"KEEP BUSTIN'."

Archive for the ‘Action’ Category

Monk Comes Down the Mountain

Thursday, January 25th, 2024

Chen Kaige is an acclaimed Chinese filmmaker I have no familiarity with. Too classy for me, I guess. Now I finally watched one, but not one of his famous ones from the ‘80s or ‘90s, it’s his 14th film, a straight up kung fu movie from 2015 called MONK COMES DOWN THE MOUNTAIN. And the reason is because it’s based on a book by Xu Haofeng, who wrote Wong Kar Wai’s THE GRANDMASTER and directed THE SWORD IDENTITY, JUDGE ARCHER and THE FINAL MASTER. I adore his style and his themes and his two most recent (THE HIDDEN SWORD and 100 YARDS) aren’t available here yet, so I’ll take what I can get.

This is a good one but totally different from those other movies I mentioned. The ones Xu directs have a very artful economy and restraint to them, the compositions and camera movements are often very classical, the fighting styles are uniquely straightforward, often based around quick, simple movements rather than flying around all over the place. Don’t get me wrong, obviously I love flying around all over the place, but I like how distinct this other approach is.

MONK COMES DOWN THE MOUNTAIN is not that. Nor is it a TV movie starring Tony Shalhoub. It’s a big show-offy kung fu fantasy, with lots of digital FX, some of them pretty goofy. It was released in 3D Imax, and (unlike American movies, which are too cowardly to do 3D stuff in 3D movies) you can tell. And it’s often comedic in a broad, muggy kind of way. Xu’s movies tend to have a much dryer humor. (read the rest of this shit…)

One More Shot

Thursday, January 18th, 2024

Well, Scott Adkins has another franchise. ONE MORE SHOT is the new sequel to ONE SHOT, director James Nunn’s 2021 siege thriller shot in ROPE style (simulated to look like one continuous shot). The first film is really well made, with surprisingly good drama and performances, in addition to the cleverly planned camera moves and action. Many fans ranked it among Adkins’ best, but it’s a movie where he mostly just uses guns and never does a single flying kick, so I could not be a party to that. It also has a bit of a War On Terror mindset that I wasn’t too excited about. But it’s good.

Adkins, Nunn, and co-writer Jamie Russell have reunited for the sequel, which not only avoids those things I complained about, but is just a bigger and more novel action movie anyway. While the first was set at a CIA black site similar to the location of over 432,000 other military action movies since the George W. Bush administration, this one is set at an evacuated airport. (read the rest of this shit…)

The Beekeeper

Monday, January 15th, 2024

THE BEEKEEPER is a proudly absurd new Jason Statham vehicle where he plays a humble beekeeper – a guy who cultivates beehives and collects honey. But also he’s retired from being another type of Beekeeper – an operative for a secret organization who kill bad guys and use bee, hive and queen metaphors to describe their role in protecting civilization. (Not puns, though, sadly.) It has a good pedigree as far as these things go – the director is David Ayer (HARSH TIMES, STREET KINGS, SABOTAGE, FURY, SUICIDE SQUAD) and the writer is Kurt Wimmer (DOUBLE TROUBLE, EQUILIBRIUM, ULTRAVIOLET, director of ONE TOUGH BASTARD). Not that you really need that information. Honestly if you’re not sold on “Jason Statham plays an asskicking beekeeper” alone I don’t know what your deal is. But also I’m kinda glad because I wrote a whole review, I hope you will read it.

I’m not the first to note that this is a very January movie, that month dismissed as a dumping ground, which really means it’s a good time to release a certain type of mid-budget, low expectations studio action movie I dig. January releases of the last decade include TAKEN 3, WILD CARD, THE COMMUTER, PROUD MARY, DEN OF THIEVES, THE RHYTHM SECTION, THE MARKSMAN, and PLANE. Some of these I saw on video, some I saw in the theater, probly at a show starting between 12:50 and 1:30, with less than five other people in the theater, all men, all by themselves. That’s the natural state of this type of movie, in my experience.

