This year my summer review series will be a little different. I knew I had to write about the 30th anniversary of a certain culturally phenomenal event movie that gave the town of Hollywood an enema, taught us to keep bustin and set us on a path to pretty much our entire current era of entertainment. And when I looked at the other movies that came out that year it reminded me how different summer movies used to be, for better or worse. In those days they were less genre, less special effects, more straight ahead action. And it seems to me the summer of ’89 was a transitional period bridging the prevailing action movements of its decade to those of the next. So I’m going to be taking a look at 1989: The Last Summer of ’80s Action. (title pending)

Note: To help remind you and myself what it was like back then I’ll often be mentioning Billboard‘s #1 single for a particular week. For example, when RED SCORPION came out it was “She Drives Me Crazy” by Fine Young Cannibals.  But the truth is that’s not what I was listening to at the time. To re-create my summer of ’89 audio experience I’d have to get a portable radio with auto-reverse tape deck and listen to a dub of It Takes a Nation of Millions to Hold Us Back over and over all day every day.


The 1980s. A time of sweaty chests and bandoliers. Half a decade after the smash success of JAWS, summer was cemented as the go-to season for mainstream crowd-pleasing movies. For the purposes of this study I’ve chosen to define summer movies as anything released from the beginning of April to the end of August – the months when kids are out of school, with some leeway at the front for Spring releases intended to play well into the summer.

Throughout the decade, those months would always see the release of between 9 and 16 movies that could be loosely described as actiony. The influence of STAR WARS and CONAN THE BARBARIAN ensured that a bunch of those were sci-fi (TRON, SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE, METALSTORM: THE DESTRUCTION OF JARED-SYN) or fantasy (BEASTMASTER, CLASH OF THE TITANS, CONQUEST, FIRE AND ICE, HERCULES), but halfway through the decade those trends had faded, and the few that popped up (ALIENS, PREDATOR, ROBOCOP) were genuine classics in action terms alone.


1988 was a big one. You had some great chases in the fantasy epic WILLOW, but otherwise the only genre mixes were horror-action hybrids DEAD HEAT and MANIAC COP. DIE HARD introduced Bruce Willis as a vulnerable anti-Sly or Arnold, but did it so well it catapulted him to action icon status right alongside them. And ABOVE THE LAW introduced us to Steven Seagal.

Many of the movies mentioned above drew on Reagan era fantasy: macho militarism and vigilantism combating the spread of communism, the proliferation of urban crime, the humiliation of losing a war. But when 1989 rolled around the whole world was changing. In January, George H.W. Bush was sworn in as president – Reagan’s leftovers, but a new guy, at least. In February the Soviet Union ended their decade-long military occupation of Afghanistan (inspiration for RED DAWN and RAMBO III). Also that month, South African president P.W. Botha resigned as leader of the National Party, paving the way for his successor F.W. de Klerk to become president, free Nelson Mandela and begin the dismantling of the apartheid system. In April, the student-led demonstrations started in Tiananmen Square. Also that month, a series of strikes began in Poland, kicking off the events known as “The Revolutions of 1989” that would lead to the end of communist rule in Central and Eastern Europe. Equally significant, Jean-Claude Van Damme released both CYBORG and KICKBOXER (in Europe – the American release was in September), proving that the previous year’s BLOODSPORT hadn’t been a fluke, and Seagal wouldn’t be the only one taking on the Chuck Norris white martial artist mantle in the coming decade. Indeed, ’89 was the beginning of some major movements in entertainment, including the first seasons of The Simpsons and Seinfeld (as well as COPS, Hard Copy, Saved By the Bell, Baywatch and America’s Funniest Home Videos.)

