The only good part of The Super Mario Bros. Movie is in how Mario Kart gets reimagined.
Before The Super Mario Bros. Movie came to the fore as the better motion picture, Super Mario Bros existed. It’s almost confusing to know which film is being talked about, since there’s two missing words to distinguish between the two. But for those in the know about the older work, perhaps it’s best not to. That live-action take reimagined the game as a gangster flick, and not everyone enjoyed it.
After Wreck It Ralph, fans were wondering when we’d get a motion picture that’s truly a love letter to Nintendo’s product line. The nods in this latest showed what’s possible with the cameo. The game is about a plumber saving the princess from Bowser, an evil turtle who is holding her hostage. In this take, the changes to the story are different.
The movie version (voiced by Jack Black) puts the citizens of each world into a prison, and Mario (Chris Pratt)’s brother is the latest victim. Um, what happened to honouring the game? This movie directed by Aaron Horvath and Michael Jelenic for Illumination Entertainment and Nintendo set out to build a cinematic universe rather than respect the original premise. Although they stick in plenty of references to this company’s past games and Easter eggs to distract, only the hard core will know.
Edgar Wright‘s Last Night in Soho plays better after watching the bonus features in its home video release. This movie is more of a coming-of-age drama than a horror film and I can see this work easily fitting into the same universe as Disney’s live-action Cruella. This work’s emphasis on fashion is key to my theory.
Even thoughts of Suspiria come to mind because of the colour palette and catapulting of Eloise (Thomasin McKenzie) to an era not everyone knows. She somehow manifests, if not dreams, of 60s London. Instead of appearing in her own corporeal form, she’s in the body of her singer idol, Sandy (Anya Taylor-Joy). The two experience the seedier side of Soho district, hence the title. The glamour of the era and the music is as delightful and sinister as Baz Luhrmann’s Moulin Rouge–but minus Christian’s perspective of All You Need Is Love and saving the starlet from her demons.
Robert Eggers directorial debut in the historical film The Witch is more than haunting. To watch a Puritan family descend into madness is a spine-chiller. As an audience, most will notice why. But how many people will pick up on the fact that this movie is set before the Salem Witch-Trials? The fact the craze happened as a result of misplaced fears and due to consumption of diseased rye is a detail deserving to mention. Without this knowledge, trying to understand this film will have some folks wondering what kind of point Eggers is wishing to make.
The film certainly highlights the hysteria that occurs after William (Ralph Ineson) and his family is told to leave by the village council. After an argument over sanctuary, the entire clan departs. One detail an eagle-eyed fan of CW’s Supernatural will notice is that the Governor is played by Julian Richings (who plays Death in the television series). Could this nod be an intentional foreshadow of what’s to come?