Guilty Pleasure No. 111: Out for Justice (dir. by John Flynn)

Posted on April 17, 2026 by Arleigh

Out for Justice is the kind of movie that leans so heavily on its star’s ridiculous swagger that it stops being merely bad and ridiculous and becomes entertaining in a “can’t‑look‑away from the car‑crash” sort of way. It’s not a polished or especially sophisticated action film, but it has a rough, gleefully over‑the‑top energy that makes it a perfect guilty pleasure, the kind of early ’90s action crime movie that works less because of craft and more because of attitude, bruises, and sheer confidence.

At its core, Out for Justice is a revenge story so simple it barely bothers pretending to be anything else. Steven Seagal plays Gino Felino, a Brooklyn cop chasing the man responsible for his partner’s death, and the plot mostly functions as a chain of excuses to send him from one grimy neighborhood stop to the next, collecting broken noses and wounded pride along the way. That stripped‑down structure is part of the movie’s charm, because there’s no attempt to dress it up with complicated twists or emotional depth; it’s all forward momentum, all hard stares, all macho problem‑solving by fist and elbow.

One of the things that gives Out for Justice its off‑kilter charm is how every actor in the cast seems to have read the script as an invitation to extremes. Performances swing violently between scenery‑chewing over‑the‑top theatrics and barely‑there, almost sleepwalking subtlety, with almost nothing in the middle. Either you’re shouting, staring down suspects inches from their faces, or you’re slouched in the background mugging in silence. It shouldn’t work, but the sheer imbalance in energy somehow makes the film feel like a live wire instead of a flat ’90s programmer.

Nowhere is that more obvious than with William Forsythe’s villain, Richie Madano, who plays the role so far “out there” that it’s hard not to wonder if he was actually on a lot of coke like the character was written to be. He leans into every sneer, every twitch, and every unhinged stare until he starts to look less like a character and more like a walking drug‑induced nightmare. There’s a manic, unpredictable edge to his performance that makes him feel genuinely dangerous, even when the dialogue around him is pure tough‑guy parody. It’s a kind of commitment that could easily tip into self‑parody, but Forsythe owns it so completely that he ends up grounding the film’s madness instead of derailing it.

What really makes Out for Justice memorable is how fully it leans into Seagal’s absurd screen persona. He’s at his best here when he’s acting like a man who believes every room belongs to him, and that attitude gives the movie a weird, shameless energy that a lot of his later work lacked. Even when the dialogue is clunky or the Brooklyn swagger feels more imagined than lived‑in, Seagal’s self‑serious delivery turns the whole thing into a performance art piece of tough‑guy certainty. The film is unintentionally funny at times, but that only adds to the appeal, because it makes the movie feel even more like a relic from a time when action stars could be gloriously excessive without irony.

The action is the main draw, and this is where Out for Justice earns most of its reputation. The fights have that satisfying, bone‑crunching roughness that makes the violence feel tangible instead of slick, and the movie keeps finding excuses to escalate from intimidation to outright brutality. Seagal’s style here is less flashy than some of his contemporaries, but that works in the film’s favor because the choreography has a mean, close‑quarters edge to it. The result is a movie that often feels like it’s trying to win by sheer stubbornness, and honestly, that suits it perfectly.

There’s also a strong sleaze factor running through the whole thing, and that’s another reason it works as a “bad but good” movie. The neighborhoods feel dirty, the criminals are exaggerated to the point of cartoonish menace, and the film’s idea of atmosphere is basically to keep everything sweaty, smoky, and angry. Forsythe’s villain, in particular, leans so extravagantly into that sleaze that he ends up giving the film a properly nasty center. A lot of the supporting characters are basically there to be insulted, questioned, or thrown into a wall, but the movie gets enough mileage out of that rhythm that it never really becomes boring.

Still, there’s no reason to pretend Out for Justice is secretly elegant. The script is thin, the character work is mostly functional, and the movie often feels like it was assembled to move from one confrontation to the next as efficiently as possible. Some of the scenes drag, and the film’s macho posturing can wear thin if you’re not already in the mood for this kind of energy. It also has that peculiar Seagal‑era problem where the movie wants him to be a street‑level man of the people, but the character sometimes comes across more like a self‑mythologizing neighborhood warlord than an actual human being. That disconnect is part of the fun, but it is still a disconnect.

