The ensemble whodunnit has seen a resurgence in recent years with movies like Knives Out and Kenneth Branagh’s takes on some of Agatha Christie novels. Dead Dead Full Dead is a Fantasia Film Festival World Premiere that puts a surreal spin on the premise. Two police officers are called to investigate a murder. It seems like an open and shut case, but the more they look into the suspects, the less sure they are of what has really happened.

Dead Dead Full Dead goes beyond the realm of mystery into something much more cosmic. A shocking incident involving a baby goat early on is just the beginning of a number of strange events. An eclipse, dead bodies that can die again, and purgatory are just part of the zaniness the film has to offer. It is a fun mix that can be a little too overwhelming at times.

This is most apparent in the investigative flashbacks that are employed. The moments are neat ideas that see the investigators place themselves in the alibis of the people being interrogated. These scenes give insight into all of the characters while also providing motive for what has transpired.

They are also very confusing. Reality is distorted and it can be hard to follow exactly what is happening. It is especially confusing when the people in the real world have strong feelings for what has happened in their dream scenarios. While it does make sense they would feel powerful guilt over what has happened, it is also never addressed that it is not real. It would make more sense if the characters questions what had just happened.

This may be the point of Dead Dead Full Dead. Time and regret are recurring themes with references to and memories of the past sprinkled throughout. Whether these are big events like a first time meeting or smaller things like emojis, there is the constant idea of how things could have been better. Everyone is in a state of reflection.

The deeper parts of the film are offset by a zany humor that pairs perfectly. While many of the jokes are over the top, some are delivered with a surprising amount of subtlety. There are even some sight gags that will keep the audience guessing what is going to happen next. Overall, Dead Dead Full Dead is a unique mix of heavy ideas, silly comedy, and murder. There are a lot of moving pieces and it can all be a lot to take in. Still, it is a consistently entertaining watch. 

The Fantasia International Film Festival takes places from July 18 – August 4. Check out the latest news HERE

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“I don’t know anything about saving worlds, but you do.”

                                                                                          -Deadpool addressing Wolverine

The meta has overtaken the Marvel Cinematic Universe (MCU). After a six-year period marked by a wealth of change–studio ownership, story concepts, characters and directors–the antihero Deadpool has returned, as talkative, subversive and funny as ever. If you like your protagonists to save the metaverse with verbal barbs as well as weaponry, you’ve found the ideal superhero for this summer.

Ryan Reynolds, the creative force behind the Deadpool series, takes no prisoners in this third outing, which follows Deadpool (2016) and Deadpool 2 (2018). The screenplay, for which he and four other writers get credit, skewers the studio (with a clever visual RIP for Twentieth Century Fox), the MCU franchises, the characters and the actors themselves. One’s recent divorce even becomes the subject of a snarky aside. The fourth wall has disintegrated.

Disney, which now includes Deadpool in its portfolio, has carved out a special niche for it–an R-rated niche. It earns it here, with a steady stream of decidedly adult dialogue and violent action. Mind you, the violence often plays out in reduced motion and for humorous effect, but the death toll grows steadily and graphically throughout the movie.

In bringing Deadpool back to the screen, the collaborators have teamed him here with Wolverine (James Howlett, alias Logan), the mutant with the retractable claws often associated with the X-Men. Yes, Hugh Jackman has been “resurrected,” after publicly announcing his retirement from the role. (He memorably impersonated the character for two decades through 2017’s Logan, in which he died.) The pairing in Deadpool & Wolverine generally works well, with Reynolds’ irrepressible, smart-alecky style balanced by Jackman’s often angry, angst-ridden persona. 

Visually, the movie pops with color–exactly the vivid palette associated with the original comics. In fact, the producers have gone retro and authentic in dressing Wolverine in his classic canary yellow-and-blue outfit–the L.A. Rams’ look, as Deadpool describes it. 

Cinematographer George Richmond (Rocketman) and editors Shane Reid and Dean Zimmerman (Stranger Things) have crafted well-framed and intelligently paced action scenes, and the special effects team have endowed the picture with fresh, eye-catching visuals. The array of pop songs on the soundtrack, while not subtly introduced, enhance the tongue-in-cheek nature of the enterprise. Madonna gives her blessing.

If you’re wondering about the story, there’s a reason it gets demoted here. Call it serviceable, a basic narrative designed to sustain the bells and whistles, the one-liners, the gags and–yes, you’ve heard correctly–a parade of cameos, many of which will resonate with MCU acolytes. Suffice it to say that Wade Wilson (aka Deadpool) has withdrawn from his mercenary days and become a used car salesman, only to have the Time Variance Authority (TVA) inform him that his timeline, with his small circle of loved ones, is deteriorating. To restore it, he seeks out an appropriate variant of Logan, its “anchor being.”

Emma Corrin (Diana, Princess of Wales in The Crown} emerges as the lead villain. She portrays Cassandra Nova, the parasitic twin sister of Professor X, a character making her live-action debut here. Corrin brings a palpable sense of malice to her scenes, appropriately declaring that “boys are so silly.” 

