Wednesday, March 14, 2018


(UK/US - 2018)

Directed by Johannes Roberts. Written by Bryan Bertino and Ben Ketai. Cast: Christina Hendricks, Martin Henderson, Bailee Madison, Lewis Pullman, Damien Maffei, Emma Bellomy, Lea Enslin. (R, 85 mins)

Announced almost immediately after the release of THE STRANGERS and in various stages of development for a nearly a decade, THE STRANGERS: PREY AT NIGHT is the long-gestating follow-up to the 2008 home invasion hit that's equal parts sequel, reboot, and remake. Ten years is an eternity in the horror genre (to put it in perspective, the first PARANORMAL ACTIVITY was still a year away), and THE STRANGERS, itself a sort-of riff on Michael Haneke's 1997 downer FUNNY GAMES and the 2006 French film THEM (ILS), was an influence on later similar thrillers like YOU'RE NEXT, THE PURGE, and HUSH.  The original's writer/director Bryan Bertino hasn't had much success in the ensuing decade: his terrible follow-up film MOCKINGBIRD played like a found-footage mash-up of Rob Zombie and THE STRANGERS and went straight to DVD in 2014, and 2016's THE MONSTER got some acclaim but, like THE STRANGERS, had a terrific first half diminished by an uneven second. Bertino is onboard as a writer and producer here, with directing chores being handled by Johannes Roberts, whose 47 METERS DOWN was a surprise hit last year. Roberts is probably a better director than Bertino, and throughout this film, he demonstrates a knack for effective shot compositions and has clearly studied the masters--there's De Palma split diopters, there's some Argento reds, there's some shout-outs to the works of Tobe Hooper and John Carpenter, and one neon-drenched sequence in a huge swimming pool that's undoubtedly the highlight of the film. But I've rarely been as back-and-forth after watching a film as I am with THE STRANGERS: PREY AT NIGHT. In the ten years since THE STRANGERS, one of the go-to tropes of the horror genre has become the incessant retro '80s fetishizing, particularly the use of throwback, synth-driven scores (YOU'RE NEXT, the MANIAC remake, IT FOLLOWS, STARRY EYES, etc) and the use of pop songs ranging from iconic to kitschy. Roberts really leans hard on that retro feel, with an opening sequence set to Kim Wilde's "Kids in America" before the title appears onscreen in a near-identical replica of the STRANGER THINGS font. That kind of reverence for a beloved era of horror was charming and cool and fun when it started becoming a thing six or seven years ago (perhaps this trend can actually be traced back to Daft Punk's score for TRON: LEGACY), and it has generated a resurgence of interest in that style of music, with Goblin and Tangerine Dream-inspired bands like Zombi and S U R V I V E, and even John Carpenter now releasing albums and going on tour with a live band. But everybody's doing it now, and with that one-two punch less than five minutes into the movie, I was already dismissively sighing, feeling grouchy, and waiting for Larry Fessenden and/or Maria Olsen to show up.

They never did, but THE STRANGERS: PREY AT NIGHT is buoyed by some unusually strong performances for a belated horror sequel. With rebellious teen daughter Kinsey (Bailee Madison, who looks like a young Katie Holmes) becoming too much of a handful after an unspecified incident involving two other girls, mom Cindy (Christina Hendricks) and dad Mike (Martin Henderson) decide to send her to a strict boarding school. Forcing elder son Luke (Lewis Pullman, Bill's son) to ride along, they embark on the two-day road trip to the school, deciding to stop off for the night at an off-season trailer park campground run by Mike's uncle. Sporting a Ramones tee and chain-puffing smokes without actually inhaling, Kinsey is an intentional stereotype of the sullen, brooding teen, and would rather sulk off on her own than play cards with the family. Mike and Cindy send Luke after her, and while the kids are gone, there's a knock on the door. So begins the incidents familiar to fans of THE STRANGERS: a loosened porch light bulb obscuring the face of a young woman asking "Is Tamara home?" followed by increasingly aggressive knocks on the door, land lines cut, dumb decisions, and cell phones smashed as a sure sign that someone's already in the house. While out walking and talking, Luke and Kinsey find a trailer with its door open and discover the mutilated, dead bodies of Mike's aunt and uncle and are greeted by a hooded figure with an ax waiting outside for them. Both parties (Mom and Dad, Luke and Kinsey) make a run for it, eventually meeting and splitting into two different groups (Mom and Kinsey, Dad and Luke) as the titular trio--Man in the Mask (Damien Maffei), Dollface (Emma Bellomy), and Pin-up Girl (Lea Enslin)--taunt, stalk, and off them one by one.

There's a few genuinely suspenseful sequences throughout, and Roberts uses space and the background very effectively in the way he has The Strangers and their creepy masks materialize out of darkness or enter the frame from an unexpected place. But the retro '80s thing just gets to be too much for its own good, so much so that in the final act, it's difficult to tell if Roberts is making a slasher movie or an infomercial for NOW That's What I Call '80s Power Ballads! Why are The Strangers suddenly '80s pop superfans? Why do they drive around in beat-up pickup blaring Kim Wilde and Mental As Anything songs? In one scene, Man in the Mask sits there with one of the dying family members in a crashed car and keeps searching radio stations until he hears Wilde's "Cambodia" playing. Why? It's exactly like one of the killers in YOU'RE NEXT sitting quietly next to a dead victim (played by...wait for it...Larry Fessenden!) while Dwight Twilley's "Lookin' for the Magic" plays on repeat. It's bad enough that The Strangers are suddenly engaging in the old horror movie staple of evil figures snarking it up in the sequels (as decreed in the Freddy Krueger Amendment, aka the Chucky Resolution) by having Pin-up Girl appear out of the darkness to crack to Kinsey "We're just getting started!" but now they're DJs at '80s-themed office party who need obscure British pop songs to accompany their killing sprees.

