Tomb raider starts off with our heroine hanging upside down in what looks like an Egyptian tomb and right off the bat we are treated to a very cool action sequence where Lara has to fight a robot. She maneuvers around the tomb firing at the robot. Soon Lara defeats the robot and we find out that it was simply a training room in her house and the robot was programmed by her friend.
So here we are, it is the last day of 2008 and I have a couple of reviews up my sleeve, hopefully during my time off from school I can get some games played and a few reviews up.
First to be done is the movie Sin City Er... The Spirit. From the trailer, it is understandable what people are expecting out of this movie, it shows the action of the movie in the style of Sin City, so this has to be pure awesomeness right? Wrong! And I will tell you why.
This is not an action film, its a comedy! At every turn there is a joke and a laugh. It is covered with delicious 1930's cheese. And the film pokes fun of the source material with its over the top display of... well, everything. The bad guy? Hes so bad that he is displayed as a nazi and kills a kitten, A KITTEN!!
I'm MAD AS HELL Collaboration, the most EPIC Collab on the internet. The truth and reality of life in this world lies here. I'd like to thank all of you for participating in this video collaboration with me.
WANT TO MAKE A DIFFERENCE? THEN POST YOUR VIDEO RESPONSE!!!! I had originally asked ThatGuyWithTheGlasses Doug to be a part in this collab, but he never got back to me :(. Bummer, OH WELL!
Well I know some of you might have noticed that there have not been any new videos as of late. I apologize for that, I have been kind of busy as of late. New videos will be showing up again after the 1st of January. Sorry I didn't inform ya'll sooner.
P.S. Just to tease ya'll a little bit the next movie I am going to review is "War of the Monsters". I am sure some of you know what movie I am talking about :P.
Well this is my first blog, so i guess ill let you guys know a little about me. The name is Narcoleptic23. I do movie and game reviews over youtube, as well as some non related rants. I'm also working on some new projects which i hope will be premiering soon.
Hello, I'm derangedperson. I may be crazy, but I doubt it.
Some movies make us laugh. Some movies make us cry. And some movies repulse, disgust, and get so deep under your skin that you feel you need to take a shower afterwards. If a movie manages to do all three of these things, you may be watching Brazil. Anyway, from kid's movies to comedies and horror films and everything in between, there's sometimes one moment that just creeps you out and stays with you for a while afterwards. And...since I can't think of anything more to say in this intro, I now present my top 11 most disturbing movie moments. Why top 11? Because I want to creep you out as much as possible. So...gird your loins and brace for the worst. This is derangedperson's Top 11 Most Disturbing Movie Moments.
Howdy, I am the Crappy Music Man. I know you all are tried of critics (except for That Guy With The...uh...I forget). They review old (or new) movies and games. But what about MUSIC. This is a review of Miley Cyrus' (Hannah Montana) song 7 Things. Hope you enjoy.
Episode 13 of Ranting and Raving featuring the latest trailer for the movie Watchmen, a film adaptation of one of the greatest graphic novels of all time. Concludes with a look at the novel, Alan Moore adaptations and speculation/fears of the new movie.
Enjoy, rate, comment, subscribe, tell your friends, rinse, repeat :D
All fan-mail, hate-mail or suggestions can be sent to:
This e-mail address is being protected from spambots. You need JavaScript enabled to view it
I finally got around to creating a blog for my show Kaiju Movie Review. Those of you not familiar with my work, KMR is a video series in which I give fair and honest reviews to science fiction and monster movies from all over the world. I prefer to keep it to movies that are from the 80's on back and have some type of monster, but I will occassionally throw in something a little different.
At this time I have released 4 reviews so far and will provide links to them at the end of this entry. Please forgive how rough the first few videos are as I am still fairly new to all of this. Lastly new videos will be released every 2 weeks and I am currently taking suggestions for reviews as my last view pick went over very well. Enjoy!
