McBain (1991, directed by James Glickenhaus)


In the year 1973, Bobby McBain (Christopher Walken) was an American POW, fighting for his life in a North Vietnamese prison camp that was run by a general so evil that he wore a necklace of human ears.  Luckily, on the last day of the war, McBain was rescued by Roberto Santos (Chick Vennerra).  When Bobby asked how he could ever repay Santos, Santos gave him half of a hundred dollar bill and told him that someday, Santos would give him the other half.  McBain swears that he will be ready when the day comes to get the other half.  I guess he’s like Caine in Kung Fu, waiting for the chance to snatch the pebble from his master’s hand.

15 years later, McBain is a welder in New York.  One day, while sitting in a bar, he watches as Santos is executed on live television after a failed attempt to overthrow the dictator of Colombia.  Shortly afterwards, McBain is approached by Santos’s sister (Maria Conchita Alonzo), who asks McBain to help her finish Santos’s revolution.  McBain tells her a long story about attending Woodstock and then reunites with his Vietnam War buddies, Frank (Michael Ironside!), Eastland (Steve James), Dr. Dalton (Jay Patterson), and Gil (Thomas G. Waites).  After killing a bunch of drug dealers, stealing their money, and harassing Luis Guzman, the gang heads for Colombia.

I wonder how many people have watched this movie over the years with the expectation that it would be a live action version of the famous Rainier Wolfcastle film that was featured in several episodes of The Simpsons.  Unfortunately, this movie has nothing to do with the Simpsons version of McBain.  (Sorry, no “Bye, book.”)  Instead, it’s just another strange and overlong action film from director James Glickenhaus.  The film mixes scene of total carnage with dialogue that often seems to be going off on a totally unrelated tangent, like McBain’s musings about what Woodstock ultimately stood for.  Walken doesn’t seem to be acting as much as he’s parodying his own eccentric image.  Walken takes all of his usual quirks and trademark vocal tics and turns them up to 11 for this movie.

Even though the movie is twenty minutes too long, it still feels like scenes are missing.  Alonzo leaves Colombia on a mule and then is suddenly in New York.  (The mule is nowhere to be seen.)  We don’t actually see Walken recruiting the majority of his team.  Instead, they just show up in his house.  Once the action moves to Colombia, it turns out that overthrowing the government is much simpler than it looks.  While the rebels lay down their lives while attacking the palace, McBain and his crew pretty much stroll through the movie without receiving even a scratch.  Maybe welders should be put in charge of all of America’s foreign policy adventures.  It couldn’t hurt.

With its hole-filled plot and confusingly edited combat scenes, McBain isn’t great but 80s action enthusiasts should enjoy seeing Michael Ironside and Steve James doing their thing.  Others will want to see it just for Christopher Walken’s characteristically odd performance.  He may not be Rainier Wolfcastle but, for this movie, Christopher Walken is McBain.

Retro Television Reviews: Hang Time 3.7 “Julie’s Guy” and 3.8 “Playing With Pain”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Hang Time, which ran on NBC from 1995 to 2000.  The entire show is currently streaming on YouTube!

I’ll always remember….

Episode 3.7 “Julie’s Guy”

(Directed by Patrick Maloney, originally aired on October 4th, 1997)

Because Julie is incapable of doing anything that doesn’t somehow involve basketball, she is dating yet another basketball player.  You would think that she would have learned her lesson after Chris cheated on her and then Josh mysterious disappeared after the end of Season 2.  Of course, Chris and Josh were both teammates of Julie’s.  This time, Julie is dating Jason Redman, who plays for another team!

Needless to say, the other Tornadoes are not happy about this.  They’re not sure if they can trust Julie to put aside her feelings and play as a member of the team.  This is a pretty stupid concern.  Julie has been the show’s main character for two and a half seasons and we still don’t know a thing about her beyond the fact that she plays basketball and she brags nonstop about winning.

Once again, the Tornadoes play terribly for the first half of the game.  Fortunately, Fuller takes the time to yell at them in the locker room.  Everyone realizes they can trust Julie.  The Tornadoes go on to win by one point.  For all the bragging this team does, continually winning by only one point really isn’t that impressive.  Most good teams can actually win by several points.

