Category Archives: Film Review

Film Review: Air (dir by Ben Affleck)

Posted on by Lisa Marie Bowman

Air opens with a montage of the 80s.  Ronald Reagan is President.  MTV is actually playing music.  Wall Street is full of millionaires.  Sylvester Stallone is singing with Dolly Parton for some reason.  Because the specific year is 1984, people are nervously giving George Orwell’s book the side-eye.  Everyone wants an expensive car.  Everyone wants a big house.  Everyone wants the world to know how rich and successful and special they are.

What no one wants is a pair of Nike basketball shoes.  All of the major players are wearing Adidas and Converse while Nike is viewed as being primarily a company that makes running shoes.  CEO Phil Knight (played by Ben Affleck) is considering closing down the basketball shoe division.  Sonny Vaccaro (Matt Damon), however, has a plan that he thinks will save the division.  Instead of recruiting three or four low-tier players to wear and endorse Nike shoes, Sonny wants to spend the entire division’s budget on just one player.  Sonny is convinced that a young Michael Jordan is destined to become one of the best players in the history of basketball and he wants to make a shoe that will be specifically designed for Jordan.

The problem is that Michael Jordan doesn’t want to have anything to do with Nike because Nike is not viewed as being a cool brand.  Jordan wants to sign with Adidas, though he’s considering other offers as well.  He also wants a new Mercedes.  Even though everyone tells Sonny that he’s wasting his time and that he’ll be responsible for a lot of people losing their jobs if he fails, Sonny travels to North Carolina to make his pitch personally to Jordan’s mother (Viola Davis).

For it’s first 50 minutes or so, Air feels like a typical guy film, albeit a well-directed and well-acted one.  Almost all of the characters are former jocks and the dialogue is full of the type of good-natured insults that one would expect to hear while listening to a bunch of longtime friends hanging out together.  For all the pressure that Sonny is under, the underlying message seems to be one of wish fulfilment.  “Isn’t it great,” the film seems to be saying, “that these guys get to hang out and talk about sports all day?”  When Sonny runs afoul Michael Jordan’s agent, David Falk (Chris Messina), one is reminded of the stories of temperamental film executives who spent all day yelling at each other on the telephone.  The efforts to sign Jordan feel a lot like the effort to get a major star to agree to do a movie and it’s easy to see what attracted Damon and Affleck to the material.  Even though the majority of the film takes place in the Nike corporate offices, it deals with a culture that Damon and Affleck undoubtedly know well.

But then Jason Bateman delivers a great monologue and the entire film starts to change.  Despite his reluctance to sign with Nike, Michael Jordan and his family have agreed to visit the corporate headquarters.  Sonny has a weekend to oversee the creation of the shoe that will hopefully convince Jordan to sign.  When Sonny shows up for work, he’s excited.  But then he has a conversation with Rob Strasser (Jason Bateman), the head of marketing.  Strasser talks about his divorce and how he only sees his daughter on the weekends.  Every weekend, Rob brings his daughter the latest free Nike stuff.  His daughter now his 60 pairs of Nike shoes.  Rob admits that, even if he loses his job, he’ll probably still continue to buy Nike shoes because that’s now what his daughter expects whenever she sees him.  Rob compares Sonny’s plan to the Bruce Springsteen song Born in the USA, in that the tune sounds hopeful but the lyrics are much darker.  If the plan succeeds, Nike will make a lot of money.  If it fails, Rob and everyone in the basketball division will be out of a job and that’s going to effect every aspect of their lives.  Rob points out that Sonny made his decision to pursue only Michael Jordan without thinking about what could happen to everyone else.  Sonny says that success requires risk.  Rob replies that Sonny’s words are spoken, “like a man who doesn’t have a daughter.”

It’s an honest moment and it made all the more powerful by Bateman’s calm but weary delivery of the lines.  It’s the moment when the film’s stakes finally start to feel real, even though everyone knows how the story eventually turned out.  As well, it’s in this moment that the film acknowledges that the Air Jordan legacy is a complicated one.  Rob talks about how the shoes are manufactured in overseas sweatshops.  Later, when discussing whether or not Michael Jordan should get a percentage of the sales, Jordan’s mother acknowledges that the shoes aren’t going to be cheap to purchase.  They’re going to be a status symbol, just as surely as the Mercedes that Jordan expects for signing with the company.  Air becomes much like that Springsteen song.  On the surface, it’s a likable film about a major cultural moment, full of dialogue that is quippy and sharply delivered without ever falling into the pompous self-importance of one of Aaron Sorkin’s corporate daydreams.  But, under the surface, it’s a film about how one cultural moment changed things forever, in some ways for the better and in some ways for the worse.

