I have been thinking a lot about bad sequels. I suppose it's hard to bring this topic up without a mention of the Matrix debacle and the Star Wars prequels, but are those really the worst sequels ever made? Perhaps they are in a class of their own, with so many seemingly resting their hopes and dreams upon those particular movies not being complete suck-fests.
Consulting several lists online, I notice one film that appears to be a universal consensus as a horrible sequel is the third Karate Kid movie. This surprises me, since I have recently come to believe that it is actually The Karate Kid, Part II that might be the worst sequel ever.
First of all, let us revisit The Karate Kid. This was a quintessential 80's movie. Cliche's aplenty, certainly dated, but at the time it was an undeniable classic.
New kid in town, lives on the wrong side of the tracks (or in this case Reseda), falls for a girl who has a dick boyfriend, girl is clearly above his lowly rung on the social ladder (her parents are members of the country club for god sakes), kid has to learn to fight with the help of an improbable mentor (why this guy is a handyman at those crappy apartments is beyond me) and overcome all odds to be the best, around, nothings ever going to keep him down... (sorry. Thank you Joe Esposito for that awesome song, although I must admit I'm not sure what you were trying to say there...) Oh right, and I forgot to mention that the kid gets the girl, loses the girl, and then gets her back before facing her dick ex-boyfriend in the karate tournament finals by using some strange, mysterious, super awesome move called the "crane technique" which in hindsight probably was only impressive to anyone who had never seen a movie with actual karate in it.
The second film was highly anticipated. Even as a kid I was ostracized by my peers for thinking that Part II wasn't the best movie ever made. I have since come to believe it is one of the worst.
First of all, it spends way too much time in the opening minutes re-capping what had happened in the first film. How many people missed the first 20 minutes of Part II and had never seen the first film and thought to themselves "what the hell? I can't follow this convoluted Dickensian plot." How many? Really?
Then we get several minutes of what happened directly after the first film. Since the evil sensei needs some further humiliation and Daniel hasn't earned enough respect from the kids in the Cobra Kai, Mr. Miyagi demonstrates he can kick someones ass with out throwing a punch, just moving out of the way at the right time.
Fast forward six months and we get some contrived BS that explains why Elizabeth Shue isn't in the sequel. They spent so much time in the first film proving her character is a girl who isn't into superficial crap that it only makes sense that on prom night she'd wreck Daniel's car then run off with a UCLA football player. Perfect sense.
They also take time explaining why Randee Heller, who played the mom in part one, isn't in the sequel. This involves her getting a job in Fresno. Wow, that's a lot of exposition. A lot. I think most people were concerned about how the Karate Kid would survive in Fresno. Luckily, Mr. Miyagi saves the day when it is revealed he is building an addition to his house so Daniel can stay with him. Everything is going to be okay.
But that's all just a subterfuge. Before that scene is even over Mr. Miyagi gets a blast from the past and has to go back home to Okinawa for his dying father and to perhaps resolve a dispute with his former best friend Plotty McDevice. No not really, his friends name is Sato, and true to the original nature of this film he is also and evil land developer. GASP!
Sato is one of those villains who used to be a good guy until someone sullied his honor. The good news is, it was Mr. Miyagi who did the dishonoring. The bad news, is that Daniel comes along to Okinawa to basically rehash everything that "worked" with the first film, including finding the Okinawa equivalent of Johnny Lawrence.
The best part is that the film ends with a massive storm (Pacific Storm Lame Plot Device) which allows Sato to be rescued by Mr. Miyagi and decide he is tired of being the evil land developer. The storm is so serious the town has a tiny girl climb up a tower to sound the alarm bell so everyone can seek shelter. For some reason the girl stayed in the tower and nearly dies, but is saved by Daniel who didn't get help form Sato's nephew who is then disowned by Sato so that the nephew can have a fight to the death with Daniel in the film's final moments.
Seriously? I wonder what Daniel's mom thought of all this. She's away in Fresno, trying to eek out some sort of life and her son who she left behind has not only decided to blow most of his college money on a plane ticket to Okinawa but while there is involved in one ass kicking after another. Sure Daniel got the better of his rival a few times, but what does this say about parenting? Mr Miyagi stands by while Daniel enters a fight to the death. Now there's some responsibility. Good thing everybody brought their pellet drums or Daniel might have been in some real trouble.
In the final battle, because Sato's nephew isn't bad enough he beats up Daniels Okinawa girlfriend and threatens her with a knife to lure Daniel into the battle to the death. When Daniel finally joins the fight he gets the support of the entire village who play their pellet drums so Daniel can execute the "drum technique" (exponentially lamer than the crane technique) and defeat/humiliate the nephew much like Miyagi did to the evil sensei at the beginning of the film.
Is it any mystery why The Karate Kid, Part II gets my vote for the worst sequel ever?
But that's just my 2 cents. I sure I'm not the only one around here with a strong opinion on the matter
-Mr Blunderson
Tuesday, December 30, 2008
Monday, December 29, 2008
New Beginnings
With January 1st 2009 a couple of days away, I decided on a film topic I will call "New Beginnings".
I place a "New Beginnings" film in the same category of the "Feel Good" movie. A film with likable characters getting a second chance in life.
New Year's day has always been associated with a new start or new beginning. People make resolutions to improve certain aspects in their lives and try to put the past behind them. Even though the best time to improve is always now.
First I want to examine the formula of a "Feel Good" movie. This is the type of film that starts with likable characters going through some kind of common hardship. Low income is often the easiest dilemma for an audience to relate to.
Depending on how heavy the movie is, the first act is spent identifying the hardship, learning who the victims are, and who or what the objective is. A heavy movie will often take 30 to 40 minutes before presenting the characters with a way out of their situation. A lighter "New Beginnings" or "Feel Good" movie like Richard Pryor's Brewster's Millions or Eddie Murphy's Trading Places will do it with in 30 minutes. In those two films the main character is presented with an opportunity to make lots of money after accomplishing certain goals.
Once the goals or objectives have been laid out, the second act or next 30 minutes are spent watching the character accomplishing the tasks put before him/her. The main character will do things to make him/her more endearing by helping some one even less fortunate than they.
The third act or last 30 minutes is spent with the main character or hero reevaluating whats really important. Sometimes they achieve the presented goal or the true goal is revealed.
Brewster's Millions and Trading Places are great movies about second chances. But one of my favorites and a forgotten classic is the 1983 film, Max Dugan Returns.
A GREAT movie with LITTLE fanfare, Max Dugan Returns features the film debut of Matthew Broderick. It also features Marsha Mason who stars in one of my all time favorite movies, The Goodbye Girl. But I will save that movie for my Valentines Day Movie edition.
Prices are double. Your life's in trouble. The car won't start. Your boss has no heart. The Door squeaks. The roof leaks. Your stereo just went mono. All you need is a little Max Dugan.
It's time to feel good again.
Jason Robards plays con-man, Max Dugan, who is on the run and seeks out his daughter Nora, played by Marsha Mason. To give her and her son, played by Matthew Broderick, his estate. Money he laundered for and then took from the mob. Nora is a teacher down on her luck who is dating a police officer, played by Donald Sutherland, who begins to sense something suspicious about her new found wealth. Nora wants no part of the money but excepts the association of her estranged father as his last dying wish.
