Monday, June 19, 2017

The New Line Files: Leftovers

Note: The film portions of this series will not necessarily always be full reviews nor will I be covering every film distributed by the studio either theatrically or on their home video label. They will also be grouped by things such as genre, theme, actor, etc. rather than chronological order as the story of the studio doesn't really lend itself to that sort of thing.

Besides, pretty much all you need to know about the history part was covered in the intro. Now then, let the show begin! 

The epic stuff will come later as I realized I have to catch up on about a day's worth of footage. With that in mind, we will begin with a quick rundown of some films I've already covered in full or just several times in the past.

Mainly so I don't have to do it later.

 From the middle of my series on Carolco, we begin with this limp spoof of The Exorcist. Part of a distribution partnership with Carolco and Seven Arts, this takes the talents of Leslie Nielsen, Linda Blair and Ned Beatty and wastes them.

 Just covered this a few weeks ago so let's just say that if you want a fun bad movie... This is one.

 I described my frank dislike for this movie way back in the My Favorite Era series. A terrible biddy cop film with an unlikable lead in Bob Hoskins and a wildly varying tone that never decides whether or not it wants to be a comedy or a drama. Just terrible. There is actually a version of this same story from 1992 made in India that sounds a hell of a lot better. The lead is a banker, not a cop. It's more of a murder mystery than anything else and I'd be willing to bet it's a hell of a lot more energetic.

 Jackie Chan's second US debut (I'll look at his early efforts at stateside success at a later date) which I reviewed in the early days of the blog is a solid middle of the road outing for the man. Tons of great action and stunt work, this was a fantastic introduction to the man for US audiences.

Naturally, this is one I've covered to the point of madness, no pun intended. Oh what the hell, pun totally intended! It's good, and that is all.

Lastly, we have one of my favorite Italian Road Warrior cash-ins that New Line handled the US distribution for. It's got lots of action, some cheesy stuff, Fred Williamson with a bow and arrow and George Eastman as the bad guy. In other words, everything you could want from an Italian action movie. I sort of feel like this one (and to be honest, the other films mentioned above apart from Repossessed and Heart Condition) epitomizes the early days of the studio. Done fast and on the cheap, it is a full throated, unapologetic genre piece.

Stay tuned for more!

Friday, June 16, 2017

The New Line Files: Intro

I've looked at long dead companies like Embassy and Carolco and gone through the life, death and rebirth of Orion but here is a deeper look at a studio that still exists... Sort of. Gonna get the history stuff out of the way in the intro here as we have a long road to go down and I really want to focus on the movies.

Started in 1967 by Robert Shaye, New Line has been a plain and simple distributor; a solid indie company churning out horror flicks and comedies by the truckload, a branch of Ted Turner's media empire, a brief period of being huge thanks to a certain trilogy of fantasy films and finally a division of Warner Brothers.

It's sort of funny to think about, but the truth is that for most of its existence, New Line has been more of a high grade B-movie company with most of their hits being horror films (Freddy Krueger anyone?); comedies (Austin Powers, the House Party and Friday franchises) along with scores of action films both theatrically released and DTV (I'll be covering some of those as well). They also bolstered their film library thanks to partnerships with CineTel Films, Castle Rock Entertainment and others. Their blockbuster period really only goes from 1999 into 2003 and even then we're only talking the last two Austin Powers flicks, the Rush Hour films and the Lord of the Rings trilogy. Most of their other hits have been sleepers, which I believe is movie industry shorthand for "Really? That made money? Okay then!"

New Line spent its first ten years of existence in the distribution business. Like many companies at the time, the bulk of their product was English dubs of foreign films but right from the start, New Line took a slightly different approach to things. In addition to those films, they also put out a decent number of films from maverick director John Waters as well as handling re-releases of Reefer Madness, Night of the Living Dead and The Texas Chainsaw Massacre.

 Their output was sparse in the late 70's and early and it wasn't until the release of A Nightmare on Elm Street in 1984 that they actually began to achieve a measure of success. Buoyed by the success of the new franchise, they spent the next few years chugging along nicely with a solid if not spectacular array of genre films mixed in with the occasional drama.

 In 1994 they were bought by Ted Turner who would subsequently pair them with Warner Brothers but kept as a separate company two years later (the Time Warner deal in 1996). The films kept coming with some hitting the mark (1994 was a good year to be Jim Carrey and New Line); some getting some critical acclaim and awards (Boogie Nights, Magnolia) and others not doing much of anything at all (more or less everything else) but the real coup would come in 2001 with the Lord of the Rings trilogy. This gave the company a level of success that most companies would kill for but thanks to some shady accounting, said success ended up killing them.

