Brad’s emotional response to SINNERS (2025)!


I love Ryan Coogler and Michael B. Jordan, and it really goes back to their collaboration on CREED. No movie has stirred my emotions in the past decade as much as CREED. I laughed, I cried, and I got pumped up even though I watched the film in the theater by myself. I would go on to tell every person I knew that they had to see the film. I couldn’t imagine that any other combination of writer, director or actor could have created a better continuation of the world that began with Stallone’s original story. CREED is a classic of its own as far as I’m concerned. 

I had not heard about SINNERS until Arleigh shared the trailer here on The Shattered Lens a couple of weeks ago. That’s when I saw that it was a Ryan Coogler film starring Michael B. Jordan. That caught my interest even though I didn’t stop and actually watch the trailer as I was in the crunch of tax season. And then Leonard dropped a review of the film on April 17th.

I don’t go to the theater often these days but I decided that I just had to see the film over the Easter weekend. I talked Sierra into going with me on Saturday morning, and all I told her was that it is a vampire movie from the guy who did CREED. I purposely read nothing else about the film because I know that Coogler and Jordan make magic on the screen when they work together. I didn’t want anything else influencing my initial experience with the film in any way. 

Rather than spend any time on the plot of the film, I just wanted to spend a little time talking about how the movie made me feel. First, watching Michael B. Jordan interpret the Smoke-Stack characters in such different ways was pure joy for me. Any person who has read my articles knows that I have a tendency to obsess over the actors I really like. I don’t believe there is an actor under 40 years of age that enjoy watching perform more than Jordan. I’ll watch anything he does throughout his career. Second, there is something so interesting about Miles Caton in the part of the singer and guitarist Sammie Moore, aka Preacher Boy. That deep voice of his almost didn’t seem to go with those fresh face features. I can see why the other characters reacted to his singing and playing the way they did because the man has real talent. I was surprised that this was his first film based on the confidence he carried throughout. Third, it’s always fun to see Delroy Lindo in any role. Fourth, I liked the relationship between Smoke and Annie (Wunmi Mosaku). When I first saw Annie standing in the doorway and looking at him by the small grave, my first inclination would not have been that those two had been in a relationship together and that he was at the grave of their child. To me it was a nice surprise that the painful history being shown was shared between those two and that they still loved each other. I also really wished I could try her fried catfish. I also liked certain aspects of some of the other characters including Mary (Hailee Steinfeld), the Chow family and Cornbread. 

The music is incredible in SINNERS. I won’t pretend to be an expert on the blues, but I know what I like, and I liked what I heard. I’ve always been a fan of the movie CROSSROADS with Ralph Macchio and Joe Seneca. Both movies are in awe of the power of the blues, and I was somewhat surprised that Ryan Coogler’s “vampire movie” was showing such an interest in the music as a character and not just a soundtrack. I liked the scene where Stack introduces Miles to Lindo’s character Delta Slim. I like the music at the juke joint, and the out of left field trip through the musical decades was a unique and powerful choice that showed a director not afraid to go wherever his intuition takes him. My “joint” would probably feature country music, but I’ve always said I can like any music as long as it’s good. The music in SINNERS is great. 

I will say that the things that interested me the most, mainly the development of the characters, took a back seat once the vampires were revealed. I wanted to get to know these characters even more. The action was well filmed and there were some surprises along the way, but once the vampires emerged, I felt like I was watching a movie I had seen before. Even though it was extremely well done, the film’s special quality seemed a little less. With that said, Smoke’s late stand against the Klan was exciting and emotionally satisfying.

Overall, I would give SINNERS a solid 4 stars out of 5 based on my initial viewing. I will revisit the movie at some point, but I’m letting the film seep into my bones at the moment. Coogler seems to be a filmmaking genius and I haven’t stopped thinking about his latest movie over the last few days. I have a feeling this movie will continue to grow on me with repeated viewings.  

Retro Television Review: Miami Vice 4.1 “Contempt of Court”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, the fourth season begins with a whimper.

