Sunday, July 16, 2017

Officer Downe (2016)

Comic book movies are all the rage, with the majority of them being superhero based.  Those are the big tentpole movies that build a year of theatrical releases.  The DC movies, the X-Men movies, the Marvel movies, and any other superhero that goes onto the big screen is sure to make enough money to justify the cost.  At the same time, they become the talk of anyone watching movies.  This year has had Logan, Guardians of the Galaxy Volume 2, Wonder Woman, and Spider-Man: Homecoming all receive love among movie fans.  It’s a comic book world in movies right now.

Superheroes aren’t the only way in which comic books have hit the big and small screens.  There are many other types of stories told in comic books that have been adapted to video form.  The Walking Dead and Preacher are both thriving on AMC, with audiences foaming at the mouths for more.  One movie that was recently adapted from a comic book was Officer Downe, directed by one of the members of Slipknot.

Officer Downe followed Officer Gable (Tyler Ross), one of the newest members of a future Los Angeles Police Department.  He was brought into a team of special officers meant to observe and report on Officer Downe (Kim Coates).  Crazy heightened violence followed Downe wherever he went and it was up to the officers to clean up the aftermath.  Officer Downe was immortal in so much as he could be continuously resurrected in order to fight crime again.  Throughout his time watching over Officer Downe, Gable would learn a good deal about what it took to be a great police officer while trying to dig into the secrets of Downe’s resurrections.

There are aspects of Officer Downe that I liked.  The story was solid.  Having it focus on another character being brought into the world of the future LAPD was fitting because it helped the audience become accustomed to the world.  It built a connection to Officer Gable because the secrets were being revealed as he discovered them.  The story arc of Gable helped him to learn things about himself through learning things about Downe, building both his character as a police officer and Downe’s character as a force to be reckoned with.  Learning through understanding and all that.  It played out well and made for some solid entertainment.

Also working well in Officer Downe was Kim Coates.  He’s usually cool in whatever role he plays.  His casting as Officer Downe gave the character a level of cool that he might not have otherwise had because Coates knows how to play that type of character perfectly.  He filled the role to the best of his abilities which led to a police officer that could understandably be idolized.  He was someone who could be tough one moment and sympathetic the next.  There was a duality that Kim Coates brought.  Having someone else in the role would have made the whole movie feel different, which could have led to much worse things.

But not everything about Officer Downe was as good as the story and the lead performance.  The biggest problem came in the form of the direction.  One of the producers was Mark Neveldine and it showed through the direction of Shawn Crahan (Clown from Slipknot).  The movie felt like a lesser version of the movies that Neveldine directed with Brian Taylor.  The cinematography was reminiscent of Crank, Crank: High Voltage, and Gamer.  There was an appearance by Glenn Howerton, who also had a memorable role in the two Crank movies.  The problem was that Officer Downe wasn’t as strong as either of those movies.  It didn’t have the same consistent level of amped-up action blended with comedy.  The comedy may have been the biggest problem.

Officer Downe was not all that funny of a movie.  It tried to be funny and ended up grasping at straws.  The jokes fell flat.  One in particular, which came up twice, was a counter of the number of orgasms that Officer Downe was able to give a woman in one oral sex session.  It wasn’t funny when it happened early in the movie and it wasn’t funny when it came up again about halfway through.  Maybe it was the fact that the humour was trying to be edgy while being somewhat silly.  Yet that attitude worked in the Crank movies.  That attitude worked in Gamer.  For some reason, with Shawn Crahan steering the ship under Mark Neveldine’s tutelage, it never quite hit the right note.  I know that humour is subjective and opinions change from person to person, but there’s a noticeable quality shift downward with Neveldine prepping someone to carry on the legacy of his movies.  Maybe it’s a learning curve and Crahan’s next outing (if there is one) will be better.

The final thing that must be discussed about Officer Downe has nothing to do with the overall quality.  Being a member of Slipknot, Shawn Crahan was able to get some of his connections from the music industry to be involved in the movie.  The most notable were some of the members of Slipknot having acting roles.  Corey Taylor, Sid Wilson, Chris Fehn, and Crahan himself all played different characters.  The music was also influenced by Crahan’s connections.  Many of the songs on the soundtrack were performed by Gizmachi.  They are a metal band signed to Big Orange Clown Records, a label owned by Shawn Crahan.  His connections helped to build the cast and the soundtrack.

