More like CLEAR AND PRESZZZZzzzzzzz, am I right, guys?
Oh, am I wrong? Maybe I’m wrong. I’m not the best judge, because I’m a heathen when it comes to Jack Ryan. My dad loved Tom Clancy books, my wife and many of my friends consider THE HUNT FOR RED OCTOBER to be one of the all time greats, many people love this character, I just think that gene skipped me. But here we are most of the way through our revisit of the summer of ’94 and it feels like we’re low on traditional blockbusters, so I was kind of excited to see CLEAR AND PRESENT DANGER. There are plenty of things to like about it, especially when discussing it, but unfortunately I found it mostly dull to watch compared to PATRIOT GAMES, which I somewhat enjoyed and respectfully labelled “Adult Contemporary Action.”
This, too, is for the older folks that want some of the fantasy of Exceptional Men Who Get Shit Done but without the classless excess of flying kicks or other cool shit. It begins by massaging the Adult Contemporary Action erogenous zones, showing people in uniforms operating various types of machinery on a submarine and a US Coast Guard vessel. The inciting incident is the Coast Guard boarding a suspicious yacht in the Caribbean and discovering its American businessman owner has been murdered by Colombians. Jack Ryan (Harrison Ford between THE FUGITIVE and SABRINA) is a CIA analyst who looks into it and discovers the American got offed by a cartel because he was laundering money for them and tried to embezzle some. (read the rest of this shit…)
I’d never seen this one before, and from the title I always thought it was a thriller about police corruption. I guess I had only seen the tough guy poster on the DVD and blu-ray, and not the theatrical one that looks like SLEEPLESS IN SEATTLE or something.
I think there is some subtle commentary about policing early in the movie, which I will go into, but for the most part it’s not about that. Instead this movie – which was only the fifth release from Disney’s not-for-kids label Hollywood Pictures – really is a fusion of the type of vibe of those two posters. It’s a gritty police/crime thriller about a cop whose partner gets killed, but in addition to going after the people he considers responsible, he and his wife take care of and then try to adopt the dead partner’s three adorable daughters. The amount of screen time and sincerity it puts into the second part is very unusual, so although this is in many ways not my type of movie, I respect its bold mix of genres. (read the rest of this shit…)
In his latest vehicle, the King of DTV Action Scott Adkins plays “Lucian / Strong Zealot,” the right (or possibly left) hand man to a dark master of mystical world-bending sorcery magic spell power beams named Kaecilius (Mads Mikkelsen, VALHALLA RISING). Kaecilius was once a student of The Ancient One (international martial arts superstar Tilda Swinton, CONSTANTINE) but now suspects she is siphoning dark magic to extend her life and therefore steals a magic ritual from a special book of ancient something something, etc. So Lucian / Strong Zealot and another person are sent after The Ancient One’s new student Dr. Stephen Strange (Benedict Cumberbatch, WAR HORSE) to try to destroy his magic apartment in New York and they have a fight in a hospital where they’re both ghosts but it’s kind of weird because (SPOILER IN FIRST PARAGRAPH OF REVIEW) Benedict Cumberbatch defeats Scott Adkins.
And Scott Adkins as “the ghost of one of the minions.”
Okay, the truth is this is not a Scott Adkins movie. His character is small enough that when his big scene is described in an Entertainment Weekly article they don’t bother to credit him. It’s weird that as Marvel Studios continue to build this vast universe of re-usable characters they chose to use
1) Idris fucking Elba as “magic bridge operator”
2) Ray god damn Stevenson as “one of Thor’s friends that he has back home”
In SNITCH, Benjamin Bratt (CATWOMAN) plays El Topo, a notorious ex-military badass who leads a Mexican drug cartel. He’s elusive to the authorities, preferring to stay back in a car and watch his underlings from afar, but when the shit goes down he’s the first to pull out a huge gun that looks like it should be mounted to a jeep. He’s very dangerous, especially to the naive Americans who he convinces to drive his drugs across the border. What they don’t understand is they don’t need to be working on a playlist for the drive back.
The obvious question: is this supposed to be a loose remake of EL TOPO, or a sequel, or what? I gotta go with prequel. At the end of EL TOPO El Topo (originally played by Alejandro Jodorowsky) had achieved enlightenment, gone underground and become a Saint. It just doesn’t follow that he would then become a cartel leader. Instead, SNITCH shows how the El Topo we first met riding through the desert with his young son came from a troubled background. It gives him all the more darkness to be redeemed from, retroactively adding more depth to Jodorowsky’s film. (read the rest of this shit…)
Isn’t DEMOLITION MAN a weird one? Sci-fi/action moosh up, Sylvester Stallone plays cryogenically frozen supercop Jack Spartan, cryogenically unfrozen Captain America style to capture his arch-nemesis Simon Phoenix (Wesley G.D. Snipes) in a jokey future society of wimps.
Spartan is a typical non-iconic Stallone character – mumbly, down-to-earth, see-through-the-bullshit everyman, except when he goes into battle, then he’s so prone to blow shit up that he’s nicknamed Demolition Man against his wishes.
