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.
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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!
“We will not go quietly into the night! We will not vanish without a fight! We’re going to live on! We’re going to survive! Today, we celebrate our Independence Day!” — President Whitmore
If you were around in the summer of 1996, you already know exactly where you were when you first saw the trailer for Independence Day. There was this massive shadow creeping over the moon, followed by that terrifying, booming sound effect, and then the White House just absolutely getting vaporized by a giant laser beam. It was a cultural moment. Director Roland Emmerich hadn’t really made his mark on Hollywood yet, but with this one movie, he essentially invented the modern summer blockbuster template of destroying famous global landmarks. Looking back at Independence Day almost three decades later, it is honestly wild how well this movie holds up, not as a piece of high art, but as a perfectly calibrated, ridiculously entertaining popcorn machine.
The premise is beautifully simple: massive alien spaceships suddenly appear over Earth’s major cities, they don’t come in peace, and humanity has to figure out how to fight back before we go the way of the dinosaurs. What makes the first act of the movie so effective is the slow build. Emmerich doesn’t just start with explosions; he lets the dread simmer. We see the massive ship hover over New York City, casting a shadow that blocks out the sun, and the sheer scale of the thing is awe-inspiring. Then, when the ships finally initiate their attack sequence, the payoff is spectacular. The practical effects combined with early CGI create these massive, rolling walls of fire that tear through iconic buildings. It is destructive poetry, and as a kid watching it, it was the most incredible thing I had ever seen. Even now, the destruction feels heavy and tactile in a way that modern, entirely computer-generated action sequences often don’t.
But a movie is only as good as its characters, and Independence Day has arguably one of the greatest ensemble casts of the 1990s. You have Will Smith playing Captain Steven Hiller, a fighter pilot who is desperately trying to get promoted while also dealing with his girlfriend, her son, and their dog. Smith is at the absolute peak of his early movie star charm here, delivering some of the most quotable one-liners in action movie history. Punching an alien in the face and yelling “Welcome to Earth!” is the kind of ridiculous machismo that only Smith could pull off without making you cringe. Then you have Jeff Goldblum as David Levinson, an MIT-educated cable repairman and environmentalist who figures out the alien signal is a countdown. Goldblum is basically doing his classic Goldblum thing—stuttering, eccentric, highly caffeinated—but it works perfectly because he serves as the perfect foil to Smith’s brute physicality.
The supporting cast is so deep that it feels like an Ocean’s Eleven of sci-fi tropes. Bill Pullman plays President Thomas J. Whitmore, and he gives the role an earnestness that elevates the material. He’s not an action hero; he’s a former fighter pilot who is clearly in over his head but steps up when his people need him most. You also have Judd Hirsch as Goldblum’s cranky, kvetching father, providing fantastic comic relief. Randy Quaid plays Russell Casse, a traumatized former pilot who was abducted by aliens years ago and is written off as a drunk by his small town, giving the movie an underdog storyline. And you can’t forget Brent Spiner as Dr. Okun, the wildly eccentric Area 51 scientist who gets way too excited about the alien biology. Every single one of these actors is fully committed to the bit, no matter how absurd the situation gets.
Now, if we are being completely honest, we have to talk about the plot, which is essentially held together with scotch tape and sheer willpower. The entire third act revolves around Goldblum and Smith flying a captured alien spacecraft up to the mothership to upload a computer virus using a 1996 Apple PowerBook. Yes, an Earth laptop somehow interfaces perfectly with an advanced extraterrestrial operating system, and yes, the aliens apparently don’t have McAfee, Norton or any kind of firewall to prevent a rudimentary human virus from crippling their entire defense grid. It is monumentally stupid if you think about it for even five seconds. But the secret to Independence Day is that it moves so fast and has so much momentum that you simply do not have time to care. The movie dares you to roll your eyes, but then it immediately distracts you with another massive explosion or a great quip from Will Smith, and you just go along for the ride.
