DVD Review - Cash (2008)

Cash (a.k.a. Ca$h), 2008.

Directed by Éric Besnard.
Starring Jean Dujardin, Jean Reno and Valeria Golino.


SYNOPSIS:

A master thief attempts to pull off the biggest robbery in history.


The current awards season (2011/12) has been most kind for Jean Durjardin, following his star making performance in The Artist. It’s a wonderful film and a dazzling lead performance. As such, this little known (on these shores anyway) French film from 2008 finally procures itself a DVD release here. Undoubtedly a move to cash in on the critical success of The Artist, this film is an interesting look at the talented star before the big time beckoned.

Durjardin stars as the titular character Cash. He’s a conman and master thief, whose brother was killed on a previous gig. Cash continues scamming where he can. The film is a caper, with twist upon turn. Who’s playing who? Who has the upper hand? It’s all about sleight of hand, misconception, deception and Cash is a master. As the plot motors on, he pits his wits with or against fellow master thief Maxi (Jean Reno) and morally obtuse cop, Julia (Valeria Golino). The film steams through quickly, with sometimes one too many twists and turns to keep up with, but the conclusion is satisfying and the journey entertaining enough.

The cast are very good. If you’ve seen a fair amount of French cinema, you’ll recognise many of the faces. Dujardin leads well. The effortless charisma he displayed in The Artist is clear to see here. It might not be a role with as much depth here, but never the less, he delivers. Jean Reno is reliable as ever. Golino is good, whilst Ciaran Hinds manages to steal his scenes and make his extended cameo memorable.

Technically the film looks good, polished and stylish. The direction from Éric Besnard is vibrant and the editing though sometimes a little too intrusive, adds to the caper element of this. The film feels like a mish-mash of modern film and 60s cinematic style. Bresnard's script is decent enough, though the characterisation is limited in some cases, but probably intentionally as certainly in Reno and Golino’s cases, their characters don’t want to give too much away. Dujardin is allowed to offer us more insight into his characters core, and as lead, it’s what matters. Occasionally the film borders on being too elaborate and a bit far- fetched, but again, it’s not a particularly serious film and it’s never too bothersome. Come the end it sticks together well enough, and certainly manages to keep one step ahead of the audience.

In all this won’t go down as a classic, but it’s a good slice of entertainment. There’s plenty of star power on show and fans, or indeed new found fans, of Dujardin, will find enough here to keep them entertained.

Tom Jolliffe

DVD Review - Go to Blazes (1962)

Go to Blazes, 1962.

Directed by Michael Truman.
Starring Dave King, Robert Morley, Norman Rossington, Daniel Massey, Dennis Price, Maggie Smith and David Lodge.


SYNOPSIS:

Three robbers plan a heist using a fire engine as a getaway vehicle, but their scheme begins to unravel when they are mistaken for real firemen.


British cinema has had many memorable eras during its time. It’s often American cinema that is seen as the leading light in film. That may be because of the glitz of Hollywood and where the money is, masking the fact that often, much has been pilfered from European and Asian cinema over the years. In certain periods of time, Britain has threatened to run side by side with its American cousin without ever looking like overtaking. The 60s was a defining era for British film. We had the launch of Michael Caine, and the beginning of some gritty, grounded, cinema before America's own era of such in the 70s. There was Bond, you could go on all day. As well as that, Britain produced a wealth of comedy, in particular Ealing and of course the Carry On films. Go to Blazes comes from an era where much of the crème of British cinema, and indeed comedy, remains. There’s a lot to compete with, and much to live up to.

Go to Blazes sadly doesn’t punch weight with the heavy-weight entries into Blighty’s cinematic vaults. The idea has promise. Three amiable thieves find themselves unable to master a life of crime. The film opens on a smash and grab heist gone wrong, leaving Harry, Alfie and Bernard at her Maj’s pleasure. However, an idea comes to them. How can they avoid traffic on a getaway? What will traffic stop for? The fire service! In an effort to pull off a significant heist when they get out of prison, they set their sights on obtaining (illegally of course!) a fire engine.

Things keep getting in the way of their quest for riches, such as love interests, and fire and floods that they are expected to put out! It’s screwball, it’s very silly, but the script just doesn’t hold enough interest. We never really build momentum to a big heist. The film jumps from scene to scene quite sloppily, introducing oddball characters who serve no other purpose than to attempt to amuse the audience. Now that maybe true of many comedy films, but the best comedy films have characters who whilst funny, can also further the plot.

That said, the film has three leads who play off each other pretty well. Daniel Massey in particular as the posh Harry, is decent and some might remember him from the brilliant(ly ridiculous) Escape to Victory. Dave King leads the line well as Bernard. Perhaps the most key question that this film raises, would be: “Was Maggie Smith ever hot?” A youthful Dame Maggie appears here, with a rather dodgy French accent that disappears towards the end, replaced by cockney. In answer to that most pertinent of questions though, no… Maggie Smith was never hot. I’m sorry. The remainder of the cast range from unmemorable to bizarrely hammy. Largely due to the script though, they face an uphill task to gain laughter. In the films favour, it looks very good. The cinematography is excellent, and the palette colourful and it’s aided by a good DVD transfer for this release.

This film is one of those you flick through on an early afternoon on BBC 2. You watch for 5 minutes while the ad break on another channel is playing out, then you flick away from it. It’s a forgotten piece of its time, without the wit and creativity to let it last the years and move with the times. Some films are timelessly funny. This one might have amused a little bit in 1962, but nowadays, it just doesn’t offer enough. It’s by no means bad; it’s just not very good.

Tom Jolliffe

DVD Review - The Legend of Bruce Lee (2008)

The Legend of Bruce Lee, 2008.

Starring Kwok-Kwan Chan, Michelle Lang, Ted E. Duran, Hazen MacIntyre, Ray Park, Mark Dacascos and Gary Daniels.


SYNOPSIS:

A biography of the legendary martial arts icon Bruce Lee, following him from his childhood in Hong Kong through to movie stardom and his untimely death at the age of 32.


Bruce Lee was undoubtedly a legend. He was instrumental in bringing the art of Kung Fu to Western shores. He was also a movie Icon, with his popularity spanning East and West. Of course since his passing his following and popularity increased a lot. Like many a renowned artist, it took his own death to launch him from mere notoriety to legendary figure. There’s been plenty of myth surrounding his life and indeed his death, and the film and TV world has already been well stuffed with recounts of Lee’s life. The Legend of Bruce Lee, a Chinese-made TV series, finally makes it way over to the UK. Have we finally seen the ultimate telling of the Lee legacy? Well…no.

The series release in China was an epic 50 episodes. The show ticks all the Bruce Lee boxes, from his younger days, through his martial arts study, his movie career, through to his death. We see Lee working his way from mediocrity, to mastering the martial arts. This marks one of his most interesting journeys in his short life. Lee brings Kung Fu to America and Americans. It caused uproar, the ancient Chinese teachings being taught to white and black folk. The problem, like the rest of the portions of Lee’s life in the UK release is the fact that 50 episodes from the Chinese series have been condensed and positively crammed into this 3 hour telemovie. As such, with a very noticeable abbreviation of material, this movie breezes through what otherwise might have been more dramatic elements. It doesn’t really work.

However, given the production values, the quality and the standard of acting it is also very evident why this has been so dramatically trimmed. This film really drags at times. Often the choice of cuts seem strange, whilst some sections are played out for too long. There’s far too much melodramatic musing and potentially dramatic aspects of Lee’s life are bypassed who brushed over. There’s no time given to the multi-racial relationship with Linda, and it’s perception at the time. Lee’s study of martial arts to create his own (Jeet Kune Do) is glossed over, becoming little more, during the films midsection, as a fight scene compilation. Lee just seems to jump from one fight to another. Most criminally however, is the fact that Lee’s death is so badly handled in this version. He just dies and that’s it.