With all that in mind, RED SCORPION seems like a fitting kickoff to the denouement of this decade’s action. Its star Dolph Lundgren was of course made iconic by one of the most 1980s movies ever made, ROCKY IV, and here he’s playing Russian again, in a Cold War story about the evils of the Soviet empire spreading communism to Africa. This one wasn’t just exploiting the popular themes of the time, it was dreamt up by true believers. Republican political operative Jack Abramoff was approached to produce a documentary about Soviet intervention in Africa, giving him the idea to do an action movie about it. He even gets a story credit (along with his brother Robert and the credited screenwriter, Arne Olsen [COP & 1/2, MIGHTY MORPHIN POWER RANGERS: THE MOVIE, ALL DOGS GO TO HEAVEN II]).

I do like the idea of expressing one’s beliefs through b-action movies, even politics I disagree with, but I really can’t get behind these guys. Two of the producers would be disgraced during later Republican administrations. Abramoff was at the center of an enormous George W. Bush-era scandal in which he, in his words, “happily and arrogantly engaged in a lifestyle of political corruption and business corruption and the rest,” and was convicted along with 21 others. He was played by Kevin Spacey in the movie CASINO JACK (2010). Executive producer Paul Erickson was recently indicted for wire fraud and money laundering, and he’s the guy who tried to set up a meeting between candidate Trump and Vladimir Putin at the NRA National Convention while he was the live-in boyfriend and co-conspirator of convicted Russian spy Maria Butina.


I’ve reviewed RED SCORPION before, and that review still stands, except for my ignorant statement that Dolph is lacking in charisma. Clearly I wrote that when I just remembered him playing meatheads and hadn’t discovered BLACKJACK or many of his other films. I was an idiot.

Dolph plays Lieutenant Nikolai Petrovitch Rachenko, elite Soviet Special Forces motherfucker sent to some unnamed Val Verde of Africa to assassinate a rebel leader for opposing the Soviet, Czech and Cuban forces running the place. Rachenko infiltrates the rebel cell by starting a big bar fight, getting thrown in jail with rebel Kintash (Al White, one of the “Jive Dudes” in AIRPLANE!) and commie-hating American journalist Ferguson (M. Emmet Walsh, THE SCORPION KING 4: QUEST FOR POWER), and helping them bust out.

I guess I’m naive and too trusting of Dolph, because I was actually thinking Rachenko had had a change of heart and really was trying to help them. Nope, at this point he’s back on his secret agent bullshit. Ferguson is like Vince in THE FAST AND THE FURIOUS – he’s an asshole who hates and mistrusts the hero, and is completely correct! Walsh is always funny and interesting to watch, and he’s a funny, ridiculous character because his way of representing America and Freedom and Mission Accomplished is through things like saying he misses bacon cheeseburgers, and using the term “fuckin-A,” because Americans can swear “whenever they fuckin hell want.” Also he likes to play Little Richard. It’s such a powerful antidote to communism that his big contribution to a spectacular truck chase is to rig his tape deck to play, I believe, “Long Tall Sally,” over a loudspeaker at the enemy. It’s completely silly, but also kinda makes the movie. (“Jenny, Jenny,” “All Around the World” and “Good Golly Miss Molly” are also in the movie, one on the end credits with added machine gun sound effects to represent the freedom spreading.)

Walsh’s BLADE RUNNER castmate Brion James (STEEL DAWN) plays a Russian Sergeant who refers to Ferguson as “the American propagandist,” and I don’t know if that’s an accurate description but I can tell you Ferguson seems to be an abysmal journalist. He just runs around during a battle and talks into a tape recorder about it being terrible what’s going on. He’s not, like, doing research or interviews or anything. Maybe it’s supposed to be a gonzo journalism thing but I don’t see who’s gonna publish it.

Anyway the truck chase is cool and has some great stunts that are clearly performed by Dolph himself. But I think the most original section of the movie is after he fails at the assassination, escapes execution by his own people and ends up hanging out with some Bushmen who found him passed out in the desert. They laugh at him, teach him to hunt pigs, carve a picture of a scorpion into his skin, etc. (I wondered if this was at all inspired by the hit 1980 South African comedy THE GODS MUST BE CRAZY.)

