In-Depth Movie Reviews & High Quality Trailers

Posts tagged “axes

Cobra (1986)

CobraIf you love Stallone’s bonafide action films, then Cobra is absolutely one of his signature outings.  It also has an interesting origin.  It originally started out when Stallone was cast as the lead in Beverly Hills Cop, but instead of the action comedy we got with Eddie Murphy, Sly did rewrites to essentially change Axel Foley to Marion Cobretti.  When he and Paramount couldn’t agree on this, they parted ways, and Cobra was born.  This is also an adaptation of the novel Fair Game by Paula Gosling, which was the basis for a William Baldwin film in 1995 of the same name.  I’ve never seen that film, but this one, it is a really damn good one.

Lt. Marion Cobretti (Sylvester Stallone) is a one-man assault force whose laser-mount submachine gun and pearl handled Colt 9mm spit pure crime-stopping venom.  Cobretti finds himself pitted against a merciless serial killer called the Night Slasher (Brian Thompson).  The trail leads to not one murderer but to an army of psychos bent on slashing their way to a “New Order”- and killing the inadvertent witness Ingrid (Brigitte Nielsen) to their latest blood spree.  Fortunately, Cobra is her protector intent on bringing down these brutal maniacs.

Very notably, Cobra was helmed by director George P. Cosmatos who also did Rambo: First Blood, Part II and the absolutely amazing Tombstone.  Under his skills, this is an excellent action movie!  Primarily, the quality of the cinematography and editing is amazingly superb.  I see a lot of good quality films of this sort on the filmographies of the editors and cinematographer that prove to me that this was not a one-off shining moment.  This film does have a gritty style with a strong sense of mood and atmosphere for the urban environment.  I took special note of just how well visualized this film was, which would have turned out very generic in much lesser hands.  With Cosmatos, Cobra has real bite and punch.  He also executes the high tension and suspense sequences with remarkable ability.  The parking garage scene where the Night Slasher is stalking Ingrid is a gorgeous example of this.

The Cobretti character is surprisingly understated in most cases.  Sure, when he’s in the heat of action, he’s bad ass and intense, but outside of that, Stallone plays it cool.  He’s calm and collected handling urgent scenarios with confidence and sharp action.  Stallone also brings his usual heart and charm, adding a little charisma and levity to Cobra, but overall, he’s a hard edged cop that’s ready to kick ass at a moment’s notice.  The entire look of Cobra with the five o’clock shadow, black overcoat, mirror aviator glasses, and the wicked cool 9mm just certifies the character as awesome.  Its not a character that jumps off the screen, but with that great look and a couple of cool one-liners, Marion Cobretti drives forward an entertaining film.

Brigitte Nielsen might be regarded very poorly today, but early in her career, she was particularly good.  Her performance as Ingrid is soft and gentle in the most part, but she also handles the terrified moments in the film exceptionally well.  Not surprisingly, she and Stallone have real good chemistry.  They would later marry and divorce within a few years.  Here, you can see their real life affectionate for one another shine through on the screen making for a heartfelt connection that adds more depth to both characters.

The use of Brian Thompson as the Night Slasher, our main villain, is just right.  I honestly have never felt he was a particularly good actor outside of his powerful physical presence.  However, the script and Cosmatos wisely utilize his imposing figure and psychotic killer look instead.  He has extremely little dialogue until the climax where he monologs his creed about his New Order, and he does an exceptional job with this dialogue letting his deep voice carry its weight.

And I love Andrew Robinson in everything I’ve seen him in.  He beautifully plays the smarmy Detective Monte who likes to throw his weight around, and dig his ego into Cobretti like a thorn in your side.  You can’t wait to see this guy get what’s coming to him by the end.

By no doubt, there is a lot of excellent action here.  Stallone gets plenty of chances to get physical with some hard edged fight scenes.  Then, there’s an adrenalin pumping car chase with some great car stunts and rapid gunfire.  Add in some tense, scary moments of Ingrid fighting for her life from the Night Slasher, and you’ve got a very intense, exciting action movie from a director who just knew how to film it with masterful vision.  The editing on these action sequences is so perfectly tight.  This is especially exemplified in the amazingly dynamic shootout and chase sequences that kick start the climax.  The rhythm, pacing, and impressive choice of angles are just excellence on display.  Cosmatos was a brilliant action sequence visionary, and everything in that climax is bad ass and awesome.  It starts out hard and fast, and then, gets tough and brutal inside the industrial factory.  The final confrontation between Cobra and the Night Slasher is really damn good.  This is a great, tense, climactic moment that Stallone and Thompson play dead-on-the-mark in this fiery, industrial setting aided by the excellent cinematography and Cosmatos’ razor sharp direction.  It’s wicked cool.

Further showcasing that this is an 80’s movie is the rock soundtrack.  It starts with a sweet montage sequence fueled by “Angel of the City” by Robert Tepper, who also contributed “No Easy Way Out” for Rocky IV.  We then get a couple of other tracks that are catchy, upbeat, and energizing to the vibe of the movie.  This helps keep the film lively and little more memorable.  The actual score by Sylvester Levay here serves its purpose right fine, but doesn’t standout as anything exceptional.

