Directed by: Menahem Golan
Like any teenager who grew up in the 80's loving action, of course I'd seen this. Hell, I had a video store poster hanging on my wall that I snagged from my local video store back in the day when they used to "give" them away. Now it's different of course. Now employees snag them themselves and sell them on eBay. But it was a different time back then. Anyway, I can't really recall why, but while I love 80's Chuck Norris, I never went back to revisit this particular film after that initial viewing as a kid. When I saw this on Netflix recently, and I was putting some new furniture together, I figured some good ol' 80's action would be nice to play in the background.
Delta Force surprised me from a number of different angles. First, it's really long, clocking in at 2 and a half hours. Second, shockingly, there's really not that much action in this thing. I'll get to that later. Third, the insanely large ensemble cast is really impressive. Fourth, this film is really dramatic, and for the first half of the film, kind of uncomfortable to watch. Lastly, Menahem Golan did a much better job directing this thing than he gets credit for. So let's dig in.
This is an unnecessarily long movie. The first entire hour is a drama, with zero action. Terrorists hijack a plane full of passengers and it's here where Delta Force surprised me the most. Mainly because I was expecting an action film, and instead was treated to a harrowing tale of survival aboard a plane held hostage by sadistic terrorists who have no qualms about torturing or killing on the spot. Though we're nearly 15 years after the events of 9/11, this film was still hard to watch, because it depicts events like what happened so long ago rather shockingly realistic and brutal. Of course this film was made over a decade before those events, but it's not any less uncomfortable to watch.
When the entire first hour consists of a hostage drama, I started to wonder if this was even an action film, because up to that point, I hadn't seen any. The action eventually comes around, at the 1 hour mark. It's sporadic, but it's there, eventually going full force in the last 30 minutes or so. Being an action fan, I was a little let down and more surprised than anything that for a film that pushes the action in it's advertising, there was very little in here. Though I will admit that the action that was here was done well.
The cast is damn near impressive. Sure you got Chuck, a severely underused Steve James (ain't that always the case?), legends Lee Marvin as Chuck's commander and Robert Forster as the main Lebanese bad guy, which he pulls off rather effectively. But the film is littered with numerous legends like George Kennedy, Martin Balsam, Lainie Kazan, Bo Svenson, Robert Vaughn, Shelley Winters and the list goes on and on. But the most fascinating thing I found about this, other than Robert Forster playing a Lebanese bad guy, is that Chuck doesn't make much of a presence until the second half of the film, The first half of the film focuses on the drama aboard the plane, the hijacking. The second half is Chuck coming in and kicking ass.
This film really does wear it's heart on it's sleeve. It's so overly dramatic in some areas, and overly cheesy in others. The film ultimately suffers because it forgets that its supposed to be an action film for well over an hour, and when the action finally does come around, you almost forgot it's supposed to be an action film. Yet it's oddly charming. It retains enough of what you expect when it's all said and done to keep you satisfied for the most part. One thing's for sure, you'll be humming the impossibly cheesy theme music for days afterwards.
Directed by: Martin Scorsese
Category: Dark Comedy
I don't know why, but for one reason or another, I never took the time to see this Scorsese cult classic. I guess I had known for a while he directed this, even though it's completely outside the realm of anything he typically does or is known for, but nothing about this film ever struck me as something I'd be interested in. It didn't help that this film is never mentioned.....ever. Not even when people are discussing Scorsese films. It's just kind of like the bastard child nobody ever mentions. Yet very sporadically, I'd come across the poster image. And still, nothing about that ever got me to get on IMDB or anything and look up what it was actually about, or to head on over to YouTube and check out the trailer. So I didn't, and man do I feel stupid now about that.
When I recently came across this title on a list of underrated gems from a respected website I follow, it was just the push I needed to finally get on the ball. Luckily for me, a friend of mine happily lent me his copy. On a recent Saturday night, the Mrs.'s and I poured ourselves a glass of wine, and proceeded to have our minds blown for the next hour and a half by a film that is unlike anything you'd expect, either for a black comedy or a film directed by Martin Scorsese.
Paul (Griffin Dunne) is a bored office worker. One night he meets a Marcy (Rosanna Arquette), a cute girl in a cafe. They quickly strike up a conversation centered around the Henry Miller book he's reading. When he decides to call her late that night, in the pretense of buying a piece of art from her roommate, but more hoping to see her again, little did he know that one single moment would lead him to a strange, dark, and unforgiving odyssey through downtown New York, and a journey that will change his life forever.
I can't stress enough how great Martin Scorsese's After Hours is. Not knowing what to expect going in, we were treated to a dark, surreal, nightmarish odyssey through the streets of New York circa the 1980's, all through Scorsese's brilliant eye. It's an odd and complicated movie to figure out. How much of it is reality and how much isn't is up to the viewer I gather, but all in all, After Hours is a surreal, oftentimes intense, sporadically darkly comical, daring and quirky piece of filmmaking that still surprises me that it was made in the 80's.
Before After Hours fell on his lap, Scorsese had recently seen his dream project Last Temptation of Christ fall apart, and he was left in a depression and wondering what he could do. This bizarre script by a first-time writer made it's way to him via his producing partner and he just knew he had to make it, cheaply, and going back to his indie roots. The success of this film was so great that he was finally able to in fact make Temptation a few years later.
Not everyone's cup of tea, and maybe too weird for the casual viewer, but a definite unique experience for film lovers. Also of important note, Scorsese won Best Director at Cannes that year for this, a fact I was completely unaware of. Had I known that, I know I would have gone to seek this out much sooner. After Hours is a weird journey, and we loved every second of it.
