HAVOC is the long-anticipated, straight-to-Netflix fifth film of Gareth Evans, director of the 21st century classic THE RAID. It contains plenty of the brutal, incredible action you’d hope for from such an artist, but it’s a different type of movie, an atmospheric and stylized (but also ridiculously violent) noir about a deadbeat homicide detective whose claim to heroism is that he’s the one guy in a circle of corrupt cops who felty guilty after they executed an undercover cop during a robbery. Now he has no friends or family and he does dirty deeds for a powerful real estate mogul but if he performs this one difficult task he can be out from under his thumb forever. And in the process he might sort of do the right thing for once.
His name is Patrick Walker (Tom Hardy, THE DROP), and he’s introduced buying his daughter (Astrid Fox-Sahan, Young Wallander) last minute Christmas gifts at a mini-mart, then being annoyed that the clerk won’t wrap them for him. So we get it when his wife (Narges Rashidi, UNDER THE SHADOW) won’t let him come over. (I’m unclear if this starts on Christmas Eve, actual Christmas, or what.) (read the rest of this shit…)
I don’t usually post on Fridays, but here is my second one today, because I got two last stocking stuffers for you before the holiday weekend. Here are reviews of two Christmas related shorts, one horror, one crime (sorta). Pretty obscure ones, but both worth checking out.
First up is THE PRESENT, which is a 2005 episode of a Japanese anthology show called Kazuo Umezz’s Horror Theater (released on DVD as part of Horror Theater 3). The titular Kazuo Umezu (the spelling varies) is a famous author of horror manga, as you can guess by the art laid over the introduction to the show, so this is an adaptation of one of his stories. He’s been around long enough that the 1968 movie THE SNAKE GIRL AND THE SILVER-HAIRED WITCH is based on his comics too.
THE PRESENT filters the classic American form of the killer Santa movie through a more Japanese (and specifically manga) style of fucked-upness. It’s about a little girl named Yuko (Kiyo Ôshiro) who wakes up on Christmas Eve, terrified by a nightmare about Santa. She has a Christmas tree in her room and a stocking on her bedpost – I’m not sure if that’s how they do it in Japan, or if it’s weird. But her parents comfort her and tell her to go back to sleep and she’ll get presents because she’s a good girl (though “if you do bad things he’ll come and get you.”) (read the rest of this shit…)
We’re mostly agreed these days that BAD SANTA is a timeless Christmas classic, right? I have friends and loved ones who it’s too mean for, and it got brutal critical reception at the time, done no favors by Miramax insisting on more ball punching and shit so the theatrical and “BADDER SANTA” cuts could fit some lowbrow comedy marketing strategy that must’ve worked for them on SCARY MOVIE or something. The superior director’s cut has been available for years now, and now I watch that and mourn the loss of one dumb joke from the theatrical ending:
But in any of its incarnations, BAD SANTA makes me laugh so much and channels so much of my most negative thoughts that it’s one of the few movies I can watch once a year without getting tired of it. Willie (Billy Bob Thornton, THE MAN WHO WASN’T THERE) is a funny asshole for the ages, a burnt out piece of shit full of self-loathing and even more full of loathing-others. His caustic wit and self-destructive behavior died for our sins, transforming humanity’s worst tendencies into wise ass Yuletide fuck yous both deserved and undeserved, but in a forum where no one can be hurt. He uses his asshole powers for good in his dealings with treacherous Marcus (who can dish it out too) or Bernie Mac’s quietly scheming “store dick.”
After so many viewings I sometimes find myself teary-eyed at Willie’s realization that Thurman (Brett Kelly, TRICK ‘R TREAT) cut himself while carving his weird Christmas gift, and at his attempt to return the favor before being gunned down by police. The smallness of the gesture to me makes it more authentic and in turn puts this jerk in line with more severe holiday transformations like Scrooge‘s or The Grinch’s. (read the rest of this shit…)
CASH ON DEMAND is a 1961 Christmas crime movie that I learned about from that Yuletide Terror book I keep mentioning. Though the book is about Christmas-themed horror movies they included this crime one because it’s a Hammer production starring the great Peter Cushing. Apparently he didn’t want to get stuck only playing Dr. Frankenstein and Van Helsing and shit, so the studio threw him a bone.
It’s a simple story with only a handful of characters, entirely limited to a couple locations inside and just in front of a small town bank. I thought it might be based on a play, with the black and white photography and the snow falling outside the window adding a very cinematic atmosphere. It was in fact a remake of a television episode by the same director, Quentin Lawrence (THE TROLLENBERG TERROR, THE SECRET OF BLOOD ISLAND). I guess that makes sense too. (read the rest of this shit…)
“I can take care of things. That’s all you need to know.”
In WILD CARD, Jason Statham plays Nick Wild (seriously), a legendary special ops badass who now works as an all purpose “security consultant” for hire. That’s not going well for him, though. He shares his office with a lawyer (Jason Alexander from THE BURNING) on the strip mall outskirts of Vegas, most of his friends seem to be prostitutes, hotel maids, gangsters or casino employees, and he gets such glamourous gigs as getting fake beat up by Vinnie from Doogie Howser to impress a Sofia Vergara. It’s hard to bask in your own greatness when you’re such a fucking loser. So in that sense this is less like THE TRANSPORTER and more like REDEMPTION (where he starts out as a homeless crackhead).