Cobra is a fun, entertaining, exciting film packed with action.  It has a moody, serious tone with the door comfortably open for levity, but it never gets especially cheesy.  This is a really good action movie that will satisfy even today.  The standard fare script by Stallone is entirely elevated by George Cosmatos’ stylish directing talents.  Cobretti himself is not all that fascinating as it’s the attitude and look that sets him apart including the cobra emblem Colt 9mm and the custom 1950 Mercury.  It’s not a character that puts a challenge on Stallone, but he likely enjoyed the experience.  I certainly would have enjoyed seeing a sequel, but this was also a time where Sylvester Stallone’s ego started swelling a lot.  So, I can imagine there could have been some behind the scenes conflicts.  Regardless, check out Cobra!  It’s a solid piece of action cinema!


Bullet to the Head (2013)

Bullet to the HeadI have no preface for this review except to tell you that Walter Hill and Sylvester Stallone are a blockbuster combination that have delivered an excellent, hard-as-hell and graphic action film that you MUST SEE!  Simply said, this has Walter Hill’s vintage style all over it, and I love it!  If Bullet to the Head signals a turning of the genre back to its best roots of hard edged bad assery, I’m all for it!

After the seasoned criminal Jimmy Bobo (Sylvester Stallone) and his partner Louis Blanchard (Jon Seda) carry out a hired hit, they are targeted by a mercenary named Keegan (Jason Momoa) who kills Blanchard, but fails in his attempt against Jimmy.  With the mark for the hit being a former corrupt Washington D.C. cop, it brings Detective Taylor Kwon (Sung Kang) to New Orleans to investigate who he was hooked up with, and why he was killed.  However, Kwon soon finds himself lethally targeted, and joins forces with Jimmy in order to weed out and bring down whoever wants them both dead.  The unlikely duo soon take on all who stand in their way, but where Kwon wants procedural justice, Jimmy is ready to exact brutal, unforgiving revenge.

I revisited both 48 HRS. movies within the last two months, and so, Walter Hill’s classic style is really fresh in my mind.  I am a longtime fan of The Warriors, but Bullet to the Head certainly follows more in line with that sort of buddy cop dynamic.  I could really feel that vibe coming off this movie right from the start, and it had me hooked in by the end of the opening credits.  I was loving this movie within the first five minutes, and it never disappointed me.  Aside from the modern technology aspects, this feels right at home with a solid 1980s hard-hitting action film, but Hill does throw in some modern style to update it a little.  Bullet to the Head has a neo noir edge to it, but it doesn’t go down the Michael Mann route.  This vibe is mainly due to large chunks of the film taking place at night, and we get some very appealing cinematography out of it.  There are some shaky cam tropes used every so often, but it’s far from being the worst I’ve seen.  There’s some restraint used to keep the action scenes really satisfying, and while I would’ve preferred more restraint or at least wider compositions, it did work quite well for this film.

Stallone is excellent through and through.  He shows that he’s still got what it takes to be a top tier action hero.  He is really in phenomenal shape showcasing a lean, ripped physique that presents a man that can clearly rip you to pieces.  Sly gets plenty of chances to show his physicality with some really bone crunching hand-to-hand combat in addition to all the brutal, graphic gun violence.  Yes, indeed, there are numerous people getting their own bullet to the head throughout the movie.  Acting wise, Stallone’s solid.  He really carries the dramatic weight of Jimmy well, much in part to his grizzled voice.  The film’s not dripping with emotional grief or anything, but you definitely feel Jimmy’s dead set determination in finding the people responsible for his partner’s murder.  The scenes Sly shares with Sarah Shahi, who portrays Jimmy’s tattoo artist daughter Lisa, are really well done.  There’s definitely a rocky relationship there, but not one of heavy friction.  They play well off of each other creating a mature and honest father-daughter relationship that has some weight and grit.

The humor in the film is really played out nicely between Stallone and Sung Kang.  The trailers did do it justice as it seemed a little low grade, but in the context of the film, it really had me laughing quite a bit.  I like how Kang’s Detective Kwon keeps poking fun at Jimmy’s age, and it’s handled in an almost bad ass way when Stallone retorts that still sells a laugh.  It’s nicely written and smartly performed.  Both actors really grasped the tone and chemistry the film was going for, and it kept the tone light and fun when needed in between the slam bang action scenes.  That is a perfect example of a 48 HRS. Walter Hill style and balance of tone.  The humor works with the hardened action tone of the film, and invests you in the characters in how they contrast and complement one another.  It’s certainly something not every director can do, but Hill proves he still has that skill.

