Looking Back or How to Stop Worrying and Keep Writing the Blog (1 Year Anniversary)

It’s almost hard to believe I’ve actually been doing this a whole year. And not because I’ve done a great and important or hard and necessary work. It’s surprising, that I’ve actually kept this up for so long. It is because I usually soon lose interest in things and other than writing about movies there’s almost nothing that keeps me doing this.

I have not gotten popular, my writing has barely improved, there’s nothing about my blog that stands out on the vast array of movie review blogs on the internet. But in a way it’s not the point, you have to be delusional to go on the internet today, write some opinions and think that surely you’re going to be the next Roger Ebert or Armond White.

Every movie I’ve written about has at least a dozen other reviews floating around the internet for the interested to find, so the chance that someone might be interested in a particular movie enough to go read reviews on it and to keep at it long enough to stumble upon mine, well, the chance is slim.

For me this blog has been more about documenting my musings on various genre films. If someone reads some of them and find them enjoyable, I’ll admit, it warms my heart, but I’m not desperate. I have no intention to say my opinions are right, my criteria consistent or criticism actually something you’d call „film criticism”, but I like to share my own stupid little world of thoughts with the world.

In the last few years movies and TV have become the largest part of my life. Even an obsession. It might sound sad to some people, but these aren’t the people who would read my reviews or would know enough about movies for their opinion to matter to me. What can I say? Fun is subjective. For me it’s movies, for someone else it’s going to nightclubs and for someone else it’s killing babies. To each his own.

Return to this obsession deal, it has become important to recommend a movie to people if I really liked it or ruthlessly make fun of shitty movies. It’s cathartic to me, I get that stuff out of my system and can move on. It doesn’t really matter if someone reads it or not. I’ve written a review and it’s done, I can forget about it. And I do, then after some time I read an older review and don’t even remember some of the jokes and I enjoy them myself. So yeah, I’m not trying to be pretentious when I say that I write for myself.

But please don’t get me wrong. I absolutely love getting feedback. Instantly, when someone comments on a post, the review pops back in my memory as if I’ve just finished writing it and I find great pleasure in replying. I like getting „likes” as well, because it gives me some weird sense of being appreciated. Why weird? Well because someone has just clicked a button at the bottom of the page, I actually have no way of knowing whether the person actually read the post and liked it.

This is just some of my free-form thoughts on internet movie criticism, similar to my pointless reviews and less a real, constructive looking back at a year of work. It’s nice to know that I have about 130+ reviews on here, just waiting for the end of the internet or a reader. During this one year I’ve, of course, seen more than 130 movies, probably closer to around 400 and with every seen movie I believe I know a little bit more about cinema and with every review I feel more sure of my writing and the form of my reviews have changed slightly.

So the real looking back is going to start now. I am now going to go through all my reviews starting with the first one, while still writing new reviews and I will add additional information, correct typos, categorise and tag my reviews and update the writing the best I can.

With looking back, I look forward to another year of movie reviews.

Review of Dredd (2012)

Dredd also known as Dredd 3D (2012) is a British/South-African action/sci-fi/thriller film, based on the 2000 AD comic strip series Judge Dredd.

Directed by Pete Travis (Henry VIII (2003), Endgame (2009)).

Written by Alex Garland (28 Days Later (2002), Never Let Me Go (2010)).

Starring: Karl Urban, Olivia Thirlby, Lena Headey, Warrick Grier, Wood Harris, Domnhall Gleeson and others.

Sadly in the public mind Judge Dredd is most often associated with the 90’s Stallone movie, and even though I thought it was ok as a kid, deep inside I knew it was shit and never cared to find out more about Judge Dredd. Had I seen this movie as a kid, I would have been running around with a bicycle helmet on my head for at least a week. I can’t stress this enough – this is not a remake of Judge Dredd (1995), this is another adaptation of the comics.

It’s the future, Judges are like the last thing that upholds the law. Dredd is one of those Judges and one day on his patrol he is forced to take a rookie female Judge with him. They both go to an apartment block, to investigate brutal triple homicide. They crash into this apartment, where gang members are dealing and using drugs, they arrest one of them to interrogate, but the gang leader learns of this and closes of the block, locking Dredd and rookie Anderson inside it. They have to find a way to get out of there alive.