It’s an intelligent film, one the creates a specific moment in time without ever falling victim to cheap nostalgia.  Matt Damon gets a brilliant monologue of his own, in which he discusses how America’s celebrity culture will always attempt to tear down anyone that it has previously built up.  Ben Affleck plays Nike’s CEO as being an enigmatic grump, alternatively supportive and annoyed with whole thing.  As for Michael Jordan, he is mostly present in only archival footage.  An actor named Damian Delano Young plays him when he and his parents visit Nike’s corporate headquarters but, significantly, his face is rarely show and we only hear him speak once.  In one of the film’s best moments, he shrugs his shoulders in boredom while watching a recruitment film that Nike has produced to entice him and, because it’s the first reaction he’s shown during the entire visit, the audience immediately understands the panic of every executive in the room.

Air is a surprisingly good film.  It’s currently streaming on Prime.

Blue Steel (1990, directed by Kathryn Bigelow)

Posted on by Jedadiah Leland

On her first night on the job, rookie cop Megan Turner (Jamie Lee Curtis) blows away a robber (Tom Sizemore) who was holding up a convenience store.  The robber was holding a gun when he was shot but, right after his body hits the ground, the gun is stolen by a stockbroker named Eugene Hunt (Ron Silver).  Somehow, no one notices Eugene grabbing the gun from the floor and he improbably gets away from the crime scene without any of the investigating officers noticing that he’s concealing a gun in his suit.

Because Eugene stole the gun, Megan is accused of shooting an unarmed man and she is suspended from the force.  Meanwhile, Eugene becomes obsessed with the gun, hears voices, and starts to shoot random people.  He even carves Megan’s name on one of the bullets.  When the bullet is found in the body of one of Eugene’s targets, Megan becomes the number one suspect even though it wouldn’t make any sense for a murderer to carve their name on the evidence.  This isn’t The Wire.  None of the dead are going to be found with a note in their hand that says, “Tater Killed Me.”  It should be obvious to everyone that Megan is being set up but instead, everyone just assumes Megan is a stupid murderer who doesn’t know how to cover her tracks.  Eugene also starts to date Megan but when Megan rejects him after he confesses to being the murderer, Eugene starts to stalk her and her friends.  Not even Megan’s new boyfriend (Clancy Brown) can keep her safe from a stockbroker with a grudge.

Blue Steel benefits from Kathryn Bigelow’s stylish direction and Jamie Lee Curtis’s dedicated performance but it suffers because Eugene is so obviously crazy from the get go that it never makes sense that he would be able to get away with his crimes for as long as he does.  Even after Megan realizes that Eugene is crazy, she can’t get anyone to believe her even though everything about Eugene suggests that he’s the murderer.  Not even confessing to the crime is enough to keep Eugene in prison.  Somehow, Eugene is able to commit multiple murders and attempted murders right in front of Megan and then escape before Megan or anyone else can even react.  Megan’s been trained at the Police Academy while Eugene has no criminal training whatsoever but he’s still always able to outthink and outrun her.  It makes it seem as if Megan just isn’t a very good cop.  Luckily, Bigelow, Curtis, Silver, and Clancy Brown would all be involved with better movies in the future.

Film Review: On a Wing and a Prayer (dir by Sean McNamara)

Posted on by Lisa Marie Bowman

Having just attended the funeral of his brother, Doug White (Dennis Quaid) and his family — wife Terri (Heather Graham) and daughters Bailey (Abigail Rhine) and Maggie (Jessi Case) — are flying back to their home in Louisiana.  Unfortunately, shortly after takeoff, their pilot suffers a heart attack and dies.  Now Doug, who’s had only one flight lesson in his entire life, has to not only fly the plane but also land safely.

Doug has people on the ground, trying to talk him through the landing even though they don’t know what is actually happening in the cockpit.  Hard-drinking Dan Favio (Rocky Myers) calls his friend, Kari Sorenson (Jesse Metcalfe).  Kari has never gotten over the death of his family in a similar plane crash so, for him, helping Doug land is about more than just saving Doug and his family.  It’s also about achieving his own personal redemption and hopefully finding the strength to forgive himself.

