tag:blogger.com,1999:blog-73981182008551685322024-03-02T07:39:35.550-08:00CINEMATIC REVELATIONSCINEMATIC REVELATIONS allows me the luxury of writing, editing and archiving my film and television reviews. Some reviews appeared initially in "The Commercial Dispatch" and "The Planet Weekly" and then later in the comment archives at the Internet Movie Database. IMDB.COM, however, imposes a limit on both the number of words and the number of times that an author may revise their comments. I hope that anybody who peruses these expanded reviews will find them useful. Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.comBlogger766125tag:blogger.com,1999:blog-7398118200855168532.post-9269491498197243912024-03-02T07:38:00.000-08:002024-03-02T07:38:43.689-08:00"FORTURES OF WAR" (2024) **<p> <!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-size: large;"><span style="font-family: "Bookman Old Style", serif; line-height: 107%;">After a surprise raid on a German convoy goes
sideways and their imperious C.O., Lieutenant Quayle (Mark Kitto of "The
War Below") is killed, the survivors of an ill-fated British commando unit
find themselves cut off in Nazi-occupied France. Sergeant Mason (James Oliver
Wheatley of "One Ranger") and a mixed batch of Tommies, both black as
well as white, along with a couple of pugnacious female French Resistance
fighters take refuge in an apparently deserted farm. Alas, they learn the farm
is not completely deserted. Now, between the blotched mission and the forced
march that culminates at the deserted farm house, co-writer & director Bill
Thomas indulges in moments reminiscent of Louis Milestone's classic World War
II movie "A Walk in the Sun" as the Tommies reflect on their
predicament. One of the blacks doesn't trust the French girls, while one of the
whites, a smart aleck named Leech (Daniel Thrace of “Book of Monsters”), causes
no end of trouble. His precipitant action when he whipped back the rear flap of
the flatbed revealed a nasty Kraut holding a flame-thrower. Although Leech eludes
death, the Tommy who had accompanied him is incinerated. Now, this incendiary
death is probably the most violent scene. Meantime, “Fortunes of War"
never tries to rival the grit, grime, and gore of "Saving Private Ryan.”
Nevertheless, everything about this infantry epic looks entirely plausible. Thomas
generates considerable urgency from the get-go with our heroes exchanging
gunfire with the enemy. Meaning, less talk and more action! Sadly, the
filmmakers reveal next to nothing about that raid gone wrong. Lieutenant Quayle
claimed his plan would succeed like clockwork. </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Bookman Old Style", serif; line-height: 107%;">Afterward, Mason, his men, and the French dames must
fight the Nazis in a baptism of bullets. Essentially, this modest military
melodrama could be classified as a single setting actioneer. Eventually, Thomas
and co-scribe Ian Thomas came up with a title that foreshadows the chief
surprise in this men on a mission movie. As war weary Sergeant Mason, James
Oliver Wheatley radiates a gruff virile charm as he chews the scenery. This
slap happy combat non-com keeps reminding his men he isn't their
"mum." The French Resistance girls know which end of their weapons to
aim at the enemy. Annette (Sophie Craig of "The Adventures of Maid
Marian") cradles a machine gun like a baby, while her fellow French
compatriot, Ines (newcomer Meg Forgan), lugs around a sniper's rifle. Ines
rarely misses what she fires at in a fracas. These dames have no qualms about
loosening a hail of lead into a passel of Jerries. Would that the filmmakers
had developed their characters in greater depth so they would be more
memorable. No sooner have our heroes taken up residence at the farm than they encounter
some suspicious characters. Turns out one of them is a Belgium guy who has a
screwy story to tell them about bricks. Eventually, our outnumbered and
outgunned chaps find themselves surrounded by more Germans than they can shower
with a hand grenades. It comes as something of a shock when German General
Horseler (Bob Cryer of "The Undertaker"), immaculate in his trench
coat and cap, wants to negotiate with them. He worries more about what our
heroes may reveal when they surrender as well as what his men will think when
they discover his underlying motives. Turns out Horseler had been melting down
precious Jewish contraband, that is, golden ornaments and glittering jewelry
into ingots! The sooner Horseler can get these infernal Brits out of the way,
the less attention he will face about his ulterior motives. Mind you, the Brits
chop up a fair number of the enemy before this happens. Shrewdly, Horseler uses
this moment of silence to wave the white flag of peace. To all outward
concerns, Horseler justifies it as time for his troops to<span> </span>remove the wounded and the dead.</span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Bookman Old Style", serif; line-height: 107%;"> </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Bookman Old Style", serif; line-height: 107%;">Thomas relies heavily on the charisma of his capable
cast, since their budget couldn’t accommodate the kind of fireworks display we're
accustomed to in million-dollar military melodramas. This stiff upper lip saga
about the aftermath of a blown mission clocks in at a meager 85 minutes.
Happily, Thomas makes certain the air is swarming with bullets, and our heroes
are whittled down one by one until only a handful are alive. Some of the German
soldiers look like they are wearing American helmets, but everybody appears to
tote period-accurate firearms. Sergeant Mason brandishes a .30 calibered
Thompson submachine gun, while the most of the German soldiers carry the familiar
MP 40 "Schmeissers." Beware of the DVD cover art for “Fortunes of
War,” because a flaming B-17 flies above our heroes. No aircraft are ever seen
in this movie. Apart from highlighting the little-known fact blacks served in
the British Army during World War II, "Fortunes of War" is a fair to
middling potboiler. If racially integrated World War II epics are your cup of
tea, you should watch “Come Out Fighting” (2022) about African American tankers
in Patton’s army!</span></span></p>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-89138743434654852022024-02-17T08:55:00.000-08:002024-02-17T08:55:24.106-08:00"THE OUTSIDE MAN" **1/2 OUT OF ****<p><span style="font-size: large;"> </span><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">“Borsalino” director Jacques Deray’s French mobster
melodrama “The Outside Man,” starring Jean-Louis Trintignant, Ann-Margret, and Roy
Scheider, chronicles the trials and tribulations of a Frenchman flown to Los
Angeles to kill a wealthy crime czar, Victor Kovacs (Ted de Corsia of “Gunfight
at the O.K. Corral”), in his palatial Beverly Hills mansion. Lucien Bellon
(Jean-Louis Trintignant of “The Great Silence”) isn’t a professional contract
killer. Instead, wrestling with a gambling addiction, he must find a way to pay off
his enormous debts. Unfortunately, the only way he can raise sufficient funds
to liquidate those debts is to fly from Paris to Los Angeles and ice a notorious crime
lord. After landing in Los Angeles, Lucien checks into the luxurious Beverly Wilshire
Hotel. The desk clerk hands him a mysterious attaché case along with his room
key. In his room, Lucien finds a loaded snub-nosed revolver and an envelope stuffed
with cash in the case. Renting a car, Lucien drives out to the Kovacs mansion.
