COPSHOP is the latest smart-alecky, artfully lowbrow violencefest from director Joe Carnahan (rewriting a script credited to Canadian financial advisor Kurt McLeod, story by Mark Williams [HONEST THIEF]). I tend to like Carnahan’s work more than dislike it, and I like that he seems to have settled on Frank Grillo (THE GREY) as his main guy and gotten a little better grip on the collar of that SMOKIN’ ACES chaos he likes to set loose. In both this and last year’s time-loop movie BOSS LEVEL Carnahan has found a good balance between the macho rowdiness, the cleverness and touches of sentimentality, and given Grillo a good sleazy-likable-asshole-antihero-fuckup to play.
I guess he’s more anti and less hero in this one. It’s clearly a modern western, and if it’s THE GOOD, THE BAD AND THE UGLY he sure ain’t the good. But his main motivation throughout the movie is to warn his ex-wife and daughter that they’re in danger, so how could we completely hate him? He plays Teddy Murretto, a Vegas (or Reno?) fixer on the run with a bag of something valuable. On foot with time running out, enemies closing in and nowhere to go, he punches a random cop so that he can hide out in a jail cell. (read the rest of this shit…)
When the second half of the 2-part MATRIX sequel begins, our hero Neo and antagonist Agent Smith are both displaced from their regular realities. Smith has somehow transferred his computer-program-consciousness into the organic human body of Bane, only survivor of the destroyed Nebuchadnezzar, now in the sick bay of the Hammer next to comatose Neo, whose mind is trapped in a purgatorial subway station in a virtual world separate from The Matrix.
THE MATRIX RELOADED may have been the most highly anticipated but immediately rejected sequel of my lifetime. I’m not just excluding 
A widely circulated anecdote about THE MATRIX (I believe coming from an interview on the DVD extras) says that when the Wachowskis pitched the movie to producer Joel Silver they showed him Mamoru Oshii’s 1995 anime film GHOST IN THE SHELL on video and said, “We wanna do that for real.”
THE MATRIX is, I continue to believe, one of The Great Movies. It absolutely holds up today, and also it reminds me so much of then. I will always remember what it felt like when this was a new movie, and our entire understanding of the MATRIX story. When we all imagined where it would go next, and then we had a couple years enjoying or rolling our eyes at all the movies obviously influenced by it, whether that means corny outfits and techno music or that brief, glorious window when Hollywood actors could be convinced to spend months preparing for action scenes with the great Hong Kong choreographers. But mostly I like to remember what it felt like to be surprised by it. Going in wondering if it would be good and then coming out knowing it was this.
A GLITCH IN THE MATRIX is this year’s documentary from director Rodney Ascher, known for that THE SHINING thing, ROOM 237, and that sleep terrors thing, THE NIGHTMARE. I haven’t actually seen those, so I knew him from the 2001 DJ Qbert animated movie WAVE TWISTERS, which he was an editor on. That film’s co-director Syd Garon is the animation director for this one.
THE HARDER THEY FALL (no relation to THE HARDER THEY COME) is one of the better movies I’ve seen this year, and definitely one of the better made-for-Netflix ones. It’s a western with an all-Black, all-star cast, and the opening title card says, “While the events in this story are fictional… These. People. Existed.”
You may know Mark Palermo as the screenwriter of DETENTION (Joseph Kahn one, not Dolph one) or as a thoughtful commenter around here for many years. It turns out he’s also a podcaster. Mark and actress/filmmaker Loretta Yu host The ’00s Zone (pronounced like “ozone”), looking back at movies from the ’00s. And they were kind enough to invite me for their episode looking back at 
If all you care about is plot, FLASHDANCE isn’t very good. There’s not much to it, just two central threads, both lightly sketched. First is the story of a talented young dancer who wants to apply to a ballet academy, but believes that her modern style will be rejected by snobby gatekeepers. We’ve seen so many more detailed variations on that theme in 
For many years I was aware that there was an old ‘80s movie released on VHS called SHORT FUSE starring Art Garfunkel. Because of that tough sounding title I figured it was some kind of 
