Bang, You’re Dead!: Charles Bronson in DEATH WISH (Paramount 1974)


gary loggins's avatarcracked rear viewer

Most people think of DEATH WISH as just another 70’s revenge/exploitation flick, right? Nope. Far from it. Sure, there’s loads of graphic violence, but this gem of a movie contains just as much political commentary as ALL THE PRESIDENT’S MEN, with an added dose of black comedy to boot. The film had its finger firmly placed on the pulse of 1970’s America, with all its fear and paranoia about rampant urban crime, and is among the decade’s best.

Director Michael Winner and star Charles Bronson had made three films together up to that time: the revisionist Western CHATO’S LAND, the actioner THE MECHANIC , and the cops-vs-Mafia drama THE STONE KILLER . All were hits with the drive-in crowd, and helped Bronson go from supporting player to major star. Strangely enough, Bronson wasn’t the first actor considered for the part of Paul Kersey. Jack Lemmon was original choice, and that…

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Film Review: Spirits In The Dark (dir by Jozsef Gallai)


An abandoned building is just inherently creepy.

I mean, think about it.  Unlike a forest or a mountain or a canyon, a building is not something that forms naturally.  People actually have to build buildings.  Plans have to be drawn up.  Materials have to purchased.  Hours of backbreaking labor are required.  Creating a building requires work, resources, and time.  It’s not something that you do on a whim.  It’s something that’s done as a part of a larger plan.  With all of the effort that goes into creating the building, it’s always strange to come across one that has subsequently been abandoned.  You find yourself wondering what could have happened that made the inhabitants or the owners say, “We’d rather have all that hard work be for nothing than remain in this location?”

Walking through an abandoned building, it’s difficult not to think about the fact that, once upon a time, strangers that you’ll probably never meet moved through these now deserted hallways.  People worked in those empty rooms.  For a period of time, the building was probably the center of someone’s life.  Where are those people now?  Do they ever think about the past?  Do they still have memories of things that were said or thought while walking through those now-empty hallways?

Finally, there’s the constant reminders that even an abandoned building isn’t never truly abandoned.  There’s the animals that move in after the people leave.  There’s the plants the continue to grow around and, in some cases, consume the empty structure.  And, of course, there’s the reminders that you might not be the first person to have explored this empty building.  There’s the broken windows or the empty bottles or the crumpled cigarette pack, all of which remind you that others may even consider this building to be their home.  And, of course, there’s the graffiti.  Graffiti and abandoned buildings tend to go hand-in-hand.  For whatever reason, it’s often the graffiti that makes an abandoned building feel especially ominous.  Are those words on the wall a sign of ownership, an act of rebellion, or a warning?

Of course, the only thing more creepy than one abandoned building is when you come across an entire town of abandoned buildings….

And yet, as creepy as an empty building can be, it’s also hard not to be fascinated by them.  You look at them and you wonder why?  Why did everyone leave and how long will the building stand there deserted before it’s either torn down or destroyed by nature?  That’s one reason why ghost towns remains such a popular tourist destination.  They’re a reminder of just how short and fragile life can be.  You can build a home or an office but, once your time is up, it’s just going to be another abandoned building.

That’s something that Gil Spencer, the protagonist of Spirits in the Dark, understands.  Gil (played by the film’s director, Jozsef Gallai) used to love exploring abandoned buildings with his wife.  Ever since his wife’s death, Gil has struggled with being lonely and depressed.  But then, one day, something mysteriously appears on his laptop.  It appears to be a video shot by someone exploring an abandoned military complex.  The person shooting the video comes across a white pendant, one that looks exactly like the one that Gil’s wife used to wear.  While the person holds the pendant, we catch a glimpse of a ghostly figure standing a few feet away, watching.

Intrigued, Gil searches for and manages to track down the deserted complex.  As creepy as the abandoned and graffiti-covered buildings may be, Gil — who films his exploration — informs us that it’s nothing he hasn’t seen before.  Even when he spots blood on the wall, he figures that it was probably just someone shooting “an indie horror film.”  But then, he comes across a mask hanging in a corner.  And then his car’s horn starts honking for no reason.  And then, things start to get really creepy!

