Jason Morehead
@opus
Christian. Husband. Father. Nerd. Blogger. Web developer. Located in #LNK. I feel a nostalgia for an age yet to come... Pop culture nerdery:
This Hong Kong response to the “Police Academy” films boasts some of the most delightfully insane action sequences I’ve seen in a long time. My ★★★½ review of Wellson Chin’s “The Inspector Wears Skirts” (1988): opus.ing/diet/538053
Big themes and bravura filmmaking notwithstanding, it’s a surprisingly ineffective film from one of our greatest filmmakers. My ★★ review of Steven Spielberg’s “Disclosure Day” (2026): opus.ing/diet/538021
If you can make it through ultra-wacky buddy cop hijinks, then you’ll be rewarded with some delightfully bonkers action. My ★★★ review of Joe Cheung Tung-Cho’s “Pom Pom and Hot Hot” (1992): opus.ing/diet/537364
Although it hints at some interesting directions (e.g., a noir-ish tale of obsession, a critique of the Hungarian medical system), it ends up taking the least interesting route. My ★★½ review of Lili Horvát’s “Preparations to Be Together for an Unknown Period of Time” (2020): opus.ing/diet/536907
Ishirô Honda’s best known for introducing the world to Godzilla, but he directed a string of sci-fi films throughout the ’50s, ’60s, and ’70s, including this warning against placing too much faith in science. My ★★★ review of Ishirô Honda’s “The Mysterians” (1957): opus.ing/diet/536869
This one’s very much for Yuen Woo-ping completists, though it’s a treat seeing Kwan Tak-hing still looking spry in his mid 70s as Wong Fei-hung. My ★★★ review of Yuen Woo-ping’s “Dreadnaught” (1981): opus.ing/diet/536865
“Magical” is a term that often gets tossed around when describing films, but I really can’t think of a better term to describe what Cocteau achieved with this film. My ★★★★★ review of Jean Cocteau’s “Orpheus” (1950): opus.ing/diet/536809
The latest collaboration between @abulmogard.bsky.social and @blackknoll.bsky.social is one of my favorite albums of 2026, and it’s officially out today. Highly recommended for fans of Stars of the Lid and evocative ambient and drone music in general. linktr.ee/WhereLightPa...
Much like 1962’s “Harakiri,” it exposes the dark side of the samurai era before culminating in a climactic duel between the two great samurai actors, Toshiro Mifune and Tatsuya Nakadai. My ★★★½ review of Masaki Kobayashi’s “Samurai Rebellion” (1967): opus.ing/diet/536455
Not my favorite film noir, but still worth watching for Robert Mitchum’s resigned fatalism and Jane Greer’s femme fatale. My ★★★½ review of Jacques Tourneur’s “Out of the Past” (1947): opus.ing/diet/536446
If you thought “Top Gun: Maverick” was thrilling, just wait until you get a first-person view of the Blue Angels flying a mere 12 inches apart from each other while pulling off intricate maneuvers at 400 miles/hour. My ★★★★ review of Paul Crowder’s “The Blue Angels” (2024): opus.ing/diet/536427
Despite its low-quality animation and disjointed plot, or perhaps because of those things, these six episodes do a halfway decent job of capturing Tsutomu Nihei’s bizarre far-future transhumanist world. My ★★★ review of Shintaro Inokawa’s “Blame! Ver.0.11” (2003): opus.ing/diet/536410
Our president has the mentality of a 3rd grade bully. Source: truthsocial.com/@realDonaldT...
Sometimes the genre-bending, non-linear storytelling, etc., really works, adding to the mood, and sometimes it all feels really arch and affected. (Also, Colin Farrell would be picture-perfect casting for a Carman biopic. IYKYK.) My ★★★ review of “Sugar,” Season One (2024): opus.ing/diet/535375
It’s clear that Chuck Norris was trying to expand his range and repertoire here, and do something a bit more diverse than just another action movie. My ★★★ review of William Tannen’s “Hero and the Terror” (1988): opus.ing/diet/535363
A sweet enough screwball comedy, thanks to Edward G. Robinson’s meek performance and Jean Arthur’s delightful sass. My ★★★ review of John Ford’s “The Whole Town’s Talking” (1935): opus.ing/diet/535250
A well-researched history of America’s “New Age” movement that, among other things, finds striking parallels between the teachings of 20th century spiritualists and the rhetoric of today’s far-right factions. My ★★★★ review of @leahsottile.bsky.social’s “Blazing Eye Sees All”: opus.ing/diet/534515
Susanna Clarke’s second novel can seem affected at times. Once you embrace its premise, though, it becomes a very delightful read, and the House becomes a place that you’d like to believe actually exists. My ★★★★ review of Susanna Clarke’s “Piranesi” (2021): opus.ing/diet/534101
This Z-grade riff on “Death Wish” by Filipino director Teddy Page is chock full of wooden performances, stilted dialog, and awkward pacing, not to mention an ending that went viral several years ago for its stunning abruptness. My ★★ review of Teddy Page’s “Blood Debts” (1985): opus.ing/diet/534545
If you want to watch a film about an upright lawman trapped in a seemingly idyllic small town with a dark secret, watch Edgar Wright’s “Hot Fuzz” instead. My ★★ review of Ben Wheatley’s “Normal” (2025): opus.ing/diet/534536
Two seasons in, and I’m still not sure why this series exists. My ★★½ review of “Monarch: Legacy of Monsters,” Season Two (2026): opus.ing/diet/530309
Like a good heist movie, a lot of the fun here comes from seeing how the Jackal plots his impossible missions while evading detection and arrest. Bring on season two! My ★★★½ review of “The Day of the Jackal,” Season One (2024): opus.ing/diet/533647
Possesses a certain righteous anger that sets it apart from previous “Orphan X” novels, though I could’ve done without the awkward attempts at Gen Z slang and leetspeak. My ★★★ review of Gregg Hurwitz’s “Antihero” (2026): opus.ing/diet/533878
Who’s the cat that won’t cop out when there’s danger all about? I am, of course, talking about John Blacksad, the anthropomorphized PI who confronts the rich and the powerful. My ★★★★ review of Juan Díaz Canales and Juanjo Guarnido’s “Blacksad: They All Fall Down” (2022): opus.ing/diet/533799
A madcap tale of conspiracies, betrayal, love triangles, and yes, Peking opera hijinks — with an emphasis on “madcap.” My ★★★ review of Tsui Hark’s “Peking Opera Blues” (1986): opus.ing/diet/533453
Ultimately feels more like a film made by someone trying to copy Shane Black’s style, than an actual Shane Black film. My ★★½ review of “The Nice Guys” (2016): opus.ing/diet/533303
A prime example of ’90s martial arts cinema that probably wouldn’t even rate as “direct to video.” Still, its wooden performances, awkward dialog, and lower-than-low-budget production values are not without their charms. My ★★★ review of Godfrey Ho’s “Honor and Glory” (1992): opus.ing/diet/532151
This spiritual sequel to “The Heroic Trio” reunites Anita Mui, Michelle Yeoh, and Maggie Cheung, but lacks its predecessor’s style and panache. My ★★ review of Johnnie To and Ching Siu-Tung’s “Executioners” (1993): opus.ing/diet/532756
It’s a little ironic that this is streaming on Amazon. Nevertheless, its blend of righteous anger and moral ambiguity makes for a very compelling — and entertaining — watch. My ★★★★ review of “Steal,” Season One (2026): opus.ing/diet/532762