Playing Catch-Up: Aloha (dir by Cameron Crowe)


Well, Christmas is over and soon 2015 will be over as well!  And our long time readers know what that means — its time for Lisa to desperately try to get caught up on reviewing all of the films that she’s seen this year!  After all, it will soon be time for me to post my “Best of” and “Worst of” lists and who knows?  Some of these films might make a list!

Anyway, with all that in mind, let’s take a quick look at Aloha!

Say what you will about Aloha as a movie, I would have loved to have been a part of the production.  Not only is the cast full of performers that I absolutely adore (Bradley Cooper, Emma Stone, John Krasinski, Bill Murray, Rachel McAdams, and Danny McBride, just to name a few) but the film itself was shot in Hawaii, which is one of the most beautiful places on Earth.  And let’s give director Cameron Crowe some credit for capturing some truly beautiful images of Hawaii.

As for the film itself, it’s a bit of a self-indulgent chore to sit through.  Aloha feels like a dozen different films, all mashed together and the end result is something of a mess.  Bradley Cooper is Brian Gilchrest, a defense contractor who is haunted by a mistake that he made while in Afghanistan.  (It’s the equivalent of Jerry Maguire writing that memo and Orlando Bloom making those shoes in Elizabethtown.)  Disillusioned and cynical, Brian is now working for a billionaire Carson Welch (Bill Murray), who wants to build his own private space center in Hawaii.  Brian’s job is to get the support of the native Hawaiians.

Brian’s Air Force liaison is Alison Ng (Emma Stone) and she’s as idealistic as Brian is cynical.  Brian and Alison are soon falling love but, at the same time, Brian has also reconnected with his ex-girlfriend, Tracy (Rachel McAdams).  Tracy is now married to Woody (John Krasinski), an Air Force captain who has difficulty expressing his feelings.  Tracy also has a 12 year-old daughter and Brian might be the father.

That may sound like enough for any movie to deal with but Aloha also wants to be a political satire as well as a relationship dramedy.  So, of course, there’s all sorts of ethical questions about the satellite that Carson wants to launch and, as a character, Carson is so incredibly inconsistent that you’re just happy that he’s being played by Bill Murray, one of the few actors who can make inconsistency charming.

Aloha is such a frustrating film, largely because of all the talent involved.  With that cast and all the beautiful scenery, it should have at least been an enjoyable lark.  Instead, it’s a huge and self-indulgent mess.

And, naturally enough, it features Alec Baldwin.  Baldwin always seems to show up in films like this and, as I watched him bellow his way through Aloha, I found myself wondering how Alec Baldwin can be so good in some films and so amazingly awful in others.  Baldwin’s a talented actor but, when a director allows him to go overboard, he can be difficult to watch.  In Aloha, Cameron Crowe lets Alec Baldwin go totally overboard.

When Aloha was first released, there was a lot of controversy over Emma Stone playing a character who supposed to be a quarter Chinese and a quarter Hawaiian.  At the time, Cameron Crowe stated that: “As far back as 2007, Captain Allison Ng was written to be a super-proud one-quarter Hawaiian who was frustrated that, by all outward appearances, she looked nothing like one. A half-Chinese father was meant to show the surprising mix of cultures often prevalent in Hawaii. Extremely proud of her unlikely heritage, she feels personally compelled to over-explain every chance she gets. The character was based on a real-life, red-headed local who did just that.”  That’s something that I — as a pale redhead who happens to be very proud of being a fourth Spanish — could relate to so it didn’t particularly bother me that Emma Stone was playing a character named Alison Ng.

Instead, what bothered me was that Alison Ng was never really allowed to emerge as an individual character with her own hopes, dreams, and ambitions.  Her character pretty much only existed to give Brian a reason to believe in life again.  Emma Stone’s a good actress but, as a film, Aloha lets her down.

Still, at least she got to spend sometime in Hawaii!

