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Nicolas Cage

SF Radio 8.23: Bearing THE UNBEARABLE WEIGHT OF MASSIVE TALENT

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In THE UNBEARABLE WEIGHT OF MASSIVE TALENT, Nicolas Cage takes on his greatest enemy… Nicolas Cage. After his mounting debt forces him to take on an appearance a birthday party offering a $1M paycheque, Cage somehow becomes embroiled in a CIA investigation, political kidnapping and, most challenging of all, reconciling with his family. This week, Dave Voigt (InTheSeats.ca) and newcomer Adam Kline drop by the podcast to talk about the legacy of Nic Cage, our obsession with celebrities and what makes a ‘good’ film.

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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The Unbearable Weight of Massive Talent: Nicolas Cage Deconstructs Nicolas Cage

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In recent years, it has become increasingly popular for films to wink at the camera with an eye of self-awareness. But I don’t know if there will ever be a film that takes a more meta-approach to its filmmaking than The Unbearable Weight of Massive Talent.

With Massive Talent, star Nicolas Cage has created a story that is fantastical, autobiographical and action-packed all rolled up into one. 

It’s also an utter delight from start to finish. 

Directed by Tommy Gorcan, The Unbearable Weight of Massive Talent follows Hollywood icon Nicolas Cage (playing himself) as he struggles to balance his career and personal problems. Crushed under the weight of his enormous debt and divorce settlement, Cage finds himself taking on roles that are not up to his self-imposed standards in order to pay the bills. When he gets an offer to make an appearance at a rich fan’s birthday party for a hefty $1 million pay check, his ego is insulted by the request but his debt forces him to take the gig. When he arrives, he is drawn to his charismatic benefactor, Javi Gutierrez (Pedro Pascal) who wishes nothing more than to write a screenplay with his idol. However, Cage soon discovers that his wealthy host may not be as innocent as he believes and the actor becomes embroiled in in a CIA plot that requires the real-life Cage to step into action. 

Pedro Pascal as Javi and Nicholas Cage as “fictionalized version of himself” in The Unbearable Weight of Massive Talent. Katalin Vermes/Lionsgate

Featuring a wonderful cast that includes Neil Patrick Harris, Ike Barinholtz and Tiffany Haddish, the majority of the cast are working to set Cage up to steal the scenes. Even so, it’s also worth noting that the best performance may lie with Pedro Pascal. Playing Cage’s potential best friend (or super-villain) throughout the film, the relationship between these two characters holds the film together and provides one of the best onscreen bromances we’ve seen in recent years. With energy and enthusiasm, Pascal is easily as gleefully over-the-top as Cage here (and that is not an easy task to manage). Simply put, they are absolutely wonderful to watch on screen. 

For fans of Cage though, Massive Talent will feel like the culmination of the last three decades of his career. Once considered a massive box office draw due to classic action films like Con Air and Face-Off, Cage’s own real-life financial issues caused him to take a step back from the limelight in order to pay off his own colossal debt. As a result, Cage chose to take on endless streams of straight-to-video films that began to veer into increasingly stranger and stranger projects. For many, this could be a career death sentence but, for Cage, it has had the opposite effect. Starring in titles that included the brutal Chuck-E-Cheese satire Willy’s Wonderland, the wild horror Mandy, the faith-based Left Behind and many, many more have made him somewhat of a legend on the indie market. 

What’s more, Massive Talent feels as though it’s being written for the fans while it unfolds in front of them. As Cage and Javi piece together their dream project, so too do we understand that the film is doing the same. Debates about how the third act should unfold affect the storytelling in hilarious ways. Is it a character-driven drama? An action film? With hilarious results, Massive Talent attempts to figure this out yet never loses itself along the way. (‘You have to have something for everyone if you want people to go to the theatre’, the film laughs.)

Although the fictional Cage may not have stopped working (much to the chagrin of his estranged family), the projects he has chosen are smaller in scale, leaving him with a certain sense of anonymity. Fans have begun to wonder where he has gone, even if he repeatedly reminds them “that he [never] went anywhere“. In this way, Cage’s willingness to self-parody his own experience as a megastar gives Massive Talent an added layer of reality that truly gives it life. While we know the film is fiction, it almost feels like a glimpse inside his Hollywood diary.

