MEG 2: THE TRENCH is the silly followup to the silly first movie I casually enjoyed in 2018. Neither seems interested in reaching the status of “actual good movie,” which would be preferable, but both involve Jason Statham battling giant prehistoric sharks, among other dumb pleasures, so of course there is gonna be some amusement involved. And maybe it’s good to keep this kind of bullshit alive on a big screen budget. To me that’s way more fun than the SyFy Channel version.
In the first movie Statham’s character Jonas Taylor was an elite rescue diver, but this one opens with him infiltrating a boat to try to bust people for dumping radioactive waste (?). He fights some people and says some funny things to them and jumps off the boat (Statham trademark). I’m unclear what he was trying to accomplish, or if he succeeded, and I don’t believe this mission is connected to anything else in the movie. But I’m not complaining. I’m always up for a gratuitous action tangent. (read the rest of this shit…)
If we hadn’t seen it coming for so many years, AVATAR: THE WAY OF WATER would be a cinematic miracle. There has definitely not been a blockbuster movie with this level of mindblowing spectacle, visual beauty and action chops since MAD MAX: FURY ROAD, and before that since the first AVATAR.
I’ve rewatched AVATAR several times since it came out, and it’s always as good, usually better than the last time. Watching it again this week was no exception, and it really struck me that holy shit, these “game changer” visual effects from 2009 have influenced everybody, but not one movie has matched them. (Probly closest would be Peter Jackson’s largely forgotten HOBBIT trilogy.) I don’t want to get into an attack on modern blockbusters, many of which I enjoy, but it’s a simple statement of fact that the similarly-greenscreen-and-performance-capture based visuals in the very expensive Marvel movies that are trailered before THE WAY OF WATER and coming out next year look crude and primitive next to what was achieved thirteen years ago in AVATAR. And now along comes the sequel that blows AVATAR out of the water (by putting it into the water). (read the rest of this shit…)
As a young man I read a bunch of Stephen King. He was my favorite until I decided Clive Barker was more interesting – I don’t know if I was right. The point is I’m just another movie-watching asshole and can’t pretend to be a King scholar. I haven’t read The Shining (1977) or its 2013 sequel Doctor Sleep. I have, of course, seen Stanley Kubrick’s THE SHINING, and like everyone except King and the Razzies voters I think it’s a masterpiece. (I also just realized it’s the first horror movie I remember seeing.)
It almost seemed like a suicide mission for writer/director/editor Mike Flanagan (OCULUS, HUSH, GERALD’S GAME) to make a movie out of Doctor Sleep. How do you even make a sequel to one of the most unfuckwithable horror movies ever made – a fucking Stanley Kubrick movie – let alone try to please the author who famously hated the movie’s take on his very personal story about alcoholism? He tried to bridge the movie with the books, and I think he pulled it off! (read the rest of this shit…)
I’ve been enjoying all of the THE FAST AND THE FURIOUS movies since the early 2000s, so even though part four, FAST & FURIOUS, does not rank high in the series for me, when it decides to present a separate movie about characters introduced in parts 5 and 6, respectively, it gets my attention. And also I like ampersands. For these reasons, FAST & FURIOUS PRESENTS HOBBS & SHAW was one of my most anticipated movies of the summer.
Of course, you gotta have realistic expectations when it comes to presentations. There’s a pretty big difference between, say, DJANGO UNCHAINED, A FILM BY QUENTIN TARANTINO and QUENTIN TARANTINO PRESENTS MY NAME IS MODESTY. I definitely don’t think this spinoff is as good as the FAST series proper, but there’s a part where a helicopter is hooked onto a truck that’s chained to a line of several hot rods and they’re all raised off the ground driving on two wheels along a cliff. So I enjoyed it. (read the rest of this shit…)
When elite underwater rescue guy Jonas Taylor (Jason Statham, GHOSTS OF MARS) tries to save his friends from a damaged nuclear submarine, he makes a controversial decision to shut a door and leave behind some of the crew, saving eleven others from an explosion. His career and life are ruined by that hard choice. And also because he believes the sub was attacked by a monster and everybody thinks he’s nuts.
Years later he lives in Disgraced Hero Exile in Thailand, drinking all day in his Thai farmer hat, running a small fishing boat. It’s clear that he’s a sweetheart when some little kids wave at him on his motorcycle and he makes a funny face for them. I liked this little touch, though it kind of undercuts the later badass juxtaposition of his friendship with a little girl named Meiying (Shuya Sophia Cai).
Of course he’s resistant at first when his old buddy Mac (Cliff Curtis, DEEP RISING, WHALE RIDER, THE POOL, RIVER QUEEN, THE FOUNTAIN… he does alot of water related movies, is my point) shows up to recruit him for another rescue. This time it’s people working for a high tech underwater lab who lost radio contact. And one of them is his ex-wife Lori (Jessica McNamee, THE LOVED ONES). In a refreshing swerve from standard action movie protocol, he just likes and respects her, and is not trying to win her back. He does get to tell her “I told you so,” of course, when they all see that giant monster that they spent years telling him he didn’t really see. (read the rest of this shit…)
Ivan Reitman’s SIX DAYS SEVEN NIGHTS is a kind of low concept romance/adventure that I don’t think you’d see today, and didn’t generally see twenty years ago. It’s basically just a woman and a man who don’t initially like each other getting trapped on an island together, and then starting to like each other after a bit of survival shenanigans.