Rachenko has a really good attitude about it because when they’re sitting around the fire and they hand him a cup of scorpion venom he doesn’t question it at all, he just gestures to make sure they’re saying to drink it, then just does that without hesitation or complaint. He has chosen to trust his hosts. After his new friends are attacked by his old army he decides to lead the rebels in an attack on the Soviet camp and General Vortek (T.P. McKenna, STRAW DOGS).

One new development since the old review is that Lundgren has appeared briefly in a Coen Brothers film (HAIL, CAESAR!). Here he’s co-starring with M. Emmet Walsh (BLOOD SIMPLE) and Brion James (CRIMEWAVE). So maybe Al White will be in their next one.

Another new thing is a nice special edition Blu-Ray with a Zito commentary and even an interview with Abramoff. Of course, they never call him “disgraced lobbyist,” and he doesn’t bring up the four years he served of his six year sentence. (It was minimum security. He taught a screenwriting class and ran a movie night.) I’m sure many people watch it without knowing his background, and just assume he’s a regular producer. The only implication that he’s not is when Zito (who says he was very nice) jokes that you might’ve heard of him from some news stories.

In the interview, Abramoff persuasively explains how hard it was to find a suitable country to film in after Swaziland changed their mind when they were already there. They ended up filming in South-West Africa (now Namibia), which was under the rule of South Africa. Abramoff defensively claims he’d been led to believe they were about to pull out. He doesn’t mention the word “apartheid” or that the South African Defense Forces provided him with tanks, trucks, troops and mortars, prompting Sweden’s Isolate South Africa Committee to call for a boycott of Dolph’s movies. This is a familiar shame: the people who would fight communism, but be okay with racist oppression. (I don’t blame Dolph for it, though. I don’t think he could’ve known what he was getting into.)

Another funny Abramoff bit is that there’s a scene where Dolph’s character is imprisoned and a guard says “god damn.” Zito says, “That blasphemy, I must’ve had 15 conversations with Jack Abramoff about that and of course he wanted to remove it, a blasphemous like that, and I didn’t.” The guy cared that much about showing somebody use the Lord’s name in vain, but had no qualms about committing fraud and bilking millions of dollars from Native American tribes and shit. We all have different ideas of spirituality, I guess.

Director Joseph Zito had already done THE PROWLER, FRIDAY THE 13TH: THE FINAL CHAPTER, MISSING IN ACTION and INVASION U.S.A. The latter two are more blatantly jingoistic, but also funnier and faster paced. This isn’t his best movie, but I bet it would’ve been worse in somebody else’s hands.


Abramoff would produce the Dolph-less RED SCORPION 2 (1994) and the former-Power-Rangers-starring KARATE MASTERS: BEGINNING MARTIAL ARTS FOR KIDS (also 1994) before turning to his life’s passion of despicable fraud, corruption and treacherous scumbaggery on a massive scale that he would get off very easy for. Zito would only direct two more movies – DELTA FORCE ONE: THE LOST PATROL (2000) and POWER PLAY (2003). Lundgren, though,was just getting started in an action career that would soon include non-Russian roles in  THE PUNISHER, I COME IN PEACE, SHOWDOWN IN LITTLE TOKYO, UNIVERSAL SOLDIER, ARMY OF ONE, PENTATHLON, MEN OF WAR and many more.

This entry was posted on Wednesday, June 12th, 2019 at 10:14 am and is filed under Action, Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

60 Responses to “THE LAST SUMMER OF ’80s ACTION – Prologue / RED SCORPION”

  1. I can’t think of a better to celebrate Superman Day than with a brand new Vern Summer Retrospective Series!

    I was also wondering when you would get around to ‘that’ movie as you reference it a whole lot.

    As for the movie, I’m not a big fan of it. On last rewatch it continued to bore me.

  2. Years ago, the New Beverly in Hollywood ran five back-to-back Lundgren pictures in 35mm. I believe the line-up was RED SCORPION, THE PUNISHER (uncut international version), ROCKY IV, UNIVERSAL SOLDIER, and I COME IN PEACE at midnight. RED SCORPION was just glorious on the big screen. That also might’ve been the USA theatrical premier of THE PUNISHER. Don’t believe it has played in a U.S. theater before or since.

