Author Archives: Jedadiah Leland

A Movie A Day #237: Detention (2003, directed by Sidney J. Furie)

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It’s Die Hard in a school!

A group of gun-wielding drug runners have broken into Hamilton High so that they can use it as the base of operations for a huge drug deal.  With the Vice President scheduled to be traveling through town that weekend, they figure that the school will be deserted and no one will be paying attention to what’s going on.  What they failed to consider is that not every student goes home after the final bell rings.  One paraplegic student is still in the library, doing research.  Two more are in the auditorium, getting high.  There’s even a few “bad” kids in detention, including one of whom is pregnant.  Even worse, for the drug dealers, is that Sam Decker (Dolph Lundgren!) is in charge of detention.  He may teach phys ed and history but before he decided to help broaden young minds, Sam was an army ranger.

Of all of the performers who starred in direct-to-video action movies in the 90s and early aughts, Dolph Lundgren was the best actor.  When considering that his competition largely came from Steven Seagal and Jean-Claude Van Damme, that may sound like damning with faint praise but the fact that Lundgren could actually memorize his lines and hit his marks actually did make a difference.  It is easy to imagine Detention with Lundgren and the results are not pretty.  Steven Seagal would have been too busy whispering his lines and waiting for his stunt double to show up.  Jean-Claude Van Damme would have gotten too caught up in doing the splits to waste his time worrying about the kids trapped in the auditorium.  Not Lundgren, though.  Dolph Lundgren’s too busy getting shit done to worry about any of that.

Though the action sequences are top notch, Detention would work better if the villains were Lundgren’s equal but they’re not.  One reason why Die Hard worked was because Alan Rickman and his men always seemed like they were capable of killing Bruce Willis.  In Detention, the main villains are three Hungarian punks and a flamboyant American, Chester Lamb (Alex Karzis), and none of them seem like they could even carry Dolph Lundgren’s shoes, much less defeat him in a combat situation.  Scenes where Chester pretends to be an innocent bystander seem like they were included to remind us of the first meeting between Alan Rickman and Bruce Willis in Die Hard but Chester Lamb is no Hans Gruber.  There is just no way that Dolph Lundgren is going to lose to someone named Chester Lamb.

Even with the underwhelming villains, Detention is a gloriously stupid action movie that is entertaining because Lundgren gives it his all.

A Movie A Day #236: Bad Blood (1994, directed by Tibor Takacs)

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Though it is sometimes hard to remember, there more on late night Cinemax than just Shannon Tweed films like Scorned and Body Chemistry 3.  There were also Lorenzo Lamas action films, movies like the Snake Eater trilogy.  Though Lamas was a terrible actor, his direct-to-video efforts were always a hundred times more violent than everyone else’s and, for male viewers of a certain age, it did not hurt that his then-wife, Kathleen Kinmont, often showed up in various states of undress.

Kathleen Kinmont did not appear in Bad Blood but the movie made up for her absence by being so violent that it was originally given an NC-17 rating.  As a result, there are actually two versions of this movie floating around: the slightly cut R-rated Bad Blood and an unrated version called Viper.  (Interestingly, the violence in both Bad Blood and Viper is really no more graphic than the violence that was featured in a lot of mainstream films released in the mid-90s.)

In this one, Lorenzo Lamas is Travis Blackstone, a former cop who was kicked off the force after he destroyed evidence to protect his smarmy brother, Franklin (Hank Cheyne).  Travis was sent to prison but now that he is out, he is working in a shipping yard and coaching little league baseball.  (I do not know many parents that would be happy with an ex-con as their child’s little league coach but that is the power of Lorenzo Lamas.)  Unfortunately, Franklin has gotten in trouble again, embezzling millions from the mafia.  Not only does Travis have to find the money to repay the mob but he also has to keep Franklin safe.  Unfortunately, since Franklin is now involved with Travis’s ex, Rhonda (Frankie Thorn), Travis’s new girlfriend (Kimberly Kates) assumes that he is cheating on her and tells the mob where they can track down the Blackstone brothers.

