“Wrestling? I like wrestling. But I don’t like fighting. But I like wrestling!”
Note: Box Office Mojo only lists “1988” as the release date, but IMDb says September 1, 1989. I’m going with the specific one.
The movie CAGE is alot like the character Lou Ferrigno plays in it: brain damaged, childlike, clumsy, well-meaning, and hard not to like. The opening definitely had me concerned, though. In “VIET NAM 1969,” a bunch of army dudes run around in a field screaming and firing machine guns while the keyboards of composer Michael Wetherwax (SORORITY HOUSE MASSACRE) sort of imitate the RAMBO theme. B-movies about the Vietnam War don’t tend to be watchable, in my opinion, so thank God our boys get out of there quick.
Escaping in a helicopter, Billy Thomas (Ferrigno, between his last two Incredible Hulk TV movies) heroically saves his friend Scott Monroe (Reb Brown, UNCOMMON VALOR, ten years after his last Captain America TV movie) by having the strength to one-arm-dangle him under the copter even after being shot in the head with what, judging from the leak it springs in his temple, appears to be an adorably tiny bullet.
(Good makeup effect, though.)
The opening credits are a comically corny rehabilitation montage set to a ballad called “Don’t Let Go” by Jennifer Green. Without sound, Ferrigno and Brown pantomime a series of struggles and minor triumphs, from getting a medal to being frustrated with a puzzle to making it up a few steps. (read the rest of this shit…)
THE PACKAGE is… kind of an action movie from director Andrew Davis. After the better-than-average Chuck Norris vehicle CODE OF SILENCE (1985) and Steven Seagal’s debut ABOVE THE LAW (1988) the director put some similar elements into a thriller with Gene Hackman in the lead. Hackman had just done MISSISSIPPI BURNING (which he got Oscar and Golden Globe nominations for) but did not have any black belts in anything, so I’m not sure why he thought he should be in movies?
He plays U.S. Army Master Sergeant Johnny Gallagher, who I assume is respected for his skills, but he seems mostly just beloved for being a great guy. He’s introduced arriving for security detail at the site of U.S.-Soviet Union disarmament talks in West Berlin and walking around smiling and saying hi to everybody. (read the rest of this shit…)
It could be argued that LOCK UP isn’t quite an action movie – that it’s more of a drama with some violence and extreme villainy. And if it is action I’m not sure how it fits into the theme of this series about a shift in the genre heading into the next decade. No, it doesn’t seem like the ’90s ones with “DIE HARD on a _____” type hooks (CLIFFHANGER, DAYBREAK) or special effects and stylized settings (DEMOLITION MAN, JUDGE DREDD). But it’s also not quite the over the top feel we associate with the ’80s because of movies like RAMBO: FIRST BLOOD PART II, COBRA and, well… OVER THE TOP. It has a score by Bill Conti (fresh off of THE KARATE KID PART III) that brings ROCKY-like majesty, especially during the montage of the harrowing football game that’s intentionally more about hurting him than sport. This is Stallone in tough-but-vulnerable mode, and even has a part where he builds to a yelling, emotional speech kinda like the end of FIRST BLOOD.
I attribute the film’s timelessness and grit to director John Flynn, a legend to me because of THE OUTFIT and ROLLING THUNDER in the ’70s and OUT FOR JUSTICE in the ’90s. This was his followup to BEST SELLER. He didn’t generally participate in trends – he just made John Flynn movies. (read the rest of this shit…)
One summer of ’89 joint that seems older than most of the others is Timothy Dalton 007 movie #2 of 2, LICENCE TO KILL. It’s got a definite ’80s action influence in that James Bond is supposed to turn in his proverbial badge and actual gun (he keeps the gun though) and goes rogue to get revenge on a Colombian drug lord named Sanchez (Robert Davi, CITY HEAT, RAW DEAL, ACTION JACKSON, DIE HARD), who has invented a novel way to smuggle cocaine (mixed with gasoline). And the theme by Gladys Knight and end credits song by Patti Labelle could probly slip onto a BEVERLY HILLS COP soundtrack without causing a scene. It’s also pretty violent, and was seen as a darker interpretation of Bond, which to some was upsetting and to some others was more in keeping with the books by Ian Fleming. But in most ways it’s old timey James Bond shit with elaborate stunt sequences, gadgets that make computery sounds (what good did it do him to disguise the explosives as toothpaste and cigarettes, by the way?) and multiple gorgeous women who throw themselves at Bond for no reason. (read the rest of this shit…)
I already wrote about LETHAL WEAPON 2 along with the rest of the LETHAL WEAPON series back in 2014. I’m still happy with that review. It covers much of what’s relevant about the movie, and even features a scan from my beloved Summer 1989 Warner Brothers Catalog (as seen in the BATMAN review). But I didn’t think I should skip over the movie in this series because it’s such a crucial piece of what I’m talking about here. So the earlier review still stands, but here’s a partially overlapping supplemental look at LETHAL WEAPON 2 focusing on its place in the action movies of summer ’89.