The doorman admits him without frisking him for firearms. Victor surprises Lucien
then realizes he isn’t the man he was expecting. Lucien brandishes his revolver
and shoots him dead on the spot with a single shot. Earlier, Lucien had emptied the
cylinder of the gun in his hotel room and replaced only one of the six bullets. No
sooner has Lucien fled the scene of the homicide than an alert circulates about
Kovacs’s murder. However, the description of the shooter, furnished by</span> <span style="font-family: "Georgia", serif; line-height: 107%;">Victor's
wife Jackie (Angie Dickinson of “Ocean’s Eleven”) and Victor’s son Alex
(Umberto Orsini of “La Dolce Vita”) doesn’t fit Lucien! </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">While the LAPD struggles to catch the killer, Lucien discovers
the Detroit mob has sent an assassin to rub him out. Lenny (Roy Scheider of
“Jaws”) arrives in town eager to kill Lucien. Fate has a quirky way of intervening
on behalf of our protagonist, and Lucien survives three of Lenny’s desperate attempts
on his life. Meantime, the Frenchman hooks up with a bosomy topless
bartender, Nancy Robson (Ann-Margret of “Viva Las Vegas”), who agrees to help
him obtain a passport. The dastards who had hired Lucien have stolen both his passport and his
plane ticket, so our protagonist cannot leave the country. Lucien confers with
his Parisian friend Antoine (Michel Constantin of “Violent City”) about his
predicament during a long-distance phone call. He advises Lucien to find
with one of his old girlfriends, Nancy. Happily, she arranges for Lucien to buy a forged
passport from a cabbie, Karl (Carlo De Mejo of “Teorema”), who can get him one.
</span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Eventually, a naïve Lucien figures out the killing was an
inside job, and he served as a mere pawn. Victor’s greedy wife Jackie and his </span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;"> treacherous </span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">son Alex were instrumental in orchestrating
Victor’s demise. Poised as our protagonist is to leave the country, Lucien has
second thoughts and prefers to remain in L.A., so he can discover who incriminated
him. Meantime, Antoine and his bodyguard fly in from Paris to attend Victor’s
funeral. Probably the most offbeat thing about “The Outside Man” is the funeral
itself. When everybody pays their last respects to Victor, they find his corpse
sitting upright in a chair with a cigar in one hand. What a bizarre way to
display an embalmed corpse! An impromptu gunfight erupts in the funeral home
when one of Alex’s henchmen, Miller (Alex Rocco of “The Godfather”), tries to gun down Antoine. Instead, Antoine guns down Miller and traps a cowardly Alex hiding
in a casket, finishing Alex off for good. Meantime, Lucien hijacks a hearse
and careens away through the cemetery grounds with Antoine chasing after him. A policeman with a rifle shoots Antoine before he can get into the hearse with Lucien. Antoine tells Lucien to leave without him. Grabbing hole of the rear bumper, a mortally wounded Antoine is dragged behind the hearse until he dies. During the gunfight, Lucien caught a slug himself, too. As “The Outside Man” concludes, Lucien is sitting behind the steering
wheel of the hearse with blood-soaked hands. Like Deray's later crime thriller "Three Men to Kill" (1980), the protagonist dies in the end just as Lucien dies here in "The Outside Man."<br /></span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">This uneven but entertaining crime thriller has its moments.
Initially, when Lucien goes on the lam, he carjacks a single-mom, Mrs. Barnes (Georgia
Engel of “Grown Ups 2”), and forces her at gunpoint to take him to her
residence. Lucien cools his heels there. Mrs. Barnes cooks him supper and her presumptuous
young son, Eric (Jackie Earle Haley of “Watchmen”), wants to know more about
him. During a private phone call, Lucien catches the disruptive adolescent listening
in on his call and slaps the stuffing out of him. Meanwhile, every step of the
way, Lenny shadows Lucien but fails repeatedly to kill him. At one point, Lucien
picks up a hitchhiker who rhapsodizes about Jesus. Cruising up alongside them,
Lenny shoots from his car into Lucien’s. Miraculously, he misses Lucien and
blasts the Jesus freak. During the rest of the film, Lenny pursues Lucien. He
kills the cabbie that provided Lucien with a passport and finally tracks him
down to a hotel where he is holed up with Nancy. Their adversarial relationship
changes when Lenny decides to team up with Lucien and go to the Kovacs estate.
At the last second before they enter the estate, Lenny tries to double-cross
the Frenchman, but Lucien kills him with a single shot.</span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Deray and writers Jean-Claude Carrière and Ian McLellan Hunter
complicate matters considerably throughout this brisk, 105-minute thriller.