THE BEEKEEPER takes the tradition of the January-ass action movie a little further. It’s not elevated January, but maybe January+. It looked so promising my wife wanted to see it too, so we went to a 7:30 pm show on the six story tall, 80’ wide Imax screen in the Science Center. With no one else in the theater. It was beautiful. (read the rest of this shit…)

Lone Wolf and Cub: White Heaven in Hell

Wednesday, January 10th, 2024

LONE WOLF AND CUB: WHITE HEAVEN IN HELL is the final film in the LONE WOLF AND CUB series – six films released between 1972 and 1974. It has the same writer of the previous one, Tusutomu Nakamura, but a director who’s new to the series, Yoshiyuki Kuroda (THE GREAT YOKAI WAR).

This is a good one to watch in winter because, as poetically described in the title, a bunch of it takes place in the snow. It opens with our deadly assassin papa and child, Ogami Itto (Tomisaburo Wakayama) and Daigoro (Akihiro Tomikawa), skiing their weapon-filled babycart down a mountain. Must be a tall one because time passes, the sky turns dark, Ogami’s carrying a torch. Then the screen turns completely white and you see their silhouettes slowly become visible in the distance, like the opening of FARGO. And come to think of it I’m surprised this babycart doesn’t have a built in woodchipper. It has just about everything else you could need. Maybe it does and we just don’t see him use it. (read the rest of this shit…)

Sabotage (1996)

Wednesday, January 3rd, 2024

SABOTAGE is a Mark Dacascos vehicle and it’s from 1996, so it’s pretty early in his career – a couple years after ONLY THE STRONG, a year after CRYING FREEMAN, same year as THE ISLAND OF DR. MOREAU, a year before DRIVE. So, one of the first times he should’ve blown up.

This clunky and disposable b-movie isn’t half as good as any of those I just mentioned, but it has some good bits and an overqualified cast. It’s directed by Tibor Takács (THE GATE, MANSQUITO, ROCKY MOUNTAIN CHRISTMAS) and written by Rick Filon (KICKBOXER 5: THE REDEMPTION, also starring Dacascos) and Michael Stokes (IRON EAGLE ON THE ATTACK, Paw Patrol). Dacascos stars as Michael Bishop, a bodyguard who used to be an elite special ops super military dude, which of course means it starts with a traumatic war experience prologue. But this was the ‘90s so it’s in Bosnia instead of Afghanistan. (read the rest of this shit…)

Riot (1996)

Wednesday, December 20th, 2023

RIOT (1996) is a Gary Daniels movie from director Joseph Merhi (L.A. CRACKDOWN, L.A. HEAT, L.A. VICE) that I decided to watch now because I heard it takes place on Christmas Eve. Daniels (between HAWK’S VENGEANCE and POCKET NINJAS) stars as Major Shane Alcott, an S.A.S. guy who brings his many karate tournament trophies with him to America, where he’s working with his friend Major Williams (Sugar Ray Leonard in his feature film acting debut) to train American soldiers.

This year Santa brought us a riot. A few Black protesters chant “No justice, no peace” as a crowd of white guys in flannel shirts and backwards baseball hats run around smashing cars and windows with bats and setting cop cars on fire. This comes from Canada’s b-action factory PM Entertainment, so it’s quite a stuntfest on a soundstage city block decked in Christmas lights. Merhi cuts that together with what I believe is real footage of various fires during the LA riots, accompanied by a laid back, saxophone heavy “O, Come, All Ye Faithful” by Teresa Tudury. (read the rest of this shit…)

Sri Asih

Wednesday, December 6th, 2023

Okay, I know after 15 years many people have sort of fallen out of love with the Marvel Cinematic Universe. I feel you. Maybe you’re looking forward to a world with fewer comic book movies. Fair enough.

But before you go can I interest you in Indonesia’s answer to the MCU real quick? A few years ago I reviewed the 2019 film GUNDALA, written and directed by Joko Anwar (SATAN’S SLAVES), based on an Indonesian comic book character from the ‘60s. I really liked it, and thought it was cool to see a super hero origin story that’s obviously inspired by the American ones, but based in the history, culture and cinematic traditions of Indonesia. Most specifically, for my tastes, that means it has a whole bunch of really great martial-arts-based action. So I was intrigued that it was meant to kick off something called the Bumilangit Cinematic Universe. In the MCU tradition it even had a little tag at the end introducing the heroine of movie #2 here, SRI ASIH. Then the whole endeavor got delayed by that bastard COVID-19, but it finally made its way to U.S. DVD (but I guess not blu-ray) this week under the insulting title SRI ASIH: THE WARRIOR.

