"CATCH YOU FUCKERS AT A BAD TIME?"

Fast & Furious

You take the “the”s out, the title becomes more aerodynamic. This unlikely THE FAST AND THE FURIOUS part 4 combines elements of the previous 3: the characters and tone of part 1, the video game plotting and drug kingpin bad guys of part 2, the director and improved visual style of part 3. Combining all the technologies they’ve developed into a new model.

Part 3 might still be my favorite, with its comprehensive visual tribute to everything that looks cool in Tokyo and its charismatic lead performance by Lucas Black (plus Sonny Chiba bit part, Incredible Hulk car and stupid cameo at the end). I was surprised how much I liked that one and even more surprised how many people I know who have no interest in the series liked it too. (read the rest of this shit…)

R.I.P. Lou Perryman

Some terrible, fucked up news. Lou Perryman, who played Stretch’s faithful hick sidekick L.G. in TEXAS CHAINSAW MASSACRE PART 2 died Thursday, murdered by some random scumbag. I feel a little weird because he died under such horrible circumstances and I only know who he is because of the spectacular way he was killed in the movie. But he wasn’t a horror guy – he just ended up in that one and POLTERGEIST because he worked with Tobe Hooper (he was assistant cameraman on the original TEXAS CHAIN SAW MASSACRE).

I actually met Perryman just last year at a small horror convention. I don’t usually go to those type of things but this one lured me in with the promise of “Rowdy” Roddy Piper and three of the stars of CHAINSAW 2. And you know how obsessed I am with that movie. I’ve mentioned before that I don’t really like talking to my movie heroes, because I don’t want to try to be the guy who comes up with the one really interesting question or cool thing to say. Usually it’s a hopeless endeavor. But I did actually talk to Lou Perryman for a minute and told him I was a big fan of Chainsaw 2. He was polite. Then I mentioned that I had seen him in this excellent low budget independent Austin movie called LAST NIGHT AT THE ALAMO. I wasn’t trying to show off or anything but I really liked the movie, and clearly so did he. His eyes lit up instantly, he offered his hand and asked “What is your name?” He talked enthusiastically about a DVD release of the other movie he did with the same director, THE WHOLE SHOOTIN’ MATCH, which is now available. (I haven’t seen it yet, but Roger Ebert says it’s great, an endorsement Perryman was happy to repeat.)

So it was just a brief encounter, but he seemed like a really nice guy and a funny good ol’ boy just like he played in movies, mostly obscure independent Texas stuff but occasionally something like BOYS DON’T CRY. (And apparently he’s “man in bar” in THE BLUES BROTHERS, but I haven’t found him in there yet.)

It’s too fuckin bad, man. I hate it when shit like this happens. Sorry Lou, it shouldn’t have happened like that. You will be missed.

Dead End Drive-In

Most Americans, when they think of Australia they think of kangaroos and koalas and shit. Me, I think of high speed car chases and vicious (but wise) giant crocodiles. And I guess maybe occasionally I think of 6’5″ Seattle Storm center Lauren Jackson. But usually it’s the cars and crocodiles, because as you maybe noticed I’ve been watching the Australian films this last year or so – ROGUE, DARK AGE, ROAD GAMES, RAZORBACK, etc. I’ve never been there, but something about that place really appeals to me, and so do their movies, I’m not sure why. They seem to have an untapped (by me) reservoir of really good filmatists there who work in a style that appeals to me. Energetic but not frantic, stylish but still raw, serious but not pretentious, lots of car flips.

australia

I was kind of embarrassed though when I found out there was a documentary going around called NOT QUITE HOLLYWOOD that lumps these movies together under the silly name “Ozploitation.” It was real popular down there in Austin where my Ain’t It Cool colleagues are and Tarantino’s interviewed in it and everything so it got them all interested. I swear it’s a coincidence, I had no idea this was a big thing right now. If anything, the documentary probaly copied the idea from me. (read the rest of this shit…)

Seven Pounds

Seven strangers. One man connects them. Or some stupid bullshit like that, is what the commercials said. They had a hard time explaining what the hell this movie was supposed to be about, and didn’t make me curious to find out. That is, until somebody gave away the ending.

I’m gonna go ahead and make you have to highlight this one, because it’s at the end of the movie, it’s a pretty huge spoiler. (read the rest of this shit…)

Nick Fury: Agent of S.H.I.E.L.D.

Not too long ago it was in the nerd-news that Samuel L. Jackson had signed on to play the character “Nick Fury” in as many as nine Marvel Comics movies. Some people said, “Well, that’s not surprising. Samuel L. Jackson will sign onto anything!” But that’s not really fair, they were probaly just actors who were bitter because they didn’t get the roles in THE SPIRIT, CLEANER, RULES OF ENGAGEMENT, S.W.A.T., SOUL MEN, JUMPER, HOME OF THE BRAVE, FREEDOMLAND, FARCE OF THE PENGUINS, BASIC, CHANGING LANES, SPHERE, LOADED WEAPON 1, etc.

