Well, my friends, it’s after Labor Day. Time to stop wearing white shoes according to Serial Mom, and time to wrap up the summer retrospective according to me. Some interesting movies that were released at the end of the summer include Richard Rush’s COLOR OF NIGHT (yet another legendarily hated movie at the time time, I thought it was kind of interestingly crazy when I watched it years later) and Roger Avary’s KILLING ZOE (which I’ve always sort of liked but never nearly as much as I wanted to), both released on the 19th. The 26th gave us another Tarantino-connected movie that was a huge deal at the time, Oliver Stone’s NATURAL BORN KILLERS.
I previously reviewed that one so thoroughly that I not only covered the movie, but the earlier script and the making of book, so I’m not going to rehash it much here. I do want to note that Oliver Stone was one of the directors most associated with boomer self analysis – rightly or wrongly, his movies were a big part of the way people my age conceived of the Vietnam War, the JFK assassination, and of course The Doors. But here in the summer of GUMP he was more interested in being contemporary, cutting edge, of-the-moment. I found the movie’s hyperactive collage style annoying at the time, but I can respect it more now, and it was obviously influential for other movies I initially and/or still find annoying like DOMINO and CRANK. His choice to recruit Trent Reznor to produce the soundtrack album proves that the movie is more Lollapalooza than Woodstock. It was also an early foray into cinema for the future Academy Award winning composer (though of course we all know he was in Paul Schrader’s LIGHT OF DAY in 1987, plus “Head Like a Hole” was in CLASS OF 1999 and PRAYER OF THE ROLLERBOYS and “Dead Souls” was in THE CROW).
This finale to the Summer of ’94 series will focus on a triptych of movies with this sort of generational torch passing as part of their plot. They are stories about young people and the lessons they learn from older mentors. (read the rest of this shit…)
THE HARDER THEY FALL (no relation to THE HARDER THEY COME) is one of the better movies I’ve seen this year, and definitely one of the better made-for-Netflix ones. It’s a western with an all-Black, all-star cast, and the opening title card says, “While the events in this story are fictional… These. People. Existed.”
That hand clap emoji type cadence makes me think they’re talking to doofuses who don’t know basic history and/or Mario Van Peebles’ POSSE and think there weren’t Black people in the Old West. But also They. Existed. in the sense that most of the main characters are based on – or at least named after – actual historical figures. But writer/director Jeymes Samuel and co-writer Boaz Yakin (THE PUNISHER [1989], THE ROOKIE, FRESH, FROM DUSK TILL DAWN 2, PRINCE OF PERSIA, SAFE) have no qualms about putting together people who never would’ve crossed paths, giving them totally new origin stories, killing them young in a gunfight even if they died of old age. But think of it as a LEAGUE OF EXTRAORDINARY GENTLEMAN type team-up fantasy. It’s a good western story.
Jonathan Majors (HOSTILES, DA 5 BLOODS) ably stars as Nat Love, the legendary outlaw whose tragic backstory opens the film. He’s a kid (Chase Dillon from The Underground Railroad) at the dinner table with his parents when Rufus Buck (Idris Elba, PROM NIGHT) and another guy come in, blast them away with golden pistols for some unexplained debt, and carve a cross into little Nat’s forehead. So, like Harmonica in ONCE UPON A TIME IN THE WEST or Ellen in THE QUICK AND THE DEAD, this kid’s got a pretty good revenge mission to get to when he grows up. (read the rest of this shit…)
This is another one I never would’ve watched without painting myself into a corner with this review series. It falls into the small percentage of big summer movies that I just had no interest in seeing at all. Alot of the ones I miss, like, say, PIRATES OF THE CARIBBEAN 4, I didn’t get around to seeing them, and I heard they were bad, but yeah, sure, I’d watch ’em. Probly will some day. But not this one. I wouldn’t have.
I think SAFE is easily one of Jason Statham’s best starring vehicles so far. It’s a less cartoonish tone than the TRANSPORTERs (and obviously the fuckin CRANKs) but still firmly planted in the world of action movies, where one guy if he’s tough enough can use his brains, fists and guns to take on two warring gangs and a corrupt police force. So it’s probly somewhere in between THE MECHANIC and BLITZ on the seriousness charts, but a little more fun than either of them.
I don’t know if it’s clear – I’m not talking about the Julianne Moore one, I’m talking about the Jason Statham one.
