"CATCH YOU FUCKERS AT A BAD TIME?"

The Furious

The martial arts movie THE FURIOUS is coming to American theaters this week, and one of the most no-shit-Sherlock predictions you could make right now is that it will be the action movie of the year. It’s an undeniable banger. Everyone who sees it mentions THE RAID, an easy comparison to make not only because Joe Taslim is one of the two leads and Yayan “Mad Dog” Ruhian is one of the villains, but because it just has that same rare sense of relentless energy and unbridled, violent invention. The story has some of THE RAID’s elegant simplicity, but it’s not as contained, there’s much more variance in location and styles of action. It’s a huge feast of high level martial arts, and luckily I came in hungry.

It was one of my most anticipated films even before it started playing film festivals and igniting explosions of superlatives. That’s because it’s an international supergroup, an ensemble of greats from several countries doing top level work for Japan’s two best fight choreographers, who have a good claim to being the current world’s best. The director is Kenji Tanigaki, long time Donnie Yen collaborator and action director for the incredible RUROUNI KENSHIN series. Not too long ago he was the stunt coordinator for TWILIGHT OF THE WARRIORS: WALLED IN – if you saw that you know that’s a credit to brag about. Then the action director is Kensuke Sonomura, director of HYDRA, BAD CITY and GHOST KILLER and action director of my beloved BABY ASSASSINS movies and tv show. Each of these have a very distinct style – Tanigaki’s involves wires and cartoonish exaggeration, while Sonomura’s is more grounded and technical, quick slashing moves and handwork, but with spinning and sliding while firing guns in close quarters – and I love seeing them find a hybrid utilizing all of their powers. (read the rest of this shit…)

June 10th, 2026 | 16 Comments »

Masters of the Universe (2026)

I must confess that I was really excited for MASTERS OF THE UNIVERSE. My childhood had its share of dumb cartoons and toys, but those spring-loaded muscle dudes were the ones that power-punched deepest into my brain. I don’t have strong opinions about the Eternian canon or whatever, it’s not holy scripture. It’s more like an incredible mural that I invest my own meaning into. The character designs and concepts, and also the overall aesthetic of fantasy barbarian paintings mixed with cyborgs and colorful vehicles shaped like spiders and sharks and buzzsaws and shit… it just makes me happy to think about it. I mean, there’s a castle with a giant skull on the front of it, and they gave that to the good guy! Even though by all rights the bad guy should’ve had it because he is a skull!

My attachment to Masters of the Universe isn’t about childhood nostalgia – it’s about a very specific, timeless vibe that came out of Mattel artists brainstorming crazy toy gimmicks, and the studio that made Fat Albert reverse engineering a cartoon out of them, together stumbling across one of the most potent mixes of stupid and awesome ever formulated. So I’ve had many years of anticipation as one movie adaptation after another has been dunked in the Evil Horde Development Slime Pit. I didn’t expect the world. I just figured I would get a kick out of whatever they came up with because even if it was bad it would be a modern movie where, like, Trap Jaw fights Ram Man. It would make me chuckle, at least.

Then a dangerous thing happened: they actually made the movie, and with a director that seemed likely to do a good job. Travis Knight is the head of the stop motion studio Laika, director of KUBO AND THE TWO STRINGS, and he also did BUMBLEBEE, the one actually good Transformers movie, the one that opens by capturing the Cybertronian cartoon shit Michael Bay was never interested in, then turns into a new thing, a heartfelt ‘80s-set teen movie IRON GIANT with a very likable Hailee Steinfeld befriending the titular alien robot Volkswagen. We can get into Knight’s peculiar background later, but his movies so far have been really good.

I was concerned when I read a plot summary that sounded like a GUARDIANS OF THE GALAXY rip off (this He-Man grew up on Earth), but the trailers made the concept look okay, gave me that excitement of seeing Mekaneck and shit in live action, and when there started being good buzz from people not invested like me I thought holy shit, what if this is really good?

MASTERS OF THE UNIVERSE has a great cast, an amazing theme song by Daniel Pemberton featuring Brian May on guitar, it’s well designed, has some big cool sets and colorful costumes, gives me the joy of putting these ridiculous characters in live action, giving them cool super-powered fights. It’s so much of what I wanted. But I think they fucked it up pretty badly.

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June 8th, 2026 | 69 Comments »

Talking MASTERS OF THE UNIVERSE with Action For Everyone (again)

Last time I was on the Action For Everyone podcast it was to talk about a Masters of the Universe movie that Netflix had announced (that never happened). Now that there’s an actual movie I guilted them into bringing me back to talk about it. I’ll also have a review posted tomorrow.

I HAVE THE POWER!