Officer Downe wasn’t a terrible movie.  It had some major problems in that it tried to be over-the-top without going all in on it.  If a movie is going to push boundaries, it better be ready to go all in on that.  Any sense of grounded reality should go out the window.  Officer Downe tried to make the action limitless but tried to have a heartfelt story of a police officer who cared about the people he was protecting.  That didn’t mix well and left a movie that could have been much more.  It felt like there was an officer down with nobody to save them.
Let’s get to some notes before we get out of here:
  • Officer Downe was suggested by @FranchiseFred.
  • Phil Morris showed up in Officer Downe.  He was also in Jingle All the Way.
  • Another second appearance in the Sunday “Bad” Movies came in the form of Meadow Williams, who was also in Miss Cast Away and the Island Girls.
  • Finally, Shad Gaspard had a role in Officer Downe after popping up in Sandy Wexler.
  • Have you seen Officer Downe?  What did you think of it?  Did you have a similar opinion to mine or were we complete opposites?  Let me know in the comments.
  • If you have a suggestion for a movie I should watch as a part of the Sunday “Bad” Movies, you can let me know in the comments section.  I’m always looking for movies I might not know about.  Bring some of them to my attention.  Twitter or the comments section.
  • One place where you can see clips of the bad movies that I watch for this blog is snapchat.  I sometimes add movie clips.  I sometimes add other things.  Add me.  jurassicgriffin
  • You’re probably wondering what next week’s movie is.  It’s an interesting one for sure, and one that I wasn’t too excited about seeing for a second time.  Movie 43 has found its time to show up, and I’ll be writing about it in next week’s post.  The movie is a doozy, though I do have more of an appreciation for it now than I did when I first saw it.  Who knows what I’ll write though?  We’ll see next week.

Sunday, July 9, 2017

Samurai Cop 2: Deadly Vengeance (2015) and Action Franchises Going Crazy

Samurai Cop was a top tier bad movie.  It played everything as straight as it possibly could, genuinely trying to be a good movie within the b-movie landscape.  A lack of filmmaking skill on the part of every single aspect propelled it into that enjoyably bad stratosphere that few movies manage to reach.  It wasn’t entertaining out of irony.  It wasn’t entertaining because it was fun to make fun off.  Samurai Cop was a genuinely entertaining movie that just happened to be poorly made.

I discovered the movie in 2014 when it was included in the Sunday “Bad” Movies.  I’m not taking the credit for uncovering it and giving it to the masses.  All I’m saying is that I didn’t know about it until I scheduled it.  The name alone made me think that it was something I should include in my journey through bad movies.  Usually the name thing doesn’t work out, but in this case it did.  It quickly became one of my favourite movies from the blog, still only having two or three movies top it.  Of course I was excited to hear that a sequel had been announced and that there would be more Samurai Cop on the way.

Samurai Cop 2: Deadly Vengeance was released in 2015.  It fell into the trap that many action sequels fall into, and that took away from how enjoyable it could have been.  The first movie portrayed a skilled police officer who took down a Los Angeles gang.  He worked with his partner Frank (Mark Frazer) and it was their teamwork that helped them succeed.  The sequel didn’t take any of this into account.  It made Joe Marshall (Mathew Karedas) into an unstoppable legendary figure of crime fighting.  He could take down any and all threats without so much as a scratch.  Frank took a back seat, rarely participating in the action.  He simply moved Joe from one location to another.  It was less of a team and more of a mythical figure that fought crime.

This is a common occurrence throughout action films.  As franchises move forward, the setpieces must outdo each other.  They need to be bigger.  They need to be more spectacular.  This necessitates that the hero does more ridiculous things, which turns them into more of a superhero than the action star that they started out as.  Samurai Cop 2: Deadly Vengeance fell victim to this method of action filmmaking.

Throughout this post, I’m going to take a look at a few action franchises that followed the same path as Samurai Cop 2: Deadly Vengeance, and explain what worked or didn’t work about the path.  There are many reasons that it could or could not work.  It all depends on the specific franchise.  But we can learn from the examples what to do and what not to do when it comes to moving forward an action franchise.

The Fast and the Furious
One of the biggest franchises in action as of late has been a franchise about people driving cars.  The Fast and the Furious has eclipsed all other car movies to become the biggest name in driving action.  Vin Diesel, Dwayne Johnson, Ludacris, Tyrese, Paul Walker, and Michelle Rodriguez have helped to push the franchise into the stratosphere of popularity.  Who knew that would happen when it began with a simple movie about street racing?

