"CATCH YOU FUCKERS AT A BAD TIME?"

Archive for the ‘Drama’ Category

Death Sentence

Sunday, September 30th, 2007

Kevin Bacon plays a regular ol’ businessman guy whose son is randomly murdered in a gang initiation killing/convenience story robbery by tattoo-having, muscle car-driving, meth-dealing fantasy skinhead gangsters. When it becomes clear that the killer will only get a few years in prison he decides not to testify so that the case will be dropped and then he hunts the guy down and murders him. That is why it is called DEATH SENTENCE. The end.

Wait, no. My mistake. There’s more. Even if it’s obvious, even if it’s corny, what makes this movie cool is the gimmick that the good guys and bad guys reflect each other. In the scene where Bacon’s son is murdered, the older gangsters call the killer “my boy,” like Bacon would’ve at his son’s hockey game. They’re proud of the little guy. You know what they say about gangs, even phony movie gangs like this: they’re like a family. Bacon has a family member murdered, so he gets revenge. But that means the gang has their family member murdered, they must get revenge on him, so they come after him and his other son and his wife, and then he has to get revenge on them for trying to get revenge on him for getting revenge on them. (read the rest of this shit…)

Uncommon Valor

Monday, August 13th, 2007

I don’t remember this one, but it was in a book about action movies I’m reading (Action Speaks Louder by Erich Lichtenfeld) and sounded pretty good. It’s one of those “Vietnam vets go back to rescue POWs” movies, but according to the book it’s the first one. And the weirdest part is that it’s from Ted Kotcheff, director of FIRST BLOOD, and made two years before George P. Cosmatos’s RAMBO: FIRST BLOOD PART II. Maybe that’s why Kotcheff didn’t come back for part 2, he’d already done that movie.

Of course, the feel is pretty different from RAMBO. And there are three major differences in the type of story we’re dealing with here. Number one, it’s a team movie, it’s not focused on one dude. Number two, these are normal vets who have gone back to civilian life, they are not maniacs who have gone on a rampage and must get a pardon to go on the mission due to their skills with explosive tipped arrows. Number three, they are privately funded, they are not working for the government. In fact, the government is trying to stop them from doing it (you know how those fuckin bureaucrats are, with their red tape and what not. It makes you so mad BRING OUR BOYS HOME! etc.) (read the rest of this shit…)

Piranha Part Two: The Spawning

Monday, July 23rd, 2007

After watching the TERMINATOR movies for the first time in years I was so excited about James Cameron I decided I should go back and re-watch the Cameron movies I didn’t like, see if maybe my perspective has changed. Maybe there was some magic there I just wasn’t picking up on.

So of course I had to go back to the beginning, the smash debut, the one that started it all for director James Cameron. Orson Welles started out with CITIZEN KANE, James Cameron started out with PIRANHA PART TWO THE SPAWNING. What can you say, man, it was a different era. (read the rest of this shit…)

Blue Steel

Thursday, July 12th, 2007

This is a suspense thriller from Kathryn Bigelow, the director of POINT BREAK and NEAR DARK, and one of the few women directors to get much of a chance in these types of movies. This one stars Jamie Lee Curtis as a just-graduated cop who, on her first ever patrol, has to shoot a guy holding up a grocery store.

Now first of all I gotta ask – why are there so many grocery store robberies in these movies? A reader named Jared pointed it out too because I recently reviewed STONE COLD and COBRA, both of which open with the hero going in to foil a grocery store robbery/shootout. Now this one too (and the last book I read, SIDESWIPE by Charles Willeford, also revolves around a grocery store robbery/shootout, although it’s at the end instead of the beginning, because it’s literature). The result here is the exact opposite of those other movies though: instead of a rebel cop who plays by his own rules she’s a straightlaced rookie who tries to do it by the book. Instead of having no consequences the incident could end her career. Talk about a double standard. (read the rest of this shit…)

Bad Day at Black Rock

Wednesday, July 11th, 2007

A reader named Stephen A., and probaly some other people in the past, have been reminding me to watch BAD DAY AT BLACK ROCK, a classic 1955 badass picture from director John Sturges (THE GREAT ESCAPE, McQ). So I finally did. Thanks guys.

In a weird way the opening kind of reminded me of a great late ’80s, early ’90s action movie, because it’s widescreen with this train coming and SPENCER TRACY and everybody else’s names are in huge letters that fill almost the whole screen. Just like it would say STEVEN SEAGAL if that train was from UNDER SIEGE 2 PART 2: DARKER TERRITORY. (read the rest of this shit…)

Vern returns to tell you all about the new Wesley Snipes DTV effort: THE CONTRACTOR!!!

Monday, July 2nd, 2007

SPOILER ALERT !!

