Steven Spielberg’s WAR OF THE WORLDS (original review)(2013 Summer Flashback review) follows the BATMAN BEGINS pattern for me: loved it at the time, loved it on rewatches, but watched it now and still found myself thinking holy shit, I forgot how good this is. In the set up it’s almost JAWS-good – the beautiful look and sense of place, the natural and economical ways it sets up these people and their relationships, the dread about what horrors are coming even though honestly I wouldn’t mind hanging out longer in this normality that’s about to be interrupted.
Tom Cruise’s character Ray Ferrier kind of seems like the inevitable results of living as one of the charming dicks he played when he was younger – regular Yankees-hat-wearing, working class guy, pretty likable, but fucked up his marriage and now lives alone in a little place in New Jersey. Definitely a deadbeat in the parenting department, and isn’t disciplined enough to get his shit together (until now, when it really counts, during an alien invasion). (Spoiler.) We first see him operating a crane at the docks in Brooklyn, it looks pretty challenging and his boss (Peter Gerety, Homicide: Life on the Streets) seems to think he’s the best at it, but it’s still funny when he punches out and roars into traffic in his Mustang like he’s convinced he’s the coolest motherfucker who ever lived.
Turns out his reckless driving is for a different reason: he was supposed to be home at 8 when his ex-wife Mary Ann (Mirando Otto, HUMAN NATURE) drops off the kids to stay with him during her trip to Boston. He pretends he thought it was 8:30 and doesn’t even say he’s sorry, so it’s not that surprising his teenage son Robbie (Justin Chatwin, TAKING LIVES) hates him, doesn’t acknowledge him, won’t take off his headphones for him. (read the rest of this shit…)
“It’s an art movie. Doesn’t count. I’m talkin about movie movies.”
April 10, 1992
I have enjoyed some of Robert Altman’s movies over the years, but never became a full-on “he’s one of my favorites” convert like so many film buffs a little older than me. In fact the only ones I’ve ever reviewed are MCCABE & MRS. MILLER, POPEYE and NASHVILLE. POPEYE was definitely the first Altman movie I saw, since it starred my biggest childhood hero (not Robin Williams – Popeye). THE PLAYER was the first one I watched as a grown-ish person trying to see good movies for adults.
I don’t hear people talk about it that much these days, but it has an 86 on Metacritic, which they quantify as “universal acclaim.” And it has a Criterion Edition. I remember it being viewed as a major cultural event in the film coverage I read in magazines and alternative weeklies of the time. In his review, Roger Ebert brought up Wall Street scandals and said the movie “uses Hollywood as a metaphor for the avarice of the 1980s,” but in my memory people enjoyed it as a satire of Hollywood executives. My most specific memory about it was a certain cameo in a movie-within-the-movie meant to parody the “pat Hollywood endings” joked about throughout the movie. (read the rest of this shit…)
JUNGLE FEVER is five films and five years into the career of Spike Lee. You have the financed-on-credit-cards debut SHE’S GOTTA HAVE IT, the polished studio debut SCHOOL DAZE, the explosion of DO THE RIGHT THING, the follow up MO’ BETTER BLUES, and then this. Like all of his movies it’s interesting and bold and full of greatness but in my opinion, especially in retrospect, it’s his first fumble. That’s fine. He did MALCOLM X next.
It is the story of possibly the most only-Spike-Lee-would-ever-name-a-character-this character of all time, Flipper Purify, played by Wesley Snipes, who had been in Lee’s MO’ BETTER BLUES and was coming off of the success of NEW JACK CITY. He’s an upper class architect, living in Harlem with his wife Drew (Lonette McKee, BREWSTER’S MILLIONS, ‘ROUND MIDNIGHT), and things seem to be going well from the hot morning sex that opens the movie (the sounds of which greatly amuse their daughter Ming [Veronica Timbers]). (read the rest of this shit…)
There’s another TOY SOLDIERS besides the Sean Astin/Wil Wheaton one from 1991 that I reviewed before. This is the one from 1984 that’s kind of like UNCOMMON VALOR but with rich college kids instead of Vietnam vets. Jason Miller (THE EXORCIST) plays a Vietnam vet now working as a family’s personal yacht captain. When he chaperones their daughter Amy (Terri Garber, SLAPPY AND THE STINKERS) and her loser friends on a trip to Panama, they totally prank the shit out of him by purposely leaving him behind on a dingy. Cut to montage of dumping beer on each other’s heads, smoking joints, making out and comical sexual harassment.