June 7th, 2026 | 3 Comments »

Heavy

June 5, 1996

Most of us probly didn’t see James Mangold’s HEAVY in theaters. It won the Special Jury Prize for directing at Sundance, it played Cannes, and then after Liv Tyler got some attention for starring in STEALING BEAUTY it got a limited release in the U.S., starting on one screen in New York and eventually expanding to only 22. I think I only knew about it because Roger Ebert raved about it. I watched it on video later and thought it was pretty good, but I barely remembered it. I thought Heavy was the name of the main guy.

It’s actually Victor Modino, and he’s played by Pruitt Taylor Vince (RED HEAT, K-9, CITY SLICKERS II: THE LEGEND OF CURLY’S GOLD, NATURAL BORN KILLERS) in his first lead role, one he justifiably received alot of praise for. Weirdly this movie didn’t get any Indie Spirit Award nominations, though. Also I’m betting it didn’t ever win any awards for excellence in DVD menu design.


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June 5th, 2026 | 4 Comments »

The Arrival

THE ARRIVAL is a mid-budget summer of ’96 sci-fi movie written and directed by David Twohy, who already had writing credits on CRITTERS 2: THE MAIN COURSE, WARLOCK, THE FUGITIVE (no big deal), TERMINAL VELOCITY and WATERWORLD, but had only directed TIMESCAPE (1992) starring Jeff Daniels. He wrote this specifically for Charlie Sheen (GRIZZLY II: REVENGE, NEVER ON TUESDAY, DEADFALL), who plays sort of against type as Zane Zaminsky, SETI researcher. I mean, he’s 99% regular Charlie Sheen, but I think he’s trying to throw some nerd into the mix. He has horn-rimmed glasses and perfectly spiked hair like D-FENS from FALLING DOWN, but he completes the look with a precisely sculpted goatee.

This was from a period between SPECIES (1995) and CONTACT (1997) when sci-fi movies were really interested in the brave scientific heroes who sit patiently at those giant satellite dish things listening for messages from space. Just in case. TWISTER’s hot shot storm chasers would give them the Dawn Wiener treatment, but they are important in their own way, and also think they’re cool because they like to howl like wolves and they’re good at rolling their office chairs back and forth between different computers.

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June 4th, 2026 | 4 Comments »

Dragonheart

May 31, 1996

DRAGONHEART is directed by Rob Cohen. I have enjoyed several of Cohen’s movies, especially the one before this (DRAGON: THE BRUCE LEE STORY), and I’ve had fun joking about his specific brand of weirdo hackiness over the years, but since he has been accused of sexual assault by at least three people including his daughter I won’t joke about him or talk about him anymore. But I will talk about DRAGONHEART.

Sir Bowen (Dennis Quaid, JAWS 3-D, WYATT EARP) is a knight who mentors the Saxon Prince Einon (Lee Oakes), the little shit son of King Freyne (stuntman Peter Hric), who also has another right hand man called Brok (Brian Thompson, ALIEN NATION, MIRACLE MILE, LIFE STINKS). Brok calls Bowen “nursemaid” when he commands him to bring the prince to witness his father’s “noble victory” over rebelling peasants. Bowen tries to teach the kid “the Old Code” so he won’t be a massacring bastard like his no good father, but it really doesn’t take.

During the massacre the dumbass king wanders away from his army to personally set fire to a village he assumes is empty, then the peasants mob him and start to beat the shit out of him but for no reason their leader (Terry O’Neill, CONAN THE DESTROYER) says, “Stop! The battle is out there!” and then everybody leaves? What the fuck. So the prince may have a window to heroically save his father, but instead he pries the giant crown off of his head and slinks away just in time to be clumsily bumped by the peasant leader’s daughter Kara (Sandra Kovacicova), causing a wound that will slowly kill him.

Queen Aislinn (Julie Christie, NASHVILLE) comes up with a plan: carry the little twit to a dragon. They go to a cave to find a dragon who will later be called Draco (voice of Sean Connery between FIRST KNIGHT and THE ROCK). Einon has to swear to “live and rule with mercy” and come to the dragon to “learn the Once-ways.” Then Draco does some kind of magic to give half of his heart to the prince, healing him. (read the rest of this shit…)

June 3rd, 2026 | 14 Comments »

Welcome to the Dollhouse

May 24, 1996

WELCOME TO THE DOLLHOUSE was a big deal at the time. It won the Grand Jury Prize at Sundance with its brutally relatable, darkly funny portrait of the cruelty of children and the pain of not fitting in. It became a surprise hit and introduced moviegoers to an exciting new voice, writer/director Todd Solondz. Luckily nobody knew about his more Woody-Allen-like 1989 debut FEAR, ANXIETY & DEPRESSION, in which he starred as a neurotic playwright.

