Author: jbg

SUITABLE FLESH (2023)

~ jbg ~ Leave a comment

Directed By: Joe Lynch 

Written By: Dennis Paoli 

Based On The Short Story “The Thing On The Doorstep” By H.P. Lovecraft 

Cinematography: David Matthews 

Editor: Jack N. Gracie 

Cast: Heather Graham, Jonathan Schaech, Barbara Crampton, Bruce Davison, Judah Lewis 

A psychiatrist becomes obsessed with one of her young patients, who she later discovers is linked to an ancient curse.

This film has that 1990s straight-to-video feel. That felt like Russian roulette between what the poster and back art promised and what you actually got. You tried to look on the back of the video for pictures from the film to hedge your bets and guide your decision before you took it home crossed your fingers and hoped for the best.

It feels like setting that error too just going by the cell phones used throughout the film. 

What you get is an erotic thriller that has all the elements and the score of one that works as a horror, or thriller with a sense of humor about itself. That has loads of sex though isn’t particularly sexy even though lead Heather Graham usually is. You can also tell she is having fun in the role and fully letting loose.

As here she is sexy in offers glimpses of nudity, but never quite full, but it is in full control of her own sexuality throughout.

The film is filled with practical effects, and Gore that are impressive, even if the red when it comes to the blood is not quite right. so it feels like a Hammer or Giallo film where the blood never quite feels real, which also helps to make the film feel exactly like it is more of a fantasy rather than any kind of reality

Watching it with its fast paste, nutty and horny humor. It kept reminding me of the television show Chucky maybe as they both seem to be over the top and dark-humored and seem to pack themselves on the back for humor, which some might see as wrong. Who would be the totally wrong audience for this film? This one seems to revel in trouble.

Hate to reference another thing, but this also feels like a tale from the Crypt episode and long luckily, one of the good ones. Not as over-the-top as I was expecting. It still is quite the wild ride.

Throughout the film, there’s obviously a threat that literally will not die but as you watch the film, you’re not necessarily worried you’re kind of rooting for both sides in their own way as you just want this story to keep going into see where it’s gonna go.

Watching the film you do they have saved themselves of trouble by just cutting off the tongue of the villain which would’ve made things a lot more easier I believe but then again, there’d be no fail either and that would be a shame.

This is a film for those who, like to take risks with what they watch never quite knowing what they’re going to get but now it’s going to be something different in a bit down and dirty.

As though the film surroundings always try to look glitzy and high-end at heart is the trashy little film.

Grade: B- 

MEDUSA (2021)

~ jbg ~ Leave a comment

Written & Directed By: Anita Rocha De Silveira

Cinematography: Joao Atala

Editor: Marilia Moraes

Cast: Mari Oliveira, Lara Tremouroux, Joana Medeiros, Felipe Frazao, Bruna G, Bruna Linzmeyer, Thiago Fragoso, Joao Vithor Oliveira 

In order to resist temptation, Mariana and her girlfriends try their best to control everything and everyone around them. However, the day will come when the urge to scream will be stronger than it ever has been.

A futuristic film more in politics than actual science fiction. Set in a dystopian future in Brazil that seems pretty normal except for its extreme religious culture  The film shows the misogynistic nature of organized religious politics, and even vigilantism  trying to show that the freedoms we condemn actually can liberate us, and our more for the people than anything else

The beauty who is our lead after she gets scarred in retaliation from one of her victims in the attack it is the first time that she has been treated as less than and it’s quite eye-opening as then she learns sympathy as she becomes sympathetic, and her eyes are open to the injustices of the world.

Her beliefs unravel, as do her body and nature. Where she becomes a of rebellion. That begins to affect those around her in similar situations.

This then makes her separate from her vigilante group but also leads her to want to liberate more people, and slowly she is infecting her core group with thoughts and compassion, which seem to go against the heart of their faith and actions

As we wander throughout, is it a spiritual, awakening, or are more and more of the vigilante females getting possessed. 

The film offers an original voice and cinematic universe in a genre, offering that is a critique of the patriarchy and fascism

It does offer now lustrous world, so it never quite feels futuristic just a bit off or different and more puritanical. No, the film becomes more symbolic than exactly offering a point.

It’s stylistic and sensationalistic though for all this heavy substance, the film comes off a little too heavy-handed, and there is no sense of enjoyment. The film looks great, but beyond that, it never feels as strong or wonder us in meaning as it seems to struggle to show.

