F/X is a pretty cool little thriller from 1986 that I think I saw back in the VHS days, but I didn’t remember it at all. And since Bryan Brown (THE CHANT OF JIMMIE BLACKSMITH) on the poster looks like Roy Scheider to me, I was really picturing something different. Brown is Australian and is allowed to fully use his accent here, a rarity in American movies that I was prepared to credit to the international success of CROCODILE DUNDEE until I saw that this came out earlier in the same year. So instead I will credit the success off CROCODILE DUNDEE to the success of F/X.
Brown stars as Roland “Rollie” Tyler, a Hollywood (well, New York) special effects genius who seems to be considered the best in the business. And you know what that means: it opens with a scene of violence that turns out to be a film shoot. It’s a pretty good version of that cliche, because instead of a horror movie like usual (see: BODY DOUBLE, PET SEMATARY TWO) it’s a shootout in a restaurant. A guy catches on fire, aquariums get shot up, a bunch of live lobsters get loose. Good scene.
Rollie is approached on set by a dude named Lipton (Cliff De Young, DR. GIGGLES), who claims to be a big fan with some work for him. But the project turns out not to be a movie – he works for the Justice Department, and he wants Rollie to help him fake a death. Notorious mob boss Nicholas DeFranco (Jerry Orbach, BREWSTER’S MILLIONS) has turned state’s evidence, people are trying to kill him, if they can fake kill him maybe it will take the heat off until the trial. (read the rest of this shit…)
MORTAL KOMBAT (2021) is a perfectly okay movie, especially given the past success rate of video game adaptations. It does a decent job of putting some of the Mortal Kombat characters into a passable modern movie. I found it reasonably entertaining, and had I expected it to be bad I might even have been pleasantly surprised. It also might’ve played better in a theater, if I could go to one.
Here’s the problem: I’m the type of guy who thinks you could make something truly kick ass out of any bullshit that involves colorful characters fighting each other. They’ve been talking about a new Mortal Kombat movie for more than 10 years, with James Wan announced as producer for six of those, and I think the ‘90s incarnations are fun (if ridiculous) movies that have plenty to build upon. So for years now I have been anticipating this movie that ended up being directed by Australian commercial director Simon McQuoid and written by Greg Russo (first credit) and Dave Callaham (DOOM, THE EXPENDABLES, WONDER WOMAN 1984), with a story credit for Oren Uziel (who had been developing it with Kevin Tancharoen after his unlicensed Mortal Kombat: Rebirth short and an episode of the official web series Mortal Kombat: Legacy). And I thought it might be something special. Maybe next time. (read the rest of this shit…)
DON’T PANIC, a.k.a. EL SECRETO DE LA OUIJA, is a 1988 English-language Mexican horror film that seems designed to crossover to American audiences, with its lead character Michael (Jon Michael Bischof, who directed a movie called RATAS NOCTURNAS three years later) a blond, curly haired kid who explains in narration that his family moved from Beverly Hills to Mexico City, a situation he considers “the pits.”
By the time of his 17th birthday, though, Michael already has enough friends for a party. His best pal Tony pushes him to play with a Ouija board even though he’s scared of it because of a previous incident involving an entity named “Virgil” who Michael believes is the devil. He keeps saying “I have to go home” to get out of it, which confused me because I was pretty sure this was his home, a theory confirmed by his mom (Helena Rojo, AGUIRRE, THE WRATH OF GOD) coming out and making everybody leave. (read the rest of this shit…)
SOUND OF METAL is not what I pictured at all. It’s about this guy Ruben (Riz Ahmed, VENOM) who’s a heavy metal* drummer, and then he loses his hearing. That’s the part I did know. The poster and the trailer and everything all focus on him shirtless on stage banging away on those things, and especially since it was nominated for best picture I had to figure it was about him struggling and overcoming and finding some thrillingly dramatic way to keep playing. I’ve heard of deaf people who play music based on vibrations, so I don’t think it’s impossible. It’s loud music, after all.
*pretty sure there’s a more accurate name for what their group Blackgammon plays, but fuck if I know what it is. Maybe sludge metal?
That’s not what this is at all. In the beginning he’s on tour with his group Blackgammon, which is just him and bleached-eyebrow singer girlfriend Lou (Olivia Cooke, READY PLAYER ONE). They live in an RV (a little nicer than NOMADLAND) so they’ll just play a show at some small place, try to sell some records and merch, then move along to the next town and find the next place.
The hearing loss seems pretty out of the blue. His ears just start ringing before a show. Then it sounds like he’s underwater. He just kinda pretends it’s nothing and hopes it will pass. Doesn’t even tell Lou. During the show he just goes for it, and Lou is looking at him like something’s wrong, so we wonder how far off he is. Suddenly he loses it, gets up and runs out the fire exit. (read the rest of this shit…)
Way back in 2013 I reviewed BLOODSPORT II: THE NEXT KUMITE starring Daniel Bernhardt. But I reviewed it as part of this tournament gimmick I was doing called The Super-Kumite, and the movie lost its round to BLOODFIGHT, so I never followed up with BLOODSPORTs III and IV like I normally would. Until now!
