It's The Wasp Woman rip-off from VHS sleaze maestro Fred Olen Ray's vault.
Cheap as fuck, shot partially at leading actress' real Hollywood Hills house, it's probably best known for weird exploitative scene with John Carradine, shot two years before his death, with him mumbling some random stuff loosely related to the plot.
But there are some goodies here too.
Bobbie Bresee, who at the time had a decent c-movie career stint, including Mausoleum, Ghoulies and Surf Nazis Must Die,…
Not surprisingly, The Invisible Maniac is a cheap and pervy H.G. Wells knock off with just the right amount of boobs, bad acting and some crazy kills (one of them done with... sub sandwich) to live up to its campy premise.
And yet, it has enough substance and dark undertones to slightly exceed it.
The main character, scientist turned murderer turned fugitive turned... high school teacher, invents invisibility, but gets ridiculed by colleagues. He is a mocked and rejected nerd,…
Amy Poehler's directorial effort is Sideways wannabe that lacks both laughs and substance. Although being feminist author with history of diverse stories and complex characters (especially the latest being Russian Doll), Poehler doesn't offer anything fresh on midlife crisis, empowerment or female bonding, with tired bits on millennials, social media and modern art. The whole SNL female cast reunion thing is sweet but not all of them seem similarly attached. It definitely has its moments, peaking with Cherry Jones cameo, and the literal use of downhill in the finale works as a pawky metaphor but it's barely enough.
Spektakl oglądany przez szparę w drzwiach – z oddali, w ciemności, ciszy. Ma coś z katastroficznego found footage, z zagrożeniem majaczącym gdzieś w tle, wiecznie nieostrym, obserwowanym przez postronnych. W tle kac po Fukushimie. W odróżnieniu od Emmericha, Edwards nie jest bezmyślny – grabiąc Japonię z jej kulturowego dziedzictwa, czerpie raczej z popkulturowego fenomenu Godzilli niż wspomnienia o pierwszym filmie. Empatię i minimalizm przeszczepia wprost z debiutu – "Monsters". Lotny narracyjnie; gdy może, prowadzi grę z oczekiwaniami (pierwszy reveal; bohater Johnsona bez realnego wpływu na bieg wydarzeń; wieczny niedosyt). Ujęcia z flarami jak epickie malowidła. Binoche i Cranstona mogłoby nie być.