We know that this isn’t really Cage… but is it? 

Underneath the goofiness, this is very much a film about what it takes to be a man in a world of hyper-reality. Massive Talent serves as a reminder of the humanness of celebrities as they battle personal issues that lie beyond the weirdness of Hollywood and expectations of fans. Shown here as a self-centered narcissist that’s constantly distracted by his phone, Cage’s determination to get back on top is destroying his family. His commitment to validate ‘Cage the Star’ is eating away at the relationships that matter most. (In fact, in some of the film’s most hilarious moments, Cage argues with his younger self about whether or not he is satisfied with his role as a consistently working actor or whether he deserves to be a megastar.)  Fictional Cage has become lost within his own ambition and his world is falling apart as a result. As celebrity culture and rabid fandom can take stars like Cage to the highest of heights, it can also cause you to lose your soul in the process. 

How can you know who you really are when you are trying so hard to be the one that everyone expects? 

Fueled by a world of image obsession, Cage’s self-satirical coming-of-age in this film is that he begins to re-discover the relationships that are most important to him and the sacrifices that may need to be made in order to restore them. This emotional journey gives Massive Talent a much-needed soul that grounds the film, even in its silliest of moments.

Hilarious, heartwarming and self-effacing, it goes without saying that The Unbearable Weight of Massive Talent is one of Cage’s best roles in years. In a love letter to his fans, Cage’s willingness to poke fun at his own Hollywood image feels genuine as he explores the toxicity of Hollywood on the male ego. What’s more, it’s also a reminder that (maybe) Nicolas Cage is back. 

Not that he ever really went anywhere at all.

The Unbearable Weight of Massive Talent is available in theatres on Friday, April 22nd, 2022.

Pig: Nicolas Cage offers Humble Rage

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Who knew the culinary industry was so competitive?

Pig tells the story of Robin Feld (Nicolas Cage), a reclusive truffle hunter in the Oregonian wilderness. Living as somewhat of a hermit with his beloved pig, the mysterious Feld survives by selling truffles off the grid to Amir (Alex Wolff), an ambitious young culinary salesman. However, when a home invasion leads to the theft of his prized pig, Feld is infuriated. Hellbent on recovering his pet, Feld is forced to return to his former life and delve into Portland’s culinary underworld.

While the premise to Pig may sound ridiculous, the result is far from a joke. Written and directed by Michael Sarnoski, Pig is almost shocking in its silence. At a time when it feels like every middle-aged man needs to establish a revenge actioner, Pig uses all of those tropes to its benefit without throwing a punch. With franchises like John Wick, Nobody, and The Equalizer dominating the multiplex, Sarnoski creates a world that feels like it’s going to wow you with its set pieces but highlights its performances instead. (Admittedly, the biggest question mark to me remains the title. While the title works considering the story, it really feels like it should be the name for a gritty horror film instead of the character piece that it actually is.)

In many ways, the comparisons to John Wick are inevitable (and intentional). Whereas the first Wick film dealt with his vengeful attacks due to the death of his puppy, Pig takes a similar track with its narrative. Both Wick and Feld burn with wicked intensity and obsession over the loss of their animals. Both men’s quest for vengeance lead into the unknown seedy underbelly of their respective worlds. Even the names of both men strike fear into the heart of their former associates.

But, the films could not be more different. And that’s a great thing.

Unlike Wick’s eye for vengeance, Feld’s interest remains only retrieving his beloved pig. As he enters into the underworld, people freeze at the sight of him yet it’s more out of respect than fear. When he walks into an underground fight club, one expects vicious outbursts that will put the room in check but the result is far more powerful. Rather than unleash his anger upon the world for the loss of his pet, Feld has no interest in acts of violence. (Although, without giving any spoilers to the film’s finale, Feld turns out to be as lethal as Wick… without hurting a soul.) 