LETHAL WEAPON (1987) was of course a quintessential ’80s action movie, the Platonic ideal of a buddy cop picture, and one of the originators of the idea of Mel Gibson and producer Joel Silver (ROAD HOUSE) as action kings. But part 2 is more my idea of what “a LETHAL WEAPON movie” is like because it invented how to sequelize that movie and make it about the continuing adventures of that now-established friendship. It takes what was already seen as heightened and makes it bigger, sexier, funnier, lethal-er (apparently it’s the biggest body count in the series at 33), creating a template (and new character in Leo Getz, played by Joe Pesci a year before GOODFELLAS) that would be used for two more sequels in the ’90s. (read the rest of this shit…)
INDIANA JONES AND THE LAST CRUSADE was not the only part 3 on offer for Summer of ’89 – there was also John Avildsen’s THE KARATE KID PART III. And as Mrs. Vern pointed out to me, the series kind of follows the same pattern as Indy: there’s the popular first one, the second one goes off in a different direction (bringing him to Japan), and then the third one plays it safe by being closer to part 1, with Cobra Kai, John Kreese and the All-Valley Karate Tournament. And then of course both series also have a much later, unpopular part 4 and a pretty enjoyable remake starring Jaden Smith.
I think PART II had an okay reception, and this isn’t supposed to be an apology for it like LAST CRUSADE was for TEMPLE OF DOOM. But it’s kinda funny to me because PART II’s trailer narrator said, “No more tournaments. No more cheering crowds. This time… the combat… is real.” Of course there’s no more tournaments and crowds and shit, that wasn’t real combat at all, that was for babies, and only a complete coward would make another movie about that kind of sissy bullshit. We have moved well beyond that nonsense and fuck you if you even think for one second that– oh, what’s that? We’re doing tournaments and cheering crowds again? Oh, cool! Welcome back! (read the rest of this shit…)
As I might’ve mentioned once or twice before, Scott Adkins has really been on a roll in his recent movies with director Jesse V. Johnson. But let’s not get too comfortable. He’s got a new one coming to DVD tomorrow called ABDUCTION. It’s not of similar quality, but I had fun with it, and it’s something different for him. The cover just shows him with a big gun, so I assumed it was a COMMANDO deal with him rescuing his daughter from kidnappers. Yeah, pretty much, but the kidnappers are aliens! Or inter-dimensional beings? I think inter-dimensional beings. Forgive my ignorance.
So no, it’s not a remake of John Singleton’s 2011 movie starring Taylor Lautner. I also got it mixed up with another upcoming Adkins project called SEIZED, which I have confirmed is a different movie, an Isaac Florentine joint where a daughter and son are kidnapped, presumably by humans.
I don’t think I can say ABDUCTION is Adkins’ weirdest, because there’s always UNIVERSAL SOLDIER: DAY OF RECKONING, a far more atmospheric, moody and hard-hitting movie, better on every level. This one is literally a Roger Corman production and has the bland glossiness and chintzy digital effects I associate with the SyFy Channel. But it’s definitely not generic. It has a hell of an opening that immediately dunks your head in the craziness and takes its time before letting you take a breath. I was into it. (read the rest of this shit…)
WHEELS ON MEALS is the 1984 Hong Kong action classic starring Chinese opera bros for life Jackie Chan, Yuen Biao and Sammo Hung (also director), fresh off of WINNERS AND SINNERS and PROJECT A. Jackie and Biao star as Thomas and David, dorky cousins who live together in Barcelona, sharing a bedroom that has separate doors right next to each other for no reason other than a visual gag. In the opening we see them getting up, working out and practicing on kung fu dummies, so that when they’re amazing fighters through the rest of it there’s a foundation for it. (But we never see them practice again.)
Sammo plays a guy named Moby, who’s introduced sporting shades and a perm that almost looks like jheri curls. He’s working (without pay) for a sleazy p.i. (Herb Edelman, a.k.a. Dorothy’s ex-husband Stanley on Golden Girls) who leaves town to hide from a gambling debt and leaves Moby in charge, causing him to strut around town dressed like he’s in the “Smooth Criminal” video, whisper-bragging to everyone that he’s “Acting Chairman of Matt’s Detective Agency.” He also takes a case to find a woman from an old photograph (oh my god this could turn into THE GIRL WITH THE DRAGON TATTOO) and it seems like all he really knows how to do is look for some guy named Fatso to ask him about it. (read the rest of this shit…)
GUNMEN is a simple but appealing little buddy movie with goofy humor and a little more style than you expect, or at least I’m guessing it does from what you can see on the shitty cropped DVD. It takes place in the modern world with mercs in sweat-stained gear and machine guns slung over their shoulders flying around South America in helicopters, but it’s pretty much a western, even opening with its buffoonish anti-hero Dani (Christopher Lambert around the time of KNIGHT MOVES) sitting in a dirty jail cell watching a fly land on his face when Cole Parker (Mario Van Peebles around the time of FULL ECLIPSE) blows up the wall to bust him out.
