This year my summer review series will be a little different. I knew I had to write about the 30th anniversary of a certain culturally phenomenal event movie that gave the town of Hollywood an enema, taught us to keep bustin and set us on a path to pretty much our entire current era of entertainment. And when I looked at the other movies that came out that year it reminded me how different summer movies used to be, for better or worse. In those days they were less genre, less special effects, more straight ahead action. And it seems to me the summer of ’89 was a transitional period bridging the prevailing action movements of its decade to those of the next. So I’m going to be taking a look at 1989: The Last Summer of ’80s Action. (title pending)
Note: To help remind you and myself what it was like back then I’ll often be mentioning Billboard‘s #1 single for a particular week. For example, when RED SCORPION came out it was “She Drives Me Crazy” by Fine Young Cannibals. But the truth is that’s not what I was listening to at the time. To re-create my summer of ’89 audio experience I’d have to get a portable radio with auto-reverse tape deck and listen to a dub of It Takes a Nation of Millions to Hold Us Back over and over all day every day.
PROLOGUE
The 1980s. A time of sweaty chests and bandoliers. Half a decade after the smash success of JAWS, summer was cemented as the go-to season for mainstream crowd-pleasing movies. For the purposes of this study I’ve chosen to define summer movies as anything released from the beginning of April to the end of August – the months when kids are out of school, with some leeway at the front for Spring releases intended to play well into the summer. (read the rest of this shit…)
AQUAMAN is about a Superfriend, but it’s much more than a comic book movie. Arthur Curry (Jason Momoa, Baywatch) is the son of a lighthouse keeper (Temuera Morrison, STAR WARS II, THE MARINE 2) and the Queen of Atlantis (Nicole Kidman, BMX BANDITS). After his mom was taken away and possibly killed by her kingdom, Arthur grew up a landlubber, but with some clandestine swim and fight training by the vizier Vulko (Willem Dafoe, SPEED 2: CRUISE CONTROL). Like Arthur, the movie is a bridge between two worlds, that of an action movie and an epic fantasy. And Momoa, having been so good in BULLET TO THE HEAD and BRAVEN, but more known for Game of Thrones and CONAN THE BARBARIAN, is the perfect actor to do that.
Arthur, a.k.a. The Aquaman is a beer-stein-pounding lout and freelance swimming vigilante living in a small coastal town. In the opening he rescues the crew of a submarine from high-tech pirates – his version of stopping a grocery store or mini-mart robbery. Though he can communicate with fish, he’s your basic rowdy tough guy complete with black duster and slo-mo glory shots accompanied by rockin guitars just this side of “Bad to the Bone.” So he’s resistant to all this heir-to-the-throne-of-Atlantis shit, but by the end he’s given the beast-riding, lightning-throwing, fantasy painting god opportunity that CONAN failed to provide for Momoa. (read the rest of this shit…)
CREED was a perfect movie, a miracle that unexpectedly resurrected the ROCKY series. CREED II, coming from a different director and writers, cannot match it. But it’s a solid continuation of beloved characters from both the original series and the new one that brings them to new places in life, with some boxing, training montages and dramatic music in between. Kinda like ROCKY II.
And of course there are other parallels. Adonis (Michael B. Jordan, RED TAILS) becoming champ, getting married and becoming a father, and also being embarrassed to be seen by the media while coming out of the hospital all beat up. But he doesn’t get a tiger jacket, so it’s not a remake of ROCKY II. Mostly it’s a direct sequel to CREED and ROCKY IV.
Before they ever even announced a CREED II, you and I and everybody else were dreaming of the same thing: a sequel where Adonis meets the man who killed his father in the ring, Ivan Drago, and has to fight his son. It’s one of those things that’s so obvious that they sort of had to do it. If the sequel was about anything else, no matter how exciting, you’d just think “Yeah, but why not Ivan Drago?” (read the rest of this shit…)
“Are you mental, brov? She just bashed a man’s skull in. It’s a fuckin devil woman, brov! I don’t want none of it!”
