[NOTE: this review was sent to The Ain’t It Cool News, but they never ran it. Sometimes pieces like this just fall through the cracks. Or sometimes movies starring and directed by Pauly Shore should not be written about. It only encourages them. sorry about this one guys.]
Dear Harold,
You better be lying about BLADE 3 you motherfucker or I got nothing to look forward to. I need a light at the end of the tunnel Harry and you’re trying to black it out on me. Also I hope you had a nice stay in Seattle.
Anyway I’m writing to you due to the fact that I just seen yet another straight to video movie, this one called PAULY SHORE IS DEAD, by star/subject/director/co-writer Pauly Shore, a former inexplicably famous comedian. What this movie is about is he has run out of the money he made in the early ’90s and can’t get any jobs so he made a “personal” independent movie about his career to bear his soul and/or beg for attention. (read the rest of this shit…)
OCEAN’S 12 is a sequel to OCEAN’S 11 (the 2001 version [not the movie 2001, I am referring to the year 2001, the year the movie OCEAN’S 11 was made {the remake, not the original, that is why I brought up this year thing originally}]) so this will be the sequel to my review of that movie.
I was browsing through the horror section at this video store one day. I don’t know if many of you remember this, but there are actual video stores they have that you walk into and find a movie. You don’t just order them online and then wait for them to be delivered to your house. This old fashioned method requires walking and effort of some kind (sorry about that folks) but the cool thing is it’s spontaneous: you find something, you bring it home, you watch it.
Well judging from the low turnout for this picture in its first couple weeks, I might be the only one. But DAMN if I don’t love BRIDE OF CHUCKY. THat was the amazing slasher sequel landmark where the former Hong Kong director Ronny Yu knocked the CHILD’S PLAY series off into a weirdo direction where the killer doll suddenly gets a killer doll wife and it turns into a silly comedy, but with occasional moments of visual poetry courtesy of future oscar winning cinematographist Peter fucking Pau.
TEAM AMERICA is pretty much your typical moronic jingoistic action nonsense. The ultimate big budget, small brained hollywood summer action July 4th blockbuster. The movie you saw and couldn’t believe anybody liked but somehow everybody liked it and it made a bazillion dollars and the next summer everybody pretended it was somebody else who liked it. It’s pretty much that movie, except sarcastic, and done entireley with creepy looking marionettes like on that old TV show THUNDERBIRDS. That might be a comment about the wooden characterization and emotion in big action movies, and the way they treat sometimes respectable actors as props to move around and set up in front of explosions. But more likely it’s just because puppets are funny. It’s funny to watch them do stuff, because they’re puppets.
I’m not 110% sure but I think there may be a new movement poking its head out from over the Hollywood hills. Only a few years ago it was unimaginable that a Hollywood studio would make an entertainment-oriented movie with recognizable stars but also with a premise so weird and convoluted that it is hard to even explain. Then all the sudden there was this movie starring John Cusack and Cameron Diaz and it was about how there’s a door hidden inside an office building that you can go through and you will be able to control John Malkovich and make him quit acting to become a puppeteer. Then also there was the movie by the same director and writer where Nicolas Cage played twin brothers who try to write a movie based on a non-fiction book about collecting rare orchids but they can’t do it and instead write the movie that you are actually watching about twin brothers who try to write a movie based on a non-fiction book about collecting rare orchids but they can’t do it so instead they write the movie that you are actually watching. 
Hi, everyone. 
I’ve seen a couple of the old Zatoichi movies and I liked them, but I was excited for this one not because it was a Zatoichi film, but because it was a TAKESHI KITANO film. The great badass laureate does his usual writing/directing/editing deal while playing the blind masseuse with the deadly cane sword.
The first thing you see in this movie: “inspired by a true story.” The last thing: “Dedicated to the memory of Sheriff Buford Pusser.”
