Also known as: Omoide poro poro (original Japanese title), Memories of Teardrops, Memories of Yesterday (alternative titles) Release Date: July 20th, 1991 (Japan) Directed by: Isao Takahata Written by: Isao Takahata Based on:Omoide Poro Poro by Hotaru Okamoto, Yuko Tone Music by: Katz Hoshi Cast: Japanese Language: Yoko Honna, Miki Imai, Toshiro Yanagiba; English Language: Daisy Ridley, Alison Fernandez, Dev Patel, Grey DeLisle, Tara Strong
Nippon Television Network, Studiopolis, Studio Ghibli, 118 Minutes
“Rainy days, cloudy days, sunny days… which do you like?” – Hirota, “…cloudy days.” – Taeko, “Oh, then we’re alike.” – Hirota
I would have to consider this my least favorite Studio Ghibli film, up to this point in their history.
Honestly, it just didn’t connect with me in the ways that their other movies have. It’s just okay and pretty dry. It moves at a snail’s pace.
The story is about an unmarried woman being fixated on memories of her childhood. She does what we all do, looks back, overanalyzes the moments that shaped her, and questions where she is in life now.
I watched the English dubbed version, as the most modern English dubs of Studio Ghibli films are typically top notch. However, I found Daisy Ridley’s performance to be really underwhelming, compared to the performances by voice leads in other films.
It sounded as if Ridley was just reading lines and putting just a bit of inflection in her voice. She felt like a teacher reading a book out loud to a classroom of elementary school kids.
I know that this movie has its audience and that many people love it. I’m just not one of them.
Still, it’s visually and technically sound as far as the animation and production goes.
It’s been ages since I watched a Super Sentai series and because of that, I’m now way behind on the stuff that Shout! Factory has released in the United States. So I figured I really needed to jump on it and experience more of this great, classic tokusatsu program.
For those that might not know, this series was originally intended to be the one that they were going to use to create the first season of Mighty Morphin Power Rangers. However, producers of that show ended up using its successor, Kyōryū Sentai Zyuranger.
With that, this is the first Sentai show that I’ve watched that wasn’t turned into a Power Rangers series. This also makes it the oldest show that I’ve seen in the franchise.
Overall, this was damn enjoyable if kid friendly tokusatsu is your thing.
The thing I liked most was the characters. For the most part, this set of heroes were well-balanced, pretty well developed and they had great chemistry with each other. I especially liked how the bond evolved between Ryū a.k.a. Red Hawk and Gai a.k.a. Black Condor evolved over the course of the show. By the end, these two guys were complete badasses and honestly, either of them could’ve been team leader.
I also really liked Ako a.k.a. Blue Swallow. She was a cool character with some good stories and she might be my favorite female hero that I’ve seen out of all the Sentai shows I’ve watched, thus far.
Like the heroes, the villains were a really cool team that also had solid chemistry. I love that they were only really unified in trying to destroy the Jetman team and to dominate the world. I loved the power struggles between them, how they evolved over the series and ultimately, how they probably could’ve won had they not allowed their egos to make them work against one another.
Looking beyond the cool characters and story, I also dug the hell out of the look of the show. I thought the Jetman team’s costumes were superb and they are definitely one of the best looking Sentai teams of all-time.
This series also had some cool monsters. The real standout, I thought, was the ramen cup noodles monster. He just had a cool design and any monster that shoots out shrimp boomerangs is going to leave an impression.
Chōjin Sentai Jetman is pretty high up on the short list of the Super Sentai shows I’ve watched. However, this is only my fifth and there are a lot more to experience. I think that this one will maintain a spot close to the top, though.
Release Date: June 14th, 1991 Directed by: Kevin Reynolds Written by: Pen Densham, John Watson Music by: Michael Kamen Cast: Kevin Costner, Morgan Freeman, Christian Slater, Alan Rickman, Mary Elizabeth Mastrantonio, Geraldine McEwan, Michael McShane, Brain Blessed, Michael Wincott, Nick Brimble, Jack Wild, Sean Connery (cameo, uncredited)
Morgan Creek Entertainment, Warner Bros., 143 Minutes (theatrical), 155 Minutes (Extended Edition)
“Locksley! I’ll cut your heart out with a spoon!” – Sheriff of Nottingham, “Then it begins.” – Robin Hood
I remember seeing this in the theater and loving the hell out of it. But I think I’ve only seen it once or twice since then and those viewings were in the ’90s. So I kind of didn’t know what to expect from it, seeing it decades later. And sure, I remembered some of the more iconic moments and lines but that’s about all I remembered.