Hello, I'm derangedperson. I may be crazy, but I doubt it. Ripoff introduction aside, I'd like to take this opportunity to introduce myself to you. I'm a 24-year old film and music fanatic from West Bend, WI (a city 35 miles NW of Milwaukee) with no life and enough time on my hands to type out stuff like this. And since you're reading this, you obviously have no life either.
But I digress.
As a movie fanatic, one of my favorite narrative devices is the plot twist. When a movie takes everything you thought you knew and turns it on its head, it can either leave you slack-jawed in utter astonishment or throwing your popcorn at the theater screen and screaming "BULLSHIT!" Needless to say, I'm only gonna be looking at the greatest twists in movie history. There are many films that have etched their names in memory because of a great twist, and right now, I'm gonna give you my top 11 greatest twists in movie history. Why top 11? Because...well, just because. So, grab a can of soda, sit down with some popcorn, and get ready to be shocked. This is derangedperson's Top 11 Greatest Movie Twists.
You wouldn’t think a film with a title as blunt as “Zack and Miri Make a Porno,” would be this season’s mushiest movie, but there is an undeniable charm sprinkled through Kevin Smith’s latest post-Jersey flick, somewhere between the anal sex and bubbles blown from below the belt. Seth Rogen and Elizabeth Banks star as the titular friends driven to smutty creativity by their piling bills. Driven to their inspiration by a disastrous turn at a high-school reunion, the platonic couple decides to invest their remaining cash into an adult feature, using friends as crew and hiring a local cast, all while fervently ignoring the chemistry between them. Rogen (Knocked Up) continues his streak as the believable and loveable schlub that bags the girl eons beyond his league. Banks (W.) is wonderfully charming and cuddly as the fire-cracker best friend, despite not fitting in at all in a cast that uses curse words like punctuation.
A funny but incoherent Craig Robinson (Pineapple Express) is Delaney, Rogen’s fellow employee at a Starbuck’s knockoff, and the porno’s producer, who hires actresses Stacey (Kate Morgan) and Bubbles (Traci Lords) to star in the film and serve as parodies of their real-life porno-star counterparts (both of whom give surprisingly competent performances, despite their resumes.) Deacon (Jeff Anderson) is hired to shoot the film based on his previous experience (he filmed Zack’s high-school sporting events), with Brandon (Ricky Mabe) and Lestor (Jason Mewes) rounding out the cast as the two male leads. Both Brandon and Lestor parody the provisions of adult film acting with visible enjoyment and zest, but they amount to little more outside of the smut scenes. Anderson’s Deacon comes away as the most underused of the film, giving an entertaining performance of a down-to-earth pal everyone wants to have at least one of. The true gems this film has to offer is the gay couple of the wry, impossibly deep-voiced Brandon (Justin Long of Mac ad fame) and the insecure jock Bobby Long (newest Superman Brandon Routh), appearing at the high school reunion with endearing charisma.
The story is a spunk-filled re-telling of a classic idea, how sex affects previously platonic relationships. Not the strongest of prologues, but, as in all of Smith’s work, the film’s draw is its dialogue, and thankfully “Porno” doesn’t disappoint. Though not as sharp a wit as Smith’s earlier work, like “Chasing Amy” and “Dogma,” the film’s banter still serves in immediately establishing the characters and their personalities. The film’s script maintains a sense of simultaneous immaturity and wisdom, leading the audience to eventually fall in love with everyone appearing on screen. The line between Smith’s love of scripted word and Rogen’s improv tendencies is practically invisible, and the film acts as a nice mesh of the two schools of delivery. Some running gags (like Delaney’s bitch of a wife) don’t have as much staying power as the production team thinks, but generally the plot moves on at a smooth and funny pace. The film ends up buried in sappy cliches towards the end of the two leads’ romantic angst, but thanks to a wonderful turn by cinematographer David Klein – who makes suburban Pittsburgh look idyllic - the dated fluff is given a new visual life.
