I’ve been watching Spike Lee movies since I was a teenager in the late ’80s. Okay, I still haven’t seen SHE HATE ME, but otherwise I see all of them, and any new one is obviously gonna be an event for me. They’re pretty infrequent these days, though – it’s been five years since his last movie (DA 5 BLOODS), seven since his last theatrical release (BLACKKKLANSMAN). So I’m thankful that even though it was made for Apple TV+ the new one is playing at my favorite theater, SIFF Downtown, f/k/a Cinerama.
HIGHEST 2 LOWEST is, yes, a remake of Akira Kurosawa’s HIGH AND LOW (1963), itself based on the Ed McBain 87th Precinct Mystery King’s Ransom (1959). So that means it tells the story of an executive dealing with a kidnapping/ransom situation while also trying to take over control of his company. Instead of the shoe industry this time it’s the music industry, and instead of the guy who runs the factories he’s a Grammy winning, cover of Rolling Stone, “best ear in the business” producer/label owner/icon. Denzel Washington (RICOCHET) plays David King, founder of Stackin’ Hits Records, obviously. (read the rest of this shit…)
In the early ‘80s, the English ad director Tony Scott, fresh off of his movie debut THE HUNGER, wanted to adapt the A.J. Quinnell book Man on Fire. According to some of the vague reports I found, producer Arnon Milchan got some other guy for the MAN ON FIRE ultimately released in 1987 because he didn’t have faith in a director who was only on his second movie. 17 years later, when Milchan decided to try again, he was like “okay, yeah, I guess you can make it as your 12th movie.”
Times were different, so Scott had screenwriter Brian Helgeland (A NIGHTMARE ON ELM STREET 4, HIGHWAY TO HELL, THE POSTMAN, PAYBACK, BLOOD WORK, MYSTIC RIVER, LEGEND) change the setting from Italy to Mexico, where the sorts of kidnappings in the story had become more common. Nevertheless, Quinnell found it a much better and more faithful adaptation of his book. I haven’t read it, but as a movie Scott’s version obliterates the other one in every category I can think of. (read the rest of this shit…)
THE EQUALIZER 3 is another fine entry in Academy Award winner Denzel Washington’s only ongoing franchise. It has a very different setting than part 1 or part 2 and he’s up to slightly different things, so it’s not exactly a rehash, it’s pretty different in a way. In another way it’s exactly the same as the other two, or any number of movies starring Liam Neeson. Very solemn and serious, but also over-the-top and absurd. Kinda melancholic, but also kinda awesome. And that’s what we want. If you don’t want any part in a “we” like that then that’s fine, you know what to do.
Washington (VIRTUOSITY) stars as Roberto McCall, née Robert, former Marine and DIA officer turned pro bono bad guy slayer. In the first one he took on the Russian mafia and corrupt police while working at Brand X Home Depot, in the second one he took on mercenaries, kidnappers and gangs while working as a Lyft driver, and in this one he takes on the Camorra (afiliated with Syrian terrorists) while chilling out like a retiree in gorgeous Altamonte, Italy. He gets there by accident, though. (read the rest of this shit…)
Confession: Classifying FOR QUEEN & COUNTRY as an action film is a bit of a stretch. Yeah, it stars Denzel Washington (RICOCHET, THE EQUALIZER, THE EQUALIZER 2) as an ex-paratrooper, and he gets in some fights and there’s an explosion and some people get shot and there’s crime and the score is by Michael Kamen (DIE HARD). It’s much more of a drama that includes these elements of action and crime movies, though, than it is an action or crime movie.
But look, he has a gun on the poster. I thought it was gonna fit into this series more than it does. Let’s not worry about it.
Washington plays Reuben James, who joins the army to move beyond an aimless life as a soccer hooligan – that’s right, he’s English in this one! – then saw some shit and earned some medals as a gunner in the Falklands. Back in the old neighborhood he tries to get a job and politely decline criminal activities with old acquaintances including high roller Colin (Bruce Payne, HIGHLANDER: ENDGAME), who claims to have a legitimate offer for him, but… come on. And the people with real jobs are indifferent to him, nobody cares that he’s a veteran, racist cops harass him and call him slurs, etc. (read the rest of this shit…)
THE EQUALIZER is not a great movie, but it is part of a great American tradition to allow the finest actors an opportunity once they get older to make movies where they pretend they’re Steven Seagal and break dudes’ arms and drill ’em in the head and stuff. To help people. Very loosely based on the ’80s tv show, Denzel Washington (MALCOLM X, RICOCHET) played Robert McCall, a mild mannered, O.C.D.-having widower with ugly sneakers who works at an off-brand Home Depot and also happens to be an ex-secret-agent badass, so when he sees enough injustice he decides you know what I’m tired of being hoodwinked and bamboozled, I’m gonna vigilante the shit out of these Russian mobsters or whoever.
