Creed II Review

Creed II

Director: Steven Caple Jr

Cast Headliners: Michael B Jordan, Sylvester Stallone, Dolph Lundgren, Florian Munteanu, Tessa Thompson

Original Release Date: November 21st, 2018

  The Rocky film series is one of the most iconic of all time. Perhaps its the only boxing and even sports “saga” in existence. Over decades an epic generational tale has been told of the Italian Stallion and his friends, family, and rivals. It's taken various breaks and gone through changes but 2015's Creed was a really good way of being both a reboot and legacy as Apollo's son was trained by Rocky. Creed 2, the eighth overall installment, acts as both a sequel to that but also in a way to Rocky 4 due to a certain soviet involvement. Due to Stallone claiming that this the end of his time as Rocky this may or may not mark the end of the series overall. That makes its legacy extra special and it certainly delivers on that even moreso for fans.

After the last film Adonis Creed (Michael B Jordan) reigns as world boxing heavyweight champion. A short filler fight is witnessed as he defends his title. What any Rocky film is however is who the villain is. The series has had mixed results on this from icons like Apollo Creed and Clubba Lang to misfires like Tommy Gunn and whoever generic actual athletees were fought in the past few modern films. One perhaps stands as the greatest of all in Ivan Drago(Dolph Lundgren) who's take in Rocky IV was menacing as it was a cheesy reflection of the cold war soviet Russian era. He positions his son Viktor(Florian Munteanu, an actual boxer once again) to get revenge on Creed and Rocky Balboa(Sylvester Stallone) after killing Adonis' father many years ago.

This aspect is one of the strongest of the film. It gives it a sense of legacy and connection to the franchise even more than the first Creed. Lundgren's Drago is as menacing as he was in the 80s even without the backing of the USSR. Just as the palette of the film is its a more modern, gritty real take on the character and it totally works. Munteanu's Viktor is pretty great not just as a huge physique but as a acting performance too especially with his father. Any quality villain has a bit of sympathy and this family has their arc amidst their schemes. One only wishes there was even a bit more of it and confrontation between Rocky / Ivan but it comes in moments.

Stallone's Rocky has even more of a main role this time as well despite that. His rapport with Adonis is great and one would hope for perhaps another Oscar nod. He goes through some inspirational and emotional stuff without ever setting foot in the ring. There's ties to Adrian and his family even moreso than the first (although at times familiar) and he manages to crack in some occasional dry humor too. The script for everyone is great if at times cheesy. That's what one kind of wants however.

Jordan's Adonis Creed is also a highlight again. Through boxing and training he gets immensely battered and has challenges both physical and emotional. He packs some raw emotion that is what he's best at in his performances. There's some fantastic stuff behind the scenes with his marriage and parenting challenges with girlfriend / wife Bianca (Tessa Thompson) . Thompson's Bianca can be artistical and inspiring although she is along with Adonis' mother Mary Anne Creed (Phylicia Rashad) as supporting cast level of involvement that mostly cheers, understandably. There's not many other players although the bit supporters of villainous promoter Buddy Marvell (Russel Hornsby) and Creed's father's trainer's son Little Duke Evers (Wood Harris) have their dramatic moments.

Now acclaimed Ryan Coogler did not direct this or be involved in any way although the person this time Steven Caple Jr does a great impression. There's some fantastic shots especially while boxing with some neat use of first person and slow motion. It feels like one is right in the ring with a modern crisp sheen to everything. The training can get a little ridiculous at times but is visually interesting for the most part. Note must be made for Ludwig Goransson's score as it joins some rap songs. It's emotional, feels filled piano and orchestra with some classic Rocky thrown in at great times. This music takes the drama side of things into truly wonderful territory.