This is not to say that this doesn’t have its merits. Kwok-Kwan Chan makes a very convincing Lee. He’s got the looks and the mannerisms down brilliantly. He’s not the best actor however, but his competition in this isn’t much. The trouble is it just seems little more than a novelty impersonation. The fight scenes are also very well done. Of course they’re very dramatic and over the top, like many Lee bio film fights (Dragon: The Bruce Lee Story). There’s also a few noticeable guest stars who stand toe to toe with Lee, such as Gary Daniels, Mark Dacascos and Darth Maul himself; Ray Park. Dacascos’ battle with Lee stands out.

Overall this doesn’t offer anything new, certainly not this version. Given it drags enough in its three hour form, watching the 50 episode version may well be immensely dull. It would be good to see a more grounded and realistic portrayal of Lee’s life, but if you’re going to view one of his bios that goes for myth and fantasy brushstrokes in its painting of the man, then you’re better off watching Rob Cohen’s Dragon: The Bruce Lee Story. It’s far more entertaining and Jason Scott Lee offers dramatic weight as well as physical prowess.

The Legend of Bruce Lee is released on January 9th. Read our interview with Gary Daniels here.

Tom Jolliffe

Blu-ray Review - Whisper of the Heart (1995)

Whisper of the Heart (Japan: Mimi wo sumaseba), 1995.

Directed by Yoshifumi Kondô.
Featuring the voice talents of Brittany Snow, David Gallagher, Ashley Tisdale, Martin Spanjers and Cary Elwes.


SYNOPSIS:

A young girl discovers that every book she chooses in the library has been checked out by the same boy and sets out to meet her 'Prince of Books'.


It could be convincingly argued that Studio Ghibli has set the current benchmark for 2D animation. As Disney did back in the 30s, or Pixar did for the 3D realm, they rise to the top of the heap. They are the benchmark that rival animated films must aspire to. Not simply is it a case of magnificent renderings, beautifully drawn, but at the core of all Ghibli films are stories with heart and imagination.

Whisper of the Heart ticks all the boxes expected from Hayao Miyazaki. It’s glorious on the eye and strikes a chord with its sweet natured story. At the centre of this tale is a young girl (another common feature in the Ghibli canon) who’s previously exemplary schoolwork is affected by an increasing amount of time spent reading books. She notices that every book she takes out from her library has previously been taken out by boy she doesn’t know. She finds herself compelled, and just a little infatuated with the mystery boy who has the exact taste in books she does. Matters become complicated when she finally meets him, only to take an initial (of course!) dislike to him. She follows a stray cat to an old antique store, to discover in a twist of fate, the boy also lives there, and becomes fascinated by one of the objects in the store (a cat figurine, missing its female partner). As is a staple with Miyazaki, the films theme is about discovering love and self-discovery in youth. It’s a story that is simple but charming.

Western audiences are most familiar with Spirited Away. It still remains Studio Ghibli’s finest work. It’s a magnificently absorbing and wonderfully imaginative fantasy adventure. Obviously, given Miyazaki’s name is connected with that and this (though he doesn’t direct this film), comparisons will be made. Those expecting the wonderment and other worldly fantasy of Spirited Away or Howl’s Moving Castle, will be disappointed. Whisper of the Heart is based in reality. There are a few flights of fancy through the fantasy of dreams, but it’s more a simple tale of young love. That said, this still manages to transport you to Japan wonderfully.

The animation is exemplary. The typically colourful palette of Miyazaki is again evident. It’s vibrant and eye-catching, yet realistic. Each setting is given time to be established, for the eye to wonder and appreciate the artistry. For some the film might move a little slowly, but it’s about given the viewer ample opportunity to become engrossed in the frame. Like the best in animation the film just seems to have a pulse, breath and soul. The creativity of the animators has poured out onto the cells to give life to the inanimate. In addition, the music by Yuji Nomi is atmospheric. Again, music is always memorable in the Ghibli back catalogue.

In all, this might not mark the most memorable or dazzling of Miyazaki’s movies, but it’s still a charming tale none-the-less. Perhaps this film veers considerably into girly territory. It’s not as accessible to the male audience as Spirited Away was (Dragons man!), but for appreciators of such things as story and character, there’s plenty to enjoy and of course, it’s not hard to get swept away by the sheer majesty of the artwork.

Tom Jolliffe

Five Essential... Gary Daniels Films

Following on from his interview last week, Tom Jolliffe selects his Five Essential Gary Daniels films…

When a plethora of martial art specialists were foist upon audiences in the late 80s and early 90s, there were a few who managed to find an audience and maintain lengthy careers in the video realm. One such star was Gary Daniels, who flew the British flag before anyone had heard of Jason Statham. Daniels major selling points were his excellent on screen fighting abilities and willingness to really throw himself into the action. Daniels performs most of his own stunts, whilst a hands on approach to action choreography, combined with a distinct MMA style has delivered plenty of excellent mano-a-mano brawls in his films.

Daniels continues to go at full pelt, and despite being near the big 5-0, he’s still in immense shape and barely looks a day over 30. He’s stood toe to toe (on film!) with Don ‘The Dragon’ Wilson, Lorenzo Lamas, Steven Seagal, Stone Cold Steve Austin, Jet Li, Jason Statham, Jackie Chan, Wesley Snipes and bizarrely former WWE legend, The Ultimate Warrior. Here is the essential Gary Daniels…


5. City Hunter (1993)

The film where Gary Daniels first really gained recognition. Jackie Chan was the established star, well known for his high intensity fight sequences and Daniels proved to be a memorable foe for the Hong Kong legend. The film is highly entertaining and very funny, whilst Chan’s benchmark action sequences are typically thrilling. Daniels makes an intimidating henchman, even despite sporting a pony-tail and doing the splits in nothing but a pair of budgie smugglers (quite the introduction to action movie fans). The film’s defining moment is when Chan and Daniels transform into characters from the classic video game, Streetfighter. Daniels of course, with the long blond hair, is the ideal Ken.




4. Rage (1995)

One of several collaborations between Daniels and PM entertainment. PM (now sadly defunct) have garnered a cult following amongst video action fans, thanks to the time and care spent on the action. They made a concerted effort to bring blockbuster level action, to a low budget world. The films acted as showcases for a lot of the best stuntmen and stunt co-ordinators in the business, either before hitting it big, or just to stay in the mind of the big Hollywood studios. What you got in the best PM movies were lots of action, lots of variety and some often breath-taking stunts. In the same way as they shoot action films in Hong Kong, it was the action that came first and was given the time to deliver the goods, whereas generally in the direct to video world, action films ration their carnage, and often don’t spend the money to get the quality of stunt team to deliver good stuff. Rage is ample example of PM at their best. Forget the silly plot, just switch off your brain and enjoy the show. Its action packed!


3. Recoil (1998)

Another PM classic. The film almost literally jumps from one action scene to another. The car chases, which tend to be a PM speciality, are brilliant. Spiro Razatos, who’s one of Hollywood’s premiere stunt co-ordinators (recently responsible for Fast and Furious 5) is the man to thank here. Daniels, as normal, throws himself into the action. He’s amongst it all and the film offers ample opportunity amongst its vehicular carnage, for him to deliver some high kicking beat-downs.







2. Cold Harvest (1999)

Martial arts expert turned director, Isaac Florentine delivers this enjoyably cheesy post-apocalyptic western. Gary Daniels does a Van Damme here and plays twins. One has glasses and is thus not hard. The other is a bounty hunter who’s an expert in martial arts and weaponry, and is thus very hard. The fight scenes are brilliantly done, whilst the stunt team offer plenty of impressive physical feats. As per normal Daniels leads the line well, maintaining a breakneck pace that puts the action in the league of the Hong Kong action cinema.





1. Riot (1997)

Probably PM’s best work. Daniels must enter a cordoned off riot zone to rescue his ex from kidnappers. The bad guys in the movie tick about every cliché you can think of in the book, particularly the Irish terrorists (with woeful Irish accents). The film's pace is brisk and it’s loaded with really imaginative action and eye catching stunt work. The film is a strong endorsement in the case for live action stunts over CGI fakery. Standouts include Daniels fighting off a gang of stunt bikers, and being chased down by a car in a multi-storey car park. The late Charles Napier co-stars, as does legendary boxer Sugar Ray Leonard (he’s not quite as adept in front of the camera as he was in the ring!).