What keeps Out for Justice from becoming a throwaway is the confidence behind the nonsense. It feels like a movie made by people who believed that attitude could substitute for sophistication, and in this case, they were mostly right. The pacing may be uneven, the story may be paper‑thin, and the acting may veer into laughable territory, but the movie never loses its nerve, and that gives it a strange kind of integrity. It doesn’t apologize for being dumb, and that unashamed commitment is exactly why it has aged into cult‑status entertainment instead of disappearing into the pile of generic action forgettables.

That’s why Out for Justice works so well as a guilty pleasure. It’s violent, ridiculous, and very much stuck in its own macho time capsule, but those flaws are inseparable from the appeal. The movie’s “bad but good” vibe comes from the way it accidentally becomes bigger and funnier than it likely intended, while still delivering enough real action‑movie satisfaction to justify the ride. It’s the kind of film that invites eye‑rolling and cheers in almost equal measure, and that balancing act is what makes it such a durable little cult object.

In the end, Out for Justice is not a masterpiece, and it doesn’t need to be. It’s a bruised, swaggering, over‑confident slab of early ’90s action cheese that knows how to sell its own nonsense with just enough force to make it lovable. To borrow from film reactor EOM Reacts (who is hilarious, by the way), “This whole movie screams cocaine.” If you want clean storytelling or nuanced performances, it will probably frustrate you. If you want a hard‑edged, trashy, surprisingly watchable Seagal vehicle that embodies the “bad it’s good” spirit—including a cast that either chews every morsel of the scenery or fades into the wallpaper—Out for Justice hits the mark.

Also, be on the look out for a quick cameo of Kane Hodder (who played Jason Voorhees for many of the franchise’s many sequels) as a gang member and for Dan Inosanto (teacher to Bruce Lee and Chuck Norris) as a character named “Sticks.”

Previous Guilty Pleasures

King of New York (1990, directed by Abel Ferrara)

Posted on July 19, 2025 by Jedadiah Leland

Drug kingpin Frank White (Christopher Walken) has been released from prison and is again on the streets of New York City. Frank might say that he’s gone straight but, as soon as he’s free, he’s partying with his old crew (including Laurene Fishburne, Steve Buscemi, Giancarlo Esposito, and others). While Frank’s agent (Paul Calderon) goes to all of the other city’s gangsters and explains that they can either get out of Frank’s way or die, three detectives (Victor Argo, David Caruso, and Wesley Snipes) make plans to take Frank out by any means necessary. Meanwhile, Frank is donating money to politicians, building hospitals, and presenting himself as New York’s savior.

King of New York is the epitome of a cult film. Directed by Abel Ferrara, the dark and violent King of New York was originally dismissed by critics and struggled to find an audience during its initial theatrical run. (It was lumped in with and overshadowed by other 1990 gangster films like Goodfellas and Godfather Part III.) But it was later rediscovered on both cable and home video and now it’s rightly considered to be a stone cold crime classic. Walken gives one of his best performances as Frank White and that’s not a surprise. The film was clearly made to give Walken a chance to show off what he could do with a lead role and Walken captures Frank’s charisma and humor without forgetting that he’s essentially a sociopath. Walken gives a performance that feels like James Cagney updated for the end of the 80s. What’s even more impressive is that all of the supporting characters are just as memorable as Walken’s Frank White. From Laurence Fishburne’s flamboyant killer to David Caruso’s hotheaded cop to Paul Calderon’s slippery agent to Janet Julian’s morally compromised attorney, everyone gives a strong performance. (I’m usually not a Caruso fan but he’s legitimately great here.) They come together to bring the film’s world to life. Everyone has their own reason for obsessing on Frank White and his return to power. I’ve always especially appreciated Victor Argo as the weary, veteran detective who finds himself trapped by Caruso and Wesley Snipes’s impulsive plan to take down Frank White. Frank White and the cops go to war and it’s sometimes hard to know whose side to be on.

Director Abel Ferrara has had a long and storied career, directing films about morally ambiguous people who are often pushed to extremes. Personally, I think King of New York is his best film, a portrait of not just a criminal but also of a city that combines the best and the worst of human nature. The action is exciting, the cast is superb, and Frank’s justifications for his behavior sometimes make a surprising amount of sense. Thought there’s occasionally been speculation that it could happen, there’s never been a sequel to King of New York and it doesn’t need one. King of New York is a film that tell you all that you need to know about Frank White and the city that he calls home.

January Positivity: Mercy Streets (dir by Jon Gunn)

Posted on January 11, 2025 by Lisa Marie Bowman

2000’s Mercy Streets is a strange film.

