Taken on its own, ÆON FLUX (2005) is an interesting oddity among post-MATRIX techno-soundtrack sci-fi action movies. The look is clean and brightly lit, the premise is vague, it has some legitimately strange tech and costumes. One of its shootouts happens in a rose garden, another on a manicured lawn beneath blossoming cherry trees. A major third act action set piece involves hanging from and climbing up the gold-lame-scarf tail of a blimp called “The Relical.” To date I think it might be the only movie with a Relical in it.
It’s an MTV Films production, but’s that just because it’s based on a cartoon birthed by their envelope-pushing animation anthology Liquid Television. It doesn’t have any needle drops and doesn’t seem fully invested in being of the time, or of pop culture. If not for the generic beats in the score by Graeme Revell (MIGHTY MORPHIN POWER RANGERS: THE MOVIE) it would feel pretty otherworldly. (read the rest of this shit…)
DESTROYER is the latest from director Karyn Kusama (THE INVITATION). It’s a dark, character-driven crime thriller starring Nicole Kidman (BATMAN FOREVER) as Erin Bell, an extra-crispy-burnt-out LAPD detective breaking all the rules to chase a bank robber (Toby Kebbell, FANTASTIC FOUR). It’s personal to her because years ago she went undercover in his gang and her partner/lover (Sebastian Stan, THE COVENANT) was killed. But she’s a total fuckin mess and she seems to be acting on her own and keeps ignoring her partner (Shamier Anderson)’s voicemails asking where the fuck she is.
a survey of summer movies that just didn’t catch on
July 19, 2013
Most art is derivative of something or other, but jesus christ is it uncomfortable how flagrant R.I.P.D. is about trying to repackage MEN IN BLACK. Instead of a secret government agency investigating aliens who secretly live among us it’s a secret police department investigating dead people who secretly live among us. But you got the younger guy recruited and learning about this real world beneath our sugar-coated topping and partnering with an older, grumpy guy and they have goofy ray gun looking guns and go around questioning weird informants who turn into crazy cartoon special effects creatures (though Rick Baker is retired, so they’re mostly digital). I swear RIPD even has a headquarters that looks like they built it over the set from MiB.
The young guy is Nick Walker (Ryan Reynolds, BLADE TRINITY), in life a Boston PD detective betrayed by his partner Bobby Hayes (Kevin Bacon, ELEPHANT WHITE) over some kind of gold treasure they stole from a crime scene. Nick was having regrets and wanted out so Bobby shot him in the face during a raid. Instead of Heaven or Hell, Nick goes to RIPD to continue as a cop and help them round up “deados” who illegally stick around on Earth. Not really a noble calling, in my opinion. (read the rest of this shit…)
I’m real late to the dinner party (get it, because this is a movie about a dinner party), but THE INVITATION is a potent suspense thriller well-deserving of its reputation from film festivals and indie circuit release from Drafthouse Films. It’s tense and uncomfortable and it’s best not to know what sort of bad thing it’s leading up to, but don’t worry. You can sense its presence from early on.
Will (Logan Marshall-Green, who I did not recognize as the whiny boyfriend I hated so much in PROMETHEUS) and Kira (Emayatzy Corinealdi, MILES AHEAD) are a couple invited to this other couple’s house out in the Hollywood Hills. It’s an awkward reunion for a close circle of friends who haven’t seen or heard from these party-givers in two years. There’s love and laughing and joking, but also weirdness with Eden (Tammy Blanchard, BLUE JASMINE)’s extra long hug of Will. And it starts to come out that not only are they exes, but their marriage ended because of a tragedy. They had a son who died in an accident right here at this house. (read the rest of this shit…)
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Borg9 on Fly Away Home (30th anniversary revisit): “Cool! Thanks, Vern. That 2003 review is correct in so many ways, but it’s nice to revisit this movie and…” Oct 1, 07:39
CJ Holden on Faces of Death (2026): “Hell yeah! Regardless if you like them or not, it should be interesting to see how Germany’s tries to cash…” Sep 30, 20:09
VERN on Faces of Death (2026): “I have heard of ANATOMIE, but will consider it anyway, and it looks like I can rent all three, which…” Sep 30, 18:25
Franchise Fred on The Surfer: “Neal, nip/tuck was great and McMahon’s pervert asshole character made it. There are some rough seasons, but the first two…” Sep 30, 15:06
CJ Holden on Beowulf: “After rewatching this for the first time in a long time (probably the first time in the 21st century), I…” Sep 30, 13:28
burningambulance on She Rides Shotgun: “I wanted to like this movie, because I LOVED the book (and its semi-sequel, THE LAST KING OF CALIFORNIA), but…” Sep 30, 12:12
Inspector Hammer Boudreaux on The Surfer: “I loved this so much. We all know there are two Nic Cages, the naturalistic actor and the crazy man.…” Sep 30, 11:26
Bill Reed on Resident Evil (2026): “Now That’s What I Call Spookablast, vol. 18. Really dug this one, so Cregger is 3-for-3 for me. I had…” Sep 30, 08:40
The Cosh on The Surfer: “I always like the sound of these latter day Nic Cage joints when you review them but I never get…” Sep 30, 07:04
CJ Holden on Faces of Death (2026): “I have to throw a few German SCREAM entries into the hat. First two that I mentioned before: – FLASHBACK…” Sep 29, 23:55
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VERN on Faces of Death (2026): “Thank you, Dan the Man. It looks like I can get it (assuming OGROFF: THE MAD MUTILATOR is the same…” Sep 29, 18:23
neal2zod on The Surfer: “*SPOILERS* Cage’s best movie since Pig, even though when you think about it, it’s kinda just a mix of Fight…” Sep 29, 17:12
Dan the Man on Faces of Death (2026): “Very long time reader, first time commenter. I have scoured the site and as far as I can tell you’ve…” Sep 29, 17:06
DESTROYER is the latest from director Karyn Kusama (
I’m real late to the dinner party (get it, because this is a movie about a dinner party), but THE INVITATION is a potent suspense thriller well-deserving of its reputation from film festivals and indie circuit release from Drafthouse Films. It’s tense and uncomfortable and it’s best not to know what sort of bad thing it’s leading up to, but don’t worry. You can sense its presence from early on.