Honourable Mentions

Fist of the North Star (1995)
White Tiger (1996)
Bloodmoon (1997)
Spoiler (1998)
Fatal Blade (2001)
Hunt to Kill (2010)
The Expendables (2010)

Agree? Disagree? We'd love to hear your comments...

Be sure to check out Tom's interview with Gary Daniels, which you can read here.

Tom Jolliffe

A conversation with action star Gary Daniels

Tom Jolliffe chats with British action star Gary Daniels...

Gary Daniels was a successful kickboxer (a former world champ) who took the decision to leave his homeland in England to pursue a career in acting overseas in the late 80’s. He cut his teeth on celluloid in the Philippines before venturing to America to launch himself.

Since that time he’s filmed all over the world and appeared on film with action legends like Jackie Chan, Sylvester Stallone, Dolph Lundgren, Wesley Snipes, Jason Statham and Jet Li. He also carved out a successful career as a leading man in the straight to video market. Gary was kind enough to speak to us...

What are you filming right now?

I came to Thailand to do a couple of films. The first is called A Stranger in Paradise, with Colin Egglesfield and Stuart Townsend. I’ve just wrapped on that. The second is Angels by Wych Kaosayananda. It’s got a great script, great crew, great director and it’s a really good part for me.

The Legend Of Bruce Lee hits UK shores on DVD early next year. Can you tell us a little bit about your role in that?

Actually it’s not that big a role really. I think I’m only in two episodes. The character isn’t a real person from Bruce Lee’s life; he’s been made up for the film. I’ve not seen the finished product, but it’s very much a fantastical version of Bruce Lee’s life, as most Bruce Lee biopics tend to be. Just like Dragon: The Bruce Lee Story, they embellish it very much. It’s not something I personally agree with, I’d like to see a true Bruce Lee story. They wrote this character as someone with a different fighting style to Bruce Lee and offered me the role.


Who has taught you the most during your film career?

I couldn’t really tell you any one person, I mean I’ve learned the most just from life itself and that’s what helps you become a better actor. I’ve worked with three different acting coaches, a lot of directors and a lot of actors and you take from everywhere. But really, what I feel has made me a better actor is getting older and having more life experience. One of my acting coaches once told me that actors are professional experiencers.

Which of your films are you most proud of?

Oh, I hate that question! You know what? It’s a good question for me to answer because when I’m asked that, for me, it’s not always about the finished product. There are so many different reasons that I’ve enjoyed the films I’ve made. It could be the location, or the actors I’ve worked with, the director, or the experience I had while making the film. If you’re talking about the finished product, then there’s a few I guess, but one of my favourites was a film called Spoiler. It didn’t have any martial arts action in it, so it was more of a drama. I loved that film. It wasn’t accepted that well by the buyers because it didn’t have any martial arts, or me kicking ass, and I guess at that point in my career, buyers had come to expect a Gary Daniels film to have me kicking ass in it. I also enjoyed making Fist of the North Star. It didn’t exactly turn out the way I expected it, but I’m still proud of it. Recoil was another I enjoyed.

The films you did with PM Entertainment (Recoil, Rage, Riot, Deadly Target) were great. They made a concerted effort to deliver Blockbuster action on a low budget. Do you think we’ll ever see another company like that in the straight to video world?

They really knew what their market was. I know some people put them down for some of their stories, some of the acting, but for people who just want to watch some kick ass action, they knew what they were doing. But you know, times have changed since then, the world’s economy has changed. The amount of money foreign buyers are paying for films, is not what it was back then. They’d shoot for a 3-5 million dollar budget, and make a really good profit back then. Korea would pay 700-800 thousand for those films. They’d have HBO World premieres which you don’t really have any more. Germany would pay a million for those films too. The world’s economy crashed and unfortunately that’s driven down budgets. Now you tend to have bigger movies shooting for 20-30 million, or you’ll get films shooting for under a million dollars. This is why people are shooting in Thailand, or Eastern Europe for example, to keep costs down. But unfortunately when you’re shooting budget is under a million, you won’t get the same kind of action as those PM films, with the car chases and crashes or the helicopters. Unfortunately times have changed.

Is there any other Martial Arts actor you’d like to face off against on screen?

Well not personally really. If I was going to do something like that it would hopefully be something that could promote my career. Who is out there right now in movies who could do that? I don’t know. Jackie (Chan) is moving away from martial arts and working in China mostly. Sadly, when you get teamed up with bigger action stars, you’re not gonna get big roles. There are egos involved in this business, and they don’t always want you to shine in their films. I’d be more interested in the directors. That interests me more, a good director with a bigger budget. Tony Jaa is one of the bigger names out there right now, but his films probably wouldn’t be the standard that could further my career. A lot of the guys they look to hire nowadays are what you might call the tricksters. They’ll do 3-4 flips before throwing a kick. There are some amazing athletes out there amongst the younger martial artists. That’s not really my style. What I’m doing right now is a straight acting role, with a terrific script. That’s really what interests me more.

What’s the most dangerous stunt you’ve ever done?

I think some of the stunt co-ordinators in those PM films actually let me do some pretty crazy stuff. Hanging out of helicopters, or hanging off skyscrapers. I mean, obviously, I was wired in. I’ve worked in Hong Kong which can be pretty hairy. I’ve been on wires in Hong Kong and these are meant for Chinese stunt guys, not someone like myself who weighed 185lbs. I think the scariest thing I’ve ever done was in my first ever movie, which I did in the Philippines. It was an awful film, a kind of Indiana Jones film. I had this heavy back pack on, and in the scene I had to jump into this river and swim across. As soon as I got in, the back pack filled with water and I just sank like a stone! I must have dropped about 15 feet to the bottom, and I had to get the damn thing off before I could swim back up. It took some time to get off too! That was thankfully right at the beginning of my career!

It’s the ultimate Gary Daniels film. You’re the hero, in a 50 million dollar budget movie. Who plays your villain, and who directs?

I think I’d have either Tony or Ridley Scott as director. I love everything those guys have done. But who’d be my ultimate bad guy? Wow! There’s so many great actors out there. I wouldn’t be picking a martial artist I don’t think. I’d pick a really great actor, like Christian Bale I think. Would he do it though? I seriously doubt it! Or if you’re going the Asian route, maybe Simon Yam. I think he’s a terrific actor. He’d make a great bad guy.

Do you have any plans to take up directing?

Definitely! Definitely. I actually co-wrote a film I want to produce and direct, an action film, and shoot in the Philippines. I’ve done a lot of action directing in my films so I’ve worked a little behind camera already. When I’m on set I like to watch the directors and see how they shoot things, and think how I’d shoot them, so it’s definitely something I’m thinking about, and the sooner the better!

Finally, what are you shooting in 2012?

Nothing! (Laughs) Actually, there are a couple of possibilities. I’ve been approached to do a pretty big film, and it’s one of the leads in a film that would shoot here in Thailand. I’m hopefully meeting the director while I’m here, who’s from America, so that’s part of the reason I’m here. He can’t really fly out right now because of the flood situation in Thailand. It’s really hard to plan in this business. When you’re not shooting you’re sat watching TV, but then within a week you could be shooting in some foreign land somewhere.

Thanks very much for your time. It’s been a pleasure.

No thank you, thanks for taking the time out, I appreciate it.

Many thanks to Gary Daniels for taking part in this interview.

The Legend of Bruce Lee is released on DVD and Blu-ray on January 9th, 2012.
Five Essential Gary Daniels Films

Tom Jolliffe

Blu-ray Review - The Exterminator (1980)

The Exterminator, 1980.

Directed by James Glickenhaus.
Starring Robert Ginty, Samantha Eggar, Christopher George and Steve James.


SYNOPSIS:

When his best friend is left paralysed by thugs, a Vietnam veteran sets out to clean the streets of low-lifes, thugs and gangbangers in a crusade of vigilante vengeance.


