After this summer’s fun-if-flawed GODZILLA: KING OF THE MONSTERS I must’ve been in need of some spiritual guidance because I was thinking I should look into worshipping Mothra. See what that whole thing was all about. And then, as if by divine intervention, a slick piece of Mothran propaganda – a nice new steelbook Blu-Ray of the original MOTHRA film from 1961- caught my eye. It’s an old school Toho kaiju movie with lots of goofy human shenanigans holding off the good stuff until later, but its imagery and strangeness warm my soul a little.
The structure seems lifted from KING KONG. An expedition to a mysterious island inhabited by strange creatures and primitive, drum-thumping natives brings something exotic back to the city to be exploited in a heavily hyped stage show, but these forces can’t (and shouldn’t) be contained, so this all leads to a giant creature attack on a city. (read the rest of this shit…)
As with LETHAL WEAPON 2 and ROAD HOUSE, KICKBOXER is a classic that I’ve already reviewed, and I stand by what I wrote about it the first time. But I thought it might be worth revisiting 11 years later, after also writing about its sequels, remake and remake sequel, and in the context of these other ’89 movies. It hit some European countries in April and August of that year, and the U.S. on September 8th, making it a good closer to THE LAST SUMMER OF ’80S ACTION.
Earlier in the series we had fighting circuit movies from an old Disney live action director (FIST FIGHTER), the World Wrestling Federation (NO HOLDS BARRED), and a guy that did Dorf movies (CAGE). Not surprisingly it was Cannon Films that gave us the season’s slickest version of the form, building off the success of BLOODSPORT (1988) for an in my opinion even better vehicle for shiny new splits-doer Jean-Claude Van Damme. I mean that literally, by the way – in the climax the camera really focuses on the reflectiveness of his muscles as an illustration of how ready he is to triumph. (read the rest of this shit…)
I thought I had only one more movie to cover in The Last Summer of ’80s Action, but then I realized I’d forgotten about THUNDERGROUND. Like one of the first movies in the series, FIST FIGHTER, this is a WWF-wrestler-featuring bare knuckle brawler movie that I never heard of until david j. moore told me about it a while back and I ordered a VHS copy. It’s pretty much straight to video, but IMDb claims it got a release in Minnesota on September 1, 1989. Good enough excuse to squeeze yet another underground fighting movie in here.
It opens in “HOBO JUNCTION, TENNESSEE, 1989,” where a crowd of hobos gather around a campfire and a kid named Casey, who rips them off in Three-Card Monty (a strange game – the only winning move is not to play). Casey’s hat makes this look so Depression Era I honestly rewound to make sure I read that year right. Yep, it says ’89 all right, but it’s obviously inspired by period pieces. It’s about people who ride the rails and pull petty hustles just to get a little bit of money to get to the next town. (read the rest of this shit…)
I’ve been enjoying all of the THE FAST AND THE FURIOUS movies since the early 2000s, so even though part four, FAST & FURIOUS, does not rank high in the series for me, when it decides to present a separate movie about characters introduced in parts 5 and 6, respectively, it gets my attention. And also I like ampersands. For these reasons, FAST & FURIOUS PRESENTS HOBBS & SHAW was one of my most anticipated movies of the summer.
Of course, you gotta have realistic expectations when it comes to presentations. There’s a pretty big difference between, say, DJANGO UNCHAINED, A FILM BY QUENTIN TARANTINO and QUENTIN TARANTINO PRESENTS MY NAME IS MODESTY. I definitely don’t think this spinoff is as good as the FAST series proper, but there’s a part where a helicopter is hooked onto a truck that’s chained to a line of several hot rods and they’re all raised off the ground driving on two wheels along a cliff. So I enjoyed it. (read the rest of this shit…)
THIS IS A FREE RANGE SPOILER REVIEW. THE SPOILERS ARE NOT KEPT IN CAGES. THEY JUST RUN ALL OVER THE PLACE, INCLUDING THE FIRST COUPLE SENTENCES. SEE THE MOVIE FIRST.
ONCE UPON A TIME… IN HOLLYWOOD is an odd and beautiful movie from… Quentin Tarantino. It’s undeniably one that only he could or would make – it’s even in his now-trademark ‘wish-fulfilling rewrite of a historical atrocity’ mode – but it’s different. It’s not as mean and angry as the last three, or as carefully plotted as any of them. It’s sort of a hang out movie, a day-in-the-life of two friends, and a gentle tale of surviving a mid-life crisis, wrapped in a love letter to Los Angeles of the late ’60s, and to the then-fading leading men of the ’50s, with a chaser of gruesome violence. The fun kind, though. The cathartic kind.
Throughout his career, Tarantino has shown his affinity for cool shit like spaghetti westerns, blaxploitation movies, kung fu and crime novels. Here’s where he says “Fuck it, I also like old cowboy shows and procedurals and stuff.” When the guy who makes film exhibition and criticism a major element of his WWII epic does one that’s actually about the Hollywood film industry, obviously he’s gonna go buck wild. The amount of detail he puts into the fictional career of TV star Rick Dalton (Leonardo DiCaprio, two episodes of The New Lassie) – to the point of needing a narrator to talk us through each entry from his Rome period – reaches the level of sci-fi world building. And of course Tarantino, being Tarantino, gives us a soundtrack that drips the sixties without one whiff of Creedence, Dylan, the Doors or Hendrix. Admittedly “Mrs. Robinson” is in there somewhere, but he leans more Deep Purple, Vanilla Fudge and Paul Revere & the Raiders. One of the few I knew was the Neil Diamond song. (read the rest of this shit…)
I’m not gonna totally contradict the conventional wisdom that HELLBOY (2019) is bad. I kinda thought it was bad for a while. But then it sort of won me over. I had more fun than expected, and talking about it with other people made me realize that yeah, overall I think I liked it.