Generally, announcing that the biggest trilogy since the original Star Wars films ended up not making a profit even though they cleaned up at the box office ten times over is a good way to get your ass sued and your company shut down.

In 2008, New Line was merged into Warner Brothers as a sort of extension. They've had several co-productions and some actually pretty good films since but it just isn't the same. New Line at its best was a sort of down and dirty genre picture studio. Its biggest success led to its ultimate downfall. Probably their best period was from the late 80's to the mid 90's as they had the Nightmare on Elm Street films and some other solid flicks. When I think of the company, I think of a sort of grungy mall theater in the early 90's on a hot summer day. The big leagues were sort of an odd fit for them, really.

At the end of the day, New Line found success by sticking to its strengths (mid-budget genre films supported by more serious fare from time to time) and managing to hang around by making smart business decisions when needed (regardless of how the Time Warner merger ended, it started off just fine). That it's still around after fifty years says something.

Well that's enough history for now, stay tuned for the first part of their cinematic output.

Coming Next: The Lord of the Rings and Other Epics

Wednesday, June 14, 2017

Quick site update

Just a quick update: I'm pulling the plug on the long form 1995 piece and will instead take some of the films I had in mind on their own. Not sure if I'm going to go in depth on any more years either, though I do plan on taking a look at some other production companies in the future, New Line will probably be the only huge one however.

Stay tuned.

Saturday, May 20, 2017

Dark Star (1974)

For post number 500, I thought I'd look at the first offering from my favorite director of all time: John Carpenter. Dark Star is the first feature from him and it is an extension of a 68 minute short film he did at USC, working with Dan O'Bannon who also acts in the film as well. Both men contributed other elements as well with O'Bannon co-writing, editing, production design and special effects work. Carpenter also produced, did production design work and as would become tradition, scored the film. It's a solid, funky debut as well with some funny bits such as the captain trying to talk a bomb out of exploding using philosophy and a nicely bizarre feel that works quite nicely. We also get some nice early camera work that would become a hallmark for John Carpenter movies.

The best stuff is the O'Bannon character dealing with a beach ball alien they've taken aboard that would later partly inspire Alien in 1979. There are bits and pieces that mark it as a student film (the philosophical stuff reminds me of film school when I would roll my eyes at this kind of thing though here it's entertaining) and pacing is a little slack considering it runs only 83 minutes but for the most part, this is a solid sci-fi comedy.

Thursday, May 11, 2017

1995 Deep Dive: March and April

The first two months of 1995 yielded a few solid flicks (with one unheralded classic with In the Mouth of Madness) and the following two months would do the same. Sort of.


Not a promising start, mind you, but The Mangler might be the most enjoyably bad Stephen King adaptation, right up there with Graveyard Shift. Ted Levine plays a cop investigating a gruesome accident at an industrial laundry service run by Robert Englund. Naturally, given that this is a horror film based on a Stephen King short story, said accident isn't quite that as it turns out the gigantic laundry folding machine (the titular Mangler) is possessed by a demon and Englund evidently has some sort of deal with it. I think.

The Mangler is one of Tobe Hooper's better films, though given his track record that really isn't much of a compliment. The gore is plentiful and Englund is hilariously over the top as the human antagonist but the plot is simply ridiculous with the Englund subplot coming off as just bizarre. With good reason too as this is just filler to pad out the movie which is a common issue one runs into when adapting a short story for the big screen. In spite of the film's badness, it is still quite watchable. The production design is nice and the gore f/x are top notch. The CGI used for the end is dodgy but even that has a certain charm to it. The Mangler is a fine film to watch late at night with a cold beer and leftover pizza.

The first big hit of 1995, Outbreak is a well made, entertaining, but predictable thriller from director Wolfgang Petersen about a viral outbreak that Dustin Hoffman and Rene Russo have to try and contain. While the film sort of falls into the standard thriller tropes (military conspiracy, estranged couple working together, races against time), the cast and overall pacing make it a fun ride. The cast is solid as one would expect with names like Dustin Hoffman, Morgan Freeman and Donald Sutherland (though his status as human antagonist can be seen from the other side of the galaxy) on hand. What really helps the film, along is the pacing as Petersen, always a good guy when it comes to thrillers, grabs the audience by the throat from the start and plows them through the narrative fast enough to keep you in suspense but not so much that you stop giving a crap. Granted, the cliches come in fast and hard but the film is just enjoyable enough for one to overlook that.