The first movie, The Fast and the Furious, was released in 2001.  Paul Walker starred as Brian O’Conner, an undercover police officer who infiltrated the street racing world of Dom Toretto (Vin Diesel).  It was a masked remake of Point Break, replacing the surfing and stuff with cars and street races.  Everything was more grounded, with a semi-realistic yet simplistic take on the underground gangland of Los Angeles, and how street racing tied into it.  The characters were realistic.  The story was believable.

As the series progressed, however, things would change.  The franchise morphed from its underground street racing roots into an espionage series involving cars.  That began in the second movie as an on-the-run Brian O’Conner was brought in by police to use his driving skills to take down kingpin Carter Verone (Cole Hauser).  But it wouldn’t be until the fifth installment, Fast Five, that the series would truly go off the rails and become something new.  It would become the explosive popular action series that it currently is.

Fast Five followed close on the heels of Fast and Furious (the fourth movie), picking up right where the previous installment had left off.  Dom’s crew was breaking him out of a prison bus.  It was in this moment that the characters became mythological figures.  The movie proved that they could do anything.  Characters from previous movies banded together to create a super team that could survive driving off cliffs in convertible cars.  They stole police cars and dragged giant safes full of money behind their cars in city wide chases.  This was on the lower end of the crazy things that the characters would do throughout the sixth, seventh, and eighth installments.

Following the change of the characters from realistic street racers into superheroes with cars as their special powers, they did many crazy things.  Fast and Furious 6 saw the team take down a tank and a plane with their cars.  It also brought a character back to life.  Furious 7 saw one character run up a bus as it fell off a cliff, another character roll his car down a mountain with everyone inside surviving, and saw a third character flex a cast off of his arm and walk through the streets shooting a helicopter with the rail gun from a drone.  It also had cars parachuting out of a plane.  The eighth movie had a character winning a street race while driving a burning car backward, another character controlling every computerized car in New York, a character participating in a shootout while caring for a baby, and the whole team taking down a nuclear sub.  These action beats were a far cry from where the series began.

The other big note about the Fast and Furious franchise is how Dom Toretto became more and more of a legend.  It sort of started that way in the first movie when he was a cocky street racer who saw himself as the best in Los Angeles.  As the movies progressed, other characters began seeing him as the mythic figure that he thought himself to be.  He was a wanted criminal that the law couldn’t capture.  By the eighth installment, Mr. Nobody (Kurt Russell) was breaking two criminals out of prison simply because they were the only people who had ever tracked down Dom Toretto.  He was an uncatchable driver who proved at the beginning of the movie that a good driver could overcome any obstacles to win a race because the driver was all that mattered.  The cars don’t matter.  The driver does.  Dom’s driving solidified his mythical status among the people who watched the race.  He was no longer the grounded, cocky racer from the first movie.  He was a legend.

Die Hard
This one could probably be tied to the eras in which the movies were made.  I haven’t seen Die Hard with a Vengeance, so I can’t get as in depth as I got with the Fast and Furious franchise, which I’ve seen all of.  What it has in common with the other two franchises I’ve written about in this post is that the main character of John McClane (Bruce Willis) went from being a basic street cop to becoming a superhero by the time the franchise got to its fourth entry.

The first movie followed a smart ass New York City police officer who encountered a hostage taking while on a trip to a Christmas party in Los Angeles.  He worked his way through the building to free the hostages and take down the hostage takers one by one.  The situations were grounded in a reality with the dangers being believable, and John McClane sustaining injuries during his mission.  There were still some moments that gave a slight bit of spectacle, but the movie felt more like the real world than some heightened film universe.

By the time the fourth installment, Live Free or Die Hard, rolled around, John McClane was basically a superhero.  He was crashing cars into helicopters and safely diving from the wing of an airplane onto hard highway pavement.  The character had become immune to most situations that a person couldn’t physically survive.  In the fifth movie, A Good Day to Die Hard, the climactic battle happened in a nuclear reactive site, though both John McClane and his son came out of the climax without a hint of radiation poisoning.  The movies were no longer in that realistic world that the first Die Hard had set up.

The biggest difference between the Die Hard franchise and the other two discussed in this post was that John McClane didn’t become the heroic legend that the other characters became.  He continuously stumbled into the situations where he had to save the day.  It never had to do with him being called upon because of how many times he has taken down bad guys.  He just ended up in the situation every time.  He was not a legend.  John McClane was just a superhero.