No, for a film that is about feminism it shows a lot of violence against them, which I guess is all a part of their age and the rage that is against them, and trying to keep them in their place. It bites off more than it can actually chew 

It also has a great soundtrack that can be mesmerizing and matches the camera work and rhythm of the scenes.

Grade: C+

FREMONT (2023)

~ jbg ~ Leave a comment

Edited & Directed By: Babak Jalali

Written By: Babak Jalali And Carolina Cavalli

Cinematography: Laura Valladao 

Cast: Anaita Wali Zara, Jeremy Allen White, Gregg Turkington, Hilda Schmelling 

Donya works for a Chinese fortune cookie factory. Formerly a translator for the U.S. military, she struggles to put her life back in order. In a moment of sudden revelation, she decides to send out a special message in a cookie.

Titled after the region in California. The film takes a poetic look at the region through the eyes of a recent immigrant Donya, who works in a fortune cookie factory.

She suffers from insomnia and we are introduced to the various characters in her new life and day-to-day encounters.

There are plenty of moments that are beautiful and off the wall. Anchored by humanity, soul, and deadpan humor that will remind the audience of the films of Jim Jarmusch 

Though this film isn’t as hip,  It’s Practically more suburban than urban. However, it does showcase all the character’s loneliness and their desire to seek out someone or others to connect and communicate with, who understands them. It can be a longing for home, community, or others even if just a single recognition. 

Which is where the film taps into a universal truth. Here etched across the screen in black and white that always offers a timelessness but also for as vivid as that can be. It also showcases the bland and colorless lives of these characters and their emotions. Which they all hold close to their chest. Rarely if ever an outburst. 

The film conserves its energy and never quite becomes vivid, but it stays of interest. More like watching an artist work on a still life you recognize but also is foreign to you at the same time. Where you want to explore.

The characters even with their various eccentricities feel real and with a cast full of lesser-known or first-time actors. Who have lived in faces. You are constantly aware you are watching a film. Even if for Its dreamlike nature, it feels close enough to reality for you to believe 

at this time seems to be getting more attention for the actor Jeremy Allen White being in the cast though his role is less supporting and bigger than a cameo and doesn’t come into the third act. However, if it helps get eyes on the film that helps.

Grade: C+

LIMBO (2020)

~ jbg ~ Leave a comment

Written & Directed By: Ben Sharrock

Cinematography: Nick Cooke

Editor: Karel Dolak and Lucia Zucchetti 

Cast: Amir El-Masry, Vikash Bhai, Ola Orebiyi, Kwabena Ansah, Sidse Babett Knudsen, Kenneth Collard, Sanjeev Kohli, Cameron Fulton

Omar is a promising young musician. Separated from his Syrian family, he is stuck on a remote Scottish island awaiting the fate of his asylum request.

This is not going to be a movie for everybody. As the film takes its time and makes its way. 

At first, it feels like a movie that is styled like a Wes Anderson film. Just as offbeat as even the trailers make it come off that way. It only stays within that deadpan style for the first act of the film.

After that, the film maintains an eye and framing similar to that style. It gets deeper and more dramatic. The film still tries to communicate with Less dialogue and stays deadpan 

It finds it can say much with very few words and letting the still camera make every scene look like a painting and find beauty in the landscape. It also works almost Like a comic strip.

It also shows the absurdity of immigrant life. As they are being taught the customs of their new homeland. The lessons are condescending and humorous without the instructors fully realizing almost how insulting they are.

We get to meet and learn about all the various immigrants staying at this location and how the townsfolk react and treat them, but we mainly stay with Omar, who is usually unsmiling and quite serious.

As with many films about displacement and settling. The film offers some dry light humor and droll observations about all the cultures involved 

The film is constantly surprising but does move at its own pace. Once you get on its wavelength you are appreciative of Its style and story and eventually actually manages to affect you out of nowhere but you oddly knew it was coming. Which is similar to the plight of these characters.

This is a film that seems Like it’s not doing much but is telling a strong story. That might seem individual but can be universal. It feels quirky but uses that quality to let your guard down and let it in. Then it gives you heartbreak and drama. That lies in its heart. Luckily the ending gives us hope. 

