Disc Reviews

“You might have saved my life, but you ruined my career, buddy.”

If I’m being honest, it was really difficult not to view this as a parody of buddy cops movies. I know that wasn’t its intention, but if I could make a recommendation; rebranding it as such would bolster its credibility. Between the helicopter vs. airplane shootout, and the dogged, always-get-your-man main character sitting in his empty apartment eating raw steak, I’m not sure how I was supposed to take this film seriously as a buddy-cop film. That said, the film is not without its charms or entertaining moments. I’d even be willing to go as far as to suggest that it worthy of whatever cult status that it has managed to achieve. It may have even became a blueprint for future buddy cop films, or at least a rough outline for them, had it not for another, more popular and realistic buddy cop film that also came out that year. Robert Carradine’s Nick Barzack may have been unpredictable, but Mel Gibson’s Martin Riggs was crazy! Carradine never stood a chance.
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Steve McQueen is one of those actors who will always be an icon of the silver screen and an actor who just personifies cool. The Getaway (1972) is easily my favorite film of McQueen’s. He has several other films one could argue that are “better”, but for me it will always be the Sam Peckinpah classic. Over his career he’s played a variety of roles from being a cowboy, a detective, a race car driver, to a professional thief and so forth, and for the most part I could believe him in all of these roles, but Nevada Smith is the first time I had to put up my hands and just go “are you kidding me?” For some reason they felt the audience would buy that a 35-year-old McQueen could play a 16-year-old half-Native-American character. Now if you can get past that kind of absurd casting and just go into the movie and accept as a western / revenge film, then Nevada Smith is a helluva good time with gunslinging action with beautiful locations and a terrific cast.
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When it comes to writing crime, I don’t think anyone has ever done it better than Elmore Leonard.  When you look at his books and you see the number of quality films and TV series that have been adapted from his work, it is pretty impressive. 3:10 to Yuma, Out of Sight, Jackie Brown aka Rum Punch, Justified, Get Shorty … I could keep going, but that’s just a glimpse of what the man is responsible for. I discovered his books in high school, and I have been a fan ever since. When he passed away in 2013, it was a pretty sad day for me. He was an icon and one of my major influences on becoming a writer. So when the chance came along to review the release of the 1986 film 52 Pick-Up, I was more than eager to get my grubby paws on this one. This isn’t my first time watching the film. My first time was back in the 90s when I picked it up on VHS at the local mom & pop video store, but to be fair, I don’t think I’ve seen it again since.
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Fritz Lang is an iconic Hollywood director who was successful in the silent era and was able to transition and be successful into the “talkie” era. His work in Germany is what he is most known for, Metropolis (1927) and M (1931) but in 1934 he fled Nazi Germany, even after being offered to be the head of the German Cinema Institute and came to America where he signed a contract with MGM studios where his career flourished despite having a reputation for being difficult to work with. He’s a director that if you go to film school you will learn about, and you’ll either appreciate his films or find yourself falling asleep during them.  Despite my appreciation for M and Metropolis, I have to admit I really never explored the filmmaker’s work beyond those films, so when the chance came to check out Human Desire, I was curious to see how it was.
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Here is an interesting tidbit of information I uncovered while researching this film. When the film was initially released it was criticized for the lack of accomplished celebrities in its cast. This carries some serious irony given that the film features the likes of Willem Dafoe, William Petersen, John Pankow, Jane Leeves, and John Turturro, all of whom have gone on to become accomplished actors in their own right. All it took was time. Despite not being considered well known at the time, this was still a movie with great portrayals and snappy quips that made me laugh. In fact, the only thing to rival its story is the real-world implications it had afterwards, which we will get into in a bit. Petersen leads the film as Richard Chance, a Secret Service agent with a reputation for reckless, impulsive behavior, and, unbeknownst to his superiors in the Service, also corrupt. Petersen has his sights set on Dafoe’s Eric “Rick” Masters, a ruthless and skilled counterfeiter in Los Angeles.
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Safe-cracker John “Duke” Anderson finds himself a relic of different time as he unwittingly enters a world of pervasive surveillance (cameras, bugs, and tracking devices) and attempts his latest caper. Based on the book of the same name, Sean Connery plays Anderson, a recently released convict who is no sooner out of prison than he is already planning his next job: burgling an upper-class apartment building in Manhattan in a single sweep. Now, I am a sucker for a heist movie. Give Ocean’s, give me Inside Man, give me Heat. Catch me in the right mood and I’ll even take Now You See Me or The Italian Job. Bearing that in mind, this film held some intrigue for me, as it featured a character using old-school methods in what was starting to become a digital age. I was curious to see if his old-school methods could overcome the technological advances. However, I will say that in order to be capable of beating the surveillance, you first need to know about it. Fun fact: The Anderson Tapes was the first major motion picture for Christopher Walken, as well as the last on-screen film appearance by Margaret Hamilton.
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Anna May Wong might be one of Hollywood’s biggest stars that most film fans have never heard of. Thanks to KL Studio Classics, you now have the opportunity to get to know the actress a little better and sample three of her films. For those of you who take the time to add this to your collection, you won’t be disappointed. She’s not the kind of name who appears in many conversations these days, but she left behind a body of work that is more impressive than many of the golden era names you do know. Her real name was Wong Liu Tsong, and she appeared in about 50 films from 1920 in the Silent Era until about 1950 when she made her way to television screens for another 16 years, appearing in such hit shows as Mike Hammer with Darren McGavin and I Spy with Robert Culp and Bill Cosby. In the Silent Era she was frustrated that she had been typecast in the typical, often stereotypical roles of Asian women and left Hollywood for Europe where she continued to be disappointed. Throughout her career she went back and forth between Europe and America and even toured China for several years. While she fought to get prominent parts, she was often thwarted by her heritage and ended up in mostly budget films throughout her career. But these budget films have found their way back to the surface, and you get to catch three of them here
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“Hello. My name is Robert Montague Renfield. And just like these decent folks, I’m in a destructive relationship. When I met him, I was a real estate lawyer hoping to make a deal that would change my life and my family’s lives forever. Oh, and it certainly did.”