Anyway, this one was pretty forgettable.  I have a feeling that we’ll probably never hear another word about Julie dating Jason.

Episode 3.8 “Playing with Pain”

(Directed by Patrick Maloney, originally aired on October 4th, 1997)

Coach Fuller is gone again and Assistant Coach Keelor (Todd Fraser) is in charge of the team.  The last time that Fuller was absent from the show, during the Fighting Words episode, it was explained that it was because he had the mumps.  This time, no explanation is given for Fuller’s absence.  I’m going to guess that Fighting Words and Playing With Pain were envisioned as airing back-to-back but that NBC showed them out-of-order.  This is something that NBC frequently did with its TNBC shows and, as a result, the continuity of these shows were always out-of-whack.  Its almost as if NBC just didn’t care.

Anyway, at the start of this episode, Keelor announces that a scout is coming from the University of Arizona to watch Michael play.  The scout turns out to be someone named David Stoudemire.  By the way the audience goes crazy whenever he shows up in a scene, I’m guessing he was a basketball player.  Like most of the real-life basketball players who showed up on Hang Time, Stoudemire was hopefully better at playing basketball than acting.

Anyway, Michael really wants to impress the scout but, while practicing with Julie, he seriously sprains his ankle.  (Even though it looks like it was Michael’s fault because of the way he landed, I’m still going to blame Julie.  Julie was so upset over not being the center of attention that she goaded Michael into practicing too hard, knowing that he would end up spraining his ankle.)  Worried that he’ll be benched if he tells anyone that he’s injured, Michael tries to play through the pain.  This is something many pro athletes have done.  From personal experience, I can tell you that this is also something that many dancers have done.  I hurt my ankle so many times when I was younger that it was probably more of a surprise when I didn’t injure it than when I did.  You take a bunch of pain killers and then you do the best you can before passing out in the dressing room afterwards.  However, since this is a TNBC show, Michael dramatically reinjures himself while playing basketball and ends up screaming in pain while everyone watches.  In the locker room, both Assistant Coach Keelor and David Stoudemire tell him that he’s a dumbass.

Bye bye, Arizona!

Here Are The 2022 Nominations of the Columbus Film Critics Association!


Last night, the Columbus Film Critics Association announced their nominations for the best of 2022!

And here they are:

Best Film
Aftersun
Everything Everywhere All at Once
Glass Onion
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Nope
Tár
The Banshees of Inisherin
The Fabelmans
The Menu
Women Talking

Best Director
Todd Field, Tár
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Sarah Polley, Women Talking
Steven Spielberg, The Fabelmans

Best Lead Performance
Cate Blanchett, Tár
Olivia Colman, Empire of Light
Danielle Deadwyler, Till
Colin Farrell, The Banshees of Inisherin
Ralph Fiennes, The Menu
Brendan Fraser, The Whale
Mia Goth, Pearl
Paul Mescal, Aftersun
Margot Robbie, Babylon
Michelle Williams, The Fabelmans
Michelle Yeoh, Everything Everywhere All at Once

Best Supporting Performance
Angela Bassett, Black Panther: Wakanda Forever
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Paul Dano, The Fabelmans
Dolly De Leon, Triangle of Sadness
Brendan Gleeson, The Banshees of Inisherin
Barry Keoghan, The Banshees of Inisherin
Janelle Monáe, Glass Onion
Keke Palmer, Nope
Ke Huy Quan, Everything Everywhere All at Once

Best Ensemble
The Banshees of Inisherin
Everything Everywhere All at Once
The Fabelmans
Glass Onion
Women Talking

Actor of the Year (for an exemplary body of work)
Hong Chau, The Menu and The Whale
Jamie Lee Curtis, Everything Everywhere All at Once and Halloween Ends
Colin Farrell, The Banshees of Inisherin, The Batman, and Thirteen Lives
Mia Goth, Pearl and X
Tilda Swinton, The Eternal Daughter, Guillermo del Toro’s Pinocchio, and Three Thousand Years of Longing
Anya Taylor-Joy, Amsterdam, The Menu, and The Northman