What’s more, credit must be given to Cage as well who is absolutely fascinating to watch work here. Without resorting to his trademark manic behaviour, Cage burns onscreen with an inner rage that bubbles hot below the surface. Although Cage’s career has intentionally veered into the realm of self-parody in the last decade or so, Pig is a reminder of how good he truly is when given material that harnesses his talent. (Seriously. I’d forgotten.)

In its soul, Pig is about far more than a lost animal. Featuring a solid script and performances, Pig plays out like a modern-day parable that highlights the power of identity. Although he’s been hiding in the woods for the last fifteen years, Feld’s name still rings in the ears of those who knew him. (In fact, his name carries such weight that he’s hesitant to use it.) However, this self-awareness becomes even more clear when it’s held up against his unlikely pseudo-partner Amir. 

Having grown up under his father’s shadow, Amir is a man who does not yet know who he is. Torn between his father’s achievements and charting is own path, he genuinely yearns for some acknowledgement about his own level of success. (For example, there’s no question that his brightly coloured Camaro is meant to show the world that he matters.) 

However, when he meets Feld, he discovers something different about himself through his experience with the culinary hero. Rather than let the world know that he has returned, Feld carries himself with quiet humility. For Feld, he knowswho he is but he has no interest in throwing it around. Although his mind is as sharp as his skills, Feld is so comfortable with himself that he knows the most powerful weapon at his disposal is to be himself. As such, there’s a beauty in his gruff and grizzled exterior that leaves a mark on the soul of his young companion.

Fueled by its heart, Pig is simply something to behold. With all the markers of yet another action-fest, Sarnoski has created something far more creative and almost poignant at times. Though there will be many who miss this film strictly due to their lack of interest in Cage or its marketing, trust me. This is one Pig who should not be put out to pasture.

Pig is available in select theatres on Friday, July 16th, 2021.

Willy’s Wonderland: Embrace the Madness

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Over the years, we’ve seen Nicolas Cage fight aliens, monsters and ninjas… but I never thought I’d see him fight animatronic monsters. And I definitely wouldn’t have expected myself to enjoy it when he does.

Which brings us to Willy’s Wonderland.

When his car breaks down in the middle of nowhere, a mysterious stranger (Cage) finds himself stranded with few options. Without cash to pay for the repairs, the owner of Willy’s Wonderland, a local children’s restaurant, offers to pay the tab… if he is willing to spend the night cleaning the establishment. Without other options, the man agrees to become ‘janitor’ for the night and quietly gets to work. However, as the lights go out, he soon finds himself facing off against the building’s possessed animatronic mascots in a battle for survival.

Ridiculous and wonderful, Willy’s Wonderland is a glorious symphony of nonsense that revels in its own campiness. Loosely based on the popular video game Five Nights at Freddie’s, the film makes little sense yet leans into the madness with such enthusiasm that one can’t help but enjoy the ride. Director Kevin Lewis clearly understands the outrageous nature of the premise and never worries about taking itself too seriously. (He even allows the robotic killers to ‘bleed’ motor oil in order to make the scenes feel more brutal.)

Of course, the engine that drives this carnival ride is Cage himself. There are many who have questioned why Cage leans into stranger and stranger roles. However, while some actors seem frustrated by their decision to star in smaller, straight-to-VOD titles, Cage has done so with gusto, deliberately choosing projects that grow increasingly wild. In Wonderland, Cage’s ‘Janitor’ remains shrouded in mystery. Without speaking a single word of dialogue throughout the film, Cage rips these robotic monsters apart with reckless abandon… that is, until his watch alarm goes off and he needs a break for a can of soda and some pinball. (Is he diabetic? Adrenaline junkie? The film never even tries to explain this… but it’s so outlandish that it doesn’t need to do so.)

Whereas many modern horror films attempt at a deeper social commentary, it would be wrong to claim that Willy’s Wonderland has any such goals in mind. (This is a film that wants you to enjoy the carnage rather than ‘prove a point’ or create cultural dialogue.) However, at the same time, embedded within Wonderland is a desire to reclaim cultural innocence. Once a popular children’s establishment, Willy’s is now haunted, not only by demonic beasts, but by its horrifying past as well. What’s more, without giving away any spoilers, the darkness that infests the building has been empowered by others in the community by their stubborn refusal to deal with the trauma. With the arrival of the Janitor, the neighbourhood finally has someone willing to fight for those who cannot fight for themselves. In this way, the film does establish a sense of justice within the film that gives the Janitor something worth fighting for, even if that realization seems somewhat lost on his character.