Unlike me, the filmmakers didn’t waste time. Part III (no subtitle) came out in 1996, the same year as part II. Bernhardt (or, as we call him this week, Bob Odenkirk’s fight trainer/co-fight-coordinator/“Bus Goon” on NOBODY) returns as Alex Cardo, the guy who won the sub-titular “NEXT KUMITE” after Van Damme’s Frank Dux in the original.
One odd continuity with part II is that it has a wraparound where the movie is a story being told to a kid. In part II it was Master Sun (James Wong) telling kids in his martial arts class how Alex became a good person. This time it’s Alex telling his ten year old son Jason (David Schatz, AMBROSE BIERCE: CIVIL WAR STORIES) a story about his life “living in the far east as a very successful gambler.” He notices Jason upset late at night, finds out he got suspended from school for beating up three eighth grade bullies, and decides to take him for a camping trip. So Alex figures it’s time to tell his son – who has been training in martial arts – that he was the Kumite champion (“Cool!”) and then about something that happened while he was “living in the far east as a very successful gambler.” It’s pretty cool, because most fathers, when their son gets into trouble at school, aren’t able to whip out a “the time I tried to avenge a murder” story. (read the rest of this shit…)
Yes, it’s true – the makers of JOHN WICK have turned Bob Odenkirk (DR. DOLITTLE 2) into an action star. NOBODY (now on VOD) comes from WICK screenwriter Derek Kolstad (ONE IN THE CHAMBER, THE PACKAGE) and is produced by WICK co-director David Leitch, and it has many obvious similarities to JOHN WICK. The premise is a variation on a retired super-killer in a “Yeah, I’m thinking I’m back!” situation. It mines the same entertaining territory of depraved Russian gangsters having the shock of their lives when they discover that somebody they assumed was just a random regular person is in fact a preposterously elite warrior who’s about to fuck up their whole existence. The dry, dark humor and gory, painful, expertly choreographed violence are certainly in the same ball park.
So if anybody has a bad thing to say about this movie that might not make me spit out my drink it would be “it was too much like JOHN WICK.” But I don’t agree that it’s a problem at all, because its strongest similarity is that it was another trailer that seemed to come somewhat out of the blue and made me say “Holy shit, where have you been all my life?,” and then when the actual movie came out it was simultaneously exactly as promised and so much more than anticipated. I don’t hesitate in saying that NOBODY is a new classic. (read the rest of this shit…)
I know Rurouni Kenshin was a ‘90s anime series (sometimes called Samurai X) based on a manga and all that. I don’t usually pay much attention to that sort of thing, but also I knew there was a series of live action movies starting in 2012 with this one, RUROUNI KENSHIN I: ORIGINS. And I’ve been hearing for a long time that it has some really good sword fighting in it, so I’ve been meaning to see it.
But man, if I knew what it was about, I wouldn’t have waited so long! It’s true that it has some good sword fighting and other fun samurai shit in it, but also this is that most rare and beautiful type of action movie: the type that fits lots of fun action into a story that preaches against violence. It shows that nothing could be more badass than a guy who can kill a whole mob of people on his own but chooses to prove it to them while not doing it.
To put it another way, the hero Kenshin (Takeru Satoh, SAMURAI MARATHON) was such a scary motherfucker killing people for the government in his teens that everybody knew him as “Battosai the Killsword,” but now he’s so against killing that he travels around with a sword that is only sharpened on the back side of the blade.
So yeah, don’t worry, he’ll still be sword fighting. He’ll just be whapping them instead of slashing them. (read the rest of this shit…)
HARD RAIN is a very enjoyable ‘90s studio action movie (with a side order of disaster) that it turns out I must never have seen. I thought I had, but I would’ve remembered how good it is!
It starts, like many good films, by pulling out of the Paramount logo and using the logo’s mountain as part of its scenery. I was thinking it would be cool if it continued to be in the background of shots throughout the movie, but no dice.
Anyway, a very cool shot that I think combines live action, digital and miniature models establishes the geography of the small town of Huntingburg, Indiana, where the Sheriff (Randy Quaid, VEGAS VACATION) is trying to evacuate the locals as the titular aggressive precipitation causes flooding that will soon be worsened by trouble with levees and dams.
Meanwhile this dude Tom (Christian Slater, THE WIZARD) and his uncle Charlie (Edward Asner, voice of Jabba the Hutt, Star Wars: Return of the Jedi – The Original Radio Drama) are working their shitty job driving an armored car, and they get stuck on a flooded road, unable to move further. Suddenly they’re blinded by floodlights and some guys pretend they’re going to help, but of course they really intend to rob the car. Uncle Charlie is mistakenly shot to death in the hubbub and Charlie runs away with the money. (read the rest of this shit…)
Godzilla picture #3, KING KONG VS. GODZILLA, was such a hit in 1963 that Toho realized their boy really should have an ongoing series where he battles other behemoths, so director Ishiro Honda, composer Akira Ifukube and effects genius Eiji Tsuburaya (plus Haruo Nakajima redonning the Godzilla suit) immediately got to work on the next one.
