{"id":58431,"date":"2025-01-30T20:07:46","date_gmt":"2025-01-30T20:07:46","guid":{"rendered":"https:\/\/peraltafinancing.com\/anime\/winter-2025-week-5-in-review\/"},"modified":"2025-01-30T20:07:46","modified_gmt":"2025-01-30T20:07:46","slug":"winter-2025-week-5-in-review","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=58431","title":{"rendered":"Winter 2025 \u2013 Week 5 in Review"},"content":{"rendered":"


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Hello folks, and welcome back to Wrong Every Time. This week saw me finally breaking ground on the current anime season, as I screened the first two episodes of MyGO followup Ave Mujica in quick succession. While the show is certainly more broad and melodramatic than its predecessor, it\u2019s also extraordinarily entertaining, showing that MyGO\u2019s writer\/director team are just as confident with this sort of operatic theater as they are with MyGO\u2019s quieter pleasures. We\u2019ve also been munching through the Ramayan, and have at this point reached the big action-adventure core of the series, when Ram\u2019s wife Sita is stolen and he must square off with the demons who\u2019ve claimed her. It\u2019s a pleasure as always to see such a formative, archetype-defining text in motion, and it\u2019s serving as a fine compliment to our Armored Trooper Votoms excursions. But let\u2019s forget all that business, for today I bring you a selection of fresh films, plucked directly from my towering film review buffer. Let\u2019s break \u2018em down!<\/span><\/p>\n

First up this week was <\/span>Pale Rider<\/b>, an \u201885 western directed by and starring Clint Eastwood. The film introduces us to a tiny California gold-panning settlement, which has attracted the ire of local mining baron Coy LaHood. Eager to strip-mine the entire region, LaHood has resorted to sending raiding parties through the settlement in order to encourage their flight. His plan seems on the verge of succeeding when a stranger arrives \u2013 our titular rider, known only as \u201cPreacher,\u201d who proceeds to put the fear of god into LaHood and his men.<\/span><\/p>\n

Pale Rider is pure western comfort food, as straightforward a power fantasy as you\u2019re likely to find in the genre. I had sorta figured its acclaim would imply some degree of moral complexity; the ambiguity that ripples through Ford\u2019s later films, the judgmental nihilism of the spaghetti westerns, or the solemn reflection of the revisionist era. Nope, none of that here \u2013 Clint Eastwood is an absolute badass and moral paragon, his enemies quiver and tremble before him, and basically everybody of any moral standing falls in love with him by the end of the film.<\/span><\/p>\n

That\u2019s not to say it\u2019s a <\/span>bad<\/span><\/i> film, not by any means. Eastwood is a skilled director who learned all the right lessons from his starring roles, and he wields his protagonist\u2019s badassery judiciously, letting the forlorn gold-panning settlers carry the film\u2019s emotional weight. What we have in Pale Rider is a crowd pleaser executed with a master\u2019s precision; the texture of the old west and gravitas of Eastwood\u2019s persona are all here, but they are adorned with such sugar-filled confections as Eastwood grappling with Richard Kiel (\u201cJaws\u201d from Moonraker) or facing down six color-coded super-deputies. A most agreeable watch.<\/span><\/p>\n

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We then checked out the <\/span>Fist of the North Star<\/b> film adaptation, continuing our journey through the anime films of the \u201880s. The influential manga basically plays as a combination of Mad Max imagery and magical martial arts battles, all injected with a heavy dose of muscle-rippling machismo. Our hero Kenshiro must wield the secret martial art known as Hokuto Shinken in order to defeat all of his many enemies, fighting a succession of warlords and fellow martial artists in order to restore hope to the wasteland.<\/span><\/p>\n

I knew the general beats of Kenshiro\u2019s journey heading into this film, and to be honest didn\u2019t really learn much more from the experience. Kenshiro walks through burned-out cities seeking his lady love, using pressure point attacks to explode the heads of charmingly costumed retro-futuristic bandits along the way \u2013 that\u2019s pretty much the whole narrative cycle, which repeats several times across this film. Lacking the self-parodic or conceptually\/strategically inventive adornments of JoJo\u2019s Bizarre Adventure, I found myself kinda fatigued with Kenshiro\u2019s adventures, yearning for something more textured than \u201chard boiled hero man explodes hard boiled bandit man.\u201d Machismo in the abstract does very little for me, and Fist of the North Star offers very little beside it.<\/span><\/p>\n