Let’s be serious, though. Even with this embedded subtext, Willy’s Wonderland is mostly about the madness and mayhem. With every severed robot head and empty pop can, Willy’s Wonderland is laughably fun. Though light on common sense, it’s sheer audacity and carnage make Wonderland the cinematic equivalent of a ride through a freaky funhouse.

I might just have to pay my ticket to ride it again.

Willy’s Wonderland is available on Tuesday, April 13th, 2021 on VOD and on Blu-Ray and DVD on May 11th, 2021

The Croods: A New Age – Stone Age Meets the Modern Age

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If you want to look at the present, sometimes we need to start with the past.

Following the events of 2013’s The Croods, The Croods: A New Age follows the ‘first family’ as wander through the wilderness. Their simple lives are turned upside down though when they stumble upon the Bettermans, a family that has built a life of privilege through their innovative technology and their high value on self-protection. When the Bettermans decide that the Croods are a threat to their life of luxury, they attempt to rid themselves of their visitors but, in the process, unleash the danger that lurks on the other side of their incredibly high walls.

Directed by Joel Crawford, Croods: A New Age was not a sequel that seemed necessary yet proves to be most welcome. Whereas the first film focused entirely on the Crood clan, New Age opens up the world considerably (and creatively) with the addition of the Bettermans and their utopian realm. While the first film was fairly well-received, the world in which they lived had a relatively limited colour palette as the Croods trudged through their largely dusty terrain. However, with a new environment comes new opportunities for innovation and Crawford and his team let their imaginative juices fly.

Featuring wild creatures and dazzling bursts of colour, there’s an energy within New Age that was missing from its predecessor which also gives the franchise new life. (Personally, I believe that anyone who came up with the idea of ‘wolf-spiders’ really needs to seek some professional help, regardless of how adorable they look.) Filled with modern references like ‘window addiction’ and enough technological wonders to make The Flintstones jealous, Croods: A New Age feels relevant to the modern family and keeps the laughs going along the way.

Even the cast seems slightly more… well… animated in the sequel now that they some new blood to play with. Given the opportunity to work alongside Dinklage’s sophisticated but slimy Phil Betterman, Nicolas Cage’s Grug seems much more likable and endearing. At the same time, with their relationship now firmly established, both Emma Stone and Ryan Reynolds are much more comfortable with one another as their characters move towards their ‘forever’. Stealing the show, however, are the aforementioned Bettermans, played by veterans Peter Dinklage and Leslie Mann. Stepping into the role of antagonists to the Croods, Dinklage and Mann are a joy to watch as the obnoxiously wealthy Bettermans. (‘Emphasis on the better,’ they remind.) Though detestable for their celebration of privilege, Dinklage and Mann embed their performances with a nervous desire to protect their family that somehow makes them seem more sympathetic. 

Similar to the first film, A New Age also wants to explore what it means to be both an individual and valued part of the pack. As they settle into the Betterman’s luxurious villas, the Croods finally have the opportunity to have some privacy… but is that something that they really want? As they adjust to living in a technological paradise that allows for them to finally have some space between them, the Croods also find themselves more divided.

Having built a bond between them by always sticking together (primarily out of fear), their new environment provides a certain sense of ease to it that gives them freedom. While this can be life-giving to some, innovations like the ‘man-cave’ and Thunk’s obsession with the window also create roadblocks within their family. In this way, the film recognizes the modern challenges of relationships as we continue to find new ways to create space between us and struggle to maintain open communication in the family unit.