  3. I’m super excited for this series. I never really consciously thought about it, but 1989 definitely was sort of the end of an era in action films. Can’t wait to read more!

  4. Thanks for this Vern.

    I just assumed the 30th Anniversary movie you’re referring to was Road House.

  5. Another series that I look forward to, although I wonder why you didn’t come up with it earlier.

  6. Ohboyohboyohboy! The best movie summer of my entire life! SO much goodness. This prolly won’t come up, so I’ll just mention that I’m pretty sure this is the only summer with a new Friday the 13th, Elm Street AND Halloween in it. At least, it was the only one that happened when I was nine years old.

  7. Yes!!! So excited for this series. I also just recently rewatched Red Scorpion. All set!

  8. I love a Vern Summer retrospective. I look forward to those reviews more than most actual current summer movies. 1989 was a great one. I wonder if UHF and Weekend at Bernie’s will be comedy exceptions.

    Still haven’t seen Red Scorpion but this description of the musical cues makes the strongest case yet.

  9. Speaking of UHF, I’m seeing Weird Al in concert tomorrow night. As a matter of fact, this IS a brag.

    True Story: my nephew still kinda refuses to believe me that WEEKEND AT BERNIE’S is both a real movie and that it was a big hit.

  10. I’m going to be out of town when Weird Al plays friggin Red Rocks but I will be able to see UHF on the big screen in July.

  11. My aunt really wanted to see WEEKEND AT BERNIE’S and wanted to take my sister and me (respectively 7 and 12 years old) with her. It didn’t happen, but I wonder how she had reacted to the scene where that one woman has sex with the corpse.

  12. Geoffreyjar, have you told him there’s a sequel? It’s a legitimate franchise even though II is #notmyBernie.

  13. WEEKEND AT BERNIE’S and UHF totally shaped my comedic leanings.

    “Hi Tawny. I’m horny.”

    “We were on the six o’clock ferry.”

    And we’re two schmucks.”

    “Supplies!” That one doesn’t play well these days but it’s still a fun gag.

    I took my first trip to California in 1989 and thanks to an accident just off the Golden Gate bridge, spent a couple of weeks at my Great-Uncle Fritz’s house in Crescent City. He had HBO, and WEEKEND AT BERNIE’S and HEATHERS played every day. It cemented my love of dark comedy at a pretty young age.

  14. I think by ’89 everybody who wanted to know knew what was going on in South Africa and the surrounding countries, especially a smart guy like Dolph. What he should have protested furiously against was the hotpants they put him in in this movie! That’s not a good look for anybody!

  15. I’ve seen this movie at least twice and still barely remember it, but the production stories make it all worth it. My favorite is how Zito had to emergency airlift his pal Tom Savini into Africa at the last minute just to do the Dolph torture scene. Just exactly the kind of hardscrabble, seat-of-the-pants blue collar exploitation professionalism that I love hearing about.

    Here is where I post my usual reminder that Joe Zito somehow went on to become some kind of big time producer of Middle Eastern TV, producing 97 episodes of what is apparently the Egyptian GREY’S ANATOMY. How the hell did that happen? I don’t even think they’re allowed to SHOW most of Zito’s movies in the Middle East. You really never know where life is gonna take you, do you?

  16. “The Middle East” is a terribly vague description. I don’t think 90% of the countries we’re talking about would have problems with the insane far right politics of Zito’s movies.

  17. You’re right, that was too broad a statement. While I truly doubt there have been many showings of INVASION USA, a film which portrays all Middle Easterners as violent terrorists, or THE PROWLER, the appeal of which is entirely predicated on watching scantily clad young women get butchered, in the more oppressive theocracies of the region, I recognize that there are more liberal Middle Eastern countries like Lebanon that could probably get down with them. I didn’t mean to paint the whole area with the same brush. I apologize.