This idea actually works in the truly inspired swimming pool sequence--a minor classic of its kind and likely the only thing genre fans will remember about this--set to Bonnie Tyler's "Total Eclipse of the Heart," which drifts in and out as the characters go under and emerge from the water. And if it was just that, it would've been fine, but then the long, drawn-out finale with multiple endings is pointlessly set to Air Supply's "Making Love Out of Nothing At All." Is this a sequel to THE STRANGERS or Roberts hitting shuffle on his iPod and just seeing what happens?  That's the conundrum of THE STRANGERS: PREY AT NIGHT: there's some good stuff here but its fixation--obsession, really--with '80s nostalgia, with the overbearing synth and the '80s singles comprising a soundtrack in search of a movie, just gets grating and dumb after a while and almost completely derails it. This film exists in some kind of bizarro world where it thinks it's paying homage to the '80s but goes so overboard with it that it's paying homage to the homages. Isn't it a little premature to be making hero-worship tributes to things like IT FOLLOWS, STRANGER THINGS, and the filmography of Adam Wingard?

Thursday, March 8, 2018

On Blu-ray/DVD: SHOWDOWN IN MANILA (2018) and CON MAN (2018)

(US/Philippines/Russia - 2016; US release 2018)

Even among those fringe-dwellers who scour the deep cuts of streaming services and deign to examine the merchandise near the bottom of the new release rack at Walmart, Alexander Nevsky remains an enigma. A well-known bodybuilder and media personality in his native Russia, with a towering 6' 6" frame and a passing resemblance to Dwayne Johnson, the 46-year-old Nevsky has been plugging away in DIY fashion for about a decade and a half, overseeing an empire of sorts and trying to establish his action star bona fides the best way he can: by cranking out one movie after another and being wealthy enough that the quality of the films and whether anyone actually likes them are non-factors. After a secondary role as a bad guy in the 2003 Russian-made Roy Scheider/Michael Pare thriller RED SERPENT, Nevsky wrote, produced, and starred in MOSCOW HEAT, which got a straight-to-DVD release in the US in 2005. MOSCOW HEAT set the Nevsky template: he has a genuine affection for cop/buddy movies of the 1980s and 1990s and tries to replicate that whole Joel Silver/Shane Black sort-of vibe. He has enough money that he can lure several past-their-prime big names or career C-listers: MOSCOW HEAT found Nevsky managing to fly Michael York, Joanna Pacula, Richard Tyson, Andrew Divoff, and Adrian Paul over for a Russian vacation. Future Nevsky productions featured recurring BFFs like Tyson, Divoff, and Paul, but also Sherilyn Fenn and David Carradine (2007's NATIONAL TREASURE ripoff TREASURE RAIDERS), Billy Zane, Robert Davi, Bai Ling, and Armand Assante (2010's MAGIC MAN), and Kristanna Loken and Matthias Hues (2014's BLACK ROSE, belatedly released in the US in 2017). For all intents and purposes, Nevsky is to Russian action movies what Uwe Boll was to German tax loopholes in the '00s.

Nevsky's latest film to hit the US is SHOWDOWN IN MANILA, which bombed in Russian theaters way back in 2016. It's partly an homage to the kind of jungle/explosion movies that Antonio Margheriti and Cirio H. Santiago made back in the '80s, crossbred with an '80s/'90s cop buddy movie, but lacking even the basic competence to be a remotely engaging on any level. Nevsky is Nick Peyton, the leader of VCU (Violent Crimes Unit) Strike Force, an elite unit targeting a human trafficking operation run by an international criminal known as "The Wraith" (Cary-Hiroyuki Tagawa). After a botched raid on The Wraith's Manila compound results in the death of his entire team, a devastated Peyton quits VCU in disgrace. Two years later, vacationing FBI agent Matthew Wells (Mark Dacascos, who also makes his directing debut) and his wife (Tia Carrere) run into The Wraith and his chief henchman Dorn (Hues) at a Manila resort, resulting in Wells' death and his wife's abduction and eventual escape. When the cops prove useless, Mrs. Wells hires Peyton, now in a private eye partnership with wisecracking, horndog buddy Charlie (Casper Van Dien). Eventually, Peyton and Charlie bring in the big guns to join them in an assault on The Wraith's base of operation: a quartet of badass mercenaries that includes '90s video store legends Don "The Dragon" Wilson (BLOODFIST), Cynthia Rothrock (CHINA O'BRIEN), and Olivier Gruner (NEMESIS) for what amounts to an EXPENDABLES knockoff that might as well be called THE AVAILABLES.

SHOWDOWN IN MANILA boasts the late Cirio H. Santiago's son and longtime assistant Christopher as a co-producer (also among the producers is Andrzej Bartkowiak, who's actually directed real action movies like ROMEO MUST DIE and EXIT WOUNDS), and back-in-the-day Filipino B-movie fixture Don Gordon Bell has a small role, showing that Nevsky's affection for these sorts of things is sincere (Vic Diaz would certainly be in this if he was still with us), but holy shit, comrade. Between his garbled accent, his wooden delivery, and possessing absolutely zero screen presence, Nevsky is pretty close to the worst actor you'll ever see. Checking his social media feed, Nevsky seems to be an all-around nice guy who loves action movies and numerous on-set photos look like everyone's having a blast, but Alexander Nevsky will never headline an action movie not produced and written by Alexander Nevsky. Van Dien tries to liven things up and seems to be having a genuinely good time (there is one big laugh early on when he turns up on surveillance video having sex with the wife of the cuckolded client who hired them to catch her cheating and tries to explain it away with "I thought the camera was off!"), but he's eventually relegated to the background. Dacascos directs with the same sense of style and mise-en-scene usually reserved for Russian dashcam videos, and he and Nevsky stage one haplessly inept action sequence after another. The CGI explosions are laughable and the fight choreography is so badly-handled that even veteran warhorses like Wilson, Rothrock, and Gruner look like inexperienced amateurs. It's hard telling where Nevsky gets the funding for these things--he's already got one more star-studded vanity project on the way with MAXIMUM IMPACT, whose cast includes Danny Trejo, Eric Roberts, William Baldwin, and Tom Arnold--but make no mistake: SHOWDOWN IN MANILA is the worst Russian production to come down the pike since the 2016 Presidential election. (Unrated, 90 mins)

