The Paperboy (5 Stars)

Quietly, practically unnoticed, "The Paperboy" delivered one of the creepiest evil child thrillers of the 1990's. Directed by Douglas Jackson, the Canadian film follows a lonely paperboy who becomes obsessed with creating the perfect family, eliminating anyone who stands in his way.

What makes "The Paperboy" memorable isn't graphic violence but the unsettling performance by Marc Marut. He gives Johnny an unnerving mix of childish innocence and cold-blooded manipulation, making him far more disturbing than many supernatural horror villains. The suburban setting and low-budget production give the film an everyday realism that makes his behaviour even more believable, while the script plays on the fear that true evil can hide behind the face of an apparently ordinary child.

Although it was released straight to video and largely overlooked by critics, "The Paperboy" has steadily built a reputation among horror fans. Much of that reputation can be traced to legendary horror host Joe Bob Briggs, who championed the film during his MonsterVision run, famously calling it "the most underrated horror film ever". That endorsement introduced countless genre fans to a film that many had never even heard of, and Briggs' enthusiasm helped cement its status as a hidden gem.

Its scarcity only added to the mystique. For many years "The Paperboy" was difficult to obtain in English-speaking countries, leading horror fans to seek out rare VHS tapes, imported DVDs and later online copies. Combined with its bizarre premise, memorable scenes and Marc Marut's unforgettable performance, that rarity transformed the film into exactly the kind of title that thrives through word of mouth. Rather than becoming famous through box office success, it earned its reputation through devoted fans recommending it to one another.

The Paperboy isn't a polished classic, but its creepy atmosphere, genuinely disturbing central performance and enduring reputation as an overlooked gem make it one of the most deserving cult horror discoveries of the 1990's. Even if Joe Bob Briggs' claim that it's "the most underrated horror film ever" is open to debate, the fact that people are still discovering and celebrating it more than three decades later suggests he wasn't exaggerating by very much.

There's a high probability that the film will one day be released on Blu-ray or even 4K. The reason for optimism is that "The Paperboy" has gone from being an obscure direct-to-video thriller to a genuine cult title. Over the last decade it's been rediscovered by horror fans, helped enormously by Joe Bob Briggs' enthusiastic endorsement and the rise of boutique labels that specialise in forgotten genre films. Companies such as Vinegar Syndrome, Severin Films, Arrow Video, Terror Vision and Unearthed Films have built their businesses on releasing exactly this kind of overlooked cult horror.

A new Blu-ray would make sense because:

• the film has never received a widely available, restored HD release in North America.

• its reputation has grown steadily through word of mouth.

• boutique labels are increasingly licensing direct-to-video horror from the 1980's and 1990's.

• Marc Marut's performance has become something of a cult talking point among horror fans.

A special edition could easily include:

• a new 2K or 4K scan of the original camera negative (if it still exists).

• an interview with Marc Marut.

• a retrospective with director Douglas Jackson.

• a commentary discussing the "evil child" subgenre.

• Joe Bob Briggs explaining why he considers it "the most underrated horror film ever".

If any forgotten 1990's horror film deserves this treatment, "The Paperboy" is one of the strongest candidates. Its cult reputation is still growing rather than diminishing, which is exactly the kind of trajectory that attracts boutique physical media labels.

The Baby's Room (4 Stars)

It's taken me a long time to get my hands on this film. It's the only film made by Alex de la Iglesia that's never been released with English subtitles. I was finally able to find a downloadable version on the web site DVD Lady. Unfortunately, the subtitles are poor quality with countless spelling mistakes, but at least they're understandable. For instance, the word forget is always spelt with two t's, i.e. "forgett". Apostrophes are either omitted or inserted in the wrong place, e.g. "I dont wan't to go home".

The film stands apart from all of De La Iglesia's other films. It's lacking his typical comedic elements. The reason is that he was commissioned to make a film for a horror anthology series; six films were made by six different directors. He was constrained in the content he could create, and he was even more constrained in his budget. He was only given one million Euros to make the film, which limited him in his use of locations. And yet I was surprised to read glowing reviews of "The Baby's Room". It's considered the best of the six films in the anthology, which hardly surprises me, but many critics also call it a masterpiece of supernatural horror. 

The film is about Juan and Sonia, a couple with a seven-year-old son who buy a large run-down building. The problems begin when they install a baby phone. They hear a man's voice in their baby's room, but when they rush into the room the baby is alone in his bed. So they buy a baby monitor with a camera. Juan wakes up and sees someone sitting next to his son. He rushes into the room and finds nobody. Is it possible that there are ghosts who're only visible on electronic devices, not to the human eye? That's the mystery.

