If you trust me to say “Go watch this intense crime drama, I thought it was excellent” without needing me to tell you anything else about it, then go do that. I’m awarding EDEN my controversial The Best Thing I’ve Seen Lately medal to encourage you. It came out on the DVD last week under the title ABDUCTION OF EDEN, but the title on screen and when it was playing film festivals was just EDEN. (I hear they had to change the cover and name for Redbox – artistic decisions now determined by vending machines. Today’s cinematic art must have the same wide appeal as Doritos or Chips Ahoy.)
Because of the new title we know there’s an abduction of some kind, and the movie opens with a girl crying, tied up in the trunk of a car (as crappily photoshopped on the generic DTV-looking cover). If you insist on knowing more than that then read on. (read the rest of this shit…)
In SNITCH, Benjamin Bratt (CATWOMAN) plays El Topo, a notorious ex-military badass who leads a Mexican drug cartel. He’s elusive to the authorities, preferring to stay back in a car and watch his underlings from afar, but when the shit goes down he’s the first to pull out a huge gun that looks like it should be mounted to a jeep. He’s very dangerous, especially to the naive Americans who he convinces to drive his drugs across the border. What they don’t understand is they don’t need to be working on a playlist for the drive back.
I’m kinda late on writing this one up, not sure if it’s even playing anywhere anymore, but what are you gonna do.
JACK REACHER is the latest in a line of movies based on a pulp character using the character’s name as the title and not making enough money to continue as a series like they probly planned (see also JOHN CARTER, ALEX CROSS, PARKER, HITCHCOCK). This one’s specifically from a book called One Shot by Lee Child, ninth in the Reacher series. I don’t know the books, just the complaint by many readers that it’s important for him to be a big intimidating guy and not a little guy in a little leather jacket like Tom Cruise always plays. So this would probly bother me if I had read them. 
SUPERGIRL is the story of Superman’s younger cousin Kara (Helen Slater), who lives in Argo, a small commune of (I guess) Krypton refugees encased in a glass sculpture under the water or in another dimension or in space or something, I don’t think it’s explained but maybe you gotta read the comics. The “city” is powered by two magic Faberge egg type deals, one of which Kara’s adult friend Peter O’Toole “borrows” for the day to use in an art project. It’s portrayed as eccentric envelope-pushing, like a teacher standing on a desk or a magic nanny taking the kids onto the roof to watch dancing, but in fact it’s incredible irresponsible behavior that very well could cause the death of the already endangered Kryptonian race. It’s even more inexcusable when he leaves this crucial component of the survival of his entire people with a kid, Kara, who uses it to play God and give life to a giant dragonfly. As kids do.
Last month I ran an interview that david j. moore, author of the upcoming book World Gone Wild: A Survivor’s Guide To Post-Apocalyptic Movies, did with 
Here we have a hell of a matchup: two movies with serious b-movie credentials. Jalal Merhi vs. Don “The Dragon” Wilson, Canada’s Film One Productions vs. Roger Corman’s Concorde, late ’80s-barely-theatrical vs. mid-’90s-DTV, fist vs. talon. And both of them have Billy Blanks in the cast.
Round 1, final competitor, Team Blanks vs. The Red Fist Club