After nearly 90 years, the Universal horror cycle stands as one of the most enduring collection of horror movies today. Their influence on modern horror is unmistakable. There have been literally thousands of incarnations of Dracula, the Wolf Man, and Frankenstein’s Monster, but the first image that comes to your mind will always be the nightmare creations of those Universal films. Studio head Carl Laemmle, Jr. was trying to break away from his father’s control and create a studio culture of his own. The results would start in 1931 when an unknown Hungarian actor named Bela Lugosi jumped from the stage to the screen in Dracula, directed by Tod Browning.
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Well, I’d say this film was right in Gerald Butler’s wheelhouse. Teaming with Ric Roman Waugh for the third time of his career (it’s worth noting that two additional partners are already planned in the form of sequels for both the Has Fallen franchise and Greenland 2), Butler plays a undercover CIA agent who finds himself on the run and hunted. With only one ally, he has a little more than a day to traverse dangerous terrain while trying to stay one step ahead of those who hunt him. So while the concept of this film is not really original, the film does make up for the lack of originality by providing a adrenaline-filled experience with a healthy does of suspense. Joining Butler are Vikings’ Travis Fimmel and Navid Negahban, both of whom provide excellent backup to Butler.
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“Never accept death when suffering is owed.”

So I think it safe to say that when it comes to the Fast and Furious franchise, it is no longer about cars or street racing any more. In the beginning it felt like we were getting a window into a secret underground world that spanned multiple continents. However, I would say that is no longer the case. Dom and his family have gone legit. Not only have they gone legit, but they now unofficially work for the government in some capacity. No, it is no longer about the cars and street racing any more. In fact, I would go as far as to say that we aren’t tuning in to see them use their skills on the behalf of the government, either. There is one thing that keeps us coming back for more. We want to see what over-the-top, outrageous, death-defying, impossible stuff they are going to do next.
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“In the 1940’s, a new genre – film noir – emerged from the world of hard-boiled pulp magazines, paperback thrillers, and sensational crime movies. These films, tough and unsentimental, depicted a black and white universe at once brutal, erotic, and morally ambiguous.”

