The ten episode series Dahmer – Monster: The Jeffrey Dahmer Story (read our review HERE) was such a huge success for the Netflix streaming service back in 2022, Netflix ordered two more seasons of the show from creators Ian Brennan and American Horror Story co-creator Ryan Murphy. Last year, it was announced that the second season will be titled Monsters: The Lyle and Erik Menendez Story – and we’re now just a few weeks away from the premiere date! Monsters is set to start streaming on September 19th, and today a teaser trailer has arrived online, along with a first look image and poster art. The teaser can be seen in the embed above, and the image and poster can be found at the bottom of this article.
Monsters: The Lyle and Erik Menendez Story will chronicle the case of the real-life brothers who were convicted in 1996 for the murders of their parents, José and Mary Louise “Kitty” Menendez. While the prosecution argued they were seeking to inherit their family fortune, the brothers claimed – and remain adamant to this day, as they serve life sentences without the possibility of parole – that their actions stemmed out of fear from a lifetime of physical, emotional, and sexual abuse at the hands of their parents. Monsters: The Lyle and Erik Menendez Story dives into the historic case that took the world by storm, paved the way for audiences’ modern-day fascination with true crime, and in return asks those audiences: Who are the real monsters?
The cast includes Javier Bardem (José Menendez), Chloë Sevigny (Mary Louise “Kitty” Menendez), Nicholas Alexander Chavez (Lyle Menendez), Cooper Koch (Erik Menendez), Nathan Lane (Dominick Dunne), Ari Graynor (Leslie Abramson), Leslie Grossman (Judalon Smyth), Dallas Roberts (Dr. Jerome Oziel), Paul Adelstein (David Conn), Jason Butler Harner (Det. Les Zoeller), Enrique Murciano (Carlos Baralt), Michael Gladis (Tim Rutten), Drew Powell (Det. Tom Linehan), Charlie Hall (Craig Cignarelli), Gil Ozeri (Dr. William Vicary), Jeff Perry (Peter Hoffman), Tessa Auberjonois (Dr. Laurel Oziel), Tanner Stine (Perry Berman), Larry Clarke (Brian Andersen), Jade Pettyjohn (Jamie Pisarcik), Marlene Forte (Marta Cano), and Vicki Lawrence (Leigh).
Ian Brennan, Max Winkler, Paris Barclay, Michael Uppendahl, and Carl Franklin directed the episodes, working from scripts by Ryan Murphy, David McMillan, Todd Kubrak, Ian Brennan, and Reilly Smith. Murphy and Brennan serve as executive producers on Monsters: The Lyle and Erik Menendez Story alongside Alexis Martin Woodall, Eric Kovtun, Scott Robertson, David McMillan, Louise Shore, Carl Franklin, and Javier Bardem.
Are you interested in Monsters: The Lyle and Erik Menendez Story? What did you think of the teaser trailer? Let us know by leaving a comment below – and take a look at the image and poster while you’re scrolling down:
Fallout 76’s recent update Skyline Valley brought with it more than just insane weather and new types of Scorched to contend with; it also introduced numerous Legendary weapons. Some of these prove relatively simple to obtain, others, not so much. Zweihaender falls into the latter camp. Hopefully, you have a large…
Fallout 76’s recent update Skyline Valley brought with it more than just insane weather and new types of Scorched to contend with; it also introduced numerous Legendary weapons. Some of these prove relatively simple to obtain, others, not so much. Zweihaender falls into the latter camp. Hopefully, you have a large…
UPDATE: The Oasis reunion tour has been confirmed. While it’s only a handful of dates — none of which are in North America — this is still huge news in the music world. Tickets go on sale on Saturday, August 31st.
The tour begins on July 4th at Cardiff Principality Stadium for a two-night stint before heading to Manchester Heaton Park for four nights. After that? It’s off to Wembley Stadium for another four shows and then Edinburgh Scottish Gas Murrayfield Stadium for two. The tour will conclude at Dublin Croke Park on August 16th and 17th.