Yes, it’s sloppy and choppy and takes itself less seriously than I’d like. I wasn’t surprised to read that there were tensions with the producers and that director Neil Marshall (THE DESCENT, but also DOOMSDAY) didn’t have final cut. The many rock ‘n roll needledrops (including a Spanish version of “Rock You Like a Hurricane”) and electric guitars on the score by Benjamin Wallfisch (IT, SERENITY) make it seem like it’s making a joke out of folk tale stuff that I think would be much cooler if treated respectfully, and the combination of a lower budget and higher volume of digital FX than Guillermo Del Toro’s two movies make it look chintzy by comparison. But there are tons of cool monsters, funny lines, colorful bits of mythology, and a splattery, lowbrow rowdiness that’s pretty fun whether or not it’s in the Hellboy spirit. (read the rest of this shit…)
Both the weakness and the strength of CRAWL is how simple and slight it is. On one hand, I felt like it was already dissipating from my brain by the time I got home. On the other hand it’s refreshing to see something that just gets in there and gets it done and says “okay, bye.” It’s a monster movie meets disaster movie – alligators attack a house during a hurricane – but it doesn’t fuck around with any before and after or unneeded explanations.
When Haley (Kaya Scodelario, CLASH OF THE TITANS) gets out of the opening credits swimming practice, the hurricane is already approaching. When she tracks down her not-answering-his-phone dad (Barry Pepper, THE THREE BURIALS OF MELQUIADES ESTRADA) in the crawlspace under her childhood home, he has already been bitten by a huge alligator. I think only one sentence of dialogue is spent on speculating how the gators got in there (later confirmed visually), and not one word on why they’re so big. It takes place over one day, it’s all over in 87 minutes and it concludes with a freeze frame. No wind-down, epilogue or sequel tease. That’ll do, pig. (read the rest of this shit…)
PROGRAMMING NOTE: I’m still working on one more piece that will cap off the Last Summer of ’80s Action series next week. But last night, while celebrating the life of Rutger Hauer and linking to my reviews of his action movie roles (BLIND FURY!), I was confused as to why I couldn’t find a review of NIGHTHAWKS. It turned out I was working on one two years ago that I never posted, so I polished it up and have it for you today. R.I.P.
* * *
NIGHTHAWKS. A couple of tough street cops who go out at night like, uh… a couple of hawks. Or probly more like that famous Edward Hopper painting of the mostly empty diner at night. Except no diner and not always at night.
You know what, you and I together are going to have to face that I actually have no idea why it’s call NIGHTHAWKS, but the point is it’s the story of NYPD (New York Police Department) undercover dudes Deke DaSilva (Sylvester Stallone, DEATH RACE 2000) and Matthew Fox (Billy Dee Williams, HIT!) who, just because they’re war veterans and also familiar with where all the low lifes go around here, are recruited by ATAC (Anti-Terrorist Action Command) to stop a terrorist (Rutger Hauer, WANTED DEAD OR ALIVE, in his first American film) who is in NYC (New York City) to attack the U.N. (United Nations) which in my opinion is B.S. (bullshit), you shouldn’t do something like that you jerk. (read the rest of this shit…)
“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…)
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Skani on Black Bag: “GlaiveRobber, to what do you attribute the departures from MCU source material? I don’t really know the source material that…” Mar 27, 18:21
Pacman2.0 on The Huntsman: Winter’s War: “Some good thoughts there Traumpy , I probably do have more to say about it, but I think I’ll save…” Mar 27, 07:35
CJ Holden on The Huntsman: Winter’s War: ““A First-Class Amusement” is actually quite accurate, although “Verlustigung” isn’t really a word. “Belustigung” would be correct while “verlustigung” is…” Mar 27, 01:00
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After this summer’s fun-if-flawed GODZILLA: KING OF THE MONSTERS I must’ve been in need of some spiritual guidance because I was thinking I should look into worshipping Mothra. See what that whole thing was all about. And then, as if by divine intervention, a slick piece of Mothran propaganda – a nice new steelbook Blu-Ray of the original MOTHRA film from 1961- caught my eye. It’s an old school Toho kaiju movie with lots of goofy human shenanigans holding off the good stuff until later, but its imagery and strangeness warm my soul a little.
As with LETHAL WEAPON 2 and ROAD HOUSE, KICKBOXER is a classic that 
I’ve been enjoying all of the 
ONCE UPON A TIME… IN HOLLYWOOD is an odd and beautiful movie from… Quentin Tarantino. It’s undeniably one that only he could or would make – it’s even in his now-trademark ‘wish-fulfilling rewrite of a historical atrocity’ mode – but it’s different. It’s not as mean and angry as the last three, or as carefully plotted as any of them. It’s sort of a hang out movie, a day-in-the-life of two friends, and a gentle tale of surviving a mid-life crisis, wrapped in a love letter to Los Angeles of the late ’60s, and to the then-fading leading men of the ’50s, with a chaser of gruesome violence. The fun kind, though. The cathartic kind.
I’m not gonna totally contradict the conventional wisdom that HELLBOY (2019) is bad. I kinda thought it was bad for a while. But then it sort of won me over. I had more fun than expected, and talking about it with other people made me realize that yeah, overall I think I liked it.
Both the weakness and the strength of CRAWL is how simple and slight it is. On one hand, I felt like it was already dissipating from my brain by the time I got home. On the other hand it’s refreshing to see something that just gets in there and gets it done and says “okay, bye.” It’s a monster movie meets disaster movie – alligators attack a house during a hurricane – but it doesn’t fuck around with any before and after or unneeded explanations.
“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, 
THE PACKAGE is… kind of an action movie from director Andrew Davis. After the better-than-average Chuck Norris vehicle 
