Archive | May, 2013

Grunting at the Screen (122)

22 May

The information age has not yet finished with us.

Timur Bekmambetov tends to have a lot of projects on the go at once, but his latest venture is uh, unexpected to say the least.
Squirrels. Yes, we all know Squirrels are evil, but are they up there with piranhas, great white sharks and killer bees?
Apparently so; this time an entire hoard of the nasty fluffy beasts will be descending on a small town to devour it.
Bekmambetov will be producing but not directing it.

Terracotta Asian Film Festival is rolling up, lots of stuff from Hong Kong, Japan and Mostly South Korea.

They have a horror strand this year including the Indonesian home invasion feature, Countdown and inevitably something from those Sushi Typhoon maniacs (Zomvideo).

Sion Sono’s The Land of Hope appears to be a realistic drama about a family struggling in the wake of an earthquake and nuclear plant explosion.

Young Gun in the Time seems to be one of those convoluted time travel adventures featuring a detective who must use a time machine to prevent the death of a (presumably cute) young woman.

Zomvideo stars J-pop stars C-ute.
A video company intern discovers a zombie defence tape, just in time to face a zombie outbreak.
This film is billed as “Word’s cutest zombie movie”, Hme.
Director is Kenji Murakami.

Word is coming through on the new Ghost in the Shell TV series. This one is a prequel and there are pictures.
The original GITS movie was one of the most artistically successful of all cyberpunk movies, and the TV series, Stand Alone Complex was even better.

Now here’s something. It’s been so long since we last heard world of The Raven that we assumed it had been quietly shelved.
In fact you may not remember it yourselves; there is a clip of the short film back in Grunting 110.
Well there is movement at last. It had originally been linked to Mark Wahlberg and then Liam Hemsworth but world is Gerard Butler is negotiation to star in it.
Script is by Michael Gilio, no word on who the director would be.
The original short was a fugitive with telekinesis being chased around a surveillance saturated LA by some very cool police drones. The effect was something like Heroes meets District 9. It stirred a lot of attention at the time, but you can’t help but notice there is no actual story there.

Bruce Willis is to star in an action thriller called Expiration. He plays a hitman who’s been poisoned and has to find a cure before he… hey wait a freaking moment! That’s Crank!
Well I suppose this is what passes for originality nowadays and even Crank was a take off on Dead on Arrival… well at least it isn’t a straight remake.
Brian Tucker wrote the script no word on the director.

First a brother can’t get a job, and now he can’t get a rest. Spike Lee has been signed to direct Gold, formerly a Michael Mann project; it’s about an old-school prospector who makes one of the biggest gold strikes in history.
Patrick Massett and John Zinman wrote the script, no word on casting.

Ari Folman made a big splash in 2008 with his animated debut Waltz with Bashir, he is back with his new film, a live action/animation crossover called The Congress, we thought it was an adaptation of Stanislaw Lem’s novel, Futurological Congress, turns out it is something far stranger.
Robin Wright plays herself; an actress who gets herself motion captured so her image can be incorporated into any computer generated film. From there on it gets weird as we slip into and animated film called “The Futurist Congress” starring Robin Wright as one of the characters.
This sounds original and interesting. It debuted at Cannes. There is no release date as yet.

French Director Louis Leterrier has made a number of high profile American films:
Clash of the Titans, The Incredible Hulk, and most recently Now You See Me. It seems like he is returning to his roots with a Luc Besson produced feature, Sea at War. It is being described as a “mermaid adventure”. Christophe Lambert will star; Besson’s EuropaCorp company will co-produce.

Michael Bay has been developing Almanac for some time, but it looks like we are seeing real movement now. It is being cast. No principles locked down yet.

On the surface it is not my kind of thing, not only is it a Michael Bay production but it’s also a “found footage” film.

What is interesting is that this is Time Travel film; a subgenre not hitherto known for the found footage treatment. Of course it might all go pear shaped and we might get Transformers in a shaky-cam style.
Director is Dean Israelite script is by Andrew Stark and Jason Pagan.

Despite mixed reviews, horror anthology film, The ABC of Death will get a sequel. Another horror sequel great; lined up as segment directors are Bill Plympton, Sion Sono, Vincenzo Natali… wait a friken second. Vincenzo Natali! What’s he up to? The last thing he did was Haunter, and now he’s making short films? It looks like he’s engaging in avoidance behaviour rather than directing Neuromancer. This is no one. Not on at all. If he’s not making Neuromancer, he shouldn’t be doing anything.