You’ve seen me rave about the martial artist Amy Johnston, her movie LADY BLOODFIGHT, and her supporting role in ACCIDENT MAN. This is her other starring vehicle which going by the order of the IMDb listings, she must’ve filmed shortly before was filmed a while after LADY BLOODFIGHT (both have a 2016 release date). There are many ways it’s not as good as the other movie, which I’ll get into, but I think I loved it almost as much. It has tons of DTV personality and probly the best showcase of Johnston’s acting skills so far.
The DVD I bought calls it FEMALE FIGHT SQUAD, but it seems to have started life as FEMALE FIGHT CLUB. I’m guessing they didn’t want people to go in expecting a FIGHT CLUB remake with Kristen Wiig as Narrator and Melissa McCarthy as Tyler Durden. They’d be disappointed.
The director is Miguel Ferrer (no relation), who has otherwise just done a bunch of shorts. He co-wrote it with Anastazja Davis (DISCONNECTED).
Johnston plays Becca, who’s hit a rough stretch of road. On one hand her dad is Dolph Lundgren – that’s awesome. On the other hand he’s in prison for killing some dudes. We know she’s tough because of a flash-forward to “the final round of the bi-annual free-fighting championships,” where she’s introduced as “a myth, an urban legend, right here before your very own eyes: Bex ‘The Beast’ Holt!” But also we know she’s sweet, because she works at a dog shelter, saving money for her dream of moving to Africa and working for some kind of wildlife preserve there (see: theory of badass juxtaposition). (read the rest of this shit…)
Lately I’ve been talking up Cung Le, the Vietnamese-American MMA legend turned movie martial artist who has had really impressive supporting roles in FIGHTING, BODYGUARDS AND ASSASSINS, THE MAN WITH THE IRON FISTS, THE GRANDMASTER, SAVAGE DOG and recently SECURITY. I love his stoic performances, unique sledge hammer fighting style and unusually compact body type, and I don’t think he’s gotten enough credit for his work.
So far there are a couple of Le starring vehicles, and if you’re only going to watch one, for God’s sake choose John Hyams’ DRAGON EYES (2012), a sort of loose contemporization of YOJIMBO with Jean-Claude Van Damme in a supporting role. But if you, like me, are also willing to watch a not as good Cung Le vehicle, I offer you PUNCTURE WOUNDS from 2014. (read the rest of this shit…)
You and I, obviously we rented RIOT because Dolph Lundgren is on the cover. But we will quickly learn that this is a Matthew Reese Films presentation starring Matthew Reese as Jack Stone.
As you could guess from his name, Jack Stone was an amazingly awesome and legendary cop before a bank robbery and killing of a fellow officer (seen in fragmented flashbacks) put him behind bars. The guards (who wear full body armor and goalie masks) taunt him and the inmates threaten him, except for one tall shy guy with a mop. That’s William, played by Dolph. He hunches over, winces, mumbles, acts scared. But he immediately looks out for Jack. If Jack gets jumped he’ll leap in and beat up a guy with a mop handle if necessary.
Actually there’s one other guy who likes Jack, in a part I didn’t understand. When Jack’s cellmate (ex-football player Seante Williams) first finds him in the cell he starts threatening him, but then recognizes him and smiles. “Jack, right?” He introduces himself as Silva and gives him his choice of top or bottom bunk! Toward the end of the movie a giant muscular blond, like a new model of Dolph, who has been set up as a major threat, comes to kill Jack, and Silva flies in with a Superman punch and takes care of the guy for him.
I don’t know, maybe Silva’s supposed to be some undercover guy planted there to help him? Might as well be, it seems like everybody else in here is. Jack purposely pleaded guilty to get into the prison where his wife’s killer is. William, we find out, is an FBI agent who has been inside for 6 months to look into corruption at the prison (talk about a shitty gig!) and he also has a partner in there who is also undercover. (read the rest of this shit…)
“Okay, I understand that, but Jack you need to realize that your sunglasses are the only protection you have from all the white out there.”
It wasn’t part of the original plan, but as I was re-watching the American John Woo movies I realized I had to revisit this 1998 USA Networks TV movie (and unfulfilled backdoor pilot), even though I did an okay job reviewing it long ago. I’ve recently had good luck recommending it to a couple people who never heard of it, but I hadn’t seen it myself in 11 years. Fortunately this thing (shot right after FACE/OFF) holds up as an absurd and entertaining Dolph Lundgren vehicle that transcends its cheapo format.
