A Movie A Day #306: Platoon Leader (1988, directed by Aaron Norris)


Having just graduated from West Point, Lt. Jeff Knight (Michael Dudikoff, the American Ninja himself) is sent to Vietnam and takes over a battle-weary platoon.  Lt. Knight has got his work cut out for him.  The VC is all around, drug use is rampant, and the cynical members of the platoon have no respect for him.  When Lt. Knight is injured during one of his first patrols, everyone is so convinced that he’ll go back to the U.S. that they loot his quarters.  However, Knight does return, determined to earn the respect of his men and become a true platoon leader!

Though Cannon was best known for making B action movies (many of which starred either Chuck Norris or Charles Bronson), they occasionally tried to improve their image by releasing a prestige film.  Platoon Leader is somewhere in the middle between Cannon’s usual output and their “respectable” films.  It is based on a highly acclaimed memoir and, though the film was made in South Africa, it does a good job of recreating the look of Vietnam.  For instance, Platoon Leader‘s version of Vietnam is more convincing than what Cannon later presented in P.O.W.: The EscapePlatoon Leader also spends some time developing its characters.  Lt. Knight is more than just a stoic action hero, which already distinguishes it from 90% of Cannon’s usual output.  At the same time, Platoon Leader was directed by Chuck Norris’s brother, Aaron, and he doesn’t hold back on the explosions and the gunfire that everyone had come to expect from a Cannon war film.  The end result is an enjoyably hokey film that has a few more layers than the typical Cannon production but not too many.

This film was originally titled Nam but, after the success of Platoon, the title was changed to Platoon Leader.  In typical Cannon fashion, Platoon Leader plays like a more jingoistic and even less subtle version of Stone’s film.  The main difference is that Platoon‘s Lt. Wolfe never won the respect of his men and ended up getting killed with almost everyone else while Lt. Knight beats back the VC and shares a celebratory embrace with his sergeant.

One final note: keep an eye out for genre vet William Smith, who starred in The Losers (a film about a group of bikers who are recruited by the CIA and sent to Vietnam), in the role of Dudikoff’s superior officer.  If Platoon Leader had been made in the 70s, Smith would have played Dudikoff’s role so his appearance here is almost a passing of the B-movie torch.

A Movie A Day #305: Go Tell The Spartans (1978, directed by Ted Post)


One of the best films ever made about Vietnam is also one of the least known.

Go Tell The Spartans takes place in 1964, during the early days of the Vietnam War.  Though the Americans at home may not know just how hopeless the situation is in South Vietnam, Major Barker (Burt Lancaster, in one of his best performances) does.  Barker is a career military man.  He served in World War II and Korea and now he’s ending his career in Vietnam, taking orders from younger superiors who have no idea what they are talking about.  Barker has been ordered to occupy a deserted village, Muc Wa.  Barker knows that occupying Muc Wa will not make any difference but he is in the army and he follows orders.

Barker sends a small group to Muc Wa.  Led by the incompetent Lt. Hamilton (Joe Unger), the group also includes a drug-addicted medic (Dennis Howard), a sadistic South Vietnamese interrogator (Evan C. Kim) who claims that every civilian that the men meet is actually VC, a sergeant (Jonathan Goldsmith) who is so burned out that he would rather commit suicide than take command, and Cpl. Courcey (Craig Wasson).  Courcey is a college-educated idealist, who joined the army to do the right thing and is now about to discover how complicated that can be in South Vietnam.  At Muc Wa, the soldiers find a cemetery containing the graves of French soldiers who died defending the hamlet during the First Indochina War.  The inscription as the cemetery reads, “Go tell the Spartans, stranger passing by, that here, obedient to their laws, we lie.”  

Because the film strives for realism over easy drama, Go Tell The Spartans has never gotten the same attention as some other Vietnam films.  Unlike The Deer Hunter, Platoon, Coming Home, and Born on the 4th of July, Go Tell The Spartans received no Oscar nominations.  It is still a brilliantly acted and powerful anti-war (but never anti-soldier) film.  It starts out as deceptively low-key but the tension quickly builds as the soldier arrive at Muc Wa and discover that their orders are both futile and impossible to carry out.  Vastly outnumbered, the Americans also find themselves dealing with a land and a culture that is so unlike their own that they are often not even sure who they are fighting.  Military discipline, as represented by Lt. Hamilton, is no match for the guerilla tactics of the VC.  By the film’s end, Vietnam is revealed to be a war that not even Burt Lancaster can win.

