RRR is a 2022 smash hit movie from India that has also been playing some multiplexes here and around the world. I would describe the basic feel of it as the most joyously over-the-top parts of American John Woo movies like HARD TARGET and BLACKJACK multiplied by the PREDATOR handshake, wrapped in the brotherhood and gravity defiance of FAST FIVE, sprinkled with the animal companionship of THE PROTECTOR, and fueled by a couple musical numbers and a show-stopping dance off against a snobby rich white guy. In other words, a strong summary of humankind’s greatest artistic achievements to date.
The title reportedly stands for “Rajamouli, Ram Charan, Rama Rao” – the names of the director and stars – though it says “Rise Roar Revolt” on the English language opening credits. Writer/director S.S. Rajamouli’s last movie was BAAHUBALI 2: THE CONCLUSION, which I also heard superlatives about and still want to see. But you know, if I was gonna watch parts 1 and 2 that’s a six hour commitment, so I didn’t get around to it. But I’m so glad I listened to the hype this time, because RRR is incredible! I kept thinking my mask was gonna slip off because I was grinning so wide. (read the rest of this shit…)
JUDGE ARCHER (2012) is the second film directed by martial artist/novelist/writer of 
BLOODY MUSCLE BODY BUILDER IN HELL (1995) is a movie I watched partly because it was described as “the Japanese EVIL DEAD” and partly because it was called BLOODY MUSCLE BODY BUILDER FROM HELL. It’s a short, very low budget movie that does indeed pay tribute to the early works of Sam Raimi. I like seeing his influence reach across oceans and cultures like that.
I’m an idiot so it took me more than a decade to get around to watching REIGN OF ASSASSINS (2010), even though it’s directed by John Woo. Well, sort of – it’s actually directed by Su Chao-pin (SILK [2006]), but Woo was with him the whole time to mentor him, so he got a co-director credit. He says he gave advice, but never imposed his style. And I definitely wouldn’t confuse it for his movies.
MORBIUS is a movie I have been semi-anticipating. Not because I expected it to be particularly good, but because I have an interest in these sort of misbegotten wannabe blockbusters that seem already rejected by the public by the time it’s too late for the studio to turn back. I’m talking about movies that are the kind of pulpy lowbrow crap I enjoy, but seem somewhat misguided or clueless about what the public wants in such a movie, and therefore might do something kind of interesting. I think of them as big budget b-movies, as discussed in my review for 
It’s hard not to think of EVERYTHING EVERYWHERE ALL AT ONCE as some kind of miracle movie. I had no idea it was something I needed, or something that anyone would think to make, until a couple months ago when the trailer came out. It stars Michelle Yeoh in her best ever English language role, a very layered character who gets to be funny and goofy and troubled and kind of an asshole but totally lovable and yes, she also does some kung fu. It co-stars Ke Huy Quan, who we knew as a child star in 
I only paid attention to THE SOLDIER (1982) because I noticed it had a score by Tangerine Dream. (Turns out to be a good one, too, though hard to find as an album.) I should’ve checked it out anyway just because it’s written and directed by James Glickenhaus between 
WILD ZERO (1999) is something that I was aware of as a major cult movie twenty-some years ago, but I never got around to seeing it until now. So young people, please ignore that first sentence and pretend this is an impressive find on my part.
“Listen, Annie’s parents were killed for a piece of plastic pizza. I want you guys to just stay home and not get hurt.”
X is the new horror picture from writer/director Ti West, his first movie since the 2016 western IN A VALLEY OF VIOLENCE. The fastest way I know to describe it is “what if 
