There’s a movie podcast I love to listen to called the “Podcast on Fire.” Kenny B and his various co-hosts focus on Asia, especially the films of Hong Kong and South Korea. They have a large back catalogue, and I’ve been catching up on their episodes related to South Korean horror. In the middle of a show on the WHISPERING CORRIDORS series, co-host Paul Quinn mentioned THE CALL, a film that was released on Netflix during the pandemic. I’m usually not a consumer of freaky horror, but his enthusiasm for the film proved infectious, so I decided I’d check it out when I got home from work.
THE CALL centers on two 28 year old women. There’s Seo-yeon (Park Shin-hye), who’s visiting her childhood home in the country when she receives a series of phone calls from 28 year old Young-sook (Jeon Jong-seo). They soon realize that Young-sook is calling Seo-yeon from the same house… just from 20 years in the past. Both with severe mommy issues, the two ladies initially seem to form a friendship. They even use their knowledge of events in the past to help each other in ways that change the future. But as you might guess, these changes come with severe consequences, and the story eventually turns into one of bloody survival!
I wasn’t expecting it, but I kept thinking of one of my favorite movies, FREQUENCY (2000), while watching THE CALL. In FREQUENCY, an adult son is able to talk to his deceased dad from 30 years in the past on their family’s old ham radio. We may not really understand the science behind it all, but we just accept it. Their discussions start out as heartwarming, and their actions that change the future seem good at first, but then eventually bad things happen. That’s pretty much what takes place in THE CALL, with the exception that these ladies are not family and the radio has been replaced by one of those late 20th century cordless phones. The heartwarming early moments eventually devolve into a lot of crying, screaming, and gaping neck wounds.
While the concept has been done before, the filmmakers do a good job of building genuine suspense. It’s one of those movies where the stakes keep getting raised, and when you think they’re as high as they can go, they’re ramped up another notch. There are a few effective jump scares here, but the primary tension is in the growing sense of dread concerning how the actions in the past will affect the present. Let’s just say that some of the characters in the present aren’t allowed to enjoy their newfound health and well-being for very long.
I wasn’t familiar with either of the lead actresses going in, but they’re both excellent. In the present time, Park Shin-hye invests enough vulnerability in her character of Seo-yeon that you can’t help but pull for her, especially as her world is continuously turned upside down. And I can’t say enough about Jeon Jong-seo, who gets the showier role in the past timeline. Her character starts out as sympathetic, but she doesn’t stay that way. It’s an unnerving character and performance.
At the end of the day, I had a good time with THE CALL. It’s been awhile since I watched a film from South Korea, so it was fun for me to jump back in. If you enjoy a good horror-suspense-thriller, this one’s an easy recommendation!
(Editor’s Note – With Christopher Nolan’s The Odyssey being an Event Level film, this probably won’t be the only post/opinion on it. Expect multiple viewpoints to come over time and enjoy!)
It’s been a long time since I read anything on Homer’s The Odyssey. Perhaps sometime in Junior High or High School. I only remember bits and pieces, but earlier this year, I watched the 1997 2-Part Miniseries with Armand Assante(who can do no wrong, despite how some may feel about 1993’s Fatal Instinct) to refresh my memory. That is also a great miniseries, which I recommend. Theoretically, there’s nothing to spoil here, but I’ll try to say little.
2026 has been somewhat amazing when it comes to film. We’ve seen fresh young filmmakers like Mark Fischbach and Kane Parsons take what little resources they had and make some magic in Iron Lung and Backrooms, respectively. Of course, Corey Barker’s little indie/Inde film, Obsession, continues to amaze and break records thanks to Navarette’s and the rest of the cast’s unforgettable performances. It’s a great sight to behold. On the other end of the filmmaking spectrum, we have big pitch films like Project Hail Maryand Christopher Nolan’s version of The Odyssey, showcasing what we can pull off with the advancments in film technology or just great writing.
Most IMAX movies have that label stating “Filmed with IMAX cameras”, which usually means that key scenes were recorded in the format. My first IMAX experience was back in 2003 with The Matrix Revolutions in the AMC Lincoln Center IMAX (which is still by far the best NYC hotspot for a classic big screen experience), but that was remastered to fit the screen. Most of Nolan’s works were filmed with IMAX cameras for key scenes as of 2008’s The Dark Knight. It’s commonplace now to see a film shift from the old square 4:3 (1.33:1) ratio to a 2:35:1 letterboxed widescreen. The intro to Richard Donner’s Superman is one of my favorite examples of it. 2001’s Moulin Rouge! did something similar, though the boarders weren’t exactly visible. If you watch a movie on Disney Plus or HBO Max filmed with IMAX cameras, you can often see the change in aspect ratio, either abrupt or with a smooth transition. Large Format Screenings aren’t anything extremely new. My Dad once drove the family out to Long Island to see a 70 MM showing of The Empire Strikes Back.
What makes The Odyssey so amazing is that Nolan filmed it entirely with IMAX cameras. There are tons of documentaries shot this way, but it’s rare for a feature film to do so. According to an interview with ABC News, Nolan and the crew went through 2 million feet of IMAX film, shot in 3 minute intervals because the cameras would use up the roll in that amount of time. Imagine setting up a shot, getting everyone on their marks and then letting them know you’ve 3 minutes for the actors to get to where they need to be in the scene and nail it. Academy Award Winning Cinematographer Hoyte Van Hoytema, who worked with Nolan since Dunkirk, captures some beautiful vistas and landscape shots that are just majestic regardless of the format you choose to watch the film in. If you can catch the film in the IMAX 70MM, you’re getting the best possible picture, though the Regal RPX I watched wasn’t a slouch by any means. I’m hoping I can catch it in IMAX before the run ends.
