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Itís a remake of a low budget movie by stuntman H. B. Halicki. The plot and acting are whatever, but it has a bananas all-timer forty minute car chase climax in which Halicki destroys a large chunk of his personal collection. Well worth a watch if you like car chase movies.
I was reading up on it after watching the Cage one and it sounds like the cast, crew, and any innocent bystanders were lucky to survive that shoot haha.



Bright light. Bright light. Uh oh.

House of Darkness (Neil LaBute, 2022)
5.5/10
Mysterious Island of Beautiful Women (Joseph Pevney, 1979)
+ 4.5/10
The Victim (Herschel Daugherty, 1972)
5.5/10
Another World (Stťphane Brizť, 2021)
6.5/10

Executive Vincent Lindon and his wife Sandrine Kiberlain[ are separating due to all his stress at work, but now he's not sure after all his years of service if he wants to be a hatchet man which is what they want him to he now.
Dig (K. Asher Levin, 2022)
5/10
Beverly of Graustark (Sidney Franklin, 1926)
6/10
The Enforcer (Richard Hughes, 2022)
5/10
Bodies Bodies Bodies (Halina Reijn, 2022)
6/10

Reasonably entertaining thriller is equally annoying when a group of "friends" meet for a hurricane party (?) and all manner of sex and death happen.
Deus (Steve Stone, 2022)
5/10
About Fate (Marius Vaysberg, 2022)
6/10
Out of the Blue (Neil LaBute, 2022)
5/10
Bullet Train (David Leitch, 2022)
6/10

Unlucky assassin Brad Pitt is subbing for another guy while working on his anger issues aboard a bullet train with lots of other assassins.
Clarence, the Cross-Eyed Lion (Andrew Marton, 1965)
6/10
The Infernal Machine (Andrew Hunt, 2022)
5/10
A Love Song (Max Walker-Silverman, 2022)
- 6.5/10
Blonde (Andrew Dominik, 2022)
6/10

The life of Marilyn Monroe AKA Norma Jeane (Ana de Armas) is shown through an extended Cliff Notes version highlighting her insecurities and her mommy and daddy issues.
The First Degree (Edward Sedgwick, 1923)
5.5/10
Do Revenge (Jennifer Kaytin Robinson, 2022)
6/10
Out Yonder (Ralph Ince, 1919)
5.5/10
Berlin (Julian Schnabel, 2007)
6.5/10

Lou Reed refused to perform his misanthropic masterwork Berlin for 33 years until he played the album live in 2006 for the first time, taking a five-night stand at St. Annís Warehouse in Brooklyn, New York.
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Tank Girl is hyper, ugly, and painfully unfunny. Its set in a world like Mad Max, where water is rare and valuable. The main character is an annoying girl who personifies 90's 'Tude. She battles with generic evil businessmen with the help of the Warriors of Virtue.

I thought this was going to be fun for about 10 minutes. Then my reaction to every scene was this:



Tank Girl is hyper, ugly, and painfully unfunny. Its set in a world like Mad Max, where water is rare and valuable. The main character is an annoying girl who personifies 90's 'Tude. She battles with generic evil businessmen with the help of the Warriors of Virtue.

I thought this was going to be fun for about 10 minutes. Then my reaction to every scene was this:
I want to like this movie because it definitely swings for the fences, but I kinda hate its hideous Ď90s aesthetic.



Victim of The Night
Tank Girl is hyper, ugly, and painfully unfunny. Its set in a world like Mad Max, where water is rare and valuable. The main character is an annoying girl who personifies 90's 'Tude. She battles with generic evil businessmen with the help of the Warriors of Virtue.

I thought this was going to be fun for about 10 minutes. Then my reaction to every scene was this:
That seems about right. It is not a good film.





The Host - If you haven't seen this 2006 monster movie hopefully you are familiar with director Bong Joon Ho, who won Best Picture, Best Director, and Best Original Screenplay Oscars for Parasite in 2019. Just try to visualize the unlikely combination of a world class auteur tackling the giant-mutated-creature-feature genre and you'll get some idea. Some. But you still need to watch this to fully appreciate what he brought to the screen. It's a satire and a comedy but it's also a genuinely melancholy rendering of a broken family.

It starts with an U.S. Army pathologist (Scott Wilson) ordering one of his Korean subordinates to dispose of gallons of formaldehyde by pouring it down the drain and ultimately into the Han River. Some years later a giant creature emerges out of the water and starts attacking crowds of people. The daughter of Park Gang-doo (Song Kang-Ho) is captured by the monster and seemingly dragged to her death in the river.

This is where the story itself mushrooms and mutates into a polemic on everything from U.S. imperialism to governmental coverups to tabloid journalism to societal tendencies towards rushing-to-judgement. But at it's heart is the Park family, sister and national medalist archer Nam-joo (Bae Doona), brother Nam-il (Park Hae-il), a former political activist and now unemployed university graduate and their father Hee-bong (Byun Hee-bong) who runs a snack shop near the river. It is Gang-doo's daughter Hyun-seo (Go Ah-sung) that brings them all together and unites them in a quixotic quest to rescue her in the face of overwhelming government interference and public hysteria.

