John Frankenheimer’s RONIN is a movie that kicked my ass in a multiplex in the year 1998 A.D. The thing that really stuck in my head about it was the car chases, of course – specifically the one where they end up going the wrong way in a tunnel. But I also remembered it being very tough and smart, I was pretty confident it would hold up, and man was I right. This is a ’90s classic. But timeless.
The title is a metaphor comparing former intelligence agents and soldiers to masterless samurai. It’s about a group of them, apparently serving no higher cause, just letting whoever-the-fuck hire them for their particular set of skills. Sam (Robert De Niro between GREAT EXPECTATIONS and ANALYZE THIS) is a former CIA guy who’s in Montmartre to meet IRA operative Deirdre (Natascha McElhone, THE TRUMAN SHOW), who’s putting together a team that also includes the Frenchman Vincent (Jean Reno doing penance for GODZILLA), Englishman Spence (Sean Bean, GOLDENEYE), German computer expert Gregor (Stellan Skarsgård right before DEEP BLUE SEA) and American driver Larry (Skipp Sudduth, MONEY TRAIN, 54). They will be stealing a metal case from a heavily armed convoy, so they discuss what they know and don’t know about how it will go down, how and when they’ll do it, what equipment they’ll need, where they’ll get that, how they’ll prepare. (read the rest of this shit…)
Watching Ryuhei Kitamura’s latest THE PRICE WE PAY this week reminded me to finally catch up with his previous one, THE DOORMAN (2020). I remember I was excited that he did a Ruby Rose action vehicle, but I heard some negative things and it scared me off. I shouldn’t listen to that stuff, because I like so many movies that normal humans hate, but I’m susceptible to rumors of poor action scenes.
That criticism is fair. Many of the action scenes are pretty choppy, they’re certainly not up to the state of the art in the 87Eleven era. And I do think this is a movie that could go over really well if it had a couple knockout fights. So that’s too bad. But I still enjoyed it on a story and character level like I would, say, a Liam Neeson movie where you’d have way less of the real shit than this. So if you’re okay with that, I recommend it. (read the rest of this shit…)
DA 5 BLOODS is Spike Lee’s new Vietnam War joint that happened to be produced by Netflix, so when our current global nightmare thwarted theatrical release they didn’t have to delay it, they just put it right onto their service, making it one of Pandemic Summer’s biggest blockbusters in my opinion. For now this is our James Bond and our Top Gun (I won’t say Wonder Woman, because it’s very male oriented).
Like so many of Lee’s movies, it finds interesting ways to visually connect history to the present. Think of DO THE RIGHT THING’s showcasing of the photos and quotes of Dr. King and Malcolm, MALCOLM X’s coda of real people (including a newly freed Nelson Mandela) saying “I am Malcolm X!,” or BLACKKKLANSMAN’s montage with the murder of Heather Heyer, the real David Duke and the president’s other Very Fine People in Charlottesville. Following in that tradition, DA 5 BLOODS opens with historical footage and photos establishing Those Uncertain Times of the Vietnam era.
Muhammad Ali explains his refusal to kill people who haven’t done anything to him on behalf of people who have. To the tune of “Inner City Blues,” we see black soldiers in Vietnam, whitey on “Da Moon,” Black Panthers, Malcolm, Martin, Kwame Ture, Angela Davis. We alternate between brutality in Vietnam and at home: burning monks, the Kent State shootings, the street execution from that famous photo, police clubbing protesters at the DNC, the children burned with napalm. When the war ends and this volley of fast-speed documentary turmoil subsides, the frame stretches and contracts to widescreen, and Saigon dissolves to modern tourism-friendly Ho Chi Minh City, where four of our titular quintet meet up in a hotel lobby, hugging and hand shaking, sipping the first of many fruity umbrella cocktails, in a present that will repeatedly bleed into the past. (read the rest of this shit…)
“We got approached with GODZILLA, and Dean was really in favor. I said, ‘Are you crazy? Have you seen a Godzilla film? How does the monster look? They put a guy in there.'” –Roland Emmerich
May 20, 1998
Man, LOST IN SPACE was a terrible summer blockbuster, but I was kind of excited to take a look at it because I had skipped it at the time and there was 20 years of curiosity build-up. And there’s another one coming later in the summer that I despised at the time, but it ended up being influential and kickstarting an in-my-opinion-bad-but-oddly-fascinating filmography, so I’m looking forward to finding out how I’ll feel about it now.