“What they didn’t know, what nobody knew, was that the fun was just about over,” intones Sarge in his weirdly Wonder Years-esque opening narration. The accident that fucks up everything is realistically random: drunken Tommy (Jim Greenleaf, TAG: THE ASSASSINATION GAME, JOYSTICKS) jumps belly first onto an inflatable raft, bounces off it and hits his head. They bring him to land to try to get medical help, but they end up quickly abducted by paramilitary forces. They’re tied up, beaten and groped. Amy is defiant, so they lock her separately in a pit with a dead priest currently in the process of being eaten by rats.
But otherwise that would’ve been pretty funny how they ditched that old wet blanket so they could party, ha ha. (read the rest of this shit…)
Wow – WAR OF THE WORLDS holds up. I remember it being the most intense PG-13 movie ever, but I thought maybe with the escalation of that rating since the Joker stabbed a guy with a pencil in DARK KNIGHT maybe it wouldn’t seem as harsh by today’s standards.
Nope. This movie is a fuckin nightmare! It starts as an anxiety dream (oh shit, what if my kids come over and I show up late and forgot to clean up and my ex-wife and her husband see that I don’t have any food and…) then one of those ones where you see weird shit in the sky (a strange electrical storm) and in the distance (3-legged alien attack machines), and then it’s a disaster one (mobs attacking your car at night, thousands of people trying to climb onto the same ferry), then a war one (running into the hills at night as tanks roll in the other direction) and then a more intimate things-that-go-bump-in-the-night one (alien in the basement). All of this executed with the classic Steve Spielberg filmatistic chops.
With THE AVENGERS still going around punching the shit out of every box office record stupid enough to make eye contact with it maybe it’s time to take a look at the other important Marvel Comics films. Obviously we’ve already gone over the most culturally and historically significant ones (BLADE, BLADE II, THE PUNISHER, THE PUNISHER, and THE PUNISHER’S WAR ZONE), but one that we have not addressed is 1986’s HOWARD THE DUCK, from the creators of STAR WARS and AMERICAN GRAFFITI. I don’t see how this one could wrong. (read the rest of this shit…)
GREEN LANTERN stands out among comic book movies for its combination of crappiness and expensive-looking-ness. The details that flesh out the classical super hero arc are dumb and juvenile, and the effects often look ridiculous, but it never seems like it’s due to a lack of resources. Just a lack of taste.
Very sophisticated, expensive animation of weird aliens who only ever stand on dark, rocky spacescapes. Motion capture used to create a corny green glow from the sinews of Ryan Reynolds’s muscles. I guess it’s hard to get around with this character, but some day filmatists gotta learn that green glowing energy is not really that cool looking. Call it the METEOR MAN rule. (read the rest of this shit…)
Sometimes for scientifical type purposes I try to predict what bad puns the hack critics will use in reviews of upcoming movies. For WAR OF THE WORLDS I was leaning toward an “out of this world” or “worlds away from E.T.” type thing. Somebody suggested “Bore of the Worlds” but I was saving that for “Fantastic Bore” and “Fantastic Snore.”
But then I saw WAR OF THE WORLDS and you know what this is? The scariest PG-13 movie of all time. Fuck dinosaurs. Fuck a guy eating monkey brains. This is as hard as Steve Spielberg is gonna get. This is a well put together piece of work in my opinion. Usually making a movie PG-13 when it could be R is a copout, but in this case it’s almost subversive. Sorry about taking the guns out of E.T., to make it up to you I’m gonna give your kids the worst nightmares from now until they turn 16.