(US/China - 2018)

There won't be a 2018 film more egregiously disingenuous than CON MAN, a total bullshit biopic of Barry Minkow, a 1980s teenage business phenom whose entrepreneurial skills led him down the slippery slope of Ponzi schemes, securities fraud, insider trading, and other felonies that will keep him in prison until June 2019 at the earliest. As WOLF OF WALL STREET-ish as Minkow's story is, it's not nearly as interesting--or infuriating--as what happened during the making of this movie. If you see the plethora of down-on-their-luck stars getting the most dubious paycheck of their careers and think they look a little younger than they are, that's because CON MAN was filmed in 2009 and is only now being released. Not just because it's terrible, but because it was seized as evidence in a federal case involving Minkow embezzling millions from a church that hired him as a pastor upon his parole after he--wait for it--found God while in prison. Beginning in 1984, young Minkow (Justin Baldoni) works part-time at a gym and borrows money from a roid-raging loan shark (Bill Goldberg) to start ZZZZ Best, a carpet cleaning company that he runs out of his parents' garage. With his ingenuity for cooking the books, "check kiting," and creating fraudulent work orders to the tune of $400 million, ZZZZ Best is worth $100 million on paper by the time Minkow graduates from high school. His mom (Talia Shire) and dad (Mark Hamill) are concerned that he's in over his head, but Minkow is addicted to the rush, and at the urging of his construction magnate uncle (Michael Nouri), he partners with mobster Jack Saxon (Armand Assante), which catches the attention of dogged FBI agent Gamble (James Caan). Minkow's scheme eventually and inevitably collapses due to his hubris and, as his mom cries, "You don't have anything because you don't have God!" In 1988, at just 20 years of age, he's sentenced to 25 years in prison on 57 counts of fraud and ordered to pay restitution in excess of $26 million.

Here's where CON MAN, shot under the title MINKOW, gets interesting. Not in terms of the movie itself, which is a jumbled, badly-edited mess and all-around amateur hour, but in terms of what happened behind-the-scenes. Minkow found religion in prison--thanks to prison protector Peanut (Ving Rhames) but in part because of cellmate Michael Franzese, a mob boss and former B-movie distributor who became a Christian motivational speaker and is a real-life talking head in periodic documentary-style cutaways. Minkow financed much of CON MAN himself, and once he's sentenced to prison, there's a time jump to the early 2000s and a paroled Barry Minkow is now played by...Barry Minkow. In addition to working with the FBI on training agents in spotting financial fraud and being a semi-regular on cable news business shows, he becomes a pastor at a church and dedicates his life to helping others, including an elderly parishioner (Nicolas Coster) who thinks he's been scammed out of his retirement savings in a hedge fund overseen by a known Ponzi schemer (Gianni Russo). Minkow then steps in and risks everything to recover his parishioner's $250,000 retirement fund in one of the most ludicrously self-aggrandizing hero scenarios you'll ever see ("I'm doing the work of God! Protecting the weak!" he shouts at one point). It's ludicrous because it was revealed after the film was completed that Christian man of God Minkow was bilking his own congregation of money to get it funded while embezzling from the church and engaging in all sorts of insider trading and investment fraud. During production, according to a 2012 Fortune article, Minkow was even picked up on a hot mic between takes bragging to Caan about how he financed the movie by "clipping" companies. Minkow denied saying anything, even daring someone to produce the tape, forcing director/co-writer Bruce Caulk to do just that and turn the recording over as evidence. He said it. Because of course he did.

Minkow's arrest left the completed film (see original 2010 trailer above) in limbo, since it was intended to be an uplifting--occasionally veering into full-on faithsploitation--look at a criminal's redemption (complete with ridiculous sequences of Minkow, wearing a wire, chasing some bad guys through a hotel like he's an action hero and, in prison yard football game, throwing the game-winning touchdown) and its very existence was due to the crimes he committed to get it made. After the climactic sequence with Minkow looking like a savior by risking his life to save an old man's retirement savings, the film half-assedly addresses his fall from grace faster than THE ITCHY & SCRATCHY SHOW got rid of Poochie. I guess if you're a GODFATHER superfan, you can feel really depressed at seeing Caan, Shire, and Russo back together in the same movie (Caan and Russo do have a scene together near the end, and it would've been nice to see Sonny Corleone and Carlo Rizzi set aside their differences to collaborate on a merciless beatdown of Barry Minkow), but CON MAN is a con job itself, nothing more than Barry Minkow furiously jerking off to Barry Minkow fan fiction concocted by Barry Minkow himself. Fuck Barry Minkow. (Unrated, 100 mins)

Wednesday, March 7, 2018

In Theaters: RED SPARROW (2018)

(US - 2018)

Directed by Francis Lawrence. Written by Justin Haythe. Cast: Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Jeremy Irons, Charlotte Rampling, Mary-Louise Parker, Ciarin Hinds, Joely Richardson, Bill Camp, Thekla Reuten, Douglas Hodge, Sakina Jaffrey, Hugh Quarshie, Sebastian Hulk, Sergei Polunin, Kristof Konrad, Sasha Frolova. (R, 140 mins)

To get a feel of what RED SPARROW is like, imagine ATOMIC BLONDE if written by John Le Carre with an uncredited script polish by Joe Eszterhas and directed by 1990s Paul Verhoeven. It's probably not gonna fly with those constantly looking for something to be offended by, but it's nice to see a major-studio movie with A-list star diving unabashedly into hard-R territory with no reservations whatsoever. Sexually frank and often brutally, sickeningly violent, RED SPARROW is based on the 2013 novel by Jason Matthews, the first in a trilogy centered on Dominika Egorova, played here by Jennifer Lawrence, reunited with Francis Lawrence, the director of the last three HUNGER GAMES installments. As RED SPARROW begins in Moscow, Dominika is a rising star in the Bolshoi Ballet, but her career comes to an abrupt end when her dance partner lands on her left leg and shatters it in the middle of a performance. Left with a limp, depressed, and concerned about caring for her terminally ill mother Nina (Joely Richardson), Dominika is approached by her uncle Vanya (Matthias Schoenaerts), a high ranking deputy in Russian intelligence, who requests a favor that can maybe financially help with her mother's care expenses. Having caught the eye of shady businessman Dmitri Ustinov (Kristof Konrad), Dominika is to be the bait to lure him to a hotel room, where she's to switch his phone with another implanted with a tracking device. Vanya assures her there's no danger, but of course, Ustinov gets rapey and assassin Matorin (Sebastian Hulk) is forced to intervene and kill him, whisking Dominika away immediately after.