This film starts out interesting and gives Robin Hood a neat backstory that saw him held prisoner in a dungeon in Jerusalem, far from his home in England. He is able to escape and saves the life of a Moorish warrior in the process. This warrior swears a life debt to Robin and follows him back to England.
Azeem, the Moorish character, was created just for this film but I liked the character a lot and it was cool seeing Morgan Freeman bring him to life while also getting to partake in the action heavy parts of the movie. Also, he paired up well with Kevin Costner’s Robin Hood and I’d be lying if I said I wouldn’t have watched these two go on further adventures.
The story is your standard Robin Hood tale for the most part but it takes some liberties, as all interpretations of the legend do. This one also pushes the romance pretty hard between Robin and Marian but honestly, it doesn’t get in the way of the action or the larger story. This version also has a witch character, who gives advice and directions to the Sheriff of Nottingham.
Alan Rickman plays the Sheriff and frankly, it’s one of his best roles. He gets some great lines in this and he came off as very formidable against Robin in their final battle. Rickman turned the role down twice but finally took it when he was told that he’d have the freedom to play the character in the way that he wanted. I think that his influence and creative decisions made the character unique and memorable and it takes a great villain to shape a great hero.
I also like that the Sheriff of Nottingham had Michael Wincott as his main henchman. I’ve dug the hell out of Wincott for as long as I can remember and he was a good addition to this cast.
I also liked Christian Slater in this even though I felt like he was a bit underutilized.
The only truly odd thing in the film is that Kevin Costner, as the legendary British hero Robin Hood, uses his American accent, as opposed to doing a British one. I guess this was decided during production, as there are some scenes where Robin sounds a bit British-y. However, the director thought that it might be too distracting and break the film. I guess the critics of the time felt the opposite, though, as they got really hung up on the American sounding Robin Hood.
While the accent didn’t bother me too much, the running time did. I just thought this was 20-30 minutes too long and there was a lot that could’ve been whittled down. Once Robin gets back to England, early on, it felt like it took awhile for the film to really get going.
I thought that the action was pretty good and the big battles were exciting and hold up well. However, the final swordfight didn’t feel swashbuckling-y enough. I think that the director wanted a more realistic fight but part of Robin’s appeal, at least to me, was his athleticism, playfulness and mastery of the sword. Furthermore, the Sheriff of Nottingham truly gets the best of Robin and the hero only wins due to a distraction and a dagger he had hidden. It just felt kind of meh and cheap.
Still, I did like seeing this again and it was an entertaining experience. Costner was fine as Robin Hood but Rickman stole every scene that they shared.
Release Date: January 30th, 1991 (New York City premiere) Directed by: Jonathan Demme Written by: Ted Tally Based on:The Silence of the Lambs by Thomas Harris Music by: Howard Shore Cast: Jodie Foster, Anthony Hopkins, Kasi Lemmons, Scott Glenn, Ted Levine, Frankie Faison, Tracey Walter, Charles Napier, Roger Corman, Chris Isaak, Harry Northup, Daniel von Bargen, George A. Romero (uncredited)
“A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.” – Hannibal Lecter
My memories of this film are as great as they could possibly be but after seeing this again, the first time in many years, I was still surprised by just how perfect it is. There are very few motion pictures that deliver so much and at such a high level that seeing this was incredibly refreshing and left me smiling from ear-to-ear, regardless of the dark, fucked up story.
That being said, as great as both Jodie Foster and Anthony Hopkins are as actors, I have a hard time thinking of anything else they were better in.
Sure, they’ve both had other legendary performances but man, they brought their best to this picture like their entire lives counted on it being a success. Plus, their chemistry is incredibly uncanny that in spite of knowing what Hannibal is, at his core, you almost kind of root for them in a sort of awkward, fucked up, romantic way.
I can understand why Jodie Foster didn’t want to return to the role with Hannibal, a sequel that took too long to come out, but I really would’ve liked to see this version of the characters come together again because the strange connection that they share deserved more exploration.
It would’ve been hard to live up to this masterpiece of a film, though, but I’ll save my added thoughts on Hannibal for that review in about a week.
Anyway, it wasn’t just Foster and Hopkins that were great. This film’s entire cast was perfect and this enchanting nightmare just sucks you in and doesn’t release its grip till well after the credits are over. This movie just lingers with you and a big part of that was the performances of every actor.
