Here is a great looking family film from South Korea that is very much in the style of the "Land Before Time" movie series.
Synopsis:
After the great disaster of the Cretaceous Period 80 million years ago, a Tarbosaurus named Speckles lost all of his family but his youngest son. Unlike his father, Mak-ne is scared and timid and is always being picked on by other dinosaurs. One day, Mak-ne is abducted by 3 Deinonychuses and Speckles embarks on an adventure to start looking for him. On his way, he meets Songgot who is looking for his daughter and a friendly herbivor named Sai. Together, they continue their journey until Speckles finds clues about the whereabouts of his son Mak-ne. However, a mutant dinosaur appears in front of them. Will Speckles be able to save his son?
Hide your dog! Hide your pigs! The Fouke Monster is returning to theaters!
1972 Bigfoot horror movie The Legend of Boggy Creek is getting a 4K restoration, thanks to the efforts of director Charles B. Pierce’s daughter, Pamula Pierce Barcelou, who now holds the rights to the movie. The restoration, overseen by the George Eastman Museum, will return the movie to its original Techniscope glory after years of bad prints and cheapo DVDs.
Barcelou posted a preview video (thanks Bloody Disgusting!) that shows just how great the restoration looks. If you’ve seen Boggy Creek before, it’s probably obvious just how massive an improvement this is over past releases of the movie.
What’s not to love about that voiceover and the twangy, folk soundtrack? Even without the monster, Boggy Creek is a treat. The preview gives a good sense of the strange alchemy at play in the movie, with its combo of nature footage, personal accounts and recreated encounters worthy of Roger Patterson and Bob Gimlin, the two men who filmed the most famous supposedly “real” Bigfoot footage.
Boggy Creek interviews witnesses of the so-called “Fouke Monster,” a ten-foot ape creature that attacked livestock and stunk terribly. The mixture of fact and fiction, almost seamlessly combining scripted and genuine interviews with reenactments, gives The Legend of Boggy Creek an astounding verisimilitude. It’s obviously low-budget, but boy, does it feel real.
Sure, it has sequels (including one featured in a classic episode of Mystery Science Theater 3000), but The Legend of Boggy Creek is truly one-of-a-kind, pioneering the horror mockumentary a full eight years before Cannibal Holocaust. Pierce would refine his mockumentary style in 1976’s The Town that Dreaded Sundown.
The Legend of Boggy Creek isn’t exactly terrifying (it is, somehow, Rated G), though it lingers with you because it feels plausible. The accounts of the Fouke Monster haunting the swamp sound like real encounters, probably because some of them are! There are so few good Bigfoot movies, but The Legend of Boggy Creek would be a notable horror movie regardless, thanks to its eerie mix of exploitation shocks and documentary realism.
The Legend of Boggy Creek restoration will premiere June 14, 2019 at the Perot Theater in Texarkana, Texas, with a Blu-ray release to follow.
I was so excited by the possibilities when Jodie Whittaker was revealed as the Thirteenth Doctor and have really, really tried to embrace this new season, but it's simply not working for me.
Although It Takes You Away had some quirky ideas in it (particularly the whole Star Trek-like concept of a sentient parallel universe), this tale from former Skins writer Ed Hime took a shotgun approach to eccentricity, throwing in oddities just because he could.
The TARDIS delivers The Doctor and friends to contemporary Norway (Why? Because they could. It had zero bearing on the ensuing story) where they investigate an isolated, barricaded cottage that's home to a young blind girl, Hanne (Ellie Wallwork), who believes her father, Erik (Christian Rubeck) has been taken by a monstrous "thing" in the woods.
Of course, matters aren't that straight forward, and The Doctor soon discovers a portal in the house to an a strange non-space between realities, which is inhabited by an utterly redundant and derivative alien character called Ribbons (Kevin Eldon).
I've seen comments online saying Ribbons was a rip-off of Gollum (from Lord Of The Rings), but for me the most striking similarity - just lacking the charm - was to Zathras, from Babylon 5.
While it was nice to have the TARDIS landing on Earth somewhere other than the United Kingdom or America, just mentioning fjords a couple of times really didn't justify the use of the Norwegian setting... given that most of the action took part either inside the hut or in alternate worlds.
Much of what unravelled in the story totally failed to connect with me. Perhaps, as I've feared before, I've simply grown out of this new Doctor Who and am no longer capable of adjusting my mindset to see this as its target demographic.
However, on a positive note, there was the usual outstanding character work between the main players in Team TARDIS, particularly from Bradley Walsh as Graham O'Brien, who stole a number of scenes with his emotional performances.
Tosin Cole had his best chance since his introduction to shine as Ryan Sinclair in this story, even if it, at times, felt it was actually taking place earlier in the season's chronology.
One particularly lazy trait of Doctor Who since its return in 2005 has been The Doctor's over-reliance on the sonic screwdriver, which seems increasingly capable of solving any problem the characters find themselves in.
But it has reached new heights this season, with the device never out of Jodie Whittaker's hand, leading her to utter the cringe-worthy line: "Can I just say – I love me sonic."
Now, regardless of what I may say about the stories she's been saddled with, I love Jodie's performance as the still-not-settled-into-her-new-regeneration Doctor, but that line just felt such a clunker, a desperate attempt to heavy handedly gift fans with an instant meme quote.
To be honest, I just found so much of It Takes You Away a bit dull and pointless. There was so much crammed in that the superflurous material suffocated the meat of the story.
Yes, there was some nice weird science - which I always appreciate - and a talking frog (which was magnificent), but the story just lacked the necessary heart to make me really engage with it.
Director Michael Dougherty has teased the designs of the outsized beasts featured in his upcoming film Godzilla: King of the Monsters (out May 31) by posting images of the movie’s tie-in toys on Twitter.
“Playing with my old Godzilla Shogun Warrior and the family camcorder is how I got started,” Dougherty wrote in an accompanying note. “Here’s hoping these SH MonsterArts figures will inspire some kid out there to do the same.”
Godzilla: King of the Monsters is set around five years after the events depicted in 2014’s Godzilla.
“The world is reacting to Godzilla in the same way we would react to any other terrifying incident, in that we are overreacting,” Dougherty told EW earlier this year. “Godzilla hasn’t been seen since that destructive finale, “but there’s paranoia and endless speculation about whether he is the only one out there or whether we’re threatened by others like his kind.”
In the film, Godzilla is joined by the three-headed King Ghidorah, the giant insect Mothra, and another flying monster, Rodan, who in the original Japanese movies could create hurricane-force winds.
“Rodan’s been kind of a sidekick character, but I’ve always had a soft spot for him” says Dougherty. “In a lot of ways he’s more powerful than Godzilla. He’s like this winged A-bomb. I think we’ve done him justice.”
The movie’s human characters include Dr. Emma Russell (Vera Farmiga), a scientist working for the beastie-hunting organization Monarch, and her daughter Madison, who is portrayed by Stranger Things star Millie Bobby Brown. The pair is kidnapped by what Dougherty describes as “a mysterious organization, with their own plans for the creatures.”
The director cast Kyle Chandler as Mark Russell, Emma’s ex-husband and Madison’s father, who embarks on a rescue mission in cahoots with two more Monarch members, played by Godzilla veterans Ken Watanabe and Sally Hawkins.