There definitely is a sense of closure to the film if it is Stallone's last take on it. It manages to be a great modernization of the Drago conflict through its revenge and personal stake. There's great boxing, great emotion, great fan tribute and humor. It is long but overall pretty worth it. One must not mind the cheese that exists. That's exactly what it delivers on. Who knows if there's a future but one wouldn't mind and at the same time what a final blow it is . 8.7 out of 10

Ralph Breaks The Internet Review

Ralph Breaks The Internet
Directors: Rich Moore and Phil Johnston
Cast Headliners: John C Reilly, Sarah Silverman, Gal Gadot, Taraji P Henson, many many others
Original Release Date: November 21st, 2018

2012's Wreck It Ralph was not only a great Disney animated CGI film but it finally gave the world what was perhaps one of the best video game movies. That's because it managed to pay tribute , properly, to some classic arcade and retro games in its colorful, heartwarming and funny journey. Ralph Breaks The Internet only dips a bit more into more games(perhaps a bit disappointingly for those who wanted a sequel) and for the most part focuses on a new cyber realm: the modern day internet. On the surface it frightens of something shallow and “meme” filled like some animated peers but actually this book should not be judged by its cover. It's actually a solid followup that goes deeper on the laughs and lessons just as much as the visuals and scope. One must have to buy into the social media and websit conceit however.

It's surprising how much of the worlds of the first film are seen again. Titular hero-and-villain Wreck-It Ralph(John C Reilly) still hangs out in the arcade after dark with the famous likes of Street Fighter's Zangief and Sonic the Hedgehog between seeing friends old in Fix-It Felix(Jack McBrayer) or newer in Vanellope Sweetz(Sarah Silverman) and Sgt.Calhoun(Jane Lynch) at places like Tapper's Root Beer bar, Tron light cycles(!), or the sugary racing land of Sugar Rush. However this idyllic life goes awry once an accident causes the arcade's owner to purchase a replacement part on the arcade's new internet router. Ralph and Vanellope go to this mysterious new world to find the part themselves and adventures ensue.

If the first film and opening and sideline of here are “Video Game Toy Story” this film is of course “Internet Toy Story”. In the colorful, imaginative world of the net are hundreds of millions of avatars representing users in a clever way. There's also personifications and “buildings” of popular services like Amazon, Ebay (or “eboy” as Ralph charmingly calls it) , and social media “Buzztube”. Characters are met like the “Searchbar” librarian Knowsmore (Alan Tudyk villian of the first film here as someone else!), social media empire queen Yassss(Tarji P Henson), spam scammer JP Spamley (Bill Hader), and even another game world in the fierce Slaughter Race with key figure Shank (Gal Gadot) .

Even with the very millenial theme the larger list of world gives some variety in visuals and ambiance. The animated CGI graphics are of course colorful and lush given that its Disney itself with directors Rich Moore and Phil Johnston having some nice bigger shots. It's also neat, and (purposefully used in what's some of the best sequences) that something like Slaughter Race has such a gritty real look even beyond Hero's Duty of the first film. It's entertaining to see a action-movie, “Grand Theft Auto/ massive multiplayer online ” esque game contrasted with the likes of Ralph and friends. The other internet sites are more of a bright futuristic look but the human avatars have a neat almost retro, “Inside Out” type design to them. It is a step forward, to an extent, for these visuals if anything.

The plot has its ups and downs both for twists as well as for quality. It becomes a road trip before being tangled up in drama between a couple locations which reminds of how the last film felt the same way. One could only imagine a world where they tried to go even further. However that may be for good reason as there's some decent stuff in the main Ralph / Vanellope plot that would be detracted by their being too much else going on(and not much does with the arcade folk of Felix, Calhoun, and Sonic getting just some gag lines).