I will admit that Sung Kang himself start out a little weak in the film.  He wasn’t really selling me for the first few scenes, but once he clicked into the chemistry opposite Stallone, he really fit in quite well.  Detective Kwon is a very by-the-book type of cop.  He’s using Jimmy only as a means to an end, and is quite set in his ways of adhering to the law all the way through.  So, there’s this tough, seasoned hitman paired with a rather mild mannered police detective who wants to keep what they do on the straight and narrow.  However, they regularly clash in stellar fashion creating both some of that humor, but also, a fine building of a relationship that keeps forcing them back together.  Still, despite Kwon being very conservative with his violence, he regularly impresses by having the skills to take down an adversary quite efficiently either by hand or by gun.  So, Stallone doesn’t get all the action glory.  Sung Kang has his fair chances to show us something unexpected and satisfying in that vein.  There might be some that feel he wasn’t the absolute best choice for this role, especially since Thomas Jane was originally cast in it, but I think he earns his merit before the end.  Beyond anything else, Kung and Stallone work very smoothly together making this a very entertaining film.

Now, I was extremely impressed by Jason Momoa.  His role of Keegan is a very stern faced killer, but one that is simply a massacring bad ass.  As his employers say in the film, he enjoys the work he does.  He takes pleasure in killing, and he gets a ton of chances to indulge himself.  He never just walks in to kill one person.  He’s there to kill everyone in sight, and Momoa delivers to us a genuinely sadistic villain that you’d love to hate.  He may only be a hired gun, a mercenary, but he fits right into that perfect role of like James Remar from 48 HRS or Andrew Divoff from Another 48 HRS.  He may not be the mastermind criminal, but he is the number one force to contend with and is the one that we really want to see taken down.  Momoa is really awesome in this role, and he seemed to have loved playing it.  He makes Keegan intimidating and heavily threatening, despite his impressive muscle bound size of 6’5”.

Christian Slater has a nice turn as the somewhat sleazy Marcus Baptiste, a rich lawyer who enjoys his women and narcotics quite a bit.  He only has a few scenes, but Slater does sell the antagonistic character with plenty of zeal.  Baptiste is working with the actual mastermind of Morel, an African gentleman portrayed with sophistication, arrogance, and amoral villainy by Adewale Akinnuoye-Agbajeas.  It’s a very subdued performance, but one that works quite well for the character.  Both actors gives us some firm antagonists with realistic motives that solidly fit the film and story.

And indeed, this is a hard R rated action movie with plenty of bloody gunshots and some explicit female nudity.  It’s been a long time since I’ve seen an action film be so casual and open with showing nudity, and it was very much a pleasing sight to my eyes.  Baptiste has a masquerade party where many of the masked women are wearing little else but those masks.  It was very titillating, but it does not distract the film away from its plot.  It doesn’t indulge in anything gratuitous beyond that.  Conversely, this may not have as much graphic violence as Dredd, but it surely lives up to that standard I just recently discovered.  Just like in Dredd, and again, living up to its title, people get shot in the head continually.  The film even sets up the need for it early on when a guy doesn’t go down until he’s shot in the head.  So, Jimmy Bobo is dead-on-the-mark, accepting nothing but point blank kill shots to the cranium.  While some of the blood splatter is likely CGI, it at no point did it distract from the awesomeness of this movie.  We get some big explosions in this that kick ass, and tell you that this movie is taking no prisoners.  It’s going to deliver that hardcore bombast that has been missing in most action films these days, and it’s gonna to do like only Stallone and Hill can.  What I really loved was when Jimmy and Keegan duel with those axes.  That is not something I believe I’ve seen in an action film before, and it seriously made for one really intense and suspenseful fight.  On wrong move, and you could be missing a body part.  It was a tremendously climactic and amazing action scene that amped up the level of tension and brutality that I wasn’t expecting.  From the trailers, I knew it was going to happen, but I didn’t expect it to be that damn good of a scene.  It was fuckin’ great!

I also really loved the score by Steve Mazzaro.  It’s very bluesy with some hard electric guitar and prominent and beautiful use of harmonica, giving this a real seasoned and down to Earth feel.  It sets a real down south vibe for this New Orleans set film that really just works amazingly well.  However, most of the action scenes are very minimal on music.  At most, you get a little underscore for a low end vibe, but mostly, you’re hearing the sound effects of guns firing, fists crunching bone, bodies slamming into hard surfaces, and axes clanging together.  I think that worked excellently with this very hard edged action as there is a lot of impact with those sound effects.  They really enhance the brutality of the movie, and I couldn’t have asked for anything better.

Seeing both this and Dredd within the same month really energizes me into believing that hardcore R rated action movies are making a genuine, high quality comeback.  Talented filmmakers, both old and new, are delivering to us some really amazing movies lately that are giving the action genre that hard hitting adrenalin shot it needed.  Stallone is in top form and clearly enjoying himself in this movie, and he was in masterful hands with Walter Hill as the director.  I had a HELL of a great time watching this in the theatre, and if a friend of mine was going to see it later, I’d tag along for a second viewing.  Bullet to the Head is a fun, exciting, ass kicking 90 minute thrill ride that is worth taking more than once.  It keeps itself simple by not trying to complicate the plot with any big twisting narrative.  It’s very straight forward and right to the point.  This is one awesome movie that satisfied me from the very beginning to the very end.  And this is literally a movie that starts with a bang!  I give Bullet to the Head a definite SLAM BANG recommendation!  This year now has a lot to live up to in terms of action movies for me, and I damn well hope it delivers.  So, 2013 – you have been put on notice!