Max Dugan Returns follows the formula of the "Feel Good" movie I discussed above. But unlike Brewster's Millions and Trading Places, there is no over the top laughs or popular actors of the time. Jason Robards, Donald Sutherland, and Marsha Mason are exceptional, but neither had the box office draw of Eddie Murphy or Richard Pryor.
Written by Neil Simon, Max Dugan Returns relies on clever wit and banter. Not yelling banter with the F word as a crutch. But scripted dialogue that is written and delivered realistically. Each actor plays their role as though they are playing themselves. Allowing you to enjoy the movie and not taking you out of it with over acting or grand standing. Each actor plays off each other well. You never get the feeling of "What's my line again?" Broderick is subtly charming and an obvious star in the making.
Max Dugan Returns plays well with the hope we all have of suddenly acquiring a huge fortune and erasing our financial woes. I loved it when I was a kid and find that the movie still holds up today.
There is never a New Years Eve party or talk of Christmas for that matter. But if you want a movie for the whole family that isn't dumb. That presents "New Beginnings" and some "Feel Good" with out being corny, Max Dugan Returns is what I recommend.
I hope we discover, as Nora did, that "New Beginnings" don't always have to follow the acquisition of a small fortune. I hope in 2009 we can all make the changes necessary to enrich our lives and help us feel fulfilled.
Happy New Year!
I place a "New Beginnings" film in the same category of the "Feel Good" movie. A film with likable characters getting a second chance in life.
New Year's day has always been associated with a new start or new beginning. People make resolutions to improve certain aspects in their lives and try to put the past behind them. Even though the best time to improve is always now.
First I want to examine the formula of a "Feel Good" movie. This is the type of film that starts with likable characters going through some kind of common hardship. Low income is often the easiest dilemma for an audience to relate to.
Depending on how heavy the movie is, the first act is spent identifying the hardship, learning who the victims are, and who or what the objective is. A heavy movie will often take 30 to 40 minutes before presenting the characters with a way out of their situation. A lighter "New Beginnings" or "Feel Good" movie like Richard Pryor's Brewster's Millions or Eddie Murphy's Trading Places will do it with in 30 minutes. In those two films the main character is presented with an opportunity to make lots of money after accomplishing certain goals.
Once the goals or objectives have been laid out, the second act or next 30 minutes are spent watching the character accomplishing the tasks put before him/her. The main character will do things to make him/her more endearing by helping some one even less fortunate than they.
The third act or last 30 minutes is spent with the main character or hero reevaluating whats really important. Sometimes they achieve the presented goal or the true goal is revealed.
Brewster's Millions and Trading Places are great movies about second chances. But one of my favorites and a forgotten classic is the 1983 film, Max Dugan Returns.
A GREAT movie with LITTLE fanfare, Max Dugan Returns features the film debut of Matthew Broderick. It also features Marsha Mason who stars in one of my all time favorite movies, The Goodbye Girl. But I will save that movie for my Valentines Day Movie edition.
Prices are double. Your life's in trouble. The car won't start. Your boss has no heart. The Door squeaks. The roof leaks. Your stereo just went mono. All you need is a little Max Dugan.
It's time to feel good again.
Jason Robards plays con-man, Max Dugan, who is on the run and seeks out his daughter Nora, played by Marsha Mason. To give her and her son, played by Matthew Broderick, his estate. Money he laundered for and then took from the mob. Nora is a teacher down on her luck who is dating a police officer, played by Donald Sutherland, who begins to sense something suspicious about her new found wealth. Nora wants no part of the money but excepts the association of her estranged father as his last dying wish.
Max Dugan Returns follows the formula of the "Feel Good" movie I discussed above. But unlike Brewster's Millions and Trading Places, there is no over the top laughs or popular actors of the time. Jason Robards, Donald Sutherland, and Marsha Mason are exceptional, but neither had the box office draw of Eddie Murphy or Richard Pryor.
Written by Neil Simon, Max Dugan Returns relies on clever wit and banter. Not yelling banter with the F word as a crutch. But scripted dialogue that is written and delivered realistically. Each actor plays their role as though they are playing themselves. Allowing you to enjoy the movie and not taking you out of it with over acting or grand standing. Each actor plays off each other well. You never get the feeling of "What's my line again?" Broderick is subtly charming and an obvious star in the making.
Max Dugan Returns plays well with the hope we all have of suddenly acquiring a huge fortune and erasing our financial woes. I loved it when I was a kid and find that the movie still holds up today.
There is never a New Years Eve party or talk of Christmas for that matter. But if you want a movie for the whole family that isn't dumb. That presents "New Beginnings" and some "Feel Good" with out being corny, Max Dugan Returns is what I recommend.
I hope we discover, as Nora did, that "New Beginnings" don't always have to follow the acquisition of a small fortune. I hope in 2009 we can all make the changes necessary to enrich our lives and help us feel fulfilled.
Happy New Year!
Monday, December 22, 2008
Rankin Bass
When I was a kid, because of the religious beliefs of my parents, I didn't have Christmas. But everyone else around me did, including other members of my extended family. I had a love hate feeling for the Holiday Season.
I hated Christmas because I couldn't participate in the fun at school. Or know the thrill of waking up Christmas morning with new toys under the tree. But I liked getting out of class to hear my class mates murder Christmas songs in some horribly presented assembly. I liked the 2 weeks vacation we used to get. I loved seeing Christmas lights at night. I loved the overall feeling that seemed to be in the air during the Christmas time of year.
What little Christmas tradition I did get when I was a kid was in the form of Rankin Bass animated Christmas specials. Back in the 70's and 80's before EVERYTHING was available on home video, the only time to watch Rudolf The Red Nose Reindeer, Santa Claus Is Coming To Town and the like was during the month of December. Before the days of 100 plus cable channels, the Rankin Bass Christmas specials were a true event because you often only had one night or two to see them. Since my parents didn't celebrate, it wasn't like I could record them and watch them at my leisure through out the year.
So for one night or two a year I was pulled into Christmas bliss. The RB specials served to influence my love for animation early on. Especially since they used props that looked more like toys and dolls rather than drawn or clay. They would influence me, as the original King Kong and Sinbad movies did, to later produce my own movies. Model/toy animation being my favorite animated genre to produce.
For reasons beyond my understanding, not all the RB specials have made it to DVD. One in particular is The Life And Adventures Of Santa Claus. Based LOOSELY on L Frank Baum's 1902 book of the same name. With the creator of the Wizard Of Oz writing, it's only natural that his take on Claus would be even more fantasy than previous takes on the red suited fat guy. I have to admit, I didn't come across this one until I was in my adult life. It was produced in 1985 and I was in High School at that time. So the RB specials had lost their magic for awhile, for me anyway.
The premise of The Life And Adventures Of Santa Claus is that the world needs Santa Claus. But how can his work continue if he is mortal. So a council is formed by characters looking like those out of a Tolkien novel to decide why Claus deserves the gift of immortality. I think its an interesting story executed very well, even though it is a loose adaption.
When watching this movie, you have to keep in mind this story, as do the Oz books, predate Tolkien Middle Earth. BUT, The Life And Adventures Of Santa Claus came after Rankin Bass' The Hobbit and Return Of The King animated movies. Which obviously influenced their designs.
