Action Archives - Page 12 of 51 - FILM FREAK CENTRAL

John Wick: Chapter 2 (2017)

February 15, 20172017, Action, Authors: Walter Chaw, Crime, Theatrical, Thriller

***½/****
starring Keanu Reeves, Common, Laurence Fishburne, Ian McShane
written by Derek Kolstad
directed by Chad Stahelski

by Walter Chaw There’s something of Highlander in John Wick: Chapter 2, this idea that there are people-looking things walking among us, wrestling for control of something, jockeying for arcane positions in mysterious hierarchies. It’s disturbing in the best way; dislocating, world-building. It’s what makes stuff like The Matrix work, the suggestion that there’s a reality underlying ours–and in a scene among pigeons on top of a New York tenement, the film features a Matrix reunion where Morpheus (Laurence Fishburne) greets Neo (Keanu Reeves) with a “been a long time” nod. John Wick: Chapter 2 is meta in a way that fits exactly right into the feeling of a picture that spends most of its time building on the alternate universe introduced in the original. It’s aligned right there with M. Night Shyamalan’s Split and the possibility that there are comic-book worlds outside of DC and Marvel and they’re, what’s the word? They’re amazing.

The Lego Batman Movie (2017)

February 12, 20172017, Action, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Superhero, Theatrical

*½/****
screenplay by Seth Grahame-Smith and Chris McKenna & Erik Sommers and Jared Stern & John Whittington
directed by Chris McKay

by Walter Chaw Ugly, loud, twenty minutes too long, and half as clever as it thinks it is, Cartoon Network stalwart Chris McKay’s The Lego Batman Movie is saved from becoming something other than Shrek: Longform Commercial by a single scene that demonstrates a genuine emotional knowledge of the Batman character: Batman (a returning Will Arnett), after a long day of antic motion, stays up by himself in his immense, empty home, gazing at a picture of his dead parents and wishing they could have seen how he turned out. It happens early, though, and the rest of the picture’s content to make fun of DC lore (“It’s worth a Google!” says Joker (voiced by Zach Galifianakis), having listed a few of the stupider villains in Batman’s rogue’s gallery) while attempting occasional earnestness here and there along the long road to the standard kid-fare message of “family is where you find it.” The Lego Batman Movie is both fan-pleasing and self-loathing, placing it in the company of the wave of faux-nostalgia garbage millennials wear now like that tenth-generation McGinty claiming Irish heritage on St. Patrick’s Day. A low bar for inauthenticity, and by the third or fourth joke about how corny the old TV show is, you remember the old TV show had more meta intelligence in any ten minutes of a given episode than the whole of this exhausting exercise.

Rogue One: A Star Wars Story (2016)

December 13, 20162016, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Star Wars, Theatrical

Rogue One
***½/****
starring Felicity Jones, Diego Luna, Ben Mendelsohn, Alan Tudyk
screenplay by Chris Weitz and Tony Gilroy
directed by Gareth Edwards

by Walter Chaw A deep cut for Star Wars fanatics, Gareth Edwards’s Rogue One: A Star Wars Story also happens to be the single most topical fiction of 2016, talking as it does–in bold, melodramatic strokes befitting a space opera–about the importance of rebellion in the face of fascism. “Order,” says Empirical stooge Krennic (Ben Mendelsohn). “Terror,” corrects brilliant weapons engineer Galen (Mads Mikkelsen). And the representative of the fascist regime smiles, as though it were all just a matter of semantics, this idea that terror and order are opposite sides of the same devalued coin. He’s engaged in a kind of political double-speak, in gaslighting–things that until this year were the scourge of banana republics and other backwards backwaters. The Empire that Krennic represents needs Galen to help them complete their Death Star superweapon, with the ’80s-era Reagan/Thatcher rationale that overwhelming destructive deterrents are the only way to truly keep the peace. Galen is compelled to cooperate to keep his daughter, Jyn (Felicity Jones), safe and anonymous in the protection of violent revolutionary Saw (Forest Whitaker). The rest is Jyn’s quest to clear her father’s name by stealing plans for the Death Star and delivering them to a fractured resistance that isn’t entirely sure if it wouldn’t be a good idea to give the Empire a chance. You know, maybe they won’t do all the things they said they were going to do?