There are a few nitpicks; Kevin Smith’s love of Star Wars leads to a funny but useless pornographic parody of the saga, and his odd fascination with dance sequences has our cast thrown onto stage at one point for a pointless montage; but the film cannot be denied its overall magnetism, especially given the possibilities of its subject matter. I doubt we are going to get another Kevin Smith film as biting and sarcastic as we have come to expect, but Silent Bob has found an entertaining second home as the re-imaginer of the mushy love stories you can take your drinking buddies or your girlfriend to. Way to f**k, Zack.
One Word Review:Snug
One Sentence Review:Its not as sharp as 'Dogma', but you can't deny Smith and Co.'s charm, even in the most taboo circumstances
I was in the Process of making an audio series with my friends....But I might do a Zombie fan film as a side project. So....I need some Help....Sounds for now If some one could give me some walking footstep sounds & stuff there welcome to help.
Let this movie serve as a lesson to every single soul in the world: if you are going to make a movie on such a well-known, polarizing person, never pull any punches. This seems like preaching to the choir, especially with the infamously left-wing Oliver Stone at the helm; but his latest feature, simply titled “W.,” lacks the fire and venom that made “Fahrenheit 9/11” so potent, and the powerful vision of Stone’s earlier presidential piece, “Nixon,” leaving us with a luke-warm, messy bio-pic that fails to achieve (insert Bush reference here.)
Most of the fault does not lie with Stone on this one, although he does sport an unhealthy love for inappropriately used handi-cam shots; used so much it’s begging for the audience to pay attention to the paper-thin realism of depth-less scenes. Blame should be placed with the writer, whose script takes thousands of pages of political biographies and morphs it into a 3-part episode of a bad sitcom. George W. Bush is painted as an oh-so-misguided preppy boy that would have fit well in the cast of 90210. By the film’s end, the audience gets the impression that the entirety of the Iraq war was undertaken to make ‘poppy’ Bush love Jr.; it’s made into the entire motivation for the character throughout the three acts of the film, entirely implausible when you rearrange the timeline chronologically. This wouldn’t be such an aggravating artistic direction if it was another figure, but when it’s the President of the United States, especially one with a history of illegality and war profiteering, trying to make us pity him is not the right move.
Not that the film takes too much of a shine to Dubya (Josh Brolin, taking the high road in pushing past imitation into actual talent) and his cabinet. Its made bluntly obvious throughout the film that first and original goal of the Iraq War was dominance over oil reserves (with the administration refusing to move past the ‘freedom’ and ‘democracy’ vernacular in public), that millions of phones were tapped, and that knowledge was never solid on the placement of Middle-Eastern W.M.Ds. Where the film deviates to soften the Bush image is presenting him as an ignorant (believable) outsider to the information (not so believable), truly knowing deep down in his heart that God wants him to be President and that his war is just. This is technique used so far beneath a director of Stone’s resume that it amazes me that he put his name on the credits.
The film isn’t all bad, but what good it has, it seems to shy away from. Performances like Elizabeth Banks as the former-Dixie-Democrat Laura Bush was a charming casting choice, beginning with a wonderful clash of ideology and hormones at a barbeque and somehow devolving into a housewife role that would make Edith Bunker demand to work. Ellen Burstyn’s formidable Barbara Bush is woefully underused as well, scenes between her and Poppa Bush rank among the best in the film. James Cromwell’s Bush Sr. also suffers a romanticizing, making him a just kind-hearted soul archetype without going into any real development (again, we blame the writers.) Most other performances, however, seem more like comedic parodies: Toby Jone’s Karl Rove is a wormy geek, Thandie Newton’s Condoleezza Rice is a disappointing mix of an accent and a facial expression, and Scott Glenn’s Donald Rumsfeld plays a war criminal like a high school bully. The fault of the writer comes up again with Jeffrey Wright’s Colin Powell, who, although convincing as the one good guy in the room, lacks the passion and tortured soul that the role could have really had. Richard Dreyfuss’ Dick Cheney is an admirable attempt, getting both the look and the wit of the Vice President down, but again it comes up shallow without the wickedness and grimace we have all seen in the background of Bush’s speeches. Ioan Grufudd, who, despite being born in the UK, gives Tony Blair an accent so fake I want to give an Oscar to Madonna.