This is the story of Dawn Wiener (rookie Heather Matarazzo), a friendless seventh grader in suburban New Jersey. I love the opening scene, which vividly captures the terror of being an awkward kid in a noisy middle school cafeteria trying to find somewhere to sit. There’s a diabolical spin on a trope because she finds gloomy burnout Lolita (Victoria Davis) all alone and joins her, though their interaction is cold. When a group of giggly cheerleaders come over to ask, “Hi Dawn, sorry to bother you but we were just wondering, are you a lesbian?” we know in our bones that this freak is supposed to defend this geek. She’d rather stay out of it but she feels bad enough for Dawn or just has enough disdain for the cheerleaders to step in, tell off the bullies and become Dawn’s unlikely friend and protector. And it will be so moving. Except that doesn’t happen at all. Lolita joins in with the taunting and goes on to become Dawn’s worst bully. (read the rest of this shit…)

June 1st, 2026 | 12 Comments »

The Mandalorian and Grogu

THE MANDALORIAN AND GROGU is kind of a different approach to a Star Wars picture: a small, standalone adventure. The fate of the galaxy is not at stake, there is no chosen one, no prophecy. It’s not even a prequel or an origin story. Coming from the popular Disney+ series The Mandalorian has given people the impression that it requires homework, but I assure you there is nothing at all you need to know that’s not there in the movie. It’s just one story about the titular bounty hunters on a mission, and not the mission that changed it all. Just a mission. To misquote M. Bison, it’s not the most important day of your life. It’s just Tuesday.

So it’s in the same world I love visiting in that epic space opera, but truly it’s a western or a samurai movie. That’s what I like about the show too, and I was skeptical about turning it into a movie instead of doing another season, but it turns out it’s fun to see these guys in one contained story with movie level production values. It’s light on the force, but high on some of the other things I love in Star Wars: a bunch of fantastical settings, outlandish creatures and robots, lots of them animated, some puppets, even some stop motion by Phil Tippet Studios. (read the rest of this shit…)

May 28th, 2026 | 33 Comments »

Spy Hard

May 24, 1996

I’m not saying this as a complaint, this is not why I didn’t like the movie, but I was kinda surprised to watch SPY HARD thirty years later and find out that it was not in any way a parody of DIE HARD. I mean obviously it’s a spoof of spy movies, and also a few action movies, and also a few random other things pulled out of a box with a blindfold. But the only thing Inoticed that made me think of DIE HARD was a shot of plummeting much like the death of Hans Grueber. But this isn’t the villain at the end, it’s the hero’s lady in a prologue.

You all remember how it went down. Leslie Nielsen was a veteran actor going back to the ‘50s, then the Zucker Brothers put him in AIRPLANE! and found out how fun it was to see him acting serious about ridiculous things. So they made him the star of their tv show Police Squad!, which moved to the big screen as NAKED GUN: FROM THE FILES OF POLICE SQUAD!, which then got two sequels, and now many of us mainly knew Nielsen as a comedy guy. So then directors unaffiliated with Zucker-Abrams proceeded to use him in less successful (both artistically and financially) spoofs, and they either weren’t nearly as good at this style of comedy or just got to the party too late and we were already sick of this type of shit. In the case of SPY HARD I’d say it was both. (read the rest of this shit…)

May 28th, 2026 | 22 Comments »

Mission: Impossible (30th anniversary revisit)

May 22, 1996

By my count, there are ten summer of ’96 movies that turned out to be the first of a series. Usually only a series of two, though. THE CRAFT, TWISTER, THE ARRIVAL, ERASER, THE HUNCHBACK OF NOTRE DAME, THE NUTTY PROFESSOR, INDEPENDENCE DAY, and TRAINSPOTTING each got one sequel. Five of those were decades later, three were direct-to-video. DRAGONHEART had surprising longevity, with its fourth DTV sequel released in 2020. But only MISSION: IMPOSSIBLE, which reached its 30th anniversary last week, got seven theatrical sequels, all with Tom Cruise and Ving Rhames returning, all good in my opinion. Most of them very good. So it’s arguably the best summer of ’96 movie and the most consequential.

I have reviewed it before, eleven years ago, so consider this a companion review, because I stand by what I wrote then. I still think MISSION: IMPOSSIBLE is a prime example of a blockbuster done right, because yes, “it’s a big movie star vehicle, based on an existing ‘property,’ climaxes in a noisy special effects-laden action spectacle, did end up becoming a franchise,” but “it is a Brian De Palma movie, it doesn’t feel like he had to compromise anything. He got to take his style and his interests and experiment with them on a little larger canvas than usual.” It’s still something I get excited for when it happens – a visionary director getting a budget to put their stamp on some familiar piece of pop culture – but the franchise machinery has gotten so much stronger. They’re better at keeping somebody like that under control, plugging them into an existing thing, letting them kind of make it theirs, but not entirely. That would be reckless. They’d have to disavow them. (read the rest of this shit…)

May 26th, 2026 | 25 Comments »

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