Credit for that also has to go to Jonathan Demme, who, as director, was able to pull the best out of this stupendous cast from the smallest role to the most iconic and pivotal.
Additionally, he really displayed his mastery of his craft in this like no other movie he’s directed. The tone, the atmosphere and the sound were perfect. This boasts some incredible cinematography, masterful shot framing, exceptional lighting and Demme employs some really interesting and cool techniques. The best being used in the finale, which sees Foster’s Clarice, terrified out of her mind, as she hunts the film’s serial killer, seen through the point-of-view of his night vision goggles, as he carefully stalks her through a pitch black labyrinthine basement.
That finale sequence in the house is absolutely nerve-racking, even if you’ve seen this film a dozen times. The tension, the suspense, it’s almost too much to handle and that’s the point in the film where you really come to understand how perfect this carefully woven tapestry is.
Plus, it really shows how complex Clarice is as a character. She’s brave as fuck but alone, up against a monster like Buffalo Bill, her senses and her primal fear overwhelm her. However, she still snaps out of it just quick enough to put him down, perfectly and exactingly. Foster is so damn good in this sequence too, that you truly feel yourself in her shoes.
Speaking of Buffalo Bill, Ted Levine was amazing in this role. Man, that guy committed to the bit so much that it’s impossible not to appreciate what he brought to the film. It could’ve been really easy to have been overshadowed by Foster and Hopkins but this guy rose to the occasion with them and excelled in this performance.
My favorite sequence in the film, after the finale, is the one where Hannibal Lecter escapes imprisonment. This is where you finally see how cold and vile he can be. It also shows you how damn smart he is at outwitting those who tried to cage this lion but took that cage’s security for granted. He exposes the flaws in their overconfidence and careful planning and leaves this story a free man, out and about in the world.
The Silence of the Lambs was an unexpected runaway hit and it’s easy to see why. I always thought that it was funny that this was released on Valentine’s Day, as it must have shocked many casual moviegoers just looking for a film to see on a date where they just wanted to smooch their lover. It makes me wonder how many married couples saw this on their first date.
Rating: 10/10 Pairs well with: the other Hannibal Lecter films.
Release Date: October 4th, 1991 Directed by: Russell Mulcahy Written by: Steven E. de Souza, Fred Dekker, Menno Meyjes Music by: Alan Silvestri Cast: Denzel Washington, John Lithgow, Ice-T, Kevin Pollak, Lindsay Wagner, Sherman Howard, Mary Ellen Trainor, John Amos, Miguel Sandoval, Jesse Ventura
“I guess a Beretta in the butt beats a butterfly in a boot, huh?” – Nick Styles
Man, this may be the most Fred Dekker movie ever put to celluloid. It’s got his fingerprints all over the story and Steven E. de Souza’s script really encapsulates the spirit of Dekker’s style. Beyond that, the director, Russell Mulcahy, then turns everything up passed eleven! I’d say he turned it to about seventeen!
I haven’t seen this since it was a new movie on VHS but I’ve got to say that even though I remember enjoying it, I didn’t realize how over the top and crazy it was. I guess that’s because this was fairly normal for an early ’90s edgy boi action flick.
Seeing greats like Denzel Washington and John Lithgow clash in this was fucking incredible, though! These guys brought their a-game, their balls and then, I’m assuming, shot a bunch of steroids and extra testosterone into their man bits. That’s the only way I can really explain their intensity in this movie.
This is a high octane action thriller from the very beginning. It follows a young cop that takes down an extremely violent criminal in the first few minutes. The cop becomes a hero and a bit of a celebrity and eventually starts working for the district attorney’s office. He ends up getting married and has two daughters. All the while, Lithgow rots in prison, fighting and murdering other prisoners, waiting for his chance to escape and get vengeance on the cop that put him there.
Once out of prison, the criminal creates an elaborate plot to break the cop down, destroy his personal life, his career, pump him full of heroin and have him get raped by a hooker with an STD. This story goes to some dark, bonkers places.
In the end, Denzel sets his own trap by utilizing the gangsters he grew up with. The big, legitimately awesome finale takes place on the famous Watts Towers. The finale is fucking great! Especially, for those who loved these type of over-the-top, bar pushing action flicks of this era.
All in all, this is far from a perfect film and it has its flaws but it is perfect escapism, chock full of that “toxic” masculinity that modern Hollywood loathes.
