Hello friends,
I promise that tomorrow I’ll post my take on that one new movie, the most important movie of all time since Thursday. (It will be a spoiler-filled review so we can discuss all the business.) But today please allow me to shine the spotlight on this piece I did for the websight Thrillist about the best action movies of the modern age.
At first they approached me to do the greatest shootout scenes of all time. I felt unqualified and suggested this instead. During my research I found that at least a couple other major outlets have done a version of this subject and their choices have some overlap with mine, but I believe I discuss them in more depth than most people do. The assignment was a so-called listicle that is genuine analysis, not just clickbait.
If you’ve been a regular here for a while you won’t be surprised by most of my choices, but I really did put alot of work into it including rewatching some of the contenders and catching up on some things I had missed. I tried to make sure each entry addresses both the quality of the action and something more substantive about what makes the story or characters great.
My longer first draft said in the intro, “I know how this works. I fully expect you to scoff at some of my choices, snubs, and unscientific rankings. That is your duty as a free-thinking, list-reading movie lover.” So I encourge you to do that here. I have a hunch about certain exclusions that will be controversial, so I’m especially interested in what you guys would include on your lists that didn’t make mine.
Here’s the link:
The 30 Greatest, Straight-Up Ass-Kicking Action Movies of the Century
Sometimes there’s a monumentally shitty day, both on a personal and on an international level, so you get a glass of whiskey and watch the new Shout Factory Blu-Ray of a John Stamos movie that friends have been recommending to you on VHS for years. In my case, this time, NEVER TOO YOUNG TO DIE (1986) did not cut all the way through my fog of negativity. I’m not sure if that means I just wasn’t in the right place emotionally to fully enjoy an amazing movie or if it kinda drags in the middle so it’s not quite as good as it sounds on paper. Won’t really matter, though, because once I describe it to you you would be stupid not to see it. I mean let’s be serious here.
THE CHASER opens with an escort getting in a car with a john. We don’t see what happens after that, just that she doesn’t come back. Many days pass – we know this from the amount of parking tickets attached to the car when Joong-ho (Kim Yoon-seok, THE YELLOW SEA) finds it abandoned on a winding road in the Mongkol District.
As you may know, I don’t watch or understand any wrestling from the past two to three decades, but I retain a fascination and nostalgia from the stuff I did watch in the ’80s. One of the iconic villains of that era was The Iron Sheik, a cartoonish embodiment (along with his fur-hat-wearing Soviet tag team partner Nikolai Volkoff) of America’s most absurd fears of scary foreigners. Looking back it seems like a put-on, a parody, an Andy Kaufman style evisceration of the stereotypes you’d have to be a dummy to believe in, the communists and Middle Easterners who come in and tell us we are weak Americans and then demand that we be respectful as they (gasp) make us sit through their national anthems. And then are outraged when we boo.
BODYGUARDS AND ASSASSINS is really not fair to the assassins – it’s all about how great and selfless the bodyguards are. I thought I should give that warning to the more sensitive members of the assassin community. I still thought it was good though.
As I’ve mentioned 
VICTOR FRANKENSTEIN is maybe the only retelling of Mary Shelley’s 
I, FRANKENSTEIN picks up where Mary Shelley left off, with the the doctor (Aden Young, SNIPER) dying in the Arctic trying to kill the creature (Aaron Eckhart, 
MARY SHELLEY’S FRANKENSTEIN is director Kenneth Branagh’s attempt to redo the story as a romantic period melodrama. You still got your mad science lab, but also wigs and corsets and all that shit. Branagh himself plays Victor Frankenstein, and this is in the era when men in historical dramas had to have long Fabio hair. He cast himself as the doctor who creates his monster while shirtless, running around pulling heavy levers to show off his glistening muscles.
A RETURN TO SALEM’S LOT is Larry Cohen’s weirdo theatrically-released sort-of-sequel to Tobe Hooper’s TV mini-series of the Stephen King book. But really it just takes the location – the tiny town of Jerusalem’s Lot, Maine – and the idea of doing a vampire story there. It’s not the same vampire or the same type of vampire. It doesn’t connect, from what I remember. But I like that.