FRESH (1994) is a real underseen gem of the 1990s, a low budget crime drama about a 12 year old drug courier (Sean Nelson). His aunt calls him Michael, everybody else calls him Fresh. It opens with him going to an apartment where a lady tries to talk up her daughter Marisol to him like she wants to hook them up because she thinks he’s such a smart kid. It seems like he could be there for innocent kid business like meeting a friend to walk to school or getting paid for his paper route, but you quickly realize he’s picking up a brick of heroin and she’s trying to rip him off. He’s smarter than she assumes and he doesn’t take any of her shit, and this is the key to the character throughout the whole movie.
THE ROOKIE is a 1990 cop movie starring and directed by Mr. Clint Eastwood, that seems intent on passing the action movie torch to a new generation represented by… wait a minute, did I read this– yes, it says here represented by Charlie Sheen. From YOUNG GUNS. Huh.
But you know what, it only adds to Clint’s mystique that he so humbly shares the movie with this rookie and even allows the spotlight to shift over to him for a while while the old man is tied up in a warehouse getting raped by Sonia Braga (SPOILER). This is also the most DIRTY HARRY of Clint’s non-DIRTY HARRY pictures. In fact, it probly feels a little more DIRTY HARRY than SUDDEN IMPACT, the one actual DIRTY HARRY that he directed. (read the rest of this shit…)
Two years ago, I saw and accidentally enjoyed the 2004 movie THE PUNISHER starring Thomas Jane. It was another attempt at a movie version of some Marvel Comics Book which had once been made by none other than Dolph Lundgren. After I saw that movie, I wrote a review (see below), then I looked into the eyes of the universe and I made a solemn vow that one day maybe I would see the Dolph Lundgren version, who knows.
Well today I saw Dolph’s version and I’m here to report that it’s okay. I liked Thomas’s version the best but this one definitely has its moments. Like the 2004 one, this is definitely more in the action movie/vigilante style than some kind of Batman or Superman deal. The main comic book element is that Punisher lives in the sewers and has tunnels to bring him everywhere. Also he has a wacky sidekick who is some kind of homeless guy who always claims to be a theater actor, and who always rhymes. (read the rest of this shit…)
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Recent commentary and jibber-jabber
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Well, my friends, it’s after Labor Day. Time to stop wearing white shoes according to Serial Mom, and time to wrap up the summer retrospective according to me. Some interesting movies that were released at the end of the summer include Richard Rush’s COLOR OF NIGHT (yet another legendarily hated movie at the time time, I thought it was kind of interestingly crazy when I watched it years later) and Roger Avary’s KILLING ZOE (which I’ve always sort of liked but never nearly as much as I wanted to), both released on the 19th. The 26th gave us another Tarantino-connected movie that was a huge deal at the time, Oliver Stone’s NATURAL BORN KILLERS.
THE HARDER THEY FALL (no relation to THE HARDER THEY COME) is one of the better movies I’ve seen this year, and definitely one of the better made-for-Netflix ones. It’s a western with an all-Black, all-star cast, and the opening title card says, “While the events in this story are fictional… These. People. Existed.”
I think SAFE is easily one of Jason Statham’s best starring vehicles so far. It’s a less cartoonish tone than the TRANSPORTERs (and obviously the fuckin CRANKs) but still firmly planted in the world of action movies, where one guy if he’s tough enough can use his brains, fists and guns to take on two warring gangs and a corrupt police force. So it’s probly somewhere in between 
FRESH (1994) is a real underseen gem of the 1990s, a low budget crime drama about a 12 year old drug courier (Sean Nelson). His aunt calls him Michael, everybody else calls him Fresh. It opens with him going to an apartment where a lady tries to talk up her daughter Marisol to him like she wants to hook them up because she thinks he’s such a smart kid. It seems like he could be there for innocent kid business like meeting a friend to walk to school or getting paid for his paper route, but you quickly realize he’s picking up a brick of heroin and she’s trying to rip him off. He’s smarter than she assumes and he doesn’t take any of her shit, and this is the key to the character throughout the whole movie.
THE ROOKIE is a 1990 cop movie starring and directed by Mr. Clint Eastwood, that seems intent on passing the action movie torch to a new generation represented by… wait a minute, did I read this– yes, it says here represented by Charlie Sheen. From YOUNG GUNS. Huh.
Two years ago, I saw and accidentally enjoyed the 2004 movie 