Based on an English comic series, Tank Girl is a quirky, interesting sci-fi action comedy that stars Lori Petty as our hero, Malcolm McDowell as the bad guy and rapper Ice-T as a mutant kangaroo.


The story takes place in a desolate future almost entirely without water. What little there is is controlled by Water and Power, led by McDowell in his usual over the top bad guy role. The film has an energetic, infectiously eclectic style to it, mixing in animated bits here and there along with a pretty nice soundtrack and a funky sense of humor though the effect is somewhat muted due to the predictable path the story takes. Has there ever been a post-apocalyptic action film that makes a point to mention it hasn't rained for a long time that didn't end with it finally raining? That aside, Rachel Talalay does a nice job directing here, she also helmed the sixth Nightmare on Elm Street film.

Petty and McDowell are solid in their roles and Naomi Watts is decent in an early role and while the film runs a little too long, it's still a fun excursion if you want something a little different. Which is sort of a given when you have mutant kangaroos in your movie.


As tends to be the case in the world of film, there often are films released in a calendar year with similar themes or stories. Here we have the first of two films dealing with historical Scottish warriors fighting for justice in films that take the usual liberties with the real story one generally should expect. Rob Roy stars Liam Neeson in the title role, a landowner who gets in debt to some English noblemen and after his property is destroyed and his wife raped, goes off looking for vengeance. In other words, it's a Liam Neeson action movie fifteen years before he became known for doing them. Unlike the film we will be covering in the next installment, Rob Roy goes for a more intimate epic feel with more of an emphasis on character than spectacle. Good acting is the main course for this particular cinematic meal and while Neeson is good, as are John Hurt and Jessica Lange as evil nobleman and love interest respectively, the real star turn comes from Tim Roth as a foppish yet utterly deadly swordsman who sets off the feud with Rob Roy. Overall, a perfectly solid epic.

A great turn from Nicolas Cage as the psychotic bad guy is the best (and probably only) reason to watch this thriller from director Barbet Schroeder. David Caruso stars (he quite NYPD Blue for films which wasn't the best life decision ever made) as an ex-con who gets drawn into a sting operation on a deranged criminal after said criminal kills his cousin. Caruso is okay but as noted, the real star of the show is Nicolas Cage as the amusingly named Little Junior Brown. Cage goes for the gusto as usual, giving us a sometimes funny, sometimes frightening but always interesting (if not quite believable) bad guy who handily walks off with the whole damn movie. Samuel L. Jackson is also good as the cop in charge of the case and while the plot is probably a little too complex for its own good, Cage's performance still resonates quite nicely.

While Ice-T was playing a mutant kangaroo in Tank Girl, fellow rapper Ice Cube was co-writing and starring in this amiable comedy about a young man trying to keep his friend from getting beaten up or worse by the neighborhood drug dealer as well as contending with the neighborhood bully. Friday is a basic, low key stoner comedy with some very funny moments (mainly from John Witherspoon as the main character's father) and a nice, laid back energy. Ice Cube is a likable protagonist and Chris Tucker is funny as his friend. "Tiny" Lister is also solid as the bully. It's a good comedy, not much else I can say really.

John Carpenter's second film of 1995 is not as good as his first. His second remake (The Thing is still his best overall flick for me), Village of the Damned, sadly marks the beginning of the downturn for him in my view. While he made less than enthralling films before this (Memoirs of an Invisible Man, this sees him on auto-pilot as he gives us a very nice bit of location shooting (a nicely spooky northern California small town)and some interesting casting (Kirstie Alley as a government type and Christopher Reeve in his last role before his tragic accident) but apart from that he just tells the same story again. Contrast this with The Thing where he chose to adapt the novel rather than simply rehashing the 1951 version. I think he wasn't really into this one and it shows.

March and April continued the trend of solid but not overwhelmingly great movies in 1995. There was some good stuff (Friday, mainly) but there was also a lot of stuff that was just sort of there.

Coming soon: The summer kicks off for 1995!

Monday, May 1, 2017

Esoterica XVIII: Marvel Mania!

Been digging into the Marvel Comics vaults lately, here are some of the gems I've dug up.