Episode 4.1 “Contempt of Court”

(Dir by Jan Eliasberg, originally aired on September 25th, 1987)

It’s time for season 4!  Crockett has longer hair!  Tubbs has a beard!  Otherwise, they’re still somehow doing the undercover thing, despite making no effort to maintain their undercover identities.  This episode finds them both in court and, later on, pulling their guns on a mob boss in broad daylight.  How exactly there is anybody in Miami who does not know that Burnett and Cooper are actually Crockett and Tubbs, I do not know.

This was kind of a boring episode, which does not bode well for the rest of the fourth season.  Mob boss Frank Mosca (Stanley Tucci) is on trial but, because the case hinges on information supplied by an informant, Crockett is faced with making the decision about whether or not to name Jack Rivers (Steven Keats) as the informer.  For Jack’s own safety, Crockett refuses but Mosca figures it out anyway.  Jack is stabbed to death while a helpless Crockett watches.  (Crockett’s in jail on a contempt of court charge.)  Later, Jack’s teenage son, Terry (Richard Panebianco), tells Crockett, “I had no idea you were a cop.”  Really?  What a stupid kid.

Anyway, after Mosca frames a juror for taking bribes and a mistrial is declared, Terry pulls a gun on Mosca as he and his men are walking out of the courthouse.  For once, Crockett and Tubbs are able to convince someone not to open fire.  I think this is the first time, in Miami Vice history, that Crockett and Tubbs have managed to prevent an assassination.  Still, Terry does fire his gun in the air.  Mosca smirks and leaves.  What’s weird is that no one else reacts to Terry shooting he gun.  I mean, he’s on the steps of the courthouse.  Why are there no guards rushing out?  Why are Crockett and Tubbs the only cops around?  Seriously, it makes absolutely no sense.

This episode had some worthy guest stars.  Stanley Tucci appeared to be having fun as the cartoonishly evil Mosca.  Meg Foster played the district attorney.  Philip Baker Hall was the judged who ordered Crockett to name the informant.  That said, the episode itself got bogged down in all of the legal wrangling going on inside the courtroom.  For the past three seasons, Miami Vice is a downbeat cop show, not a show about lawyers objecting and debating the point of law.  The fourth season premiere felt off.

I’ve read bad things about this upcoming season and this episode did little to generate any feeling of optimism or hope.  Both Don Johnson and Philip Michael Thomas looked bored and even Edward James Olmos’s Castillo is starting to get a little …. I guess annoying would be the world.  Seriously, make eye contact with someone!

Well, we’ve got a long season ahead of us.  Let’s hope for the best.

Song of the Day: Lust For Life by Iggy Pop


Today, the Shattered Lens wishes a happy birthday to Iggy Pop.  Today’s song of the day was performed by Iggy and co-written by him and David Bowie.  Here is the anthemic Lust For Life.

Here comes Johnny Yen again
With the liquor and drugs
And a flesh machine
He’s gonna do another strip tease

Hey man, where’d y’get that lotion?
I’ve been hurting since I’m up again
About something called love
Yeah, something called love
Well, that’s like hypnotizing chickens

Well, I’m just a modern guy
Of course, I’ve had it in the ear before
And I’ve a lust for life
‘Cause I’ve a lust for life

I’m worth a million in prizes
With my torture film
Drive a GTO
Wear a uniform
All on a government loan

I’m worth a million in prizes
Yeah, I’m through with sleeping on the sidewalk
No more beating my brains
No more beating my brains
With liquor and drugs
With liquor and drugs

Well, I’m just a modern guy
Of course, I’ve had it in the ear before
Well, I’ve a lust for life (lust for life)
‘Cause of a lust for life

I got a lust for life
Got a lust for life
Oh, a lust for life
Oh, a lust for life

A lust for life
I got a lust for life

Got a lust for life

Well, I’m just a modern guy
Of course, I’ve had it in my ear before
Well, I’ve a lust for life
‘Cause I’ve a lust for life

Well, here comes Johnny Yen again
With the liquor and drugs
And a flesh machine
I know he’s gonna do another strip tease

Hey man, where’d y’get that lotion?
Your skin starts itching once you buy the gimmick
About something called love
Love, love, love
Well, that’s like hypnotizing chickens