ORIGINAL ARTICLE:
Anyway, here’s “Wonderwall”…and every other one of their hits, as Oasis may be getting back together for a reunion. Or, at least, that’s what some might say based on a recent social media post by lead singer Liam Gallagher.
Gallagher took to X to respond to a user who took a dig at both Liam and older brother Noah amid rumors that Oasis could be hitting the stage next year. After the user called the brothers a “pair of melts” (British slang for wimps), Liam wrote – in typical Liam Gallagher fashion – “See you down the front ya big fanny kiss kiss x.”
Reports had previously come out suggesting that Oasis could reform for shows at London’s famed Wembley Stadium and Manchester’s Heaton Park. If confirmed, this would be one of the most supersonic reunions in recent memory, as it has been just over 15 years to the day that Oasis played their “final” show, performing at Weston Park in Staffordshire, England on August 22nd, 2009. That show, which was part of their Dig Out Your Soul Tour, closed with a cover of The Beatles’ “I Am the Walrus.” An announcement would also coincide with the 30th anniversary of their debut album, Definitely, Maybe.
The ongoing feud between Liam and Noel Gallagher was pretty much the sole reason Oasis couldn’t live forever. Despite a series of hits in the ‘90s and a massive following that stuck by through the ups, downs and fistfights, Oasis almost always felt like they were on the verge of splitting. By their own admission, the Gallaghers have always been going at it, something that only escalated as their fame grew. As such, their behavior was part of what made Oasis who they were. Sure, excitement grew with each concert, but there was also anticipation in wondering if one of the boys would just straight-up not show – hey, you can only have a tambourine thrown at your head so many times.
So, have the boys patched things up, even temporarily? We’ll have to wait and see if an official announcement comes, but if so, let’s hope Oasis launches a tour that takes them all around the world.
The Jennifer’s Body episode of Revisited was Written and Narrated by Vannah Taylor, Edited by Juan Jimenez, Produced by Tyler Nichols and John Fallon, and Executive Produced by Berge Garabedian.
I love campy teen fodder as much as the next horror fan, but sometimes the film we buy a ticket to see is not exactly what we were given in the trailer…A testosterone-fueled movie about underground fighting might actually be a dark satire that deconstructs masculinity, like Fight Club. Quirky romantic comedies end up being soul-crushing melancholic dramas like Eternal Sunshine of the Spotless Mind. And sometimes you have to find out the hard way that “reimagined classic” is marketing speak for, “this is a musical.” But one misunderstood gem forever stands out to me for being a powerful film ahead of its time. A commentary on female friendship, revenge, and the commodification of women’s bodies was hidden within an offbeat bloodbath about a hot chick who eats boys. Let’s dive into a whirlpool to explore the depths of the 2009 horror comedy, Jennifer’s Body (get it HERE).
Directed by Karyn Kusama, Jennifer’s Body follows Anita Lesnicki or Needy (portrayed by Amanda Seyfried), as she makes sense of the tragedy and carnage plaguing her small town of Devil’s Kettle–home of an unusual waterfall that feeds into a whirlpool with seemingly no exit (which is interestingly a real location in Minnesota’s Magney State Park that you can add to your next road trip). At the center of it all the terror is the center of Needy’s life–the now horror icon, Jennifer Check. Megan Fox portrays THE “it girl” of Devil’s Kettle. Popular and gorgeous, she embodies what every guy wants, and every girl wants to be. She seems bright and playful but, in reality, her “tell it like it is” attitude hits a little too hard. You want to hate her, but like everyone in Devil’s Kettle, you’re just awestruck and honored to be in her presence. Yet, girls like her have their weaknesses, too.
