I’ve been really busy the last few days preparing to record the next episode for the THIS WEEK IN CHARLES BRONSON Podcast. We’ll be covering THE STONE KILLER where Bronson plays a tough cop who stumbles upon a mafia revenge scheme decades in the making. It’s an interesting film that I can’t wait to cover in detail with a great group of Bronson enthusiasts. Did you know that THE STONE KILLER contains an incredibly underrated “car chases a motorcycle” sequence? The 70’s were so full of great stunts that some of the very best have almost been forgotten. Well that just doesn’t set well with me, so I’m sharing that chase with all of you. It’s a sequence that was filmed in 1973, the same year I was born, so it’s extra special to me. Enjoy my friends!
Daily Archives: November 10, 2025
4 Shots From 4 Films: God Bless Texas
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
4 Shots From 4 Texas Films
Giant (1956, Dir by George Stevens)
North Dallas Forty (1979, Dir. by Ted Kotcheff)
Dazed and Confused (1993, Dir by Richard Linklater)
Song to Song (2017, Dir by Terrence Malick)
Review: Predator: Badlands (dir. by Dan Trachtenberg)
“Here, you’re not the predator. You’re the prey.” — Thia
Predator: Badlands, directed by Dan Trachtenberg, marks a significant evolution within a franchise that has captivated audiences for nearly four decades. Known for its intense action and the enigmatic extraterrestrial hunters called the Yautja, the Predator series has continuously explored themes of survival, honor, and primal combat. Trachtenberg’s vision shifts the focus toward a more intimate and nuanced perspective by centering the narrative on Dek, the youngest and smallest member of the Predator clan. Through Dek’s journey, the film delves deep into Predator culture, ritual, and the personal struggles of one cast out from his tribe.
Dek, the youngest and smallest member of his Predator clan, finds himself exiled and cast out due to perceptions of weakness. Determined to prove himself worthy, he crash-lands on the hostile planet Genna—infamously named “The Death Planet”—where he must navigate a dangerous ecosystem full of lethal creatures and unpredictable hazards. Struggling to survive alone, Dek forms an uneasy alliance with Thia, a damaged synthetic android with knowledge of the planet. Together, they embark on a perilous journey that will test their strengths, challenge their beliefs, and redefine what it means to be predator and prey.
The chemistry between Dimitrius Schuster-Koloamatangi and Elle Fanning as Dek and Thia is notably believable and compelling. Their performances breathe life into this unconventional duo—Dimitrius conveys Dek’s internal struggle and fierce determination almost entirely through physicality and subtle expression, while Fanning’s portrayal of Thia is richly layered with intelligence, resilience, and warmth despite her synthetic nature. Their interactions—marked by moments of tension, wit, and genuine connection—ground the narrative emotionally, making their partnership feel authentic even amid the film’s relentless action and alien setting.
At the emotional core of the film lies this evolving relationship, where Thia’s intelligence, wit, and empathy contrast Dek’s warrior stoicism. Physically bound to Dek early on, their partnership forged from necessity deepens into a profound bond that challenges traditional Predator stereotypes of ruthless isolation, opening space for exploration of trust, companionship, and mutual reliance in an unforgiving universe.
Adding to this complexity, Fanning also portrays Thia’s sister Tessa, embodying a dogmatic loyalty to the Weyland-Yutani corporation’s ruthless agenda. This dual role enriches the film’s meditation on identity, autonomy, and control, as the opposing android personas reflect divergent paths of resistance and compliance. The tension between Thia’s compassion and Tessa’s dogmatic obedience mirrors Dek’s own conflict between inherited tribal honor and his emerging personal values shaped by empathy and survival.
The narrative intensifies in the second act as the story shifts from Dek and Thia navigating Genna’s rough terrain to confronting the formidable forces of Weyland-Yutani and their synthetic android enforcers. This escalation brings broader stakes and a shift from survival to active resistance, with Dek’s combat style evolving into inventive use of the alien ecosystem’s deadly plants and creatures. His resourcefulness and adaptability are tested as much as his physical prowess.