Finally got around to reading this Marvel take on J.R.R. Tolkien style fantasy and the results are... Well, sort of lame. Things get off to a good start in the comic pictured above as a young elf named Tyndall is tossed out of his village by dwarfs who see him as a bringer of evil (they all live on a planet called Weirdworld where things are, well you can guess from the name of the place) to stop a dark force only for him to discover a female elf he falls in love with and together with another dwarf named Mud-Butt (because he tends to get knocked on his ass into the mud a lot), they go off on a series of adventures trying to stave off various evil wizards and the like.

After the good start, there are three multi-issue stories of varying quality (one of which was delayed from its original 1979 writing to 1986, long after the other stories had been published) with somewhat repetitious stories (wizards are like cockroaches in this damn series which is to be expected but still) and less than enthralling characters as Tyndall comes off like Luke Skywalker if he was just naive and whiny with no charm (there is a fine line between charmingly naive and just really stupid) and Velanna, the female elf is only interesting in the last arc where she is controlled by the bad guy while Mud-Butt is probably the best, mainly because I could see Sean Connery voicing him if it was an animated film.

Apart from that, the art is quite nice with a blend of standard comics art to begin with, leading to some very nice painted art for the later stories that only occasionally looks like the painting on the back of that skeevy looking van you pass on the highway every now and then and end up guessing with your friends as to whether or not the driver had just killed his latest victim or was taking said victim back to his home to kill there.

Not a great series but I am glad I read it, if for nothing else other than that van joke.

 In the 70's, the Comics code was scaled back to the degree where horror comics could roar back to life. Marvel took up the cause with a slew of titles including this short-lived version of the classic Frankenstein Monster. Running 18 issues (plus several appearances in some of their black and white comics along with other monsters), this gives us an intermittently fun and often repetitious saga as the creature goes from town to town in search of his creator and being chased by the standard angry mob of torch wielding villagers.

There are some inspired gems though as Frankie goes up against Dracula himself followed by a confrontation with the last living Frankenstein and his huge, grotesque Russian henchman Ivan. A shift forward to modern times sort of works but apart from the requisite appearance in Marvel Team-Up with Spider-Man, the big guy sort of just peters out.

 After a bit of a wait, the rest of John Byrne's run on The Sensational She-Hulk has finally been released in trade paperback. I really dig the blend of humor and action in this book as it's a nice breath of fresh air for the period (the book ran from 1989 to 1994) which tended to be mired in darkness and grit just for the sake of it.

Pictured above is one of the lesser Spider-Man villains. The White Rabbit is a very rich, very insane woman who popped up every now and then to provide a modest threat (and I am being quite generous here), even teaming up with another incompetent Spidey villain known as The Walrus. Sadly, none of those issues have been collected in a trade paperback format. God only knows where it would fit, maybe a 'Most Hilarious Villains of Marvel' set. Actually, I'd pay a reasonable MSRP to see that!

Lastly, we have one of my true "holy grails" when it comes to comics. I love horror comics and Steve Gerber's work on Man-Thing is a great blend of 70's Marvel social awareness with good old fashioned EC horror. We get our muck-encrusted hero; tons of evil folks being burnt alive (fear causes the monster immense pain which can only be soothed by burning the cause of said pain to death), one story that is pure 70's (in that most of the characters are repulsively unlikable and almost everybody dies) and there is also a deranged super villain assassin called The Foolkiller who is one of the more berserk and crazy creations Steve Gerber ever made. And that's counting Howard the Duck!

I recommend you try and seek out all the titles I mentioned in this post. They might not wow you, but you won;t be bored.

Friday, April 21, 2017

The Dirty Harry Chronicles: Magnum Force (1973)


At long last, I'm finally getting around to continuing my look at the Dirty Harry films. I covered the first one a while back and now I fully intend to get through the other four.