Do I like it or not? Initially I was disappointed because it was so un-Iglesia-ish. As the film progressed and the secrets were slowly unveiled I became increasingly enthralled. I'm sure to watch the film again later this year. Wait for my next review.

The Legend of Fong Sai Yuk 2 (4½ Stars)

While "The Legend of Fong Sai Yuk" is remembered as one of the great martial arts comedies of the 1990's, "The Legend of Fong Sai Yuk 2" takes a noticeably different approach. Although it reunites Jet Li with director Corey Yuen and retains the dazzling action that made the original such a success, the sequel shifts away from broad comedy and romantic adventure towards a more serious patriotic drama. The result is a film that feels less playful but more emotionally driven.

The first film balanced spectacular kung fu with slapstick humour, outrageous misunderstandings and an almost screwball romance. Much of its charm came from Fong Sai Yuk's youthful recklessness, his attempts to win the heart of Ting Ting and the hilarious relationship between his parents, especially his formidable mother. Even the elaborate fight scenes often had a comic edge, turning martial arts into a form of physical comedy.

The sequel largely abandons that tone. Instead, Fong becomes involved with the Red Flower Society, an underground resistance movement dedicated to overthrowing the Qing dynasty. Political intrigue replaces romantic confusion and the story carries genuine emotional weight as questions of loyalty, sacrifice and patriotism come to the forefront. The stakes are considerably higher than in the original, giving the film a more mature atmosphere.

Jet Li adapts effortlessly to this change in tone. His Fong Sai Yuk is still energetic and charismatic but has become a more responsible and determined hero. Rather than simply reacting to outrageous situations, he is forced to make difficult moral choices, making the character feel as though he has genuinely grown since the first film.

The action remains exceptional. Corey Yuen stages another series of inventive martial arts sequences, filled with speed, precision and astonishing athleticism. The choreography is slightly less whimsical than before, favouring fast, intense combat over comic invention. The climactic battles are among the most impressive of Jet Li's early Hong Kong career, combining graceful wirework with bone-crunching hand-to-hand combat.

The supporting cast also reflects the film's changing priorities. While Fong's mother still provides flashes of humour and proves once again to be one of Hong Kong cinema's greatest action heroines, the comic family dynamics take a back seat to the larger political conflict. The villains are darker, the betrayals more personal and the emotional consequences far more significant than in the first film.

Viewed on its own, "The Legend of Fong Sai Yuk 2" is an outstanding martial arts adventure that successfully broadens the scope of its predecessor. Those expecting another carefree action comedy may initially be surprised by its more serious direction, but the stronger dramatic focus gives the sequel an identity of its own rather than simply repeating the original formula. Together, the two films complement each other perfectly; one celebrates youthful exuberance and romance, while the other explores courage, loyalty and sacrifice without ever sacrificing the breath-taking action that defines the series.

Supergirl [2026 film] (4 Stars)

Over the last few weeks I've seen various trailers for "Supergirl" in the cinema. I rarely watch trailers at home. I've seen videos on YouTube predicting it would be a massive flop. Again, I didn't watch the videos, but the titles and info screens told me all I needed to know. But I didn't let myself be put off. I went to the cinema today, and I enjoyed the film. The only major thing I disliked is that it's set on alien planets. I would have preferred to see Supergirl on Earth.

What I enjoyed most was seeing Supergirl's power. She's more than a match for any opponent or groups of opponents who face her. I couldn't help thinking that her fight scenes are what MCU's Drax should have fought like. The whole outer space alien planet setting reminded me of the Guardians of the Galaxy films, which isn't something bad in itself.

On the way home I watched "Supergirl" reviews on YouTube and replies to the reviews. It seems like most of the critics liked the film less than I did, but I understood their arguments. The replies were less balanced. They claimed that critics don't like "Supergirl" because it's a film about a powerful woman. That's not something I read in any of the critical reviews. They also claimed that the opponents of the film are MAGA supporters. That's an even stranger argument, which isn't backed up by anything I've read online. People are trying to politicise fair criticism. That's wrong.

I'll probably read more criticism of the film. but it won't change my mind. I like it.

