Category Archives: Film Review

In the Line of Duty: Hunt For Justice (1994, directed by Dick Lowry)

Posted on by Jedadiah Leland

When New Jersey State Trooper Philip Lomonaco (Dan Lauria) pulls over a car for having mud on its license plate, he doesn’t know that the car is being driven by two members of the United Freedom Front, a group of left-wing revolutionaries.  While Lomonaco talks to Tom Manning (Miguel Ferrer), Dickie Williams (Dell Yount) opens fire.  Lomanaco is killed and Tom and Dickie flee to their safehouse in New England.  While the United Freedom Front plots their next series of bombings and bank robberies, Lomonaco’s ex-partner (Nicholas Turturro) teams up with an FBI agent (Adam Arkin) to track down the terrorists and get justice for his fallen friend.

Hunt For Justice was the ninth of NBC’s In The Line of Duty films.  The previous films featured religious cults, anti-tax protestors, drug lords, and mobsters.  In this one, the antagonists are all former 60s radicals who are still trying to overthrow the system.  The FBI views the United Freedom Front as being a threat to national security while Lomonaco’s partner just wants to make sure that Lomonaco’s death won’t go unpunished.  Dan Lauria was actually a mainstay of the In The Line of Duty films, appearing previously in A Cop for the Killing and and Ambush in Waco.  (Nicholas Turturro was previously featured, on the other side of the law, in Mob Justice.)  Since most people who watch this film will probably remember Lauria as being Kevin Arnold’s father in The Wonder Years, everyone will want his killers to be brought to justice.

As with the previous In The Line of Duty movies, the action is evenly divided between law enforcement and the criminals that they’re pursuing.  At first, Miguel Ferrer seems like odd-casting as a leftist who admires Che Guevara but he gives a good performance as someone who regrets some of the decisions that he made in the past but who knows that he can’t change them now.  Melissa Leo is also very good as his wife.  Stephen Root and Dean Norris, two other actors who you would not necessarily expect to see playing left-wing revolutionaries, are cast as the other members of the United Freedom Front and Hunt For Justice does a good job of contrasting their middle class lifestyles with their revolutionary rhetoric.  One of the ironies of the film is that the revolutionaries are leading much more comfortable and financially-stable lives than the men who are trying to hunt them down.  In fact, the main problem with the movie is that the revolutionaries are so interesting that it’s always a letdown when the action shifts over to Turturro and Arkin, whose characters are far less interesting.  Arkin and Turturro go through the expected paces.  The FBI doesn’t like it when local cops try to interfere with their investigations.  Who knew?

Hunt for Justice is a pretty standard In The Line of Duty movie but no movie featuring Miguel Ferrer, Melissa Leo, and Stephen Root is ever going to be a total loss.  The cast is the best thing that Hunt For Justice has going for it.

Film Review: The Fallout (dir by Megan Park)

Posted on by Lisa Marie Bowman

The Fallout, which premiered on HBOMax way back in January, opens with a scene of a sandwich being made.  It’s a peanut butter sandwich but the person making it is putting way too much peanut butter on the bread.  The kitchen counter is a mess.  The knife looks dirty.  To be honest, it’s kind of sickening to watch.

No, the film is not about the sandwich.  In fact, the sandwich never appears again.  But I have to admit that sandwich represents the entire film to me.  That scene, I think, is meant to tell us that we’re watching a film about real people and sometimes, real people prepare disgusting food in a cluttered kitchen.  And that’s true.  Then again, sometimes they don’t and that’s something that some filmmakers don’t want to acknowledge.  Indeed, there’s something rather condescending about the cinematic belief that being authentic is the equivalent of being a slob.  It’s an interesting phenomena how a film can try so hard to be “real” that it instead becomes the opposite.