GODZILLA has neither of those factors going for it. I thought it sucked then and it has not grown better or more interesting. Director Roland Emmerich (WHITE HOUSE DOWN) has gone on to make fairly successful (but widely mocked) FX movies, often in the disaster genre. The only significance to this one is that it deflated his premature ascension to blockbuster-A-list after the still-befuddling-to-me smash success of INDEPENDENCE DAY in 1996. TriStar Pictures managed to build up fevered anticipation with a series of teasers that kept the design of the monster a secret. I remember one used the scene where the fisherman runs down the dock as Godzilla’s spikes tear through it. The tagline “SIZE DOES MATTER” simultaneously promised thrilling spectacle and giggled “ha ha, you get it, because of penises.”
I was skeptical on account of my belief in the auteur theory. I was one of the rare wet blankets who hated ID4 (which stands for “Independence Day takes place partly on July 4th”) and as much as I wanted to see a cool modern Godzilla movie I didn’t think this guy had the skills to do it. On May 20th most of the world ended up agreeing with me. (read the rest of this shit…)
I don’t know about you guys, but I have found that it’s weird watching Brian DePalma’s MISSION: IMPOSSIBLE for the first time since the 1990s. Tom Cruise sure doesn’t look 52 now, but he does look a little younger here than he does now. I kinda forgot he used to be like this. More fidgety and cocky, kinda smarmy, playing it really different from in the other movies, because he’s newer. His Ethan Hunt is not the leader, he’s the apprentice of the original TV series hero Jim Phelps (now played by John Voight), forced to strike out on his own, without his mentor or his team, for the first time. Yeah, he seems much younger.
Holy shit, this movie is 19 years old. That’s almost 20 years old. Which is alot of years in my opinion. And alot has changed. I forgot how different this series got over time.
I think MISSION: IMPOSSIBLE is unique among the summer blockbusters. It has a bunch of the usual qualities: it’s a big movie star vehicle, based on an existing “property,” climaxes in a noisy special effects-laden action spectacle, did end up becoming a franchise that’s still going today. At the same time it is a Brian DePalma movie, it doesn’t feel like he had to compromise anything. He got to take his style and his interests and experiment with them on a little larger canvas than usual. His gimmicky suspense sequences, twists and tricks are right at home with characters who elaborately deceive for a living. His POV shots put you right into the action when you enter a party as Hunt in disguise, but also they show up in the form of cameras actually worn by the agents to keep tabs on each other and, in one case, to mislead each other. (read the rest of this shit…)
Yeah, I know, I’m mostly talking about LEON: THE PROFESSIONAL here. And I respect him as a prolific b-action producer. So sue me.
LE DERNIER COMBAT (or THE FINAL BATTLE) is Luc Besson’s first feature, and apparently he was pretty different in 1983. This is a black and white post-apocalypse movie and in contrast to all the international co-production action vehicles he’s been writing with Robert Mark Kamen for so many years it’s very much not high concept. It has no hook.
It also has no talking. I’m not sure if whatever ended civilization as we know it also removed everyone’s ability to speak, or if just nobody in this story bothers to ever do it. But this is one Besson movie where you can’t say the dialogue is bad.
It mostly follows “The Man” (Pierre Jolivet, also co-writer and producer and a prolific director in his own right), sort of a goofball taking shelter from the post-apocalypse in an office building with not too bad of a set up. He has a plant, some furniture, an oven, a cassette deck, a mattress, plenty of space if he ever wants to take up tai chi or breakdancing or anything like that. It’s pretty dusty in there, though. The movie opens panning through his living space and there’s some kind of panting you can hear and you see his naked legs and then you see that he’s humping an inflatable sex doll. Not exactly an iconic entrance like Mad Max or somebody. (read the rest of this shit…)
Honestly, DA THE VINCI CODE or whatever is not a movie I ever though I’d watch. Some of the things going against it are:
a. didn’t look interesting to me
2. book I never cared about
III. director Ron Howard is competent but kind of a square director in my opinion, not somebody whose movies I ever get excited for and
d. in my opinion Akiva Goldsman is the writer of BATMAN AND ROBIN.
And I would’ve gotten away with it if it wasn’t for this Summer Movie Flashback I got myself into. There just wasn’t another significant summer of 2006 movie I hadn’t seen. Right up until the last minute I was actually planning to do MY SUPER EX-GIRLFRIEND just ’cause I thought that would be easier to stomach, but I decided that would be dishonorable. This one was obviously part of some cultural phenomenon of the time and is more representative of that summer. (read the rest of this shit…)
These days Luc Besson is mostly thought of as a producer of action movies (DISTRICT B13, TAKEN, THE TRANSPORTER, UNLEASHED). But man, there was a time there a while back when his heart was in being a writer/director, and LEON aka THE PROFESSIONAL is a hell of a good action movie he did.