Every couple of years you MIGHT come across The Life And Adventures Of Santa Claus on the ABC Family Channel. Problem is that ABC Family Channel has no respect or love for these specials and edit the crap out of them. Sometimes even omitting entire songs. For ABC these specials serve as the glue between commercial breaks.
The Life And Adventures Of Santa Claus is a landmark film in that its Rankin Bass' last Animagic movie and the end of an era. Why would studios produce new animated films of this nature, since all they had to do was air these every year. Then CGI came and now they could produce a bastardized version of the model/toy animation of Rankin Bass classics.
The Life And Adventures Of Santa Claus is also a landmark in that it's a much darker Claus movie than previous Rankin Bass toons. It has an almost Lord Of The Rings feel to it. It has some great character designs and one of the best model/toy fairy animation puppets ever made. It is also the first RB movie to have no celebrity voice narration.
If you hit eBay looking for this lost classic, you can find the original VHS release for $30 to $100. Ouch! Personally, I wouldn't pay that unless you plan on transferring it to DVD. Remember, VHS degrades if it is played or not, so just because it's a new copy that doesn't mean it won't look a little washed out. That is just the way the VHS format is. There has been an online push for a DVD release of The Life And Adventures Of Santa Claus and ABC Family Channel only aired it once this year. So who knows, maybe they are going to finally release it next year on DVD.
A lot of people forget that purchasing a DVD is like casting a vote. If enough people purchase a type of DVD, the suits see that and want to cash in on that market and produce more like it. If we go out and purchased the Rankin Bass classics, rather than just watching the cut versions with commercials on cable , the numbers would justify them releasing The Life And Adventures Of Santa Claus on DVD.
So far, one of the best Rankin Bass DVD releases has been another seasonal gem called the Mad Monster Party from 1967. Its a Halloween Animagic classic that Tim Burton would rip off for years to come. The Anchor Bay release is not only a great transfer, but it comes with a great 23 page behind the scenes book inside.
Cast your vote for the release of The Life And Adventures Of Santa Claus DVD and buy a Rankin Bass DVD this holiday season.
A Side Note:
As you know, TNFS' purpose is to create new interest in film by looking to its forgotten past. I didn't make it clear, but Rankin Bass films are a perfect case for that. Since their movies serve as the model for every Tim Burton animated film. 'Nuf said.
I hated Christmas because I couldn't participate in the fun at school. Or know the thrill of waking up Christmas morning with new toys under the tree. But I liked getting out of class to hear my class mates murder Christmas songs in some horribly presented assembly. I liked the 2 weeks vacation we used to get. I loved seeing Christmas lights at night. I loved the overall feeling that seemed to be in the air during the Christmas time of year.
What little Christmas tradition I did get when I was a kid was in the form of Rankin Bass animated Christmas specials. Back in the 70's and 80's before EVERYTHING was available on home video, the only time to watch Rudolf The Red Nose Reindeer, Santa Claus Is Coming To Town and the like was during the month of December. Before the days of 100 plus cable channels, the Rankin Bass Christmas specials were a true event because you often only had one night or two to see them. Since my parents didn't celebrate, it wasn't like I could record them and watch them at my leisure through out the year.
So for one night or two a year I was pulled into Christmas bliss. The RB specials served to influence my love for animation early on. Especially since they used props that looked more like toys and dolls rather than drawn or clay. They would influence me, as the original King Kong and Sinbad movies did, to later produce my own movies. Model/toy animation being my favorite animated genre to produce.
For reasons beyond my understanding, not all the RB specials have made it to DVD. One in particular is The Life And Adventures Of Santa Claus. Based LOOSELY on L Frank Baum's 1902 book of the same name. With the creator of the Wizard Of Oz writing, it's only natural that his take on Claus would be even more fantasy than previous takes on the red suited fat guy. I have to admit, I didn't come across this one until I was in my adult life. It was produced in 1985 and I was in High School at that time. So the RB specials had lost their magic for awhile, for me anyway.
The premise of The Life And Adventures Of Santa Claus is that the world needs Santa Claus. But how can his work continue if he is mortal. So a council is formed by characters looking like those out of a Tolkien novel to decide why Claus deserves the gift of immortality. I think its an interesting story executed very well, even though it is a loose adaption.
When watching this movie, you have to keep in mind this story, as do the Oz books, predate Tolkien Middle Earth. BUT, The Life And Adventures Of Santa Claus came after Rankin Bass' The Hobbit and Return Of The King animated movies. Which obviously influenced their designs.
Every couple of years you MIGHT come across The Life And Adventures Of Santa Claus on the ABC Family Channel. Problem is that ABC Family Channel has no respect or love for these specials and edit the crap out of them. Sometimes even omitting entire songs. For ABC these specials serve as the glue between commercial breaks.
The Life And Adventures Of Santa Claus is a landmark film in that its Rankin Bass' last Animagic movie and the end of an era. Why would studios produce new animated films of this nature, since all they had to do was air these every year. Then CGI came and now they could produce a bastardized version of the model/toy animation of Rankin Bass classics.
The Life And Adventures Of Santa Claus is also a landmark in that it's a much darker Claus movie than previous Rankin Bass toons. It has an almost Lord Of The Rings feel to it. It has some great character designs and one of the best model/toy fairy animation puppets ever made. It is also the first RB movie to have no celebrity voice narration.
If you hit eBay looking for this lost classic, you can find the original VHS release for $30 to $100. Ouch! Personally, I wouldn't pay that unless you plan on transferring it to DVD. Remember, VHS degrades if it is played or not, so just because it's a new copy that doesn't mean it won't look a little washed out. That is just the way the VHS format is. There has been an online push for a DVD release of The Life And Adventures Of Santa Claus and ABC Family Channel only aired it once this year. So who knows, maybe they are going to finally release it next year on DVD.
A lot of people forget that purchasing a DVD is like casting a vote. If enough people purchase a type of DVD, the suits see that and want to cash in on that market and produce more like it. If we go out and purchased the Rankin Bass classics, rather than just watching the cut versions with commercials on cable , the numbers would justify them releasing The Life And Adventures Of Santa Claus on DVD.
So far, one of the best Rankin Bass DVD releases has been another seasonal gem called the Mad Monster Party from 1967. Its a Halloween Animagic classic that Tim Burton would rip off for years to come. The Anchor Bay release is not only a great transfer, but it comes with a great 23 page behind the scenes book inside.
Cast your vote for the release of The Life And Adventures Of Santa Claus DVD and buy a Rankin Bass DVD this holiday season.
A Side Note:
As you know, TNFS' purpose is to create new interest in film by looking to its forgotten past. I didn't make it clear, but Rankin Bass films are a perfect case for that. Since their movies serve as the model for every Tim Burton animated film. 'Nuf said.
Thursday, December 18, 2008
Review - Role Models
by Mr. Blunderson
-possible spoilers-
It was a Thanksgiving miracle. A miracle because the other occasions the entire staff of Cirque du Jerks ventured out to the theater together we saw awful, awful movies.
Role Models would be the polar opposite.
I know Hero Stew hasn't written a review of this one because this movie had him at the first KISS reference. To be honest, I am certainly not less biased although that has more to do with a severe man crush on Paul Rudd than it does with one of the most awesome rock bands to ever walk the face of the earth, but who really needs to know all that?