Getting the rights to another studio’s characters every time wasn’t gonna be sustainable (too bad – GODZILLA VS. CAT PEOPLE would’ve been cool), so this time they decided to pit the big guy against Mothra, the giant moth goddess from Honda’s own 1961 film. I’ve always associated Mothra with Godzilla, so it’s interesting to realize that they weren’t originally intended to cross paths or exist in the same world. In a way, MOTHRA VS. GODZILLA is like if M. Night Shyamalan had made SPLIT unconnected to UNBREAKABLE and then decided to combine them in GLASS. Or if James Cameron made AVATAR VS. THE ABYSS.
Another thing it’s easy to forget is that there was an entire decade where Godzilla was always the bad guy. Here he’s in his fourth movie and the guy is just a total dick still. Only in movie #2 could you argue he was kind of good, because the other guy was so aggressive. Otherwise he’s just causing problems for everybody. For this one he doesn’t show up until a half hour in (such a diva) so Mothra gets top billing. (read the rest of this shit…)
Back in the late ’90s, being a superfan of the SHRUNKEN HEADS mythos, I was excited for a new Richard Elfman/Matthew Bright joint called MODERN VAMPIRES. I found it disappointing at the time – decadent L.A. vampires are not nearly as weird as flying severed head super heroes, so it didn’t make much of an impression. But since I revisited FORBIDDEN ZONE and SHRUNKEN HEADS in close succession this week I decided to also do this one. Now that it’s old I think it plays a little better as a b-movie piss take on the vampire movies that were being made at the time.
Or is that even what it is? When MODERN VAMPIRES went straight to video in the U.S. it was October of ’99 and the cover had a design style and not-screen-accurate fashion flagrantly copying BLADE, but it had actually premiered before both BLADE and John Carpenter’s VAMPIRES. FROM DUSK TILL DAWN and Buffy the Vampire Slayer had already reclaimed bloodsuckers from Anne Rice, though, so I suppose that’s what they’re playing off of, if anything. Or maybe it’s just West Coast elite NEAR DARK. (read the rest of this shit…)
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Recent commentary and jibber-jabber
CJ Holden on Havoc: “I had quite the good time with it. Okay, when we hit the 40 minute mark and so far the…” May 7, 12:51
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VERN on The Shrouds: “Borg9 – Good point about him being the adapter of the unadaptable. He did a WTF promoting this and when…” May 6, 22:45
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BuzzFeedAldrin on Companion: “I liked this for the most part. Agree, the casting is great (Sophie Thatcher is one of the best parts…” May 6, 08:32
F/X is a pretty cool little thriller from 1986 that I think I saw back in the VHS days, but I didn’t remember it at all. And since Bryan Brown (THE CHANT OF JIMMIE BLACKSMITH) on the poster looks like Roy Scheider to me, I was really picturing something different. Brown is Australian and is allowed to fully use his accent here, a rarity in American movies that I was prepared to credit to the international success of CROCODILE DUNDEE until I saw that this came out earlier in the same year. So instead I will credit the success off CROCODILE DUNDEE to the success of F/X.
MORTAL KOMBAT (2021) is a perfectly okay movie, especially given the past success rate of video game adaptations. It does a decent job of putting some of the Mortal Kombat characters into a passable modern movie. I found it reasonably entertaining, and had I expected it to be bad I might even have been pleasantly surprised. It also might’ve played better in a theater, if I could go to one.
DON’T PANIC, a.k.a. EL SECRETO DE LA OUIJA, is a 1988 English-language Mexican horror film that seems designed to crossover to American audiences, with its lead character Michael (Jon Michael Bischof, who directed a movie called RATAS NOCTURNAS three years later) a blond, curly haired kid who explains in narration that his family moved from Beverly Hills to Mexico City, a situation he considers “the pits.”
SOUND OF METAL is not what I pictured at all. It’s about this guy Ruben (Riz Ahmed, 
Way back in 2013 I reviewed 
Yes, it’s true – the makers of 
I know Rurouni Kenshin was a ‘90s anime series (sometimes called Samurai X) based on a manga and all that. I don’t usually pay much attention to that sort of thing, but also I knew there was a series of live action movies starting in 2012 with this one, RUROUNI KENSHIN I: ORIGINS. And I’ve been hearing for a long time that it has some really good sword fighting in it, so I’ve been meaning to see it.
HARD RAIN is a very enjoyable ‘90s studio action movie (with a side order of disaster) that it turns out I must never have seen. I thought I had, but I would’ve remembered how good it is!
Godzilla picture #3, 
Back in the late ’90s, being a superfan of the 
