There seems to be an idea out there somewhere, I don’t know where it came from, that Predator 2 is a markedly inferior sequel. This is wholly unjustified. Surely, everyone has their own opinions on how this measures up to the original classic, but to me, this is a great follow-up which expands on the ideas and premise in exciting new ways. Predator 2 contains numerous admirable qualities, and is helmed by a director with a great eye for sleek visuals. Anything it doesn’t recreate from the original it replaces with a higher energy and larger scale action.
In the urban jungles of Los Angeles, Detective Lieutenant Mike Harrigan’s (Danny Glover) police force is at war with drug lords and gangs. But just as Harrigan admits he’s losing the fight, one by one, gang lords are killed by a mysterious, fierce adversary with almost supernatural powers – the Predator. Before long, the vicious creature begins to hunt the hunters – Harrigan’s men. Now, Harrigan doesn’t just want to bring the creature in – he wants to bring it down. However, he is hindered along the way by government Special Agent Peter Keyes (Gary Busey) who has a shady motive to his secretive investigation who knows more about this ultimate hunter than Harrigan even suspects.
Surely, you would think going from Arnold Schwarzenegger to Danny Glover would be a strange swerve. I always imagined that if this was made a few years later that it would be Wesley Snipes as Mike Harrigan, but I’ll be damned if Glover doesn’t deliver here. The character is designed as a seasoned cop who’s been fighting this unrelenting war on the Los Angeles streets for a long time. He’s dogged, inventive, and is a cop who plays by his own rules, taking a backseat to no one. Glover portrays this with the rugged determination of a consummate street cop. He doesn’t like the politics that get rammed down his throat, and he slickly, yet passionately sticks it back in their faces. However, he is wholly loyal to his team, and treats them with respect as comrades in arms because they are fighting a war. Glover also demonstrates the emotional depth of Harrigan when his closest friend, Danny Archuleta portrayed by Rubén Blades, is gruesomely killed by the Predator. The flashes of enraged vengeance, and the heartfelt moment at the gravesite show Glover had the talent and skill for this role, which also demanded a lot from him physically. He greatly delivers on that end, too. I think making him a distinctly different protagonist than Dutch was the right way to go.
Many will indeed enjoy Bill Paxton’s performance as the jokey Jerry Lambert. He’s the newest member of Harrigan’s team known as “The Lone Ranger.” He’s a guy that’s gotten a lot of ego stroking and glory, but he quickly becomes an enthusiastic team player. This is Paxton at his full charismatic and comedic richness. He adds the levity to break up the grisly heaviness of the film. The rest of the supporting cast is filled out by Rubén Blades and Maria Conchita Alonso as the seasoned members of Harrigan’s team. Both bring their top level enthusiasm and talent adding to the cast’s vibrancy. Then, we get the late, great original king of trash television Morton Downey, Jr. as the appropriately cast tabloid sleaze-miester Tony Pope. He’s puts in a fantastically entertaining performance.
Now, Arnold Schwarzenegger was approached to return for this film, but he turned it down to do Terminator 2. Thus, his role was rewritten as Peter Keyes and re-cast with Gary Busey. I think this was an equally beneficial turn of events. The story works supremely better not knowing what Keyes’ agenda is, and allowing for him to be an adversary and foil for Harrigan. Busey does an excellent job bringing forth his signature energy and leaning Keyes towards the smarmy, shady side. He’s smart and cunning, but still a self-serving government agent who cares more about his findings for the military than Harrigan’s war on violent gang crime.
Also, I love the Jamaican gang here. They are totally savage and chilling with King Willie being fantastically awesome. He brings the mysticism into the fold with a wickedly cool scene opposite Harrigan, but also, a greatly visualized confrontation with the Predator. Calvin Lockhart is so awesome in this role. The theatricality, mystique, and powerful presence he brings entirely does justice to his Royal Shakespeare Company roots. He delivers my favorite performance of the movie. Knowing that director Stephen Hopkins was born in Jamaica, it doesn’t surprise me how rich and memorable these characters are here.
The visual effects are distinctly improved from the first movie. The Predator vision is the most obvious example as the infrared and other modes have more distinct color separation and possibly are of a higher resolution. The optical effects of the Predator’s cloak are used more dynamically and are integrated into more complex environments. We see it in more motion and detail. My favorite effects shots in the whole movie are when the Predator squares off with King Willie. First off, the tracking shot of the cloaked feet walking through the water is brilliant work, and then, the reveal of the Predator in the rippling puddle is awesome. Seeing how these are done in the featurettes on the Special Edition DVD are astounding and what I’ve always loved about movie magic. These striking, innovative images are largely due to do director Stephen Hopkins’ great visual style.
Teamed with regular director of photography Peter Levy, Hopkins gives Predator 2 its own unique visual sleekness. It has a great use of dynamic, intriguing angles. The action is captured remarkably well, and we even get a few scenes of atmospheric, moody lighting. Two of the best shot scenes are, first, inside the slaughterhouse bathed in blue light where the Predators assaults Keyes’ team, and then, the entire climax inside the Predator spacecraft. Counterbalancing that blue with a largely orange color scheme there is another sign of Hopkins’ great visual sensibilities. Beyond just the color schemes, these sequences have great use of sweeping cranes and steadicams shots enhancing the production and artistic value of the film.
This new Predator is recognizable, but has a bit different look and feel to him. He feels more brazen. He’s taking bigger chances, and taking on greater numbers. Hunting in a major metropolitan area means he’s attracting more attention to his work. So, he’s not as calculated, in general, but when he finds a prey he really likes, such as Harrigan, he takes his time to study him. He also taunts Harrigan as if he’s issuing an honorable challenge. I very much like that the filmmakers did this to show, even subtly, that this is another unique individual with his own personality, but with the same objective. It’s also great seeing the arsenal expand with the telescoping spear, the projectile net, and the flying disc. It gives the impression of a larger safari at hand where he’s equipped for bigger game. Kevin Peter Hall, yet again, does an awesome, exceptional job overall. He defined this role so perfectly, and it is a terrible shame that his life ended only a few years later. However, what he did laid the template for others to succeed him in this franchise.
The strengths of Predator 2 is that it is much more energetic and diversely entertaining than the original. The pace is faster as there is more going on here between the gang wars, Peter Keyes’ shady dealings, and Harrigan’s own dogged investigation. The action sequences are bigger and more dynamic allowing for a higher body count, but not as much gore. The film originally gained an NC-17 rating, but likely, Fox panicked and did more aggressive editing to secure an R rating. There is still blood abound and plenty of violence, but far less cadavers begin ripped apart. What we do see in that regard is obscured or done in heavy shadow. So, it ups the energy and action, but reduces the graphic content a little.
I would agree that these characters are not quite as captivating as those in the original. Neither film delves deeply into their characters, but it’s just the nature of battle hardened soldiers in a ominous jungle versus tough, seasoned cops on the streets of Los Angeles. One if inherently more intriguing than the other. There’s a little more levity in this film akin to a wisecracking John McClane in areas as Harrigan’s fear manifests in a few humorous quips. Since the film focuses more on an energetic pace with a more divided focus, there’s little mystique about the Predator himself. Again, he’s much more blunt and brazen, but you do lose that intensely dramatic build up to the third act. The Peter Keyes subplot sort of veers the emotional drive of Harrigan off-track, and the climax just becomes about having to stop this alien one way or another. There’s no more survival aspect, just hero versus villain. There is some peril throughout the third act, but none of it rivals the dire lethality and immediacy of the first film.
Still, the little teases we get at the end with both the Alien skull in the trophy room, the reveal of the half dozen other Predators onboard the spacecraft, and the flintlock pistol with the engraving of the year 1715 on it lay big seeds for a follow-up. However one might have felt about this movie, it surely left you intrigued to see how the next film could expand on these concepts further, but a proper third movie would not see fruition for another twenty years.
Predator 2 may not hit all the great qualities of the film first, but has entertaining trade-offs making it a more lively, faster paced action film. It again has a solid cast filling their roles with vibrancy. The violence and intense action are enhanced by stylish, sleek visuals and excellent editing. The optical visual effects are stunningly impressive pushing the ambition further, and with more time to plan, Stan Winston Studios developed the Predator further with great new weaponry and a fresh look. Alan Silvestri also returns adding some new flavors to his original themes, and adapting some of the feel to this film’s style and content. I would like to pay tribute to Kevin Peter Hall, Calvin Lockhart, and Stan Winston who have all passed on since this film’s release. All three did stunning work here that deserves notable credit and praise. This franchise, outside of the AVP films, has maintained a fairly steady stream of quality. The screenwriters of the first movie returned to expand on their own concepts, and it was executed very well by a competent and capable director. Predator 2 s definitely worth your while. It’s not as slam bang amazing as the first, but it’s a largely worthy sequel.
The late 1980’s was the debut of a new action star – Steven Seagal. By the dawn of the 90’s, he had already done Above the Law and Hard to Kill, but he was still finding his footing. However, Marked For Death finds him successfully planting his feet and launching forward with a gritty, hard edged action blockbuster. Helmed by Dwight H. Little, who I’ve found to be a very solid director starting with Halloween 4, this delivers qualities that I find severely lacking in modern action cinema. Here, Dwight Little demonstrates his merit alongside Seagal in excellent fashion. This is my best friend’s favorite Steven Seagal film. So, I hope I do it justice for him.