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Our next viewing was <\/span>New Year\u2019s Evil<\/b>, a 1980 slasher that, having already viewed the canonical Terror Train, seemed like the next-best horror feature with which to celebrate the new year. Roz Kelly stars as Diane \u201cBlaze\u201d Sullivan, a DJ hosting a Hollywood New Year\u2019s celebration with live music and hourly countdowns, as each new time zone welcomes the new year in turn. However, when a caller phones in promising to kill someone at each new stroke of midnight, Sullivan ends up serving as the police\u2019s point of contact for the perpetrator of a horrific murder spree.<\/span><\/p>\n

Though it\u2019s advertised as a slasher and came out right after the original Halloween, New Year\u2019s Evil is in truth more indebted to older murder-mystery traditions, with a heavy crime procedural element and not much focus on the actual murders themselves. That\u2019s fine by me; genre placement aside, the film nonetheless provides a fine stew of interesting variables, with the most prominent being the persistent extended jams of the party\u2019s actual hired band, as an obviously hair metal\/prog-oriented group attempts to emulate Duran Duran and Big Star. Kelly also offers a strong central performance, with her increasing frustration and anxiety single-handedly selling the contrivances of the film\u2019s premise. Far from an essential viewing, but certainly an interesting and not unpleasant oddity of the emerging slasher era.<\/span><\/p>\n

\"\"<\/p>\n

We then checked out <\/span>His Girl Friday<\/b>, a screwball comedy by my beloved Howard Hawks, starring Cary Grant as a scruple-free newspaper editor and Rosalind Russell as his top writer and wife, though both with a big red \u201cEX-\u201d written in front of them. Russell opens the film by declaring her intent to marry a nice, normal man (Ralph Bellamy) and \u201clive like a human being,\u201d unlike the cynical, scoop-ravenous creatures of the newspaper business. With one day to win his wife back and the story of a lifetime hanging in the balance, Grant will have to pull out all the slimy stops to ensure the good people of his city get just the news they deserve.<\/span><\/p>\n

I mean, what can I even say about a lineup like this? His Girl Friday is one of the unimpeachable titans of the screwball genre, overflowing with wit, and featuring two master comedians in absolute control of their craft. Hawks\u2019 decision to change Russell\u2019s scripted role from a trusted male employee to a former wife results in one of the greatest of all Hawksian women, as Russell crosses verbal rapiers with Grant time and again, their repartee so fast and furious it actually broke the record for fastest film dialogue. Like previous Grant-Hawks collaboration Bringing Up Baby, the quips are constant, chemistry electric, and improvisation frantic, making it impossible not to be carried along as Grant and Russell shift from racing like hounds after the news to inventing it wholesale to fit their convenience.<\/span><\/p>\n

Every character in this film is either a mark or a conman, one of the guileless \u201creal human beings\u201d that Russell sees as noble in a demeaning, paternalistic sort of way, or else one of the shifty hucksters that actually make the world go round. Her would-be husband is accidentally arrested no less than four times due to the meddling of Grant, a procession she takes in stride as the romantic gesture it was intended. There\u2019s technically a developing plot about an allegedly unlawful state execution, but none of the newsmen actually care about the specifics \u2013 they\u2019re there for a <\/span>story<\/span><\/i>, not for the truth, and if the truth needs some polishing to become a proper story, well then that\u2019s the cost of business. Delightfully irreverent, speedy in both wit and form, and laced with that sneering, self-assured intelligence marking many of the best comedies, His Girl Friday is a deserved icon of Hollywood\u2019s golden age, and a must-see film for anyone too cynical for the quiet life.<\/span><\/p>\n

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Hello folks, and welcome back to Wrong Every Time. This week saw me finally breaking ground on the current anime season, as I screened the first two episodes of MyGO followup Ave Mujica in quick succession. 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