Robert Rodriguez is a very busy man. He has more ideas than he can get to the big screen. Which is just as well because his latest venture is a cable TV channel. It’s called El Rey Network and he’s already commissioned a show for it; it’s Dusk Till Dawn, which has previously been a feature film with two sequels. Cool; Mexican vampire action. Of course a cable channel needs more than one show and Rodriguez has promised reality, scripted, animated, music and even sports programming… sports huh?
Best of luck there… seriously.

Now this is the reason I visit horror sites.

From Bloody Disgusting site I have word that Military Horror is not yet dead. AV pictures have just signed a deal to produce
Scintilla; this has the classic Military Horror format of a team on a mission, encountering more than they bargained for. in this case mercenaries plunging deep into the former soviet union to penetrate a lab and size its secrets; since those secrets involve monster grown from hybrid alien DNA, it all quickly goes pear shape.
Billy O’Brien is to direct.

For a while it seemed Military Horror would take off to become a legitimate Sub-Genre and venerable examples have been found in history; Aliens, Resident Evil. Lately most examples have been lost in Straight to Video hell. But I live in hope that one example will restore glory to this neglected end of the genre.

Patricia Beninati and Michael Anderson are writing and producing a feature called Newcomers. What makes this different from any other alien invasion film is that it will have sequences filmed from space (well sub orbital space anyway). They are contracting private space company.
XCOR Aerospace to film footage from their vehicle the Lynx. This would seriously cool except we also learn that Beninati and Anderson’s script will about an invasion foiled by… a private space company.
At that point it starts to look more like a promotional video than a feature film.

It looks like Nazi Zombies are the flavour of the month. Anchor Bay are making Buzzkill with director Paul Jones. A town is built over the site of where Nazi scientists were experimenting to raising the dead. It’s pretty familiar territory; very much in the neighbourhood of forthcoming Frankenstein’s Army the never ending Outpost series.
Hopefully they can bring something new to it.

And if you want some real movie news you know what to do.
And if you want to walk the wild side of genre video try Starburst’s review section

I’m Jack Eris and if you know me, you know Jack.


Grunting at the Screen (121)

11 May

The information age has not yet finished with us.
OK the news is piling up so it’s time for another Cyberpunk Special.

I have to apologise. No really. I don’t know how this one got past me. Back in the nineties I would never have made such a slip up.
I totally missed George Alec Effinger’s When Gravity Fails. Not the book, the film project.
It seems while Scott Derrickson was working on Deus Ex, he was also working on this novel adaptation as well. I only realised while flipping through Total Film magazine.
So what do we know about this project? Derrickson has written the script with C. Robert Cargill. IM Global (which did Sinister with them) are producing and it is still very much set in the future Middle East.
Derrickson is something of a buff, he is excited about the recent revolution in communications and thinks now is the time for its reflection in the movies he has said to Sci Fi Now that Cyberpunk will be “The next wave of Science Fiction cinema”. I’d like to think he’s right.
When Gravity Fails is accorded the status of minor classic (although I think they are quite a few better novels both of the period and after). It was unique in its time because of its Middle Eastern, Muslim background. It had some cool Science Fiction ideas, chief of which was the ability to instantly plug new skills into people’s heads. Since then its ideas have been seen in other movies, but this may not matter because its strength may be its distinctive background which has so much visual potential.
Now for the big question. Will we ever see it? It depends. Although Derrickson says there is plenty room for both “Gravity” and Deus Ex: Human Revolution, let’s get real. Deus Ex has a massive gamer following and “Gravity’s” following read books. “Gravity” has almost no brand identity and if a major novel like Neuromancer is stumbling on the way to the screen, then I give long odds any other literary adaptation. To be honest it has not even been announced. I only found out this much by fishing around the corners of unrelated articles. Derrickson has a mass of projects on his slate. And guess what?

Eric Bana’s Beware The Night starts filming on May 20 it’s a cop movie with a supernatural bent and why should you care, you ask? Well the director is Scott Derrickson. Quite obviously this means he is not getting to Deus Ex or When Gravity Fails or anything Cyberpunk related for some time (we estimate at least a year; filming, post production and promotion).
More interestingly, Derrickson’s last hit was Sinister, also a paranormal film. In his unmade projects he has displayed an eclecticism, but he may well get stuck in a rut and become “the spooky guy”.
And it all looked so promising.