Spirits in the Dark is a haunting and moody exercise in atmosphere and genuine creepiness.  Wisely, instead of going for easy jump scares, the film takes its time to set up both the location and the situation.  We get to know Gil and, as he makes his way through them, we also get to know the abandoned building and the surrounding wilderness.  Like Gil, we find ourselves looking at every shadow, searching for some sort of explanation.  Just like Gil, we can feel the menacing atmosphere closing in on us and we become aware of every strange noise and every possible movement in the darkness.  When the scares do come, they’re all the more effective because the film has earned the right to frighten us.  It’s a wonderfully effective and creepy movie, one that has an intriguing plot and which is distinguished by the moody cinematography and the ominous score, both of which are credited to Gergo Elekes.

Wild Eye Releasing is going to be releasing Spirits in the Dark via DVD and VOD early in 2020 so keep an eye out for it!

Film Review: The Top Rope (dir by Cody Broadway)


About halfway through the 20 minute documentary, The Top Rope, a soft-spoken, bearded man named Billy Gray says, “It’s how I’m wired.”

Billy is explaining why he spends most of his time playing a character named Hunter Grey, a viking who is, at one point, seen carrying a big axe.  (By being a viking, he explains, he can make people laugh while still being believably intimidating.)  Billy, who was a championship wrestler in high school and who comes from a long line of wrestlers, now makes his living traveling the pro wrestling circuit in Colorado.  It’s hardly glamorous.  Billy tells us stories about having to change in parking lots and says that if you have a locker room, you should consider yourself to be lucky.  He also tells us about how his family was initially dismissive of his career and how it took a while before they actually started coming to his matches.  But, whenever we actually see Billy performing and in the ring, we understand why he does it.  The crowds love watching him.  When Billy Gray’s in that ring, he’s a star.

Billy is one of several wrestlers to be interviewed in The Top Rope.  Considering that one of the main appeals of pro-wrestling is the flamboyance of the people involved, it’s tempting to be surprised to discover that, outside the ring, the majority of the participants come across as being rather soft-spoken.  Then again, maybe we shouldn’t be surprised at all.  One of the joys of performing, after all, is assuming a new and different persona.

For instance, a wrestler named Zach Anaya is obviously somewhat bemused with his villain status but, when we see him in the ring, we see someone who is truly enjoying playing his role.  A scene in which he jumped off a ledge and landed on top of two wrestlers below left me cringing because you could tell that, for all the talk about how pro-wrestling matches are essentially a type of performance art, the participants can still get seriously injured.  Scripted or not scripted, you have to be willing to push yourself to extremes in order to pursue it.

Also interviewed is Curtis Cole, a wrestler who rather touchingly talks about how he used to watch wrestling with his mother.  You get the feeling that, to a certain extent, he’s wrestling in her memory.  Cole also discusses the importance of having a storyline in the ring.  Without a storyline, it’s just two guys jumping on each other.  With a storyline, it becomes an epic battle of good and evil.  Cole tears up while discussing once past storyline and I have to admit that he got so emotional that even I, who has never even watched a wrestling match, started to get emotional too.  In a film full of great storytellers, Curtis Cole might be the best.

This documentary was directed by Cody Broadway, who previously directed 4 Quarters of Silence, a film about the Texas School for The Deaf’s football team.  He brings the same empathetic touch to this film.  Though the film did not make me a pro wrestling fan (to misquote Billy Gray, it’s just not how I’m wired), it did make me a fan of the men who were interviewed and it made me happy that they have this in their lives.  We’re all wired differently but, as this film demonstrates, there’s a place for all of us if we’re willing to look for it.

Short Film Review: Fried Barry (dir by Ryan Kruger)


I just watched a three-minute short film called Fried Barry.  Now, you may ask: “How much of a story can you tell in three minutes?”  Well, the answer is that you can tell a lot more than you might think.  For instance, Fried Barry might only last 180 seconds but it tells the story of a lifetime.

Fried Barry tells the story of Barry (Gary Green), a man who has obviously fallen on hard times.  When we first see him, he’s dirty, he’s scruffy, he’s twitching, and he’s wandering around in what appears to be a deserted warehouse.  His eyes appear to be full of madness as they dart from one side of the warehouse to the other.  A series of quick cuts, taking us from extreme close-ups of Barry to medium shots back into Barry’s face (and potentially his mind), keep us just as disorientated as he is.  The soundtrack is full of the sounds of the chaos that is erupting in Barry’s mind and we wonder if Barry is insane or maybe if we’ve just entered someone else’s dream.  It’s when we see the spoon and the hypodermic needle that we come to understand that Barry is a heroin addict.

