Scream (2022)
aka '5cream', the latest in the Scream franchise, introducing a bunch of newbies along with returning 'legacy' characters. It's certainly not plumbing the depths of the pretty woeful Scream 3, but this is a franchise that needs to be put to bed. I got more enjoyment out of it than I was expecting, most definitely, and there are some good and timely observations and movie-savvy quips, but it simultaneously feels very much 'been there, done that'. I guessed one of the killers almost straight off the bat, and figured on the other one not long after, so there weren't any real surprises. Even a reveal of a certain location, particularly with its placement within the narrative and running time, was blown as the interior was so clearly familiar to franchise fans. There's no real tension, either, not totally devoid of it, but it all blends in with the vibe of 'been there, done that'.
Even more emotional moments are let down by quips that are flung mere moments later by characters who should be grieving and in shock, so it doesn't have the weight that it really needs. The newbie characters are a mixed bag. I actually quite liked the twins, but beyond that they were either just okay cannon fodder or downright annoying as fuck. I couldn't stand the girl who pompously says she only watches "elevated horror". I enjoyed Scream 4 more than this one, but none of the later sequels have come close to the first two.
Night Vision
I don't know why this movie is called Night Vision. At no point does the killer, who records his victims secretly, use night vision to capture his prey, and nobody wears, say, night vision goggles in any key moment of detective work or action. This was probably one of those cranked-out genre flicks flung up onto Cinemax back in the day as there's a decent number of T&A scenes scattered throughout the otherwise paint-by-numbers tale of an alcoholic cop (Fred Williamson) hunting down a serial killer. The plot of simultaneously dense but also sketch-thin, as so many interesting avenues for subplots or further exploration are left on the table.
Cynthia Rothrock plays a trigger happy cop who is always either running out of bullets or getting her gun swatted out of her hand so Rothrock can do what she does best - kick scumbags in the face. It's one of those 'so bad its kinda good' movies. An early chase scene involving a grenade launcher (one of many unexplored subplots as the killer has, for reasons???, got their hands on military weaponry - despite killing his victims with FUCKING CLING FILM!!!) gives an impression of how haphazard this flick can feel, as you can clear-as-day see the pipe bombs they set up for the explosions on the highway, while moments later the wooden ramp set-up to fling the bike over the side sneaks into frame. 
It's a pretty crazy movie in some ways. On multiple occasions Williamson is parading around in his underpants, breadcrumbs between plotpoints are regularly lost so you don't really know how they put two-and-two together, and it could hardly be more low budget 1990s if it tried. In some ways it's pretty damn bad, but that kinda makes it good fun. There's also a scene, which appears to be shot inside some sort of garage space or studio apartment, but it turns out to be a theme motel room ... what's weird though is that the bed is inside a full-sized pink Cadillac ... but when they cut to the exterior it's supposed to all have taken place inside a normal sized motel room that's on the first bloody floor! How the fuck did you get a full-sized pink Cadillac bed up and in there?!
Fifty/Fifty
Directed by the nerdy guy from American Graffiti (Charles Martin Smith), this Cannon Films action comedy stars Peter Weller and Robert Hays as a couple of CIA operatives who get wrapped up in a coup to take down the dictator of a remote South East Asian island. There's good banter between Weller and Hays, but the tone sometimes shifts awkwardly, especially when the dirty business of the CIA's shifting priorities comes more into play and innocent blood is spilled. On the one hand it's commendable to inject some more serious depth into what could have otherwise turned into a fairly dumb action flick, but it can sit a little bit off-key with the banter on occasion. That said, I wouldn't change it, as it does give the movie a bit of personality. It's maybe a big slow in the first half, but it cranks up in the second half with some typically Cannon style action. A decent action caper from the VHS rental heyday.
Apparently Chuck Norris and Michael Dudikoff were originally considered for the star pairing. Even Sly Stallone and Eddie Murphy as well as Stallone/Kurt Russell were considered (the latter pairing opted for Tango & Cash instead). There's some interesting versions of this film sitting out there in the multiverse, that's for sure!
 Originally Posted by paranoid101
The Sadness
This movie is not for the faint hearted, its ultra violent, gory which most of which is practical, heads explode or get caved in and I wont go into detail what happens to an eye socket.
not sure how to score this....... as a story its a 5/10 but as a gore show its a solid 9/10.
Sounds fucked up and worth a watch. Thanks for the recommendation. 
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