In 2019’s Harpoon, writer/director Rob Grant made a tense, violent, often hilarious horror movie that I called “a gory, savage black comedy potboiler” about three friends trapped on a boat and coming unraveled. For his next trick, he tackles something equally harrowing and metaphorically equivalent to being lost adrift at sea: adolescence. This Too Shall Pass is a funny, bittersweet, messy story of a time that’s, well, funny, bittersweet, and messy, even if the delivery system is at times a nostalgia overload.
When 15-year-old orphan runaway Jeanne (Clara Pacini) breaks into a theater to sleep for the night, she discovers the building is being used to film an adaptation of Hans Christian Andersen’s The Snow Queen, which just so happens to be her favorite fairy tale. As she insinuates herself into production, she falls under the thrall of Cristina (Marion Cotillard), the film’s demanding, enigmatic diva, and the two develop a mutual, deepening obsession. So goes The Ice Tower, the new film from Evolution and Earwig director, Lucile Hadzihalilovic.
Marko Zaror’s DNA is all over the movie Affinity. And not just because, at one point, he says, “Here’s your DNA, motherfucker,” then flings his own blood all over a dude’s face. He’s a producer, the creative team features many of his frequent collaborators (for example, Fist of the Condor director Ernesto Diaz Espinoza edited the movie), he has a story-by credit and a screenwriting credit, and he’s the fight/action director. Oh yeah, I forgot to mention, he’s also the star. The fights are, as expected in his capable hands, excellent, Zaror has the chance to do some different things, acting wise, and there’s a big, wild swing at the end that I don’t think entirely lands, and that is kind of nonsense, but that I freaking love. All in an 80-minute package.
Warnings about new and emerging technology run amok has been a common theme in movies since damn near day one. From Frankenstein to Wells to the Terminator franchise, we’ve been counseled against the hazards of unchecked science we don’t fully grasp yet. With his debut feature, Appofeniacs, prolific music video director Chris Marrs Piliero uses a post-Pulp Fiction maze of rapid banter and intersecting narratives to raise a cautious eyebrow at the use of AI and deepfakes. What lands, lands solid, especially the frequent and ample violence, but what misses whiffs, and the mixed bag of a film winds up mostly a cautionary tale about aggrieved edgelords with no real problems and too much time on their hands.
Within a span of a couple of months we’ve received remakes of early-1980s cult favorite swords-and-sorcery epics. First out of the gate was M.J. Bassett’s take on Red Sonja, and now we have Psycho Goreman mastermind Steven Kostanski’s version of Deathstalker. While the former knows it’s goofy, it plays things relatively straight. The latter, however, leans into the campiness with a winking, over-the-top glee.
Kenji Tanigaki’s The Furious is the action movie of the year. It may be the action movie of a few years, because holy hell does it go hard. If having the legendary stunt coordinator and action director in the big chair didn’t already pique your interest, he also enlisted the great Kensuke Sonomura—director of Ghost Killer, Hydra, and Bad City, as well as all around stunt badass—as his action director. Add to this mix a cast fronted by Miao Xie (An Eye For an Eye) and Joe Taslim (The Night Comes For Us), and that heavily features Joey Iwanaga (Baby Assassins 2), Brian Le (Everything Everywhere All at Once), Yayan Ruhian (The Raid), and even an appearance by Jeeja Yanin (Chocolate), and this is action-movie-fan-Christmas.
So often when filmmakers attempt to remake a beloved niche genre film or a cult classic, you wind up with a product that may, on the surface, resemble the earlier version, but that misses the point completely. Or one that doesn’t seem to grasp what people love about the original. Writer/director Macon Blair’s (Green Room) new incarnation of Troma Entertainment favorite The Toxic Avenger is not one of those movies.