Dolph plays Jack Devlin, a world class bodyguard who seems to work out of Reno. In the opening he agrees to a favor for an old friend who owns a casino and needs him to protect his little girl Casey (Padraigin Murphy) from the mob. She calls him “Uncle Jack,” which I took literally this time, but my research tells me that they’re not actually related.
It goes down kind like in TAKEN, where the kids get to Europe and are immediately kidnapped. Here gunmen arrive about 30 seconds after Jack walks into the house with Casey. He’s checking the rooms upstairs when they come in. (read the rest of this shit…)
Which is stranger: that a legit, best-picture winning sports drama like ROCKY would eventually have a part IV that was this ridiculous, or that such a part IV could still stand apart from the series as a classic of a totally different kind? IV goes all in on the Reagan-and-MTV glitz of part III, crafting a preposterous Cold War face-off with so many song montages in the second half it almost qualifies as a rock musical. In fact, the whole sound of the movie is different because I-III composer Bill Conti and his inspirational brass section are replaced with a cool synth score by Vince DiCola (TRANSFORMERS: THE MOVIE) that was “one of the first to exploit the Fairlight CMI and Synclavier II computers’ sequencing capabilities” according to DiCola’s websight. I guess that’s fitting for the ROCKY where the first new scene is about Rocky giving Paulie a robot for his birthday. The robot will occasionally pop up to force Apollo or Rocky’s driver to barely suppress a “these crazy white people” look, or to be used as a boombox. So if you were hoping III was a fluke, and that this one will be gritty again, I got bad news.
It’s tradition to replay part of the fight from the end of the previous movie. This one not only reminds us of the fight with Clubber Lang, but also the private, no witnesses rematch between Apollo and Rocky. Of course it was ambiguous like the Toretto-O’Connor rematch, or King Kong vs. Godzilla or Freddy vs. Jason, it froze just as they were swinging at each other. But now for the sequel they’re replaying it, so we must be about to finally find out who– ah, never mind. Freeze frame again. I’m not sure why they had to replay that.
When we talk about JOHNNY MNEMONIC now it’s usually with a smirk. Rapid advances in the technology that it speculated about have made some of its vision of 2021 goofily dated. Star Keanu Reeves (BRAM STOKER’S DRACULA) was still solidifying as an action star and brought a funny surfer dude lilt to his slick underworld messenger character Johnny. And even at the time it was considered a failed moviefication of William Gibson’s “cyberpunk” style of sci-fi, which had a strong reputation as a cool, edgy type of literature as opposed to the old timey painted cover fantasies of previous eras. But they turned it into what was seen as some cheesy Hollywood bullshit.
Since the mid ’80s, tales have been told of the brave souls trying to adapt Gibson’s debut novel Neuromancer into a major motion picture (directors attached have included Chuck Russell, Chris Cunningham, Joseph Kahn and Vincenzo Natali). But this short story adaptation, directed by installation artist/occasional music video director Robert Longo and written by Gibson himself, beat it to the screen by 20 years and counting. They just had to replace the mirror-eyed “razor girl” character Molly Millions in the story with the regular-eyed Jane, because Molly was tied up with the rights for Neuromancer, since she’s in that too.
Gibson and Longo originally set out to make a $1.5 million black and white sci-fi noir, but couldn’t get the funding, so they agreed to a $20 million version with TriStar Pictures, whose other productions that year were THE QUICK AND THE DEAD, HIDEAWAY, 3 NINJAS KNUCKLE UP, JURY DUTY, MAGIC IN THE WATER, DEVIL IN A BLUE DRESS, NEVER TALK TO STRANGERS and JUMANJI. As artistic types and Hollywood rookies they may have been out of their depth trying to make a summer blockbuster with the star of SPEED, and Longo didn’t get his cut anyway. It turned out undeniably messy. (read the rest of this shit…)
SKIN TRADE (actually written as SKINTRADE on screen) is the long-awaited passion project of Dolph Lundgren, who produced and wrote the screenplay with Gabriel Dowrick (an editor and sometimes director) and Steven Elder (an actor who was in GALLOWWALKERS). Over the years Dolph had sometimes planned to direct it himself, sometimes not to act in it, at one point possibly to have Steven Seagal co-star. Eventually he handed over the reins to Ekachai Uekrongtham, director of BEAUTIFUL BOXER and PLEASURE FACTORY, which is about the sex industry in Singapore. To Dolph SKIN TRADE is an attempt to raise awareness about the problem of sex trafficking. For me it is an achievement in having a movie that stars Dolph Lundgren, Tony Jaa and Michael Jai White.
