CUTTING CLASS is the slasher movie starring Brad Pitt. It’s one of his first couple movies, so I figured he would just be a supporting character, like, smaller than Johnny Depp in A NIGHTMARE ON ELM STREET. But he’s actually one of the three leads. There’s Final Girl Paula (Jill Schoelen) and two serious suspects for a series of murders that are going on around her school: her jock boyfriend Dwight (Pitt) or Dwight’s childhood best friend Brian (Donovan Leitch, THE BLOB), who was just released from a mental hospital after being blamed for the murder of his father. The movie does a good job of leading you back and forth about which one of these guys is the killer. Or if you want you can go ahead and believe the parts where the creepy janitor (Robert Glaudini, writer of the one movie Philip Seymour Hoffman directed, JACK GOES BOATING) acts suspicious. (read the rest of this shit…)
Who the fuck needs Michael Meyers when we got John Hadley (Richard A. Buswell)? Well, everybody. This is not a very good movie. But if all the discs rot and HALLOWEEN gets erased from The Cloud and we as a society need to remember what it was like, I guess we could watch this knockoff and hope it would jog our memories.
The childhood prologue is different from original HALLOWEEN, it’s a little more like remake HALLOWEEN because John is a victim of bullying and abusive parents, though he does not wear a Kiss t-shirt. He doesn’t talk, and he’s good at checkers. But the neighborhood shitstains ride up on their bikes to taunt him, shame him into walking on the edge of a well, frighten him into falling in and then run away like bitches. 10 years later he’s a disfigured zombie in an asylum who they say literally chewed his mom to death. (read the rest of this shit…)
GONE GIRL is the new David Fincher popular fiction adaptation, another murder mystery but this time I guess you could say with a lighter touch than SEVEN, ZODIAC or THE GIRL WITH THE DRAGON TATTOO. Nick Dunne (Ben Affleck, PAYCHECK) comes home on his fifth anniversary to find his wife Amy (Rosamund Pike, DOOM) missing. They were unhappy and he’s not good at faking it, so suspicion quickly falls on him. Meanwhile Amy had a tradition of leaving a series of clues for an anniversary treasure hunt, initially romantic, these days bitter and mean. While Nick and lead investigator Rhonda Boney (Kim Dickens, HOLLOW MAN) follow the trail of cute riddles, we start to see Amy’s diary entries telling the story of their relationship from her perspective. And this may shock you but it eventually turns out that there’s more to the story!
This is one that you really need to see without knowing any more than that, so I’m not even gonna attempt a spoiler-wary review. From this point on don’t read unless you’ve already seen it or are mortally wounded and aren’t gonna make it another 2 hours and 25. In which case thank you, I am honored and flattered that you chose to live out your last moments here on outlawvern.com. You know I hope this isn’t too forward of me but if you don’t have any heirs and it’s not too much to ask maybe consider making a bunch of expensive purchases through my Amazon links before you kick. I really appreciate it man, thanks alot bud and good luck to you. (read the rest of this shit…)
In NASHVILLE, Robert Altman used the city to represent America in some way. In MYSTERY TRAIN Jim Jarmusch kinda does the same thing with Memphis, but the joke is that it’s three stories about Memphis through the eyes of foreigners. For all they know the whole country hangs Elvis portraits in their hotel rooms.
The first and favorite story is of two Japanese tourists, Jun (Masatoshi Nagase, THE HIDDEN BLADE) and Mitsuko (Yuki Kudo, RUSH HOUR 3) who arrive in Memphis on a train. I know, I thought this was gonna be a remake of MURDER ON THE ORIENT EXPRESS, or possibly a story about a talking train that solves mysteries, but most of it doesn’t have to do with the train at all. You just see the train going by every once in a while. What the “mystery” part of the title means is, well… an unanswered question.
I like this story because I like these two. Mitsuko is obsessed with Elvis, Jun never misses an opportunity to say that Carl Perkins is better. Fuckin show off. He has a carefully maintained rockabilly rebel persona with slicked back hair, a white undershirt tucked in under a big belt buckle, etc. He’s very stoic, almost never smiles or says something openly nice, but it rarely dampens her enthusiasm. In one great scene she tests his cool by making goofy faces, then putting on alot of lipstick and sloppily smearing it all over his mouth via kiss. He manages to stay completely deadpan with his clown makeup on, smoking a cigarette that she lights for him with her feet. But he gives a tiny smile when she walks away.
That’s mostly what this movie is about, goofy little character moments done very dry and quiet, in long takes. So it’s a Jim Jarmusch movie. (read the rest of this shit…)
I don’t know what I expected Robert Altman’s NASHVILLE was, but not this. It’s about 2 1/2 hours, and it’s about Nashville, and it’s about America, and I don’t know what it’s about. It might be stretching it to describe it as having a plot. It’s a huge cast, too many characters for me to keep good track of, and it purposely doesn’t bother with explaining who they are. But I rarely felt lost or bored.