Burned-out after losing his partner on the job, Drug Enforcement Agent John Hatcher (Steven Seagal) hopes to find some calm and serenity by returning to his hometown. But things at home have changed and not for the better. Jamaican drug lords, led by a black-magic high priest named Screwface (Basil Wallace), have completely infiltrated the small town. But this gang soon learns that they’ve met their match in John Hatcher, and all the mystical voodoo in the world won’t be enough to stop Hatcher’s wrath!
I think this would be a great double feature with Predator 2 due to the Jamaican drug gangs in both. The spooky ritualistic and mystical atmosphere around them is very compelling. Screwface, a hell of a weird name if I’ve ever heard one, is a scary, psychotic bad guy. He’s right off the deep end, and like something from your darkest, twisted nightmare. His piercing eyes are haunting, and the fact that he almost never blinks when that fiery intensity is burning inside him enhances that quality. He masterfully builds this aura of mystique around him with a very effective and authentic Jamaican accent. This is a wickedly awesome villain that adds so much horrific danger to this film.
I will admit that Seagal has never been a very dynamic actor, but he carries the dramatic weight and emotional drive of this film well. Along with Dwight Little’s direction, you see the subtle emotion surface when he sits at the hospital bedside of Hatcher’s niece portrayed by Danielle Harris. Seagal can bring some charm and light charisma to the screen in the right moments. Then, when he gets into the heat of the action you see that ass kicking wisecracking bad ass that made Seagal the action star that he was. He’s entirely confident and sharp in this outing showing that this is his signature style, and it couldn’t have been showcased in a better, smarter action picture.
Teaming him up with Keith David just makes everything more bad ass. He brings a wealth of charisma and weight to Max, Hatcher’s old army friend. He’s a tough guy who is ready to take back his community because he cares for the children he teaches every day. So, there’s the light-hearted friend, but also, the skilled soldier ready to unleash a maelstrom on these gangs that are decaying his neighborhood. David’s wide range of talent from the tough bad ass to the heartfelt humanity makes Max a strong complement to Seagal’s more cool, calm, reserved, yet dead-set, bone breaking violent style.
If you want to see Seagal in his most violent, hard edged prime, this is it. These Jamaicans are ruthlessly and graphically violent, and so, John Hatcher has to be a man who is equally as severe. The action highlights are many, but I really enjoy the shootout and fight in the high end department store. It starts as a car chase that crashes into an awesome assault with guns and martial arts violence. And this film keeps upping the action, peril, and explosive caliber. As Screwface becomes more dangerous, so does Hatcher. This is sharp, sleek action with tons of punch that will leave thoroughly satisfied and then some. It’s all evenly paced allowing the story’s momentum to build up tightly while delivering something fresh, dynamic, and exciting at a regular interval. It’s really damn good stuff.
I also find it admirable that this film makes a point to show that they’re not making a stereotype out of Jamaicans. There’s a Jamaican police assistant who is an honest guy that aids Hatcher later on. The film even takes us into Jamaica where we see the people in their vibrancy and hardships. While it was not necessary for the filmmakers to do this, I find it the mark of a well developed and fairly balanced crafting of ideas. If they are going to delve so much into the culture for these abhorrent criminals and killers, it adds more depth and richness to show it in context to the reality of the Jamaican people. The score by the incredible James Newton Howard blends those Jamaican sounds and beat into the film appropriately. His music highlights and drives a fair amount of the action, and brings the flavor of the narrative to just as much life as the visuals.
It’s oddly appropriate that the director of photography on Marked For Death also shot the last film I reviewed, Cobra. Here, Ric Waite gets the chance to work with the wider scope format, and he does a remarkable, rock solid job. He crafts a great atmosphere when Screwface is in his element through smoke, candles, and just excellent moody lighting. The action is perfectly framed with some occasionally intriguing angles, and all around, it’s a greatly lit and photographed film.
And this film has an amazing twist at the end with Screwface’s perceived magic. Not at all would I spoil this for anyone because it’s stunning moment of awe when it happens. Just when you think Hatcher has all things vanquished, it turns around on everyone, and results in another fantastically executed action sequence. I mean, who doesn’t love a good swordfight? It’s one bad ass ending the trumps even what came ten minutes before, and solidifies the hard hitting, take-no-prisoners action intensity of this picture.
Pack all of this in tightly to a 90 minute runtime, and you’ve got an action film that strikes out with killer excitement. This is undoubtedly one of Seagal’s absolute best films, if not the best. He pulls no punches, takes no prisoners, and delivers a performance that adds some sly wit in between the emotional fire underneath and the up front bone-cracking bad assery. Adding further to that bad ass quota, the opening sequence features a small role by Machete himself Danny Trejo. Backed by a director who I’ve always thought deserved a more high profile career because he is that damn good, Marked For Death delivers it all. Today, you got a lot of ridiculously over-the-top action films that devolve into cheesy and even campy indulgences. In this film, you get a lean, hard hitting movie that never softens the blow with those silly distractions. They can have their place in the genre, but we do not get action films like this anymore. Not this well made, and not going straight on for the throat leaving no blood un-spilled. Just go watch it, now!
This movie boasts the tagline of “The most terrifying film you will ever experience.” Frankly, that should be taken as merely a marketing idea used to generate interest and talk about the movie. Still, it requires a response from pretty much every movie reviewer out there. For me, no, it was not at all the most terrifying movie I have ever experienced. My feelings on the film are mixed. This has something to do with whether it is a good remake or not, and almost as much to do with if it’s an effective horror movie.
Five twenty-something friends become holed up in a remote cabin with the intent of allowing their friend Mia (Jane Levy) to undergo a full detox from her drug addictions. However, when they discover a Book of the Dead, they unwittingly summon up dormant demons living in the nearby woods, which possess the youngsters in succession until only one is left intact to fight for survival.
I go into these remakes with the intent of judging them on their own merits because do so otherwise almost dooms you to hating it outright. However, even though it has been a while since I’ve last seen The Evil Dead, it’s not a complicated movie to remember. Partially, I feel this is a movie best experienced if you haven’t seen the original because I found myself sort of just waiting for it to get to the point. I saw it going through a couple of the motions from the original as well as setting up its drug intervention plot, and I was just waiting for it to get the new, good stuff. This is just the first act of the film, but the film does feel a little uneven in never really giving you a sense of distinct plot progression. This is partly due to knowing the original as well as I do. Knowing how the original was plotted out, where the story turns were, and how and where it ended caused a problem for me here. This remake lead me down the same path that the original took for long enough to where I anticipated it continuing down that same path, but then, only after I began to believe that did it throw a major swerve at me. My knowledge of the original film worked against my enjoyment of the remake because it kept making me believe it was going to do the same thing when it wasn’t. In the second act, there’s enough familiar material with a new spin on it to make it interesting, but it’s still familiar material that will stir up memories of what made those moments classics in the first place and how they are just here for fan service. They are surely well done moments, never betraying the severely serious horror tone, but yeah, they were just better back when they were original ideas instead of retreaded concepts.
This movie surely has some frightening scenes and definitely one terrifying moment. I did get some serious chills running through me at various points, but it took until all hell broke loose before any of that happened. Up until then, it was cheap jump scares of dark figures just lurking in the distance not actually doing anything, or having any relevance to what was going on. Even the reprise of the tree rape scene just felt monotonous because it was nothing new to me. Again, it’s an example of being familiar with the original being a detriment to experiencing this remake. I’m sure someone seeing that cold would be very frightened and unsettled by it. Ultimately, the film is a mix of creepiness, skin crawling sickening imagery, jump scares, and shock horror. I can get into the first two, but the latter two mostly left me a little lukewarm. As I’ve said in many previous horror movie reviews, it takes no talent to just soak the screen with gore, or have something jump out at you abruptly. I give more credit to well crafted suspense and tension, which there is some of that here, but mostly, Evil Dead wants to be shocking and creepy. There are a number of effective moments of frightening gore, but the movie didn’t keep me wrapped up in tension and fear.
The make-up effects are indeed top notch. The people responsible really did a fantastic job creating a very raw and visceral look to all the gore. This all looked like practical blood splattering everywhere, and the make-up work on the possessed characters was well done, even if it lacked originality. Frankly, their make-up design was more akin to Linda Blair in The Exorcist than any Deadites we saw in the original Evil Dead trilogy. The self-mutilation also follows more along those lines instead of the demon possession simply disfiguring each person by default. Frankly, yes, the self-mutilation is simply there for more shock value, which is fine, but it only carries the film so far. What worked better in the original was the severe whirlwind of insanity the characters were caught up in, but I never felt like this film jacked itself up to that level.