Breakthrough Film Artist
Austin Butler, Elvis – (for acting)
Hong Chau, The Menu and The Whale – (for acting)
Zach Cregger, Barbarian – (for directing, screenwriting, and acting)
Gabriel LaBelle, The Fabelmans – (for acting)
Charlotte Wells, Aftersun – (for directing and screenwriting)

Best Cinematography
Russell Carpenter, Avatar: The Way of Water
Ben Davis, The Banshees of Inisherin
Claudio Miranda, Top Gun: Maverick
Linus Sandgren, Babylon
Hoyte Van Hoytema, Nope

Best Film Editing
Sarah Broshar and Michael Kahn, The Fabelmans
Bob Ducsay, Glass Onion
Eddie Hamilton, Top Gun: Maverick
A. Sreekar Prasad, RRR
Paul Rogers, Everything Everywhere All at Once

Best Adapted Screenplay
Guillermo del Toro and Patrick McHale, Guillermo del Toro’s Pinocchio
Dean Fleischer-Camp, Jenny Slate, and Nick Paley, Marcel the Shell with Shoes On
Samuel D. Hunter, The Whale
Rian Johnson, Glass Onion
Rebecca Lenkiewicz, She Said
Sarah Polley and Miriam Toews, Women Talking

Best Original Screenplay
Todd Field, Tár
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Jordan Peele, Nope
Seth Reiss and Will Tracy, The Menu
Steven Spielberg and Tony Kushner, The Fabelmans

Best Score
Michael Abels, Nope
Carter Burwell, The Banshees of Inisherin
Alexandre Desplat, Guillermo del Toro’s Pinocchio
Justin Hurwitz, Babylon
Trent Reznor and Atticus Ross, Bones and All
John Williams, The Fabelmans

Best Documentary
All the Beauty and the Bloodshed
Fire of Love
Good Night Oppy
Moonage Daydream
Navalny
Sr.

Best Foreign Language Film
All Quiet on the Western Front
Decision to Leave
RRR
Saint Omer

Best Animated Film
Guillermo del Toro’s Pinocchio
Mad God
Marcel the Shell with Shoes On
Puss in Boots: The Last Wish
Turning Red

Best Comedy
The Banshees of Inisherin
Everything Everywhere All at Once
Glass Onion
The Menu
Triangle of Sadness
The Unbearable Weight of Massive Talent

Best Overlooked Film
After Yang
Confess, Fletch
God’s Country
Men
The Unbearable Weight of Massive Talent

The winners will be announced on January 5th!

Monday Live Tweet Alert: Join Us For Prey of the Jaguar and Primal Fear!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, for #MondayActionMovie, the film will be 1996’s Prey of the Jaguar!  Selected and hosted by @BunnyHero, Prey of the Jaguar stars not just Linda Blair but also Maxwell Caulfield!  Rex Manning Day came early! The movie starts at 8 pm et and it is available on YouTube.

 

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  Tonight’s movie, starting at 10 pm et, will be 1996’s Primal Fear, starring Richard Gere, Laura Linney, and Edward Norton!  Primal Fear can be found on Prime!

 

It should make for a night of intense viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto twitter, start Prey of the Jaguar at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to prime, start Primal Fear and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.  And reviews of these films will probably end up on this site at some point over the next few weeks. 

Enjoy!

The Eric Roberts Collection: Deadline (dir by Curt Hahn)


In the year 1993, a black teenager named Wallace Sampson was shot and murdered in the small town of Amos, Alabama.  The murderer was never caught.  In fact, according to most people in the town, the murder was never even really investigated.  The town’s white leaders, many of whom were members of the Ku Klux Klan, swept the murder under the rug.

