Matchstick Men

Matchstick Men (2003) Review

Tonight’s feature presentation is Ridley Scott’s Matchstick Men, which easily makes my personal top five from Scott, and now that it’s a Netflix streaming option, I hope more people check it out. The cinematic sleight of hand on display in this film is remarkable. It’s so stylish in a very subtle way; I love it…

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Gauntlet film

The Gauntlet (1977) Review

  There’s no use denying it. We have no actor who could ever approximate late 70’s Clint Eastwood, no actress quite like Sandra Locke during that time period (she’s SUPER hot in this movie…), the action is forceful and brutal and nearly unrelenting once the narrative kicks into overdrive, while the undercurrent of rape that…

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Face:Off

Face/Off (1997) Review

Face/Off unquestionably represents the one and only time that Hollywood really got out of the way of action maestro John Woo and allowed him to go for broke with a big-budget and play on an R-rated playground of his patented poetic ultra-violence. I saw this film twice during opening weekend back in the summer of…

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Black Hawk Down (2001) Review

Black Hawk Down, which was released in 2001 in the shadow of the 9/11 terrorist attacks. A tragic anti-war film that manages to celebrate the warrior spirit that only a select few possess while eschewing stodgy and needless politicizing, this film dared to look at a deeply compromised and misguided American military excursion with necessary…

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The Onion Field Review

The Onion Field (1979) Review

The Onion Field is an upsetting, highly detailed, true-crime movie directed with class by Harold Becker (City Hall, Sea of Love) in his second big-screen effort after The Ragman’s Daughter. Released in 1979 and starring an impressive cast of up and coming talent including an incredible John Savage, a tragic Ted Danson, and a live-wire…

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William Defoe

To Live and Die in LA (1985) Review

Tonight’s feature presentation is To Live and Die in L.A., which is most likely the best Michael Mann film that Mann didn’t actually direct. Yes, the film certainly shows some trademarks of its legendary director, William Friedkin (Sorcerer, The French Connection), but there’s a general ambiance and sense of style that feels cut from Mann’s…

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