Everly (Salma Hayek) is one of these sex slaves who doesn’t know Liam Neeson or Tony Jaa, so she has to take justice into her own hands. Her movie starts right in the thick of things, but we quickly start to piece some of her story together: she’s been kept woman to a Yakuza for four years, taken away from her young daughter, and she can’t stand it anymore. She had an escape planned with a police officer she trusted, but he hasn’t shown up. Now she’s here in the bathroom with one stashed gun and a bag full of money, so she can either kill herself or take that one opportunity that Eminem talks about in that one song.
In a way this is a DIE HARD type movie. It’s one person fighting off many criminals in a contained location, in this case the fancy apartment she’s been stuck in. It’s even Christmas time, though she is not bare foot, so in that sense it’s more like DIE HARD 2. And she can fight better than we probly could, but it’s all tenacity, she’s not a super woman. She gets shot, cut, stabbed, she cries, she messes up, but she keeps fighting. (read the rest of this shit…)
Hey guys, I got an email from Mike Leeder, a producer, casting director and bit player in numerous martial arts films (apparently he’s even an extra in ONCE UPON A TIME IN CHINA). He is co-producer of the upcoming JCVD film POUND OF FLESH, which co-stars the late 
Here’s one of those classical science fictional tales, like 
SKIN TRADE (actually written as SKINTRADE on screen) is the long-awaited passion project of Dolph Lundgren, who produced and wrote the screenplay with Gabriel Dowrick (an editor and sometimes director) and Steven Elder (an actor who was in 
STALKING DANGER is the video title for C.A.T. SQUAD, a 1986 TV movie directed by William Friedkin. You can tell it’s TV by the cheap video titles, the 4:3 composition (even though it’s shot by Wes Anderson’s Academy Award nominated cinematographer, Robert Yeoman) and the “guest starring” in the credits, but otherwise it’s very cinematic. It even has a blood-pumping score by Ennio Morricone.
A GIRL WALKS HOME ALONE AT NIGHT is being called “the first Iranian vampire spaghetti western,” but only the “vampire” part is strictly accurate. For one thing, it doesn’t have much in common with spaghetti westerns other than the setting of a barren, quiet town and a scene with some obvious Morricone-inspired music. As for the other part, it is true that the characters are all Iranian and the dialogue is in Persian, and it takes place in Iran. It’s interesting because it looks very different from how you expect the landscape of Iran to look, it will really change your idea of what that place is like. In my opinion that’s because it was filmed outside of Bakersfield, California, where Iranian-American writer-director Ana Lily Amirpour grew up.
My friends, I don’t know about you, but I count myself lucky to live in a world where one of my favorite hip hop producers, the RZA, not only got to write, direct and star in a legit kung fu movie, but got to do a DTV sequel directed by one of the leaders of the form (Roel Rein
FORTRESS is one of those rare b-movie (or B+ movie?) gems that you come across every once in a while that has everything: good cast, great gimmicks, unexpected emotion and substance, cyborgs. It’s a 1993 sci-fi action movie, but clearly without a summer blockbuster budget, so it feels somewhere between Paul Verhoeven and 
BABADOOK, BABADOOK, BABADOOK. Man, that’s all anybody talks about ever since this movie played the A, B or C Film Festival last year. At first I just ignored it, ’cause I thought it was some Howard Stern thing. But when I found out it was an Australian horror movie I knew that aligned with my interests.
