Tag: Action Flick

The Yellow Sea

The Yellow SeaIf you can follow the plot of The Yellow Sea, the Korean film from 2010 written and directed by Na Hong-Jin, then you must be Korean, or at least speak the language fluently. Those are the only reasons I can think of why so many western viewers online, including myself, found this flick’s plot to be confusing, at best, and impenetrable, at worst. The good news is that doesn’t matter. Normally, when a movie has a plot that I can’t follow, that is a bad thing. Not so with The Yellow Sea. About halfway through, I gave up on trying to keep track of all the twists and turns, and just sat back and enjoyed one of the best action films that has hit cinemas in this decade.

Gu-nam (Ha Jung-woo) has a problem. He’s an ethnic Korean born and raised in northern China, which has its disadvantages, apparently. He is what is known as a Joseonjok, a blanket term for ethnic Koreans in the country. In order to finance a better life, Gu-nam goes into debt with some local coyotes to arrange transportation to South Korea for his wife. Because the standard of living in South Korea is so much higher than in China, she should be able to work and send back enough money to Gu-nam to pay off the debt to the coyotes and finance a trip down to the peninsula for both Gu-nam and the couple’s young child. But, something goes wrong. Gu-nam’s wife has been in Seoul for months, and nary a check has arrived. On top of that, the coyotes want their cash. In desperate straits, Gu-nam agrees to be smuggled in to South Korea on a fishing boat, to carry out a hit for a Joseonjok gangster, with the understanding that the debt will be paid. Continue reading “The Yellow Sea”

Escape Plan

After a long lull in their careers, it’s refreshing to see Sly Stallone and Arnold Schwarzenegger unapologetically doing what they do best, which is killing people and blowing shit up, all for the benefit of the movie going public. I can’t speak for the rest of audiences worldwide, but I can attest that in the last thirty years, my tastes have grown more sophisticated, as has my expectation of believability in any film. Unless, that is, the movie is shitty. In a shitty movie, it’s okay for bullets to blow up gas tanks. In a shitty movie, it’s fine with me when bad guys toting M4 carbines can’t hit the good guy, while, at the same time, the good guy is picking them off with little problem using a handgun. In high-falutin’ cinema, it’s bad form to end the climactic action scene with a cheesy one-liner. But in a shitty movie, that’s okay! Continue reading “Escape Plan”

Rush

Racing is a popular sport, but at the same time, it’s very niche. The sport can be opaque, which is surprising about something with a premise as simple as seeing who’s the fastest around a track. But, like all things that human beings get ahold of, a simple premise becomes complicated over time. Rulebooks get thicker, jargon becomes more and more unintelligible to the uninitiated, and the barriers to learning how to appreciate a sport like racing grow too high for many casual observers. To many people watching on television, racing, especially on road courses, looks like a bunch of cars making turns with little context available beyond what’s coming from the announcers. Continue reading “Rush”

White House Down

White House DownThank goodness for Roland Emmerich. If it weren’t for filmmakers like him, we’d all be stuck watching Terrence Malick and David Lynch films. Please, don’t misunderstand me. I’m not picking on Malick and Lynch for no reason. They’re great filmmakers, as are too many others to mention. But when I thought of great filmmakers whose work is a real slog to get through, those two names popped into my head. You lucked out this time, Werner Herzog.

My point is, there is film as art, and film as escapist adventure. Roland Emmerich resides fully in the latter, his main concern being spectacle. Because of that, his movies require no effort whatsoever to enjoy. And I do mean they require no effort. If a viewer puts effort into his movies, by doing something silly like figuring out how to resolve plot holes, or think through character development that Emmerich couldn’t be bothered with, then enjoyment will not be had during a Roland Emmerich feature film. He embraces in full the ethos behind the big-budget shitty movie (different from the low-budget variety, but still related). His box office numbers prove that most of humanity seems to, as well. Continue reading “White House Down”

Act of Valor, or, Yvan Eht Nioj, or, Stop Shooting! My Neighbors Are Trying to Sleep!

The Oxford English Dictionary defines propaganda as “chiefly derogatory information, especially of a biased or misleading nature, used to promote or publicize a particular political cause or point of view [emphasis theirs].”

