At the end of last month we lost Albert Pyun, prolific and perhaps infamous b-movie auteur, chronicler of kickboxing cyborgs, mounter of simultaneous productions, and occasional blurrer of lines between drive-in exploitation and abstruse art movie.
I did not always have generous things to say about his films, but something about them kept me coming back, so over the years I’ve reviewed DANGEROUSLY CLOSE, CYBORG, CAPTAIN AMERICA, KICKBOXER 2: THE ROAD BACK, NEMESIS, KICKBOXER 4: THE AGGRESSOR, and MEAN GUNS, and of course I have chapter in Seagalogy about his Seagal movie, TICKER.
When I reviewed KICKBOXER 2 back in 2009 the man himself showed up in the comments and thanked me for the review, even though it included the line, “The director is Albert Pyun, but I never would’ve guessed that because it’s both watchable and kind of good.” He had a very gracious and self-deprecating attitude, promising “I hope I am improving to at least an almost semi-coherent level of competence,” and he came back a few times responding to questions and comments. Too bad he dodged my question about how he made it look like a dead Van Damme in KICKBOXER 2 (claiming it was someone who died from watching the beginning of ALIEN FROM L.A.). (read the rest of this shit…)
When I first heard that the trusted manufacturers of sturdy action cinema at 87North Productions were making a Santa Claus movie, I misunderstood. I pictured sort of a 
THE FABELMANS is the new Steven Spielberg joint that we can safely call the most personal of his career. At first glance it may seem like just another fictional story about a Jewish kid who makes 8mm movies in Phoenix, Arizona in the ‘50s and moves to Saratoga, California and his mom buys a monkey and his parents split up and he moves to L.A. with his dad and goes to USC and tries to break into the film business, but in my opinion it is not a coincidence that this character “Sammy Fabelman” was born at the same time as Spielberg to a similar family and lived in the same towns and did the same things and had the same experiences. From what I’ve read this is not even a loosely autobiographical story, but a pretty direct one about his childhood and specifically about what he got from each of his parents and why their marriage didn’t work out.
Some time around the mid-‘90s I took a weekly screenwriting class for a while, and the teacher loved Paul Schrader. He seemed to bring him up in every class. The guy who wrote TAXI DRIVER. The guy with the strict Calvinist upbringing. Eventually he had us watch a Paul Schrader movie, and he chose LIGHT OF DAY – the one where Michael J. Fox plays in a rock band with Joan Jett. I had seen it before and I didn’t dislike it but I thought it was a weird choice to represent Schrader. I think maybe the teacher hadn’t seen it yet.
MONDAY MORNING (1990) is the only movie written and directed by the producer Don Murphy (
note: This is a great fuckin movie and this review has spoilers, so if you’re planning on seeing it anyway, I suggest doing that first and coming back.
Here’s a story I may or may not have told before. It takes place on February 28, 2001. A few minutes before 11 am there was a 6.8 earthquake epicentered in the southern Puget Sound. I was at work and I saw some shelves wobble and a few things fall down, but nothing serious. Downtown there was some damage – some vehicles got crushed by falling bricks, and I remember a couple clubs where bands used to play in Pioneer Square (
Henry Selick, the director of THE NIGHTMARE BEFORE CHRISTMAS, just made his first movie in thirteen years. Stop motion animation takes a long time, of course, but not usually that long. (With the exception of 
RHYMES FOR YOUNG GHOULS (2013) was the first of two features by writer/director Jeff Barnaby. I didn’t know about him until I saw his really good 2019 zombie movie 
Holy shit you guys, I never really thought I’d see EGGSHELLS! It’s the weird psychedelic movie Tobe Hooper made in 1969 – five years before 