War Dogs (2016) – Blu-ray Disc

November 28, 20162016, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, War

**/**** Image A Sound A Extras C
starring Jonah Hill, Miles Teller, Ana De Armas, Bradley Cooper
screenplay by Stephen Chin and Todd Phillips & Jason Smilovic, based on the ROLLING STONE article “Arms and the Dudes” by Guy Lawson
directed by Todd Phillips

by Walter Chaw Like The Big Short before it, Todd Phillips’s War Dogs is a breezy, loose, “for dummies” gloss on recent history that says for all the things you thought were going to hell in the world, you don’t know the fucking half of it, buddy. It details how W.’s administration, after being accused of cronyism in making Dick Cheney’s Haliburton wealthy beyond the wildest dreams of wealth with the gift of bid-free defense contracts, opened the floodgates by essentially giving every unscrupulous asshole on the planet the opportunity to bid on defense contracts. In that pursuit, our government set up an “eBay” list where major arms dealers could pick off the larger contracts, and dilettantes and arms “day-traders” could, from the comfort of their basements, sell the United States military a few thousand handguns. War Dogs adapts a magazine article about two assholes in particular, David Packouz (Miles Teller) and Efraim Diveroli (Jonah Hill), who made a fortune, then made a terrible mistake when they decided to traffic a hundred million rounds of defective Chinese AK-47 ammo by disguising it as Albanian stock. Actually, their mistake is that Efraim is a psychotic loser so pathological in his incompetence that even the U.S. government had no choice but to do something about it. It’s a level of obviousness matched by the film in moments like one in the middle of the game where Efraim screams, “Fuck the American taxpayer!” OK, yes, we get it.

Hacksaw Ridge (2016)

November 5, 20162016, Action, Authors: Walter Chaw, Biopic, Drama, Romance, Theatrical, War

***/****
starring Andrew Garfield, Sam Worthington, Luke Bracey, Vince Vaughn
screenplay by Robert Schenkkan and Andrew Knight
directed by Mel Gibson

by Walter Chaw Martin Scorsese and Mel Gibson are our two most prominent plainly and explicitly Catholic directors. Because Scorsese is the kind of Catholic he is, his films are about questioning faith. Because Mel Gibson is insane, his films aren’t. As a result of that, and somewhat unexpectedly, Gibson is the single best case for the auteur theory working in the United States. As the originator and chief benefactor of The Passion of the Christ (the best and worst film of 2004), he can officially make whatever movie he wants, and with Hacksaw Ridge (and Apocalypto before that) he’s gone ahead and done just that. Mel Gibson is the single best case for a lot of things. In Hacksaw Ridge, he tells the true story of Desmond Doss (Andrew Garfield), a troubled, severely abused young Virginian who enlists in WWII as a conscientious objector, refusing to touch a gun, dedicating himself to saving folks as a combat medic. It’s essentially a superhero origin story opening the same weekend as another (Dr. Strange)–both films dealing with faith and the consequences of betraying said faith. In Dr. Strange, directed by openly Christian Scott Derrickson, bargaining with morality results in dreadful and unforeseen consequences. In Hacksaw Ridge, because Gibson’s religious fervour burns so bright and erratic, all such niceties and ambiguity burn away in allegorical hellfire and literal rains of blood. He’s long threatened a sequel to Passion. Here, he’s delivered one.

The Legend of Tarzan (2016) – Blu-ray + DVD + Digital HD

November 3, 20162016, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD

Legoftarzan1

***/**** Image A Sound A+ Extras C
starring Alexander Skarsgård, Samuel L. Jackson, Margot Robbie, Christoph Waltz
screenplay by Adam Cozad and Craig Brewer, based on the “Tarzan” stories created by Edgar Rice Burroughs
directed by David Yates