Once again the acting highlight is shared between Reilly's Ralph and Silverman's Vanellope. Ralph has some humor and growth in his dumbness. In turn one thought Vanellope may have reached her closure in the first but she has even more of a journey here. She has a rapport with Gadot's Shank that's very important to the movie although everything's to a relatively simple family level. Gadot's Shank has her charm but ends up being , coincidentally or perhaps not , like her Fast and the Furious work than Wonder Woman but it's all in the ballkpark. Seriously that music number may make it all worth it. Henson's Yass , Hader's Pimley, and Tudyk's Knowsmore have their chuckles but primarily serve exposition. However a new cast is always welcomed. There's also the actually brief appearance of a "Oh My Disney World" with an insane amount of animated, Star Wars, Marvel , and etc logoes and characters mostly used for jokes but that's best reserved for surprises if one hasn't seen the commercials. It must be said that it was very neat to get the original Disney Princesses back from their actresses as brief as they are.  

    That's what the movie is with not much more to say or detract. It's a voyage into a net world filled with some laughs and action with a lot of charm (and the occasional tear) along the way. Nothing is too new or mindblowing but fans of the first would like this or due to its nature even those who haven't seen. Who knows how it will hold up as the decades progress however but seize the zeitgeist parodying moment of it. 8.4 out of 10

Fantastic Beasts: The Crimes Of Grindelwald Review

Fantastic Beasts: The Crimes Of Grindelwald
Director: David Yates
Cast Headliners: Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Johnny Depp, Jude Law, too many attempted others
Original Release Date: November 16th, 2018

Get ready for many more of these since it's another 2 years and the first sequel , next installment of the Fantastic Beasts saga (with many more to go...) Fantastic Beasts: The Crimes Of Grindelwald continues this prequel Harry Potter tale by fully unleashing the villian and taking things to darker, more complicated places while introducing further. It's got the staples fans of the magic will like but it also strongly asks the question “did we need 5 films?”. Prepare for a lot of set up but also a lot of meandering in its own plot.

A semi-exciting opening sequence(more on this below but action is rare) shows the escape of the titular evil overlord Gellert Grindelwald (Johnny Depp) in 1927 from his confines, lieu-of disguised identity, He flees to Paris, France to begin building his evil army. Meanwhile in Britain the plight of protagonist and creature collector Newt Scamander(Eddie Redmayne) is followed as he faces the consequences of the first film. A larger cast is met as his serious , devoted Auror government agent older brother Theseus (Callum Turner) is met along his fiancee (and Newt's former crush) Leta Lestrange (Zoe Kravitz). Elsewhere familiar heroes have their adventures such as Queenie Goldstein (Alison Sudol) re-uniting with normal, Muggle “No-Maj” love Jacob Kowalski (Dan Fogler) and the investigations of Newt's deuteragonist and possible love Tina Goldstein (Katherine Waterston) into the location of the surviving Credence Barbone (Ezra Miller). There's yet even more characters of some note (which wouldn't be a problem as the Harry Potter films always did it well but were aided by a more straightforward plot than here which is to its moderate detriment) in cursed to be a snake (eventually Voldemort's), were-wolf -style, “Maledictus” Nagini (Claudia Kim) and the mysterious vigilante wildcard Yusuf Kama (William Nadylam) among-st others not even worth mentioning.

These are many names but little impact is felt from them or most things in general. Somehow Redmayne's Newt is even less inspiring or charming in this movie and is perhaps even forgotten with the ruckus of everything else going on around him further than the first film although he has his moments of problem-solving and awkward charm. This “middling and forgotten” nature rubs off on his co-stars in Waterston's Tina and Sudol's Queenie even more with the crew mostly just walking between the expository events of others with only seldom effort gone into making them franchise-defining. Fogler's Jacob is once again a comedic highlight although it's not much we haven't seen before (how many times does he need to yell “AHA!”...it worked in 2016 more..) but although his presence wasn't technically needed due to circumstances it seems he's along for the ride now. Miller's Credence faces even further revelations and personal stake into things but at the same time does even less aside a tense moment or two. He's one of the only ones to really do things with Kim's Nagini as they're from a (visually neat) magical circus. She is a just as and even more tortured outcast but she really doesn't do much either.

