A life. A life would be good.
Broken Flowers: I'll watch anything with Bill Murray in it, and this travelogue-of-an-aging-lothario-who-finds-out-he-might-have-a-kid-and-so-goes-on-a-journey-through-some-women-in-his-life-and-maybe-undergoes-some-self-discovery works as a mystery with no solution, with clues that have no meaning save what we may give them out of a need for something. It's another suitable entry into the "Bill Murray states off into space" genre.
Dead Alive: I really really really didn't like any of the Lord of the Rings films, or the King Kong remake, so this is my new favorite Peter Jackson movie. It owes pretty much everything it's got to Sam Raimi, in that it seems like it's trying to top Evil Dead for sheer horror lunacy. And I think it succeeds. Not just because it's officially the goriest movie ever made, thanks to using up oceans of fake blood, but because it goes completely mental in the brilliant third act, after a slow, slow build-up. But we get mutant zombie baby violence, lawnmower violence, womb-on-man violence, and lawn-gnomes-on-bleeding-cavities violence. That's my kind of violence.
Die Hard: So it came as a surprise that I never actually saw this. I mean, I know everything about it-- it's so engrained in the public consciousness-- and I've seen the ending a bunch-- but most of it was kinda new to me. And it's probably one of the best action movies ever made, with a fantastic villain from Alan Rickman and awesomeness from Bruce Willis, back when he had hair and stuff. Well-scripted, even if there's a large portion in the middle where Bruce is just kinda sitting around and not doing anything.
Edge of Madness: I only watched this because I've been crushing on Caroline Dhavernas since Wonderfalls, and... it's boring boring boring. A period piece drama with a tinge of mystery... and I didn't give a damn about any of it, sorry.
Hancock: There was a story in here somewhere, but it went off the rails about halfway through, with some bullshit mythos stuff that tried to explain stuff, but that was entirely unnecessary. Will Smith's character arc is not earned, but done out of convenience. Jason Bateman plays the same guy he always plays. Meh.
Hatchet: This also had some fun gore in it, and cool makeup effects. It's a cheesy, purposefully shlocky B-movie horror flick with some cameos from horror icons like Robert Englund and Tony Todd. See it if you like that kind of thing.
JCVD: I would've liked this better if Netflix Instant had given us the subtitled version instead of the awful dubbed version, where Jean-Claude Van Damme doesn't even voice himself, I'm pretty sure. Otherwise, it's his best movie ever, playing himself as an action star who's lost his edge, is losing his daughter, and finds himself in a hostage situation where the police believe he's the perp. He has to try to live up to what everyone sees him as-- his family, the cops, his captors-- when he really just wants to be a guy. I had some issues with the ending, but Van Damme's performance is excellent. I could tell from his face alone.
Mad Max 2: The Road Warrior: I admit, I pretty much slept through this whole thing, but I think I absorbed it by osmosis. ... Pass.
Mister Foe: Or Hallam Foe to everyone not in the US, this movie is completely despicable. I only watched it because I have a crush on Sophia Myles, alright? But anyway, it stars Jamie Bell as this messed up peeping tom who does some really lousy things and suffers no repercussions, and Sophia Myles as a woman who takes a liking to him for no discernable reason whatsoever, especially after she finds out about some of those really lousy things. It seems everyone in this movie is either an idiot or an asshole, and I don't like those types of stories. At all.
Paul Blart: Mall Cop: Die Hard in a mall. With a fat guy! Fat guys are always excellent physical comedians, which doesn't entirely make sense. Otherwise, this was dumb dumb dumb. I hate awkward comedy, especially when it's shoehorned in. This could've made for a good 80s-style action comedy, but they managed to dumb it down to its basest levels.
Point Blank: It's kinda stylish, but instantly forgettable. Lee Marvin doesn't kick as much ass as I assumed he would. Needed more ass-kicking.
Terminator/Terminator 2: I had not seen these in years and years, so running a double feature was a fun idea. The first one's a great chase flick with some monster movie tropes and time travel conundrums thrown in. And the second one, of course, is one of the biggest and best action flicks ever, and one of Arnold's best. Does the new Terminator have skull-laden grounds and laser guns? Because it should.
What About Bob?: Is another Bill Murray movie I hadn't seen in forever. Anyway, it's about a super-neurotic fellow who learns to cope with people and the outside world as he drives his psychiatrist insane. But! I want to talk about Charlie Korsmo, who plays the kid here. I think this lad made like four movies ever before he went into MIT to be a genius. Those movies-- Dick Tracy, Hook, etc-- are all great, and feature some of the best and/or most popular actors ever. Man, what an awesome life this kid had when he was like 12. Hot damn.
Young People Fucking: I'm sure this was only popular because of the title. But anyway, the script is actually pretty good, and some of the acting is... well, surprisingly better than I thought it would be. It follows a night of hawt sexxorz among different couples-- the friends, the exes, the first date, etc-- and features some pretty good dialogue. I mean, it could work as a stageplay. Almost.