The film is nicely cast with a few good talents, and a few that were just forgettable. My favorite was Lou Taylor Pucci, who portrays Eric the very 1970’s looking friend who does unleash the evil, but is ultimately the one guy with his head screwed on straight to understand what’s going on. You have to respect those characters in a horror movie. The guy that knows what has to be done, and doesn’t disillusion himself about any of it. Everything’s gone to hell, and he’s ready to do whatever it takes to end it. Jane Levy is also stellar. She takes Mia on a very wild ride from the troubled addict to the psychotic and manipulative demon possessed girl to a completely different turn in the final act. She’s got some excellent talent, and she shows some special diversity with all she is saddled with in this role. Shiloh Fernandez is fairly good. He doesn’t standout too greatly, but he does a good job that services the role well. As David, Mia’s brother, he has moments of compassion, conflict, and conviction with the latter two being his strong suits. Those are the aspect where he becomes a stronger presence on screen. The other two ladies on the cast are the forgettable ones. Jessica Lucas’ Olivia, the friend with some kind of medical knowledge trying to ease Mia’s withdrawal symptoms, just came off as heartless and unlikeable. For a friend trying to cure Mia of her addictions, she felt a little too much like a borderline bitch than a caring friend. Elizabeth Blackmore as David’s girlfriend is even more bland to where she might as well have blended into the cabin’s woodwork.
Where the original movie was a very rough quality movie shot on 16mm film, this remake is extremely polished. I’m sure that might turn some people off who feel the remake should adhere to that same quality, but for what it is, this Evil Dead is magnificently well shot all around. There’s some very moody and atmospheric hazy lighting in the daylight scenes. The woods are covered in this low hanging fog that just creates a beautiful grim visual. There is a great use of darkness to unsettle you, and even create the most terrifying moment in the film for me. There are things jumping out of the shadows, and then, there’s something frightening creeping out the shadows in the most unreal way possible. The chills hit me worse than a subzero winter breeze. The color palette of the movie is also very dark, dreary, and grounded. It has its own gritty quality despite the polished production values.
Now, I almost think the movie is too ambitious for its own good. I like that the film does throw serves at the fans of the original, and gives you an entirely different third act. It is well setup earlier on, but is entirely unexpected. It’s an intense and excellently done climax with plenty of blood soaked mania, but it’s almost being so severely different because it has to be. In order for this to be a distinctly different film in concept and execution, it had to do something very ambitious and extreme. In execution, this unexpected climax is amazing, but I’m not so wowed by the concept of it. Again, this is a point where being a fan of the original is a mixed bag. Yes, you get surprised when the film begins to take on its own path, and throwing ideas and twists at you that you didn’t expect. Yet, when they happen, it took me a while to actually accept them at face value, and bend my mind a little more to follow their creative direction. It’s hard to explain my reaction in detail without delving into spoilers, which I try to avoid in reviews of newly released movies. Simply said, a new form of evil emerges after there is a near polar shift in fate for one character, and it seems like such a severe story twist that I’m not sure it’s really earned. While these ideas and elements are all setup earlier on, it takes a bit to really accept them as reality in this story.
I’m sure there will be people who find this to be a very frightening theatrical experience. Those that do get scared to death by shock horror and a few jump scares will love this. The creepiness is not as abundant as either of those or the sickening display of gore. This is surely far from being a bad horror movie or remake. I just think that if a remake is going to take things down its own path, it should stay on that path and not try to constantly throw swerves at you. Either be original or be a retread. I don’t like a film that does half-and-half. There are nice tips of the hat to those that love Sam Raimi’s 1981 classic that are subtle, but the direct carbon copy story beats when it repeatedly shows the capacity for original ideas did detract from my experience. If you do have an open mind, you should go see this as it is a well made horror movie, but it is far from being the best or even most terrifying one I’ve ever seen. For those that do go see it, there is a post-credits scene that is indeed “groovy.”
People like to rag on Michael Bay a lot, but most forget he has a few gems amongst the over bloated messes in his filmography. Quite frankly, I believe his first movie was his best, and that is indeed Bad Boys. Burdened with a really bad script written for a Dana Carvey / Jon Lovitz comedy vehicle, Bay relied heavily on the comedic smarts and chemistry of Martin Lawrence and Will Smith to salvage it with extensive improvisation. What he got was an exceptionally well made, tightly paced, and sharply stylized charismatic action hit.
One hundred million dollars worth of confiscated heroin has just been jacked from police custody. Once the career bust of Detectives Mike Lowery (Will Smith) and Marcus Burnett (Martin Lawrence), the missing drugs now threaten to shut down the narcotics division of the Miami Police Department. The thieves turn deadly when they murder one of their own, a once crooked cop, and Maxine, a beautiful call girl who was a close friend of Mike’s. Now, the only witness to this double murder and the link to recovering the dope is Maxine’s friend Julie (Téa Leoni), who must come under the protective custody of Lowery and Burnett before these criminals eliminate her permanently.
What really grabs me about Bad Boys is how sharp and funny Lawrence and Smith are. These two have excellent chemistry that would be hard to constrain, but I think Bay had himself in sync with these two. He directed their banter down the right line which wholly fits their characters, and never allows it to go on a wild tangent. I like the quick scenes early on that just have them trading comedic blows, but it serves a purpose to build the characters and establish their relationship. The opening scene is a big favorite of mine. This is Michael Bay focused and driven to deliver something impressive. He had something to prove in his directorial debut, and the script he had was so horrible even he called it a “piece of shit.” I only wish he still had those standards today. So, it was a lot of pressure making Bad Boys, but he surrounded himself in extremely talented individuals like Smith and Lawrence along with two blockbuster producers to make this a success.
This has all the hallmarks of a Don Simpson / Jerry Bruckheimer production. It’s slick, stylish, fresh, and exciting. I miss the time where producers like them or even Joel Silver alone influenced the quality and style of the movies. They were as big of a mark of quality as the right director. Bay’s style is also evident here with a lot of dynamic camera angles, beautiful dramatic lighting, and some gorgeous sweeping camera movements. Bay creates a very visually stunning work that energizes the movie, raising it up to a very high quality cinematic level. It absolutely has that 1990’s music video visual scope and beauty which was essentially originated and refined by Bay. There’s some elegant and artistic production designs throughout that just give it an extra flare of style that does feel very Miami. The film also has very tight editing keeping the story moving forward at a great clip. Unlike many later Michael Bay films, it doesn’t languish on indulgences in comedy and frivolousness. Yes, there are almost straight comedy bits in there, but they just add to the fun of the movie.
The dramatic aspects of the film are handled as amazingly as the comedy. There are several moments in the film where the impact of Maxine’s death reverberates and resonates. Bay gives it epic weight to propel the motivations forward for Julie and Mike. In many of Bay’s later films, those qualities are often drowned out by too much bad comedy or just poor characterizations. Here, he shows he knew how to do it right.
I know there are many who find Martin Lawrence irritating, to say the least. I can see that, but I just feel he does his best in this movie, especially when he has someone like Will Smith to work off of. Marcus Burnett is a guy with a lot of stresses on him from not getting his “quality time” at home, and the constant danger everyone keeps getting him into. The biggest being having to impersonate Mike for the sake of securing Julie, who trusts Lowery solely, and being forced to lie to his own wife about the arrangement. So, the wiseass quips and abrasive attitude are dead-on-the-mark. It also creates the classic buddy cop dynamic of conflicting personalities. Mike is smooth and competent while Marcus is more excitable and apprehensive.
Of course, Will Smith is charming and charismatic, but injects a lot of toughness and conviction into Mike Lowery. He’s not just a smooth player. He’s a dedicated, determined, wicked good cop that works situations with savvy and sharp aggression. Mike might be a rich kid with a comfortable lifestyle, but as he says he “pushes it to the max every day.” It’s a great dynamic between Burnett and Lowery, and this performance showed Will Smith to be a vastly marketable leading man and action capable actor. Proving that statement is the fact that his very next film was Independence Day.
Téa Leoni is really great. The panicked, emotionally unsettled part of her performance has a lot of weight and depth. Yet, she makes the transition to the lighter tone smoothly with really good chemistry with Lawrence. She becomes even more enjoyable when Julie figures out that Marcus is really Marcus, and not Mike. She plays around with him, and that just adds a little more intelligence to her. Most of all, Leoni creates a very sympathetic and likeable character.
While Joe Pantoliano portrays almost the stereotypical angry police Captain, he’s great at it. As always, he’s smart and funny. Captain Howard barks orders with the best of them, but you understand the stress he’s under. The biggest bust his department’s ever achieved is lost, and all of their jobs are on the line under a very tight timetable. He has to motivate his detectives to work fast and smart before all their time and luck has run out. So, Pantoliano has that relatable quality where his yelling never overshadows the consummate cop underneath.
Tchéky Karyo gives us a fairly good villain. If there’s any weak area of the film it’s not his performance, but Fouchet is not well developed. It’s rather generic, but Karyo elevates it to a higher level through his very good presence and subtle touches he puts into it. He can evoke a calm tension when he speaks softly, but can really punctuate greatly when the aggression is unleashed. If Fouchet was a stronger villain on the page, I think the film would feel like it has a beefier pay-off.
