The original MIRRORS (Alexandre Aja’s American remake of the Korean movie INTO THE MIRROR) was a pretty good little b-movie. Kiefer Sutherland played a troubled night watchman at a fire-damaged department store who starts seeing creepy things in the building’s mirrors, causes his estranged wife to believe he’s lost his mind, solves a mystery and faces down a curse or something. But that story left alot of questions unanswered, for example “What if a different troubled individual worked as a night watchman in a different not-currently-open branch of the same department store chain where a different bad thing happened, so he has to solve a different mystery about what the mirror wants, and kind of on a smaller scale as if it were being filmed on a smaller budget?”
Well, wonder no more, friends. MIRRORS 2 answers that question with fierce adequacy. (read the rest of this shit…)
Episode 2.1 “They Drive By Night”
In my opinion, slugs is not necessarily one of the top 5 scariest types of monsters to use in a horror movie. I know, I know, but hear me out. I have a right to my own opinion, no matter how unpopular or vile. Please be respectful of this open forum.
After their disagreements over A BETTER TOMORROW 2, John Woo and Tsui Hark weren’t able to work together on part 3. But they both wanted to do a Vietnam war era prequel, so Woo took his and made it BULLET IN THE HEAD, Hark made A BETTER TOMORROW III: LOVE AND DEATH IN SAIGON. As far as artistic success I’d say Woo definitely won that battle, but at least Tsui got to clean up in the getting-to-hang-out-with-Chow-Yun-Fat department. 
A BETTER TOMORROW II is a crazy fuckin sequel. The story is incredibly convoluted, the plot (or plots) divided between Hong Kong and New York, continuing the story of Ho, Kit and Jackie, but also following a new character called Uncle Lung (Dean Shek) in conflict with the police and with two unrelated crime syndicates. The weirdest (and best) part is that they actually used the gimmick that’s always joked about but almost never actually done: Chow Yun Fat plays Ken, the never-mentioned-before-twin-brother of his deceased part 1 character Mark. I probly don’t have to say any more than that to convince you this movie is stupid. I liked it though. 
If you look for pictures from John Woo’s 1986 breakthrough A BETTER TOMORROW you’ll mostly find Chow Yun Fat lighting a cigar with a burning counterfeit American $100 bill, or wearing a real nice suit holding two guns. That’s from the beginning of the movie when his character Mark is a big shot in a Hong Kong syndicate. That’s not a better tomorrow, that’s a more financially stable yesterday. Most of the movie takes place years later, when Mark has been shot in the leg and has to wear a metal brace, so he’s now just an errand boy instead of a Big Brother. 
DEATH WEEKEND, aka HOUSE BY THE LAKE, is a 1976 Canadian rape-revenge movie, and a pretty good one. You know, now that I’ve finished typing that sentence I feel like that description doesn’t sound nearly as appealing as I would like. So let me rephrase that: DEATH WEEKEND, aka HOUSE BY THE LAKE, is from 1976.
When the first season of LAWMAN wrapped up I must’ve been busy with something real important, like the birth of a child or the construction of a bridge. I don’t remember anything like that going on, but it had to’ve been something big to prevent me from writing a review of the season finale.
While THE SOCIAL NETWORK seems to still be the conversation topic-of-choice among movie buffs I know, there’s one obscure side-issue buried in there that I haven’t seen discussed: the evidence that George Miller did know what he was doing with that JUSTICE LEAGUE super hero movie that he wasted years of his life doing only to have it cancelled. The reasons it never happened I’m sure had to do with budget and studio politics and disagreements about the best ways to utilize the corporation’s valuable licensed properties and many other factors. But I’m sure epic negativity and whining from every single comic book fan plugged into a computer didn’t help. 
CHOKE is an early mixed martial arts documentary, released in ’99 and directed by one Rob Goodman. They don’t call it “mixed martial arts” or “MMA,” they seem to like “no rules fighting,” even though the movie makes it clear that there are rules, and even shows people arguing over what the rules should be. It focuses on the 1995 Vale Tudo tournament, a Japanese freestyle fighting competition similar to Ultimate Fighting Championship except in a ring instead of an octagon. It has ropes instead of walls and is a totally different shape although the number 8 is divisible by 4, in my opinion. 