Vanya's bosses--including intelligence director Zakharov (Ciarin Hinds) and General Korchnoi (Jeremy Irons)--need Dominika to keep quiet by any means necessary. In order to spare her life and to provide care for Nina, Vanya sends Dominika to a "state school" (termed "whore school" by Dominika) where attractive male and female "sparrows" are trained in the ways of seduction, psychological manipulation, and espionage by the ominously-named Matron (Charlotte Rampling). Sparrows are taught to use their bodies to gain advantage, they're put through endless psychological and physical rigors, forced to submit to sexual demands and use their sexuality to gain power over an adversary. Dominika, renamed "Katya," butts heads with Matron, especially after she violently attacks a male sparrow during an attempted rape and then sexually humiliates him in front of the entire class when she intimidates him so much that he can't get it up. Dominika has already established that she has a capacity for extreme violence and uncontrolled rage--she finds out that the ballet accident was intentional and done so in order allow her partner's girlfriend to assume her spot in the ballet, and she promptly beats the shit out of both of them--and despite her strong-willed refusal to bend to Matron's will, Vanya pulls her out to give her a mission: get close to Nate Nash (Joel Edgerton), a CIA agent on thin ice after a botched intel exchange in Gorky Park with a Russian mole who's been feeding info to the Americans. Nash goes off the radar but resurfaces in Budapest, where Dominika is sent to use her skills in order to find the identity of the mole.

The story takes many twists and turns with the obligatory shifting alliances, double-crosses, and people not being who they're thought to be, and while RED SPARROW doesn't really break any new ground as far as spy thrillers go, it's consistently intriguing, very well-acted, and filled with enough gasp-inducing shocks to keep your eyes glued to the screen, or wincing and looking away if Matorin is skinning someone. Sporting a quite convincing Russian accent, a stone-cold Lawrence is excellent and gets solid support from numerous standouts in the supporting cast, including Schoenaerts as the duplicitous Vanya who can barely hide his sexual desire for his late brother's daughter (can't wait to see him as Vladimir Putin in the inevitable Trump miniseries), Mary-Louise Parker as a US senator's corrupt chief of staff who's got plenty of blackmail baggage and is selling secrets to the Russians, and especially Rampling, who almost steals the film in her limited screen time as the stern, brittle Matron, a woman who's dead inside after giving everything she is to Russia and perhaps sees her younger self in the willful, stubborn Dominika (the sexual power games among the Sparrows-in-training also brings to mind the veteran actress' role in 1974's THE NIGHT PORTER). Though there are several uncomfortable scenes throughout, the knee-jerk response of the perpetually outraged seems to miss the point: Dominika is a strong heroine who proves to be several steps ahead of everyone, refusing to allow herself to be a victim and forcing anyone who wrongs her to pay dearly. Maybe it's because we're in an era where teenagers are the target audience and people have forgotten that movies for adults can still be a thing, but RED SPARROW is pretty strong stuff, with levels of sex, nudity, and violence that you really don't often see in mainstream, multiplex entertainment these days. While this is much more commercially accessible at its core, between RED SPARROW and last fall's MOTHER!, a post-Katniss Everdeen Lawrence (like the career choices made by TWILIGHT vets Kristen Stewart and Robert Pattinson and HARRY POTTER's Daniel Radcliffe) continues to demonstrate that she isn't complacent and isn't afraid to challenge herself and take some risks.

Tuesday, March 6, 2018

In Theaters: DEATH WISH (2018)

(US - 2018)

Directed by Eli Roth. Written by Joe Carnahan. Cast: Bruce Willis, Vincent D'Onofrio, Elisabeth Shue, Dean Norris, Kimberly Elise, Beau Knapp, Camila Morrone, Len Cariou, Mike Epps, Wendy Crewson, Stephen McHattie, Ronnie Gene Blevins, Kirby Bliss Blanton, Jack Kesy, Ian Matthews, Stephanie Janusauskas, Luis Oliva, Moe Jeudy Lamour. (R, 107 mins)

Shot in 2016 and with its release date bumped once already after the Las Vegas mass shooting last October, the long-gestating remake of the 1974 classic DEATH WISH is finally in theaters, and once again timed in close proximity to another tragedy with the horrific school shooting at Marjory Stoneman Douglas High in Parkland, FL. Given the frequency of mass shootings in America, it's likely that any DEATH WISH release date would coincide with one and unintenionally leave a bad aftertaste. But honestly, that's giving it too much credit. DEATH WISH '18 is empty-calorie junk-food entertainment that stacks the deck against its vigilante hero and throws red meat at the audience. It's designed to get a response, and judging from the crowd applause at key moments--like one guy getting his sciatic nerve sliced open and doused in brake fluid before a jacked-up car falls and smashes his head like a watermelon at a Gallagher show--it's mission accomplished in "Good Guy with a Gun" fantasy wish-fulfillment. This had a rocky journey from the start: in various stages of development since 2006, with Sylvester Stallone, Liam Neeson, Benicio del Toro, Frank Grillo, Russell Crowe, Will Smith, Matt Damon, and Brad Pitt either attached or approached to star, Joe Carnahan (NARC, SMOKIN' ACES, THE GREY) wrote the script and was set to direct until he departed in 2013 over the usual "creative differences." That led to the BIG BAD WOLVES team of Aharon Keshales and Navot Papushado coming aboard to direct, with Bruce Willis signed on to star. They split when Willis and the producers wouldn't let them rewrite Carnahan's script, but when Eli Roth (HOSTEL) ended up getting the directing gig, the script wound up being completely overhauled by an uncredited Scott Alexander and Larry Karaszewski, the writing team behind ED WOOD and THE PEOPLE VS. LARRY FLYNT. The end result still has Carnahan receiving sole writing credit, even though he left the project three years before production even commenced.