Rating: 7.5/10 Pairs well with: other cop thrillers of the ’80s and ’90s.
Also known as: Teen Agent (UK, Denmark, Japanese English title) Release Date: March 9th, 1991 (Los Angeles premiere) Directed by: William Dear Written by: Darren Star, Fred Dekker Music by: David Foster Cast: Richard Grieco, Linda Hunt, Roger Rees, Robin Bartlett, Gabrielle Anwar, Roger Daltrey
Warner Bros., 88 Minutes
“I knew I should have taken Spanish.” – Michael Corben
I can understand why this film wasn’t a big hit in theaters but I never understood why it didn’t catch on once it came out on video. It’s one of those films that should’ve been a cult classic because it’s just a ton of fun and Richard Grieco was immensely talented, especially in this sort of production.
Sadly, this flopped hard and Richard Grieco didn’t become the superstar that many thought he was destined to become coming off of 21 Jump Street and his own spinoff series Booker. I liked both those shows, liked Grieco and was pretty stoked when this was coming out, as I also loved goofy teen comedies, loser rising to the occasion stories and spy flicks.
This seemed like a perfect formula for my twelve year-old self in 1991 and fuck it, it totally was! I loved it and copied the VHS tape that I rented. I’d then go on to watch it quite a bit but since then, it’s been lost to time and sort of just faded away and pretty quickly.
I found myself thinking about it, recently, so I looked to see if there was a DVD release and there was. When I looked some time ago, it hadn’t yet been released in that format. So I bought it and threw it in the DVD player the same day it arrived.
What I was most happy about was that this held up really well. I mean, it definitely feels like a product of its time but it wasn’t an awful movie that I simply liked because I was a twelve year-old idiot. The main reason is because Grieco has charisma, charm and he just comes across as cool, which is something lost in most modern films.
This is the epitome of mindless, fun escapism and it was a hell of a lot of fun escaping into it in 2020, a year that almost all of us would love to forget.
Beyond Grieco, I loved the women in this, especially Linda Hunt and Robin Bartlett. Both of them really got to ham it up and they appeared like they were having a real blast making this movie. Hell, Linda Hunt is an Academy Award winner and she still performed in this “low brow” comedy with gusto and real passion.
This also looked like it cost a pretty penny to make, as the special effects and stunts were top notch stuff, especially for the time. Now this wasn’t James Bond level but it obviously had a budget much higher than your typical teen comedy flick.
I also learned that this was written by Fred Dekker in the ’80s with the intention of it being a starring vehicle for Anthony Michael Hall, capitalizing off of his fame from multiple John Hughes movies. I’m sure that would’ve been a pretty awesome film too but I’m really happy with how this turned out, regardless.
It sucks that this wasn’t a big kickoff to Richard Grieco’s film career but he’s got nothing to be ashamed of, as this is a film I’ve loved for decades and was really happy revisiting nearly thirty years later.
Rating: 7.25/10 Pairs well with: other goofy teen movies from the late ’80s and early ’90s.
“She’s some bunny isn’t she? Great to see her again, it’s been years. But I never forget a face… especially, if I’ve sat on it.” – Decker
I actually didn’t even know about this movie until the scene I’ve linked below came across my YouTube suggestions while I was looking for some other Christopher Walken clips for something else completely unrelated.
That scene is pretty incredible and maybe the most Walken thing that Walken has ever done. Once I saw that this long lost flick also featured Charlie Schlatter and Josie Bissett with small roles for Joanna Cassidy and Richard Kind, I knew that I had to check it out.
This was a straight-to-VHS release and while it’s not a very good movie, it’s pretty entertaining for those who love Walken and late ’80s/early ’90s crime thriller schlock.
All-American Murder also dabbles into horror due to the dark nature of its plot, the crimes committed and a few sequences that almost play more like a slasher flick than a hard-nosed, gritty crime picture.
The plot is damn clunky and it became predictable pretty early on but it’s still fun to watch the absurdity of the story unfold.
Ultimately, I loved Walken in this and being that he’s one of my all-time favorite actors of his generation, I could see this bad movie becoming one of those guilty pleasure flicks that I feel compelled to revisit every few years or to show others that come over for a movie night that want some solid cheese and over-the-top Walkenisms.
Most people may be bored shitless with this movie. But those are the type of people I don’t talk to about film.
Rating: 5.75/10 Pairs well with: other crime thrillers from the era.
*instead of the trailer, I’ll just share this scene, one of the best in Christopher Walken’s decades-long career.