Well, I’m just a modern guy
Of course, I’ve had it in the ear before
And I’ve a lust for life (lust for life)
‘Cause I’ve a lust for life (lust for life)

Got a lust for life
Yeah, a lust for life
I got a lust for life
A lust for life

Got a lust for life
Yeah, a lust for life
I got a lust for life

Lust for life
Lust for life
Lust for life
Lust for life
Lust for life

Songwriters: Iggy Pop / David Bowie / David Robert Jones

The Eric Roberts Collection: Strange Frequency (dir by Mary Lambert and Bryan Spicer)


2001’s Strange Frequency is an anthology film.  Usually, I hate anthology films because it always seems like the viewer ends up with one good story and three mediocre ones.  As well, the anthology format is one that sometimes seems to be specifically designed to bring out the worst tendencies in otherwise talented directors.  Often times, they seem to treat the anthology format as a lark, an excuse to show off their technical mastery without really paying much attention to anything else.  The results often feel thematically shallow.

Well, guess what?  I liked Strange Frequency.  It was a lot of fun.  Each of the four stories mixed horror with music.  The first story features two heavy metal fans (Erik Palladino and Danny Masterson) who, after a car accident, find themselves in a club where disco is played nonstop.  For them, it’s Hell.  For me, it sounds like a fun afterlife.  (Yes, it’s not easy to watch Danny Masterson nowadays but he does suffer in this story.)  The second story is about a middle-aged serial killer (Eric Roberts) who targets younger hitchhikers, specifically because he dislikes their taste in music.  However, when he picks up a young grunge fan (Christopher Kennedy Masterson), he suddenly finds himself being targeted.  It turns out that this hitchhiker targets old people who won’t shut up about Woodstock.  They then meet an older man who has never forgiven the baby boomers for rejecting big band music.  In the third story, a rock star (John Taylor) who enjoys destroying hotel rooms is confronted by a maid (Holland Taylor) who can literally clean up any mess.  (“I want my headlines!” the rock star shouts as he realizes he’s never going to get credit for destroying his current room.)  Finally, the fourth story stars Judd Nelson as an A&R man who has the ability to find up-and-coming stars but whose discoveries inevitably end up dying.

All three of the stories were well-done and genuinely clever.  My favorite was the second story, which featured Eric Roberts giving an enjoyably unhinged performance as the Woodstock refugee with a hatred for Lollapalooza.  The story was both clever and suspenseful and it actually had something to say about the cultural differences between the generations.  As you get older, you really do come to hate whatever music came after the artists you grew up listening to.  Eventually, all the Swifties will be in their 40s and 50s, wondering why the younger generation doesn’t appreciate good music about feelings.

Strange Frequency was a pilot for a series that aired on VH-1 in 2001.  How come I don’t remember this show?  The pilot was actually really good!  Thank you to Australia’s own Mark V for telling me about this pilot and letting me know that it was on YouTube!  Check it out if you get a chance.

Previous Eric Roberts Films That We Have Reviewed:

