THE DANMAN CAN

Brian Yuzna 's second Re-Animator sequel—after  Re-Animator  (1985) ( review ) (which he produced) and  Bride Of Re-Animator   (1990) (which he co-wrote and directed)—is the least best of the three official films, but it's also the zaniest. It's hard to believe that Beyond Re-Animator  (2003) is already 20 years old. On this "Take 2" viewing, I liked the film a bit more, but it's still a bit too goofy for me. Despite upping the wackiness and a good deal of fun moments (plus better practical makeup f/x than I remembered courtesy of Screaming Mad George ), Yuzna is unable to capture the magic of the original cult classic or even the tone of the uneven first sequel. The prison setting is interesting but much of the film feels like a retread. A decent horror flick but nothing special. Brian Yuzna Films Ranked

Michael Cimino ’s assured directorial debut, Thunderbolt And Lightfoot (1974) exudes an easy charm, features beautiful Montana landscapes, and, despite its mostly languid pace, produces plenty of memorable moments and lived-in characters. Clint Eastwood and Jeff Bridges  have a wonderful cinematic chemistry as the titular junior/senior anti-heroes. Bridges really proved his worth in this early role. The supporting players are all great as well. George Kennedy and Geoffrey Lewis  provide an entertaining counter-pair of criminals to Eastwood and Bridges, imparting the film with many humorous scenes. Michael Cimino Films Ranked

A weird, fun, and funny sci-fi fantasy action adventure that could only come from the mind of  Terry Gilliam  (and co-writer Michael Palin ), Time Bandits (1981) is full of indelible imagery, inventive set pieces, and wonderful performances. Recommended for fans of  The Adventures of Baron Munchausen   (1988) (review),  Willow (1988) , and  Legend  (1985) ( theatrical cut review ,  Director's Cut review ). Terry Gilliam Feature Films Ranked

Blood And Black Lace  (1964) is simultaneously the blueprint for the  giallo  and a distinctive and unique film in its own right. A gorgeously shot, technically flawless murder mystery featuring vibrant colors, iconic imagery, haute couture fashion, and an incredibly sultry and catchy  theme song ,  B&BL  is one of  Mario Bava 's best films and one of the best films in the genre. Via Arrow Video ’s beautiful 4K UHD , this melodramatic (and super fun) whodunit really shines. I’ve seen the film a few times previously—on this viewing I was especially enamored with the killer title credits, the dynamic camerawork, and the striking closeups. Mario Bava Feature Films Ranked Giallo Feature Films Ranked

Brandon Cronenberg  continues to make interesting and engaging films, and so far he's 3 for 3. After Take 2 of  Infinity Pool   (2023), I'm still not sure the movie is as transgressive as I wish it was, but (particularly after watching behind the scenes footage/featurettes) I have an increased appreciation for the hallucinogenic sequences and their wonderful practical/in-camera f/x and production design. As "weird" as IP is, it might be BC's most accessible picture yet. I believe this owes to the fact that it's a pretty funny film.  Mia Goth  is obnoxious in her role and, thus, perfectly suited to it. After a rewatch (this time the uncut NC-17 version , which honestly doesn't change the feel of the film, as it amounts to a whopping 18 seconds of difference) I still don't know that I feel there is anything deeper to glean than what appears on the surface. Some interesting themes (wounded masculinity, ego, class, mortality, female power) are explored bu

Rawhead Rex  (1986) is not a "good" film, but it’s  awful ly good fun. Full of hammy acting, cheesy makeup (though some of the effects are decent), and half-baked ideas—it’s more fun to laugh at than to glean anything thought-provoking from. It’s like a C grade  An American Werewolf In London   (1981) ( review ) and that’s OK—shitty monster movies have a place in the world too (and I kind of love this one). I do think that  Clive Barker  would have preferred for viewers to have a more meaningful experience with his  story , which is why I think it could be adapted again with more successful results. (Whoever tackles it should  definitely  keep the golden shower baptismal scene though.)

Hugo  (2011) is a bit long, drags at times, underuses a few truly great actors, and isn't quite a home run, but there is undeniable movie magic on display in a movie that is a tribute to the magic and history of moviemaking. I'm generally not a fan of child actors (they tend to try a bit too hard) and there are some moments where Asa Butterfield  loses me but as a whole he's serviceable in the lead role. Chloë Grace Moritz is given short shrift as a character as well. Overall Sacha Baron Cohen is actually kind of understated and pretty enjoyable. But the truly heartfelt moments and where the acting truly shines are Ben Kingsley 's scenes as the legendary cinemagician  Georges Méliès . I’m also generally not a fan of overly processed looking images or obvious CGI in films. In Hugo though I must admit the cinematography, costumes, and production design are simply stunning and said CGI manages to work in service of the pristine fantastical painterly storybook imagery.