ScreenFish

where faith and film are intertwined

Steve Norton

Stanleyville: Exposing our Killer Instinct

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If I were to describe a film as “a group of volunteers who are promised a rich prize if they willingly participate in multiple children’s games with deadly ferocity”, you likely expected that I’d be talking about Squid Game. 

After all, Netflix’s killer Korean series took over the world earlier this year. While the concept is far from new (see Hunger Games or Battle Royale), something about Squid struck a chord with the world and helped it become a global phenomenon.

Even so, with that show firmly in the rearview window, here comes Stanleyville.

Stanleyville tells the story of Maria (Susanne Wuest), a frustrated woman who is at an emotional crossroads in her life. When she’s approached by a mysterious older gentleman (Julian Richings), he informs her that she’s been specifically chosen for a game that could win her a habanero-orange compact SUV. Bored with her office job and her complacent family life, she accepts the challenge, believing that she may learn something about herself in the process. When she arrives, she discovers that she’s one of 5 contestants who must participate in various games to determine who will win the keys to the vehicle. However, as the games begin to become more brutal in nature, Maria and her competitors must look deeply inside themselves to determine who they really are and what they want out of life.

Although comparisons will undoubtedly be made to the recent success of Netflix’s Squid Game, Stanleyvilledoes manage to stand on its own as unique. Although the six contestants may find themselves trapped in an various games of increasing madness, Stanleyville plays different mind tricks than its Korean counterpart. For example, whereas Squid Game relied heavily on taking another’s life, Stanleyville never quite makes though necessity. Instead, these games are designed to slowly strip away the emotional walls of its contestants to see to what lengths people will go to survive

In many ways, Stanleyville is surprisingly funny. Directed by Maxwell McCabe-Lokos, there’s a level of humour within this battle royale which is missing from Squid. Anchored by an entertaining performance by Julian Richings as the quirky host Homunculus, the film balances the more horrific moments with an edgy humour that keeps the film from completely devolving into darkness. While we know that the shadows within its characters will eventually emerge, Richings keeps things moving with hilarious punctuation. (After all, the host isn’t even entirely sure how many games they’re even supposed to play!)

Interestingly, with only five contestants, there is far less carnage than Netflix’s Squid. Though, having said this, the relationships that we develop with those characters means that that any violence becomes seemingly more brutal. 

What really sets the film apart though is the fact that prize is not necessarily the point. Playing for the ridiculously low stakes of a compact vehicle, Stanleyville very much wants to touch on the nature of human evolution. As Homunculus claims, this is a journey which will invite them to ‘reach the highest plain of human existence’. However, in order to do so, the game will require them to reach into the deepest parts of themselves to see what lies beneath. 

As the games evolve, so too must the players. Whereas the games began with simple motivation ranging from prizes to the thrill of competition, suddenly they are asking questions about the deepest parts of themselves. (It’s also worth noting that the conch shell seems like a reference to Lord of the Flies. But are they hearing a voice from beyond or merely telling themselves what they want to hear?) As they move further down the path to darkness, the game exposes their deepest frailties and weaknesses. Left to grapple with their inner demons, each player looks for answers as to what matters most. Was the lack of compassion towards one another they exhibited worth a mere car? In this world, evolution is necessary to survive… but, with where it leads, is it worth it? Somewhat ironically, the film itself isn’t entirely sure if it’s worth playing. To paraphrase a famed Scripture, the players soon must decide whether it’s worth gaining [a moderately-priced compact SUV] if it involves losing your soul.

Although the film often keeps its sense of humour, Stanleyville exposes the darkness of ambition and selfishness. As the winners begin to mount and the bodies begin to drop, the film wrestles with some highly philosophical questions about the nature of human existence that keep the film engaging. Though you could also be forgiven if, like the would-be contestants, you begin to doubt your decision to get into the game.

Stanleyville is now available in theatres.

SF Radio 8.25: Mental Health and the Multiverse in EVERYTHING, EVERYWHERE ALL AT ONCE

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Truly anything goes in the multiverse. Whether it’s empowering chapstick, googly-eyed boulders and hot dog fingers, EVERYTHING EVERYWHERE ALL AT ONCE unleashes the potential of the concept in its fullest sense, bringing every conceivable universe to life with boundless imagination. However, at the same time, to gaze into infinity is also an overwhelming prospect. This week, Victor Stiff and Victoria McCartney join Steve to talk about dealing with mental health, the healing power of compassion and staring into the Everything Bagel.