It's amongst the other newcomers that “don't really do much” happens the most. Turner's Theseus may be hinted to set up some family drama but as many things it's never really delivered upon. This happens slightly moreso with Kravitz's Leta who actually is a big part of what the movie ends up being about but it has some cheese in its writing that makes one question where Rowling's golden talent has gone in the past few years. It's a lot of explanations and plot holes for things that happened in the past and the audience is attempted to feel sorrow or inspiration but due to the delivery in plot structure it comes across as confusing or dull more than anything. This is not the epic prophecy of the Boy Who Lived, at least not yet with much work to be done to make its saga worthy.

The two highlight performances and aspects are the “big bad” in Grindelwald and the “big good” in the exciting return of a younger Albus Dumbledore(Jude Law). These two characters are so connected in lore and to what this prequel saga will end up being it makes since extra effort was placed into them. Law's Albus may remind viewers of Jude Law being Jude Law but that's not a bad thing as he brings a charming wise presence with some more youthful swagger (reminder that he's got to get 70 years older by the time of Harry Potter). There's a touch of the old man's slow tone to him but otherwise he's a bit of something new but that works. Unfortunately, he's not really involved that much in the plot of this film besides some check-ins. Those check-ins and flashbacks to Hogwarts castle (including with the classic music) will bring much warm feelings of nostalgia and perhaps there could be more of that ahead...or should have been more here either. Depp's Grindelwald himself doesn't have enough screentime either for a movie with his name. However he's another standout being absolutely evil, vile, and as the best villains are he kind of has a speck of a point to him. It's only at times he appears but it's usually a good thing especially when he performs ...crimes. Get ready for that showdown where, like the last and most Potter films, things ramp up in the climax. If he continues like this he may give Voldemort a run for icon status although now it's too hard to say.

While the characters, writing, and plot is all over the place and slightly half-baked the sights, sounds, and fantasy nature mostly deliver on what fans would want. Director David Yate's camera work is solid (although perhaps less so than his Potter peak) and there's some nice production design for the Parisian aesthetic although the fact that it's set there doesn't make much of a difference apart from accents on henchmen and citizens . It's visually an even darker movie than the last one at times being too much so. This is a movie that's a bit less about the “fantastic beast” mythological animals themselves but there is some cool designs and excitement with them. As with many things here there's not enough of them or action in general. At times however the CGI can feel like an overload and to a hollower quality than both the Potter Wizarding World before it and other blockbusters today. This may be due to its handling of entirely greenscreen sets(such as Newt's magical creature box which still is conceptually cool) with it working better with the use of actual sets. Composer James Newton Howard's music fits the magical Potter stereotype although there's an occasional great memorable line to add to the melodrama (even moreso than the first Beasts film). For fans just wanting more wizard adventures it does that for feel and tone even if what's happening in that world can hurt one's mind from trying to comprehend.

As a whole this film takes some steps back or stands its ground for every one that it does upward. It's neat to see the saga go to bigger and darker places but perhaps its trying to be too big at once or instead it's that the places its going so far have mixed landing for excitement. It's a very slow and complex burner of a mystery perhaps taking too much influence from JK Rowling's recent detective novels than her fantasy best. However those small bits of action, humor, and characters make things a bit worth it for fans invested in the Potterverse. Especially those invested in this prequel epoch. Hopefully the future can learn from the mistakes and deliver on the setup done for the REAL crimes next time as there's surely more to be done...and stopped. Don't commit this one again. 7.35 out of 10

First Man Review

First Man
Director: Damien Chazelle
Cast Headliners: Ryan Gosling, Claire Foy, Kyle Chandler, Corey Stoll, Buzz Aldrin, Ciarin Hinds
Original Release Date : October 12, 2018