There’s more romantic-comedy trappings than adventure ones. Robin Monroe (Anne Heche, PSYCHO) is a hard working assistant editor for the fashion magazine Dazzle who’s in a long term relationship with Frank (David Schwimmer, WOLF). He’s a sweet but immediately off-putting guy who makes grand romantic gestures like surprising her with a sudden six-day-seven-night (you see, that’s the title, SIX DAYS SEVEN NIGHTS) vacation to the South Pacific, where he proposes and she says yes.
But she also meets Quinn Harris (Harrison Ford, THE EXPENDABLES 3), a grizzled, hard-drinking pilot of the small plane who gets them from a larger island to their final destination of Makatea after their more lush charter falls through. On the island he drunkenly hits on her at the bar, forgetting that he was the one who just got her there, and Ford does a good bleary-eyed horny dude. Robin is polite but unimpressed, in contrast to Frank, who could not for the life of him hide his boner for Quinn’s busty and flirtatious co-pilot/sort of girlfriend Angelica (Jacqueline Obradors, UNSTOPPABLE, BAD ASSES). (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
It was kinda risky to do a whole series of unpopular or forgotten summer movies, because I could very well have been forcing myself to watch an all star lineup of all the suckiest failures from across a couple decades. A dirty dozen of squirming and boredom. Luckily, many of the movies I chose have been better than their reputations, or even misunderstood gems, and when they’re not it’s still kind of nice, because I’m seeing them from a better position than the people who saw them their respective summers. I don’t go in with high expectations. I don’t hope for the next great summer movie. Just maybe something that’s more interesting than people said at the time.
In this case I also knew not to hope for an M. Night Shyamalan comeback after THE VILLAGE, LADY IN THE WATER and THE HAPPENING, or a good live action version of the popular cartoon Avatar: The Last Airbender, which I haven’t seen anyway. Knowing nothing about the cartoon I was able to appreciate the cool concepts they borrowed from it without knowing they apparently did it all wrong. So I have a higher chance of being pleasantly surprised and a lower chance of feeling like I didn’t get my money’s worth. (read the rest of this shit…)
Yeah, SUNSHINE is still good. It’s kinda like ALIEN but with a (SPOILER) naked crazy dude instead of an alien. Like the alien the crazy naked dude is sneaking around unseen for most of the movie, but a naked dude is harder to pull off special effects-wise than an alien so you never do see him clearly. The camera and editing program start freaking out every time he shows up, like he’s giving off some kind of interference.
A crazy naked dude doesn’t have a projectile mouth, he doesn’t have acid blood. But he’s just as unexpected on a ship with only a few crew members. And he knows how to stab people. In a way he could be more dangerous than an alien because he knows how the ship works and intentionally tries to sabotage their mission. (read the rest of this shit…)
I can’t claim COLOMBIANA is anything special, because I’m not a fuckin liar. But I enjoyed it as a solid Luc Besson production, a retelling of the good ol’ cliches about elite assassins and avenging the deaths of parents, but with the novelty of an up and coming star we haven’t seen in this type of role before.
It’s a hitwoman movie, but not the post-Tarantino type where you see they’re just like us and watch TV and stuff. It’s the opposite. The one where she’s so driven that she has no real life. Her man friend (Michael Vartan from ROGUE) has to quiz her just to try to get her to say where she’s from. And she won’t say. All we really see about this Cataleya lady outside of her job is that she enjoys dancing by herself and sucking on lollipops. Those are her hobbies. By sheer coincidence those are also the type of things Luc Besson would like to see an attractive actress doing. (read the rest of this shit…)
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MEG 2: THE TRENCH is the silly followup to the silly first movie I casually enjoyed in 2018. Neither seems interested in reaching the status of “actual good movie,” which would be preferable, but both involve Jason Statham battling giant prehistoric sharks, among other dumb pleasures, so of course there is gonna be some amusement involved. And maybe it’s good to keep this kind of bullshit alive on a big screen budget. To me that’s way more fun than the SyFy Channel version.
If we hadn’t seen it coming for so many years, AVATAR: THE WAY OF WATER would be a cinematic miracle. There has definitely not been a blockbuster movie with this level of mindblowing spectacle, visual beauty and action chops since 
As a young man I read a bunch of Stephen King. He was my favorite until I decided Clive Barker was more interesting – I don’t know if I was right. The point is I’m just another movie-watching asshole and can’t pretend to be a King scholar. I haven’t read The Shining (1977) or its 2013 sequel Doctor Sleep. I have, of course, seen Stanley Kubrick’s THE SHINING, and like everyone except King and the Razzies voters I think it’s a masterpiece. (I also just realized it’s the first horror movie I remember seeing.)
I’ve been enjoying all of the 
When elite underwater rescue guy Jonas Taylor (Jason Statham, 
June 12, 1998
There’s more romantic-comedy trappings than adventure ones. Robin Monroe (Anne Heche, 
I can’t claim COLOMBIANA is anything special, because I’m not a fuckin liar. But I enjoyed it as a solid Luc Besson production, a retelling of the good ol’ cliches about elite assassins and avenging the deaths of parents, but with the novelty of an up and coming star we haven’t seen in this type of role before.