Samurai Cop
Samurai Cop was like a low budget Lethal Weapon.  There was the buddy cop teaming of Joe Marshall and Frank.  They teamed up to go against a group of martial arts inspired gang members who were working to control the streets of Los Angeles with drugs.  The action story was fairly grounded, with the only real heightened stuff being that all of the people were martial artists.  Joe Marshall was the average cop, though he was good with the ladies and had learned the ways of the samurai.  Frank and Joe worked together and took down the gang piece by piece.

That all changed when the second movie came out some twenty-five years later.  The movie began with Frank investigating a possible gang war in Los Angeles.  There was only one man he could count on to help him stop the war from getting out of control.  That man was Joe Marshall, who had since left Los Angeles after the death of his girlfriend Jennifer (Kayden Kross).  Everyone in Los Angeles knew of Joe Marshall because of what he had done during the events of the first Samurai Cop.  They knew that if anyone could take down the gangs in Los Angeles, it was him.  That’s why Frank sought him out and brought him back to the city to fight crime.

Joe came back as a different person than when he had left.  Sure, it had been twenty-five years.  Add onto it that his girlfriend had been killed, and you have a changed man.  The thing is, it changed how the movie felt, too.  He was now seen as a legend.  He was an unstoppable force that the bad guys worked hard to stop, knowing full well that Joe Marshall would defeat them.  The bad guys knew about the narrative that had been sewn around Joe Marshall.  They believed it.  That’s how much of a mythical figure the man had become.

He also spent the twenty-five years becoming the superhero that so many action heroes become as their franchises progress.  When Joe came back into the story, he didn’t work with Frank all that much.  He fought most of the bad guys on his own.  When it came to the climactic fighting, Joe stormed the bad guys’ base by himself, with Frank coming in later to clean up what Joe left behind.  Joe was a one man killing machine, out to avenge the death of the woman he loved.  Frank watched from the sidelines as Joe took out every ninja and bad guy he encountered.  In two movies, he had accomplished what took two other, more popular franchises four installments to do.

Many action franchises have experienced growing pains in which they shifted from being grounded, mostly realistic looks at the characters dealing with dangerous situations to off-the-rails craziness.  The Fast and the Furious went from street racing to cars taking down a nuclear submarine.  Die Hard went from being trapped in a tower to taking down Russian terrorists in a nuclear site.  Samurai Cop went from stopping a drug ring to taking down an entire gang war single-handedly.  These are only three examples of this franchise trajectory.

Sometimes this path of action can work.  Fast Five, Fast and Furious 6, Furious 7, and The Fate of the Furious play up the insanity.  Instead of trying to place it in a world of realism, the world of the movies changed with the characters.  Samurai Cop 2: Deadly Vengeance wasn’t as successful at the transition.  They played right into the insanity of what was going on but tried to force it.  It didn’t play naturally into the world, particularly with the needless callbacks to the first movie.  Die Hard just… That’s one just removed any of the interesting character stuff that made the first movie stand out.  It was a grounded movie about a character.  The later movies felt like a different character in crazy situations.

Having the movies grow increasingly crazier all depends on the execution.  In some cases, it will work.  In other cases, it falls flat on its ass.  Samurai Cop 2: Deadly Vengeance was one of those movies that tried to go crazy without having done the work to get there.  It couldn’t back itself.  It went crazy for crazy’s sake, instead of trying to be entertaining.  It played into the fanboys by referencing what they loved in the most forced ways possible.  There was the potential to make something entertaining but it fell victim to something I’ve heard about before.  When someone tries to sincerely make something good and they fail at the basic filmmaking side of it, it can be highly entertaining.  However, if they try to ironically make an entertaining bad movie, it usually falls flat.  That’s what happened.  They ironically tried to recapture what seemed sincere in Samurai Cop and it hurt Samurai Cop 2: Deadly Vengeance.  I wish it had been better.  I love the first movie.

