Well, L.A. didn’t work out too hot for Paul Kersey. Might as well head home. So Part 3’s opening credits show Kersey taking a bus back into New York City, looking out the window to the tune of the most in-your–face, half cheesy/half cool blast of white-man’s-keyboard-rock meets jazz-fusion-’80s-cop-movie-establishing-shot-of-the-city theme this side of HARD BOILED. Jimmy Page is back in the composer’s chair and comes up with a pretty weird and experimental sound more often than he comes up with the crappy guitar noodling you usually got after LETHAL WEAPON came out. He’s still no Herbie Hancock, but he’ll do.
Director Michael Winner returns for his last at-bat in the DEATH WISH series, but you immediately gotta wonder what the hell’s up because this feels nothing like his other DEATH WISHes. I’m honestly not sure if it’s a deliberate artistic choice or a sudden case of not giving a shit, but he has completely removed whatever traces there were of subtlety, thoughtfulness, ambiguity, class or elegance, not to mention realism. It looks cheaper, plays out more clunky and seems to have been made all in a week or so with no time to prepare or to stop to take a breath. And that’s exactly why it’s the most popular of the sequels. This movie is pretty fuckin nuts. (read the rest of this shit…)
DREAM WARRIORS is the most popular of the Elm Street sequels, the one that set the pattern for most of them and, to be fair, the roots of everything that’s bad about them. It makes Freddy a little less mysterious, less scary, more jokey. The dreams become less surreal and more gimmicky. But still pretty good.
As you know I can enjoy a good neo-noir type picture every once in a while. It’s almost not fair to include THE MAN WHO WASN’T THERE in this pantheon because it’s so spectacular and successfully retro that it makes the other ones look kinda lame. But other than that one it’s been a while since anyone succeeded at the modern film noir. I guess most independent filmatists trying to start out with a low budget crime movie have moved on from trying to make a BLOOD SIMPLE or a RED ROCK WEST to trying to make a RESERVOIR DOGS and then a PULP FICTION and then a LOCK, STOCK AND ET AL.
Hey, everyone. ”Moriarty” here.
For the first DEATH WISH sequel we trade down from Dino DiLaurentiis to Golan and Globus producing. Apparently Menahem Golan almost directed, but Bronson wouldn’t do it unless they got Michael Winner back. I bet he said “why get a loser when you can get a Winner?” Anyway we caught a lucky break there. I guess Winner must’ve broken up with Maria from SESAME STREET by this time so Herbie Hancock was out. Instead he got one of his neighbors to score, a neighbor who happened to be Jimmy Page. I was worried but there’s only guitar soloing on the beginning and end credits, the rest is standard old school score, not cheesy ’80s keyboards and rockin guitars and shit. So I’m not gonna complain.
Technically Freddy already got his revenge in part 1 by going after the children of the people who burned him alive. In this one he’s just messing with a new kid who moves into the same house. It really is not revenge when you do it to a stranger who never did anything to you before and is not related to anyone who did anything to you before. Not to be pedantic but, come on dude, titles are important. Make ’em count.
After enjoying recent DEATH WISH ripoffs and spinoffs like 
I’m not totally sure why she’s The Brave One, but Jodie Foster plays a public radio host who gets attacked in Central Park one night by some assholes. They steal her dog, beat her fiancee to death and leave her in a coma. All of which I’m against. Then she tries to get revenge. Good stuff.
Who the fuck is Michael Clayton and why is he so awesome that a movie is named after him? Well to answer your first question, Michael Clayton is a highly effective “fixer” played by George Clooney who cleans up messes for a big law firm, and to answer your second one I guess they figured coming up with some thriller type name like THE FIXER or DEADLY REVELATION or THE BREADWINNER would be corny so they just said I don’t know, fuck it, use the character’s name, I don’t give a shit. And MICHAEL CLAYTON was born.
Imagine you’re Nicole Kidman (well, a character played by Nicole Kidman) and your husband died ten years ago. (Not Tom Cruise or the country singer guy she’s with or whoever, I am talking about a fictional character played by Nicole Kidman). You’re still sort of getting over this but your boyfriend (the head vampire from 30 DAYS OF NIGHT [but not a vampire, just the same actor]) has proposed to you and you think you’re finally ready and you’re gonna make this work.