Somewhere between the end of the 70s era, of stark, gritty, exploitation vigilante flicks like Death Wish, and the 80s unabashed and sometimes cartoon heroics of Rambo or Chuck Norris, is The Exterminator. It’s a mish-mash of the two, and, as prevalent in both 70s and 80s action flicks, Vietnam is a theme. Robert Ginty plays John Eastland, a burnt out Vietnam vet, whose best friend and former war buddy, played by Steve James (American Ninja), is left completely paralysed by a street gang. Eastland takes bloody revenge on them, and continues his vigilantism by taking out the scum of New York, be it Mobsters or child sex traffickers. Eastland is part Bronson in Death Wish and part John Rambo.

The Exterminator is pretty trashy. Like many films of this era its main concern is to go about its business with ruthless efficiency and many expenses are spared. The film cobbles together brief punctuations of extreme violence (at least for those days - it’s hardly Saw). Thematically, like much of cinema in this period, it’s not afraid to scrape the bottom of the barrel for the most putrid of society’s evils. Since the film has been made, in recent times several of its themes have become persistent and major points of debate and concern in modern society, such as paedophilia and euthanasia. So whilst on surface it may seem like cheap shlock, it’s not without political and sociological merit.

Writer/Director James Glickenhaus’ style, in both writing and directing is very simplistic. Certainly the script never really devotes too much time to any drama, whilst a constant strange shift between scenes (partly script, perhaps partly down to editing) is quite jarring. A rather needless subplot involving cop Dalton (Christopher George), and a romance with Doctor Megan Stewart (Samantha Eggar) is never given enough time to hold any emotional resonance, and just slows the film down. Shot in a very rigid style of simple master and coverage, Glickenhaus gets the job done with minimal fuss, which while static at times, does add an earthy grit to the dark nature of the film. It seems clear his main pre-occupation is with those moments of violence, with a notable inspiration from one Sam Peckinpah.

I’m undecided on Robert Ginty. His performance is either terrible, and as wooden as a stack of logs, or his (possibly) disengaged, distant portrayal of a haunted and emotionally retarded former Nam vet, is a work of sheer brilliance. Either way, it works for the film. Ginty is certainly not going to be remembered as one of the game changing action guys, nor does he really even look the part. Even Charles Bronson, whose role in Death Wish saw him playing an average family man turned cold blooded killer, was still Charles Bronson and thus as hard as a slab of solid steel. The rest of the cast is solid enough, including the always reliable Steve James, who surprisingly never had the career or notoriety in the action genre his ability deserved, certainly when you consider he co-starred in Michael Dudikoff’s launching pad, American Ninja. Dudikoff became a video icon, despite James having more charisma and certainly a lot more prowess in martial arts and on screen fighting. Though his death in the early 90s certainly didn’t help his career.

The Exterminator is a solid entry into the vigilante sub-genre of the action market. Successful enough to earn a sequel, yet not a film that races to the tip of the tongue like Death Wish, when discussing iconic films of the genre.

Tom Jolliffe

Blu-ray Review - Maniac Cop (1988)

Maniac Cop, 1988.

Directed by William Lustig.
Starring Tom Atkins, Bruce Campbell, Laurene Landon, Richard Roundtree, William Smith and Robert Z'Dar.


SYNOPSIS:

A killer in police uniform is dubbed the Maniac Cop after he starts taking out innocent people on the streets of New York City.


The 80s had such a high output of schlocky horror films. So many cult horror favourites emerged from that period, largely aided by the birth of home video, which extended a movies shelf life beyond the multiplexes. That Grindhouse experience of the 70s, watching cheap exploitation flicks, suddenly became domesticated. The comfort of your own sofa to watch the splatter of insides with a few brewskies was a new and enjoyable concept. Maniac Cop, like many of the more memorable explo films of the period was shot for peanuts, and though briefly played in theatres, really hit it big on video. Its star, Bruce Campbell, is of course synonymous with the outstanding Evil Dead movies, which were hugely popular on VHS (god, if I say VHS or video one more time, I may start crying!).

The premise is simple, yet one of those which is brilliantly evocative. As A Nightmare on Elm Street made us fear the comfort and recharge of slumber, Maniac Cop gives us the frightening scenario of a law enforcer turned bad, and punishing the innocent. Matt Cordell (Robert Z’Dar) is a former cop, presumed killed in prison years previously. However, bent on revenge against the society and its leaders, who put him in jail, Cordell goes on a killing spree, randomly targeting innocent victims, whilst pinning the crimes on working beat cop, Jack Forrest (Campbell). Detective McRae (Tom Adkins) knows something is amiss and investigates.

The film is pretty cheesy, as you’d expect from a schlocker. The acting is on the hammier side of the market, right by the cheese stall. Adkins leads effectively, until the film shifts protagonists to Campbell, which makes for an equal parts jarring and interesting change. Campbell of course, is charismatic and just a little bit wild browed in his acting this period. Let’s face it though, Bruce is a legend and exudes likeability. He can be relied upon in this genre. Laurene Landon is good too, playing a surprisingly efficient, sassy, and strong female character given the norm in this film mould. Elsewhere, Shaft himself, Richard Roundtree pops up in a cameo role as the Commissioner.

In terms of the set pieces, this doesn’t have the imagination of better horror flicks, but is effective enough given its premise and Z’Dar’s imposing physical presence (and enormous frigging jawline!). It’s not the bloodiest of films, but there’s certainly no shortage of the red stuff, whilst we get a few memorable dispatches too. The finale too is effective. In addition, Jay Chattaway’s score is decent, and like most of his 80s synth music is often overlooked, but much appreciated by the enthusiasts of these old school synth scores.

Maniac Cop quite rightfully has a cult following, and while it’s not the classic that say Campbell’s Evil Deads were, it’s still a decent watch when you’re in the mood for some B-movie horror. A popular 80s staple, which more surprisingly hasn’t been targeted yet by the re-make gravy train. It will though… sadly.

Tom Jolliffe

Movie Review Archive

Ten reasons why The Expendables 2 is going to be explosively awesome

Like baking a cake, The Expendables 2 will be an amalgamation of many ingredients, coming together in (hopefully) blissful union. The first film was a slightly less complex recipe, with plenty of dashes and pinches here and there to please the action cinephiles. Like some cakes, it sank a little, but still tasted sweet enough. Hopefully with more careful handling and more precise mixing, this cake will be magnificent. This cake however won’t be light and fluffy, it’ll be rock hard and more useful replacing a missing slab of concrete in a building, than decorating a dinner table.

The ten key ingredients for me (in no particular order):

1 - Sylvester Stallone: Sly is brilliant. He’s the baker, and only he could have brought together such a grouping that he did in the first film, and now for the sequel. That aside, it’s been a joy for action fans of late to see Stallone’s renaissance, starting with final outings for Rocky Balboa and John Rambo. Leaving behind his director’s chair this time will hopefully ensure that Sly can concentrate on making Barney Ross become a more memorable character, and more in line with his iconic turns as the boxer and the crazy Nam vet.

2 - Arnold Schwarzenegger: The big guy's cameo in the first film, along with Bruce Willis, was the first time seeing the three biggest action stars of the last 30 years together on screen (unless you count Planet Hollywood promotional videos). Arnie is yet to have the second wind that Sly has, having tailed off limply into politics after years of below par, lacklustre tripe, including his stand-up comedy routine in the disappointingly middle of the road Terminator 3. Now Arnold, with the exciting project The Last Stand due to lens soon, gets his chance to go Commando once more. Though he’s not looking quite as fit for battle as Sly remains, action lovers will relish seeing Douglas Quaid tear a few new assholes.

3 - Bruce (what you talking bout) Willis: Bruno has stayed reasonably consistent over the years. He never quite suffered the dips that Sly and Arnold did, despite a few duds along the way. Brucie had the ability to pick the odd plum role here and there. Willis stole the scene in the first film, upstaging his Planet Hollywood partners, even if the scene itself felt rushed, crammed in and a little cheesy. Now however, Willis has more screen time in which to work with not just Sly and Arnold, but the others too.