Space, the final frontier. However this can be truly thought of as the first frontier or for films a well traveled frontier. What Neil Armstrong, Buzz Aldrin and all the personnel at NASA achieved is mind blowing to think of for logistics. How can a known figures laugh be made interesting and how does the midas touch of Damien Chazelle carry through. It ends up being what's expected and in some ways something unconventional.
     To call this a biography is a bit misleading since it's not the whole story of former Navy man and astronaut Neil Armstrong (Ryan Gosling) 's life. It's, for the most part, focused on his career leading up to the awe inspiring Moon landing.
        Gosling is a acting highlight of nearly every film he's in and this lives up to that. He sometimes plays to a certain type but if it ain't broke don't fix it.  Again it is a primarily physical role as he takes on the task of being the loyal and perseverant Armstrong. He manages to slip in some occasional emotional breakdowns as even up to and around the NASA days Armstrong had tough personal trials. Due to the plot much of every character's dialogue is delivered through headset and up close but his committed tone is felt.
    The supportive cast, and it very much ends up being that due to the nigh-solitary nature of space, is filled with some high caliber as well working with an as expected solid script.  Claire Foy portrays Janet Shearon who carries equal if not even more emotional weight in the film while also being a civilian angle to the mission at hand. Corey Stoll is Buzz Aldrin, the 'second man' of sorts and thus gets the most screen time compared to many misc other astronauts who are mostly obscured by helmets. He has some quips but like his peers is spouting intense factual science. The same could be said for Jason Clarke's Ed White and Ciarin Hinds's Robert Gilruth. Perhaps of notable other exception is Kyle Chandlers Deke Slayton who offers alot of NASA mission control. Together the cast shares various moments inspiring, slightly humorous, and at times somber.
   Somber it is because this is a very realistic, at times slow, fact based work. It feels almost nothing like director Damien Chazelle's past work. There's no flashy one cuts or fast camera moves. It only possibly reminds of his past due to the quality of the up close cinematography and certain landscape shots (more on that later). But even masking himself with more common techniques he is still solid.  The same applies for Justin Hurwitz score which is much more subdued than usual without a hint of jazz.
    This may be due to a purpose. The way the visuals happen are so immersive and gritty it can be at times claustrophobic and dizzying. That must be commended due to its capture of what space travel is and what was like perhaps more than any other science fiction or fact recently. Then, after a fascinating journey the Moon is reached and things open so much up once they get there. The score becomes majestic and the scenery a surreal beauty. This movie could certainly be described as being redeemed by a few sequences alone amidst it's lengthy runtime.
   It's not going to be for everyone. It's not for the faint of heart in the face of dizziness or those expecting the wacky free tone of Chazelle past work. But those interested in NASA's incredible space work and seeing some of the greatest efforts of human achievement should enjoy. The story, and the man at the center... And the main playing that main along the man filming that man are commendable to be sure. 8.45 out of 10

Bad Times At The El Royale Review

Bad Times At The El Royale
Director: Drew Goddard
Cast Headliners: Jeff Bridges, Cynthia Erivo, Jon Hamm, Chris Hemsworth, Dakota Johnson, others
Original Release Date: October 12, 2018