You can stream on podomatic, Alexa (via Stitcher), Google Play, Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

8.25-Everything-Everywhere-All-at-Once

Chip ‘N Dale: Rescue Rangers – Dusting Off these Two Gumshoes

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When Chip ‘N Dale: Rescue Rangers was named as Disney’s next reboot for streaming, the decision simply made sense. 

After all, Disney+ has provided the House of Mouse with an entirely new way to bring their content to the next generation with very little risk. From DuckTales to Darkwing Duck, their investment in bringing back popular franchises for the kids of the modern era have been fairly successful thus far. (I’m still waiting for the return of The Adventures of the Gummi Bears but I digress…)

But things began to take a turn for the strange when it was announced that the franchise would be passed to director Akiva Schaffer, who intended on taking a more meta-approach to the material. Usually, that’s often a bad sign. After all, every reboot (especially a beloved one like Rescue Rangers) comes with certain expectations in tone, humour and style. When you mess with the formula entirely, it can alienate the audience. (See Ferrell and Kidman’s Bewitched)

Amazingly though, Schaffer has come through.

In Disney+’s Chip ‘N Dale: Rescue Rangers, Chip and Dale have seen better days. After the cancellation of their fame animated series over 30 years ago, the characters have both moved on. With Chip (John Mulaney) now living in obscurity as an insurance salesman, Dale (Andy Samberg) spends his days attending fan conventions with the hope of garnering enough interest to resurrect their franchise. However, when one of their beloved former co-stars is kidnapped, the two estranged rangers reluctantly come together to solve a real crime in the face of overwhelming odds. 

Using his signature sarcasm, Schaffer infuses Rescue Rangers with a winking eye and sardonic edge that still feels like a love letter to the property. By blending multiple animation styles ranging from claymation to puppeteering but still grounding the project in the human world, the film feels very much like a spiritual sequel to Disney’s Who Framed Roger Rabbit?. (In fact, any comparisons to the classic 80s animated classic are absolutely deliberate as Schaffer includes numerous references to it.) Sharply written and executed, Rescue Rangers is absolutely eye-candy across the (story)board that features a never-ending stream of pop culture references that should make the film enjoyable on rewatch. (The billboards and advertising that adorn the film’s streets are worth the watch alone.)

And no franchise is sacred. 

Somewhat surprisingly, Rescue Rangers is more than willing to break out of the Disney canon and satirize other studio properties as well. (Again, another key ingredient for Roger Rabbit.) Whether it’s poorly rebooted animation like ‘Ugly Sonic’, or beloved franchises like My Little Pony, Looney Tunes, Pokemon or even ET: The Extra Terrestrial, there’s a surprising amount of support from other studios to let Disney lampoon their products. 

As such, Rescue Rangers feels more like a meta-take on the challenges of rebooting old properties than it does trying to feed you the same Disney product again. In essence, rather than offering a strict reboot of Rangers, the film leans into the difficulties of doing so. Characters who were once beloved by fans have now been relegated to the convention circuit, with the hopes that enough interest will bring them back into pop culture relevance. 

At the same time though, there is no doubt that this film is made with love. Schaffer does not use the film to mock the franchise but rather to somehow reinvigorate it with the understanding of an adult. Jokes referencing CGI surgery, cheese addiction and even references to a strip club and [cartoon] trafficking are made with an adult audience in mind. 

In this way, while the film’s primary story may focus on the missing characters, the true antagonist of the film is getting older. From Lumiere to Tigra the forgotten Avenger, none of these animated characters are ready to settle into the dustbin just yet. (“It’s gotten tough out there for us old timers”, Monteray Jack groans.) Emotionally tied to their faded fame, each one wants to prove that they’re still worth something. This desire to hang onto the glory days is especially true of Chip who yearns to be remembered as more than a ‘2nd banana’. From begging for attention on social media to having CGI surgery, Chip is left scratching and clawing at the elusive celebrity status that he once enjoyed. Though the rest of the world has moved on, he simply wants them to know that he still has value. In a world where no one cares to know your name, how do you know you matter? What does hope look like when your best days seem behind you?

Middle-age is tough, even for animated chipmunks.