A Very Red Band Deadpool Trailer for Christmas


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Twentieth Century Fox has had a stranglehold on the film rights to one of Marvel Comics’ biggest properties: the X-Men and every character associated with them. So far, the studio has only taken the core X-Men and Wolverine properties and adapted them onto the big-screen to mixed results. Some fans of the properties have even come to see the Fox vision for these mutant characters as tame and water-down version of the classic comic book characters.

One such mutant character which had languished in development hell within Fox was the character of Deadpool. The so-called “Merc with a Mouth” had an off and on development cycle throughout the years. The character finally appeared in the forgettable Wolverine stand-alone film, X-Men Origins: Wolverine. The character was played by Ryan Reynolds and just like another superhero film (this time for DC as the classic character of Green Lantern) he starred in, this one bombed and he was starting to be seen as a curse on superhero projects his named gets attached to.

If there was one major effect that Marvel Studios’ success with their Marvel Cinematic Universe has had with the rest of the Hollywood studios was to force them to treat their comic book property licenses seriously. They had to embrace the comic book nature of the properties they held the license to and work with it instead of against it.

It looks like Fox might be doing just that with their R-rated attempt at the Deadpool live-action adaptation starring the star who campained long and hard to produce and star as the title character: Ryan Reynolds. If the tone we’ve seen with the Comic-Con trailer and this latest red band trailer is any indication then the Ryan Reynolds superhero curse could be ending in early February of 2012.

Deadpool is set for a February 12, 2016 release date.

Lisa’s Oscar Predictions For December!


For the final time this year, here are my monthly Oscar predictions.  Usually, the critic groups and the guilds help to make it a bit more clear what is going to be nominated.  That’s not so much the case this year.  It’s been a very good year for film and let’s hope the actual Oscar nominations reflect that.

You can also check out my predictions for January, February, March, April, May, June, July, August, September, October, and November.

Best Picture

Beasts of No Nation

The Big Short

Carol

Mad Max: Fury Road

The Martian

The Revenant

Room

Spotlight

Star Wars: The Force Awakens

Trumbo

Best Director

Tom McCarthy for Spotlight

Adam McKay for The Big Short

George Miller for Mad Max: Fury Road

Jay Roach for Trumbo

Ridley Scott for The Martian

Best Actor

Bryan Cranston in Trumbo

Johnny Depp in Black Mass

Leonardo DiCaprio in The Revenant

Michael Fassbender in Steve Jobs

Eddie Redmayne in The Danish Girl

Best Actress

Cate Blanchett in Carol

Brie Larson in Room

Charlotte Rampling in 45 Years

Saoirse Ronan in Brooklyn

Sarah Silverman in I Smile Back

Best Supporting Actor

Idris Elba in Beasts of No Nation

Mark Rylance in Bridge of Spies

Michael Shannon in 99 Homes

Sylvester Stallone in Creed

Jacob Tremblay in Room

Best Supporting Actress

Jennifer Jason Leigh in The Hateful Eight

Rooney Mara in Carol

Helen Mirren in Trumbo

Kristen Stewart in Clouds of Sils Maria

Alicia Vikander in Ex Machina

Hallmark Review: Christmas Land (2015, dir. Sam Irvin)


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I’m going to go ahead and quote The Cinema Snob review of Ghosts Can’t Do It (1989): Wow! Wow! Wow! Wow! Wibble Wobble Wazzle Woodle What The Fuck?

Oh, this is bad.

The movie opens up by showing us some Christmas decorations before cutting to the front of a private residence. Inside there are six kids sitting at a table when a woman played by Maureen McCormick of Brady Bunch fame walks in with a picture of herself looking down on everyone from the background.

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She circles around them before saying to one of the kids that the ornament she is holding isn’t quite right. The little girl says she’s right because it’s missing something to this woman she identifies as her grandma. Grandma tells the kid to add glitter. The little girl says, “You were right! Now it’s beautiful.” Here is the shot of Grandma’s face as she says it.