 Strangers in a stranger place with mysterious circumstances make for a typical but always interesting premise. Bad Times At The El Royale isn't breaking much new ground but it doesn't need to. It's cast of A list gems shines in between a story that's best to know as little as as possible.. It's groovy and dark and well long but with value
      The year is 1969 and it sure does feel it. The production design breathes the groovy pre-disco era through every bit of color in its furniture and clothing while including some great pop tunes of the day. At the foreboding California-Nevada border residing El Royale Hotel a group of customers checks in for a night that will change their lives forever.
   It can't be stressed enough how good it is to not know who's really who. At surface level there's kindly pastor Father Flynn(Jeff Bridges with his usual beard and western accent), hurried everyperson Darlene Sweet (Cynthia Erivo), cornfried southern businessman Seymour Sullivan (Jon Hamm), and aloof roamer Emily Summerspring (Dakota Johnson) all checking in on the same day for their apparently seperate stories. Around they meet shy bellhop Miles Miller (Lewis Pullman), charismatic hippie Billy Lee (Chris Hemsworth), and troubled youth Ross (Cailee Spaeny).  Soon enough things get crazy .
  Drew Goddard the director  is an incredibly interesting talent due to his genre bending The Cabin In The Woods. Just as that appeared to be horror but was more comedy satire this appears to be funky shoot them up but is much more mystery and nuance filled. There's some great camera work along the mentioned production design. The hotel has its own visual and spoken lore that's hints at far more than what's seen. There's also clever uses of title cards for acts and flashbacks and alternative perspectives. That's how this movie bends its format and it might not be for everyone but it makes it mostly stand apart from its competition.
  However the long runtime must be mentioned. At almost over two and a half hours it's not a light watch. There's heavy brutality but also heavier impact of twists .. Spaced far apart.  The highlight performances from stern yet goofy Bridges to determined Erivo and more than meets the eye Hamm and Hemsworth are good but the long runtime makes each use mixed .
   With some trimmed content it could have been more snappier (especially some flashbacks and setting changes that range from effective to questionable . Any cast not mentioned is just kind of there as well. However when it's good it's some dark mysterious funky fun if one has the long time. 8 out of 10

Venom Review

Venom
Director: Ruben Fleischer
Cast Headliners: Tom Hardy, Michelle Williams, Riz Ahmed, Jenny Slate
Original Release Date: October 5th, 2018

   This is really surreal to see.... After decades of existing in comic books, cartoons, and a somewhat lackluster turn in Macguire's Spiderman 3 the villian Venom now has a starring role. But it's a new cinematic Sony universe without Spiderman. Does that work out, does the tale of man and symbiote work in a vacuum.... Some of it does .

      It's immediately felt through the setting that exists amongst more mundane craft. Investigative journalist Eddie Brock (Tom Hardy) juggles his justice motives with his relationship with attorney Anne Weying (Michelle Williams). Events concerning the mysterious Life Foundation and its CEO Carlton Drake (Riz Ahmed) cause complications escalating with the arrival of the alien symbiotes and the powers they give .
        Any comic book movie that introduces a universe is driven by its lead. Tom Hardy is an exciting pitch for that role but unfortunately results heavily vary. As Brock he has some attempted quips and ferocity but neither quite hits the mark they or his talent needs. What becomes quite interesting is the abilities granted by the symbiote suit Venom (also Hardy). This pile of black goo has a mind of its own and weapons to spare. This leads to some genuinely entertaining moments of bickering and growth between them or of brutal violent threats. This, as all the writing, can also be childish in a way with dumb toilet humor and simplicity. The audio effects for him, and his counterpart Riot (who's performer matches who that becomes) can be cool.
   What is not cool are the visual effects for them. The movie attempts some frenetic action but the CGI feels like something from a lower budget, bygone era .. Aside their comic accuracy. Fleischers directing varies between closer up almost fine crafted and hollow. However it has its dumb moments of fine and chaos especially for a fan waiting for this to come to the big screen.
      This dialogue which almost itself seems like an alien wrote it carries through to a mostly lackluster supporting cast. William's Anne is stereotypical 'ride along innocent bystander' but gets her moments. This applies to possible ally Dr. Skirth (Jenny Slate) who provides some cheesy exposition along various henchmen and hobos not even worth describing.. The human element this movie has not

    As a whole this could have been so much more. It's a lot of slightly but not quite passing . The symbiote struggle and lore is neat along some laughs and woahs and darkness and comic shout outs but it's missing a certain web slinger and the touch that other company brings. For the dedicate only with some caution for quality. 6.7 out of 10

Mandy Review

Mandy
Director: Panos Cosmatos
Cast Headliners: Nicolas Cage, Andrea Riseborough, Linus Roache
Original Release Date: September 13th (limited), 2018

One shouldn't go into Mandy without both knowing what to expect within... and finding it potentially appealing. That applies to any movie but especially here. This is maxed out Nicolas Cage, surreal director Panos Cosmatos, neo-80s horror revenge mania. Mandy is a movie of extreme in all the best and at times disturbing ways. Yet through it all there's some genuine quality craft and heart within as well. It sure is something memorable.