But that leads to the film’s biggest question: who is the target audience? Unlike other kids fare that includes the adults, Rangers does the opposite by targeting adults first. Ultimately, this approach works fine, except for the fact that Rangers comes with the baggage of a being known property. For example, in the case of Roger Rabbit, Disney had a blank canvas upon which to create their adult-targeted story. Not so for Rescue Rangers, a series which is known for targeting little ones. (It’s also worth mentioning that, as recently as last year, Disney rebooted Chip ‘N Dale as an animated series that targeted kids). So, with this in mind, parents of young ones may need to exercise caution before hitting play.

Nevertheless, there’s little doubt that Chip ‘N Dale: Rescue Rangers is a reboot win. Fast and furry-ous with its humour, Schaffer manages to walk the line between parody and preposterous in ways that revive an old property without feeling stale. So, even if it does seem odd to target the parents over the kids, it’s absolutely worth dusting off these two gumshoes for old time’s sake.

Chip ‘N Dale’s Rescue Rangers streams on Disney+ on Friday, May 20th, 2022.

GIVEAWAY! Advance Screening of TOP GUN: MAVERICK!

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We’re feeling the need… to give tickets away!

Top Gun: Maverick will take your breath away… and we want to send you and a guest to see it before it’s released in theatres! Thanks to our friends at TARO PR, we’re giving away double passes to see Top Gun: Maverick in Toronto, Montreal (French and English), Edmonton, and Vancouver on Tuesday, May 24th, 2022!

DATE
Saturday, May 24th, 2022

LOCATION
Toronto – 7:00pm @ Cineplex Cinemas Yonge & Dundas
Vancouver – 7:00pm @ Scotiabank Theatre Vancouver
Montreal ENG – 7:00pm @ Cineplex Cinemas Forum IMAX
Montreal FRE – 7:00pm @ Cinémas Guzzo Méga-Plex Marché Central IMAX
Edmonton – 7:00pm @ Scotiabank Theatre Edmonton

Top Gun: Maverick takes place more than thirty years after the original film. Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of TOP GUN graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose.”

In order to enter, simply tell us your city, like/share this post on Facebook, Twitter and/or Instagram and tell us the name of Tom Cruise’s character!

Winners will receive a double pass to the pre-screening of Top Gun: Maverick on Tuesday, May 24th, 2022

All entries must be received by 11:59pm on Sunday, May 22nd, 2022.

Twitter: @ParamountCanada @topgunmovie

Instagram: @paramountpics @topgunmovie

Men: Trapped in Man’s World

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Men may begin as a quiet trip to the country… but it is no vacation.

Directed by Alex Garland, Men tells the story of Harper (Jessie Buckley), a young women left grief-stricken after the sudden and shocking death of her husband. In an attempt to heal, Harper retreats alone to the English countryside, renting a small estate where she can be alone. After meeting the quirky groundskeeper (Rory Kinnear), she settles in for some peace and quiet. Although, when someone follows her home after a morning walk, her time of solitude begins to unravel as she looks to escape her mysterious stalker (or, potentially, stalkers) before its too late.

As is often the case with Garland’s work, the film is visually stunning from start to finish. By taking painstaking detail in his cinematography, Garland ensure that every shot is rife with metaphorical significance. Anchored by slow camera pans, Garland wants the viewer to sit within his imagery with a reflective glare. Bold red colours that bleed across the screen augment the pervasive darkness within its characters. The harsh lines of the estate contain Harper in a prison of tradition and the ‘old ways’. Frankly, there’s very few frames that are visually wasted in this storytelling.

Infusing her performance with an inner strength, star Jessie Buckley does an excellent job portraying the combination of grief and courage necessary for her character’s evolution. However, despite some solid work from Buckley, it’s Kinnear’s wild performance(s) that may be most notable within the film. Playing almost every male role, Kinnear brings life to his villainous men, disappearing into each persona. From the toxic shame of a priest to the ignorance of the police, each character he creates is fueled by their own quirks and characteristics that makes them entirely unique.

Admittedly, it’s worth noting that Men is not for the squeamish. Known for films like Ex Machina and Annihilation, Garland has made a name for himself with his visual creativity. In Men, however, he truly unleashes his inner brutality, especially in the film’s final sequence. Beginning as fairly standard (but well-executed) terror, the film gradually devolves into the madness of body horror that would make Cronenberg proud. However, despite featuring arguably some of the more graphic images we’ve seen onscreen in recent years, Men never loses sight of its metaphor. As a result, even the most disturbing sights feel earned as the film leans into its conversations about the poisonous nature of masculinity.

