"CATCH YOU FUCKERS AT A BAD TIME?"

Posts Tagged ‘Stephan James’

War Machine (2026)

Tuesday, March 24th, 2026

In 2017 there was a straight-to-Netflix movie called WAR MACHINE, a satire about the war in Afghanistan. I was interested because it was from director David Michôd (ANIMAL KINGDOM, THE ROVER, later CHRISTY), but I still haven’t gotten around to it because it went straight to Netflix, it didn’t seem like a real movie, and I forgot it existed.

Now there’s a 2026 straight-to-Netflix movie also called WAR MACHINE, but it’s about Reacher (Alan Ritchson) fighting a robot. This one also went straight to Netflix, also doesn’t seem like a real movie, so I threw it on casually. Times change I guess.

It starts in Kandahar. They finally ended the war in Afghanistan, but it lives on in the traumatic-incident-flashbacks that open all military-based action movies. Ritchson (DARK WEB: CICADA 3301) plays an unnamed Staff Sergeant with a background in engineering who comes to fix an engine for a stranded convoy. He confronts the person responsible for the engine troubles, played by Jai Courtney (DANGEROUS ANIMALS), in that move where two characters come at each other like they’re angry but then it’s a joke and they’re old pals, or in this case actual brothers. I’ve been thinking of that trope as “the Lando,” but here it sort of serves as a “Dillon you sonofabitch,” because this movie exists very clearly in the shadow of PREDATOR. (read the rest of this shit…)

21 Bridges

Thursday, February 20th, 2020

21 BRIDGES is a police thriller with some action. It reminds me of the kind of stuff studios made in the ‘90s, when maybe it would’ve starred Denzel or Wesley Snipes or maybe Samuel L. Jackson if he’d been offered it during that window when he could be the main character and starred in THE NEGOTIATOR. But it was made in 2019, so it stars Chadwick Boseman and is produced by his CAPTAIN AMERICA: CIVIL WAR, AVENGERS INFINITY WAR/ENDGAME directors Joe and Anthony Russo (as well as Boseman himself).

Boseman plays Andre Davis, NYPD detective, son of a murdered cop, infamous for shooting and killing 8 perps in 9 years, but he insists they were all justified, and it’s obvious he’s the type of good guy we can trust on that. The types we can’t trust are all over the movie, and they’re obvious too.

Tonight’s Andre Davis Mystery involves two criminals, one more reasonable and moral than the other, busting into a restaurant to steal a stash of cocaine. The one guy there basically tells them they’re making a mistake, that they will die, and then willingly gives them the keys and the location of the vault. Not like he’s scared of them, more like there’s no reason to interfere, they’re not going to get away with it. (read the rest of this shit…)

If Beale Street Could Talk

Monday, January 14th, 2019

After MOONLIGHT I was gonna see the new Barry Jenkins movie no matter what. Didn’t have to ask what it was about. Probly wouldn’t sound like my thing anyway. If I had asked, the answer might’ve been something like “in early ’70s Harlem, a young woman and her family try to clear her fiance who has been falsely accused of rape.” But that would’ve been misleading because it’s not at all a thriller or a legal drama. There aren’t any plot twists or shocking revelations. We never see a courtroom. The background is the inescapable, self-perpetuating undertow of an unequal justice system, but the foreground is a story about love, not just between this couple but between them and their families.

Like MOONLIGHT it’s gorgeously lit and photographed by James Laxton (YOGA HOSERS), has thick mood and atmosphere, a strong sense of the character of its setting, and a cast full of revelatory performers, people you just want to be around, faces you want to (and get to) stare at in vivid closeup. The two lovers, Tish Rivers (KiKi Lane making a great debut) and Fonny Hunt (Stephan James, who played John Lewis in SELMA and Jesse Owens in RACE), absolutely beam with infatuation. We hear a little bit about them growing up as best friends, but we don’t need it. Their eyes tell us how enamored they are of each other.

But Fonny is, as Tish puts it, “behind glass” when she brings him news that they’re going to have a baby. And not for the last time we will hear firm assurances that things will be okay, people will stick together, odds will be overcome. (read the rest of this shit…)