He gets a couple “Just how badass is he?” speeches, but one of them is by himself, and ends with “And I lie alot.” As cool as this guy is – his name is Nick Wild, for God’s sake! – everybody knows he’s a fuckup, and this is underlined by casual comments about the mediocre value of his life. When a friend wants him to get involved in something dangerous and he asks “What if they kill me?” she says “I’ll be miserable for days.” Not years, not months, days. Later a gangster wants to hear his side of the story before killing him just because if he was innocent of what he was accused of “I would feel dreadful.”
If some of this sounds familiar that’s because it’s a remake of HEAT. Not the one by Michael Mann, the 1986 one with Burt Reynolds and based on the book by William Goldman. It counts as a remake though because they re-used Goldman’s old script with just a few tweaks, like Van Sant did with PSYCHO. (In fact, Anne Heche is even in this. But not Vince Vaughn) They changed his name from Nick Escalante and added references to his Britishness. He says “mum” in one part. And I noticed big changes in the action parts (I missed a trick Burt did to light a guy on fire, and a scene where he torments a guy in the dark). But mostly, from what I could remember, it’s scene-for-scene the same. (read the rest of this shit…)
In MONEY TRAIN that legendary comedy duo of Wesley and Woody play John and Charlie, brothers who are both New York City transit cops who play by their own rules. They get into fist fights with other cops (for example over the fatal shooting of a guy who only snatched a chain), Woody has a gambling addiction, and when they chase a suspect onto the tracks it slows down the train that delivers the apparently millions of dollars of subway fare, getting them on the shit list of Captain Patterson (Robert Blake, Our Gang).
Then they get assigned a new partner. Somebody who’s uptight and doesn’t like their methods, right? No, actually she’s really cool, works well with them and even hangs out with them at the bar after work. The trouble is she’s Jennifer Lopez, so they fight over her.
As I mentioned a month or two ago, frequent outlawvern.com commenter Franchise Fred Topel hooked me up to write some posts for this thing called Fanhattan. It’s… something to do with streaming movies, but their blog/interface/thing has lots of movie news and features and stuff. And their official editorial policy is against “snark,” so I like that.
Check it out, and maybe if you’re so inclined write some comments with your own Christmas crime recommendations or whatever. It would make me look good.
I thought BLACK SANTA’S REVENGE was gonna be a real (but super low budget I’m sure) movie. Turns out it’s a 20 minute short (“mini epic” the credits say) shot by some dudes in Portland, Oregon. The writer/director David Walker is the guy that started the zine-turned-websight BadAzz MoFo, which I’m sure some of you are familiar with because of their coverage of blaxploitation and spaghetti westerns. (read the rest of this shit…)
IN BRUGES is an intimate crime story about two hitmen – I know, but hear me out – forced to stay in the titular Belgian town while things cool down after a job gone wrong. Ken (Brendan Gleeson) is the veteran who’s happy to take advantage of the down time to relax and look at tourist spots, Ray (Colin Farrell) is his young partner who has no interest and pouts like a kid dragged along on the wrong vacation. He’s also the one that fucked up the job and is racked with guilt and depression. (read the rest of this shit…)
In the popular song and cartoon RUDOLPH THE RED-NOSED REINDEER, “reindeer games” are the fun group activities that all the popular reindeers enjoy but Rudolph is excluded from due to his low social caste. In the movie REINDEER GAMES the character “Monster” (Gary Sinise) uses it as a synonym for “funny business,” something that he threatens Rudy (Ben Affleck) not to participate in. This misuse of Christmas terminology doesn’t bother Rudy or probly occur to him, but it does bug him when Clarence Williams III keeps referring to “Santa’s dwarves.” So he does have a certain amount of respect for Christmas tradition.
