The “Strawberry Mansion” Home Release Is Your One-Way Ticket to a “Retro-Futuristic” Adventure8/22/2022 Originally published on Elements of Madness.  Kentucker Audley in STRAWBERRY MANSION. Courtesy of Music Box Films. Inception (2010) may be one of the most well-known movies about dreams from the last 20 years, but the indie masterpiece Strawberry Mansion is by far one of the most creative and enchanting. From the minds of co-writers and directors Albert Birney and Kentucker Audley, Strawberry Mansion tells a story about love, imagination, and the importance of dreams, exploring these themes in a rich fantasy world that emulates the sci-fi classics of the VHS era. With a limited budget and a very specific vision for what they wanted to create, Birney and Audley worked for years to make Strawberry Mansion happen. Their years of dedication most definitely paid off, and they succeeded in making a breathtaking and unforgettable movie that transports viewers back to a time when actors in animal costumes was the peak of sci-fi / fantasy production design. The film premiered at the Sundance Film Festival in January of 2021 and went on to screen at the Fantasia International Film Festival later that year. Starting June 21, 2022, Strawberry Mansion will be available on Blu-ray and DVD for fantasy lovers everywhere to add to their home video collections.
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  NOPE. Written, produced and directed by Jordan Peele. If the first trailer for Jordan Peele’s Nope piqued your curiosity with its foreboding tone and vague details, then you were probably bummed out by the final trailer, which seemed to give everything away. You’ll be pleased to know that despite its revealing final trailer, Nope still has a handful of surprises to offer. While it's not quite as intense or chilling as Peele’s first two feature films, Get Out (2017) and Us (2019), Nope is a well-developed, well-rounded, and well-crafted flick that is sure to delight crowds at the theater. It’s filled with all the thrills and chills of a summer box-office hit, bringing together the best of comedy, sci-fi, and horror. And, of course, every shot is accented by Peele’s penchant for the disturbing. As the talented writer and director proved with his first two films, Peele has more than a few tricks up his sleeves when it comes to plot twists, uncanny visuals, and bizarre narratives. Peele has not only joined the ranks of 21st century auteurs - he’s also leading the charge.
 (L-R): Natalie Portman as Mighty Thor and Chris Hemsworth as Thor in Marvel Studios' THOR: LOVE AND THUNDER. Photo by Jasin Boland. ©Marvel Studios 2022. All Rights Reserved. Taika Waititi’s Thor: Love and Thunder is far removed from Kenneth Branagh’s Shakespearian take on the comic book series in Thor (2011). The fourth Thor film in the MCU is even more wacky and bizarre than Thor: Ragnarok (2017), which was also directed by Waititi. Perhaps the difference is that this time, Waititi was also responsible for the story and co-wrote the script with Jennifer Kaytin Robinson. The good news is, Thor: Love and Thunder features the same cast and characters we’ve come to know and love over the last decade. Throughout the three directorial changes of the Thor films and the many stylistic shifts of the other MCU films featuring Thor, Chris Hemsworth (Thor) and Natalie Portman (Jane Foster) have remained consistent in their performances, developing characters that can stand the test of time. The question is, can those characters withstand yet another attack on the universe by a new, menacing villain? In Love and Thunder, Thor’s strength is tested once again as he faces Gorr the God Butcher (Christian Bale), a dark and devilish figure who’s hellbent on destroying all gods. King Valkyrie (Tessa Thompson) and Korg (voiced by Waititi) are there to help, but Thor is at a disadvantage because he can’t bring his trusty hammer, Mjolnir, into battle. This time, the legendary weapon has decided to lend its powers to a new warrior: Mighty Thor, aka, Dr. Jane Foster.
  (From left) Dr. Ian Malcolm (Jeff Goldblum), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Claire Dearing (Bryce Dallas Howard), Owen Grady (Chris Pratt), Maisie Lockwood (Isabella Sermon), and Kayla Watts (DeWanda Wise) in JURASSIC WORLD DOMINION, co-written and directed by Colin Trevorrow. A strong-willed teen enters her mountain home in a huff, avoiding eye-contact with her over-protective mother. When the tough and rugged family patriarch returns home from a full day of horseback riding and animal herding, he greets his wife with a smooch as she tells him that he needs to talk with his daughter about her recklessness. Later, the family gathers around a campfire for dinner, comfy and cozy in their boots and flannel shirts. It’s not the beginning of a made-for-TV movie about a horse ranch – it’s the beginning of the latest installment in the Jurassic Park franchise: Jurassic World Dominion. Luckily, the movie gets a little better along the way, and it hits its stride during the action sequences. The wholesome, home-on-the-range dialogue gives way to suspenseful fights and chases, and the lead characters step aside to make room for the original Jurassic Park trio: Dr. Ellie Sattler (Laura Dern), Dr. Alan Grant (Sam Neill), and Dr. Ian Malcolm (Jeff Goldblum). Oh, and of course, Dr. Henry Wu (BD Wong) is involved, as per usual. But even with the return of these familiar faces, it’s clear that Dominion is a different beast than its predecessors. In a frantic attempt to please fans and bring closure to the Jurassic World trilogy, the creative team behind Dominion threw a bunch of self-referential jokes and half-hearted Spielberg nostalgia into the screenplay and hoped for the best.