“Oh my god, I’m so happy to see you!” Dani says as he jumps into Cole’s Jeep. “Who are you?” (read the rest of this shit…)
June is Pride Month, of course, and I hope it’s been a good one for anybody who it means anything to. I never really knew a way to honor the occasion before, but that’s because I hadn’t yet stumbled across this 1996 gay-themed independent drama that shows two guys with guns on the cover – in fact the tagline is “THIS TIME THE GAY GUY’S GOT THE GUN!” – and mentions John Woo on the back.
RAISING HEROES is about a couple, Josh (Troy Sostillio) and Paul (Henry White), in the midst of a custody battle. Paul’s best friend died of cancer and wanted the two to raise her young son Nicky, but the kid’s grandmother and homophobic case workers are trying to stop that from happening. Then, a few days before a crucial hearing, Josh witnesses a mobster named Victor (Edmond Sorel, also co-writer) executing a guy in a convenience store, and various gangsters spend the next few days following and trying to eliminate him. (read the rest of this shit…)
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Mr. Majestyk on The Constant Gardener (and Summer 2005 conclusion): “After being out of touch for decades, in 2005, the film industry finally figured out what the viewing public really…” Sep 15, 08:28
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Pacman2.0 on The Brothers Grimm (20 years later revisit): “I still haven’t seen DR PARNASSUS, I remember annoying someone who was giving it the hard sell online by saying…” Sep 14, 00:37
Kaneshiro on Sovereign: “Yeah and to add one further to plastiquehomme’s case, probably the biggest crime down here in Australia this year was…” Sep 13, 17:09
Dooley on The Brothers Grimm (20 years later revisit): “CJ Holden, agree, Gilliam has occasionally seemed to be his own worst enemy in some respects, and I say this…” Sep 13, 15:46
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“Wrestling? I like wrestling. But I don’t like fighting. But I like wrestling!”
Escaping in a helicopter, Billy Thomas (Ferrigno, between his last two Incredible Hulk TV movies) heroically saves his friend Scott Monroe (Reb Brown, UNCOMMON VALOR, ten years after his last Captain America TV movie) by having the strength to one-arm-dangle him under the copter even after being shot in the head with what, judging from the leak it springs in his temple, appears to be an adorably tiny bullet.
THE PACKAGE is… kind of an action movie from director Andrew Davis. After the better-than-average Chuck Norris vehicle 
It could be argued that LOCK UP isn’t quite an action movie – that it’s more of a drama with some violence and extreme villainy. And if it is action I’m not sure how it fits into the theme of this series about a shift in the genre heading into the next decade. No, it doesn’t seem like the ’90s ones with “
One summer of ’89 joint that seems older than most of the others is Timothy Dalton 007 movie #2 of 2, LICENCE TO KILL. It’s got a definite ’80s action influence in that James Bond is supposed to turn in his proverbial badge and actual gun (he keeps the gun though) and goes rogue to get revenge on a Colombian drug lord named Sanchez (Robert Davi, 
I already wrote about 
As I might’ve mentioned once or twice before, Scott Adkins has really been on a roll in his recent movies with director 
WHEELS ON MEALS is the 1984 Hong Kong action classic starring Chinese opera bros for life Jackie Chan, Yuen Biao and Sammo Hung (also director), fresh off of WINNERS AND SINNERS and PROJECT A. Jackie and Biao star as Thomas and David, dorky cousins who live together in Barcelona, sharing a bedroom that has separate doors right next to each other for no reason other than a visual gag. In the opening we see them getting up, working out and practicing on kung fu dummies, so that when they’re amazing fighters through the rest of it there’s a foundation for it. (But we never see them practice again.)
Sammo plays a guy named Moby, who’s introduced sporting shades and a perm that almost looks like jheri curls. He’s working (without pay) for a sleazy p.i. (Herb Edelman, a.k.a. Dorothy’s ex-husband Stanley on Golden Girls) who leaves town to hide from a gambling debt and leaves Moby in charge, causing him to strut around town dressed like he’s in the “Smooth Criminal” video, whisper-bragging to everyone that he’s “Acting Chairman of Matt’s Detective Agency.” He also takes a case to find a woman from an old photograph (oh my god this could turn into 
GUNMEN is a simple but appealing little buddy movie with goofy humor and a little more style than you expect, or at least I’m guessing it does from what you can see on the shitty cropped DVD. It takes place in the modern world with mercs in sweat-stained gear and machine guns slung over their shoulders flying around South America in helicopters, but it’s pretty much a western, even opening with its buffoonish anti-hero Dani (Christopher Lambert around the time of KNIGHT MOVES) sitting in a dirty jail cell watching a fly land on his face when Cole Parker (Mario Van Peebles around the time of 
June is Pride Month, of course, and I hope it’s been a good one for anybody who it means anything to. I never really knew a way to honor the occasion before, but that’s because I hadn’t yet stumbled across this 1996 gay-themed independent drama that shows two guys with guns on the cover – in fact the tagline is “THIS TIME THE GAY GUY’S GOT THE GUN!” – and mentions John Woo on the back.
