When BATMAN & ROBIN was flung onto 2,934 screens in the summer of ’97, the legend of Joel Schumacher, dependable Hollywood journeyman, blew up like a glitter bomb. The director’s next Batman movie was was cancelled because the studio wanted to go in a different direction – the direction of as-far-away-from-Joel-Schumacher-as-possible. Apparently recognizing his diminished status in the blockbuster arena, Schumacher reinvented himself as an oddball, directing the fucked up 8MM (1999) with Nic Cage, FLAWLESS (1999) with Robert De Niro and Philip Seymour Hoffman (which he also wrote), and TIGERLAND (2000), an acclaimed $10 million Vietnam film that’s Colin Farrell’s American debut. The first one was mostly reviled, but the other two caused some critics to offer cautious respect.
So why not dip his toe in again with an action-comedy star vehicle interracial buddy movie type thing? One that would team him with producer Jerry Bruckheimer, who has also made some shameful movies, but seemed to always get away with it? (read the rest of this shit…)
These next two Summer Flings will not be wannabe tentpole Happy Meal type movies with action figures, but adult-aimed studio action thrillers that arrived with a thud. SWORDFISH was heavily hyped as the movie where Halle Berry (THE CALL), not long before winning her Oscar for MONSTER’S BALL, appeared topless. But the star is her fellow X-Man Hugh Jackman (THE MISERABLES), suddenly a leading man after the world fell in love with his Wolverine in 2000. He plays Stanley Jobson, legendary hacker who is no longer allowed to touch a computer or visit his daughter Holly (Camryn Grimes, MAGIC MIKE). He’s leaner than we’re used to him now, with an earring and spiky, slightly frosted hair, like an early Tom Jane character. Unlike in REAL STEEL, where he reluctantly formed a relationship with his estranged son, this guy will do anything to get his kid back.
Though an ex-con, Stanley is 100% good guy. We find out, of course, that his big crime was a hacktivism/whistleblower type thing where he planted a virus in an intrusive FBI spying program. (In my opinion Julian Assange and Edward Snowden both fantasize about being Stanley Jobson and this movie is their SCARFACE.) He’s trying to be a good boy now, and is introduced wearing only a towel and hitting golf balls off of his trailer in an oil field in Midland, Texas. A mysterious stranger named Ginger (Berry) shows up knowing everything about him and sexily harasses him into flying to L.A. to meet her boss, Gabriel Shear (John Travolta, BROKEN ARROW). (read the rest of this shit…)
SAVAGE DOG is an impressively weird new Scott Adkins joint written and directed by Jesse V. Johnson, the veteran stuntman and director of PIT FIGHTER, GREEN STREET HOOLIGANS 2, THE BUTCHER, THE PACKAGE and the upcoming TRIPLE THREAT and ACCIDENT MAN. This one is a period piece, taking place in Indochina circa 1959, portrayed as sort of a CASABLANCA-esque scoundrel zone, or “a melting pot of post-war villainy,” as the titles put it. And some of this villainy will piss off Adkins, setting off a straight up bloodbath.
Adkins plays Martin Tillman, who enters the film in mythical fashion, climbing out of a muddy grave during a lightning storm as narration from the great Keith David (THEY LIVE) promises us a story about the time he “faced down an army and spilled a river of blood.” David will show up on camera later as a bar owner named Valentine, but since the man has more narrating credits to his name than Morgan Freeman they must’ve followed the Morgan Freeman rule with him: if he’s in your movie, get him to narrate. (read the rest of this shit…)
SHIN GODZILLA – or NEW GODZILLA, or TRUE GODZILLA, or GOD GOZILLA – is the new Japanese Godzilla movie, a regular rubber suit one even though it’s from acclaimed anime director Hideaki Anno (Neon Genesis Evangelion) (co-director Shinji Higuchi has worked on anime and live action and live action anime and did effects for the GAMERA trilogy). They’d stopped making Godzilla movies in Japan, I guess, but the recent American one by Gareth Edwards got them itching to start over again. So this is yet another do-over where they discover the King of the Monsters for the first time and he doesn’t have another monster to fight. He just has Tokyo.
There is plenty of computer animation, but also alot of the old rubber suit, animatronics and miniature models, sometimes deliberately, nostalgically old school. When Godzilla first emerges he’s in a comically fucked up form with crazy googly eyes, little nubs instead of arms and a chest that expands and contracts like an accordion. He evolves through several stages throughout the movie, so by the end he’s absorbing power and firing energy beams out of his spines like a laser show. And according to my research he is the tallest Godzilla ever, and the one with the longest, weirdest and most fucked up tail. But his eyes never quite stop looking like a turkey’s. (read the rest of this shit…)
Our Lady of the Swaddledog, Academy Award winner Charlize Theron, stars in her first post-Furiosa ass-kicking movie, and holy shit it’s from JOHN WICK co-director David Leitch and the 87Eleven action team. ATOMIC BLONDE, based on a 2012 graphic novel called The Coldest City, is a twisty Cold War spy thriller set in Berlin right before the wall came down. Theron plays Elaine Broughton, a beaten and bruised MI6 agent recounting a disastrous mission to obtain “The List,” a document listing all the spies active in the Soviet Union (similar to the NOC List in MISSION: IMPOSSIBLE), and to kill whoever stole it.
