I kinda liked TURBULENCE, but TURBULENCE 3: HEAVY METAL is definitely the gem of the trilogy. That’s not to say that it’s well made exactly, but it’s just such an exuberant mix of different types of ridiculous bullshit that you gotta respect it. That starts (but does not end) with the setup: controversial rock star Slade Craven (who seems to be a mix of King Diamond, Marilyn Manson and Alice Cooper, but doing more of an industrial rock type of thing) has invited a small group of fans to see his farewell concert, which will take place on a “specially designed, absolutely radical” airplane while it’s in flight.
Since this was released in 2001 it sort of goes without saying that it’s one of those “live internet broadcast” movies, a format that is almost always terrible, but generally provides at least a few chuckles. I get a kick out of how they always have a big board that tells them how many people are watching and somehow it has an immediate, instantaneous relation to what’s happening live. Like, if something exciting happens (usually somebody getting killed), suddenly more viewers are watching. (Yes, they have a reader board on the plane to update them on how many.) (read the rest of this shit…)
I reviewed the ruckus-on-an-airplane thriller 
It doesn’t seem like many people read my reviews of these 21st century competitive street dancing movies, but I have a fascination with them, so here we are. STREETDANCE 3D is a UK entry in the subgenre and it’s from 2010 – six years after 
“I just do what I’m told.”
So much for that bullshit. Now for the next one. Hopefully we can start digging our way out of the wreckage from this one.
I like Christopher Nolan’s movies. So, had things gone reasonably in the world, Christopher Nolan’s TENET by Christopher Nolan is a movie that I for sure would’ve seen right away in a theater. But… you know. So I didn’t.
Recently
SOUL is one of the best and most ambitious movies Pixar has made, and they had to release it straight to Disney+ (great job, Covid). It comes from MONSTERS, INC. director Pete Docter, co-directing and co-writing with Kemp Powers, the writer of ONE NIGHT IN MIAMI (both the play and the upcoming movie), and it’s another one of Docter’s hard-to-explain emotional high concept fantasies like UP and 
WONDER WOMAN 1984 (actual onscreen title: WW84) is, due to a strange confluence of events, in an unprecedented position. As the first sequel to a big-cultural-phenomenon comic book movie it was highly anticipated and also something of a question mark – I think we were pretty optimistic, but didn’t necessarily know if director Patty Jenkins (who hadn’t done a big movie before, just 
As I mentioned in a few recent reviews, I was one of the guests on the podcast Postcards From a Dying World, talking about the films of Jet Li. I had fun and it was a good excuse to fill in or revisit some of his movies (a couple more of those reviews coming soon). 
