HUMINT (as in “human intelligence”) is a 2026 South Korean thriller from writer/director Ryoo Seung-wan (THE CITY OF VIOLENCE, ESCAPE FROM MOGADISHU). It stars Zo In-sung (THE GREAT BATTLE) as Manager Zo, an agent for South Korea’s National Intelligence Service who goes undercover to bust human traffickers.
In the opening he’s at a brothel to record the final testimony of his informant, Soo-rin, on the last day before they’re supposed to get her out and back to her family. When she escaped North Korea she was trafficked by the Russian mafia and now is heavily scarred, addicted and desperate. The trouble is that Zo’s handlers, talking to him in his earpiece, are only interested in the narcotics part of her story, and aren’t sure she’s given them enough. After Soo-rin causes a scene that draws the attention of her pimp, Zo learns that the budget to move her hasn’t even been approved yet. He bows his head and asks his team, “Is this seriously… the best we can do?”
Soo-rin gets a beating while he follows his orders to walk away and “not engage.” Except then he thinks better of it, and there’s an excellent fight scene. When more thugs arrive he pulls his gun, and his handlers tell him, “If you open fire there’s no turning back.” He thinks about it for a moment, then turns the gun around and uses it like a hammer. (read the rest of this shit…)
As you may have seen I’ve been dabbling in a little anime lately, trying to find interesting ones that speak to me. I can’t remember what tipped me off to A TREE OF PALME (2002), but it’s one I found interesting, first because it has an unusual style and transports us to a distinctly strange fantasy world, then because it has a complex mix of tones and emotions that speak to the experience of being human and what not. Two things I enjoy in cinema.
SPACE SWEEPERS is a South Korean movie from 2021 that I first watched in February of 2022. I know that because when I went to save this document I discovered the partial review I wrote back then, but got too busy to finish. Recently I was thinking about the movie, watched it again, and I’m excited to share it with anyone who missed it. (It’s on Netflix.)
PRAYER OF THE ROLLERBOYS (1990) is not a great ‘90s b-movie in the sense of being a thrilling piece of cinematic storytelling, but it stills stands as a type I enjoy due to many valuable qualities. First, there is its pure nineties-ness: its strongly held belief that rollerblading is really cool, Corey Haim’s skater hair, tying a flannel shirt around his waist, “Head Like a Hole” on the soundtrack. It being only the very beginning the nineties, there’s also a leftover-eighties-ness: lots of outdoor TVs, ritzy apartments with weird art made out of mannequins, some attempts at Verhoevenian satire in news reports.
I know prequels are always divisive, but I’m usually willing to give them a shot. When I 
A WORKING MAN is a 2025 Jason Statham joint that I missed in theaters. Felt guilty about it too. Then waited until now to catch up on video, for some reason. I agree with the conventional wisdom that it’s not one of his better works, but in my opinion it is in fact watchable. So that’s what I did. I watched it.
I loved the first two films from writer/director Julia Ducournau – 
PROJECT HAIL MARY is a nice crowd pleasing sci-fi movie based on a book by Andy Weir, same author as 
PRIMATE is a 2026 horror movie that I enjoyed for very straight forward reasons: it has a simple premise, executed well, but a little smarter than I expected, and also with some flair. You almost don’t have to mention that it’s a premise with high difficulty to pull off, because the villain is an animal. They always say it’s hard to work with kids or villainous animals.