When he shoots up, the short film just gets more chaotic.  Shots of Barry looking somewhat blissful are followed by shots of Barry looking even more pissed off.  Occasionally, a peaceful image appears but the sounds of chaos continue to erupt in the background.  By the time Barry is using his tongue to catch flies like a frog, we find ourselves wondering once again if we’re watching Barry from the outside or if we’ve entered his head.

Looking over the notes that I jotted down while watching Fried Barry, I see that I originally wrote that Barry was “a crazy dude in a warehouse.”  That’s probably not entirely fair to Barry.  When you see someone at a certain point in their life, you never fully understand how they reached that point.  That’s true of the desperate people that we see everyday and certainly, that’s true of someone like Barry.  Who knows who Barry was before he became “a crazy dude in a warehouse.”  The film is full of hints but it’s up to us, as the viewer, to put them together.

David Lynch once describes Eraserhead as being “a dream of dark and disturbing things,” and I think the same description applies to this 3-minute film.  It’s a film that will definitely stick with you.  iHorror released it this week so check it out.

The short film Fried Barry has been adapted into a feature film, which has just completed post-production and should be coming out at the end of 2019.

Film Review: The Cleaning Lady (dir by Jon Knautz)


The Cleaning Lady opens with a close-up of several mice in a box.  A hand reaches down and scoops up the mice, one-by-one.  The mice are dropped into a blender.  We watch as a finger turns the blender on.  Now, before anyone panics, we don’t actually see the mice get turned into puree or anything like that.  (Indeed, if we had, I would have stopped watching the movie right at that moment.)  Still, just the sound of that blender coming to life was enough to make me cringe.

It’s also a signal of the type of film that The Cleaning Lady is going to be.  This is a dark horror movie about some seriously damaged individuals.  If you think that things can’t get any darker than mice being dropped in a blender, just you wait.

The film opens with the travails of Alice (Alexis Kendra), who has a nice apartment and a married boyfriend.  The problem with having a married boyfriend is that, no matter how much you love him, you still have to deal with the guilt of being a homewrecker.  Unfortunately, Alice is “addicted to love” and she simply cannot seem to resist the urge to call Michael (Stelio Savante) and ask him to come over to her place.  Not even attending a support group seems to help.  (Of course, Michael does invite her to to go to Italy with him and, seriously, who could resist a free trip to Italy?)

As for Alice’s apartment, it’s nice and big but what’s the point if you can’t keep it clean and neat?  Fortunately, Shelly (Rachel Alig) is here to help!  Shelly is the cleaning lady and she has a habit of mysteriously materializing in Alice’s apartment.  At first, Alice is a little bit nervous around the heavily scarred and withdrawn Shelly.  However, Alice soon comes to appreciate Alice’s ability to unplug a drain and dispose of dead rodents.  Soon, Alice is making Shelly dinner and inviting her to stay over and watch movies.  Alice even drives Shelly home one night and is shocked to discover that Shelly apparently lives out in the middle-of-nowhere.

Now, admittedly, Alice’s motives aren’t entirely altruistic.  There’s a hint of elitism to Alice’s attempts to be nice to “the help.”  Even more importantly, spending time with Shelly gives Alice something to do other than calling up Michael.  Alice is using Shelly to break her addiction.

What Alice doesn’t realize is that 1) Shelly’s become a bit addicted to her company and 2) Shelly is willing to do just about anything to get closer to Alice.  I’m not going to spoil things by discussing just how far Shelly goes but let’s just say that things do a get a bit extreme.  And that’s even before the knives and the axes come out!

The Cleaning Lady is hardly the first horror film to be made about obsession, nor will it be the last.  That said, it’s still an effectively creepy film.  By making Alice as obsessed with Michael as Shelly is with Alice, the film brings a few unexpected wrinkles to its plot and both Alexis Kendra and Rachel Alig do a good job bringing their characters to life, with Alig even managing to generate some sympathy for poor, scarred Shelly.  Alig especially deserves credit for underplaying a few key scenes, as opposed to going full psycho.  The fact that Shelly rarely speaks above a whisper actually makes her far more intimidating than she would have been if she had spent the entire movie screaming at her prey.

All in all, this is an effective indie horror film.  Of course, after seeing the film, it’s possible that you might never look at a blender the same way again….

