KOWLOON WALLED CITY (2021) is a diverting and pretty stylish period martial arts movie I found on Hi-YAH!. It takes place I believe in the early ’70s, mostly in the titular Imperial-Chinese-military-fort-turned-enclave-between-Kowloon-and-British-Hong-Kong. But it begins somewhere to the north with its protagonist, the gruff street fighter A’neng (Xing Yu, IP MAN, IRON PROTECTOR), storming through a gangster gambling den and into an opulent bath house to confront a fellow student he blames for the death of his master.
We don’t know who he is yet but he drags people around by their hair and fights through an army of men (and one woman) wearing only towels. Great attention is paid to knocking people through walls and doors, cracking heads on multiple sinks, crunching various ledges and tiled walls with people’s heads, sliding bodies across the wet floor, faces jiggling from the power of fists, bones banging against other bones, making loud thuds or crunching sounds. A’neng carries a small tombstone-shaped tribute to his fallen master, which his opponent kicks in half. A’neng beats him until he’s begging for his life and then stumbles out into the snow, where a drunk man’s singing inspires him to go to Hong Kong. Never underestimate the power of music. (read the rest of this shit…)
SPACE RAIDERS is another summer of ’83 
I wasn’t surprised that SPACE RAIDERS was no RETURN OF A JEDI, or even that it was no 
REPLICANT is the second of three collaborations between director Ringo Lam (
July 15, 1983
1983: SUMMER OF NUB supplement: SATURDAY NIGHT FEVER (1977)
July 15, 1983
SHAMO is a weird 2007 manga adaptation that I stumbled across on DVD and gave a chance because it’s from Cheang Pou-soi, the excellent director who later did 
INDIANA JONES AND THE DIAL OF DESTINY is the final Indiana Jones picture, the only one not directed by Steven Spielberg (
I’ll tell you one thing I did 17 summers ago: 
I remember seeing I STILL KNOW WHAT YOU DID LAST SUMMER when it came out. I believe I enjoyed it for what it was – it had the appropriate ratio of competence to goofiness for a slick studio teen slasher sequel in the post-SCREAM era. I did not know or remember that it made less than the first film did on a bigger budget. Of course, this was 1998. They had not yet run over the home video industry, thrown it in the sea and vowed to never speak of it again, so that was where horror movies would thrive, and it at least made enough to justify a DTV sequel.