The characters are mostly people hovering around Nashville’s famous music industry (circa 1975). There’s an old country legend (Henry Gibson), a white gospel singer (Lily Tomlin), a black country singer (Timmy Brown), some rock n roll guys, some managers and associates and what not. And they’re all kinda buzzing around the same events: a ceremony for returning soldiers at the airport, a traffic jam on the way home, an outdoor concert, a fundraiser, a concert for an independent presidential candidate whose platform we hear blaring out of speakers all throughout the movie but whose face we never see. (read the rest of this shit…)
NOTE: It’s October now, and you know what that means: Slasher Search and horror review avalanche. I have saved some action reviews to include for variety and will do some new releases but otherwise I’ll be on a strict slashers and monsters diet for the next 31 days. But before we kick that off I really need to polish off an unfinished project from months ago. Way back in May I visited the state of Tennessee, I had a great time, wanted to write a little about it, and found an excuse, starting with this documentary about Dolly Parton fans.
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I used to think I hated country music. I mean, I watched the Mandrell Sisters Show and some Kenny Rogers movies in the ’80s, that’s about it. To me, Dolly Parton was just the lady from BEST LITTLE WHOREHOUSE IN TEXAS and 9 TO 5 and stuff. It wasn’t until way after the fact that I noticed what a saint that lady was. Remember she did a song for TRANS AMERICA? She just seems so relentlessly positive and non-judgmental. Also, some of that stuff she sang when she was real young – “Jolene,” “Coat of Many Colors” – I realize now that I like some of that stuff.
(although come on Dolly, you gotta put the responsiblity for this one on your man, not on Jolene.) (read the rest of this shit…)
All things being equal, THE EQUALIZER is Denzel Washington’s TAKEN. It’s the one where they figure out people like to watch a really commanding older actor be smarter than everybody and kill a bunch of criminals. It has some gestures of seriousness and takes a bit to get to the killing, but once it does it’s pretty straight up about being a violent, lowbrow action movie. It even has the Academy Award winner doing the ol’ slo-mo-walking-away-from-a-fiery-explosion shot. I guess he did that in MAN ON FIRE too, and shot more beautifully from what I remember. But this one is more my speed because it’s not trying to rub my nose in the shit, it’s just trying to be stupid fun.
And by the way I apologize for awkwardly shoe-horning “all things being equal” in there at the beginning. It just seemed like something you do. But let’s try to get past it.
Written by Richard Wenk (VAMP, 16 BLOCKS, THE MECHANIC REMAKE, THE EXPENDABLES 2) and sort of based on the ’80s TV show of the same name, this has Denzel (RICOCHET) playing Edward Woodward’s character Bob McCall, now a book-reading, OCD widower square who works at “Home Mart,” wears polo shirts tucked into dad jeans and cleans his New Balance sneakers with a toothbrush every morning. Then one day when an acquaintance from the diner where he hangs out (Chloe Grace Moretz, TODAY YOU DIE) gets badly beaten by her Russian pimp (David Meunier, a.k.a. Cousin Johnny from Justified) Bob decides to try to help her. And it turns out his previous job was at the CIA or something (the agency is not specified) and that he’s real good at massacring a whole bunch of armed criminals using found objects and guns he takes out of their hands. Gino Fellino would be proud. He even sticks a corkscrew in a guy’s chin and we see it poke up into his mouth. (read the rest of this shit…)
Sometimes a man just has to walk among the tombstones, you know? Stroll within the grave markers. Saunter betwixt the memorials. Seagal did it in PISTOL WHIPPED and now my man Liam Neeson (THE DEAD POOL) is taking a turn. He’s doing it in a mystery thriller based on book #10 in a series by Lawrence Block. The movie version is written and directed by Scott Frank, the guy that wrote OUT OF SIGHT, so it’s more about capturing that crime novel feel than being another Neeson vehicle like UNKNOWN or NON-STOP. That said, he is allowed to be awesome, and there are some scuffles.
Admittedly the opening scene is better than anything else in the movie. It’s a flashback to 1991, but has a ’70s feel. Stringy-haired, racial-slur-using asshole police detective Matthew Scudder (Neeson) walks into an empty bar where cops get free drinks. And this is how you know he sucks: the bartender greets him by name, and he doesn’t even say hi or look at him. He just knocks on the counter and then sits down at a booth with his back to him. Fuck you, man! I guarantee you this prick doesn’t tip either. (read the rest of this shit…)
You know what I realized? I don’t love minimalism. I don’t hate it either, and I think it’s funny to watch normal people get upset and confused by one of these slow, quiet, ambiguous takes on what usually would be genre material. It’s not for everybody. But some of these things are real artful, and when they’re really rolling the relative lack of movie artifice helps get a potent atmosphere and tone and feel going like nothing else. But to be honest at the end when they wrap up they don’t usually feel like a full experience to me. They’re not usually my favorites, or things I’d want to watch again. But as far as they go, THE ROVER is a real good one.
I don’t mean to diminish it. I liked it and I’m pretty sure some of you will love it. I just thought it would be better to start on that thought than to end on it. And also I want to warn you not to watch this late at night after work like I did. It is fair for filmatists to expect full day time awakeness levels from their viewers, and writer/director David Michod here has earned it ’cause he’s the guy that did ANIMAL KINGDOM. (A co-story credit goes to Joel Edgerton, although he’s not in the movie as an actor.)