The main bad guy, Chang, is played by Joe Son.  (The unrated version begins with Chang giving a little girl a lollipop and then shooting her dead.)  Joe Son was a UFC fighter who was later revealed to be just as bad a guy in real life as he was in the movies.  After being convicted on rape in 2011, Son was sentenced to seven years to life.  As soon as he arrived in prison, he beat his cellmate to death and received an additional sentence of 27 years for voluntary manslaughter.

As for Bad Blood, by the standards of the typical Lorenzo Lamas action movie, it’s not bad.  The action is constant and fierce, with Travis gunning down a seemingly endless number of gangsters in designer suits.  Tibor Takacs was a better filmmaker than most of the directors that Lamas worked with and it appears that he managed to keep Lorenzo Lamas’s ego under control, the result being far less shots of Lamas posing than in any of the other movies that Lamas made during this period.  The production values of Bad Blood are also consistently better than what was on display in the Snake Eater films.  There is even a scene where Lamas not only flips over a speeding car but he shoots the driver while he is doing it.  Let’s see Steven Seagal or even Dolph Lundgren do that!

A Movie A Day #235: Twilight’s Last Gleaming (1977, directed by Robert Aldrich)

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In Montana, four men have infiltrated and taken over a top-secret ICBM complex.  Three of the men, Hoxey (William Smith), Garvas (Burt Young), and Powell (Paul Winfield) are considered to be common criminals but their leader is something much different.  Until he was court-martialed and sentenced to a military prison, Lawrence Dell (Burt Lancaster) was a respected Air Force general.  He even designed the complex that he has now taken over.  Dell calls the White House and makes his demands known: he wants ten million dollars and for the President (Charles Durning) to go on television and read the contents of top secret dossier, one that reveals the real reason behind the war in Vietnam.  Dell also demands that the President surrender himself so that he can be used as a human shield while Dell and his men make their escape.

Until Dell made his demands known, the President did not even know of the dossier’s existence.  His cabinet (made up of distinguished and venerable character actors like Joseph Cotten and Melvyn Douglas) did and some of them are willing to sacrifice the President to keep that information from getting out.

Robert Aldrich specialized in insightful genre films and Twilight’s Last Gleaming is a typical example: aggressive, violent, sometimes crass, and unexpectedly intelligent.  At two hours and 30 minutes, Twilight’s Last Gleaming is overlong and Aldrich’s frequent use of split screens is sometimes distracting but Twilight’s Last Gleaming is still a thought-provoking film.  The large cast does a good job, with Lancaster and Durning as clear stand-outs.  I also liked Richard Widmark as a general with his own agenda and, of course, any movie that features Joseph Cotten is good in my book!  Best of all, Twilight’s Last Gleaming‘s theory about the reason why America stayed in Vietnam is entirely credible.

The Vietnam angle may be one of the reasons why Twilight’s Last Gleaming was one of the biggest flops of Aldrich’s career.  In 1977, audiences had a choice of thrilling to Star Wars, falling in love with Annie Hall, or watching a two and a half hour history lesson about Vietnam.  Not surprisingly, a nation that yearned for escape did just that and Twilight’s Last Gleaming flopped in America but found success in Europe.  Box office success or not, Twilight’s Last Gleaming is an intelligent political thriller that is ripe for rediscovery.

A Movie A Day #234: The Final Days (1989, directed by Richard Pearce)

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Since yesterday’s entry in movie a day featured Philip Baker Hall playing Richard Nixon in Secret Honor, I decided to use today’s entry to talk about a movie that featured Lane Smith in the same role.

Based on Bob Woodward and Carl Bernstein’s follow-up to All The President’s Men, The Final Days is about the final months of the Nixon presidency.  The movie begins shortly after the resignations of Nixon aides John Ehrlichman and H.R. Haldeman and follows Nixon (Lane Smith) as he grows increasingly more isolated and reclusive in the White House.  All the familiar moments are here, Nixon ranting against the Kennedys and the establishment, Kennedy talking about his difficult childhood, and, most famously, Nixon asking Henry Kissinger (Theodore Bikel) to pray with him on the night before his resignation.  The Final Days also focuses on the ambitious men who surrounded Nixon during his downfall and who helped to engineer his eventual resignation, especially Al Haig (David Ogden Stiers).