Dolph plays Nick Cassidy, an NYPD detective who gets himself into trouble by gunning down Serbian gangster Dragovic (Ron Perlman, sort of reprising his character from POLICE ACADEMY: MISSION TO MOSCOW)’s prettiest son two seconds after he yells “I will prove to you… I AM MY FATHER’S SON!”
Just another day on the job, you would think, but next thing you know some dudes fire an RPG into Nick’s living room window and he wakes up in the hospital with the side of his face melted and no wife or daughter in his burned down house.
Meanwhile Tony Jaa plays Tony, an undercover cop on a crusade against Dragovic’s sex slavery ring in Cambodia and Thailand. We first meet him wearing a nice suit and being threatened at gunpoint to have sex with a young kidnapped child. He fakes like he’s gonna do it but instead he pulls out his belt to use as a weapon to beat up every sorry sex slaving piece of garbage in the room and dangle their cowering leader (Gigi Velicitat, ELEPHANT WHITE, THE MARINE 2, STREET FIGHTER: THE LEGEND OF CHUN LI) off the side of the building until he tells them where their next shipment of human cargo is headed. And then he drops him anyway. The guy probly shouldn’t have offered him that freebie on sex slaves in my opinion. That was his mistake. (read the rest of this shit…)
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VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
This year my summer review series will be a little different. I knew I had to write about the 30th anniversary of a certain culturally phenomenal event movie that gave the town of Hollywood an enema, taught us to keep bustin and set us on a path to pretty much our entire current era of entertainment. And when I looked at the other movies that came out that year it reminded me how different summer movies used to be, for better or worse. In those days they were less genre, less special effects, more straight ahead action. And it seems to me the summer of ’89 was a transitional period bridging the prevailing action movements of its decade to those of the next. So I’m going to be taking a look at 1989: The Last Summer of ’80s Action. (title pending)
Note: To help remind you and myself what it was like back then I’ll often be mentioning Billboard‘s #1 single for a particular week. For example, when RED SCORPION came out it was “She Drives Me Crazy” by Fine Young Cannibals. But the truth is that’s not what I was listening to at the time. To re-create my summer of ’89 audio experience I’d have to get a portable radio with auto-reverse tape deck and listen to a dub of It Takes a Nation of Millions to Hold Us Back over and over all day every day.
AQUAMAN is about a Superfriend, but it’s much more than a comic book movie. Arthur Curry (Jason Momoa, Baywatch) is the son of a lighthouse keeper (Temuera Morrison, 
CREED
“Are you mental, brov? She just bashed a man’s skull in. It’s a fuckin devil woman, brov! I don’t want none of it!”
a.k.a. A CERTAIN JUSTICE
You and I, obviously we rented RIOT because Dolph Lundgren is on the cover. But we will quickly learn that this is a Matthew Reese Films presentation starring Matthew Reese as Jack Stone.
“Okay, I understand that, but Jack you need to realize that your sunglasses are the only protection you have from all the white out there.”
It wasn’t part of the original plan, but as I was re-watching the American John Woo movies I realized I had to revisit this 1998 USA Networks TV movie (and unfulfilled backdoor pilot), even though I did an okay job 
“Yo, can you turn your robot down?”
SKIN TRADE (actually written as SKINTRADE on screen) is the long-awaited passion project of Dolph Lundgren, who produced and wrote the screenplay with Gabriel Dowrick (an editor and sometimes director) and Steven Elder (an actor who was in 