Actually, the filmmakers had not scheduled to shoot “The Outside Man” but
another movie. Unfortunately, the other movie they were set to produce fell
apart. Deray’s scenarists whipped up this tale in a matter of twelve days, and
he lensed it before their work permits expired. Composer Michel Legrand
garnishes this fish-out-of-water tale with an interesting orchestral soundtrack
that accentuates the action. The abrupt ending with our protagonist parked in
the Los Angles river basin with blood on his hands and nowhere to run leaves
too many plot threads hanging. Basically, this was ‘an inside job’ organized by
Alex to liquidate his dad Victor using an “Outside Man” from Paris who knew no
better. </span></span></p>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-88048643626452625612024-01-15T20:24:00.000-08:002024-02-17T08:55:56.119-08:00"I SHOT JESSE JAMES" (1949) *** OUT OF ****<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Maverick director Samuel Fuller made his directorial debut with
the B-movie western “I Shot Jesse James” (1949). This black & white, 81-minute
oater opens during a daylight bank robbery. A bearded Jesse James (Reed Hadley of
“The St. Valentine's Day Massacre”) and his accomplices have the bank president
and his employees at gunpoint. Nevertheless, Jesse cannot see is the president edging
his foot closer to an alarm bell in the floor. The tension builds as a cashier
stuffs money into a set of saddle bags. The manager grinds the alarm mechanism underfoot.
The alarm goes off, and Jesse and his gang flee. One of Jesse’s minions, Bob
Ford (John Ireland of “Red River”), scrambles out of the bank with the loot in those
saddle bags. Gunshots ring out as the gang gallops <span> </span>out of town. Bob takes a bullet in the back
and drops the saddle bags in the road. Jesse and his gang hightail it out of
town. The infamous outlaw rushes to keep Bob from falling out of the saddle as
the gang storms out of town. </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Several months later, Bob splashes buckets of steaming water over
Jesse’s back as the outlaw legend as he bathes. Bob spots a brand, spanking new,
nickel-plated, Colt’s .45 revolver on a nearby stool. Picking it up and admires
it, Bob is surprised when Jesse tells him the revolver is a gift to Bob, a
reward for the latter’s loyalty. Meanwhile, Jesse’s wife, Zee (Barbara Wooddell
of “The Great Jesse James Raid”), complains to Jesse about Bob and his younger
brother, Charlie (Tommy Noonan of “Gentlemen Prefer Blondes”), who are hiding
out with them. Jesse masquerades as an honest rancher under the alias of Tom Howard.
He has managed to live in quiet anonymity in Missouri, while conducting his bank
robberies in other states. Jesse shares his paranoid nature with Bob when he
tells Bob that everybody wants to collect the $10-thousand bounty on his head. According
to Jesse, a man must choose his friends with discretion. </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Jesse has no idea how desperate Bob is to wed an old flame, Cynthy
Waters (Barbara Britton of “Dragonfly Squadron”), who has been on tour, warbling
songs for a roadshow company. No sooner does Bob learn about Cynthy being in a nearby
town than he lights out to see her and propose marriage. Cynthy rejects Bob’s
offer. She insists she can neither live on the run nor hide out from the law while
Bob gallivants out of Missouri with Jesse and Frank James. Not only does Bob vow
to hang up his six-gun, but he also plans to resume farming if Cynthy will marry
him. Bob’s trouble is he has very little cash, so Cynthy--much as she loves Bob—turns
down his marriage proposal. Bob’s obsession with Cynthy creates more problems
than he imagined. Another man, John Kelly (Preston Foster of “Montana Territory”),
approaches Cynthy with a business proposition. He wants to invest in Cynthy’s
song and dance routine. When he catches Kelly in Cynthy’s room, Bob smolders with
jealous rage.</span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Later, at the Howard ranch, Charlie is reading a newspaper
article aloud about amnesty for anybody who kills or captures Jesse James and
turns him over to the law. While Charlie reads the article, Bob imagines what
he could do with the $10 thousand and the amnesty. Initially, he decides to buy
a wedding ring for Cynthy, marry her, and settle down with the ten grand to
live a quiet farmer’s life. Without further ado, Bob brandishes the Colt’s .45 with
pearl handles that Jesse gave him and shoots the outlaw in the back while he
struggles to adjust a picture on a wall. Eventually, Bob learns all of his best
laid plans are compromised. Although he lands amnesty, Bob gets only $500
instead of the $1o thousand. Of course, Cynthy is appalled by Bob’s treachery. Although
the law cannot touch him, Bob is shocked that some deranged souls want to kill
him because Bob had killed Jesse. No matter where he rides, Bob encounters
either contempt at his cowardice or men itching to slap leather so they can
brag they have killed Jesse James’ murderer. </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">In “I Shot Jesse James,” Samuel Fuller shows more sympathy for
Bob Ford than the eponymous outlaw. Fuller suffered no illusions about Jesse’s notoriety.
He regarded Jesse as nothing less than a murdering coyote. Incidentally, Fuller
doesn’t beat around the bush. He has Bob Ford bushwhack Jesse early in the film.
Afterward, Bob goes prospecting in Crede, Colorado. Bob and Kelly’s paths cross
again. They share a hotel room. Bob awakens the next morning and discovers to
his anger that the ring he bought for Cynthy has been stolen. He accuses Kelly
of the thief. However, Kelly clears himself and brings the thieving hotel clerk
(Byron Foulger of “Ride the High Country”) to confess he stole</span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;"> Bob’s ring.