Much like Eve’s bite of the proverbial fruit in the Garden of Eden, so too does the film emphasize the shame placed upon women in order to preserve the male ego. At every turn, the film looks to find a reason to share the blame as opposed to admitting any form of guilt. Whether it is the accusations of her husband or the absurd counsel of a broken priest, Harper is constantly blamed for the problems of men. Though Harper’s grief weighs heavily upon her soul, her suffering is not heard. Instead, at every turn, her feelings are belittled by men who consistently look for ways to explain away their own transgressions by placing responsibility on others (or, more specifically, women). 

Though she bears no guilt, she is made to believe that she does.

As Men unravels further, it becomes clear that it’s not about one or two problematic men but rather the toxicity of an entirely male culture. By using Kinnear in multiple roles, Garland highlights the fact that all men suffer from the same flaws. From laying on shame to outright abusiveness, these characters have created a culture of brutality, male power and arrogance that is passed down from generation to generation. (Incidentally, it’s possible that this is why the film is titled Men. Written by a man, this is an as much an exploration of what is wrong with the male gender as it is about women’s responsiveness into it.)

As is often the case within Garland’s work, the film’s finale remains open for interpretation. Without giving any spoilers, this seems like a genuine inquiry as to what it is going to take to end the cycle of masculine toxicity. Although the film lands on a moment of optimism, Men is unafraid to sit in the darkness. But what does hope look like when the surrounding culture seems unaware of the depth of its issues? While Garland gives no clear response, Men demands that the viewer look for answers.

Men is available in theatres on Friday, May 20th, 2022.

Into The Weeds: Taking Responsibility for Corporate Irresponsibility

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You know you’re in trouble when Neil Young writes an album about you.

From award-winning director Jennifer Baichwal (Watermark, Manufactured Landscapes), Into the Weeds follows Bay Area groundskeeper, Dewayne Johnson. Tasked with using herbicide to kill the area’s weeds, Johnson began to suffer rashes in 2014 that caused serious concern. As the condition continued to worsen, Johnson decided to take legal action against Monsanto, a multi-national agrochemical corporation who claimed that the chemicals he was using were safe, even though his experience proved otherwise.

From award-winning director Jennifer Baichwal, Into the Weeds is a powerful and terrifying examination of corporate irresponsibility and their willingness to cut corners for the sake of profit. Following one man’s battle against the muscle of multi-national corporation Monsanto, Baichwal keeps an unflinching eye on the facts of the trial. Whereas her filmmaking has made use of many styles over the years, Baichwal takes the opportunity with this film to follow the trial with relentless veracity. By focusing on the events of the trial Baichwal allows the viewer to feel as though they are a part of the trial itself. For example, as the viewer listens to the endless stream of testimonies from scientists and doctors that highlight Monsanto’s misconduct, the viewer feels as though they are on the jury. Given the facts and evidence, they are left to decide for themselves whether or not the corporate monster is guilty of misdeeds.

As the facts continue to mount, Weeds becomes a cry for justice, not only for Johnson but for the countless others who have been victimized by the corporate beast. As Johnson mentions more than once, this battle is not about the money. Instead, like many others, his greatest desire is for others to know the truth. This is about justice being served and the truth coming forward. 

And, of course, Johnson is not alone.

By hearing the stories of others affected by corporate corruption, Weeds emphasizes the wide spread effects of their actions. With one testimony after another, the film gives voice to victims of Monsanto who are unable to speak up for themselves. (In fact, this also inspired Young to create his scathing album, The Monsanto Years.)

However, in addition to these personal stories, Baichwal also recognizes the conversation taking place amongst indigenous peoples that highlights the interconnectedness of our world. As Monsanto strips forests for the sake of their profit, so too do they create devastation amongst the natural landscapes. From the destruction of wildlife to the elimination of oxygen-producing trees, the effects the wide-reaching effects of this travesty are shown in almost spiritual level. As the indigenous populations take notice and decry corporate action, Weeds recognizes that the destruction caused by Monsanto is far greater than the health issues of one particular person.

As a result of their recklessness, we are all put at risk as well.

