"If victory favors me, I will protect your child with my life."
"I ask you not to worry about that possibility. Because my son and I live on the Demon Way in Hell, we're prepared to descend into Hell through the Six Realms and Four Lives."
COLD PURSUIT – which could be called HELLY HANSEN PRESENTS ‘COLD PURSUIT’ in my opinion – is an odd duck of a Liam Neeson vehicle. His character Nelson “Nels” Coxman is a man with a very particular set of skills, but they mostly involve driving a snow plow. He lives a simple life in a big house in a tiny ski resort town 3 and a quarter miles from Denver, Colorado. It’s one of those places where people have to be kinda rugged but they’re also laid back and individualistic. It’s always cold outside so they mostly just find ways to relax in their big houses. Nels’s wife Grace (Laura Dern, WILD AT HEART) smokes a joint while cooking up some meat from the reindeer that Nels and their son Kyle (Micheal Richardson, VOX LUX) hunted a while back.
Nels is a little nervous about having to make a speech after winning Citizen of the Year. Otherwise they seem to have a nice comfortable lifestyle going when all the sudden Kyle turns up dead – we know he was murdered by drug dealers, but the coroner (Jim Shield, SHANGHAI NOON, who looks like a more hard living Chris Pine) says it was a heroin overdose. Nels is so broken up he puts a shotgun in his mouth but when he’s interrupted by Kyle’s bloodied and apologetic friend Dante (Wesley MacInnes, POWER RANGERS) and learns what really happened, it’s not long before he’s sawing off said shotgun to fit in his jacket and go trying to find the people responsible. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Liam Neeson is… The Commuter, starring in his self-titled, totally solid addition to the catalog of Neeson vehicles directed by Jaume Collet-Serra (UNKNOWN, NON-STOP, RUN ALL NIGHT). Written by previously unknown Byron Willinger and Philip de Blasi, this is a gimmicky suspense thriller taking place almost entirely in the limited location of a New York City commuter train, but it manages to also mix in a couple of impressive action exclamation points, not to mention the director’s endlessly playful computer-assisted camera show-offery.
The Commuter is Michael McCauley, an ex-cop who is suddenly fired from his current job at an insurance company, and then finds himself under siege in dark territory on the ride home. It’s the train he’s been riding for ten years, and most of the passengers know him by name, make small talk with him and ask about his wife (Elizabeth McGovern, ONCE UPON A TIME IN AMERICA, CLASH OF THE TITANS) and kid (Dean-Charles Chapman, Game of Thrones). The usual sameness of his mornings is cleverly illustrated in an opening scene that shows him getting up, having breakfast, talking to the family and getting dropped off at the train, jaggedly cutting between seasons, emotions and conversations to show the passage of time without interrupting the flow of the daily routine. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
When last we heard from director Steve McQueen U.K., his movie 12 YEARS A SLAVE had won best picture. Five years later he finally has a followup, and it’s a violent, artfully crafted heist movie. Now you’re earning that name, my friend.
It’s credited as “based on ‘Widows’ by Lynda La Plante,” which seems to refer to the 1983 ITV mini-series, though there’s also a book version that says “SOON TO BE A MAJOR MOTION PICTURE” on the cover, and I have found no definitive answer as to which La Plante wrote first. Anyway, McQueen adapted whatever it was he adapted with Gillian Flynn of GONE GIRL (both book and movie) fame.
Liam Neeson (THE DEAD POOL), Jon Bernthal (THE ACCOUNTANT), Manuel Garcia-Rulfo (SICARIO: DAY OF THE SOLDADO) and Coburn Goss (MAN OF STEEL) star as a Chicago-based crew of highly skilled, even highlier armed and armoured robber motherfuckers in the vein of HEAT or L.A. TAKEDOWN or DEN OF THIEVES or POINT BREAK or POINT BREAK REMAKE. And by “star” I mean for a couple minutes at the very beginning we see a tiny bit of their heist intercut with them saying goodbye to their wives beforehand and then they get blown up. You barely even see that last guy’s face. Because this is not about dudes like that. It’s about their loved ones who have to clean up their mess. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
a survey of summer movies that just didn’t catch on
May 18, 2012
Let’s say you are a pretty decent commercial Hollywood filmmaker and you have accepted the conventional wisdom that you are now living in a “brand” and “i.p.” culture, a world where studios only want to make – and people only want to see – movies based on famous titles of TV shows and comic books and things that they remember from before. And let’s say that the toy company Hasbro has stumbled into running a movie production company after Michael Bay turned their Transformers toys into a gigantic movie franchise. And that now they are convinced they can do the same thing with the classic board game Battleship.
Well, that actually happened one time to Peter Berg (THE RUNDOWN), who had not directed a movie for a couple years after his not-brand-based Summer Fling HANCOCK floundered in 2008, and his response was “Why not?” Or maybe “I guess?” or perhaps “Okay. Fine.” Since the game is very simple, with no story or characters and I’d say less than five identifiable characteristics that would need to be used in an adaptation, he and screenwriters Jon and Erich Hoeber (RED 1 and 2) could just use it as a fake name to slap onto an expensive wannabe blockbuster than any sane person would know was gonna be broadly rejected only because of the board game name that they didn’t need to put on it. But that’s life.
