Before The Hunger Games, there was Battle Royale. In fact, it’s not all that hard to go back through literary and film history to find stories about groups of people being hunted in a confined environment, commonly an island. Some pit characters against each other, while some feature characters whom are hunters, specifically. A quick trip through my memory (aided by the Google machine) brings up The Most Dangerous Game, The Running Man, and even Death Race 2000. This isn’t a hard idea to come up with, which is why Suzanne Collins, the author of The Hunger Games novels, can plausibly claim that she never heard of the book and film Battle Royale before the similarities were pointed out to her. Continue reading “Battle Royale”
Tag: Action Flick
Timecop
In choosing a film for Shitty Movie Sundays, care must be taken. Too often, before being watched for a Shitty Movie Sundays review, a movie appears to have the all the right ingredients that make for a shitty movie. There’s a veteran of shitty cinema in a lead role, the ideas behind the film are ridiculous, and the trailer is an absolute howler, but then the film turns out to be more mediocre than shitty. A mediocre film is such a disappointment. At least when a movie is bad, and really wallows in it, it can be a captivating watch. But a mediocre film just fades away. It has no significance and leaves no lasting impression. What to do, then? Make an executive decision, that’s what. Timecop, the 1994 film from Peter Hyams, is a forgettable sci-fi/action flick that normally wouldn’t be bad enough for this space, but then there are the cars. Oh, my goodness, the cars. Continue reading “Timecop”
The Expendables 3
90 million bucks. That’s how much it costs to make a shitshow of a movie. A bad film can be made for far less than that, of course, but an unofficial motto of The Expendables films has been ‘go big or go home.’ Those 90 million dollars are about all that’s big about this film, though. Sure, The Expendables 3 looks like a big Hollywood action flick, but pay close attention and one will realize that just about everything in this movie is ersatz — an imitation. Continue reading “The Expendables 3”
Bullet to the Head
If there is one positive from Hurricane Katrina, one not worth the cost yet still a positive, it has been the emergence of a Louisiana style of crime filmmaking — a bayou noir. Filmmakers have been drawn to the state in a show of solidarity with the residents of Louisiana and to take advantage of tax credits. It’s a win-win for the film industry and for local economies. Whether or not it’s a win for audiences rests on whether or not these films are worth watching. Continue reading “Bullet to the Head”
The Expendables 2
I’m not sure that Sylvester Stallone, or anyone else involved with The Expendables, thought that film would spawn a franchise. In many ways, The Expendables felt like a lark — a one-time moment that tapped into a well of nostalgia for 1980s-style action in the moviegoing public. It sold itself on its cast and its cameos, then followed that up with an uneven, but very exciting, film. It made a pile of cash, so of course there were going to be another one made. Continue reading “The Expendables 2”
The Expendables
Despite being a big star, Sylvester Stallone has always seemed to struggle with relevancy. The 2000s had a pair of ‘comeback’ films for Sly, with Rocky Balboa in 2006 and Rambo in 2008. It seemed like every success he had was forgotten. Perhaps that’s because these two films felt like a coda to beloved characters from decades past, whereas The Expendables, from 2010, was new-ish. Or maybe having a comeback film is just part of Sly’s brand in the 21st century. Either way, The Expendables is the throwback to 1980s action that no one knew we needed until it showed up in theaters and made money. Continue reading “The Expendables”
Rambo
2008 was another treat for Sylvester Stallone fans. After the success of Rocky Balboa, it was time to resurrect Sly’s second most popular alter ego. It had been 20 years since the last Rambo movie, and it was a sad end to the series. In the intervening years the Cold War came to a fortuitous close, and Rambo’s Mujahideen buddies from the third flick became America’s enemies. Never mind all that, though. Rambo doesn’t bother with any of America’s bugaboos, past or present. The bad guys in this flick are from Burma. Continue reading “Rambo”
Driven
What a putrid, rotten mess of a movie. I was really hoping before I sat down to watch this movie for Stallone Month that it was not as bad as I remembered — that time had distorted what I recalled being one of the worst films I have ever seen. As it turned out, this memory was a reliable one. I hate this movie. I haven’t hated a movie this much since I reviewed Return of the Living Dead: Rave to the Grave. In fact, this movie joins the short list of films I absolutely despise.
Driven, from 2001, was a passion project from Sylvester Stallone. Apparently he had been doing extensive research on the sport of motor racing while working on draft after draft of this film’s screenplay, and I can’t see any evidence of that. There are objects in this film that resemble racecars and people dressed up as racecar drivers, but that is where similarities with the actual sport end. Sly took the look and feel of a sport and jettisoned all else in order to shove it into a stupid and flimsy narrative. Oh, and lest Sly take all the blame, this flick was directed by Renny Harlin, and features some staggeringly inept performances from Sly, Burt Reynolds, Gina Gershon, and someone named Kip Pardue. Continue reading “Driven”
Daylight
Daylight, the 1996 film from screenwriter Leslie Bohem and director Rob Cohen, should not be this bad of a movie. It’s the perfect vehicle for its star, and does absolutely nothing wrong in following the Irwin Allen disaster movie playbook. It’s swift and action-packed, and there’s enough tension that it should be able to keep a viewer’s attention. But, the characters. My God, the characters. Continue reading “Daylight”
Judge Dredd
Judge Dredd, the comic sprung from the minds of writers John Wagner and Alan Grant, has perhaps the most fully realized fictional universe in all of human storytelling. Every week since the late 1970s, with only a single exception, an issue of 2000 AD has been published with a Judge Dredd story inside. Since that time, the titular Judge Dredd and supporting characters have aged along with the rest of us, and the universe has retained the same continuity. Meanwhile, Judge Dredd’s superhero competitors retcon their universes ever time their sales need a punch up. DC recently carried out its 2nd reboot in five years. Continue reading “Judge Dredd”