After a fire disrupts the pair’s night out to see an indie rock band, Low Shoulder—Jennifer, in shock and falling victim to the “cool guy from the city” charm, leaves with the band while Needy wonders what fate might befall her best friend. Fans of the riot grrrl movement might recognize the name of the film as a track released by Hole–fronted by the infamous Courtney Love. Hole fan Diablo Cody mirrors the lyrics of the song with her script, telling the story of a girl kidnapped and murdered, but instead of dismembered in a box somewhere, we see what happens when a satanic sacrifice backfires!
The film runs with this musical genesis by making music an essential aspect of the narrative, production design, and casting. Cody’s script honors its feminist punk inspirations by making the real villains of the story members of an indie rock band who choose to prey on unsuspecting young girls from the honest Midwest, brutalizing them in the name of their ambitions to make it big. The filmmakers had hoped to cast an actual rock musician to portray the frontrunner of Low Shoulder, Nikolai Wolf, with Pete Wentz of Fall Out Boy and Joel Madden of Good Charlotte being considered for the role. Eventually, Adam Brody was cast for the role and perfectly portrays a special kind of sleazy wannabe rock star that all the girls regrettably had a crush on. Brody himself is not necessarily a singer, so Nikolai’s vocals were provided by indie rock artist Ryan Levine, who is still seen on screen as another member of Low Shoulder. The music seen and heard creates the whole vibe of the movie. Production designer Arv Grewal nailed the decorating of these teen’s rooms, with posters of bands like Fall Out Boy and Motion City Soundtrack. If I didn’t know any better, I would have thought he clicked right onto my own Myspace page for inspiration. Not to mention, the film’s early 2000s alt-rock soundtrack features Panic! At the Disco, All Time Low, Dashboard Confessional, and many more iconic artists—which makes every viewing of this film transports me back to my teenage years. If I’m feeling nostalgic enough, I could probably find my own Panic! and All Time Low ticket stubs hidden in my childhood bedroom. My personal favorite touch is the ending sequence, featuring the Hole song Violet, which comes from the very same album that is home to the film’s namesake.
What Diablo Cody does wonderfully in her writing is play suburbia and the everyday situations we have come to recognize as part of our own coming-of-age tales to a level of absurdity that almost circles back to a deformed realism. Hot off her first screenplay for Juno, Diablo Cody decided to showcase her sarcastic wit and dark sense of humor by “simultaneously trying to pay tribute to some of the conventions that we’ve already seen in horror, yet, at the same time, kind of turn them on their ear.” She also cites influences like The Lost Boys, which is easy to see when you piece together that the two films are coming-of-age tales centered on a protagonist’s friendship, infatuation and debatable borderline worship of the film’s supernatural villain–topped with homoeroticism. Despite all of these similarities, there is still something so unique about the way this film interrogates and showcases the singularity and complexity of teenage girlhood and the difficulty of navigating those relationships.
Seyfried’s character being given the nickname “Needy” underlines the dynamic between her and Jennifer. The pressures that teen girl’s face create hierarchies that revolve around girls like Fox’s character, who is, as Cody states, “a product of a culture that pressures girls to be skinny, beautiful and just like movie stars.” The insecurities that bud from these pressures make way for something horrific as the intensity of what is supposed to be friendship becomes distorted into something parasitic. But this relationship cuts even deeper than that…
While misinterpreted as simply queerbaiting and some sort of stunt for the sake of getting boys in seats, there is a tangible romance between Needy and Jennifer that is profound and essential for understanding their dynamic. Needy states that “sandbox love never dies” and Cody has discussed the experiences that many girls, regardless of orientation, can related to–saying that “there is a sexual energy between the girls which is kind of authentic, because I know when I was a teen-aged girl, the friendships that I had with other girls were almost romantic, they were so intense. I wanted to sleep at my friend’s house every night, I wanted to wear her clothes, we would talk on the phone until our ears ached.” We see a connection between the two during their parallel experiences, like Needy’s visions during the mauling of Colin Gray, portrayed by horror fan favorite Kyle Gallner, and later when she can feel Chip on her lips. This can be read through the lens of the competition girls feel with one another, like when Jennifer demands Chip say she’s better than Needy. But there’s something to be said about the bisexuality of these characters who most likely found that desire the same way many unsuspecting girls do during their sleepovers, “playing boyfriend-girlfriend” in the safety of their own bedrooms as parents often don’t suspect that sometimes girls are more than just BFFs.