The notes section here should be fun:
  • Here’s the post for the first Samurai Cop movie.
  • Seven actors from Samurai Cop returned for Samurai Cop 2: Deadly Vengeance.  They were Mathew Karedas, Mark Frazer, Tom Gleason, Melissa Moore, Gerald Okamura, Joselito Rescober, and Jimmy Williams.
  • Mindy Robinson was in Samurai Cop 2: Deadly Vengeance.  She has also appeared in The Coed and the Zombie Stoner and Chicks Dig Gay Guys.
  • One of the main bad guys in Samurai Cop 2: Deadly Vengeance was played by Tommy Wiseau.  He is most famously known for making The Room.
  • Kristine DeBell had a role in Samurai Cop 2: Deadly Vengeance.  You might recognize her for being in A Talking Cat!?!
  • Finally, Samurai Cop 2: Deadly Vengeance featured Bogdan Szumilas, who was in Sandy Wexler.
  • Have you seen Samurai Cop 2: Deadly Vengeance?  What did you think of it? What do you think of any of these action franchises that go crazy as they move forward?  You can discuss any of these things in the comments.
  • The comments are also a place where you can suggest movies for me to watch in future Sunday “Bad” Movies posts.  Sometimes I write specifically about the movie and sometimes, like this week, I write about a topic related to the movie.  If you don’t want to put your suggestions in the comments, you can let me know on Twitter.
  • I have a snapchat where I sometimes put up clips of the bad movies I watch.  If you want to see this or any of the other random stuff I put up there, add me.  jurassicgriffin
  • Now that I have that sequel behind me, I’m going to move onto another movie and another week of the Sunday “Bad” Movies.  Officer Downe is on the docket for next week.  I don’t know too much about this movie.  It was suggested to me and I threw it into the schedule.  I’ll be watching it soon and I’ll have something about it up next week.  See you then.

Sunday, July 2, 2017

Jaws 3-D (1983), Product Placement, and a Little Bit of Jaws: The Revenge (1987)

Every movie needs some sort of funding to get made, no matter how much it costs.  Equipment, food, and (most of the time) crew members must be paid.  Big budget movies obviously cost more than the movies that are filmed home cameras.  A lot of work goes into getting funding.  Sometimes it involves asking many financiers for money.  Sometimes it involves giving away some of the creative freedom that a director or writer would normally have.  Then there is the simple fact of product placement.

Product placement has become increasingly prevalent in the modern media world as people have moved away from network and cable television, and instead gone to online subscription locations to get entertainment.  Advertisers changed their strategies to get their products to the masses.  This involved tying the products into the action at play in the shows.  The same thing has been done in movies.  Instead of having the characters use generic technology, companies like Apple, Sony, and Microsoft will work with the people making the movies to showcase their products.  Take, for example, the movie Daddy’s Home.  Near the beginning of the movie, Will Ferrell’s character went on a tangent about all of the great things his Ford Flex could do.  It wasn’t a person bragging about their car.  He was selling it.  He was being the pitchman for Ford.

This isn’t a new method of advertising products in movies.  One of the most notable product placements was in 1982’s E.T. The Extra-Terrestrial.  The alien character ate Reece’s Pieces throughout the movie, helping the sales of that candy product rise.  The knock-off of E.T., a 1988 movie I have covered called Mac and Me, had an extended dance sequence set in a McDonald’s restaurant.  It was an attempt to get people to realize how fun it could be to dine at McDonald’s.  The movie went so far as to have Ronald show up and dance with everyone.

But that’s not where product placement stops.  It could be used as a cute little discovery of candy by a childlike extra-terrestrial, or a single scene diversion for another alien that was going to a child’s party.  Sometimes, however, product placement plays a much more integral part to the story.  The story could be crafted around the product.  The television show Community did that with an entire storyline that involved Subway after the sandwich chain helped fund another season.  That’s not what I want to focus on, though.

Jaws came out in 1975, and launched a franchise that went four movies deep.  They were all simple enough stories.  A shark attacked a place and the people fought to stop it from chowing down on the local population.  The first movie was a huge hit.  The second movie wasn’t as successful, which might explain what happened with the third movie.

Jaws 3-D, which was released in 1983, was produced by a different team than the first two installments.  The location in which the movie was set changed from the standard Amity Island setting of the prior two films.  It was instead set at SeaWorld in Florida.  That’s right.  SeaWorld put their name on a Jaws movie.  That’s product placement at its finest.  The film was even shot on the SeaWorld property.  They were going to get all that they could out of a third Jaws movie.

This decision made no sense.  Sure, it raised awareness for SeaWorld and got it into people’s minds.  It was advertising may have allowed people to see SeaWorld as a more legitimate business than it had already been.  The problem came from the movie that it attached its name to.  Using SeaWorld as the location for Jaws 3-D seems like it would make fewer people want to go to the amusement park.  The original Jaws had the reputation of making people fear the water.  People who watched the movie in the 1970s wanted to stay away from watering holes.  Whether it was an ocean, a lake, or a swimming pool, there was always the little bit of shark fear nibbling at people’s minds (I’m saying this as a person born in 1990, but this is what I’ve heard of the Jaws phenomenon).  Why would SeaWorld want a piece of this fear?  Using their park as the location for Jaws 3-D was bound to instill a fear within viewers whenever they stepped onto the SeaWorld property.