Broughton has the qualities we look for in a larger-than-life movie spy: three steps ahead, improvisational when necessary, hyper-fashionable, sexy. When less experienced French agent Delphine Lasalle (THE MUMMY herself, Sofia Boutella) follows her, Broughton immediately makes her and beds her. The movie could get away with treating this like a conquest, but instead they start helping each other – spies with benefits – and you get to like Delphine.
The same cannot be said for David Percival (James McAvoy, THE POOL), the goofy, shifty contact who shows her around but might be the Russian double agent known as Satchel. (read the rest of this shit…)
There are a million reasons why Eli Roth’s DEATH WISH remake could be horrible. The trailer definitely leaves open the worry that it’s gonna be mainly about a white dude going around murdering black criminals for fun. In an interview I read somewhere, Roth was definitely conscious of that problem and wanted to be sure not to make a movie like that, so we’ll see how he handles it.
I can say that I have a friend who saw a test screening (I’m not sure if he’d want me to name him, so I won’t) and he was surprised to really like it. He assured me that Bruce is very good in it, it’s not one of his sleepwalking roles. So hopefully we’ll agree with him.
Either way, I hope they skip straight to a DEATH WISH 3 remake after this.
Ladies and gentlemen, we have the movie that the director of THE FIFTH ELEMENT makes eight years after he sees AVATAR. One of the first scenes in Luc Besson’s VALERIAN AND THE CITY OF A THOUSAND PLANETS, the one right after the title, brings us to the island paradise planet of Mul, where elongated, glittery-skinned beauties with star-shaped irises fill their giant shell backpacks with pearls, and they feed one to a little pangolin-like creature who puffs up and starts pooping duplicate pearls from under his scales that drop into a hole as an offering to the planet, but suddenly the skies are darkened by an apocalyptic event and the destruction of the planet wakes up our hero Valerian (Dane DeHaan, THE PLACE BEYOND THE PINES) while he’s napping on a beach chair somewhere. And at some point in the middle of that you realize that this is by far the most French-comic-book movie ever made.
And it continues like that, a two hour, 17 minute non-stop kaleidoscope-fantasia-carnival-parade of colorful creatures and planets and space ships and gimmicks inspired by the comics series Valérian and Laureline (1967-2010). The titleistical City of a Thousand Planets (Alpha for short) is a gigantic space station that started out by uniting representatives of every country on Earth, but kept expanding to encompass alien cultures. And since much of the movie takes place on this multi-species megalopolis, this intergalactic Epcot Center, it’s like a marathon of STAR WARS cantina scene after STAR WARS cantina scene. (read the rest of this shit…)
Note: the Blu-Ray cover calls it BOYKA: UNDISPUTED 4, but you know the rules – I go by what it says onscreen in the actual movie, which is simply BOYKA: UNDISPUTED.
Fuck prison fighting circuits. Time for some undisputedness on the outside – doing a flying spinning double kick while breathing the fresh air of freedom, or at least freedomishness. International martial arts superstar Scott Adkins returns to his signature role of Yuri Boyka, defeated villain of UNDISPUTED II who won an international prison fighting tournament in part III and got away at the end. Remember? The first time we ever saw him smile or laugh.
Now we find that new Boyka, the one who has experienced smiling before, in the Ukraine, openly fighting in an underground MMA outfit. The filthy prisoners chanting his name have been replaced by gambler bros in leather jackets. I don’t think it matters to him, because in the now noticeably bigger ring he is alive. I don’t know what kind of new camera/lens/rig they’re using, but it shows him better than ever, putting you in the ring, floating around him, under him, gliding over you like a supernatural force.
When he’s not grouchy he’s broody, because he doesn’t consider the slate clean. He’s still very religious, and feels a duty to donate most of his earnings to his church. The father disapproves of his “violence” and questions whether he can seek salvation while still fighting. But Boyka says “I think God gave me this gift. And I think it would be a sin to waste it.” (read the rest of this shit…)
Well, unlike my first reviews of UNDISPUTED and UNDISPUTED II: LAST MAN STANDING, I’m perfectly happy with what I wrote when UNDISPUTED III: REDEMPTION was first released. So you can follow that link for what the movie’s about and why it’s great, plus my attempt to sell circa 2010 Ain’t It Cool News readers on the works of Scott Adkins and Isaac Florentine, and the concept of DTV action in general. Still, on the occasion of part 4 coming to American video tomorrow I wanted to revisit part III for further analysis and appreciation.
I’d never watched it back-to-back with part II before. That really emphasizes the differences. Though I praised the J.J. Perry fight choreography in II, Larnell Stovall’s work here is something to behold. More fights, longer takes with more consecutive moves, different styles (more throws and groundwork, and capoeira courtesy of Lateef Crowder). As much as I love and don’t want to take away from the classics like KICKBOXER and BLOODSPORT that inspired movies like the UNDISPUTEDs, I think it’s fair to say that the choreography and filming of martial arts sequences has gotten far more sophisticated since those days. (read the rest of this shit…)
Nine years ago when I caught up to UNDISPUTED II: LAST MAN STANDING I declared it the first DTV sequel better than its theatrical predecessor, and I finally understood the internet love for its star Michael Jai White, who I’d previously thought of as the guy from SPAWN. But I still didn’t appreciate it nearly as much as I do now. Yesterday’s pleasant surprise has become today’s under-recognized genre classic.