I absolutely adore Mark Mancina’s score. The main theme is beautiful and perfect with its slight Latin flavor, hip hop rhythm, rock electric guitar, and epic scale strings. It’s an inspired meshing of musical styles that feel just perfect. His overall work on this movie was big, heart pounding, and dramatic flowing perfectly with Michael Bay’s directorial style. The entire soundtrack just hits the right 90’s intensity and style all the way through.
If there’s one thing that I’ve never seen disputed about Michael Bay is that he knows how to do action sequences amazingly well. He really is a master of epic action using score and weighty slow motion shots to intensify every dangerous scenario. The entire climax is excellently done with plenty of explosive moments and greatly satisfying action. The final car chase is insanely intense with its great use of tight close-ups, tense, pounding music, and extremely tight editing. The violent, dramatic quality of it all is just masterful. This really does follow in the tradition of Tony Scott, but pushed to the next level. That is probably much due to the Simpson / Bruckheimer backing.
While the story is rather simple and straight forward, it is populated with a lot of fun. Bay keeps the mix of dramatic momentum and comedic wit appropriately balanced. The comedy might be in abundance here, but it never dilutes or dwarfs the dramatic urgency of the storyline. Both the comedy and action stick strongly in your mind after the film’s over. It all just blends together smoothly and smartly for a wildly entertaining and fun ride.
Bad Boys really set the tone for late 90’s action. Very polished and stylized cinematography, largely dramatic slow motion action, and just an epic feel all around. It launched the careers of Bay and Smith into the stratosphere as two the biggest blockbuster names around, and for good reason. While Bad Boys isn’t as big of an action movie as either of them or Simpson / Bruckheimer were involved with, it’s greatly fun, exciting, and spectacularly made. Sharp, smart, and beautifully shot, this vibrantly showed that there was talent here to harness. These days, I think Michael Bay could use some restraints and more focused vision like he had here. Even Bad Boys II came off a bit over bloated and self-indulgent by taking what was great in this first movie and amplifying it beyond what it needed to be. Still, if a third movie ever does eventually get made, I’m sure I’ll be game to give it a fair chance as you should definitely do for this movie, if you haven’t already.
So, after watching The Exterminator this morning, I chose to follow that up with a 1988 entry into James Glickenhaus’ filmography starring Peter Weller and Sam Elliott. Backed by Universal Pictures, this film is a warp speed jump ahead in polished filmmaking, tight storytelling, and an entertaining picture with lots of energizing action. Yet, it has plenty of substance and strong characters realized by great actors. Shakedown was a fun ride that I would like to share with you now.
When a local drug dealer shoots a dishonest cop in self-defense, lawyer Roland Dalton (Peter Weller) and renegade undercover cop Richie Marks (Sam Elliott) join forces to clear him. But when their investigation leads them into a maze of greed and corruption, they learn that in a town where everything is for sale, anything can happen. Amidst this, Dalton realizes the prosecutor in this, his last case, is a former love interest, the smart and sexy Susan Cantrell (Patricia Charbonneau). Throughout the trial Roland rekindles this former affair with Susan unbeknown to his fiancée Gail (Blanche Baker). All of this twists and turns around Dalton and Marks as they battle through the web of corrupt cops who’d sooner see them dead at every turn.
This is a top notch movie all the way through. We’re given a story that is sharply put together that always holds your attention, and keeps something moving forward at a tight rhythm at all times. There are enough interconnected threads to allow the film to do that, but not remotely so many as to complicate things. The trial of the drug dealer ties into the corrupt dealings of these New York cops, and with Dalton being the central focus of this plot, his own personal relationships branch out from that. So, there’s always something unfolding and weaving its way into the momentum of the story to keep that energy and pace up. Yet, even though the film has a polished style, it still delves into that seedy underbelly of New York that James Glickenhaus enjoyed spotlighting in his films. So, we get something sharp, sleek, and immensely entertaining while still having that underlining presence of the sleazier side of things. Glickenhaus hits the mainstream with great success fueled by a very well written script, and a spectacular cast of talent at his disposal.
Peter Weller is just amazing in this movie. As Roland Dalton, he’s a very charismatic and lively guy who loves his Jimi Hendrix and has plenty of enjoyable flare. He’s a very relatable and intelligent character portrayed by an actor who exemplifies those qualities. Weller works the courtroom scenes with compelling energy and sharp wit. He also carries strong emotional and dramatic weight throughout the film. The building romantic relationship with Susan is touchingly handled with beautiful chemistry. It help creates a full, well-rounded character that has various aspects to his life that all tie into the threads of the plot. Weller really does have the meat of screentime, and thus, properly gets top billing. Weller’s character never shies away from action or danger in his pursuit of truth. He regularly gets himself into dangerous scenarios, but is able to handle himself competently. Weller takes all of this in stride melding together a very fascinating, dimensional, and entertaining character. I loved watching him every minute he was on screen.
Of course, this takes nothing away from Sam Elliott who fits comfortably into this rugged loner. Richie Marks is very grounded, soaked into the thick of the grit of the city. We first meet him waking up in a 42nd Street grindhouse movie theatre with crack vials littering the floor, and brushing his teeth in the graffiti laden restroom. This is a guy whose luck is just about dried up, but he’s still a solid cop that can rundown the worst the New York streets have to offer. Sam Elliott was only 43 years old when he made this film, and so, his shaggy gray hair and beard make him look older and gruffer than he truly was. Thus, he was still able to throw himself into some physically demanding action scenes, which are great. Elliott has a sly personality and fine charisma that make Richie charming in contrast to the filthy environment he surrounds himself with. He’s a straight arrow cop that knows the crooked dealings in the department, but until now, hasn’t had much motivation or back-up to do anything about it.
Elliott and Weller simply work excellently together. It’s not the typical buddy cop formula where two conflicting personalities clash with a single purpose to bond them. Dalton and Marks might be distinctly different in how they lead their lives, how they present each other, but they are similar-minded men of law and justice that don’t need convincing to join forces. They’re friends from the outset, and we see they are more alike than superficial appearances would suggest. The two actors are tight fits, and have a sharp chemistry and wit that keeps the film energetic and entertaining.
Every other actor in this film does a tremendous, expert job. I’ve loved Larry Joshua in everything I’ve seen him in, and he portrays the main corrupt cop Rydell. He’s got that streetwise, slimy quality mixed in with Joshua’s usual charismatic edge and energy. Rydell is enjoyably corrupt with just the right amount of despicableness to make a villain you love to hate. You really want to see him taken down well before the end Patricia Charbonneau is excellent as Susan Cantrell. She brings a lively vibe with her, but balances that with a solid, assertive dramatic presence in the courtroom scenes. It’s a full, well-rounded performance that holds up strongly opposite Peter Weller. Richard Brooks, who portrayed Paul Robinette on the first few seasons of Law & Order, portrays the drug dealing Michael Jones, and he is a really, strong fit for this role. It’s also a very well written role that works very much to Brooks’ strengths, and he couldn’t be better. And for those that love him, John C. McGinley has a brief energetic and funny role as a lawyer and friend of Dalton’s. There are no weak links in this cast anywhere at all.
Shakedown also has some first rate action sequences. Glickenhaus seems very proficient in this realm as he always finds a way to amp up the scene at some point beyond your expectations. He never settles for the standard chase scene. He adds something especially exciting on top of what already was a damn good sequence, and gives you that memorable punctuation. I was genuinely blown away at the intensity and impact of many of these scenes. They really deliver in full force on every bit of adrenalin and pay-off you’d expect from a solid action film. And I love that the film easily balances the action with the drama of the story. The struggle for justice in the courtroom is given as much poignancy as the crime on the street. They go hand-in-hand with this story, and it’s great to see that both sides are executed equally as well making for a very satisfying narrative.
As I mentioned, there’s more to the film than just action. With Roland, you can see that the relationship with his fiancée does have its turbulence, but doesn’t come off as something that’s falling apart. He starts out as a man on the verge of changing his life with a new career and a wedding on the horizon. However, the man that he is becomes anchored by Susan coming passionately back into his life both professional and intimately. It strikes a sentimental and deep chord with Roland, and I love where the film takes him by the end. It’s a very satisfying character arc, and it never feels clichéd or contrived. It’s smartly written with touches of levity, tenderness, and honesty. All of the dialogue in the film is smartly written highlighting personality throughout, and keeping things fresh, sharp, and entertaining.
Shakedown is also really damn well shot. I liked the use of wide angle lenses which highlighted either the excellent scenery of New York, or simply enhanced some big, dramatic action shots. The film has a slick, polished quality that still delves into the seedier areas of 42nd Street with the grindhouse theatre and a sleazy sex club. We get some nice uses of light and shadow mixed with neon colors that create a solid atmosphere. There is nothing here that is not shot superbly. I find it amazing what good filmmakers could do with $6 million back in the 80s. This film is high quality all the way with great authentic on-location shoots in New York, crane shots, steadicams, and just a big budget polish to everything while never losing an edginess or personality for the film. The editing is also excellent. Editor Paul Fried had a short career that ended the following year, and it’s a shame because I can’t levy a single critique against what he did here. It’s an exemplary editing job from start to finish. It’s tight and sharp hitting all the marks and beats dead-on-the-mark.