The Fallout certainly deals with an important subject.  Vada Cavell (Jenna Ortega) goes to high school on a day like any other day and, without warning, finds herself in the middle of a school shooting.  The shooting itself is handled well.  We don’t see the shooter nor do we learn anything about him.  We just hear the gunshots while Vada, Mia Reed (Maddie Ziegler — yes, of Dance Moms fame), and Quinton (Niles Fitch) hide in a bathroom stall.  It’s a terrifying scene and it immediately reminded me of what it was like when I was in high school and I would see stories about school shootings and wonder if my school was going to be next.

The rest of the film deals with the emotional, political, and mental fallout of the shooting.  Quinton struggles with the death of his brother.  Vada’s best friend, Nick (Will Ropp), becomes a self-righteous David Hogg type.  And Vada starts spending all of her time with Mia, a dancer and influencer whose Dads are in Europe and apparently can’t even be bothered to come back to the States even after their daughter is involved in a school shooting.  Vada, who has a total crush on Mia, starts hanging out at Mia’s mansion.  Mia is happy to finally have a friend that she can talk to, even if Vada is kind of annoying.

(The whole thing with the Dads being in Europe and Mia living alone in her mansion feels a bit too convenient, to be honest.)

The film is dealing with important issues, which is one reason why it’s gotten so many good reviews.  This is one of those films that many people feel obligated to like because otherwise, they might run the risk of being told that they don’t care about school shootings.  But, honestly, the film doesn’t really have that much to say.  It hits all of the expected beats and, as much as the film tries to make everything messy and real, it often seems like it’s trying too hard.  Of course, Vada is going to use drugs to get through her first day back at school.  Of course, Vada’s father is going to encourage her to shout out her frustrations at the top of her lungs.  Of course, Vada’s mother is going to be remote and controlling.  Of course, her little sister is going to have a breakdown.  Of course, her best friend is going to get mad at her for not wanting to get involved with his nascent political career.  Of course, there’s going to be an absolutely cringey moment where Vada starts talking a mile a minute just because she smoked one joint.  To be honest, I’ve never seen anyone react to weed quite the way that Vada does.  She’s like the person who gets drunk off half a beer and then won’t stop talking.  It’s freaking annoying.  Throughout the film, there are occasional moments that work but, ultimately, it’s never quite as insightful as it obviously believes itself to be.

Jenna Ortega does give a good performance as Vada.  As written, the character is often annoying but, then again, the same can be said of most people and one can only imagine what Vada would have been like without Ortega’s likable screen presence.  The film is pretty much stolen, though, by Maddie Ziegler.  Ziegler reveals the lonely reality behind the influencer façade.  Since Ziegler is herself a dancer and an influencer, she brings a lot of her own persona to Mia but, at the same time, she also makes Mia into a believable character who has a life and an existence that’s separate from the actress playing her.  After The Book of Henry and Music, The Fallout actually gives Ziegler a chance to prove that she can act as well as she can dance.

As opposed to Gus Van Sant’s Elephant or Fran Kranz’s Mass, which both that the courage to acknowledge that violence and its consequences can never be truly understood or easily defined, The Fallout tries too hard to find definitive meaning in an incomprehensible tragedy.  For all of its good intentions and its attempts to be realistic, there’s a shallowness at the heart of The Fallout that keeps it from working.

In the Line of Duty: The Price of Vengeance (1994, directed by Dick Lowry)

Posted on by Jedadiah Leland

Johnnie Moore (Brent Jennings) is a former limo driver turned criminal mastermind.  The members of his gang look up to him with cult-like admiration.  On his orders, they have been robbing businesses all over town.  Johnnie says that he is a man of God but he has no hesitation when it comes to ordering his men to threaten and sometimes kill any witnesses.  When Detective Tom Williams (Michael Gross) comes to close to finally convincing someone to testify against the gang, Moore orders his assassination.  When the members of his gang fail to get the job done because none of them want to shoot Tom when his family is around, Johnnie does it himself by dressing up as a clown and gunning Tom down in front of Tom’s son.  That was Johnnie’s biggest mistake because now, he’s got Tom’s best friend, Detective Jack Lowe (Dean Stockwell), after him.

