In the review for Rambo: First Blood Part II, I lamented that the film marked the end of a budding First Blood franchise, and the start of the Rambo franchise. Indeed, demoting, and then finally excising, the First Blood string from the title is as much a sign of the creative direction in these films as it was a marketing decision to promote the character of John Rambo, and the man who played him. Continue reading “Stallone Month: Rambo III”
Some of Those Responsible: Sylvester Stallone
Stallone Month: Over the Top
If one happens to be into sentimental crap wrapped in a soundtrack of awful pop ballads, then 1987’s Over the Top might be worth checking out. For the rest of us, should we wish to waste an hour and a half with nothing to show for it but a headache, there’s always a nice game of stud roulette. Continue reading “Stallone Month: Over the Top”
Stallone Month: Cobra
Oh, lord. Is this flick produced by the Cannon Group, the most lovable pair of shameless profiteers that Hollywood has ever seen? Yes, it is. Menahem Golan and Yoram Globus did as much for my love of shitty movies as any other filmmaker not named Carpenter. But, this month isn’t about Cannon. It’s about Sly Stallone. And Cobra, the 1986 film written by Sly and directed by George P. Cosmatos (who went on to direct films about a killer rat and a fish monster), might just be peak Stallone. Coming the year after Rocky IV, Sly wasn’t going to get any bigger. Continue reading “Stallone Month: Cobra”
Stallone Month: Rocky IV
This film is, without a doubt, peak Rocky. Gone is the working class Joe with the wicked left. In his place is a warrior for not just the American way, but for the Reagan era. It’s a stunning character transition, and also makes for spectacle of the highest order. Just sit back and say “wow” whenever it feels appropriate. But first, viewers must endure Paulie’s birthday party scene. Continue reading “Stallone Month: Rocky IV”
Stallone Month: Rambo: First Blood Part II
What a gloriously stupid movie. First Blood, the 1982 film about a disturbed Vietnam vet taking on a county sheriff with a bloated sense of self-importance, was a surprisingly impressive film. It was gritty and low-rent, despite having a big star in the lead. It was an action film that had real world reasons for the action. It was ridiculous and believable at the same time. But today’s film is just a blood and guts cartoon. Continue reading “Stallone Month: Rambo: First Blood Part II”
Stallone Month: First Blood
It’s a trying time in American politics, what with the White House having fallen under the control of the Orange Menace. But, even though this Trump situation is beyond all bounds, political tension is nothing new in the United States. Without it, a film like First Blood wouldn’t exist. That’s right. The progenitor of the Rambo film franchise, films that became icons of the mad, excess-filled action film style of the 1980s, was as much a political film as it was an action film. Continue reading “Stallone Month: First Blood”
Stallone Month: Rocky III
It’s time to confront the truth, all you Rocky revisionists out there. Rocky Balboa was not a great fighter. He was raw and explosive, with a head hard enough to last against a champion who didn’t take him seriously. As Apollo Creed himself said to Rocky, “You fight great, but I’m a great fighter.” Also, great fighters don’t get KO’d in the 2nd round. Continue reading “Stallone Month: Rocky III”
Stallone Month: Victory, aka Escape to Victory
The Vietnam War wreaked havoc on the United States — its sense of self-worth; its trust in leadership, both civilian and military; and its ideas of what constitute heroism. Vietnam was the first war we fought where the awful violence wasn’t hidden from us. It was also our first tick in the loss column. There are a whole host of complex emotions that war put us through. It’s no surprise, then, that war films made after the Vietnam War ended are quite different than those that came before. There were still a few holdouts, however — anachronisms from the earlier style. Continue reading “Stallone Month: Victory, aka Escape to Victory”
Stallone Month: Sylvester Stallone and Billy Dee Williams are…NIGHTHAWKS!
Nighthawks, the 1981 film from director Bruce Malmuth and screenwriter David Shaber, sets itself up as a gritty New York City crime drama. The opening features blighted locations from the city’s darkest days, there’s a strong and stupidly simple anti-drug message, and there’s even a police lieutenant with a strong temper. I was expecting a cross between Dirty Harry and The French Connection with that setup. But instead of chasing after some drug lords or a typical big city psycho, the heroes of Nighthawks, NYPD Detective Sergeants Deke DaSilva and Matthew Fox (Sly and Williams), are drafted into a new unit that is after terrorists.
That’s right, folks. A film from 1981 explored the means and methods of combating international terrorism in New York City. Terrorism has been around for a while, now.
The bad guy in this film is Wulfgar (Rutger Hauer), a mercenary in the world of terrorism. He doesn’t seem to have any sort of ideology other than making the governments of the western world bleed. He’ll hire himself out to the Irish Republicans or the Iranians with no thought as to what their goals may be. When viewers first see him, he’s blowing up a pub in London. This sets up his bona fides nicely. A bit more globe hopping lands Wulfgar in New York, where the anti-terrorism task force is, they think, ready for him. Continue reading “Stallone Month: Sylvester Stallone and Billy Dee Williams are…NIGHTHAWKS!”
Stallone Month: Rocky II, or, Mediocre Rocky
Hollywood legend is replete with stories of Sylvester Stallone’s efforts to get Rocky made. Part of the fable is that Sly wanted to direct, but eventually had to agree to hand directorial duties over to someone with experience. Sly kept the starring role and Rocky was his screenplay, but John G. Avildsen sat in the director’s chair. The resulting film won Best Picture and Director, plus Best Film Editing, at the Academy Awards. When it came time for a sequel, however, Sly used the capital he had earned to secure the directing gig in addition to starring and screenwriting roles, after Avildsen declined to direct due to a scheduling conflict. The result is a film identical in theme, plot, location, and stars to Rocky, but which is inferior in execution. Continue reading “Stallone Month: Rocky II, or, Mediocre Rocky”