Thia’s role grows beyond mere survival partner, serving as a moral compass guiding Dek through escalating challenges. Their deepening bond underscores themes of loyalty and defiance against overwhelming power. The rivalry between Thia and Tessa encapsulates both personal and systemic struggles, enriching the narrative’s emotional and thematic layers.
Action scenes in this act blend visceral intensity with strategic ingenuity, highlighting the evolving dynamic between Dek’s warrior instincts and Thia’s empathetic intelligence. This partnership provides an emotional anchor amid rising external threats.
Visually, while some of the VFX may not reach the technical heights of blockbuster films like Avatar, Predator: Badlands excels in blending digital effects with practical makeup and effects work. This approach makes the portrayal of Dek and the other Yautja—particularly when not helmeted—convincing and tangible. The hybrid effects allow Dek’s Yautja character to emote convincingly, adding crucial depth and relatability to a typically masked and silent character. This tactile realism enhances the immersive quality of the film and brings the Predator characters to life in a way that CGI alone might not achieve.
A distinct departure for the franchise, the film carries a PG-13 rating—a strategic decision enabled by the filmmakers’ exclusive use of non-human characters—synthetic androids and other alien beings—in violent scenes. This choice eliminates the display of red human blood, substituting blue synthetic fluids, thereby maintaining intensity while broadening audience accessibility. Although this approach softens the visceral brutality traditionally associated with the franchise, it allows for sustained creative violence and suspense without an R-rating’s restrictions. Some fans may find the absence of traditional gore reduces the raw impact and immediacy familiar to previous entries.
Throughout, the violence is intentional and purpose-driven, enriching the narrative rather than serving gratuitous spectacle. The film’s conclusion thoughtfully underscores themes of self-determination, as Dek eschews rigid tribal expectations in favor of personal autonomy, while Thia embraces an evolving identity beyond her synthetic origins.
One of the film’s most impressive achievements—and a testament to its commitment to authenticity—is the introduction of a fully constructed Yautja language. Developed by linguist Britton Watkins, who was recommended by Paul Frommer (the creator of the Na’vi language for James Cameron’s Avatar), this language was crafted with respect for the anatomical and cultural traits of the Predator species. Lead actor Dimitrius Schuster-Koloamatangi and his fellow Yautja cast members learned to perform fluently in this language. This effort adds remarkable depth and realism to the Predator characters, creating a linguistic culture that supports the film’s immersive world-building. Scenes featuring Yautja dialogue are carefully subtitled, offering fans a fascinating and detailed glimpse into Predator communication and ritual.
Predator: Badlands is a layered, compelling addition to the saga. It pairs exhilarating action with thoughtful meditations on identity, survival, and connection. The evolving relationship between Dek and Thia, amplified by Elle Fanning’s complex dual roles, grounds the film emotionally and thematically, broadening the Predator mythos in significant ways.
Director Dan Trachtenberg has firmly cemented his position as the franchise’s caretaker, continuing a remarkable three-film streak following the critically acclaimed Prey and the animated Predator: Killer of Killers. Each installment boasts distinctive narrative voices and innovative approaches that have successfully engaged and expanded the fanbase. Trachtenberg’s vision skillfully balances honoring the franchise’s core elements with fresh storytelling, ensuring Predator remains vital and intriguing for both longtime followers and new viewers alike.
Predator Franchise Reviews
Miniseries Review: Death by Lightning (dir by Matt Ross)
Death by Lightning, a four-episode miniseries that recently dropped on Netflix, tells the story of two “forgotten men,” as the show itself puts it.
Michael Shannon plays James A. Garfield, the Ohio farmer and former Congressman who, despite attending the 1880 Republican convention solely to give the nominating speech for Secretary of Treasury John Sherman (Alistair Petrie), found himself nominated for President after the convention found itself deadlocked between supporters of Former President Grant (Wayne Brett) and Senator James Blaine (Bradley Whitford). Garfield did not want to run for President and he certainly did not want to run with Chester A. Arthur (Nick Offerman), an associate of New York political boss, Roscoe Conkling (Shea Whigham). However, in November of 1880, James Garfield was narrowly elected the 20th President of the United States.