by Walter Chaw David Yates’s The Legend of Tarzan is at once a long-overdue, if massively fictionalized, biopic of George Washington Williams’s time in the Congo observing colonial Belgium’s abuses of the rubber, ivory, and diamond trades; and it’s an adaptation, nay, updating of Edgar Rice Burroughs’s first five Tarzan books, with heavy creative license taken but the spirit kept largely intact. Although it’s more successful as the latter than as the former, both endeavours are carried through with seriousness and intelligence. It’s not a perfect film: the editing is terrible, particularly during the action sequences, suggesting this was probably a longer movie truncated out of fear of diluting the “good” bits. I also don’t love the washed-out colour palette that paints everything in a blue gloom–at least not as much as Yates seems to, between this and the last four Harry Potter films. And it bears mentioning that Samuel L. Jackson isn’t really an actor anymore and that Margot Robbie arguably never has been. Yeah, The Legend of Tarzan is hard to defend objectively. It does, however, understand the appeal of the Tarzan mythos, answering in grand moments why it is that he’s found his way into over 200 motion pictures and dozens more serials and television series (live-action and animated). I should disclaim, too, that I read (re-read, in some cases) all 24 original Burroughs Tarzan novels in the weeks leading up to the picture’s release. In other words, I’m a big, giant pulp nerd.

London Has Fallen (2016) – Blu-ray + DVD Combo

October 21, 20162016, Action, Authors: Walter Chaw, Blu-ray Disc, Bulgaria, Crime, Drama, DVD, Thriller, UK

Londonhasfallen1

*/**** Image A Sound A+ Extras D
starring Gerard Butler, Aaron Eckhart, Alon Moni Aboutboul, Morgan Freeman
screenplay by Creighton Rothenberger & Katrin Benedikt and Christian Gudegast and Chad St. John
directed by Babak Najafi

by Walter Chaw It’s a corker. Playing exactly like another instalment in the “Call of Duty” FPS videogame franchise, Iranian-born Babak Najafi’s London Has Fallen is a gobsmacking, jingoistic, political exploitation horror-thriller that traffics in contemporary paranoia with unusually exuberant brutality. It loves killing people. Loves it. The picture’s packed full of xenophobia and all the other insidious forms of fear infecting our modern apocalypse: hatred of the Other, terror of invasion, terror of the self. It fashions what is essentially another 28 Days Later sequel by recasting the rage zombies as Islamic Fundamentalists, simultaneously creating in the process a recruitment video for bellicose young men in the West wanting to kill Arabs–and one for bellicose young men in the Middle East wanting to kill Americans. Tidy. London Has Fallen is propaganda with a budget, a few recognizable faces, and some directing chops to boot. I’m equally glad and appalled it exists. I wish I were more surprised that it does.

Dead-End Drive-In (1986) – Blu-ray Disc

October 2, 20161980s, 2016, Action, Arrow Video, Australia, Authors: Bryant Frazer, Blu-ray Disc, Prison, Thriller

**½/**** Image A- Sound A Extras B+
starring Ned Manning, Natalie McCurry, Peter Whitford
screenplay by Peter Smalley, from a story by Peter Carey
directed by Brian Trenchard-Smith

by Bryant Frazer Australia’s signature entry in the cinematic encyclopedia of dystopian hellscapes will always be the Mad Max series, and rightly so. But if you dig just a little deeper into the corpus of down-and-dirty genre movies from Down Under, you’ll discover this B-grade entry from Aussie action impresario Brian Trenchard-Smith, which daydreams about confining rebellious youth culture to a dusty prison camp way out on the edge of town. Trenchard-Smith is best known abroad for 1983’s BMX Bandits, an early Nicole Kidman feature widely available for home viewing in the U.S., and his corpus comes with the Quentin Tarantino seal of approval. Dead-End Drive-In isn’t great cinema, but it has some well-executed stuntwork that bolsters a speculative premise just goofy enough to catch the imagination.

The Magnificent 7 (2016)

September 24, 20162016, Action, Authors: Walter Chaw, Theatrical, Western

**½/****
starring Denzel Washington, Vincent D'Onofrio, Peter Sarsgaard, Chris Pratt
screenplay by Nic Pizzolatto and Richard Wenk
directed by Antoine Fuqua