As Baichwal steps back and allows the trial to reveal the truth so too does she demand accountability for corporations such as Monsanto who emphasize profit over human life. However, although Into the Weedsemphasizes the uphill battle of one small man against the corporate Goliath but it also extends far beyond the courtroom. As Monsanto’s actions impact the natural world, so too does their carelessness affect the global community as well. In this way, Baichwal understands that, while Johnson’s fight is important, the impact of its results reaches us all.

Into the Weeds is available in theatres on Friday, May 20th, 2022.

Uncharted: Game for Adventure

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Films based off video games rarely go well. 

Despite their popularity, games seem to struggle to make the jump to the big screen. For every Sonic the Hedghog, there seems to be countless Street Fighters and Mortal Kombats that struggle to meet expectations. Every now and then though, one squeaks through and surprises moviegoers.

Uncharted is one of those surprises. 

Beloved for its puzzles and gruff lead character, Playstation’s Uncharted has been a series that fans have demanded to see onscreen for years. But the journey hasn’t been easy. Known for its solid storytelling, this particular gaming franchise carried high expectations. From poor scripts to miscasting, the games seemed destined to never satisfy. (Even the casting of the beloved Tom Holland raised eyebrows because he wasn’t deemed ‘old enough’ by fans.) 

For those who are unaware, Uncharted tells the story of Nathan Drake (Holland), a young thief who has a passion for ancient antiquities. When he is recruited by treasure hunter Victor ‘Sully’ Sullivan (Mark Wahlberg) to recover a 500-year-old treasure, Nathan is skeptical. However, when Sully points out that Nathan’s long lost brother may be nearby, he decides to hop on board. Now, the two men must race against the clock in order to nab the prize before the wealthy Santiago Moncada (Antonio Banderas) gets there first.

Thankfully, Uncharted is far more fun than failure. Directed by Ruben Fleischer (Zombieland), the film unashamed works as an homage to Tomb Raider and Indiana Jones with its reliance on ancient puzzles and humour. Although the film contains countless references to its source material, this is an original story as opposed to being based upon any of the games. While stunts border on the insanity level of Pirates of the Caribbean at times, an enthusiastic performance by Holland keeps Uncharted from sinking. (In fact, while his portrayal of Nathan Drake doesn’t feel too different here from his time as Peter Parker, the success of Uncharted proves that Sony has a bonafied, bankable action hero on their hands in Holland, without the need of the Marvel Universe.)

Even though Uncharted’s bread and butter are double-crosses and ancient puzzles, the heart of the film lies with brotherhood. Having lost his brother at an early age, Nathan is a man without family or connections. As a result, when he’s approached by Sully, he’s apprehensive at best. For him, trust is a luxury that he can’t afford. Yet, as the two men begin to work together, so too do they begin to build a bond. United in purpose, the sense that there is something worth saving about the other. In other words, while their connect may have started with a treasure, they begin to see the value in the other as well. As they do that, the allure of the ancient gold begins to lose its shine if it means losing the other person.

Admittedly, Uncharted is an adventure designed for the big screen but the transfer onto home video does look good. Features are relatively unspectacular with all the standard ‘stunt featurettes’ and deleted scenes. But, Uncharted’s greatest treasure is its director’s commentary with Fleischer to give insight into the development of the project. (Commentaries are always welcome and increasingly rare so, any time a major release adds one, it’s noteworthy.)

So, for families looking for fun outside the MCU, Uncharted may be the treasure that they’re looking for. Fueled by fun and adventure, the film may be silly in places but it finds its worth by the end.

Uncharted is now available on Blu-Ray and VOD.

Monster Mondays: Godzilla vs. Mechagodzilla (1974)

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Nami Kunigami (Barbara Lynn), an Azumi priestess in Okinawa, has a vision that a giant monster will come and bring destruction.  Shortly after that, Masahiko Shimizu (Kazuya Aoyama) finds some mysterious metal while exploring a cave.

Archaeologist Saeko Kanagusuku (Reiko Tajima) meets Keisuke Shimizu (Masaaki Daimon), Masahiko’s brother, at another cave where ancient artifacts have been discovered.  There is a statue of the Azumis’ monster protector King Caesar and a prophesy warning that a monster will soon come to destroy the world, but two other monsters will rise up against it.

Professor Hideto Miyajima (Akihiko Hirata) identifies the metal found by Masahiko as space titanium.  Saeko is attacked by an intruder who wants the statue, but the intruder is driven away by Keisuke.