While this is going on, two kids — Donna (Raina Grey) and Buggy (Trayce Malachi) — follow the flight online and then head down to the airport so that they can watch it try to land.  To be honest, I’m really not sure why either one of them is in the movie.  When Donna first showed up, talking about how she wanted to be a pilot because “Mr. Jones” told her that girls can’t fly planes, I found myself dreading the inevitable moment when the kids would take it upon themselves to help Doug land the plane.  I dreaded Donna calling the cockpit and Doug going, “Wait a minute …. you’re just a kid!”  Fortunately, that moment didn’t happen but I was still left wondering why Donna and Buggy were in the film to begin with.

It feels almost churlish to be overly critical of a film like On a Wing and a Prayer because it is based on a true story.  Doug White really did have to land an airplane after the pilot died mid-flight and he really was instructed on what to do by a group of air traffic controllers and Kari Sorenson.  It’s a good story and the film ends with some undeniably touching shots of the real people involved in the landing.  That said, this is ultimately a film that many filmgoers will want to like more than they actually do.  Thanks to some dodgy special effects, the viewer never forgets that Dennis Quaid and his family aren’t really tapped up in the sky.  Instead, one is always aware that they’re just watching a movie and a rather cheap-looking one at that.  As well, the script is full of awkward dialogue and heavy-handed moments.  As soon as I saw that one of the daughters wouldn’t stop looking at her phone, I knew that she would be the one who would be forced to grow up in a hurry.  As soon as the other daughter ate something with nuts in it, I knew that there was going to be a desperate search for an epi-pen.

On the plus side, Dennis Quaid was as likable as ever and Heather Graham managed to wring some genuine feeling out of even the most sentimental of dialogue.  On A Wing and a Prayer was directed by Sean McNamara, who also directed one of my favorite films of 2011, Soul Surfer.  (Later this year, McNamara and Quaid have another project that is scheduled to be released, a biopic of President Ronald Reagan.)  On A Wing and A Prayer doesn’t really work as a film but, as a story, it at least reminds us of what people are capable of doing when they all work together.

Kill and Kill Again (1981, directed by Ivan Hall)

Posted on by Jedadiah Leland

Martial artist Steve Hunt (James Ryan) is back!

When last we saw Steve, he was defeating a Nazi war criminal in Kill or Be Killed.  In this sequel, James is recruited by Kandy Kane (Anneline Kristel) to rescue Dr. Horatio Kane (John Ramsbottom) from the evil Marduk (Michael Mayer).  Marduk has forced Dr. Kane to develop a drug that allows him to control the minds of anyone who is injected with it.  Marduk wants to put the drug into the world’s water supply but, for now, he is content to control the isolated town of Irontown.

Before Steve can rescue Dr. Kane, he has to put together a crew.  Steve recruits four of his fellow fighters, Hot Dog (Bill Flynn), Gorilla (Ken Gampu), Gypsy Bill (Norman Robinson), and The Fly (Stan Schmidt).  Along with Kandy Kane, the team infiltrates Irontown and faces off against Marduk’s champion fighter, Optimus (Edie Dorie).

If Kill or Be Killed owed a lot to Enter the Dragon, Kill and Kill Again is more of a martial arts-themed take on Mission: Impossible.  Marduk, with his fake beard and his name that makes him sound like a cartoon dog, is never an intimidating villain and it turns out that it is laughably easy to defeat him.  Instead, the movie’s emphasis is on Steve putting together his team and everyone playing their part to free the people of Irontown.  Kill or be Killed‘s Olga is nowhere to be seen as Steve falls for Kandy Kane.

Unfortunately, the fights are pretty boring this time around and James Ryan doesn’t really have the screen presence to be a believable James Bond or Ethan Hunt-style secret agent.  Especially when compared to the relatively serious Kill Or Be Killed, there is a good deal of broad comedy in Kill and Kill Again, which makes it difficult to any of Marduk’s plans seriously.  The best action films convince you that only the hero has what it takes to defeat the villain but Marduk is such a weak bad guy that anyone could defeat him.  Even if Steve and the crew hadn’t shown up at Iron Town, Marduk probably would have defeated himself in just a few more months.

Originally, there was supposed to be a third film about the adventures of Steve Hunt but Film Ventures, the company behind Kill and Kill Again, went bankrupt before filming could being.  Steve Hunt’s adventures came to an end but the first two Kill films will live forever.

