TRIGGER WARNING is a b-action vehicle for Jessica Alba (MACHETE, MECHANIC: RESURRECTION). You don’t see her in big movies anymore but she looks basically the same as you remember and she’s playing a CIA covert ops badass whose father dies, so she comes home to her small town, uncovers a criminal conspiracy and fucks up some motherfuckers.
When I saw the trailer I was thinking it was like how Netflix gave tough lady action vehicles to Allison Janney and Halle Berry and different people. But then it opens with a war scene in Syria and I thought oh no, this is more like a recent made-for-VOD movie that Dolph Lundgren and Mickey Rourke would each have a couple scenes in. That’s the general feel of the thing, and storywise it’s all well-worn tropes, very low on original spins. It’s generic – all the numbers are there, all in order – but slightly above average for this sort of thing. Alba seems very dedicated and is cool in it, so at the bare minimum level of “is it a movie where Jessica Alba beats up a bunch of chumps?” it is successful. (read the rest of this shit…)
I’m trying not to overdo the horror movies during these times of dread, but I feel very strongly that I didn’t fit in enough Slasher Searching this October. In order to be the change I want to see in the world I intend to continue the mission periodically, free of holiday constraints. So today I have for you a double-header of wrestling themed horror movies. I thought it was a good gimmick when I reviewed 
WRESTLEMASSACRE (2018) is a slasher movie of the 
ANORA is a real knock out of a movie from writer/director Sean Baker, major indie voice of the 21st century known for style on a microbudget, authentic performances by non-professional actors, and being one of the first to shoot an acclaimed movie on an iPhone. I’ll be honest, I’ve only seen 
A couple months ago I got on a Jean-Michel Basquiat kick. You probly know who that is, but if not, he was a New York City graffiti artist in the early hip hop era, transferred his skills to paintings for galleries, became rich and famous and friends with Andy Warhol and stuff in a brief, prolific life before (like so many bright lights) dying of a drug overdose at 27.
Jody Hill’s OBSERVE AND REPORT (2009) was maybe a little ahead of its time. Or at least ahead of me. I guess I didn’t review it, but I remember being a little disappointed at the time, thinking it had kind of a fake darkness to it. I thought it was supposed to be a TAXI DRIVER type portrait of a mall security guard, and it seemed kind of forced to me.
100 YARDS was one of my most anticipated movies this year – it’s the latest period martial arts epic from writer/director Xu Haofeng, this time with his brother Xu Junfeng credited as co-director. Junfeng is a newbie but Haofeng is one of my favorite modern martial art directors, a true auteur with a very distinct style and tone and a set of reoccurring themes that happen to be extremely my shit.
In Clint Eastwood’s JUROR #2, Nicholas Hoult (
I’m no scholar of the works of Francis Ford Coppola. I agree 
