ENTERGALACTIC (2022)

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Directed By: Fletcher Moules 
Story By: Kid Cudi and Kenya Barris
Written By: Ian Edelman, Maurice Williams, Esa Lewis, Sidney Schiff and Judnick Mayard
Editor: Carole Karvetz Aykanian 

Featuring: Kid Cudi, Jessica Williams, Laura Harrier, Ty Dolla $ign, Vanessa Hudgens, Timothee Chalamet, Macaulay Culkin, 070 Shake, Jaden Smith, Christopher Abbott, Keith David, Arturo Castro, Teyana Taylor, Luis Guzman, Kenya Barris 

Jabari, a charming, streetwear-clad artist on the cusp of real success. After a chance run-in with his cool new photographer neighbor, Meadow, Jabari has to figure out whether he can make space for love in his life.

This was initially supposed to be a series for Netflix before it was decided to just combine all the episodes and make it into a film. Which explains the episodic nature of the film. As well as why the film is broken up into chapters. It’s all for the better here. 

This film might come across as a Kid Cudi vanity project. As he created it, produced it, and came up with the story.  to go with his album of the same name or the movie was thought out first and he just made music for it. Either way, it is a triumph. 

Like the animated Spider-verse movies with the same kind of animation. Only here it is used to tell an urban love story with a lot of surreal imagery and a kind of fantasy version of an urban life love story. That constantly feels like a dream, you want to live in and makes New York into the wonderland you always wanted or remembered. Adding to its legendary status.

This is a movie you wish was told in love action, but the animation makes it come off more magical without it. It might make an impact but not as strong.

Even if the story is familiar as a love story. Only with more modern and hip elements. That is to the overall experience. As we get side characters telling their tales as advice that are comedic elements all their own, and add to the climate, but also shows how what the main character have is special.  Especially as this film features characters of color and also adds in certain sexual elements that the spider-verse couldn’t delve into.

The dialogue and script could be a bit sharper, but works leaving room for realism and the reality of the moments.

This truly is a rare type of film where an audience of color gets to see themselves represented in a love story that isn’t all about sex and fighting for your relationship to survive. Where the audience gets a colorful point of view with a diverse cast and cutting-edge animation. While focusing on the love story has something today about microaggressions and the prejudice minorities deal with, especially in professional settings and even the art world. Though that never overpowers the narrative 

Grade: B+

JOY RIDE (2023)

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Directed By: Adele Kim

Written By: Cherry Chevapravatdumrong and Teresa Hsaio 

Story By: Adele Kim, Cherry Chevapravatdumrong and Teresa Hsaio 

Cinematography: Paul Yee

Editor: Nena Erb

Cast: Ashley Park, Sherry Cola, Sabrina Wu, Stephanie Hsu, Timothy Simons, Ronny Chaing, Lori Tan Chinn, Annie Mumolo, David Denman, Desmond Chiam, Meredith Hagner, Daniel Dae Kim

Follows four Chinese-American friends as they bond and discover the truth of what it means to know and love who you are, while they travel through China in search of one of their birth mothers.

The film does feel like the same kind of humor as the television show BROAD CITY only abroad in the east. Instead of two roads, it’s four though there is a main contingent of two in the middle. 

It seems like it strives to be like the movie GIRL’S TRIP to a degree. It has that same type of energy but has way more set-ups for there to be madness. 

Just Like that film though everyone seems to get their moments and is on Equal footing as there is no real star and while in that film Tiffany Haddish became the standout. Here there isn’t one really as again they all have their moments and especially more on the shocking Side. As the film is raunchy. 

It’s Nice to see it break the wall if it is a female-driven comedy and an Asian American leading ladies. Who break the mood of the stereotypical roles they usually are portrayed or cast. Going at it with full gusto.

While it makes its points about culture and points out some issues. It also is more about entertainment. 

It’s A Nice follow-up for actress Stephanie Tsu coming off her recent Academy Award best-supporting actress Nomination with another memorable noteworthy role. Though Not for its dramatics 

It feels a bit like the first AMERICAN PIE for that summer shocking comedy for a specific audience that grows bigger than Its demographic. That seems to come from nowhere. Yet charms and excites the audience. Even when at times you can see where it is going.