This  is just one of the things I loved about the  movie – it’s on a limited scale and period of time. It’s basically a ‘day-in-the-life’ story about Dredd. It’s simple, yet not simplistic. The setting is also cool, because, despite being a dystopian future, it’s not over-the-top, it’s very believable.

The gang uses a new drug called ‘Slo-mo’, guess what it does? Nice to see a movie, where there’s actual reason for using slow motion. The slow motion shots are just beautiful, combined with 3D and sometimes gore, that’s just art. The 3D use is actually the best I’ve seen so far in any movie, the compositions are great, it doesn’t feel forced or gimmicky, while adding to the entertainment.

Judge Dredd himself is really cool. Yes, the helmet is always on, which is a thankless role for Karl Urban, who did an amazing job, being virtually unrecognisable, but adding so much personality to a character, who is supposed to be the faceless hand of law. He seems pissed off, but doesn’t lose his cool, he’s not arrogant, but is confident, he doesn’t have any huge character arc or romance pushed onto him. At the end of the movie he hasn’t changed, his opinion about something might have changed, but not him as a character.

Both the side-kick rookie Judge Anderson and gang leader Ma-Ma are both great, not being more than they should be, but suggestive of much deeper characters than we’re shown.

Overall, one of the best action movies of the year, a comic book movie not afraid of the letter „R”, but probably suffering at the box office due to that fact, combined with the previous adaptation of the character and pretty low awareness about the movie. Go see it, while it’s in the theatres, first time I can really say it’s worth to go see a movie in 3D. Definitely recommended.

“Well, my father was a cop and my mother was 😦 , so yeah…”

Review of Dreams in the Witch-House (2005)

Masters of Horror – Dreams in the Witch-House is a horror/thriller/fantasy episode of a TV horror anthology series, each one-hour episode done by a different director.

Directed by Stuart Gordon (Re-Animator (1985), Stuck (2007)).

Written by Dennis Paoli (From Beyond (1986), Dagon (2001)) and Stuart Gordon (Body Snatchers (1993), The Dentist (1996)), based on a short story by H.P. Lovecraft.

Starring: Ezra Godden, Campbell Lane, Jay Brazeau, Chelah Horsdal, Yevgen Voronin, Susanna Uchatius and others.

I want to note, that this series of horror stories is pretty cool and unless it’s something really interesting, one hour is actually a decent length for an average horror movie, because usually when it’s more, you can see that the concept hasn’t been broad enough for it to sustain 90 minutes and they throw in pointless padding.

A physics student starts renting a shoddy room in some apartment building and as he works on his project, he gets to know his neighbours: the building’s asshole manager, a young woman with a baby and a creepy old guy. You know, your typical set of oddball sitcom neighbours.

Soon the guy starts having various weird dreams. In one of them the single mother is doing full-on nudity and turning into an old, ugly woman, who is equally naked. Then he keeps seing a rat with a man’s face, which looks really silly. Then he’s in a library and Necronomicon appears briefly. All this is due to some witch, which the title hints at.

Beside the close-ups of a talking rat, the movie has some decent suspense building, some over-the-top gore and almost depressing last 10 minutes.

Overall, it’s ok, nothing really special though, it’s an odd mix of brutality and a stupid rat. Not bad if you decide to watch it, but nothing really worth looking up. Not recommended.

Pictured: If you try really hard you can make the rat-human in your movie look less scary than anything from The Witches (1990).

Review of Assault on Precinct (1976)

Assault on Precinct 13 (1976) is an action/thriller/neo-western film about a group of people defending a police station from a gang attack.

Directed by John Carpenter (Dark Star (1974), The Ward (2010)).

Written by John Carpenter (Eyes of Laura Mars (1978), Ghosts of Mars (2001)).

Starring: Austin Stoker, Darwin Joston, Nancy Loomis, Tony Burton, Henry Brandon, Kim Richards and others.

The first thing that pulls you into the movie is the cool theme music, which is not unusual for a John Carpenter movie. I love his synth-heavy film scores, in some ways more than the classical orchestral arrangements.

It starts by introducing various groups of people and all the introductions start with a time stamp, by the time I saw any of the time stamps, I had forgotten the previous one, so it didn’t help to lock the scenes in some time slot, but it helped to create the feeling, that it was all building-up to something. Having seen more than a few movies, it becomes immediately clear, that eventually all the groups will collide. The way they are brought together is actually really cool and natural.