By now, Cynthy fears Bob and wants to flee. However, Bob’s days are numbered
when he tangles with Kelly who has pinned on a town marshal’s badge. Fuller
directs with a fast, efficient hand and doesn’t let this outlaw saga wear out
its welcome.</span></span></p>
<p> </p>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-74575073997833471432024-01-13T13:06:00.000-08:002024-01-14T15:27:58.174-08:00"BLAST OF SILENCE" (1961) **1/2 OUT OF ****<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
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<p><span style="font-family: georgia; font-size: large;">Although it isn’t in the same
league with </span><span style="font-family: georgia; font-size: large;">Jean-Pierre Melville's</span><span style="font-family: georgia; font-size: large;"> classic 1967 French crime thriller "Le Samurai," director
Allen Baron's procedural murder melodrama "Blast of Silence" amounts
to a meditation on the fate of a Cleveland, Ohio-based, contract torpedo, Frankie
Bono (Allen Baron), who arrives in New York City on Christmas Eve to ice a
rival, low-level crime boss. <i>Tis the season to be murderous!</i> Bono
prefers a .38 caliber revolver equipped with a silencer as his weapon of
choice. Seems like a lot of cinematic gunsels packed revolvers with
silencers, even though an automatic pistol would have been far more
appropriate for the occasion, particularly when silence is considered golden. Of course, most
cinematic assassins usually show up with their own hardware, thus eliminating
the need to bring anybody else into the equation who could prove to be a loose thread
that unravels everything. </span></p>
<p><span style="font-family: georgia; font-size: large;">Written, produced, and directed by
Baron, this lean, mean, 77-minute, film noir unfolds from our paranoid
assassin's perspective. You'd think he’d tote his own firearm, so he wouldn't
wind up in a hopeless predicament like he faces eventually at fade-out. Not long after he shows up in the Big Apple and receives his marching
orders, Frankie tangles with a dire crisis of conscience about his predatory
lifestyle. Accidentally, he runs with an old school classmate in a
restaurant, and this well-meaning fellow invites Frankie to come to a party. During this
social occasion, Frankie rekindles a brief relationship with an old flame, Lori
(Molly McCarthy of "Over The Edge"), whom he knew before he embarked on his shady, criminal
shenanigans. Second thoughts about his job as a mob hitman plague him, and he toys
with the idea of making this killing the last one of his career. Our embittered
protagonist displays his considerable skills as a homicidal killer, and as
we eavesdroppers watch him skillfully shadow his intended victim, Troiano
(Peter Clune of "Juke Box Racket”), who is often accompanied by two
bodyguards. Frankie knows how to tail a target in traffic without attracting attention. He never rents the
same automobile, and he knows when to stop stalking his prey because the latter
might spot him. Now, we’re never given any details about </span><span style="font-family: georgia; font-size: large;">either</span><span style="font-family: georgia; font-size: large;"> Troiano or
why he has become the object of a hit. Produced on a m</span><span style="font-family: georgia; font-size: large;">inuscule </span><span style="font-family: georgia; font-size: large;">budget of $20 thousand,
this movie is nevertheless interesting because it is so atmospheric. </span></p>
<p><span style="font-family: georgia; font-size: large;">Basically, "Blast of
Silence" is a slow burning fuse of a film that chronicles Frankie's
standard operating procedure for killing a man. First, he obtains an
untraceable firearm from an unsavory, low-life criminal, Big Ralph (Larry
Tucker of “Shock Corridor”) who lives alone in a ground floor city apartment.
This gun runner has cages of pet hamsters stacked up around his apartment!
Imagine the odor!? Ralph lives up to his “Big” nickname because he is obscenely
fat and slimy. Later, Ralph gets under Frankie’s skin, and our pugnacious
protagonist takes him apart during a violent, knockdown, drag-out fight that
leaves Big Ralph dead in his apartment and Frankie shaken up. The criminal
underworld of “Blast of Silence” is riddled with treachery and untrustworthy
accomplices, especially in the film’s ominous finale.</span></p>
<p><span style="font-family: georgia; font-size: large;">Baron penned Frankie's loquacious
voice over narration with scenarist Waldo Salt. Later, Salt would win an Oscar
for his "Midnight Cowboy" screenplay, and this evocative narration
provides considerable insight into the psychology of our tightlipped assassin
as he contends with all the obstacles that complicate this job. Moreover, the
distinguished blacklisted actor Lionel Stander of “The Gang That Couldn't Shoot
Straight” delivers Frankie’s voice-over narration in his trademark gravel voice
that blends in orally with Barron’s physical depiction of Frankie. Too bad that
Stander couldn’t have dubbed all of Baron’s dialogue for the sake of similarity
between the narration and Frankie’s spoken dialogue.<br />
<br />
"Violent Women" lenser Merrill S. Brody's black & white
cinematography captures the era of storefront shopping, and the austere New
York City locations lend the film an abundance of authenticity, seasoned with
its historic significance. The filmmakers photographed the daily flow of ‘Big
Apple’ traffic on foot and in vehicles. Low-key film that it is, "Blast of
Silence" delivers snapshots in time of New York City back in the early
1960s. You can feel the gritty sidewalk crunch under your shoes. Shot in an
improvised documentary style, "Blast of Silence" familiarizes
audiences with the obstacles our protagonist must transcend before he can
perform the execution for which he has been paid. </span></p>
<p><span style="font-family: georgia; font-size: large;">Despite his emotional outburst
after he renews his acquaintance with an old grade school girl, Frankie is a
very thorough-going assassin. He describes his method of operation when he is
dispatched to kill somebody. Ultimately, Frankie tosses the incriminating
weapon he wielded into the bay. This turns out to be a fatal decision, and it
costs Frankie his life. When he appears at a rendezvous with the mobster who
hired him, Frankie is shocked to discover his days above ground are limited. We
witness the age-old duplicity of organized crime when the gangsters who hired
Frankie have no intention of paying him off for a job well done. Instead, these
vicious hoods pursue him and riddle him with lead! Our protagonist dies face
down in a muddy pond in the boondocks. Predictably, Hollywood maintained its
familiar credo of ‘crime does not pay.’ Comparably, “Blast of Silence” came
before the incomparable hit thrillers like Jean-Pierre Melville’s "Le
Samourai" (1967) Alain Delon and Michael Winner’s “The Mechanic” (1972)
with Charles Bronson. Some spectators may grumble about this slow-moving saga
as well as its anonymous cast. Interestingly, Peter Falk turned down the lead
role in “Blast of Silence” for his stunning turn as a killer in “Murder, Inc.”