  1. Star 80 (1983)
  2. Runaway Train (1985)
  3. Best of the Best (1989)
  4. Blood Red (1989)
  5. The Ambulance (1990)
  6. The Lost Capone (1990)
  7. Best of the Best II (1993)
  8. Love, Cheat, & Steal (1993)
  9. Voyage (1993)
  10. Love Is A Gun (1994)
  11. Sensation (1994)
  12. Dark Angel (1996)
  13. Doctor Who (1996)
  14. Most Wanted (1997)
  15. Mercy Streets (2000)
  16. Raptor (2001)
  17. Rough Air: Danger on Flight 534 (2001)
  18. Wolves of Wall Street (2002)
  19. Border Blues (2004)
  20. Mr. Brightside (2004)
  21. Six: The Mark Unleased (2004)
  22. We Belong Together (2005)
  23. Hey You (2006)
  24. Depth Charge (2008)
  25. Amazing Racer (2009)
  26. In The Blink of an Eye (2009)
  27. Bed & Breakfast (2010)
  28. Enemies Among Us (2010)
  29. The Expendables (2010) 
  30. Sharktopus (2010)
  31. Beyond The Trophy (2012)
  32. The Dead Want Women (2012)
  33. Deadline (2012)
  34. The Mark (2012)
  35. Miss Atomic Bomb (2012)
  36. Assault on Wall Street (2013)
  37. Bonnie And Clyde: Justified (2013)
  38. Lovelace (2013)
  39. The Mark: Redemption (2013)
  40. The Perfect Summer (2013)
  41. Self-Storage (2013)
  42. A Talking Cat!?! (2013)
  43. This Is Our Time (2013)
  44. Inherent Vice (2014)
  45. Road to the Open (2014)
  46. Rumors of War (2014)
  47. Amityville Death House (2015)
  48. Deadly Sanctuary (2015)
  49. A Fatal Obsession (2015)
  50. Las Vegas Story (2015)
  51. Stalked By My Doctor (2015)
  52. Enemy Within (2016)
  53. Joker’s Poltergeist (2016)
  54. Prayer Never Fails (2016)
  55. Stalked By My Doctor: The Return (2016)
  56. The Wrong Roommate (2016)
  57. Dark Image (2017)
  58. Black Wake (2018)
  59. Frank and Ava (2018)
  60. Stalked By My Doctor: Patient’s Revenge (2018)
  61. Clinton Island (2019)
  62. Monster Island (2019)
  63. The Reliant (2019)
  64. The Savant (2019)
  65. Seven Deadly Sins (2019)
  66. Stalked By My Doctor: A Sleepwalker’s Nightmare (2019)
  67. The Wrong Mommy (2019)
  68. Exodus of a Prodigal Son (2020)
  69. Free Lunch Express (2020)
  70. Her Deadly Groom (2020)
  71. Top Gunner (2020)
  72. Deadly Nightshade (2021)
  73. The Elevator (2021)
  74. Just What The Doctor Ordered (2021)
  75. Killer Advice (2021)
  76. Night Night (2021)
  77. The Poltergeist Diaries (2021)
  78. The Rebels of PT-218 (2021)
  79. A Town Called Parable (2021)
  80. Bleach (2022)
  81. My Dinner With Eric (2022)
  82. 69 Parts (2022)
  83. D.C. Down (2023)
  84. Aftermath (2024)
  85. Bad Substitute (2024)
  86. Devil’s Knight (2024)
  87. The Wrong Life Coach (2024)
  88. When It Rains In L.A. (2025

The Hong Kong Film Corner: THE BIG BULLET (1996), starring Lau Ching-Wan!


The first time I ever remember seeing Hong Kong actor “Sean” Lau Ching-Wan on the screen was in the Jet Li film, BLACK MASK. I was watching the film because of Jet Li, who had recently hit it big in America as a bad guy in LETHAL WEAPON 4, but I remember thinking that Lau’s cop character was pretty darn cool too. I didn’t think of him again for awhile, but then I bought a book about Hong Kong movies called “Hollywood East: Hong Kong Movies and the People who Make Them,” from author Stefan Hammond. This book was Hammond’s follow up to “Sex and Zen and a Bullet in the Head,” one of the books that truly educated me on the cinema of Hong Kong. “Hollywood East” spent a whole bunch of pages discussing Lau Ching-Wan and his movies. I connected the dots between this very interesting actor I was reading about and that cool cop in BLACK MASK. So I did what I do. I bought one of his movies, and then another, and then another. Soon I was obsessed with watching all of his movies. One of those first movies I remember reading about in “Hollywood East” was THE BIG BULLET. 

In THE BIG BULLET, Lau Ching-Wan is the badass cop-with-an-attitude, Sergeant Bill Chu, who doesn’t take crap off of anyone, including his superiors on the force. After belting one of his so-called superiors following a botched raid, Chu finds himself transferred to the Hong Kong police force’s “Emergency Unit,” a clear demotion for a man of his experience and arrest record. Here, the loner must work as part of a team to answer the various calls that come their way on a daily basis. This isn’t always easy, as one of the fellow cops on the unit is the extremely by-the-book Inspector Jeff Chiu (Jordan Chan). They clash immediately. Other members include the spunky Apple (Theresa Lee), the nerdy gun nut (Cheung Tat-Ming), and the old guy (Spencer Lam). This somewhat ragtag group finds themselves in the uneviable position of trying to stop an extremely dangerous group of thieves, led by The Professor (Yu Ronguang) and Bird (Anthony Wong). We’ve seen their willingness to kill at the drop of the hat, and the Emergency Unit doesn’t seem to be a proper match for these criminals. Or are they?? 

