There are two Richard Stark based movies left that have never been released for the home video in the U.S. One is MISE A SAC, a French one based on The Score, where Parker and a crew try to rob an entire mining town. The other is THE SPLIT, based on The Seventh, where Jim Brown as the Parker character robs a football stadium and then has some trouble afterwords. My man David M. in France has seen both – he saw a restored print of MISE A SAC and told me it was great. As for THE SPLIT he did me one better than telling me about it, he sent me a recording from when it played letterboxed on the French Turner Classic Movies channel. (I don’t know who the French Ted Turner is, but it sounds like he plays better shit than the American one.)
If you’re reading this in the future maybe every movie ever made is available for instant download, but in my day you had to be patient. You don’t know how long I’ve been waiting to see this thing. The closest I came before now was an old movie magazine I bought at an antique mall because it had Barbarella on the cover (wait a minute, is Roger Vadim the French Ted Turner?) So I bought it for the Barbarella, because a man has needs, but it turned out there was also an “article” – really just a plot summary – about THE SPLIT. I’d been meaning to read it and write a book-to-movie-summary comparison until they get off their ass and release it. But now thanks to French Ted Turner I don’t have to stoop to that. (read the rest of this shit…)
Yesterday was Roddy Piper’s birthday. I’m celebrating late with the Piper/Billy Blanks picture from 1993, BACK IN ACTION.
Looking into the early works of Brian Trenchard-Smith I found a genre I never knew existed: stuntsploitation. Here are two movies about the world of stuntmen, with flimsy plots (if any) to string together a bunch of cool stunt sequences.
Half the fun of writing is all the emails I get, so I think it’s a good idea to finally catch up with modern computertational technology and have comments. That means I gotta transfer over to this “blog” format here, but I don’t want it to look the way it does now. Too slick. So I’m gonna try to figure out how to make it my own (looks hard).
This lesser-but-still-good Arnold Schwarzenegger vehicle came in 1986, a breather between COMMANDO and PREDATOR. It opens with some mobsters shooting up a house where cops are protecting a witness. The first line in the movie is a cop reading a Trivial Pursuits question about how many Oscars John Wayne won. The correct answer is never given, but we get the idea: John Wayne is awesome, we’re not in this for the Oscars, but John Wayne deserved Oscars, and so do we, etc.
Long before PUNISHER: WAR ZONE there was THE STORY OF RICKY, another hilariously violent, ridiculous movie based on a comic book. This is a lower budget Hong Kong movie, though. Raw and scrappy, not stylized. So it’s even more ambiguous how serious or goofy it’s actually supposed to be. I like that.
Two years after ENTER THE DRAGON, Brian Trenchard-Smith brought Australia their own Hong Kong co-production of a martial arts extravaganza. Jimmy Wang Yu (the One-Armed Swordsman himself) plays Inspector Fang, the man of the title, and he is a hell of a man. You wouldn’t know it by looking at him actually, he looks like kind of a dweeb, but throughout the course of the movie he will prove it. He is The Man from Hong Kong.
As you all know, I’ve been on Geocities since 1999. Over those almost ten years I’ve been ridiculed, interventioned and etc. by people who didn’t understand why I didn’t move to a grownup type websight with my own domain, like they would have in the 21st century. I always resisted because it made me laugh to see how shocked people were that Geocities still existed and that somebody would purposely still use it, and not be ashamed to put that URL in their highly acclaimed film book. It became kind of a test to see if people could see the substance of what I was writing about or if they would just ignore it because of the unprofessional surface. You all passed the test, good job everybody.
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.