A Movie A Day #304: Code of Silence (1985, directed by Andrew Davis)


It’s life and death in the Windy City.  It’s got Chuck Norris, Henry Silva, Dens Farina, and a robot, too.  It’s Code of Silence.

Chuck plays Eddie Cusack, a tough Chicago policeman who is abandoned by his fellow officers when he refuses to cover for an alcoholic cop who accidentally gunned down a Hispanic teenager and then tried to place a gun on the body.  This the worst time for Cusack to have no backup because a full-scale gang war has just broken out between the Mafia and the Comachos, a Mexican drug gang led by Luis Comacho (Henry Silva).  When a cowardly mobster goes into hiding, Luis targets his daughter, Diana (Molly Hagan).  Determined to end the drug war and protect Diana, Eddie discovers that he may not be able to rely on his brothers in blue but he can always borrow a crime-fighting robot named PROWLER.

Despite the presence of a crime-fighting robot, Code of Silence is a tough, gritty, and realistic crime story.  Though Chuck only gets to show off his martial arts skills in two scenes (and one of those scenes is just Eddie working out in the gym), Code of Silence is still Norris’s best film and his best performance.  The film draws some interesting comparisons between the police’s code of silence and the Mafia’s omerta and director Andrew Davis shows the same flair for action that he showed in The Fugitive and Above the LawCode of Silence‘s highlight is a fight between Chuck and an assassin that takes place on top of a moving train.  Norris did his own stunts so that really is him trying not to fall off that train.

Davis surrounds Norris with familiar Chicago character actors, all of whom contribute to Code of Silence‘s authenticity and make even the smallest roles memorable.  (Keep an eye out for the great John Mahoney, playing the salesman who first introduces the PROWLER.)  Norris’s partner is played by Dennis Farina, who actually was a Chicago cop at the time of filming.  After Code of Silence, Farina quit the force to pursue acting full time and had a busy career as a character actor, playing cops and mobsters in everything from Manhunter to Get Shorty.  As always, Henry Silva is a great villain but the movie is stolen by Molly Hagan, who is feisty and sympathetic as Diana.  To the film’s credit, it doesn’t try to force Eddie and Diana into any sort of contrived romance.

Unfortunately, none of Chuck Norris’s other films never came close to matching the quality of this one.  Code of Silence is a hint of what could have been.

A Movie A Day #303: The Evil That Men Do (1984, directed by J. Lee Thompson)


Clement Molloch (Joseph Maher) is a doctor who uses his medical training to torture journalists and dissidents in an unnamed South American country.  Holland (Charles Bronson) is a former  CIA assassin, who is content with being retired.  But when Molloch kills a journalist who was also an old friend of Holland’s, it all becomes about revenge.  No one’s more dangerous than Charles Bronson seeking revenge.  Working with the dead journalist’s widow (Theresa Saldana), Holland heads down to South America.  Since Molloch is always surrounded by bodyguards, it is not going to be easy to get him.  But who can stop Charles Bronson?

Bronson was 62 years old when he made The Evil The Men Do and he was still the toughest, coolest killer in the movies.  The Evil That Men Do is a rarity, an 80s Bronson film that was not produced by Cannon.  It still feels like a Cannon production, even if it is a little more interesting than some of the other films that Bronson was making at that time.  Dr. Molloch was clearly based on the notorious Nazi Klaus Barbie and Joseph Maher plays Molloch as being a dignified sadist.  Molloch also has a strange relationship with his equally cruel sister (Antoinette Bower).  That Molloch is so extremely evil makes the film’s final scenes all the more satisfying.

The Evil That Men Do is one of the best of Bronson’s later films.  Charles Bronson, man.  No one got revenge better than Bronson.

A Movie A Day #302: Love and Bullets (1979, directed by Stuart Rosenberg)


Joe Bomposa (Rod Steiger) may wear oversized glasses, speak with a stutter, and spend his time watching old romantic movies but don’t mistake him for being one of the good guys.  Bomposa is a ruthless mobster who has destroyed communities by pumping them full of drugs.  Charlie Congers (Charles Bronson) is a tough cop who is determined to take Bomposa down.  When the FBI learns that Bomposa has sent his girlfriend, Jackie Pruit (Jill Ireland), to Switzerland, they assume that Jackie must have information that Bomposa doesn’t want them to discover.  They send Congers over to Europe to bring her back.  Congers discovers that Jackie does not have any useful information but Bomposa decides that he wants her dead anyway.