The climax of the movie is a masterclass in cheesy, triumphant blockbuster filmmaking. Before the final aerial assault on the alien ships, President Whitmore gives a speech to the troops that has become completely ingrained in pop culture. “Today we celebrate our Independence Day!” he yells, and it is so incredibly corny, but I challenge you not to get at least a little bit pumped up when the music swells. The dogfight that follows is chaotic and thrilling, culminating in Randy Quaid’s character making the ultimate sacrifice by flying his jet directly into the alien weapon. It is exactly the kind of melodramatic, heroic moment that Emmerich excels at, and it hits the emotional beats it needs to hit, even if you saw it coming from a mile away.
You also have to appreciate how unapologetically intense the movie feels despite skating by with a PG-13 rating. People get vaporized, cities are leveled, and there is a genuine sense of apocalyptic dread that permeates the middle of the film. When the aliens first attack, Emmerich actually takes the time to show the aftermath, including cars blowing up in tunnels and people desperately trying to outrun the fireballs. Harvey Fierstein’s character dramatically dying while just sitting in his car, rolling up the window as if that’s going to stop a giant wall of alien fire, is a weirdly specific, dark comedy beat that you rarely see nowadays. The movie has real stakes, and you genuinely feel like humanity is on the brink of extinction.
It is crazy to think about the legacy of Independence Day and how it changed Hollywood. Before this, disaster movies were mostly relegated to B-movie status or Irwin Allen productions from the 1970s. Emmerich proved that you could blend disaster spectacle with sci-fi action and make an absolute fortune. This movie paved the way for Armageddon, Godzilla, The Day After Tomorrow, and essentially the entire concept of the modern cinematic destruction porn genre. They did eventually make a sequel, Independence Day: Resurgence, in 2016, but it completely missed the point of the original. It was too slick, too reliant on weightless CGI, and it lacked the ragtag, underdog charm that made the first one so special.
At the end of the day, Independence Day is just pure, unadulterated cinema comfort food. It does not demand anything from you as a viewer other than to sit back, suspend your disbelief, and enjoy the fireworks. It captures a very specific mid-90s vibe where movies could be big, dumb, loud, and incredibly fun without taking themselves too seriously. Roland Emmerich has directed a lot of movies since then where he has destroyed the world in various different ways, but he has never quite managed to capture the lightning in a bottle that he did here. Whenever the Fourth of July rolls around, or whenever you just need a reliable, edge-of-your-seat action movie to kill a couple of hours, Independence Day is always there, waiting to welcome you to Earth one more time.
My best friend Evelyn and I have a long-standing pact. If either one of us dies mysteriously or suddenly disappears, the surviving friend will investigate the crime and bring those responsible to justice.
It’s the type of pact that you make when you realize how much your best friend actually means to you. Fortunately, I’ve never had to keep up my end of the pact because nothing has happened to my best friend. The truth of the matter is that it seems like it would actually be very difficult to independently solve a crime. I know that a lot of people thought that Michelle McNamara did that when she investigated the Golden State Killer but, if you actually read I’ll Be Gone In The Dark and then research the actual facts of the case, you can’t help but notice that all of McNamara’s theories were wrong. It’s not easy investigating a crime without a crime lab or a search warrant or the power to arrest people. There’s a reason why most crimes are solved by detectives and not by well-meaning civilians. Add to that, with my ADHD, there’s no way I’d be able to keep track of whatever clues I did find. Seriously, I fear that I would be useless in that situation.
If only life were a Lifetime movie!
In 2o24’s Danger of Party Island, Mel Dale (Lindsey Dresbach) is a lawyer who is stunned to learn that her carefree sister, Georgia (Andrea Prevatt), has apparently washed up dead on the island of Fang Key. While her anxious mother waits for word in the States, Mel heads down to Fang Key and tries to figure what could have led to her sister’s death. The local police suggests that Georgia was on drugs and trying to cliff dive. Mel says that Georgia never drank or used drugs. (Why would you go to a “party island” if you didn’t drink or use drugs?) The police say that Mel should just go home and let them handle it. Mel says that she has to discover the truth. The police mention that Georgia’s best friend is missing too. Around this time, Mel finally figures out that the police aren’t going to be much help.
Mel’s investigation leads her to darkest corners of a party island. She befriends hunky club owner Jever (James Bobo), despite everyone telling her that Jever is actually bad news. She comes to suspect that Georgia might not even be dead. This suspicion seems to be confirmed when Georgia suddenly starts posting cheerful videos to her social media accounts. Again, everyone tells Mel that she should just go home but Mel is convinced that someone is holding Georgia against her will. Meanwhile, Mel and Georgia’s mother keeps threatening to come to the island and take over the investigation herself.