Korean cinema has been one of my most enjoyable and consistently impressive discoveries of the last couple of decades. Watch this if you haven't.

90/100





The Host - If you haven't seen this 2006 monster movie hopefully you are familiar with director Bong Joon Ho, who won Best Picture, Best Director, and Best Original Screenplay Oscars for Parasite in 2019. Just try to visualize the unlikely combination of a world class auteur tackling the giant-mutated-creature-feature genre and you'll get some idea. Some. But you still need to watch this to fully appreciate what he brought to the screen. It's a satire and a comedy but it's also a genuinely melancholy rendering of a broken family.

It starts with an U.S. Army pathologist (Scott Wilson) ordering one of his Korean subordinates to dispose of gallons of formaldehyde by pouring it down the drain and ultimately into the Han River. Some years later a giant creature emerges out of the water and starts attacking crowds of people. The daughter of Park Gang-doo (Song Kang-Ho) is captured by the monster and seemingly dragged to her death in the river.

This is where the story itself mushrooms and mutates into a polemic on everything from U.S. imperialism to governmental coverups to tabloid journalism to societal tendencies towards rushing-to-judgement. But at it's heart is the Park family, sister and national medalist archer Nam-joo (Bae Doona), brother Nam-il (Park Hae-il), a former political activist and now unemployed university graduate and their father Hee-bong (Byun Hee-bong) who runs a snack shop near the river. It is Gang-doo's daughter Hyun-seo (Go Ah-sung) that brings them all together and unites them in a quixotic quest to rescue her in the face of overwhelming government interference and public hysteria.

Korean cinema has been one of my most enjoyable and consistently impressive discoveries of the last couple of decades. Watch this if you haven't.

90/100
Yeah, aside from a few minor issues here and there, it's very good.
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By www.moviegoods.com, Fair use, https://en.wikipedia.org/w/index.php?curid=7035663

Who's Afraid of Virginia Woolf? - (1966)

Can a film you've already seen defy your expectations? Well, I've finally gotten to the age where what feels like a lifetime can separate viewings, and I'd forgotten how twisted George (Richard Burton) and Martha (Elizabeth Taylor) are in this adaptation of Edward Albee's play. In my memory they just reach a breaking point and have an enormous fight - but my memory was very wrong, and in this film they involve a young couple (the guy has just joined the university faculty, and George sees him as a rival) getting to know them in a night of debauched role play, one-upmanship, psychological manipulation and drunken near-psychosis. Not your usual 'getting to know you' little shindig. George and Martha's relationship has reached a level where the two are like two dragons in aerial battle - both with a death grip on each other and tumbling from the sky - but both still having a semblance of the love that brought them together pumping through their veins. When Nick (a really young George Segal) and Honey (Sandy Dennis) come into their sphere, then of course there will be collateral damage, especially since George sees Nick as a younger rival, both love-wise and career-wise. The dramatic tension is kept taught for nearly the entire run-time - and like a horror movie, you'll often be wanting to tell Nick and Honey to run for their lives. All involved put everything into their performances, and it turns out this was a far more complex film than I'd remembered - perhaps I can see a lot more in it because I needed to have much more life experience to see deeper into it.

8.5/10
This is my #2 favorite film of all time.





I Wake Up Screaming
(1941)


Although the title makes it sound like a horror picture, itís instead a lollapalooza of an early noir. The title was changed to Hot Spot in order to better appeal to Betty Grable fans, but it was then changed back to its original, and that one remained.

The opening has Frankie Christopher (Victor Mature) proclaiming that he is being wrongly accused of a murder while being hard interrogated by several police detectives. From there out most of the story is done in flash backs. He was found standing over the body of Vicky Lynn (Carol Landis) by Vickyís sister Jill (Betty Grable), but she soon believes that Christopher didnít do it. Yet creepy Detective Ed Cornell (Laird Cregar) has a monomaniacal belief that Christopher did kill Vicky, and spends most of the film trying to prove he did it, using intimidation and other means. Along the way weíre treated to a number of offbeat characters, including the familiar Elisha Cook Jr., who plays the hotelís front desk manager.

There are several meaningful twists in the story, which lead to a respectable finale. But to me the real life circumstances around the film are as interesting as the film itself. Director H. Bruce Humberstone and cinematographer Edward Cronjager had never before made a noir type film, nor did either man make another of them after this movie. But yet most of its stunning noir photography was actually better than in The Maltese Falcon (released a month earlier), which is the other of the two pictures that are considered by aficionados to have touched off the noir movement in Hollywood.