Love and Bullets is an uneasy mix of action and comedy, with Bronson supplying the former and Ireland trying to help out with the latter.  Not surprisingly, the action works better than the comedy.  Because Charlie is an American in Switzerland, he is not allowed to carry a gun and he is forced to resort to some creative ways to take out Bomposa’s assassins.  Unfortunately, the scenes where Charlie and Jackie fall in love are less interesting, despite Bronson and Ireland being a real-life couple.  Ireland occasionally did good work when she was cast opposite of Bronson but here, she’s insufferable as a ditzy gangster moll with a strange accent.  While everyone else is trying to make an action movie, she’s trying too hard to be Judy Holliday.  Steiger’s peformance starts out as interesting but soon devolves into the usual bellowing and tics.

Love and Bullets does have a good supporting cast, though.  Bradford Dillman, Michael V. Gazzo, Val Avery, Albert Salmi, and Strother Martin all pop up.  The two main hit men are played by Paul Koslo and Henry Silva.  Silva’s almost as dangerous here as he was in Sharky’s Machine.

A Movie a Day #301: Keaton’s Cop (1990, directed by Bob Burge)


Mike Gable (Lee Majors) is the angriest cop in Galveston, famous for tossing people out of windows.  Jake (Don Rickles!) is Gable’s partner, who seems to be too old to still be on the force.  Gable’s best friend is Keaton (Abe Vigoda), a retired mobster who now lives in a nursery home.  When it becomes apparent that someone has put a hit out on Keaton, Gable and Jake are sent to investigate.  A shoot out at the nursery home leads to Jake’s death.  Another shoot out at a hotel leads to the death of several other cops.  Gable can either toss Keaton out a window or he can team up with him to solve the murders.  Imagine 48 Hours with Lee Majors replacing Nick Nolte and Eddie Murphy stepping aside for Abe Vigoda.

In the style of both 48 Hours and Midnight Run, Keaton’s Cop tries to combine comedy with action but the comedy is too lame to be funny and the action is too brutal to be light-hearted.  For some reason, Don Rickles plays his role completely straight while Abe Vigoda mostly just looks happy to have the chance to play a leading role for once.  Lee Majors is believable as an angry cop, mostly because he appears to be pissed off about having to appear in Keaton’s Cop.  It can’t be easy to go from being the Six Million Dollar Man to a movie like this.

What would have improved Keaton’s Cop?  How about an appearance from the stars of Shattered If Your Kid’s On Drugs:

Right, Burt?

A Movie A Day #300: Death Before Dishonor (1987, directed by Terry Leonard)


In a fictional Middle Eastern country, tough-as-nails Col. Halloran (Brian Keith) has been kidnapped by terrorists.  The leader of the terrorists is named Jihad and he is played by the No Mercy Man himself, Rockne Tarkington.  The American ambassador (Paul Winfield) is a weak-willed Carter appointee who says, “We have to go through proper channels.”  Gunnery Sgt. Burns (Fred Dryer) ain’t got no time for the proper channels.  All of his men have been killed.  His mentor has been kidnapped and is being tortured with a power drill.  Even if it means breaking all the rules, Sgt. Burns is going to rescue Halloran, defeat Jihad, and kill anyone who has ever chanted “Death to the U.S.A.”

Totally a product of the 80s and about as politically incorrect as they come, Death Before Dishoner was an attempt to turn former football player-turned-TV star Fred Dryer into a movie star.  It did not work, though Fred does his best Clint Eastwood impersonation, chugging beer and speaking exclusively in tough one-liners.  Death Before Dishonor is dumb but entertaining.  (It may have been made for New World Pictures but it’s a Cannon Film at heart.)  The movie’s highlight if Fred Dryer chasing the bad guys in a jeep, keeping one hand on the steering wheel while using the other hand to fire a bazooka.  A close second is Brian Keith barely flinching while taking a power drill to the back of the hand.  No one’s tougher than an 80s action hero!

A Movie A Day #299: Blame It On Rio (1984, directed by Stanley Donen)


When I was growing up in Baltimore, I used to go down to this independent video story every weekend and check out movies.  Every time that I stepped into the store, the first thing I saw was the poster for Blame It On Rio hanging over the front register.  The store did not actually have any copies of Blame It On Rio in stock and I don’t think anyone working there had ever seen it but it only takes one look at the poster to guess what they were thinking when they hung it at the front of the store.

Blame It On Rio is one of the films that Michael Caine made during that period when he was willing to accept any paycheck.  (The Jaws 4 years.)  Caine plays Matthew, who goes on a vacation to Rio with his 17 year-old daughter, Nikki (Demi Moore), his best friend Victor (Joseph Bologna), and Victor’s daughter, Jennifer (Michelle Johnson).  Both Matthew and Victor’s marriages are falling apart and Victor encourages Matthew to hit on every topless woman they see.  Instead, Matthew ends up fooling around with Jennifer.  When Victor discovers that his daughter to having an affair with an older, married man, he recruits Matthew to help him discover the man’s identity.  In between the scenes of all the action in Brazil, Matthew and Jennifer appear in interview segments that do no add up to much.