Taking a break from his ongoing, landmark "Bruce Willis Phones In His Performance From His Hotel Room" series of interchangeable Lionsgate VOD releases, Bruce Willis steps into the iconic Charles Bronson role as Paul Kersey, this time a Chicago ER surgeon instead of a mild-mannered NYC architect. Where DEATH WISH '74, based on a 1972 novel by Brian Garfield, addressed the rise of urban violence and decay in a NYC that was rapidly growing scuzzier and more dangerous by the day, DEATH WISH '18 offers rudimentary commentary on Chicago being one of the most dangerous cities in America, even though the Windy City is mostly portrayed here by Montreal. Of course, that violence hits home when Dr. Kersey is called into work one evening and his wife Lucy (Elisabeth Shue) and college-bound daughter Jordan (Camila Morrone) are the victims of a home invasion by a trio of scumbags. Lucy is killed and Jordan is left in a coma, and a shell-shocked Kersey is inevitably frustrated when well-meaning but ineffectual detectives Raines (Dean Norris) and Jackson (Kimberly Elise) can't do much besides wait for a break in the case. His rage simmering to a boil, unable to sleep or focus on work, and possibly thinking of his Don't Mess with Texas father-in-law (Len Cariou), Kersey lucks into obtaining a gun when a gang-banger is brought into the ER and no one sees or hears his gun hit the floor, which Kersey stealthily stashes into his scrubs. He then tries out the gun at an abandoned warehouse and becomes a crack shot over the course of one split-screen montage set to AC/DC's "Back in Black." Donning a series of hoodies he swipes from hospital laundry, Kersey begins roaming the most dangerous areas of Chicago, blowing away thugs, drug dealers, and every shitbag he encounters, becoming a folk hero and viral video sensation dubbed "The Grim Reaper." In a development worthy of the Plot Convenience Playhouse Hall of Fame, Kersey gets a break the cops never could when a gunshot victim lands in the ER sporting the watch Lucy gave him for his birthday, one of the many expensive items stolen in the home invasion. Of course this leads to Kersey vigilantism getting "personal," with one-step-behind Raines and Jackson (who seem to be the only Chicago detectives on duty at any given time) taking way too long to put it together that Kersey is The Grim Reaper.

Roth offers frequent talking head cutaways to Chicago radio personality Mancow and Sirius XM's Sway Calloway discussing the Grim Reaper phenomenon on their morning shows, and DEATH WISH '18 makes the era-appropriate adjustments with smartphone videos and Reaper memes going viral, but this new take seems to split the difference between the grittiness and social commentary of the 1974 original and its increasingly silly sequels. Bronson's Kersey was shocked and repulsed by his own propensity for savage violence, so much so that he throws up after committing his first murder before finding catharsis in his actions. Willis' Kersey sees those actions making him a hero and smirks like Bruce Willis and starts cracking wise, which didn't happen with Bronson until the sequels (much the way A NIGHTMARE ON ELM STREET's ominous and evil "Fred Krueger" morphs into stand-up comic Freddy Krueger over the course of the subsequent entries). Everyone remembers Bronson's "You believe in Jesus? Well, you're gonna meet him..." from DEATH WISH II and Willis gets his version of that when powerful drug lord "The Ice Cream Man" (Moe Jeudy Lamour) asks "Who the fuck are you?" with the inevitable reply "Your last customer," and...BANG!

Willis' transformation from upper-middle class family man to John McClane circa LIVE FREE OR DIE HARD keeps DEATH WISH '18 from being anything more than a schlocky, instant gratification vigilante thriller, and it's also worth noting that Bronson's Kersey never did find the creeps who killed his wife and left his daughter in a coma, an impossible closure that this new film feels the need to provide. It isn't any better or worse than, say, 1987's DEATH WISH 4: THE CRACKDOWN, but there's some missed opportunities here, particularly one bit that speaks volumes when Kersey's ne'er-do-well brother Frank (Vincent D'Onofrio) shows up at his house when he isn't home and finds his weapons and ammo stash in the basement rec room where he's been sleeping. The entire room is filled with empties, dirty dishes, dirty clothes, and looks like a particularly nightmarish episode of HOARDERS. Surely, Kersey has gone insane to some degree as evidenced by the living conditions in his basement. At one time, Willis would've been interested in exploring that aspect, but DEATH WISH '18 is more concerned with fashioning this as a throwback Bruce Willis vehicle. That's not necessarily a bad thing, since Willis actually shows up and it's probably his best movie in several  years simply by default. And for really hardcore cult movie nerds, Roth does include a cameo by Sorcery's STUNT ROCK jam "Sacrifice." It has its moments, but at the end of the day, chalk this up as another remake that's an acceptable time-killer but didn't really need to be.

Saturday, March 3, 2018


(Canada/France - 2017; US release 2018)

Written and directed by Robin Aubert. Cast: Marc-Andre Grondin, Monia Chokri, Micheline Lanctot, Marie-Ginette Guay, Brigitte Poupart, Charlotte St-Martin, Edouard Tremblay-Grenier, Luc Proulx, Patrick Hivon, Didier Lucier, Robert Brouillette, Martin Heroux. (Unrated, 103 mins)

