Having wrapped up my series on the action movies of summer ’89, I’ve been enjoying the freedom to dart around to different topics that catch my interest. But I realize there’s a little bit of unfinished business to get out of the way. There were two movies I reviewed in The Last Summer of ’80s Action that spawned not-even-on-DVD-in-the-U.S. sequels five years later. There’s nothing hugely special about either of these part 2s, but you know how I am. I had to see them. And the one that follows series-opener RED SCORPION seems like a good epilogue or postscript, because it really signals a change in world politics.
Remember how RED SCORPION part 1 was produced with the cooperation of the racist regime in South Africa? The sequel is having none of that. In fact it explicitly casts racists as the bad guys. GOP lobbyists Jack and Robert Abramoff are still credited as executive producers, but the movie strays far from their original mission of making conservative arguments in genre movies. The villains are even described in expository dialogue as “ultra right wing.” (read the rest of this shit…)
Who knows what evil lurks in the hearts of men? SHADOW is the 2018 film by Zhang Yimou, the director best know to people like me for giving us 
I’m into the early hiphopsploitation for many reasons: they’re a time capsule of an era and culture I’m fascinated by, they’re sometimes humorously dated or clueless about the subject, and they were what introduced me to that world, accurately depicted or otherwise. The BREAKIN’ movies were the big ones, but at the time I liked BEAT STREET better – it felt more authentic, and didn’t center on an outsider. Years later I discovered WILD STYLE (definitely the most legit one) and STYLE WARS (the documentary that seems to have inspired some of BEAT STREET), but also started to be much more enamored by the cartoonish world of Special K, Turbo and Ozone in the BREAKIN’s.
After this summer’s fun-if-flawed 
As with LETHAL WEAPON 2 and ROAD HOUSE, KICKBOXER is a classic that 
I’ve been enjoying all of the 
ONCE UPON A TIME… IN HOLLYWOOD is an odd and beautiful movie from… Quentin Tarantino. It’s undeniably one that only he could or would make – it’s even in his now-trademark ‘wish-fulfilling rewrite of a historical atrocity’ mode – but it’s different. It’s not as mean and angry as the last three, or as carefully plotted as any of them. It’s sort of a hang out movie, a day-in-the-life of two friends, and a gentle tale of surviving a mid-life crisis, wrapped in a love letter to Los Angeles of the late ’60s, and to the then-fading leading men of the ’50s, with a chaser of gruesome violence. The fun kind, though. The cathartic kind.
I’m not gonna totally contradict the conventional wisdom that HELLBOY (2019) is bad. I kinda thought it was bad for a while. But then it sort of won me over. I had more fun than expected, and talking about it with other people made me realize that yeah, overall I think I liked it.
Both the weakness and the strength of CRAWL is how simple and slight it is. On one hand, I felt like it was already dissipating from my brain by the time I got home. On the other hand it’s refreshing to see something that just gets in there and gets it done and says “okay, bye.” It’s a monster movie meets disaster movie – alligators attack a house during a hurricane – but it doesn’t fuck around with any before and after or unneeded explanations.