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Grandma responds with, “Just like you.” Then she gets up to say, “Children my name is Glinda Stanwyck, and I love Christmas so much that I created this entire holiday village for you and your families to come and enjoy. But it’s getting late, and you don’t wanna miss the Christmas tree lighting ceremony, do you?” Where are their families? Parents maybe? Cut to the outside and apparently we are in some place called Christmas Land.

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A white carriage starts going down the center of town. Then this happens.

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The kid says, “I love you, Grandma!” They get out of the sleigh and Grandma Glinda goes to a podium to say Merry Christmas. Everyone follows with Merry Christmas. They light a tree and after Glinda says to the little girl she’ll, “never forget you”, it cuts to New York City 25 Years Later.

Yes, it all comes across as creepy as I hope I got across to you with the screenshots and dialogue quotes. Why? Why was it necessary to have it start with Maureen McCormick coming across this way? Oh, and that’s just the beginning. There’s more to come. Even my Dad who loves watching these Hallmark movies and cries at every one of them thought these opening scenes were creepy. I’m just gonna say it. She comes across as a pedophile. No joke. It’s really weird.

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Next we are introduced to that little girl as an adult. Her name is Jules Cooper played by Nikki Deloach. She has started a business campaign called “Wear Red. Go Green” for a coffee store chain. This is when Ms. Nickerson played by Cynthia Gibb comes up to her and thanks her for her work on the campaign for her business. I wouldn’t bother introducing her character, but she is one of the things that makes this movie weirder in the one additional scene after this in which she appears.

After her boss thanks her for her work and offers her a promotion, we are introduced to Jules’ boyfriend (Jason-Shane Scott). Better known as guy who will add another really odd thing to this movie. I would mention her ugly top that looks like it was designed by Jason Voorhees and his machete, but who cares when there’s so much more to talk about. He starts looking through the mail and there’s a special piece of it. Turns out she has inherited Good Witch Grandma Glinda’s Christmas Land. Cut to modern day Christmas Land.

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This is when we are introduced to a guy who is every small town attorney/doctor/big city, but living in a small town profession person. In this case, his name is Tucker Barnes (Luke Macfarlane). He remembers her and Grandma Glinda. She thought she just inherited the Christmas tree lot, the house, and the buildings around them, but he tells her she now owns “everything the eye can see from here…” Considering they are walking down main street and can only see the buildings she already mentioned, I am not sure what he is referring to, but later we will be told 200 acres in a contract and 206 acres by another character. She’s been in town for only a few minutes and has been treated well. That’s why we meet Uncle Frank (Wes Wright)!

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He initially acts weird thinking she has come to take up her Grandma’s throne for no logical reason whatsoever and when she tells him she is considering selling the place he all but calls her a bitch before storming off. No joke. She has just shown up in town, doesn’t show an immediate desire to run a theme park, so he treats her like garbage. Think he is going to actually apologize for this. Nope! He will issue an empty and meaningless “apology” only because she said she might have changed her mind. The only slight excuse here is that Tucker may have said that she might be coming back to reopen the place. In other words, he is part of the jumping to conclusions thing, but is far more down to Earth and realistic about it.

Now Tucker talks to Jules and shows a great deal of enthusiasm and love for the place. We will also find out later that he just genuinely likes living there. Think that would lead her to not sell the place, but give him control of it seeing as she thinks it’s a special place, doesn’t have what a place like this needs, doesn’t have a deep connection to it, and isn’t the person the film tells you right here should obviously run the place to touch the lives in the wonderful way her grandmother did? Of course not! The rest of the movie will be convoluted BS where characters act irrationally to push this film towards a conclusion that makes no sense.