The film acknowledges that that the setting is in an age of magic, and as such, some things may be a little beyond the pale. I have to wonder how Ray Harryhausen and Stan Winston would feel about some of the visual effect choices in The Odyssey. There are some pretty wild elements of horror here, which is surprising coming from Nolan. They’re still practical, everyday things, but I had a few whispered “Wow” or “Oh crap!” moments.
The Odyssey is the story of Odysseus (Matt Damon, Interstellar, Oppenheimer), King of Ithaca and loyal servant to King Agememnon (Benny Safdie, Oppenheimer, The Smashing Machine). set on a quest to claim the city of Troy. The film jumps between Odysseus in various phases of his journey. Through his actions, he defies the gods and is sent (along with his men) far from Ithaca. Back home, his wife, Penelope (Anne Hathaway, The Dark Knight Rises, Interstellar) observes Zeus Law of hospitality to strangers. This, however, has brought many suitors who overstay their welcome and wish the claim both her hand and the throne in Odysseus’ absence, among them being the scheming Antinous (Robert Pattinson, Tenet, The Drama) and Polybus (Corey Hawkins, The Last Voyage of the Demeter). Her son, Telemachus (Tom Holland, the upcoming Spider-Man: Brand New Day) believes his father is still out there, but knows little of him. Can Odysseus find redemption? Can he and his men make their way back to Ithaca?
The casting for The Odyssey is really good, but for as stacked as it is both with friends and new talent, not everyone gets to shine as much as one would think. They all have a role to play in this and surprisingly, the strongest performances are more from the supporting cast than the main ones. Damon is just fine here. He’s reliable when I’ve watched him in films like The Martian and The Bourne Films. He fits Odysseus okay, there’s really nothing wrong with him at all in this. The character is mentally tortured in some ways and he just wants to get home. I’m just not entirely sure I felt the whole weight of the character with Damon’s performance. This isn’t to say he dials it in, far from it. Again, that’s more me coming off of watching Assante do his thing in the 90s and then uncontrollably comparing. Hathaway, on the other hand, I suppose anyone who watched Troy (a film I don’t really remember, other than for Brian Cox’s screaming) may make similar comparisons to different elements of this film.
Hathaway and Holland do more in their roles to carry the story along. Penelope pines for her love and Telemachus knowledge of his father, and that both showcase the emotions that go with that well. I’m used to Holland playing younger characters. This may be one of the first few times where he seemed more like an adult, which he handles well. On the supporting cast side, both John Leguizamo (John Wick) as the family’s servant and Himesh Patel (Tenet) as one of Odysseus’ main soldiers really stood out with their roles. For the smaller parts, Elliot Page’s (Inception) Sinon, Samantha Morton’s (Minority Report) Circe make the best of their scenes. Safdie’s Agamemnon in particular doesn’t have to say a word. His mere presence was enough. Pattinson could have been a bit stronger or darker in nature, but I felt he carried his character well. Jon Bernthal (The Accountant 2) and Lupita Nyong’o(A Quiet Place: Day One) don’t have particularly large roles, but are important to the tale. Zendaya and Charlize Theron are kind of regulated to just a little expositional assistance here and there. They, along with Mia Goth (Guillermo Del Toro’s Frankenstein) could have easily received a “guest starring” credit and no one would have known the difference.
I only have 2 issues with the movie. The first is that there are some elements in the overall story that never come into play(such as the Adverse Winds). Granted, you’re condensing a major text down to just 3 hours, so they had to pick and choose what they were going to work with. Still, I would have like to have seen some of those elements. For a film about gods and monsters, The Odyssey felt like it really veered more towards the monsters than anything else. Again, that’s just me coming off classic films like Jason and the Argonauts and Clash of the Titans. The gods here feel mostly like advisors, if nothing else. Again, not terrible, just different from my expectation. The other problem (or tic, nitpick, maybe) is that you may or may not find yourself chuckling a little and thinking of Monty Python’s The Holy Grail during some sequences that involve running. Maybe it was just me, but seeing everyone go from one adventure to the next just had me expecting a killer rabbit to be somewhere on the list of enemies. no matter how serious the film was.
Musically, Ludwig Goransson hasn’t slowed down since winning an Oscar for Sinners last year. His score for Star Wars: The Mandalorian and Grogu was easily the best part of that film. For The Odyssey, Gorannson was asked to use Peter Gabriel’s Passion (the soundtrack for Martin Scorsese’s The Last Temptation of Christ and one of my favorite sources for background writing music) as inspiration for his own score. Working with classic instruments, he did very well here. I’m listening to it now as I’m working on this piece. While I’m still trying to recall what sound went where, it’s a solid score overall.
Overall, I absolutely enjoyed The Odyssey. I’m not sure how it’ll fare come Awards Season, but I do hope it finds itself in the mix, at least from a Cinematography standpoint.
Old School is one of those comedies that feels like it was made in a lab to be the perfect guilty pleasure, a film that knows exactly what it is and doesn’t apologize for a second of it. Directed by Todd Phillips in 2003, it’s a raucous, often ridiculous ode to arrested development, where three thirtysomething men decide the solution to their midlife crises is to start a fraternity and relive their college glory days. On paper, it sounds like the kind of premise that could either be hilariously relatable or painfully cringe-inducing. In execution, it somehow manages to be both, which is exactly why it works as well as it does.