If you’re looking for a strong action film, and you’ve never seen it before, I present THE BIG BULLET. Director Benny Chan was emerging as a top notch Hong Kong film director, and THE BIG BULLET seemed to announce that he was throwing his hat into the ring as an action specialist when some of Hong Kong’s best action directors were taking their talents out west. There’s a sequence about 25 minutes into the film where our heroes find themselves in a shootout with the main villains that will leave your heart racing in the same manner as some of John Woo’s or Ringo Lam’s best work. And the actors are the very best that Hong Kong has to offer. Lau Ching-Wan, while not a dashing star in the mold of Chow Yun-Fat, easily carries the film on his shoulders with his natural charisma and tremendous screen presence. Even now, almost 30 years later, Lau Ching-Wan continues to dominate the Hong Kong film industry from an acting standpoint. He is nominated in 2025 for the Hong Film Award for Best Actor for his role in the film PAPA (2024). The excellent Francis Ng has a small, but pivotal role as Chu’s friend and colleague on the police force who helps him save his job at the beginning of the film. I also like Jordan Chan as the by-the-books member of the team who comes to realize that there are times when you may have to bend the rules to stop dangerous criminals. In a role that starts out extremely unlikable, he wins us over as the film progresses. As far as the criminals go, it would be hard to get much better actors for the parts than Yu Rongguang (IRON MONKEY) and Anthony Wong (BEAST COPS, THE MISSION). These excellent actors are cool and evil and we definitely want to see them get their comeuppance before the credits roll. 

Overall, THE BIG BULLET may lose a little bit of steam in its second half, but it’s still a great example of how strong Hong Kong action films were in the late 90’s. It’s also an example of the excellent talent in Hong Kong films even as Jackie Chan, Chow Yun-Fat, Jet Li, and John Woo had already moved on to Hollywood. THE BIG BULLET has a special place in my heart since it was one of those formative Lau Ching-Wan films in my life. But nostalgia aside, it’s still a damn good action film, and I recommend it without any reservations! 

A Blast From The Past: Outer and Inner Space (dir by Andy Warhol)


Today’s blast from the past comes from 1966.

In this 33-minute short film, we watch as Edie Sedgwick appears to have a conversation with herself.  She’s not, of course.  Instead, she’s sitting next to a television monitor that is showing a video of Edie having a conversation with an off-screen someone who was to the right of her.  Meanwhile, the “live” Edie is having a conversation with an unseen person who is sitting to the left of her.  This creates the illusion of the two Edies having a disjointed conversation with each other whereas, in reality, we’re really not sure who either Edie is talking to or what they’re even talking about.  As was typical with Andy Warhol’s Factory films, the soundtrack is notably muddy.  As well, the video below is actually a film of the film, which I think Warhol perhaps would have appreciated as long as he got paid.

Okay, it’s not for everyone.  Obviously, if you’re not a fan of Warhol’s films, this experimental piece is not going to change your mind.  In fact, it’ll probably make you a little bit angry.  But, for me, it’s a fascinating time capsule, a true product of the era from which it came.  Warhol’s experiments might not seem spectacular today but that’s because we’ve grown use to experimentation.  Experimentation has become a mainstream concept.  Warhol, on the other hand, was making his underground films at a time when the term “underground” actually meant something.

As well, this film features Edie at the height of her fame.  It’s a bit sad to watch now, knowing how fleeting her obvious happiness would be.  Warhol’s films always framed Edie as being just slightly out of reach, from both the viewers and the filmmaker.  With the muddy soundtrack, one watches the multiple Edies in this film and wonders what is going through their mind,  This is a film that embraces the enigma of existence and image.

