Last Halloween I did an important, should’ve-been-award-winning piece called Analysis: “A Nightmare On My Street” vs. “Are You Ready For Freddy?”, in which I compared and contrasted the Freddy Krueger themed song by DJ Jazzy Jeff and the Fresh Prince with the one by The Fat Boys. Today I have a brief update, or sequel if you will, to that piece.
In the piece I embedded the “Are You Ready For Freddy?” video, but said there was no video for “A Nightmare On My Street.” In the comments it came up that people including Jake thought they remembered seeing a video. I feel like I would remember such a video existing, but more importantly it’s not on Youtube, on any of the many extras-packed DVDs and Blu-Rays of the Elm Street series, in the excellent 4-hour documentary NEVER SLEEP AGAIN, or on the DJ Jazzy Jeff and the Fresh Prince video collection.
Since then I’ve encountered other people who think they remember seeing it, so I looked into it again. Wikipedia says
“The song was considered for inclusion in the movie A Nightmare on Elm Street 4: The Dream Master, but the producers of the film decided against its inclusion. New Line Cinema, copyright holders of the A Nightmare on Elm Street film franchise, sued DJ Jazzy Jeff & The Fresh Prince’s record label for copyright infringement, forcing the label to destroy a music video produced for the song. Both sides eventually settled out of court.”
but since this section is not sourced I wondered if some of it could be an urban legend. The very specific language of the disclaimer sticker on the record supports the existence of a lawsuit or threat of one, but would they really have made a video before that happened? (read the rest of this shit…)
Thanks for the warning, fellas. AZUMI 2 is no AZUMI. I had known director Shusuke Kaneko as being good at giant monster and horror type pictures, and I really thought his cleverness and style would apply well to our little badass raised in the mountains to be the ninja assassin orphan girl with the purple cape. But maybe with this one he caught a tough break. Either the budget was much lower or they just didn’t know how to use it as well as Kitamura did. Lots of standard woods and dirt, looking cinematic than ’90s syndicated TV show. Like Xena or something.
I didn’t really mind that (spoiler? unspoiler?) negotiations prevent us from having a huge climactic massacre like in the first one. That part feels kinda ballsy, I can respect that. It’s progress for the character and her story instead of just more of the same. What was disappointing was that the first one had that incredible village set that was so integrated with (and wrecked by) the battle. This one is just in an ugly clearing. She could’ve killed 700 people, it still would’ve seemed like a step down. (read the rest of this shit…)
GAME OF DEATH II is a weird proposition. How the hell do you make a sequel to Bruce Lee’s unfinished final movie and pretend he’s still the star? It’s like if they tried to figure out how to keep Paul Walker in FURIOUS 8. It’s a little different because some of the best fights Lee ever shot were for GAME OF DEATH and they didn’t bother to use all the footage in the first one. But I guess they thought it would be cheating to use that stuff. Instead they took a bunch of his closeups from ENTER THE DRAGON and cut them into scenes of a lookalike always shown either from the back or at a distance. Lee’s character Billy Lo is worried about his brother being too into sex and not enough into practicing kung fu. He finds his kama sutra and leaves him a letter and a Jeet Kun Do manual to counter its harmful influence.
Also Billy talks to his master, who tells stories about his youth, illustrated with clips from Chinese movies Lee made at 6 and 15. Instead of letting you figure it out (like Soderbergh using clips from POOR COW as flashbacks in THE LIMEY) they use onscreen text to tell you, breaking any illusion that this is the character Billy Lo, famous movie star who faked his death. In the younger one he’s picking on an old man, headbutting him in the gut, pointing a gun at him and saying he’s gonna kill him. Weird. (read the rest of this shit…)
This is gonna sound crazy, but HIGH NOON PART II: THE RETURN OF WILL KANE, a 1980 TV movie with Lee Majors replacing Gary Cooper as the hero from the 1952 classic, is a damn good sequel in my opinion. It’s directed by Jerry Jameson, who IMDb says was an uncredited director on that Burt Reynolds movie I like, HEAT. I don’t know what the story is on that, but he definitely did AIRPORT ’77 and a bunch of TV shows ranging from The Mod Squad to Walker: Texas Ranger.
So it’s some TV guy directing. More significant in my opinion is that the teleplay was written by Elmore Leonard, and it shows. It has his knack for interesting language and casual conversation, humor in the face of danger, bonding between lawmen and outlaws, and a sort of rambling turn of events that reflects something about the ridiculousness of life. In the original HIGH NOON the freshly-retired marshal got into trouble because his arch-nemesis had been released and was coming into town for revenge. In this one the trouble starts because he and the Missus (Katherine Cannon, THE HIDDEN) are trying to buy some horses.
It’s a year after he shot Frank Miller and left, and he comes back to Hadleyville for this transaction. At the same time Ben Irons (David Carradine) and his men just got off a train, probly the same one the bad guys came in on last time. We know they’re trouble because a deputy recognized Irons’s face and went to check out the wanted posters. They show up wanting to buy the same horses that Kane just paid for, and they try to convince him to let them have them. It’s a tense conversation because Irons tries to act friendly, but Kane lets him know he remembers him from his days in law enforcement.
“Must’ve been during my wayward youth,” Irons says.
“It was a couple of years ago,” Kane says. (read the rest of this shit…)
JEEPERS CREEPERS 2 is a confident, well-constructed movie about a weird monster dude flying around eating a whole bunch of people. It starts out with the admirably to-the-point text:
“Every 23rd Spring
for 23 days
it gets to eat”
This is day 22, shortly after the events of part 1. We hear in a TEXAS CHAIN SAW-esque radio broadcast that the authorities are still dealing with the “The Horror in Poho County,” the “well past 300” dead bodies with missing organs that they discovered under a burned down church.