(1961) helmed by Burt Balaban and “Cool Hand Luke’s” Stuart Rosenberg. Crime
Genre specialists should make the effort to watch this low-budget indie
release!</span></p>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-57444385013135333232023-12-31T18:37:00.000-08:002023-12-31T18:37:01.726-08:00"ABILENE TOWN" (1946) **** OUT OF ****<p><span style="font-size: large;"> <span style="font-family: "Georgia", serif; line-height: 107%;">Don't let the fact this is a black & white, post-World War
II, public domain western dissuade you from watching it. The Randolph Scott
oater "Abilene Town" exemplifies what makes a great western and great
filmmaking. Scott is capably cast as a strong, level-headed lawman of the
eponymous cattle town in 1870. Predictably, the cattlemen behave like a
rambunctious, trigger-happy, liquor-swilling horde that dictate their demands
to the merchants. Although our stalwart town marshal is sworn to uphold the
law, the obsequious townspeople--who depend on the trail drovers for their
livelihood--don't want Town Marshal Dan Mitchell to enforce the law in such a
way that would alienate the cattlemen and incite them to drive their herds to
other towns. Change, it seems, is rarely a good thing initially, and the
arrival of Lloyd Bridges and a crowd of homesteaders from Ohio sparks conflict
between not only the cattlemen and the homesteaders but also with the merchants
and the homesteaders. At one point, the cattlemen resort to stampeding their
cattle so they can drive the ornery sodbusters out.</span></span><!--[if gte mso 9]><xml>
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<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">"Ride ‘em Cowboy" scenarist Harold Shumate adapted
Ernest Haycox's novel "Trail Town" for the screen, and the characters
are as interesting as they are charismatic. For the record, Haycox had written
the short story “Stage to Lordsburg” earlier that inspired the classic John Ford
western “Stagecoach” with John Wayne. The brilliance of “Abilene Town as
western is we get to see the townspeople behave for a change as if they have
minds as well as spines, and they don't cower for long after Scott mobilizes
them into action. The impetus for the merchants to side with the homesteaders
comes when the chief storekeeper's daughter, Sherry Balder</span> <span style="font-family: "Georgia", serif; line-height: 107%;">(Rhonda
Fleming of “Gunfight at the O.K. Corral”) falls in love with Henry Dreiser (Lloyd
Bridges of “High Noon”), the leader of the homesteaders. </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">"Abilene Town" is one of the few American westerns containing
a scene where our lawman hero has a shoot-out in the saloon and plugs one of
his adversaries in the same pictorial frame in which he appears. In other
words, we see the hero shoot a villain in the same visual shot as he pulls the
trigger! This unusual event occurs roughly 75 minutes into this 89-minute
oater. 'Cap' Ryker (Dick Curtis of “The Texas Rangers”) refuses to be arrested
by Sheriff Mitchell and takes a slug. Typically, old fashioned Hollywood
westerns refrained from having anybody shoot another somebody in the same
visual frame. Moreover, "Abilene Town" differs also because the hero
doesn't stick with the sweet, innocent young thing, Sherry Balder, that he
starts out romancing. Instead, he winds up with a cantankerous saloon girl,
Rita (Ann Dvorak of “Scarface”) who has a passion for kicking our hero in the
shins.</span></span></p><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">"Tall in the Saddle" director Edwin L. Marin makes sure this
89-minute horse opera doesn't wear out its welcome. He is adroit at swirling
humor into this largely straightforward yarn about good citizenship. Edgar
Buchanan steals the show as a craven County Sheriff 'Bravo' Trimble. Veteran
heavy Jack Lambert of “Vera Cruz” makes a first-rate murderous villain. He is
as slimy as he has ever been and swaps blows with Scott in one scene. Later, he
manages to break out of jail, and our hero has to blast him out of the saddle
on main street before he can flee. Everybody who calls themselves 'western
movie' fans must see "Abilene Town!"</span></span></p>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-68003735701944736952023-12-30T12:23:00.000-08:002023-12-30T12:23:58.056-08:00AQUAMAN (2018) *** OUT OF ****<p> <!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">As superhero origin epics fare, James Wan’s “Aquaman” ranks as a seaworthy saga
with spectacle to spare. Jason Momoa of “Fast X” is perfectly cast as the
exuberant man who feels as content with dry land under his feet as he does navigating the depths of Davy Jones' locker.
Nevertheless, there are moments when you have to wonder if the filmmakers didn't go overboard in their efforts to forge a new superhero franchise that recycles the venerable British myth of Excalibur as well as the </span></span><span class="JCzEY ZwRhJd"><span class="CSkcDe"><span style="font-size: large;">intergalactic intrigue of </span></span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">“Star Wars.” The sea warriors sport their own distinctive brand of armor, but the influence of the Darth Vader's storm troopers is clearly apparent. Comparatively, the origin story segments generate greater </span></span><span style="font-size: large;"><span aria-level="1" class="yKMVIe" role="heading">spontaneity</span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;"> and
deliver more emotionally charged sentiments than the clash for power between Aquaman and his chief
adversary King Orm (Patrick Wilson of “Watchmen”) over who </span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">will wear the crown as the king of the seven seas</span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;"> and command a multitude of
undersea armies. Orm’s efforts
to incite a war with </span></span><span style="font-size: large;"><span><span><span class="kqEaA z8gr9e">landlubbers</span></span></span></span><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;"> and his antipathy for his half-breed brother Aquaman are
straight out of a 1950's era Hollywood cavalry western where the hero is an army scout who has
lived with the Indians and understands their plight. Sadly, Wan and scenarists David
Leslie Johnson-McGoldrick and Will Beall, working from a story by Geoff Johns, James
Wan and Will Beall, based on the DC Comics character created by Paul Norris and Mort
Weisinger, duplicate George Lucas’ “Star Wars” franchise with similar heroes and villains—tweaked of course—but comparable to Lucas’ characters. For example, although he has less power but a longer life than
Obi-Wan Kenobi, Willem Dafoe’s character Vuklo is reminiscent of the Alec
Guiness character. After all, he mentors the youthful Aquaman in the ways of the
seas as well as the use of underwater weaponry. </span></span></p><p><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Ultimately, what undercuts the best
parts of “Aquaman” is the addition of a love story between our eponymous hero
and Mer (Amber Heard of “Drive Angry”) and a disposable subplot involving Manta (Yahya
Abdul-Mateen II of “Ambulance”). Mind you, there is nothing wrong with the action laden sequences aboard a Russian sub where Aquaman and Manta square off after our protagonist kills the latter's face. Nevertheless, clocking in at a mind-boggling 143 minutes, “Aquaman”
suffers from a surfeit of plot. Initially, Wan and his collaborators could have
jettisoned this flotsam of a subplot and saved it for the sequel. The clash of
titans subplot that eventually leads to Aquaman becoming the king of the ocean
is taken to extremes, too. We’ve seen this kind of filmmaking too often and it