  18. I hope this means we’re gonna get Vern’s review of THE PACKAGE (1989), which I believe was a late August release. I’m sure he must have some seriously interesting things to say about the film Andrew Davis made between ABOVE THE LAW and UNDER SIEGE.

  19. No need to apologize, Mr M, I was just hinting at the fact that a lot of these governments are further to the right than even old Chuck is. That said, aren’t Rostov and his men supposed to be from Eastern Europe and/or Cuba?

  20. It’s supposed to be an international coalition of terrorists from all over the world, as if all that’s required to bring all these flavors and varieties of extremism together is an irrational hatred of American freedom/shopping malls.

  21. So in other words, this should go down well all over the world.

  22. Seeing all those Bond titles made my mouth water, can’t wait till you get around to doing a Classic Bond rundown.

  23. I love how strange this movie is. Right down to idd choice of shorts our hero wears in the end whilst brandishing a machine gun.

    david j moore – I was at that Dolph fest. I told Phil that aside from the day my kid was born and my wedding, it was the greatest day of my life. Yes,it was the first theatrical showing of Punisher, but that came after Rocky 4 in the line-up, which was nice because there were definitely bros there who just came to see Rocky beat up the Russian. They booed Dolph at the Dolph fest! Thankfully they left before Punisher/I come in peace. (Surprised how well Universal soldier played that night). Had I my druthers, Showdown in Little Tokyo or Masters of the Universe would’ve replaced Rocky but i get it.

    Thanks for the jaunt down memory lane!

  24. I love how strange this movie is. Right down to idd choice of shorts our hero wears in the end whilst brandishing a machine gun.

    david j moore – I was at that Dolph fest. I told Phil that aside from the day my kid was born and my wedding, it was the greatest day of my life. Yes,it was the first theatrical showing of Punisher, but that came after Rocky 4 in the line-up, which was nice because there were definitely bros there who just came to see Rocky beat up the Russian. They booed Dolph at the Dolph fest! Thankfully they left before Punisher/I come in peace. (Surprised how well Universal soldier played that night). Had I my druthers, Showdown in Little Tokyo or Masters of the Universe would’ve replaced Rocky but i get it.

    Thanks for the jaunt down memory lane!

  25. I’ll be curious how many “off-brand” pics will show up in this retrospective. Loads of good ones to choose from:


    I’m waiting for the inevitable Leviathan vs Deep Star Six smackdown!

  26. bastardjackyll, Vern didn’t mention it in the piece, but LICENCE TO KILL is from ’89, so maybe…

  27. I reread the old review and I think there’s a lot to be proud of in it. I look forward to the next time you revisit this film.

  28. I loved this movie when it was new. Thought it was a cool and weird take on the whole Rambo gun-guy thing. The Bushman right of passage stuff being the weirdest part!!

    Always wondered what happened to Zito. He is easily one of my favorite journeyman directors of the 80s. All his slashers and actioniers are top notch, some of my favorites in their respective genres. I never saw his newer 2000-ish DTV ones…gotta get on those at some point.

  29. Does this mean we’re not doing Summer ’99?


  30. Clearly, that is being saved and prepped for 2029!

  31. Renfield – It didn’t feel like there was enough new ground to cover, having already reviewed PHANTOM MENACE (twice), WILD WILD WEST, MYSTERY MEN, 13TH WARRIOR, THOMAS CROWN AFFAIR and UNIVERSAL SOLDIER: THE RETURN. But I promised somebody I would rewatch THE MUMMY, I started something about EYES WIDE SHUT and I definitely need to do a definitive look at GHOST DOG some day. Is there something specific you were looking forward to? DEEP BLUE SEA?

  32. Forget all those other movies. DEEP BLUE SEA deserves its own 20-year retrospective.

  33. That summer was pretty lackluster but DEEP BLUE SEA definitely does merit it’s own anniversary review. Especially in light of THE MEG.


    (Just kidding. Not even I have much love for it. I wish there would be a way to watch that 110 minutes version, that bombed so hard at test screenings, that they cut the movie down to less than 80 minutes.)