by Walter Chaw That there isn't more of a conversation around Antoine Fuqua's The Magnificent 7 beyond the usual wag-talk about the relative merits of sequels and remakes speaks to something like cultural progress, for what it's worth. The popular criticism of Star Wars: The Force Awakens is that it's derivative and took "no chances." My response is that the heroes of the film are a young woman, a young black man, and a Guatemalan–all in a franchise that set back the racial conversation by about thirty years with its astonishingly tone-deaf prequel trilogy. The Force Awakens, in other words, took a hell of a lot of chances, particularly in consideration of the vile blowback Paul Feig's Ghostbusters suffered for having the temerity to recast a well-remembered bro-fave with women. The Magnificent 7 takes a few chances as well by recasting John Sturges's well-remembered bro-fave Kurosawa remake with Denzel Washington (in the Yul Brynner lead), Byung-hun Lee (possibly the biggest star in Asia), Tlingit/Koyukon-Athabascan actor Martin Sensmeir, and Mexican actor Manuel Garcia-Rulfo. The press junket made a lot of this multi-culturalism and there's a passing reference to it in most reviews of the picture, but like The Force Awakens, the prevailing attitude is that The Magnificent 7 is derivative and that's that. It is that, but that's not all it is.

The Jungle Book (2016) – Blu-ray + DVD + Digital HD

September 4, 20162016, Action, Adventure, Authors: Bill Chambers, Blu-ray Disc, Disney, Drama, DVD, Family, Musical, Scarlett Johansson

**½/**** Image A Sound A+ Extras B+
starring Bill Murray, Ben Kingsley, Idris Elba, Neel Sethi
screenplay by Justin Marks
directed by Jon Favreau

by Bill Chambers Confession: As a child, I used to fantasize about live-action versions of the Disney animated features–especially Pinocchio and Sleeping Beauty, because of the design extremes in those films. Thinking back on this, I was at a loss to explain why my kid brain–which had a bottomless capacity to suspend disbelief–wanted to see a “real” purple-and-black dragon spit green flames at a “real” prince, or a “real” wooden boy sprout donkey ears, until earlier this week, when a piece of clickbait unveiling the “real” Lumière and Cogsworth from the upcoming Beauty and the Beast jogged my memory: ghoulish curiosity. “Ghoulish curiosity” is, I believe, the unspoken draw of this recent spate of live-action Disney remakes, starting with 2010’s Alice in Wonderland, which doubled down by promising the Tim Burton rendition of that world. The reason Alice Through the Looking Glass tanked, Johnny Depp’s recent toxicity notwithstanding, is that we’ve seen all the freaks in that tent; true fascination lies the way of Dumbo, another Tim Burton joint. (I have a pretty good idea of what the circus stuff will look like, but I’m dying to see that elephant fly.) Jon Favreau’s The Jungle Book got us there via the truly perverse notion to remake one of Disney’s animal-driven musicals in live-action. Of course it opened big ($103M, in friggin’ April!), just like of course the RNC scored higher ratings than the DNC. But if the latter rewarded our cynical rubbernecking, Favreau transcended it.

The Nice Guys (2016) – Blu-ray + DVD + Digital HD

August 22, 20162016, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, DVD, Mystery, Thriller

***½/**** Image A Sound A Extras C
starring Russell Crowe, Ryan Gosling, Matt Bomer, Kim Basinger
written by Shane Black & Anthony Bagarozzi
directed by Shane Black

by Walter Chaw Shane Black’s The Nice Guys is a delightful fusion of John D. MacDonald and Gregory McDonald; if it had a cover, it’d be painted by Robert McGinnis. It’s California noir, no doubt, the love child of The Long Goodbye and Inherent Vice, but with the flip social commentary and occasional bouts of ultra-violence found in Carl Hiaasen’s Florida noirs. Sufficed to say that Black, who’s often spoken of his love for crime fiction, has distilled pulp here and with his directorial debut Kiss Kiss Bang Bang into breezy, post-modern concoctions. The Nice Guys is as smart as it is inconsequential, as brutal and exploitive as it is a commentary on brutality and exploitation. More than anything else, it’s a very fine critical pastiche of the kinds of books you read in an afternoon because they’re thrilling, socially irresponsible, and afire with misogyny, nihilism, and Byronic macho bullshit Romanticism. But cool, baby, and stylish.