The second entry in the Dirty Harry series is my favorite of the five. The action is great, the story is interesting (courtesy of writers John Milius and Michael Cimino) and the cast is entertainingly eclectic. Let's take a closer look.
  • I love the plot conceit of the maverick cop going up against a death squad inside the SFPD. It works both as a sort of thumbing of the nose to the critics of the first movie (as in "No, these guys are frigging fascists! Our guy is just an asshole.") and on a more base level, as an action movie story.
  • I like how the film, like many 70's action films, takes the time to tell its story. Clint isn't seen for the first ten minutes and this gives us time to set up the vigilante squad rather nicely. I also enjoy how instead of being snarling loons with badges, they are well mannered and soft-spoken loons, two of whom are played by future TV stars Robert Urich and David Soul as well as Tim Matheson. They are quite brilliant villains. In a way, they are creepier than Andy Robinson in the first film, simply because their evil is more subtle. This contrasts quite nicely with what vicious killers they are as the bloodshed is ramped up a bit here. The film ends up being more violent than the first and quite a bit more brutal as well. I don't think it was entirely necessary but it certainly has an effect.
  •  The real gem in the supporting cast is Hal Holbrook, however. Not sure if this was the first time he ended up being the surprise villain but it sure as hell wouldn't be the last. He does some pretty nice work here, at first being the standard authority figure who has to put up with Callahan but once he is revealed as the villain, he adopts the same soft-spoken manner the killer cops have and the effect is rather chilling.
  • The rest of the cast is fine with Felton Perry making the most of his role as Harry's latest partner and Mitchell Ryan is effective as a red herring Harry at first suspects might be the killer cop.
  • The film also rather neatly sidesteps the usual criticism these films tend to get (not that the critics were stopped by it) by simply being a fun, over the top action film with less overt political content. There's a little (this is a 70's action movie, after all) but for the most part, it's just something to cut away too between action scenes.
  • The action is quite nice as well with  Harry's obligatory "stopping a crime" scene taking place on an airplane being hijacked. Harry poses as the pilot here and the end result is about what you would expect. We even get a second one twenty minutes later as Perry is menaced during a robbery. The other action highlight is the climax which sees Harry pick off the death squad one at a time before confronting Holbrook. It's a solid climax and ends the film on a solid note.
  • Harry is more or less the same as he was in the first film which is probably good as the similarities between him and the bad guys makes the film work as well as it does. Clint is good as usual, especially when politely turning down an offer to join the bad guys. The way he bluntly states his moral code at the end is quite nice as well.
 Magnum Force is a solid, entertaining sequel that packs in the action and humor with a solid plot and some good performances. It builds on stuff we saw in the first film and in general is a little better paced (much as I like the first one, the park scene goes on for maybe a beat too much). Sadly, the following three films would not be as good as the first two (in one case, not even close), but that is a tale for another day.

Monday, March 27, 2017

1995 Deep Dive: Intro and January/February

From 2012 to 2014, I had a series called My Favorite Era that was a true labor of love for me. It covered films from 1975 to 1994 and as far as projects go, it was a tiring experience in the best possible way. I've done a few other large scale things for the site recently (my looks at dead film companies) but with this new series, I'm looking to cover some years from the second half of the 90's as well as take a somewhat deeper dive into some years I have already covered (1991 for example). Now I did some top ten posts for those years and the following fourteen or so, but to be frank those pieces suck. Badly.

For this series, my plan is to take each year one or two months at a time, depending on the number of releases that catch my interest (as usual, not reviewing everything, just the stuff that catches my eye). I'll examine a few films per post and at the end of each year, I'll post some totals and summarize my thoughts and maybe throw in some extra goodies along the way.

Let's begin with 1995 and the first two dump months (fittingly enough, we are about to discuss some crap), January and February. I've always felt 1995 was a rather mediocre year for films (part of my point in doing these is to revisit things to see just how full of it I may or may not be). It lacks the sheer quality of 1990, the consistency of 1992 to 1994 and the eccentric strangeness that was 1991 (seriously, Freddy's Dead: The Final Nightmare might have ended up on my top ten if not for that documentary on the making of Apocalypse Now). But enough prelude, let's get to the flicks!


 Fittingly enough, we begin with what I consider to be one of the best films of the year... Which should give you an idea of the journey we will be going on here. I absolutely love the Tales From the Crypt TV show and Demon Knight does a pretty damn great job of replicating the overall feel of the series. William Sadler plays a mysterious stranger trying to keep a mystical key out of the hands of a demon played wonderfully by Billy Zane. He ends up at a dilapidated hotel out in the middle of nowhere with some future victims/heroes and the ensuing demon siege is just one enthusiastically gory set piece after another. Ernest Dickerson does a fine job of directing things and keeps the pace fast and brutal (this is seriously one of the goriest horror films of the decade) while also throwing in some truly funny moments (Thomas Haden Church is funny as the obligatory guy who is disagreeable just for the sake of being a prick). Damn shame the sequel isn't anywhere near as good but what can you do?