Film Noir officially started in the 40’s, but the movement was well underway by the early 30’s. You can trace its roots to the Great Depression and the arrival of the dime pulp magazines. These were highly stylized, mostly mystery stories that provided cheap escapism for the masses who were not having a good time of it. Writers like Raymond Chandler crafted the mold that was easily transferred to the silver screen. These were low-budget films that were intended to be second billing with the more mainstream releases. They were shot quickly. Many have a very flat look, created intentionally. The lighting was often minimal, crafting odd shadows and unusual textures. The dialog wasn’t intended to be natural or realistic. These characters usually spoke in clichés and had names like Mac, Griff, or Dollface. There was often a shade of gray to these characters.
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“There ain’t any jail of steel or stone that can hold a body prisoner as tight as one built of old age … and lack of money.”

If I Had A million is a rare kind of film for 1932. The industry was barely out of the silent era, and stories needed to be tight and usually short. Short was the word of the day for this film. It became the first feature film to be released as an anthology with plenty of A-list stars and several directors, each taking on their own little piece of the pie. It was a rather brilliant idea for the time, but sadly this style of filmmaking wouldn’t really start to catch on until the 1970’s, starting almost exclusively with horror films and later creating its own little niche genre in mainstream filmmaking.
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“I cannot – yet I must. How do you calculate that? At what point on the graph do “must” and “cannot” meet? Yet I must – but I cannot!”

Often it seems some films were made to collect a mantle-full of awards. For some it’s the Oscars they covet. For others it might be a Golden Globe award or even a People’s Choice Award. As a member of two critics’ guilds, I have to make these assessments every year. I know how important these accolades can be for a film and the people who created it. But there’s one award that films (almost) never set out to obtain. Still it can provide endurance for a film and help new audiences to embrace it. I’m talking about those Golden Turkey awards, and few films ever made deserve the Golden Turkey than 1953’s Robot Monster. When you hear folks talk about how monstrous that movie is … they’re not talking about the creature itself.
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In 2017 What the Waters Left Behind made some waves as a horror film that came out of Argentina.  It was shot on a pretty low budget, but it seems it was successful enough to warrant a sequel. I actually stumbled across What the Waters Left Behind on a streaming service one late night when I couldn’t sleep. The film is pretty much made for late-night viewing; it has a fun midnight movie vibe. The first film follows a group of documentary filmmakers that are traveling to the town of Epecuen that was wiped out in the 80’s, and the filmmakers want to check out the ruins of the town. What follows is a fun Texas Chainsaw Massacre meets The Hills Have Eyes romp filled with plenty of gore and the terrible demise of this film crew that wandered where they didn’t belong. Now it is five years later, and we have the sequel What the Waters Left Behind: Scars.  This was unexpected, but just what did I think about this Latin-flavored bloodfest? Well, it’s pretty much what I expected, and that’s a good thing.
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“Who’s ready for contact poker?”

The first season of Your Honor was very much a contact sport. The first 20 minutes was some of the most compelling television I’ve ever seen. Bryan Cranston started us off as the titular judge Michael Desiato. He’s known as a tough but fair judge. He’s got a pretty good life until his son makes a fatal mistake and sets the series on its course. Adam has an early morning accident where he runs down another teen and leaves him for dead. Michael’s first reaction is of course for Adam to turn himself in to the police. But at the station he learns the victim was the son of the local mob boss, Jimmy Baxter, played ruthlessly by Michael Stuhlberg. Michael knows that if Jimmy finds out who killed his son, he’ll kill Adam. So the first season covers his elaborate plan to cover up the crime. That meant asking his childhood friend, local politician Charlie Figaro, to help get rid of the car.
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