 

Song of the Day: Femme Fatale by Nico and the Velvet Underground


Today’s song of the day comes from Lou Reed.  Andy Warhol reportedly asked Lou Reed to write a song about how Edie Sedgwick was a femme fatale.  It’s a song that captures the fascination that Edie inspired amongst artists in the 60s and beyond.  It may not be the most positive portrait of Edie as a person but at least it’s not quite as bitter as Bob Dylan’s Like A Rolling Stone.

Here she comes,
You’d better watch your step,
She’s going to break your heart in two,
It’s true.

It’s not hard to realize,
Just look into her false colored eyes,
She’ll build you up to just put you down,
What a clown.

‘Cause everybody knows
She’s a femme fatale
The things she does to please
She’s a femme fatale
She’s just a little tease
She’s a femme fatale
See the way she walks
Hear the way she talks.

You’re written in her book,
You’re number thirty-seven, have a look.
She’s going to smile to make you frown,
What a clown.

Little boy, she’s from the street.
Before you start you’re already beat.
She’s going to play you for a fool,
Yes, it’s true.

‘Cause everybody knows
She’s a femme fatale
The things she does to please
She’s a femme fatale
She’s just a little tease
She’s a femme fatale
See the way she walks,
Hear the way she talks.

‘Cause everybody knows
She’s a femme fatale
The things she does to please
She’s a femme fatale
She’s just a little tease
She’s a femme fatale
Oh, oh, oh, oh, oh
She’s a femme fatale
Oh, oh, oh, oh, oh
She’s a femme fatale
Oh, oh, oh, oh, oh
She’s a femme fatale

It’s about a hundred years old that song …

Songwriters: Lou Reed

The Eric Roberts Collection: Best of the Best II (dir by Bob Radler)


Eric Roberts, Phillip Rhee, Simon Rhee, and Chris Penn all return for more martial arts action in 1993’s Best Of The Best II!

In the years since the American team’s quasi-victory over the Korean team in the first Best Of The Best, Travis (Chris Penn) has fallen on hard times.  While his former teammates, Alex (Eric Roberts) and Tommy (Phillip Rhee) attend to the day-to-day operations of running a martial arts studio in Las Vegas, Travis spends his time fighting in underground “colosseum” matches.  These matches, hosted by Weldon Mardano (Wayne Newton), are modern-day gladiatorial contests where the fighters often battle to the death while a bunch of rich people watch and cheer.  (We can tell they’re rich because they all wear tuxedos).  “There are no rules!” the crowd shouts as Travis defeats opponent after opponent.

Travis is convinced that he can defeat the colosseum’s German champion, fearsome Gustave Brakus (Ralf Moeller).  It turns out that Travis is wrong.  Travis loses to Brakus and is promptly killed after the crowd starts to chant, “Die!  Die!  Die!”  (In Brakus’s defense, he may have thought they were just chanting, “The!  The!  The!”)  (Actually, don’t ask me how that works in Brakus’s defense.  I really didn’t think that joke through.)  Travis’s death is witnessed by Alex’s young son, Walter (Edan Gross).  Travis, Walter, and Tommy go on the run, ending up at Tommy’s boyhood home.  Tommy, it turns out, is half-Native American and his bitter uncle, James (Sonny Landham), trains Tommy and Alex for their inevitable fight against Brakus.  Dae-han Park (Simon Rhee) also shows up, saying that he owes Tommy a debt for not killing him at the end of the previous film.

Best of the Best II is an improvement on the first film, if just because it doesn’t take itself seriously at all and it cheerfully embraces and celebrates the absurdity at the heart of the storyline.  Just the fact that one of the film’s villains is played by Wayne Newton should tell you everything you need to know about this film’s style.  This is a pure Vegas film, full of glitz and neon and plenty of tuxedos.  Eric Roberts even wears a tux at the end of the movie.  Just as in the first film, Roberts does most of the acting while Phillip Rhee supplies the action.  Roberts is a bit less emotional in this film.  If he spent the first film continually on the verge of tears, he spends the second one trying not to smile at the silliness of it all.  Towards the end of the film, you can actually see him starting to laugh at Wayne Newton’s over-the-top performance and it’s actually kind of a nice moment.  Don’t take this too seriously, the film seems to be saying, We’re not!  Just enjoy the fights!