A lot of very good actors have played Richard Nixon.  Anthony Hopkins and Frank Langella both received Oscar nominations for playing him and Philip Baker Hall probably should have.  Rip Torn, John Cusack, Kevin Spacey, Dan Hedaya, and Bob Gunton have all taken a shot at the role.  But, in my opinion, no one has done a better job as the 37th president than Lane Smith, who bore about as close a resemblance to Nixon as anyone could without a prosthetic nose.  Even more than Anthony Hopkins did in Oliver Stone’s Nixon, Lane Smith captured not only Nixon’s insecurity and paranoia but also his provides hints of the great leader that Nixon could have been if not for his own self-destructiveness.

 

A Movie A Day #233: Secret Honor (1984, directed by Robert Altman)

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Disgraced former President Richard M. Nixon (Philip Baker Hall) sits alone in his study.  He has a bottle of Scotch, a loaded gun, and a tape recorder.  He is surrounded by security monitors and paintings.  All but one of the paintings are portraits of former presidents, all of whom are destined to be more fondly remembered than Nixon.  The only non-presidential painting is a portrait of Henry Kissinger.  Over the course of one long night, Nixon drinks and talks.  He talks about his Quaker upbringing and his early political campaigns.  He rails against all of his perceived enemies: Eishenhower, the Kennedys, the liberals, the conservatives, and everyone in between.  As he gets drunker, he starts to talk about the real story behind Watergate and why his resignation actually shielded the country from a greater scandal.  As Nixon explains it, his resignation was his greatest act of patriotism, his secret honor.

A mix of historical fact and speculation, Secret Honor was one of the filmed plays that Robert Altman directed in between the flop of Popeye and his comeback with The Player.  Secret Honor is a one-man show, with Philip Baker Hall and only Philip Baker Hall on screen for the entire movie.  Though he looks nothing like Nixon, Hall gives an amazing performance.  Hall’s Nixon is bitter, angry, full of self-pity, and occasionally even sympathetic.  Altman’s stagey direction makes no attempt to hide Secret Honor‘s theatrical origins but it is impossible to look away from Hall’s mesmerizing performance.

(Secret Honor was made long before Hall found fame as a character actor.  It was his fourth feature film and his first major role.)

Secret Honor will probably not change anyone’s opinion on Nixon.  Nixon haters will find more to hate and Nixon defenders will find more to defend.  But everyone will agree that Philip Baker Hall gives a great performance as one of America’s most controversial presidents.

A Movie A Day #232: Tyson (1995, directed by Uli Edel)

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If any heavyweight champion from the post-Ali era of boxing has lived a life that seems like it should be ready-made for the biopic treatment, it is “Iron Mike” Tyson.  In 1995, HBO stepped up to provide just such a film.

In an episodic fashion, Tyson tells the story of Mike Tyson’s rise and fall.  At the start of the movie, Tyson is a child trying to survive on the tough streets of Brooklyn.  The events that unfold should be familiar to any fight fan: Mike (played by Spawn himself, Michael Jai White) gets sent to reform school. Mike is taken under the wing of the legendary trainer, Cus D’Amato (George C. Scott). Mike becomes the youngest heavyweight champion, marries and divorces Robin Givens (Kristen Wilson), and eventually falls under the corrupting influence of the flamboyant Don King (Paul Winfield).  After failing to train properly for what should have been a routine fight, Tyson loses his title and subsequently, he is convicted of rape and sent to prison.

Tyson aired shortly after the real Mike was released from prison and announced his return to boxing.  Unfortunately, much of what Mike Tyson is best known for occurred after he was released from prison.  As a result, don’t watch Tyson to see Mike bite off Evander Holyfield’s ear.  Don’t watch it expecting to see Mike get his famous facial tattoo.  All of that happened after Tyson aired.  Instead, Tyson tells the story of the first half of Mike’s life in conventional biopic style.  There is even a montage of newspaper headlines.

The best thing about Tyson is the cast.  Even though the film does not delve too deeply into any aspect of Tyson’s life, all of the actors are well-chosen.  In some ways, Michael Jai White has an impossible role.  Tyson has such a famous persona that it had to be difficult to play him without slipping into mere impersonation but White does a good job of suggesting that there is more to Tyson than just his voice and his anger.  Scott and Winfield are both ideally cast as Tyson’s contrasting father figures, with Winfield especially digging into the Don King role.