Role Models is the brash, crude, and unapologetic tale of a couple of guys (played by Paul Rudd and Seann William Scott) who end up doing community service to avoid jail time. The two (who incidentally should not be allowed near anyone's children) end up paired up with two kids with problems of their own... but you know what? None of that really matters.
What does matter is that this movie features Paul Rudd and Seann William Scott being hysterical, a little kid who drops the f-bomb more than I do, Mclovin nerding it UP a notch, the innate dangers of energy drinks, dorks with swords, Dr. Ken, Joe Lo Truglio, and one of the funniest nutshots I've ever seen.
Do I even have to tell you that Role Models gets an Oh Hells Yes on the Mr. Blunderson scale? Well it does. Boy howdy, does it ever.
-possible spoilers-
It was a Thanksgiving miracle. A miracle because the other occasions the entire staff of Cirque du Jerks ventured out to the theater together we saw awful, awful movies.
Role Models would be the polar opposite.
I know Hero Stew hasn't written a review of this one because this movie had him at the first KISS reference. To be honest, I am certainly not less biased although that has more to do with a severe man crush on Paul Rudd than it does with one of the most awesome rock bands to ever walk the face of the earth, but who really needs to know all that?
Role Models is the brash, crude, and unapologetic tale of a couple of guys (played by Paul Rudd and Seann William Scott) who end up doing community service to avoid jail time. The two (who incidentally should not be allowed near anyone's children) end up paired up with two kids with problems of their own... but you know what? None of that really matters.
What does matter is that this movie features Paul Rudd and Seann William Scott being hysterical, a little kid who drops the f-bomb more than I do, Mclovin nerding it UP a notch, the innate dangers of energy drinks, dorks with swords, Dr. Ken, Joe Lo Truglio, and one of the funniest nutshots I've ever seen.
Do I even have to tell you that Role Models gets an Oh Hells Yes on the Mr. Blunderson scale? Well it does. Boy howdy, does it ever.
Saturday, December 13, 2008
Post Apocalyptic films
So here I sit listening to Led Zeppelin 3's Immigrant Song. Thinking. What will this weeks topic be? Listening to the raw strum of Page's guitar and Plant's squeal I begin to think of twisted metal and octane. Vinyl clothing and studded wrist bands. Then track 3 Celebration Day comes on. Now I am dancing in front of my computer. Doing my best Joe Cocker spastic dance and rocking my air guitar like no Guitar Hero could. My wife and son look on with disgust and bewilderment. What the HELL are we looking at, they wonder. Track 4 Since I've Been Loving You kicks on and now I appear to be reenacting a moment in a great jazz/blues movie. My face grimacing. Eyes closed. Shaking my head looking down to the floor. Hands on my chest. I am either feeling the blues, or someone farted. Page begins to work the fret board as I bite my bottom lip. Oh yes. This is a moment of cool the Earth has rarely seen.
What will this weeks topic be?
Raw
Twisted Metal
Octane
Vinyl Clothing
Studded Wrist Bands
Spastic
What The Hell Are We Looking at?
Someone Farted
.....then it hits me. This weeks topic will encompass all of the above!
POST APOCALYPTIC MOVIES!
What the heck is that, you might ask. Or may not. I will explain anyway. But track 6 Gallow's Poll has come on and I need to ROCK!!!
Track 7 Tangerine. Track 8 That's The Way. I am now chill. If music could grow chest hair, Led Zeppelin 3, as with Post Apocalyptic films, would have created a glorious forest mane on my pecs at this time. Post Apocalyptic films are the modern MAN films Westerns once were. However, as with the Western, the genre MAY have runs its course. To enjoy a good Post Apocalyptic flick, you need to suspend all reasoning, and just enjoy the explosions. Now I am not talking about artsy fartsy movies. I am talking about a world in which Snake Plissken and Mad Max are Kings.
Like a good rock album, there is a method to the madness of this film genre. As in the rock album, the ones of the 70's and 80's not the 90's or present, there are hard songs that only deal with self indulgence and man's primal instincts. As in the PA movie, the Mad Max films in particular, when car chases and explosions begin for no reason other than to jar the senses.
Then there is the love ballad. A song that has no business being on a rock album, but in the case of film, there has to be a female presence to follow the rules of film in general. Enter the hot chick. She is attracted to our grizzled hero who wants nothing to do with her. And she loves him because of it. The man she cannot have. She cannot tame.
In the PA film, the female lead serves three purposes. First and foremost is eye candy and to fulfill the fantasy of the predominantly male audience. Barely clothed. Hot. Submissive. And hopefully a little broken. The ability to talk is optional, as in the case of Nova in the ORIGINAL Planet Of The Apes. The perfect woman.
Second. The PA girl has to eventually win the heart of the PA man. Either after a completely misplaced and inappropriate love seen. Or through pure sexual tension, often shared by the male audience.
Third. Sometimes, the only way to get a guy who doesn't give a damn to fight the bad guy, is to take his woman. And sometimes, the hot chick may get to throw a punch or two. However, the quality of your PA film is often gauged by whether or not the female lead gets to shoot a machine gun. This is the echelon of the genre. Hell hath no fury, than the woman wielding an AK-47!
If your are starting to get the impression this is a sexist and completely misogynist genre, your right. If the movie is any good anyway. The moment a love song with lyrics is played during a love scene. It looses it's Post Apocalyptic street cred' and comes dangerously close to being a Chick Flick. Unless it's a Ted Nugent song.
Like a good classic rock band, the PA movie has its players. The successful lead singer must have a charisma that pulls the audience in. The male lead of PA film must do the same. A lead guitarist adds to the lead singer's vocal and in some ways makes him cooler while demonstrating a coolness all his own. The supporting lead of a PA film has to be cool and in some ways a little cooler. If he is cooler and shows respect, maybe even some fear of the male lead, he validates the male leads position as the alpha male. The bassist, the quite guitarist who creates the subtle bass line that glues the song together while the lead vocalist and guitarist do their thing. In the PA flick this is often a wizard type or someone with little background, but wisdom, and often a subtle wit. As with the bassist that glues the song together, so must the second supporting cast member guide the audience and heroes through the journey. He can be represented as a cabby or even an arms dealer who knows all the crooks in town. Lastly there is the drummer. The brute force of the band. In the PA adventure this is the BIG guy. The one that fights the mutants as you make your escape. Or holds the trap door as you run through.
Yes it all fits a certain formula. But like Hollywood is the Big Mac. A good PA movie is that burger from the Ma' and Pop burger restaurant around the corner. The one with the huge fries and the shake impossible to drink through a straw. Both burgers. But different enough to make them two different types of food all together.
If you decide to seek out a PA flick, but are not sure how to make the choice, I will give you a few tips and then share my personal favorites of the genre. If you are shopping in a DVD store, you will need to seek out the Action DVDs section. Or maybe even the Science Fiction section. A good PA has NO BUSINESS in Drama, and if it's in the Thriller section that might imply a twist and thinking.Yuck! A PA film that makes you think is like a Subway Sandwich Artist trying to convince you of the joys and freedom of selling Amway. Ugh!
Look for titles that include words like Mad, Invaders, Barbarians,Warriors, or some date in the future. You know your in for a real treat when the DVD front cover features poster art from the theatrical release. A painted poster with hyper exaggerated interpretations of the cast. Look closely. Are there scantly clad woman? Is the hero dead center holding a machine gun or mace? Is his shirt torn from kicking so much butt? Are there completely impractical vehicles anywhere on the poster?