A new hope?
Rian Johnson used to be known as a punky little indie director. Apparently he’s now a Science Fiction maven. He is teasing is with his next project. He claims his next project will be different from Looper. It will be “Cyberpunk”, he’s writing it now. No title or details as of yet.
Time to declare my interests. I didn’t much like Johnson’s last, Looper, and I’m not much looking forward to this one.

Anime to live-action
It has been a good time for announcements of anime adaptations, more of them than ever have been optioned for live action features.
However it has been very bad time for actual productions.
Many of the much vaunted projects are languishing in development hell or on a shelf somewhere. And this includes the adaptations of Cyberpunk anime.

Since we last mentioned Bubblegum Crisis there has been no movement at all. It is like the project has been swallowed up by a black hole. And I attribute this to the complex funding which has been pulled in from a half dozen territories. This kind of arrangement yields all kinds of roadblocks.

As for Steven Spielberg’s Ghost in the Shell there has been no movement on it since 2010 and if you read to the end you’ll see there won’t be any for the foreseeable future.

Battle Angel Alita, that combination of cyberpunk combat and post apocalyptic background, awaits James Cameron’s tardy attention, seeing that it sits behind two sequels to Avatar and Cameron’s inevitable undersea ventures then I hold out little hope it will ever get to screen.

Akira has often been called “Cyberpunk”, although it comes under the category of “psychic children”, it does have the Cyberpunk look. It has had a fractious development process (losing two creative teams) and like “Ghost” it is presently in turnaround.

So things are not looking too good in that quarter.

OK, I admit it. I cannot let go of Nerverackers, Robert Rodreguez’s unmade Cyberpunk film. A fast-moving homage to Blade Runner with a Mexican flavour. It would have been different.
I’m hoping Rodreguez can’t let go either and I am thinking of how he might bring it to the screen.
A number of his projects slipped out of his hands: Barbarella, Conan, Red Sonja. The difference with Nerverackers is that he wholly owns it. He needs no permission to make it; all he needs is the money.
Getting original (quit snorting, compared to the latest remake of a reboot of a 70’s series, any ‘homage’ looks plenty original) Science Fiction made is hard. Unlike horror it tends to go at least to at least mid-budget (that means $30-100m) and there is no guarantee of finding an audience. Consequently film studios tend to be conservative; they currently prefer to fund brand-names and we are all familiar with them: Star Trek, Star Wars, Jurassic Park, RoboCop, and Planet of the Apes.
Cutting through the morass of dead brand-names requires boldness and innovation.
Here are a few suggestions. Comic books. Film executives are a cowardly, superstitions lot. Sorry, I meant conservative, and unimaginative. They have to have someone visualise the movie before it is made. This is how Tom Cruise’s Oblivion got made; Joseph Kosinski took artwork from the IDW comic to Comicon, Cruise saw the paintings and wanted to get involved. It also worked for Cowboys Vs. Aliens.
A Trailer. Rodreguez pioneered this method with Machete; make the trailer first and get the money men excited about a complete feature.
Web presence. The idea of a new Mortal Kombat movie was knocking around for years, They made a webseries and now the movie has a deal.
I like Rodreguez, I’d like to see what he could do with the Cyberpunk genre, so I can let go of Nerverackers. I hope Rodreguez is the same.

As of Mid-March Neuromancer was still a going concern.

Neuromancer the movie faces multiple challenges. The credibility challenge; no feature based on a William Gibson story has been either a critical or commercial success. The adaptation challenge; although the problem of getting over the technological ideas has been solved by prior contact, the novel has a particular structure which needs to be engineered into cinematic form, and it also does not have the most sympathetic characters. The budget challenge. We are yet to know if this is the year Cyberpunk film takes off or not, but at $60m Neuromancer is coming off as a bantam weight in a heavyweight arena. Deus Ex is budgeted at £110m, and if Blade Runner 2 comes in at less that £150m I will be astonished.
What is Vincenzo Natali to do in the face of such large and fierce rivals? He could take a page from Guillermo del Toro. Blade II and the Hellboy films topped out at about £60m and they looked great, it is clear Guillermo del Toro knows how to make a little go a long way. I should hope Vincenzo Natali has been on the phone to his friend and former producer wringing him for deep knowledge on squeezing ever bit of value from a middling budget and getting it up on screen.
Because even a mid-budget Neuromancer had better perform.

