The title URBAN LEGENDS: FINAL CUT sounds like an escalation, because the legend has suddenly become plural, but I seem to remember this sequel coming out with a whimper. I thought I remembered respecting it a little more than others at the time, but in my review back then I seem to have thought it was pretty bad.
It starts on an airplane during a storm, which seems crazy enough for the series that you can probly guess it’s the ol’ “actually we’re watching a movie-within-a-movie” cold open fake out. The reveal is kind of cool, though: suddenly the pilot sees a Tom-Cruise-looking asshole in sunglasses staring into the cockpit from the outside – he’s the director of this student film (filmed on a set from PUSHING TIN). In an even more aggressive “you kids liked SCREAM, right? Check this out!” move than the first URBAN LEGEND, the story has moved to Alpine University Film School, where aspiring directors are in a cutthroat competition to win “the prestigious Hitchcock Award,” which they all talk about it like it’s a guaranteed Hollywood career because it has been a “springboard” for successful filmmakers in the past. (read the rest of this shit…)
URBAN LEGEND (1998) is, to my mind, one of the most “obviously we’re making this because of the success of 
My friends, I would be perfectly happy with just another cool Godzilla movie. That’s what I want to see. But it turns out the new one, GODZILLA MINUS ONE, is an actual masterpiece. I think you could say the same of 2016’s 
I don’t need to tell any of you that one of the all time great directors, John Woo, has returned to our screens. If you didn’t read it or hear it, you could probly sense it. It’s been six years since his last movie (
HAUNTED SAMURAI, a.k.a. SHINOBI DEMON: DUEL IN THE WIND, a.k.a. KAZE NO TENGU (1970), is an obscure samurai movie I uncharacteristically blind-bought from 
The day after I saw 
INVASION OF ASTRO-MONSTER (1965) is Godzilla movie #6, once again from director Ishiro Honda. Weirdly it’s a co-production between Toho and the American animation studio UPA – a collaboration that began that year with FRANKENSTEIN VS. BARAGON (the one that WAR OF THE GARGANTUAS is a sequel to).
TAMARA may or may not be obscure enough to qualify for Slasher Search, but it’s harder to define now that I’m doing 21st century movies. Its hook is that it’s from Jeffrey Reddick, writer of FINAL DESTINATION. Apparently it had an unprofitable theatrical release in 2005, a time of terrible fonts and faux-distressed poster art. I recognized the cover from the video store, but only when I found it on Tubi did I wonder what its deal was and click on it.
The part that piqued my curiosity is that the title character is played by former Janet Jackson backup dancer Jenna Dewan a year before she starred in the first 
SAKRA is Donnie Yen’s 2023 passion project, which he stars in and co-directed (with Kam Ka-Wai, second assistant director of 