War Dogs (2016)

August 20, 20162016, Action, Authors: Walter Chaw, Comedy, Drama, Theatrical, War

**/****
starring Jonah Hill, Miles Teller, Ana De Armas, Bradley Cooper
screenplay by Stephen Chin and Todd Phillips & Jason Smilovic, based on the ROLLING STONE article “Arms and the Dudes” by Guy Lawson
directed by Todd Phillips

Suicide Squad (2016)

August 3, 20162016, Action, Adventure, Authors: Walter Chaw, Comedy, Crime, Sci-Fi, Superhero, Theatrical, Thriller, Will Smith

½*/****
starring Will Smith, Jared Leto, Margot Robbie, Joel Kinnaman
written and directed by David Ayer

by Walter Chaw Ugly garbage that will make a lot of money, David Ayer’s Suicide Squad begins where Batman v Superman left off by positing that in a world without its big, mopey, solipsistic, Byronic Boy Scout, there will come a time when the good guys (i.e., us) will need to enlist the help of a bunch of psychopathic mutants and contract killers to protect our way of life. It’s a little bit like Escape from New York but not cool and not fun; and it’s a little bit like a satire, except that it’s more of a documentary. Marvel films are aspirational and DC films in this new cycle are diseased and beaten. Both are bloated beyond repair and slavish to a core fandom they daren’t betray, making them essentially unwatchable along their tentpole storylines–though you want less to kill yourself after the Marvel films. The bright light lately has been one-offs and side projects: Marvel’s television universe, for instance, has blossomed on Netflix and DC’s own TV series “The Flash” and “Supergirl” seem to hear the music. Then, of course, there’s Guardians of the Galaxy. The only thing worse than the kernel of an idea at the centre of Suicide Squad is its unlikely choice of writer-director to bring it to life, Ayer, perhaps the most vile, pessimistic filmmaker in the United States, whom Warner Bros. has given the task of appealing broadly somehow with this material: a little softening here, an extra scene/hero moment there after gauging the breakout star from the reaction to early teaser trailers. If you’re going to hire Ayer to do this, make it a hard-R and take out the yuk-yuk comedy. He’s not funny. He’s not for kids. The strain of pleasing dozens of masters shows. It shows in the select mix of fondly-remembered oldies à la Guardians of the Galaxy, and it shows in the flop-sweat of an entire production so badly compromised by its too-big star and its too-threatened masculinity.

Jason Bourne (2016)

July 30, 20162016, Action, Adventure, Authors: Walter Chaw, Espionage, Theatrical, Thriller

*/****
starring Matt Damon, Tommy Lee Jones, Alicia Vikander, Vincent Cassel
written by Paul Greengrass & Christopher Rouse
directed by Paul Greengrass

by Walter Chaw There are two modes in Paul Greengrass’s Jason Bourne, his and star Matt Damon’s return to the franchise after almost a decade away from it: thudding tedium, and incomprehensible chaos. By this fifth instalment (which follows the Jeremy Renner-starring spin-off attempt, The Bourne Legacy), it all plays a little too much like self-parody. Every time there’s a conversation about THE TRUTH now, it feels like a bad SNL skit. I still love The Bourne Identity. Watching it in comparison with the Greengrass films (and with most any modern action movie) underscores exactly how superior is Doug Liman as an action director. Liman shoots an action scene like the dance sequences in Saturday Night Fever: with respect for geography and the skill and physicality of his stunt performers and cast. The car chase through Paris in the original begins with a careful consultation of a map, a few questions about the state of the car, and some light but crucial character development, then proceeds into a nice, clean set-piece that establishes stakes, spatial geometry, and destination in a way that is Friedkin-esque. It’s a textbook, as good as the L-train underpass pursuit in The French Connection and the wrong-way freeway chase in To Live and Die in LA.. The Bourne Identity is defiantly classical action filmmaking and that’s why it still seems fresh, even though it will be fifteen years old next year.

Point Break (2015) – Blu-ray + DVD + Digital HD

July 26, 20162015, 2016, Action, Authors: Walter Chaw, Blu-ray Disc, Crime, DVD, Sports, Thriller, ZERO STARS