Two twin brothers, John and Jeremiah, grew up in a series of terrible group homes. One night, John fell off a bridge and Jeremiah failed to rescue him from the water below. Jeremiah was convinced that John drowned. Wracked with guilt, Jeremiah turned his life around. He became an upstanding citizen and, as an adult, he’s an Episcopal deacon who is just a few weeks away from being ordained. His girlfriend (Cynthia Watros) loves him but can tell that he’s not always open with her about his past and his emotions.

What Jeremiah doesn’t know is that John did not drown. He survived and grew up to be a career criminal. Having spent the last few years in jail, he tracks down his mentor, Rome (Eric Roberts), as soon as he’s released. (That’s right! This is an Eric Roberts film!) Rome wants John to help him out with a scheme involving counterfeit money. John decides to grab the money and run. When Rome can’t catch John, he decides to abduct Jeremiah instead.

Meanwhile, John takes over Jeremiah’s life. Pretending to be his brother, John fixes Jeremiah’s relationship with his girlfriend and he even proves to be better at delivering sermons than Jeremiah, despite the fact that John is not religious at all. While Jeremiah gets a crash course in how to be a counterfeiter, John learns how to be an upstanding member of society.

Of course, it doesn’t last. Jeremiah eventually escapes from Rome and finds himself on the streets, where he struggles to not fall into the same criminal lifestyle that previously captured his brother. Fortunately, Jeremiah runs into a priest named Tom (Stacy Keach), who offers some good advice. Meanwhile, John learns about the importance of forgiveness and redemption and discovers that Jeremiah has spent his entire life mourning the brother who he thought was dead.

Mercy Streets is an odd mix of religion and action. On the one hand, the film features David A.R. White playing two brothers who feel like they could have walked out of one of his wholesome Pureflix movies. (White, while being a decent actor, is not exactly the most believable hardened criminal that I’ve ever seen.) On the other hand, you’ve got Eric Roberts teaching Jeremiah how to be a criminal and basically taking over the entire film whenever he’s onscreen. (The scene where Rome teaches Jeremiah how to pass fake money is surprisingly well-acted and directed.) The movie runs into the same problem that plagued many a DeMille production. The heroes may all be Godly but the sinners appear to be having more fun. That said, this film at least reminds us of what a good actor Eric Roberts can be when he’s got a decent role.

Previous Eric Roberts Films That We Have Reviewed:

Late Night Retro Television Review: Pacific Blue 1.1 “Pilot”

Posted on January 7, 2025 by Lisa Marie Bowman

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network! It’s currently streaming everywhere, though I’m watching it on Tubi.

Last month, we finished up Baywatch Nights. For our next show, we have Pacific Blue, which was often described as being Baywatch On Bikes. Before watching the episode reviewed below, I had only seen one previous episosde of Pacific Blue. I was in Rome and the episode was dubbed into Italian.

As I sit here typing this, it is currently 32 degrees and windy outside. On Thursday, we’re supposed to get hit with ice and snow. Fortunately, on Pacific Blue, it’s forever summer! Let’s dive right in with the first episode!

Episode 1.1 “Pilot”

(Dir by Ralph Hemecker, originally aired on March 2nd, 1996)

Welcome to Santa Monica in the 90s!

The skies are sunny, the ocean is blue, everyone’s wearing a bikini or a swimsuit, and the cops are on bikes!

The pilot for Pacific Blue opens with Officers Victor Del Toro (Marcos A. Ferraez) and Cory McNamara (Paula Trickey) riding their bikes down the boardwalk and talking about how criminals and even citizens often don’t pay them enough respect because they’re on bicycles. And, to be honest, they do look pretty silly riding their bicycles with their grim “I am the Law” facial expressions. Judge Dredd would never be caught dead on a bicycle.

When Victor and Cory catch a couple of graffiti-spraying vandals, they get to show off what they can do with their bicycles. “They can run but we can fly,” Victor says as he takes off after the fleeing vandals. And …. no, sorry. The bikes still look dorky. I don’t care how many bad guys the bike cops capture. The dark shorts and the crisp white t-shirts and the Schwinn bicycles, none of it is intimidating.

Chris Kelly (Darlene Vogel) was once a hotshot Navy pilot until her eyesight dipped below 20/20 and she was discharged. (You have to have 20/20 eyesight to fly a plane? Well, I’ll add that to my list of things that I will never be allowed to do!) Chris joined the Santa Monica police force and found herself assigned to tell kids not to go off with strangers while wearing a milk carton costume. After Chris catches some drug dealers (again, while dressed up like a milk carton), she is transferred out of public relations and over to …. BIKE PATROL!