Release Date: July 3rd, 1991 Directed by: Brian Levant Written by: Scott Alexander, Larry Karaszewski Music by: David Kitay Cast: John Ritter, Michael Oliver, Amy Yasbeck, Jack Warden, Gilbert Gottfried, Laraine Newman, Ivyann Schwan, James Tolkan, Martha Quinn, Zach Grenier
“Junior’s getting worse, we can’t even figure out what he did to that dog!” – Ben Healy
If you like Problem Child, you’ll probably like Problem Child 2, even if it’s not as good. If you don’t like the first film, then just skip this.
This is not a bad film in spite of it’s 4.9 out of 10 on IMDb, it’s just a film made for its audience, which isn’t made up of many people, especially nearly thirty years later.
This is a goofy, crude comedy but it’s that type of crudeness that worked really well for me when I was a kid. Even know, it’s over-the-top moments like the carnival ride vomitpocaplypse still play really well. It’s intentional hokiness is still funny. In fact, I was actually impressed by it, seeing it all these years later, as I couldn’t believe how far they pushed the bar and how much time and effort went into that massive gross-out gag.
The story is also good in that it isn’t really a re-tread of the previous film. Sure, at it’s core it is primarily about a kid that likes to be a total dick but it introduces a good foil for him. It also changes the setting, focuses a lot on John Ritter’s Little Ben looking for a new woman and it also focuses on the importance of family and friends.
Plus, I absolutely love Jack Warden and Gilbert Gottfried in these movies and they give us some really good shit, here.
Problem Child movies are simple, mindless, fun films. This one is no different in that regard. I think it lacks some of the heart of the original but the end sort of pulls you back in, as the characters you care about seem to find what they were looking for and what they need.
Ultimately, these weren’t movies that were made to be classics, they were just made to entertain people in a time where everything wasn’t offensive and we could laugh at bonkers, absurd shit.
The film is juvenile but it’s supposed to be. Back in the day, that worked for me. Seeing it now, it still works, as it brings me back to that place. But with that being said, I wouldn’t expect this to mean much to a person watching it for the first time in 2020.
Rating: 5.5/10 Pairs well with: its predecessor and crappy sequel.
Release Date: April 26th, 1991 Directed by: Daniel Petrie Jr. Written by: David Koepp, Daniel Petrie Jr. Based on:Toy Soldiers by William P. Kennedy Music by: Robert Folk Cast: Sean Astin, Wil Wheaton, Keith Coogan, Andrew Divoff, Denholm Elliott, Lou Gossett Jr., George Perez, T.E. Russell, Shawn Phelan, R. Lee Ermey, Jerry Orbach (uncredited)
Island World, TriStar Pictures, 111 Minutes
“Great, the school gets taken over by terrorists and I’m still on pots and pans.” – William “Billy” Tepper
I thought this movie was pretty badass when I was twelve years-old. I mean, it’s still okay but it hasn’t stood the test of time very well. Plus, I think at twelve, I still believed that being a real G.I. Joe was an obtainable life goal.
Toy Soldiers like Red Dawn, Iron Eagle and The Rescue before it, sees its teen stars pick up arms to take down some corrupt, evil motherfuckers.
In the case of this film, the teens’ military school is taken over by a Colombian drug cartel because the cartel’s leader’s daddy is being held captive by the United States government. The reason he chose the school was because the son of one of the U.S. government officials is enrolled there. However, he was pulled out of the academy just before the evil shitheads arrived. So the bad guys already suck before the ball really gets rolling.
Anyway, we see a pretty solid cast of Sean Astin, Keith Coogan and Wil Wheaton (before he totally sucked) work with their other buddies in an effort to stop the drug cartel and take their school back.
The adult officials in the movie are also pretty solid, as they’re played by Louis Gossett Jr. Denholm Elliot and R. Lee Ermey.
Seeing this now, almost thirty years later, all the film’s extra excess of cheese is very apparent. Sure, I noticed it when I was a pre-teen but having just come out of the ’80s, cheesiness was still at the forefront of American pop culture. So was patriotism and kicking foreign ass, as we had just won the Cold War, conquered mainstream communism and were embroiled in the first Gulf War. Also, for kids my age, we had guys like Hulk Hogan, Sgt. Slaughter and “Hacksaw” Jim Duggan preaching to us about the awesomeness of Americana. Don’t talk to me about Slaughter becoming an Iraqi sympathizer because that wasn’t real, you imagined it.