Which brings us to my next tip in seeking out a good PA movie. Sometimes the film's star goes on to bigger and better things. So instead of showing the original poster art on the front, they may decide to show a pic of the now famous actor. So you will have to look at the back cover. Sometimes the backs will show two or three pictures from the movie. Look for things like Mohawks. Studded wrist bands. Or the quintessential armor of the future. Football shoulder pads painted black.
If you find any of these elements, your enjoyment is almost assured. If you find ALL of these elements, DO NOT give it another thought. You have just mined celluloid gold and need to rush to the register. Race home. Throw money at your wife, so she will leave. Accuse the children of a crime they didn't commit, so you can send them to their room. Heat up a Hot Pocket and pour the Dr. Pepper! Let the Church Of Macho BEGIN!
of course all the above ONLY applies to PA movies produced in the 80's. Modern PA movies will punch you in the face with brain bleeding techno music and be riddled with tribal tattoos and black leather. A hero with hair gel does not a good PA movie make. The 80's movies were unique in that we DID believe Russia was going to launch Nuclear Bombs any day. And Moammar Kadafi was the middle eastern Anti Christ Nostradamus spoke of. We believed the world of Mad Max and Snake Plissken was at our door steps. I prayed for talking apes who would cage me, feed me, bathe me, and force me to mate with the Nova's of the world. Instead I am just a slave to retail with no scantly clad cave girls in sight. Except on Role Play Night with my wife.
The other problem with the modern PA movies is that they are saturated with CGI. Like a modern rock album with a wall of noise that sounds like a misfiring Volkswagen Beetle. You can't hear the sounds of human fingers looking for the next chord progression. Or feel the raw power of a song like Led Zeppelin's Black Dog. There is no texture in a film shot digitally, with special effects created on a laptop. A good PA movie is set in junk yards, city ruins, or sometimes just in the desert. You can almost feel the heat and the dust hitting your face. The limitations of a film stock PA film plays to its advantage. A PA film should NEVER have polish. I welcome stop motion monsters, practical effects, and foam latex mutants. A PA film should feature a collection of Found Art pieces and not a collection of pixels.
So what are my picks for Post Apocalyptic fun?
2019 After The Fall Of New York
The New Barbarians
1990 Bronx Warriors
Escape From New York
Mad Max Beyond Thunder Dome
Stryker
Atlantis Interceptors
All ORIGINAL Planet Of The Apes Movies
...just to name a few.
Unfortunately, most of these films are in public domain. So the available prints are often horrible. But with a little searching online, you can often find a limited wide screen release. Or someone who has transferred a VHS or Laser disc copy directly to DVD. Italy and Australia produced many many PA films in the 80's and these epics were later released on foreign PAL version VHS tapes. It's not hard to find collectors online, and even on eBay, who have transferred these to DVD. I recommend these transfers since they are often done by fans of the genre who have love for these lost treasures. Where as Dollar Bin Walmart DVDs are often authored by people who couldn't give a crap. Remember, digitally remastered is OFTEN code for transferred from VHS to DVD.
Part of the fun of finding an obscure Post Apocalyptic film is that its a movie you can adopt as all your own. One you won't see played over and over again on TBS. You can lift your head in pride as you watch Hollywood rip off these gems and the knowledge that you are in the know. You can turn to the guy sitting next to you in the theater and exclaim, they totally got that from (insert title here).
What will this weeks topic be?
Raw
Twisted Metal
Octane
Vinyl Clothing
Studded Wrist Bands
Spastic
What The Hell Are We Looking at?
Someone Farted
.....then it hits me. This weeks topic will encompass all of the above!
POST APOCALYPTIC MOVIES!
What the heck is that, you might ask. Or may not. I will explain anyway. But track 6 Gallow's Poll has come on and I need to ROCK!!!
Track 7 Tangerine. Track 8 That's The Way. I am now chill. If music could grow chest hair, Led Zeppelin 3, as with Post Apocalyptic films, would have created a glorious forest mane on my pecs at this time. Post Apocalyptic films are the modern MAN films Westerns once were. However, as with the Western, the genre MAY have runs its course. To enjoy a good Post Apocalyptic flick, you need to suspend all reasoning, and just enjoy the explosions. Now I am not talking about artsy fartsy movies. I am talking about a world in which Snake Plissken and Mad Max are Kings.
Like a good rock album, there is a method to the madness of this film genre. As in the rock album, the ones of the 70's and 80's not the 90's or present, there are hard songs that only deal with self indulgence and man's primal instincts. As in the PA movie, the Mad Max films in particular, when car chases and explosions begin for no reason other than to jar the senses.
Then there is the love ballad. A song that has no business being on a rock album, but in the case of film, there has to be a female presence to follow the rules of film in general. Enter the hot chick. She is attracted to our grizzled hero who wants nothing to do with her. And she loves him because of it. The man she cannot have. She cannot tame.
In the PA film, the female lead serves three purposes. First and foremost is eye candy and to fulfill the fantasy of the predominantly male audience. Barely clothed. Hot. Submissive. And hopefully a little broken. The ability to talk is optional, as in the case of Nova in the ORIGINAL Planet Of The Apes. The perfect woman.
Second. The PA girl has to eventually win the heart of the PA man. Either after a completely misplaced and inappropriate love seen. Or through pure sexual tension, often shared by the male audience.
Third. Sometimes, the only way to get a guy who doesn't give a damn to fight the bad guy, is to take his woman. And sometimes, the hot chick may get to throw a punch or two. However, the quality of your PA film is often gauged by whether or not the female lead gets to shoot a machine gun. This is the echelon of the genre. Hell hath no fury, than the woman wielding an AK-47!
If your are starting to get the impression this is a sexist and completely misogynist genre, your right. If the movie is any good anyway. The moment a love song with lyrics is played during a love scene. It looses it's Post Apocalyptic street cred' and comes dangerously close to being a Chick Flick. Unless it's a Ted Nugent song.
Like a good classic rock band, the PA movie has its players. The successful lead singer must have a charisma that pulls the audience in. The male lead of PA film must do the same. A lead guitarist adds to the lead singer's vocal and in some ways makes him cooler while demonstrating a coolness all his own. The supporting lead of a PA film has to be cool and in some ways a little cooler. If he is cooler and shows respect, maybe even some fear of the male lead, he validates the male leads position as the alpha male. The bassist, the quite guitarist who creates the subtle bass line that glues the song together while the lead vocalist and guitarist do their thing. In the PA flick this is often a wizard type or someone with little background, but wisdom, and often a subtle wit. As with the bassist that glues the song together, so must the second supporting cast member guide the audience and heroes through the journey. He can be represented as a cabby or even an arms dealer who knows all the crooks in town. Lastly there is the drummer. The brute force of the band. In the PA adventure this is the BIG guy. The one that fights the mutants as you make your escape. Or holds the trap door as you run through.
Yes it all fits a certain formula. But like Hollywood is the Big Mac. A good PA movie is that burger from the Ma' and Pop burger restaurant around the corner. The one with the huge fries and the shake impossible to drink through a straw. Both burgers. But different enough to make them two different types of food all together.
