You may remember that I recently saw TRANCERS for the first time. Which of course means I haven’t seen any of the other TRANCERSes. And I’m a sucker for a long series of sequels. I’m not planning to watch them all in one chunk, but I don’t want to let them sit and fester, I thought I should get started. So I learned about the unusual fact that it took them seven years to get around to part two, but three years before that they filmed a TRANCERS short meant to be a segment in an anthology film called PULSE POUNDERS. The movie was never released, a casualty of Empire International Pictures going out of business.
I didn’t mention this before but after the black and white version of JOHNNY MNEMONIC came out, Charles Band released TRANCERS in black and white calling it TRANCERS NOIR. So he’s not one to miss out on a quickie library exploitation. When a copy of the PULSE POUNDERS segment turned up in 2013 he released it as a standalone on DVD even though it’s only about twenty minutes long and of rough transfer quality. These days you can get it as an extra on the TRANCERS blu-ray or just watch it on Tubi. The lost angels were found. (read the rest of this shit…)
There are a couple reasons why BRONCO BILLY isn’t one of the better aged Clint Eastwood pictures. First of all, it’s part of that phenomenon that he was so enamored of Sondra Locke that he kept putting her in movies, but playing his most obnoxious love interests (here a comically snide and uptight heiress whose upper crust accent exaggerates more with each cowboy she comes in contact with). These days that also means you might be reminded that after they broke up he reportedly used his clout to sabotage her career.
Yesterday I reviewed 
SENTIMENTAL VALUE (Affeksjonsverdi) is the beginning of my awards season viewing ritual of seeing movies that I know almost nothing about except they’re supposedly good. It’s on all the lists of predicted best picture nominees, but also my friend Matt Lynch told me to see it, so I was planning to.
THERE’S SOMETHING IN THE BARN is a 2023 horror comedy that I watched because it was one of the very few Christmas movies on Shudder that I hadn’t seen yet. It’s pretty middle-of-the-road, but definitely watchable, kept me entertained, gave me a few laughs.
I’m not gonna waste your time pretending you need my opinion whether to see AVATAR: FIRE AND ASH or not. If you don’t like these movies, no, don’t bother. If you do, obviously you’re gonna see it, it’s a new AVATAR! A new James Cameron! You’re not a heathen. And he’s still pretty much undefeated. The streak continues.
Would you believe I never saw a TRANCERS movie before now? And I’ve still only seen one. But when Dreadguacamole recently mentioned in a comment that it “goes pretty full-in on its christmas cheer” I decided that would be a good one to watch right now. Thanks for the tip. It’s a good balance – not a movie about Christmas that would feel weird to watch in some other time of year, but enough decorations here and there to make it kind of cool to watch when it’s seasonal.
Turns out it’s a time travel movie and a zombie movie and a couple other things. It starts in 23rd century Angel City (FKA Los Angeles) and it immediately reminded me of some weird ‘80s comic book, because it has that era’s fascination with futuristic worlds where men try to seem like they’re out of some old detective novel. Not like 
A couple years ago I really liked this horror-thriller I saw on Shudder called 
SILENT NIGHT, DEADLY NIGHT (2025) is not a great remake, but it’s a fun one, a solid one, mostly because it’s a playful one. The first couple scenes seem like a pretty straight forward update of 