4 - Chuck Norris: When the dust had settled after The Expendables, the questions that came up were many: “Could/should this have been better?” “Why does Mickey Rourke dribble so much?” Mostly though, fans asked “Why didn’t they get [insert 80s action icon name here] in the film?” We were missing a ponytail, a Belgian, a tax-evader and the guy with a fist behind his beard. Norris in many ways paved the way for Arnold and Sly to play the heroic one man army characters they did. He was a key player in the popularity of the action genre in the VHS boom in the 80s. The first Reagan era poster child, Norris was iconic in the 80s. His popularity waned in the 90s, before he moved successfully into TV, with Walker, Texas Ranger. Despite being past 70, Norris, who is now a cult internet icon and consistent pop culture reference in TV and film, is an immensely popular choice for the Expendables line up. His inclusion is most welcome indeed. It’s time for Norris to hit the bad guys with so many lefts, they’ll be begging for a right!

5 - Jean Claude Van Damme: It came to light that Claude (as Sly calls him), turned down a role in the first film. That turned out to be a mistake, though in retrospect, possibly a turn of good fortune and foresight. Van Damme, instead of playing a side character and being either killed off, or having to be more background in the sequel too, Claude has landed the lead villain role. Not only that, but having gained critical acclaim for his brilliant performance as himself in JCVD, proving his capabilities as a thespian, there’s the potential that Claude can steal the film. Every good action film requires a memorable villain, and the stage is set for JC to steal the thunder of the many thundergods sharing screen with him. Like Sly, JC looks in top physical condition, belying his advanced years.

6 - Dolph Lundgren: As Gunner Jensen, Lundgren was the star turn in the first film. While an edge will have been taken from his character, it would seem Dolph is destined to be rewarded with more screentime. Sly’s reunion with his Rocky IV co-star was a joy to see, and there was genuine chemistry on screen between the two. Sadly there weren’t enough scenes with them together, nor enough time in those scenes. The garage sequence with Sly and Dolph alone teased us with the promise of more, yet remains one of the best dramatic scenes in the film.

7 - Scott Adkins: Brit action up and comer Adkins is a physical phenomenon. Having already starred in a few cult favourites such as the Undisputed sequels, he’s shown off an impressive array of on screen fights, and also enough screen presence to suggest he could be a worthy contender as one of the new batch of action men, currently led by Jason Statham. The revisiting of the old guard and the current doe-eyed love of all things 80s shows that there’s not enough new talent coming through, and the films just aren’t handled as well as they once were. However with old-school in, Adkins has enough charisma and the physical prowess to make a name for himself. As JC’s chief henchman, as well as the lead role in Universal Soldier: A New Dimension, he’s got a potentially great launching pad.


8 - Jason Statham: He’s become a reliable action star. The closest we have to the 80s crew, and with that sort of stoicly tough aura. Though he’s not starred in enough decent films, he remains a likeable presence, and someone who exudes badassedness. Statham was solid in The Expendables, and we’ll be hoping he manages to add another layer to his character. One of the first film's weaknesses was actually devoting too much time to Sly and Statham together alone, or by themselves, which took away from the group element and the others' screen time. To adequately fit in these guys and do them justice, the screen time will have to be well rationed, and the group aspect, which will also provide plenty of on screen energy (much needed to fall back on, if the script doesn’t hold enough dramatic weight). Stath has the front seat still, with Sly, and looks in no danger of losing it.

9 - The Rumours: Well there’s possibly Nicolas Cage and John Travolta to come. Then we’ve had rumours of other 80s stalwarts like Michael Biehn, Michael Paré and Lorenzo Lamas popping up. A key role is yet to be finalised and cast. It could be one of these guys, but then again, maybe they’ve broken Wesley Snipes out of jail, or Steven Seagal out of the KFC he’s currently barricaded himself in!

10 - No Taylor Lautner: There is no place for the walking wood that is Taylor Lautner. The 80s guys can do blank. They can do stoic. When they stare blankly, their expression still says “Eat fist punk!” Taylor Lautner's blank expressions merely say “Duh?” Whilst we’re talking of omissions too, Jet Li seems to be getting gracefully nudged out with an extended cameo this time. Li seemed misplaced and not particularly enthused in the first film. Li isn’t particularly needed and it at least allows screen-time to actors hungrier to make an impact - such as no doubt Arnold, Chuck, JC and Dolph - all looking to re-launch themselves (or in Chuck's case, a last hurrah, maybe). Mickey Rourke doesn’t return, and though he offered some emotion in the first, his role seemed out of place and his rambling monologues ground the film to a halt.

Come August next year, the multiplexes will explode into a ball of fiery testosterone and hopefully with more success than the first film. The Expendables just needed to be made and put out to satisfy so many genre fans wet dreams. The sequel has to show more quality and consistency, otherwise we may not see Expendables 3, when hopefully Wesley Snipes will be out of his prison issue uniform and ready to kick some ass.

Tom Jolliffe

DVD Review - The Dead List (2009)

The Dead List, (a.k.a. Ultimate Heist, a.k.a. Inside Ring), 2009.

Directed by Laurent Tuel.
Starring Jean Reno, Gaspard Ulliel, Sami Bouajila and Vahina Giocante.


SYNOPSIS:

The son of a gangster looks to escape the family business as rival mobsters and federal agents close in on his father’s empire.


Jean Reno will forever be known for his star turn as the titular assassin in Leon (The Professional), the brilliant Luc Besson film that launched Reno into Hollywood. Since then he’s never quite hit those heights again, but whenever he appears in something, he’s reliable. At the same time, Reno manages to divide his career between American productions as well as maintaining a steady career in French cinema. The Dead List is one of Reno’s recent additions to his French cinematic CV. So is he close to knocking Leon off the throne as king of his achievements? Well, no.

The Dead List (the title makes no sense at all, and doesn’t fit with the films plot in any way), is an efficiently made thriller. The Malakian family are French Armenian gangsters who ply their trade in the south of France. Father Milo (Reno) wants his son Anton (Gaspard Ulliel) to inherit the family business. Anton however grows weary of the life of crime and wants to set up a legit hotel business of his own with his girlfriend Elodie (Vahina Giaconte). Unfortunately things are never easy and Anton needs money to break free from his father, but Milo is unwilling to see his son retreat from his destiny. All the while, the determined cop Inspector Saunier (Sami Bouajila) is closing in on the Malakians. The plot never really threatens to surprise, but it keeps moving at a steady pace.

The cast are good, helping to elevate what could easily have been rote and uninspiring. Reno as ever is solid, even if he’s not really anywhere near his best. Still, he adds star power to the proceedings. Ulliel is okay, but it’s Giaconte and Bouajila who stand out here. As it is, given the plot, this film probably has a straight-to-video American duplicate somewhere, which probably doesn’t have a cast anywhere near as good. I could see Dean Cain headlining perhaps, in something shot cheaply in Eastern Europe. Maybe bad dialogue just sounds better in French, I don’t know, but in any case, the actors are committed to their characters and despite so much familiarity in the subject, it doesn’t feel churned out like an American counterpart may have done.

There’s not much action in the film, even though it might be suggested from the promotional material (and strange title) for the UK-US viewers, that this is going to be something akin to Leon 2: Clusterfuck. However the brief set pieces are pretty well done. There’s nothing too elaborate as budget would clearly not allow it, but the film’s strength lies more in trying to build tension between father and son before the inevitable clash and resolution.

Fans of Reno will enjoy the film, without being blown away, whilst for others it will probably be passable. There just isn’t enough in the film to differentiate it from dozens of other crime thrillers, especially as the action orientated parts, like the heist itself, play second fiddle to somewhat formulaic characterisation. This could have been a lot better, but conversely, much worse.

Tom Jolliffe

Movie Review Archive

DVD Review - Double Impact (1991)

Double Impact, 1991.

Directed by Sheldon Lettich.
Starring Jean-Claude Van Damme, Bolo Yeung, Geoffrey Lewis, Alonna Shaw, Corinna Everson.


SYNOPSIS:

Twenty-five years after being seperated at birth, twins Chad and Alex are reunited to avenge their parents' deaths.


Special offers are great! BOGOF! Get one Jean Claude Van Damme, and you’ll get another free. Double Impact offers twice the Van Dammage and twice the plot… actually, maybe not twice the plot, but never mind!

