Film Review: The Patriot (dir by Roland Emmerich)


First released in the year 2000, The Patriot stars Mel Gibson (back before the arrests and scandals) as Benjamin Martin.

Benjamin Martin is a planter living in colonial-era South Carolina.  When he was younger, he fought in the French/Indian War and was infamous for his ferocity as a combatant.  However, in the year 1776, he is devoted to working the land and peacefully caring for his children.  When, as a member of the South Carolina General Assembly, he is called upon to cast a vote for or against independence, he abstains.  He’s no fan of the British but he’s also seen the harsh reality of war and doesn’t want his sons to have any part of it.  However, the Assembly still votes for Independence and Martin’s oldest son, Gabriel (Heath Ledger), is among the first to enlist in the army.

Four years later, the British come to the Martin farm and demand that Benjamin had over a wounded Gabriel to them.  When Benjamin resists, the arrogant Col. Tavington (Jason Isaacs) kills one of Benjamin’s other sons.  After Tavington has Gabriel arrested, Benjamin and two of his remaining sons track down the British convoy transporting him.  While his two youngest sons look on in horror, Benjamin savagely shoots and hacks to death all of the British soldiers and rescues Gabriel.

The Patriot may be a film about the American Revolution but it’s also definitely a Mel Gibson film.  That means that Benjamin is man driven as much be revenge as by a desire to win his country’s independence.  The British killed his son and burned down his house.  Benjamin responds by grabbing his musket and packing his axe and soon, it’s more common than not to see Benjamin covered in blood.  Benjamin attacks like a feral beast who is determined to dominate anyone and anything that would invade his territory.  Two of his sons go from being honored to be asked to come along to being terrified at the sight of their father murdering soldier after soldier.  It’s probably the most emotionally honest moment you’ll ever find in a Roland Emmerich film.  Of course, whether Emmerich meant for it to be so is open to debate.

And indeed, it should be noted that The Patriot is very much a Roland Emmerich film.  The running time is an epic 165 minutes.  The battle scenes are long and loud and carefully choreographed.  Gibson was still rugged and handsome when he played Benjamin Martin.  (Both before his downfall and after, Gibson has always been best cast as people who just want to be left alone and who finally snap once it becomes obvious that’s not going to happen.)  Heath Ledger almost appears beatific in his scenes.  The film looks great without ever quite looking authentic.  It’s like a fever dream that is less about how the American Revolution was actually fought and more about how we imagine it was fought.

And you know what?

The film works for me.  This is one of Emmerich’s best films, which admittedly is not a high bar to clear.  Yes, it’s a bit simplistic.  Yes, it’s not historically accurate.  Yes, all of the British are portrayed as being one-dimensional villains.  Who cares?  Whether he realizes it or not, Roland Emmerich has always been a B-movie maker at heart and The Patriot is effective in much the same way that many crude but shameless B-movies are.  The mix of Mel Gibson’s madness, Heath Ledger’s beatific earnestness, and Jason Isaac’s arrogance transforms The Patriot into a triumph of the pulp imagination.  Much like America itself, The Patriot is big and loud and it makes absolutely no apologies.

Late Night Retro Television Review: CHiPs 4.15 “Ponch’s Angels: Part Two”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Prime!

This week, Ponch continues to train Melanie and Paula.

Episode 4.15 “Ponch’s Angels: Part Two”

(Dir by John Florea, originally aired on March 1st, 1981)

We pick up where we stopped last week.  A man and his girlfriend are stealing purses and wallets at the marina.  Three escaped convicts are in a deserted house and digging for buried treasure.  Ponch and Jon are having to train two new motorcycle cops, Paula (Barbara Stock) and Melanie (Trisha Townsend).  When last we checked in, Ponch was kissing Melanie.  This episode opens with Ponch telling Melanie that they can never kiss again.