Grade: B

THE STONED AGE (1994)

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Directed By: James Melkonian
Written By: James Melkonian and Rich Wilkes 
Cinematography: Paul Holahan
Editor: Peter Schink 

Cast: Michael Kopelow, Bradford Tatum, China Kantner, Renee Ammann, Clifton Collins Jr., Kevin Kilner, Taylor Negron, Art Chudabala, David Groh, Jake Busey 

Determined to avoid another night of driving aimlessly around Torrance in the Blue Torpedo, Joe and Hubbs set out on a quest for fine chicks. Their paths soon cross with Tack, from whom they learn about a pair of radical chicks hanging out near the Frankie Avalon place. Over Joe’s objections, Hubbs worms Tack out of the deal, and the pair take a slow ride toward their destiny.

The trailer for this movie drag me in as it was so hilarious at the time that this was a must-see and I have to say definitely not disappointed.

I am probably remembering it as better than it probably is but I generally like this movie as I saw it when I was a teenager and to me, it was a straight-to-home video classic 

This is truly the 1980s suburban teenager dream party film as it is actually nasty funny witty at some points and actually just generally kind of fun. It never overstayed his welcome and it keeps moving forward in the kind of buddy comedy and of itself, only the buddies are already friends at the beginning of the film. This is just like watching their misadventures throughout the situation of the night.

As it had the rebelliousness of a teen movie, even though you could tell, nobody was really a teen in the movie, and it seem more of a throwback to maybe a more certain California suburban lifestyle. They don’t make movies like this at all anymore, which is why it stays memorable whereas at the time it might’ve been just another and this film is rude and crude and not afraid to offend anyone, nor does he go out of his way to do that either.

It’s also generally unrepentant when it comes to the material of the film, which really feels like a throwback to the 1980s teen sex comedy. Only there is a lot of talking about sex in the idealization of women as sex objects, but there isn’t that much actual sex there is nudity. 

Renee Ammann seems to be the sex object of the film that all men or most of the men desire throughout, she is the bombshell that brings all the boys to the yard literally but what I really liked was the ridiculous side characters and the comedy between them and how ridiculous they were. As she is treated like this precious object or treasure, that is meant to be held possessed, and had. Then discover while she is good, looking, she’s human, and not necessarily all that special.

Of course, by the end the main character realizes that it’s not all about sex it’s also about who you get along with, and who has a better personality, and you just generally vibe with, as far as chemistry. as he is more the romantic of the two, and though his best friend is a jerk. They still remain friends until the end. 

Think of this as a harder edge and less out their version of DUDE, WHERE’S MY CAR, and movies like that?

It’s also how I discovered the song Don’t Fear the Reaper by Blue Öyster Cult before it was heavily used again in the movie THE FRIGHTENERS. It also helped me to discover and appreciate the band also. Before they became legends with the infamous Christopher Walken, Will Ferrell Saturday night live cowbell sketch.

The film can be seen as two friends on a quest that never really goes out of anywhere that they are unfamiliar, but seeing it in a new light, and facing up to the challenges that they come upon on this quest. As after all, it’s about the journey, not the prize. They even learn something about themselves.

This is a general R-rated teen sex comedy. That’s a throwback and I appreciate it for what it is. It doesn’t try to be anything more. I mean the title loans to tell you what you’re in for so while it’s not great cinema, it is at least entertaining for the audience that would want to see a movie called The Stoned Age. And do not believe it to be a sequel to Encino Man. Which one of the actresses actually had a small role.

It’s just fun lowbrow humor. A fun, cold comedy that came from a short film and was intended to be the first of a trilogy starring the two main characters. 

You can look at it as a nostalgic throwback to dumb or stoner comedies along the lines of Pauly Shore, movies, or the dude where’s my car type.

Grade: C+

LAST RESORT (1986)

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Directed By: Zane Buzby
Written By: Steve Zacharias and Jeff Buhai
Cinematography: Steven Katz and Alex Nepomniaschy
Editor: Gregory Scherick 

Cast: Charles Grodin, Robin Pearson Rose, John Ashton, Megan Mullally, Jon Lovitz, Phil Hartman, Mario Van Peebles, Gerrit Graham, Brenda Bakke, David Mirkin, Scott Nemes, Jacob Vargas

George Lollar takes his family on vacation with “Club Sand”, a shoddy and untrustworthy company. On their tropical island, they find soldiers everywhere, an unhelpful staff, inhospitable accommodation, and undesirable holidaymakers, but everyone except George manages to have fun in the sun.

