Nah, doesn't even come close to Mercury Rising, and there are a ton of zero budget obscure crap of him on Netflix.

And I will forever shit on Hudson Hawk as NOT being so dumb it's fun. Nothing gets to me like unfunny people trying to be quirky.

Also it seems weird that they'd get a dong double for Willis' .3 second dong flash, but alright.

Does not deserve the bad rap it gets, and you have to give it credit for swinging the bat as hard as it does

I don't know if I'm more excited about Jane March or Don Lafontaine.

Please tell me Don Lafontaine narrates all the way through the movie.

This movie and Mercury Rising are both perfectly good movies. Not great by any means, sure, but they deserve more respect than, say, Unbreakable.

I'm having a bit of a Baader-Meinhof moment seeing this pop up here just a couple days after moving it up to the top of my Amazon video rental queue. It's from the director of The Stunt Man, which is unqualifiedly brilliant; I decided I had to check The Color of Night out after rewatching it and thinking "wait, isn't this the same guy who directed that shitty Bruce Willis erotic thriller, HOW DID THIS HAPPEN"

Fun fact: I can't verify it, and I'm not necessarily inclined to believe him, but Richard Rush also claims to have invented the rack focus for one of his 60s biker films.

SPOILERS:

This is another movie like "Pitch Black" that expects the audience to believe nobody in the film can tell one of the "male" characters is quite obviously a woman wearing stage makeup.

In the early to mid 90s, the video game craze was countless shitty fighting games.

For movies, it was countless shitty psychoanalysis erotic thrillers.

Monday 7pm ET
streamboat.tv/@Monkey_Nap for the stream
irc.freenode.net #PoeTV for chat

(people always ask, the web chat on streamboat lags and drops messages)

This was the only movie my uncle ever demanded his money back after seeing, and he sat through some stinkers.

This movie is truly repugnant. It also reminds you of how silly the concept of a nc-17 or r rated early 90s "erotic thriller" was now that we live in an era of instant on-demand free pornography.

The stars here are for the fact that I forgot about all of the NAIL GUN GORE at the end.

This movie is a thousand times worse than you remember it.

Deeply bad film, predicated upon some dreadful plot holes stemming from slavish dedication to a genre's tropes. All of the settings looked like places where Clive Barker characters would wear skin masks. Nobody is relatable or likeable, the main conceit that nobody can tell who the tranny in the room is, truly bad. Bad/bad, do not like.

I like it's depictions of california property rights: if you're visiting from out of town while your friend is murdered then you get to own the house!