While this is a touchy subject for most when it comes to teenagers, this film does not shy away from letting its teens express their desires. It’s fearless and actually progressive in the way it shows a healthy and confident relationship, as we see between Needy and Chip, who are not shy on the subject. The film also debunks the idea we have, or as Rene Rodriguez puts it: “the notion that only “bad girls have sex when they’re 16 [and the] good ones—those who, like Needy, do their homework and are responsible—never slide past first base.”
Perhaps another heavily misunderstood aspect of Kusama’s film is that, despite being the monster or villain of the story, there is a lot of sympathy shown towards this misunderstood teenage girl. The extreme high and low emotions of puberty are one thing to have to deal with. The pressures of being a beauty queen are another. Being sacrificed and accidentally transformed into a succubus is a whole new level. Jennifer is regarded as an ideal girl, idolized for exactly what the film’s title states: her body. Her image is so important to her that the film uses a demonic possession to turn that reliance into a literal curse—what was once her social survival in the murky waters of high school, is now the mark of her actual survival, indicating that she needs to feed. The only thing about her that the world has told her matters now depends entirely on devouring boys…and that is not her fault. Cody mentions the sympathy seen in the film present when we see her, sitting at the vanity, smearing her makeup over her face, distraught at the distortion of her perfect image, stating “I always thought that was such a sad image. She’s so vulnerable. I don’t know any woman who hasn’t had a moment sitting in front of the mirror and thinking, ‘Help me, I want to be somebody else.’”
These moments in this film show that it was not just Jennifer who had power over Needy, but that Needy–in the way that she plays the subservient role that she has been forced into–actually holds the power in the relationship. This is shown through key moments in the film, like when Needy accuses the “Snowflake Queen’ of being insecure, her extremely defensive remarks like “How could I ever be insecure? God, that’s a joke,” shows that a nerve was struck. Most importantly, when she rips off the heart-shaped BFF necklace, the symbol of the power and intensity of their relationship, this is what ultimately allows Needy to take back her power and drive that boxcutter right into Jennifer’s heart.
Many did not and probably still don’t feel the love for Jennifer’s Body. The film had a disappointing box office performance (produced for $16 million, $6.8 domestic opening weekend, eventually grossing around $31 million internationally), and the film fell into a very average range on various critic aggregate sites, receiving criticism for not being funny or scary enough and Megan Fox being straight up called a “a pretty bad actress” (Michael Phillips, Chicago Tribune) or referred to as “the Transformers boy-toy” (Joe Neumaier, New York Daily News). But even the positive reviews seem to misunderstand what is really happening in this story. For example, Roger Ebert, while enjoying the film, christened it a “Twilight for boys.”
Many, including Diablo Cody, fault the marketing of the film for this misguided and poor reception, which leaned too far into appealing to boys who simply think Megan Fox is hot and hit the ground running with the infamous bedroom kiss between the film’s main duo. So, when its substance did not necessarily speak to this arousing marketing package, viewers did not know how to digest.
However, this film has made its resurgence. There is an unspoken power in the relationships of teen girls and there is something special about films that can perfectly depict the horrific experience of adolescence. This is what allows audiences to latch onto Jennifer’s Body as a cult classic and a reclaimed feminist masterpiece. Horror fans have embraced this film not just as a fun teen comedy about a boy-killing succubus but as a supernatural revenge fantasy–indulging in watching a teenage girl find her power after the violence that was enacted on her body. What didn’t kill Jennifer made her stronger!
