MAESTRO is the straight-to-Netflix biopic of composer, conductor, music educator etc. Leonard Bernstein. It stars and is directed by Bradley Cooper (THE A-TEAM), who co-wrote it with Josh Singer (SPOTLIGHT, THE POST, FIRST MAN). Cooper is no stranger to playing troubled artists, of course, having captured the world’s imagination as Leon Kaufman, the death obsessed photographer in THE MIDNIGHT MEAT TRAIN, but this is his most show-offy acting piece ever. He plays gay Jewish upper class intellectual, does a voice and accent, ages about 45 years with varying levels of prosthetics and padding, plays piano, conducts a real orchestra, even throws in an imagined dance sequence just to give himself more lessons to have to take. I’m surprised he never speaks German, rides a horse or skydives.
As a director he’s also flexing and back-flipping with numerous large scale sequences, detailed depictions of multiple time periods, shooting in both black-and-white and color, and occasionally sliding between realism and fantasy. It shows so much effort and enthusiasm it’s sure to annoy the shit out of many, but fuck ‘em. I enjoyed it. (read the rest of this shit…)
SABOTAGE is a Mark Dacascos vehicle and it’s from 1996, so it’s pretty early in his career – a couple years after 
CRAWLSPACE (2022), not to be confused with the CRAWLSPACEs from 1972, 1986, 2012, 2013 or 2016, is a little thriller starring Henry Thomas. He plays Robert Mitchell, a friendly plumber in rural Oregon who witnesses a murder while he’s working in the crawlspace of a cabin, gets shot with an arrow while trying to run off, then finds a hidden bag of money they’re looking for, and it turns into a standoff.
For eleven years now I’ve had a tradition/superstition/delusion that my first review of a new year has to be a Clint Eastwood movie. And I’ve written about other Clint movies at other times of the year, so the pool of untouched marquee titles is shrinking. Let’s go through chronologically: I’ve done 
In the interest of jolliness, as well as continuing the Stream Warriors (formerly Slasher Search) project of scouring for unknown slasher gems, I spent last night searching for watchable holiday horror obscurities on Tubi.
Film had a magical power not just because of how it looked, but because of the difficulty of acquiring and properly using it. If a movie was made by some weird dude and his friends from work but he was able to pass the test of shooting it on 8mm or whatever, then that was a weird dude and his friends from work worth respecting. They were true dreamers, if not artists then at least romantics reaching from something outside of their small town, day job existence. So even their worst movies might be interesting, maybe even fascinating. I don’t think that’s the case with many of these. 
RIOT (1996) is a Gary Daniels movie from director Joseph Merhi (L.A. CRACKDOWN, L.A. HEAT, L.A. VICE) that I decided to watch now because I heard it takes place on Christmas Eve. Daniels (between HAWK’S VENGEANCE and POCKET NINJAS) stars as Major Shane Alcott, an S.A.S. guy who brings his many karate tournament trophies with him to America, where he’s working with his friend Major Williams (Sugar Ray Leonard in his feature film acting debut) to train American soldiers.
It’s here – that special time of year when I drink eggnog, watch the Star Wars Holiday Special, and try to find some new Christmas horror or crime movies that hit the spot. This year I watched one that’s a distant cousin of the killer doll movie.
I swear for weeks I knew Natalie Portman and Julianne Moore were getting acclaim for a movie called MAY DECEMBER, and I assumed it was about them falling in love. I was pretty thrown off when I learned it was in fact a story inspired by Mary Kay Letourneau, a teacher who in the late ‘90s went to prison for second-degree child rape of one of her sixth grade students, insisted he was her soulmate, gave birth to two of his daughters while incarcerated, then got out and had a 14 year marriage with him. It’s an infamous story worldwide, but especially in the Seattle area, since it happened here. It brings out all the dumb radio call-in show takes about “heh heh, that’s what most boys want ‘Hot For Teacher,’ right?” but of course it is complicated by his choice to stay with her after he became an adult.
HEAT (1995) is a remake, but not of the underrated 1986 Burt Reynolds movie 
As long as I rewatched 
While BLOODY MARY does briefly make reference to the events of the other films – murders on college campuses based on different urban legends – they mix up the premise quite a bit. It’s about high school kids in Salt Lake City who accidentally summon an evil spirit by saying “Bloody Mary” five times, and then (oddly) she kills people in methods based on urban legends. When they discuss the idea of saying “Bloody Mary” into a mirror somebody points out that it’s like 