Now she is introduced to two more ladies who tell her how much they are glad she is going to reopen the place even though they have no reason to believe that. After she tells them that she doesn’t plan to reopen the place, they also treat her like garbage. Well, to be fair to them. Cue ball Uncle Frank pops in to take a dump on Jules again, then the ladies also turn on her. One of them even asks, “then what is she doing here then?” Hmmm… maybe to take a look at the place she inherited out of the blue from a woman she presumedly hasn’t seen in 25 years. But yeah, that means she’s an evil woman who has come to mislead them and needs to be demonized. After Jules dares to say that she doesn’t live there and that she has a job and an apartment in New York she receives this line from this woman before the lady storms out of the room.

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Tucker has her look at some papers and say that Glinda had buyers over the years who she ignored because they had their own ideas about the place. Won’t say what those ideas are, but it’s assumed they are evil. Jules decides to take a look around the place. Probably because she is worried they will crucify her if she doesn’t. Then a little girl is marched in front of her to guilt her some more so she lies that she is going reopen Christmas Land. I might too considering I’m surrounded by crazy people who seem like they are on the brink of attacking me.

Now Jules calls her boyfriend up to tell him she is reopening Christmas Land. She talks about brining the place back to it’s former glory in order to sell it. In other words, make sure the place is in pristine condition so that whoever she sells it to will see it in all it’s beauty rather than a rundown 200 acres. Evil! Of course as soon as she mentions that it’s 200 acres, her boyfriend gets really happy before telling her he will find her a buyer. At least he seems like he’s legitimately shady. Oh, and we are only 25 minutes into this thing. There’s more!

Now Tucker tells her that Uncle Frank and the nice ladies she met are getting Glinda’s house ready for her to move in. You know, the guy who came up to her and barely stopped from calling her a bitch, and the ladies who came in and treated her in a similar manner. Those people!

Cut to the house and she says that she is not thinking about moving in, but getting the place up and running since apparently to be treated like a human being in Christmas Land means you have to spell out everything to people or they will jump to baseless conclusions and treat you like crap when you don’t meet their unfounded expectations. Then Tucker guilts her under the guise of telling her why he likes living in this small town. Now her boyfriend calls up to drop another weird element into this movie.

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Turns out jerk off boyfriend knows Tucker from law school and that “he had a reputation.” Think they will explain that? Nope! It cuts to the outside of the house to show Tucker getting into a car before cutting back to their conversation. Later he will allude to that this reputation has to do with barns. In other words, bestiality. Wow! Let’s keep going.

The next morning Frank is making pancakes so he can say he’s sorry. And by sorry I mean I’m sorry because you appear to be doing what I wanted you to do in the first place: “Jules, I wanted to apologize about yesterday and how harsh I was. Tucker said that you’re gonna be opening up the old place again.” Hmmm… was it too hard to have this character we are supposed to like simply say, “I’m sorry”? Even Gloria Steinem’s apology for her, and other feminists of her era, comments about people like myself (trans woman) for being self-mutilators sounded more genuine. Anyways, that’s human rights and we are here to discuss what the fuck.

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Jules discovers Glinda’s Santa costume, which she will wear for numerous scenes in the movie. Yeah, that makes sense. After everyone in town jumped to wild conclusions without any basis, let’s parade around in this to…fuck with them??? She even tells the lawyer she still intends on selling the place. This is when she says to the lawyer that she intends to find a buyer who will keep the place open. She could just continue to own it and give it to Tucker to run on a day to day basis. Never mind. Realistic solutions and actual compromise are for the Hallmark movie Lead With Your Heart. A much better movie. She even says, “Keep everyone’s spirits up. Seem’s like you’re the one who does that anyways.” 38 minutes into this now.

Now we see that the carriage she rode in as a kid could use some fixing up before visiting the tree lot. If you go to IMDb at the time of writing this, the plot summary will say that she inherits a Christmas tree lot. No mention that she has actually inherited a mini-Christmas themed Disneyland sans rides. Then she says the typical Hallmark I’m out of touch because I actually have intelligent business ideas lines.