Two previous episodes of Revisited can be seen below. To see more of our shows, head over to the JoBlo Horror Originals channel – and subscribe while you’re at it!
The wait is finally over. The day after Paramount and Sega teased fans with projections of characters onto buildings, declaring that the trailer was heading our way, the Sonic the Hedgehog 3 trailer has made its way online. The mood for this installment is more ominous as a new mysterious threat is unleashed on our world and is revealed to have origins that mirror Sonic’s.
The official synopsis from Paramount reads, “Sonic the Hedgehog returns to the big screen this holiday season in his most thrilling adventure yet. Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, a mysterious villain with powers unlike anything they have faced before. With their abilities outmatched in every way, Team Sonic must seek out an unlikely alliance in hopes of stopping Shadow and protecting the planet.”
Jeff Fowler returns to direct Sonic the Hedgehog 3 from a screenplay by Pat Casey, Josh Miller, and John Whittington, based on a story by Casey and Miller. Ben Schwartz returns as the voice of Sonic the Hedgehog, with Idris Elba (Knuckles), Colleen O’Shaughnessey (Tails), James Marsden (Tom Wachowski), Tika Sumpter (Maddie Wachowski), Tom Butler (Commander Walters), Lee Majdoub (Agent Stone), and Jim Carrey (Dr. Robotnik). Newcomers to the fast-paced and family-friendly franchise include Keanu Reeves as Shadow the Hedgehog, Krysten Ritter as Captain Rockwell, and Alyla Browne as Maria.
Executive producers on this new entry include Haruki Satomi, Shuji Utsumi, Yukio Sugino, Jeff Fowler, Tommy Gormley and Tim Miller. Neal H. Moritz, Toby Ascher, Toru Nakahara and Hitoshi Okuno are on board as the producers of this sequel.
With the recent Knuckles spin-off series and this new installment introducing Shadow, Sonic producer Toby Ascher has a vision that the property can grow to become “Avengers-level.” Ascher states, “We got really excited about the idea of expanding our characters in our world into television, specifically, because it gives us a platform to really do character studies. We knew that, with Shadow coming into Sonic 3 and some of the bigger things that we want to do, the Sonic franchise on the movie side is going to be these Avengers-level events. They’re going to be these big, exciting stories that have a lot of different characters.”
Alex Proyas, of the 1994 classic The Crow (watch it HERE), was never happy with the idea that Snow White and the Huntsman director Rupert Sanders was going to be telling a new version of the story of The Crow with his recently released reboot – and Proyas never kept his feelings about the project to himself, taking every opportunity to mock and bash it on social media. The Crow reboot made its way out into the world last weekend and is proving to be both a critical failure and a box office bomb, which is just giving Proyas more opportunities to have fun at the movie’s expense on social media.
In the build-up to the reboot’s release, Proyas shared a screen shot of The Guardian’s review, which called the film “unfathomably awful.” Later, he commented, “Wow. The reviews are brutal.” And when the box office numbers came in, revealing that the new The Crow had an opening weekend of just $4.6 million, Proyas said, “Box office is a bloodbath.” He added, “I thought the remake was a cynical cash-grab. Not much cash to grab it seems.” He and The Crow ’94 screenwriter David J. Schow both shared an image saying they had been “Marked safe from seeing Crow 2024 today.” Proyas then shared a link to a negative review of the reboot on YouTube, commenting, “I love how enraged this (reviewer) gets. Is that a “thumbs down”? Maybe they can lend their DCPs to film schools for classes on how NOT to make a movie? The theatres sure won’t need ’em after next weekend.” He ended with a laughing emoji. Sharing a negative review in Spanish, Proyas asked, ““Gigantesque Insulte!”? Is that good?” Again with a laughing emoji. In his most recent post, he shared a review that called the reboot the worst movie of the year and said, “The review we’ve all been waiting for. It’s a bit like flogging a dead horse now so I think I’ll stop after this… until another funny one comes along!” So it’s safe to say that Proyas is really enjoying the reboot’s failure.