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Although he’d already done HOUSE OF WAX and GOAL II: LIVING THE DREAM, it was ORPHAN that brought director Jaume Collet-Serra to my attention. I gotta admire a director whose movie I go to thinking I’m gonna be all ironical on it and then it defeats me with its audacity and genuine cleverness. So far that’s the height of his output, but I keep going back.
I guess I’d be watching them anyway, because his ORPHAN follow up has been three Liam Neeson vehicles in a row. UNKNOWN was a somewhat forgettable twisty thriller with some good touches here and there. Apparently I forgot to even post a review of it, but the part I remember liking best was some awkwardness between Neeson and Diane Kruger where they laugh because they’re in her small apartment and hear sex noises from next door, and that turns out to be set-up that her walls are thin enough for him to throw a guy through. NON-STOP was more my speed, a fun take on a confined-location-high-concept with some pretty interesting political subtext. Now the third one, RUN ALL NIGHT, takes the collaboration in a different direction. There’s less emphasis on the thrillery gimmicks and more on the character drama.
Oh, hey, this might explain it: it’s a screenplay by Brad Ingelsby, the guy that wrote OUT OF THE FURNACE. That’s another movie that uses badass genre elements but is more interested in exploring relationships than in satisfying expectations. (Though this one does have shootouts and car crashes.) (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Unfortunately TAKEN 3 is an uninspired new sausage from the Besson/Kamen factory. Liam Neeson’s ruthless ex-CIA family man character Bryan Mills returns for his first adventure not related to the endless circle of violence caused by his daughter getting kidnapped on a trip to Europe. This time it’s the go-to action movie bad guys of today, the Russian mafia (see also THE EQUALIZER, JOHN WICK, SAFE, DRIVEN TO KILL) who (SPOILER THAT’S IN THE TRAILER) kill poor Lenore (Famke Janssen), Mills’s ex-wife and mother of Kim (Maggie Grace) and who he sort of still has a thing for. The cops show up and it kinda looks like he did it so he beats them up and goes on the run so that he can prove that he didn’t do what it now really really looks like he did.
Even more than part 1 and part 2, part 3 leans heavily on the non-action movie family stuff. There’s a whole lot of time spent showing that he has a good relationship now with his daughter and ex-wife and gets along with his daughter’s boyfriend and tries to help Lenore with her problems with her second husband Stuart (Dougray Scott). I guess at this point I sort of have to admire that Besson cares so much about these characters, or thinks we do, but it’s not like this is real deep observations about relationships. And besides, UNDER SIEGE 2: DARK TERRITORY will always be the definitive action sequel where an old asskicker gives a giant teddy bear to a female relative and it’s awkward because she’s way too old for it. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
I like this series. Never as good as I want it to be, but not as frustrating as THE EXPENDABLESes. Neeson gets to be awesome and talk real serious on phones, Besson gets to throw in some ridiculousness, there’s a little bit of interesting subtext. So I’m glad they’re still going (even if implying through the medium of taglines that this is the last one).
It’s kinda sad to see (SPOILER FOR TRAILER) poor Famke getting Kerseyed here, but wise to take the series in a totally different direction. Obviously it’s kind of a play on THE FUGITIVE, complete with a part where he walks through a water pipe in case you didn’t pick up on it. I guess the idea is “what if instead of an everyman or Wesley Snipes THE FUGITIVE happened to the greatest leather jacket wearing black ops badass of our time? WHAT THEN?”
I hope he jumps down from the pipe while talking on a phone! That would be a good mix of FUGITIVE and TAKEN.
The director is Olivier Megaton again, not my favorite. But TAKEN 2 and COLOMBIANA were both much better than TRANSPORTER 3, so I don’t write him off.
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Sometimes a man just has to walk among the tombstones, you know? Stroll within the grave markers. Saunter betwixt the memorials. Seagal did it in PISTOL WHIPPED and now my man Liam Neeson (THE DEAD POOL) is taking a turn. He’s doing it in a mystery thriller based on book #10 in a series by Lawrence Block. The movie version is written and directed by Scott Frank, the guy that wrote OUT OF SIGHT, so it’s more about capturing that crime novel feel than being another Neeson vehicle like UNKNOWN or NON-STOP. That said, he is allowed to be awesome, and there are some scuffles.
Admittedly the opening scene is better than anything else in the movie. It’s a flashback to 1991, but has a ’70s feel. Stringy-haired, racial-slur-using asshole police detective Matthew Scudder (Neeson) walks into an empty bar where cops get free drinks. And this is how you know he sucks: the bartender greets him by name, and he doesn’t even say hi or look at him. He just knocks on the counter and then sits down at a booth with his back to him. Fuck you, man! I guarantee you this prick doesn’t tip either. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
So far I think I like the idea of Liam Neeson action vehicles more than the actual execution of them. Both TAKENs were fun, but with post-actiony scuffles and not as tight of storytelling as I prefer in a formula revenge movie. UNKNOWN from what I remember was kinda fun, but what was it about again? He was playing an amnesiac I believe? Yeah, that’s about how I feel about that one.