Ellen Barkin is the seductive second in command at a shadowy firm called The Toolshed that specializes in blackmail and other dirty tricks and Laurence Fishburne is an ex CIA operative who ends up working and falling for her in a plot to killer her boss, played by Frank Langella whilst at the same time, trying to buy off a State Supreme Court judge in order to get a favorable ruling in a case one of their clients is embroiled in. It's at that point that things get... Well, complicated.

I know, from that first sentence you would think it was straightforward as hell. Right?

I love a good, twisty thriller and Bad Company is a solid enough effort with a quietly fantastic cast (everybody plays it cool except for the sex scenes); some really nice production design and an intriguing story that essentially takes a stack of despicable people and sets them against one another at random. Performances, as I said, are quite good with Fishburne and Barkin giving us two really, really slimy baddies, Langella putting in his usual professional job and Gia Carides doing pretty well as the mistress of the aforementioned judge who comes up with a rather improbable but ultimately successful plan for revenge.

The film isn't perfect though, there are probably one or two more twists than the plot really needs and the road to the climax sort of drags a bit before the grimly satisfying conclusion. The involvement of the CIA is a key part of the story but it ends up being sort of a red herring as the real issue ends up being Fishburne vs. Barkin which to be fair, is far more interesting.

Bad Company wasn't given much of a chance and it got mostly poor reviews (though Roger Ebert liked it), but I think it's worth a look for fans of film noir. On an amusing side note, Touchstone Pictures released this in January of 1995 and seven years later released an action movie with the same title starring Chris Rock and Anthony Hopkins. This one is way better.

Amazingly enough, after the colossal cluster gang bang that was Highlander II: The Quickening, there managed to be a third film (to say nothing of the fourth and fifth films plus the syndicated TV series which had been airing since 1992 and its spin-off and the anime sequel), Highlander III: The Final Dimension. It's also been called Highlander III: The Sorcerer, Highlander III: The Final Conflict, Highlander III: The Magician and just plain old Highlander III. Personally, I'd go for Highlander III: What the Hell For? but that's just me.

Christopher Lambert is back (I could easily call this post "Chris and Larry Get Paid" given how often Mr. Lambert and Mr. Fishburne show up here) as the immortal Connor Macleod, going up against an evil sorcerer named Kane, played with hammy (though not really good) relish by Mario van Peebles. If you've seen the first movie, you've pretty much seen this one with the only difference being there is no Sean Connery on-hand to make the exposition mildly plausible. It's also not dull and boring like this one is as even the hammy villain that van Peebles gives us seems uninspired, though the bit where he tries to eat a condom, not knowing what it's for (he's been entombed for 400 years after the fifteen minute prologue) is mildly amusing.

Does the film do anything right? Well, it isn't quite as amazingly bad as the second film, though it's also not as hilarious to watch. In fact it outright ignores the second film which was good but going the loose remake route wasn't the right choice to make either. Mako is okay in his small cameo in the beginning, but then again he's always good so that's sort of a meaningless statement to make. About the nicest thing I can say in its favor is that it fits the profile for a dump month release just fine.

Highlander III is a needless, cheap looking, lazy rehash of a sequel with no reason to exist.


I've already reviewed this one pretty thoroughly but it's one of those films I never really get sick of talking about. John Carpenter really hit it out of the ballpark with this one, creating a creepy, moody bit of mind-screw cinema with an impressive cast (Sam Neill and Jurgen Prochnow are great and even Charlton Heston makes an impact in his two scenes); a nice score and some really neat f/x from KNB. It's a damn shame this didn't strike box office gold. Maybe making its original September, 1994 release date would have helped.

Not quite as good though still not bad) is this Sam Raimi western that stars Sharon Stone as the nameless loner with a troubled past and Gene Hackman as the bad guy she's gunning for. You could say she's in an unforgiving mood when it comes to him... Hey, I'm not the one who cast the guy as another western villain after Unforgiven!

Stone enters a quick draw tournament in the town Hackman rules with an iron fist and really, that's about as complex as the plot gets (though that doesn't stop it from throwing in a few twists here and there) as Stone duels against a variety of colorful characters, along with an old member of Hackman's gang who's become a priest played by Russell Crowe and a cocky young man played by Leonardo DiCaprio who turns out to be Hackman's son. While the cast is good enough, it can be said that most coast by on just sheer talent as the script is pretty predictable and paint-by-numbers, at least just from a writing standpoint.