After Street Wars, NBC’s next two In The Line of Duty films both focused on FBI sieges.  Both The Siege at Marion and Ambush in Waco featured true stories of the FBI trying to arrest religious fanatics and having to wait out a stand-off.  Ambush in Waco was controversial because it was not only based on the Branch Davidian stand-off but it was actually filmed while the stand-off was still going on.  Perhaps because of the controversy, The Price of Vengeance tells a much simpler and less exploitive story.  Johnnie Moore is a criminal who kills a cop.  Jack Lowe makes it his mission to put him away.  There’s no risk of anyone watching siding with Johnnie Moore like they may have done with David Koresh while watching Ambush in Waco.  Moore kills a man in front of his son and then laughs about it.  Everyone watching is going to want to see him get punished and they are going to cheer on the efforts of law enforcement to make sure the punishment fits the crime.

The Price of Vengeance is a typical police procedural but it has a good cast.  After playing a killer in the first In The Line of Duty movie and the lead FBI man in the third one, Michael Gross is cast as the victim here and he’s so likable that you’ll be angered when he gets gunned down.  Dean Stockwell brings his no-nonsense, down-to-Earth style to the role of Gross’s best friend and Brent Jennings is smug and evil as Johnnie Moore.  Mary Kay Place, Kathleen Robertson, and Justin Garms play the members of Gross’s family and they all do a good job of showing the trauma that they’ve suffered as a result of his murder.  Keep an eye out for Courtney Gains, playing a member of Moore’s criminal crew.  Gains played this same character in a dozen different films.  If you see Courtney Gains in a movie, look out because he’s up to no good!

The Price of Vengeance is a standard 90s cop show.  Nothing about it will take you by surprise but it’s partially redeemed by its cast.

Film Review: Operation Mincemeat (dir by John Madden)

Posted on by Lisa Marie Bowman

Based on a true story, Operation Mincemeat takes place in 1943, during the second World War.  The British are planning an invasion of Sicily, both to break Hitler’s hold on Europe and to also knock Italy out of the war.  The problem is that the attack on Sicily makes so much strategic sense that the Germans have spent months preparing for it and, even if successful, the invasion will cost an untold number of British lives.  Somehow, British intelligence must trick the Germans into thinking that the British are planning to invade Greece instead.

With the help of Lt. Commander Ian Fleming (Johnny Flynn), Ewen Montagu (Colin Firth) and Charles Cholmondeley (Matthew McFayden) come up with the plan to fool the Germans.  A dead body will be disguised as a British officer.  The body will be transported, via submarine, to Spain, which was technically neutral during the war.  The body will wash up on shore and, when the body is examined, a note detailing Britain’s invasion of Greece will be discovered and passed along to the Germans.  Because the Germans have been fooled by a similar trick in the past, Montagu and Cholmondeley create a fake backstory for “Maj. William Martin” and soon start to think of him as being a someone who truly did live.  Joining them to create a life for Major Martin is Jean Leslie (Kelly MacDonald), a secretary in the office who volunteers a photo of herself to be placed in Martin’s wallet.

Of course, things get complicated.  While plotting out the operation, Jean starts to fall in love with Montagu, whose marriage is currently strained by Montagu’s obsession with his work.  (Because he knows what will happen to a Jewish family in the UK if Germany invades, Montagu has sent his wife and his children to the U.S.)  Cholomondeley is in love with Jean and soon finds himself growing jealous of the man that he’s been assigned to work with.  Meanwhile, the head of British Intelligence (Jason Isaacs) wants to investigate Montagu’s brother for being a communist.  As for Ian Fleming, he keeps himself busy by writing a book.  In fact, so many members of British Intelligence are identified as being aspiring novelists that it becomes a bit of a running joke.