This is the handiwork of “the Creeper” (Jonathan Breck, SPY KIDS: ALL THE TIME IN THE WORLD IN 4D), who seemed at first like a spooky serial killer in a big farmer hat and long coat driving around in a creepy truck, but turned out to be a demon with big ol’ wings tucked under there. Well, it’s no secret anymore so this time he uses the wings for most of the movie, which leads to some cool action ideas, but also some special effects-related weaknesses. There are some shots of him flying that take you out of the movie with fakiness. But there are some good ones too. This scene where he chases after a car at night looks pretty convincing:
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“I always imagined Sanshiro Sugata would look more fierce. You know, with a mustache or something.”
I don’t know if I’ve seen an earlier sequel than this, and it’s a pretty good one. It’s also the earliest example I know of the international fighting movie. IP MAN 2 also took this idea: the legendary martial artist is pressed into pitting his style and national pride against westerners. This part 2 has a better excuse though: it was made near the end of WWII at the behest of the government. I don’t give a shit though, I still like it. You lose, propagandaists.
It all starts with a conflict between a young Japanese rickshaw driver and his customer, an asshole white sailor (I think he’s supposed to be American, but his accent sounds otherwise). The sailor causes the driver to flip over and then blames him and wants to fight him. (read the rest of this shit…)
MISSION: IMPOSSIBLE 2 was made at a time when the world just wasn’t ready for this particular MISSION: IMPOSSIBLE 2. There needed to be more of a cooling off period after the first one. We needed some time to learn that MISSION: IMPOSSIBLE sequels weren’t gonna be the elegant balance of smart-people thriller and blockbuster spectacle that Brian DePalma introduced in the first one, and also that John Woo was not gonna ever seem like the exact same filmatist who made THE KILLER, or HARD BOILED, or even FACE/OFF, again. Returning to it now it’s even more evident that it’s best appreciated by watching it like we watch other post-Hong-Kong Woo pictures like HARD TARGET, or his TV ones like BLACKJACK or the Once a Thief series. You just try to enjoy it as some Hollywood bullshit that he tried to add some of his particular style to. Here he treats it as an expensive studio movie love story set against a rogue agent trying to get rich off of a man-made disease and its cure.
Tom Cruise (JACK REACHER) returns as Ethan Hunt, who has graduated from IMF support man to lone wolf and is now so awesome that he spends his vacation rock climbing out in the middle of nowhere with no equipment. He doesn’t have his phone on him (it was 2000) so the agency has to send a helicopter to fire a rocket at him containing douchey sunglasses that give him his mission briefing. This is a good idea because the ol’ “this message will self destruct” means he throws a pair of sunglasses at the camera and they explode into the title, and everybody wants to see that. (read the rest of this shit…)
“It’s hard to explain. A strange series of events made him our ally.”
Akira Kurosawa probly had no idea when he made SANJURO that he was doing a sequel to one of the greatest movies in all of Badass Cinema. He just wanted to have some fun doing another small, funny samurai story with Toshiro Mifune’s character from YOJIMBO. This time the itchy wandering ronin (calling himself Sanjuro, another name made up on the fly) falls in with nine young, idealistic samurai who have discovered corruption in their clan. They want to do the right thing but they’re kinda dumb and inexperienced and he’s an incomparable swordsman and strategist, so he finds himself advising them, assigns himself to their most dangerous tasks and takes on the army and government mostly on his own. (read the rest of this shit…)
“You know the rules. No fraternizing with cyborgs.”
CYBORG 2 has a totally different feel from CYBORG. Apparently it didn’t even start out as a sequel to CYBORG, it was supposed to be something called GLASS SHADOW until they realized the only way I was gonna rent it 20+ years later would be if it was connected to an existing Jean-Claude Van Damme series. It looks more expensive than Albert Pyun’s original (though still in the low budget realm) and plays much more traditional, not an art film at all.
The disease that had ravaged the world in part 1 must’ve been cured. The ROAD WARRIOR type wasteland has become a poor man’s BLADE RUNNER dystopolis with Max Headroom type boardroom villainy. There’s way more talking and stunt doubles and things that happen. And while I took part 1’s robo-lady as a traditional cyborg – human with machine add-ons – now they’re using the C3PO definition: just a robot. We see how it works in a cool opening credits sequence of liquid flesh injected into a female casing over a robo-skeleton.
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In LADY DRAGON 2, Cynthia Rothrock de-prises her role as Kathy Galagher, ex-CIA underground fighter out to avenge the death of her also-a-CIA-agent husband. This time she plays Susan “The Golden Angel” Morgan, who in the opening scene defends her professional (i.e. not underground) competitive karate title in the presence of her very much not dead yet husband and famous soccer player Sonny (George Rudy). But then later her husband gets murdered and she has to avenge it.
Meanwhile, criminal maniac Diego (Billy Drago, DELTA FORCE 2, MARTIAL LAW II) and his two flunkies (Sam FLASH GORDON Jones and Greg Stuart [QUIGLEY DOWN UNDER]) are stealing diamonds from the mafia, and then staying in the same hotel as Susan and Sonny. Somehow sensing that Sonny’s fame as an international soccer star will get him brushed through customs without much more than a glance, they stash the stolen loot in his luggage and follow him to Jakarta. But when they go to reclaim the diamonds they’re gone.
Before we move on, let me just say that they call it soccer throughout the movie, they don’t say football, so I don’t have to say it either. Those are the rules. I also say shit instead of shite. It’s how I was raised. (read the rest of this shit…)