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Now in case we forgot how creepy the opening of this movie is, it’s time to recreate it with Jules. The difference is we have had setup, there are other adults in the room, there’s context, and Jules doesn’t act weird. Next we visit the store…

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and meet Harry Belafonte…I mean George. Belafonte is who I immediately thought of when I saw him. George is actually nice to her. Isn’t that amazing. He even has useful things to say. You’d think there’d be mention of how Christmas Land touched people’s lives and that that’s whats important rather than her replacing her Grandma, but George is the only one to really bring that up. He talks about how Christmas Land helped to save the local businesses and thus the community. But enough of reasonable people. We need to get back to the crazy. Now we get a montage of fixing up the town.

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Then we cut to Frank at the Christmas tree lot. He has actually embraced Jules’ ideas and gives the customer 25% off christmas decorations or lights because he is buying a tree. I’m just going to assume Frank fell off a ladder during the montage and hasn’t recovered yet from the blow to his head. Either that or this is an example of characters who are all over the place as the screenwriters command to force this plot to come to fruition. We need more weird. Where’s that boyfriend?

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He comes in the barn and recognizes Tucker. He tells Jules she looks like a hobo, but “it’s great to see you.” He says to Tucker, “‘Though I’m not surprised to find you in a barn.” What is this reputation they mentioned earlier, and is that what this barn comment has to do with? Somebody explain this to me. Then the boyfriend once again brings up the barn.

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Later it turns out that Tucker graduated top of their law class. I would simply have written this barn stuff off as him insulting Tucker for being so smart, but retreating to a nowhere town. However, after his comments the last time he was in the movie about a “reputation”, I have to think he means something else other than a fondness of his hometown. And we have reached the one hour mark. Cynthia Gibb still hasn’t returned for her weird addition to this film.

Good luck for Jules though, because the boyfriend has a buyer lined up, and he even knows about Christmas Land. Oh, and here’s a picture of Tucker looking like he wants to crack the boyfriend’s nuts like the statue next to him cause apparently I snapped it and it would be a shame to let it go to waste.

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Now we get a scene to remind us that Jules is getting into the role because her wearing the costume didn’t already tell us that. This is followed by Tucker bitching about having to lie to the people of the town. Now she goes back to Chicago to meet the buyer. It’s Richard Karn!

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Oh, but before they meet him, Tucker reminds us of the barn again. Can’t let us forget that movie, can you?

He says he has a fondness for Christmas Land and took his family there years ago. Then after handing her a check for $1,700,000, she just blindly signs his contract. She tells him it’s her Grandma’s legacy and that she doesn’t want to see it tarnished, but apparently that doesn’t mean bothering to read the contract. If she acted like she had a brain, then how are we going to have a third act?

And literally two minutes later in the movie…

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this guy shows up and says he is going to bulldoze the place and chop it up into lots. Oh, my God! It’s like the guy who bought the land wants to do with it as he pleases. I had no idea that selling someone something meant they can do with it as they please…said no one watching this movie. And certainly not someone who is supposed to have the business experience she has at the beginning of this movie. After finding out her boyfriend is a douche. We are in the last 30 minutes or so of this movie. How is she going to get out of this?

She goes to Karn to complain. Karn actually is remarkably reasonable. He tells her that he’s okay flipping it back to her for a profit. It’s reasonable. He sees she cares about the place and it doesn’t make him evil that he wants to make a profit from his investment. She has a check from him for 1.7 million. He wants 3 million. That means she needs 1.3 million dollars by Christmas, and he’ll rip up the contract to give her back the property.

After she watches that creepy video her Grandma shot of her in the carriage, she places a phone call to Cynthia Gibb. At this point, I honestly didn’t expect to see her again in the movie.

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She tells Jules that she will provide $850,000 dollars if they will give her the exclusive right to serve Nickerson’s Coffee at Christmas Land. She does this all while acting like that’s a prostitute sitting next to her. Actually, I believe he is a guy named Tim that was in barely a few seconds at the beginning of the film and is a photographer. But seriously, this scene makes it look like he’s a prostitute. I’m sorry, it does.