THE CONTRACTOR, which comes out July 10th, is probaly the best DTV Wesley Snipes picture so far. Sure, it’s got that usual DTV vibe – Avid farts, cheesy electronical music, somber tone, not gonna make you smile or laugh too much, definitely not original in any way. But for this type of movie it’s pretty solid, and it takes advantage of Wesley’s talents. He runs alot, he gets in some shootouts, some car stunts, one quick but impressive fight. But most of all they let him act. He plays the sort of quiet, unfriendly-but-ultimately-kind badass he excels at. He gets to communicate what’s going on with facial expressions and posture more than with words, which is his thing. He gets some good bonding moments, including with his adversary after he mortally wounds him. In a DTV movie if there’s anything other than black and white/good and evil, any grey area at all, it deserves a shiny star on its sticker chart. I like that kind of shit.

When I got a screener for THE CONTRACTOR I got kind of nervous because I hadn’t seen his last one, THE MARKSMAN. And since the front cover for THE CONTRACTOR calls him “the world’s greatest marksman” I thought this might be an unadvertised sequel like Seagal’s BLACK DAWN was to THE FOREIGNER. (read the rest of this shit…)

The Glove

Saturday, June 23rd, 2007

Like I mentioned in my review of WHO CAN KILL A CHILD? that should be running on The Ain’t It Cool News soon, I’m on the mailing list for this Dark Sky DVD label. So I get all these nicely packaged Italian horror obscurities and what not, and to be honest I haven’t watched most of them yet. I loan them to my horror watcher friends and hope they’ll tell me I got a must-see there. But that doesn’t usually happen.

For the batch that comes out this week though I found time to watch them and I was impressed. The one I had the highest hopes for was WHO CAN KILL A CHILD? which is a creepy sun-drenched Spanish horror movie in the vein of VILLAGE OF THE DAMNED. But I already heard that one was good before, so a more impressive find is THE GLOVE, the b-picture in their latest “DRIVE-IN DOUBLE FEATURE” along with SEARCH AND DESTROY. (read the rest of this shit…)

The Perfect Weapon

Friday, June 22nd, 2007

This review is by special request of several individuals on the STONE COLD DVD talkback and other people over the years who have tried to get me to watch this movie. The Perfect Weapon of the title in this 1991 white martial arts movie is Jeff Speakman, an American Kenpo Karate sixth degree black belt who I guess is playing himself, since they just call him Jeff. The movie opens with Jeff shirtless and oiled up, in a living room doing karate moves to that horrible song “I Got the Power (It’s Gettin It’s Gettin It’s Gettin Kinda Hectic It’s Gettin It’s Gettin It’s Getting Kinda Hectic I Got the Power!)” by the group Snap!. It’s funny because this movie is only 85 minutes long but they still felt they had time for him to do moves to that entire song. As it ends he puffs his chest out like he just won a medal.

Then Jeff goes for a ride in his convertible and as he soaks in the open road he thinks about his past. So we learn that after his mom died he was a troublemaking kid, and his cop dad wanted to send him to military school. Fortunately Pops’s Korean war buddy Kim (the great Mako) convinced him to send Jeff to Kenpo Karate Dojo instead. To learn self discipline. (read the rest of this shit…)

Hardcore

Saturday, June 9th, 2007

This is not the George C. Scott/Paul Schrader movie HARDCORE, this is the 2004 Greek movie HARDCORE that I only rented when I read that the director, Dennis Iliadis, was hired to do a remake of LAST HOUSE ON THE LEFT. So this is kind of a review and kind of a scouting mission.

This is the story of two teenage prostitutes, told from the POV of the less crazy one. They are in love but they are always fucking other people, especially the crazier one Nadia, who loves to manipulate rich older men to get what she wants out of life. Along the way there is some blood, some cocaine, some suicide, lots of depression, lots of disturbing passionless fucking and dildoing. (read the rest of this shit…)

McQ

Sunday, May 27th, 2007

In the movie McQ, John Wayne plays McQ, a cop trying to find out who killed his partner and why. I’m not sure if McQ is short for McQuaid or McQueen, or if it is his real name like McG. Actually, they usually just call him Lon.

McQ was made in 1974, the director was John Sturges, the style seems to be DIRTY HARRY. Except John Wayne was actually offered the real DIRTY HARRY after Frank Sinatra dropped out. He turned it down because he didn’t want Sinatra’s leftovers. Instead, he would prefer to do a rip-off of Sinatra’s leftovers.

Actually, it’s not like DIRTY HARRY. It’s a little more like MAGNUM FORCE because it turns out the other cops are dirty and there’s a coverup. But still it’s not the same type of movie, because instead of the liberal West Coast port city of San Francisco it takes place in my beloved liberal West Coast port city of Seattle. And instead of a funky Lalo Schifrin score it’s a funky Elmer Bernstein score. So it’s totally different. (read the rest of this shit…)