At this point, is there anything innovative that can be done with the concept of the zombie apocalypse? Sure, there's an occasional TRAIN TO BUSAN or THE GIRL WITH ALL THE GIFTS that showcase some unique ideas in its narrative but ultimately, they all end up at the same place. The Quebecois, French-language LES AFFAMES, now making its US debut as a Netflix Original film under the title THE RAVENOUS, takes the somber, arthouse approach and is more concerned with creating an appropriately bleak and very downbeat mood (other than one darkly humorous running gag that does succeed in lightening things up a little). The story follows several people who connect and eventually end up at an isolated farmhouse: Bonin (Marc-Andre Grondin) just had to kill his best friend Vezina (Didier Lucier) after he was bit, the two lifelong chums busting each others' chops to the end (Vezina: "No wonder you prefer Roger Moore over Sean Connery"); Celine (Brigitte Poupart), who periodically stops her car and cranks the radio to attract a zombie just so she can let off some steam by hacking it apart with a machete; Tania (Monia Chokri), who's freed by Bonin after he finds her tied to a bed as a precaution after she's bitten by a dog; aging insurance salesman Real (Luc Proulx), who buddies up with shotgun-toting teenager Ti-Cul (Edouard Tremblay-Grenier), bonding over the sad fact that they had to slaughter their turned families; and Zoe (Charlotte St-Martin), a little girl apparently orphaned and taken in by Bonin and Tania after they hit the road. Bonin, Tania, Zoe, and Celine all find refuge at the home of Bonin's mother Pauline (Micheline Lanctot) and her partner Therese (Marie Ginette-Guay). Once they realize the house is in the direct path of an approaching horde of zombies, they abruptly flee, eventually encountering Real and Ti-Cul as they desperately try to reach another safe area.

There's a few scattered bits of splattery zombie mayhem, usually in the form of a shotgun blast to the head, but Aubert isn't really interested in that. When someone gets infected and has to be killed, it usually happens offscreen. We only see the aftermath of some of the attacks. And the zombies have some human qualities that Aubert never really fully explores: they can feel physical and emotional pain (when Celine kills one zombie, its child shows up looking bereaved and devastated), and they can think (there's one creepy bit where a zombie child has camouflaged itself in some trees waiting to attack Vezina). Aubert's bigger concern is presenting the new reality of these characters, like the need to keep quiet, as even the slightest noise or movement is enough to attract an infected (this same idea is central to the upcoming A QUIET PLACE). The focus on the day-to-day, hour-by-hour survival recalls last year's divisive IT COMES AT NIGHT, and there's the obvious shout-outs to George Romero (thanked in the closing credits) and some ambient soundscapes that are reminiscent of THE LIVING DEAD AT MANCHESTER MORGUE, but Aubert has more cineaste aspirations. He captures some effectively eerie images of endless fields and dirt roads in rural Quebec, with several long, static, almost still-life shots, surreal imagery and, later, a fog-choked finale--things that qualify as total Andrei Tarkovsky or Michelangelo Antonioni hero worship or possibly an homage to the prog rock album cover artwork of Storm Thorgerson.

Despite all the arthouse smoke and mirrors, at the end of the day, LES AFFAMES is still pretty much LE WALKING DEAD--just another zombie apocalypse movie, no matter how hypnotic it gets on occasion. It still requires its characters to do stupid things, and has too many predictable jump scares where people are standing there, looking around, camera panning to the left, to the right, to the left, and then a zombie appearing on the next pan back to the right, or a zombie jumping into the frame to scare someone who, logically, should've seen them approaching since it's nothing but open space around them (this Sergio Leone trick and the left-right pans are repeated a few times). The film received significant acclaim in French-Canadian circles, earning five Canadian Screen nominations (Canada's equivalent to the Oscars), including Best Motion Picture, Best Director, and Best Supporting Actress for Poupart, who does get one really good scene where she expresses disgust with herself for still being alive only because she went to get a manicure while her husband and three kids were killed by attacking zombies who barged into their house while she was gone. Ultimately, LES AFFAMES is a mixed bag. It has its points of interest and gets a boost from some arresting imagery, but the references and the homages sometimes get a little too cute and self-satisfied, and Aubert needed to do some deeper exploration with the notion of what makes these zombies different from all their other genre brethren.

Friday, March 2, 2018

On Blu-ray/DVD, Special "Slumming Legends" Edition: HANGMAN (2017) and JUST GETTING STARTED (2017)

(US - 2017)

Coming off like a shelved pilot for the dumbest CBS police procedural ever, the barely-released HANGMAN, aka DIPSHIT SE7EN, is easily one of the most idiotic, nonsensical, and intelligence-insulting thrillers to come down the pike in some time. There's no logic in its structure or how its characters obtain the clues that lead them to the next crime scene. They just go where the script needs them to go to advance whatever semblance of a plot the filmmakers have concocted. In a non-descript Southern city (this was shot in Georgia but might be New Orleans, as "House of the Rising Sun" is heard a few times because of course it is), former FBI profiler-turned-homicide detective Ruiney (Karl Urban) is assigned to babysit New York Times reporter Christi Davies (Brittany Snow), who's doing a ride-along for an investigative piece centered on her hometown. It isn't long before Ruiney stumbles onto the kind of elaborately-staged, time-intensive murder scene that only exists in movies and TV: a woman hanging outside a school with an "O" carved in her chest, and inside in a classroom, mannequins arranged like students, staring at the blackboard displaying the letter "O" in a ten-letter game of "Hangman." And carved into the teacher's desk?  The badge numbers of Ruiney and his retired ex-partner Archer (Al Pacino). Archer has nothing going on except sitting in his parked car people-watching and doing Latin crossword puzzles, so he ends up tagging along on the investigation, which gets more gruesome and exponentially illogical with each new victim and letter.

