Asakusa Kid (浅草キッド) (2021)

This drama is as much about the changing face of Japanese comedy in the 70s given the advent of  "manzai" (Dean Martin- and Jerry Lewis-style comedy duo routines) appearing on burgeoning Japanese television as it is a deeply moving insight into the life of Japanese television and movie stalwart Takeshi "Beat" Kitano upon whose memoir the movie is based.

★★★★☆

CINECAL: ONE SENTENCE REVIEWS

Alien Vs Predator - Requiem (2007)

In the second of this daft series of movies that pits Predators from Predator movie against Aliens from Alien - though scene after dark, murky scene fails to distinguish which is which - the action shifts from the first movie's subterranean Antarctic pyramid to small-town USA, where way too many human characters blur together while a Predator, again sporting woeful Amstrad CPC-quality predator-vision, hunts Aliens whose number and purpose for marauding the town remain maddeningly unclear - they are just having a bad day, maybe.

★☆☆☆☆

CINECAL: ONE SENTENCE REVIEWS

Alien vs. Predator (2004)

A security guard at work assures me that the bringing together of the Predator from the Predator movies and the Alien from the Alien movies into an Alien Vs Predator (AVP) series of movies isn't silly, that the two series and two monsters complement each other nicely, but this first movie of the series has a research team investigating an underground pyramid in the Antartic, unleashing from a prison the beginnings of a long Predator/Alien mythology that is pretty bloody silly. 

★★☆☆☆

CINECAL: ONE SENTENCE REVIEWS

Ghostbusters: Afterlife (2021)

Because they (Ivan Reitman's son Jason, who writes and directs the movie, and a group of producers that includes Dan Ackroyd) are trying here to make a movie that appeals nostalgically to kids of the 80s but also enthuses a new generation of millenials about the Ghostbuster franchise (after the vapid Melissa McCarthy one pretended the original didn't exist and aimed itself solely at the pre-teen market), the set up of Ghostbusters: Afterlife is necessarily laboured with the movie adopting the deliberate pacing of, say, the original Christopher Reeve Superman movie to build links between the ghostbusting action in 80s Manhattan and that in 2021 smalltown Summerville, Oklahoma where young Phoebe and her brother Trevor stumble across Ghostbuster research into ghouls called Zuul and Gozer.

★★★☆☆

CINECAL: ONE SENTENCE REVIEWS

Brightburn (2019)

Brightburn flips the Superman origin story, making the baby delivered by spacepod to a couple on a remote farm the villain, not the superhero, but in the end, after the movie resorts to gore - glass shards to one character's magnified cornea and a steering wheel to another character's head - to distinguish itself and pad the runtime, all that can be said is yes, this spacepod boy is a real villain, not a superhero - and that is the extent of it.

★★☆☆☆

CINECAL: ONE SENTENCE REVIEWS

Black Widow (2021)

We learn more about Natasha Romanov's childhood in this action thriller that is thankfully, refreshingly a Marvel superhero movie made with adults in mind with the sort of globetrotting locations and over-the-top hi-tech-villainry (and then some) found in James Bond movies.

★★★☆☆

CINECAL: ONE SENTENCE REVIEWS