This is a Film that I have always seen the poster in box art for. I might have even remembered a commercial, or at least a preview of it.

So, after all these years, I finally decided to sit down and watch it, and I can see I was wise to avoid it for all those previous years. the only noteworthy thing about this movie is its casting.

He calls itself a comedy, but while he tries to be funny, they are seldom laughs to be had. It is basically a visual guide of what can go wrong and will go wrong, especially when you are a nuclear family.

And there are a lot of comedic recognizable actors in this film either before or while they were on SATURDAY NIGHT LIVE, as well as less recognizable actors. It’s a rare early role for Megan Mullally of will and grace for instance 

Though the film seems to beat a dead horse as it just shows a Family on a nightmare vacation in a Third World country in the 1980s where the staff is more interested in partying rather than helping

While Charles Grodin’s character, the father of the family stays unhappy and complains and has to deal with all the shenanigans around him, his family slowly one by one is charmed by the resort and it’s residence so that soon he is the only stick in the mud 

So if you are a fan of watching Charles Grodin, be the street man and get exasperated as the conditions get more and more ridiculous. This is a Film for you. If you thought he yelled a lot in his other films, you ain’t seen anything yet.

They must’ve paid Charles Grodin very well and allowed him to pretty much be his screen. Self knows that seems to be what he does throughout the film and is probably the rare occurrence of him having a lead role. Though supposedly he believed this to be his funniest film. As he also helped rewrite it.

For a film that seems to hint at being a sex comedy and offers plenty of T&A. The film shows a little but prefers to suggest rather than show. If it did show this might have made it into National Lampoon territory. As it seems a bit inspired by the Chevy Chase Starring. National Lampoon’s Vacation movies 

if you want to watch some comedic actors before they were stars, embarrass themselves by doing bad accents this is the film for you 

It’s just shocking how few laughs there are in a film stacked with a great cast. This is truly an example of looks being deceiving.

Grade: F

SICK OF MYSELF (2023)

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Written, Directed & Edited By Kristoffer Borgli
Cinematography: Benjamin Loeb 

Cast: Kristine Kujath Thorp, Elrik Sabther, Fanny Vaager, Sarah Francesca Braenne, Fredrik Sternberg Ditlev-Simonsen, Andrea Braein Hovig, Steinar Klouman Hallert, Ingrid Vollan 

Increasingly overshadowed by her boyfriend’s recent rise to fame as a contemporary artist creating sculptures from stolen furniture, Signe hatches a vicious plan to reclaim her rightfully deserved attention within the milieu of Oslo’s cultural elite.

This seems to be a film that was built more to disrupt shock and be a bit bad taste. And achieve its goal somewhat, but not as strongly, as it seems to aim. As it feels like at the last minute, he decided to smooth some of those sharp edges.

I’ll be honest, I expected more from this film. More of a satire, or just in general more of having something to say.

Now it works and shocks the audience and stays in a black comedy. By presenting us with characters who are thoroughly unlikable. Exposing their constant need for attention, where it almost becomes an addiction, even if it’s just sympathetic. 

Some of the story elements still feel just a bit hard to believe, especially the fact that her boyfriend, who rarely seems to care, would have stuck with her throughout her supposed ordeal. As even if he was just staying with her to see her face, the filmmakers should have illustrated that a little more strongly.

The film doesn’t feel so far-fetched, especially in today’s social media-obsessed climate. Even surprisingly, the main character seems to keep their celebrity or popularity, more local and amongst physical friends no dreams of bigger prospects in aspects, even though there is no clear plan, necessarily as to where this is going to go, or when it will end.

This film had a chance to either be a character study while exploring a kind of sickness that is happening in some people currently or it could have just done the latter, and this is just one case of that addiction. 

Instead, it spreads itself thin and tries to do both, but it’s on the way failing both ends of the story or only skimming the surface. As it ends up, not being as deep or probing, has one might help.

