STEP UP: YEAR OF THE DANCE (a.k.a. STEP UP CHINA) is a Chinese production developed by Lionsgate as an official entry in the STEP UP franchise, though it’s not connected by any characters. It was released in China in 2019 and apparently here (digital only) in 2020, but I didn’t find out until recently. I watched the English-dubbed version that’s on Tubi because I wasn’t sure if the VOD release would be different. (That’s not the ideal way to watch it, I imagine, but I got over it.)
My podcast friend Michael Scott of Action For Everyone shares my love of the STEP UP series and the dance movie genre, and we’ve talked about doing a STEP UP episode some day. He always says that dance movies are martial arts movies, and this one really literalizes that notion. It actually starts with a fight, and has more of them later, and the central dance crew find their success by starting a fad of “kung fu street dance.” So it makes sense that YEAR OF THE DANCE is directed by the great American stunt veteran and martial artist Ron Yuan, who you’ve seen in many movies including DOUBLE DRAGON, BLOOD & BONE, THE ACCOUNTANT and THE PAPER TIGERS, and who recently directed BLADE OF THE 47 RONIN.
You know me – I’ve always been fascinated with DTV sequels. One of their endearing qualities is that their modest budgets allow for a different type of crass commercialism than regular Hollywood – they try to cash in on familiar (or even unfamiliar) titles that would never fly on the big screen. That gave us the miracle of the UNDISPUTED sequels, but mostly just stuff where it was funny that it existed – loosely connected followups or branded rehashes of CRUEL INTENTIONS, WILD THINGS, ROAD HOUSE and HOLLOW MAN, for example, many of which I reviewed for The Ain’t It Cool News at the time.
Thanks to Universal’s direct-to-video division, 1440 Entertainment, that tradition is still going strong, and arguably making a comeback. Back in the aughts they brought us SCORPION KING and DEATH RACE sequels, they revived Chucky in the great CURSE OF CHUCKY, they started making JARHEAD sequels for some reason, and brought to life such unlikely part 2s as THE MAN WITH THE IRON FISTS 2, KINDERGARTEN COP 2 and HARD TARGET 2. In 2018 they even made a DTV sequel to UNBROKEN, that war drama directed by Angelie Jolie, and in 2019 they did BACKDRAFT 2, INSIDE MAN: MOST WANTED, DOOM: ANNIHILATION and UNDERCOVER BROTHER 2. That last one I tried to watch because Michael Jai White is in it, but I gave up when his character went into a coma near the beginning. Still, I appreciate its existence because it keeps me on my toes. It reminds me that any movie, no matter how old, no matter how forgotten, no matter how how-the-fuck-would-you-make-a-sequel-to-that, could suddenly have a DTV sequel. And it would already be filmed and have cover art by the time I found out they were doing it. You gotta be aware at all times. (read the rest of this shit…)
THE PAPER TIGERS is a warm-hearted indie underdog comedy set in the martial arts world. It’s about three former American gung fu (that’s the spelling and pronunciation they use) prodigies now living unremarkable middle aged lives, who reunite after their master is killed. It has a smattering of jokes that are too broad for me, but it takes its characters and its martial arts very seriously, and it’s so full of heart it’s hard not to love. So why fight it?
The goofy thing is I only rented this on VOD because Vyce Victus and Adkins Unleashed’s Michael Scott were separately raving about it on Twitter. Then in the cold open I saw what sure looked like the Smith Tower, and the credits were set to a song by Kid Sensation (beatboxing padawan of Sir Mix-a-Lot), and holy shit, this movie is entirely filmed in Seattle (and nearby Shoreline), how did I not know about it already? I’ll go into some Seattle stuff later, but please accept the praise of the above mentioned as evidence that I’m not just rooting for the local product. (read the rest of this shit…)
DOUBLE DRAGON (1994), loosely based on the video game series, is a sci-fi fantasy action kids movie from the director of THE RETURN OF BRUNO and the producers of NATURAL BORN KILLERS. I do not personally consider it to be a good movie, but upon this rewatch I found it somewhat enjoyable on the strength of its specific only-in-the-‘90s strain of complete inexplicability.