The story centers around Mitch, Frank, and Beanie, played by Luke Wilson, Will Ferrell, and Vince Vaughn, respectively. Mitch is a mild-mannered attorney whose world implodes when he walks in on his girlfriend, Heidi (Juliette Lewis), mid-orgy in his own bathroom. Frank, a former legendary party animal known as “Frank the Tank,” is about to get married but can’t seem to let go of his wild past. Beanie, the most level-headed of the trio, is a family man who still feels the pull of his youth. When Mitch impulsively buys a house near a college campus, Beanie suggests they turn it into a fraternity, and thus, the most chaotic midlife crisis in cinematic history begins. The premise is thin, but the film doesn’t need much more than an excuse to string together a series of increasingly absurd set pieces.
What makes Old School so much fun is the chemistry between its three leads. Wilson plays the straight man to Ferrell and Vaughn’s antics, grounding the film with a relatable everyman quality. Vaughn, with his rapid-fire delivery and sharp wit, is the glue that holds the trio together, while Ferrell steals every scene he’s in as the unhinged, beer-chugging, streaking force of nature that is Frank the Tank. Ferrell’s performance is a masterclass in commitment to the bit, whether he’s chugging beers in his underwear, delivering a motivational speech about the importance of “earning” respect, or streaking through a neighborhood in one of the most iconic comedy scenes of the 2000s. His energy is infectious, and it’s hard not to laugh at the sheer audacity of his character, even when the humor leans into the absurd or the juvenile.
The supporting cast is packed with familiar faces who add texture to the film’s world. Jeremy Piven is delightfully slimy as Dean Pritchard, the smug, power-tripping dean of students who holds a grudge against the trio from their own college days. Ellen Pompeo, pre-Grey’s Anatomy, plays Nicole, Mitch’s high school crush, who re-enters his life at Frank’s wedding and becomes a romantic subplot that feels both sweet and slightly out of place in a movie this committed to chaos. Leah Remini, Juliette Lewis, and Elisha Cuthbert round out the cast, each bringing their own flavor to the proceedings. The film also features a slew of cameos, from Snoop Dogg as himself to James Carville, which adds to its anything-goes vibe.
Todd Phillips’ direction leans heavily into the film’s frat-house aesthetic, with a loose, improvisational feel that mirrors the energy of its characters. The movie doesn’t bother with subtlety or nuance; it’s a series of escalating gags and set pieces designed to elicit laughs, and for the most part, it succeeds. The humor is often crude, sometimes dumb, but always delivered with a sense of enthusiasm that’s hard to resist. The film’s pacing is brisk, jumping from one ridiculous scenario to the next without much time to breathe, which works in its favor. There’s no pretension here—Old School isn’t trying to be a smart comedy or a biting satire. It’s a beer-soaked, testosterone-fueled romp, and it owns that identity with pride.
One of the film’s most memorable sequences is the “Mitch-A-Palooza” party, a rager that cements the trio’s status as campus legends. The party is a microcosm of everything Old School does well: it’s loud, it’s messy, and it’s filled with the kind of over-the-top antics that make you laugh even as you shake your head in disbelief. The scene where Frank the Tank rallies the troops with a speech about the importance of “earning your letters” before chugging a beer in his underwear is a perfect example of the film’s brand of humor. It’s stupid, it’s juvenile, but it’s also undeniably funny, thanks in large part to Ferrell’s commitment to the bit.
That said, Old School isn’t without its flaws. The film’s humor often relies on shock value and crude jokes, which won’t land for everyone. Some of the gags feel dated, and the film’s treatment of women is, at times, simplistic. The female characters are often relegated to the roles of either love interests or obstacles, and the movie’s worldview is unapologetically male-centric. It’s a product of its time, and while that doesn’t excuse some of its more problematic elements, it does explain them. The film also suffers from a lack of depth in its storytelling. The plot is thin, and the character arcs are minimal, but that’s almost beside the point. Old School isn’t trying to be a deep or meaningful film—it’s trying to be a fun, raucous comedy, and on that front, it largely delivers.
What makes Old School such a great guilty pleasure is its sheer unapologetic joy in its own ridiculousness. The film doesn’t pretend to be anything other than what it is: a celebration of immaturity, friendship, and the kind of chaos that can only come from a group of grown men trying to relive their youth. There’s something oddly endearing about the way Mitch, Frank, and Beanie cling to their college days, as if they’re afraid of what comes next. It’s a theme that resonates with anyone who’s ever felt a pang of nostalgia for a time when life felt simpler, even if that time was also filled with questionable decisions and questionable haircuts.
The film’s soundtrack is another standout element, packed with a mix of classic rock, hip-hop, and pop hits that perfectly complement its vibe. From Whitesnake’s “Here I Go Again” to Metallica’s “Master of Puppets,” the music adds an extra layer of energy to the film’s already high-octane proceedings. The soundtrack isn’t just background noise—it’s a character in its own right, helping to set the tone for each scene and amplifying the film’s sense of fun.
In the years since its release, Old School has only grown in stature as a cult classic, a film that’s frequently quoted, referenced, and revisited by fans. Lines like “You’re my boy, Blue!” and “Frank the Tank” have entered the comedic lexicon, and the film’s influence can be seen in the wave of bro comedies that followed in its wake. It’s a testament to the film’s enduring appeal that it still feels fresh and funny, even as some of its jokes and sensibilities have aged less gracefully.