Film Review: M3GAN (dir by Gerald Johnstone)

Posted on by Lisa Marie Bowman

Gemma (Allison Williams) is a roboticist who works for America’s most successful Seattle-based toy company, Funki.  Funki is the company behind the Purrpetual Pets, the really annoying Furby rip-offs that every child wants to have.  Gemma has developed a child-sized humanoid robot that she calls M3GAN.  She thinks that it could be the new big toy but her boss, David (Ronny Chieng), disagrees.  David says to stick with what works and develop a new Purrpetual Pet.

While Gemma is trying not to lose her job, she also has to deal with a new arrival in her home.  Following the tragic deaths of her parents and the destruction of her Purrpetual Pet, Gemma’s eight year-old niece moves in with her.  From the minute that Cady (Violet McGraw) shows up, things are awkward.  Gemma is more comfortable dealing with technology than with other humans.  When Cady attempts to play with a toy on Gemma’s bookshelf, Gemma quickly explains that it’s not a toy.  “It’s a collectible.”  In fact, it’s not until Gemma introduces Cady to M3GAN (played by Amie Donald with Jenna Davis providing her voice) that Cady finally starts to become comfortable in her new home.  M3GAN is the friend, older sister, and maternal figure that Cady is desperately looking for.  And even though Gemma knows that M3GAN is still being developed and could possibly malfunction, Gemma is kind of happy that Cady finally has someone other than Gemma to look after her.

And, of course, M3Gan is happy too.  M3GAN proves to not only be a quick learner but she also takes her duty to look after Cady very seriously.  When the neighbor’s dog bites Cady, the dog vanishes shortly afterward.  When the neighbor suggests that either Cady or Gemma had something to do with the dog’s disappearance, the neighbor ends up getting attacked in her garage.  When a bully tries to push Cady around before then attacking M3GAN, M3GAN reacts by ripping off his ear.  It may seem like it’s good to have M3GAN on your side but what about when M3GAN decides that Gemma isn’t doing a good enough job raising Cady?  What about when M3GAN herself starts to suspect that Cady needs to be disciplined?

M3GAN came out in January and it was, to the surprise of many, the first big critical and commercial success of 2023.  Some of that, of course, is because there really wasn’t much competition back in January.  Audiences that didn’t want to rewatch the Avatar or Black Panther sequels really didn’t have many other options other than M3GAN and Plane.

That said, M3GAN is an undeniably effective mix of satire and horror.  It works precisely because it captures what we all secretly fear, that AI is eventually going to kill us.  M3GAN may look adorable and she gets to show off some pretty good dance moves towards the end of the film but she’ll kill anyone who gets on her nerves and, as both Gemma and Cady find out, it’s pretty much impossible to turn her off.  It’s not just that M3GAN replaces Gemma as Cady’s primary caregiver.  It’s that the viewer knows that it’s totally possible that there’s an army of M3GANs out there, waiting to replace all of us.  At this point, I wouldn’t be surprised if, in the future, at least 50% of the reviewers over on Rotten Tomatoes will actually be advanced AIs, programmed to overpraise studio productions while only giving negative reviews to films that don’t necessarily need good reviews to sell tickets.

M3GAN works as both a satire and a horror flick.  The movie opens with a macabre  Purrpetual Pet commercial that’s cringey specifically because it feels so accurate.  As brought to life by Amie Donald and Jenna Davis, M3GAN is a wonderfully creepy character who is occasionally made sympathetic by the fact that, much like HAL in 2001 and the robots in Creation of the Humanoids, M3GAN seems to have more genuine feelings than the humans around her.  Indeed, with the exception of Violet McGraw’s Cady, there are no sympathetic human characters.  Gemma, for instance, is a very familiar type, someone who knows how to write code but who has no idea how to relate to anyone on an actual emotional level.  In many ways, her relationship with Cady is just as a manipulative and destructive as M3GAN’s.

M3GAN is a strong movie up until the final 20 minutes, when M3GAN suddenly starts to target people who she really doesn’t have any reason to go after.  But, overall, it’s an effective look at the future that we may have waiting for us.

Kill or Be Killed (1977, directed by Ivan Hall)

Posted on by Jedadiah Leland

Martial artist Steve Hunt (James Ryan) is offered a spot in a martial arts tournament that is to be held at a castle in the desert.  Steve accepts but, once he reaches the castle, he thinks that something is off about the tournament’s sponsor, the German Baron von Rudloff (Norman Coombes).  Could it be because the Baron wears a swastika armband, travels in a limousine the flies a Nazi flag, and spends his spare time talking about how much he misses Hitler?