What may be most surprisingly, however, is that A New Age is also unafraid to venture into a new age of ideas by adding the numerous layers of cultural subtext to the family-friendly adventure. From the female empowerment of the Thunder Sisters to the abuse of the environment, the film explores a broad range of culturally relevant issues that help elevate the film’s story. (In fact, through Betterman’s control of the bananas and water supply, the film even suggests the socio-economic ramifications of creating a caste system where the divide between rich and poor continues to grow.) In doing so, there’s a certain level of bravery to A New Age as it intelligently explores some of the deeper issues of our current culture while never becoming overburdened by the conversations or losing the fun.

Despite having little that’s new to the standard animated release, the disc Little Red Bronana Bread and Dear Diary: World’s First Pranks are not spectacular but are effective and entertaining. What’s more, director’s commentaries are always welcome as well. Still, the simplest shorts may be the most helpful. For parents looking for something to do with their kids during a lockdown, shorts that offer creative options like ‘FamiLeaf Album’, ‘How to Draw: Caveman Style’ and ‘Stone Age Snack Attack’ may help bring some activities into your home. It’s also worth noting that the colours really pop onscreen with the home release, especially on the 4K disc.

Filled with humour and heart, The Croods: A New Age is a worthwhile venture. Once again, Grug, Eep and the rest of the family prove that the value of knowing your place in the pack and the importance of supporting one another in the most difficult of circumstances. 

Without question, they have peaked my interest to see what happens in the next age.

Croods: The New Age is available on VOD, 4K, Blu-Ray and DVD on February 23rd, 2021.

Giveaway! THE CROODS: A NEW AGE on Blu-Ray!

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Thanks to our friends at TARO PR, you can bring The Croods: A New Age home on Blu-Ray!

Return to a simpler time with a Blu-Ray copy of The Croods: A New Age. Directed by Joel Crawford, New Age stars the talents of Nicolas Cage, Ryan Reynolds and Emma Stone as the ‘first family’ encounters the ‘next family’ for the first time!

Following the events of 2013’s The Croods, The Croods: A New Age follows the ‘first family’ as wander through the wilderness. Their simple lives are turned upside down though when they stumble upon the Bettermans, a family that has built a life of privilege through their innovative technology and their high value on self-protection. When the Bettermans decide that the Croods are a threat to their life of luxury, they attempt to rid themselves of their visitors but, in the process, unleash the danger that lurks on the other side of their incredibly high walls.

In order to enter, simply like/share this post on Facebook and/or Instagram and tell us who your favourite cast member is from The Croods: A New Age!

Winners will receive a Blu-Ray copy of The Croods: A New Age.

All entries must be received by 11:59pm on Wednesday, February 24th, 2021.

The Croods: A New Age was released on Blu-Ray, 4K and DVD on February 23nd, 2021.

Special thanks to our friends from TARO PR!

Jiu Jitsu: The Courageous, the Cage and the Crazy

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Nicolas Cage and Tony Jaa team up to fight an alien assassin.

Admit it. That statement alone is enough to peak your interest.

Such is the premise of Jiu Jitsu, the latest journey into the bizarre featuring the always-interesting Cage. Directed by Dimitri Logothetis (Kickboxer: Retaliation), Jiu Jitsu tells the story of Jake Barnes (Alain Moussi), a master fighter with severe amnesia. Found floating in the water by two Burmese fishers, Barnes is taken to a nearby military outpost for questioning. However, when a mysterious fighter (Tony Jaa) helps Barnes escape, the two men rejoin an ancient order led by Wylie (Cage) who are determined to defeat Brax, an ancient alien assassin that is unleashed every six years to wreak havoc upon humankind. 

If you’re already confused, don’t worry. Jiu Jitsu isn’t too concerned about logic so you shouldn’t be either.

Featuring some fun fights and cracked Cage-isms, Jiu Jitsu is an outrageous actioner that thankfully never takes itself too seriously. Based on Logothetis’ 2017 comic of the same name, the story borrows heavily from other conflicting franchises, resulting in a bit of a confusing mess. Fortunately, the film’s success lies not in its narrative cohesion but through its entertaining fight sequences. 