It stars Mark Dacascos (a year after ONLY THE STRONG, a year before KICKBOXER 5 and CRYING FREEMAN) and Scott Wolf (the same year Party of Five started) as martial artist brothers, Alyssa Milano (in the window between Who’s the Boss? and EMBRACE OF THE VAMPIRE) as the leader of a vigilante group, and Robert Patrick (who had only done FIRE IN THE SKY and two T-1000 cameos since T2) as an evil gang leader/businessman obsessed with obtaining an ancient Chinese medallion that would give him super powers. It takes place in the cyberpunky post-The-Big-Quake New Angeles in the futuristic year of 2007, with all the satirical billboards and colorful street gangs that implies. (read the rest of this shit…)
Unless you count an IMDb listing for an unreleased movie called SIRENS OF THE DEEP (2000), the final (so far) feature film directed by Steve Wang is the 1997 under-the-radar Mark Dacascos action romp DRIVE. Dacascos (ONLY THE STRONG) plays Toby Wong (a RESERVOIR DOGS reference?), reformed Chinese assassin on the run from a corporation trying to reclaim the advanced strength-and-acrobatics-enhancing implant they put in him. Attacked in a bar, he commandeers lonely divorcee Malik (Kadeem Hardison, DEF BY TEMPTATION) and his car, and the two end up becoming buddies, driving around the L.A. area trying to avoid a team of mercenaries led by redneck Vic Madison (John Pyper-Ferguson, who’s also in the Nicolas Winding-Refn movie called DRIVE) and his personal Bob the Goon, Hedgehog (Tracey Walter, CYBORG 2), who when not shooting at them hang out in a mobile home like Justified villains. Vic has long hair, wears a bolo tie and sunglasses seems too proud of his rock ‘n roll cowboy look. I was so relieved when he switched to pony tail and tactical gear. (read the rest of this shit…)
Every now and then I write a more-in-depth-than-usual study of a movie I consider important and influential in the evolution of Badass Cinema, or in this case one that I simply think is great. It’s a movie I believe most fans of the genre would love and all should see and have an opinion on. I call this series THE LOOSE CANON.
The Loose Canon: BLOOD AND BONE (2009)
There have been two proud moments in my getting-close-to-20-years of writing about action movies when a truly special one appeared inconspicuously in the DTV market and I was the first person I’m aware of to point to it and say holy shit you guys, check this out. One was John Hyams’ UNIVERSAL SOLDIER: REGENERATION, which later gained attention from some of the more respectable critics thanks to its great and very arty followup UNIVERSAL SOLDIER: DAY OF RECKONING. The other is BLOOD AND BONE, directed by Ben Ramsey (LOVE AND A BULLET). I do think it has grown something of a following, but not the credit it deserves as a perfect showcase for an under-recognized star in peak form, or as a stone cold classic of its genre. Like another Michael-Jai-White-starring DTV favorite, UNDISPUTED II: LAST MAN STANDING, BLOOD AND BONE isn’t even available on region A Blu-Ray. What the fuck, video industry? Too badass for hi-def?
The ten year anniversary of BLOOD AND BONE is coming up next year, so I’m giving the rights-holders and the gatekeepers a heads up. I want to see a cool, respectful collector’s edition Blu-Ray with added extras and a painted cover and shit. I want to see theatrical screenings. I am positive this will play great with audiences. Make it happen. A parade would be cool too, but that’s negotiable. (read the rest of this shit…)
Bear with me here, but Christian Wolff, a.k.a. The Accountant (Ben Affleck, REINDEER GAMES) has kind of alot in common with Blade. He’s an anti-hero vigilante who works mysteriously in the underground, a good guy but scary and at odds with the law. He’s mostly a loner, but has a few trusted accomplices. He’s very aloof, not good at talking, expressing emotion, connecting. He has traumatic parental issues and a condition that he tries to keep under control with special treatments. He has a well-established operation with a secret headquarters and armory that we sort of learn about piece-by-piece as the movie goes on. He’s nomadic, setting up base in different parts of the world, always prepared to dump everything and move on if he gets burnt.
This time he knowingly breaks protocol to protect a young woman (Anna Kendrick, SCOTT PILGRIM VS. THE WORLD) who gets mixed up in his fight, and he shocks her by giving a glimpse into his crazy world.
One pretty big difference: instead of a half man/half vampire daywalker, this guy is autistic. That’s what causes his social awkwardness. If he were to walk around in broad daylight with a sword on his back it would be understandable.
BIRTH OF THE DRAGON is now on video. A very fictionalized riff on the legendary challenge fight between two early ’60s Bay Area martial artists named Wong Jack Man and Bruce Lee, it was not exactly welcomed to screens with open arms. Shannon Lee and the Bruce Lee estate (who are currently developing an official Lee movie) did not approve, white director George Nolfi (THE ADJUSTMENT BUREAU) was viewed by most with an understandable raised eyebrow, and an early trailer showing not-in-the-finished-movie first person narration by a white character caused widespread derision (including by me).
But look, I’m fascinated by Bruce Lee, the man and the myth, and by this event in particular. If there’s gonna be a movie about it, no matter how possibly misguided, but especially if produced by the prestigious WWE Films and Blumhouse (whuh?), of course I’m gonna watch it. So I did. (read the rest of this shit…)
You take the “the”s out, the title becomes more aerodynamic. This unlikely THE FAST AND THE FURIOUS part 4 combines elements of the previous 3: the characters and tone of part 1, the video game plotting and drug kingpin bad guys of part 2, the director and improved visual style of part 3. Combining all the technologies they’ve developed into a new model.