Coming Down The Mountain: Runaway! (1973, directed by David Lowell Rich)


Runaway! begins with a train starting a slow descent down a snowy mountain.  On board the train are collection of skiers, gigolos, conductors, and engineers.  One couple discusses their upcoming divorce.  An athletic father tries to bond with his less-athletic son.  A slick con artist tries to convince a depressed young woman not to throw herself from the train.  A group of skiers put on an impromptu concert, banging on their suitcases like bongo drums.  They get so loud that the conductor doesn’t even hear the engineer desperately trying to contact him.  What none of the passengers realize is that the train’s brake engines have frozen and the train is about to start hurtling down the mountain.  Unless the chief engineer can figure out a way to stop the train, everyone’s going to die!

Made for television in the year between the release of The Poseidon Adventure and The Towering Inferno, Runaway! is a low-key but entertaining disaster movie.  With a running time of only 70 minutes, Runaway! doesn’t waste any time getting down to business and, even if it is a low-budget movie, there’s no way that an out-of-control train racing down a mountain can’t be exciting.

Compared to the other disaster movies of the era, Runaway! does not exactly have an all-star cast though there are some familiar faces.  Vera Miles and Ed Nelson are the divorcing couple while Martin Milner is the father who puts too much pressure on his son.  Ben Murphy is the gigolo who refuses to pay for a ticket on general principle while Darleen Carr is the woman who wants to jump to her death.  Most of them are just there as placeholders.  It’s obvious from the start that the real stars of the film are going to be the train and the mountain.  However, the famously gruff character actor Ben Johnson manages to make an impression just by being Ben Johnson.  Johnson plays the chief engineer and, as long as he’s manning the engine, you know that the train’s passengers are in good hands.

Runaway! has never been released on DVD or even VHS but it is currently available on YouTube.

Lifetime Film Review: Mommy Group Murder (dir by Nick Everhart)


There are a few lessons that I’ve learned from Lifetime movies in general and the film Mommy Group Murder in specific.

First off, don’t live in the suburbs.  Like, seriously, don’t do it.  Yes, the houses are big and everyone’s got a nice lawn and there’s always some hot guy working shirtless across the street from you.  Yes, it may seem like a nice and fun place to live but don’t be fooled.  You want to know why all those pretty and handsome people are living in the suburbs?  Because they’ve all got something to hide!  The minute they see you and your sensitive husband and your baby moving into the big, white house next door, they’re going to start plotting against you.  Next thing you know, strangers will be putting cameras in your house and having sex on your kitchen counters and you’ll be hearing weird noises at all hours of the night.

(Of course, I already live in the suburbs so I’m learning this lesson a bit too late.  Admittedly, my suburban neighborhood seems to be a bit safer than the average Lifetime suburban neighbor.  I have yet to find any hidden cameras in the house and the kitchen counters are thoroughly cleaned every day.)

Lesson number two: no matter how appealing the mysterious mansion next door might look, resist the temptation to break in and look around.  In fact, for that matter, don’t even accept an invitation to visit.  Nothing good ever happens in those mansions.  There’s always either a dead body hidden in an ice chest or someone chained up in the basement.  Once you discover something like that, you’re pretty much required by law to get involved and go to the police.  So, seriously, think before you invade.

Lesson number three: You know that person who shows up out of nowhere and suddenly wants to be your new best friend?  DON’T TRUST THEM!  When all of your old friends or your husband says that they think there’s something strange about your new BFF, LISTEN!  And when you discover that your new best friend is using an alias, ask yourself why.  Don’t just shrug and say, “Well, she just changed her name.  Big deal.”

Finally, lesson number four — and this is one that was specifically driven home by this movie: Don’t join a mommy group!  Sure, it’s tempting.  I mean, you’re suffering from crippling depression.  You’re having nightmares about someone trying to kidnap your baby.  Your new best friend suggests that maybe you need to join a mommy group so that you can talk about all of this with people who actually understand what you’re going through.  It seems like a great idea but, if Lifetime has taught us anything, it’s that these mommy groups always lead to secrets, lies, and murder!

That’s what Natalie (Leah Pipes) discovers after she befriends the mysterious Grace (Helena Mattsson).  Natalie and Grace are the center of Mommy Group Murder, a film which aired on Lifetime back in March.