Act of Valor, a United States Navy-sanctioned and aided Hollywood film, that the military has also used for recruitment purposes, meets every part of that definition. It is definitely biased, most assuredly misleading, is used in jingoistic fashion to promote the cause of a particular country, and is, despite this government’s greatest public ambitions towards being otherwise, very derogatory. This movie sucks, too, but as much as I try to raise my liberal hackles at this awful mess, I can’t really give too much of a shit. It’s a recruiting film trying to disguise itself as an action flick, and I do not care. Continue reading “Act of Valor, or, Yvan Eht Nioj, or, Stop Shooting! My Neighbors Are Trying to Sleep!”

Killing Season

Two men, gladiators in an arena, fighting to the death. It’s a story as old as empire. Which also means it has been put to film more times than can be counted. Killing Season was billed as the first on-screen pairing of Robert De Niro and John Travolta, a pair of Hollywood legends. Whether they’re on equal footing is not worth debate. But, if these two heavyweights were going to be in a film together, it would have been nice if it was a film that was not instantly forgettable. Continue reading “Killing Season”

The Wild Geese

Seriously, if you want to see this film with no spoilers, do not watch this trailer.

Two years ago, the makers of the film Drive were sued, the claimant arguing that she was deceived into paying to see the film by a misleading trailer. Movie trailers that fib a little bit about plot, and even genre, are not all that uncommon. Besides the trailer for Drive, the trailer for Dead Presidents also made the movie it represented seem like a taut action thriller, which it was not. But trailers like these at least save some surprises for the audience. The trailer for The Wild Geese, Andrew V. McLaglen’s film from 1978, is just a condensed version of the film. It contains so many spoilers that there is hardly any reason to see the movie at all. The kicker is, by so drastically paring down the film into a four-minute commercial, it’s more tense and gripping than the movie itself, which is quite a feat, as it happens. Continue reading “The Wild Geese”

The Boondock Saints

The Boondock Saints movie posterEvery person, whether they be a casual movie viewer, or enough of a film buff that they have written tens of thousands of words about film (heh heh), has holes in their experience of film. There are a lot of movies out there, and there is just not enough time in the day to watch them all. The Boondock Saints is a case in point. Until last night, I had never seen this film, even though it’s on the must-see list for white males of my generation. If I had grown up in the Boston area, I’m sure I would have seen it before now, as watching it is positively de rigueur up there.

The film, written and directed by Troy Duffy, follows a pair of Irish immigrant brothers in Boston, named Connor and Murphy MacManus (Sean Patrick Flanery and Norman Reedus). They’re devoted Catholics, made clear early in the film, but in the same scene, it’s also made clear that the two of them are unrepentant badasses. Nobody in church looks that cool, but that’s what passes for character development in this movie.

Later, the viewer finds out the brothers have gotten themselves into a bit of trouble, resulting in a couple of Russian gangsters lying dead in an alleyway. Here, the film enters into a somewhat disjointed method of storytelling, as the MacManuses begin to cut a bloody swath through Boston’s criminal organizations. We viewers always seem to show up on the scene after the fact, accompanying FBI Agent Paul Smecker (Willem Dafoe) as he investigates the deaths, narrating his deductions as the reality plays out on screen in flashback. The most interesting aspect of this method is that, as the film progresses, what was, early on, straight flashbacks, become more and more muddled with current events in the movie’s timeline, like there’s a progression of decay where violence and Dafoe will soon meet without any need for speculation. If that was Duffy’s intent, then well done. If it was accidental, then no matter. Continue reading “The Boondock Saints”

Riddick

RiddickI was really hoping this movie would have been appropriate for the October Horrorshow. Alas, it was not. Sure, there is some exotic, overly aggressive wildlife to be found, and they do devour a good amount of the cast, but this movie is more a straight action flick than anything else. Too bad. I was looking forward to featuring this review right after Pitch Black. Well, at least it’s shitty!

Riddick, of course, is the second sequel to Pitch Black, featuring the eponymous character played by Vin Diesel. In this flick, Riddick has abandoned the burdens of galactic leadership and returned to his animal nature, a sly acknowledgment by writer/director David Twohy that the second movie in the series, The Chronicles of Riddick, was a stupidly overwrought idea that never should have been put to film. Riddick isn’t a fucking politician. He’s a badass. No one wants to see him speechifying or fending off the knives of palace assassins. The world, this world, needs Riddick to get in gunfights with mercenaries and fight creatures with big pointy teeth. Message received. Continue reading “Riddick”