The music of Shakedown is also really good. It’s a solid action score using more of a rock driven style that really complements the energetic quality of the film. Jonathan Elias doesn’t have many notable credits to his name, but the fact that he worked alongside John Barry, the regular composer of the James Bond films through to The Living Daylights, is a big mark of quality in my eyes. If this film is any example, he learned quite a lot from Barry, and applied to with his own style that couldn’t have been better for this film. Add in a little Jimi Hendrix “Purple Haze” and a solid upbeat rock/pop tune to close out the film, and you’ve got something that is greatly appealing and fun. It’s a shame no soundtrack was ever released for Shakedown, and that aforementioned end credits song “Lookin’ For Love” by Nikki Ryder is really nowhere to be found.
As if I need to say it, I really, really liked this movie! It was a lot of fun, and it gave me entertaining, dimensional leads with a lot of fresh chemistry and charisma to offer. I cannot reiterate it strongly enough that Peter Weller is stellar in every second of screentime here. I loved the character and his performance. Meanwhile, Sam Elliott delivered beautifully on his end of things. Shakedown was decently successful on its theatrical release grossing $10 million from a $6 million budget, and I think it deserves exposure to a wider audience. I rented this off of iTunes, which has the film available for purchase or rental in high-definition widescreen. I was thoroughly satisfied with this movie, which was released in international markets as Blue Jean Cop, and this gets my full fledged recommendation. I will be glad to add this to my DVD collection, and I hope you will give this 112 minutes of your time. It’s an exciting, fun ride that has a lot to offer the action movie fan.
For whatever reason, I just felt the need to review something of a different style, a different whatever from everything I’ve been doing lately. I’ve come to find that what I most enjoy spotlighting here are films that are hidden gems. Stuff that’s not too widely known, but is of a certain admirable quality. I really like allowing others to discover movies through my reviews, and that’s not going to happen reviewing Star Wars or Terminator movies. Showcasing something that also inspires me as a filmmaker on a more personal level is the other thing I gravitated towards with this review. I’ve previously reviewed the film Paranoia from internet comedic personality and independent filmmaker Brad Jones. Midnight Heat is a 2007 feature length effort from him that was made with a lower grade production value, but for me, the quality of the writing, most of the acting, and the direction really shines through the very rough digital video camcorder, micro-budget quality of the movie. This is the type of movie that really inspires me and drives me to be a creative and ambitious filmmaker. Seeing someone else achieve this with even less resources than I have today is further inspiration, but let’s breakdown the plot of this sleazy 1980’s exploitation film homage first.
Midnight Heat is a story of cops, hookers, killers, and pimps; all centered around one sleazy night in the late 1980’s. A cocaine addicted homicide detective (Jake Norvell) is brought out of suspension in order to trail local prostitute Donna Diggs (Bianca Queen) who may become the next victim of The Scalper (Nick Foster), a serial killer who preys on the city’s hookers. Meanwhile, her mentally unstable pimp Martin (Brad Jones) attempts to get out of the business while finding it harder to protect his girls from both the killer and from an abusive rival pimp (Buford Stowers).
I will make one preface about the technical quality of Midnight Heat and the relative standards of quality I judge this by. I’ve both been an independent filmmaker for several years, and have watched these types of movies since the late 90’s. In this realm, you make the best story you can make with the equipment and resources you have at your disposal. Not every independent filmmaker has the cash to buy boom mics, pro lighting gear, or a high quality camcorder. If all you have is a Digital Hi8 camcorder and a solid screenplay, you go for it. It may indeed be difficult for some to acclimate themselves into the experience, but if you can get beyond the digital grain from the low lighting and less than perfect audio, there is a very entertaining and well written sleazy crime thriller waiting for you. The film is only available, completely free, through Brad Jones’ website. So, all it costs you is time to give it a chance.
This film is Brad’s tribute to 1980s sleaze flicks like Vice Squad, Savage Streets, and The Exterminator while taking strong vibes from Miami Vice. This really translates from both the story being soaked in the nighttime world of sex, drugs, and murder, and the choice of soundtrack. The reason the movie is only available for online viewing is because it features tons of unlicensed 1980s pop songs. I greatly used these sorts of songs as temp music for my feature film The Fixer, and I wish I could commercially release it with those tracks because they perfectly capture the vibe I was going for. Brad Jones was just interested in putting the film out there without a mind towards commercial release. With it being specifically set in 1987, I couldn’t imagine Midnight Heat working without these era-specific tracks. Songs from Glenn Frey, Phil Collins, The Cars, Scandal, Loverboy, Kim Carnes, Animotion, and many more pulsate throughout this movie. They are the entire score, and it instills the film with energy and a very familiar emotional feeling for me. At times, it would be preferable if the songs were lower in the mix so they don’t compete too strongly against the dialogue, but the music never drowns it out. Brad Jones did the best he could with the actual production sound, as is stated in his intro video to the movie on his website. Still, if there’s one thing that could’ve been improved, it is just the mixing of music and sound effects around the dialogue. Often gunshots and other dramatic sound effects don’t have the sonic impact they should have, but I am able to forgive and move beyond that to understand the intentions on display. If this was a multi-million dollar budgeted film with professional sound engineers, you could rightfully attack that with great zeal, but not in this case, not at all.
While most of the cast are not professional actors, we are treated to some very strong and substantive performances. Jake Norvell’s Detective Rick Wilson is the perfect sleazy 1980s corrupt cop. A cocaine snorting, prostitute indulging, foul mouthed burn out that is distrusted by the police department, and is stuck with an assignment no one else cares about. Norvell appropriately portrays him in an over the top fashion in a performance that really dominates a lot of the movie. This is a character of ego and abrasiveness, but also has that tinge of emotional value. Norvell intensely portrays the erratic, substance abusing behavior of Wilson making him an unpredictable wild card. This repeatedly complicates matters with Donna, but there’s always that sordid emotional connection between them that really pulls them together. Norvell’s performance grows and solidifies in the third act, and becomes damn near powerhouse in a very fun, indulgent way. He’s really feeling the energy of this character throughout, but it is punched up in that last twenty-five minutes.
Bianca Queen is quite good as the female lead. She brings a lot toughness and grit to Donna, but is not at all afraid to delve into the required sleaze of the role. She holds her ground very solidly opposite Norvell, and the relationship they strike is combative, yet complicated. She wonderfully conveys the sordid, argumentative history between Donna and Rick without ever backing down. She also slinks very enthusiastically into the sexy, seductive aspects of the character. Ultimately, by the end, we see even more depth from Queen that makes her standout beautifully next to her male co-stars of Jones and Norvell.
Obviously, I am a major fan of Brad Jones’ work, and for very good reason. The man is exceptionally talented as both a writer and actor. In the role of Martin, he is channeling something complex and intriguing. He’s this pimp that tries to run a good operation, but just wants to find a clean way out of this life. Yet, this is the night that everything is deconstructing around him. The stress pulls at him too agonizingly, and he can’t help but crack over and over again. Jones portrays this character with a strong wealth of sympathy that transcends all the irredeemable violence Martin inflicts, but also brings plenty of weight in a role that gradually slips into being an antagonistic force. The trippy dream sequence Martin has really pushes the idea of the fracturing psyche even further. Jones is entirely convincing as an intimidating presence, but that complex nature regularly comes back into play where Martin is not just on a violent rampage. He can be a relatable character when baring his soul, but Jones’ performance is never too far removed from that psychologically messed up behavior. By the end, both sides of the character mesh together greatly with some smartly written dialogue and ideas. Overall, Jones’ performance is a major highlight of the movie.
Buford Stowers is a great heavy as the ruthless pimp Phil. He carries himself with a weighty presence and a good measure of sleaze-laden charisma. Every scene he has is punctuated with an aggressive authority. Stowers throws his all into the role, but keeps it grounded and intimidating. He feels like a serious threat that no one would risk crossing. Stowers and Jones have excellent chemistry as rival pimps, and have some solid scenes together.
The remainder of the cast has some good performances including Kim West as Nikki, Phil’s premiere working girl. Sarah Lewis always impresses me in Jones’ films with her best performance coming as the lead in The Hooker With A Heart of Gold. Here, she has only a few scenes as Donna’s friend Mindy, but it is very well acted on all levels. Alex Shyrock is very good as Detective Mike Nero who is a cop who doesn’t seem like he gives much of a damn anymore, and doesn’t enjoy having to screw around with Wilson throughout the night. Shyrock has that right stressed out, frayed quality showing that Nero is sick and tired of this Scalper case, and just wants it done with however possible.
The most substantive scene is when Martin and Rick cross paths and have a lengthy conversation together. Both men lay out their troubles, how they got to where they are now, and talking frankly about what has damaged them. Jones and Norvell put in excellent performances here. The two are great, close friends in real life, and that chemistry shows through. It’s a fairly brief pair of scenes between them, but it is a solid turning point that motivates the characters into the third act.. Their confrontation at the film’s end is equally as good.