Plotwise, Mommy Group Murder may seem like a typical Lifetime film.  Suburbs, adultery, murder, and a best friend that no one listens to until it’s too late, it’s all here!  However, Mommy Group Murder also features a wonderfully nuanced performance from Leah Pipes and a few twists and turns that take the movie to a slightly darker place than the average Lifetime film.  Director Nick Everhart emphasizes the darkness at the heart of the film’s story, opening with a harrowing montage of Natalie struggling to bond with her daughter and ending with a shadowy sequence that has as much in common with a horror film as a Lifetime film.

Mommy Group Murder is a nicely done, melodramatic thriller.  Watch it and learn.

From the Golden Age of Cinemax: Saints and Sinners (1996, directed by Paul Mones)


From the golden age of late night, straight-to-video Cinemax comes Saints and Sinners!

After spending years away, Pooch (Damian Chapa) has finally returned to the old neighborhood.  As soon as he returns, he partners up with his childhood best friend, Big Boy (Scott Plank).  The violent and erratic Big Boy is a low-level gangster with big plans.  He wants to take over the neighborhood and he’s sure that, working with the level-headed Pooch, he’ll be unstoppable.  Complicating matters is that both Pooch and Big Boy have fallen for the same woman, the mysterious Eva (Jennifer Rubin) and, quicker than you can say Jules and Jim, all three of them are soon sharing a bed.  Complicating matters even further is the fact that Pooch is an undercover cop who has recently been caught up in a corruption sting.  His superiors have given him a choice.  He can either help them take down Big Boy or he can go to jail himself.

Though the plot of Saints and Sinners may seem familiar (think of it as being a low-budget version of the Sean Penn/Gary Oldman gangster flick ,State of Grace), it’s distinguished by gritty locations, energetic direction, and two good performances from Damian Chapa and Scott Plank.  But, to be honest, Jennifer Rubin was the main reason that 14 year-old me used to stay up to watch this movie on Cinemax.  In the role of Eva, she’s sexy, enigmatic, and potentially dangerous.  You’re never sure what her game is and, as a result, the movie is not as predictable as you might expect it to be.  Jennifer Rubin was one of the best of the femme fatales to appear in the straight-to-video neo-noirs of the 1990s and shes’ at her best and most uninhibited here.

Saints and Sinners may not have many saints but it has enough sin that it doesn’t matter.

Jennifer Rubin in Saints and Sinners

Let’s Talk About Monster Island (dir by Mark Atkins)


Oh hell yeah, the Asylum strikes again!  And this time, it’s all about Kaiju, helicopters, and Eric Roberts!

Listen, folks, if you don’t get automatically excited when you see the words “Kaiju,” “helicopters,” and “Eric Roberts” all in the same sentence, I don’t know what to tell.  Obviously, you’re not the audience that this film was made for.  This is a film for people who enjoy monster mayhem, things exploding, and helicopters.  Seriously, it’s not an Asylum film without a helicopter.

Admittedly, Eric Roberts’s role is actually pretty small.  He plays Admiral Butler and he’s got an entire fleet of warships at his disposal.  You’d think that would be just what you would want when dealing with a bunch of recently awakened ancient monsters but it turns out that  the Admiral is pretty stubborn.  He’s better at shouting into telephones than understanding the logic behind Kaiju.  And if you’re saying to yourself, “Would we really want Eric Roberts to be in charge of the U.S. Navy?,” you are again missing the point.  Asylum films, like this one, create their own parallel universe.  It’s a universe where monsters live, sea creatures can take down helicopters, and, of course, Eric Roberts is going to be in charge of a battleship.

The main character is Billy Ford (Adrian Bouchet, giving a cheerfully flamboyant performance), a billionaire who operates out of a beach house and whose underwater sea mining operation may be responsible for awakening the fearsome Tengu.  (Tengu looks kind of like a giant starfish and has molten magma for blood.)  Billy has two people working in the basement of his beach house.  Cherise (Donna Cormack Thompson) has been working with him forever.  Riley (Chris Fisher, giving a nicely neurotic performance) is such a recent hire that Billy still calls him “James.”  When it becomes apparent that something has awakened at the bottom of the ocean, Billy, Cherise, and Riley head underwater to investigate.

Coming along with them is Sarah Murray (Natalie Robbie), who works for the government and who is an expert in geomythology.  Geomythology is the study of alleged references to actual geological events in mythology.  Geomythology is a real thing and, after having watched this movie, I kind of wish that I had at least minored in it.  At one point, Sarah has to go to her former Geomythology professor (Margot Wood) for advice on how to stop Tengu from destroying the world and it turns out the professor lives in this huge cabin.  There’s money to made in keeping track of the world’s Kaiju.