Braon von Rudloff is a former Nazi general who is still bitter that his marital arts team was defeated by Japan’s team at the 1936 Summer Olympics. The tournament was just a ruse to recruit a new martial arts team that will take part in a do-over competition against the team led by Rudloff’s rival, Miyagi (Raymond Ho-Tong).  Steve doesn’t want any part of that so, with the help of a former circus dwarf named Cico (Dani DuPlessis), Steven escape from the castle with his girlfriend, Olga (Charlotte Michelle).  They return to Steve’s home in South Africa.  The Baron sends his main henchman, Ruell (Ed Kannemeyer), to bring Olga back to him.  After Olga is kidnapped, Steve joins Miyagi’s team and returns to the castle.

The best thing about this South African film is that there is rarely a moment when a fight is not breaking out.  Steve and Ruell will fight at the drop of a hat.  My favorite part of the movie is when Steve is trying to find a loophole in a contract that the Baron made him sign and Ruell grabs a torch and sets the contract on fire.  Steve grabs another torch and the two of them spend several minutes swinging torches at each other.  Later, Ruell and his friends turn on Chico for some reason and it turns out that Chico is just as good a fighter as anyone else in the movie.  The plot is just an excuse for one fight after another but the fight choreography is pretty exciting and always entertaining to watch.  Almost everyone in the cast was a real-life martial artist and it shows.  The story is nothing special and it’s hard to have sympathy for Miyagi after it’s revealed that the Baron isn’t lying about Miyagi bribing the judges in 1936 but fight scenes make up for all of that.

Kill or Be Killed was a surprise success when it was shown in the United States.  It was followed by a sequel, Kill and Kill Again, which I’ll review tomorrow.

Film Review: Champions (dir by Bobby Farrelly)

Posted on by Lisa Marie Bowman

In Champions, Woody Harrelson plays Marcus Marakovich.

Marcus is a basketball coach.  He believes that he has the talent and the ability to be a coach in the NBA and he’ll tell that to anyone who will listen.  Unfortunately, Marcus also has a reputation for being self-destructive and temperamental.  He has sabotaged his career with too many public fights.  As his friend and fellow coach Phil (Ernie Hudson) tells him, Marcus knows everything about basketball but he doesn’t know how to connect with the players.  Marcus is so concerned with winning that he never gets to know the people that are playing for him.

Of course, Marcus has more problems than just his inability to connect with players.  An on-court brawl leads to Marcus losing his assistant coaching job.  A drunk driving incident leads to Marcus landing in jail.  Phil bails him out but Marcus will still have to do community service to avoid serving time.  Marcus is assigned to spend the next 90 days coaching The Friends, a basketball team made up of players who have learning disabilities.  Though at first reluctant, Marcus doesn’t want to go to prison and, after a rough start, he and the Friends start to bond.  Marcus becomes a better coach and the Friends become a better team and soon, it looks like they might even be playing in the North American Special Olympics Finals in Winnipeg.  Along the way, Marcus also falls for Alex (Kaitlin Olson), the sister of one of his players.

Champions is a heartfelt film that suffers from the fact that there’s really not a single surprising moment to be found within it.  As soon as Woody Harrelson shows up as a hard-drinking and cynical basketball coach who is looking for one more chance to make it to the NBA, most members of the audience will know exactly what to expect.  It’s not a shock that he eventually bonds with his players.  It’s not a shock that he falls in love with Alex nor that he eventually calls Alex out for using her brother’s needs as an excuse to not get close to anyone.  It’s not even a surprise when Cheech Marin shows up as the cheerful manager of the rec center where the Friends practice.  And it’s certainly not a surprise that Marcus’s work with the Friends leads to him getting an offer from an NBA team, an offer that might not be as altruistic as Marcus wants to believe.  (The team is mired in a scandal and feels that hiring Marcus would bring them some good publicity.)  Marcus is faced with a big decision and the choice that he makes won’t surprise anyone.  At one point, Marcus specifically mentions the film Hoosiers, as if the simple act of acknowledging the fact that Champions isn’t exactly breaking new ground will somehow make up for the film’s predictability.