Her new boss, Tony Palermo (Rick Rossovich), explains that Chris will require three days of bicycle training before she’s officially a member of Bike Patrol. In one montage, Chris learns how to ride a bike like a …. well, I would say like a “badass,” except for the fact that she’s on a dorky Schwinn. She is then partnered up with TC Callaway (Jim Davidson), who orders her to lose the attitude when it comes to riding her bike. No one is too good for bike patrol!

TC’s girlfriend, Sandy (Cindy Ambuehl), thinks TC should get a job working for his wealthy father. TC’s younger brother agrees. But TC loves the beach. He loves chasing criminals. He loves riding his bike! TC was born to work with ocean in the distance and sand getting stuck in the spokes of his bike,

Speaking of criminals, someone has stolen Mayor Mickey Dolenz’s car. (Mickey Dolenz appears as himself.) The Bike Patrol takes down a bunch of car thieves and closes down their chop shop. It’s a standard cop show plot but keep in mind that this is just the first episode. The purpose of a first episode is to introduce all the characters and explain the premise of the show. And that’s what this pilot did so technically, this episode has to be considered a success.

The only problem — and I have a feeling that I’ll be coming back to this point frequently over the next two years or so — is that the Bike Patrol looks incredibly dorky. Pacific Blue was obviously meant to capitalize on the success of Baywatch but the thing with Baywatch is that, as incredibly dumb as that show could be, the slow motion running looked cool. The members of the Bike Patrol riding their bikes up and down the beach just look silly.

That said, the beach scenery was nice to look at and this show does seem like it might have the potential to be fun in a so-bad-it’s-good sort of way. So, we’ll see what happens. By the end of this month, I’ll either be happy that I picked this show to review or I’ll be cursing my terrible judgment. We’ll find out soon enough.

Blood Harvest (2023, directed by Danny LeGare)

Posted on October 14, 2024 by Jedadiah Leland

“You have no idea the sacrifice I have made for this land!” Uncle Ollie (Greg Nutcher) yells when his family complain about life on the farm. They’re about to find out, though.

The audience will figure it out before Neil (Troy Escoda) and his clairovoyant son, Jake (Ian Hernandez-Oropeza). As soon as they arrive at the farm, Jake starts having visions of sacrifices and women having their tongues cut out. It’s easy to figure out what the farmers in the town due to ensure that they’ll have a good crop but no one in the movie is as smart as those of us watching at home.

The movie probably would have been scarier if I could have actually heard or understood half the dialogue. The film’s sound quality is terrible. I even checked my hearing aid to make sure that it wasn’t a problem on my end. Some of the dialogue has been obviously dubbed. Some scenes are too loud. Some scenes you can’t hear anything at all.

There’s not much of a story here so everything gets dragged out. “Have you wondered why there are no children her!?” Uncle Ollie yells while swinging around an axe. Nah, Ollie, we figure it out a while ago.

The Eric Roberts Horror Collection: Bleach (dir by Michael Edmonds)

Posted on October 30, 2023 by Lisa Marie Bowman

The 2022 film, Bleach, tells the story of Jonah Paxton (Mark Justice).

Born in Nevada, Jonah never knew his mother. He was raised in a trailer by his abusive father (Lorenzo Lamas), a degenerate gambler who molested Jonah and forced him to wear dresses in an attempt to shame him into “being a man.” When the mob threatened to come after Jonah because of his debts, he sold Jonah to his uncle, a drug dealer named Matthew (Eric Roberts).

In the mid-80s, grown-up Jonah has some issues. That’s not surprising. He’s haunted by his past and has hallucinations in which the devil is raping him from behind. (Yikes!) He also has visions of selling his soul to a mysterious woman (Mindy Robinson) who throws money at him. In what might be the real world, Jonah is hired by El Jefe (Robert LaSardo), who explains that he loves horror films but that the whole trope of the final girl upsets him. He gives Jonah a million dollars to film an actual snuff film. He tells Jonah that he wants high production values. He wants to watch Jonah become a monster. Jonah takes the money and films himself murdering two women who picked up at a bar and one woman who unfortunately entered the room at the wrong time.

While El Jefe waits for Jonah to bring him the tape, Jonah finds himself having even more violent hallucinations. He sees demons. He sees the devil. After he crashes his car in the desert, he has a vision of a woman (Tara Reid) who claims to be his mother and who encourages Jonah to commit suicide. While the police investigate Jonah’s crimes, Jonah is haunted by the ghosts of his victims and his already tenuous grip on reality continues to loosen. Soon, Jonah is drinking bleach and trying to purify himself with fire….