Matthew MacFayden plays Charles J. Guiteau, a failed lawyer and self-proclaimed newspaper publisher who felt that a stump speech he had given at a small rally was responsible for Garfield’s victory. Guiteau expected to be appointed to a position in the Garfield administration, perhaps as Consul to France. In those days of no Secret Service protection and an open White House, Guiteau was one of the many random office seekers who managed to get a face-to-face meeting with Garfield. What Guiteau did not get was a job. While Guiteau may have deluded himself into thinking that he was an inside player, everyone else viewed him as being a pesky and disreputable character. On July 2nd, 1881, Guiteau shot Garfield in the back. After Garfield died in September, Guiteau was convinced that he would be pardoned by the newly sworn-in President Arthur. Instead, Guiteau was hanged on June 30th, 1882.
(It’s now generally agreed that Guiteau was such a bad shot that Garfield would have survived his wounds if not for the incompetence of his doctors, who probed his wounds with their bare hands in an effort to extract the bullet. Garfield died as a result of multiple infections caused by his medical treatment.)
Again, Death by Lightning describes Garfield and Guiteau as both being forgotten men. That’s not quite true. I knew who both of them were before I watched the miniseries but then again, I’m also a history nerd. As much as I don’t want to admit it, it is true that the majority of today’s Americans don’t know either Garfield or Guiteau. And yet, in 1881, America revolved around them and their fate. Everyone checked every day for news on Garfield’s health and Guiteau’s trial was heavily covered by the press. That’s something to remember whenever you hear people talking about how “history will remember” whatever may be happening in the news today. History may remember but people are quick to forget.
As for Death by Lightning, it does a good job of telling not only the stories of Garfield and Guiteau but also Chester Arthur as well. The miniseries takes place at a time when political machines dominated American politics and also at a time when the Spoils system and the widespread corruption that it engendered were both accepted as immutable political realities. Guiteau, having spent his life seeing other people receive jobs for supporting the right candidate, felt that he was naturally entitled to whatever position he requested. Guiteau’s actions actually did lead to reformation of the Spoils system, with President Arthur emerging an unlikely reformer. Never again would a random office seeker by allowed through the front doors of the White House and never again would a President casually walk around Washington D.C. without some sort of guard. With a smart script, good performances, and even a few moments of unexpected cringe humor, Death by Lighting recreates that moment in American history and it pays tribute to James A. Garfield, who was universally described by his contemporaries as being a decent man who was struck down before he could reach his full potential.
How historically accurate is Death by Lightning? That’s a fair question. Death by Lightning sticks to the established facts about Garfield and Guiteau but a scene in which Garfield’s daughter argues with him about immigration is undoubtedly meant to be more of a commentary on 2025 than 1880. I think it can be argued that no film or series can be 100% historically accurate because those who actually witnessed the events in question are no longer with us. Inevitably, the past is always viewed and recreated through the filter of the present. And indeed, it is tempting to compares Garfield and Guiteau to our modern-day politicians and activists. Guiteau, with his constant excuses for his own dumb decisions and his ranting and raving about how he speaks for the people, was a particularly familiar character. As for the modest and honest Garfield, it’s sadly difficult to think of any modern-day politicians from the same mold.
As a final note, my favorite part of this miniseries occurred during the first episode. The recreation of the 1880 Republican Convention is wonderfully entertaining. It’s amazing to think that, in the days before television coverage required political conventions to become carefully choreographed and tightly controlled, there actually was legitimate suspense about who would end up being nominated. Sadly, those days seem to be over.
Song of the Day: Over The Top by Kenny Loggins
Since today’s scene came from Over the Top, it seems only appropriate that today’s scene should come from it as well.