Handheld camera work is the standard here, as is Jones’ style. He has said that he relies on this so much due to the fact of having only the built-in microphone on his camcorder to record audio. So, he regularly needs to have the camera close-in on the actors to get consistent audio. Still, while the framing can regularly be a little too tight when trying to pan between two actors, and the handheld being a little rough, there are many scenes with quite good camera angles and editing. For the most part, the flow of the movie is very good with only a few rough transitions here and there. I can entirely see that if Jones had the right equipment and the ability to refine his technical quality, this would be a greatly polished movie on all levels.
I really like movies with intercutting stories. They inherently create an energy that propels the narrative forward with great rhythm. Midnight Heat regularly cuts between Martin’s descent into self-destruction and Rick and Donna’s turbulent night together. Both stories parallel one another until they eventually intersect and collide. This structure works beautifully, and maintains a streamlined flow throughout. Jones writes very vibrant and interesting characters with some excellent dialogue. Midnight Heat is an exploitation film through and through, but the quality of the writing is comparable to that of a Michael Mann film like Thief or Collateral. Characters are dimensional and feel quite real and textured. This is the real strength of the movie, and it is what immensely impresses me about it. As I said, beyond the rough, low grade technical qualities there is a wealth of talent on display fueled by Jones’ amazingly written script. There is substance in this story. It never falls back on letting the sleaze weigh down the film for a fun, cheap thrill. Jones absolutely was putting his best dramatic effort forward, and it shows through. That’s what I think makes for a great independent filmmaker – to have the quality of your talent and vision shine through even the most rugged of technical shortcomings.
While I believe Brad has stated that directing isn’t his favorite part of the process, I do believe he put together a cohesive and well directed movie here. While everyone cast in the movie is part of his wide circle of friends, he is able to make the best use of them in key roles, and they gave him their best. The compressed time frame of the film also creates an energy and momentum not too unlike Michael Mann’s Collateral. Everything occurs over a single night, and that creates a compact, compounded intensity that builds as the film progresses. I used to have many extremely late nights out to where I didn’t know late night from early morning anymore, and Midnight Heat gradually captures that feeling in its third act. The film narrows out its cast of characters, and focuses in on its leads of Rick, Donna, and Martin enhancing the sense of isolation and loneliness of those hours of the night. The climax is not action based, but character based. It brings everything to a head in a very solid and satisfying way.
I strongly believe Midnight Heat to be one of Brad Jones’ best films. The writing is excellent and the full cast really puts their all into it. I love the neo noir style of it all taking place at night. It soaks you deep into this grimy, dark world, and that’s just perfectly my style. There’s very little action in the movie as it is built and driven by its characters, which are excellently developed and realized. At nearly an hour and forty minutes, I think this is a well put together independent film that was made with a lot of passion and enthusiasm. At the time he posted this on his website in July of 2011, Brad stated this to be his favorite film out of all the ones he had made up to that point. Knowing him as well as I do through his website, this really is where his love of film is the strongest, and I’m intrigued to know that a sequel is planned, likely for this year. It was a combination of seeing this movie and Brad’s v-log movie review of Drive that got me to see that brilliant movie which is now one of my favorites of all time. Coincidentally, the opening credits to Drive are nearly identical to those of Midnight Heat, same font and all.
As I said, you can exclusively watch Midnight Heat on Brad’s website for free. Clearly, I give the movie a very strong recommendation for anyone that enjoys neo noir crime thrillers or the sleazier side of 1980s cinema. You can watch the rather low quality trailer here. Give it a few minutes of your time, and see if it appeals to your interests.
I’ve been looking for this movie on DVD in stores for months now. Today, I went out looking for one exploitation movie at the re-sale shop and came home with another. Savage Streets is a cult rape-revenge exploitation film from the late director of Friday The 13th, Part V: A New Beginning, Danny Steinmann. As previously documented, I have a low opinion of that sequel, but Savage Streets looked really good and promising via the trailer. I’ve heard some good things about it, and was very dogged about finding a copy of it. Sometimes, a good word of mouth is enough to convince you to take a impassionate chance on a movie. But now that I’ve seen it, does it live up to what I had hoped for it? Was it worth the months of anticipation and hunting I put into it? Well, let me impart a synopsis on you before answering that question.
Brenda (Linda Blair) is bad, bold and brash, but she absolutely dotes on her deaf-mute kid sister Heather (Linnea Quigley). After nearly being rundown by a gang known as the Scars, Brenda and her friends trash the car of their leader, Jake (Robert Dryer). Shockingly, he chooses to exact his revenge by getting his cohorts to gang-rape Heather. Caught up in her rivalry with the cheerleaders, Brenda is at first unaware of the Scar’s involvement, but is eventually shocked with the full truth. She then vows deadly vengeance in a skintight black suit as she searches out the gang members one by one.
Doing a blind buy of this movie was certainly taking a chance because I’ve had blind buys bite me in the ass before. However, that was not at all the case with Savage Streets. I did indeed greatly enjoy what I saw here. It is quite a low budget picture with only $1.2 million to its credit, but this was definitely a time where most filmmakers knew how to make an effective movie within their limited means. They could create something genuinely entertaining and worthwhile without needing a major budget. While his Friday The 13th movie came off like a cheap direct-to-video outing, director Danny Steinmann pulled off a really solid genre movie here that I’m glad he had been commended on long before his 2012 passing.
The main thing that I was impressed by on this film was Linda Blair’s performance. She strikes that perfect balance of a tough, attitude rich, yet still vulnerable and compassionate young woman. You see her make those subtle shifts early on as she defends her sister from an ill joke, but then, lightens the mood a moment later with some well place charm. Brenda will not back down from a fight, and doesn’t take any crap from anybody. She stands up to everyone from bitchy classmate Cindy to the sleazy school principal to, of course, this malevolent gang. She’s genuinely tough with the courage and mouth to back it up. Yet, these tragedies that befall her sister and friends have deep, emotional impact upon her. She cries, mourns, and grieves in her own harsh way while never veering away from her determination to find those responsible. Brenda is someone who has a surplus of strength to pull her through this violent series of events, and Linda Blair puts her all into this performance to make Brenda that great heroine. She’s also quite sexy and beautiful in this film, and her hard edged attitude is very attractive and exciting. Blair packs a lot of charisma and passion into what she does here, and she really makes Savage Streets the excellent piece of work it is. There’s not enough I can say about what she does in this role.
In the role of Jake, Robert Dryer does an exceptional job. This is the dead-on perfect villain for this film as Jake has zero redeeming qualities about him, and is a full fledged sleazy, violent, womanizing, severely intimidating thug. Just the look of the character gives you a very edgy impression with his slick backed hair, leather jacket, intense physical presence, and especially that razor blade earring. Dryer has some dark charisma which amps up the character to the utmost vilified levels. He definitely looks like someone who could snap your neck right after stabbing and slashing you to bits. Just as much as Linda Blair invests you in the story, Dryer invests you in the need to see Brenda exact her revenge. After all you see Jake do, and without an ounce of regret or mercy, you crave that violent comeuppance, and that is so much earned from Dryer’s performance.
The rest of the cast is very good putting a lot of enthusiasm and dedication to their roles. You’ll certainly find some over-the-top dialogue and line deliveries, but it wouldn’t be an exploitation film without them. John Vernon is excellent with his deep, intimidating, dramatic voice as Principal Underwood. He has this underlying sleaze factor that surely hits with a peculiar impact, but it’s all great. Johnny Venocur does some good work as Vince, the one guy in the gang who has a semblance of a conscience. You can progressively see the humanity taking a hold of him, and it adds a nice dash of remorse into this story. Lisa Freeman brings her own strength and spirit to Francine which shows she’s no pushover either, but you also get the tender side of her bride-to-be aspects. Genre star Linnea Quigley makes Heather very wholesome and sweet without ever saying a word. Linda Blair plays very sweetly opposite her bringing out that touching sisterly warmth and heart. On the darker side, Quigley achieves the moments of silent terror with visceral intensity. The entire sexual assault scene is powerful and disturbing, as it should be. The film does not glorify it at all as it is depicted as a traumatic, frightening experience, which is commendable. This is the darkest point in the film, but we are thankfully treated to some very enjoyable, entertaining elements throughout the rest of the movie.
What makes Savage Streets distinctly 80s is the awesome pop soundtrack. There are no big names that stick out for me, but the songs generally hit that excellent 80s vibe with strong vocals, vibrant keyboards, and a driving intensity. It also kills me that this soundtrack is available only on the original vinyl or audio cassette releases, and are rare collectors’ items. The only CD release was done independently in a very limited capacity. So, if you want these songs, you’ll have to turn to YouTube. The one notable track is “Nothing’s Gonna Stand in Our Way,” which is performed here by John Farnham, would later be covered by Canadian band Kick Axe (aka Spectre General) for Transformers: The Movie in 1986. The soundtrack for this movie really enhances the vibe all around making it a very rockin’ experience, but the original score is also very effective especially during the film’s climax.