Anyhow! This means she needs $450,000. I said to my Dad how is she going to get that money? He said she’ll probably find it somewhere on the property. Not too far off. Remember Frank?

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He has a huge wad of cash just sitting in a can. You know, as people living in a small town with no apparent income, life, or any kind of existence whatsoever are known to have. And it’s not just him.

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The town is able to raise $450,000. And by the whole town, I mean it appears to be the three other people other than Frank that we have met. Yep, this town apparently is loaded. Now Christmas Land is saved with Jules taking over as the people who treated her like shit when she showed up wanted her to.

Wow! So let’s summarize here. We had Maureen McCormick looking like a pedophile. People treating the lead like crap. People acting in ways that don’t make sense when there’s an obvious compromise right in front of their face. Signing contracts without reading them because the plot desperately needed a final speed bump. A character that comes across as a prostitute. Oh, and the numerous allusions that Tucker likes to have sex with animals in a barn. God, I hope I didn’t miss something.

The saddest part here is that I actually liked Nikki Deloach and Jason-Shane Scott in the leads. If this hadn’t been absolutely insane, but an actual movie, then I could have enjoyed it. As it is, it’s the worst Hallmark Christmas movie I’ve seen…so far. Also, one of the worst Hallmark movies I’ve seen in general. That’s out of the 141 I’ve seen at the time of writing this review.

A Merry Christmas With The Greatest Film Ever Made


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We celebrate the 6th year anniversary of the site and we continue a yearly holiday ritual over here at Through the Shattered Lens. I present to all of you readers, visitors and passer-byes the greatest holiday film ever created since forever, ever.

It is a film full of joy and happiness. Of giving and sharing with loved ones that which matters most. This is a film that best describes what Through the Shattered Lens stands for and works towards.

It even has a scene straight out of a Disney classic.

So, from all of us at Through the Shattered Lens….

MERRY CHRISTMAS TO ALL, AND TO ALL A GOOD NIGHT!

Getting In The Holiday Spirit #5: Santa In Animal Land


Personally, I would think that seeing Vincent Price telling the story of Scrooge would get anyone into the holiday spirit!  But, just in case you need more incentive to be merry and bright, check out Santa in Animal Land!

Santa in Animal Land was made in 1948 and … well, you just have to watch it.  This 9-minute short film deals with a bunch of creepy (but kinda cute) animal puppets who are angry to discover that Santa does not bring toys to either animals or puppets!

So, they send Kitty Kat out to track down Santa and get to the bottom of things…

Enjoy the creepy cuteness of Santa in Animal Land!

(And again, thank you to Xmas Flix for introducing me to so many interesting Christmas films!)

 

Sci-Fi Film Review: The Humanoid (dir by Aldo Lado)


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When all the editors of the site got together at the TSL offices and discussed who would review what during our sci-fi month, there were two films that I immediately claimed for myself.  One was Luigi Cozzi’s Starcrash, which is one of the best-known and most popular of all the Italian Star Wars rip-offs.  The other was The Humanoid, which is considerably less known.

What is The Humanoid?  It’s an Italian film from 1979 that was designed to capitalize on the popularity of both Star Wars and James Bond.  While the plot was largely ripped off from Star Wars (with a dash of The Golem tossed in for good measure), the film’s cast featured three performers best known for their roles in two then-recent James Bond films.  The Spy Who Loved Me’s Barbara Bach played the evil Lady Agatha.  Moonraker‘s Corinne Clery played heroic scientist Barbara Gibson.  Finally, the title character — the Humanoid — was played by none other than Richard Kiel, who previously played evil henchman Jaws in both of those films.

The main reason that I wanted to see it was because the film was directed by Aldo Lado.  Aldo Lado may not be as well-known as Mario Bava, Dario Argento, Lucio Fulci, and Ruggero Deodato but he still directed some very memorable films.  Short Night of Glass Dolls, Who Saw Her Die?, and The Night Train Murders are all classics of their genre, combining shocking violence with Marxist political subtext.  What, I wondered, would an Aldo Lado-directed Star Wars rip-off be like?  Fortunately, The Humanoid has been uploaded to YouTube and I was able to find out.