It is likely with purpose that the film's two halfs are in some ways very distinct yet connected by being soaked in its stylized 1983 setting aesthetics. One part a slow trippy art burn and the other part a crazy bloodpacked ride. It sometimes makes sense in how it goes down . It makes the viewer go from saying “what the heck is this” to “heck yes!!!” in due time.

In what essence can be gained from (for what is actually a fairly predictable and if not even just bit more than the right amount of schlock of ) the plot a logger Red(Nicolas Cage) lives deep in the Shadow Mountains of California with his girlfriend the titular Mandy (Andrea Riseborough). Their mundane if even rugged lives are interspersed with visions that are occasionally horrific or surreal which are no doubt affected by their heavy metal and fantasy media they surround themselves with (this movie is classically “metal” as can be with even some small references here and there to other stalwarts of similar genres).

They soon find themselves dealing with a satanic cult of rednecks and their demonoid friends led by Jeremiah Sand(Linus Roache). One might infer that horror and mayhem follow , and it's not for the blood averse. Although due to its surreal nature it's also... different, a word describing so many aspects of what's taking place.

Performances are not always a must of this horror / thriller / (sci-fi / fantasy?) genre. However there's a couple decent things of note. Cage's Red is him at some of his most gloriously “Cageness” as he's ever been. He's hamming it up, he's being awesome, he's feeling pain and sorrow in all the right ways as he goes through it all. It's not a script with a lot of lines but he delivers on just the sheer fact of who he is and the way he emotes and does action. It's nothing that's not been totally undone before (Mr. Ash Williams would be proud) but it decently works. Riseborough's Mandy says about the same things but they have some melancholy moments together and does ok in her nature in what occurs. Bill Duke also has a memorable bit part in weapon seller Caruthers (and in a bit less regard Richard Brake as The Chemist) offering some plot additions and lore. To rival Cage in outlandishness is the almost reverend-like (yet still a hippie) cult leader in Roache's Jeremiah. He's delusional , bizarre, and threatening in ways one expects.

What sticks with the viewer and what will haunt and delight them far beyond the viewing of the experience are the things that make up “experience”. The atmosphere, aesthetics, ambiance, mood are all almost indescribable . They set things apart from similar genre equivalents. It's a mash of “killers in the wilderness” with an overwhelming 80s neon red and oranges and blacks look that's twisted through the surreal lens of the director Cosmatos. Colors make shots pop and terrify along with practical effects. The demons particularly have some great costumes and props in thrilling brutal (if short) action scenes. Lots of blood and liquids happening. There's also some very unique animated pieces and painting-like skybox backgrounds. Various other things add to the mix of frights, chuckles, and cheers that end up occurring if one “gets it”. There's also some interesting use of title cards and sequences in classic high form film style.

One should remember music when being “neon-80s” . Mandy delivers on this outstandingly. The synth and metal soundtrack helps to immerse greatly. Lush soundscapes range from pulse pounding to emotional or relaxing. Surreal and terror states are both achieved. This is aided by impeccable if at times unsettling sound design for both actions … and conversations. It's one of the last scores composed by the late Johan Johansson and his commendations are well deserved.

Nicolas Cage is in a lot of truly bad and silly movies. There comes times when he's in exactly the right kind of outlandish that turns out to be almost a masterpiece. Mandy is on the upper tier of that due to his involvement in the actions that occur around him. This is all set in that lush audiovisual journey of darkness that makes it feel like a classic and yet something on the cutting edge of the medium. If one can handle its approach, a wild ride. 8.71 out of 10