140/2149. Cop Land (1997)
Sylvester Stallone is very good in this modern crime drama where the cops are the robbers. Of course it helps that the rest of the cast includes DeNiro, Keitel, Liotta, and about a half dozen other fantastic talents.

Commit crime and drink Coke!

142/2151. Foxy Brown (1974)
Pam Grier is on a mission to avenge the death of her government agent boyfriend, who was killed by a narcotics gang... after being tipped off by her own brother. There's some unintentional silliness in here, but the entire film is worth the climax.

Sell out your sister's boyfriend and drink Coke!

143/2152. Alligator (1980)
Foxy Brown's Pam Grier plays the title character In Quentin Tarantino's Jackie Brown, where her love interest is played by Robert Forster. I mention that because by coincidence, Forster is the lead actor in this mediocre killer monster movie. And no one even drinks Coke in it! (The closest it gets is the one kid nearly eaten while wearing an "I'm a Pepper" t-shirt.)

144/2153. Matinee (1993)
I really enjoyed this heartfelt love letter to the creature features of the late 50s and 60s set during the Cuban Missile Crisis. I mean, I love movies about the movie business, I love atomic monster sci-fi films, and I love coming-of-age stories, so it's sort of tailor made for my specific interests. But I think everyone will appreciate John Goodman's conman with a heart of gold.

Watch movies and drink Coke!

More to come.

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I suspect that I first met Judge Dredd when he and Batman shared an adventure in 1991's Judgement on Gotham comic book. Dredd, a character appearing regularly in British comics, was a tough cop struggling to maintain order in a post-apocalyptic future that is equal parts terrifying, satirical, and absurd. Dredd and Batman both share a righteous morality, a utility belt of awesome technology, and a complete lack of any sense of humor, but the two are on opposite ends of the empathy spectrum. Naturally, I was instantly enchanted.

One afternoon in late June 1995, I rode with my friend Mark in his antique truck to the Northlake 8 AMC movie theater in Tucker, GA to buy advance tickets for opening night for the Sylvester Stallone Judge Dredd film. I was a bouncing bundle of pure enthusiasm, and something about that experience in my history has always stuck in my memory. Sorry to say, my memory has lasted far longer than my enthusiasm did. The movie sets and costumes looked good, but beyond the surface, it just didn't turn out to have much to do with the character of Judge Dredd.

After all these years, I felt I owed it to the character to give his new movie, cleverly titled Dredd, a fair shake. I'm pleased to say that the new Dredd movie treats the lawman better this time around. I was the only person in the building at yesterday's 4:30 showing at Newnan's Carmike 10 theater, and I can tell you that 100% of the audience was enthusiastically entertained. I even applauded appreciatively when Karl Urban as Dredd finally yelled "I am the law" the proper way: with his helmet on.

The movie is a small, day-in-the-life action story about what it must be like to be the toughest cop in a very violent world. The limited scope of the story is far more suited to the absurdist crime-story millieu historically associated with the characters than its big-budget predecessor. And though the limited budget did result in more limited costuming and visual effects (no robots or flying cars!), it added to a more claustrophobic environment which should be expected in Mega-City One, population 800 million.

The film may not have restored the lost enthusiasm of my youth, but I did enjoy it and wouldn't hesitate to recommend it to anyone who likes gory, stylish action films about foreign comic book characters. You know who you are.

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The single greatest comic book page ever published:

Seems that Stallone's Rocky was in talks to join Sgt. Slaughter and William "Refrigerator" Perry as a Joe in 1987, but negotiations fell through, leading to the publication of the above totally-awesome page in 1986's G.I. Joe: Order of Battle comic book. Details can be found here and here.

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Today is Groundhog Day. World-famous Punxsutawney Phil (which is more a title, like "Pope," than an actual name: groundhogs only live about a decade) has seen his shadow more than 6 times as often than not in the past century. What does this mean? That it's generally sunny in Punxsutawney in February.

And if you live in an English-speaking country, you no doubt know that the Super Bowl featuring the New York Giants and the New England Patriots is tomorrow. While it remains to be seen if a groundhog can predict the winner as poorly as it can predict the winter, Scripps Howard News Service isn't waiting to find out. As usual, they asked a bunch of celebrities for their picks, trusting to the observed phenomena that famous actors are more important and more right about everything from medical practices to political theory than common slobs like me.

This year, Dolph Lundgren predicted a Giants win (21-13). On the other hand, Carl Weathers presumes a Patriots victory (31-17). Amusingly enough, the only time these two masters of modern cinema have ever appeared in the same film, Weathers played a patriot ("It's too bad we've got to get old.") who was beaten to death by the fists of the giant Lundgren ("If he dies, he dies."). What does this mean? That apparently Sylvester Stallone was too busy gleefully mainlining HGH for the already green-lit Rambo V to comment. ("[I'm] your worst nightmare.")