The answer, to that question, is that the Aldo Lado-directed Star Wars rip-off isn’t very good.  But it’s so strange that it’s never less than watchable.

Allow me to attempt to explain the film’s plot.  If things get confusing … well, it can’t be helped.  That’s just the way this film works.  The Humanoid opens in outer space, with a lengthy opening title crawl that informs us that evil Lord Graal has escaped from prison and is planning on attacking the planet Metropolis (yes, the planet is named Metropolis) and overthrowing his brother, the benevolent ruler known as Great Brother.  As the title crawl disappears into space, the camera pans over to a giant spaceship and basically, it’s the exact same shot that opened Star Wars.  You have to admire a film that, in less than a minute, can rip-off Star Wars, Superman, and George Orwell.

Anyway, it turns out that Lord Graal is a tall and imposing figure who dresses in black armor, a black cape, and a black helmet.  (Sound familiar?)  He’s played by Ivan Rassimov, who played a lot of villains in a lot of Italian exploitation films.  Sadly, he never takes off that helmet so we never get to see the truly impressive head of hair that was almost always a highlight of every Rassimov performance.

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Graal’s main ally is Lady Agatha (Barbara Bach), who is actually several centuries old but she remains young by daily injections of a serum that is made up on virgin blood.  (The Bathory Method, in other words.)  Lady Agatha is really evil but she does have really great hair and she gets to wear this V-neck dress that is simply to die for and provides an interesting contrast to the amazingly boring white jumpsuits that all of the good people seem to be wearing.

The youth serum was developed by a mad scientist named Dr. Kraspin (played by five-time Oscar nominee Arthur Kennedy).  And Dr. Kraspin is good for more than just youth serums!  He’s also developed a method of mind control, a way to turn humans into … humanoids!

(“Come quickly!” Dr. Kraspin cries, at one point, “I am creating my first humanoid!”)

Dr. Kraspin tests his method out on interstellar police officer, Golob (Richard Kiel).  Good Golob has a beard and mustache and spends most of his time talking to his pet robot, Robodog.  (“This is my robot dog!” Golob enthusiastically says at one point.)  However, when Golob gets hit by Kraspin’s Humanoid Ray, the beard and the mustache vanish and Golob just growls.  Much as in The Golem, Kraspin places a device on Golob’s forehead which allows him to control Golob’s actions.

Good Golob

Good Golob

Bad Golob

Bad Golob

Meanwhile, Kraspin also has a grudge against Dr. Barbara Gibson (Corrine Clery) and sends Golob to destroy her.  However, Barbara is hiding out with enigmatic child genius Tom Tom (Marco Yeh) and the Han Soloish Nick (Leonard Mann).  And, fortunately for all of them, Tom Tom has the power to make crossbow-wielding angels descend from the heavens…

One of the things that makes The Humanoid an interesting viewing experience is that it’s essentially a kid’s film that was made for an exploitation audience.  Hence, scenes featuring cute Robodog and precocious Tom Tom are mixed in with scenes of brutal violence and a naked virgin being drained of her blood so that Agatha can remain young.  It makes for a notably odd viewing experience.

But that’s appropriate because The Humanoid is one weird movie.  Much as he did with Night Train Murders (which was “inspired” by Wes Craven’s Last House On the Left), Aldo Lado doesn’t allow The Humanoid‘s rip-off status to prevent him from tossing almost everything you could imagine into The Humanoid.  Full of melodrama, bad special effects, over-the-top performances, and way too much plot for a 90 minute movie, The Humanoid is one of those movies that simply has to be seen to believed.  It’s utterly ludicrous and, as a result, oddly likable.  It may not be good but it’s never less than watchable.