Pointbreak1

ZERO STARS/**** Image A Sound A+ Extras F
starring Édgar Ramírez, Luke Bracey, Teresa Palmer, Ray Winstone
screenplay by Kurt Wimmer
directed by Ericson Core

by Walter Chaw Not enough can be said about Kathryn Bigelow’s action sense. The honkytonk slaughter sequence in Near Dark, from the first moment (when the vampires crest the hill) to the last (when the lone survivor defenestrates), is a triumph of design, of score–including the high lonesome tones of a George Strait classic on the jukebox–and editing and execution. It’s that perfect economy of ideas-into-motion that indicates her cult classic Point Break, too–that, paired with absolutely perfect casting, from Keanu Reeves’s Everybody’s All-American football hero-turned-FBI dude Johnny Utah and Patrick Swayze’s blissed-out charismatic leader all the way down to Gary Busey and Lori Petty, the best supporting staff a film about a surf-zen cult-cum-bank-robbing crew could ask for. It’s a lovely marriage between ludicrous high-concept and the period immediately following the 1980s, which found the country in a reflective mood, perched there on the verge of upsetting the primacy of film for the coming digital age. Bigelow’s Point Break was a showcase for practical stuntwork and, philosophically, a nice metaphor for the excess of the “greed is good”/City on the Hill period drawing to a close. The bad guys rob banks to pay their way to enlightenment. Of course it all ends in tears.

Star Trek Beyond (2016)

July 21, 20162016, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Star Trek, Theatrical, Thriller

**/****
starring Chris Pine, Zachary Quinto, Karl Urban, Idris Elba
screenplay by Simon Pegg & Doug Jung
directed by Justin Lin

by Walter Chaw The cultural watershed isn’t when it’s revealed that Sulu (John Cho) is gay, but rather a moment just before that, when an interracial couple–an Asian man and a white woman–are used as an example of a “good” relationship. I’m Chinese, my wife is a tall redhead. When my kids watch Star Trek Beyond, it’ll be the first time they see their parents reflected in a major American tentpole. There are a lot of things wrong with Star Trek Beyond, which at its best is great in the same way that David Twohy’s The Chronicles of Riddick is great–and at its worst is bad in the same way the last film in this reboot series is bad (that is, self-conscious and fan-pleasing, torturously so). But when Sulu is given the one, true, rousing hero moment in the piece, it speaks not just to the vision of a multicultural United States that Lin’s The Fast and the Furious movies proposed, but also, perhaps, to the real impact of an Asian-American director behind the camera. It makes sense that a Lin-directed Star Trek would make Sulu the hero; I just wasn’t expecting to be so affected by it.

Ghostbusters (2016)

July 13, 20162016, Action, Authors: Walter Chaw, Comedy, Horror, Sci-Fi, Theatrical

*½/****
starring Kristen Wiig, Melissa McCarthy, Kate McKinnon, Leslie Jones
written by Kate Dippold & Paul Feig
directed by Paul Feig

by Walter Chaw Sort of the George Cukor to Melissa McCarthy’s Katharine Hepburn, director Paul Feig has shown over multiple collaborations that he knows how to make a Melissa McCarthy vehicle pretty well, perhaps explaining why none of the other funny people in his Ghostbusters reboot are funny in the slightest. “Melissa McCarthy vehicle” is a low bar besides, if a reasonably lucrative one–a low bar matched by the low bar of Ivan Reitman’s terrible but revered original film. Reitman’s Ghost Busters (’84 spelling, to be anal and to differentiate the two titles) shares a cultural space with other terrible movies like The Goonies and Purple Rain and pretty much everything starring Bill Murray before Quick Change. It’s an aggressive movie, painfully unfunny, and for a few months when I was 11, it was the best thing I’d ever seen. 11-year-olds are very smart at being 11 and very stupid in almost every other respect. I didn’t know a ghost was giving Dan Aykroyd a blowjob until years later, after I’d had one. Oh yeah, I said, that ghost gave Dan Aykroyd a blowjob. Was it to save herself from getting “busted”? That’s a pretty sexually violent pill in the middle of all that arrogant improvisation. Think of it as a slave narrative where a slave woman gives a slave master a blowjob in the middle of a montage. Right, I get it, it’s a comedy, lighten up; but Mel Brooks it ain’t. What I wouldn’t have given for a scene in the new film where one of the women receives cunnilingus from a member of the tormented undead. That would’ve been pointed, taboo, and smart. Looking at it again years later, the best part of Ghost Busters is Rick Moranis, because Rick Moranis is the best part of every movie he’s in. He always plays a real character. He’s never too good for the material.

No Way Out (1987) – Blu-ray Disc

July 4, 20161980s, 2016, Action, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, Espionage, Mystery, Romance, Scream/Shout! Factory, Thriller

Please note that these screencaps are from an alternate source and do not necessarily reflect the Blu-ray presentation.

