“Listen brother, if I get back in, a thousand motherfuckers are going to die.” So begins Steven Seagal‘s involvment in yet another convoluted mission the CIA needs him to handle. It’s all off the books of course though I am never sure how anything a guy with his weird hair, odd fashion sense and distinctive orange tinted prescription eyeglasses does could ever be off the books. And if it all ends up being several hundred dead motherfuckers short of Seagal’s earlier promise, I feel pretty good about taking an IOU from him since Contract to Kill was his seventh film of 2016. Continue reading
Those of you new to this Battle Royale stuff need to check out the first one. Not because it’s necessary to understand or enjoy the second (heck, I saw the first one and I still didn’t know what was happening in this one), but because it’s a whole lot better, or at least, it’s more focused. Plus, in the first one you get lots of Beat Takeshi, while we’re relegated to about ninety seconds of Beat in cameo-flashback mode here. Continue reading
Battle Royale takes place in one of those ridiculous futures that only exist to set up the preposterous premise of the movie. Continue reading
Is the 26th time the charm for Godzilla? Experience had taught me not to expect a whole lot from this movie, especially since Godzilla was going to be hammering on his metal twin, Mechagodzilla. Three times previously, someone had the bright idea that all it would take to defeat him is a really big, clunky robot that other than looking slightly like Godzilla really had nothing going for it. Continue reading
It’s a bit of a dirty trick since you get lulled into the rollicking road trip aspect of the film following their exploits as they search for some buried treasure that the tenth guy in their cell (he didn’t get to go on their field trip for some reason) has clued them in on only to have the carpet pulled out from under us ever so slowly and deliberately as the movie’s second half unfolds. Continue reading
Blue Spring is one of those movies where I kept waiting for something to happen that would shake things up and distinguish it from any number of other boring, brooding teen pics. Instead, the movie wanders around for the first hour like an uninspired delinquent ditching class without any plans, before finally settling on detailing the rivalry between former friends Kujo and Aoki and how Aoki just wanted Kujo’s attention.
Aoki clearly forgot that he, Kujo, and the rest of the senior class at the local all boys high school just don’t care about anything or anyone! Gawd Aoki! Try to remember your gimmick! Continue reading
This is the Pumpkinhead sequel for William Shakespeare fans! After the standard issue horror plots of the previous three films which included a dad getting revenge for the death of his son, Pumpkinhead’s half-breed son getting revenge for his own death and a town getting revenge because the local crematorium defrauded everyone, we finally get a story of star-crossed lovers whose tale of warring families and forbidden love can’t help to bring to mind Romeo and Juliet. Continue reading
Common sense would dictate that a certain hick town nearbouts Razorback Holler wouldn’t have all that much crime happening. The last time some city folk came by and killed a local boy, old Pumpkinhead showed up and slaughtered the lot of them. Then his boy appeared to kill not only a bunch of townspeople but also another pack of moronic teens. People should be no more inclined to commit some wrong there than they would in a similarly strict place like Singapore. Except that instead of getting caned for throwing your gum on the sidewalk, you’d have your head crushed by demonic claws! Continue reading
When Steven Seagal is berating Luke Goss for not being entirely forthcoming with mission details and says “I was not born on a fucking turnip truck, man. And I was not born at night. I was born in a bright fucking sunny day, man” he appears to be convinced that what he is saying is making sense, despite his dialogue being a jumble of messed up idioms and forced curse words.
And he is also likewise very convincing when during the only stunts he does himself (walking up some stairs), he has to grab the handrail for support. I was never fearful for big Steve’s health during these scenes though because director Keoni Waxman has worked with him enough times (Absolution, A Good Man, The Keeper) to know to call “cut” immediately after each stair. Continue reading
Steven Seagal is a ghost. No, I don’t mean the ethereal kind that’s difficult to see. It’s hard to imagine him waddling down the street with his goofy black ensembles and strange glasses with the orange-colored lens he insists on wearing in all his movies now and not be spotted a mile away.
He’s a ghost in the intelligence community sense that he isn’t supposed to exist. He even tells his police department buddy that he’s supposed to be undercover and when his pal wants to know what he’s doing undercover, Steve rightly responds that it wouldn’t be much of an undercover gig if he went and told him.
But he not only intervenes and kills a stripper’s boyfriend when he’s abusing her, but also just sits around at an outdoor Parisian cafe the next day waiting for her and agreeing to her greedy scheme to steal her dead boyfriend’s drug money. It’s really the sort of thing that makes zero sense anywhere except in a Steven Segal movie, where you would be shocked if it didn’t happen. Continue reading