Part Predator and part Ong Bak, Jiu Jitsu fully embraces its bizarre blend of styles with reckless glee. As a veteran director of low budget fight films, Logothetis makes good use of his actors and allows them to have space to be creative. In doing so, he wisely gives veterans Jaa, Moussi and ex-Marvel villain Frank Grillo ample opportunities to show off their skill and speed in an effort to keep the audience entertained. Though the film features some (less than) special effects (like digital shurikens), the true joy of this film lies in the more grounded work of its truly talented martial arts performers.

However, at the same time, there are also moments where Logothetis needs to show restraint. Instead of allowing his cast to step to the forefront, there are moments where he unnecessarily relies too heavily on parlour tricks like first-person action or spinning cameras. Whereas some films need to compensate for their cast’s lack of expertise with quick cuts or multiple angles, the stars of Jiu Jitsu are far too experienced and well-trained to require such distracting filmmaking. 

While admittedly, much of the cast don’t feel particularly interested in the story itself, the one exception is Cage. It goes without saying that, at this point in his career, Cage has embraced films that push the envelope of camp and silliness with outright glee. As a faded martial arts master in Jiu Jitsu, Cage continues his trend of elevating strange material by immersing himself into the role with a sardonic wink. (In fact, as the wily Wylie, Cage even refers to himself as ‘crazy’ several times.) 

Amidst the absurdity, there is an underlying story in Jiu Jitsu that wants to highlight the true meaning of valour. Having run from alien assassin Brax in their first encounter, Jake is mocked by others for his cowardice (including by Brax himself). This is a world where value lies within the soul of the brave. In light of this, the film clearly wants to depict the power of courage, especially when it comes to sacrificing one’s self to protect others. However, even with its noble intentions, the film simply struggles when it comes to engaging any cohesive point.

While Jiu Jitsu is hardly the best of its genre, that doesn’t mean it’s not worth the ride. Featuring some amusing character work from the always-interesting Cage and furious fights from Jaa and Moussi, there’s enough entertainment value here for an evening of streaming silliness. Though, like the amnesia that plagues Barnes himself, don’t be surprised if you find that the film is ultimately forgettable.

Jiu Jitsu is available on VOD now.

Primal: Nicolas Un[Cage]d

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Is there anyone in Hollywood having more fun than Nicolas Cage?

Though Cage is a former Oscar-winner (Leaving Las Vegas) and action hero (The Rock, Face/Off), this current phase of his career has seen him make some seemingly bizarre film choices that range from the horrifying (Mom and Dad) to the strange (Mandy) to the horrifyingly strange (Color Out of Space). In fact, in the last 4 years alone, Cage has released 22different films.

Let that sink in for a moment.

Twenty-two films. In four years.

However, in no way is that to suggest that his movies are lacking in quality. In fact, it’s quite the opposite. In recent years, Cage has embraced the bizarre stories that he produces in such a way that he, arguably, has turned B-movies into an art-form unto themselves. The wilder the film is, the more Cage engages it. 

And the audience loves him for it.

With his latest film, Primal, Cage plays Frank Walsh, a big-game hunter who lives in the jungle and specializes in rare species. Having recently caught a rare white jaguar in Brazil, Walsh books passage on a ship in order to sell the beast to a zoo for a large amount of money. Unfortunately, the ship is also being used by US Marshalls to transfer notorious killer Richard Loffler (Kevin Durand) across the ocean to stand trial. When Loffler escapes, he releases the dangerous animals onto the ship as well, turning the journey into a wild game of kill or be killed.

Directed by Nick Powell, Primal is a fun ride that continues Cage’s career trend of choosing projects that never take themselves too seriously. As we’ve seen on multiple occasions, Cage is enthusiastic about the chance to play a hero that borders on the edge of darkness. While he never completely allows himself to free-wheel around on screen with the sort of abandon that we’ve seen in other films, Cage is clearly having a blast as Walsh. As we’ve seen (and, frankly, grown to love about) Cage is his willingness to treat silliness soberly and Primal offers him ample opportunity to immerse himself into the role. (Ironically, however, the person who seems to most relish their place in the film is actually Durand, who brings Cage-style energy to the role of serial killer Loffler, a man charged with ‘crimes against humanity’ and banished to a cage like, well, an animal…)

With this in mind, Primal also wants to be an exploration of what separates man from beast. Mocked and mistreated by the US Marshalls that oversee him, Loffler is viewed as less than human by his captors. As a result, he is treated no better than the legendary white jaguar that Walsh keeps in the ship’s hold. After his escape, he goes on the prowl, prepared to devour anyone who dares stand against him. Vicious and unbalanced, Loffler is a force to be reckoned with… and yet their treatment of him reinforces his animalistic nature.