I have always appreciated a good World War II film and I enjoyed Operation Mincemeat.  It’s a bit of an old-fashioned film, of course.  The F-word is used exactly once (which makes this a rarity amongst modern British films) and there’s one scene in which a member of British intelligence discreetly gives an informant a handjob in return for information.  Otherwise, this is pretty much a film that you could safely show your grandma without having to worry about her getting depressed over how much movies have changed since her day.  Old-fashioned or not, it’s a well-made film, full of good performances and sharp dialogue.  It’s not a flashy film but it’s very nicely put together and it’s hard not to admire the craftsmanship responsible for it.  Operation Mincemeat is all the more interesting for being, more or less, true.  While the love triangle was invented for the film, it is true that Ian Fleming was a part of Operation Mincemeat and the film’s use of him as a character works surprisingly well.  The scene where a young Fleming tours the World War II version of Q Branch provides some nice comic relief, particularly when Flemings comes across a wristwatch that doubles as a mini-saw.

What elevates Operation Mincemeat is its theme of loss.  Almost all of the major characters have lost someone or something to the war.  Jean Leslie is a widow.  Cholomendely’s brother was killed in action and his body is still in Europe.  Montagu has had to send his family away for their own safety.  For them, the Major Martin becomes a stand-in for all of the people that they’ve lost.  The effort to make Martin into a real person allows all of them one final chance to honor their loved ones.  Major Martin becomes a stand-in for all British soldiers and civilians who sacrificed their lives to battle Hitler’s war machine.  Operation Mincemeat becomes about more than just fooling the Germans.  It becomes about being worthy of the sacrifice that it took to defeat them.

As is shown in the film, the real Major Martin was a vagrant named Glyndwr Michael, who died after eating rat poison.  The film suggests that Michael deliberately killed himself but no one will ever know for sure what led to him eating that poison.  After his death, he was given the uniform of a British officer and his pockets were filled with things that would identify him as being Major William Martin.  Though he never knew it, Glyndwr Michael become one of the greatest heroes of World War II.  Operation Mincemeat serves a worthy tribute to both Glyndwr Michael and Major William Martin.

In the Line of Duty: Street War (1992, directed by Dick Lowry)

Posted on by Jedadiah Leland

Street War, the fifth In The Line of Duty movie to be produced by NBC, takes place in Brooklyn.  Raymond Williams (Mario Van Peebles) and Robert Dayton (Michael Boatman) are two uniformed officers trying to keep the peace in the projects.  When Raymond is shot and killed in a stairwell, everyone knows that drug dealer Justice Butler (Courtney B. Vance) was responsible but no one can prove it.

The case is assigned to two detectives, Dan Reilly (Peter Boyle) and Victor Tomasino (Ray Sharkey).  Reilly is a veteran cop who is just a few months away from retirement.  Tomasino is the son of a “made man” who can’t understand why the drug lords in Brooklyn aren’t as interested in keeping the peace as the old Mafiosos were.

When Justice leaves Brooklyn so that he can hide out with his family in South Carolina, Reilly and Dayton follow him down there and discover that people in South Carolina distrust the cops just as much as people in Brooklyn.  Meanwhile, back in Brooklyn, Justice’s second-in-command, Prince (Morris Chestnut), tries to keep an all-out war from breaking out.

Prince and Tomasino take turns narrating the movie.  Prince talks about the reality of trying to restart your life after doing time in prison while Tomasino complains that “the animals” have taken over the city.  (Because this was made for television, “Animals” is Tomasino’s go-to label for anyone he dislikes.  Anyone with any experience with the police will know what word he is actually thinking.)  While Chestnut gives a restrained and thoughtful performance, Ray Sharkey shouts his lines and snarls whenever he’s onscreen.  Though it’s not always evident in this movie, Sharkey started out as a talented actor who played small roles in several independent films before starring in The Idolmaker.  Unfortunately, Sharkey was also a heroin addict whose once promising career was derailed by a series of arrests and jail sentences.  He looks thin and tired in Street Wars and, one year after the film aired, he would die of complications from AIDS.

With Sharkey yelling his lines, it falls on Peter Boyle to play the voice of reason in Street War.  Dan Reilly is a cliché, the weary cop who still wants to make the world a better place and who is just a few days away from retirement.  But Boyle does a good job playing him and brings his own natural gravitas to the movie.