That doesn’t mean that Champions isn’t a likable film, of course.  It’s a crowd pleaser.  The actors playing the Friends actually are all learning disabled and the film portrays them all as individuals with their own unique personalities and abilities.  It’s hard not to get excited for them when they succeed on the court and the film refuses to use any of their disabilities for cheap laughs.  The film’s heart is in the right place and there’s always something to be said for that.  But, as I watched Champions, I became very much aware that this was a film that I wanted to like more than I actually did.  It was hard for me not to compare Woody Harrelson’s well-meaning but self-destructive coach to the similar character than Ben Affleck played in The Way Back.  The Way Back worked because it took a familiar character type but then allowed that character and the story to go in an unexpected direction.  Watching Champions, it was hard for me to not wish that the film had been willing to take a few more risks.

Radical Jack (1999, directed by James Allen Bradley)

Posted on by Jedadiah Leland

Billy Ray Cyrus is Jack, a tough-as-nails former CIA agent who is still traumatized by his actions during Desert Storm and the murder of his wife by the international terrorist, Riotti (Benny Nieves).

Stop laughing.

I’ll admit that the idea of Billy Ray Cyrus, the most mild and unthreatening of mullet-headed country music stars, playing a CIA burnout who has killed countless men may sound like something to laugh about but … forget it, I’ve got nothing.  Laugh all you want because it is ridiculous casting and, throughout the film, Billy Ray looks increasingly uncomfortable with the character’s R-rated antics.  Sometimes, you have to do what you have to do, though.  When this movie was made, it’d been seven years since Achy Breaky Heart and even one-hit wonders need to pay the bills.  In 1999, reinventing Billy Ray Cyrus as a second-tier action star probably seemed like a good idea.  Billy Ray may not be the most convincing CIA agent but he’s still more likable than Steven Seagal.

Billy Ray is sent undercover to a small town in Vermont.  Somehow, by working as a bouncer at the local roadhouse, Billy Ray Cyrus is supposed to find a way to expose two local arms dealers, Lloyd (George “Buck” Flower) and Lloyd’s good for nothing son, Rolland (Noah Blake).  Lloyd and Rolland are selling weapons to Riotti so this is personal for Billy Ray.  But Billy Ray is also romancing Rolland’s ex-girlfriend, Kate (Deedee Pfeiffer) so it is personal for Rolland too.

As both an action hero and a film, Radical Jack isn’t all that radical and Billy Ray Cyrus never looks comfortable in any of the action scenes or the scenes where he makes out with Deedee Pfieffer but there are still plenty of explosions, fights, and chase scenes.  Though she doesn’t have much romantic chemistry with Billy Ray, Deedee Pfieffer gives the best performance in the film, playing Kate as someone who knows that she deserves better than what life has given her.  Radical Jack was produced by the same people who did Time Chasers and fans of that film will be happy to visit the exact same landing strip and hangar that was featured so heavily in that sci-fi epic.  There’s also a twist at the end, which you’ll see coming from miles away and Billy Ray does something unexpectedly cruel with a hand grenade.  Radical Jack did not make an action star out of Billy Ray Cyrus but, two years later, he showed an unexpected talent for comedy with his small role in Mulholland Drive.  Seven years after playing a burned-out CIA assassin, Bill Ray Cyrus found new fame as Miley Cyrus’s father and Radical Jack would never ride again.

Film Review: Rumble in the Bronx (dir by Stanley Tong)

Posted on by Lisa Marie Bowman

First released in 1995, Rumble in the Bronx is known for two things.

First off, it’s the film that finally made Jackie Chan a star in America.  Chan had been an international star for two decades before starring in this film but he had initially struggled to break into the American film industry.  Before Rumble in the Bronx, no one in Hollywood was quite sure what to do with an actor who was both skilled at martial arts and who also had perfect comedic timing.  Indeed, the very title of  Rumble in the Bronx seems to designed to make Americans feel comfortable with the film.  Jackie Chan may have been from Hong Kong and the film itself may have been dubbed and it may have been released internationally before New Line got around to releasing it in the States but it was a film about the Bronx!  And what’s more American than the Bronx?

Except, of course, Rumble in the Bronx wasn’t filmed in the Bronx.  The other thing for which this film is remembered was that it may have taken place in the Bronx but it was filmed in Vancouver.  From the minute the audience sees Jackie walking through this film’s version of the Bronx, it’s pretty obvious that he’s in Canada.  All of the extras are very polite.  The city streets are surprisingly clean.  Even the graffiti is rather mild in tone.  (Reportedly, the production spray-painted the locations every morning and then cleaned up all the graffiti at night.)  When the film shows us its version of an NYPD stationhouse, the building is so neat and clean that it seems like it should be in a Canadian tourism brochure.  New York has never looked more inviting than when it was played by Vancouver.