Anyway, needless to say, once Tengu is awakened, it’s pretty much determined to end the world.  This movie, as you can probably guess from the title, pays homage to the Japanese monster movies of old.  When flying, fire-breathing monsters start hatching from eggs and attacking the world, their battle shrieks will be familiar to anyone who has ever seen a movie featuring Godzilla, Mothra, or Rodan.  When the film reaches the point of two giant monsters fighting each other while a bunch of human beings watch on, it’s impossible not to be reminded of Godzilla fighting King Kong.  It’s all in good fun, a monster movie made by people who loves monster movies for people who love monster movies.

Monster Island is a film to watch and to enjoy for the mayhem and the destruction.  Watch it to enjoy Eric Roberts bragging about the Navy’s new “sonar weapon.”  Watch it for the scene where one person makes the mistake of taunting one of the monsters.  (Piece of advice: Don’t ever yell “Come on!” at a create that can breathe fire.)  Watch it for giant starfish rising out of the ocean and the crashing helicopters.  Get a group of your friends together and enjoy the movie because the Asylum is back and so are the monsters and the helicopters!

Monster Island aired on the SyFy Network last night and it’ll probably air again.  Keep an eye out!

Godzilla: King of the Monsters, Review by Case Wright, Dir: Michael Dougherty


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Godzilla: King of the Monsters is like eating a huge handful of different colored Jelly Bellys all at once; it’s fun and kinda sticky.  It was written and directed by Michael Dougherty (Trick ‘r Treat, Krampus, or anything that’s filmed for a few hundred bucks and a sandwich).  Dougherty is known for inexpensive genre films like Krampus, which was kind of fun in a goofy way.  This is a much bigger budget and if it weren’t for the dialogue, it would’ve been great.  Honestly, you don’t really need to listen to the dialogue and Dougherty is a lousy writer; so you’re better off tuning the people out.

The cast was everyone you like: Coach Taylor, Eleven, Tywin Lannister, That Lady from the Conjuring, That Science Teacher from Stranger Things, West Wing Guy, What’s His Face, and the guy who was in the last one who wanted the monsters to fight.  On the monster side: there was Mothra, King Ghidora, Rodan, Michaelangelo, Godzilla, and the rest.  They were all thrown at the screen like water balloons hitting you in the face.

The movie opens with Dr Emma Russell (Vera Farmiga) and Madison (Millie Bobby Brown) at a Monarch facility where baby Mothra wakes up and everyone seems to want to touch it.  Gross.  They’re gonna get a dino-rash! Terrorists enter, kill everyone, and take ….. did I write take … I meant pick up Dr. Russell and Madison.

Why? Dr. Russell lost her son to the last Godzilla attack and has decided that everyone should die because that makes sense…somehow. So, she sets up her Doctor Doolittle machine to talk/wake up all the Kaijus to kill everyone.  Her argument is really annoying and has a makeshift powerpoint presentation.  She is the embodiment of every sanctimonious Seattleite, Vegan, Composting, Apologist, Whiner all rolled into one; she figures if the monsters kill all the people that the world will be better off- think if that horrible Lorax finally got the money to kill for the trees.  They’re why I refuse to recycle …. EVER!

Anywho….she wakes up all the monsters and Coach Taylor who is Dr Russell’s quasi-ex-husband scientist is granted crazy authority over the military to figure out how to stop all the monsters from killing everyone.  And man do they ever fight?!!! I mean it do they ever fight?  I counted only four monster on monster fight scenes- kinda skimpy.  Also, Godzilla had to be recharged with nukes or radioactive spa time to keep going; I guess Godzilla decided to upload the latest Apple Update.

Godzilla ends up on top….literally. He gets on top of a mound in Boston and all the other monsters bow down to Godzilla, except Mothra – She curtsies (she’s from another time).  There’s good CGI and Monster fighting- when they do fight.  Just don’t go trying to find deeper meaning.  I loved these movies because they’d be on tv for the nerd set when I was a kid.  I saw them all.  In fact, in King Ghidora v Godzilla, Godzilla tries to help the Japanese win world war II or at least one battle. It was awesome.  These movies are great because you can unplug and watch some awesome destruction.  This movie brings the boom.  Enjoy!

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