Dick Lowry, who directed the first three In The Line of Duty movies, returns for this one and he keeps the action moving.  Street War is significantly more violent than the previous movies, with even two children getting shot onscreen.  The story itself is a predictable and Tomasino’s casual racism can be hard to take (even if he does eventually called out about it) but, thanks to the performances of Boyle, Boatman, Chestnut, and Vance, Street War is an improvement on Mob Justice and an adequate entry in the series.

Street War would be followed by two movies about FBI sieges, The Siege at Marion and Ambush in Waco.  Since I’ve already reviewed both of those, I will be moving onto In the Line of Duty: The Price of Vengeance tomorrow.

A Blast From The Past: Lucy (dir by Paul Glickman)

Posted on by Lisa Marie Bowman

In the picture above, you can see Lucy (played by Olga Soler), the title character of the 1975 educational short, Lucy.  Lucy is 15 years old and she spends almost all of her time with her boyfriend, Joe (Michael D’Emidio).  As Lucy herself explains her narration (which is provided by an actress named Marilyn Gold), her entire life revolved around Joe.  Since Joe dropped out of school, Lucy dropped out of school too.  Since Joe wanted to spend all of his time walking around New York City, Lucy did the same.  They thought they were in love.  One discreet sex scene later and Lucy’s pregnant!

Lucy is a bit different from some of the other educational films that I’ve seen about teenage pregnancy.  Though initially shocked and angered, Lucy’s parents are eventually supportive.  Joe doesn’t run away but instead promises to do whatever he can to help, though Lucy ruefully acknowledges that it won’t be much as Joe doesn’t even have a high school diploma.  Though a friend offers to help Lucy get an abortion, Lucy decides to have her baby and social services shows up to help her.  At the end of the film, Lucy is still not sure whether she’s going to keep her baby or give it up for adoption.  She just knows that her life will never be the same.  Compared to just about every other educational film that I’ve seen about this subject, Lucy takes a rather low-key and matter-of-fact approach to its story.  It’s well-made but rather depressing.

It’s also a rather obscure film.  I couldn’t find much about the film on the IMDb.  Is the Paul Glickman who is credited as the film’s director the same Paul Glickman who edited some of Larry Cohen’s best films?  Who knows?

Now, I know I’ve probably made this film sound really depressing to sit through but there is a dance scene towards the start of the film.  That helps.

Film Review: The Stranger (dir by Fritz Kiersch)

Posted on by Lisa Marie Bowman

In the desert of Arizona, there sits a town.

That town is named Lakeview, despite the fact that there is no lake nearby.  There aren’t many buildings in the town.  There’s a service station.  There’s a diner.  There’s a sheriff’s office.  There’s a general store.  There are a few houses.  Lakeview is a place that people rarely visit and which no one can escape.

There is a sheriff.  His name is Cole (Eric Pierpoint) and he spends most of his days in an alcoholic stupor.  He’s been depressed ever since his girlfriend, Bridget, was murdered.  Now, Bridget’s younger sister, Gordet (Robin Lyn Heath), is living like a feral animal while the local shopkeeper, Sally (Ginger Lynn Allen), is determined to have Cole for herself.  Cole’s deputy (Ash Adams) is in love with Sally and wants Cole’s job for his own.  That’s a lot of drama for a small town.

Of course, the real drama in Lakeview comes from the fact that the town is run by a group of bikers!  The head biker is named Angel (Andrew Divoff).  By terrorizing the citizens, Angel and his gang make their own wishes come true without ever asking anyone else if that’s something they would be interested in.  Cole is too drunk and depressed to stand up to them.  The other townspeople are …. well, I don’t know what their problem is.  One assumes that they have to be tough, as they’re living in a harsh and inhospitable desert.  But none of them them are willing to stand up for themselves.  Maybe they’ve recently moved to Arizona from California and they’re not used to the idea of self-defense.  But, for whatever reason, Angel controls Lakeview.