REINDEER GAMES is not a Christmas movie in the sense that it’s about Christmas, or about somebody coming to a realization about the meaning of Christmas, at least not a very convincing one. But I can guarantee you this much: it takes place in December, with a heist planned for Christmas Eve, and with the participators all dressed as Santa Claus. So there are some discussions of cranberries and what not. Maybe a mention of sugar plums, I can’t remember for sure. (Have you ever had sugar plums? They’re actually really fuckin good. I wish I knew a place that sold them. I might have visions of them dancing in my head now that I remembered them.) (read the rest of this shit…)
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Recent commentary and jibber-jabber
Peter Campbell on Last Bullet: “I enjoyed this film but I liked the other two more. The first two thirds in story felt clunky and…” May 15, 02:43
Borg9 on Last Bullet: “First: I loved this and I have loved the entire series. BUT about that “previously” recap: while I definitely needed…” May 15, 02:39
Franchise Fred on Last Bullet: “I also forgot the plot of Lost Bullet 2 so much so I thought Areski was the hero until Lino…” May 15, 00:09
Adam C aka TaumpyTearrs on Last Bullet: “Gotcha, I misinterpreted your “momentary” to mean for the rest of that short sequence. My memory of that particular moment…” May 14, 23:46
Franchise Fred on Thunderbolts*: “That’s fair, Skani. You and Vern also seem to remember her role in Black Widow which I didn’t until she…” May 14, 23:42
VERN on Last Bullet: “Yes, they continue to fight each other, but at the beginning when the doors close the first thing they do…” May 14, 21:19
JTS on Last Bullet: “They definitely do *not* team up to fight Lino. The chaos was the coolest part of it, it was truly…” May 14, 21:06
Adam C aka TaumpyTearrs on Last Bullet: “I think the first one was the best movie overall as a tight, propulsive plot with unexpectedly awesome action. The…” May 14, 20:57
JTS on Last Bullet: “This was terrific, a worthy conclusion to a fantastic trilogy of underseen action movies. I did wish there was another…” May 14, 18:53
Skani on Thunderbolts*: “SPOILER-ADJACENT – Even so, Fred, and with all respect to the actress, from a narrative perspective, I just think it…” May 14, 04:42
Franchise Fred on Thunderbolts*: “Olga doesn’t want to do long shoots anymore. She has a son and set a limit of 10 days she’ll…” May 14, 00:23
Skani on Thunderbolts*: “There are 4 or 5 movies I’d have sooner seen than this, but the boys wanted to see it, so,…” May 13, 20:24
Johnny Cake on On the Count of Three: “Maybe you will also like the movie GOODBYE SOLO (2007) which has similar themes.” May 12, 23:37
Adam C aka TaumpyTearrs on Lost Bullet 2: “I second most of what KayKay said. The economy of storytelling and momentum I admired so much in the first…” May 12, 21:12
Skani on Trap: “Finally caught up with this one and kinda loved it. My experience pretty much mirrors Vern’s. I had a little…” May 12, 19:44
HAVOC is the long-anticipated, straight-to-Netflix fifth film of Gareth Evans, director of the 21st century classic THE RAID. It contains plenty of the brutal, incredible action you’d hope for from such an artist, but it’s a different type of movie, an atmospheric and stylized (but also ridiculously violent) noir about a deadbeat homicide detective whose claim to heroism is that he’s the one guy in a circle of corrupt cops who felty guilty after they executed an undercover cop during a robbery. Now he has no friends or family and he does dirty deeds for a powerful real estate mogul but if he performs this one difficult task he can be out from under his thumb forever. And in the process he might sort of do the right thing for once.
I don’t usually post on Fridays, but here is my second one today, because I got two last stocking stuffers for you before the holiday weekend. Here are reviews of two Christmas related shorts, one horror, one crime (sorta). Pretty obscure ones, but both worth checking out.
THE PRESENT filters the classic American form of the killer Santa movie through a more Japanese (and specifically manga) style of fucked-upness. It’s about a little girl named Yuko (Kiyo Ôshiro) who wakes up on Christmas Eve, terrified by a nightmare about Santa. She has a Christmas tree in her room and a stocking on her bedpost – I’m not sure if that’s how they do it in Japan, or if it’s weird. But her parents comfort her and tell her to go back to sleep and she’ll get presents because she’s a good girl (though “if you do bad things he’ll come and get you.”) 
We’re mostly agreed these days that 
CASH ON DEMAND is a 1961 Christmas crime movie that I learned about from that 
“I can take care of things. That’s all you need to know.”
“You know, we are not getting along.”
As I mentioned a month or two ago, frequent outlawvern.com commenter Franchise Fred Topel hooked me up to write some posts for this thing called Fanhattan. It’s… something to do with streaming movies, but their blog/interface/thing has lots of movie news and features and stuff. And their official editorial policy is against “snark,” so I like that.
I thought BLACK SANTA’S REVENGE was gonna be a real (but super low budget I’m sure) movie. Turns out it’s a 20 minute short (“mini epic” the credits say) shot by some dudes in Portland, Oregon. The writer/director David Walker is the guy that started the zine-turned-websight 
IN BRUGES is an intimate crime story about two hitmen – I know, but hear me out – forced to stay in the titular Belgian town while things cool down after a job gone wrong. Ken (Brendan Gleeson) is the veteran who’s happy to take advantage of the down time to relax and look at tourist spots, Ray (Colin Farrell) is his young partner who has no interest and pouts like a kid dragged along on the wrong vacation. He’s also the one that fucked up the job and is racked with guilt and depression.
In the popular song and cartoon RUDOLPH THE RED-NOSED REINDEER, “reindeer games” are the fun group activities that all the popular reindeers enjoy but Rudolph is excluded from due to his low social caste. In the movie REINDEER GAMES the character “Monster” (Gary Sinise) uses it as a synonym for “funny business,” something that he threatens Rudy (Ben Affleck) not to participate in. This misuse of Christmas terminology doesn’t bother Rudy or probly occur to him, but it does bug him when Clarence Williams III keeps referring to “Santa’s dwarves.” So he does have a certain amount of respect for Christmas tradition.