Where to even start? I guess this is as good a spot as any: why don't they ever try to solve the puzzle? The whole "Hangman" element is ultimately a moot point, and when the word is finally revealed, they don't even explain what it means. The word is Latin, but how does the killer know Archer enjoys doing Latin crossword puzzles? Ruiney is provided with a tragic backstory about his wife's unsolved murder, but it takes Christi catching a nanosecond glance at her file to see the huge "V" carved into Mrs. Ruiney's torso to conclude that she must've been the Hangman's first victim. How could Ruiney and Archer never put that together? Even Archer mumbles "I missed it!" Why? Because the plot needed him to be stupid. Why is such a high-profile serial killer case being investigated by just one active cop, one retired cop, and a "Pulitzer Prize-winning" (as she mentions numerous times) reporter who has no business traipsing through blood-splattered crime scenes? And how does the killer know Ruiney's and Archer's badge numbers? When they finally confront the killer, the Hangman has no idea who Archer is, but then confesses that his whole M.O. is based on a childhood incident involving Archer 20 years ago when Archer was, if the flashback and makeup job on Pacino is to be believed, a 57-year-old rookie patrolman. The story and the motivations don't even make sense from shot to shot, let alone with plot developments and character arcs over the course of the movie. 77-year-old Pacino looks so groggy and sleepy here that he could easily be doing that old Three Stooges trick of drawing eyes on his closed eyelids. He's also dusting off the same inconsistent "Foghorn Leghorn Goes to Mardi Gras" drawl ("He sod-swapped mah caah!") that he used in MISCONDUCT, another instantly-forgotten VOD clunker from a couple years back. It's easily the worst performance of his career, simply because he isn't even motivated enough to liven things up with some vintage Pacino shouting (even junk thrillers like 88 MINUTES and RIGHTEOUS KILL got a little boost from Pacino's unbeatable combo of random yelling and his crazy hair). Remember great Pacino cop vs. serial killer thrillers like SEA OF LOVE and INSOMNIA? Does Pacino remember them? A scowling Urban doesn't fare much better, but he at least does a passable job of looking awake. And if you don't find the story lazy enough, then check out a CGI train wreck midway through where director Johnny Martin (VENGEANCE: A LOVE STORY) and the production design team don't even bother to stage any debris, metal, or anything resembling an accident scene. A train crashes into a car, there's a huge fake explosion, and then...there's nothing there except dirt and track. Even a 25 mph fender-bender will probably leave some plastic from a busted taillight. No one associated with this movie cares about anything. Over two decades after SE7EN, HANGMAN is still trying to scrounge for serial killer table scraps, but even a formulaic, by-the-numbers thriller has to have some kind of internal logic. This is just terrible storytelling, terrible filmmaking, and terrible acting from a slumming living legend who shouldn't have to resort to drek like this to get a lead role. (R, 98 mins)

(US - 2017)

Writer/director Ron Shelton hasn't made a feature film since the 2003 Harrison Ford/Josh Hartnett action-comedy HOLLYWOOD HOMICIDE (you forgot all about that one, didn't you?). With that in mind, it's hard telling what prompted the maker of BULL DURHAM, WHITE MEN CAN'T JUMP, and TIN CUP to end a 14-year big-screen sabbatical with something as generic and depressingly uninspired as the Christmas 2017 box- office bomb JUST GETTING STARTED. Starring in yet another geezer comedy after LAST VEGAS and the pointless remake of GOING IN STYLE, Morgan Freeman is Duke Diver, the freewheeling, fun-loving resident manager of Villa Capri, a posh retirement community in Palm Springs. He's got a pretty good gig: he's well-liked by everyone, treats the petty cash fund like his personal ATM, cleans up at his weekly poker game, and has a rotating cast of lovely retired ladies succumbing to his charms. His party comes to an abrupt end with the arrival of Suzie (Rene Russo), an internal auditor sent by the corporation that owns Villa Capri to take a look at Duke's creative accounting and fire him if necessary. But an even bigger annoyance to Duke is new resident Leo (Tommy Lee Jones), a wealthy mystery man in a ten-gallon hat who's spent time in the military, and regales Duke's lady friends--Roberta (Sheryl Lee Ralph), Lily (Elizabeth Ashley), and Marguerite (the late Glenne Headly in her next-to-last film; she died six months before the film's release)--by quoting Baudelaire and telling tales of his adventures in Machu Picchu. Duke and Leo begin a childish competition trying to one-up the other in chess, golf, weightlifting, and romance, with both vying for the attention of Johnny Mathis superfan Suzie, who finds herself falling for Duke's charms after he manages to get Mathis (playing himself) to play a gig at Villa Capri.

The GRUMPY OLD MEN-derived storyline eventually gets sidelined once the other plot is introduced: Duke is in witness protection. He's a former New Jersey mob lawyer who ratted out his boss and a hit's been put on him by that boss' vengeful wife (Jane Seymour). There's probably supposed to be some mystery as to whether Leo is the hit man, but of course he's not, as Shelton turns the film into a poor man's MIDNIGHT RUN, with Leo and Duke hitting the road and bonding as they evade the assassin sent after Duke. The comedic elements of JUST GETTING STARTED are so lackluster that the film never once displays any real amusement or spark of life. Sequence after sequence passes with jokes that don't land or weren't there in the first place. And the very premise doesn't stand up to any scrutiny: early on, Duke wins some local "Man of the Year" award and declines to go to the awards luncheon, presumably because he's in witness protection and doesn't want to risk being seen outside of his Villa Capri comfort zone. Makes sense. So why then, would he allow himself to be seen smiling at the camera in a nationally-broadcast Villa Capri TV commercial that Seymour's character happens to catch, thus setting the entire story into motion? And hasn't Palm Springs historically been a big mob hangout and vacation destination? What FBI handler would put him there in the first place?  Other than the unusual casting of Seymour--which Shelton squanders by completely forgetting about her--no one shines here, certainly not Freeman, Jones, and Russo, who have never looked more lethargic and ambivalent than they do here. Lots of things might read better on paper than they play out in execution. No one sets out to make a terrible film, but sometimes you can watch actors in a movie and you can see on their faces that they know it's just not working. But they're professionals, so they grit their teeth, do what they've been paid to do, and just get it over with. This is such an occasion, as JUST GETTING STARTED simply never does. (PG-13, 91 mins)

Thursday, March 1, 2018

Retro Review: BLACK EAGLE (1988)

(US - 1988)

Directed by Eric Karson. Written by A.E. Peters and Michael Gonzales. Cast: Sho Kosugi, Jean-Claude Van Damme, Doran Clark, Bruce French, Vladimir Skomarovsky, William H. Bassett, Kane Kosugi, Shane Kosugi, Jan Triska, Gene Davis, Dorota Puzio, Alfred Mallia, Joe Quattromani, Victor Bartolo, Eric Karson. (R, 93 mins)