Of course, the main giveaway that this film was shot in Canada was that there are mountains in the background.  Majestic mountain ranges are one of the few things that you cannot find in New York City.  When the bad guys drive someone out of the city so that they can threaten him, they end up in front of an absolutely gorgeous mountain stream.  Seriously, I’m sure I’m not the only person who wanted to travel to Canada after watching Rumble in the Bronx.

But, hey …. it’s a Jackie Chan movie!  If you can’t suspend your disbelief while watching a Jackie Chan movie then when can you suspend it?  The film’s plot is not terribly complex.  Jackie plays a Hong Kong cop who comes to New York for his uncle’s wedding.  While his uncle is on his honeymoon, Jackie looks over his uncle’s store and protects it from the local gang.  Jackie also befriends Nancy (Francoise Yip) and her wheelchair-bound brother, Danny (Morgan Lam).  Both Nancy and Danny need someone to look out for them and to encourage both of them to reject the seedier temptations of the Bronx.  They also need Jackie to protect them from the golf-loving crime lord, White Tiger (Kris Lord).

The plot is mostly an excuse for a series of increasingly elaborate fights and stunts.  As always, it’s fun to not only watch Jackie Chan in action but to also try to spot all the moments in which he nearly killed himself performing his own stunts.  Rumble in the Bronx is the film in which Jackie Chan broke his ankle while jumping onto a hoverboat.  One can actually see the ankle bending at an extremely awkward angle.  I actually covered my eyes when I realized what was happening because it was obviously very painful.  If anyone had any doubt of how painful it was, Jackie included footage of him howling in pain during the end credits.  That said, as painful as it was to watch Jackie’s ankle snap, it doesn’t change the fact that this film’s finale actually involves a hovercraft!  Even without Jackie’s stunts, the action in this film’s finale would be enjoyably and shamelessly over the top.  But knowing that Jackie was out there risking his life to make the film makes it all the more enjoyable.  And it also helps that Jackie Chan is a legitimately good actor, one who gets a lot of laughs out of the fact that the characters that he plays are often as shocked by some of the things that he does (and survives) as the audience is.

Myself and a few others watched Rumble in the Bronx on Friday as a part of our weekly #FridayNightFlix get-together.  We had a blast.  Another film that we recently watched for #FridayNightFlix, Escape From The Bronx, is famous for its line of “It is time to leave the Bronx”  but you know what?  Why would anyone ever want to leave beautiful Vancouver?

Future Zone (1990, directed by David Prior)

Posted on by Jedadiah Leland

David Carradine is back as super glove-wearing bounty hunter John Tucker in this sequel to Future Force!

Once again, it’s the future.  In the future, everyone drives a car that was made in the 70s and spends most of their time in the abandoned warehouses that are meant to represent their places of business.  Hard-drinking John Tucker meets and starts to work with the newest C.O.P.S. recruit, Billy (Ted Prior).  Billy can shoot just as fast as Tucker and seems to know all about Tucker and his wife, Marion (Gail Jensen).  That’s because Billy is from the future.  As he explains it, some “friends of mine built a time portal,” and Billy used it to come back to the past and save Tucker from being killed by a bunch of criminals.  Why is Billy so concerned about saving John Tucker?  Did I mention that Marion is pregnant?

Future Zone is just as dumb as Future Force but it is set apart from the first film by its use of time travel.  The best part of the movie is that neither John nor Marion are surprised to hear that Billy’s friends just happened to build a time portal.  Nobody asks why they built a time portal or even how they built a time portal.  The time portal is the most important thing about the movie but everyone shrugs off its existence.  Are time portals a common thing in the future?  Does everyone have a time portal?  How does the time portal work?  How is Billy able to go into the past at exactly the right moment?  When it is time for him to go back to his time, how does he let his friends know?  These are all good questions that no one asks.

The other thing that no one asks is why Tucker doesn’t wear his super glove all the time.  His super glove can do anything, from shooting lasers to blocking bullets.  If I had a super glove, I would wear it all the time.  Tucker keeps it in the trunk of his car and only summons it at the last possible moment.  Why even have a super glove if you’re not going to use it?