just clutters up the beautiful origins story between Aquaman’s mom Atlanna (Nicole
Kidman of “Dead Calm”) and his lighthouse father Tom Curry (Temuera Morrison of
“Once Were Warriors”). It seems that Atlanna washed up with a wound literally
on Curry’s doorstep at his lighthouse tower and he nursed this babe back to
health. They grew on each other and inevitably as is the case, they fell in
love and gave birth to Arthur. The search for the ultimate Trident and the
depths our brawny hero must go to in order to claim that elaborate fork as the
symbol of his power is straight out of the King Arthur legend. Altogether, Wan
and company go overboard and pack too much into their narrative net. Happily, produced
at around $200 million, “Aquaman” earned back its budget three-fold with a
worldwide take of over a billion dollars! The undersea vistas as well as the
exotic creatures lure in the forbidden depths of the trench that challenge both
Atlanna and our hero are as extraordinary looking as the scenery is stunning. The
cast that includes luminaries like Dolph Lundgren, Michael Beach as Manta’s
father, Randall Park, and the voice of Julie Andrews as Karathen provide robust
support for the Indeed, James Wan and his school of executive producers, including
Peter Safran, Deborah and Zack Synder, Walter Hamada, DC Comics’ own Geoff
Johns, and Jon Berg, deserve kudos for their accomplishments. One of my
favorite scenes takes place in a bar when Arthur and his father are guzzling
beer. A group of pugnacious hooligans approach our hero with what appears to be
sinister intentions, but they turn out for happy campers who only want to take
a selfie of themselves with Arthur. The montage of photos is hilarious as well
as refreshing in what might have degenerated into just another cliched barroom
brawl.</span></span></p>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-58198394875248847452023-12-29T07:16:00.000-08:002023-12-29T07:16:43.788-08:00"DON'T TURN 'EM LOOSE" (1936) *** OUT OF ****<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">RKO contract director Benjamin Stoloff’s B-movie quickie “Don’t
Turn ’em Loose” (1936) capitalized on the ‘crime doesn’t pay’ theme that M-G-M had
already embarked on a year earlier with its own “Crime Does Not Pay”(1935-1947)
franchise that consisted of 20-minute short subjects shown before the feature
picture. Mind you, the 1930s were rift with cautionary films about the scourge
of crime and the rise of gangsters. Gangland movies had become a staple for
Warner Brothers, the studio that released “Little Caeser” (1931) with Edward G.
Robinson and “The Public Enemy” (1931) with James Cagney. Stoloff’s “Don’t Turn
‘em Loose” scrutinized the parole racket and focused on a parole board that was
releasing career criminals as swiftly as the courts convicted them. Although
scenarists Harry Segall, Ferdinand Reyher, and Thomas Walsh do not come
outright and accuse the parole board in “Don’t Turn ‘em Loose” of graft and
complicity, you have to suspect the Hays Office must have drawn the line of
implicating the system since it usually gave the Hollywood studios little leeway
in pointing fingers. Suffice it to say, “Don’t Turn’em Loose” provides hints
about the graft and corruption inherent in the system by labeling the job as a ‘political’
function, with the law exerting little pressure on them. Every one of these
natty fellows on the board give their silent assent to virtually every case
that comes before them. In the case of a notorious felon named Bat William,
this bloodthirsty murderer who robs and kills the innocent to line his pockets
with his ill-gotten gains, they all too readily release him back into society after
his shyster attorney moves them to sympathy with Bat’s wife and infant child
appearing before the board. No sooner than Bat has been released than his
mouthpiece pays off the dame and shuffled off the infant without a shred of
remorse.</span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Naturally, Detective Daniels (James Gleason of “Night of the Hunter”)
complains that the parole board isn’t doing society any favors by turning these
hardened criminals loose to commit more crimes. Eventually, the governor of the
state contacts a high regarded educator, John Webster (Lewis Stone of M-G-M’s later
“Andy Hardy” franchise), an implores this speech teacher to take a seat on the
board. The revelation in “Don’t Turn’em Loose” is the Bat Williams is in truth named
Robert Webster, the educator’s own son! Of course, John the father has no idea
what he is getting himself into when he complies with the governor’s request. John
complains to his wife, Helen Webster (Nella Walker of “Sabrina”), that he
prefers to shun politics. Later, the governor asks him again, and John takes
the assignment with great misgivings. Meanwhile, Bat/Robert has been on a crime
spree, robbing and killing, but since the methods of identification back then
were primitive in comparison because photographs were not on driver’s licenses,
Robert has gotten away with his crimes. Basically, Robert has fooled his family
into believing that he is an engineer who takes time off his job from South
America to visit them and then leave once he has either lined up a job or has
already carried one out.</span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Detective Daniels gets the drop on Bat’s mistress and leverages
a confession out of her that sends him back to prison. It just so happens that when
Bat takes his case before the same parole board, he is shocked to find his
father on board. John is floored by this surprise of all surprises. Reluctantly,
he agrees to let his ‘no-good’ son loose as long as the dastard leaves both the
town and the state and never comes back. Not surprisingly, Bat decides to stage
one final robbery, but he realizes too late he has been caught in a trap from
which he cannot extricate himself. Daniels is lying in wait for him at a
construction office with a big, fat safe awaits Bat’s pleasure. Although he
gets the drop on Bat initially, Daniels gets too close to the felon who simply
knocks his revolver out of his fist and they struggle. Meantime, his father has
gone to see his son off at the railway depot. When he doesn’t find him at the
depot, some sixth sense sends him to the construction office and he intervenes
on behalf of Detective Daniels. Indeed, he shoots his own son, but Daniels
sends John home with mum’s the word and takes the fatally wounded Bat out of
town to die instead of alerting he coroner and damaging John’s scholarly
reputation. </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">“Don’t Turn ‘em Loose” is a snappy little B-picture. There is
a lot of violence, but the Hays Office forced RKO to keep from showing Bat’s
heartless crimes in gratuitous detail. At one point, Bat confront his moll who
turned him in, and he breaks out of prison and murders her at point blank
range. Afterward, his accomplices with a lumber company who delivers wood to
the prison picks him up to take him back. Bat leaves a lunch box in the crawlspace
between the truck’s cab and its bed. Later, as the driver is cruising along a road
that hugs the side of a cliff, the lunchbox bomb detonates and the driver is
killed when his vehicle plunges into a ravine. The robbery at a milk company is
violent, too. As the villainous Bat/Robert Webster, Bruce Cabot grins
sadistically and takes advantage of everybody he deals with in both his
criminal affairs and his family affairs. Seems that John never believed he
could raise a ‘bad’ child, but in retrospect, he realizes that all the petty
crimes that happened in their household were engineered by his rogue son.