It’s not even bother some that the lead characters are unlikable, but throughout most of the characters in the film are unlikable, even the ones who are supposedly of a good character or a moral center. Most others just appear throughout. 

The film tries to build scenes into either shock or like it’s building to this great punchline that never quite happens. 

The best moments actually are the fantasy scenes that she has where she more or less reveals herself and her thoughts than anything we have seen or even heard about her. One also wishes there were more body horror scenes as the film can be gross, but not as much as some might think.

It’s definitely a found film checkout as there can be some discussions afterward, but it’s not as strong as you believe it will be.

Grade: C+

THE YEAR BETWEEN (2023)

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Written & Directed: Alex Heller 
Cinematography: Jason Chiu
Editor: Harrison Atkins

Cast: Alex Heller, J. Smith-Cameron, Steve Buscemi, Emily Robinson, Wyatt Oleff, Kyanna Simone, Rajeey Jacob, Anne Hollister 

Clemence Miller is coming home to live in her family’s basement after dropping out of college with a newly diagnosed mental illness. Having to face her battered relationships and responsibilities of adulthood, she is driving everyone around her… crazy.

The one thing about this film is its Cookie cutter surroundings and times that it plays like a racy sitcom. It always feels devastatingly honest. 

The film is like a suburban heartfelt confession. That offers no real answers. As it doesn’t have any to give. It is just what works for the main character, as this film is autobiographical. This might be what works. 

The film shows that no matter what. No one is perfect and they are trying to do the best that they can. That most are opportunistic and there is always a chance for opportunity open.

You know how it most likely will turn out from the title alone. Which doesn’t offer up a finality but seems more like a midpoint. Which could be the ingredient or the meat of a Sandwich. The most flavorful and tasty. 

It also offers a look at what isn’t necessarily Tackled in films about main characters with illnesses mental and physical. Which is the toll it takes on those around you. As the world still goes around. Even when you are dealing with things that are holding you back. 

The film points out that not everyone has the same Opportunities or chances and choices, but the film still doesn’t explore their options or chances. Then again the film Isn’t their story. Which makes the character identifiable a bit maybe not the situations. 

Alex Heller writes, directs, and stars. At times her mental illness comes across more as a Comic persona but seems to be her truth. As she doesn’t come across as likable but she is understandable. As she shows warts and all her downfall and many rock Bottoms, not also Her trying to get better and the ups and downs of that.

Grade: B 

DEATH WISH 3 (1985)

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Directed By: Michael Winner 
Written by: Dan Jakoby 
Based on characters created by: Brian Garfield 
Cinematography: John Stainer 
Editor: Arnold Crust 

Cast: Charles Bronson, Ed Lauter, Martin Balsam, Deborah Raffin, Gavin O’Herlihy, Kirk Taylor, Alex Winter, Tony Spiridakis, Marina Sirtis

Architect/vigilante Paul Kersey arrives back in New York City and is forcibly recruited by a crooked police chief to fight street crime caused by a large gang terrorizing the neighborhoods.

This film is a cult classic to many and it’s very easy to see why. As it is supposed to be New York, but you can tell not only it’s a set but actually filmed in England!!!!

This film doesn’t bother to put up any pretense; it cuts to the chase immediately. No real drama, just Charles Bronson’s friend getting immediately killed when he is on his way to visit him in NYC. So he seeks revenge after being arrested as a suspect in his friend’s murder. He is in the same holding cell as the film’s main villain. Definitely a full pedal to the metal.

When I say things are kept simple I mean it when it comes to this film. As the villain is middle-aged and a gang leader. A gang that never leaves the neighborhood and he himself looks middle-aged with a bad haircut in his balding frame. There is no rhyme or reason for his or his gang’s killing. Even when they say he has a clean arrest record. It seems like maybe because he is a trust fund kid or makes enough money to afford a good lawyer. Nope, he just has others do his crimes for him. 

As soon as Charles Bronson comes into the neighborhood he defends it openly. While a detective supports it. You wonder if the cops are dirty after one of the older couples has their gun taken away by cops after a complaint from the criminals.