The Legend of Fong Sai Yuk (4½ Stars)

Few martial arts films capture the sheer joy of Hong Kong action cinema as perfectly as "The Legend of Fong Sai Yuk". directed by Corey Yuen in 1993. Starring Jet Li at the peak of his abilities, the film combines dazzling fight choreography, broad comedy and memorable characters into one of the most entertaining kung fu adventures of the 1990's.

Loosely based on the legendary Chinese folk hero Fong Sai Yuk, the story follows a gifted young martial artist whose impulsive nature repeatedly gets him into trouble. Jet Li brings an infectious charm to the role, balancing heroic swagger with comic timing. Unlike many martial arts heroes of the era, Fong is neither brooding nor solemn. He's playful, mischievous and constantly finding himself in absurd situations.

The film's greatest strength is undoubtedly its action. Corey Yuen's choreography is nothing short of extraordinary, blending traditional kung fu with acrobatic stunts and inventive visual gags. Every fight sequence feels unique, whether it's a chaotic street brawl, a duel fought under impossible circumstances or the legendary tournament sequence that has become one of the defining action scenes of Hong Kong cinema. The performers execute astonishingly complex moves with a speed and precision that still impresses more than three decades later. Even viewers who have seen countless martial arts films will find themselves amazed by the creativity on display.

Another aspect that sets "The Legend of Fong Sai Yuk" apart is its treatment of female characters. The women aren't merely spectators or romantic interests; many of them are formidable fighters in their own right. The standout is Josephine Siao's Miu Tsui-fa, Fong's mother, who is every bit as skilled, fearless and entertaining as her son. Her action scenes rank among the film's best, and she often steals the spotlight from Jet Li himself. At a time when many action films relegated women to supporting roles, The Legend of Fong Sai Yuk presents female fighters as genuine equals.

One of the film's most unusual elements is the romantic subplot between Miu Tsui-fa and Xiaohuan. While disguised as a male martial artist, Miu Tsui-fa encounters Xiaohuan in combat, and the younger woman becomes captivated by the stranger's fighting skill and heroic bearing. The resulting romance is played largely for comedy, but it remains surprisingly affectionate. Long before homosexual themes became common in mainstream action cinema, "The Legend of Fong Sai Yuk" devoted a substantial portion of its running time to a woman falling in love with another woman, albeit under a mistaken identity. The subplot adds another layer of charm to a film already overflowing with personality.

The film's blend of spectacular action, strong female characters and unconventional humour gives it a unique personality. It never pauses for heavy drama or historical realism. Instead, it embraces entertainment in its purest form, delivering one inventive set piece after another while maintaining an infectious sense of fun.

More than thirty years after its release, "The Legend of Fong Sai Yuk" remains one of the crown jewels of Hong Kong martial arts cinema. With Jet Li's star-making performance, Corey Yuen's breath-taking choreography, a cast of unforgettable female fighters and an unexpectedly charming same-sex romance subplot, it's a film that continues to delight audiences and stands as one of the finest action-comedies ever made.

Backrooms (4 Stars)

I didn't wait very long to watch "Backrooms" again. I'm visiting my son Benjamin this weekend, and I told him "Backrooms" is a film he needs to see. We went to the Lichterspielhaus in Schwäbisch Hall, one of Germany's oldest cinemas, opened in 1913. In a way it's a perfect setting for the film, since the rooms are dug into the cellars.

We watched it dubbed into German. That wasn't a problem, since German dubbing is so good. Benjamin loved it, and so did I. He's disappointed with me for only rating it four stars. Maybe it deserves more. Ask me again next year when I have the Blu-ray disc in my hand.

As I mentioned in my last review, the film takes place in 1990. That's a good year. Everything looks modern, but there are no smart phones or Internet. Things like that would spoil the film and make parts of the plot impossible.

Backrooms (4 Stars)

Does a film have to explain everything? And if it does offer explanations, do they have to make sense? That's a question I have to ask when I watch a film like "Backrooms". So much in the film is infeasible, even when explanations are offered.

The film takes place in 1990. The owner of a furniture store has recently been thrown out of his home by his wife, so he now lives in an area on an underground floor of the store. He has everything he needs, since the store contains beds, television sets and armchairs. One night he discovers a hidden door which leads to an endless labyrinth of rooms and corridors.

I'll leave the description there. The atmosphere and the tension make up for whatever might remain unexplained. It's a film I want to see again.

Chiwetel Ejiofor, who I first noticed when he played Baron Mordo in "Doctor Strange", is rapidly becoming one of my favourite actors. Something about his calm demeanour even in the midst  of terror fascinates me.