If you decide to seek out a PA flick, but are not sure how to make the choice, I will give you a few tips and then share my personal favorites of the genre. If you are shopping in a DVD store, you will need to seek out the Action DVDs section. Or maybe even the Science Fiction section. A good PA has NO BUSINESS in Drama, and if it's in the Thriller section that might imply a twist and thinking.Yuck! A PA film that makes you think is like a Subway Sandwich Artist trying to convince you of the joys and freedom of selling Amway. Ugh!
Look for titles that include words like Mad, Invaders, Barbarians,Warriors, or some date in the future. You know your in for a real treat when the DVD front cover features poster art from the theatrical release. A painted poster with hyper exaggerated interpretations of the cast. Look closely. Are there scantly clad woman? Is the hero dead center holding a machine gun or mace? Is his shirt torn from kicking so much butt? Are there completely impractical vehicles anywhere on the poster?
Which brings us to my next tip in seeking out a good PA movie. Sometimes the film's star goes on to bigger and better things. So instead of showing the original poster art on the front, they may decide to show a pic of the now famous actor. So you will have to look at the back cover. Sometimes the backs will show two or three pictures from the movie. Look for things like Mohawks. Studded wrist bands. Or the quintessential armor of the future. Football shoulder pads painted black.
If you find any of these elements, your enjoyment is almost assured. If you find ALL of these elements, DO NOT give it another thought. You have just mined celluloid gold and need to rush to the register. Race home. Throw money at your wife, so she will leave. Accuse the children of a crime they didn't commit, so you can send them to their room. Heat up a Hot Pocket and pour the Dr. Pepper! Let the Church Of Macho BEGIN!
of course all the above ONLY applies to PA movies produced in the 80's. Modern PA movies will punch you in the face with brain bleeding techno music and be riddled with tribal tattoos and black leather. A hero with hair gel does not a good PA movie make. The 80's movies were unique in that we DID believe Russia was going to launch Nuclear Bombs any day. And Moammar Kadafi was the middle eastern Anti Christ Nostradamus spoke of. We believed the world of Mad Max and Snake Plissken was at our door steps. I prayed for talking apes who would cage me, feed me, bathe me, and force me to mate with the Nova's of the world. Instead I am just a slave to retail with no scantly clad cave girls in sight. Except on Role Play Night with my wife.
The other problem with the modern PA movies is that they are saturated with CGI. Like a modern rock album with a wall of noise that sounds like a misfiring Volkswagen Beetle. You can't hear the sounds of human fingers looking for the next chord progression. Or feel the raw power of a song like Led Zeppelin's Black Dog. There is no texture in a film shot digitally, with special effects created on a laptop. A good PA movie is set in junk yards, city ruins, or sometimes just in the desert. You can almost feel the heat and the dust hitting your face. The limitations of a film stock PA film plays to its advantage. A PA film should NEVER have polish. I welcome stop motion monsters, practical effects, and foam latex mutants. A PA film should feature a collection of Found Art pieces and not a collection of pixels.
So what are my picks for Post Apocalyptic fun?
2019 After The Fall Of New York
The New Barbarians
1990 Bronx Warriors
Escape From New York
Mad Max Beyond Thunder Dome
Stryker
Atlantis Interceptors
All ORIGINAL Planet Of The Apes Movies
...just to name a few.
Unfortunately, most of these films are in public domain. So the available prints are often horrible. But with a little searching online, you can often find a limited wide screen release. Or someone who has transferred a VHS or Laser disc copy directly to DVD. Italy and Australia produced many many PA films in the 80's and these epics were later released on foreign PAL version VHS tapes. It's not hard to find collectors online, and even on eBay, who have transferred these to DVD. I recommend these transfers since they are often done by fans of the genre who have love for these lost treasures. Where as Dollar Bin Walmart DVDs are often authored by people who couldn't give a crap. Remember, digitally remastered is OFTEN code for transferred from VHS to DVD.
Part of the fun of finding an obscure Post Apocalyptic film is that its a movie you can adopt as all your own. One you won't see played over and over again on TBS. You can lift your head in pride as you watch Hollywood rip off these gems and the knowledge that you are in the know. You can turn to the guy sitting next to you in the theater and exclaim, they totally got that from (insert title here).
Tuesday, December 9, 2008
Fred Williamson
This has been such a busy week, working in retail during the Christmas season, it has been hard to come up with a topic for That New Film Smell. I have lots of ideas, but the direction I want to take this series in and how to kick it off has been difficult to figure out. The intent of TNFS is to discuss films outside the Hollywood norm. But not necessarily be a film review series.
My journey outside of Hollywood started with bargain bin movies. Those movies that you find for a buck in slim DVD cases, that look like, and often are, transferred from VHS tapes. They are often the first or early films of some big Hollywood actor. But I wanted to find a new actor. One who Hollywood has neglected and not every card carrying Blockbuster Rental film fan would know of.
I quickly became a big fan of "The Hammer", Fred Williamson. Master of "Gun Fu". He is the perfect topic for TNFS and could actually be the topic of many posts. I am going to need to moderate myself, since I could go on and on about Fred Williamson movies and his out of Hollywood career.
Italian films. Post Apocalyptic films. Westerns. Cop movies. Vampire movies. Blaxploitation movies. Martial Arts movies. War movies. Williamson has done it all. He's directed, acted, produced, and written movies. Most of which would be considered independent films. Not pretentious IFC films. But films with little financing and a lot of corners cut. Films often with nothing to say, except to kick ass and who cares about taking names.
As I got more and more into Fred Williamson films, I began to find more suitable releases of his movies. MGM recently started to release a collection of movies under the banner of Soul Cinema. Films staring actors like Pam Grier, Jim Brown, and Isaac Hayes. Fred Williamson's films dominate this collection. One of my favorites is part of this collection as well. Hell Up In Harlem. Directed by Larry Cohen.
The Soul Cinema releases are great for a few reasons. Low budget DVD companies like Alpha, Brentwood, and Diamond Entertainment claim "digital transfer" or "enhanced" quality. However, the only thing "digital" is that it has been recorded onto DVD. The source is often a worn out VHS copy. When you watch a Soul Cinema DVD you feel that respect and care has been given to these movies. They even offer director commentary on most. I found the commentary for Hell Up In Harlem to be of particular interest. If you are a student of film and want to learn how to cut corners, this should be a part of your study.
During the first few minutes there is a car chase that takes place on busy city streets. The chase continues onto the crowded side walks. With pedestrians dodging and running for their lives. If there was an Oscar category for extras to get Best Actor, these pedestrians would've gotten it. Except they weren't acting. Those were real people in real terror. This brings us to the term known as "stolen shots". A technique of shooting without getting a permit.
Another great example of a "stolen shot" is later in Hell Up In Harlem when Black Caesar, played by Fred Williamson, takes to the streets. With the camera set up in the distance, the director shoots Williamson being mobbed by regular people who recognize Fred Williamson. Actor and Ex NFL star. They are unaware that Williamson is pimped up because he is shooting a movie they are now in. Him being mobbed is a part of the script, since Black Caesar is supposed to be the ghetto Robin Hood. It's only natural that the very citizens who are safe because of him would mob him in adulation. Another successful stolen shot adding to the credibility of what is going on in the movie.
Another example of Cohen's ability of cutting cost is recycling his crew and equipment. When he had committed to do Hell Up In Harlem he was shooting It's Alive for Warner Brothers 5 days a week. So on Saturday and Sunday he used that same equipment and crew to shoot Hell Up In Harlem for Universal.