At least by the end, he gets to the neighborhood helping fight off the gang. This might be because the neighborhood has become a literal war zone. With explosions, guns, blades, and machine guns.

As usual, this film gives Bronson a love interest. So far in these movies, he must personally lose two people. The film opens with the death of his friend and then the death of a lawyer he was dating who was much younger than him. Her death is senseless, but it does provide the motivation to finally make him mad. 

The film is ridiculous in itself, but it is more fine and entertaining than the last film. As this

The film really gives fans of this franchise what they want and gets to the action immediately. It also helped that the film capitalized on the vigilante shooting in New York by Bernard Goetz at the time. As the film shows that only violence will help cure bad violence.

The film still has its fate share of gruesome exploitive violence against women. Including a sexual assault and an attempted one in which the woman is stripped bare. These attacks happen even in the middle of a battle or war towards the end. Makes it even more over the top and distasteful. Many might blame director Michael Winner, this was the last time he directed frequent collaborator Charles Bronson or any of the DEATH WISH movies. Director Winner also seems to take particular glee in the violence and nude scenes.

The last two are forgettable and more basic. He brought the sleaze to these films that whole bad certainly helped them to stand out. So that this filled like his over-the-top opus.

The artillery certainly is used more and it’s more of a battle. Eye for an eye as most victims in the neighborhood are elderly. Which is disheartening to watch. The guns get bigger with Bronson seeming to have a signature gun like Clint Eastwood as Dirty Harry. 

This film has a more recognizable cast. Though in the end, you are a fan of ridiculous action, give this film a try. As it is certainly entertaining with a disturbing dark side. 

Grade: C

DEATH WISH II (1982)

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Directed By: Michael Winner 
Written By: David Engelbach 
Based On Characters Created By: Brian Garfield
Cinematography: Tom Del Ruth and Richard H. Kline 
Editor: Arnold Crust and Julian Semian 

Cast: Charles Bronson, Jill Ireland, Vincent Gardenia, Anthony Franciosa, Laurence Fishburne, Ben Frank, J.D. Cannon, Robin Sherwood, Robert F. Lyons, Silvena Gallardo 

Architect Paul Kersey once again becomes a vigilante when he tries to find the five street punks who murdered his daughter and housekeeper, this time on the dark streets of Los Angeles.

While I will admit I am not a man of the first film for many reasons. I have to say the first one is definitely better than this sequel. At least it had dramatic tension and tried to be somewhat of a character piece.

This film is exploitative even when watching the theatrical version and not the unrated edition. It’s sleazy and a retread of the original. Only without any of the drama or moral questions that might have been raised before.

No, here as soon as a tragedy happens he goes right into action without a second thought and not trying to stop crime necessarily. Here Charles Bronson’s character is on a revenge mission. So while other crimes happen around him. He lets them go. 

This seems to be more of the same, only in a new location. 

This feels more like an even more Hollywood version of the bloodletting wish-fulfillment fantasy. That the audience for this franchise wants. Whereas the first film tried to be more a character-driven thriller. This is our and our action.

One of the film’s main problems is that it feels so sleazy and exploitative. Not necessarily the violence but the sexual assaults and nudity throughout. That feels gratuitous even when edited down. Even In some scenes, there is just nudity when not really needed. 

The rape and murder of the maid seem to be shown and filmed graphically mainly to show the ugliness of not only the crime but also to make the audience mad at the brutality and show how savage these characters truly are. 

The film is under 90 minutes and is never subtle and Vincent Gardenia’s character seems wasted and only as another way to link back to the first film and explain why he is in Los Angeles instead of Chicago. Though here he seems almost like comedic relief rather than as a strong character from the first film. 

Grade: C

THE KILLER ELITE (1975)

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Directed By: Sam Peckinpah 
Written By: Marc Norman and Stirling Silliphant 
Based On The Novel “Monkey In The Middle”: Robert Rostand 
Cinematography: Philip Lathrop 
Editor: Monte Hellman and Tony De Zarraga 

Cast: James Caan, Robert Duvall, Bo Hopkins, Mako, Burt Young, Gig Young, Arthur Hill, Tom Clancy, Tiana, Kate Heflin, Sondra Blake 

Mike Locken is one of the principal members of a group of freelance spies. A significant portion of their work is for the C.I.A. While he’s on a case for them, one of his friends turns on him and shoots him in the elbow and knee. His assignment, to protect someone, goes down in flames. He is nearly crippled, but with braces is able to become mobile again. For revenge as much as anything else, Mike goes after his ex-friend.