At a time when Mr Van Damme’s star was on the rise, before really hitting it big with Universal Soldier and then more so Timecop, he decided to go a little more ambitious with this Hong Kong set action extravaganza. Double Impact remains a firm favourite amongst his fans. It’s fun, it’s cheesy and it’s a little bit bad, but entertainingly so.

JC stars as twins, Chad and Alex, separated at birth after their parents were murdered. Two characters, one personality… Van Damme. Revelling somewhat in the dual roles, Jean Claude has fun with the parts, and for the first time really, gets to show off his more comical side. At times it’s intentional, but the film has plenty of unintentional laughs, notably from the slightly naff two JC’s on screen effects, and the miss-timed banter between them. Of course there’s more than ample opportunity for The Muscles from Brussels to show off his trademark fancy kicks. Double Impact offers plenty of carnage.

The action here is pretty good. There’s high kicking high jinx, car chases, gun fights and foot chases. Bloodsport villain Bolo Yeung stars as one of the villains chief henchmen, and once again, goes toe to toe with Jean Claude. Bolo always makes for a memorable villain thanks to his intense look and physical stature. Elsewhere Cory Everson also makes her mark as henchwoman. The female bodybuilders thighs look as beefy as Jean Claude's, and she could tear a mere mortal man in half by the look of her. In terms of the action and those involved, Double Impact definitely ticks all the boxes, even if there’s an overuse of slow motion.

The film's setting is eye catching and despite a fairly modest budget, it feels quite big in scale thanks to the locales. Technically it’s efficiently made by veteran action director, and long time Jean Claude collaborator, Sheldon Lettich. Van Damme seems to relax and give his best for Lettich, and it shows. The film has a sense of fun about it, like it was enjoyable to make (of course, I could be wrong). Sometimes tension through the production can be manifested in the final piece (occasionally for the good of the film, like Blade Runner or The Shining for example), but here, the film has a relaxed vibe, with the intent to provide plenty of entertainment. It’s not brilliantly written or acted, nor would a genre fan expect that either, but it delivers what it sets out to – erm… Double Impact.

Whilst Van Damme continues to kick away on screen to varying success, it’s always good to revisit some of his past glories. Double Impact is most certainly one of his glories.

Tom Jolliffe

Movie Review Archive

DVD Review - Hobo with a Shotgun (2011)

Hobo with a Shotgun, 2011.



Directed by Jason Eisener.

Starring Rutger Hauer, Pasha Ebrahimi, Brian Downey, Molly Dunsworth and Rob Wells.





SYNOPSIS:



A shotgun-wielding hobo delivers justice to Scum Town, one shell at a time.





When Quentin Tarantino and Robert Rodriguez delivered Grindhouse to the big screen, they invited fellow film-makers to add to the double-bill by making faux-trailers. One of these was Hobo With A Shotgun, which has now been brought to fully formed, feature-length life. The title alone is brilliant and evokes a mental image worthy of one’s visual gaze. The casting of Rutger Hauer as said Hobo is also a stroke of brilliance.



The recent homages to trashy cinema of the 70’s/80’s from QT and RR were fairly effective. They did evoke that essence on the whole, though less so with Tarantino’s contribution, Death Proof. A problem for Death Proof especially, but also Planet Terror and Machete, was that they were all a bit too indulgent. Death Proof delved too much into the QT dialogue flights of fancy, whilst the Rodriguez flicks were just a bit too insane. A mish-mash hot pot with too many elements thrown in, and far too much computer generated imagery, that goes against the rough and ready home-made red batter from those old flicks-splatter. These were two high profile directors doing something for themselves to satisfy an impish need to mimic something they grew up on. What differs in Hobo, is that director Jason Eisener is a young upstart who, as well as paying homage, also wants to make a name for himself. Hunger plays some part in his film, as opposed to being over-fed in the other films.



Hobo is simple. The titular character arrives in town, and is instantly appalled at the lawless carnage around him. The criminals, working for kingpin Drake, rule the roost and the innocent get punished. One push too many, and the Hobo dons his vigilante cap (metaphorical) and sets about taking out the trash (metaphorical!). It’s your standard splatter movie, evoking grindhouse and Troma, with at its best, a panache near-worthy of early Peter Jackson and Sam Raimi. The villains are highly villainous. The deaths highly gory and characterisation is kept to a near minimum, whilst the acting is knowingly bad/camp/over the top.



However, there is one element that sets this film aside from standard gore-porn splatter-fest, and that is Rutger Hauer as the Hobo. It is also an ingredient that gives this preference over its more elaborate older relatives from Tarantino and Rodrigeuz. What Hauer delivers is a performance that brings to life a character simple and backgroundless on paper. The requisite tongue in cheek humour is well delivered by Mr. Hauer, but in addition and most impressively for a film in this genre, is the fact he injects some poignancy and intensity into the character. As he does at his best, Hauer really gets into the character. He becomes the blood coursing through the veins of someone’s simple, two dimensional creation, and makes it three dimensional and fully formed. It’s a genuine and at times surprisingly heartfelt and haunting performance. It’s a joy to see Hauer given lead duties, and a role that allows him to hit his brilliant top gear. This is his best role since The Hitcher, and should be appreciated, even from those who can’t endure the gore and sicker moments of the films genre convention checklist.



The film started off a little slow. There’s a sense of formality about it, as the audience is waiting for the shotgun-led vigilante justice served and the director waits too. The film will be hard to stomach from some in moments, most notably with a bus load of school children burnt alive and a gun waved in a baby’s face. Early on there’s not quite enough flair in the carnage, nor quick enough pace in the film, but as soon as Rutger starts to unleash 20-gauge justice, the film hits high gear and the set pieces excite. The finale is very good indeed. Of course this is intentionally trashy, and even with tongue-in-cheek there’s a sense that this can only work to a certain point. Homage to badness by being bad can’t really be too clever, nor massively effective.



In all the film delivers in moments. The humour hits the mark intermittedly. That balance between wit, and intentionally bad humour is never quite right, but the film certainly has its share of memorable lines, at least for Hauer. The cast aren’t great, and again, it’s hard to judge how much is down to intention, resources, or talent involved. However Molly Dunsworth, as a hooker who befriends the Hobo is good, and also flirts with adding some arc to her simple role. By the film's end though, there’s one thing that stands out as being most worthy of your time, and that is Rutger Hauer. He’s been in a lot of trash, not always intentionally made, and always adds a spark of watchability at the very least. Here he gets a stab in this recent hip-to-be-trash spate of films, which to some extent give him the chance to headline a film with a substantial audience base (the film did get a theatrical release, albeit brief) and thus gain a rise in credibility and notoriety. Hopefully there’s enough here for someone to give him a decent role in some more high profile pictures. Lord knows, Hauer’s talent is deserving. As for director Jason Eisener; He shows enough, particularly in the finale, that a career in action or horror films might be forthcoming.

Tom Jolliffe

Special Features - Mark Dacascos: The Nearly Man

Tom Jolliffe looks back at the career of Mark Dacascos...

Sometimes there is someone who flirts with the big time, but for one reason or another, never quite makes it. In the grand pantheon of action star legends, you will remember such luminaries as Arnold, Sly, Jean Claude, Steven and Dolph. They forged lasting careers, gaining popularity on the big screen and/or the video market. It’s down to luck, the package they offer, and durability, that means a film can still be pre-sold to all the major territories, for the big screen or the major video market by the name one of the big boys. Whether it was a breakout role that held them in good stead for the lengthy careers which followed, or a string of successes that were enough to override any subsequent failures, the likes of Stallone are big business. In the action genre, there are a number of templates that any new star breaking through would fit themselves to, or be fitted to perhaps. In the case of Mark Dacascos, who broke out in the martial arts genre, he would probably seen as someone who could rival Jean Claude Van Damme. Ultimately though, Dacascos never came close to matching Van Damme’s following.

Dacascos can count himself as one of the most unfortunate action stars of recent times. His talents deserved more longevity, more star status and more impact. By no means has his career been a total washout though. Dacascos has leant his name to a number of cult favourites, while gaining a respectable level of fandom. But the potential he possessed to have a purple patch in multi-plexes like JC, or become a video king like JC or Lundgren, has not been fulfilled.