Unusual for the time, the protagonist is a black cop. Here the resemblances to Night of the Living Dead start, which obviously has inspired the movie, besides the fact that it’s in a way a remake of Rio Bravo. The black cop goes to a police station that is closing – precinct 9. That’s right, 9, I guess 13 just sound so much better than 9 to marketing people.

The movie is really ruthless, the bad guys are set up by having one of them do a shockingly unexpected killing. This makes you think he’s going to be the villain, but he is more a symbol of the whole group. To further the comparison to Night of the Living Dead, the gang members that attack the police  station are a lot like zombies. They don’t have dialogue, they don’t hesitate to attack and kill and they just keep on coming, seemingly with no source.

At times it is kind of funny, because in a way it’s a parody of western archetypical heroes and anti-heroes and villains, having them deliver these absurd lines, that don’t make sense in the 70’s, yet at the same time it is a solid action film and not that cheesy. Also I cannot believe you can make a movie like this for just 100 000 dollars, I understand it’s 1976 dollars, but still, that’s a pretty low-budget for an action movie.

I guess, Carpenter could be called a successor of Hitchcock, not in acclaim, but in being another master of suspense, because,  Carpenter manages in his second movie to have the tension from the first minutes and last pretty much throughout the whole movie.

Overall, it’s a simple, cool and suspenseful low-budget action-thriller and I only say that because most of its shortcomings can be excused by the low production costs, which isn’t actually that noticeable. Recommended.

Gangs – bringing Che Guevara, Billy Dee Williams, a white guy and the Wolfman together since 1976.

Review of Collateral Damage (2002)

Collateral Damage (2002) is an action/thriller/revenge film, following a Los Angeles fireman on a quest to enact his revenge upon Colombian terrorists.

Directed by Andrew Davis (The Guardian (2006), Code of Silence (1985)).

Written by Ronald Roose (The Hessen Affair (2009)) and David Griffiths (The Hunted (2003)).

Starring: Arnold Schwarzenegger, Elias Koteas, John Leguizamo, John Turturro, Francesca Neri, Cliff Curtis and others.

This movie only came out when I was getting over my Arnie-fandom, so I didn’t even bother seeing it and knew nothing about until I actually sat down and watched it recently. After seeing it, I can say that I still know almost nothing about it. The movie is so stripped off any personality, that you can easily not realise you’ve been watching a movie and not a past-his-prime Schwarzenegger-flick.

In this movie Arnold Schwarzenegger is a fireman with a thick Austrian accent. In all his movies Arnold is somebody (insert any macho profession) with an Austrian accent. You are introduced to his family, but after a few minutes with them you get from the somber tone, that they are going to die. Or something. They die. Fuck spoilers, it happens in like the next scene, anyway.

This murder of his family is just thrown in there to have a reason for Arnold to be pissed off and start kicking ass. You don’t feel anything as his family dies and even though, Arnold tries to show us his wacky interpretation of method acting, it is a lot less believable or emotional than, for example, in Commando, where his relationship with Alicia Milano is established a lot better.

I don’t blame Arnold for any of this movie’s flaws, though. There are some other factors, like the script being total shit and feeling like it’s been written back in the early 90’s, but then updated a bit. Also the pacing is crap, since it tries to have some serious political message about terrorism, it layers on a ton of unnecessary exposition, only to become a mindless action B-movie later on. It’s 25 minutes in, when shit finally starts going down.

Also Arnold feels like a horrible anachronism in this. He doesn’t make as many weird faces, has almost no one-liners and tries to dial down his broad-stroke(victim)-acting. We are now faced with the fact, that Arnold has no place in the 2000’s, we feel weird, when people don’t give him suspicious looks, because he’s a god damned 6’2’’, huge Austrian man.

About half-way into the movie John Leguizamo appears, starting to steal his scenes and breathing some fresh air into the movie, but guess what, he’s only there for a couple of scenes and we’re back to the draggy dumb turd-fest, we were enjoying before. Closest we get to one-liners is when the villain says „What’s the difference between you and I?” and Arnold replies „The difference is, I’m just going to kill you!”, sure, it’s kind of clunky and no „See you at the party, Richter!”, but it has to do.