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Statistics indicate that once every two minutes, someone in America is sexually assaulted. While that sounds bad, it's tempered by the fact that most of those victims are probably in a relationship with Charles Bronson.

In Death Wish, Charles Bronson is a New York City architect whose wife is murdered and whose daughter is raped by a band of hoodlums that includes The Fly's Jeff Goldblum. In Death Wish 2, Bronson's family relocates to Los Angeles, but his daughter is again raped and this time killed by a different band of hoodlums that includes The Matrix's Laurence Fishburne. In Death Wish 3, Bronson returns to New York City where his new neighbor's wife is raped and killed by a gang of hoodlums including Bill & Ted's Alex Winters. In Death Wish 4, Bronson's back in Los Angeles, where his girlfriend and her daughter are killed by drug dealers who include Star Trek Voyager's Tim Russ among their numbers. In Death Wish 5, Bronson is again in New York and he again has a fiance who is killed by mobsters including Medium's Miguel Sandoval.

No doubt, there are several lessons here, not the least of which is that New York and Los Angeles are both dangerous cities. If you want to keep your family safe from muggers and rapists (and drug dealers and mafioso), move somewhere else. Another moral here is that if you see a face you recognize in a crowd of thugs, that person is probably going to rape and/or kill you. (The real message may be that you shouldn't have a love affair with Charles Bronson, but seeing as how he's been dead for half a decade, I figure that one's just common sense.)

Why do I mention this now? Because I just heard that Sylvester Stallone, fresh off his zombie movies Rocky Balboa and Rambo, is looking to remake the first Death Wish. (Can Stop Or My Mom Will Shoot Again or Over the Top 2: WAY Over the Top be far behind?) Running out of his own material to re-tread, Stallone is moving on to others' franchises. Watch your back, Schwarzenegger.

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I just remembered that the world was supposed to end today. Maybe it did and I just wasn't paying attention.

The remake of Richard Donner's film The Omen was released today. I really liked the original and find it completely unnecessary to remake the film. (In fact, I'm opposed to remakes on general principle, though I can see the validity if the remake were to improve on an overlooked or poorly funded original. No one needs to remake Citizen Kane, but maybe we could do with a new Quatermass Xperiment (a precursor to the fundamentally similar John Carpenter's The Thing which was itself a remake) or Kingdom of the Spiders (though I would insist that this remake must feature Shatner in a prominent role, maybe even a reprisal of his role as the charming Dr. Rack Hansen).

On a related note, about this time of year, my friends begin demanding my presence at the movie theater for the blockbuster summer releases. As a loud-mouth sour-puss, they like to bring me along as the honorary Mikey of Life cereal fame. Since I hate everything, if I enjoy a movie, it's got to be good. (And if I don't like a movie, at least they get an entertaining ear-full of why it stunk.)

Since everyone loves lists, at least so far as VH1, E, and Bravo are apparently concerned, may I present my chronological 15 Worst Films of the Past 15 Years list. Please note that these films are not bad in the pedestrian I-don't-know-how-to-make-a-film way. (This, therefore, disqualifies all Roger Corman and Ed Wood films from the list.) I'm also disqualifying sequels, because they are intrinsically bad: they are unimaginative, restrained remakes of earlier films made purely to capitalize on previous films' characters and premises. The following films are bad in the I-know-better-than-to-make-this-movie-but-I-did-it-anyway category. (In other words, they are were big-budget, major studio, national release movies that sucked.)

• Oscar (1991) - Sylvester Stallone as a comic gangster. Most people will tell you that Stallone's Stop! Or My Mom Will Shoot is worse. It's not. Estelle Getty has some funny lines in that one.

• Robin Hood: Prince of Thieves (1991) - What a bit of inspired casting! Alan Rickman plays a bad guy. Morgan Freeman plays a sidekick. And Kevin Costner plays a long-winded American pretending to be English nobility turned hero of the common man. Couldn't Kevin Costner just hire a hooker to give him a hand-job so that we don't have to watch his films anymore?

• The Good Son (1993) - I knew when I saw this film that one day Elijah Wood would be a star. I also knew that Macaulay Culkin wouldn't be one for much longer. Theoretically, this film would be a stirring psychological thriller, but I find that the really plodding pace and horrible acting makes it a good cure for insomnia.

• The Firm (1993) - What do you get when you take a script based on a best selling novel, add box office gold with Tom Cruise, Gene Hackman, Ed Harris, Holly Hunter, and Gary Busey and let Sydney Pollack direct them? You get a cliched legal drama that lasts for 2 and a half painful hours and a cop-out ending. Thanks!