First I gotta give you that dreaded warning that more than the usual amount of fun in this one comes from not knowing what type of movie it’s gonna be. Not like it’s some crazy rollercoaster or mindblowing, rug-pulling shocker of a twist or anything, but it mixes up genres a little bit and I’m glad I didn’t know where it was going. So you might want to do what I did and just know it’s from the director and writer of YOU’RE NEXT and give it a shot. That worked well for me. But if you want to read my review beforehand anyway, be my guest.
Dan Stevens, who you know from playing the libidinous chandelier designer Lord Downington Abernathy on Downton Abbey, but who I know from playing the douchey soul-patched heroin trafficker in the other new movie I watched the day before this, plays a soldier called David Collins who shows up on Mrs. Peterson (Sheila Kelley)’s doorstep one day. He knew her son Caleb, who died in Afghanistan, says he promised to come check on the family for him and tell them he loved them right to the end. This brings up alot of emotions of course but she invites him in (like a fucking vampire) and he befriends her drinking, Henry-Winkler-esque husband Spencer (Leland Orser, SEVEN), her cool 20-year-old waitress daughter Anna (Maika Monroe) and her put-upon high school son Luke (Brendan Meyer, SPOOKY BUDDIES). So he ends up sticking around for a while. (read the rest of this shit…)
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Recent commentary and jibber-jabber
Comrade Question on Charlie and the Chocolate Factory: ““Also I still think of the GLASS ELEVATOR book as one of the biggest sequel drop-offs ever.” It wasn’t great,…” Jul 19, 16:59
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CJ Holden on Superman (2025): “Steven, SUPER is the venn diagram overlap between Troma edgelord James Gunn, who proudly farts into the direction of good…” Jul 18, 22:34
Skani on Charlie and the Chocolate Factory: “Shit, it’s one of those weeks, I guess, because I love this one, too, and I love Depp’s performance. My…” Jul 18, 19:23
Dreadguacamole on Charlie and the Chocolate Factory: “Huh, they completely ripped off that ‘flags of the world’ gag in one of the Spongebob movies, where they do…” Jul 18, 18:02
KayKay on Superman (2025): ““One thing I feel is going under discussed is the kissing scenes, they felt oddly intense lol. Like they really…” Jul 18, 17:39
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Steven E on Superman (2025): “Love the movie, great review. I think it is the tone more than anything that makes this one special. It…” Jul 18, 15:40
Peter Campbell on Charlie and the Chocolate Factory: “I watched this film recently and I actually liked it a lot more than I did at the time. I…” Jul 18, 14:47
“Shouldn’t you be bouncing a ball somewhere?”
GONE GIRL is the new David Fincher popular fiction adaptation, another murder mystery but this time I guess you could say with a lighter touch than SEVEN, 
In NASHVILLE, Robert Altman used the city to represent America in some way. In MYSTERY TRAIN Jim Jarmusch kinda does the same thing with Memphis, but the joke is that it’s three stories about Memphis through the eyes of foreigners. For all they know the whole country hangs Elvis portraits in their hotel rooms.
I don’t know what I expected Robert Altman’s NASHVILLE was, but not this. It’s about 2 1/2 hours, and it’s about Nashville, and it’s about America, and I don’t know what it’s about. It might be stretching it to describe it as having a plot. It’s a huge cast, too many characters for me to keep good track of, and it purposely doesn’t bother with explaining who they are. But I rarely felt lost or bored.
NOTE: It’s October now, and you know what that means: Slasher Search and horror review avalanche. I have saved some action reviews to include for variety and will do some new releases but otherwise I’ll be on a strict slashers and monsters diet for the next 31 days. But before we kick that off I really need to polish off an unfinished project from months ago. Way back in May I visited the state of Tennessee, I had a great time, wanted to write a little about it, and found an excuse, starting with this documentary about Dolly Parton fans.
All things being equal, THE EQUALIZER is Denzel Washington’s 
Sometimes a man just has to walk among the tombstones, you know? Stroll within the grave markers. Saunter betwixt the memorials. Seagal did it in 
You know what I realized? I don’t love minimalism. I don’t hate it either, and I think it’s funny to watch normal people get upset and confused by one of these slow, quiet, ambiguous takes on what usually would be genre material. It’s not for everybody. But some of these things are real artful, and when they’re really rolling the relative lack of movie artifice helps get a potent atmosphere and tone and feel going like nothing else. But to be honest at the end when they wrap up they don’t usually feel like a full experience to me. They’re not usually my favorites, or things I’d want to watch again. But as far as they go, THE ROVER is a real good one.
First I gotta give you that dreaded warning that more than the usual amount of fun in this one comes from not knowing what type of movie it’s gonna be. Not like it’s some crazy rollercoaster or mindblowing, rug-pulling shocker of a twist or anything, but it mixes up genres a little bit and I’m glad I didn’t know where it was going. So you might want to do what I did and just know it’s from the director and writer of 