Had things gone a little differently maybe we’d all be excited for Denzel’s much-hyped return to the popular VIRTUOSITY franchise after sitting out the last three, but we play the cards we’re dealt, so THE EQUALIZER 2 is Denzel’s first ever sequel. Also back are director Antoine Fuqua (BAIT), writer Richard Wenk (VAMP, 16 BLOCKS, THE MECHANIC, THE EXPENDABLES 2, COUNTDOWN, JACK REACHER: NEVER GO BACK), Academy Award winner Melissa Leo (who played a different character on an episode of the TV show in 1985!) as his old agency boss Susan Plummer, and Bill Pullman (CASPER) as her non-ass-kicking husband. (read the rest of this shit…)
I remember thinking of HE GOT GAME as a slightly under-the-radar Spike Lee joint, but I think it’s become pretty well known over the years. It’s just that it’s in that middle period where he still seemed to have clout but the cultural excitement around him was on a slow, inevitable decline after touching the sun in 1992 with MALCOLM X.
With CLOCKERS and GET ON THE BUS he got increasingly experimental with his style, switching between different film stocks and handheld cameras in energetic ways that I always thought were influenced by Homicide: Life on the Street. HE GOT GAME is a uniquely stylish film that seems more inspired by slick commercials and sports show intros. The story is about the ugly, exploitative side of college athletics, but the style is all about worshiping basketball as the great American sport.
Two credits give you an idea of Lee’s lofty approach: “Music: Aaron Copland. Songs: Public Enemy.” The musical score is built from the sweeping 1940s “populist” style orchestral pieces by, as Lee puts it on the commentary track, “the great American composer from Brooklyn, New York.” Pieces used include “Our Town,” “Lincoln Portrait” and “Fanfare for the Common Man.” The latter has been used in sports broadcasts and Navy ads, it has played on Space Shuttles and inspired the scores for both SUPERMAN and SAVING PRIVATE RYAN. It was originally composed upon America’s entry into WWII. Copland considered the titles “Fanfare for a Solemn Ceremony” and “Fanfare for Four Freedoms” before using a term he heard in a speech by Vice President Henry A. Wallace. These are reverent Americana anthems for the pursuit of happiness and amber waves of grain and all that. (read the rest of this shit…)
FENCES is a wonderful new Pixar movie about the secret world of fences. What happens when the barriers that keep people out decide it’s time to start letting them in? But it’s also the famous play by August Wilson (1945-2005) that Denzel Washington (VIRTUOSITY) has turned into a film as star and director.
There’s no mistaking that this was a play. It’s all talk talk talk, mostly by Denzel. Lots of telling stories. And it mostly takes place in his small backyard, kitchen and living room. He plays Troy Maxson, a bitter garbage man in racially discriminating 1958 Pittsburgh. Ten years before NIGHT OF THE LIVING DEAD. He thinks he might get fired because he recently took a stand and asked why only white men get to drive the trucks. He likes to come home from work, shoot the shit and pass around a bottle of gin with wife Rose (Viola Davis from the Jesse Stone movies) and his co-worker Bono (Stephen Henderson, RED HOOK SUMMER, MANCHESTER BY THE SEA). (read the rest of this shit…)
After DO THE RIGHT THING made Spike Lee into a major cultural force, he set his sights on a few subjects he thought were important. Before he made his MALCOLM X movie with Denzel, and before he didn’t make his Jackie Robinson movie with Denzel, he tackled a broader topic: a jazz movie with Denzel.
It was a subject near and dear to Lee’s heart. His father Bill Lee was a jazz bassist and composer for his first four films (this being the last), and he’d befriended Branford Marsalis on DO THE RIGHT THING, so The Branford Marsalis Quartet (plus Terence Blanchard on trumpet) plays the music here. I seem to remember Lee being publicly hostile toward Bertrand Tavernier’s ROUND MIDNIGHT and Clint Eastwood’s BIRD for focusing too much on drug addiction, a complaint possibly aggravated by his annoyance at reporters asking him why DO THE RIGHT THING didn’t deal with drug addiction.