Betty Grable was reluctant to play a straight dramatic role, one of a very few that she did, believing that she didnít have the acting heft to bring it off. Although Alice Faye was originally slated to play her part, Grable took it on, and her performance was enjoyable and convincing.

Both Carol Landis and Laird Cregar died very young a few years later-- Landis by suicide presumably after an affair with Rex Harrison in which Harrison refused to divorce his wife; and Cregar died as the result of amphetamine use and crash dieting while attempting to appear more as a leading man.

This was Victor Matureís first film under his 20th Century Fox contract. Iíve never felt that Mature was a high quality actor. He once cracked, ďIím not an actor, and I have 64 films to prove it.Ē Yet he was as naturally good in this role as he was in many of his other notable films.

Itís nice to experience and enjoy a film thought to have started the noir movement. And itís available on YouTube.

Docís rating: 7/10
I really liked this movie...Grable was terrific.



I forgot the opening line.

By Copyrighted by Paramount International. Artists(s) not known. - http://www.impawards.com/1954/rear_window_ver2_xlg.html, Public Domain, https://commons.wikimedia.org/w/inde...curid=25318643

Rear Window - (1954)

During my childhood my father would talk about this film, describing various parts of it to the point where it became legend - it took until the advent of VCRs till I finally saw it, and yesterday as I took time out to watch it I pondered it's uniqueness and what the film was saying to me. The way we snoop in the film, which is now complicated, because we snoop in every film we watch - so what Rear Window does, it make us especially conscious of the fact that we're breaking a kind of boundary we were never meant to break - but one that seems to prompt a primal need to do just that. Cinema gives us complete freedom to watch in absolute safety, but in this we're watching with a man who is always close to being caught, and one who is watching a murder mystery which he's slowly becoming part of. Even when presented with Grace Kelly, James Stewart's character feels compelled to continue his voyeurism - it becomes an urge which trumps all others. I tell you - if someone did have the power to become invisible - the very first thing he'd do is snoop - and once started he'd probably never stop. This is a supremely interesting film.

9/10


By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=52003485

True Lies - (1994)

Up until True Lies all of James Cameron's films seemed to be films of consequence. This one feels like high end, $100 million trash, and he should count himself lucky that it didn't sink at the box office. I found it sorely lacking in substance, and while the action was obviously handled with expertise by the master of high budget spectacle, there's just not much to True Lies - a weird hybrid of James Bond-type cinema and Arnold Schwarzenegger comedic pyrotechnics. It all works, but when compared to what we got from such films as Aliens and even Terminator 2 people must have wondered if Cameron had come to the end of his creative period. He'd answer with Titanic. It had been a while since I last saw True Lies, and while it entertained, it sorely lacked all of the elements that make certain films well worth thinking about after they end.

6/10


By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=51585271

The Devil's Candy - (2015)

Well, if I loved metal, I might be feeling a little ripped off by The Devil's Candy, which steps back a little after promising to be a real heavy metal movie. Fortunately I don't really, so I didn't mind at all - and I found this film to just be what it is, a very well constructed horror film which is intelligent enough to be worth more than a passing glance. It won me over at a moment when I was probably hard to please and dismissive, and it did that with good filmmaking and a patient and thorough grounding in revealing it's characters fully. By the time it sets it's sights on terrorizing us we're so enveloped by the film's inner world that it really takes us away. Sean Byrne still hasn't made a film since this, and I don't know why.

6.5/10
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SF = Z


[Snooze Factor Ratings]:
Z = didn't nod off at all
Zz = nearly nodded off but managed to stay alert
Zzz = nodded off and missed some of the film but went back to watch what I missed
Zzzz = nodded off and missed some of the film but went back to watch what I missed but nodded off again at the same point and therefore needed to go back a number of times before I got through it...
Zzzzz = nodded off and missed some or the rest of the film but was not interested enough to go back over it



I just watched Broadcast News, which was excellent. Three real strong main characters who feel natural and whose story isn’t predictable or falling prey to typical movie tropes. I especially liked the idea of Tom: a handsome, charismatic man who feels his success is fraudulent because he knows he’s dumber than a bag of rocks.

I love trying to keep up with all the Marvel and Star Wars Disney throws at us as much as anyone but a side effect of doing so makes me crave movies for adults more often. And this one was perfect for that.



I just watched Broadcast News, which was excellent. Three real strong main characters who feel natural and whose story isnít predictable or falling prey to typical movie tropes. I especially liked the idea of Tom: a handsome, charismatic man who feels his success is fraudulent because he knows heís dumber than a bag of rocks.
Yeah, it's very good. I liked how the characters weren't entirely likable, but were all self-aware of each other's flaws well enough so that you could still sympathize with them.



Yeah, it's very good. I liked how the characters weren't entirely likable, but were all self-aware of each other's flaws well enough so that you could still sympathize with them.
Yeah especially when it comes to their love triangle. Thereís nothing whimsical or romantic about it. In fact theyíre all kinda selfish ******** to each other during those scenes.