Cop Land (1997)

Well, it has almost everyone that could really act in the 90s in it. That is a plus and possibly reason alone to put it on a must see list.

And Stallone actually does a great job of being a washed up no-nothing out of shape small town sheriff. He rarely takes roles that actually require him to act so it's always a shock when you see films and realize that, no, Sly is in fact really a stellar actor. This is one of those movies.

It's also one of those movies that stays with you as a classic. Not as well known as Chinatown, but the kind of movie where, after you forget about it, you get the chance to re-watch it and realize once more how great it actually was.  It has a story to tell, it has a plot, and it has characterization done both in the prose and from the actors playing the part.  That's not a combination that you often get in films, and certainly rarely see in this day and age.

Talk Radio (1988)

This is typical Oliver Stone...no, wait, I didn't mean that in a bad way. I actually meant that in a very positive way.

Our protagonist is a Glenn Beck type, overly opinionated, thuggish, personality meets the shock jock ratings whore...and, in a way that only Stone can achieve, he is treated pretty fairly.

In fact, just about everyone in the film right down to the Neo Nazis are treated pretty fairly. But this was the man, with traditionally liberal values, that was able to make Nixon look sympathetic and gave W a fair shake.

Obscene Racists are treated like humans. Gotta love Stone. Any other director would have made them a walking stereo-type with no personality.

So what you have here is a wonderfully unique film that, despite it being Stone, really feels honest and unbiased.

Charlie's Angels (1976–1981) THROW BACK REVIEW

They weren't wearing bras and you could see, well...at least that was the justification one of the Angels gave for their popularity in the documentary series on the 70s.

But, going beyond that, it is totally 70s fun. The plot is out there, at least enough to make it pretty fun in the not at all realistic sort of way.

But, one you move beyond that, it's one of those wonderful late-70s-mid 80s detective shows, albeit it this one has a male fantasy premise and cast.  And there can NEVER be enough 70s-80s era detective shows.  Somehow they knew how to make them fun and entertaining back then.

Dunkirk (2017)

It starts off well, with a little glimpse of a British Soldier that was as unprepared as the UK for the war. It's a nice teaser...

...then a little story about the civilian involvement with the evacuation...

...And it all comes with the promise of being a British Saving Private Ryan.

Unfortunately it ends up being a lot more Michael Bay than Steven Spielberg. That is to say that it looks nice and sleek and professional but is otherwise lacking in a real story.

Spielberg managed to tell a story that was both pro-Soldier and anti-war, and that made the whole experience from Normandy Beach until the very end a pleasure to watch.

Dunkirk, on the other hand, gives up about 15 Minutes in and decides to just focus on the action with the story being an after thought.

In short it's boring.

G.I. Joe: Arise, Serpentor, Arise! (1986) THROW BACK REVIEW

Well, for those of us that remember the comic books more than the cartoon...watching it again is super confusing. And the military ranks seem to make no sense. Duke is in charge, and he's a Master Sergent...and he's in charge over Lieutenant Falcon...who is a Lieutenant.

Falcon is an O2, Duke only an E8, it should really be the other way around, right? Or was it inspired by Oliver Stone's Platoon?

Who cares? It also has a man dressed as a snake flying around on a regal throne thing...with lasers.

And in typical GI Joe cartoon fashion no one dies...and that was likely because of the trauma Transformers movie caused me and so many other children at the time.

Really, honestly, it's just an absolutely awesome and insanely high quality cartoon that the adult can enjoy for more than nostalgic reasons...mainly that it makes no sense in the best possible way.

Someone really needs to review this from a military standpoint.

Paradise PD (2018– )

From the people that brought you Brickleberry we have yet another cartoon with a good premise that starts off fine...

....and then slowly falls apart as it starts to think it is funnier than it actually is.

It's trying to do the offensive Rick & Morty, South Park, and Family Guy tropes...but forgets that it really needs to satire society for their jokes to land.

Ready Player One (2018)

What we have here is honest Nostalgia Candy, not the forced rebranding, rebooting, and reimaging that we are seeing in Hollywood today. It doesn't rely on a familiar brand to sell tickets to a movie that has nothing to do with the brand and really, ultimately trashes it.

Rather, it relies on nostalgia to tell a fun, dynamic, and entertaining story that features all the glorious creations that we loved back when, well, back when Hollywood was still making glorious creations.

And, because of that, you walk away totally satisfied.

Us (2019)

Well, they cut back on the blatant racism from Get Out, so that's a plus.

Unlike Get Out, Us didn't make the film a uncomfortable to watch in an original "A Birth of a Nation" kind of way. But's it's still there, just slightly muted.

And, like Get Out, it'll have the same cringe effect once its not socially acceptable any longer. But again, it was toned down so it isn't as uncomfortable a watch.

The main difference between the two Peele horror forms on that front, is that Get Out, in an effort make a statement about racism, portrayed ALL white people as evil and suggested that it came from an urge not only to control Blacks, but a secret desire to actually be Black.  Us, in it's commentary on homelessness and poverty dials that back and simply portrays them to all be lazy, alcoholic, and rich.

Because of that, the cringe isn't as strong and it makes for a more enjoyable watch.

However, the film kind of gives everything away in the very beginning. And that is straight down to the grand event at the end. So if you're paying attention to glaring, obvious, detail the twist at the other end can be seen easier than a 20mph fastball.

Each clue to the coming twist seems to be indicated by a giant flashing neon arrow as it moves the audience through the first fifteen or so minutes.

There is a moment of doubt that, maybe, the obvious hints were wrong, but right before the action starts the mother gives a speech to absolutely ensure that you, yes, you were right from the start.

And the racism, though toned down, makes it pretty clear that the peaceful and loving event highlighted at the start of the film, isn't just going to be for nostalgic reasons. It's going to be a plot element, only because someone like Jordan Peele isn't that type that would look at that gesture of 80s kindness favorably.