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Posts Tagged ‘Melvin Van Peebles’

Boomerang

Monday, July 25th, 2022

On Wednesday, July 1st, 1992 – one day after Prince and the New Power Generation released “Sexy MF,” the first single from their symbol album – Eddie Murphy played a Sexy MF in the romantic comedy BOOMERANG. It’s the sophomore movie for HOUSE PARTY director Reginald Hudlin, but it’s written by Murphy’s COMING TO AMERICA scribes Barry W. Blaustein & David Sheffield (POLICE ACADEMY 2: THEIR FIRST ASSIGNMENT), based on an idea by Murphy.

Murphy plays Marcus Graham, hot shit New York advertising executive, who is welcomed to his office like everyone’s best friend or personal hero. He’s also the type of guy who checks out every female ass he crosses paths with, smiles and flatters his way into dates, and then immediately moves on to the next woman. “Once I hit it I lose interest, but that ain’t my fault!” he swears.

He’s definitely an asshole, but Murphy plays him with enough charm to balance some of that out. For example there’s a scene where director Nelson (Geoffrey Holder, ANNIE) excitedly presents a commercial with ridiculously suggestive shots of a model fellating a banana. Marcus tells him some parts to cut out but laughs and jokes around and just shows an appreciation for Nelson’s eccentricity. It’s not the usual thing where the successful boss guy has to be mean. Everybody loves him. (Of course, negative reviews interpreted this as Murphy having an ego. Once you’re as successful as him you get called out for playing cool guys.) (read the rest of this shit…)

Fist of the North Star

Wednesday, March 27th, 2019

FIST OF THE NORTH STAR is a straight-to-video live action manga adaptation post-apocalyptic white people martial arts b-movie that I’ve been meaning to watch for about 20 years even though everybody said it was garbage. And I’m sure if I knew the comics or the anime version I would hold it to different standards, but coming to it fresh I gotta tell you this one checks off alot of boxes of the type of shit I enjoy in a movie. I am here to tell you it has merit.

The villain is the head of the Southern Cross martial arts school, who rebuilds a city after World War III and becomes its dictator, and the hero is the last heir of the rival North Star school, whose powerful fighting style is the only thing that can defeat Southern Cross. And even though their names are Shin and Kenshiro they are played by two white dudes, Costas Mandylor (VIRTUOSITY) and Gary Daniels (COLD HARVEST).

Today this would be frowned upon as whitewashing, and fair enough. But I guess I’ve grown up fascinated with white adoptees of martial arts from the ’70s and ’80s kung fu, karate and ninja booms, and to me there’s something sort of awesomely stupid (in a good way) about these muscular dudes with mullets and leather vests without shirts being the last great martial arts warriors of the future. And I have no right to impose this policy on the outside world, but in my mind there’s a statute of limitations that says since he’s not pretending to be Asian in any way Gary Daniels is grandfathered in to be allowed to be named Kenshiro as he practices moves on the bones of western and/or eastern civilization.

One complaint: why no headbands? I have rarely seen two dudes more worthy of cool headbands. (read the rest of this shit…)

Gang in Blue

Wednesday, February 28th, 2018

GANG IN BLUE is a made-for-Showtime Melvin & Mario Van Peebles father-son directorial collabo from 1996. Mario plays Rhoades, a righteous cop surrounded by corrupt racists in a secret cop gang called The Phantoms. Please think of these “Phantoms” as dudes in white ghost hoods, not purple tights and skull rings. Their only uniform, though, is their regular police one or their tattoos or their softball jerseys and jackets, ’cause their softball team is also called The Phantoms. There must be some naive soul on the force who sees the tattoos and thinks “Geez, those guys are really into softball.”