In a lifetime
Made of memories
I believe
In destiny
Made of memories
I believe
In destiny
Every moment returns again in time
When I’ve got the future on my mind
Know that you’ll be the only one
Meet me halfway
Across the sky
Out where the world belongs
To only you and I
Meet me halfway
Across the sky
Make this a new beginning of another life.
In a lifetime
There is only love
Reaching for the lonely one
We are stronger when we are given love
When we put emotions on the line
Know that we are the timeless ones
Meet me halfway
Across the sky
Out where the world belongs
To only you and I
Meet me halfway
Across the sky
Make this a new beginning of another life.
[Instrumental interlude]
Meet me halfway
Across the sky
Out where the world belongs
To only you and I
Meet me halfway
Across the sky
Make this a new beginning of another life.
Scenes That I Love: Lincoln Hawk Turns His Hat In Over The Top
In the wake of Zohran Mamdani’s victory in New York City and Graham Platner’s possible victory in Maine, I’ve become a lot more interested in watching anti-communist films. And really, it doesn’t get more anti-communist than a movie about an independent, non-union trucker who has no interest in being an authoritarian and who only want to be left alone so that he can raise his son and make a little money arm-wrestling.
In this scene from 1987’s Over The Top, Lincoln Hawk (played by Sylvester Stallone) explains the importance of turning his hat. That’s all it takes.
Anime You Should Be Watching: Ninja Scroll (Jūbē Ninpūchō)
“If you so want the company of devils, you’d better hurry back to hell, Gemma.” — Jubei
Ninja Scroll, the 1993 anime film directed by Yoshiaki Kawajiri, stands as a landmark in anime history for its groundbreaking animation, intense action, mature themes, and unique blending of historical fantasy with the supernatural. Its fluid, detailed hand-drawn animation vividly brings to life brutal sword fights and supernatural battles, while the richly textured 17th-century Japan setting immerses viewers in a dark, menacing world. This artistic achievement set a high benchmark, elevating anime’s global reputation as a cinematic art form beyond works like Akira.
The story follows Kibagami Jubei, a wandering mercenary ninja drawn into a plot involving the immortal villain Genma and the feared Eight Devils of Kimon. Though the plot remains straightforward—largely focused on Jubei’s confrontation with powerful enemies—it gains depth through morally ambiguous characters and mature themes of sacrifice, honor, and survival. A key emotional element is the relationship between Jubei and Kagero, a female poison ninja cursed to kill anyone who touches her, which sidesteps typical romance tropes and develops themes of vulnerability and resilience.
The voice acting, particularly in the English dub, is a significant highlight, delivering performances that imbue characters with seriousness and emotional nuance, broadening the film’s international appeal and cementing it as a gateway for adult animation in the West. While Ninja Scroll excels in action and atmosphere, it also courts controversy for its graphic violence and explicit sexual content. There is a notably disturbing sexual assault scene involving Kagero, which has long sparked discomfort and debate. However, it is important to clarify that while the film uses explicit sexual content to enhance its darker tone, it does not cross into hentai territory; the sexual content serves a narrative purpose rather than mere eroticism. This mature material intensifies the film’s psychological tension and power struggles, positioning it firmly within adult-oriented anime.
Sexual violence directed mostly at female characters has been a persistent source of controversy surrounding Ninja Scroll. While the sexual content is relatively tame compared to many contemporary non-hentai anime, its depiction of sexual assault and coercion has never lost its provocative edge. The character Kagero, despite being a formidable and dangerous figure, is victimized through sexual violence that many viewers and critics find disturbing. Scenes such as her being captured and violated by monstrous enemies contribute to an uneasy juxtaposition of empowerment and victimhood, with Kagero often used as a plot device to motivate male protagonists rather than as a fully autonomous character. This imbalance and the graphic nature of these depictions have led to censorship in some countries and sparked ongoing debates around the ethics of such content in adult media. Critics often argue that these portrayals risk glamorizing or exploiting sexual violence, while defenders contend that the shocking nature heightens the dark tone of the film’s world, reflecting its brutal and morally fraught universe. Nonetheless, these themes remain divisive, challenging viewers to grapple with how mature animation handles issues of gendered violence and trauma.