At its core, Old School is a movie about friendship and the lengths we’ll go to hold onto the past. Mitch, Frank, and Beanie may be thirtysomethings, but their hearts are still stuck in their college days, and their journey is as much about reconnecting with each other as it is about reliving their youth. The film’s message isn’t exactly profound—sometimes, you just need to let loose and have fun—but it’s delivered with such enthusiasm and charm that it’s hard not to get swept up in it. And if that message comes wrapped in a package of crude jokes, ridiculous antics, and a healthy dose of nostalgia, well, that’s just part of the charm.
Ultimately, Old School is the kind of movie that you don’t so much watch as you experience. It’s a film that demands to be seen with friends, preferably with a few beers in hand and a willingness to embrace the chaos. It’s not perfect, and it’s certainly not for everyone, but for those who are willing to go along for the ride, it’s a wildly entertaining, laugh-out-loud romp that never fails to deliver on its promise of fun. It’s a guilty pleasure, sure, but sometimes, the best kind of movies are the ones that don’t take themselves too seriously. Old School is a reminder that it’s okay to be a little immature, to embrace the chaos, and to never stop chasing the things that make you happy—even if those things involve starting a fraternity in your 30s.
In honor of Jan-Michael Vincent’s 81st birthday up there in cinema heaven, I searched Tubi to see if there were any of his films streaming that looked interesting. I came across this low-budget action movie named BODY COUNT, which apparently has also been known as CODENAME: THE SILENCER based on the poster I share above! What caught my attention is the solid B-movie cast that the film had assembled. Aside from Vincent, you also had Robert Davi, Sonny Chiba, Steven Bauer, and Brigitte Nielsen. For a guy who spent a lot of time at video rental stores in the 80’s and 90’s, I decided this movie was something I needed to investigate!
The story follows Detective Eddie Cook (Davi) and his partner Vinnie Rizzo (Bauer). After spending eight years trying to bust a couple of mobsters named the Gianelli brothers, one night the gangsters are assassinated by a hitman named Makato, played by Japanese action legend Sonny Chiba. Cook and Rizzo somehow manage to nab Makato and send him to prison. 1 year, 6 months, and 21 days later, with the help of his extremely tall and shapely partner in crime, Sybil (Brigitte Nielsen), Makato breaks out with nothing but revenge on his mind against the cops who put him behind bars.
I’m not going to sit here and pretend that BODY COUNT is some kind of forgotten gem. Because it’s not. For those that remember the era, it has the unmistakable look and feel of a mid-90s direct-to-video action film. The dialogue is awkward, the pacing is uneven at best, and there couldn’t have been much in the budget, but there’s still some nostalgic fun to be had in watching all those action veterans share the screen in the city of New Orleans, one of my favorite movie towns!
As far as the action, there are definitely some good scenes… the movie opens with one of those scenes where a guy walks away from a car in slow-mo and lights a cigar, while the car behind him explodes. That was cool! The scene where the cops confront the Chiba in a strip club, with the ensuing chase by foot spilling into the surrounding shops and rooftops was a lot of fun. The scene where Nielsen shows up to Chiba’s chain gang wearing a revealing shirt and daisy dukes and then proceeds to bust him out of prison was fun. There’s a scene where Davi is in hot pursuit of the bad guys, while hanging off of a Ryder moving truck, that eventually leads to a school bus flipping and exploding, and to be honest, it’s never made clear if a whole bunch of kids just died or not. The final scene involves runaway trolley cars. The action isn’t all perfectly handled, but there’s definitely enough here to bring a smile to your face… as long as you convince yourself that no one was on the bus!
Robert Davi is pretty good in the lead role as Detective Eddie Cook. After years of always playing supporting roles, usually as a bad guy, this had to be fun for him. He even gets to make love to his beautiful co-worker, special agent Janet Hood (Cindy Ambuehl). He takes full advantage of the scene by literally sucking on her toes, which I find somewhat awkward. Sonny Chiba looks great as the bad guy, convincingly killing with both rifles and swords. He may not speak the greatest English, but he doesn’t really have to, as he owns every scene he’s in with his charisma and intensity. The rest of the cast is fine as long as you don’t expect too much. Nielsen and Ambuehl both look great and engage in a pretty nice catfight at the end. I mentioned earlier that I watched the film in honor of Jan-Michael Vincent’s birthday. (Spoiler Alert) He doesn’t have that much screen time, and he gets pushed from a tall building about halfway through the movie and splats. I’m just saying don’t watch this if your enjoyment requires JMV to be the hero.
At the end of the day, if you enjoy low budget action movies of the direct-to-video era, filled with lots of familiar faces, you just may have some fun with this one. It’s cheesy at times and unintentionally funny at others, but it also offers some game performances and crazy action. There are times when that’s just what I need!
I hated reading the news that Sam Neill had recently passed away. As an obsessed movie fan going back to the mid-80’s, I had especially enjoyed his work in films like DEAD CALM (1989) and THE HUNT FOR RED OCTOBER (1990) prior to him starring in Steven Spielberg’s juggernaut JURASSIC PARK (1993)! Like so many others, I was wowed in the theater watching the film, and Neill was so good in it. From that point forward, he was a part of our lives no matter what the film or television series. We all kind of felt like we knew him. When I was looking back through his filmography, I was reminded of the TV mini-series MERLIN, that I made sure to watch each night when it premiered on NBC in April of 1998. I have not watched it since the original broadcast, but in tribute to Sam Neill, I decided I’d revisit the series again this week.