Clocking in at 65 lean and mean minutes, “Don’t Turn ‘em Loose” is a good movie
that moves at a fast clip.</span></span></p>
<p> </p>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-85866169157545360262023-12-26T19:49:00.000-08:002023-12-30T11:47:32.019-08:00BLACK SAMSON (1974) *** OUT OF ****<!--[if gte mso 9]><xml>
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mso-para-margin-left:0in;
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mso-pagination:widow-orphan;
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mso-ascii-theme-font:minor-latin;
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<w:TrackMoves/>
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<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span style="font-family: "Georgia", serif;">A
stuntman turned actor and then later director, Charles Bail helmed two
Blaxploitation epics during his 20 plus years of calling the shots behind the
camera. “Black Samson” marked Bail’s cinematic debut at the helm, and he made a
name for himself, going on to direct the “Cleopatra Jones” sequel “Cleopatra
Jones and the Casino of Gold.” Afterward, he made “The Gumball Rally,” and
later directed his share of prime-time television shows, among them “CHiPs,”
“Manimal,” “Knight Rider,” “Dragnet,” “Adam-12,” and “Baywatch Nights.” During
his television years, Bail took time off to direct “Choke Canyon” (1986) and
“Street Corner Justice” (1996). As Blaxploitation pix go, “Black Samson” isn’t
as well-known as his “Cleopatra” sequel, but it features a dashiki-clad African
American role model who stood out from the line-up of sartorially elegant heroes
and he shunned firearms! Instead, in the tradition of President Theodore
Roosevelt, Samson walked softly and carried a big stick. When he isn’t cracking
heads with his lance, he balls up his own fists of fury to pummel the
opposition.</span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span style="font-family: "Georgia", serif;">In
the screenplay by “Kiss of the Tarantula” scribes Warren Hamilton Jr. and
Daniel Cady, Black Samson (Rockne Tarkington of “The No Mercy Man”) owns a
strip bar in Los Angeles where he keeps a lion behind the bar in plain sight as
his mascot! No, this king of the beasts never gets loose to gnaw on the bad
guys! Basically, Black Samson keeps a brotherly eye on the neighborhood
surrounding his drug free haven where not only his customers—both black and
white—can live in peace and harmony but also without the scourge of narcotics
polluting their lives. He emerges as a self-appointed benefactor who defends
the weak and cares for the poor. For example, he keeps a homeless, elderly,
black man, Old Henry (Napoleon Whiting of “Giant”), on his payroll to plink out
funky tunes on a piano. Meantime, Samson has made a gentleman’s agreement with
a nearby funeral home director, Arthur (Michael Payne of “Good Guys Wear
Black”), who steers his coke dealers clear of Samson’s bailiwick. For the
record, these two dudes grew up as soul brothers, but they went their separate
ways into different livelihoods. Nevertheless, Arthur warns Samson that the latter
is living on borrowed time before the gluttonous Italians try to muscle in on
his environs and hook everybody he knows and loves on cocaine. </span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span style="font-family: "Georgia", serif;">Indeed,
the arrogant, reckless spawn of a Mafioso, Johnny Nappa (William Smith of “Any
Which Way You Can”), plans to push drugs in Samson’s community. Naturally, <span> </span>our eponymous hero refuses to let Johnny and
his thugs gain so much as a toehold. When Johnny’s lawyer approaches Samson
with the prospect of a 20 percent take of drug sales, our hero threatens to
throw him from the roof of his bar into the street. Afterward, Johnny sends his
men in to change Samson’s mind but to no avail. Literally, Samson wields a
ceremonial lance which is as tall as he is, and he can be devastating as Johnny
learns to his chagrin. </span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span style="font-family: "Georgia", serif;">The
only thing “Black Samson” lacks is an appealing Top 40 hit title tune to give
it some vibe. Bail and his scenarists keep the action coming in this predictable
but entertaining R-rated, 88-minute crime yarn. As villainous Johnny Nappa,
brawny William Smith sports a pencil-thin, Snidely Whiplash mustache and never
misses a chance to use the N-word. As it turns out, Johnny’s peace-loving mafia
don of a father, Joseph Nappa (Titos Vandis of “Stiletto”), draws the line at
violence and advises his volatile son to forget about taking over Samson’s
district. Sadly, numbskull Johnny refuses to abide by his father’s non-violent
agenda, and he sets out to eliminate Samson. Eventually, Johnny declares open
war on Samson, while his torpedoes abduct Samson’s girlfriend, Leslie (Carol
Speed of “The New Centurions”), and hold her hostage. Earlier, Johnny had dispatched
a sexy little dame, Tina (Connie Strickland of “Act of Vengeance”), to audition
as a topless dancer in Samson’s bar. Yes, prepare yourself for some modest
frontal nudity. Samson hires her because she displays talent, and Johnny orders
Tina to learn everything she can about Samson and his operation. At the same
time, Johnny warns Tina to steer clear of any romantic entanglements with
Samson.</span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">The grand finale of “Black Samson” is pretty spectacular.
