HERO is no surprise. I knew I was gonna like this movie. I heard enough to know this was gonna be a good one. I mean it’s got that acclaimed director who did all those movies I haven’t seen like THE ROAD HOME. But then instead of doing another movie like that, what he does, he gets Jet Li and Maggie Cheung and Donnie Yen and Zhang Yiyi and he says, let’s do an awesome fucking epic with kung fu and swords and about ten million arrows.
This movie has been making the rounds for years. It got nominated for the foreign film oscar, and it played the seattle international film festival, and it’s been on DVD in Asia forever which is no problem for a worldly dude like me, I’ve been free of the region code shackles for years. Region 2, region 3, bring it on motherfuckers, I go all the way up to region 4, region 5 on a good day. I could do region 10 if they threw it at me, region 11, I don’t give a fuck. Anything. But here in region 1 Miramax was supposed to release HERO in theaters. What they wanted to do was leave it on the shelf for years and finally put it out when there’s less interest. That worked so well with SHAOLIN SOCCER. Unfortunately HERO was sitting on the shelf but then it fell off the shelf and got stuck behind the desk and nobody knew it was there. Then I think Tarantino dropped a pencil back there or something, so he reached back there and he felt HERO. So he pulled it out and dusted it off and he was like, “You guys still have this? You should, like, release it in theaters, where people go to watch movies projected on a screen.” (read the rest of this shit…)
Sometimes it almost seems like there’s a whole genre of “INDIANA JONES-TYPE” pictures – movies that look back nostalgically to those golden days when George Lucas looked back nostalgically to those other golden days. THE MUMMY is one example of this horrible type of picture.
Hi, everyone. 
This is a lesser known but completely fucking badass Walter Hill picture about a getaway driver. Ryan O’Neal plays the driver character (called “The Driver”) who is pursued by a semi-crazy cop with no name (“The Detective” on the credits) played by Bruce Dern.
What this is is a no-budget first timer trying to prove himself 16mm type movie. A film student named Jim Van Bebber stars in it and directed it, using his film school buddies as actors, spending many years and sweating alot of blood to make his movie and prove himself. He finally finished it in 1988, but it feels more like early ’80s or at times even late ’70s. I think he was definitely trying to make a movie like EVIL DEAD or TEXAS CHAIN SAW MASSACRE or something but one thing that makes it unique, he made an action movie instead of a horror movie. But he still put in a whole lot of bleeding and stabbing and screaming and dying, etc.
What if I were to tell you that there was a movie based on a story by Bruce Lee (sort of based on his zen philosophy), starring David Carradine (in multiple roles) but also featuring Christopher Lee, Roddy McDowall and Eli Wallach? And maybe I would also say it takes place in a fantasy world and Carradine plays a flute that he also uses for a weapon, and let’s say that my man James Coburn – well, he’s not in it as an actor, but being a student of Bruce Lee maybe he helped write the story. And then the screenplay was written by Sterling Silophant who wrote THE TOWERING INFERNO and crap like that. But then the director was some guy named Richard Moore who only directed that one movie. But he was cinematographer for THE STONE KILLER with Charles Bronson. But also ANNIE.
Like the character John Lithgow plays, this movie is fucking nuts. From the very beginning, you don’t know where RAISING CAIN is going, or why, or how. Maybe it’s headed in a straight path, maybe it’s about to spin out on the side of the road, toss you out the window and back over you a couple times, then take off laughing. Or maybe it will go right to your house and drop you off just like you asked, but later you’ll think you hear it jerking off outside your window. You’ll take a deep breathe and you’ll toss open the curtains but it will turn out RAISING CAIN is not there, instead there’s some guy you’ve never seen before riding a unicycle, sporting a beard made of bees. Anything could happen. You don’t really know.
I’ve seen a couple of the old Zatoichi movies and I liked them, but I was excited for this one not because it was a Zatoichi film, but because it was a TAKESHI KITANO film. The great badass laureate does his usual writing/directing/editing deal while playing the blind masseuse with the deadly cane sword.