Directed by: Robert Hall
Lately, with planning my secret wedding and effectively pulling it off, I've take a few steps back from posting reviews because there's simply just no time. Now that the dust has settled and we can start breathing again, we've taken the opportunity to catch up on shows and films that have been piling up, but still, I haven't found myself running to the computer to write down my thoughts on them. I'm just enjoying the calm since I've missed it so much.
Last night was Friday the 13th, and because of that, we decided to screen a slasher for our movie crowd in honor of this rare date. When my wife and I sat down and tried to pick which Friday the 13th film we wanted to show, we realized that we had already shown the 2 best film in the series; Part 4: The Final Chapter & Part 6: Jason Lives, during past Friday the 13th honoring screenings. So we then decided to settle on a horror film, but not just any horror film. It had to be an old school style slasher in keeping with the Friday the 13th vibe. Doing some digging and research online we narrowed the choices down to Intruder and Laid to Rest. I've already seen Intruder and love it, but when I did some research on Laid to Rest, the consensus was pretty unanimous that this was a solid "new" slasher with some outstanding gore. Of all the sites I visited, I'd say the positive overall percentage would probably be about 80% positive, which in the horror genre is pretty damn good. So I was sold, and it was settled; Laid to Rest would be our slasher screening for Friday the 13th for our movie group.
I wish I could take that decision back. I wish we had just gone with an old favorite, or just gone the complete opposite direction and tried a new horror/comedy that I've had my eye on on Amazon called Gravy. But no, we chose this and we paid dearly for it. What's funny is that 2 members of the group had already seen this, and said they loved it. So with that, we were pumped and started the show. What resulted was one of the worst slasher films we've all ever seen. A dumb uninspired mess that shockingly misses a great opportunity to bring a new character and franchise to the slasher genre with bad direction, terrible dialogue, and a muddled, dull and unevenness that make it hard to stay focused while continuously looking at the clock. Not surprisingly, the 2 members of our group who had seen this already both agreed that it was bad, and were surprised that they liked it in the first place.
A few things surprised me about the casting in this. For one, the short cameo's, while not really all that spectacular, were solid enough to elicit audible comments like "She's in this?" and "Him too?!". You know who they are. You recognize them from more commendable work, and all in all, it was the little spice this film sorely needed to keep you invested. The primary actors were not bad, though the dribble they unfortunately had to droll out was embarrassing, made all the more cringe-worthy in their forced overly dramatic southern accents that felt so unnecessary and out of place. It's almost as if it's done on purpose, like caricatures you find in slashers, commonly known as "hicks". Maybe that was Robert Hall's intention after all? Kind of like how Rob Zombie infuses it endlessly in virtually all of his films, including his Halloween franchise. In either case, whether intentional or not, they all come off as silly in Laid to Rest, and it's really hard to take anyone or anything seriously.
Directed by: S. Craig Zahler
Up until a month ago, I hadn't even heard of this film. It seemed to literally come out of nowhere when a fellow filmgeek on Facebook posted a review of it from a random site. The title alone piqued my interest, so I did some digging and discovered it was some new horror/western film I'd never heard of before, starring Kurt Russell and written and directed by the guy who wrote the novel from which the film is based on. So yea, I'm sold. Fuck yea I am.
Released primarily on VOD a few weeks ago, Bone Tomahawk is a brave film, a film that if you had to categorize, you would be hard pressed to. If anything, it would most closely resemble the weird genre mix of Ravenous, but it's not like Ravenous in tone; Bone Tomahawk is it's own thing entirely. You could say it's mostly a western, but it's also clever and funny in a lot of the dialogue, yet then the film takes a huge detour and turns into something else entirely in the final act, something that would be considered a horror film set in the west.
Bone Tomahawk is unique to say the least, blending different genre's, ideas and themes into one mish-mash of a film that works so well you're pretty sure that had it had a theatrical run, it more than likely wouldn't do very well. How could it? How do you market a film like this? For those thinking it's a horror film, it might turn them off when they see that it's more of a western than anything. For those going in expecting a western, the abundance of gore and insane violence in the last act might shock them. Hell, it shocked even us seasoned gore hounds who didn't know what to expect.
I won't be including a synopsis on this one, because I went in cold, knowing nothing, and my experience was all the better for it. You should do the same. Just know that it's a western with some horror elements, that's oftentimes clever and funny, resulting in a wholly unique experience with some standout performances by Kurt Russell and Patrick Wilson, with a healthy dose of cameo's cult film fanatics will appreciate. Writer/Director/Author S. Craig Zahler does an outstanding job building tension, composing impressive shots, and getting the most out of his cast. I for one am looking forward to what he comes up with next.
Directed by: John Carpenter
As big a fan as I am of Carpenter, I guess I avoided this one all these years because of bad word of mouth. When we finally sat down to watch this on Halloween night, I regret feeding into that false mentality as this is indeed a very good film. Aesthetically impressive and on par with a lot of his best visual work, it's moody, atmospheric, and slow-burn approach drives the films moody overtone, culminating in a surprisingly satisfying conclusion. I'm surprised this doesn't get the same love that some of his lesser successful films like Vampires get. I can't explain it.
It was great and simultaneously sad seeing Christopher Reeve on screen again, though I found him oddly miscast, as was Kirstie Alley. Regardless, he brings his A-Game and does a helluva job, especially in the third act. Great film experience overall and a highly underrated Carpenter gem.