Tag: movie

400 Words on: Shelter (2026)

or, “Without Breaking a Sweat”:
A spoiler-free mini movie review.

3 out of 5

I don’t usually gush (I’ve consigned two 5-star ratings in two years with the system), but I’m a Jason Statham fan.

Regardless of the actual quality of the movies themselves he’s headlined, Statham himself is effortlessly appealing & ‘unfuckable with’. I wouldn’t want him to kick me full-force in the breastbone.

Curious, then, that Statham’s “Shelter” character Mason spends most of the first act drunk, with his feet up by the fire. Yes, Mason is supposed to be a self-exiled recluse, but it’s rare to see Statham – at this stage in his career – chillaxin’ on-screen without exterior pressure.

[cont’d]

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400 Words on: Primate (2026)

or, “Johannes and the Terrible, No Good,
Very Bad House Monkey Horror”:
A spoiler-free mini movie review.

1 out of 5

‘Pacing’ is certainly a thing: attributed to no one, it’s an essential part of any entertainment. Audiences won’t notice the spacetime something occupies in their lives unless they’re bored, or they totally disagree with what they’re experiencing.

As an example, halfway through Michael Haneke’s 1997 art-horror “Funny Games”, there’s a long, unbroken take assumed as decompression for its characters. That part is so slow that the first time I watched, I fast-forwarded through it.

But skipping “FG’s” depiction of grief also meant reinforcing its themes of desensitization. Once it clicked, it’s a rare movie scene where something simple blossoms within a spacial indiscipline.

On the other hand, skipping scenes in Johannes Roberts’ “Primate” won’t reveal the dark side of its audience, but it will get you to the credits faster.

[cont’d]

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400 Words on: Brawl in Cell Block 99 (2017)

or, “You Made Me Promises, Promises”:
A spoiler-free mini movie review.

5 out of 5

Filmmaker & author S. Craig Zahler’s “Brawl in Cell Block 99” is a prison-fighting thriller, with an audacious literary-esque understatement. I’ll demonstrate using Lindsay Lohan…

In 2013, at her then-nadir, Lohan & disgraced porn performer James Deen headlined Paul Schrader’s social drama “The Canyons”. Schrader is the legendary screenwriter of Scorsese’s “Taxi Driver” – but a type-A director, exemplified by Stephen Rodrick’s New York Times article on Canyons’ production.

One provocative point in Rodrick’s piece was distributors’ worries over Canyons’ slow, unmarketable first act. Directorial colleague & editing precisionist Steven Soderbergh offered to cut an alternate version himself, to what Schrader responded, “You know what [he’d] do if another director offered to cut his film?” And flipped the bird. “That’s what Soderbergh would do.”

[cont’d]

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Dub’s Take: Sarah’s Oil (2025)

or, “The Next Hundredth Go-Around:
400 Words on Zachary Levi”:
A spoiler-free mini movie conversation.

“Coyness is nice,
and coyness can stop you
From doing all the things in life that you want to,

So if there’s something you’d like to try…
Ask me, I won’t say no, how could I?
Because if it’s not love,
then it’s the bomb that will bring us together.”

– “Ask” by Morrissey & The Smiths

[cont’d]

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Dub’s Take: Once Upon a Time in America (1984)

or, “Deborah’s Theme:
400 Words on Elizabeth McGovern”:
A spoiler-ish mini movie conversation.

The following post discusses taboo
themes, and contains language that
could be triggering.

I’m late to the “Downton Abbey” party, so I wasn’t aware (or spoiled) that one of season 4’s serials stems from the sexual assault of a major character.

This event – stupefying though off-screen – is earned narratively, by virtue of my invested connection with the players. Original properties usually have to really convince me that their using rape, implied or otherwise, isn’t either for shock value, or out of creative laxity.

Having said that, if an intrepid & shameless (mostly shameless) Reddit user hasn’t already asked what ‘The Most Disturbing Rape Scenes of All-Time’ are, I have now walked into that trap myself.

I have my own personal picks that needn’t be discussed here, but the potency of said scenes would be dissonant were it not for the mettle of the actors involved: particularly those who may not already have a propensity towards violence.

[cont’d]

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