The year was 1994 and American crime movies were having sort of a resurgence. Young men with movie cameras were reading the Psalms of John Woo and rediscovering the joys of onscreen bullet discharge. It was the year of KILLING ZOE, THE LAST SEDUCTION, FRESH, the Alec Baldwin version of THE GETAWAY and of course DEATH WISH V: THE FACE OF DEATH. (read the rest of this shit…)
Right now Nimrod Antal is a director-of-interest because they got him doing that PREDATORS movie. And I hadn’t seen his movies (like KONTROLL and VACANCY) but ARMORED is out on DVD this week so I decided to check it out. (And yes, every movie he’s directed so far has a one word title.)
I read somewhere that when Robert Rodriguez saw ARMORED it sealed the deal for Antal doing PREDATORS. I’m not sure what that says, because there’s nothing too wrong with ARMORED, but nothing too right, either. (read the rest of this shit…)
Well once again the conventional wisdom turns out to be right. You would think that as dumb as a movie like this would probaly be, it might be enjoyable. Well, I would think that. But I would be wrong.
I’ve never seen the original, and I always meant to. I understand that it is kind of a satire of sports and american society’s thirst for violent entertainment. The great DEATH RACE 2000 was made to cash in on the same themes but is generally considered to be better. Anyway the approach that John McTiernan, the director of DIE MOTHERFUCKIN HARD 1 & 3, took was to set it in pretty much the present, since wrestling and ultimate fighting become more ridiculous and lurid than anything filmatists of the ’70s could’ve imagined. But there really aren’t new points to be made here. (read the rest of this shit…)
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John Frankenheimer’s RONIN is a movie that kicked my ass in a multiplex in the year 1998 A.D. The thing that really stuck in my head about it was the car chases, of course – specifically the one where they end up going the wrong way in a tunnel. But I also remembered it being very tough and smart, I was pretty confident it would hold up, and man was I right. This is a ’90s classic. But timeless.
Watching Ryuhei Kitamura’s latest 
DA 5 BLOODS is Spike Lee’s new Vietnam War joint that happened to be produced by Netflix, so when our current global nightmare thwarted theatrical release they didn’t have to delay it, they just put it right onto their service, making it one of Pandemic Summer’s biggest blockbusters in my opinion. For now this is our James Bond and our Top Gun (I won’t say Wonder Woman, because it’s very male oriented).
“We got approached with GODZILLA, and Dean was really in favor. I said, ‘Are you crazy? Have you seen a Godzilla film? How does the monster look? They put a guy in there.'” –Roland Emmerich
GODZILLA has neither of those factors going for it. I thought it sucked then and it has not grown better or more interesting. Director Roland Emmerich (
I don’t know about you guys, but I have found that it’s weird watching Brian DePalma’s MISSION: IMPOSSIBLE for the first time since the 1990s. Tom Cruise sure doesn’t look 52 now, but he does look a little younger here than he does now. I kinda forgot he used to be like this. More fidgety and cocky, kinda smarmy, playing it really different from in the other movies, because he’s newer. His Ethan Hunt is not the leader, he’s the apprentice of the original TV series hero Jim Phelps (now played by John Voight), forced to strike out on his own, without his mentor or his team, for the first time. Yeah, he seems much younger.
LE DERNIER COMBAT (or THE FINAL BATTLE) is Luc Besson’s first feature, and apparently he was pretty different in 1983. This is a black and white post-apocalypse movie and in contrast to all the international co-production action vehicles he’s been writing with Robert Mark Kamen for so many years it’s very much not high concept. It has no hook.
Honestly, DA THE VINCI CODE or whatever is not a movie I ever though I’d watch. Some of the things going against it are:
These days Luc Besson is mostly thought of as a producer of action movies (DISTRICT B13, TAKEN, THE TRANSPORTER, UNLEASHED). But man, there was a time there a while back when his heart was in being a writer/director, and LEON aka THE PROFESSIONAL is a hell of a good action movie he did.
Right now Nimrod Antal is a director-of-interest because they got him doing that PREDATORS movie. And I hadn’t seen his movies (like KONTROLL and VACANCY) but ARMORED is out on DVD this week so I decided to check it out. (And yes, every movie he’s directed so far has a one word title.)
Well once again the conventional wisdom turns out to be right. You would think that as dumb as a movie like this would probaly be, it might be enjoyable. Well, I would think that. But I would be wrong.
