It’s weird that there’s a studio action-thriller starring Jeff Bridges (THUNDERBOLT AND LIGHTFOOT) and Tommy Lee Jones (ROLLING THUNDER) from the prime year of 1994, and I never bothered to see it before. I think I heard it was bad at the time, but when did that ever stop me? I think more recently I’ve seen people writing fondly about it, and I realized it was directed by Stephen Hopkins (following DANGEROUS GAME, A NIGHTMARE ON ELM STREET 5: THE DREAM CHILD, PREDATOR 2 and JUDGMENT NIGHT), so I got myself excited to see it.
I’m afraid the early rumors weren’t wrong, though – this is a laughable movie, and not entirely in the way that I enjoy. On the positive side, it will be fun to write about, and seeing this type of studio thriller craftsmanship did give me some of that particular warm nostalgia I was looking for. You know, you’ve got all this production value, on location shooting, glorious crane shots (cinematographer: Peter Levy, CUTTHROAT ISLAND, BROKEN ARROW, TORQUE), and composer Alan Silvestri (THE DELTA FORCE, PREDATOR, THE ABYSS) admirably does his thing without giving in to the temptation to just do a bunch of Celtic cliches. (read the rest of this shit…)
Every summer it hits me. The sun comes out and I start thinking about a certain type of movie: the summer blockbuster popcorn type movie. It doesn’t even matter if I’m excited for the ones coming out this summer or not. And I’m not, really – there’s a couple Marvels and a Star War, but I’m still high off the last ones, and don’t think these will match them. Otherwise MISSION: IMPOSSIBLE FALLOUT is the main event.
I’m interested in this idea of The Place White People Can’t Go. According to pop culture and middle class conventional wisdom there are large swaths of every major city that are like the wild west or a post-apocalyptic dystopia. The second a woman steps off the wrong subway or a man’s car breaks down on the wrong block, homeless men in ragged coats turn their heads from the flaming oil barrels where they warm their hands, and seedy criminals step out of the shadows of the garbage-strewn, rat-infested alleys to attempt a gang rape or mugging before this shaky-handed outsider gets a chance to unfold his or her map.
Here’s another one that doesn’t really fit the slasher definition I was looking for, but it’s such a better version of kind of the same premise as HIDE AND GO SHRIEK that I welcome it. This one is Australian, the directical debut of Stephen Hopkins, whose second and third films were A NIGHTMARE ON ELM STREET 5: THE DREAM CHILD and PREDATOR 2.
After watching PREDATOR for the first time since the ’80s and realizing that it’s actually a good movie, I decided to watch PREDATOR 2. I never seen this one before and I knew the reputation wasn’t too good. More ominous, instead of John McDIEHARDTiernan the director is Stephen LOST IN SPACE Hopkins. Not lookin good.