To somewhat set the stage, some TV mini-series were extremely big deals back in the ‘90’s, and MERLIN was a major “event!” This was before streaming services like Netflix or Amazon were pumping out a new 6-part series every other week. In those days, when something like MERLIN premiered on network TV, a lot of people would make sure they were at home every night so they could be sure to see these ambitious stories play out. With an extraordinary cast led by Sam Neill, and its fresh take on the Arthurian legend, MERLIN would be a massive ratings and critical success for NBC.
In complete honesty, at that time in my life, I had my eye on the series because one of my favorite actors, Rutger Hauer, has a role as the evil, power mad King Vortigern. I have also been a big fan of the legend of King Arthur, I guess going all the way back to when I was a kid and watching Disney’s THE SWORD IN THE STONE! But this time I was here to celebrate Sam Neill, and I must say he’s very good as Merlin. Neill’s Merlin is much more than an all-knowing wizard guiding King Arthur. Rather, he’s a man who experiences the full spectrum of human emotion. We see him fall in love, suffer heartbreak, admit his own mistakes, and then fight on behalf of the world when just about everyone else is gone. The character of Merlin was personalized for me for the first time in my life, and I give Neill’s likable performance full credit for that. In a career with so much great work, this is another excellent achievement.
MERLIN has an incredible supporting cast. Rutger Hauer, Helena Bonham Carter, Miranda Richardson, John Gielgud, James Earl Jones, Isabella Rossellini, Martin Short, Billie Whitelaw, Lena Headey, and many others bring the story to life and remind us just how big a production this really was. Of the supporting performances, Miranda Richardson, who plays dual roles, Helena Bonham Carter, and Martin Short really stood out the most to me. Hauer leaves a memorable impression despite relatively limited screen time. Neill, Carter, and Short would all be nominated for Primetime Emmy Awards for their acting, but none would win the award. The series would be nominated for a total of 15 Primetime Emmy awards, taking 4 of them home, mostly in technical categories.
Looking back on MERLIN after thirty years, I would have to say I appreciate it more now than I did then. I like the fact that it takes its time exploring big ideas like good vs. evil, destiny, sacrifice, and the unstoppable passage of time. I also like the visual effects, which may very much be a product of 1998, but I think they provide a charm that helps sell this timeless story. There’s a reason some stories are told for centuries, and this series does honor to the legend.
Just this past week, I made arrangements for my wife and I to spend a week on the beach in Perdido Key, FL at the end of the summer. The last time I was there was during the summer of 2019. As I sat on the beach back at that time, I received a notification on my phone that Rutger Hauer had passed away. Having been a fan of his for over thirty years, I just remember being sad that another one of my movie heroes was gone. Time doesn’t stop for anyone, and while my wife and I will be enjoying that same beach next month, there’s no doubt that I’ll think about Hauer, and now Sam Neill. Actors leave us, but their work lives on forever, and sometimes that work is legendary. Thanks for all the great memories, Sam.
When THE SPECIALIST came out back in ‘94, Sylvester Stallone was on a pretty good run of films, with his prior two movies being CLIFFHANGER and DEMOLITION MAN. I’m a fan of Stallone, but he wasn’t the main reason I went to see THE SPECIALIST at the movie theater. I went to see it because James Woods is in it. I’ve always been drawn to actors who are little different than your traditional Hollywood leading men. That’s why I’m especially fond of actors like Charles Bronson, Roy Scheider, and Woods. This was a point in Woods’ career where he seemed to be transitioning from a leading man to more supporting roles, but he still always brought his best to every performance. And anytime one of my favorite actors was in a movie, I was going to see it on the big screen.
Stallone plays Ray Quick, a former CIA explosives expert who now uses his unique set of skills to kill bad guys. His latest client is the extremely beautiful May Munro (Sharon Stone), who enlists his assistance in ridding the earth of Thomas Leon (Eric Roberts), a Miami mobster who murdered her parents when she was a girl. The problem… his former friend and now mortal enemy, Ned Trent (James Woods), works for the mobsters, led by patriarch Joe Leon (Rod Steiger). Nobody understands Quick like Trent, and with Munro having her own set of secrets, this job is going to be much more difficult than he imagined!
I won’t sit here and pretend that THE SPECIALIST is an incredible film. It’s very much a thriller of its time… with the humid Miami locations, oversized set pieces, lots of slo-mo, and even more double-crosses. It’s more melodramatic than I remember, but I probably appreciate that more now than I did then. It’s also impossible to look back on THE SPECIALIST and not remember where Sharon Stone was at that point in her career. Two years earlier, BASIC INSTINCT had made her one of the biggest stars in Hollywood. It felt like the pairing with Stallone was trying to recapture that magic, but it didn’t really work. There are a couple of sex scenes between the two, but director Luis Llosa is no Paul Verhoeven, so the scenes don’t share the same power.
With Stallone’s controlled, some might say comatose, performance, the movie truly belongs to James Woods. His Ned Trent is cocky, sadistic, and entertaining. He attacks every scene with so much intensity that you can’t take your eyes off him and he easily steals the film. I also enjoyed the strong supporting cast. Rod Steiger doesn’t have that much screen time, but he brings an unmistakable energy to the role of crime boss Joe Leon. Then there’s Eric Roberts, whose sleazy performance as Tomas Leon adds another layer of intensity that tries to match Woods. The scenes involving Woods, Steiger, and Roberts are some of the best of the film.
