1. Big Clock (1948)
The original of which NO WAY OUT(Kevin Costner) is a remake. A fine-tuned crime thriller, notable for the contrast between the grossness of the villain & his act and the neat elegance of the hero and plotting.
A-
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2. Against All Odds
Remake of OUT OF THE PAST. A neon-noir with Jeff Bridges being as lovable as James Woods is loathsome(but not without reason). Between them is a fallen woman who can tip either way, all for love or all for security. Too many loose screws unlike the tightly constructed original but works as mix of romance and travelogue. And it has the great Phil Collins song.
B
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3. Domino
The latest Brian De Palma has almost everything relevant to those concerned about the future of Europe. There is the problem of BAMMAMA(Blacks are more muscular and more aggressive), ACOWW(Afro-Colonization of White Wombs), growing Arab presence, radical Islamic terrorism, CIA footprints around the globe(that leads to Invade-Invite), culture of betrayal for self-fulfillment, the power of personal vengeance, and etc. What it doesn't mention is the Jewish Factor, but then De Palma works for Jewish Hollywood. Far from De Palma's best films, especially with its thinly etched characters but delivers the goods as action thriller. FEMME FATALE was a much better work in this vein.
B-
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4. I am the Cheese
This cheapie production is always engrossing to watch. In retrospect, one might characterize it as MULHOLLAND DR. for juniors. Sad story of personal tragedy wrapped in conspiratorial plot that is exceedingly dark about the powers-that-be, the kind of perspective abandoned by the so-called Left but picked up by alternative spheres of the 'right' in recent years.
B
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5. True Believer
This movie has the shopworn cliches of courtroom drama. A cynical lawyer seeks personal redemption by fighting for justice for an innocent man framed for murder. It has some howlers as well, such as Neo-Nazis romping around the big city as major players in violence... but then, it was made by Jewish Joseph Ruben. Most memorable are the James Woods' pelting performance that is in equal measure annoying & exhilarating and the relative absence of easy villains. Though there is a side to root for, we get a portrait of a fallen world where justice is compromised by all sides. In that, it functions as a useful metaphor for the world we live in.
B
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6. Tuff Turf
When I first saw this in high school, I thought it was a cool movie. Seeing it again, I can see why it was universally panned by critics. It's really stupid. But I still like it. James Spader plays a romantic hero who snatches the girl(the whore-with-a-heart-of-gold type) from a bunch of ethnic ruffians. C-
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7. Black Hawk Down
A solid work of logistics by Ridley Scott. He was less director than commander of this film. But beside the action, there is little of interest. After awhile, the only thought in my mind was 'people with guns kill people with guns'. Dramatically, about as interesting as watching a bunch of kids playing cops and robbers with toy guns.
B+
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8. St. Elmo's Fire
This film was savaged by critics for good reason. It is awful in just about every way. And yet, it is a fascinating case study of how promising material can go so wrong. Unlike a whole bunch of Brat Pack movies, this was clearly a labor of love by Joel Schumacher who isn't without talent. Perhaps his excessive enthusiasm favored feelings over sense. Result is more like Tickle-Me-Elmo's-Fire. With a better cast(or sounder control over them), fewer cheap shots, and sturdier script, this could have been something like THE GROUP by Sidney Lumet that, though no masterpiece, is certainly quality work about the lives of graduates of an elite women's college. ST. ELMO'S FIRE is a terrible movie that I sort of like.
C
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9. Resident Evil: Retribution
Yes, it's stupid mindless junk but mindlessness can be entertaining.
B-
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10. To Live and Die in L.A.
This William Friedkin action-thriller is so excellent in every way that, for me, it spoiled a lot of worthy but lesser movies for several years. Looking back, NO WAY OUT and MANHUNTER(by Michael Mann) are pretty decent movies, but I tended to compare every new action movie with TO LIVE AND DIE IN L.A. for the rest of the 80s. But it was like comparing every mountain to Everest.
A+
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11. Alita: Battle Angel
Awful in every way. It has some arresting images, but this overt hybrid of live-action and CGI is mostly confused, meandering, and ugly. Could James Cameron have made a better movie? Maybe. He made THE TERMINATOR. Maybe not. He made AVATAR. The Alita character is especially hideous as a combo of real face and anime eyes. That's just freaky.
D+
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12. The Little Stranger
A finely modulated Mystery of Manners, the sort of thing the British do best. Adds an original twist to the ghost story genre.
A-
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13. Annihilation
A very stupid mix of Female GHOSTBUSTERS and Andrei Tarkovsky's STALKER. Stupidity is often forgivable(and even fun) in cinema but never when pregnant with Meaning. It's also a jungle fever propaganda as Natalie Portman gets it on with a Groid. The silver lining to this movie is maybe it will encourage more Jewish girls to go black and bring down the Jewish race.
D
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14. The Tale
Five minutes into this film, we see Laura Dern as a cat lady working as a globalist hug-the-world photo-journalist and then being hugged by a Groid in bed. Who needs this jungle fever crapaganda?
D
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15. Ben Is Back
There is art and there is propaganda. Art seeks truth, propaganda pushes a message. And then, there is what might be called Prop-art-ganda or Prop-Art, a work that mimics Art Film tropes but really pushes propaganda. BEN IS BLACK is a sneaky jungle-fever propaganda slipped sideways into the narrative. The core story is about a white mother trying to save her white son from drugs and gangs. But this caring woman is married to a Groid who is presented as the most upright citizen you can imagine. Now, if this white woman cares so much about her white son, why the hell did she turn race-traitor and go with a Groid? Did it ever occur to her that maybe her son is so lost and messed up because his mother is a stupid mudshark? Prop-Art is targeted at 'educated elites'(who crave status markers) with the full understanding that most people don't care for 'art films'. But since the elites control of the levers of society, their cultural staple does indirectly affect mass culture. Prop-Art feigns interest in truth but beneath the veneer of 'rawness of reality' or 'deepness of thought', it pushes hoary PC cliches. It's also worth noting that white women are like pack dogs operating on group-think. It used to be the trendy thing among white women was Adopt-a-Niglet(preferably from Africa), and now, the new pack-trend is Hump-a-Groid. With movies like
Mounting Between Us,
United Kingdom, and many others(and many others to come), the Jewish virus in white women's minds tell them, "Black men are superior while white men suck, and nothing is cooler and nobler than to have my white womb colonized by black seeds." Jews are pushing massive Afro-sexual-imperialism against the white race. Instead of
Ben is Back, how about
Ben's Mother Went Black?
C-