By now you will also know of Seven Arts’ plan to turn Johnny Mnemonic into a TV series.

It is curious why they would want to do this. There is an opportunity here, television is not what it used to be, and cable channels like HBO, AMC and Starz have raised the quality of TV series to the point where film actors are happy to be involved, if it is the right project.
But there are significant risks. Not counting all of the other things on their hands they have full plate; the Neuromancer film, the Neuromancer videogame and a ton of promotion to get the attention of an audience who don’t know Neuromancer from a hole in the ground (and if you think I’m exaggerating just remember how Watchmen crashed and burned, that was supposedly a classic too.)

Taking on a cyberpunk TV series, they have to solve all of the problems of visually adapting a sub-genre that is devilishly hard to get right (as they have to in Neuromancer, see above), and then construct a format that can last at least the 13 week of a normal American half-season.
To them, it’s an opportunity but it looks like a distraction to me.

The more I think of it the more bizarre it sounds. Television brings its own set of opportunities (read “nightmares”) on the plus side the initial budget is lower (though over a few series it adds up to serious cash) on the minus there is so much more work to do and so much more possibility for failure. And the difficulty with TV series is that the hazard area is in the writing. There’s not enough money for big FX and (recent experience the contrary) you’re unlikely to get big stars, so you live and die by your week in- week out writing. And to be honest, in past experience with visual cyberpunk material, the writing is the sticking point.
It seems to me although a Neuromancer movie is both risk and opportunity, but a JM TV series is almost all risk.
I’m just saying….

Which Johnny are they making: a version of the 1994 movie? with the old concepts? An updated Johnny; a whole lot has changed since 94; we have Facebook, Twitter and iPads; will that lead to “Facetime”, “BlipVids” and “Cyberpads”? a Johnny Mnemonic in the original mode may seem antiquated, one with improvements, opportunistic. There are hazards with both approaches. To update risks accusations of trendiness, not to is to court irrelevance.
Indications are that the series will be based on the film and not the short story (suggestion that nothing further is owed to the Author). But it also suggests the series will be stretch the movie plot into an entire series (an already stretched narrative.)

Just how cyber is Elysium?
The release of Elysium is coming up in early August.
It’s a good time to ask how much Cyberpunk influence has crept into Neill Blomkamp’s second feature.
When we first heard a plot description it sounded suspiciously like Battle Angel Alita (the rich living in orbit, the poor living in increasingly run down circumstances on the surface). But since then as details have emerged Elysium, has increasingly seemed like it was peppered with Cyberpunk tropes.
It’s protagonist, Max, wears a cybernetic exoframe (as in William Gibson’s “The Winter Market”) it even has a grungy little screen screwed into the back of his head.
The rich live in a luxurious space station (Neuromancer.)
There is a brain upload (multiple literary sources.)
The protagonist is pursued by Kruger, a mercenary enhanced with cybernetic implants (countless Cyberpunk short stories and novels).
There are a ton of very deliberate brand-names used in the film (the exoframe is a Kawasaki.)
The director Neill Blomkamp even pulled in Blade Runner’s visual futurist Syd Mead for a consult.
This is not enough to say Elysium is straight-up Cyberpunk, but it’s suggestive that there is a hunk of mirrorshades DNA stirred in there. in fact io9 website did an interview with Neill Blomkamp back in April and Blomkamp said: there is a Cyberpunk element.

Fair enough.

And in the Regular Flavoured News.

Now anyone who has been paying attention will guess I’m not going to the new Star Trek movie. I will probably be perfectly good, but I’d rather wait until JJ Abrams is working on something not from a played-out thirty year old franchise (by my reckoning, not this decade).

Now here’s a sequel I want to blog. Years ago Ryuhei Kitamura made one of the most remarkable debuts, Verses; kinda martial arts verses zombies verses yakuza, with a diversion into the future at the end.
As you might imagine, it was insane (but in as good way).

Now Kitamura wants to make a sequel. No detail as of yet but Tak Sakaguchi from the original will have a part in it.