The biggest error was the film’s discontinuous editing, splitting up the three acts of Bush’s life (drunk at Yale, emo Governor of Texas, out-of-his-element President) intermittingly throughout the film, with one scene taking place at a 2002 cabinet meeting, before a fraternity hazing ritual, then briefly running over to a dialogue on the Texas governor campaign. The motivation is to create a sense of overwhelming dismay alongside Bush, making him seem like a dumbass that just got over his head. The real effect, however, is a film that moves at a fragmented, sometimes confusing pace, making it less of a movie and more like a documentary paused and picked up over a few days. It doesn’t help that the movie seems to end before his re-election in 2004, with not a single moment given to Katrina, No Child Left Behind, or anything beyond Iraq. If they wanted to make Bush out to be a poor sap that got legacied into the wrong job, why cut out a war-time disaster that turned his poll numbers permanently down? Perhaps it’s just the rush to get the film out before the 2008 election, but the film feels incomplete, and it’s not because the Bush Presidency hasn’t ended yet.
The film is bookmarked with Dubya in a baseball field, reaching out for a fly ball with a smile on his face. The suggestion is that this is were Bush belongs, not talking with the big kids about oil and miscommunication. As conceivable as this concept is, it’s not acceptable. Not when we as a country went through hell just to try and get a father and son to love each other again. The sole scene of the film dealing with the actual reasons behind Iraq, with Cheney at a board marked with the oil reserves of the Middle East, smiling and talking about how ‘there is no exit strategy [in Iraq], we stay’, the act of imperialism plays off like end of a villain’s musical number in a Disney film, the slow fade out leaving the evil one rubbing his hands together. It’s the microcosm for a movie so flaccid that it would have done well for Stone to have given directorial duties to Chris Crocker. The audience leaves the theater parroting a line given to Cromwell’s Bush Sr., ‘I’m disappointed in you Jr., deeply disappointed.’
One Sentence Review:Despite more than decent lead performances, a movie about the Worst President in American history fails to be anything but a boring mess.
I got some pretty positive responses from my list of bad cover songs, (Hopefully enough to make you all forget about the VG Protagonists that Suck list, I hope? Please? Put your torches and pitchforks away?) but there were people who thought there were a bunch of covers that I left out of my list that were bad enough to garner some negative recognition…That is just the thing, though. There are so many bad, awful, absolutely terrible covers of songs out there, that it’s a daunting feat to narrow them down to 20.
And so the prospect of a second list was presented to me.
Apparently I have struck a chord here, because bad music in general is a universal thing that everyone can relate to. (Hey, you hate that Laffy Taffy song? Me too!) America has spoken, and they want bad song covers.
All I can say is that you guys are just gluttons for punishment.
And so am I.
BUT WAIT!!! (Sorry, Benzaie) Before you read the rest of this, please have a look at the first article that inspired this sequel:
Once in every lifetime, there is a phenomenon so horrifying, so gruesome, so scary as to be completely overlooked by all. Even the Angry Video Game Nerd overlooked it in his 2007 Cinemassacre's Monster Madness. I'm talking about the ghoulish horror movie that is Poltergeist.
Puppet Master 3: Toulon's Revenge (1991) is a prequel, which is rather surprising in a good way. Usually prequels come later in a sequence of film movies, but then again what do I know? NOTHING!!! This is also the first Puppet Master with a sub-title. Toulon's Revenge...sounds mysterious and foreboding.
Set in Berlin in the year 1941...WAIT A MINUTE! In the first movie, didn't Toulon kill himself in the year 1939?? I think he did! Whoops, looks like someone didn't pay attention to their previous movies they made! Okay, granted it is a minor slip that they forgot, so I can accept that...ONLY IF ANDRE TOULON IS ABLE TO TIME TRAVEL!!! Which by the way, he can't. Believe me, if he could, this would be classified as a Science Fiction movie, not a Horror.
Anyway, moving along, we are shown in the "past" (that contradiction is still in my mind) and of course we see Nazis (it is Berlin in 1941...what did you expect to see???).
movie