Part 3 might still be my favorite, with its comprehensive visual tribute to everything that looks cool in Tokyo and its charismatic lead performance by Lucas Black (plus Sonny Chiba bit part, Incredible Hulk car and stupid cameo at the end). I was surprised how much I liked that one and even more surprised how many people I know who have no interest in the series liked it too. (read the rest of this shit…)
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Recent commentary and jibber-jabber
Felix on RRR: “It looks like PATHAAN is doing incredibly well at the box office so far.” Jan 26, 21:35
KayKay on The Woman King: “I get where you’re coming from, Kaplan. The idea is that THE WOMAN KING deserves to be tarred with the…” Jan 26, 20:31
KayKay on RRR: “And BTW, the entire critical community going ga-ga over RRR, capped off with Jim Cameron telling SS Rajamouli he’s seen…” Jan 26, 20:12
KayKay on RRR: “Ok…will check it out. Shah Rukh Khan has never convinced me as a macho tough guy, his entire screen persona…” Jan 26, 20:11
KayKay on Everything Everywhere All At Once: “Ok…so gonna bask a little in some Malaysian pride…yayy! Although it’s the HK film industry who deserve most of the…” Jan 26, 20:06
Gepard on Everything Everywhere All At Once: ““Shame it came out in April because that mean the uniformly great performances by the elder members of the cast…” Jan 26, 17:37
Felix on RRR: “PATHAAN is totally worth catching. Saw it on Weds and had a blast with it. [visual-parse url=”https://www.youtube.com/watch?v=vqu4z34wENw”]” Jan 26, 16:55
VERN on Emily the Criminal: “Majestyk – I don’t mean she has, like, fight scenes. I tried to vaguely describe a part where she gets…” Jan 26, 16:45
Ben C. on Emily the Criminal: “Great movie – a really tight and suspenseful piece of present-day noir. Great performances all around, from Plaza and everyone…” Jan 26, 13:55
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Kaplan on The Woman King: “I think there’s a difference between artistic liberties (which plenty of people DO complain about) and straight-up whitewashing history to…” Jan 26, 06:54
VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
STEP UP: YEAR OF THE DANCE (a.k.a. STEP UP CHINA) is a Chinese production developed by Lionsgate as an official entry in the STEP UP franchise, though it’s not connected by any characters. It was released in China in 2019 and apparently here (digital only) in 2020, but I didn’t find out until recently. I watched the English-dubbed version that’s on Tubi because I wasn’t sure if the VOD release would be different. (That’s not the ideal way to watch it, I imagine, but I got over it.)
You know me – I’ve always been fascinated with DTV sequels. One of their endearing qualities is that their modest budgets allow for a different type of crass commercialism than regular Hollywood – they try to cash in on familiar (or even unfamiliar) titles that would never fly on the big screen. That gave us the miracle of 
THE PAPER TIGERS is a warm-hearted indie underdog comedy set in the martial arts world. It’s about three former American gung fu (that’s the spelling and pronunciation they use) prodigies now living unremarkable middle aged lives, who reunite after their master is killed. It has a smattering of jokes that are too broad for me, but it takes its characters and its martial arts very seriously, and it’s so full of heart it’s hard not to love. So why fight it?
DOUBLE DRAGON (1994), loosely based on the video game series, is a sci-fi fantasy action kids movie from the director of 
Unless you count an IMDb listing for an unreleased movie called SIRENS OF THE DEEP (2000), the final (so far) feature film directed by Steve Wang is the 1997 under-the-radar Mark Dacascos action romp DRIVE. Dacascos (
The Loose Canon: BLOOD AND BONE (2009)
Bear with me here, but Christian Wolff, a.k.a. The Accountant (Ben Affleck, 
BIRTH OF THE DRAGON is now on video. A very fictionalized riff on the legendary challenge fight between two early ’60s Bay Area martial artists named Wong Jack Man and Bruce Lee, it was not exactly welcomed to screens with open arms. Shannon Lee and the Bruce Lee estate (who are currently developing an official Lee movie) did not approve, white director George Nolfi (THE ADJUSTMENT BUREAU) was viewed by most with an understandable raised eyebrow, and an early trailer showing not-in-the-finished-movie first person narration by a white character caused widespread derision (including by me).
You take the “the”s out, the title becomes more aerodynamic. This unlikely THE FAST AND THE FURIOUS part 4 combines elements of the previous 3: the characters and tone of part 1, the video game plotting and drug kingpin bad guys of part 2, the director and improved visual style of part 3. Combining all the technologies they’ve developed into a new model.