We had previously been referring to this project as a remake, but Lionsgate recently let it be known that this is not to be called a remake, but rather a new adaptation of the source material, the comic book series created by James O’Barr. Sanders directed this version of The Crow from a screenplay by Oscar nominee Zach Baylin (King Richard). The film is produced by Victor Hadida, Molly Hassell, John Jencks, and Edward R. Pressman. Dan Farah serves as executive producer. Here’s the synopsis: Soulmates Eric (Bill Skarsgard) and Shelly (FKA twigs) are brutally murdered when the demons of her dark past catch up with them. Given the chance to save his true love by sacrificing himself, Eric sets out to seek merciless revenge on their killers, traversing the worlds of the living and the dead to put the wrong things right.
Bill Skarsgard (Boy Kills World) and singer FKA Twigs are joined in the cast by Danny Huston (Yellowstone), who plays the lead villain, as well as David Bowles (Brothers), Isabella Wei (1899), Laura Birn (A Walk Among the Tombstones), Sami Bouajila (The Bouncer), and Jordan Bolger (Peaky Blinders).
Based on the comic book series created by James O’Barr, the first version of The Crow was released in 1994. Following the production of three sequels (each about a different resurrected character), a redux was first announced in late 2008… then it had to make a long journey through development hell. Several screenwriters came and went, scripts were written and scrapped, studios went bankrupt, and directors like Stephen Norrington, Juan Carlos Fresnadillo, Corin Hardy, and Francisco Javier Gutiérrez were all involved along the way. Actors up for the lead role during the long development period included Bradley Cooper, Mark Wahlberg, Tom Hiddleston, Luke Evans, Jason Momoa, and Jack Huston.
What do you think about Alex Proyas celebrating the failure of the new The Crow? Let us know by leaving a comment below.
Usually, when people think of the greatest decade for action movies, the 80s are what they think of. After all, this is the era that gave us Lethal Weapon, Die Hard, the Rambo movies, and so many more. But, the 90s was just as important a decade, giving birth to just as many legends of the genre, and it was the last significant era for R-rated action flicks. But what are the best action films of the decade? It’s tough to say, but here are 10, plus an honourable mention, that we think we deserve a place in the pantheon.
Honourable Mention: Demolition Man:
When this came out in the fall of 1993, it wasn’t considered all that special. It apparently lost money at the box office, but within a few years, this Sylvester Stallone/ Wesley Snipes mashup became a major cult classic, and now it’s one of the most beloved films of the era. Stallone stars as a cryogenically frozen cop who wakes up in an extremely PC utopia that seems more relevant every year. The script, which Heathers scribe Daniel Waters overhauled, has teeth, and it also gave Sandra Bullock her first significant role in a Hollywood film, paving the way for her to become one of the biggest stars of her era. I feel like we’re not far from the movie’s “verbal morality statute,” but let’s skip the three seashells, ok?
10. True Lies:
This was Arnold Schwarzenegger’s last megahit and his last teaming, to date, with James Cameron. This domestic comedy mashup with tentpole action is a little un-PC these days (good!). The action sequences are masterful, and Schwarzenegger has never been so loose or comfortable playing a part. Jamie Lee Curtis is excellent as his wife, and the two should have been able to parlay this into a franchise, but Cameron was too busy ever to take the notion of a True Lies 2 seriously. He did, however, take the time to remaster the film in 4K (to mixed results).
9. The Matrix:
While this may seem a little low on this list, the reason I maybe don’t consider it up there with a lot of the big 90s action movies is because it feels more like a product of the 2000s, as it was so influential it dominated the genre for years. This was a massive comeback for Keanu Reeves, made the Wachowskis iconic and had some of the greatest VFX and action ever put to screen, effortlessly meshing Hong Kong-style action with American tentpole movie making.
