• The Electric Horseman

    The Electric Horseman

    ★★★

    I think both Redford and Fonda are miscast in this, especially when you've got Willie Nelson and Valerie Perrine right there, but the horse is great.

  • Protocol

    Protocol

    ★★★

    Fascinating for its proto-feminism, its clueless Islamophobia, and its misinterpreted Capra-esque idealism. Also it's funny.

  • Martial Law II: Undercover

    Martial Law II: Undercover

    ★★★½

    Swapping out Chad McQueen for Jeff Wincott was a serious boost. Terrific, gnarly fights here too.

  • Way of a Gaucho

    Way of a Gaucho

    ★★★½

    Rory Calhoun's Gaucho has to stand before he can walk.

  • Cherry

    Cherry

    ★½

    There isn't a single thing in this that isn't clichéd, recycled, or both. The Russos, news to nobody, are producers and not directors. Tom Holland is bad in it but everyone else is much worse.

  • The Russia House

    The Russia House

    ★★★★

    The only Le Carré adaptation to really get and live in the boozy, melancholy hypnodrab vibe of his prose; old men in old clothes confronting the old ways. Also, my goodness, the vintage Soviet location work is devastatingly gorgeous.

  • Devil in the Flesh

    Devil in the Flesh

    ★½

    Not even particularly satisfying as cheap cable soft porn.

    Discussed on Episode 56 of The Suspense is Killing Us.

  • The Temp

    The Temp

    ★★★

    Textbook example of studio meddling resulting in a movie nobody's really happy with.

    Discussed on Episode 56 of The Suspense is Killing Us.

  • Swimfan

    Swimfan

    ½

    Almost entirely worthless and nonsensical.

    Discussed on Episode 56 of The Suspense is Killing Us.

  • Coming to America

    Coming to America

    ★★★★

    "This is the place I was telling you about. It's real fucked up."

  • Great Day in the Morning

    Great Day in the Morning

    ★★★★

    Bites off maybe a little more than is chewable with its surprising but hardly unwelcome framing of the Civil War as additionally a poisonous labor vs. capital conflict, but what a gorgeous Technicolor mouthful it is. Stack is simultaneously weirdly miscast as a drawling Machiavelli and spot on as a ruthlessly self-absorbed "apolitical" rich asshole.

  • I Care a Lot

    I Care a Lot

    "Hell, if your whole enterprise isn't a pitch perfect example of the American dream, I don't know what is."

    This might be what passes for black comedy or satire these days, but it's inexcusably trite and toothless in almost every available facet, and you all know it.