Hitman Hart: Wrestling with Shadows (1998)

There are still people out there that complain that wrestling is “completely fake”; I am always compelled to argue that wrestling is in fact not fake. In many ways the performers that wrestle give up their body and health to entertain. In Bret Hart’s case, it he gave up his livelihood, his self respect, and his family. “Wrestling with Shadows” is still a pretty sad and shockingly mesmerizing tale of one of the biggest athletes of the 1990’s and the incident that shook his world and nearly tore him apart.

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Creed III (2023)

A lot of the basis for the central idea of the “Creed” movie series has been the mentor student relationship between Rocky and Adonis Creed. So it was bold of Michael B Jordan to not only go on without Ryan Coogler, but without Sylvester Stallone, too. Thankfully he proves that fortune favors the bold, as “Creed III” is a masterpiece. It not only progresses the Adonis Creed character, but it reveals him to be a flawed protagonist who has done things in his life that cause self reflection, but the audience to also step back and examine him.

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Chyna’s Hollywood Detour to Ruin

In 2001, Joanie Laurer had departed her precedent-breaking reign in the World Wrestling Federation (WWF – later to be renamed WWE) under the name of Chyna and was hoping to start a new career in movies. In an interview with the Houston Chronicle, she acknowledged she was not going to give Meryl Streep a run for her money.
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Space Jam: A New Legacy (2021)

It’s kind of ironic that the villain of the sequel to 1996’s “Space Jam” is named Al G. Rhythm, the physical manifestation of an algorithm who decides the fate of not just star Lebron James but of the Looney Tunes. “A New Legacy” (Or “Space Jam 2”) feels like it was directed not by a person, but a committee of people that followed algorithms about what was appealing to modern audiences, and what was “hip.” The film doubles as a two hour EPK for the HBO Max Streaming Service. “A New Legacy” premieres on the aforementioned streaming service (and theaters), so Warner takes full advantage of exploiting every single (repeat: every single) IP that they have at their disposal.

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Poms (2019)

The way Roger Ebert felt toward “Bucket List” is kind of the way I feel toward “Poms.” While it is a movie that’s meant to be life affirming and celebrating old age, “Poms” watches like a patronizing, exploitative last gasp of a once excellent actress. For a movie that is meant to be fun and light hearted, “Poms” is painfully depressing while also being embarrassingly bland and silly when we get down to it. I’m all for movies that confront the idea of ageism and that nothing can hold us back from accomplishing our dreams, but “Pom” is absolutely disingenuous to its very foundation.

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