Where does this Nick Fury come from? Probaly some comic book, but in my opinion mainly from this TV movie starring David Hasselhoff. I actually have wanted to see this for years because it was written by David Goyer in the same year he did BLADE, but they rarely showed it on TV. One time I happened to catch part of it on cable so I checked to see when it would air again – never, it turned out. That was the one and only scheduled airing. But that was before Fury Fever swept the nation, so now it’s on DVD. (read the rest of this shit…)

Ip Man

Donny Yen plays Ip Man, the grand master martial artist who I guess was the first to openly teach the Wing Chun style of kung fu. If you’ve heard of him it’s probaly because he was Bruce Lee’s Wing Chun master, although that’s only mentioned in the text at the end of the movie.

Like Ronny Yu’s JET LI’S FEARLESS, IP MAN is a prestige martial arts picture, a fictionalized take on a historical figure, a beautifully shot period piece (in this case the ’30s) mixing drama and inspirational nationalism with topnotch martial arts choreography. The look is a little more timeless than FEARLESS though – I didn’t notice any digital shots, and only a couple wire-assisted moves. (read the rest of this shit…)

Knock Off

In the second of Hong Kong director Tsui Hark’s surrealist double feature with collaborator Jean-Claude Van Damme (the first was DOUBLE TEAM), the eel really hits the ass. You probaly haven’t heard that saying before, because I just made it up, but it means “shit gets real weird” and it comes from the scene where Van Damme is pulling Rob Schneider in a rickshaw and Schneider starts whipping him with an eel while yelling “Move that beautiful ass!” That’s something most of us will only see in a handful of movies and TV shows within our lifetimes.

This time Van Damme plays the head of a Hong Kong fashion exports corporation who gets mixed up in a CIA/Russian mafia/Triad/terrorist plot because he sells inferior knockoff jeans that have a lower quality denim as well as high powered miniature explosives in the buttons. One of the very first exploding jeans movies. If that doesn’t tell you this is one of the weirder Van Damme pictures how about these tidbits: Rob Schneider plays his partner, there is a shot from the POV of Van Damme’s foot going into a shoe, it takes place in a world where fire is green. Or at least the fire that comes from these bombs. That’s some remarkable technology there – not only is it small, it changes the color of fire. I wonder what color air is in this world? (read the rest of this shit…)

Vern sees LAST HOUSE ON THE LEFT (remake [not CHAOS])!

SPOILER ALERT !!

LAST HOUSE ON THE LEFT REMAKE

WARNING: This review contains spoilers for LAST HOUSE ON THE LEFT remake, LAST HOUSE ON THE LEFT original, VIRGIN SPRING, CHAOS, THE HILLS HAVE EYES remake, and URBAN LEGEND.

Well well well, what do we have here? Looks like a remake of a Wes Craven movie, already unofficially remade as a Demon Dave DeFalco movie, itself based on an Ingmar Bergman movie based on a 13th century ballad based on a legend of why a particular Swedish church was built. I’m not sure the modern moviegoer is concerned with the origin story of the Kärna church, so we gotta wonder what exactly the reason is for this remake. The answer, of course, is that the original movie was first called KRUG AND COMPANY, they didn’t call it LAST HOUSE ON THE LEFT until it had been traveling around for a while. They made it up after the fact, it didn’t really mean anything, so in the movie they never mentioned the location of the house. I saw the trailer for the remake where somebody’s driving down a road and says “it’s the last house on the left.” This is the reason to remake it, you can finally go back and establish that! (read the rest of this shit…)

Southern Discomfort

Nope, this is not a sequel or rebuttal to Walter Hill’s SOUTHERN COMFORT, and it’s not a withering expose of labor unrest at the Southern Comfort liqueur factory. SOUTHERN DISCOMFORT is an hour long documentary about a night of indie wrestling in Alabama made in 2000 by Fred Olen Ray, a director I thought only did no-budget movies with babes and dinosaurs and shit like that. Although much more upbeat than THE WRESTLER or the Jake “The Snake” Roberts portion of BEYOND THE MAT this is that same world, the bonebreaking for small crowds and small pay in high school gyms.

The Iron Sheik is the superstar of the bunch, doing a good job of not seeming depressed that he went from 19,000 fans at Wrestlemania in Madison Square Garden to 400 at the Saks High gymnasium. But the stars are all wrestlers I never heard of before who as far as I can tell have mostly never achieved much more fame than this and in their interviews never imply that they want to. They’re happy working regular small town jobs and then on the weekends putting on a mask and throwing people around. (read the rest of this shit…)

Navy SEALS vs. U.S. SEALS II

Man, Michael Biehn and the other guys on his team in NAVY SEALS really like to party and be outrageous. Especially Charlie Sheen, have you seen how out of control that guy is? On the way to Dennis Haysbert’s wedding he jumps out of a moving Jeep and over the side of a bridge just for laughs. You know how those SEALs boys are. You don’t even have to TELL them to jump off a bridge, they just do it for no reason. And their nice wedding clothes get all fucked up, but they don’t care because they’re Navy SEALs.

That’s what it’s all about.

I think this movie was inspired by TOP GUN. It’s one part action movie, two parts lifestyle magazine. It wants to show that Navy SEALs are elite warriors and heroes, but mostly it wants to show what a fun time they have just hanging out with their bros when they’re stateside. Just some men, going around together, being men. Hoo rah, best buds for life. Dennis Haysbert is the only one in a serious relationship, he’s about to marry S. Epatha Merkerson, but as she’s coming down the aisle their SEAL pagers beep and they all leave. Sorry Toots, maybe next time. (read the rest of this shit…)