One of Ninja Scroll’s defining strengths lies in its animation style. The kinetic action sequences are not only meticulously choreographed but also executed with an extraordinary fluidity and dynamism that were revolutionary for the early 1990s. The hand-drawn fight scenes feature sweeping, graceful movements punctuated by sharply detailed strikes and counterattacks, bringing a visceral sense of speed and impact seldom achieved in other works of the period. This fluidity is complemented by innovative techniques like the use of deleter dot screens for shading and shadow effects, which add texture and depth without sacrificing motion smoothness.
The animation’s prowess extends beyond just the fight choreography. The film’s use of lighting and atmospheric effects creates a hauntingly dreamlike world that feels simultaneously realistic and mythical. Backgrounds are richly painted with a softness that evokes Impressionistic influences, enveloping characters in an environment that accentuates the eerie and supernatural tone. The balance between detailed character animation and these painterly settings builds a distinct visual identity that has aged gracefully over decades.
This combination of fluid, kinetic action and richly atmospheric artistry contributed significantly to Ninja Scroll being considered one of the modern classics of anime. It elevated expectations for what animated films could achieve in terms of dynamic movement and aesthetic sophistication. The influence of its animation style can be traced through numerous subsequent anime productions, as well as Western media inspired by anime’s visual storytelling techniques.
Ninja Scroll’s legacy is extensive and multifaceted. Its DNA can be seen clearly in later samurai-themed anime such as Samurai Champloo and Afro Samurai. Samurai Champloo echoes Ninja Scroll’s stylistic blending of Edo-period Japan with anachronistic influences—infusing hip-hop culture with samurai narratives—while maintaining intense, fluid sword fights and a mix of humor and gravitas. Afro Samurai shares its dark tone, violent action, and lone-protagonist vengeance quest, carrying forward the mood and narrative style originally forged by Ninja Scroll. Director Kawajiri’s subsequent works, including his segments in The Animatrix, further pursue this blend of hyper-realistic violence, dark fantasy, and mature storytelling. His visual style and thematic preoccupations continue to set standards for adult anime storytelling.
Beyond anime, Ninja Scroll substantially impacted Western filmmakers. Its dynamic animation and mature tone influenced the Wachowskis’ Matrix trilogy, particularly in its kinetic martial arts choreography and philosophical depth. This cross-cultural influence helped establish anime as a vital creative wellspring for global media, encouraging Hollywood to adopt similar stylistic and narrative innovations. The film’s success helped popularize ninja and samurai mythologies worldwide, inspiring Hollywood action films and series exploring similar themes.
In conclusion, Ninja Scroll is a seminal work blending technical brilliance, compelling voice performances, stark mature themes, and memorable characters. Its relatively simple yet focused plot allows intense action and emotional depth to shine. While its graphic sexual content remains controversial, especially due to its depiction of sexual violence toward women, this aspect underscores the dark world the film portrays rather than serving gratuitous ends. Its influence spans subsequent anime like Samurai Champloo and Afro Samurai and extends into Western filmmaking, confirming Ninja Scroll’s importance as a groundbreaking and enduring classic that shaped adult animation globally.
Join #MondayMania For The Wrong Tutor!
Hi, everyone! Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania! Join us for The Wrong Tutor, starring Vivica A. Fox!
You can find the movie on Prime and then you can join us on twitter at 9 pm central time! (That’s 10 pm for you folks on the East Coast.) See you then!
The Films of 2025: The Smashing Machine (dir by Benny Safdie)
As a film lover, there are three letters that strike fear in my heart. U. F. C.