The film is simple-minded enough to seem like a fun action movie, yet stubborn enough to keep jamming internal conflicts down Arnie’s throat, who in addition to never being a good actor, seems to have lost his screen presence. It all amounts to probably one of the worst movies of his career and one of the last leading parts for him. We’ll have to see what he does in The Last Stand. The movie is somewhat summed up by the odd end twist, that you probably won’t see coming, but just because you won’t care enough.

Overall, a very bland and unentertaining movie from one of, if not the biggest action star ever. That’s a big fall, if you ask me. Not recommended.

“So, yeah, mister unsuspicious mechanic guy, go right that way and wait with your back turned to that guy with the gun.”
“I’ll be back!”
“Sure, you will.”

Review of Shutter Island (2010)

Shutter Island (2010) is a thriller/mystery/horror movie, based on a the novel of the same name by Dennis Lehane.

Directed by Martin Scorcese (Hugo (2011), I Call First (1967)).

Written by Laeta Kalogridis (Pathfinder (2007), Alexander (2004)).

Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow, Jackie Earle Haley, Michelle Williams, Elias Koteas, Patricia Clarkson and others.

We start with Mark Ruffalo and Leonardo DiCaprio on a ship. They are obviously in front of a green screen, an effect used more than once in the movie. But it actually works, because it invokes the feeling of rear projection, which looks both fake and charming.

Another aspect that plays into the 40’s thriller mood is the awesome score, compiled from various modern classical musical pieces, that are really kind of over-the-top and used in a very tongue-in-cheek way. These are all basically gimmicks, but I don’t mind it, because they’re not spoofing Golden Age Hollywood, they’re creating the atmosphere those movies bring.

I don’t really remember when was the last time I saw cinematography this amazing and beautiful in a horror/thriller picture, The Shining comes to mind, that was a long time ago. To be fair, both The Shining and this are quite the high-budget productions. Shutter Island is essentialy a B-movie on an A-budget. But the money put aside, this is obviously the work of a master filmmaker, who knows how to make a movie just „flow”.

The acting is also great, Ruffalo in the few last years has done some really solid work and this is one of those times, DiCaprio is as always solid, Ben Kingsley, who has a habit of appearing in not-so-great movies as a generic villain, actually is great here, maybe the best performance in the movie.

So Ruffalo and Di Caprio are detectives sent to an asylum to investigate a disappearance of a patient and as the investigation goes on, less and less becomes clear. DiCaprio’s state of mind also becomes less certain. He has creepy dreams, which have some cool and weird imagery.

The movie has its problems, though.  Around the middle, the movie starts becoming a bit too chaotic and muddled. The biggest problem might be that the movie is quite predictable, we’ve seen this story done before, but this is the best version of it. It’s done so masterfully, that you’re more interested in the execution of the story, the way the build-up is constructed, than its rather obvious conclusion. So if you watched the trailer and thought „I know exactly what’s going to happen,” give it a try anyway, the ride is more enjoyable than just waiting for the destination.

Since it feels so much like a late 40’s film noir, I almost wish that it was shot in soft black & white, but on the other hand, the cinematography is so colorful and beautiful, you don’t want to take that away from this movie. I have to mention that among other great shots, there’s an amazing tracking shot, I won’t reveal what exactly that is, because it would be a spoiler, but the great thing about it is, that it’s not just a technical showcase, it actually works to the movie’s dramatic benefit.

Overall, a great thriller, might be more eye-candy and less an interesting and intricate plot, but for me it didn’t matter. Recommended .

“Shhh, don’t talk so loud, anything more than a loud whisper might make my body to crumble to pieces… Also, have you met my son? His name is Gollum.”

Review of Conan the Barbarian (1982)

Conan the Barbarian (1982) is an adventure/fantasy/action film, based on the stories by Robert E. Howard.

Directed by John Milius (Red Dawn (1984), Dillinger (1973)).

Written by John Milius (Evel Knievel (1971), Farewell to the King (1989)) and Oliver Stone (Platoon (1986), Savages (2012)).

Starring: Arnold Schwarzenegger, James Earl Jones, Max Von Sydow, Sandahl Bergman, Mako, Gerry Lopez and others.

It opens with a narrator telling us about Conan, but the way he talks, you don’t really care to listen, because it won’t really matter anyway. Then the movie finds it important to randomly show us some blacksmithing, just before kid Conan’s village is attacked and I wonder if I should care for these people I see for the first time.