Godzilla appears at Mount Fuji and begins a rampage across Japan, but Anguirus arrives and attacks him, something that is unusual since Godzilla and Anguirus are friends.  Godzilla defeats Anguirus, sending the spiky monster fleeing for his life.

As Godzilla is attacking an industrial area, a second Godzilla arrives.  The second Godzilla blasts the first with his atomic ray, and the first Godzilla is revealed to be Mechagodzilla wearing a disguise.  Godzilla’s and Mechagodzilla’s energy rays collide, causing an explosion that knocks an injured Godzilla into the sea and damages Mechagodzilla.

It is soon discovered that Mechagodzilla is controlled by alien invaders from the Third Planet of the Black Hole.  Professor Miyajima, his daughter Ikuko (Hiromi Matsushita), and Masahiko are captured by the aliens and Professor Miyajima is forced to repair Mechagodzilla.  Keisuke and Saeko transport the statue back to Okinawa by ship so they can awaken King Caesar to fight Mechagodzilla, but are attacked again by an alien trying to steal the statue.  The alien’s attack is unsuccessful and he is fatally shot by INTERPOL agent Nanbara (Shin Kishida).

Eventually, the aliens launch Mechagodzilla again but the statue is used to awaken King Caesar.  King Caesar confronts Mechagodzilla and fights bravely, but isn’t strong enough to overcome the robot.  Just as it seems all is lost, Godzilla appears and joins forces with King Caesar against Mechagodzilla.

Godzilla vs. Mechagodzilla is an improvement over the previous two Godzilla films.  Stock footage seems to be limited to a few still images in Nami’s vision and a brief car explosion.  The plot is very fast paced, with the King Caesar statue acting as MacGuffin and much of the film’s action is built on attempts to keep or steal it.  The Third Planet of the Black Hole aliens are ape-like and disguise themselves as humans.  When killed, their disguise melts away revealing their true form underneath.  The film almost feels like a fusion of James Bond and Planet of the Apes with Godzilla, and it is a fun mix that keeps the viewer engaged in both the monster and human action.

Despite this, Godzilla vs. Mechagodzilla still shows the impact of a tight budget in its special effects sequences.  Nami’s vision consists of images involving Ghidorah rather than Mechagodzilla and is composed of stills taken from other movies.  Also, a rather silly and cheap looking second Godzilla costume is used for some scenes, usually the disguised Mechagodzilla.

Godzilla vs. Mechagodzilla doesn’t really have much to say, but it does touch on some major cultural and historic issues regarding its Okinawa setting.  The Ryukyu Islands used to be under the control of the Ryukyu Kingdom and were their own nation.  At that time, the people of the Ryukyu Islands had their own distinct culture and languages.  The Satsuma Domain in Japan brought the Ryukyuan kings under their control in 1609 and the Ryukyu Islands were eventually annexed by Japan in 1879, turned into Okinawa Prefecture, and the Ryukuan people were assimilated into Japanese culture and language. 

When Mechagodzilla first appears in Japan disguised as Godzilla, Nami’s grandfather Tengan Kunigami (Masao Imafuku) prays that he will destroy the people of Japan for trying to conquer the Azumi people. This brief moment in the film hints at the history of Okinawa and how it went from independent nation to becoming part of Japan.

Also tying into the Okinawan setting of the film is King Caesar, who is based on the Shisa, stone statues that are common in Okinawa.  Unlike Mechagodzilla, who is loaded with weapons, King Caesar is only able to reflect energy beams back at his attacker with his eyes.  This has the effect of making King Caesar feel greatly outmatched by Mechagodzilla, which makes sense given the prophecy early in the film that two monsters will be needed to stop Mechagodzilla.  This is somewhat undermined, however, in that Godzilla is pretty much able to finish off Mechagodzilla on his own.

Godzilla vs. Mechagodzilla was released in Japanese theatres on March 21, 1974.  Toho had the film dubbed into English in Hong Kong and Cinema Shares released Godzilla vs. Mechagodzilla theatrically in North America in 1977.  They initially released the film as Godzilla vs. the Bionic Monster, but a threat of legal action from Universal Television over the title, due to their own The Bionic Woman television program, caused Cinema Shares to change the name of the film to Godzilla vs. the Cosmic Monster.  A few edits were made to the film for its North American release to remove some of the violence and swearing.

