Paul Schrader is one of my cinematic heroes and despite his numerous accolades I feel he’s one of the most underappreciated artists to work in film. He has a way of capturing the underbelly of society through his writing and visuals that very few can equal. When he and Martin Scorsese worked together on Taxi Driver that was such a perfect pairing, it’s Schrader’s best screenplay he’s ever produced, and I know this is a controversial take but I feel it’s also Scorsese’s best film. Hardcore would be the second film that Schrader would go on to direct, eventually he’d end up with 27 directing credits, but Hardcore for me is his standout film where he worked as both writer and director. This film isn’t for everyone and despite it being released in 1979 the subject matter remains provocative but for those willing to take a walk into some seedy areas this is film that will take you for a ride you won’t soon forget.

"Here comes Gordy."

In the 1950's Gordon McLendon owned a series of radio stations throughout Texas along with a string of drive-in movie locations. Those drive-ins needed films to draw crowds, and Gordy wasn't happy with the cost of some of the distribution deals that came to him. So he decided to team up with a couple of guys and try his hand at making his own movies. The first guy he teamed with would become well known to television audiences, but not for the movies he helped produce with Gordy. Ken Curtis would become the beloved Gunsmoke character Festus, a deputy who had more in common with Don Knotts than Marshal Dillon. He may not have been the sharpest point on a tin star, but America loved him. They might have thought twice if they knew about this partnership. The third leg of this tripod was Gordy’s father, B.R. McLendon. Together they would make Hollywood history, or is that Hollywood infamy? That's for you to decide. They made three movies in total, but the first two are where that history was made.

"That's the most important thing. Just have fun."

You shouldn't need a primer on the NCIS franchise by now. Unless you've been living under a rock for the last decade or longer, you're up to speed on these guys. If not, you still could have some fun and enjoy the CBS DVD release of NCIS: L.A., but NCIS has been around for over 20 years, and this particular version has been around for 14 seasons now. That's a lot of characterizations under the bridge and a ton of character evolution and stories that can't help but give you maximum mileage out of the release. If you aren't up to speed, you can check out over 30 seasons of various NCIS reviews by just banging it here: NCIS Reviews. That should keep you busy long enough to get you to the point that we're here talking about Season 13. So hopefully you are up to speed, and we can get on with it. Shall we?

"Have you ever heard of exorcism? It's a stylized ritual in which rabbis or priests try to drive out the so-called invading spirit. It's pretty much discarded these days, except by the Catholics who keep it in the closet as a sort of embarrassment. It has worked, in fact, although not for the reason they think, of course. It was purely the force of suggestion. The victim's belief in possession helped cause it. And just in the same way, this belief in the power of exorcism can make it disappear." 

By now we've all heard of The Exorcist. The film was based on a best-selling novel by William Peter Blatty. Blatty himself based the story on a real exorcism of a young boy many years earlier. And that's where the true power of the film begins. The monsters of horror movies often allow us a sense of unreality that protects our inner selves from being truly terrified.

The first Paw Patrol movie opened up in August of 2021 during the pandemic era where barely anyone wanted to go anywhere that wasn't a grocery store (because somehow that was safe).  It still managed to pull in forty million domestic and another hundred million internationally.  With the built in audience from the television series, a sequel was almost a no-brainer.  I remember taking my family to go see the first Paw Patrol (the theater was quite bare) and actually enjoying it quite a bit.  It certainly helped to bring all of the key elements from the television series and produce something that wasn't nauseating and over-the-top.  However, sequels of movies based on popular properties often go the wrong direction.  Let's see what the Mighty Pups have in store for us in their second outing.

“Then we have something in common. You aren’t going to heaven because you aren’t a good person, and I’m not going because I’m not a person.”

So, this film focuses on a interesting viewpoint: what if Skynet weren’t the bad guys? In this Gareth Edwards directed film, John David Washington plays a hardened ex-soldier, grieving the disappearance of his wife, who is recruited to hunt down and assassinate the Creator, an elusive architect responsible for creation of advanced artificial intelligence that humanity has been at war with since a nuclear attack years earlier. Sound familiar? As previously mentioned, while one can draw parallels between the early events of this film and the future that Sarah Connor tried to prevent for her son, in that story, artificial intelligence becoming sentient was the cause; in The Creator, AI appears to be on the losing side of the battle with humanity. Score one for humanity. As a result, they only have one refuge: Asia, or to be more precise, New Asia.

Coming up on its 40th anniversary, Staying Alive continues to be one of the most bizarre sequels to be made by a major studio, starring John Travolta and co-written and directed by Sylvester Stallone. The film was intended to be a sequel to the massively popular Saturday Night Fever, but when Staying Alive came out, disco was pretty much dead, and really there isn’t much that connects the films but for the character Tony Manero (John Travolta) and that there is dancing in the film. When the movie came out it was a financial success, but it was pretty well hated by critics of the time to the point that even one of the film’s stars, Finola Hughes, was awarded a Razzie for her performance. Apparently the film has a loyal cult following, but now after 40 years I’m here to give this film a fair shake and decide for myself: is it as bad as people say, or is it a gem from the 80s that will make us all nostalgic for when there were several movies with the cast in leotards, headbands, and over-the-top dance numbers?

In 1987 when Malone was being released, the peak of Burt Reynolds’ career was behind him. He was still successful and was doing films and TV shows after that, but there was a distinct change in the quality of the films he was putting out. At this time there was a bit of a shift with what an action hero looked like. Guys like Reynolds and Bronson were being nudged aside for Stallone and Schwarzenegger. This was the rise of the action hero who reigned well into the late 90’s. Thankfully the smaller studios understood there was still an audience that wanted to see Burt Reynolds on the big screen, and that’s where Malone fits in. It isn’t a film that is trying to be anything special, and I feel its ultimate fault is that it is so generic, so familiar, that it becomes so forgettable at the same time.

"You mean to say you don't miss this?"

Season 20 brings us to several milestones in the NCIS run. It has now become the longest running procedural in CBS history. It lags behind only the Law & Order franchise in sheer number of episodes. This season gets us to and beyond the 450th. This is also the first complete season that does not include the man who pretty much started it all. Yes, Mark Harmon has left the building, and Leroy Gibbs does not appear at all in this 20th season. Mark Harmon does indeed remain one of the show's executive producers, but to what extent he is actually still involved I can't speak to. I can tell you that he doesn't show up on any of the production features, nor is he mentioned for any particular contribution or involvement. So this must have been a scary season for the cast and crew of NCIS. I'm not sure how they felt going into the year, but I suspect they were feeling pretty good for themselves and the show by the time it was over.

“Don’t expect too many mistakes from this man. After all, he does seem rather more interesting than just another reader researcher. For example; has he gone into business for himself? Was he turned around? Does someone operate him? Is he homosexual? Broke? Vulnerable? Could he be a soldier of fortune? Did he arrange the hit? Is that why he’s still in flight? Still, he may be innocent. But why didn’t he come in gently?”

Sydney Pollack might have been channeling the essence of Alfred Hitchcock when he directed 3 Days Of The Condor. It’s hard not to see the similarities to some of Hitch’s work. But he might also have been having a bit of precognition at the same time. The later novels and films about Jason Bourne bear a striking resemblance to this 1975 thriller.