Okay, I’m not saying it’s very good, but I gotta admit, HOUSE PARTY 3 wasn’t as bad as I expected. Actually I was kinda impressed that each installment covers a different part of Kid’s life. Part 1 he’s (improbably) in high school maintaining friendships, bonding with his dad, starting his first serious relationship. Part 2 he’s going to college, learning about his heritage, facing challenges in keeping his girlfriend, dealing with loss. Now, for part 3, he says goodbye to childish things. He’s lost the fade and is thinking about cutting his hair altogether. He must decide how much he believes in his future as a rapper, accept that his parts 1-2 girlfriend Sidney wasn’t who he was meant to be with, and trust that his woman Veda (Angela Means) loves him even when she’s around naked dudes. All this because he’s about to get married. In HOUSE PARTY 3, Kid becomes Man.
You know how nowadays everybody wanna talk like they got somethin to say, but nothin comes out when they move their lips, just a bunch of gibberish, and motherfuckers act like they forgot about Dre? And this despite the widespread recognition of Dre Day, and everybody’s celebratin? Well, that must be tough for Dre, but it’s even worse for Dré.
Recently I 
HOUSE PARTY 2 has that typical sequel problem: holy shit, the first time we were just doing what we wanted to do, now we gotta live up to people’s expectations. So in the beginning they kinda redo the beginning of the first one. It’s another fog machined dream of people dancing, but this time they got recent Academy Award winner Whoopi Goldberg to do a cameo as an evil professor. And there’s lightning and stuff. Spooky.
It goes without saying that this year of 2010 is the 20th anniversary of the release of the movie HOUSE PARTY starring the late ’80s/early ’90s pop rap duo Kid ‘n Play. The actual release was in March, of course, but we’re celebrating all year long. Please join me this week as we revisit all of Kid ‘n Play’s cinematic works and try to understand what the fuck we, as a nation, were trying to pull in the ’90s.
KNIGHT AND DAY is that action/comedy/romance deal that came out this summer, one of two or three that were about a guy who’s secretly a government agent taking a girl on an unexpected adventure involving guns and crashing vehicles. Of those, this is the one where it’s Tom Cruise and Cameron Diaz. It’s called KNIGHT AND DAY because Cruise’s character takes a little toy of a knight from the airport gift shop to hide something in, and also because it turns out his last name is Knight, and the ‘Day’ comes from Cameron Diaz because she’s playing a young Sandra Day O’Connor. Well, okay, I made up that last part, or at least if it’s true it isn’t made very clear in the movie. Actually there’s no reason for the ‘Day,’ I don’t think they got that far when they were proofreading the title.
Is it just me, or do some of these movie titles start to blend in together after a while? The ones I have trouble with are: I’M STILL HERE, I’M NOT THERE, LET ME IN, and NEVER LET ME GO. Well, now that I’ve actually seen one of these maybe I’ll remember which one that is and it’ll help me straighten out which is which between the other ones by narrowing the choices a little. I hope so, because I’m not sure what else I got out of this one, exactly. I mean, I got something, I think. Just a something that’s hard to identify.
I’ve been writing Expendables-related reviews for weeks because to me that was the movie event of 2010. That’s just the way I was raised. But according to The Internet the most important and historic release last weekend, possibly this year, possibly in our lifetime, most likely within this epoch, and almost for sure within whatever is a hundred times bigger than six epochs, or at least since KICK ASS… is this movie for the youths called SCOTT PILGRIM VS. THE WORLD. It’s based on a comic strip of some kind, which explains why it’s so historically inaccurate. They don’t even mention the Mayflower once, and it’s a total whitewash of what we did to the Native Americans. To be fair it does take place in Toronto. Maybe their pilgrims were different, I don’t know that much about it. 
To celebrate the release of my new review book that’s named after Bruce Willis it’s only appropriate that I review a Bruce movie I never reviewed before. And by far the most requested title in that category is the notorious-flop-turned-minor-cult-movie HUDSON HAWK.
A couple weeks ago the United States Congress finally squeaked through the Baby-Steps To Health Care Reform legislation, a bill that does several good things such as not allowing insurance companies to refuse coverage to people because of a pre-existing condition, giving tax credits to small businesses that provide health insurance for their employees, and letting kids in their twenties stay on their parents’ insurance a couple more years than before. Unfortunately, too many Democrats are in the pocket of the insurance companies and they were too insistent on bending over backwards to find every possible compromise that could conceivably tickle the fancy of a Republican (a year long torture session that netted them a grand total of zero Republican votes) so the reforms aren’t as strong as most people would like. 