The cinematography of Stephen L. Posey is very good and solid. It’s nothing amazing, but what he does entirely suits the gritty nature of this movie. The editing is also very tight never allowing the film to lag anywhere at all. The pace is kept consistent throughout, and has plenty of well put together sequences. On a technical level, this is a well shot, well made movie that is competently executed by knowledgeable talents. Furthermore, director Danny Steinmann does all around impress me with what he did here. There are a few minor critiques still pending, but on the whole, Savage Streets is a well written, well directed film for this genre. Steinmann really brought out a lot of strength and vibrancy from his cast, and crafted together an effective revenge movie that has emotional weight to it. It’s surely not one dimensional in the least, and I commend Steinmann and his co-writer Norman Yonemoto for that.
Now, the one thing that threw me off about the movie is that the trailer would make you believe that Brenda would be hunting these guys down through most of the movie. Instead, her armed quest for revenge begins in the final third of this 93 minute movie. I do not state this as a criticism, just as an expectations adjustment. The first hour of the movie is consistently and solidly paced as the Scars repeatedly terrorize Brenda’s friends and other unfortunate individuals. The film takes the time to build these guys up as increasingly more sickening people, and that’s saying quite a lot since their first act against Heather would be more than enough already. Yet, it layers the crimes and tragedies upon Brenda and the audience. It develops her character and her friendships so that you understand the importance these people have on her life and the lives of others. It also uses this escalation of violence to further drive a wedge between Vince and the other gang members, which is a smart idea. Now, once Brenda moves into full-on revenge mode, decked out in a sleek back jumpsuit and crossbow, I absolutely loved it! A great little montage ensues with a solid rock track behind it, and we’re into a pretty damn good final act.
The only criticism I have towards that final act is that while we do get blood and gore, it is not all at the right moments. Some of the deaths don’t have the desired satisfying impact because we don’t witness them in graphic or explicit enough detail. However, we do see the bodies displayed with their bloody wounds minutes later, but it wasn’t quite enough. Considering how explicit the film had been already up to that point with violence, language, and nudity, I figured we would get some graphic gore where it counted the most. Thankfully, this is not so for all the kills in the climax. It’s about fifty/fifty, but I really wanted to see those despicable scum meet some gruesome ends. Watching Brenda squaring off against Jake was thick with tension and emotion as that rage and pain within her really penetrates in this sequence. She is being blatantly sadistic, and you are really reminded of why she wants him to suffer so badly through her dialogue. Ultimately, we get a very tight climax with some great moments of suspense and dramatic pay-off.
Savage Streets is damn good! It’s especially gritty with visceral violence and a strong core of emotion by way of some solid performances. Linda Blair definitely stands out as an excellent lead giving us both the heartfelt compassion to be sympathetic and relatable as well as the brash attitude and confidence to be a convincing action heroine. I love the dialogue she gets on both ends of the spectrum which really reinforce the strength of Brenda. My favorite is the “double jointed” quip near the climax, which is also Linda Blair’s favorite. It hits me as one of the best lines in an action film, ever. Overall, Blair is just bad ass and awesome through and through. She delivers on all demands of the role in a very satisfying and entertaining performance. There’s a lot to enjoy in the tight 93 minute run time, and I really have to hand it to Danny Steinmann for the work he did here. This is a kind of movie that just doesn’t get made anymore, and even if they are, I imagine they aren’t made as good as this. I can entirely see here what brought Steinmann to doing a Friday The 13th movie. It’s only too bad that film was not remotely as cool and good as Savage Streets. This certainly may not be a film for everyone. As I said, it is very explicit and casual with its profanity, female nudity, and violence, but if that fits your tastes, I highly and strongly recommend checking out Savage Streets. While it was tough finding it in a store, it is easily obtainable on Amazon.com in a 2012 digitally remastered special edition DVD set.
This is one of those films I did not see in theatres. It was a DVD rental discovery that I have been very pleased to have discovered. The cast is really what drew me to Street Kings – Hugh Laurie, Forest Whitaker, and what might seem like a swerve in Keanu Reeves. I am very much a Keanu fan from Bill & Ted to Point Break to Constantine and beyond. Yeah, I get why people takes jabs at him, but I’ve always enjoyed his work. Here, he turns in a very strong performance holding his own opposite some heavyweight acting talents. This is a very well conceived and executed film from David Ayer that I feel is exceptionally worthy of your time and attention.
Keanu Reeves stars as Tom Ludlow, a veteran LAPD Vice Detective who has struggled to navigate through life after the death of his wife. He’s a cop who chooses to cutout procedure on the street taking violent action against known criminals to close a case. He is well protected by his Captain Jack Wander (Forest Whittaker) every step of the way. However, when evidence implicates Tom in the execution of his former partner turned Internal Affairs informant (Terry Crews), he is forced to go up against the cop culture he’s been a part of his entire career, ultimately leading him to question the loyalties of everyone around him. He is regularly confronted by Internal Affairs Captain Biggs (Hugh Laurie) who probes for the truth, but Ludlow views him as an enemy to be combated. However, as he partners with the untainted Detective Paul Diskant (Chris Evans) to weed through this shady, twisted maze towards his own answers, Ludlow comes to realize just how crooked this world is, and who his real enemies are.
I am a definite crime genre lover spawned from numerous Michael Mann films, and I also enjoy a solid cop drama. This brings it all to the table in a very grounded, emotional, but also entertaining package. It’s very smartly written to keep an audience on its toes as the secrets slowly rise to the surface. Bits of action are peppered throughout to keep the energy flowing in support of the plot. Ludlow goes on a shady journey trying to find out exactly where he stands in this crooked world of corruption and deception. This tangled tapestry unfolds to reveal a wealth of dangerous, twisted people with dark agendas.
Keanu really does kick it up to a higher level as Tom Ludlow. The character can be crass in certain moments, but also, show compassion when it matters most to him. There are some fine dynamics to the character that Keanu balances out with ease. There’s the ass kicking cop that throws down shots of vodka after wasting some criminals. There’s the contemptuous man trying to shake loose the truth that everyone seems very quick to sweep under the rug. There is also the slightly humorous side of Ludlow with a couple quips here and there which add to the crass attitude. He’s been protected through everything, and thus, has developed an attitude where he doesn’t take anything from anyone. He has an ego and a self-serving nature, but is able to direct it to his advantage on these unforgiving, violent streets. Everything he does, he believes is for the best, even if it’s crooked, but he grows and changes when confronted with just how crooked and screwed up everything has become. He’s the kind of character who is hardened by his fractured life and his harsh job, but when it comes down to it, he has a strong sense of humanity that he reserves for those who deserve it. Those who don’t get the ill end of his personality which is full of contempt and the will to act it out. Keanu Reeves handles this satisfyingly textured character with a lot of passion and charisma. He is an excellent lead for this film.
Of course, Forest Whitaker is amazing! The man has such a wealth of charisma and passion that it bleeds through in every scene. He inhabits Captain Jack Wander with a strong ego and bravado that none can contend with or deflate. He has pride in his men, but also conviction and authority over them. He’s very much a king high atop his throne where he has garnered respect and fear from those around him. He never comes off as a straight arrow, but supposedly does what he does because Ludlow is his creation. He covers up and cleans up whatever he needs to so that his star cop can keep burning down the street trash. Whitaker makes Wander an increasingly despicable person, but not one you can take your eyes off of. He has a larger than life presence that commands a scene, and that’s what the character needed. A man of power and guile that has the audacity to take on anyone that challenges him or his men. A man with his own dirty secrets that holds all the cards to play people however he wants. It is a brilliant performance that motivates his co-stars to push themselves further and harder.
Meanwhile, on a more reduced role, Hugh Laurie delivers an intelligent, subtle performance as Captain James Biggs of Internal Affairs. He carefully probes Ludlow throughout the film just giving him a little nudge here and there. As Laurie has proven in his many years portraying Dr. Gregory House, he can hold a scene smartly opposite anyone. It’s only one scene, but Forest Whitaker gives him a challenge to contend with. Laurie, as Biggs, stands his ground well. However, the rest of his scenes are opposite Keanu, and they both play them with an electric dynamic. They both portray strong characters offering up conflict fueled by Ludlow’s misconceptions. He doesn’t know what Biggs is really after, and Biggs doesn’t show his cards. He just let’s things play out with a little encouragement to make sure Ludlow takes the right critical steps.
The film is shot with some sharp style and edge. The cinematography continually maintains the energy of the narrative, and providing numerous inspired camera moves to punctuate certain dramatic beats. Thankfully, the style and edge never compromise the story being told, it merely services and enhances it. Everything in this film is conceived and executed properly. Every role is cast with a lot of thought and detail. Strong actors are implanted throughout the movie from the leads to the supporting roles.
Chris Evans adds an extra, different dynamic as the slightly green Detective Diskant. A cop interested in doing the right thing, and willing to push past his experience and limits to do so. He might not have as much streetwise mileage as Ludlow, but has the conviction to maintain his sense of justice. Evans strikes the right balance with him offering up enough inexperienced uncertainty mixed with confidence through trust. Evans & Reeves have a fine chemistry that is born out of the characters’ contrasts, as with most great pairings. That helps to maintain a lighter mood between them, and gives the film its balance of humorous moments. I feel Diskant is definitely a conduit for the audience to better connect with the story. Ludlow is clearly the lead, but Diskant is a little more relatable and helps to give Ludlow someone to connect with on the journey. Someone he can trust, and through Diskant, you can come to relate more with Ludlow.