It would appear that nothing could stop Cohen. Can't get your leading man for the majority of your shoot? Time for a double. During shooting, Williamson was also shooting That Man Bolt 5 days a week in California. Hell Up In Harlem was shot in New York. So Cohen used a double and then mixed that footage with close ups he later shot of Williamson in California. He even used Williamson's wardrobe from That Man Bolt in Hell Up In Harlem.
Cohen never used alot of production people and never used storyboards for Hell Up In Harlem. He admits during the commentary that he failed in making a movie that made any sense. I disagree and thought he did a great job under the circumstances. When you consider the crap Hollywood produces for 200 million a picture, Cohen was pure genius.
Here is a bit of trivia. James Brown originally scored the music for Hell Up In Harlem. But because Universal wasn't satisfied with his music on Slaughters Big Rip Off, they didn't use it. So Brown took that same music and turned it into an album called The Pay Back. Brown's most successful album.
I have to cut myself short on discussing Hell Up In Harlem since this TNFS is supposed to be about the Fred Williamson film legacy. But by discussing Hell Up In Harlem in length, you understand Williamson's own style of film making.
I have to admit, ONE of my favorite Williamson movies has to be Mean Johnny Barrows. Directed by Williamson himself. Almost like a page out of David Morrell's 1972 book First Blood, Johnny Barrows is a decorated Vietnam War vet who is discharged for punching a superior officer. He goes looking for a job, but no one will hire him, except some new Mob friends who are aware of his military service and ability to kill.
After trying to play it straight, he becomes a hit man for the Mob guys who eventually put out a hit on him. In a white suit and coat. Armed with a shotgun in each hand, Mean Johnny Barrows unleashes justice. Of course there is a woman involved. Barrows goes to save her from the rival Mob family that kidnapped her. It's not until later that he realizes she is in cahoots with her captor, played by Roddy McDowall.
How do you repay the girl that betrayed you? Trick her into stepping onto a landmine of course. Sadly, she doesn't blow up before killing pure Johnny Barrows first. A war hero looking for some honest work and peace of mind.
Mean Johnny Barrows is significant because the hero and star dies at the end. You rarely see that in film. Especially when that same star is directing the movie as well. In most cases, stars wouldn't have that.
If you like vintage Clint Eastwood, then you need to track down some Fred Williamson flicks. I recommend starting with the Soul Cinema releases. Also track down Vigilante, which offers some great commentary with Williamson, Robert Forester, and others. Be sure to also look for the Italian films The New Barbarians and 1990 Bronx Warriors as well. Buy the Shriek Show releases ONLY. Barbarians and Warriors have had multiple public domain releases, but the Shriek Show releases are from master prints and in wide screen. The Shriek Show releases also offer 2 Fred Williamson interviews as a bonus feature. Each are important because they offer insight into Williamson's thoughts on Black Cinema, Hollywood, the rise and fall of Italian cinema, and how to market a film.
Sadly, as is the case with Mean Johnny Barrows, most Fred Williamson movies are in public domain and it's hard to find quality versions. I hope some one with money will realize the significance of these films and start making quality prints available to the public. But for me, poor quality releases are better than no Fred Williamson movies at all.
Sure. Fred Williamson may not be the GREATEST actor and maybe should never do a Shakespearean role. But Will Smith can never play Black Caesar. And there is nothing wrong with that.
My journey outside of Hollywood started with bargain bin movies. Those movies that you find for a buck in slim DVD cases, that look like, and often are, transferred from VHS tapes. They are often the first or early films of some big Hollywood actor. But I wanted to find a new actor. One who Hollywood has neglected and not every card carrying Blockbuster Rental film fan would know of.
I quickly became a big fan of "The Hammer", Fred Williamson. Master of "Gun Fu". He is the perfect topic for TNFS and could actually be the topic of many posts. I am going to need to moderate myself, since I could go on and on about Fred Williamson movies and his out of Hollywood career.
Italian films. Post Apocalyptic films. Westerns. Cop movies. Vampire movies. Blaxploitation movies. Martial Arts movies. War movies. Williamson has done it all. He's directed, acted, produced, and written movies. Most of which would be considered independent films. Not pretentious IFC films. But films with little financing and a lot of corners cut. Films often with nothing to say, except to kick ass and who cares about taking names.
As I got more and more into Fred Williamson films, I began to find more suitable releases of his movies. MGM recently started to release a collection of movies under the banner of Soul Cinema. Films staring actors like Pam Grier, Jim Brown, and Isaac Hayes. Fred Williamson's films dominate this collection. One of my favorites is part of this collection as well. Hell Up In Harlem. Directed by Larry Cohen.
The Soul Cinema releases are great for a few reasons. Low budget DVD companies like Alpha, Brentwood, and Diamond Entertainment claim "digital transfer" or "enhanced" quality. However, the only thing "digital" is that it has been recorded onto DVD. The source is often a worn out VHS copy. When you watch a Soul Cinema DVD you feel that respect and care has been given to these movies. They even offer director commentary on most. I found the commentary for Hell Up In Harlem to be of particular interest. If you are a student of film and want to learn how to cut corners, this should be a part of your study.
During the first few minutes there is a car chase that takes place on busy city streets. The chase continues onto the crowded side walks. With pedestrians dodging and running for their lives. If there was an Oscar category for extras to get Best Actor, these pedestrians would've gotten it. Except they weren't acting. Those were real people in real terror. This brings us to the term known as "stolen shots". A technique of shooting without getting a permit.
Another great example of a "stolen shot" is later in Hell Up In Harlem when Black Caesar, played by Fred Williamson, takes to the streets. With the camera set up in the distance, the director shoots Williamson being mobbed by regular people who recognize Fred Williamson. Actor and Ex NFL star. They are unaware that Williamson is pimped up because he is shooting a movie they are now in. Him being mobbed is a part of the script, since Black Caesar is supposed to be the ghetto Robin Hood. It's only natural that the very citizens who are safe because of him would mob him in adulation. Another successful stolen shot adding to the credibility of what is going on in the movie.
Another example of Cohen's ability of cutting cost is recycling his crew and equipment. When he had committed to do Hell Up In Harlem he was shooting It's Alive for Warner Brothers 5 days a week. So on Saturday and Sunday he used that same equipment and crew to shoot Hell Up In Harlem for Universal.
It would appear that nothing could stop Cohen. Can't get your leading man for the majority of your shoot? Time for a double. During shooting, Williamson was also shooting That Man Bolt 5 days a week in California. Hell Up In Harlem was shot in New York. So Cohen used a double and then mixed that footage with close ups he later shot of Williamson in California. He even used Williamson's wardrobe from That Man Bolt in Hell Up In Harlem.
Cohen never used alot of production people and never used storyboards for Hell Up In Harlem. He admits during the commentary that he failed in making a movie that made any sense. I disagree and thought he did a great job under the circumstances. When you consider the crap Hollywood produces for 200 million a picture, Cohen was pure genius.
Here is a bit of trivia. James Brown originally scored the music for Hell Up In Harlem. But because Universal wasn't satisfied with his music on Slaughters Big Rip Off, they didn't use it. So Brown took that same music and turned it into an album called The Pay Back. Brown's most successful album.