Rhoades talks about hiring diversity and minority policing of minority neighborhoods while his co-workers are talking about “ching-chong” and “homeboys” and “ooga booga” and “the jungle” and calling people “animals” like Trump always does. His presence fucks everything up when they go to shake down an illegal casino. Despite all the anti-racism talk the only Asian we see after these stereotypical gangsters is a thickly accented officer at headquarters who’s kind of a doofus. (read the rest of this shit…)

Posse

Monday, February 16th, 2015

tn_posse“You talkin bout a black KKK raid on a white town? That’s crazy!”

Recently I wrote about the Mario Van Peebles movie PANTHER, and talked a little bit about that time in the ’90s after Spike Lee hit it big and other black directors were starting to get a shot. At the same time hip hop had bled into pop music, and therefore rappers were starting to appear in movies. In the few preceding years the most respected rappers had been political or pseudo-political. Public Enemy and Boogie Down Productions struck revolutionary poses, and even the so-called gangsta rappers like N.W.A. and Ice-T considered themselves rebels against the establishment (mainly the police, then the politicians above them). There had been a high commodity put on “dropping science” or “reality” and/or “positivity,” consciousness was encouraged, people had temporarily traded their gold chains for Africa medallions, were interested in reading The Autobiography of Malcolm X and knowing the names of the Black Panther founders and shit like that. For a time it was at least as important to act smart and enlightened as it was to be tough. And that’s why Van Peebles was able to make PANTHER and before that, in 1993, POSSE.

About six months before POSSE was released, Dr. Dre’s The Chronic came out, and it was so undeniably good that, you know, that was the end of that. But before Van Peebles knew that visions of blunts would be bouncing on hydraulics in our heads he made a western for the Knowledge Reigns Supreme era.

There’s a couple reasons why this fits into the trend. One of them is that about a quarter of the cowboys in the old west were black. TV and movies make it seem like it was a hundred white guys for every Cowboy Curtis or Lord Bowler, and Van Peebles wanted to correct that. (read the rest of this shit…)

Panther

Wednesday, January 14th, 2015

tn_pantherPANTHER, directed by Mario Van Peebles, written by his dad Melvin Van Peebles based on his own novel, shows the formation and rise and dissolution of the Black Panther Party For Self Defense. That last part of the name is usually left off, which makes sense because it sounds a little awkward. But if they left it on it would make it a little harder to pretend they’re the Kill Whitey Committee.

This is a ’60s period piece made 20 years ago and never even released on DVD in the U.S. as far as I can tell, but it’s timely and provocative because it’s about a community that gets fed up with the shit end of the stick and tries to figure out a better way to deal with it. It opens with a boy riding his bike, taking in the sights of his Oakland neighborhood. He and an older man both watch in delight as a bus blasts by a dressed up lady at a bus stop, blowing her skirt up like Marilyn Monroe. They love that they get to see her garters, and don’t seem to notice that some racist bus driver didn’t stop to pick her up. The innocence of childhood. Nostalgic first person narration is telling us this is where it all started, so it’s a bit of a shock when that kids gets nailed by a car.

He’s not the narrator as a child, it turns out. He’s the dead kid who convinced everybody that they could no longer take “No, you don’t need a stop light at that intersection” for an answer. (read the rest of this shit…)

Terminal Velocity

Friday, November 15th, 2013

tn_terminalvelocityTERMINAL VELOCITY is a pretty funny action mystery full of smartass dialogue and clever action gimmicks. I think it’s an attempt to make up a pulp adventurer type character without the usual treasure hunting or old timey setting. But with the brown leather jacket, the slick hair and the bi-plane.

Charlie Sheen plays Ditch Brody, the womanizing wildman shit-stirrer of the Arizona parachutist community. He’s locally notorious for a string of outrageous skydiving mishaps (or skyhaps), most recently parachuting into a young girl’s birthday party wearing the fake muscles and ass from his standard (probly disappointing) bachelorette party routine. Then one day a beautiful woman (Nastassja Kinski) comes in wanting a lesson from him. She acts like a giggly first-timer but is clearly up to something. He’s too horny to pick up on it, and even touches her ass on the way into the plane. Not professional. (read the rest of this shit…)