Luckily, the movie wasn’t nearly as successful as either of the predecessors.  That really depends on your outlook of the situation, though.  If you’re like me and you think that the movie would have made people not want to go to SeaWorld because a shark could somehow get into the park, then the movie doing poorly kept that fear from permeating through the movie-going population of 1983.  If, on the other hand, you think visuals of people being trapped in underwater walkways that were filling up with water while a shark head-butted them would have made people desire a trip to SeaWorld, the movie might not have lived up to expectations.  The people who had worked on the advertising partnership between SeaWorld and Jaws 3-D were likely a little disappointed in what happened.  It still surpassed its budget by a large amount.  It just wasn’t nearly as successful as the first two outings for the series.

The fourth movie in the Jaws franchise didn’t attempt any major product placement.  There was no SeaWorld setting.  It was a simple story of Ellen Brody going on vacation in the Bahamas and encountering a shark that may or may not have killed her son in Amity.  Maybe it was because the franchise was back with Universal instead of being in other hands.  Whatever the case, it didn’t help the series as they floundered and stalled after four movies.  Jaws: The Revenge would be the final film in the franchise and would signal a decline in the amount of relevant shark movies until the rise of intentional TV B-movies like Avalanche Sharks, Sharknado, Sharktopus, and the Mega Shark franchise that began in the late 2000s.

Product placement can be a great way to get brand recognition.  This is especially important in the modern age when people will do whatever they can to avoid commercials (except for movie trailers, or Super Bowl ads).  The way to get your product noticed is no longer about making people laugh in the moments between scenes in their favourite television shows.  It’s about finding ways to integrate themselves into the movies or television shows that people watch.  They can be used as part of the setting, such as SeaWorld in Jaws 3-D or Google in The Internship.  They could be an important plot point, like using the Dodge dealership in Monster Trucks.  Or they could be blatant advertisements like the Autobots in Transformers all being Chevy products.  Whatever the case, product placement won’t be going away any time soon.  It’s the future of advertisement.
These notes are the future of this post:

  • Jaws: The Revenge was suggested by @rosstmiller, who has also suggested Going Overboard, Jack and Jill, Leprechaun in the Hood, and Son of the Mask.  I added Jaws 3-D because I wanted to.
  • I mentioned both Sharknado and Mac and Me in this post.
  • Louis Gossett Jr. was in Jaws 3-D.  He was also in the Iron Eagle movies and provided a voice for the film Delgo.
  • Jaws 3-D wasn’t the first time that we saw Dennis Quaid in the Sunday “Bad” Movies.  He was also in Playing for Keeps.
  • Lea Thompson made her film debut in Jaws 3-D.  She would later star in Howard the Duck.
  • Jaws: The Revenge featured two actors from Monster in the Closet.  They were Terrence Beasor and David McCharen.
  • J.D. Hall returned to the Sunday “Bad” Movies with Jaws: The Revenge.  He was previously seen in Mac and Me.
  • Lillian Garrett, from Hamburger: The Motion Picture, came back to the Sunday “Bad” Movies this week in Jaws: The Revenge.
  • Finally, Jan Rabson was in Jaws: The Revenge, as well as Theodore Rex.
  • Have you seen Jaws 3-D or Jaws: The Revenge?  Do you want to complain that I watched both but the majority of the writing this week only involved Jaws 3-D, which wasn’t the one suggested?  There’s a comment section below where you can do all that.
  • I’m always looking for more suggestions about what to watch.  Find me on Twitter and let me know what to check out, or put the suggestions in the comments.
  • If you have snapchat and you want to see some of the stuff I put up there (movie clips, Clarence, and sometimes other random observations), add me. jurassicgriffin
  • For next week’s post, I’ll be taking a look at the sequel to one of the movies I watched early on in the Sunday “Bad” Movies.  Samurai Cop 2 has come out since I began writing about bad movies and it seems like it would be a disservice to not cover that sequel to one of my favourite discoveries of the blog.  So I’m going to sit down and I’m going to watch the sequel and hope it’s even half as entertaining as the original.  I’ll give you my thoughts next week.