Three Films Make A Post: Winning is all in the execution.

The Killer’s Game (2024): J.J. Perry’s undemanding action comedy mostly recommends itself through a series of increasingly strange set pieces – blandness certainly isn’t a problem here – and through featuring a bunch of actors I always have time for: Dave Bautista, Ben Kingsley, Sofie Boutella, Terry Crews, Alex Kingston, Scott Adkins (with an outrageously silly Scottish accent) and more – all seemingly having fun doing their part with comically broad stereotypes, general silliness, and bloody murder.

Bautista and Boutella are actually able to sell their romance well enough you can’t help rooting for them – that’s more than most action comedies manage, if they even try.

Project Silence (2024): Keeping with bread and butter fun, Kim Tae-gon’s film about super soldier military dogs on the rampage on a bridge mixes elements of the disaster movie with those of horror and action film, stirs in some sneering at the political caste and a bit of conspiracy business and makes an enjoyable enough movie out of it.

This isn’t one of those Korean movies that first fulfil all genre expectations to then go off into the more interesting directions they have in mind, but one that’s simply aiming to be a straightforward piece of genre cinema. It does this with enough of a sense of pace and style to never overstay its welcome.

The Sadness (2021): For thirty minutes or so, I actually found myself believing the (a couple of years ago) hype Rob Jabazz’s extreme version of the infected style zombie movie had going for it. For a time, Jabazz’s slick direction, the very human performances by leads Berant Zhu and Regina Lei, and the gratuitous (at times sexual, generally grotesque) violence really promise something rather special, but the film quickly loses steam, going off on tangents of ultra-broad satire, and the kind of edge-lord business meant to shock that these days only manages to annoy me. Still looks great, mind you, and you could probably make a great fifty minute long short from the film’s best material.