  35. I mean if we’re talking summer of ‘99, how are we not talking about THE MATRIX? Is it because we still can’t be told what it is?

  36. DEEP BLUE SEA is a masterpiece of masterpieces…

    CJ: The year before Broderick was in GODZILLA and then GADGET. It was like he had something personal against me!

  37. Nah, he tried to be your friend, but then met the wrong people and made some bad decisions.

  38. I have a tiny soft spot for INSPECTOR GADGET, as it’s one of the few films I ever got to see in a “before we chuck the reels away” £1 ticket sale. I know Dollar Theatres are/were a thing in the US, but to my knowledge it never really caught on in the UK, so I enjoyed it as low hanging fruit. Seeing it at home I realised it’s a genuinely tough sit. Direct to video sequel is “better”, insofar as it seems like it was made by people with fondness for the cartoon, Stewart gives the impression he wanted to be on set, and there are like three decentish laughs.

  39. Kurgan – Well, it came out in March. But I’ve been meaning/trying to write about those for a few years now. I want to do it right.

  40. Kurgan: I’m still waiting for someone to tell me who the fuck Darkman is.

  41. Nah Kurgan I still had like an entire season/semester left in 10th grade when it dropped and I sang its praises to everyone at school after opening weekend. Like Vern said it was a spring release. Though if it had come out during summer movie season it would be the best of the bunch with ease. Even if DEEP BLUE SEA would come pretty damn close.

  42. So, first of all I regret throwing shade at your decision because you 100% know what you’re doing and if you think there’s more fertile ground to cover in ’89, I absolutely trust your judgment.

    But to explain my reaction, ’99 is a legendary year for me personally because my friends started getting drivers’ licenses and I suddenly could see literally everything, no parental intervention required. Just the act of going to the theater was inherently awesome and I devoured everything pretty much indiscriminately, and even started seeing “art” films and stuff just because I had read a review that said it was good … I can’t believe I dragged my friends to see AMERICAN BEAUTY as a teenager. It blew our fucking minds. I bet you it’s pretty appalling in retrospect.

    SOUTH PARK blew our minds… I would love to see a definitive Outlaw Takedown of that fuckin thing. THE IRON GIANT was a landmark, and I take cartoons hella seriously to this day because of it. BEING JOHN MALKOVICH was maybe the final straw for my buddies’ tolerance for the art film thing but that doesn’t happen until October. I remember none of them would come see FIGHT CLUB with me, which also just utterly tore my mind apart, and might be pretty crazy to look at through the lens of the post-chan era. You’ve probably said everything you want to say on found footage, but THE BLAIR WITCH PROJECT was .. a thing.

    Yeah, I’ve already talked myself out of it.. there’s a lot of stuff that we all probably agree is good and that probably isn’t that interesting to critique, like IRON GIANT and SUMMER OF SAM. Quite a few of the more interesting ones are in the fall (BRINGING OUT THE DEAD, FIGHT CLUB, BEING JOHN MALKOVICH, BOYS DON’T CRY, DOGMA, TOY STORY 2) and don’t really fit the summer flashback vibe anyhow. If you’re going to trace the suburban-discontent theme of FIGHT CLUB and AMERICAN BEAUTY you probably have to talk about THE SOPRANOS and … yeah, that’s just a whole vortex to get sucked into. (I once heard it said that THE INCREDIBLES is the best movie of 1999 that didn’t come out in 1999, an idea that I dig).

    Anyway, I’d be down to hear your thoughts on SOUTH PARK, FIGHT CLUB, and AMERICAN BEAUTY if you were ever so inclined. In the meantime I’m looking forward to the ’89 series tremendously!

  43. Hahaha I realize that might have been a kind of weird post and I hope it’s not strange for you to think that people are applying this level of scrutiny to “what should Vern review or not review?” Keep it lawless, my brother. You are doing the lord’s work.

