Archive for the ‘Thriller’ Category

Out for a Kill

Friday, July 4th, 2003

Hi, everyone. “Moriarty” here with some Rumblings From The Lab…

No hot air balloons in this one. At least, not to the best of my knowledge. But who cares what it’s about? I’ll take any opportunity to read a review by Seattle’s finest film analyst, the one and only Vern:

Boys –

Well I think it’s been a real good movie summer so far with RETURN TO THE MATRIX and THE AMAZING HULK and CHARLIE’S ANGELS GO FULL THROTTLE and JOHN ASHCROFT VS. THE X-MEN and etc. But now we’re at that crossroads of summer where it could go either way. Now it’s the more iffy movies and the sequels you’re not sure you want or you know for sure you don’t want. Okay, sure, people always wanted TERMINATOR 3 but did they want it if it had to be directed by the guy who made that submarine movie that they never bothered to see, even though they heard Bon Jovi got his head chopped off? A more extreme case is BAD BOYS PART 2. Oh yeah, I always wanted to revisit those great characters, officer (insert will smith’s character name) and officer (guy from big momma’s house). It will be great to find out what has happened to them since that bank robbery, murder, drug deal, kidnapping or whatever the fuck it was that they stopped back in that other movie. I wonder if they still like to sing the theme song from “COPS”, which was already a dated reference when the first movie was made like TEN FUCKING YEARS AGO. Maybe this one will be more up to date and they’ll get some Judge Ito jokes in there. Maybe throw in a “Is that your final answer?” (read the rest of this shit…)

Demonlover

Wednesday, June 11th, 2003

SPOILER ALERT !!

Hi, everyone. “Moriarty” here with some Rumblings From The Lab…

Holy sheeee-it, I love IRMA VEP by Oliver Assayas. Meaning I guess I think he’s a damn fine filmmaker, and worth payin’ attention to. And double holy sheeee-it with a side order of gawDAMN, but I love reviews by Vern. Put these two things together, and this one just might be my favorite article of the day…

Hey boys,

It’s Vern again, just checking in to tell you HOW DARE you say that about movie piracy on the internet, blah blah blah complete 180, hypocrisy, blah blah blah etc. I have been reading this sight every day for 7 years just WAITING to catch you fuckers saying something I disagreed with. FINALLY I have achieved my goal and you will be QUITE unpleasantly surprised when you read what I have to say in the talkbacks. I will spare no expense when it comes to calling Harry fat AND making fun of Moriarty’s last name. I will be VERY offended and outraged and demand accountability as if you were a president who had manipulated intelligence, repeatedly lied and presented crudely forged documents to justify invading a country, thus creating a quagmire in which american soldiers continue to die every day. (read the rest of this shit…)

Vern eyeballs Norrington’s THE LAST MINUTE…

Monday, June 2nd, 2003

Hey folks, Harry here… With reports beginning to leak online that Sean Connery is now the man overseeing the editing of LEAGUE OF EXTRAORDINARY GENTLEMEN and a bizarre belittling of Norrington in the Post process on that film, it just sounds like a nightmare. I’m still pulling for a fun movie, but I recognize that there has been quite a bit of chaos behind the scenes on this film, and frankly… I’m saddened about it because I saw THE LAST MINUTE last year at Sitges and the film was quite wonderful. Norrington’s most complete film so far, stylistically unique as well as being emotionally satisfying and challenging. This was sent to Moriarty, but right now, Moriarty is recovering from a tragic fatal computer malfunction that seems to be putting into danger the fate of about 5 years worth of writing. He’ll be working to recover this information and will be offline for a bit while doing this. Let’s all wish him the best of luck. Meanwhile, here’s Vern with a look at Norrington’s THE LAST MINUTE…

Moriarty,

How’s it goin bud I know you’re busy playing Mortal Kombat… er, I mean, “doing research”… but I wanted to send this one to you and not harry. Don’t tell harry about this man, he thinks I’m reviewing SIFF movies for him right now. but I decided to take today off and watch this dvd I got a hold of.

This is the story of Stephen Norrington’s third film, and his first really personal one. I forgot he was even working on it until I found the dvd in some bushes. (I don’t know how to come up†with these fanciful pretend adventures you guys do so I’m just saying I found it in the bushes. Is that okay?) You guys reported on it a couple times before it was finished but even though it apparently premiered a year ago at Cannes you haven’t reviewed it yet. UNTIL NOW. (read the rest of this shit…)

Confessions of a Dangerous Mind

Saturday, January 25th, 2003

Well geez, it’s not too often you get this with a movie writer, but apparently this Charlie Kaufman guy can do no wrong. Between the brilliant BEING JOHN MALKOVICH and ADAPTATION and the underrated HUMAN NATURE and now this… I mean really, what more could you ask for from a writer? There is no other non-director writer working who has been so consistently inventive and surprising and at the same time so personal. In fact there are few who have ever worked who could be in this same category. These are all movies made by skilled directors but it is always the writer’s voice that comes through.

You hear that, motherfuckers, the WRITER.

This is Kaufman’s most straight forward and normal picture so far, but that’s not saying all that much. It’s adapted from Chuck Barris’ autobiographical novel, and the gimmick of course is that in the novel he claims to have been a CIA hitman while he was hosting the Gong Show, which seems pretty dubious. Also he talks about the genesis of The Gong Show, the Dating Game, the Newlywed Game, etc. (read the rest of this shit…)

The Getaway (1972)

Wednesday, January 1st, 2003

Now this is what I call a fuckin MOVIE. I forgot about it until seeing it on Bravo today but it is even better now that I’m older and now that I’ve done my own bid. First though, a word about Bravo. This is the “film and arts network” they CLAIM, but they don’t have the balls to live up to that slogan. You know how Sam Peckinpah movies always have the real slick opening credits with the freeze frames and the atmosphere and what not? They show these in widescreen and your thinking, “Look at that! Look at that rectangular screen! That atmosphere! THIS is a fuckin MOVIE.”

