Kill or Be Killed

Film: Predator: Killer of Killers
Format: Streaming video from Hulu+ on Fire!

I went into Predator: Killer of Killers completely cold. How cold, you ask? I didn’t realize it was an animated movie for the first few moments of it. The film opens with a shot of the Earth from the point of view of the Predator and for a moment I thought, “Wow, the CGI on this is really terrible.” And then it became clear that this is an animated film, and I felt a little more prepared for what was going to happen.

There is definitely a sense of fan service of a sort in this film. Ever since the release of Prey, people have talked about the different possibilities of Predator films. How would a Predator fare against a samurai? How would a group of Predators fare against a Roman legion? Predator: Killer of Killers starts to answer some of those questions for us, but by no means all of them.

What I've Caught Up With, May 2025

I'm slowly getting back into watching movies again, although I'm still hip-deep in dealing with my mom's estate. Just when I thought I'd gotten all of the pictures sorted, I was given a couple of thousand slides to go through as well. It feels never ending. Television-wise, I finished The Critic (don't watch the 10 "season 3 webisodes--seriously) and caught up on the current series of Black Mirror. I'm in the middle of season 6 of the West Wing now. Sadly, my workout show (Battlestar Galactica) stopped streaming, so I've had to switch to The Expanse.

Trigger Warning

Film: The Entity
Format: Internet video on Fire!

When I started this blog all the way back at the tail end of 2009 (Jesus…2009. I was young-ish once), one of the decisions I made was that any reviews I posted would come from watching the film, even in cases where I had seen the film a bunch of times. I didn’t want to rely on memory of a film, but address how I approach it in the moment of watching it anew. Opinions change, after all, and some movies don’t hold up--Stripes was a classic comedy film when I was much younger, and the last time I watched it, I barely got through it. There are times when this strategy pays off, though. Such a case is The Entity.

I was not a fan the first time I watched this. I think my problem with it was simple—it purports itself to be based on a true story and it deals with, essentially, a sexually active poltergeist. As someone who has no actual spiritual beliefs, the “based on a true story” angle for films like this frustrates me. It’s the kind of thing that dupes the credulous and makes them vulnerable to scamming. So, I had a bit of a grudge against it, and I held it against the film. It was a mistake; this is a better movie than I thought it was.

Glitz and Glam

Film: The Last Showgirl
Format: Streaming video from Hulu+ on various players.

Years ago, I worked with a guy who used to joke that he watched Baywatch for the articles. The joke was that back in the day, it’s what a certain type of guy liked to say about Playboy—you got it for the articles, not the nudity. Baywatch, if you’re too young to remember those heady days of 35 or so years ago, was softcore television porn that featured a lot of slow-motion shots of Pamela Anderson running on the beach. It probably wasn’t too fair to her, but the show made her a sort of cultural punchline, someone desperate to be the new Marilyn Monroe. Well, she’s back, and The Last Showgirl is a clear attempt for respectability.

And let me say this so that I don’t come across as crass: Pamela Anderson deserves that respectability. The problem with the fake-breasted, blonde-haired bubblehead stereotype is that it is a stereotype. Like Marilyn before her (and like Judy Holliday as well), Pam Anderson is a hell of a lot smarter than anyone gave her credit for being. The Last Showgirl feels like something incredibly personal to her, and it shows in every frame.

A Little Dab'll Do Ya

Film: The Substance
Format: DVD from Cortland Public Library on basement television.

I’m not going to virtue signal here, because something I’m about to say is kind of belied by a lot of the films I really love: women and marginalized groups make better horror movies. I say this full in the knowledge that some of my all-time favorite horror movies (28 Days Later, The Thing) are made by white dudes, and Wes Craven is far and away my favorite horror director. That said, for the last decade or so, the really interesting things being done in the genre are being done by women and marginalized people. That brings us to The Substance, a brutal body horror film that was so damned good it got a bunch of Oscar nominations, including a win for makeup and hairstyling.

Elisabeth Sparkle (Demi Moore) is an aging actress who, Jane Fonda-like, has made a significant portion of her later career working in fitness videos. On her 50th birthday, her producer Harvey (Dennis Quaid) fires her essentially for being too old. On her way home from being fired, she sees one of her billboards being ripped down, and loses control of her car. At the hospital post-crash, a young nurse slips a flash drive into her pocket offering her “The Substance,” which promises to create a better, more perfect version of herself.

Check Your Warranty

Film: Upgrade
Format: DVD from Cortland Public Library on basement television.

I mentioned yesterday that the They Shoot Zombies list has recently updated. One of the things that happened with the new update is that a couple of movies that I reviewed on my monthly roundups now appear on the list as entries. This means a rewatch, something I’m not really looking forward to in terms of Psycho Goreman, but one I very much looked forward to with Upgrade. It’s been a couple of years since I watched Upgrade, and it’s a film I liked quite a bit the first time through.

It’s also a film that suffers slightly from the fact that it very much plays like a feature-length Black Mirror episode. It kind of speaks to the success of Black Mirror that any dystopic near-future science fiction can easily come across as an episode of the show. Upgrade is a bit more involved than a typical episode, but it wouldn’t shock me if this was at least temporarily conceived of as an episode for an early season.

Our Regularly Scheduled Program

Film: The Last Broadcast
Format: Streaming video from Amazon Prime on Fire!

The They Shoot Zombies list updated recently, which is always a several day process for me in terms of updating my spreadsheets, blog, and Letterboxd site, since I am the unofficial curator of films that were on the list and have been removed. Typically, the update involves 3-4 dozen movies, most of which will have been on the list in the past with a few new additions. This year was a wholesale change, with 172 changes. Of those, 84 were returns and 88 are new to the list. It was a needed overhaul, though, because the list has been light on modern films, and the update is mainly films from the last 10 years. There are some exceptions, though, including The Last Broadcast, a found footage film that predates The Blair Witch Project by a year.

It's important that The Last Broadcast came first, because it explains the main issue with the film. Blair Witch established a lot of the rules of found footage despite there having been a number of films in the style before that. So, when I say that The Last Broadcast breaks the rules of the style, it’s only fair to point out that those rules weren’t really set in stone until the following year—it’s a sort of ex post facto complaint on my end.