Seriously, directors — especially male directors — love the UFC and Mixed Martial Arts in general. If I had to guess, I would say that in another few years, there will be no more boxing movies. Sorry, Balboa. Sorry, Creed. You’re going to be replaced by movies that are exclusively about men kicking each other in a cage and then pounding on each other once they’re down. I’m not even saying that’s a bad thing. Obviously, the sport has a lot of fans. In the future, when Conor McGregor is doing double duty as both the President of Ireland and the Pope, a lot it will be due to the popularity of MMA. I have to say, though, that I almost always seem to find films about MMA and cage matches to be a little bit boring, unless they star Jean-Claude Van Damme or, in some cases, Lou Ferrigno. I prefer boxing movies. I guess I like my fights without the little kicks.
The Smashing Machine is a biopic of Mark Kerr (played by Dwayne Johnson), an MMA fighter who, the film tells us, was one of the early pioneers of the sport. When he’s first seen in the film, he’s being interviewed about his success in the UFC. We see a few clips of him fighting and watching his fists fly, we understand why he’s known as The Smashing Machine. He’s known for his ability to end fights quickly. He assures the interviewer that he doesn’t hate any of the men that he fights. (“Is he okay?” Mark asks about an opponent after one particularly brutal beat down.) Mark leaves the United States for Pride, which is Japan’s version of UFC. Not long after arriving in Japan, he discovers that Pride has changed its ruled to disallow almost all of Mark’s techniques because Mark was ending the fights too quickly.
One thing that we notice about Mark is that he’s always smiling and that he seems to have a rather low-key personality for someone who makes his living as a fighter. It’s easy to see that he’s holding back a lot of his emotions and that he gets those emotions out in the ring. When he’s not fighting, he’s living in a nice home with his girlfriend, Dawn (Emily Blunt). He’s a bit of a control freak, worrying about the cat getting on his couch, telling Dawn exactly how to make his protein shakes, and obsessing over the way a cactus is growing outside. Mark may be a fighter but he also constantly worries about his “tummy,” which is apparently overly sensitive. Mark is also a drug addict, popping painkillers like candy and shooting up in his bathroom. When Mark and Dawn argue, his temper can flare and he can go from being soft-spoken Mark to the someone who can tear a door off of its hinges. After Mark loses his first fight, he sinks deeper into depression and then tries to get clean. Complicating things is that Dawn is still using and Mark is preparing for his next fight in Japan.
For all the anticipation and the hype that surrounded its release, The Smashing Machine is an uneven film. It’s not necessarily a bad film but it is a film that leaves the viewer feeling somewhat detached from the action, on the outside looking in. Dwayne Johnson gives a good performance as Mark and Emily Blunt gives a good performance as Dawn but they’re never quite believable as a couple. (In fact, I would argue that Johnson’s best dramatic performance remains his nearly silent but physically powerful turn in the unfairly overlooked Faster.) Because the film is based on a true story and, I imagine, also because the film was directed by Benny Safdie, The Smashing Machine avoids a lot of the traditional cliches of the sports film. It’s very much an A24 film, wearing it’s indie aesthetic like a chip on its shoulder. I have to admit though that, while watching the film, I missed a lot of those cliches. There are some good scenes scattered throughout The Smashing Machine but there’s also not much narrative momentum.
That said, I do have to say that the film’s ending, which feature the real Mark Kerr shopping for groceries, did bring a smile to my face. He’s someone who has been through a lot so seeing him smiling and debating which cut of beef to purchase was definitely something of a relief.
Monday Live Tweet Alert: Join Us For Over The Top!
As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie! Every week, we get together. We watch a movie. We snark our way through it.
Tonight, for #MondayActionMovie, the film will be 1987’s Over The Top! I picked it so you know it’ll be good.
It should make for a night of fun viewing and I invite all of you to join in. If you want to join the live tweets, just hop onto Mastodon, find the movie on YouTube, Tubi, or Prime hit play at 8 pm et, and use the #MondayActionMovie hashtag! The watch party community is a friendly group and welcoming of newcomers so don’t be shy.
See you soon!
Through the Shattered Lens 