The Dolph Lundgren vs. Cary-Hiroyuki Tagawa Saga
SHOWDOWN IN LITTLE TOKYO (1991) and BRIDGE OF DRAGONS (1999)
As I continue to learn about the works of Dolph Lundgren (no, sorry, I’m not writing LUNDGRENICS, I’m just trying to become a more well-rounded individual) it’s refreshing to find that he has many movies where he is a charismatic action hero and not just some grunting oaf. SHOWDOWN IN LITTLE TOKYO is one people have been recommending to me for years because it has him teamed with Brandon Lee, which is a pretty big deal for somebody whose most notable co-stars are often talk show hosts like Jerry Springer or Montel Williams.
Basically this one is a cop buddy picture with Dolph as the line-crossing, bushido practicing white cop on the Little Tokyo beat who by the way is out to avenge the deaths of his parents by a samurai, but that’s neither here nor there. We know Dolph is a bad motherfucker right away because he single-handedly busts up an illegal underground fighting circuit by rappelling in from the ceiling in the middle of a match and then taking on those who disagree with his decision. Later he’s in a cafe when he happens to see some of the same Yakuzas bullying the old lady owner for protection money. In the middle of the brawl that ensues he’s introduced to his new partner, Brandon Lee. (read the rest of this shit…)
A bunch of people have suggested this one to me over the years, so thank you all. It’s a Michael Dudikoff picture made one year after AMERICAN NINJA. Once again Steve James is the sidekick, this time playing a senator whose family is targeted by racists, so Dudikoff tries to help them and, when that fails, becomes an avenging force.
If you’ve seen anything by David Mamet then you know it’s kind of surprising (and awesome) that his new movie is about Brazilian jiu-jitsu. I even heard rumors that it was a straight ahead kickboxing movie like BLOODSPORT, and when the opening credits had Japanese drums like Christopher Lambert’s THE HUNTED I was about ready for the rebirth of action cinema. But this is really not an action movie. Anyone who goes in looking for that might be disappointed like the guy who wanted his money back when I saw GHOST DOG. Maybe not quite as much – there’s not alot of poetic shots of birds flying or long scenes of dudes driving around quietly contemplating. But this is not BEST OF THE BEST 2008, it’s definitely a David Mamet movie. Slowly unfolding plot that could go in any direction, narrative that respects the audience enough not to spell everything out for them, an intricate con, macho dialogue, magic tricks, Ricky Jay, Joe Mantegna, Mamet’s wife, songs by Mamet’s wife. I was hoping William H. Macey would show up as some retired kickboxing legend, but maybe next time.
Director Mark L. Lester returns in 1990 for an ambitiously ridiculous sequel to CLASS OF 1984. Instead of taking some character or setting from that movie and continuing with it he takes the same sort of story and puts it in a futuristic sci-fi world. So instead of a paranoid vision of violence in schools a couple years from now it’s a purposely ridiculous paranoid vision of cyborg teachers taking on violence in schools.
CLASS OF 1984 is an earlier picture by COMMANDO’s Mark L. Lester. It starts out shitty with a terrible song by Alice Cooper and your usual ’80s horse shit about cities being overrun with maniac punk rocker delinquent savages. In this case the problem is at a high school where new music teacher Mr. Norris (Perry King) is surprised to find metal detectors, switchblades, gang fights and students who lick their middle fingers and say “sit on this, motherfucker.” His new friend, science teacher Roddy McDowall, has learned to get used to it, and carries a piece in his briefcase.
If the old Speed Racer cartoon had a baby with a Hot Wheels commercial in the back of a candy store and fed it magic mushrooms every day for breakfast, then when it turned 18 that baby would legally become this movie. What I mean is it’s clearly the product of its upbringing: silly cartoon plot, Skittles color palette, cartoon physics, monkey wearing clothes, etc. But it wants to become a man, so it rebels. It confuses little kids and their parents with a complex non-linear structure intercutting a present day race with backstory and a flashback race and overlapping past and present races within one shot. And instead of trying to stop some evil plot to destroy the world like you’re supposed to do in this type of movie, SPEED RACER helps an investigative body stop a corrupt corporation from manipulating the stock market by fixing races. (It does not mention the tax disputes from PHANTOM MENACE.)
The first and most important thing that must be said of THE TAKING OF PELHAM ONE TWO THREE is that it has one of the most badass theme songs ever, and without even leaning on the crutch of wah wah guitar. A deep ominous BA-DUMP-BUMP-BUMP alternates with tension building horns and violins or something in a higher pitch… well, I’m dancing about architecture here but trust me, this theme song WILL kick your ass. The score is by David Shire, who strangely has done mostly TV movies but recently did ZODIAC. But it has that catchiness and strutting quality of the best Lalo Schifrin, like ENTER THE DRAGON or something, where after you see the movie you can’t help but walking around picturing it as your theme music.
Hey, everyone. ”Moriarty” here.
Some individuals have been writing to me asking for me to “go on record” about Wesley Snipes getting sentenced to three years for not filing his tax returns. I don’t know, man. It seems to me like a bullshit sentence. You can skip down a couple paragraphs to get to BOILING POINT but I’ll say a few things here by request.