So now I’m thinking the pun headline should be CLOSE ENCOUNTERS OF THE KIND WHERE YOU ALMOST SHIT YOUR PANTS. Or maybe E.T. – THE EXTRA-WE’REFUCKED-STRIAL. (read the rest of this shit…)
When I saw the first trailer for MYSTIC RIVER I practically flipped out. I guess not like one of those “geek-gasms” my bud Harold Knowles talks about but more like getting goose-shivers or the hair standing up on your balls or whatever the saying is. I already knew it had cleaned up at the Whatsisdick Film Festival over there in wherever it was, and that it was directed by my man Clint, who actually did the narration for this trailer. There was no scenes from the movie, just a helicopter shot of the town with the narration and then the credits start telling me, okay: Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Marcia Gay Harden, Laura Linney… and then it says, “A Film by Clint Eastwood.” It gives you no clue what it’s about really, just shows you the setting and tells you the players and figures that if that’s not enough for you then you must be an asshole. “That’s all I need to know,” I said, but really I already knew more – that it was written by oscar winner Brian Helgeland, director of outlaw award winner PAYBACK. (read the rest of this shit…)
Hey, everyone. “Moriarty” here with some Rumblings From The Lab.
All my favorite muthas are hanging out tonight. Quint and Beaks and Vern, our man in Seattle, all 7 foot 5 inches of bad-assedness of him. He’s here tonight with a look at a film that I am hearing basically nothing good about so far. I hope all the buzz is wrong. I hope Jonathan Demme has made a great, breezy entertainment that manages to have fun with the classic CHARADE. I hope because I like Demme. I hope because the alternative is tears.
Fellas –
It’s me Vern again. Last week I sent you a review of the unneccessary remake of THE RING, which if I remember right, I believe I liked that one. This week I got another review of an uneccessary remake. This one wasn’t quite so hot.
The movie is THE TRUTH ABOUT CHARLIE and if you know your shit, you know it’s a remake of Stan Donen’s CHARADE, an undeniably great movie starring Carey Grant and Audrey Hepburn. I mean you can’t beat that. (read the rest of this shit…)
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Recent commentary and jibber-jabber
Steven E on Superman (2025): “Love the movie, great review. I think it is the tone more than anything that makes this one special. It…” Jul 18, 15:40
Peter Campbell on Charlie and the Chocolate Factory: “I watched this film recently and I actually liked it a lot more than I did at the time. I…” Jul 18, 14:47
VERN on Superman (2025): “Dustin – I like what you say about it, and I do like what they did with the theme, I…” Jul 17, 23:52
Glaive Robber on Superman (2025): “Couple of things: -Considering this felt like the first Superman movie coming from people who had actually read the comics,…” Jul 17, 22:21
Adam C aka TaumpyTearrs on Superman (2025): “@grimgrinningchris- Synchronicity! I must give credit, Nathan Rabin occasionally uses variations of the term and it always makes me laugh,…” Jul 17, 21:05
Jake on Superman (2025): “*spoilers!* @ Tobias Yes, I’m surprised people who have seen the film continue to complain about Supes getting his ass…” Jul 17, 21:04
Dustin on Superman (2025): “Yeah, I loved this one. Literally couldn’t be happier with it. On the score: I think this one earns its…” Jul 17, 19:47
Skani on Superman (2025): “I’ve been whatevs on seeing this one anytime, but this review pushes me into the “genuinely looking forward” column, so,…” Jul 17, 19:18
The Winchester on Wedding Crashers (20 years later rematch): “I was at a super low point in my life, having just moved to LA and not really knowing anyone,…” Jul 17, 16:13
Mr. Majestyk on Wedding Crashers (20 years later rematch): “I couldn’t make it five minutes into STEPBROTHERS. Saw ANCHORMAN once. Just clips from TALLADEGA NIGHTS. BUT I am the…” Jul 17, 13:31
CJ Holden on Mortal Kombat (2021): “I love what they did with Johnny Cage here. As much as I like Karl “Most successful actor from HERCULES…” Jul 17, 13:20