What I really like about this film is how smart it is written. No character is conceived without a motivation for their actions, and nothing is dumbed down for the convenience of the plot. Everything fits together amazingly well. Screenwriters James Ellroy, Kurt Wimmer, & Jamie Moss delivered something very satisfying on multiple levels, and director David Ayer realized that with great balance and competence. The entire plot is well constructed, and gradually develops on-screen in a very coherent and intelligent manner. All the characters are written and played with a lot of personality and realistic depth. They all work well opposite one another to create a very diverse and interesting landscape for this crooked world. I literally have nothing negative at all to say about this film. To me, it should be considered a classic in the genre. I love the energy and momentum throughout the story to keep you hooked into where it is leading Tom Ludlow. That doesn’t mean there’s action all the time, just that the plot continues to develop adding new elements that drive the characters forward. Everything that develops motivates people and events towards more dangerous consequences until Ludlow is faced with the truth, but it’s not without it’s costs.
With Street Kings, there’s plenty of violent action, emotionally charged drama, serious danger, and fine dashes of humor to make it a very powerful, entertaining ride that’s worth taking. This is one of my favorite films of the last few years, and I give it my full, wholehearted recommendation! There is no fat in this film, just lean, strong talent that punctuates the story and characters.
This film was not what I had hoped it to be. At the time of release, I couldn’t have been more disappointed. However, over time, I have gained some appreciation for it, at least, for what it had the potential to be. I had not watched the television series during the 1980s. I grew up on cartoons, sitcoms, the WWF, and Knight Rider. However, I blind bought the first season of Miami Vice on DVD in 2005, and was immediately hooked. It seemed like good timing with news of the feature film hitting at that time, and the trailer coming a few months later.
What I love about the television show was its way of using popular music as a dramatic storytelling device, and the strong chemistry amongst the cast. The five seasons of Miami Vice redefined what could be achieved on television. Its use of cinematic visuals, gritty crime themes, and action packed, violent stories changed the medium forever. It was slick, colorful, exciting, dramatic, and compelling. Unfortunately, this 2006 feature film lacks all of that.
In this new Miami Vice, roles of James “Sonny” Crockett and Ricardo Tubbs are portrayed by Colin Farrell and Jamie Foxx, replacing Don Johnson and Philip Michael Thomas from the original series. Crockett & Tubbs get pulled away from a local undercover operation to deal with the deterioration of a interagency task force. As Tubbs says, “Your ‘op sec’ (operational security) is blown.” How it links to them is by way of an old informant who got in over his head, and now, pays a dire price. So, to bring down this Colombian crime kingpin, Jesus Montoya, Crockett & Tubbs go deep undercover where they have no back-up, and Crockett gets in close with Isabella (Gong Li), Montoya’s woman.
The real problem of this film is that it lacks chemistry and momentum. The plot moves along very straight forward allowing for no unexpected twists or turns to create exciting plot developments. The first 15-20 minutes of the film (theatrical cut) are wrought with potential for a very exciting, fast-paced feature. Things develop quickly creating urgency for everyone to act quickly, and for a dangerous premise to be setup with agents being gunned down. Action ensues, things blow up while maintaining a hard edged, realistic Michael Mann style. However, it soon slows to a dull pace. The plot moves from one thing to another just establishing elements and relationships and characters, but none of it really means anything. Nothing develops beyond the surface. It’s procedural to a fault. It’s more like watching a documentary of undercover vice cops than an engaging narrative with relatable characters.
In the television series, the clashing personalities of the slick, smooth New Yorker of Ricardo Tubbs and the weathered, cynical Miami Vice cop of Sonny Crockett created a classic chemistry. They didn’t always mesh well, but the chemistry Johnson & Thomas struck was what made the show work. They connected on an emotional level. You saw how these two went from reluctant partners to trusted brothers in arms. You felt it between them, and they played it well. Here, the script keeps the characters in an ‘all business’ mode for so long that you don’t get a moment where it’s just Crockett & Tubbs being themselves. There are little touches that are reflective of the original characters as I know them such as Crockett charming a female bartender at the start, or Tubbs offering his compassionate condolences to interagency commander Fujima, “Sorry about your men.” Regardless of that, you don’t get to know the men personally. It’s all on the surface because that’s what the script demands of them. There is only one such personal scene, but it comes so extremely late in the film, it does nothing to enhance the characters for the audience’s benefit. Also, Lieutenant Martin Castillo, who was one of the most fascinating and textured characters of the original series, portrayed amazingly well by the always fantastic Edward James Olmos, is now just another random character. Simply said, if you changed the names of all these characters, and slapped a different title on the film, you’d never know it was supposed to be Miami Vice.
The attempted romance between Sonny and Isabella just fell flat for me. Part of it is that Gong Li doesn’t speak English very well, and so, she has to spend more time just trying to pronounce the words instead of putting character and emotion behind them. You can see this relationship is having a conflicted effect on Sonny since he’s playing the undercover role of Sonny Burnett, a criminal and smuggler, and has to be close to her without actually being Sonny Crockett. He loves this woman, but as I said, the chemistry isn’t there. I felt no spark between them. No heat. Like so many things in this movie, it just doesn’t click.
The music is also dark and brooding. Aside from a few dance club scenes, the music is not lively. The music itself is not bad at all, I own the soundtrack, but it just further drags down the emotional weight of the film. I know the pop music of today is not like that of the 1980s, but this 2006 movie seems to make every effort to be in stark contrast to everything that defined the name Miami Vice. Thus, why I was so disappointed at the time of release. Michael Mann approached this film with the intention of realism. Make everything feel real, and do nothing that is not comparable to the true operations and people of this world. However, making it too realistic drains out the entertainment value, and the depth to the story being told. Because of this, as I said, the movie comes off more like a documentary.
On a positive note, the cinematography is mostly gorgeous. The shots over the open water as Sonny & Isabella speedboat to Havana are wondrous and sprawling. I live near Chicago, and so, the only large body of water I can enjoy is Lake Michigan. Still, staring out into that endless horizon, to the edge of the world is so perfectly tranquil, and that sense is captured here, exponentially. The film has a large amount of handheld work. A lot of it is handled well, but it can get to be too much. However, it’s nowhere near as bad as Mann’s next film Public Enemies. That was the perfect example of a badly shot movie. Collateral was amazing in every aspect to me, and I embraced the HD digital video look of it. It was shot fantastically. Miami Vice is the downward step between Collateral and Public Enemies in many ways, not just in camera work.
Characters in Michael Mann films went from deep, textured, and complex people to far more stoic people who Mann does not allow to show their depth. While Manhunter is my favorite Mann film, it is The Insider that I feel remains his best film to date. That was the clear definition of character depth, and a well written dramatic film. And Mann did it all without a single action sequence or gunshot. People conflicting with other people on an emotional, psychological, and ideological level. While based on true events, it shows that Mann can bring those qualities out in his films. Where it has gone in the last few years is beyond me.
Miami Vice was marketed as a slick, dangerous, edgy, sexy, and exciting summer action film. That is not the film Michael Mann made, and the film I got was not the one I expected to see on an August midnight showing in 2006. However, after listening to his director’s commentary, and allowing the passage of time, I at least have appreciation for the film it could have been. I understand what Mann was going for, and I love the ideas behind it. I just don’t feel it all successfully came together in this movie. The worst part of the film was the ending. As the movie progressed, I felt there hadn’t yet been a climax. There was a big shootout, but it felt like a precursor to the real climax. Nothing had yet been resolved on a plot development or emotional level. Jesus Montoya was still out there, at large, and I felt like the film would lead into Crockett & Tubbs going after him to shut him down. This was because the same thing happened in the episode “Calderone’s Return.” The villain from the pilot episode escaped, and now, Sonny & Rico had the chance to get him for good. They speedboat to the Bahamas for a final confrontation. None of that happened here. There’s a montage sequence, Crockett walks into the hospital, and the movie cuts to black. Roll credits. There was no resolution to any plot or character elements in the film. The bad guy gets away, he will rebuild his empire, and life goes on. All the Miami Vice squad achieved was killing a bunch of thugs with guns. Expendable, replaceable people in Montoya’s employ. You can pull that off on a television series because there’s always next week, sometimes next season to revisit the storyline, and tie it off at a later time (just like “Calderone’s Return”). In a feature film, you have only 90-120 minutes to establish, develop, and resolve a story. There was no satisfying resolution to Miami Vice 2006. Had there been, maybe I could forgive a lot of the negative marks by there being an exciting ending that actually resolved something that the audience decided to invest their time in.
The worst thing to do going into this movie is to anticipate anything resembling the 1980s television series. Going into it expecting a Michael Mann film might be more suitable, but that doesn’t mean you’ll be pleased. It’s been five years since this film was released, and while I have an appreciation for the ideas behind it, and enjoy much of the cinematography, I don’t view it as that good of a film. The lack of chemistry amongst the cast, momentum within the story, and the grim overall sense just doesn’t allow for much to invest in, unfortunately.