But then the Stranger (Kathy Long) rides up on her motorcycle.  Dressed in black leather and wearing a corset that looks like it would actually be really uncomfortable in the desert heat, The Stranger has no name but she does know how to kick ass.  She has come to kill all the members of Angel’s gang.  Unfortunately, the majority of the gang is out-of-town when The Stranger arrives.  So, the Stranger waits in Lakeview and kills who she can.  The townspeople, led by Sally, want her to leave before things get too violent.  Meanwhile, Cole comes out of his drunken stupor just long enough to notice that the Stranger looks a lot like his dead girlfriend….

1995’s The Stranger was an attempt to a modern-day spaghetti western, with a woman playing the type of mysterious figure who would traditionally have been played by Clint Eastwood or Charles Bronson.  That, in itself, is a pretty good idea.  Unfortunately, The Stranger itself is abysmally paced and the filmmakers seem to have overlooked that, in the best spaghetti westerns, the silent, nameless heroes were usually paired with a more talkative (and often much more amusing) partner.  The Good, The Bad, and the Ugly had Eli Wallach.  Once Upon A Time In The West had Jason Robards.  In The Stranger, there’s not really anyone around to fill that role.  (Cole is too full of self-pity to be amusing.  Gordet spends most of the movie running from one abandoned car to another.)  As such, The Stranger becomes fairly grim and slow.  Things are only livened up when The Stranger beats people up.  Kathy Long was a kickboxing champion and she’s strong enough in the action scenes that it makes up for the fact that she doesn’t have a particularly compelling screen presence.  She and Eric Pierpoint also have next to no romantic chemistry, making the whole question of whether or not she’s Bridget’s ghost seem a bit moot.

The best reason to see the film is to watch Andrew Divoff play Angel.  Divoff is always a good villain and he’s memorably unhinged in The Stranger.  Unfortunately, he’s not in the film as much as the viewer might hope.  Watching the film, I half expected the Wishmaster to ask if I wanted Andrew Divoff’s role to be larger.  I would have said no while thinking yes.  You know how that Wishmaster is.

In The Line of Duty: Mob Justice (1991, directed by Peter Markle)

Posted on by Jedadiah Leland

The fourth of NBC’s In The Line of Duty movies, Mob Justice opens with the murder of an undercover DEA agent by a low-level gangster who has just been released from prison.  While the gangster goes into hiding, the DEA mobilizes and starts to make life so difficult for all of the other mobsters in New York that soon, the Mafia is as determined to get justice as law enforcement.

This was the first In The Line Of Duty film not be directed by Dick Lowry.  Lowry’s fast-paced style is missed as Mob Justice takes forever to get going and regularly gets bogged down with scenes lifted from other mafia movies.  The old mobsters talk about the importance of family, play cards in the backroom, and eat big dinners.  Opera blares on the soundtrack when the DEA starts to harass them.  For a movie that is supposed to honor the work and the sacrifice of federal law enforcement, the DEA actually comes across as being thoroughly incompetent in Mob Justice.  A dumb mistake leads to the first murder.  A series of other misjudgments lead to the Mafia dispensing the own type of violent justice before the DEA can arrest their man.

The most interesting thing about Mob Justice is the cast.

The trigger-happy gangster is played by Tony Danza, who I guess was trying to prove himself as a dramatic actor after spending years on Taxi and Who’s The Boss but who still comes across like Tony Micelli having a bad day.  His best friend is played Nicholas Turturro, who later played a straight arrow detective on NYPD Blue.  Frank Vincent and Leonardo Cimino plays the mob bosses who knows that murdering a federal agent is bad for business.

The head of the investigation is played by Ted Levine, who has had a long career but will always be remembered as the killer from The Silence of the Lambs.  Working under him is Dan Lauria, who a generation will instantly recognize as being the long-suffering and frequently angry father from The Wonder Years.  You know that this is a big case is Buffalo Bill and Jack Arnold are working together.  (Dan Lauria actually appeared in several In The Line of Duty films, always playing different characters.)

And finally, the murdered DEA agent is played by none other than Samuel L. Jackson.  It’s never a good thing when the best actor in a movie is killed off after the first fifteen minutes.