HBO’s Tyson is a good starter if you do not know anything about Mike’s early career but the definitive Mike Tyson film remains James Toback’s documentary, which also happens to be titled Tyson.

A Movie A Day #231: Judgment Night (1993, directed by Stephen Hopkins)

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Four suburbanites (Emilio Estevez, Stephen Dorff, Jeremy Piven, and Cuba Gooding, Jr.) are driving to a boxing match in pricey RV when Piven takes a wrong turn and they end up lost in the wrong side of the city.  Not only are they lost but they also witness Fallon (Denis Leary) and his gang murdering a young man.  Jeremy Piven thinks that he can negotiate with Fallon and get his friends out of the situation by pulling out his wallet and flashing a few bills.  Guess how well that works out for them?  With Fallon chasing them through the city, these formerly smug and complacent yuppies are forced into a battle for survival.

Judgment Night is a deeply stupid but compulsively watchable movie.  From the minute that Piven shows up with that RV and Estevez says goodbye to his wife and newborn child, it is obvious what’s going to happen.  Fortunately, the cast is better than average and Stephen Hopkins does a good job of making the city look menacing and keeping up the pace.  There are a few times that Judgment Night pretends like it has something to say about wealth and society but it never tries too hard to be anything more than an exciting B-movie.  Though it may not have been hard to do considering that his main competition was Emilio Estevez, Denis Leary easily dominates Judgment Night.  Fallon may be a cartoon villain but Judgment Night is a cartoonish movie so it works.

Today, Judgment Night is best remembered for its soundtrack, on which nearly every song was a collaboration between hip hop and metal artists.  The Judgment Night soundtrack may not have invented the genre of rap rock but it was many people’s first exposure to it.  The Teenage Fan Club/De La Soul collaboration Fallin‘ opens the movie on just the right note while Biohazard and Onyx’s Judgment Night is such a strong track that there’s no way the rest of the movie can hope to live up to it.

Judgment Night.  The movie is ok.  The soundtrack is fucking amazing.

A Movie A Day #230: Champs (2014, directed by Bret Marcus)

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Bernard Hopkins.  Evander Holyfield.  Mike Tyson.  Three men who came from similar backgrounds and who eventually became three very different heavyweight champions.  Bernard Hopkins was the ex-con who transformed himself through boxing.  Mike Tyson was the ferocious and self-destructive fighter whose legendary career eventually became a cautionary tale.  Evander Holyfield was the underrated fighter, whose discipline and self-control made him a champ but also ensured that he would never get as much attention as the other boxers of the era.

Featuring extensive interviews with these three fighters, Champs is a documentary that not only follows their careers but also tries to place boxing within a greater sociological framework.  As several people in the film state, rich kids do not grow up to become professional boxers.  Instead, they are the ones who grow up to charge people $100 to watch Mayweather vs McGregor on Pay-Per-View.  Boxing has always been a sport that has been dominated by men who grew up poor and marginalized.  That was certainly true for Hopkins, Tyson, and Holyfield.  For all three of them, boxing provided an escape but it also provided temptation.  Unlike players in other sports, boxers rarely have anyone looking out for their best interests.  Tyson’s career was derailed by a prison sentence and he has struggled with both financial and mental issues.  Holyfield made millions for promoters but still ended up declaring bankruptcy.  Champs does not shy away from examining the physical and metal toll of boxing.

As a documentary, Champs is sometimes too slick.  There are too many interview with celebrity boxing fans.  Ron Howard may be a good director but he does not have much to add to a discussion about the correlation between poverty and boxing.  Champs works best when it allow Hopkins, Holyfield, and Tyson to tell their own stories.  Hopkins speaks movingly about how the experience of being in prison not only changed him but ultimately made him a better person.  Mike Tyson is candid about his own demons.  Meanwhile, Holyfield talks about what it was like to always be underestimated and underrated by the boxing world.  All three of them are compelling in their own different way.  For fight fans, Champs has much to offer.

A Movie A Day #229: Amazing Grace and Chuck (1987, directed by Mike Newell)

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Amazing Grace and Chuck has a heartfelt message but it ultimately trips over its own good intentions.

