You know I love the CREED movies and the ROCKY movies. ROCKY V is easily the weakest of all of them, and I even like that one. I don’t expect there ever to be another one as impressive as CREED, a miraculous rebirth by a brilliant director who deeply loved Stallone’s movies and evolved them into something new, so I enjoyed CREED II for what it was. I was thrilled that it brought back Dolph Lundgren as Ivan Drago and let us care about him the way I always wanted to. As I wrote in my review at the time, “He was a human specimen in ROCKY IV, and now he’s a human.”
CREED II is a solid sequel, but CREED III is a truly great one. It’s the directorial debut of Michael B. Jordan, and being populated only by characters from the CREED part of the series it stands more on its own, less on our nostalgia and good will. It follows the ROCKY sequel template in that it checks in with Adonis Creed (Jordan) at a new stage of his career and life, catches up with his family, introduces a new rival, and builds up a conflict that will result in a big match wrapped up in personal meaning. To his credit, Jordan also introduces a bit of stylization in the fight scenes that stands out from the others in the series. But most importantly he tells a story that genuinely has things to say about life and relationships that to me is as exciting as any of the boxing. (read the rest of this shit…)
“The earth doesn’t belong to humans alone. It’s ours too, and we should defend it.” —Mothra
GHIDORAH, THE THREE-HEADED MONSTER is Godzilla movie #5, released in 1964, 8 months after 
FIRE OF LOVE is a 2022 best documentary feature Oscar nominee that’s produced by National Geographic, but it’s not the sort of thing I associate with them. It’s one of a couple different movies telling the odd story of maybe history’s first married volcanologist couple, Katia and Maurice Krafft of France. They married in their twenties and spent the rest of their lives traveling around documenting volcano events. And I really mean right until the very end… we’re tipped off at the beginning that they died in the eruption of Mount Unzen in 1991.
It’s weird that there’s a studio action-thriller starring Jeff Bridges (THUNDERBOLT AND LIGHTFOOT) and Tommy Lee Jones (
Right after western star Clint Eastwood first directed himself in PLAY MISTY FOR ME, but before he directed his first western with 
Much like POSSE will have to do 21 years later, BUCK AND THE PREACHER starts out by establishing that yes, silly head, there were Black people in the old west. This history is communicated visually by showing the film’s characters in sepia tone photos. The story takes place after the civil war, when some former slaves decided sharecropping was just slavery 2.0 and tried their luck traveling west to find, as a title card puts it, “new frontiers where they could be free at last.” Where the western genre comes in is that “they placed their hopes in the hands of the few black wagonmasters that knew the territories of the West.” 
COCAINE BEAR is a kind of funny new horror comedy written by Jimmy Warden (
Tsui Hark’s groundbreaking 1983 wuxia epic ZU: WARRIORS FROM THE MAGIC MOUNTAIN recently got a fancy new blu-ray release, inspiring me to finally get around to seeing it. In fact I watched it right before I watched 
Well, I’ve been thinking about it for far too long, but I’ve finally gone and done it: my first home brew, play along commentary track. This is designed to sync up with the US cut of NO RETREAT NO SURRENDER (the shorter of the two included on the Kino Lorber DVD and blu-ray) but I think it would also work okay if you just want to listen to it like a podcast. I try to explain my love for this intersection of Hong Kong cinema and ’80s American pop culture, with my usual goal of being informative and wise but also funny, sincere, and occasionally stupid. Lots of talk about little details of the movie and the people in it, the Seattle locations, the history of action movies filmed in Seattle, the worldwide phenomenon of Bruce Lee worship, some stupid stories about me, and of course plenty about Van Damme. (Sorry for slagging Chuck Norris for the same reason two different times, but I say some nice things about him too.)
Watching Ryuhei Kitamura’s latest 
Ryuhei Kitamura is an interesting director. He started in Japan with the attention-grabbing yakuzas vs. zombies movie VERSUS (2000). That one was kinda cool but I straight up loved his fourth movie, the samurai manga adaptation 