Grade: B

THE ART OF SELF DEFENSE (2019)

~ jbg ~ Leave a comment

Written & Directed By: Riley Stearns

Cinematography: Michael Ragen

Editor: Sarah Beth Shapiro

Cast: Jesse Eisenberg, Alessandro Nivola, Imogen Poots, Steve Terada, David Zellner, Philip Andre Botello, Jason Burkey, Mike Brooks, CJ Rush

One night, Casey, a scrawny, bookish accountant, is beaten up for no apparent reason by a motorcycle gang. Traumatized, he sets out to ensure this doesn’t happen again. Then he stumbles across a karate school. He joins but progress is slow. Then the teacher starts to force him to be more aggressive.

This Seems more like an existential comedy of various tones that stay at a certain level no matter the emotion. 

How someone can get lost in a leader, hobby, or subculture that accepts you or makes you feel confident. How martial arts can have that hold on you and what happens if you take it too seriously and corn under the influence of a charismatic leader.

The film at times is homoerotic and misogynistic. As we watch an alpha must defeat before can move forward. The film keeps changing at first inspirational leader become a kind of enemy. Who by the end epitomizes the main character’s fear.

The characters all seem to some degree lost and lonely. Where it seems martial arts gives them not only purpose but a place to belong. Not To mention a discipline to follow that they lack. 

The film is an absurdist comedy that starts off in a recognizable reality but gets looser and crazier the longer it goes along.

The power of influence and what some people will do to stay in power to have that strength and feeling. As they might fail in other places. So that this is all they may have. 

Not to mention what it means to be an alpha in a society that seems to want most to be beta’s through that lust and desire to be the leader and it seems to control your own destiny. 

This is also a bone-dry comedy that gets outlandish but you follow it especially. As it always keeps its Composure and stays within its tone.

A very dry film that feels more like a cult novel than a natural film. As it all Comes together at first feels so distant and you want to know more about the characters. 

Grade: B- 

CAT PERSON (2023)

~ jbg ~ Leave a comment

Directed By: Susanna Fogel

Written By: Michelle Ashford

Based on the Short Story by: Kristen Roupenian

Cinematography: Manuel Billeter

Editor: Jacob Craycroft

Cast: Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis, Christopher Shyer, Liza Koshy, Fred Melamed, Donald Elise Watkins, Michael Gandolfini

When Margot, a college sophomore goes on a date with the older Robert, she finds that IRL Robert doesn’t live up to the Robert she has been flirting with over texts. A razor-sharp exploration of the horrors of dating.

Well, I am a big fan of the short story and the book it’s part of I was looking forward to this film, and it’s no surprise, that your pails and comparison, and is ultimately a disappointment compared to the original short story, which is more ambiguous, and might be one of the short story strength or as this film it’s hard to be ambiguous, totally and keep the audience interested and engaged not saying it’s impossibleit’s just that that quality was not expressed.

In the third act, it seems like the filmmaker and film decided to make a thriller or add thriller elements to the film kind of making all the paranoia and awkwardness she felt before come true but also since it’s based on a short story, the first half of the film is based on that actual story, and this is more where the filmmaker decided to go, maybe as a narrative choice, or to start to make the film, seem conventional, taking some sort of inspiration from the movie adaptation, wherein the third act it’s questionable but it becomes more conventional

As before this, the film seems more like an alien, awkward romance between two awkward people, one just beginning their adult and one well in the middle of it, and not seeming to have any anchors 

This film, a modern generation film, that certainly could open up many conversations, especially in a battle of the sexes and dating would’ve been a bit more interesting, and a third act tries to break up the monotony of that, but feels right and wrong at the same time 

As you can see, both sides of the story, though it doesn’t allow itself to get there. Some of the behavior is so extreme that you can’t truly forgive it or give the character credit.

There is a challenging and interesting movie very deep inside here. Fortunately, it just doesn’t seem to be well. Translated as the film is kind of a chore at times to sit through as you feel it length throughout.

Some scenes do work, but they’re also scenes that you look forward to and should be highlights that seem to fall short the intimate evening, for instance, is one of them.

While it tries to be moody. It also seems to decide to be one-sided and then in the end broaden up its view but onto with a few details and still Makes her justified in her beliefs. 

The film delves into the paranoia and boundaries of modern dating from a woman’s perspective. Especially for a young woman who is not as seasoned making her way through the world. 