Bleach is a mess of a film, one that is occasionally surreal but which is more often just boring. The film’s tone is all over the place and certain scenes are so drawn out that they go from being disturbing to being dull. The moments of dark comedy fail to land but the glimpses inside Jonah’s mind are appropriately twisted and bizarre. By the end of the movie, Jonah’s scarred and blistered body is an undeniably shocking sight. Physically, he’s come to reflect the monster that he truly is. But, in the end, the film is too unevenly paced to be really effective and it ends with a shoot-out that is so clumsily choreographed that it’ll probably lead to more laughs than pathos.

Eric Roberts is memorably sleazy as the faux friendly Matthew. One gets the feeling that both and Lorenzo Lamas were only on set for a day or two but both of them make the most of their screen time. Both of them offer a glimpse into how to make a monster.

Previous Eric Roberts Films That We Have Reviewed:

Film Review: Project Skyquake (dir by József Gallai)

Posted on November 7, 2022 by Lisa Marie Bowman

Project Skyquake, the latest film from director József Gallai, opens with a voice in the darkness. The voice belongs to Andrew Derrickson (Simon Bramford), the stepfather of a student journalist named Cassie. Andrew explains that Cassie and her friend Margot have been missing for a while. They are actually one of the many people who disappeared all in the same day, an event that changed the world.

As he speaks, we see scenes of empty roads, abandoned buildings, and ominous forests and we can’t help but notice that there does not seem to be many people around. We know that something big has happened but we don’t know what yet. However, when looking at these desolate images, it’s hard not to think about what the real world has gone through over the past two years. Due to the pandemic and lockdowns, many people did literally seem to disappear. They retreated into their homes and they locked their doors and some have yet to emerge. In the early days of the Pandemic, images of empty streets and deserted buildings were a regular feature on the news and online. Some news sources even took to referring to the pre-COVID days as being the “before time,” as if the expectation was that the world would just have to accept the new normal of a empty streets and missing faces. Project Skyquake, I should make clear, is not directly a COVID film but it is a film that resonates because of what most of humanity has just been through (and what many people are currently still experiencing). At a time when many are trying to memoryhole what it was like and pretend as if it really wasn’t as bad as all that, Project Skyquake is a film that reminds us of exactly what it felt like to feel as if one was witnessing the end of the world.

We watch footage of the days leading up to the disappearance of Cassie (Laura Ellen Wilson) and her friend Margot (Laura Saxon). Cassie is fascinated by “skyquakes,” a very real phenomena in which people have reported hearing explosions and trumpets coming from the sky. As Cassie explains it, some people think that the skyquakes are UFO-realted. Some blame the government. Some say it’s a natural occurrence with a scientific explanation. Others view the skyquakes as being the sound of heavenly trumpets announcing the start of the rapture and the end of the world. Cassie explains that the skyquakes could be holes in time and we are hearing the sounds of the future.

After receiving a video from Hank (Tom Sizemore), another skyquake researcher, Cassie and Margot drive out to a location where skyquakes have frequently been reported. They’re hoping to capture the phenomena on film. Instead, they find themselves driving further and further into what appears to be a deserted forest. Of course, the forest isn’t as deserted as it may appear and Cassie and Margot soon discover the truth about the skyquakes….

Project Skyquake is an enjoyably creepy found footage film. The film makes good use of its atmospheric locations, with the forest and the things found within growing significantly more threatening with each passing moment. (The shots of the abandoned buildings and the unwelcoming wilderness reminded me a bit of Jean Rollin’s The Night of the Hunted, with its portrayal of semi-deserted and dystopian Paris.) The film does a good job of capturing the frightening and powerless feeling of being lost, both physically and mentally. Laura Ellen Wilson and Laura Saxon are both immediately sympathetic as Cassie and Margot and, even more importantly, they’re believable as lifelong friends. The viewer really does care about what is going to happen to them.

The film also does a good job of portraying the underground network of paranormal investigators and hobbyists who are convinced that there is more to the world than what can be easily seen. Along with Tom Sizemore’s Hank. we also hear from Scott Carmichael (Robert LaSardo), an expert on the phenomena, and a Professor Stokkebø (Jon Vangdal Aamaas). They are people who come from different parts of the world and different backgrounds but what they all share in common is a belief that there is more out there than we know or have been told about.

Project Skyquake is a short but effective film about a real-world phenomena. It’ll make you listen to the sky a little more carefully then next time you’re standing underneath it.