***/**** Image B- Sound B Commentary C
starring Kevin Costner, Gene Hackman, Sean Young, Howard Duff
screenplay by Robert Garland, based on the book The Big Clock by Kenneth Fearing
directed by Roger Donaldson

by Walter Chaw I was lucky enough to be 14 in 1987, right at that age where my buddies and I were dropped off at the theatre by our parents for whatever we wanted to see. Because we were generally not well-supervised in such matters, we talked them into buying us tickets for stuff like Hellraiser, RoboCop, Lethal Weapon, Full Metal Jacket, and The Untouchables. My first R-rated theatrical experiences were, in other words, magical. They were gleefully violent, extravagantly so, and the sex… Jesus. The sex in mainstream movies in 1987 was combustible–enough so that it formed the backbone of my onanism for the next several years. I saw Angel Heart this way, and Fatal Attraction of course. Key in there is Roger Donaldson’s largely-forgotten but durable political-paranoia thriller No Way Out. Starring Kevin Costner, cementing a legendary winning streak that began a month or two earlier with his star-making turn in The Untouchables and continued with the dead sexy Bull Durham the following year and the legendarily-chaste Field of Dreams a year after that. Lost in conversations about Costner’s stardom during this period is his preternatural ability to be an Everyman sex symbol. Girls loved him, and guys didn’t mind because Costner isn’t really all that threatening. He sure is likable, though. When he introduced a note of menace into his nice-guy archetype in A Perfect World, he, in fact, discovered his perfect role. The problems came when he tried to be something more than that. Cowboy, baseball player, fish-man, all-around all-American? No problem. Attorney, doctor–now we got issues.

The Legend of Tarzan (2016)

July 3, 20162016, Action, Adventure, Authors: Walter Chaw, Theatrical

***/****
starring Alexander Skarsgård, Samuel L. Jackson, Margot Robbie, Christoph Waltz
screenplay by Adam Cozad and Craig Brewer, based on the “Tarzan” stories created by Edgar Rice Burroughs
directed by David Yates

Knightriders (1981); Monkey Shines (1988); The Dark Half (1993) – Blu-ray Discs

June 27, 20161980s, 1990s, 2016, Action, Authors: Walter Chaw, Blu-ray Disc, Directors: George A. Romero, Disability, Drama, Horror, Mystery, Sci-Fi, Scream/Shout! Factory, Stephen King, Thriller

George A. Romero’s Knightriders
*½/**** Image B+ Sound B Extras A
starring Ed Harris, Gary Lahti, Tom Savini, Amy Ingersol
written and directed by George A. Romero

MONKEY SHINES
*½/**** Image B- Sound B Extras C+
starring Jason Beghe, John Pankow, Kate McNeil, Joyce Van Patten
based on the novel by Michael Stewart
written for the screen and directed by George A. Romero

THE DARK HALF
**/**** Image B Sound B Extras A
starring Timothy Hutton, Amy Madigan, Julie Harris, Michael Rooker
based on the book by Stephen King
written for the screen and directed by George A. Romero

by Walter Chaw Knightriders, George A. Romero’s very own Fast Company, is another of the earnestly socially-conscious filmmaker’s earnestly socially-conscious films, though one without the benefit of a metaphor that holds any kind of water. It doesn’t even have an argument that makes sense. It feels like Romero over-identifying with the topic and losing the thread somewhere along the way–and padding the runtime with far too many pedestrian bike stunts. There’s something to be said for personal projects (Romero’s work seems like it’s all personal, frankly), but with that intimacy comes real peril. I will say Romero’s Night of the Living Dead is a no-kidding masterpiece. It’s one of the best films ever made and perhaps the single most important Civil Rights picture, too. I’m partial to his Day of the Dead as well, for the cleanness of its execution and for the interesting things it has to say about identity and the military-industrial complex. It’s fair to wonder, then, if Romero is tied so inextricably to the zombie genre not because (or not just because) of timeliness (and that he essentially invented an entire subgenre with a legion of imitators), but also because without zombies, his stuff is only leaden and clumsy. Without zombies functioning as they do, as both grand bogey and versatile metaphor, Romero’s weighed down by a lethal payload of well-meant proselytizing, and just like that the flat artlessness of his films feels less “spartan” on purpose than “affectless” by accident.