8. Total Recall:
Do yourself a favour. Skip the 4K re-release of this movie, as the old-school effects don’t hold up well in high def. Yet, this Paul Verhoeven-directed epic is a masterpiece of action movie-making, and it’s so layered that you can watch it repeatedly. It has it all. Pulse-pounding action, gore, Schwarzenegger at his best, a kick-ass heroine, Michael Ironside getting his arms ripped off, a Jerry Goldsmith score, and an impossibly sexy Sharon Stone.
7. The Rock:
For James Bond fans, this movie is extra special as it’s Sean Connery’s swan song to the spy genre, with him playing a very Bond-like hero. It’s cool to see this sixties legend get plopped down into a modern techno-thriller, and Connery rises to the occasion. It’s Michael Bay’s best film, with a solid musical score, Ed Harris as a sympathetic bad guy and the birth of another action icon, Nicolas Cage, to whom Connery symbolically passes the torch as the movie continues.
6. Fist of Legend:
Lest you think this list will be all American movies, one must acknowledge that some incredible action flicks were being made in Hong Kong. Jet Li teamed with Yuen Woo Ping for this remake of Bruce Lee’s Fist Of Fury, aka The Chinese Connection. The fights in this movie were a massive influence on The Matrix.
5. Drunken Master 2:
Jackie Chan always said he never understood why fans loved his sequel to Drunken Master so much, with his perception of the film marred by his rumoured creative conflicts with director Lar Kar Leung. Artistically and physically, this is Chan at his prime. However, it’s maybe the one movie of his where I’d say the North American re-edit is a bit better, with it changing the schlocky score and eliminating the dumb ending.
4. Speed:
No one thought this movie would amount to much in 1994. People laughed at Keanu Reeves starring in a Die Hard knockoff action thriller, with many saying it seemed like he was taking on a role meant for a guy like Steven Seagal (it was actually written for The Perfect Weapon star Jeff Speakman). Opening weekend changed everyone’s minds, and I remember convincing my dad to take me to see this instead of Beverly Hills Cop 3. We were both on the edge of our seats, and Reeves and co-star Sandra Bullock emerged from this as legends.
3. Hard Boiled:
John Woo left Hong Kong following the release of this action masterpiece, which teamed two of his favourite leading men, Chow Yun Fat and Tony Leung. This has some of the greatest shootouts ever committed to film, and sadly, would mark the end of Woo’s collaborations with Chow Yun-Fat, although never say never.
2. Point Break:
Kathryn Bigelow brought a female perspective to this ultra-male bromance, which starred Keanu Reeves as an FBI agent trying to nail a team of surfing backrobbers, who turn out to be led by Patrick Swayze’s Bodhi, the zen surfer guru he’s become friends with. This legit masterpiece holds up brilliantly years later – ignore the remake they should have called Point Fake.
1. Terminator 2: Judgement Day:
Is this the greatest sequel ever made? It must be. It’s no coincidence that Schwarzenegger/ Cameron collaborations bookend this list. This movie elevated the genre, with it an emotional rollercoaster that made many of us cry in the 90s. It’s Arnie at his best, with Linda Hamilton also emerging as one of the most incredible action movie heroines ever. Hasta La Vista Baby.
What do you think of this list of some of the best 90s action movies? Would you have included the John McClane adventure Die Hard with a Vengeance or the “Steven Seagal vs. Tommy Lee Jones” classic Under Siege? Let us know by leaving a comment below.
As its name suggests, 7 Days to Die gives you a very generous week before everything turns to mud and blood. On the night of the seventh day, the Blood Moon rises, and hordes of zombies assault your position. Without careful preparation and planning, you’re liable to end your run early. We’re here to help!
As its name suggests, 7 Days to Die gives you a very generous week before everything turns to mud and blood. On the night of the seventh day, the Blood Moon rises, and hordes of zombies assault your position. Without careful preparation and planning, you’re liable to end your run early. We’re here to help!
