Though his Hollywood debut, the Arnold Schwarzenegger-fronted actioner The Last Stand, didn’t go quite as well as planned (flawed to be sure, I still dig it more than most), South Korean director Kim Jee-woon has done little more than churn out one hit after another for more than a decade. His genre-crossing run started with A Tale of Two Sisters and rolled right through masterpieces like A Bittersweet Life, The Good, the Bad, the Weird, and I Saw the Devil.
Monday, September 26, 2016
Friday, September 23, 2016
Along with a small handful of others, Marko Zaror stands at the top of the current heap when it comes to gritty, bone-breaking, face-kicking action movies. And he’s got another suitably badass project in the works and lined up to shoot this November.
Wednesday, September 21, 2016
Studio westerns are a Hollywood staple, though one that has largely fallen by the wayside in recent times. Reworkings and narrative modernizations of the formula are more common—just look at this year’s Hell or High Water for an excellent example—but a straight-up old school western is something of a rarity. But that’s precisely what Antoine Fuqua’s star-spangled The Magnificent Seven delivers, though in bloodless, PG-13 fashion. It doesn’t bring anything new to the formula, but it doesn’t try to, and that’s fine.
Tuesday, September 20, 2016
For a movie with a huge budget, two of the biggest stars in the world, a prominent director, and a prime holiday release, we’ve heard relatively little from Passengers. At least up until now, as the dramatic sci-fi romance delivered its first trailer.
Friday, September 16, 2016
Thursday, September 15, 2016
Without breaking any new ground, You’re Next brought a freshness and crackling energy to the well-worn realm of home invasion horror. The Guest similarly infused the mysterious-stranger-comes-to-town narrative with a verve and life it hasn’t had in years (it also made my Top 25 Movies of the 21st Century So Far list). So to see a movie as uninspired and derivative, as pointless and unnecessary as Blair Witch from a filmmaking team as exciting as Adam Wingard and Simon Barrett, is disappointing to say the least.
Tuesday, September 13, 2016
I’ve long maintained that Hard Target, while not John Woo’s best American movie, is the most reminiscent of his legendary Hong Kong work—the most similar in size, scope, and scale. It makes sense, coming as it did, just a year after his bullet opera masterpiece Hard Boiled, the capper on an epic six-year run that included A Better Tomorrow 2, The Killer, Just Heroes, Bullet in the Head, through Once a Thief.