Though watching it, I kept thinking how much different or even better it might have been if this was made by a director like Todd Solodnz as it has a kind of coldness to it, but then again a sense of belonging or wouldn’t have been seen differently if Geraldine Viswanathan who plays the main characters best friend, had played the main role. Would the film then explore not only different sexes but also different cultures?

Isabella Rossellini doesn’t even really need to be in this movie. As her role comes off as a cameo and maybe a star name to add to the cast for a bigger budget. 

This could have been a defining movie though unfortunately it does itself in and sells itself short. As it dulls any sharpness it might have and makes the proceedings dull all around for the most part. 

Grace:  C-

SHORTCOMINGS (2023)

~ jbg ~ Leave a comment

Directed By: Randall Park 

Written By & Based On The Graphic Novel By: Adrian Tomine 

Cinematography: Santiago Gonzalez 

Editor: Robert Nassau 

Cast: Justin H. Min, Ally Maki, Sherry Cola, Randall Park, Jacob Batalon, Tavi Gevinson, Debby Ryan, Sonoya Mizuno, Timothy Simons

Follows a trio of young, Bay Area urbanites–Ben Tanaka, Miko Hayashi, and Alice Kim–as they navigate a range of interpersonal relationships while traversing the country in search of the ideal connection.

This film is an anti-romantic comedy that is a breath of fresh air. As it is a movie after my own heart. Adapted from a graphic novel by Adrian Tomine 

The film offers a character-driven slice of life. That possesses a dry sense of humor. As it presents situations in the main character’s life. So that it feels more like a hangout movie. As we explore the character’s world, more witness his relationships.

How he complains and believes himself to be the victim always. Closing himself off from others and feelings in general. How he becomes his own worst enemy and slowly alienates others. Who actually wants to like him.

That ends up becoming a story of a kind of redemption or how a jerk finally wakes up to himself and his negative aura.

To give you an example of the main character imagine the worst film snob and magnify it as a personal outlook on most things. 

The film hits home as it is a reminder of sorts for one at a younger age. One would want to believe not as bad but plenty of aspects are personality. Though he is more successful relationship-wise and has more friends around him.

The film is dark-humored like a young Asian unsuccessful Larry David. Who you don’t root for or agree with. As we watch him go through interactions and her cross over and come to a head. 

The lead character is so Insufferable. Half of the entertainment is watching him fall off his high horse constantly. Especially as he starts to build any chances of hope. Then usually sabotages himself or his partners. Wake from any kind of charm ornament attention he was giving them.

This is the type of character who usually seems to be the hero of most relationship dramedies made by twenty-somethings. Whereas the world revolves around them and everyone else has the problem, not them.

Sherry Cola almost steals the whole film. Her character is reminiscent of her character in the film JOYRIDE only with more depth and sarcasm here. 

It’s nice to see the film take on racial politics but not be all about it and offer Asian American characters’ points of view and let them be more diverse and full.

Grade: B

BAD GUY (2001)

~ jbg ~ Leave a comment

Written & Directed By: Kim Ki-Duk

Cinematography: Chel-Hyeon Huang

Editor: Seong-Won Hang 

Cast: Cho Jae-Hyun, Won Seo, Yun-Tae Kim, Choi Deok-Moon, Yoon-Young Choi, Yoo-Jin Shin, Kim Jeong-Yeong, Min Nam-Keong 

An unfeeling gangster seeks to ruin the life of a young girl who rejected him. He forces her into prostitution and spies on her regularly, then he soon begins to fall for her.

Filmmaker, Kim Ki-Duk tends to make spiritual films that are love stories at heart. That sometimes can be character studies. 

Here with this early effort, he has made a disturbing romance of revenge that seems to test not only the character’s boundaries, but the audience as at first this film feels like it is born of shock, but reveals its softer edges amongst the chaos 

Where it feels like a dramatization of the psychology of someone caught in  Stockholm syndrome, or how a pimp unconventionally raptures a victim, to become a prostitute only here more against her will, and likes to watch her, but never dares to get intimate with her himself, nor really even touch or punisher, except for an initial case before this all started

His victimization of her at first feels like him trying to get back at her. The strange thing is that he dooms her to this lifestyle, though he doesn’t like to see her take any pleasure or pleasure. As she truly starts to succumb to her environment the lifestyle becomes second nature tour. Still, they build a bond through all the heartbreaks and interactions. 