Spielberg abandoned both Ghost in the Shell and Robopocalypse, it may be interesting to note just what he took up instead.
It’s “American Sniper”, based on the autobiography of a Navy Seal, Chris Kyle.
Jason Hall wrote the script, Bradley Cooper is to star… at least until he bails.*

But don’t worry, there are plenty of Robot Movies to come (I love robots, don’t you love robots?). Caradog James’ “The Machine” is done and waiting for a release date, Alex Garland. “Ex Machina” (terrible title…) is being cast and seems very likely and Callan McAuliffe’s Our Robot Overlords almost has its entire cast assembled and starts shooting June 3rd. Soon we’ll be crawling with mechanical menaces.

* This is entirely unfair, just because he just bailed on Jane Got A Gun does not mean a thing… though the fact that he bailed on Hyperion, Paradise Lost, and The Crow.. might be establishing some kind of pattern.

And if you want some real movie news you know what to do.
And if you want to walk the wild side of genre video try Starburst’s review section

I’m Jack Eris and if you know me, you know Jack.

Grunting at the Screen (120)

1 May

The information age has not yet finished with us.

Oblivion has delivered a considerable Box Office opening, both internationally and in the US and it is already beginning to pay off. Joe Kosinksy has signed up to create “Ballistic City” a new Science Fiction show for AMC. Hey; TV is the new cinema. Travis “Pacific Rim” Beacham is writing, it’s a police procedural set in a future city.. a city in a huge “Generation Ship travelling between the stars. (Hmme sounds like Chuck Austen’s Flywires, good comic, read it…)
The fact that it’s been bought by the makers of The Walking Dead warms my heart.
In the meantime Kosinksy is still pencilled in to make both the Tron Legacy sequel and the Black Hole remake, but with a big hit on his hands the world is (at least temporarily) his oyster.

Now this is something. Jon Spaihts’ script Passengers made the Blacklist in 2007,(a tally of the best unproduced screenplays.) It stayed just that way until recently.
Keanu Reeves has been due to star for while but there has been recent activity. The property now has a director, Brian Kirk, better known for his high-end cable TV, now breaking into features.
The script has an interesting premise. Abroad a colony starship full of hibernating passengers there is one man awake. Against regulations he wakes a woman, as a companion.
Now, publicity releases describe this movie as a “Romance” but if that isn’t the most damned selfish thing you ever heard then F- me!
The film is now at pre-sale stage, so no start date, no release date, nothing as of yet.

So, what we have learned. I notice a lot of parties have launched various TV series on the web. Like the Mortal Kombat series, or Sanctuary which made the jump to the Sci Fi Channel; these had limited success, until we got web channels. I note the Machinima Channel on YouTube, (A misnomer, it shows mainly live action series) and most significantly the Netflicks channel which has delivered a legitimate network sized hit in House of Cards. Now, some of the earlier webseries had heavy hitters attached to them, major producers, directors and stars (Tom Hanks was involved in one). But that never mattered until we had Channels; specific pipelines for entertainment content. It’s kind of disconcerting and goes against the notion that the net is a great leveller where it doesn’t matter who you are so long as you put out quality material.

New from the writer or PontyPool and the director of Exit Humanity…
What not familiar? Well to be honest nether am I, but Tony Burgess and John Geddes are a couple of Canadian film makers, highly regarded, who have united to make something named Hellmouth, (a gate to Hell lies right under a graveyard) it’s.. different.
First it’s a blue-screen movie (and we have seen remarkably few of those.
The basic principle is that most of it has been filmed against a blue screen and the rest will be added in later, very likely by CGI, it’s a technique used moist famously in Sin City, but also in Sky Captain, and projects big-budget and small. This one is a small budget film; horror fantasy; they are making a film in the style of the fifties and sixties, but they are also sourcing a ton of FX via the web community.
It’s a high risk innovative plan, with every possibility of going badly wrong. Cheap CG is usually the worst CG there is. But I wish them well, it might actually be interesting.

Goddammit sequels! After being repeatedly questioned as to whether there will be a sequel to his hit debut District 9, (District 10, maybe?) director Neill Blomkamp has finally delivered an answer. He has a story for a possible sequel and he feels pretty good about it. But he’s not sure if he’s actually going to do it.
Now Blomkamp’s next project is a Science Fiction comedy called “Chappie” so we know there will no “District 10” in the immediate future, nevertheless, this latest confession will only fuel speculation that such a project will get started in the foreseeable, if not near future.
Me, I think Blomkamp is interested in moving forward not back, I think you’ll only see a “District 10” when no money appears to make an original Blomkamp film. I think the day you see a Blomkamp sequel is the day the day you lose an innovative creative director and gain another factory-hand grinding out grist for the grist mills. But that’s just me.