Best of the Best II is definitely an improvement over the first one, even if it is unfortunate that neither James Earl Jones nor Sally Kirkland returned.  (Then again, if you were the Tony-winning, widely-celebrated, universally-beloved, and very much in-demand James Earl Jones, would you have returned?)   Best of the Best II doesn’t take itself too seriously and, as a result, it’s far more entertaining than you might otherwise expect.

Previous Eric Roberts Films That We Have Reviewed:

  1. Star 80 (1983)
  2. Runaway Train (1985)
  3. Best of the Best (1989)
  4. Blood Red (1989)
  5. The Ambulance (1990)
  6. The Lost Capone (1990)
  7. Love, Cheat, & Steal (1993)
  8. Voyage (1993)
  9. Love Is A Gun (1994)
  10. Sensation (1994)
  11. Dark Angel (1996)
  12. Doctor Who (1996)
  13. Most Wanted (1997)
  14. Mercy Streets (2000)
  15. Raptor (2001)
  16. Rough Air: Danger on Flight 534 (2001)
  17. Wolves of Wall Street (2002)
  18. Border Blues (2004)
  19. Mr. Brightside (2004)
  20. Six: The Mark Unleased (2004)
  21. We Belong Together (2005)
  22. Hey You (2006)
  23. Depth Charge (2008)
  24. Amazing Racer (2009)
  25. In The Blink of an Eye (2009)
  26. Bed & Breakfast (2010)
  27. Enemies Among Us (2010)
  28. The Expendables (2010) 
  29. Sharktopus (2010)
  30. Beyond The Trophy (2012)
  31. The Dead Want Women (2012)
  32. Deadline (2012)
  33. The Mark (2012)
  34. Miss Atomic Bomb (2012)
  35. Assault on Wall Street (2013)
  36. Bonnie And Clyde: Justified (2013)
  37. Lovelace (2013)
  38. The Mark: Redemption (2013)
  39. The Perfect Summer (2013)
  40. Self-Storage (2013)
  41. A Talking Cat!?! (2013)
  42. This Is Our Time (2013)
  43. Inherent Vice (2014)
  44. Road to the Open (2014)
  45. Rumors of War (2014)
  46. Amityville Death House (2015)
  47. Deadly Sanctuary (2015)
  48. A Fatal Obsession (2015)
  49. Las Vegas Story (2015)
  50. Stalked By My Doctor (2015)
  51. Enemy Within (2016)
  52. Joker’s Poltergeist (2016)
  53. Prayer Never Fails (2016)
  54. Stalked By My Doctor: The Return (2016)
  55. The Wrong Roommate (2016)
  56. Dark Image (2017)
  57. Black Wake (2018)
  58. Frank and Ava (2018)
  59. Stalked By My Doctor: Patient’s Revenge (2018)
  60. Clinton Island (2019)
  61. Monster Island (2019)
  62. The Reliant (2019)
  63. The Savant (2019)
  64. Seven Deadly Sins (2019)
  65. Stalked By My Doctor: A Sleepwalker’s Nightmare (2019)
  66. The Wrong Mommy (2019)
  67. Exodus of a Prodigal Son (2020)
  68. Free Lunch Express (2020)
  69. Her Deadly Groom (2020)
  70. Top Gunner (2020)
  71. Deadly Nightshade (2021)
  72. The Elevator (2021)
  73. Just What The Doctor Ordered (2021)
  74. Killer Advice (2021)
  75. Night Night (2021)
  76. The Poltergeist Diaries (2021)
  77. The Rebels of PT-218 (2021)
  78. A Town Called Parable (2021)
  79. Bleach (2022)
  80. My Dinner With Eric (2022)
  81. 69 Parts (2022)
  82. D.C. Down (2023)
  83. Aftermath (2024)
  84. Bad Substitute (2024)
  85. Devil’s Knight (2024)
  86. The Wrong Life Coach (2024)
  87. When It Rains In L.A. (2025