall into the wrong hands of King Horn and his evil alien army. Now the film opens by showing alien ships heading towards Earth. Cutting to a peaceful village where an abridged ceremony is being held to signify the importance of the dragon ball (or “dragon pearl” in the English dub.) Then out of nowhere, the aliens come to blow up the village by way of cheap knock off of storm troopers blasting their way with twenty something explosions (I lost count) in the opening three minutes. The whole film is over the top and pulls out cheap writing techniques to make sure you don’t care. After the whole village gets filled with explosions, it cuts to Goku and his grandpa talking about how important protecting dragon ball is. This introduction exemplifies every problem with the writing; everything is over the top, everything is said to be importance without much explanation towards to why, and if it’s not a discussion about dragon balls it exposition and humor related to how someone in the group is a pervert.

There’s nothing connecting the whole plot aside from conveniences. Goku goes fishing and bumps into Bulma, the two join forces to look for the dragon ball and that’s how the journey is started. Oh yeah I forgot to mention the part where Bulma shoots Goku with a machine gun upon introduction. Another convenience is the location of the last dragon ball which one of the members of the group had the whole time without knowing it. Not only that, but it has pacing issues as some moments it go way too fast and other moments it go way to slow. It rushes when Goku finds his home destroyed and learns his grandpa has been kidnapped by King Horns aliens, but takes it sweet time when the characters are discussing how to get Bulma to show her breast to Master Roshi to get a dragon ball. There’s nothing established in this world for newcomers. We never learn where the aliens came from, why they want the seven dragon balls, why King Horn swallowed six dragon balls, if the characters can fly as made apparent by their fighting styles, and a number of other things. If there is one good thing the film does contribute that would be Master Roshi “Moonwalk Magic” technique.

Now for the technical aspects which fares a bit better. Firstly the over the top fight scenes are entertaining. The overused of wireworks favor the nature of the fight scenes as fighters can take multiple bullet shot and jump around all over the arena. Sadly part of the fighting is done with some tanks, machine guns, alien ships, and blast energy which isn’t quite as exciting. Although the digital effects do raise eyebrows. Especially in a scene where Goku fights his grandpa and while guarding himself with a magical pole, grandpa leg goes through the magical pole hitting Goku. Even when Sheron (a dragon that appears when all the dragon balls are collected) looks hideous with bulgy white eyes and undetailed golden colored body. Costumes look cheap while hairdo scream too much hair gel was applied to make it stay up. Acting is bad from the young cast. Charles Chen Zi-Jiang shouts every line he reads while making silly faces, Jeannie Hsieh blankly stares with stiff line delivery, and Cheng Tung-Chen is also shouts all of his lines. The adults in the film fares no better either due to goofy costume that makes it difficult not to laugh or resort to making to two kind of faces, silly and serious to show their limited range of human emotion. Editing is bad especially the sound mixture in which music, effect, and dialogue drown each other out.

Dragon Ball: The Magic Begins is never boring because how over the top and odd technical direction it takes, but at the same time without anything decent to latch onto its goofiness loses it novelty. Once you become accustomed to the odd nature of its existence you’ll be desiring more than just a series of goofy scenes and poor production values.

2/10