There is plenty to go through, including her other suitors, including her managers, who begin to fall for her and try to help her escape. When she wants to though she realizes she has no one and nowhere to go back to, even if she did what would her future be 

This is where some questions when it comes to this film because she’s not long lost. She’s not that far from home it’s more the condition. She’s practically enslaved to pay off debt, and she ends up, making the best out of a messed up situation where the bond is seen more that she needs him more or less not necessarily to survive, but to make sense and have someone still feel something for her, other than lust.

At this point, she seems to forget all that she really knows and only knows this lifestyle but no one from her old life wanders and wonders where she is, and even when she does try to escape, she can’t think of where she’s going to go or what she’s going to do as her reputation is more in the dirt, because of debt, and stealing rather than prostitution.

The film also focuses on what seems to be his bad influence on others, that he seems to survive, but others seem like they tend to pay even though it is their own actions the only truly bad she has done is enslaving her, and all he shows kind of indifference Even when dealing with other gangsters who react violently toward him. It sets up many places to investigate side characters but stays only focused on the two leaves..

So while the film wants you to care about these characters, it’s very hard when the film seems to be brutal and very misogynistic for little to no reason. Now Wallet allows him to experiment into the very nature and different sides of love, even the unfair ones. It still comes across as disappointing in the end. luckily the filmmaker’s films became universally appealing.

Though maybe the movie is truly about these functional relationships we can criticize all we want, but we will never truly understand them. What makes them work what makes the people in them desire to stay together and be dependent on one another they have their reasons that only they understand, and in the end only make sense to themselves, maybe that’s the whole point of this film that no matter how angry disappointed we get it’s not meant for us to understand it just happens and this is a presentation of it.

Grade: C+

SINGAPORE SLING (1990)

~ jbg ~ Leave a comment

Written & Directed By: Nikos Nikoladis

Cinematography: Aris Stavrou 

Editor: Andres Andreadakis

Cast: Meredyth Herod, Panos Thanassoulis, Michelle Valley

A man searching for his long-lost lover is kidnapped by her killers, an insane, mother-daughter duo, and they force him to commit various sexual atrocities with them.

This film is absolutely extreme, and bonkers and leaves one with mixed feelings. As the one thing I can say about this film is that it is original. It definitely has a one-of-a-kind vision. Is that enough as we as an audience witness but don’t necessarily feel. maybe will be able to identify with the film and its own way though it feels pretty specific.

I can admit that one has never seen a film quite this horny from a female point of view, but more through a male gaze of females. 

It all adds up to Definitely an original vision that seemed prepared to be a cult film, which usually doesn’t work but here it does. Though it does come across as sleazy and slimy. That could easily have been an artistic porno film if only it had hard-core scenes.

One could stand that this film is an artistic expression of imagination, but as soon as the character starts to puke on the man she is having sex with all bets are off. 

This strangely feels I could be a fetish movie on the grand gugonol style and expresses it at times. As  There are scenes that are disgusting in certain small ways more In the details of it’s own kind of gore or feeling of it.

The Film makes sense only to itself, though it does offer exquisite nudity. Not to mention many close-ups of RAW meat And loads of female masturbation. 

This film is meant to be erotic, but it feels more devoted to fetish. One can give everyone involved credit as it takes a certain lunacy and bravery, to present themselves and this film, as what can be seen as embarrassing, but art is supposed to be provocative, and this film certainly is in its own way. Yes, even if I don’t entirely understand it, there feels like a certain bravery, throughout, or some fantasy of someone specifically a dirty dream of sorts only subtle in its mentality.

That could also be a nightmare despite its erotic, adult, kind of narrative turned on its head 

Like some kind of reverse GREY GARDENS homage, only erotic but just as fascinating with some external shocks.

The dinner scene brings new meaning to eating disorder or might end up, causing one for audience members. One could do without it, but in this sound construction, it feels like it’s needed truly a stand out amongst the other craziness that this film offers.

Many of the scenes are also comedic with cannibalism thrown in 

Breaking the fourth wall and any kind of barriers and talking to us in the audience, seems to try to help us understand the characters and what exactly might be going on or at least privy to their inner monologues.