So the movie is still enjoyable in spite of its goofiness and its awkward stars trying so hard to be tough guys. It’s hard to buy into, especially when you see little Willy Wheaton shooting a machine gun on the steps of the school, only to be gunned down in an effort to give this meaningless movie more meaning.
As mindless entertainment goes, you could watch much worse. This is a pretty forgettable film but it had some good young actors for its time. I only wish it would’ve been retooled into a Pauly Shore movie because that would’ve taken it to a whole other level.
Rating: 6.25/10 Pairs well with: other teen soldier movies like Red Dawn, Iron Eagle and The Rescue.
Also known as: Highlander 2 (unofficial title) Release Date: January 31st, 1991 (Germany) Directed by: Russell Mulcahy Written by: Peter Bellwood, Brian Clemens, William N. Panzer Based on: characters by Gregory Widen Music by: Stewart Copeland Cast: Christopher Lambert, Sean Connery, Virginia Madsen, Michael Ironside, John C. McGinley, Allan Rich
“Most people have a full measure of life… and most people just watch it slowly drip away. But if you can summon it all up… at one time… in one place… you can accomplish something… glorious.” – Ramirez
How do you follow up a pretty awesome and unique film that didn’t need a sequel?
Well, you completely fuck everything up and produce a cheap, trashy, nonsensical, unnecessary clusterfuck and release it on the world!
Highlander II: The Quickening is a complete bastard of a motion picture and one of the worst sequels in history. But I’ll explain, as there is actually a lot to pick apart with this piece of rabid, foaming horseshit.
The biggest problem with this, more than anything, is the plot. Instead of the Immortals just being an unknown cosmic mystery that just exist, this film turns them into space aliens from a far off planet. The ones on Earth were basically exiled away for whatever reason and they must fight until “there can be only one”. That “one” then wins “The Prize”, which is now, essentially, a trip back to their home planet. I mean, what in the absolute fuck?
And that doesn’t even get into how secondary that whole plot point is, as the film spends more time focused on trying to take down an energy shield that was created by MacCleod to replace the o-zone layer, which was destroyed by pollution. Never mind that the Earth looks even more polluted and somehow this energy shield wrecked the world’s economy because it’s convenient for the plot, which needed this film to be set in a cyberpunk dystopian future.
I think I’m retelling this right but this picture had an effect on my brain where it made me feel completely smashed without actually sipping a drop of alcohol. I’m still immensely hungover from this cinematic swill.
It honestly feels like the filmmakers were given a script about o-zone layers and energy shields that wasn’t even related to the Highlander mythos and they decided to rework it just to throw the Highlander name on it and to bank on getting Sean Connery in this flaming turd.
The second worse thing about this picture is the acting. Almost every character in this, especially the baddies, acts absolutely and utterly insane. And not in a good way that the film calls for. It’s like they rounded up all the villain actors and locked them into a prison cell made out of cocaine, which they then had to snort their way out of. Well, except John C. McGinley, he’s actually really dull by comparison when looking at Michael Ironside and those flying, primal weirdos that look like they’re from an ’80s Norwegian industrial band.
On the flip side of that, Christopher Lambert and Sean Connery are also really dull. Lambert plays this like he’s a charisma vacuum while Connery makes sure that the audience understands that he doesn’t endorse this film and just needed to buy his wife a new house.
I guess Virginia Madsen is the most likable person in the movie but she’s completely drowned out by all the fuckery going on around her.
The third worse thing is the special effects and the general aesthetic of the movie. They’re deplorable by 1991 standards and this looks a lot cheaper than the first film. I mean, they’re embarrassingly bad. Almost every sequence in this film looks like a cutscene from an early ’90s cyberpunk PC game. You know, back when they would hire really inexperienced actors to act out live action scenes with terrible effects and dystopian sci-fi sets all around them.
I could go on and keep picking out more negatives but this motion picture doesn’t deserve to have a novel written about it.
I’d talk about the positives but honestly, there aren’t any. And that’s not me being a dick, there really isn’t anything I can pull out of the bottom of this Port-O-Let and say, “Well, this little nugget here isn’t total shit.”
In the end, it was really hard to sit through this and I honestly don’t know if I can get myself to sit through the three sequels after this one. From memory, this was the worst in the series but I don’t have very fond feelings for the others, either.
Rating: 2/10 Pairs well with: the other Highlander sequels, none of which come close to the cool and original first film.
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