He first rose to prominence in Only The Strong. The film featured Dacascos as a soldier who returns to his old neighbourhood to find it’s been taken over by drug dealers, and to find his old school has become a breeding ground for future prison fodder. He is hired to teach the kids Capoeira (Brazilian martial arts) to help them with discipline and focus. At the same time he clashes with the local drug lord, who’s nephew is one of his students. The film, directed by a regular Van Damme collaborator, Sheldon Lettich was an enjoyable slice of video action, not least because of its fairly unique martial art. Dacascos comes across as likeable, and it also showcases his talent for on screen fighting.

At this time he also appeared in the truly woeful video game adaptation, Double Dragon. A terrible idea to start with, not before it’s horrific execution. Despite the games popularity (though hardly a rival to Street Fighter or Mortal Kombat), pretty much no one watched it, and the few who did found it dire. Dacascos then truly followed in Jean Claude’s footsteps by headlining Kickboxer 5. Like Double Dragon, the film was woeful, and not the launch pad he’d have hoped for.

Dacascos hit a break next up, with Manga live action adaption Crying Freeman. The film was artistically ambitious. It looked far beyond its modest budget thanks to the young, visually stylistic director Christophe Gans. The film was beautifully shot and well edited by David Wu (who edited most of John Woo’s Hong Kong shoot em ups). This film showcased Dacascos’s arsenal of talents. Why should he have hit it big? Well, on screen, in action, he moves with almost unmatched grace. His gymnastic ability looks great on screen and combine well with his svelte frame, agility and flexibility. In addition he’s a highly accomplished martial artist. Furthermore he’s able to give his performances a sense of vulnerability and sensitivity that many of his peers can’t. In part this may be why he hasn’t hit it as big. But his ability to be different could have played in his favour with better casting and more luck in his career. As an actor, he’s by no means Olivier, but he’s not bad when his strengths are played to and he connects with a director. With Gan’s he found a director who could get the best out of him. Freeman to this day hasn’t been officially released in the US. It was however hugely popular in France, and also did well in Europe.

The two re-teamed later on with the popular French hit, Brotherhood of the Wolf. The film was a bizarre concoction of influences, genres and styles but proved popular with fans and critics. Dacascos was given a thumbs up by critics as the standout role of the film. As Mani he’s enigmatic, other-wordly, and physically impressive at the same time. Dacascos’s eyes always tell a story when his characters are more quietly natured. Indeed, when his characters are of a quietly sensitive nature, he’s at his best. Again, genre buffs tend to be more inclined to enjoy the silent but grizzled and tough act that Arnie and co have perfected. Brotherhood of the Wolf thrust Dacascos briefly under the radar. It was at this point that his follow on needed to be right for him to gain some momentum. Unfortunately it wasn’t. He secured bad guy duties in Cradle 2 The Grave. It was an opportunity to go toe to toe with action legend Jet Li. The film was poor, though reasonably successful, and the showdown was disappointing. Since that time his career hasn’t stagnated mostly in the video realms. Not even that moment in the sun with Brotherhood allowed him to take place amongst the A-list of the video realm, such as Lundgren. And of late, Dacascos’s film projects have fallen from C-grade, almost down to Z-grade. Budgets have gone from thin to anorexic.

His cult status is cemented thanks to underground hit, Drive. A straight to video, low budget, martial arts flick may sound like a dime a dozen affair, but Drive is a film that is immensely enjoyable, and something of a pleasant and delightful discovery to those who stumble on it. Offering fight fans the sort of choreographed martial arts normally reserved for Hong Kong cinema, Drive is a riot! The action is fantastic, featuring some of the best fight scenes put to film, not just outside Hong Kong, but full-stop. Loaded with imagination and fantastic stunt-work, Drive kicks ass, and Dacascos is majestic in full flow. As well as the fight scenes, the film is very funny. There’s very little plot, but the film has that air of being a production that all involved in it, enjoyed immensely. There’s a sense of creative expression, not least because of the allowance for ad-libbing (which was put to good use by Kadeem Hardison as Dacasco’s comedy side-kick). The film has wonderful chemistry between all involved, whilst the late Brittany Murphy is a joy to watch and has actually never been better than she is here. In Dacasco’s part he plays his role with some poignancy (at least in the Director's Cut version) and also shows himself able with comedy, playing straight man to Hardison very well.

Of late Dacascos has had some success in TV, he’s been the Chairman in Iron Chef America, appeared on Dancing With The Stars, and guested as a recurring villain in the reboot of Hawaii Five-0. Earlier too he followed in Brandon Lee’s footsteps by starring as Eric Draven in the TV series The Crow: Stairway To Heaven (the show was mid-range, neither good/bad, success/failure). He’s now 47 (though doesn’t like a day over 30), so another shot at the big time is unlikely, but what with the sudden surge in popularity for the action stars of the 80s and early 90s, he may find himself popping up in The Expendables 2, if he’s lucky. There’s always the possibility of joining up with Gan’s again, or perhaps finally getting round to the long gestating Drive sequel, but until then, he needs someone to use him right in a film. Dacascos isn’t the out and out tough guy. He’s not the stoic, stone faced killing machine. He’s a hero altogether different. He has neither the imposing presence or gruffness to be as menacing as guys like Steven Seagal. He’s been given roles like that, and it hasn’t worked. Whether he gets another shot, remains to be seen, but he certainly deserves it.

Tom Jolliffe

DVD Review - Jean Claude Van Damme: Behind Closed Doors (2011)

Jean Claude Van Damme: Behind Closed Doors, 2011.

Directed by Jared White.
Starring Jean Claude Van Damme.
Narrated by Jason Flemyng.


SYNOPSIS:

A reality show giving unprecedented access into the life of action star Jean Claude Van Damme.


In the mid-80’s, a young, and buffedly (yes, I just invented that word!) goofy looking young Belgian, crossed paths with (somewhat) pioneering action movie producer Menahem Golan. At the time the action flick business was hitting full swing with the likes of Sly, Arnold, Chuck and Charles leading the pack. Jean Claude Van Damme entered the fray and roundhouse kicked his way firstly into the video market in a big way, then onto the big screen. Jean C has starred in many cult favourites amongst genre enthusiasts, in particular his breakout movie Bloodsport and then the likes of Kickboxer, Lionheart (AWOL), Double Impact, Universal Soldier, Timecop and Hard Target. Oh and Derailed of course, which was, I believe, nominated for six Oscars (it wasn’t really, just in case you fell for that). Van Damme has hit the headiest heights, and experienced a lot of lows. Like many in Hollywood he’s fallen into some of the pitfalls that come with such a glamorous lifestyle, notably drug addiction.

In Behind Closed Doors, Van Damme allows a film crew unhindered access to his life for 5 months, spanning from late 2010 to early 2011. He bares his soul here totally, much like he did in his critically acclaimed movie JCVD. Van Damme is a truly fascinating guy. A bipolar sufferer, Jean Claude’s temperament fluctuates wildly and this documentary illustrates this. His moods shift erratically from bouncingly happy with almost childish glee, to doom and gloom fits of anger and sadness. He’s a guy whose mind is an explosion of thoughts and ideas (okay that might seem hard to believe to some). He’s always analysing, be it himself, his surroundings or philosophical ponderings. Not only is he deeply thoughtful, but he’s also incredibly passionate at times. Notable is his love of dogs. Van Damme seems to have a genuine kinship with K-9 folk. Particularly he admires their ability to love, loyalty and their simplicity. It is with great passion as well as real distress that Van Damme also talks about the environment on several occasions during the filming. He feels as if the human race is irreversibly damaging the planet.

The main focus here is Van Damme the family man, and also his decision to step into the ring against a terrifyingly hard as nails Muay Thai kickboxing fighter, 12 years his junior. There’s not much structure during the shows, if only because there’s not too much structure in Van Damme’s life. It’s frantic and full on and he jet-sets like a mad-man. The idea of one time World Champ, Van Damme returning to the ring aged 50, 30 years after his last competitive bout, is interesting, if inconceivable. Some watching this doc, may be disappointed that the shows don’t build up to the actual fight as a finale. In fact it’s structureless nature means that each episode doesn’t require the one previous or following on. From episode one, right through to eight, this doesn’t build up to anything. It’s merely a chunk of Van Damme’s life.

