Let’s say you are a feedback and distortion fetishist. Fuzz and blips, pixelation, video lines, VHS rolling from bad tracking – these things get you hard. That’s fine. We are all beautiful snowflakes. What you do in that case is you make a video of all that stuff, you hide it under your bed, you get it out when you’re lonely. What you don’t do unless you have no self control is make a feature film needlessly slathered in that shit and release it in theaters and on home video to paying audiences who want to be told a story and not just watch little flickers and shit.
More to the point, let’s say you are also a wiseass camera operator who enjoys running through explosions in a firesuit or rollerblading around holding a camcorder, but have not yet developed an interest in some of the other elements of photography such as framing or holding still. Fine! Great! That is your calling, you should rollerblade all you want. It is probly good aerobic exercise. But I have one caveat: if your plan is to incorporate that footage into an actual movie and not just an episode of JACKASS then you have a responsibility to look at the footage first and ask yourself if somebody could watch it and understand what in God’s holy name is being shown. And if the directational fraternity duo Nevildine/Taylor were being honest with themselves the answer to that question would usually be “No. No, not at all. Oh jesus, no, are you kidding me? Uh uh.” I’m thinking maybe these guys should forget about the cameras and just be stunt men. They seem more interested in carrying the camera through risky situations than actually pointing the lens of it at specific things. (read the rest of this shit…)
SMOKIN’ ACES 2: ASSASSIN’S BALL is the rare DTV sequel that leaves 2 (two) obvious openings for porn parody titles, not to mention having the word “ass” in it twice. In that sense it is absolutely groundbreaking. The idea of a DTV sequel to a movie that not one single person in the world is passionate about is not as unusual (see: THE MARINE 2, BEHIND ENEMY LINES 2-3, THE ART OF WAR trilogy, etc.), but I guess technically this one is a prequel (it refers to a dead character as if alive). So this might actually be a historic milestone, I’m not sure.
I honestly never knew about this Nic Cage-featuring neo-noir until some of you recommended it to me in the comments. So thanks for that. Since I’d never heard of it and the cover looks like the type of photoshop they do on an uncopyrighted double feature DVD you’d buy for 99 cents at Safeway I assumed this was an early Cage performance. I was shocked when I realized it was 1993, same year he did the much more polished 
As I’ve chronicled over the last few years, I have mixed feelings about Hollywood filmatist R. Zombie. On one hand I really like some things in all his movies (especially DEVIL’S REJECTS), on the other I hate things in most of them too (especially HALLOWEEN). On one hand I think he has a unique eye and a distinct vision, on the other hand he’s too undisciplined to know when his Kiss t-shirts and kitschy cartoon white trash aesthetic is fucking up the other things he’s trying to do. One minute he’ll win me back on the team (HALLOWEEN II) and the next he’ll get in my face and dare me to change my mind (HALLOWEEN II unrated director’s cut).
Since I was one of the elite few to sort of recommend HALLOWEEN REMAKE II I thought it was my duty to inform you that I less-sort-of-recommend the new unrated director’s cut than I do the theatrical one. The new cut is quite a bit different, but mostly what’s added is unpleasantness to make you not like the characters or enjoy the experience of watching the movie. There are several scenes and extensions added so that Laurie – who had a sweet friendship with fellow survivor Annie in the theatrical cut – is angry at Annie and they’re always fighting. Most of the new material involves Laurie screaming, crying and swearing, getting in arguments with Annie, then screaming FUUUUCKKKK! She also has a screaming fit at her therapist (Margot Kidder) and calls some beer she’s drinking in her bedroom “my new best friend.” 
Steve Zahn and Milla Jovovich are on a honeymoon hike in Hawaii. Another couple has been killed, possibly by a newlywed couple like them, and all the other tourists are getting paranoid about it, but they decide to continue with the hike anyway. This is one o’ them suspense thrillers, and it did a good job of keeping me in suspensed thrills.
I know Elvis never meant shit to Chuck D, but I kind of like him. I’m not a huge fan or follower, never been to Graceland (yet), but he’s kind of interesting to me. I’m mostly fascinated by his earlier music and his later persona. And I’m especially interested in the fact that he did karate. Maybe if this portion of his life had been made more public it wouldn’t seem that cool, but as it is it’s kind of a mystery. Here’s this iconic part of pop culture, now more of a character than a human being, and you associate him with certain things, but kicking ass is not usually one of them. The juxtaposition of The King and karate is kind of hilarious and awesome to me. 
Kris Kristofferson is… THE TRACKER. He’s like Tommy Lee Jones in THE HUNTED, except this is the Old West so it’s probly both a more common skill set and a more useful one. He’s a guy who can glance at some footprints in the dirt and tell you how many people were there, their size, what kind of horses they had, how long ago it was, possibly their political beliefs and religious backgrounds. There’s a part where he points out where a horse is leaning to the right on every fourth step and that means the rider is holding his gun a certain way which means he’s left handed. (Which I don’t think turned out to be important, it was just showing off I guess.) Man, I couldn’t even tell which one was the fourth step, but this guy’s so used to knowing this shit he thinks it’s easy to explain. His name is Noble Adams and he’s famous enough that the guy he’s after is honored and almost star struck when he finds out who’s tracking him. 
Time for a little history lesson. Not about the American post-slavery period known as Reconstruction (which is what this movie is about) but about TV movies. It’s hard for young people to wrap their heads around now, but there was a time when TV movies actually could be big events, a major shared element of our culture. This was when there were only a few channels, and none of them were SyFy, and movies about giant komodo dragons or snakes were not yet common. Believe it or not there were even sometimes TV movies where the people making them actually tried to do a good job. In fact, there were honest to God movies on TV that put some theatrical films to shame, like Spielberg’s DUEL and Carpenter’s 