Is THE SPECIALIST one of Stallone’s action classics? Definitely not, but looking back at the kind of movies we get served these days, I’d say it’s pretty darn entertaining. Stallone and Stone could have brought more personality to their characters, but James Woods just about makes up for them by delivering one of his most delightfully over-the-top villains. And it’s just fun seeing veterans like Rod Steiger and Eric Roberts bring their own talents to the proceedings. I miss the times when movies were full of big stars and unique character actors. Whether you love it or not, THE SPECIALIST is one of those movies that you took home from the video store on a Friday night, popped in the VCR, and proceeded to have a good weekend. I miss that era of movies, and I especially miss those interesting stars!
Born in 1973, I missed the first John Travolta phenomenon. I wasn’t even five years old when movies like SATURDAY NIGHT FEVER and GREASE were released. Now don’t get me wrong, I loved John Travolta as a kid. I remember watching GREASE at my cousins’ house when I was around ten, and we all loved it. Probably the movie I loved the most is Brian De Palma’s BLOW OUT from 1981. Fox 16 out of Little Rock loved to play that movie, and I thought it was so great. It was the mid-80’s when I was watching it, so his best work had been several years before.
From the mid-80’s to the early 90’s, I was obsessed with renting videos at our local rental shops. Do y’all remember the crap that Travolta was putting out then… TWO OF A KIND (1983), PERFECT (1985), THE EXPERTS (1989), CHAINS OF GOLD (1990), etc? I remember wanting to watch RAMBO: FIRST BLOOD PART II at the movies when I was kid, and the theater in Conway, Arkansas was playing 2 movies: RAMBO and PERFECT. My mom insisted on PERFECT. So there we were, Dad, Mom, my older brother, me, and my younger sister in the theater watching PERFECT. It was an R-rated film, and Mom walked us out less than half an hour into the movie due to some guy putting his head under a woman’s skirt. I still remember the other patrons laughing at us as we walked out. This moment is burned into my psyche. Travolta did work on the hit LOOK WHO’S TALKING movies, but at the time, he got no credit because these were talking baby movies. It almost seemed like Travolta’s career had become something of a joke from the time I was a grade schooler all the way into my college years. I still loved him, but any time his name came up, the conversation was always about his good movies that were made years earlier contrasted against the crap he was in now.
And then Tarantino’s PULP FICTION was released in 1994, he was absolutely incredible, and I was all about phase 2 of the John Travolta phenomenon. I watched just about everything he did over the next five years at the movie theater. During this remarkable stretch, I saw him in GET SHORTY, BROKEN ARROW, PHENOMENON, FACE/OFF, and many others. I revisited PHENOMENON again this week, and it took me back to that time when a 22 year old college student was rediscovering what a talented actor Travolta could be with the right material.
George Malley (Travolta) is a likable “Everyman” who works as a mechanic in a small town in Northern California. On his 37th birthday, a mysterious flash of light knocks him over and changes everything. Suddenly he’s the smartest guy in town, and he can even move things with his mind. At first, his abilities amaze his friends and neighbors, but they soon begin to be afraid of him because they don’t understand him. George doesn’t understand why he’s so smart all of a sudden, but he’s falling in love with Lace (Kyra Sedgwick) anyway. The ultimate “answer” is somewhat realistic, and ultimately quite moving.
Director Jon Turteltaub (WHILE YOU WERE SLEEPING, NATIONAL TREASURE) does a good job by focusing on George and his friends rather than the supernatural “mystery elements” of the plot. We may not understand exactly why George has these extraordinary abilities, but they mostly remain a backdrop in a story about love, friendship, and mortality. The film asks a simple question: How would we react if someone we’ve known all our lives is suddenly one of the most amazing people on earth? If you follow much social media these days, we know the answer. How often do we see people get torn down as soon as they show any exceptional ability? We even see this in our own families, and we see it in this movie as well. Watching the film 30 years later, that fact really sticks out to me.
I’ve been a fan of PHENOMENON for three decades specifically because I love John Travolta’s performance in the movie. He’s just so likable, so when things start to go bad for him, we’re disappointed as well. He plays George as a man whose growing genius makes him want to help people even more. He’s so sincere that we never stop pulling for him, which is a true testament to Travolta’s incredible work. Kyra Sedgwick is amazing as well. As a mother and having been hurt before, her character takes her time letting George into her life, but once she does she goes all in. I love it. Forest Whitaker, Robert Duvall, and Jeffrey DeMunn all have outstanding moments that make the small-town community feel real. Their friendships specifically help provide an emotional strength that most films don’t have.
PHENOMENON isn’t a perfect film, as it’s probably a little too long, and it may linger a little too much on vague “science.” However, it is a film that’s most interested in showing us a character who uses the gifts he’s been given to make life better for those around him while he can. It’s a timeless idea that gives PHENOMENON a power that has only grown stronger with time. It’s also a reminder that John Travolta has a magnetic screen presence. Beneath all of his charisma is an actor capable of tremendous warmth and vulnerability. At the end of the day, those are the kinds of characters we end up really caring about.
“When you pray for rain, you gotta deal with the mud too.” — Robert McCall
Antoine Fuqua’s The Equalizer is a film remake of the original 1980s TV series that starred Edward Woodward in the title role, and it feels like a throwback to the gritty, no-nonsense action thrillers of that era, but with a modern polish that only a director like Fuqua can deliver. From the opening frame, you know you’re in for something that’s equal parts stylish and brutal, a film that doesn’t waste time with unnecessary fluff and instead gets straight to the point: justice, served cold and calculated. Denzel Washington plays Robert McCall, a man who looks like your average big-box store employee by day but transforms into a methodical, almost surgical force of retribution by night. The premise is simple—McCall can’t stand to see good people get hurt, and when the Russian mob pushes him too far, he snaps into action—but the execution is anything but.
