I’ve realized that for every movie I cross off my To Watch list, I add three more. The sad reality: I’ll never watch all the movies. Nevertheless, I can try. In theaters this week, I caught Oculus and Dom Hemingway but skipped screenings of Heaven is for Real, Neighbors and Draft Day. As is, I’ll still have another chance to see Neighbors before it hits theaters and although it’s getting fairly high praise, I’m still not sold that it’ll be anything better than slightly entertaining. At home, I had a chance to hack through a few more films that I’ve had sitting on my list, including the earlier Fast and Furious movies (I’ve finally seen them all now) and another viewing of the joyous 12 Years a Slave.

You won’t find those included here though as there’s really nothing to say about them other than they exist. 2 Fast 2 Furious isn’t as embarrassing as the name suggests, Tokyo Drift is an absolute nightmare and the near “here we go again” Fast and Furious come noticeably shy of the seduction of the last few installments. Somehow, the Rock really changes the dynamic for the best (didn’t ever expect to say that one.) Anyways, onward to some films to discuss in more detail.

DRUG WAR (2012)

A certifiable thrill ride through the Hong-Kong underworld, this tasty piece of Chinese cinema lines up just the right amount of standoffs, fireworks and nail-biting tension and snuffs it up clean. Drug War follows a captured meth manufacturer who flips sides and helps the police take down the top dogs of his former organization over a period of 24-hours. Though Chinese film hardly makes much of a splash overseas (financially or culturally), this is one of the finest examples of Chinese filmmaking from the past 20 years. It’s China via Tarantino Bay, a one-way trip from Hong Kong to LA. Irresistibly balls-to-the-walls, Drug War charges 100 miles an hour until the brooding, bruising final moment.

B+

BARTON FINK (1991)

One of the more contained Coen Bros films, Barton Fink explores the creative process while confronting Judaism, New York angst and a dastardly murder. Far be it for anyone to call one of John Turturro‘s roles “normal” but this is probably the closet we get to having him playing a straight character. Cranked up on his own instinctual discontent and self-loathing ways, he’s a vessel for the Coen bros to voice their own insecurities. Hollywood’s a bitch, their film screams. It’s where creativity comes to die. Thankfully, the Coen Bros, unlike Fink, don’t bend over and take the proverbial sacking of the studio system. It’s films like this, even though it’s not their greatest work, that make us thankful that these sardonic siblings exist.

B

CHEAP THRILLS (2014)

Fear Factor left behind the rule book in E.L. Katz‘s ultra-violent parody on American economic desperation that mixes murky morality with a heavy twist of sadism. Pat Healy puts in a monstrous performance as the film’s lead, a man on his last financial leg who runs into old buddy Vince the same night he meets a man with deep pockets set to change his life… if he’s willing to go the distance. Unlike anything else, Cheap Thrills is an unrelenting descent into the depths of how low humanity will go for money. Whether it involves fisticuffs, B&E, sex, or even auto-cannibalism, Katz’s film asks, “What is your limit?” Anchored by rock solid performances all around and a general sense of happily suspended disbelief, Cheap Thrills is over-the-top alright but in the very best of ways.

A-

ESCAPE FROM TOMORROW (2013)

A subversive project shot guerrilla-style in the manicured “paradise” of Disneyland tries to spin a nightmare out of regulated happiness, but ends up nightmarish for all the wrong reasons. From the drooping special effects to the unbearably written and acted characters – lead by an incessantly nagging wife/mother and her drunken hubbie with rapey eyes for a pair of Parisian tweens – there’s so much to turn you off that it’s hard not to turn the movie off itself. The fact that it all adds up to pretty much nothing doesn’t help either. A failed experiment that hardly justifies the risk.

D

JESUS CAMP (2006)

Captivating and horrifying in equal measure, Jesus Camp is the epitome of Christianity gone wrong. Not to bring my views on religion into the mix, but the situations depicted in this documentary are exactly the reason why any kind of full blown commitment to an ideal can be absolutely terrifying. Hearing children talk about “the enemy” (Muslims) or crying out in tongues is surely provocative footage and works like a crowbar to unsettle an audience, even if the edit is a little too much of a one-sided portrayal to really gleam much other than shock and awe. Like the Westboro Baptists, surely this sect is the exception rather than the rule. It’s still a scary reality and one that deserved to be put under the microscope for one hot minute. In the end, it’s hard to walk away from this not thinking, “Fuck Becky Fisher. Fuck Fred Phelps. Fuck Jim Jones.” The fact that the documentary lead to the closure of this particular brainwashing camp though is more than enough to legitimize its existence as a potent exposé with surprising real-world application.

B-

GATTACA (1997)

Gattaca may be dated but the racial analogies are still as pertinent and timely as ever. Ethan Hawke plays a natural born child in an age of gene manipulation that churns out genetically superior children. Since the technology exists to shape a fetus into their most perfect possible self, those born of natural causes are considered lesser and forced to take on the underling roles in society. Its thinly veiled take on eugenics and racial inequality may be too on-the-nose but it’s an incredibly thoughtful and risky sci-fi film, especially considering it was released the same year that Starship Troopers and Batman & Robin were trolling the box office. Add to that provocative performances from Hawke and Uma Thurman and a wonderful turn from Jude Law and you have a keeper. Minus points to House Gattaca though for brazen use of shameful voiceover. New Zealand director Andrew Niccol has gone to make such smut as The Host and In Time, making this the sure pinnacle of his creative spirit. It’s just a shame that after such a victory, he would pump out work that makes us question whether he himself is an “in-valid” after all.