Amongst pondering the nature of humanity and the environment, Van Damme is seen on movie sets, at fashion shows, at his doggy sanctuary, or at one of his many homes. He parties, he indulges, he pumps iron and above all…he cries. Boy does he cry! Jean Claude is quite the softy it seems. Highlights of the show include Van Damme beating up stunt guys during his film shoots, due to his want to use some contact in his choreographed smackdowns, or meeting his daughter’s boyfriend, or suffering a severe case of the grumps during a birthday party in his honour. Then there’s his struggle with self-funded personal film project, The Eagle Path, which JC feels is a failure. At times JC plays up for the cameras, but the show is really at its best when he’s at his most vulnerable and we get to see the real man. Certain moments in his life stay with him and haunt him, such as having to leave behind his favourite pets in his youth to move to America with nothing to become a star and returning to find they had died during and in part because of, his time away. It’s very poignant, as is his relationship with wife Gladys, who has been through the mill having been twice married to Van Damme following dark years apart in the mid 90’s because of his playing away and drug abuse. At times she acts like his mother, but there’s real heartfelt regret from Van Damme regarding his behaviour in the past towards Gladys, and he’s whole-heartedly grateful she’s with him.

As for the rest of the family, son Kristopher could easily be the missing Brady. He’s a cheesy young man indeed, but at the same time comes across as genuinely nice. Daughter Bianca seems to have led a somewhat sheltered life and both kids hold strong values, despite being a little bit detached from reality sometimes, only in the sense that they’ve grown up outside of the real world and in Jean Claude world. Regardless of that, they’ve been well raised by (one would assume, predominantly) Gladys. In addition many of Van Damme's personal friends appear, such as assistant Max, as well as long-time friend, writer/director Sheldon Lettich (Double Impact). Bolo Yeung also makes an appearance too, which for Bloodsport and Double Impact fans, is a treat.

The production of the show is fairly routine. Jason Flemyng provides an efficient commentary. Neither inspiring, nor overwhelming, he does the job as required. The writing isn’t great, nor is the propensity for repetition. The editing is by the numbers, while much like the commentary the material runs over familier ground too often. But on the whole, this does offer enough interesting insight into a genuinely fascinating individual. In comparison to Steven Seagal’s fly on the wall offering, Lawman, this show is far more interesting. It feels far more genuine and less put on than Seagal’s show, whilst there’s also a sense with Seagal that he’s got a constant guard up and a continual front. I never felt I’d seen enough of himself personally, where-as Van Damme is incredibly open and honest.

Fans will appreciate the insight into their hero, and perhaps his complexity. Though it’s not an earth shatteringly important documentary, and very much in the light entertainment field, casual viewers will possibly appreciate Van Damme’s emotional soul baring. Then again, as Van Damme himself states during the show, “People are gonna love me or hate me.” His constant mood and attitude shifts make for interesting viewing, but perhaps alienate some audience from standing in his corner. One second he’ll talk about how much he loves his wife, and the next he’s ogling models 25 years his junior. Or he’ll follow up a heartfelt discussion about the nature of man and the environment, by dancing like a clown in a club, drunk as a skunk. But like him or not, that’s Jean Claude Van Damme for you.

Tom Jolliffe

Movie Review Archive

DVD Review - Street Wars (2011)

Street Wars, 2011.

Directed by Keoni Waxman.
Starring Steven Seagal, Kyle Cassie & Peter Graham-Gaudreau.


SYNOPSIS:

Elijah Kane (Steven Seagal), the head of a crack undercover police unit, leads his team in a race against time to bring to justice the cold blooded gang flooding the Seattle streets with a lethal drug.


Steven Seagal has ventured from movies into the world of TV with varying success. Of late, big Papa has looked a little weary in his film outings. When once he snapped many a neck with aplomb and gusto, he now doesn’t seem to have much heart for the job in hand. Obliterating evil doers just doesn’t seem to fill Steve-o with the sense of pride and fulfilment that it used to. Seagal’s first foray into TV, was the reasonably successful fly on the wall docu, Lawman. The show, kind of like Cops, with Steven Seagal, followed the ponytailed Adonis (well, if you believe Seagal himself!) around during his shifts as a genuine member of the Sherrif’s department. It was a little put on, a little stagey, but then again, most reality shows these days are. But on a side note, would you want to get arrested by Steven Seagal? Certainly, if Out For Justice was anything to go by, resisting arrest would be a bad idea. Following Lawman, Seagal opted to portray a fictional detective as well in True Justice.

True Justice is pretty much your middle of the road cop show. It aspires to be something better than what it is, but sadly, is just a pale imitation of far, far better shows. Not a patch on high end shows such as 24, this delivers little more than perfunctory entertainment. Much like Seagal’s movie career has descended into low-rent his TV career, at least fictional, has started that way. It’s hardly a step up. Despite Seagal’s creative input as show creator and writer, his performance in the central role, is lacking in much enthusiasm. Or perhaps anything noticeable, but then again… this is Steven Seagal we’re talking about. The man has three facial expressions, all of which register some degree of quiet, seething contempt.

Street Wars, a feature length episode from the first series, sees Seagal on the trail of drug dealers and rogue DEA agents in part one of this paint by numbers thriller. At 90 minutes, and half a story, Street Wars drags and meanders its way through a lot of muddled plotting. The storytelling is dire, with little cohesion to speak of, nor intelligence or logic. As a film of its own Street Wars doesn’t really work, nor does it actually go anywhere before its abrupt end, which for a Seagal action film, is sorely lacking in a finale. This is a problem sometimes in releasing feature length TV episodes as stand-alone features, if they require a previous or subsequent instalment to make sense. In this regard especially, fans of Seagal, picking this up expecting a complete film, may be disappointed. Though in actuality, fans should be more disappointed with the lack of action.

The cast are all cardboard cut outs. A veritable collection of clichéd personalities, be it on Seagal’s unit, or the bad guys. Indeed, we never get properly introduced to the bad guy in Street Wars (who I believe is known as “Bald guy in car”). And as it transpires, he may in fact be working for a big boss above him, who we only hear by voice towards the end. It’s all very ambiguous. In part intentional, as of course it’s only half way into the story (though the cover art and DVD menu don’t actually let you know this). However, having not watched the series, for all I know this could be the end of the story anyhow. Mostly though, this is a poorly written mess, where narrative structure plays no part.

Seagal himself seems only a little more engaged than usual. His character, Elijah Kane though, comes across as unlikeable and unrealistic. He’s just too damn good and everyone else a little bit shit. Kane knows everything and needs to inject no effort into anything he does, including speaking. If there’s a trap set for him, he knows well in advance. If a building is booby trapped, he knows and can dismantle it with consummate ease. Okay, this may well be standard Seagal character traits, as is his invincibility in combat, but it’s tiresome to have someone so infallible. Hell, Kane can even effortlessly pull stunning women over 30 years his junior. It’s almost caricature, and his sage, wise characteristics as leader of the group, always seem unrealistic or lazy. The Elijah Kane big book of wisdom and sage advice, is a book not worth reading, I can assure you. Largely down to his character reeking of a pure Seagal ego trip. It borders on moronic how lazy the characterisation of the shows lead is.

As a fan of Seagal’s earlier, meat and potatoes work, it frustrates me seeing him in such low rent fare. The action is sparse, poorly conceived and flatly edited. Occasional orgasmic bursts of avid farting are jarring and out of place, while the poor attempt at CSI style gloss, just doesn’t work on Walmart budget. This isn’t the Seagal of old who conceived such brilliant set pieces as the bar fight in Out For Justice, or a three on one escape in Marked For Death. There’s no rhythm nor imagination, nor gritty reality to the action, nor any visual punch due to very tight filming and frantic editing, making the action (and no doubt Seagal’s doubles) indiscernible. Sadly, I can’t recommend this, even to the undemanding of genre fans. For a better example in Seagal’s recent history, check Pistol Whipped. Otherwise stick to his golden period of Under Siege and before.

Tom Jolliffe

Movie Review Archive