The film plays like experimental jazz. So many elements coming together seemingly Off beat, yet you stay to see where it is going. Considering the talents involved 

James Caan is the lead, laid back and riffing through it all, but showing his skills and talent. Even though his character is supposedly handicapped.

Where it always seems Like he is more a lady’s man constantly flirting or always having a one-liner rather than being a fighter. Though I won’t Front would totally rock the outfit of his turtleneck.

Robert Duvall seems more like he dropped into the production as a favor or a debt owned (think Edward Norton in THE ITALIAN JOB)

The film shows Life at the C.I.A., might not be as exciting day to day, but lacks plenty of action in the field. 

The main characters aren’t suit and tie or all business, nor typical heroes. In fact, it looks like they are all wearing their own clothes from home. As half the film takes place over 2 days. 

They are ordinary guys the type you see around your neighborhood  Back in the day 9 – 5 guys. Who meet up for drinks at a local bar after work to talk and drink their troubles away.

Not too much exciting action. A lot of slow motion doesn’t help. The film Has a messy 3 act structure that seems to have Its own mini-arcs in act one through so many soliloquies. Which leads to pacing problems. 

You are left wanting even when it seems to take side steps to be more quirky. As you are looking for something with more attitude. Though it plays more like a kind of Western with those types of characters.

At times the film is impressive, even more knowing what went on behind the scenes and the messiness of the production. Which includes diced to cast the screenwriter’s girlfriend, and drugs being used on the set. 

As it goes off on its own solos of little twists and turns that add to the overall element of a project. 



In the end, this is a film that seems like it will only be liked by fans of those involved as a completist type of movie. 

This Ends up as sub-par Peckinpah 

Grade: C

THE GOD OF COOKERY (1996)

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Directed By: Stephen Chow and Lik-Chi Lee
Written By: Stephen Chow, Man Sang Lo and Kan-Cheung Tsang
Cinematography: Jingle Ma
Editor: Ka-Fai Cheung

Cast: Stephen Chow, Karen Mok, Vincent Kok, Man-Tat Ng, Tats Lau, Chi-Shing Chan, Jung Chen

The God of Cookery, a brilliant chef who sits in judgment of those who would challenge his title, loses his title when a jealous chef reveals him to be a con-man and humiliates him publicly. As this new chef takes on the God of Cookery’s role, the former God tries to pull himself back on top again, to challenge his rival and find once and for all who is the true God of Cookery.

This is a riches-to-rags story of trying to make a comeback. Where the main character actually Manages to learn something on his way trying to make a comeback.

Where he falls in with an ensemble of oddballs and low lives. Where an asshole stays an asshole but learns some depth and integrity.

Having only seen a few of Writer/Director/Star Stephen Chow’s later more popular movies such as KUNG FU HUSTLE and SHAOLIN SOCCER. Watching this movie isn’t too far off from his later material. Though here a little less polished, the same kind of humor is more broad and slapstick without the heavy reliance on CGI & special effects as much.

His films still come across as more cartoonish. Due to them seeing more like live-action cartoon animated films. Though in all of the films I have watched, the earlier films are more cynical. While his later films are more positive and open. Though this film doesn’t feel as much of a fantasy.

This film Is more of a physical comedy and seems to love to showcase the grotesque.

Though for all the comic violence, blood seems to underline that there are at least some consequences of it.

Though the film is more made for adults. The film like most of his again has a childlike look at the world making even the most dangerous things seem fun. The humor remains juvenile yet usually funny. He still manages to bring some martial arts into it 

The film flows well tighter than her harmoniously. As it comes across at times as a like note to food. Not necessarily a love note though. That showcases the evil of corruption At every turn of business.

The film has a bizarre third act which is strange even for this film. 

Again Stephen Chow is starring, writing, and directing putting himself center stage but happily not failing and managing to impress. He even uses his actual name for the character. 

GRADE: B-