I have to cut myself short on discussing Hell Up In Harlem since this TNFS is supposed to be about the Fred Williamson film legacy. But by discussing Hell Up In Harlem in length, you understand Williamson's own style of film making.
I have to admit, ONE of my favorite Williamson movies has to be Mean Johnny Barrows. Directed by Williamson himself. Almost like a page out of David Morrell's 1972 book First Blood, Johnny Barrows is a decorated Vietnam War vet who is discharged for punching a superior officer. He goes looking for a job, but no one will hire him, except some new Mob friends who are aware of his military service and ability to kill.
After trying to play it straight, he becomes a hit man for the Mob guys who eventually put out a hit on him. In a white suit and coat. Armed with a shotgun in each hand, Mean Johnny Barrows unleashes justice. Of course there is a woman involved. Barrows goes to save her from the rival Mob family that kidnapped her. It's not until later that he realizes she is in cahoots with her captor, played by Roddy McDowall.
How do you repay the girl that betrayed you? Trick her into stepping onto a landmine of course. Sadly, she doesn't blow up before killing pure Johnny Barrows first. A war hero looking for some honest work and peace of mind.
Mean Johnny Barrows is significant because the hero and star dies at the end. You rarely see that in film. Especially when that same star is directing the movie as well. In most cases, stars wouldn't have that.
If you like vintage Clint Eastwood, then you need to track down some Fred Williamson flicks. I recommend starting with the Soul Cinema releases. Also track down Vigilante, which offers some great commentary with Williamson, Robert Forester, and others. Be sure to also look for the Italian films The New Barbarians and 1990 Bronx Warriors as well. Buy the Shriek Show releases ONLY. Barbarians and Warriors have had multiple public domain releases, but the Shriek Show releases are from master prints and in wide screen. The Shriek Show releases also offer 2 Fred Williamson interviews as a bonus feature. Each are important because they offer insight into Williamson's thoughts on Black Cinema, Hollywood, the rise and fall of Italian cinema, and how to market a film.
Sadly, as is the case with Mean Johnny Barrows, most Fred Williamson movies are in public domain and it's hard to find quality versions. I hope some one with money will realize the significance of these films and start making quality prints available to the public. But for me, poor quality releases are better than no Fred Williamson movies at all.
Sure. Fred Williamson may not be the GREATEST actor and maybe should never do a Shakespearean role. But Will Smith can never play Black Caesar. And there is nothing wrong with that.
Wednesday, December 3, 2008
Word from Big C Vol. 26
Ok it's been awhile since my last correspondence so I have some real quick reviews for Cirque du Jerks well here goes.
Death Racers
Crappy version of Death Race (Have not seen it yet). Totally sucks!
20 Years After
Should have been called Lets Waste an Hour and Half Watching This Crappy Movie.
War of the Worlds 2: The Nest Wave
Nothing good here.
Monday, December 1, 2008
That New Film Smell
As I have gotten older the little boy in me has pretty much stayed the same. With a bit of variance.
When I was young I would buy toys and play with them to escape from life. As an adult I display those toys instead and playing with them transformed into making animated films. My oldest son used to call playing with his toys "making movies" because when he was very young he saw me "making movies" with my toys.
When I read comics as a young teen, I would imagine growing up, putting on a costume, and fighting crime. As an adult, I read comics to return to when I thought that way, and reality didn't suggest otherwise.
I used to see Hollywood blockbusters opening weekend. Indiana Jones, Star Trek, Star Wars, were still new types of films. At that time a copycat didn't come out 6 times a year and a video copy wasn't easily accessible.
Today I still yearn for something new. Hollywood has failed me in that respect.
To recapture that feeling of "new" from my youth, I have looked beyond Hollywood for a different take on the formula movies. You might think independent film is the best place to find new and fresh ideas. Not really. Even independent film is beginning to spew out the same stuff again and again. Long gone are the days of Kevin Smith's then "new" comedic take on pop culture and Star Wars. His humor, thanks to shows like Family Guy and Robot Chicken, has become mainstream. I even find myself rolling my eyes at Star Wars references in sitcoms where it's sole purpose is to attract me, the thirty something guy who is in charge of the remote.
The official death of Star Wars references being cool, in the know, and underground, died with the new Wii Clone Wars advertising campaign. I am sure you have seen the commercial. Two geek's that were too young to see the ORIGINAL trilogy in theaters, exchanging quips while playing the newest Star Wars video game. There is this weird emotion when seeing something like that now. There isn't a feeling of "wow they really get me!" Instead it's more like, "Oh My God! Stop trying to be cool by marketing un-cool as cool."
To enjoy film again, I have found myself having to fake out Hollywood and go BACK or ABROAD. Seeking out those movies NO ONE has heard of. To create my OWN NEW in jokes. Only known to my circle of friends. Jokes tucked away and held tightly so mainstream can't find them.
Over the next few months I want to examine those films exclusively here at Cirque Du Jerks. Every Monday I will offer my take on films from different countries or eras. I will talk about lost filmmaking art forms like Stolen Shots and Exploitation to name a few. My hope is to attract other people like me who might be looking for something new from the now heavily manufactured art form known as film.
See you next week.
When I was young I would buy toys and play with them to escape from life. As an adult I display those toys instead and playing with them transformed into making animated films. My oldest son used to call playing with his toys "making movies" because when he was very young he saw me "making movies" with my toys.
When I read comics as a young teen, I would imagine growing up, putting on a costume, and fighting crime. As an adult, I read comics to return to when I thought that way, and reality didn't suggest otherwise.
I used to see Hollywood blockbusters opening weekend. Indiana Jones, Star Trek, Star Wars, were still new types of films. At that time a copycat didn't come out 6 times a year and a video copy wasn't easily accessible.
Today I still yearn for something new. Hollywood has failed me in that respect.
To recapture that feeling of "new" from my youth, I have looked beyond Hollywood for a different take on the formula movies. You might think independent film is the best place to find new and fresh ideas. Not really. Even independent film is beginning to spew out the same stuff again and again. Long gone are the days of Kevin Smith's then "new" comedic take on pop culture and Star Wars. His humor, thanks to shows like Family Guy and Robot Chicken, has become mainstream. I even find myself rolling my eyes at Star Wars references in sitcoms where it's sole purpose is to attract me, the thirty something guy who is in charge of the remote.
The official death of Star Wars references being cool, in the know, and underground, died with the new Wii Clone Wars advertising campaign. I am sure you have seen the commercial. Two geek's that were too young to see the ORIGINAL trilogy in theaters, exchanging quips while playing the newest Star Wars video game. There is this weird emotion when seeing something like that now. There isn't a feeling of "wow they really get me!" Instead it's more like, "Oh My God! Stop trying to be cool by marketing un-cool as cool."
To enjoy film again, I have found myself having to fake out Hollywood and go BACK or ABROAD. Seeking out those movies NO ONE has heard of. To create my OWN NEW in jokes. Only known to my circle of friends. Jokes tucked away and held tightly so mainstream can't find them.
Over the next few months I want to examine those films exclusively here at Cirque Du Jerks. Every Monday I will offer my take on films from different countries or eras. I will talk about lost filmmaking art forms like Stolen Shots and Exploitation to name a few. My hope is to attract other people like me who might be looking for something new from the now heavily manufactured art form known as film.
See you next week.
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