Last Man Standing (1996).

Another remake of Kurosawa’s Yojimbo (1961), this neo-western is rubbish and not even in a curious way.

I did have high expectations for the flick as Walter Hill is a top filmmaker and this was peak Bruce Willis, that post Pulp Fiction (1994) era when he would veer seamlessly between actioner and risky movies with a bit more depth to them. This is atrocious, though, from the stupid voice-over to the stupid things every character does, to the stupid framing and the sheer stupidity of the premise, and I felt stupid for sticking with it rather than just watching A Fistful of Dollars (1964).

Stupidity is the theme.

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Oppenheimer (2023) – second viewing.

Watched this again, and my opinion hasn’t changed much aside from that Trinity Test scene, which is even more hypnotic than I remembered. The sound, the framing, the tension, the terrifying consequences of this hitherto unworldly device.

Flashdance (1983).

Nothing here makes much sense but it’s at least notable as a primary source, an artefact.

She’s a welder in a Pittsburgh steel mill, an exotic dancer and aspiring ballerina, and quite the beauty. That’s how I imagine the pitch went. But with the thrown-in goodies of a music video aesthetic, Giorgio Moroder on soundtrack duties.

Trends mostly do not emerge by design, and Flashdance (1983) is the accidental genesis of the high-concept archetype that would come to define the ’80s for today’s moviegoer – all surface sheen, the iconic glossy image, negligible characterisation, but with all the requisite ingredients that comprise the popcorn experience.

It’s rubbish but it’s historical.

And this scene is ridiculous beyond belief:

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Together (2025). Baloney. Tedium defined.

This was truly amateur hour, a proper cruddy flick.

I’m fucking sick of these thrillers that are predicated upon an outlandish McGuffin that kick-starts the unearthing of everything wrong (your usual latent, juvenile psychosexual issues) in a relationship between two bickering, petty, pathetic partners. It’s another case of ‘here we go again’, the power dynamics examined as the genre tropes move the plot forward. I’ve had turds more interesting than the two leads in this, and these jobbies didn’t speak, unlike the whining plonkers stinking up Together (2025).

It’s the lowest form of writing. Nobody needs or wants to see this drivel. Maybe confine dirty laundry to the home and just make a movie about the things that matter, nah? Like, for example, Patrick Bateman inspecting business cards.

Something like that.

Movies made by creatures – for creatures.

Marco Polo traversed the known world on a tenner.

The budget for these movies could fund a thousand Citizen Kanes.

Celluloid is rolling in its grave.

The Surfer (2024).

The opening credits reminded me of Big Wednesday (1978). This is no mere surfer gig, though, but a psychological thriller with style, visuals which have purpose. The director understands the primacy of the image, the importance of framing and when to hold a shot.

This narrative engrossed me from the start as I was thoroughly vexed from the first exchange our lad has with the macho beach posse. I wanted him to fuck them up and hated seeing Cage disrespected, manipulated, losing his shit.

An unhinged work, and another belter for the Annals of Cage.

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Die Hard (1988).

It’s funnier than all its considerable attributes as an action movie. For the carnage, it’s top tier, but it’s definitely more of a comedy than any other description.

Maybe it’s because so much of this ilk is a slew of totally witless dirge, Die Hard (1988) appears smart and a bit of an outlier.

And you see a character sparking up a fag in a limo.

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The Apprentice (2024).

This was inordinately entertaining and galling and frankly nuts and by the last 30 minutes unwatchable, so draining I had to turn it off. There’s only so much of this lad you can take.

The Roy Cohn Playbook seems to work in this lopsided political sphere. And it’s been appropriated by thousands of pygmy politicians.

I’m sure that was the point of this riotous slog of a movie.

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Kiss the Girls (1997).

Another episode from the post-Se7en (1995) slew of crap, there isn’t much happening here but lengthy periods of fatigue. Cary Elwes is in it and he’s fucking awful, but that’s no surprise in a movie bereft of surprises.

Pish.

Mary (2024).

Even a funny Anthony Hopkins can’t salvage this bombastic, pompous shitter that is by far the most boring film I’ve seen this year. Hopkins, playing a demented King Herod with an insatiable lust for life, knows it’s a joke of a film so decides to deliver some hammy lolz in exchange for his no doubt sizeable cheque.

And why not? Keep ’em coming, Mr. Hopkins.

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