The cool thing about Danger on Party Island is that all Mel really needs to launch an investigation is a lap top and a good search engine. That certainly gave me some hope because, if I ever do have to solve a crime, I know all of the best search engines. The other good thing about Danger on Party Island is that the island was really pretty. This was a film where the plot was so-so but the scenery was lovely. Director Danny J. Boyle did a good job of contrasting the beauty of the island with the darkness of some of the things going in the shadows.
I just wish that the film had been a little bit more fun. This is a film that did indeed embrace the melodrama but I still found myself wishing that it had embraced it even more. Instead, the film’s big finale felt anti-climatic and things just never got as over-the-top as they should have. Danger On Party Island had a beautiful island but it still needed to be more of a party.
In the end, this Lifetime film held my attention. It didn’t quite live up to the melodramatic promise of its name but at least it suggested that solving a crime isn’t as hard as it looks.
Adam Cooper (Chad Lowe) is a teenager growing up in Colonial Massachusetts. His father, Moses Cooper (Tommy Lee Jones), is a stern man who believes that rights come from men and not God and who, despite believing in negotiating instead of fighting, is willing to take arms against the British if necessary. Adam has a pretty girlfriend (Meredith Salenger) and tries to please both his religious mother (Susan Blakely) and his agnostic father. When Paul Revere makes his famous ride, both Adam and Moses are thrust into the Battle of Lexington and, over the course of one long night, Adam is forced to grow up and become the man of the house.
Based on the classic novel by Howard Fast, April Morning was made for television and first aired in 1988. The novel and the movie provide a look at the American Revolution through the eyes of the people who actually fought in the battles. The movie emphasizes the coming-of-age aspect of Fast’s novel and downplays the political subtext. The novel presented a much more complex view of both war and religion while the film definitely simplifies things. Chad Lowe comes across as being too contemporary to be totally believable as someone growing up in the 1700s but Tommy Lee Jones is the perfect choice for Moses Cooper and, even though her role is small, Meredith Salenger once again demonstrates that she was one of the best young actresses of the era. In the film, Rip Torn plays the man who fires the first shot of the battle and it’s hard to think of a better actor for the role.
At its best, the movie recreates the confusion of being in battle. Even though the Battle of Lexington was the start of the American Revolution and April 19th, 1776 was one of the most important dates in American history, Adam Cooper just wants to survive the night so that he can return home. War may sometimes be necessary but it’s never easy.
Released in 2024, Here is the type of movie that I usually would like. It’s ambitious. It’s experimental. It’s about history and how certain patterns will always repeat themselves no matter what. It features Tom Hanks and Paul Bettany, two of my favorite actors. Also, unlike a lot of people, I haven’t turned on Robert Zemeckis. For the most part, I usually enjoy his movies, including the more recent ones. (Of course, when I say more recent, I’m thinking of The Walk, which came out eleven years ago. But still….)
Here has an intriguing concept. Over the course of 104 minutes, Here covers several thousand years of history. The stationary camera focuses on a single plot of land, which goes from being an area dominated by dinosaurs to being the road outside of Colonial Governor William Franklin’s house during the American Revolution to eventually becoming the living room of a house that is occupied by several different families. The story plays out in a nonlinear fashion with the marriage of Richard and Margaret Young (played by Tom Hanks and Robin Wright) ultimately dominating the narrative. We watch as people fall in love, sometimes fall out of love, and eventually die. With the exception of one key moment, the camera never moves. Instead, we watch as life plays out in front of the camera and it’s often left to our imagination as to what’s happening on the other side of the lens. When Margaret, at one point, complains about how she can’t stand to keep looking at the same couch day-after-day, we know exactly how she feels.