It ends up surreal and bizarre. Midnight movie that is funny intentionally and unintentionally at times. The film is extreme, sick, and disgusting at times. difficult to characterize.

By the end, you are left with So many mixed feelings about this film, though it definitely feels deliberate and its intent. It can be quite nasty & disgusting. Though keeps your interest to see where it is going

SINGAPORE SLING. Plays out like a David lynch inspired student film. I have never seen a film quite this horny from a female point of view, but more through a male gaze of females. That’s supposed to be erotic yet feels like a fetish film. Inspired by the Otto Preminger classic film LAURA

It can be quite nasty & disgusting. Though keeps your interest to see where it is going. It could have easily been an adult film only without hardcore sex scenes.

The film seems more like a stylistic exercise, whereby the end one can admire it, but yet I’m half disgusted by it and it’s an easy film to pass on dispatch  dissuade

Grade: B- 

LETHAL WEAPON 4 (1998)

~ jbg ~ Leave a comment

Directed By: Richard Donner

Written By: Channing Gibson 

Story By: Jonathan Lemkin, Alfred Gough, and Miles Millar 

Based On Characters Created By: Shane Black

Cinematography: Andrzej Bartkowiak

Editor: Dallas Puett, Kevin Stitt, Eric Strand and Frank J. Urioste 

Cast: Mel Gibson, Danny Glover, Jet Li, Rene Russo, Joe Pesci, Chris Rock, Kim Chan, Steve Kahan, Darlene Love, Traci Wolfe, Eddy Ko, Jack Kehler, Richard Riehle, Michael Chow, Roger Yuan, Mary Ellen Trainor 

With personal crises and age weighing in on them, LAPD officers Riggs and Murtaugh must contend with deadly Chinese triads that are trying to free their former leaders from prison and onto American soil.

This is the only lethal weapon movie so far that I have seen on the big screen. 

While satisfyingly, it closes out the franchise with a message of familiarity. This is definitely the most formulaic and cartoonish of the series. it feels like they are just adding things to make it relevant the formula, familiar and add some flavor so that the film comes fresh

The film also represents the aging of the characters as it shows Mel Gibson‘s character Riggs to have more weaknesses, and not be as sharp and invincible as he used to be . As well as becoming a new father and having a wife, which would actually give him more weaknesses than he is used to. In fact they are so much older that half the time they have to use laser pointers to aim their guns in a target.

Chris Rock seems out of place and thrown in here as he was a hot ticket at the time and added to help with the office and put butts in seats and give it some more flair with a side story is hard to believe and just adds to a sitcom sense of discovery And off-color humor. As he is barely in any of the scenes where action takes place.

Which kind of force is Joe Pesci’s character of Leo gets out of the picture as the main comedic relief though he is still here, and in the end is a dramatic moment, though he does actually have the best chemistry with Chris Rock throughout the film

Again, like the last film, this plays more comedic than dangerous or even action oriented as again this is more of a comedy with action in it. It seems like the first half of the series was more action with comedy. This half is more comedic with action sequences. 

The one addition that does make this film, memorable and come alive is Jet Li, as he is exciting as a villain, but other than his action scenes, he is left with nothing to do, though, is a good distraction, and a perfect adversary for Mel Gibson’s character (which with his gruff and viciousness in the past. You can see why fans at the time wanted him to play Wolverine if they ever made an x-men movie) and he actually wins most of the time in the fights on screen, as he truly comes across as invincible, almost like a machine with the speed of his moves Where you do wonder, how are they going to defeat this guy and with him.

I hate to say it, but he is really one of the only reasons to watch this film to see him in action. As this serves Moore as his introduction to Hollywood and a great showcase for him to star in action films, though this film managed to capture him unlike his other American or Hollywood films where he just seems so amazing vicious the only one that comes close that I can think of is unleashed, which also goes by the title Danny the dog

The comedy is just too broad and damn near almost takes over. Just as this film is definitely far from how dangerous Riggs his character was he was unpredictable and crazy. Now he’s still a little crazy yet more careful, and is showing his age. Though still manages to have a memorable chase sequence on the highway.

Just like the previous films, this film has at least one memorable action sequence, and a separate character scene that endears it and makes it can.

Though this film will certainly have a nostalgia and sentimental factor for those who are fans of the franchise and characters. As this Is their last hurrah together. Especially with the passing of directior Richard Donner. 

Grace: C