When the film is focusing on the duels, it's actually pretty solid as Raimi was still in his flashy showoff mode that made the Evil Dead films such a hoot. Hackman is solid as usual (though I would have preferred Lance Henriksen in the role as opposed to the smaller part he has), Crowe and DiCaprio are decent enough and even Stone does well for herself. The only cast member I'm not big on is Pat Hingle but that's more annoyance at his other work I've seen (he tends to ham it up rather badly at times and his Commissioner Gordon is just depressing to watch these days) than anything else.

The stuff between the gunfighting is sort of just there but fortunately, it's mostly action and Raimi does a great job of making each fight different. The Quick and The Dead isn't a perfect movie, but it is a fun way to kill 105 minutes.

Proving once again that there is no profession he can't make cool, Sean Connery stars as an anti-death penalty Harvard professor who gets drawn into a murder case down in Florida in this rather mediocre legal thriller. Connery plays Paul Armstrong who is asked to try and help stop the execution of a Cornell University graduate for rape and murder. Based on a novel, it has the usual twists and turns one expects from a film like this. Connery's family ends up in peril, things aren't quite what they appear to be at first, just about every cliche that can be ticked off gets its due ticking. We even get a Hannibal Lecter-esque prisoner on death row played by Ed Harris (the actor, not me of course) who plays a role in the story and really it's generally not a good sign when the character who is way out in left field in terms of the actor's performance (Harris leaves no piece of scenery unchewed) and detracts from the story is also the best part. Even Laurence Fishburne as a no-nonsense cop isn't enough to make this one really engaging. The twists seem poorly thought out (how Connery's wife fits into the plot is quite stupid) and  haphazardly executed. That's just the kiss of death for a thriller.

Finally, we have another Christopher Lambert vehicle as Chris (don't think he ever had a cool nickname like The Muscles from Brussells, he was just sort of there) plays a businessman who ends up pissing off a bunch of ninjas when he witness the murder of a prostitute he's met, played by Joan Chen. He is nursed back to health (takes most of the film, actually) by a samurai who has a grudge against the main ninja and it all gets very bloody before the end.

Lambert is okay (the film goes the smart route and just says he's an American businessman as opposed to how most Jean-Claude van Damme films go through convulsions trying to explain the accent) and Joan Chen is wasted but John Lone is solid as the main ninja. The action is good too but the film is generally too long (110 minutes is a bit much for a film like this) and honestly if this were done by Cannon in the mid-80's, it probably would be at least cheesy "so bad it's good" fun. A lack of humor really hurts this one.

1995 got off to a surprisingly solid start with a few decent flicks released. In the Mouth of Madness and The Quick and The Dead are solid, as is Demon Knight and Bad Company is probably worth checking out at least once. The bad stuff is mostly forgettable with nothing standing out as particularly egregious.

Next up, March and April.

Monday, March 20, 2017

From Avco to Dino: DEG

After purchasing the theatrical division of Embassy Pictures, Dino DeLaurentiis was essentially manning an unmanned army. Whilst unable to get in on the last few Embassy releases or any of the stuff Nelson Entertainment was involved in, he was able to purchase some land in Wilmington, North Carolina (where his production of Firestarter had been filmed, hence his inspiration for the location) and set up a studio there, DEG.

The studio was short-lived and succumbed rather swiftly to bankruptcy, but it did manage to eke out an interesting slate of movies. Sort of.

First off was this quick attempt to cash in on the success and burgeoning popularity of Arnold Schwarzenegger as Dino managed to get him to make one last film for him. Better than Red Sonja (yeah, there's a challenge) but not as good as the two Conan films (whatever faults the second film has, it's still better than this one), Raw Deal is an agreeably cheesy time waster but honestly, you're probably going to opt for something else if you're craving some old school Arnie. For an earlier take from me, click here.

One of many films released during this period based on a line of toys, this is one I have no plans on ever watching for any reason.

I reviewed this part of my My Favorite Era series and it's still one of the best junk food movies I have ever seen. Is it good? No, not especially. Do I wish Stephen King had directed at least one more time? Absolutely!

This one was a dud at the box office but it's a watchable enough late 80's animated film. The animation style is pretty solid considering the time period, voice acting is good and the soundtrack is quite good. If nothing else, it's better than the live action films.