Then James Earl Jones arrives on the scene and you know what? He looks ridiculous, even his epic voice (why couldn’t he narrate the movie instead?) doesn’t change the fact, that his wig of long, straight, black hair doesn’t look awesome at all. Yes, even after he decapitates Conan’s mom. And he doesn’t say a word during the whole scene, so he talks for the first time somewhere in the second half of the movie, when he appears again.

So the attackers kill everyone, except the children, which they take with them, because they’re pedophiles… or slavekeepers, I’m not sure. They make kid Conan push some rotating thing and a couple of years later he’s Arnold fucking Schwarzenegger and it doesn’t take long for Arnie to make his classic guttural “argh!” sounds.

Then we spend some time watching Conan killing people in arena fights. After becoming this champion fighter, he’s almost a celebrity, he gets whores and is allowed to read, which isn’t very barbarian-like thing to do, but don’t worry Conan isn’t smart. He just has the best possible life a slave can have, he lacks some freedom, but in every other way his life is much better than it would have been in his native village. Being an unappreciative bastard he uses the first opportunity to run away and be free, only to be instantly chased by a pack of wolves and falling into a cave to struggle with making fire and shit. If you ask me, being a slave was way better.

25 minutes into the movie we hear the main character speak for the first time and, oh dear god, where did he develop this thick Austrian accent? To think of it, 80s were a weird time, when people actually accepted his accent, this would never happen today.

He stumbles on some chick, they chat for a bit and then we get to listen to her moan out the rest of her lines, while they both are having sex. After that she turns into a horrible witch-monster, so Conan throws her into the fireplace. Who hasn’t had this first date, am I right? From this point on, it’s just Conan having various shenanigans, while searching for the man, who killed his parents. He meets a thief guy and then a  chick and they form a party of D&D characters and proceed on their adventure, which includes among other things, stabbing a huge rubber snake through the head and Conan punching a camel. There was once a time when a snake could look at least somewhat realistic and not like a CG piece of shit.

The movie is often very slow-paced. You get to see quite an amount of naked breasts. These were just two facts about the movie that sort of negate each other. The dialogue is often very clunky and not only when put into Arnold’s mouth. Some people, like Sandahl Bergman, deliver it quite well, with this rhythm, like it’s from Shakespeare, but you only half-listen to what is said. Later on they use Jones’ booming voice and he gives easily the best performance in the movie, but it doesn’t take back his absurd appearance and not having aged a day in the time when Conan became Mr. Universe.

To give credit to Arnold, he might be the only actor that sort of can pull off the Conan look, but when at one point in the movie he is disguised as a monk, he does look ridiculous, the robe failing to hide that he is a muscle-bound freak. Often I got the feeling that the script had lines, but they opted for Arnold just to stay quiet and scowl or not emote at all.

The movie has some nice gore and it’s actually kind of odd, the movie is a solid R, but it clearly appeals most to teenage boys, younger than the allowed age. Also it made me think if we really see any R rated adventure flicks nowadays. I don’t think so.

Overall, a decent, but really predictable movie for adolescents. I didn’t find it as entertaining as some later Schwarzenegger flicks, but if you’re a fan give it a watch, nothing remarkable about it. Not recommended.

Between your villain looking like a drag queen and your protagonist looking like this, I’m really not sure which side to root for.

Review of ATM (2012)

ATM (2012) is a horror/thriller/mystery film, which mostly takes place in an ATM booth on a parking lot.

Directed by David Brooks (Gone (2009 Short)).

Written by Chris Sparling (Buried (2010), An Uzi at the Alamo (2005)).

Starring: Brian Geraghty, Josh Peck, Alice Eve, Aaron Hughes and others.

So we’re following this guy, who works as some kind of bank-cubicle-call-answer person. His really douchebaggy co-worker convinces him to come to this office christmas party. He comes to the party and offers a ride home to some chick that he really likes. But the douchy cock-blocker of a friend tags along, because he was his ride too.

The douchebag is played by Josh Peck, who was the fat kid on that shitty kids show Drake & Josh. He has lost some weight, but still speaks like he’s 15, which gets annoying pretty damn soon. The fatty MacDouche wants to eat so they stop to get some cash from an ATM. Voila! The title. I imagine that’s how this movie got made, they picked a genre, someone said ATM, someone had seen Frozen recently and we’re done. Thankfully, Josh & Drake’s acting gets better as the movie goes on.