It may be hard to believe but this forgettable movie was co-written by Larry Gelbart and directed by the same director responsible for Singin’ In The Rain, Charade, and Two For The Road, Stanley Donen.  For a film about a 43 year-old man having a sexual relationship with a 17 year-old, Blame It On Rio is a hopelessly square movie.  Caine and Bologna walking along a topless beach and accidentally leering at their own daughters is about as funny as things get.  Michael Caine’s a trooper and does the best that he can but Michelle Johnson is bland as Jennifer.  She and Demi Moore should have switched roles.

 

A Movie A Day #298: Watch It (1993, directed by Tom Flynn)


In Chicago, three men all live in the same house and try to avoid growing up.  Rick (John C. McGinley) and Mike (Jon C. Tenney) are old friends while Danny (Tom Sizemore) works on stolen cars.  When Mike’s estranged cousin, John (Peter Gallagher), moves in with them, John is drawn into a steadily escalating game of pranks.  The game is called “Watch It” and the rules are simple.  No one can take anything personally and each prank must be followed by another, bigger prank.  While the four men takes turns trying to one up each other, they also deal with women who wish that they would all just grow up.  When John starts to date Mike’s ex-girlfriend, Anne (Suzy Amis), the men are forced to come to terms with their extended adolescence.

Watch It is an awkward combination of two stories.  One half of the film deals with the pranks, which get so outlandish that it is impossible to believe that a group of blue collar roommates in Chicago could pull them off.  One of John’s pranks involves imitating a police detective on a local news broadcast and saying that Danny has had a warrant issues for his arrest.  Even if John could pull that off, it seems like he would get in so much trouble that it would not be worth the effort.  (Never mind that the city of Chicago now thinks that Danny is wanted by the police.)  At the same time, Watch It also wants to be a fairly realistic relationship dramedy, with Suzy Amis and Cynthia Stevenson trying to get Gallgher and McGinley to grow up.  Despite some very good performances, Watch It is too uneven to work.  The best thing about Watch It is that it offers a chance to see actors like McGinley, Tenney, Sizemore, and Gallagher all playing quasi-normal, relatable people for once.

A Movie A Day #297: Tommy (2017, directed by Gentry Kirby and Erin Leyden)


Tommy Morrison.  He came from Oklahoma and he was briefly one of the best-known heavyweights in the country.  He may be best remembered for playing Tommy “Machine” Gunn in Rocky V but he also fought everyone from Lennox Lewis to Ray Mercer to George Foreman.  He had the raw talent to be a contender but lacked the discipline to win his biggest fights.  They called him “The Duke” because Tommy claimed to be related to John Wayne.

Tommy’s career came crashing down when, in 1996, he tested positive for HIV.  Suspended from boxing, Tommy announced that he would never fight again and then spent the rest of his life trying to return to the ring.  In 2006, after serving time in prison on drug and weapons charges, Morrison claimed that the original test had been a false negative.  Morrison provided new test results that he said proved that he was HIV-negative.  Some believed him.  Most did not.  When Morrison returned to the ring, it was against lesser opponents than he fought in his heyday.  When he died of AIDS complications in 2013, he was 44 years old.

Produced for ESPN’s 30 For 30, Tommy examine the life of Tommy Morrison.  Featuring interviews with his family and trainers, Tommy starts with a 13 year-old Tommy Morrison using a fake ID to enter toughman contests in Oklahoma and follows him from the height of his boxing career to his eventual downfall.  Tommy emerges as sincere but undisciplined and tragically incapable of handling the sudden fame that was thrust on him as result of being the latest in a long line of great white hopes.  (In an interview, Ray Mercer says that he knew he would beat Tommy as soon as he saw the outbreak of acne of Tommy’s back, a sign that Tommy was using steroids and would run out of gas before their fight ended.)  Tommy spends his final days in denial about both his poor health and the end of his career.

I wish Tommy had gone into more detail about some aspects of Morrison’s story.  The documentary does not address the accusations that, during his comeback tour, Tommy presented doctored tests to attempt to prove that he was HIV-negative.  Tommy is still an interesting documentary, one that will mostly appeal to fans of boxing or anyone who wants to know more about the actor who played Tommy Gunn.