Chuck (Joshua Zuelkhe) is a 12 year-old boy who lives in Montana and who is the best little league pitcher in the state.  Because a field trip to a missile silo causes him to have nightmares, Chuck announces that he will not play baseball until the world agrees to nuclear disarmament.  Chuck’s team ends up having to forfeit a game because Chuck refuses to play.  In the real world, this would lead to Chuck enduring 6 years of ridicule and bullying until he was finally old enough to change his name and go to college in a different state.  In the world of the movies, it leads to Chuck becoming a hero.

A basketball player named Amazing Grace (Alex English) reads a news story about Chuck’s protest and he decides to protest as well.  He announces that he will not play basketball until there are no more nuclear missiles.  Before you can say “Colin Kaepernick,” hundreds of other sports stars are following Amazing Grace’s lead.  Of course, if any group of people is well known for their willingness to give up a huge payday for a quixotic and largely symbolic protest, it’s America’s professional athletes.  Amazing Grace and the athletes even move out to Montana, so that they can be closer to Chuck.

Because they do not appreciate his efforts to put all sporting events (and all betting on sporting events) on hold, the Mafia makes plans to assassinate Amazing Grace.  Chuck protests this by taking a vow of silence.  By now, it is hard to keep track of what Chuck is protesting and how.  Is he still trying for world disarmament or has he moved on to getting the Mob out of professional sports?  All the other children of the world follow Chuck’s example, refusing to speak.  In the real world, children taking a vow of silence would lead to parents celebrating in the street but, in the movie, it leads to panic and causes the Soviets to assume they have the upper hand over the west.  The President (Gregory Peck) ruins it all by inviting Chuck to the White House.  When President Peck explains that people are not allowed to shout fire in a crowded movie theater, Chuck breaks his vow of silence to ask, “But what if there’s a fire?”

There are many problems with Amazing Grace and Chuck, including the dumb Mafia subplot that seems like it should be in a different movie and Chuck coming across as being a smug little creep.  Joshua Zuehlke made his film debut as Chuck and, on the basis of his performance, it is not surprising that he has never appeared in another film since.  By the end of the movie, even Gregory Peck is sick of Chuck and his demands.   It’s obviously a heartfelt film, which is probably why actors like Peck, Jamie Lee Curtis, and William L. Petersen all appeared in it despite presumably having a hundred better things to do, but a nuanced look at détente and the arms race, Amazing Grace and Chuck is not.

A Movie A Day #228: Johnny Be Good (1988, directed by Bud Smith)

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Johnny Walker (Anthony Michael Hall) may be the best high school quarterback in the country but he has a difficult choice to make.  He promised his girlfriend, Georgia (Uma Thurman), that he would go to the local state college with her but every other university in the country wants him.  (Even legendary sportscaster Howard Cosell calls Johnny and advises him to go to an Ivy League college.)  As Johnny tours universities across the country, he faces every temptation.  By the time he makes his decision, will Johnny still be good?

The main problem with Johnny Be Good can be found in the first sentence of the above synopsis.  Anthony Michael Hall plays the best high school quarterback in the country.  By taking on the role of Johnny Walker, Hall was obviously attempting to prove that he was capable of more than just playing nerds for John Hughes.  But Hall is never convincing as a quarterback, much less the best in the country.  Though he bulked up for the role, it is impossible to imagine Hall in a huddle, coming up with the big play that wins the game.  It’s easier to imagine Johnny getting shoved in a locker and left there until the school year ends.  Hall seems to be lost in the role and the movie never seems to be sure who Johnny Walker is supposed to be.  (Two years later, Hall would again play a jock and give a far better performance in Edward Scissorhands.)

As for the rest of the cast, Robert Downey, Jr., who plays Johnny’s teammate and best friend, is even less convincing as a football player than Hall.  In the 1980s, Downey could play a quirky sidekick in his sleep but not a wide receiver.  Paul Gleason also shows up in the movie, basically playing the same role that he played in The Breakfast Club.  Uma Thurman is sweet and pretty in her film debut but it’s a nothing role.  Fans of Cannon Picture will want to keep an eye out for Steve James, in a small role as a coach.

Poorly written and slackly directed with few laughs, Johnny Be Good fails to take its own advice.