Where Woodward’s McCall was a more cerebral, world-weary ex-intelligence officer who relied on wit and strategy as much as physical force, Denzel’s version is a man of few words who lets his actions do the talking. Woodward brought a melancholic, almost philosophical edge to the role, giving the original series a more introspective, morally ambiguous tone. Denzel, though, brings a quiet intensity that’s all about controlled fury, shifting the film’s tone toward something more visceral and immediate. It’s less about the internal struggle and more about the sheer efficiency of justice being delivered, which makes Fuqua’s version feel like a high-octane action thriller rather than a brooding character study. This difference in approach is key to why the movie works so well as a modern reboot—it keeps the spirit of the original while amping up the energy to match today’s action standards.
This version of The Equalizer stands out in how it balances its quiet, character-driven moments with explosive bursts of violence. Fuqua has always had a knack for action, but here he takes his time building tension, letting scenes breathe in a way that makes the eventual payoff feel earned. There’s a sequence early on where McCall takes apart a room full of Russian gangsters, and it’s not just the choreography that impresses—it’s the precision. Every movement has purpose, every strike is efficient, and the whole thing unfolds with a kind of balletic brutality. Washington sells it all with that signature calm intensity of his, the kind of performance where you’re never quite sure if he’s about to offer you a cup of tea or put you in the ground. His McCall is a man of discipline, a guy who’s clearly spent a lifetime honing his skills, and it shows in the way he carries himself, whether he’s reading a book in a diner or turning a hardware store into an improvised armory.
The story itself isn’t reinventing the wheel. It’s a classic revenge tale with a heavy dose of vigilante justice, but the devil’s in the details. McCall isn’t some invincible super-soldier; he’s a guy who’s smart, resourceful, and, above all, patient. He doesn’t rush into things. He plans, he observes, and when he finally makes his move, it’s with the kind of cold efficiency that makes you wince and cheer at the same time. The film’s villain, Teddy Rensen, played by Marton Csokas, is a solid antagonist—a slick, ruthless mob fixer who’s used to getting his way. Csokas brings a quiet menace to the role, and his dynamic with Washington crackles with tension, especially in their final confrontation, which is as much a battle of wits as it is a physical showdown.
Fuqua’s direction is a masterclass in pacing and atmosphere. He knows how to make even the simplest scenes feel charged with meaning. Take, for example, the way he frames McCall in his apartment, surrounded by mementos of a past life we only get glimpses of. There’s a sense of history there, a depth to the character that’s never explicitly spelled out but is always felt. And then there’s the action, which is shot with a clarity that’s refreshing in an era where so many directors rely on shaky cam and rapid cuts to hide their lack of choreography. Fuqua lets you see everything, and it makes the violence hit harder because of it. The climactic battle in the hardware store is a perfect example—it’s a long, unbroken take (or at least feels like one) that puts you right in the middle of the chaos, and it’s thrilling precisely because you can follow every punch, every improvised weapon, every desperate move.
The supporting cast does a great job of fleshing out the world around McCall. Chloe Grace Moretz plays Teri, the young prostitute who becomes the catalyst for McCall’s crusade, and she brings a vulnerability to the role that makes her more than just a damsel in distress. She’s tough, but she’s also broken, and Moretz nails that balance. Then there’s Harold, McCall’s coworker and only real friend, played by Bill Pullman. Their scenes together provide some much-needed levity, but they also serve as a reminder that McCall isn’t just a machine—he’s a human being with connections, however tenuous, to the world around him.
One of the things I like most about The Equalizer is how it doesn’t glorify violence so much as it treats it as a necessary evil. McCall doesn’t enjoy what he does; he does it because he feels he has to. There’s a fascinating psychological undercurrent to his conversations with Teri about the nature of the people who hurt others, specifically this idea that the cruel and corrupt always find a way to rationalize their monstrous actions. The film really explores this twisted logic where abusers and criminals somehow convince themselves they are actually the good guys, completely blind to their own wickedness. It cuts to the heart of the movie’s theme: that real justice isn’t always pretty, and sometimes the only way to stop a relentless villain is to step into the darkness and meet them on their own brutal terms. It’s a morally complex idea, and the film doesn’t shy away from it. McCall isn’t a hero in the traditional sense. He’s a man with a very particular set of skills, and he uses them to tip the scales in a world that’s heavily weighted toward the cruel and the powerful.
Visually, the film is stunning. Fuqua and his cinematographer, Mauro Fiore, make Boston feel like a character in its own right, all grimy streets and neon-lit alleys. The color palette is dark and moody, with pops of color—like the red of a taillight or the blue of a neon sign—that stand out in a way that feels almost painterly. And the score by Harry Gregson-Williams is the perfect complement, all pulsing synths and deep, ominous basslines that ratchet up the tension without ever feeling overbearing. It’s the kind of soundtrack that you don’t notice until it’s gone, and then you realize how much it was adding to the experience.
If there’s a downside to The Equalizer, it’s that the plot can feel a bit thin at times. The story is straightforward, almost to a fault, and there are moments where you wish it would delve a little deeper into McCall’s backstory or the larger implications of his actions. But then again, that’s not really what the movie is going for. This isn’t a sprawling epic; it’s a tight, focused thriller that’s more concerned with mood and atmosphere than with intricate plotting. And in that regard, it succeeds admirably. The film is lean, mean, and never boring, with a runtime that flies by because it’s so damn entertaining.
