Instead of posting a review today I want to write a little bit about John Singleton, who died yesterday after complications from a stroke.
If you weren’t of age in the early ’90s, I don’t know if you could ever quite understand it, but John Singleton was enormous. A few years earlier Spike Lee had exploded into the pop culture consciousness, a singular voice, a revolution out of New York, making an arty black and white movie on credit cards with a jazz piano score by his dad, then making bigger and better movies with studio backing, showing the promise of a new generation of black filmmakers.
And Singleton, already, was that promise. More than a decade younger than Lee, he made BOYZ N THE HOOD at 23. Practically a kid. As I seem to have mentioned every time I ever wrote about him over the years (see links below), he was nominated for a best director Oscar the first time out, the first black director to do so, and to this day the youngest person. He became an inspiration not just for black directors, but anyone young, outside of the system and wanting to tell a story about where they come from. (read the rest of this shit…)
THIS IS AN ALL SPOILER REVIEW. Duh.
Unless you count an IMDb listing for an unreleased movie called SIRENS OF THE DEEP (2000), the final (so far) feature film directed by Steve Wang is the 1997 under-the-radar Mark Dacascos action romp DRIVE. Dacascos (
“I prefer the second one because the first one I had no control over the content. I got into big fights with the producer because he wanted to make a kids film and I wanted to keep the tone of the original anime. In the end, the film turned out like crap in my opinion. I did GUYVER 2 on my own for less than 1/4 the budget of the first GUYVER, but in exchange, I had total control of the film.” –Steve Wang to 
Hello, friends. This week I’m focusing on a pretty obscure topic: the films of Steve Wang. He’s a Taiwanese-American FX artist who worked on movies like 
GUYVER, a.k.a. THE GUYVER is a 1991 sci-fi/martial arts b-movie that I saw back in the day and decided to revisit when I did that 
TOO MANY WAYS TO BE NO. 1 is a crazy, aggressively stylish 1997 Hong Kong crime movie that I watched because it was recommended to me by 
ON THE JOB (2013) is an earlier movie by Erik Matti, director of 
A while back, when I reviewed 
MASTER Z: THE IP MAN LEGACY is the new film directed by Yuen Woo-Ping, a spinoff of 
