Tag Archives: Crime

The Departed (2006): Limited Edition Steelbook [4K UHD/Digital]

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In Stores April 23rd from Warner Bros.

I do not make it a secret that I don’t like “The Departed.” I never have liked it. I think one of the main reasons why I dislike it so much is that I had seen Andrew Lau and Alan Mak’s 2004 original much earlier and was surprised with how cerebral and taut it was. “Infernal Affairs” was about betrayal, and loss of identity, and completely losing not only who we once were, but our own morality code. It’s shocking to me to know that “The Departed” is not only so infinitely dumbed down from its source material, but that Scorsese is capable of so much better than what he offers us.

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Exposure (2023)

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At the moment I’m not too sure if Kris Cummins’s “Exposure” is an ARG, the start of a series, or a proof of concept, but what it is is one hell of a scary horror film. A lot of the best horror is rooted in reality and “Exposure” is one of the most realistic modern horror tales ever conceived. The idea that someone is using a digital baby monitor to terrorize or torment kids is something that happens far too often and director Cummins takes full advantage of that.

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Road House (2024)

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Now Streaming on Amazon Prime Video.

After years and years of talking about it, Hollywood finally pulled the trigger on a remake of iconic Patrick Swayze 1989 cult ciassic. The once Southern fried martial arts film about a brotherhood of bar bouncers is taken on by director Doug Liman who tries his best to help his version stand on its own two feet. While original star Patrick Swayze sadly died years ago, there are no appearances from other former stars. That’s okay, because on its own, “Road House” 2024” is a damn good time. It’s overlong, but it’s a lot of fun and has a good sense of humor about itself. In a (so far) lackluster movie year, that’s all I need.

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Love Lies Bleeding (2024)

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Now in Wider Release Exclusively in Theaters.

Rose Glass’s crime thriller is a rotten and often grotesque neo-noir that kept me glued to the screen from beginning to end. Like more neo-noir’s, Glass’s film centers on morally gray protagonists doing battle with amoral characters, all of whom are couped up in such a small town. Corruption and violence is never too far away and “Loves Lies Bleeding” centers on Lou and Jackie, both of whom are desperate to escape their confines. More and more their lives feel like prisons, with their whole source of misery pointed toward domestic dysfunction.

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