Denzel Washington, of course, is the glue that holds it all together. At this point in his career, he could probably read the phone book and make it compelling, but The Equalizer gives him a role that’s tailor-made for his strengths. McCall is a man of few words, but every line Washington delivers carries weight. Whether he’s calmly negotiating with a gangster or unleashing hell on a group of armed thugs, he commands the screen with an effortless charisma that’s hard to look away from. It’s the kind of performance that reminds you why he’s one of the greatest actors of his generation.
In the end, The Equalizer is a movie that knows exactly what it is and doesn’t apologize for it. It’s a violent, stylish, and endlessly watchable action thriller with a lead performance that elevates it above the usual fare. It doesn’t pretend to be anything more than it is, and that’s part of its charm. In a world where so many films try to be everything to everyone, The Equalizer is content to be a well-made, pulse-pounding revenge story—and it’s all the better for it. If you’re a fan of action movies that don’t skimp on the brains or the brawn, this one’s a must-watch. Just don’t be surprised if you find yourself rooting for a guy who’s technically a vigilante. After all, in a world this unfair, sometimes you need an equalizer.
It’s not quite shark week, but we’re still all in on sharks eating people here at TTSL. I watched this shark v people movie with Lisa and it was pretty fun. It did have a touch of environmentalist gobbledygook, but it was brief enough to ignore. My advice to anyone doing a shark film is to stick to reality: sharks. You don’t need to bring in vampires, werewolves, or climate change to raise the stakes.
see above
There is a category five hurricane that hits a South Carolina town, it breaks the seawall, the town is taken by the sea, and sharks come in to eat everyone. There were some decent tropes to keep the popcorn popping: abusive foster parents, redneck foster kids, a pregnant woman who gives birth, an annoying anxiety-ridden lady who stares at things through the movie and rises mostly to the occasion, and a wise sailor/marine biologist who actually saves the day.
The mean foster parents and some good Samaritans become shark food, but that was about it. I was happy to see the foster parents die, but one of the foster parents was straight up murdered by the foster kids, which made the foster kids less sympathetic to me. Yes, foster dad was a horrible jerk, but there was no reflection on the fact that they killed him. You would’ve thought the abusive foster parent would’ve been well thought of by the director and writer because he was a state subsidized parent. I thought government intervention was supposed to make everything better?
My three big critiques is that there were not enough deaths, some scenes were too bright, and the protagonist did not get to save the day. “Thrash” was low on the body count; it made me wonder if they ran out of money or had to donate half of their money to an NGO. Did it have to be “Sharknado” levels of shark chomping? No, but I think that there were only five deaths in this film and that’s a little light.
The other critique is the lighting; typically, Netflix films are really dark and I don’t mean mood; it’s actually difficult to see. “Thrash” went the other direction and there was clear sunlight in a number of scenes that were supposed to be at night. The director had an environmentalist streak; so, maybe it was purposeful to lower a carbon footprint and use daylight to film? I do not have a good answer because it took me out of the story.
Finally, the anxiety-ridden star, whom I will call Anxious Girl, was more annoying than inspiring. Also the film ended where the Anxious Girl and the pregnant woman needed to be rescued by Anxious Girl’s uncle. I don’t think the writer understood that this was a failure. The Anxious Girl faced her fears and should’ve saved the day, but it was her Uncle, a minor character, who had to save the protagonist and pregnant woman. Was the Anxious Girl annoying? Sure, but she grew as a character and by taking away her chance at true heroism, it made the victory hollow and deflated.
Is the film worth watching? Sure. Like a tinder date missing a left-arm, “Thrash” was all right.
I must admit that I’m not always the most patient guy in the world, and that extends to my driving. I get so frustrated when someone pulls slowly out right in front of me, or when another person camps out in the left lane of the interstate. Most of the time, these are just quick little moments that I quickly move on from, but what might happen if one day I decided to honk my horn and the person in the other car is a crazy psycho? UNHINGED takes that scary thought to the ultimate extreme.
The premise of the movie is about as simple as it gets. Rachel’s (Caren Pistorius) having a rough morning, and she’s running late while taking her son to school. When the truck in front of her doesn’t move at the green light, she decides to lay on her horn. The driver (Russell Crowe) pulls up beside her at the next light and requests an apology. When she refuses, he decides he’s going to teach her what a bad day really is.
UNHINGED works because it’s a mean little thriller that exploits a fear that we can actually imagine. Most of us have a story that involves some level of road rage, and director Derrick Borte’s movie doesn’t waste a second once it gets going. It’s one of those movies where everything keeps getting worse for the terrorized Rachel while the tension continually ratchets up from the beginning to end. The violence is sudden and brutal so you never quite know what’s going to happen next, which definitely works in the film’s favor.
And then there’s the incredible Russell Crowe. Probably heavier than he’s ever been on screen, his psychopathic road rager is truly terrifying. Having witnessed his sick mental state early in the film, we know he’s capable of committing the most heinous acts imaginable. Crowe commits himself completely to this character, erasing any thoughts we have of his noble performances in movies like GLADIATOR or CINDERELLA MAN. Caren Pistorius is also effective as the woman who’s in for the fight of her life. I think she looks a lot like actress Shailene Woodley.
UNHINGED isn’t a perfect film, as it does ask its audience to suspend quite a bit of disbelief. But with that said, it does offer 90 minutes of suspense anchored by Crowe’s incredibly intimidating performance. In my opinion, it’s a very effective film… and I doubt I honk at anybody on my way to work tomorrow morning!
Through the Shattered Lens 