20 years later, Trey Hall (Lauren Jenkins) is determined to solve Wallace’s murder.  Trey may be the daughter of the richest man in town but, as she puts it, she was practically raised by Wallace’s mother, Mary Pell Sampson (Jackie Welch).  Mary Pell Sampson is the long-time maid of Trey’s father, Everett Hall (David Dwyer).  When journalist Matt Harper (Steve Talley) comes down from Tennessee to do a story on another murder, Trey tells him that he should totally ditch the recent murder and instead investigate the older murder.  Matt, who is currently in the process of being cancelled due to a poorly written headline, decides that he wants to investigate and report on the death of Wallace Sampson.  His editor agrees, on the condition that he work with the older and more cynical Ronnie Bullock (Eric Roberts).

While investigating Wallace’s murder, Matt has to deal with his own very messy personal life.  His fiancée, Delana (Anna Felix), wants to call off the wedding because Matt is too obsessed with work.  His father (J.D. Souther) is dying of cancer but can still find the time to scold Matt for ending a sentence with a preposition.  Finally, Matt is not happy about having work with Ronnie, who is an old school reporter who travels with a gun and who has little use for the demands of society.  When Matt accuses Ronnie of being racist, Ronnie angrily corrects him.  When Matt accuses Ronnie of being sexist, Ronnie just shrugs.  It’s really the type of thing that only Eric Roberts could pull off.

Deadline is loosely based on a true story and it’s certainly a well-intentioned film.  Unfortunately, the majority of the performances feel amateurish, the pace is rather slow, and the bad guys are so obviously evil that the film itself feels a bit cartoonish.  (If only all murderers were as easy to pick out as they are in this film….)  It suffers from the same problem that afflicts a lot of films about civil rights in the South, in that the black characters are often pushed to the background and left undeveloped while the film focuses on the nobility of rich white liberals.  Again, the intentions are good but the execution leaves a bit to be desired.

That said, Eric Roberts is well-cast as Ronnie Bullock and, whenever he’s onscreen, he brings some much-needed energy to the film.  In some ways, Ronnie is a cliché.  He’s the cynical, politically incorrect journalist who, deep down, still believes in doing the right thing.  But Roberts manages to bring some nuance to both the character and the film.  The viewer will be happy every time that Roberts steps into a scene.  Eric Roberts’s performance is the highlight of the film and the best reason to see Deadline.

Previous Eric Roberts Films That We Have Reviewed:

  1. Star 80 (1983)
  2. Blood Red (1989)
  3. The Ambulance (1990)
  4. The Lost Capone (1990)
  5. Love, Cheat, & Steal (1993)
  6. Love Is A Gun (1994)
  7. Sensation (1994)
  8. Doctor Who (1996)
  9. Most Wanted (1997)
  10. Mr. Brightside (2004)
  11. Six: The Mark Unleased (2004)
  12. Hey You (2006)
  13. In The Blink of an Eye (2009)
  14. The Expendables (2010) 
  15. Sharktopus (2010)
  16. Miss Atomic Bomb (2012)
  17. Lovelace (2013)
  18. Self-Storage (2013)
  19. Inherent Vice (2014)
  20. Rumors of War (2014)
  21. A Fatal Obsession (2015)
  22. Stalked By My Doctor (2015)
  23. Stalked By My Doctor: The Return (2016)
  24. The Wrong Roommate (2016)
  25. Stalked By My Doctor: Patient’s Revenge (2018)
  26. Monster Island (2019)
  27. Seven Deadly Sins (2019)
  28. Stalked By My Doctor: A Sleepwalker’s Nightmare (2019)
  29. The Wrong Mommy (2019)
  30. Her Deadly Groom (2020)
  31. Top Gunner (2020)
  32. Just What The Doctor Ordered (2021)
  33. Killer Advice (2021)
  34. The Poltergeist Diaries (2021)
  35. My Dinner With Eric (2022)

Catching Up With The Films of 2022: Wrong Place (dir by Mike Burns)


After his wife is killed in a car crash, former police chief Frank Richards (Bruce Willis) takes a job as a security guard for a small town convenience store.  It’s not really a demanding job.  As we see in one montage, Frank spends most of his time playing solitaire.  However, one evening, Frank steps out back to have a cigar and he just happens to catch meth dealer Virgil Brown (Massi Furlan) executing a man.  Frank promptly disarms and arrest Virgil.

