It was nice to take a short break from the grind of trying to make CGI stuff all day long and watch a movie. And who could be a better film-maker to casually enjoy, but Luc Besson, who after all these reviews I did of his films, I start to feel like I understand, similarly to how a therapist might understand his client? His 2025 low budget film June and John is undeniably Luc Besson, even if the fact that the film was largely shot on a smartphone makes it look kind of weird and slightly amateurish.
So it's 1990 and Kathryn Bigelow writes and directs an action thriller about a police officer. The police officer is female and the movie almost refuses to sexualize her. Bigelow casts a nice half-Jewish girl Jamie Lee Curtis. And pretty much the whole movie, not a single shot of her emphasizes or admires her body ( apart from one sex scene where we see a very erotic closeup of her stomach ). Making that movie technically feminist. Few years later, in 1994, as James Cameron ( who was married to Bigelow between 1989 and 1991 ) is trying to find the actor to play the wife in his film True Lies. He is reminded of Blue Steel by Bigelow. And decides to cast Jamie Lee Curtis in his film. Giving us that very strange, almost pornographic scene where she does a very erotic strip-tease scene with Arnold Schwarzenegger. More than a decade later, in 2009, both Bigelow and Cameron make a movie. And both of those movies are nominated for the best picture. Yet Bigelow takes home the price. Did Cameron lose due to his pussy curse?
Mary Embrey, the blonde woman played by Charlize Theron in the 2008 Peter Berg film Hancock, is surprisingly good looking. For the few people who read through the psycho-sexual analysis of me, you may know that for me in general, the name Mary, or the Latin version of it Maria, or the Russian version of it Masha, especially connected to a blonde, good looking woman, is very important. And yet, back when I saw Hancock for the first time. I didn't quite realize how important it is.
Somehow film-makers stop being nobodies and become somebodies. There is always the first film. There is always something that puts you under the spotlight, allowing you to make the movie you've always wanted to make. Let's look at those first films and how they got to be made. And analyze the patterns. And hopefully find a clue of what to do ourselves.
I have not seen the original 1987 Arnold Schwarzenegger film yet. But I did appreciate the small cameo of Schwarzenegger on the new dollars used for money in the world of the 2025 Edgar Wright's political action-horror-comedy The Running Man.
The Rock by Michael Bay is about an FBI chemist agent ( Nicolas Cage ) who calls for help from an old retired British Intelligence Agent played by Sean Connery himself. No wander there are theories that this agent character could be James Bond, making this film a kind of unofficial Bayhem!ed sequel to Connery Bond films. It's not like he didn't play James Bond outside of the main franchise. He did play James Bond in Never Say Never Again which is a real James Bond film, which is not a part of the main franchise. So maybe, possibly, he did that again here too. We will never know.
Christmas is all about spreading joy and happiness to all. Sometimes the festivities pierce your heart, other times you feel as about die from loneliness. The 3 movies reviewed here feature a wide spectrum of emotions. At the end, all end on a happy note.
Vincent D'Onofrio pops up on my radar lately. I somehow get attracted to the same movies as the actor, which probably means that I need to review Full Metal Jacket by Stanley Kubrick, where D'Onofrio had his, probably, most iconic role. In any case D'Onofrio played an Ashkenazi Jewish gangster motherfucker in a Darren Aronofsky 2025 film Caught Stealing. Something that I had to see, just based on the absurdity of it.
Edgar Wright with his 2017 film Baby Driver shows that he can make some awesome clean action if he wants to. And yet watching his 2007 film Hot Fuzz you feel like something isn't quite wright. The camera is too shaky and the editing is too quick. Is he trying to "hide something"? No! He simply imitates Michael Bay, that's all.
A lot of people are big fans of the Christopher McQuarrie movies in the Mission: Impossible series. A lot of more sophisticated movie goers prefer the more serious first picture directed by Brian De Palma. Some are the fans of the Brad Bird and J. J. Abrams installments. But almost everybody unanimously loves to hate on the John Woo second film Mission: Impossible 2. I frankly, don't get it.
1994 film True Lies feels like watching a James Cameron directed Michael Bay movie. It has explosions, check, it has outlandish set pieces, check, it has beautiful shots of the military, check, it has sexy ladies, check, it has teenagers with an attitude, check. It is a Michael Bay movie through and through. Yet it is a James Cameron movie, so what happened?
At one point in time ( roughly before Tarantino ) Shane Black was the hottest writer in Hollywood. He wrote stuff like Lethal Weapon, The Last Boy Scout, Last Action Hero ( the man is obsessed with Last anything ). And his Last film before he recovered from Tarantino induced depression and returned to the scene with Kiss Kiss Bang Bang, was the 1996 movie he wrote for director of things like CliffhangerRenny HarlinThe Long Kiss Goodnight, starring Harlin's wife at a time Geena Davis.
In 1998 Steven Spielberg shocked the cinematic frontier with his film Saving Private Ryan which had one of the most brutal depictions of warfare, with its opening battle-scene. This caused a small shift in the ways Hollywood was trying to cinematically portray war. And who's better than Ridley Scott, to attempt at beating Spielberg at war footage. Which he tried to do with his 2001 film Black Hawk Down.
What is it with Jerry Bruckheimer of the late 90s and early 2000s and with Nicolas Cage? First in 96 we get Michael Bay's The Rock. A year later in 97 Jerry puts Cage in Simon West's Con Air. And then in 2000 Dominic Sena under the supervision of Bruckheimer puts Nicolas out of his Cage and into a driver's seat of 1967 Ford Shelby GT500, in the subject of this review, the loose remake of H. B. Halicki 1974 film Gone in 60 Seconds.
In Mission: Impossible - The Final Reckoning the mission is so impossible that there is a possibility that either Tom Cruise's Ethan Hunt, the entire world, or both will die. Not to mention that Tom Cruise himself can die. Because in this one he climbs from one plane to another mid flight.