"KEEP BUSTIN'."

Archive for the ‘Action’ Category

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…)

Sakra

Monday, November 27th, 2023

SAKRA is Donnie Yen’s 2023 passion project, which he stars in and co-directed (with Kam Ka-Wai, second assistant director of IP MAN 1 and 2). It’s a wuxia story based on a famous novel with the tough-sounding title Demi-Gods and Semi-Devils by Jin Yong.

Yen stars as Qiao Feng, an orphan raised by a couple in the Song Empire. He grows up to become the leader of the powerful Beggar Gang, whose legendary badassness is introduced in one of those classic scenes where somebody is being an asshole in public and our guy is quietly listening for a while and then gets inolved (see also: Blue Eye Samurai). A monk (Tsui Siu-Ming, KUNG FU KILLER) comes to this restaurant dragging a cage he says contains an “unruly” person he’s going to sacrifice, and Qiao Feng is sitting at a table on the balcony of a whole different establishment across the way when he starts loudly talking shit without even looking at him. The monk is like “What the fuck – is that guy talking to me?(read the rest of this shit…)

Meg 2: The Trench

Monday, November 13th, 2023

MEG 2: THE TRENCH is the silly followup to the silly first movie I casually enjoyed in 2018. Neither seems interested in reaching the status of “actual good movie,” which would be preferable, but both involve Jason Statham battling giant prehistoric sharks, among other dumb pleasures, so of course there is gonna be some amusement involved. And maybe it’s good to keep this kind of bullshit alive on a big screen budget. To me that’s way more fun than the SyFy Channel version.

In the first movie Statham’s character Jonas Taylor was an elite rescue diver, but this one opens with him infiltrating a boat to try to bust people for dumping radioactive waste (?). He fights some people and says some funny things to them and jumps off the boat (Statham trademark). I’m unclear what he was trying to accomplish, or if he succeeded, and I don’t believe this mission is connected to anything else in the movie. But I’m not complaining. I’m always up for a gratuitous action tangent. (read the rest of this shit…)

Boudica: Queen of War

Thursday, November 9th, 2023

I think it’s safe to say that Olga Kurylenko is one of our reigning Queens of Action. She’s been in the trenches for many years, in many different sizes of roles and films (HITMAN, MAX PAYNE, QUANTUM OF SOLACE, SEVEN PSYCHOPATHS, OBLIVION, THE NOVEMBER MAN, SENTINELLE, THE PRINCESS, EXTRACTION II), and she only seems to get better and better, especially when she’s headlining.

Like some of her male counterparts she has unattainable looks but such a strong screen presence she can still read as tough and/or relatable. She’s often required to portray a wider range of emotions than the fellas usually are, while also looking good kicking and stabbing and scowling. And in the tradition of Scott Adkins and others, when they finally put her in one of the big super hero movies (BLACK WIDOW) they gave her kind of a ho-hum character unworthy of her abilities. So she’s definitely one of our people. (read the rest of this shit…)

Baby Assassins

Tuesday, November 7th, 2023

BABY ASSASSINS is a 2021 Japanese film that I really enjoyed on Hi-Yah! a while ago and it has a sequel coming out soon (it already played at Fantastic Fest), so I figured I better get off my ass and finish writing the review. This is a movie that has some really well-executed fighting and bloody violence, but it’s really not focused on action. It’s mostly a very dry comedy about the lives of two freshly-graduated-from-high-school roommates, Mahiro (Saori Izawa, stunt double in the last two RUROUNI KENSHINs and SNAKE EYES) and Chisato (Akari Takaishi, MY HAPPY MARRIAGE), whose “main job is killing.”

The movie opens in the back room of a convenience store, where Mahiro is badly interviewing for a job, which turns out to be an undercover mission to kill the manager. She shoots him and fights the rest of the staff on her way out, until Chisato shows up to help finish them off and joke about how annoying the manager was. Just a couple of friends getting through life together.

(read the rest of this shit…)

Justice Ninja Style

Thursday, November 2nd, 2023

JUSTICE NINJA STYLE is a shot-on-video but very enthusiastic independent action picture made in 1986 in the town of De Soto, Missouri (population 6,449 as of 2020), that came out on an extras-packed blu-ray earlier this year courtesy of the Vinegar Syndrome partner label VHShitfest.

Most of the regional movies like this that I’ve come across have been horror, and usually if those aren’t shot on film I turn them off, but I’m glad I gave this one a chance. It has the right balance of amateurishness, lack of self consciousness, underdog competence, and capturing of a particular time, place, and group of people, to be a fun one of these. And it soars by in 70 minutes (though the blu-ray includes a 15-minutes-longer alternate cut I didn’t get a chance to watch called NINJA THE ULTIMATE WARRIOR). (read the rest of this shit…)

MAN ON FIRE (2004) (19 years later revisit)

Wednesday, September 27th, 2023

In the early ‘80s, the English ad director Tony Scott, fresh off of his movie debut THE HUNGER, wanted to adapt the A.J. Quinnell book Man on Fire. According to some of the vague reports I found, producer Arnon Milchan got some other guy for the MAN ON FIRE ultimately released in 1987 because he didn’t have faith in a director who was only on his second movie. 17 years later, when Milchan decided to try again, he was like “okay, yeah, I guess you can make it as your 12th movie.”

Times were different, so Scott had screenwriter Brian Helgeland (A NIGHTMARE ON ELM STREET 4, HIGHWAY TO HELL, THE POSTMAN, PAYBACK, BLOOD WORK, MYSTIC RIVER, LEGEND) change the setting from Italy to Mexico, where the sorts of kidnappings in the story had become more common. Nevertheless, Quinnell found it a much better and more faithful adaptation of his book. I haven’t read it, but as a movie Scott’s version obliterates the other one in every category I can think of. (read the rest of this shit…)

Man on Fire (1987)

Tuesday, September 26th, 2023

“A kid. I didn’t know it’d be a kid.”

I think we’re all familiar with MAN ON FIRE, the 2004 Denzel Washington/Tony Scott movie. I didn’t like it much at the time, but seeing Washington’s reunion with Dakota Fanning in THE EQUALIZER 3 got me wanting to give it another shot. Before that I thought I should finally watch the earlier version I’d never seen, the 1987 adaptation of the same 1980 A.J. Quinnell book. Scott actually tried to adapt the book in the early ’80s. Producer Arnon Milchan said “nah dude, I produced ONCE UPON A TIME IN AMERICA, I’m getting Sergio Leone to do it” (paraphrase) but that didn’t work out – it went to French director and comic book writer Élie Chouraqui, his followup to LOVE SONGS starring Catherine Deneuve and Christopher Lambert. Chouraqui did share adaptation credit with Sergio Donati, one of the writers of FOR A FEW DOLLARS MORE, ONCE UPON A TIME IN THE WEST and DUCK, YOU SUCKER! (plus ORCA and RAW DEAL), so that’s something. But he’s no Leone, no Scorsese (Milchan produced THE KING OF COMEDY) or Terry Gilliam (he also produced BRAZIL) or Tony Scott’s brother (he produced LEGEND). (read the rest of this shit…)