Perhaps no actor is more synonymous with the '80s ninja craze than Sho Kosugi. He set the standard of Kosugiology with Cannon's ENTER THE NINJA (1981), REVENGE OF THE NINJA (1983) and NINJA III: THE DOMINATION (1984) and was a key figure in the short-lived 1984 NBC series THE MASTER, where he was the recurring antagonist to aging American ninja Lee Van Cleef. After Cannon opted to wave the American flag in the Reagan era with Michael Dudikoff in 1985's AMERICAN NINJA, Kosugi made the same year's 9 DEATHS OF THE NINJA for Crown International before doing 1985's PRAY FOR DEATH and 1987's RAGE OF HONOR for Trans-World Entertainment. In 1988, he tried to branch out with a supporting role in the Hawaii-set coming-of-age teen comedy-drama ALOHA SUMMER. The same year also saw the release of BLACK EAGLE, another departure for the ninja star, this time as a CIA agent battling nefarious Russians in a late-period Cold War thriller. Kosugi's time as an action star was winding down, and BLACK EAGLE would be his last film as a headliner to hit theaters (he would have a supporting role as a bad guy in the 1989 Rutger Hauer blind samurai cult classic BLIND FURY). It's fitting that it also functions as a symbolic passing of the torch, as Kosugi's co-star in BLACK EAGLE is a young Jean-Claude Van Damme, who had already made an impression as the ruthless "Ivan, the Russian" in the hilarious NO RETREAT NO SURRENDER and was in the midst of breaking out as a major new action star, practically in real time, as Cannon's BLOODSPORT hit theaters just two weeks before BLACK EAGLE. A film that holds on to every moment and is given strength by the breath of life, BLOODSPORT was already in the can when Van Damme took the BLACK EAGLE gig, and the Muscles from Brussels likely had no way of knowing it would become a surprise hit and he was about to become the only thing keeping the lights on at Cannon for the next two years.

Though second-billed, Van Damme isn't even the main villain in BLACK EAGLE. Instead, he's the coldly lethal, Oddjob-ish henchman to the chief bad guy, evil Soviet colonel Klimenko (Vladimir Skomarovsky). Klimenko and some Russian military and KGB goons are trying to intercept three US Air Force F-111s with high-tech laser guidance systems and top-secret defense intel that crashed into the Mediterranean off the coast of Malta. Klimenko and mostly silent right-hand-man Andrei (Van Damme) commandeer a Soviet trawler in the vicinity and Andrei snaps the neck of Steve Henderson (Gene Davis, the nude killer in 10 TO MIDNIGHT), a hot-headed CIA agent they capture near the crash site. This leaves CIA chief Rickert (William H. Bassett) no choice but to send his ultimate weapon, Ken Tani (Kosugi)--codename "Black Eagle"--to Malta to recover the classified intel and keep it out of Soviet hands. This is all complicated since the crash of the F-111s had the bad timing to coincide with the two weeks out of the year that workaholic Tani has with his two sons Brian and Denny, respectively played by Kosugi's sons and frequent co-stars Kane and Shane. The CIA doesn't care about Tani's family time, so they send the boys off to meet him in Malta, accompanied by ambitious agent Patricia Parker (Doran Clark), who's of course relegated to babysitter duty (drink every time she notices they're being followed and announces "We got company"). To get near the site and hold the commies at bay, Tani poses as a marine biologist and teams with Father Bedelia (Bruce French), a former agent who left the CIA to become a priest but is reactivated because, well, apparently no one else was available.

Produced by home video outfit Imperial Entertainment and released theatrically by Taurus, BLACK EAGLE didn't do much business in theaters but became a fixture in every video store in America. It was a popular rental, but fans weren't really interested in Kosugi going the espionage route and channeling his inner Jack Ryan. For a good chunk of the film, director Eric Karson (who helmed the early Chuck Norris hit THE OCTAGON) mainly just shows off scenic Malta (there's also location work in Rome and Afghanistan), which admittedly looks lovely on MVD's new Blu-ray (which includes the 93-minute theatrical version and a 104-minute extended cut), just out as part of their retro "Rewind Collection." There's maybe too many scenes of the Kosugi kids walking around sightseeing with Clark, but Karson also stages a few interesting chase sequences, including one along some Malta rooftops that actually looks like how a real and sudden chase might look. Two guys are pursuing Tani and everybody's sweaty and running awkwardly and nervously along ledges, trying not to lose their balance and footing as they get tired and winded. Kosugi's two throwdowns with Van Damme are nicely done--one on top of a cliff and the other at a waterfront dock surrounded by a bunch of flaming barrels. Young JCVD gets a chance to do his signature splits a couple of times, but he's strictly a supporting player in a Sho Kosugi movie, so much so that when he's killed off, it's not even by Tani.

The main lesson Van Damme seemed to take from his experience working with Kosugi was mastering the art of ensuring his significantly less-talented children were cast in far too many of his movies. While Van Damme would go on to become an A-list action star until the latter half of the '90s, Kosugi's career was beginning to wind down, seemingly by choice. After BLIND FURY, his next film, the shogun period piece JOURNEY OF HONOR, which co-starred legends like Toshiro Mifune and Christopher Lee, went straight-to-video in 1992, and he returned to his native Japan for a few TV guest spots and voice work and to direct his son Kane in 1994's THE FIGHTING KING and its same-year sequel. Other than a fight choreography credit on 2002's THE SCORPION KING, Kosugi was MIA until he was coaxed out of semi-retirement to play the villain in the 2009 Wachowski-produced throwback NINJA ASSASSIN, the now-69-year-old Kosugi's last screen appearance to date. While Kosugi's younger son Shane long ago left the movie industry, his eldest son Kane remains active, splitting his time between Japan and the US, most notably co-starring in 2004's GODZILLA: FINAL WARS and with Scott Adkins in 2013's NINJA: SHADOW OF A TEAR.