Virgil’s son, Jake (Michael Sirow), is not happy about this.  Knowing that Frank is the only eyewitness who can testify against Virgil at his trail, Jake heads off to kill Frank.  However, when Jake arrives at Frank’s cabin, he discovers that it is inhabited by Frank’s daughter, Chloe (Ashley Greene), and her girlfriend, Tammy (Stacey Danger).  Jake tries to take Chloe and Tammy hostage but Chloe turns out to be a lot tougher than he assumed.  Chloe is waiting to hear whether or not she’s cancer-free and, as she explains to Jake, she has nothing to lose by risking her life and fighting him.  And while Jake is certainly dangerous and quick to fire his gun, he’s also not the most competent criminal to ever come out of the backwoods of Alabama.  If you’re guessing that this leads to several scenes of various characters chasing each other through the woods and shooting at each other, congratulations!  You’re right!

This was one of the last films that Willis made before announcing his retirement last year.  Watching the film, it’s easy to see that Willis was struggling a bit.  There’s none of the swagger that viewers typically associate with Bruce Willis and he delivers many of his lines in a flat monotone.  That said, this film is still a better showcase for Willis than American Siege or Fortress: Sniper’s Eye.  Indeed, in the early scenes with his soon-to-be-deceased wife, Willis feels a bit like the Willis of old.  Even if Bruce Willis was struggling to remember his lines, his eyes still revealed a lot of emotional depth.  In the scenes where he and his wife discuss getting older and mention how scary it is to be sick, the dialogue carries an extra resonance.  If nothing else, the role of a decent man who will do anything to protect his family seems like a more appropriate final role for Willis than the various crime bosses that he played in some of his other ’22 films.

Unfortunately, Wrong Place gets bogged down with the whole hostage subplot.  There’s only so much time that you can spend watching people yell at each other before you lose interest.  Ashley Greene, Stacey Danger, and Michael Sirow all give convincing performances but the film itself falls into a rut.  When Jake is first introduced, he seems like he could be an interesting villain.  He doesn’t really know what he’s doing but he’s determined to impress his father.  (Sadly, it’s pretty obvious that Jake’s father will never be impressed with anything Jake does, regardless of what it may be.)  Jake’s incompetence makes him even more dangerous because it also makes him impulsive and quick to anger.  Unfortunately, the film doesn’t do much with his character.  Once the action kicks in, he just become another generic backwoods villain.

I get the feeling that the director meant for Wrong Place to be more than just another action film.  The film moves at its own deliberate pace and, even after the hostage situation has concluded, the film still goes on for another ten minutes.  One gets the feeling that the director wanted to make a sensitive film about the relationship between a headstrong daughter and her old-fashioned father.  But, because this film was also a low-budget action film, he also had to toss in some backwoods meth dealers.  The film has some moments of unexpected emotional honesty, many of them curtesy of Ashley Greene.  But, in the end, it keeps getting bogged down with endless scenes of people running through the woods with guns.  The end result is an uneven film but at least Willis gets to play a hero again.

4 Shots From 4 Films: Special Oscar Micheaux Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

139 years ago today, Oscar Micheaux was born in Metropolis, Illinois.  After working in several different jobs and writing a few novels, Micheaux would become the first African-American to produce and direct a feature length film and, later, a sound feature length film.  He began his directorial career in 1919 and continued it throughout the sound era, often making films that were meant as a response to the films that were coming out of Hollywood.  (For example, 1920’s Within Our Gates was meant to answer and condemn the racism of The Birth of a Nation.)  At a time when blacks were usually only used for comedic relief and when it wasn’t uncommon for white actors to wear blackface on screen, Micheaux created an alternative film industry and, along the way, he gave early and rare starring roles to black actors like Paul Robeson.

Micheaux distributed the majority of his films himself and, unfortunately, the majority of them have been lost.  The ones that survive were often hampered by their low budgets but they still provide a view into African-American life in the early days of the 20th Century.  As well, Micheaux was one of the first successful “independent” filmmakers.  Working without the support of the major studios, Micheaux still did what he had to do to share his vision with audiences.