From the ATM booth they see someone waiting for them outside. They decide to wait him out, but after the guy beats the shit out of some random guy, they become somewhat unnerved. That’s the whole concept. They’re stuck in an ATM booth, with no heat in the winter, while a killer is standing right outside.

At one point they think the guy has gone away, but you know that’s not true since it’s only halfway into the movie. The movie is pretty fast-paced, which is good, because if a movie like this drags it really drags, because we have this half-baked concept set in one location. The whole movie is basically a build-up of who the killer is and what he wants, so the ending is what either makes it or breaks it.

And, guess what, the ending breaks it. The deal with the ending is that the whole movie there’s just questions and so you’d want to have most of them answered, the movie does answer some, but even those are so incredibly implausible, that except for the reasoning behind why the killer didn’t enter the booth, it makes like no sense, unless the killer has the ability to calculate exactly how ineffective technology is.

Overall, the premise and build-up is pretty decent and I was mostly entertained throughout, but the whole conclusion and pay-off is completely idiotic. If you like some cheap thrills, give it a try, but you’re better off staying away. Not Recommended.

“Hey guys, am I the only one that thinks this is a great porno setup?”
“Yes, Emily, you’re the only one.”

Review of Dragon Fist (1979)

Dragon Fist aka Long Quan (1979) is a Hong Kong martial arts/action/drama film.

Directed by Lo Wei (The Shadow Whip (1971), Slaughter in San Francisco (1974)).

Written by Wang Chung-Ping (Seven Promises (1979)).

Starring: Jackie Chan, Nora Miao, James Tien, Lin Yin-Ju, Chiang Kao, Yen Si-Kuan, Sha-fei Ouyang, Hsia Hsu and others.

I am not a huge fan of Jackie’s Lo Wei directed movies and I’m glad he succeeded in leaving his studio later on, which wasn’t that easy, it even resulted in such rubbish as Fearless Hyena 2, but I’ll get to that in some later review. However, this doesn’t mean that Jackie didn’t make any decent movies during this period. It’s a gamble, it might be bad like Magnificent Bodyguards or the previously mentioned Fearless Hyena 2, it might be good like…  and then there are movies like this, mediocre, which is arguably worse than bad, since you don’t feel passionately either way and soon forget them.

The movie opens with a fight between two men. One of them being Chan’s master wins. But then there’s another fight between the master and some evil master, who kicks Jackie’s master’s ass so hard, he soon dies. Jackie gets really pissed and vows revenge. Later on it is revealed that the bad master killed Jackie’s master because he had had an affair with his wife 18 (oddly specific) years ago. Somebody has been watching too many soap operas. And now his wife hangs herself out of guilt or sorrow. This shit just got dark.

Then some years pass and Jackie has gotten way better at his kung fu and now is ready to kick the one ass he couldn’t previously, the not-so-evil-master’s ass. Jackie comes to the guy, ready to exact his revenge, but the master asks for three more days. Jackie being the nice guy agrees and goes away. San Thye’s (the good/dead master) wife is poisoned so it opens up a new plotline with getting medication for her. Three days go by and [Spoilers!] the master has cut off his fucking leg and keeps it in a box. Surely Jackie won’t fight him now. [Spoilers end]

Jackie has to work for a drug gang to get the medicine for the widow. And overall, the plot of the movie is pretty interesting, not too predictable, has some twists. Compared to some other kung fu flicks, that seemed to have noodles to string together the fight scenes, here we get something more involving. The execution is a whole different thing, Lo Wei manages to make it kind of bland and forgettable.

The fight scenes are pretty good, but lack the inventiveness of later Chan’s work or other Chan’s work of the time for that matter, specifically with Yuen Woo-Ping.

Overall, a quite decent Chan flick, but not exactly what you would expect from him, it’s not that fun or funny, it’s just ok. It won’t make you a Jackie Chan fan, but if you’re already one, than, sure, check it out. Recommended.

“Hey, back away, you won’t touch these women!”
“Oh really? Says who?”
“Says I!”
“Who are you?”
“They call me Dragon Fist, because I dragon-fist assholes of assholes like you so hard that it’ll feel like you’re shitting lava after.”
“Geez, man, you… you really didn’t have to take it this far. Ok, we’re leaving, you sociopath.”