Can you imagine? “Wes Anderson, don’t you have a responsibility to your community to show that rich people use coke?” “Makers of SWEET HOME ALABAMA, where is the meth?” Fuck you. Just for the sake of my blood pressure I’m gonna assume every reporter who asked that has since sent Spike flowers and a card with a long, heartfelt, handwritten letter of apology.
Surprisingly, Lee’s jazz movie just replaces heroin with other vices. Washington’s quintet-leading trumpeter Bleek Gilliam is some kind of womanizer who tries to have two girlfriends at the same time, med student Indigo Downes (Joie Lee) and aspiring singer Clarke Betancourt (Cynda Williams in her first role). His childhood friend/terrible manager Giant (Spike himself) has a dangerous addiction to sports gambling and is in debt to his bookie (Ruben Blades, SECUESTRO EXPRESS, COLOR OF NIGHT). But these troubles are kind of woven into a casual and down to earth story about Bleek’s fairly minor struggles doing shows at the Beneath the Underdog jazz club, during a slow-brewing musical and love rivalry with his saxophone player Shadow Henderson (Wesley God Damn Snipes, BLADE). (read the rest of this shit…)
First of all, man, I am never gonna get that theme song out of my head. It’s on the original and the three sequels and on this remake it’s just on the end credits, other than some sly hints at its rhythm adapted to percussion and that exotic flute type thing that modern film composers love. But it’s so catchy and I’ve heard it so many times this last week or two that it’s burned onto my brain like what used to happen to TVs if you left it on a DVD menu all day. Thanks alot, Elmer Bernstein.
In Antoine Fuqua’s THE MAGNIFICENT SEVEN, we have a small town in Kansas (not Mexico) being threatened by a wealthy land baron (not bandits) who comes in with a bunch of killers, and makes a shitty, non-negotiable offer for their land, that he says they can accept or be killed when he comes back in three weeks. And he makes this threat at gunpoint inside the church! Not cool.
This opening shows the dangers of normal people standing up to these bullies: they quickly execute the first guy who does it, and this escalates into a massacre. This asshole Bogue (Peter Sarsgaard) tells the in-his-pocket-out-of-fear sheriff to leave the bodies where they are, burns down the church and stops by the whorehouse on the way out. (read the rest of this shit…)
There are many things I don’t understand about the sci-fi world and story of VIRTUOSITY. It opens with Parker Barnes (Denzel Washington) in a Captain Panaka cosplay outfit chasing a killer through the business district, where everybody is in a suit carrying a briefcase, like they’re in The Matrix. It does turn out to be a virtual reality simulation and Parker turns out to be a prisoner, though he was formerly a cop until he accidentally killed an innocent(ish) journalist while killing the guy who killed his family.
But what is the reason for this simulation? I guess it’s supposed to be for training? But then why are they training prisoners? I guess because it’s still in Beta testing. With its current calibration, getting killed in the virtual world can cause the player to go into convulsions and die in real life. (You hear that, Wachowskis? See if you can take that idea and do something better with it.) (read the rest of this shit…)
WAYS YOU CAN SUPPORT THE SHIT OUT OF VERN & OUTLAWVERN.COM
if that's your thing:
1. Patreon
Toss me a couple bucks a month, support the good shit, also get access to a bunch of exclusive writing. This is my primary source of writing money that has allowed me to cut down to part time at the day job. Thank you!
2. Buy my books from your local bookseller or somebody
(NOTE: My ten year contract has passed on the Titan books, so I don't get residuals on them like I do WORM ON A HOOK and NIKETOWN, but I would love for you to read them because I'm proud of them)
EXTRA CREDIT: Review them on Amazon! That would really help me out. Unless you didn't like them, in which case forget I said anything.
3. If you ever buy from Amazon, go through my links or search engines
(you pay the same amount you were gonna pay anyway they cut me a little slice)
I also have an Amazon UK one:
(I can't get the search box widget to work anymore, so click on MOONWALKER and then search for what you want.)