Ponch and Baker continue to train Paula and Melanie.  Ponch decides to switch with Baker.  He trains Paula while Baker works with Melanie.  But then almost the entire highway patrol comes down with the flu and, when Baker is put in charge while Getraer recovers at home, Ponch finds himself to work with both Paula and Melanie.  Once again, it’s all on Ponch because it’s The Ponch Show!

It’s all a bit exhausting to try to keep up with, to be honest.  Ponch and Baker spend this episode wondering whether or not women actually could handle being motorcycle cops.  Baker especially seems to be confused at the idea of a woman driving a motorcycle.  One gets the feeling that Ponch is just mad because he knows he’ll get fired if he tries to make a move on either woman.  Almost this entire episode is made up of Ponch trying to keep track of who is riding with who.

Luckily, Paula and Melanie prove themselves by catching the purse snatchers and also helping to catch the escaped convicts.  Good for them!  At the end of the opposite, they toss their motorcycle helmets in the air and leap for joy.  The picture freezes while Ponch and Baker have a good laugh.

I was not surprised to read that this episode was meant to be a backdoor pilot for a Paula/Melanie show.  Stock and Townsend were both likable and they acted well opposite each other so I could actually imagine them starring in a fairly entertaining series.  It didn’t happen, though.  Maybe the network felt that Ponch and Jon didn’t need the competition.

This was an okay episode of The Ponch Show.

14 Days of Paranoia #2: Extreme Justice (dir by Mark L. Lester)


What type of justice?

Extreme justice, y’all!

In this 1993 film, Lou Diamond Phillips stars as Jeff Powers.  Who is Jeff Powers?  He’s a cop!  He wants to keep the street safe!  Sometimes, he knows that you have to be willing to break the rules!  He’s a cop who does things his way!

Okay, is that enough exclamation points?  I’m not just using them to be obnoxious.  The film is pretty much just one big exclamation point.  The action is hyperintense and the film is full of characters who always seem like they’re just one step away from exploding.  No one in this film is particularly calm or laid back.  From the start, everything is dialed to eleven and it just keeps going higher and higher.

After Jeff is put on probation for roughing up a suspect, he receives an invitation to join an elite squad of detective.  Led by the charismatic Detective Dan Vaughn (Scott Glenn, giving a performance that is so over-the-top that he yells straight at the camera at one point), the Special Investigative Section is the best of the bed.  Upon joining, Jeff finds himself a member of a sacred fraternity of law enforcers.  Working with men like the always amused Detective Larson (Yaphet Kotto) and the somewhat paranoid Angel (Andrew Divoff), Jeff finds himself tracking some of the biggest criminals in the city.

What Jeff also discovers is that SIS does more than just arrest criminals.  The SIS has been given an unofficial license to kill and they end up executing as many people as they take to jail.  Often times, Vaughn will tells the men to allow a crime to be committed so that they can then dispense their own brand of justice.  In the film’s most disturbing scene, the members of SIS wait until after a woman has been raped in an alley before they move to neutralize her attackers.  When Jeff finally decides that he can’t be a part of all this and tries to reveal what’s going on, he discovers that the SIS has some support in some very high places.  Who cares if the SIS is allowing crimes to be committed or if an innocent person occasionally gets caught in the crossfire?  At least they’re taking care of the criminals!

Extreme Justice is a crude and energetic film and one that is based on some of the stories that spread about the LAPD’s RAMPART division in the 90s.  That the film works is a testament to the performances of Phillips, Kotto, and Glenn and also the direction of Mark L. Lester.  An exploitation vet who occassionally made big studio action films as well, Lester keeps the pace moving at breakneck speed and, even more importantly, he allows both sides to have their say.  While Jeff is upset about SIS’s methods, Detective Vaughn is correct when he says that his unit is targeting the worst of the worst.  It makes for an unusually intelligent exploitation film, one that leaves the audience with a lot to consider.  How far would you go to keep your neighborhood safe?

Previous entries in 2025’s 14 Days Of Paranoia:

  1. The Fourth Wall (1969)