• Greedy (1994) - This is a movie that proves that an ensemble cast of talented actors (yes, it includes Ed Bagley, Jr. -- I said it was an ensemble cast, didn't I?) aren't necessarily greater than the sum of its parts. Though filmed before Kirk Douglas's stroke and Michael J. Fox's Parkinson's Disease, you'll never be able to tell the difference.

• Pocahontas (1995) - This film is mind-blowing in its mediocrity. That's saying something for a Disney "Masterpiece" film. This film won an Oscar for best song, but you probably can't tell what that song was anymore, can you? Nothing about this film is memorable. Fiction dressed as history, this sleep-inducing bore-fest marked the end of the second renaissance of Disney animation. Can you believe that someone wasted their time to make this crap one painting at a time? (And now Disney is reduced to Bambi II.)

• Independence Day (1996) - There is nothing that this movie does that many other better movies before it didn't do better. (Earth Vs. the Flying Saucers had saucers blowing up Washington D.C., Alien had scary aliens, and Spaceballs had Bill Pullman.) In fact, this movie can definitively be said to be the end of Randy Quaid's career as a film actor. He now exclusively plays parodies of his character in this film: a stupid, fat slob.

• Air Force One (1997) - I'm often accused of failing to suspend my disbelief during a movie. Sure, I can accept Harrison Ford as the president of the United States. Sure, I can accept that Air Force One is like an office building in the sky. Sure, I can even accept mid-air rescue from a flying 747. But I totally have to draw the line at a female Vice President. "Get off my plane!"

• Titanic (1997) - "Wait, that's a good movie," you say? No, it's not. If you don't immediately fall for the overly-sappy love story between a bratty street punk and the spoiled bitch, you're left with a very, very long wait to see a large, animated boat sink. This movie is about James Cameron's love affair with a sunken wreck, nothing more.

• Godzilla (1998) - Americans love foreign films. Wait, no we don't. We love remaking foreign films, replacing the inspired bits with tried and true cliches. Which is exactly what Godzilla is. Gone is the classic and beloved man in a rubber suit terrorizing a model town. Now we get ugly CGI that makes the monster look more like a constipated t-rex than an electrified monitor lizard. Have I mentioned the really horrible casting on this film, yet? Really, this is just an excuse to destroy New York City on film, again. We americans are also a bit masochistic.

• Armageddon (1998) - While this movie might suck, at least it should get credit for being appropriately named. Who says that there is no truth in advertising? Another ensemble picture that totally blows. It's movies like this that make Michael Bay a running joke. (Note that J.J. Abrams, brainchild of Lost, wrote the screenplay for this trash. And now I'm supposed to be excited that he's attached to the new Star Trek movie?) Though I'm ranking these movies in chronological order, this film should get a special commendation, as I do believe that it is the absolute worst film ever made.

• Planet of the Apes (2001) - Not really a remake as much as it is a pile of crap. I used to like Tim Burton (Pee-Wee's Big Adventure is a spectacular film), but based on this film, I refuse to watch anything Burton does anymore. Sorry, Tim, this is too bad for words. The action merely crawls along without any real suspense or plot since we all saw the much superior Heston film years ago. And the deus ex machina twist at the climax only adds insult to injury. Remember, kids, nuclear power is forever.

• Minority Report (2002) - Once upon a time, Steven Speilberg could do no wrong: Jaws, Close Encounters, Raiders of the Lost Arc, Jurassic Park, The Color Purple, Schindler's List... damn, that's an impressive list. But then, sometime around Saving Private Ryan, Mr. Spielberg lost touch with the rest of the human race. His movies became a series of incredibly unnecessary visceral moments that no longer have any cohesive narrative use. And then he gave us AI. Just like AI, this film poses as insightful and thought-provoking in the same way that Fox News poses as fair and balanced. There is a lost eyeball sequence in this film that would make Vincent Price proud. Plus, this movie features Tom Cruise as a holier-than-thou super-cop with fatherhood issues and an addiction to fantasy. Quite the stretch for you, eh, Tom?

• The Core (2003) - I almost didn't include this movie here, because so far as I'm concerned, it's really just a spiritual sequel to Armageddon. But it is bad. Very, very bad. In yet another masculine role, Hillary Swank tries to drive a phallus-like drill into the "core" of the world in order to trigger an explosion that will make the world move. (Lets see, she's been the next Karate Kid, a teenaged boy, a police detective, an attorney, a space shuttle pilot, a boxer.... Is no man's role safe from the manly grip of Ms. Swank?)

• The Day After Tomorrow (2004) - From Roland Emmerich, the director who brought you Godzilla and Independence Day (see above), comes a(nother) tale of the destruction of New York City! With Ice! I think that the FBI should be investigating Mr. Emmerich for terrorist activity based on the number of times that the has destroyed New York on film. There oughta be a law against Roland Emmerich.

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