  44. I’m more in interested in a fall of 1995 retrospective myself.

  45. Huh yeah I guess in my head MATRIX was a summer movie, but March ain’t summer. Still, a stone cold classic. I think the Wachowskis are always doing something that’s at least interesting if not totally successful, but they haven’t captured the lightning quite like the first MATRIX yet again.

  46. Hopefully I’ll find time to do a little ’99 retrospective not specific to summer. I’m very curious how FIGHT CLUB holds up.

  47. I can imagine FIGHT CLUB still holding up, while at the same time extremely frustrating, because 20 years later these assholes that it mocked are now the norm (and believe that the movie is on their side).

  48. CJ, I gotta say that, despite Pixies music and Buckaroo Banzai references, I pretty much hated FIGHT CLUB on first viewing for the very reasons those assholes now love it. I still think it’s mighty ambiguous, and Fincher is way too smart not to know it.

  49. But I totally second any suggestion that we get Vern’s reviews of THE IRON GIANT and TOY STORY 2. I think I already suggested a review of A BUG’S LIFE to round out THE SEVEN SAMURAI series, and I wonder if there’s any mileage in considering the influence of Pixar on action generally.

    And talking of movies that riff on the THREE AMIGOS mistaken identity plot, GALAXY QUEST, a Christmas 1999 release, just keeps getting better.

  50. I think FIGHT CLUB is pretty on the nose where it stands in terms of entitled assholes who think that having a well paid job, a big apartment and every opportunity in the world is the worst thing that happened to them, because they feel it emasculates them and they have to resort to outdated masculine stereotypes to feel good about themself and become terrorists to wake the sheeple up.

    But I also agree that there is, like with your typical “average Joe becomes vigilante at night and kills creeps” movie, still a certain degree of “OMG I wish I could do that!” wish fullfillment, no matter how ugly and negative it is all portrayed, which I guess is why it resonated so well with a certain kind of shit roosters.

    Still, there is a huge difference between something like FIGHT CLUB and a real asshole empowerment movie like PROJECT X.

  51. And hell yeah about GALAXY QUEST!

  52. I’m not arguing with any of that, but I know how I took it the first time I saw it. Fincher’s film making is so dazzling, Brad Pitt (not Tyler Durden) is so cool, the explosions, the music – it all just compounds that sense of asshole wish fulfillment you’re talking about.

    And sure, if they’d made it uglier, we wouldn’t still be talking about it, but it still really feels like style and substance are at crossed purposes.

  53. Nah, don’t worry, many people weren’t sure about it the first time. In that regard it’s like STARSHIP TROOPERS, although that one makes its satirical POV way more obvious than FC.

  54. There are Nazis who celebrate AMERICAN HISTORY X. It doesn’t matter how obvious a movie’s message is, some boneheads will always enjoy it for the wrong reasons.

  55. Just read the comments about FALLING DOWN on just about any sight but this.

  56. Yeah, or soldiers and veterans who cheer Apocalypse Now and Full Metal Jacket.

    I had a friend who thought Starship Troopers wasn’t just celebrating gratuitous violence. Didn’t get the satire at all.

    ‘99 is the second best movie year I’ve ever lived through. The best was ‘94. This year is the 20th and 25th anniversary respectively.

  57. Ah, FULL METAL JACKET former Army guy fans. I remember one of them threating to beat me up for not agreeing that FULL METAL JACKET is the best and only good war movie. That the boot camp sequence was so real.

    I said that I was beaten as a child and that doesn’t mean that I pop in RADIO FLYER all the time to bring back the good memories.

    We did not get along is what I’m saying. And, yes, I enjoy FULL METAL JACKET.

  58. Jesus CJ Holden, what’s your problem with the Matthew Broderick monkey movie from the 80s? It’s a really good friggin movie and not an asshole empowerment movie. :)

  59. Broderick hurt geoffreyjar 20 years ago. You know this means war.

  60. So, uh, are you going to include foreign summer 1989 releases? Because tonight I learned that a certain Woo Zone Classic premiered July 6 in Hong Kong!

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