And then it says “directed by Sam Peckinpah” and BAM, no more widescreen. No, that’s just so the words will fit, we don’t need it anymore. The picture is square and cramped and the film is all faded and dark and you’re thinkin, “What is this crap, Hunter?” (read the rest of this shit…)

Sudden Death

Wednesday, January 1st, 2003

There are about three kinds of Jean-Claude Van Damme pictures in my opinion. There are the real experimental, artsy type like Double Team and Knock Off (the best kind), the real cheap and crappy ones like Cyborg and Double Impact (the worst kind), and the more expensive ones where he’s trying to become a more respectable mainstream action star (the kind that Sudden Death is).

I have a hard time reviewing this picture since it is an unofficial sequel to Die Hard. For those of you who don’t know I am a HUGE fan of the Die Hard pictures (starring Bruce Willis, look it up if you haven’t seen it) because, as a fan do I want to support this as part of the die hard mythos or should I not support it since it is unofficial, it is hard to say. (read the rest of this shit…)

First Blood

Wednesday, January 1st, 2003

Some video association recently named Sylvester Stallone “Action Star of the Millennium.” Well nobody knows where the fuck that’s coming from, mainly because there are about 999 years left on this millennium and about 900 on the previously millennium where nobody had figured out how to make action movies yet. But also there’s the sorry state of Sylvester Stallone’s career.

Now by that I do not mean that Entertainment Weekly shit that he is not making hits. There are many actors who are not making hits who are still completely respectable, such as our friend Mr. Eastwood. But Stallone is in the Arnold category, he’s done so much worse than making less money. His good days are so far behind him you almost don’t even associate him with them. First he turned Rambo into an icon and became the symbol of everything that is wrong with our country, our culture, our movies, and our clothes. (I mean that headband looked fuckin ridiculous.) Then he started makin shit like COBRA and DEMOLITION MAN and etc. etc. He fell so hard that even HE started noticing it after a while. So he went through a stage where he was fighting for critical respectability. He tried to go the Travolta route and lobbied for the role of Max Cherry in JACKIE BROWN. When that didn’t pan out he got fat for the role in COPLAND and america was under his spell until, you know, the movie came out. Soon he became so desperate he tried to revive both the Rocky and Rambo series, but luckily that hasn’t worked out yet. (read the rest of this shit…)

Femme Fatale

Sunday, December 1st, 2002

Brian De Palma has gotta be one of the most controversial directors there is. Not because of the content of his movies but because of the reactions to them. It seems like anybody who knows who he is either hates him or loves him. Mostly hates. But they’re wrong.

The reasons for hating him: the movies are too good. I’m sick of seeing movies that are so clever and well made. Why does every Brian De Palma movie have to be a masterpiece or an interesting failure? Why are his movies so stylish? It gets old after a while. De Palma has a recognizable style, I’d rather not be able to tell the difference between one movie and any other movie. His style is too fetishistic, thrillers aren’t supposed to be personal. It’s too hard to tell where the movie is going, it makes me uncomfortable. How DARE he surprise the audience with the beginning and ending of a Mission Impossible movie? I wanted to get exactly what I expected and nothing else. His camerawork and editing is distracting because it is too inventive. If he’s such a great director, why hasn’t he done a movie about world war 2 or retards? Also why is he so into Hitchcock. It’s almost like he admires Hitchcock, he does so many homages to him. I noticed part that was like a Hitchcock movie. Since I spotted it I have every right to be angry. I hope I get a ribbon. (read the rest of this shit…)

Solaris (2002)

Wednesday, November 27th, 2002

Well that young bald man Steve Soderbergh is still on a roll. He just keeps hittin em, bam bam bam and even when they’re not a home run like THE LIMEY or OUT OF SIGHT they’re still real good. Hell, even FULL FRONTAL, he just squirted that one out like a soft ice cream, and it was pretty good ice cream too. This one is a little more of a sunday. It’s not my favorite soderbergh movie but that’s like saying “that’s not necessarily the greatest blowjob I ever got.” This guy has never made a bad movie. Go ahead, try to find one. You can’t. You would have to make a fake movie and put his name on it. But he didn’t make that one, you did. You can’t fool me. Fool me once, shame, shame, you can’t fool me.

First of all let me make it clear that I am ignorant on the topic of Solaris. I have not seen the legendarily long and boring and brilliant Russian version by Mr. Tartavsky. Also I have not read the book which is according to the credits what Mr. Soderbergh’s version is based on. But I did see this movie. So that’s my background on that one. (read the rest of this shit…)

Half Past Dead

Saturday, November 16th, 2002

I don’t know how to explain my fascination with Steven Seagal, but you can read my review of ON DEADLY GROUND and maybe you’ll understand. I don’t think the dude is exactly advancing the cause of Badass Cinema with his works, but I still enjoy every new chapter of his saga.

This time around we find Seagal working with a young rapper named Ja Rule, stealing cars for some European guy. BUT NEVER FEAR. Although Seagal may SEEM to be a mere car thief (or I guess, since he’s Steven Seagal, an ex-CIA black ops car thief), it is heavily implied in the opening scene that he MAY actually be some kind of undercover FBI agent. I don’t want to give anything away though, who knows if he really is undercover or not. Nobody really knows until they themselves have seen the movie. (read the rest of this shit…)