  Things are looking grim in Gotham City. As per usual, there's plenty of crookedness afoot — and the city’s elected officials can’t be trusted to stop the criminals of Gotham. On Halloween night, just days before the mayoral election, one of the most important men in the city is brutally murdered in his home. Commissioner Gordon (Jeffrey Wright) is on the case right away, and he brings a certain Caped Crusader (Robert Pattinson) along to help. Batman’s quick thinking comes in handy when investigators discover a riddle left behind by the murderer. Unfortunately, the answer to that riddle doesn’t give Gotham City police much information. It won’t be long before the sneaky Riddler (Paul Dano) strikes again, and Batman must act fast to stop him.
  (L-R, on the TV screen) Yoshifumi Sakai as Ozawa, Kazunari Tosa as Kato, Riko Fujitani as Aya, Gôta Ishida as Komiya, and Masashi Suwa as Tanabe in BEYOND THE INFINITE TWO MINUTES. We go to movie theaters to see blockbusters. We go to film festivals to see experimental movies — and we hope that these cinematic experiments will have something fresh and new to offer. In 2021, film festival goers from around the world were able to satisfy their appetite for something new with Beyond the Infinite Two Minutes, the first feature film from Japanese theatrical troupe EUROPE KIKAKU. The film’s fluid long takes, stylized comedy, and mind-bending plot impressed audiences at the Brussels International Fantastic Film Festival, the Fantasia International Film Festival, Arrow Video FrightFest, and Fantastic Fest. Starting Tuesday, January 25, 2022, you can watch Beyond the Infinite Two Minutes from the comfort of home. And might I suggest getting really comfortable for this one, because it just might make your brain hurt.
 A still from BELLE. © 2021 STUDIO CHIZU When it comes to fairy tales, setting is key. Fairy tales don’t have to take place in the past or in distant kingdoms, but their settings should invoke a sense of wonder and enchantment. The setting of a fairy tale should work alongside the other thematic elements to draw out and challenge the hero’s best and worst character traits. And if there’s any place where we’ve seen the best and worst of people over the past few years, it’s been right here on the internet. Therefore, it’s no surprise that writer/director Mamoru Hosoda chose to set his 21st-century adaptation of a classic fairytale in a bustling and vibrant virtual world. With a little help from VR technology, the heroine of the story, Belle, can be whoever she wants to be — and her counterpart, “the beast,” can hide his true identity behind a curated “tough guy” internet persona. Belle is a rich, detailed, and ambitious film that’s part fairy tale, part coming-of-age story, and part VR adventure.
 DON'T LOOK UP (L to R) JENNIFER LAWRENCE as KATE DIBIASKY, LEONARDO DICAPRIO as DR. RANDALL MINDY. Credit: NIKO TAVERNISE/NETFLIX © Kate Dibiasky (Jennifer Lawrence) begins her morning like any other. She makes a cup of tea, curses at herself as she prepares her jam and toast, pops in her earbuds, and plants herself in the observatory at Michigan State. But as she looks out at the stars, she notices something strange, out of place, and beautiful: a comet, fierce and fiery, making its way across the solar system. For a brief moment, Kate experiences the joy of genuine discovery. She’s soon joined in the observatory by her fellow PhD candidates and their mentor, astronomy professor Randall Mindy (Leonardo DiCaprio). But after conducting a few calculations, Kate and Randall come to a stomach-churning realization about the comet.
Originally published on Elements of Madness.  Haizea Carneros as Amaia in ALL THE MOONS. No country’s literature or filmography is short of romance stories. If a writer tells you they’re working on a piece about love, you’ll probably assume they’re talking about romantic love. We live in a culture that prioritizes romance and marriage, and it’s easy to forget that other types of love can be just as fulfilling. When Igor Legarreta and Jon Sagalá wrote a screenplay about a girl searching for love in her doomed existence as an immortal vampire, they decided not to turn their bloodsucker story into a romance. In All the Moons, which screened at the Fantasia International Film Festival in August, the young heroine discovers meaning in her wretched existence not from a romantic relationship, but from the love of a lonely man who becomes the parent she never had. Legarreta and Sagalá undertook a great challenge in choosing to write a vampire movie (at this point, what hasn’t already been done with vampires?), however, they made the most of this fantasy/horror sub-genre by exploring parent/child relationships and the question of consent in matters of life and death. The final product, directed by Legarreta, is an enchanting fantasy that wraps the joy, wonder, and melancholy of an entire lifetime into a single feature-length film.
  (L-R) Nicolas Cage as Hero and Tak Sakaguchi as Yasujiro in the action/adventure film, PRISONERS OF THE GHOSTLAND. Photo courtesy of AMC+ and Shudder. There’s just no other way to put it: Sion Sono’s Prisoners of the Ghostland is just downright bizarre. But is it a bizarre work of genius, a bizarre flop, or something in between? This absurd dystopian action flick scores so highly in some categories and so poorly in others that it’s difficult to rate the film overall. The production design is outrageously fun, the cinematography is breathtaking, and Joseph Trapanese’s score is bursting at the seams with memorable motifs that work perfectly in a genre-driven movie. But the script? Let’s just say it’s a good thing Nicolas Cage has so much experience pushing bad dialogue to its limits. Thanks to Cage’s performance, Prisoners of the Ghostland falls into the “it’s so bad, it’s good” category. If you can accept the movie for what it is — a wacky celebration of genre created by an experienced director who has earned the right to do whatever he wants with his movies — you might not hate Prisoners of the Ghostland too much.
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