Flashy Michael Mann adaptation of the Thomas Harris novel Red Dragon (later adapted again in 2002) with a good cast, typically 80's style from Mann and a solid climax set to Iron Butterfly. Not a great film, but a decent enough one in the franchise that is surpassed only by The Silence of the Lambs.

Controversial David Lynch movie that is about as close to a straightforward narrative as you are likely to get from the man (with the exception of The Elephant Man and his 1997 film The Straight Story) as Kyle MacLachlan plays a young man in a small town drawn into a murder mystery involving sadism, sex and Dennis Hopper in one possibly his most insane performance. It's not an especially easy film to watch but if you can stomach it, it's rather engrossing.

Fairly obscure film from Albert Pyun that barely got a release.

Charles Martin Smith directed this tale of a young heavy metal fan haunted by his undead idol, a deranged musician who killed himself and is now able to influence others. There was a spate of rock and roll themed horror films that came out around this time, and this is not one of the better ones.

Loose adaptation of a James Clavell that failed to reach the popularity that the Shogun miniseries did earlier in the decade.

Pro Wrestling and Hal Needham meet in this wild comedy starring Dirk Benedict (of The A-Team) as a sleazy promoter who gets involved in wrestling and rock music. Several pro wrestlers appear in this film, most notably the late Rowdy Roddy Piper and the film faced some release issues as well as problems during production, resulting in it being released straight to video.

Well reviewed dark comedy about three sisters in the deep south who get together and confront their pasts. Yeah, it's a chick flick.

Appropriately enough, this king-sized sequel to Dino's version of King Kong is a king-sized flop. Bad acting, an amazingly stupid script and dodgy f/x sink this one like a rock. Just awful.

The next two, I honestly have nothing to talk about. By this point, DEG was  beginning to look like a lost cause as a bad 1986 gave way to an even worse 1987, though there a few bright spots.

After two poor outings, DEG had, if not exactly financial success, than at least an artistic one as Evil Dead 2 is probably the best thing associated with them. More than enough words have been written about how great this one is so I will just add  nod of agreement and move along.

This is probably what really did the studio in as not only did you have a movie sponsored by a trash bag company (which is tempting fate in ways beyond even my imagination), you also had an accompanying cash prize for potential viewers... From a company that was already in deep financial doo-doo. The fact that it's a rather limp rip-off of It's a Mad, Mad, Mad, Mad World didn't help matters much either.

This is probably the last genuinely fantastic movie DEG made. Lance Henriksen stars as the leader of a pack of modern vampires who stalk the American southwest. Great performances across the board plus nice f/x and solid direction from Kathryn Bigelow make this a real treat.

The latter part of 1987 was where the wheels really came off. DEG was losing money and the last year and a half or so would see one or two decent flicks buried with delays, poor reviews and even worse box office returns. Dino would end up resigning from the company in early 1988. honestly, not many of their films from this period are worth mentioning apart from a couple which I will highlight.

 A case where DEG went uncredited due to their bankruptcy (this happened with several movies, including one which ended up with Orion funnily enough), Shakedown is a solid action film from James Glickenhaus that stars Peter Weller as an idealistic public defender who gets drawn into a police corruption case. Sam Elliot is a tough cop who helps him out and while the story is fairly pedestrian, the action scenes are quite spectacular.

 This is one that I always wanted to see just based on the VHS sleeve but never got the chance to. Shadoe Stevens is a touch Texas State Trooper who quite to become a mercenary as well as bake cookies. Yet another DEG release that ended up going right to the video store, this is an agreeably wacky action comedy and with a better script, it might have been an actual good one.

Stan Winston made his directorial debut with this solid little monster movie that stars Lance Henriksen as a grieving father who carelessly lets a monstrous demon loose to avenge his dead son, only for grave consequences to reveal themselves as events unfold. Good acting from Henriksen and a rather cool monster make this one a fun viewing.

I covered this in my Orion series but it bears mentioning that initially, it was with DEG. It was one of many films that ended up being delayed (including the really bad Jay Leno/Pat Morita action comedy Collision Course which I will be sparing you) with the last of them coming out in 1992.

An unqualified disaster, DEG essentially ended Dino's tenure as a major producer. Dino continued making movies until 2007 with some ending up pretty good (Breakdown) and others being the last three Hannibal Lecter films. He had one hell of a career regardless of how you feel about his movies.

And that wraps it up for this series., Hope you enjoyed it.

About Me

I've been a huge fan of action, horror and comedy for as long as I can remember.