John Travolta plays Scott Barnes, a social worker who plays by his own rules. He was a rich investment banker or something until 4 years ago his son died of a drug overdose. He blamed himself and his alcoholism so he quit drinking and took this job. Of course, you know how it is: red tape, the fuckin bureaucrats, etc. He has to break the rules and defy orders from his asshole boss just to help out sad old men and endangered kids and stuff. Nobody else seems to give a shit and his boss is always looking for an excuse to take away his gun and badge, or whatever. “BARNES! IN MY OFFICE. NOW!” (read the rest of this shit…)
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Recent commentary and jibber-jabber
Muh on Weapons: “I’m with Dread, the ending was amazing. Everyone I know who’s seen it has loved that sheyit. I simply threw…” Oct 28, 21:10
Skani on Weapons: “SPOILERS……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… Amy Madigan’s death fell flat for me. I appreciated the symmetry and karma of it all, but I thought…” Oct 28, 19:13
Dreadguacamole on Weapons: ““I didn’t care for it. It’s a lot of buildup for not a whole lot of payoff” I dunno. There…” Oct 28, 17:58
Skani on Weapons: “SPOILERS The mystery and general world-building in GET OUT are both much better. WEAPONS sets itself up as a sort…” Oct 28, 15:55
BuzzFeedAldrin on It Chapter Two: “For all of you turtle freaks out there, the miniseries Welcome to Derry seemingly goes out of its way to…” Oct 28, 09:07
Muh on Bring Her Back: “I had REALLY thought she was going to suceed and the daughter was going to turn away from the mother…” Oct 28, 08:33
Muh on Weapons: “I’m sure the cops DID triangulate, but they had already done a search of the house in question and found…” Oct 28, 08:30
Mr. Majestyk on Weapons: “Having slept on it, I’ve decided to leaven my criticism a little. It is watchable. I did not feel like…” Oct 28, 08:20
MaggieMayPie on It Chapter Two: “CJ it’s funny that you mention the tv miniseries alongside Twin Peaks because those are the two things that after…” Oct 28, 06:45
CJ Holden on It Chapter Two: “BTW, I do think that the TV version still holds up. Well, “holds up”. When it came out, it seemed…” Oct 28, 01:45
Adam C aka TaumpyTearrs on Skinned Deep: “I read this review last year, filed it away on my watchlist, and forgot as much as possible in the…” Oct 28, 00:53
Mr. Majestyk on Other: “Filming a zombie outbreak in one shot is a lot easier when said outbreak consists of one person at a…” Oct 27, 20:19
Mr. Majestyk on Weapons: “I’d almost convinced myself I was going to like this one, but sadly, I didn’t care for it. It’s a…” Oct 27, 19:37
Comrade Question on It Chapter Two: “IT was a super fun time in the theater with a crowd. IT HARDER was a good movie to watch…” Oct 27, 18:43
Comment_about_dickshot on Bad Lieutenant: “Ya want a comment? I’ll give ya a comment. This movie really has one of the all time dick shots…” Oct 27, 18:26
August 3rd, 1994
May 3, 1991
I think there is some subtle commentary about policing early in the movie, which I will go into, but for the most part it’s not about that. Instead this movie – which was only the fifth release from Disney’s not-for-kids label Hollywood Pictures – really is a fusion of the type of vibe of those two posters. It’s a gritty police/crime thriller about a cop whose partner gets killed, but in addition to going after the people he considers responsible, he and his wife take care of and then try to adopt the dead partner’s three adorable daughters. The amount of screen time and sincerity it puts into the second part is very unusual, so although this is in many ways not my type of movie, I respect its bold mix of genres. 
In his latest vehicle, the King of DTV Action Scott Adkins plays “Lucian / Strong Zealot,” the right (or possibly left) hand man to a dark master of mystical world-bending sorcery magic spell power beams named Kaecilius (Mads Mikkelsen, 
In SNITCH, Benjamin Bratt (CATWOMAN) plays El Topo, a notorious ex-military badass who leads a Mexican drug cartel. He’s elusive to the authorities, preferring to stay back in a car and watch his underlings from afar, but when the shit goes down he’s the first to pull out a huge gun that looks like it should be mounted to a jeep. He’s very dangerous, especially to the naive Americans who he convinces to drive his drugs across the border. What they don’t understand is they don’t need to be working on a playlist for the drive back.
Isn’t DEMOLITION MAN a weird one? Sci-fi/action moosh up, Sylvester Stallone plays cryogenically frozen supercop Jack Spartan, cryogenically unfrozen Captain America style to capture his arch-nemesis Simon Phoenix (Wesley G.D. Snipes) in a jokey future society of wimps.
John Travolta plays Scott Barnes, a social worker who plays by his own rules. He was a rich investment banker or something until 4 years ago his son died of a drug overdose. He blamed himself and his alcoholism so he quit drinking and took this job. Of course, you know how it is: red tape, the fuckin bureaucrats, etc. He has to break the rules and defy orders from his asshole boss just to help out sad old men and endangered kids and stuff. Nobody else seems to give a shit and his boss is always looking for an excuse to take away his gun and badge, or whatever. “BARNES! IN MY OFFICE. NOW!” 