You could make a strong case that the MCU itself has deteriorated since the Russo Brothers’ epic Avengers: Endgame (2019). A pre-COVID box office blockbuster, it had the scope and poignancy of a cinematic saga. It also served as a fitting homage to the late, iconic impresario Stan Lee. By comparison, the subsequent entries in the franchise have been mostly uninspired, even unnecessary (unless, like Kevin Feige, the President of Marvel Studios, you have to keep close watch on the bottom line). 

With Deadpool & Wolverine, Ryan Reynolds and Hugh Jackman have realized a dream more than a decade in the making. Throughout the previous two Deadpool films, the title character relentlessly cracked jokes at Wolverine’s expense. Here they demonstrate admirable chemistry. This melding of the X-Men and MCU franchises ultimately succeeds by deconstructing the entire superhero genre. At their origins, these are comics, after all, and a heady dose of humor, both verbal and visual, can sometimes triumph over thinness of plot. But, please, don’t view this as the end, either. As the Man in Red tells a group of earthly civilians, shocked at the sight of the prodigal Man in Yellow-and-Blue, “Disney brought him back! They’re gonna make him do this until he’s 90!”     

Kizumonogatari – Koyomi Vamp wows with its visuals and impresses with a character-driven story that redefines vampire tropes.

After all, the lead character, Koyomi (Hiroshi Kamiya), meets a vampire with severed limbs at a train station who pleads for his blood. This will save her life, but in turn, end his. That in itself is enough to make any horror fan curious!

What is so unique about Kizumonogatari – Koyomi Vamp is that this film consists of three previous films (Part 1: Tekketsu, Part 2: Nekketsu, and Part 3: Reiketsu) that have been edited together and condensed into one feature-length story. Though I can’t speak about how many scenes from the standalone movies have been left out of this version, Koyomi Vampdoes a fantastic job of shifting from one scene to the next and finding unique ways to piece them together. Some editing choices may feel jarring to some viewers and disrupt the narrative flow, but the transitions perfectly encapsulate the film’s quirky tone, erratic nature, and eclectic style. 

Kizumonogatari – Koyomi Vamp also blends multiple genres (fantasy, action, and horror) skillfully while creating innovative world-building and mesmerizing artistic imagery that showcases the film’s mood and evokes the emotions it wishes the audience to feel. The feature also boasts stunning visuals and action-packed fight sequences that are exhilarating to watch and allow viewers to become completely lost in the spectacle. 

If, like me, you’re unfamiliar with any of the previous Kizumonogatari films, some elements of this feature may surprise you, but that is by no means a negative thing. For one, I was taken aback by just how much gore is incorporated into the narrative, so if you enjoy bloody anime horror, there’s plenty here to sink your teeth into. The action-fight sequences also become so outlandish that they are downright hilarious. However, rather than feeling cheap and cartoonish, these scenes fit perfectly into the mythical world of vampires, who can have limbs ripped off, only for them to regenerate moments later. 

But where Kizumonogatari – Koyomi Vamp excels the most is through its interesting characters and distinctive storyline. Most films centering around vampires paint them as bloodthirsty predators who are a threat to humans and hunt them down to feed. Although those elements are explored in this film, Kizumonogatari – Koyomi Vamp is unique in that it doesn’t fit the typical “vampire who hunts its victim” narrative.

Instead, a shift in power takes place. When Koyomi and the vampire Kiss-Shot first meet, she is weak and desperately needs help. Though Koyomi is human, in that moment, he is the one who holds the cards and has all the power. When our protagonist decides to help the hopeless vampire, he not only shapes Kiss-Shot’s future, but his selfless act of empathy changes his life in a way he’d never have imagined. I really admire the film for starting with such a fresh take on a vampire story and the irony of the situation, as a good deed turns into a living nightmare.

Another highlight of Kizumonogatari – Koyomi Vamp is the feature’s compelling characters, who are engaging and well-developed, particularly Koyomi. He’s extremely likable, making the audience connect with him instantaneously as his kindness and compassion for others shine through. This is most apparent when exploring his friendship with Tsubasa (Yui Horie), as the pair grow close quickly and form trust and a special bond. Their strong desire to protect one another grounds the film and shows viewers glimpses of hope in an otherwise bleak, albeit gripping, narrative. Then we have the evil, mighty Kiss-Shot Acerola-Orion Heart-Under-Blade (her full name, and quite the mouthful), voiced brilliantly by Maaya Sakamoto. As the wicked vampire, she is the best kind of antagonist—manipulative and sinister—yet you can’t help but be intrigued by her backstory while hoping to uncover her hidden agenda.

Though Kizumonogatari – Koyomi Vamp is by no means the sort of film I’d usually look out for, it’s a visually stunning feature with a captivating plot, engaging characters, and noteworthy gore and action sequences. If you’re a fan of the previous Kizumonogatari films, this movie’s smooth narrative consisting of three edited films is sure to impress. If, on the other hand, you’re a newcomer to the anime space, this fantastical action-horror spectacle is a great introduction to the medium to get your feet wet.

Kizumonogatari – Koyomi Vamp premiered at the Fantasia Film Festival on July 27, 2024.

Sister Midnight Review: Unapologetically Wild – Loud And Clear Reviews

The Mumbai-set Sister Midnight is the bold, quirky, often hilarious tale of a young bride who dares to follow her instincts.