DEADLY WEAPON is another randomly-stumbled-across VHS rental. This one got my attention with a faded lenticular cover and warranted further investigation when I saw that it was written and directed by Michael Miner, the less-discussed co-writer of ROBOCOP, and stars a bonafide Dream Warrior, Rodney Eastman, aka Joey from A NIGHTMARE ON ELM STREET 3 and 4.
Caveat: It’s produced by Charles Band.
The opening text of this 1989 low budget teen angst sci-fi tale explains that it takes place “in the mind of a fifteen year old boy.” I guess that explains its cartoonishly broad idea of how people and relationships work. Eastman plays Zeke, a lonely teen who narrates in the third person, referring to himself as “The Visitor” because he’s “a visitor from another galaxy.” (Not really. That’s his fantasy.) He lives in dusty King Bee, Arizona (Population 4,852) with an abusive alcoholic stepfather and is anxious to grow up and move out, so he says he “watched the skies waiting for a sign, some signal that everything was gonna be alright.” (read the rest of this shit…)
One thing the DEATH WISH remake has in common with the original: it feels kinda disreputable. I went to it knowing it had gotten poor reviews, that it had been delayed, that the trailers had been scoffed at by anybody I ever heard talk about it. People have looked down on Roth’s movies since 
I spent years trying to be mysterious and ambiguous in an age when everyone was anxious to expose their every pore and playlist online. It was mostly fun and mostly worked well to build an aura around me or something. It was a philosophy, but also a gimmick and a crutch. So I’m glad a few years ago I got an offer I couldn’t turn down that involved appearing in public. It was fun and flattering and inspired me to believe more in what I could accomplish. It changed my mind.
The Oscars are coming up Sunday. Yes, I know it doesn’t matter who wins, but I enjoy watching the awards and I think they’re a good reflection of the aspirations and values of the people in this business we follow because we love (some of) what they create.
Of all the stories we tell over and over, “coming of age” might be the most universal. I don’t care who you are, as long as you live to be a certain age, at some point you’re gonna come of some of that age. And when you see some fictional (or, let’s be honest, usually semi-autobiographical) character’s age coming of you can compare and contrast to your experiences. You see echoes of your own life, revive emotions that were so potent at the time, now faded, learn about other people who had it different. So I have not specifically experienced being a girl in a private school in Sacramento in the oughts, and I definitely have no personal understanding of how it feels to be someone who could identify a song as Dave Mathews and have an emotional response to it that involves embarrassment, nostalgia and personal meaning*, but I can also see those things on screen and have them feel familiar and real and relatable.
GANG IN BLUE is a made-for-Showtime Melvin & Mario Van Peebles father-son directorial collabo from 1996. Mario plays Rhoades, a righteous cop surrounded by corrupt racists in a secret cop gang called The Phantoms. Please think of these “Phantoms” as dudes in white ghost hoods, not purple tights and skull rings. Their only uniform, though, is their regular police one or their tattoos or their softball jerseys and jackets, ’cause their softball team is also called The Phantoms. There must be some naive soul on the force who sees the tattoos and thinks “Geez, those guys are really into softball.”
PENITENTIARY II (1982) is that thing we love where a director has been burning it up on the fringes and then they get a little more resources behind them and they really go for it. Still low budget and outside of the mainstream, but more professional than the first 
(a.k.a. JOHNNIE GIBSON F.B.I. if you go by the VHS tape)
a.k.a. THE INSUFFERABLE MR. WOODCOCK 
ALLIED is an unassuming, quick-paced WWII spy thriller/tragic romance combining the slick directivational chops of Robert Zemeckis (