4. My exciting line of fashion and leisure products
(I get a couple bucks per item, you get a cool t-shirt, mug or lifestyle item)
5. Spread the word
Tell your friends about my reviews and my books and everything. Only cool people though please, we don't need a bunch of suckers and/or chumps around here.
Glaive Robber on Eenie Meanie: “BTW, I thought this might be relevant to the interests of some of you… https://scottmendelson.substack.com/p/big-good-and-bad-feels-at-the-2025 I did not know this…” Aug 27, 21:40
Glaive Robber on Eenie Meanie: “I have to say, I was looking for something really specific from this movie — beautiful woman in car chases…” Aug 27, 21:24
Handsome Dan on Eenie Meanie: “As a Packer fan who still has the occasional nightmare about the 2014 NFC Championship game, this much unexpected Marshawn…” Aug 27, 13:17
Dtroyt on Four Brothers (20 years later revisit): “Here in California, we tend to call everything liquor stores. But, if I remember correctly, in Michigan they do call…” Aug 27, 11:12
Simon Underwood on Four Brothers (20 years later revisit): “I remember watching this on DVD rental and saying to my friend as they all gather on the ice in…” Aug 27, 01:11
CJ Holden on Nobody 2: “Haven’t seen it yet, but while looking up which RING OF FIRE cover was playing (I was hoping for the…” Aug 27, 00:00
VERN on Four Brothers (20 years later revisit): “Comrade – Ah, I hadn’t thought about it being a regional term. Here our convenience stores do have liquor but…” Aug 26, 18:27
Skani on Nobody 2: “Treating this as a one-off lark / high-concept destination sequel, I thought this was a blast. Thoroughly disposable, but still…” Aug 26, 18:14
grimgrinningchris on Four Brothers (20 years later revisit): “I remember one thing about this movie. Exactly one. That I watched it in full in the “cardio-theater” in my…” Aug 26, 16:21
MaggieMayPie on Four Brothers (20 years later revisit): “There was a time in the distant past where I actually really liked Wahlberg. I think it was after the…” Aug 26, 16:13
Hammer Time on Four Brothers (20 years later revisit): ““Somebody call 911 or whatever the number is for Cinemasins.” *chef’s kiss* I have a soft spot for action movies…” Aug 26, 15:32
Palermo on Four Brothers (20 years later revisit): “I somehow never saw this movie. I almost went to it on a date but I talked her into seeing…” Aug 26, 11:52
I’ve been watching Spike Lee movies since I was a teenager in the late ’80s. Okay, I still haven’t seen SHE HATE ME, but otherwise I see all of them, and any new one is obviously gonna be an event for me. They’re pretty infrequent these days, though – it’s been five years since his last movie (DA 5 BLOODS), seven since his last theatrical release (BLACKKKLANSMAN). So I’m thankful that even though it was made for Apple TV+ the new one is playing at my favorite theater, SIFF Downtown, f/k/a Cinerama.
In the early ‘80s, the English ad director Tony Scott, fresh off of his movie debut THE HUNGER, wanted to adapt the A.J. Quinnell book Man on Fire. According to some of the vague reports I found, producer Arnon Milchan got some other guy for 
THE EQUALIZER 3 is another fine entry in Academy Award winner Denzel Washington’s only ongoing franchise. It has a very different setting than part 1 or part 2 and he’s up to slightly different things, so it’s not exactly a rehash, it’s pretty different in a way. In another way it’s exactly the same as the other two, or any number of movies starring Liam Neeson. Very solemn and serious, but also over-the-top and absurd. Kinda melancholic, but also kinda awesome. And that’s what we want. If you don’t want any part in a “we” like that then that’s fine, you know what to do.
Confession: Classifying FOR QUEEN & COUNTRY as an action film is a bit of a stretch. Yeah, it stars Denzel Washington (
Washington plays Reuben James, who joins the army to move beyond an aimless life as a soccer hooligan – that’s right, he’s English in this one! – then saw some shit and earned some medals as a gunner in the Falklands. Back in the old neighborhood he tries to get a job and politely decline criminal activities with old acquaintances including high roller Colin (Bruce Payne, 
also May 1, 1998
With CLOCKERS and 
FENCES is a wonderful new Pixar movie about the secret world of fences. What happens when the barriers that keep people out decide it’s time to start letting them in? But it’s also the famous play by August Wilson (1945-2005) that Denzel Washington (
After 
First of all, man, I am 
