John Cribbs over at thepinksmoke.com did a new interview with b-movie great Mark L. Lester. Lester doesn’t seem to get alot of credit or attention, but I figure if one guy directed COMMANDO, CLASS OF 1984, CLASS OF 1999 and SHOWDOWN IN LITTLE TOKYO then it can’t be a fluke. John uses the occasion to go through most of the Lesterography. He offers some interesting analysis of reoccurring themes and has me interested in checking out alot of the ones I haven’t seen, even some recent DTV suspense thrillers.
I love this kind of shit. Check it out when you have a few minutes. Here’s the link: MARK L. LESTER: THE MOVIES
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HUGO is the new “picture” from Martin Scorsese (GOODFELLAS). Like HAPPY FEET TWO it’s in 3D and like THE MUPPETS it’s a nostalgic revival of bygone popular entertainment and involves visiting a long-since-given-up former legend and getting him to reluctantly think about the old days. But in this case it’s the work of early cinema pioneer George Melies. So the history lesson seems more appropriate here. I wasn’t convinced that we needed to be reminded what the Muppets are, but when it’s silent film, yeah, maybe explain some of that shit, Scorsy. (I don’t feel comfortable calling him ‘Marty,’ so I use ‘Scorsy.’)
The most philosophically ambitious of the 3 PG-rated movies I watched is the one that’ll probly get the least credit for it, George Motherfuckin Two Men Enter One Man Leaves Miller’s HAPPY FEET TWO. And first of all I want to give them credit for spelling out the number in their sequel title and not misspelling it for a pun. I’m sure it’s not the first spelled out non-homonym sequel title in history, but I couldn’t name you another one.
After watching the whole HOSTEL trilogy I felt like I had to watch something a little happier, and preferably with less torture, although that’s not necessarily a dealbreaker. Well, it just so happens that three great filmmakers of the ’70s – Martin Scorsese, George Miller and Kermit the Frog – have released new PG-rated family movies in recent weeks. So somehow I ended up watching them. And you know I am hesitant to spend too much time on puppets and cartoon animals and crap like that, but honestly these movies all have a little something to say, a little more going on beneath the surface than alot of the ones they make that are supposedly for grown adults. Maybe puppet movies and cartoons are just such a pain in the ass to make that people figure if they’re gonna do one they should try to make it worthwhile. Although that wouldn’t explain the Chipmunk movies. 
I don’t know how much faith I’d normally have in a DTV sequel to HOSTEL that Eli Roth didn’t have anything to do with, but this one has a good pedigree: it’s directed by Scott Spiegel. He’s no visionary, but he’s not a nobody either. He was one of the producers of HOSTEL, he was the co-writer of EVIL DEAD 2, he directed that grocery store siege movie INTRUDER, he co-wrote 
JUICE is an early ’90s “hood movie” about four young friends in New York who fall into some stupid shit. Tired of getting picked on by the Puerto Rican kids and the cops and not having money, they decide to get a gun (just one between them) and rob a little mini-mart where the guy is an asshole and yells at them sometimes. It’s not exactly The Thomas Crown Affair they’re trying to pull off, but they’re amateurs so they fuck up this small time crime and have to deal with the aftermath. 
THE DEVIL’S DOUBLE, the new film from the director of ONCE WERE WARRIORS and THE EDGE, is the fascinating true story of a man forced to be a lookalike decoy version of Uday Hussein, the most depraved of Saddam Hussein’s two sons. But shit, I can’t lie to you – Lee Tamahori is also the director of xXx: STATE OF THE UNION and NEXT, and the story is mostly bullshit other than how the poor guy got mixed up in this business. In fact, on the DVD Tamahori talks about how he wasn’t interested in doing a true story, saying it with disgust as if we’re all on the same page and he doesn’t have to explain why it would be boring to tell an incredible truth-is-stranger-than-fiction story. But oh well. I still thought it was worth watching. 
If you read me alot you’ve probly seen me rambling about my love for the writer Charles Willeford now and then. He’s the guy that wrote the books of COCKFIGHTER and MIAMI BLUES and also one I love called 
that Neil Labute is supposed to be doing, although I don’t see how it would work as a movie. (It’s about a sociopathic art critic, told in first person, and he thinks he’s the good guy.) Back in 2005 I reviewed the little-seen gem of a movie version of 
Is SUPER HEROES a DECLINE OF WESTERN CIVILIZATION for the Nerd Age? This more-interesting-than-I-expected documentary takes a look at the burgeoning subculture of “Real Life Super Heroes,” people who create their own comic book inspired personas and costumes and “fight crime” (which seems to mostly mean walking around at night with other Real Life Super Heroes).
