Johnnie To’s DRUG WAR is a hell of a procedural, a fast-moving, heavily detailed look at a batallion of Chinese narcotics cops flipping a big time meth manufacturer and trying to use him to take out a guy that’s above him. We watch them step-by-step, finding the guy, making him give in, making a plan on the fly, changing things up as the facts on the ground evolve. They gotta worry if they can trust him, is he gonna blow the whole operation, are they gonna get him killed. They’re like high stakes gamblers almost. Seems like stressful work in my opinion.
In the opening scene the squad catches a bus full of drug mules on a toll bridge. They bring them to the hospital and proceed with the unglamorous work of making them shit out the “drug pods” into bowls before they burst inside them and kill them horribly. I’m looking for a HOLY MOUNTAIN Alchemist/shitting in a bowl joke here, but maybe I’ll just let the moment pass. I am nothing if not classy as all fuck. (read the rest of this shit…)
(I’m trying to mark the biggest spoilers as usual, but be careful with this one if you don’t want anything given away)
I think 
“WE WHIPPED ‘EM AND WE GOT IT ALL!”
I still love the original NIGHT OF THE LIVING DEAD, a nice, moody little cinematic play about differences of opinion between strangers hiding out in a farm house during the first ever worldwide zombie epidemic. I believe I watched it Halloween night of 2012 and I realized I’d kind of worn it out, it was too burnt into my brain and I’d need to take a break from it for a few years at least so I could appreciate it more next time.
MUD is the latest from Jeff Nichols, whose SHOTGUN STORIES and TAKE SHELTER I’ve been a big not-get-around-to-er of for years. I hear they’re great from people I trust and then I go watch a BLOODSPORT or something. But some day I’m gonna make you guys proud. For now I’ve just seen MUD.
Tony Jaa must be officially out of the jungle now because after finishing the long awaited TOM YUM GOONG 2 and in the midst of shooting THE FAST AND THE FURIOUS 7 and a Dolph Lundgren movie called SKIN TRADE he just announced this on Facebook:
TERMINAL VELOCITY is a pretty funny action mystery full of smartass dialogue and clever action gimmicks. I think it’s an attempt to make up a pulp adventurer type character without the usual treasure hunting or old timey setting. But with the brown leather jacket, the slick hair and the bi-plane.
We all know the grand American tradition of the movie about the black man but in the POV of the white man. It’s the story of the civil rights struggle and the brave white FBI agent or country lawyer who stood up and made a difference, or the spunky white lady who gave the mistreated black maids of Jackson a voice, but with her name on the cover. These are well-meaning, sometimes good movies, but they’re suspect in assuming the audience can only follow if they have a white surrogate on screen. They don’t trust us to put ourselves in the shoes of black characters. If Spike Lee hadn’t made MALCOLM X I bet it would’ve been about a white dude trying to understand Malcolm X, or giving him his ideas.
