A while back somebody asked me if I was gonna review FROZEN II. I’m sure they lost interest by now, but I work on my own schedule. I didn’t review the first FROZEN (unless you count this unrelated movie with the same title) but I liked it at the time. These days the all-consuming cultural force of THE DISNEY CORPORATION is kind of off-putting to me, but back then I was more open to their magicTM. If you read some of my old reviews like SAVING MR. BANKS and POCAHONTAS, hopefully they can explain my interest in the history of the animation studio and the way their story formulas have slowly evolved over the years.
To me FROZEN was another step in the evolution of the Disney Princess. I appreciated their previous movie, the Rapunzel adaptation TANGLED, for allowing its heroine to be flawed, with self-esteem issues coming from her complicated relationship with the villain, who is also her mother figure. FROZEN is maybe less nuanced, but I liked the bait and switch where she needs True Love to break the spell and it turns out the prince you assumed it was talking about is a piece of shit, so sisterly love saves the day instead.
Several years went by, FROZEN’s ubiquity in pop culture (let it go, let it gooooo) sanded off much of its novelty, and much like INCREDIBLES 2 I looked at the posters and it looked like the same movie and even though I thought I should see it I felt no urgency to. Then I finally watched it on Blu-Ray and I got about two minutes before I realized that since I only saw FROZEN once, and have no kids in my life to hear obsessing over it, I had to pause and read the entire Wikipedia entry to remember what the fuck it was about. Like, oh yeah, Elsa (Idina Menzel, UNCUT GEMS) with the snow powers was kind of the bad guy at first. I forgot the main character was actually this non-snowy redhead character Anna (Kristen Bell, POOTIE TANG, SPARTAN, SCREAM 4, HIT & RUN). And I was still going, “Okay, yeah, I sorta remember that” in the last couple paragraphs. (read the rest of this shit…)
IN FABRIC is a unique little movie – a horror film that’s not exactly serious, but not adverse to making its absurd premise work; a comedy too, but dry as freshly folded laundry. It’s primarily an exercise in style, a period piece exalting the golden era of Italian horror with its slender beauties and very good retro score – more proggy than the synthy stuff everybody is doing now – by somebody called “Cavern of Anti-Matter.” It fetishizes retail fashion, taking place in and around the women’s department at a ritzy London department store, frequently featuring montages of (and a nightmare about) catalog models, having its characters repeatedly make small talk about “the sales,” and whether each other found anything good to buy. And of course mannequins. Lots of mannequins the look like people and people that look like mannequins.
BALLISTIC (no relation to 
The star is Marjean Holden (
COLOR OF OUTER SPACE is last year’s comeback film for Richard Stanley, known for not directing 
21 BRIDGES is a police thriller with some action. It reminds me of the kind of stuff studios made in the ‘90s, when maybe it would’ve starred Denzel or Wesley Snipes or maybe Samuel L. Jackson if he’d been offered it during that window when he could be the main character and starred in 
TRUE VENGEANCE is a 1997 Daniel Bernhardt movie that I bought specifically because it was written by Kurt Johnstad. I think I was looking him up because he wrote 
Burt Reynolds is Sharky, sometimes just “Shark.” I think it’s his last name. He’s an undercover cop, seemingly beloved on the force, but he gets into trouble when a drug bust turns into a public transportation shootout after this dipshit Smiley (Darryl Hickman, THE GRAPES OF WRATH, voice of “Pac-Junior” on the Pac-Man cartoon) drives up to say hello and blows his cover. Everybody thinks it’s bullshit and calls Smiley a fuckin asshole as they whisk Sharky off to his new job in the vice squad. There’s a great bit about how that department is located in the basement and his old partner is only willing to walk him halfway down the stairs.
Before the 2019 awards season dissipates entirely from memory I want to get my thoughts down about one of the movies I watched. As I’ve said before, one of the reasons I like following the Oscars is to get myself to watch a few things that I wouldn’t otherwise, for a little of the ol’ BoH (Broadening of Horizons). I always bring up the example of when I had no interest in 
BIRDS OF PREY AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN is the movie that says “Okay, we fucked up that 
We owe this review to 1-900-MIXALOT, who was kind enough to recommend THE STUNTWOMAN in the comments for 