The cast is great but Mob Justice is forgettable.  The main problem is that, after Jackson is taken out of the picture, the rest of the movie is just Danza hiding in different apartments while Levine and Lauria annoy Frank Vincent.  Danza’s murderer is never smart nor interesting enough to be a compelling antagonist and there’s never any doubt that, one way or another, he will pay for his stupidity.  There is one memorable scene where Danza freaks out while wearing a blonde wig but otherwise, Mob Justice doesn’t leave much of an impression.

Film Review: Running Red (dir by Jerry P. Jacobs)

Posted on by Lisa Marie Bowman

I have to admit that I feel a little bit cheated by the 1999 film, Running Red.

I figured that, with a name like Running Red, the film would be about a redhead who did a lot of running.  Since I am a redhead that does a lot of running, I figured that I would be able to relate to this film.  Unfortunately, while it’s true that the film does feature a redhead, she doesn’t get to do much running.  In fact, she doesn’t really get to do much of anything.  Katherine (Angie Everhart) is mostly just there to support her husband, except for those moments that she thinks he’s cheating on him because he’s lied to her about being a former mercenary.

Her husband, who is played by Jeff Speakman, goes by the name of Greg.  He’s got a beard and he sells real estate and he has to go on a lot of business trips.  However, before he grew the beard, Greg’s name was Grigori and he was apparently a Russian even though, even in the flashbacks that open the film, he never had a Russian accent.  Grigori was a part of some sort of weird Russian military unit but he grew disgusted with the ruthlessness of the unit’s leader, Alexi (Stanley Kamel).  After one particularly brutal mission, Grigori dropped his submachine gun to the ground.  In the movie, this is shown to us in slow motion so we know what that this isn’t just a standard shot of a soldier carelessly dropping a loaded weapon.  No, this shot is significant.  This is the …. SLO MO OF DISILLUSIONMENT!

Anyway, a few years pass and Grigori is now Greg and he’s married to Katherine and they have a daughter.  When two meth addicts steal Greg’s SUV (with his daughter in the backseat), Greg promptly steals an ambulance and chases them down.  Using his Russian combat training, Greg beats up the two men.  He thinks that no one has seen him but it just so happens that some old busy body was outside with a video camera.  Greg makes the news!

Unfortunately, the news report is seen by Alexi.  Alexi tracks Greg down and demands that Greg help him out with a few more missions.  Wishing to protect his family, Greg agrees.  He winds up not only lying to his wife about why he suddenly has to go to Detroit but he also misses her high school reunion!  (She even had her old cheerleading outfit cleaned for the special occasion.)  Greg really should know better than to lie to a redhead.  He also should have known better than to think Alexi was ever going to leave him alone.  Greg soon discovers that Alexi isn’t going to be satisfied with just a few missions.  In fact, Alexi wants Greg to assassinate a city councilman who either supports or opposed the construction of a stadium.  To be honest, I kind of had a hard time keeping straight how everyone felt about the stadium.

It may seem as if the filmmakers weren’t that concerned with coming up with a coherent plot and that’s because they weren’t.  The entire film has a make-it-up-as-you-along feel to it.  That makes the plot impossible to follow but it also leads to a few moments that are so over-the-top and weird that you can’t help but kind of love then.  At one point, Jeff Speakman steals a bus and uses it for a high-speed chase.  A little later, he ends up getting into multiple fights on a luxury yacht.  I’m not sure who he was fighting or why they were fighting but it really didn’t matter.  All that matters is that most of the fights were well-choreographed and the action was quick-paced and didn’t have too many slow spots.  Jeff Speakman was a professional martial artist.  Judging by this film, he couldn’t act worth a damn but he could throw a convincing punch and he looked good hitting people.  It’s best not to demand too much from a film like this.  After all, Running Red never said it was going to be anything other than a silly action movie.