Golob and RoboDog

Golob and RoboDog

 

Here Are The Just-Announced Florida Film Critics Circle Nominations!


BEST PICTURE
Carol
Mad Max: Fury Road
Spotlight
The Big Short
The Martian

BEST ACTOR
Bryan Cranston – Trumbo
Paul Dano – Love and Mercy
Leonardo DiCaprio – The Revenant
Michael Fassbender – Steve Jobs
Eddie Redmayne – The Danish Girl

BEST ACTRESS
Cate Blanchett – Carol
Brie Larson – Room
Charlotte Rampling – 45 Years
Saoirse Ronan – Brooklyn
Charlize Theron – Mad Max: Fury Road


BEST SUPPORTING ACTOR
Oscar Isaac – Ex Machina
Mark Ruffalo – Spotlight
Mark Rylance – Bridge of Spies
Michael Shannon – 99 Homes
Sylvester Stallone – Creed

BEST SUPPORTING ACTRESS
Elizabeth Banks – Love and Mercy
Jennifer Jason Leigh – The Hateful Eight
Rooney Mara – Carol
Kristen Stewart – Clouds of Sils Maria
Alicia Vikander – Ex Machina
BEST DIRECTOR

Todd Haynes – Carol
Alejandro G. Iñárritu – The Revenant
George Miller – Mad Max: Fury Road
Tom McCarthy – Spotlight
Ridley Scott – The Martian

BEST ENSEMBLE
The Big Short
Mistress America
Spotlight
Straight Outta Compton
Tangerine

BEST ORIGINAL SCREENPLAY
Ex Machina
The Hateful Eight
Inside Out
Mistress America
Spotlight

BEST ADAPTED SCREENPLAY
The Big Short
Brooklyn
Carol
Room
Steve Jobs

BEST CINEMATOGRAPHY
Carol
Mad Max: Fury Road
The Revenant
Sicario
Youth

BEST VISUAL EFFECTS
Ex Machina
Mad Max: Fury Road
The Martian
Star Wars: The Force Awakens
The Walk

BEST ART DIRECTION/ PRODUCTION DESIGN
Brooklyn
Carol
Crimson Peak
Love & Mercy
Mad Max: Fury Road

BEST SCORE
Carol
The Hateful Eight
Love & Mercy
Mad Max: Fury Road
Star Wars: The Force Awakens

BEST DOCUMENTARY
Amy
Best of Enemies
Cartel Land
Heart of a Dog
The Look of Silence

BEST FOREIGN LANGUAGE FILM
The Assassin
Mommy
Mustang
Phoenix
Son of Saul
BEST ANIMATED FILM

Anomalisa
Inside Out
The Good Dinosaur
The Peanuts Movie
Shaun the Sheep Movie

FFCC BREAKOUT AWARD
Bel Powley – Diary of a Teenage Girl
Daisy Ridley – Star Wars: The Force Awakens
Kitana Kiki Rodriguez – Tangerine
Jacob Tremblay – Room
Alicia Vikander – Ex Machina and The Danish Girl

The Kansas City Film Critics Are Mad For Max!


MadMaxFuryRoad

The Kansas City Film Critics announced their picks for the best of 2015 yesterday and they love Mad Max!  You can check out a full list of their nominees here!  Check out the winners below!

Best Picture: Mad Max: Fury Road

Best Director: George Miller, Mad Max: Fury Road

Best Actor: Leonardo DiCaprio, The Revenant

Best Actress: Charlize Theron, Mad Max: Fury Road

Best Supporting Actor: Michael Shannon, 99 Homes

Best Supporting Actress: Alicia Vikander, Ex Machina

Best Original Screenplay: Spotlight

Best Adapted Screenplay: The Big Short

Best Foreign Language Film: Phoenix

Best Animated Feature: Inside Out

Best Documentary: Amy

Vince Koehler Award for Best Science Fiction, Fantasy, Horror Film: Ex Machina