Reviews of Iron Man 3 are out, overwhelmingly positive, and apparently a step up from Iron Man 2.
International Box Office has been phenomenal, it opened bigger than The Avengers and all indications are it will do quite well in the US too.

You’d think the producers of the Neuromancer movie had enough on their hands, but no, they’ve embarked on another venture. They are turning the admittedly modest success** of the Johnny Mnemonic film into a TV series.

Seven Arts has hired writers who previously worked on Stargate. Let’s see how that works out.

More news at it develops.

We thought the only Science Fiction project Luc Besson was planning was an adaptation of Valerian, however this is not the case. For some time he has been working on a film for a female lead (initially he wanted Angelina Jolie), well now it has a name a plot and a new lead, the new leading lady is Scarlett Johansson. The name o the film is to be “Lucy”; Johansson plays a drugs mule, when the drug leaches into her bloodstream, she develops superpowers.

We presume Besson is also still developing the time spanning space adventure Valerian.

Olympus Has Fallen

The first of two very similar films this year.
It’s Die Hard in the White House. If you’ve seen Die Hard you know all of the main beats of this film, they steal shamelessly.
And not just from
But somehow..
Well it’s a lot of fun.
You know the plot. Terrorist invade the White House, one plucky disgraced Secret service agent has to take them out and save the day.
It’s OK, once the intro scene is done the pace simmers along, the action scenes are deftly staged (if a little sharply cut), and where the action dials sown the tension dials up, in fact even Gerrard Butler’s chin looks more impressive than ever (I say it’s implants.)
With this film director Anton Fuqua redeems himself from his risible debut The Replacement Killers*.
Of course there are absurdities, it would not be an action film if it wasn’t a little absurd, and the patriotic coda with flags and a speech was silly but nothing excessive.

I can’t say much about the next one, it opens in the summer but if you see one White House invasion flick this month, see this one.

Is it me or are there a lot of films about the war on terror this year? Olympus Has Fallen, White House Down, even the comic book movies are about terrorist: Mandarin a terrorist in Iron Man 3, John Harrison is a terrorist in Star Trek: Makes Much Passes, what is this all about? I’d say it was the lingering effect of The Dark Knight, they took an elegant deconstruction of the superhero genre and what did they learn “People want villains to be terrorists”. Good luck with that.

Iron Man 3


I don’t hate it, honestly.
it’s a pretty good action movie, entertaining and has moments of humour and pathos.
By now you have the general idea; Tony Stark- Post Avengers movie- is anxious, stressed and post traumatic. Meanwhile a new terrorist, the Mandarin has been attacking American targets. It becomes personal when one of the Mandarins bombs injures Happy Hogan, putting the Mandarin and Stark in collision.

The open is pretty good, Stark with PTSD is a remarkable sight very human and vulnerable, the antithesis or your usual superhero. The attack on Stark’s mansion is spectacular and dramatic.
after that it gets kind of vague and looses focus. all the elements are fine even the kid who is less sickly and cute than her should be. There is also a twist in there that no avid reader of Iron Man Comic will see coming,
This would not be a disaster except as we go into the climax things get terribly busy and in all that the original point of the film seems to have been lost, don’t misunderstand me, it is all entertaining (if a little confusing) but it does not seem to have much to do with the beginning of the movie.
So Iron Man 3, better than Iron Man 2, not as good as Iron Man 1… Or the Avengers. It just feels like the series and Marvel films in general have plateaued.
Now you will feel the urge to wait for post credits scene, I did, and I won’t spoil it for you, what I will say is that you won’t expect it and it may make Marvels regular fans confused and angry (who knows… maybe it’s the international post credits scene, maybe there is a US post credits scene coming…)
I left the cinema vaguely unsatisfied.

OK, this week’s trailer was Man of Steel, big, sweeping spectacular, it really should be considering the amount spent on it, but most of all it looks very very long.

*Shooter? What do you mean Shooter?
** Actually that’s an exaggeration.

And if you want some real movie news you know what to do.
And if you want to walk the wild side of genre video try Starburst’s review section

I’m Jack Eris and if you know me, you know Jack.