As I said, I really wanted to like this movie but, unfortunately, it just fell flat. We meet a lot of characters but no one really feels human. Instead, all of the dialogue and the action has the shallow snappiness of an old sitcom. It’s easy to imagine this film being aired with a laugh track and an audience going, “Awwww!” after every emotional moment. As a result, watching Here feels less like witnessing history unfold and more like flipping around the nostalgia channels and trying to pick which old sitcom you want to watch. Do you want to watch the show about Ben Franklin not liking his son or the show that features Paul Bettany as a veteran dealing with PSTD? Do you want a show about a pilot who dies during the Spanish Flu epidemic or about a masked-up husband during the COVID lockdowns? One of the film’s final scenes features a character who is suffering from Alzheimer’s visiting the house and suddenly announcing that they remember everything about living there. It’s a moment that is meant to be heartfelt but, instead, it feels insulting to anyone who has ever taken care of a loved one with dementia. Alzheimer’s is never cutesy, regardless of what the movies may tell us. In the end, very little of the film’s vision of humanity feels authentic.
The other big problem is that the film occasionally uses digital de-aging to try to convince us that Tom Hanks and Robin Wright are both teenagers and it just doesn’t work. Hanks is playing Paul Bettany’s son but, whenever the two actors appear at the same time, it’s obvious that Hanks is considerably older than his screen father. Unlike The Irishman, which had a strong story and enough good performances to convince the viewer to suspend their disbelief and accept the imperfect de-aging technology, the de-aging in Here just emphasizes how inauthentic the film’s story feels.
As I said earlier, this film had potential but, unfortunately, most of that potential goes unrealized.
First released in the year 2000, The Patriot stars Mel Gibson (back before the arrests and scandals) as Benjamin Martin.
Benjamin Martin is a planter living in colonial-era South Carolina. When he was younger, he fought in the French/Indian War and was infamous for his ferocity as a combatant. However, in the year 1776, he is devoted to working the land and peacefully caring for his children. When, as a member of the South Carolina General Assembly, he is called upon to cast a vote for or against independence, he abstains. He’s no fan of the British but he’s also seen the harsh reality of war and doesn’t want his sons to have any part of it. However, the Assembly still votes for Independence and Martin’s oldest son, Gabriel (Heath Ledger), is among the first to enlist in the army.
Four years later, the British come to the Martin farm and demand that Benjamin had over a wounded Gabriel to them. When Benjamin resists, the arrogant Col. Tavington (Jason Isaacs) kills one of Benjamin’s other sons. After Tavington has Gabriel arrested, Benjamin and two of his remaining sons track down the British convoy transporting him. While his two youngest sons look on in horror, Benjamin savagely shoots and hacks to death all of the British soldiers and rescues Gabriel.
The Patriot may be a film about the American Revolution but it’s also definitely a Mel Gibson film. That means that Benjamin is man driven as much be revenge as by a desire to win his country’s independence. The British killed his son and burned down his house. Benjamin responds by grabbing his musket and packing his axe and soon, it’s more common than not to see Benjamin covered in blood. Benjamin attacks like a feral beast who is determined to dominate anyone and anything that would invade his territory. Two of his sons go from being honored to be asked to come along to being terrified at the sight of their father murdering soldier after soldier. It’s probably the most emotionally honest moment you’ll ever find in a Roland Emmerich film. Of course, whether Emmerich meant for it to be so is open to debate.
And indeed, it should be noted that The Patriot is very much a Roland Emmerich film. The running time is an epic 165 minutes. The battle scenes are long and loud and carefully choreographed. Gibson was still rugged and handsome when he played Benjamin Martin. (Both before his downfall and after, Gibson has always been best cast as people who just want to be left alone and who finally snap once it becomes obvious that’s not going to happen.) Heath Ledger almost appears beatific in his scenes. The film looks great without ever quite looking authentic. It’s like a fever dream that is less about how the American Revolution was actually fought and more about how we imagine it was fought.
And you know what?
The film works for me. This is one of Emmerich’s best films, which admittedly is not a high bar to clear. Yes, it’s a bit simplistic. Yes, it’s not historically accurate. Yes, all of the British are portrayed as being one-dimensional villains. Who cares? Whether he realizes it or not, Roland Emmerich has always been a B-movie maker at heart and The Patriot is effective in much the same way that many crude but shameless B-movies are. The mix of Mel Gibson’s madness, Heath Ledger’s beatific earnestness, and Jason Isaac’s arrogance transforms The Patriot into a triumph of the pulp imagination. Much like America itself, The Patriot is big and loud and it makes absolutely no apologies.
