For those who came in late: Yesterday I wanted to watch a movie from Palestine, and I picked OMAR (2013), a very good Oscar nominee that deals with the Israel-Palestine conflict in the form of a dramatic thriller. Afterwards I read about director Hany Abu-Assad and learned that he’d also done the similarly themed, also Oscar-nominated PARADISE NOW (2005), and I think I’m gonna watch that soon. But I also found out that the one movie he did in between those was the 2012 DTV action movie THE COURIER starring Jeffrey Dean Morgan. So… I’m sorry. I had to get to that first. I was too excited not to.
Morgan (WATCHMEN, THE RESIDENT) stars as The Courier. Similar to the Transporter, but with less emphasis on which car he’s driving, he’s the guy who it’s known is the absolute best at delivering a case of unknown contents to some nefarious character without asking questions. I think this was too early for there to be an app to use when you need to hire someone for that, so he really just gets jobs by word of mouth. Good for him. He lives in an old print shop with the name “Ed Smith” on the sign (one of Parker’s aliases, incidentally), and his friend calls him Eddie, but I don’t know him like that, so I call him The Courier, like the credits do. (read the rest of this shit…)
Right now, maybe even more than usual, there’s a horrible tragedy going on in the world. It’s painful to dwell on, but I can’t ignore it. I feel with every cell in my body that what Israeli soldiers and American weapons are doing to human beings in Gaza right now is unjustifiable in any context, with any history. But I also know that nothing I do or write can change anything about it. And I’m not trying to start a debate. That doesn’t help anybody. So I can only try to keep doing what I do in a way I feel is constructive.
Hey, you know Greta Gerwig, director of last year’s biggest movie, 
SUITABLE FLESH is the latest from Joe Lynch, a director who has a certain credibility in my book because his debut was a DTV sequel. I was mixed-positive on 
Recently, when I saw the incredibly grim (but also oddly beautiful) Hong Kong serial killer movie 
There was a period of about 25 years, it now occurs to me, when I had seen every Pixar movie in the theater. It wasn’t some corporate brand loyalty bullshit, it was because for most of that time their track record was immaculate. They were the originators of computer animated features, and of their brand of storytelling, and no one could match them, though many tried. For a while I watched most of their competitors too, then I didn’t, but I still kept up with Pixar. 21 of them in a row. To me only CARS 2 was genuinely bad. Otherwise the worst ones were just forgettable. And that wasn’t many of them.
I feel a little guilty for reviewing more Netflix movies than usual lately. But I’ve been catching up on some stuff and I think THEY CLONED TYRONE (2023), if not the best of them, is still the kind of thing that sinister corporation owes us as a civilization and culture. They gotta balance out their ills a little by spending money on movies by new directors, that have interesting ideas. Give them a name cast and some production value but let them make something that’s not necessarily very commercial, at least not enough that they would’ve made it if they were in the movie business, looking for paying customers.
There are a bunch of directors who made legendary movies in the ‘70s and ‘80s but in the ‘90s were directing, like, episodes of Timetrax and shit. One such director is Lewis Teague, who gave us the outstanding large animal pictures 
FIGHTING BACK (1982), a.k.a. DEATH VENGEANCE a.k.a. STREET WARS, is another vigilante drama produced by Dino De Laurentiis, obviously wanting to follow up on his success with 
SIXTY MINUTES (60 Minuten) is a really impressive new addition to the Netflix library of international action, this one hailing from Germany. It feels very modern in the execution of its hard-hitting martial arts action, but it’s classical in its simplicity. A straight forward set up, an easy to understand goal, an emotional underpinning.