That said, I’m a bit disappointed that Katherine didn’t get to do more because, as played by Angie Everhart, she had the potential to be an interesting character and, like me, she was lucky enough to be one of the 2% of the population that has naturally red hair.  That said, Running Red is both frequently dumb and often entertaining.  It delivers what the majority of viewers will be watching it for (i.e., mindless action) and there’s something to be said for a film that is at peace with what it is.

On a personal note (and yes, I’m aware that it’s kind of silly for me to say that when all of my reviews are, more or less, personal notes), I watched Running Red on YouTube as a part of this week’s #MondayActionMovie live tweet.  The version that I saw featured French opening credits and the first few minutes of dialogue were also in French before abruptly switching over to English.  I have to admit that I was a little disappointed when everyone suddenly started speaking English.  I was looking forward to tweeting along in French!  Oh well!

In The Line of Duty: Manhunt in the Dakotas (1991, directed by Dick Lowry)

Posted on by Jedadiah Leland

On February 13th, 1983, a group of U.S. Marshals attempted to arrest a man named Gordon Kahl in North Dakota.  Kahl was an outspoken tax resistor.  He had already served time in Leavenworth for refusing to pay his taxes.  When he was released, he continued to refuse to pay and, in violation of his parole, started to attend meetings of the Posse Comitatus, an organization that refused to recognize the authority of any government above the county level.  Because Kahl was so prominent in anti-government circles, the plan was to make an example out of him by arresting him as he left a Posse Comitatus meeting.  Instead, Kahl,  his son, and an associate opened fire on the U.S. Marshals, killing two of them.  Kahl escaped and, for several months, was the subject of an FBI manhunt.

To make clear, Gordon Kahl was not a good man.  Gordon Kahl was a white supremacist and an anti-Semitic conspiracy theorist who was a follower of the Christian Identity movement.  While Kahl’s supporters claimed that Kahl originally fired on the marshals in self-defense, eyewitnesses testified that Kahl personally executed one marshal after he had already been wounded and was no longer a threat.  Gordon Kahl was no hero but, at a time when many farmers were struggling financially and felt helpless as they watched the banks and the government seize their land, many locals did sympathize with him.  The government’s attempt to publicly arrest Kahl and make an example out of him was seen as a classic example of government overreach.  The government was so eager to catch Kahl and Kahl was initially so successful in eluding them that Gordon Kahl became a folk hero.  When Kahl was discovered hiding out in an Arkansas farmhouse, it led to Kahl killing another deputy and the the government firing over a thousand rounds into the house before eventually setting it on fire.  In their effort to capture Gordon Kahl, the government behaved just as destructively as Kahl always said they would.

The hunt for Gordon Kahl served as the basis for the third of NBC’s In The Line of Duty films, Manhunt in the Dakotas.  Rod Steiger played Gordon Kahl.  Michael Gross, fresh off of playing a tax resistor in Tremors, played the FBI agent who headed up the manhunt.  Dick Lowry, director of the previous two installments of In The Line of Duty, returned to direct.

Manhunt in the Dakotas is a fair and even-handed look at the search for Gordon Kahl.  The film doesn’t shy away from Kahl’s racism and his paranoia but, at the same time, it also shows why many people instinctively distrust anyone who says that he’s from the government.  The film shows why so many supported Kahl without supporting Kahl itself.  Gross’s FBI agent may start out as rigid and by-the-book but he quickly learns that’s not the best way to get people to answer his questions.  Having come to understand why the people of the Dakotas don’t trust the government, he can only helplessly watch as the government does everything in its power to make Kahl’s paranoid claims seem plausible.  The FBI agent is determined to bring Gordon Kahl in alive but Kahl would rather be a martyr and it seems that the rest of law enforcement is all too happy to help Kahl achieve that.  Other than a few scenes were he indulges in his tendency to overact, Steiger gives a convincing performance as Kahl and he is well-matched by Michael Gross as the agent who comes to realize that there’s more to enforcing the law than giving orders and threatening to send people to prison.

Manhunt in the Dakotas would be followed by In The Line of Duty: Mob Justice, which I will review tomorrow.