Pacman2.0 on Wedding Crashers (20 years later rematch): “I guess which Ferrell/McKay joint is too much varies, I like STEP BROTHERS and for me TALLENDEGA NIGHTS is the…” Jul 17, 12:26
Pacman2.0 on Mortal Kombat (2021): “I think this looks like a huge improvement (although 4 years ago Pacman2.0 just above me seemed to enjoy this…” Jul 17, 11:46
June 29, 2005
Tom Cruise’s character Ray Ferrier kind of seems like the inevitable results of living as one of the charming dicks he played when he was younger – regular Yankees-hat-wearing, working class guy, pretty likable, but fucked up his marriage and now lives alone in a little place in New Jersey. Definitely a deadbeat in the parenting department, and isn’t disciplined enough to get his shit together (until now, when it really counts, during an alien invasion). (Spoiler.) We first see him operating a crane at the docks in Brooklyn, it looks pretty challenging and his boss (Peter Gerety, Homicide: Life on the Streets) seems to think he’s the best at it, but it’s still funny when he punches out and roars into traffic in his Mustang like he’s convinced he’s the coolest motherfucker who ever lived.
“It’s an art movie. Doesn’t count. I’m talkin about movie movies.”
I don’t hear people talk about it that much these days, but it has an 86 on Metacritic, which they quantify as “universal acclaim.” And it has a Criterion Edition. I remember it being viewed as a major cultural event in the film coverage I read in magazines and alternative weeklies of the time. In his review, Roger Ebert brought up Wall Street scandals and said the movie “uses Hollywood as a metaphor for the avarice of the 1980s,” but in my memory people enjoyed it as a satire of Hollywood executives. My most specific memory about it was a certain cameo in a movie-within-the-movie meant to parody the “pat Hollywood endings” joked about throughout the movie. 
June 7, 1991
It is the story of possibly the most only-Spike-Lee-would-ever-name-a-character-this character of all time, Flipper Purify, played by Wesley Snipes, who had been in Lee’s MO’ BETTER BLUES and was coming off of the success of NEW JACK CITY. He’s an upper class architect, living in Harlem with his wife Drew (Lonette McKee, 
There’s another TOY SOLDIERS besides 
With THE AVENGERS still going around punching the shit out of every box office record stupid enough to make eye contact with it maybe it’s time to take a look at the other important Marvel Comics films. Obviously we’ve already gone over the most culturally and historically significant ones (BLADE, 
GREEN LANTERN stands out among comic book movies for its combination of crappiness and expensive-looking-ness. The details that flesh out the classical super hero arc are dumb and juvenile, and the effects often look ridiculous, but it never seems like it’s due to a lack of resources. Just a lack of taste.
Sometimes for scientifical type purposes I try to predict what bad puns the hack critics will use in reviews of upcoming movies. For WAR OF THE WORLDS I was leaning toward an “out of this world” or “worlds away from E.T.” type thing. Somebody suggested “Bore of the Worlds” but I was saving that for “Fantastic Bore” and “Fantastic Snore.”
When I saw the first trailer for MYSTIC RIVER I practically flipped out. I guess not like one of those “geek-gasms” my bud Harold Knowles talks about but more like getting goose-shivers or the hair standing up on your balls or whatever the saying is. I already knew it had cleaned up at the Whatsisdick Film Festival over there in wherever it was, and that it was directed by my man Clint, who actually did the narration for this trailer. There was no scenes from the movie, just a helicopter shot of the town with the narration and then the credits start telling me, okay: Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Marcia Gay Harden, Laura Linney… and then it says, “A Film by Clint Eastwood.” It gives you no clue what it’s about really, just shows you the setting and tells you the players and figures that if that’s not enough for you then you must be an asshole. “That’s all I need to know,” I said, but really I already knew more – that it was written by oscar winner Brian Helgeland, director of outlaw award winner PAYBACK. 
SPOILER ALERT !!
