The Banana Splits Movie (2019)


Reboots, reimaginings, and remakes have become so much a part of the movie landscape that they are now effectively their own genre of filmmaking. And, like with any genre, after the initial innovation and interest people start working out the form and pine for someone to do something exciting and innovative with it. Well, good news on that front! The people behind The Banana Split movie certainly took that to heart and transformed a beloved 60s kids’ show into a gore-filled slasher flick! Stop complaining, you wanted different and you got it!
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Klaus (2019)

Christmas is here, so Netflix has launched its first feature-length animation to its holiday-offensive arsenal in the form of “Klaus”. Aimed firmly at the family market, it’s the directorial debut of Disney alumni Sergio Pablos and his Madrid-based animation studio that offers heartfelt fun and an alternative take on the origin of Santa. The film is a melting pot on two key fronts: firstly with its international production staff and secondly with its blend of hand-drawn frames being assisted by computer lighting. So, how well does it work out?
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Teenape Vs The Monster Nazi Apocalypse (2012)


I uncovered this film because someone asked me if there were any King Kong Vs Nazi films. I couldn’t find any such a thing, but I did find this 78-minute Z-movie masterpiece. Produced in the halcyon days of 2012, when having Nazis in a film wasn’t a political statement but an excuse to be brutally violent towards the obviously-bad guys, it’s a near-perfect, no-budget bit of filmmaking that just does its own thing. Its own thing is brutally stupid violence and a plot that feels like Hellboy on some very bad drugs. So, please be warned; this is not for the faint-hearted or easily offended.
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Replicas (2019)

There is a good chance you haven’t heard of this Keanu Reeves starring-and-produced film, even though he is one of the hottest properties in cinema right now. Produced in 2016, sold on before it’s 2019 release, and allegedly passed over by Nicholas Cage, it’s box office bombing should have been the talk of the town. Instead of it becoming a cause célèbre, it just got shuffled off the big screens at a rapid pace, another miss in a summer of hits. It then rolled into the Amazon Prime bargain bucket of Amazon Prime in the middle of the year and then on Netflix this month. So, is it as bad as the odd critic has tried to make out?
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Joker (2019)


It’s difficult to write a review for a film like Joker, primarily because of the amount of hype that’s been built up around it. For over a year there have been announcements, stories and opinions flying around, from a multitude of camps. First up there are the DC fans, who have been excited at the idea of a villain-centric movie and of DC making two good movies in a row. Then there have been the naysayers, pulling it down because of uninspiring trailers and the habit of the more vocal Joker fans being screaming edgelords. Next up has been the marketing machine, keeping the film “a hot topic” and then, nearer release day, putting it on every bus in town. Finally, we have the director and star declaring it a piece of Art and a new dawn for comics movies. So, does it stand up to its hype?
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In The Shadow Of The Moon (2019)


One of the often-touted advantages of services like Netflix is that, through its use of metrics, they can exactly what the viewers want to watch. This should be exciting, offering the chance to put money behind more niche films and deliver them directly to a waiting audience. However, if their recent roster of big banner release is to go by, what the audience wants isn’t excitement or innovation. If In The Shadow Of The Moon is any measure of what actually gets and keeps eyeballs, then what the bulk of viewers really want is something that’s non-threateningly almost-innovative and dull.
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IT: Chapter 2 (2019)


It’s a truth accepted in the horror world that any essential addition to the cannon can expect to get a not-quite-as-essential sequel a couple of years later. Something that tries to hit all the same notes of the classic, and add something to the story, but that just never gets as good as the first outing. Halloween did it by picking up a minute after the original; Hellraiser did it by adding in background plot; Friday 13th did it by switching metaphorical investigation, and now IT has tried to do it by running what feels like a lot of the same story with adults. It has a pretty good swing at it, all told, but it just never manages to reach the heights of the near perfect Chapter One.
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Alita: Battle Angel (2019)


It is easy to argue that Alita: Battle Angel has had the most “Production Hell” baggage to deal with of any major sci-fi movie of the last five years. Originally started as a project in 2000 by 20th Century Fox, five years after the comic had been a smash in Japan and relative obscurity outside of the global anime/manga scene, it had James Cameron as its producer since 2003. Finally shot under the direction of Robert Rodriguez under great secrecy at the end of 2016, the first trailers declaring a July 2018 release were circulated in December 2017, only to then have the movie go quiet till it resurfaced mid-2018 with a heavily de-mangafied look for Alita and a release date of the “dump month” of February 2019. So, has Cameron finally produced something well inside his wheelhouse that could only be justified as $200 million “passion project”? Well, maybe. But they’ve produced a charming little emotional ride and a fully realised world, regardless of what the box office says.
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