Anwar is the executive producer of the whole series, and he co-wrote this one with its director, Upi Avianto (HIT & RUN), just credited as Upi. Pevita Pearce (MAY THE DEVIL TAKE YOU) stars as Alana, whose mom died giving birth to her four months early, during a volcanic eruption, in a car being chased by a demon-faced ash plume. So Alana grew up in an orphanage defending others from bullies until a rich lady named Sarita (Jenny Chang, also a mother in competing Indonesian comic book universe movie SATRIA DEWA: GATOTKACA) adopted her and taught her to be a fighter, who competes against men and is undefeated. (read the rest of this shit…)

Silent Night (2023)

Tuesday, December 5th, 2023

I don’t need to tell any of you that one of the all time great directors, John Woo, has returned to our screens. If you didn’t read it or hear it, you could probly sense it. It’s been six years since his last movie (MANHUNT, 2017) and twenty since his last American movie (PAYCHECK, 2003), so it’s an event. It’s also a Christmas-set action movie, which I always appreciate, and it has a gimmicky storytelling conceit (no dialogue) that makes it a fun formal challenge for the grandmaster.

It is not, however, a poetic story of brotherhood like A BETTER TOMORROW, BULLET IN THE HEAD or THE KILLER, nor an American genre pushed to gorgeous levels of absurdity like HARD TARGET, BLACKJACK or FACE/OFF. Instead it’s a skilled and slightly eccentric but not emotionally complex take on a standard vigilante revenge formula. And there’s another catch, which I will get to soon. We’ll just say it’s more of an interesting film that I’m excited to write about than a great John Woo film. But I got some entertainment from it. (read the rest of this shit…)

Haunted Samurai (1970)

Monday, December 4th, 2023

HAUNTED SAMURAI, a.k.a. SHINOBI DEMON: DUEL IN THE WIND, a.k.a. KAZE NO TENGU (1970), is an obscure samurai movie I uncharacteristically blind-bought from Diabolik DVD. It’s apparently never been on video and they made a limited edition blu-ray and I went for it.

Diabolik say it’s “based on the works of Goseki Kojima, the artist behind the legendary Lone Wolf and Cub.” Not the writer, Kazuo Koike, who was involved in quite a few movies, but the illustrator, Kojima. According to the film historian commentary track it’s based on a manga he wrote and illustrated, and it sounds like he calls it “Donenke” or something like that, but I could find no information about it anywhere. The opening credits do play over what looks like Kojima’s art.

(Update: It’s called Doninki [土忍記, “Earth Ninja Chronicles”] Thanks Matthew B.!)

(read the rest of this shit…)

Grindhouse (16 years later revisit)

Thursday, November 30th, 2023

The day after I saw THANKSGIVING I decided to sit down and watch the whole GRINDHOUSE double feature for the first time in many years. I saw it twice during its short theatrical run in 2007, saw the longer separate version of DEATH PROOF on DVD (can’t remember if I ever did the same for PLANET TERROR), at some point I bought a Canadian import blu-ray just to have the full double feature when it wasn’t available here yet. Turns out it was still unopened.

DEATH PROOF definitely stands up as a separate movie, but I thoroughly enjoyed having that full experience again. I know online movie people talk too much about runtimes, sort of a dumb topic usually, but I want to point out that this full double feature is only 15 minutes longer than THE BATMAN, 10 minutes longer than OPPENHEIMER, and 15 minutes shorter than KILLERS OF THE FLOWER MOON. But it offers two very different movies, plus short subjects in the form of fake trailers and bumpers, that play off each other kind of like an anthology. For those times when you’re in more of a splattering blood and smashing cars mood than a creation of the atom bomb one it’s a joyful and enriching way to spend an afternoon or evening. (read the rest of this shit…)