It’s time for….

4 Shots From 4 Oscar Micheaux Films

Within Our Gates (1920, dir by Oscar Micheaux)

Body and Soul (1925, dir by Oscar Micheaux)

10 Minutes To Live (1932, dir by Oscar Micheaux, DP: Lester Lang)

Harlem After Midnight (1935, dir by Oscar Micheaux)

Music Video of the Day: Let Her In, performed by John Travolta (1976, dir by ????)


Did you know that John Travolta was singer, even before he starred in Grease?

I didn’t, until I came across the video below on YouTube.  Apparently, Travolta released two albums before he played Tony Manero in Saturday Night Fever.  (After Saturday Night Fever was a hit, a third compilation album was released.  It was called — I kid you not — Travolta Fever.)  As a singer, Travolta’s biggest, non-Grease hit was a 1976 cover of a song called Let Her In.  The song spent five months on the U.S. charts and it peaked at number ten.  It was an even bigger hit in Canada, where Travolta’s sensitive song stylings were appreciated by the most polite people to ever knock out each other’s teeth at a hockey game.

From 1976, here is John Travolta performing Let Her In.

Enjoy!

January Positivity: Seven Days Away (dir by Josiah David Warren)


Clayton (Josiah David Warren) is the religious kid who everyone dreads getting in to a conversation with.  He’s the type of kid who accepts a ride from one of his friends and then starts to give everyone a hard time for drinking and driving and….

Actually, wait a minute …. drinking and driving sucks!

So, Clayton is actually totally correct to tell his friends to put down the beer cans while they’re driving.  They, of course, just laugh him off and call him “church boy.”  One accident later, Clayton’s friend is dead and Clayton is more determined than ever to go down to Mexico and do missionary work.  Everyone tells him that it’s dangerous to go down to Mexico.  Everyone knows that Clayton’s father died while serving as a missionary.  But Clayton and another group of friends still head down to Mexico.

Unfortunately, it turns out that Clayton’s other friends may not be drunk drivers but they’re still not all that interested in evangelizing in Mexico.  They especially get angry when Clayton insists that they accompany him to the local church.  Clayton finally gets annoyed with all of them and he decides to wander off on his own.  Of course, that’s always a mistake.  No sooner has Clayton turned down the wrong street than he’s been kidnapped.

Clayton finds himself tied up in an old barn and being held prisoner by a group of human traffickers.  They’re convinced that Clayton is rich and they continually call his mother and demand that she send them some money.  Meanwhile, Clayton soon realizes that he’s not the only person behind held prisoner in the barn.  He also comes to realize that the desert surrounding the barn is full of dead bodies.

Noticing that his kidnappers are always drinking and smoking, Clayton tells them that they shouldn’t.  When they demand to know why not, Clayton quotes Corinthians.  That goes over about as well as you might expect.

Seven Days Away attempts to mix the faith-based genre with the action genre.  When Clayton isn’t preaching or quoting the Bible, he’s running through the desert and trying not to get shot.  Unfortunately, the film doesn’t really work as an action film.  The film uses some hand-held camerawork to try to generate some suspense but, at this point, the whole hand-held thing is such a cliché that it actually inspires more laughs than gasps of terror.  The soundtrack is remarkably muddy and it’s often difficult to understand just what exactly anyone is saying.  Even by the standards of the low-budget faith genre, the acting is amateurish.  As a film, it just doesn’t come together.  The fact that the film’s director also played the lead role was perhaps a bit of the problem.  It’s hard not to feel the film would have had a better chance at success if he had just concentrated on doing one thing as opposed to everything.

I guess the best thing you can say about a film like this is that it was well-intentioned.  Watching it brought back memories of the days leading up to Spring Break, when the campus would be full of stories about students who got drunk while partying in Mexico and subsequently vanished.  I have to admit that I never had a lot of sympathy for the students in those stories.  Sometimes, you just have to use a little common sense.