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  • No Holds Barred

    No Holds Barred

    ½

    Terry Bollea, better known by his professional wrestling persona Hulk Hogan, plays a facsimile of his own facade — dew rag, neon spandex wardrobe, bad tan, body grease, and sun-kissed reverse Mohawk and matching handlebar mustache withstanding — is the number one professional wrestler in Regan’s good ole US of A. That is until an unapologetically 80’s era network scumbag, who failed to lure the anabolic protagonist to his network, discovers a lazy-eyed human rhino named Zeus (Tommy “Tiny” Lister)…

  • Extremely Wicked, Shockingly Evil and Vile

    Extremely Wicked, Shockingly Evil and Vile

    ★★½

    It's understandable why the filmmakers have chosen to take the road less travelled by adapting The Phantom Prince: My Life with Ted Bundy by Elizabeth Kendall in an era of new voices and different perspectives. Kendall was Bundy's love interest prior to his capture who struggled with cognitive dissonance between the man she loved and the mounting evidence Bundy -- who in course of their relationship escaped from jail (twice) and continued his rampage in Florida until captured, tried, and…

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  • mother!

    mother!

    ★★★★

    Controversial, divisive, metaphorical -- even sardonic -- Darren Aronofsky's latest thriller recalls horror films of yore that make you internalize and process juxtaposed to the standardized and the wholly uninspired that at best can only make you externalize.

  • Tupac: Resurrection

    Tupac: Resurrection

    ★★★★½

    There’s been at least a half-a-dozen documentaries made about Tupac Amur Shakur, if not more, but TUPAC: RESURRECTION is the only one that really made a name for itself as a solid non-fiction film. Rather than cash-in on conspiracy theories revolving around his murder or produce a straight-to-video fluff piece director Lauren Lazin attempts to understand the wounded boy that lived inside the troubled entertainer resurrected through a specious voiceover narration re-edited from available interviews and sound bytes allowing the deceased icon to guide the audience through his contradictive iconography and even reflect on his own death, post mortem.