Conversely, Primal takes the opposite approach with the unkept and unpolished Walsh. As a hunter-for-hire, Walsh thrives in the jungles and (mostly) respects the beasts that he pursues. While he seeks to treats his animals well, Walsh struggles to connect within human relationships. Even so, those around him continuously reinforce the idea that that believe he’s a good man underneath his gruff exterior. As a result, Walsh gradually begins to change his behaviour and look out for the well-being of others. In essence, by juxtaposing Walsh’s redemption with Loffler’s descent, Primalsuggests that what separates man from the rest of the animal kingdom is his ability to recognize the value of human life in others.

Admittedly though, this might be overthinking the film’s intent just a little.

Primal is not a film that’s meant to be dissected or is looking for consideration as an Oscar-darling. Instead, the film is meant to be digested for all its glorious insanity. To its credit, the film embraces the madness and, of course, the key draw to a film like Primal is Cage himself, who does not disappoint. 

After all, as the current master of the B-movie, Cage takes films like this seriously so you don’t have to. 

Primal is available on VOD on July 28th, 2020 and on Blu-Ray and DVD on August 11th, 2020.

Color Out of Space: Sci-Fi Horror Never Quite Lands

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By Johnathan Stowe

As a sci-fi horror movie, Color Out of Space has some rough edges and could be looked at by some as a silly and bizarre movie. Is this movie worth seeing? I personally think that it deserves a watch. 

Written and directed by Richard Stanley (The Otherworld), Color Out of Space tells the story of Nathan Gardner (Nicholas Cage) and his family who live in a remote county side area. Nathan lives with his wife Theresa, his oldest sons Benny and Jack, and his daughter Lavinia. Benny really cares for animals and even helps to take care of the Alpacas and other livestock around the farm. His sister, Lavinia, is a rebellious teen who is done with her family, constantly listening to rock music and performing necromancy. The youngest, Jack is a young and mysterious boy who likes to draw. When a meteorite crashes down on the Gardner’s property, it seems to alter time as the kids are frozen from what they are doing and, eventually, acting in bizarre ways. (At one point, the effects of the alien even cause one character to cut their fingers off without realizing it.) 

Color Out of Space speaks to the issue of global warming and climate change. From Ward’s narration in the opening credits to the alien affect on the livestock and drinking water, the film pushes for an interesting discussion on how we should protect our planet before we infect it and destroy everything we love. Because of the alien attack, the damage affected everything from mutated people and animals to the tainting of vegetation. (In fact, even the source of water becomes contaminated, turning everyone that drinks it into mind-controlled slaves.) Though the alien (or the ‘Color’ mentioned in the title) is the infection within the film, the destruction it causes also speaks to the potential for our own ability to ruin our world in the future.

In other movies of this genre, it’s common for the audience to emotionally connect with either the family effected or the ‘lone survivor’ but, unfortunately, Space doesn’t do it. After everything that happens, there simply isn’t much that connects you with the characters. While the movie starts off well, the script becomes a mess halfway through, veering off in ways that confuse the audience. The storyline doesn’t allow the audience to connect with these characters. However, one good thing about the movie is the visuals. Filled with wild images such as mutated people, a hydra-like alpaca and more, the visuals in the film are on point and makes you feel sick to your stomach, which works in a film like this. (It’s also appropriate that a movie called Color Out of Space would feature breathtaking colors and the film’s special effects are also very beautiful.)

Wild and crazy, Color Out of Space is definitely a movie for all Nicolas Cage fans to see. Even though the story doesn’t always work, the visuals are beautiful and disgusting (when they need to be).

Color Out of Space is in theatres now.