By far my favorite of this cycle is THE GREY, but that’s because it was all about manly drama. Most of the actual action (anything involving wolves) was as indecipherable as they come. So I came to his new airplane suspense thriller (from UNKNOWN director Jaume Collet-Serra) pretty jaded, but I enjoyed it more than expected.
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
I guess now they’re saying May 4th is Star Wars Day. Yet another fake holiday created by Hallmark and Kenner. At first I assumed they chose May 4th because it’s 21 days before the anniversary of when STAR WARS was released and they are planning seven STAR WARS trilogies. But then somebody explained that it’s supposed to sound like “may the fourth be with you.” Get it. From the nerds who brought you Talk Like a Pirate Day: Seriously, A Whole Day of This Would Be Fun Ye Guys.
Well I’m sorry to perpetuate it, but I decided to use this as an excuse to try to finish a project I started last year when the Star Warses came out on the blu-ray and I watched all six of them again.
I like these movies. Like anybody I especially like the original versions of the original three. But – I think I mentioned this before – one thing I am sick of god damn ever fucking hearing about is fuck George Lucas, he changed the movie that I like, he made a new movie that had farting in it, he owes me, this is at least equal to child rape, most likely way worse, now I finally understand the type of psychological struggle that a 14 year old molested junkie prostitute is going through, boo fucking hoo, etc. Not that it was not a legitimate topic at one time, and inspired by true incidents, but now it’s a decades old discussion done by everybody always and still people will bring it up as if it’s a fresh wound or, worse, as if it’s some sort of rebellious cry against the system if they point out the same damn thing that everybody of their generation also thinks and always will.
I mean honestly, I don’t know how you could verify this but I bet there are more than a billion words on the internet complaining about George Lucas. They hate that motherfucker so much they saw it as a dream come true when he sold his independent artistic creation to the Disney corporation to be used as a licensed property trademark franchise product. Hopefully now the curse is on some other sucker (J.J. Abrams now and whoever takes the gig after him), ’cause they really gotta give the People vs. George Lucas topic a rest, the same way a comedian would at some point just have to leave it be about the airline peanuts, no matter how strongly he feels about how hard it is to open those bags.
Even around here where we have the best god damn commenters in the world (am I right outlawvern.com? I can’t HEAR you!) it’s risky to bring up STAR WARS or George Lucas in any context. But I was watching those blu-rays and I thought it might be a good challenge to try to write reviews of the star warses that I would consider worth reading. I’m not saying I’m gonna succeed, I’m saying I’m gonna try. I’m watching all of them yet again and they’re in these special editions that tie them all together so I might as well write about them from a perspective few have ever considered: as the guy now intends them. One long six chapter story watched in order from 1-6. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
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Recent commentary and jibber-jabber
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COLD PURSUIT – which could be called HELLY HANSEN PRESENTS ‘COLD PURSUIT’ in my opinion – is an odd duck of a Liam Neeson vehicle. His character Nelson “Nels” Coxman is a man with a very particular set of skills, but they mostly involve driving a snow plow. He lives a simple life in a big house in a tiny ski resort town 3 and a quarter miles from Denver, Colorado. It’s one of those places where people have to be kinda rugged but they’re also laid back and individualistic. It’s always cold outside so they mostly just find ways to relax in their big houses. Nels’s wife Grace (Laura Dern, WILD AT HEART) smokes a joint while cooking up some meat from the reindeer that Nels and their son Kyle (Micheal Richardson, VOX LUX) hunted a while back.
Liam Neeson is… The Commuter, starring in his self-titled, totally solid addition to the catalog of Neeson vehicles directed by Jaume Collet-Serra (UNKNOWN, 
When last we heard from director Steve McQueen U.K., his movie 
Although he’d already done HOUSE OF WAX and GOAL II: LIVING THE DREAM, it was 
Unfortunately TAKEN 3 is an uninspired new sausage from the Besson/Kamen factory. Liam Neeson’s ruthless ex-CIA family man character Bryan Mills returns for his first adventure not related to the endless circle of violence caused by his daughter getting kidnapped on a trip to Europe. This time it’s the go-to action movie bad guys of today, the Russian mafia (see also 
Sometimes a man just has to walk among the tombstones, you know? Stroll within the grave markers. Saunter betwixt the memorials. Seagal did it in 
So far I think I like the idea of Liam Neeson action vehicles more than the actual execution of them. Both TAKENs were fun, but with post-actiony scuffles and not as tight of storytelling as I prefer in a formula revenge movie. UNKNOWN from what I remember was kinda fun, but what was it about again? He was playing an amnesiac I believe? Yeah, that’s about how I feel about that one.
I guess now they’re saying May 4th is Star Wars Day. Yet another fake holiday created by Hallmark and Kenner. At first I assumed they chose May 4th because it’s 21 days before the anniversary of when STAR WARS was released and they are planning seven STAR WARS trilogies. But then somebody explained that it’s supposed to sound like “may the fourth be with you.” Get it. From the nerds who brought you Talk Like a Pirate Day: Seriously, A Whole Day of This Would Be Fun Ye Guys.