Toho’s uncut and dubbed international version of Godzilla vs Mechagodzilla with onscreen titles changed to English became the standard version released in North America during the VHS era.  In 2004, Columbia TriStar Home Entertainment released Toho’s international version of Godzilla vs Mechagodzilla on DVD, and viewers could choose to watch it with the original Japanese audio or Toho’s English dub.  This release is now out of print.  The original Japanese version of Godzilla vs. Mechagodzilla, with Toho’s English dub as an alternate audio option, is currently available as part of The Criterion Collection’s Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set.

The Last Victim: Lost in the Darkness

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In the dead of night, daybreak can seem like a distant dream.

Written and directed by Naveen A. Chathapuram, The Last Victim follows Susan (Ali Larter) and Richard Orden (Tahmoh Penikett), a young couple who set out on a road trip across the American Southwest. However, their journey comes to an abrupt end when then encounter Jake (Ralph Inneson) and his crew of modern-day outlaws. Drawn in to a conflict that is not their own, Susan and Jake must flee into the wilderness with the hope of evading the death that pursues them or surviving the brutal terrain.

Led by strong performances by Larter and Inneson, The Last Victim is a surprisingly tightly written thriller that grips the viewer and rarely lets go. In Victim, Larter is at the top of her game, energetically showcasing her emotional and physical strength. At the same time, Inneson’s philosophical villain makes him infinitely watchable, unleashing his wrath in one scene and delving into the meaning of existence the next. 

Although the western genre seems to have all but died in our superhero-lade current cinematic landscape, in reality it has merely evolved in its form. Whereas the western was once used as a metaphor for broadening our horizons, its modern form seems to lean into what it takes to endure in isolation. Similar to Last Victim, films like Hell or High Water or No Country for Old Men tell stories that portray the American mid-West as a place of hopelessness and harsh realities. Gone are the days of exploration and conquest as the films give way into the barrenness and brutal conditions of the land and man’s most base sensibilities. (In fact, Victim even subverts this traditional theme by thwarting Richard and Susan’s simple wish to step out into the world just to see what’s out there.) 

The desire to explore has been replaced with a need to survive.

As a result, there is a heaviness to this film that’s pervasive from beginning to end. With a hefty emphasis on shadow, Chathapuram visually depicts a world blanketed by darkness. Covered by night, anything goes in this wasteland. For example, in one particularly powerful visual, Chathapuram fills the entire screen with an intense blackness, leaving only the lights of a distant squad car. As the small flickers of red and blue slowly disappear from view, the night sky seems to swallow up the last vestige of justice in the wilderness.

Because, in this world, hope is even further from the horizon. 

But it’s not just the heroes that seem lost in the bleakness of the land. While he remains willing to take one’s life on a whim, Jake is also trying to make sense of its meaning as well. For him, the purpose of existence is all but lost. “Meaning ain’t something you find. It’s something you make,” Jake growls. As a result, he wanders aimlessly like an animal on the prowl, looking for someone to devour. (Credit goes to Inneson here who portrays Jake with such ferocity that one can’t help but be intrigued by his brutal intentions.) This is a world of endless corruption and the only way to survive is to be the dominant beast. 

However, despite the pervasive darkness within the film, it’s possible that there are glimmers of hope by its finale. Without any spoilers, after the film’s bloody finale, the question is posed about how we live with the past, especially when it’s marred by pain and suffering. Although the film emphasizes its Darwinian mentality in the wilderness, it also speaks to the need for compassion and grace in order to truly survive. Moments such as a simple offer of a cup of coffee provide some space for light to eat away at the shadows, even when they feel endless and powerful. 

In other words, while there are times that the titular ‘last victim’ of the film seems as though it’s going to be hope itself, the flame continues to flicker.

The Last Victim is available in theatres and on VOD on Friday, May 13th, 2022.

SF Radio 8.24: Bending our Minds Around DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS

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Directed by Sam Raimi, DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS opens up the MCU in incredible (and horrifying) ways. When a new threat calls the good Doctor and his new companion, America Chavez, to jump from universe to universe, they enlist the help of Wanda Maximoff in an effort to get things under control. However, they very quickly discover that Maximoff may herself be the very threat they’re attempting to prevent from ripping apart the multiverse. This week, Dina Hamdieh and Miriam Ibrahim return to discuss the ramifications for Universe 616, the evolution of Scarlett Witch and why we care about the multiverse.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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