First, Bail treats us to a careening demolition derby of an auto chase with
Johnny’s reckless henchmen chasing Samson and his girlfriend through teeming city
streets. These villains crash headlong into one car after another that they
encounter along the way. After they destroy their own cars, these thugs carjack
other vehicles and resume their pursuit. Eventually, Samson lures them into his
neighborhood where the residents have prepared a special reception for the
Italians. As soon as Samson speeds down the street of his quarter, a truck
pulls out across the road effectively blocking any pursuit. Later, two wrecker
trucks close off the street at the other end! Predictably, the LAPD doesn’t show
up until Samson has thoroughly beaten egotistical Johnny to a bloody pulp, while
Samson’s supporters have trapped Nappa’s mafia torpedoes in the street below
and showered them with a barrage of sticks, bricks, stones, and kitchen
appliances! The amount of stuff the residents rain down on the antagonists is
simply incredible. “Black Samson” reminded me of a town-taming western with
Samson appointing himself the moral crusader who thwarts these drug dealers and
furnishes congenial services as a bar owner for the neighborhood.</span></span><span style="font-family: "Georgia",serif; font-size: 12.0pt; line-height: 107%;"></span></p>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-51379777705642693242023-12-25T16:40:00.000-08:002023-12-31T18:39:27.548-08:00"THE EXPENDABLES FOUR" (2023)(*** OUT OF ****) <p><span style="font-family: georgia; font-size: large;">"Act of Valor" director Scott Waugh's "Expendables 4" qualifies not only as the most violent, 'splatterific' entry in the mercenary franchise, but also as the sequel with the shoddiest CGI wizardry which sabotages its authenticity. "Law Abiding Citizen" scenarist Kurt Wimmer, "Black Lotus" scribe Tad Daggerhart, and "Heist" writer Max Adams have recycled all the standard cliches for this outlandish actioneer, but they've put Dave Callaham's original characters through a wringer. Mind you, there is no shortage of bullet-blasting firefights. Whether on the ground in Libya or aboard a booby-trapped supertanker at sea equipped with a doomsday bomb, the body count tops out at 284! Predictably, the stakes are far higher than the original "Expendables" (2010) and our invincible heroes cheat death repeatedly with their fists, feet, wits, and weapons. Worse, heroic Barney Ross (Sylvester Stallone of "Rocky") vanishes early after a harrowing fracas with trigger-happy hostiles who have stolen nuclear denotators from one of Muammar Gaddafi's Libyan ordinance depots. The villains are as savage as they are resourceful. The chief villain, Suarto Rahmat (Iko Uwais), shoots an innocent child off-screen in the head while his father watches in one scene. These dastards are scheming to foment a war between Russia and America. Mercifully, Waugh and his writers never let the action bog down in boilerplate exposition. They paint our heroes into a corner early and put their survival skills on the line. Predictably, Lee Christmas (Jason Statham of "Crank") vows to avenge the demise of his best friend.<br /><br />The stakes in "Expendables 4" loom larger than ever before, and the consequences are devastating. Waugh and his writers provide the characters with some amusing, hardboiled banter, especially the verbal sparring between Barney and Lee as they rib each other with gleeful abandon. Andy Garica storms into the action as an exasperating, upper-echelon, CIA spook named Marsh. Barney Ross and Marsh have a history together. The filmmakers withhold this crucial material until later when it makes more sense. Marsh briefs the Expendables about a critical mission in Libya. They must thwart a nefarious mercenary, Rahmat (Iko Uwais), who wants to hijack nuclear denotators for an enigmatic terrorist known only as Ocelot. Incredibly, not only do the Expendables botch the mission, but also the aircraft Barney flew them in on is blown out of the blue and crashes. Again, a well-aimed shot by Rahmat on a .50 caliber is the coup de grace that sends Barney plummeting to the ground. Approximately, 28 minutes into this escapade, Lee finds Barney's incinerated remains buckled into the pilot's seat. Marsh chews out Christmas for his failure to carry out Barney's orders and prevent the theft of the detonators. Christmas had broken off his pursuit of the warheads to rescue Barney.<br /><br />Ultimately, Christmas is booted off the team. Lee's curvaceous babe of a girlfriend, Gina (Megan Fox), supervises the second attempt to defeat Rahmat and retrieve the denotators, but now the stakes are soared. These villains have hijacked a cargo ship and stashed a nuclear warhead aboard the vessel cruising into Russian waters. These fiends want to incite World War III. Our heroes 'halo' down from high altitudes, open their parachutes, and touch down on the cargo ship. No sooner have our heroes assembled for the mission than the villains disarm and imprison! Meantime, Lee has been lurking on the periphery. Although no longer an official Expendable, he tracks his former comrades by means of an electronic homing device hidden in a watch. Along the way, he encounters another of Barney's many friends, Decha (Tony Jaa), who is wrestling with a Jekyll & Hyde split-personality. He is a born fighter of great tenacity. However, all those years of unrelenting combat have taken a toll on him. When he meets Christmas, Decha refuses to let him steal the Expendables boat. Christmas enlightens him about Barney's disappearance, and Decha abandons his non-violent vows.<br /><br />The tenacious villains aren't easily subdued. Meantime, franchise stalwarts will chuckle at Toll Road's blather about his cauliflower ear. Dolph Lundgren's hulking sniper Gunner still wrestles with alcohol and tries to wean himself off the bottle. The volatile Christmas & Gina relationship boils down to a back-and-forth scrap. She proves herself no damsel-in-distress during a display of her agility in close-quarters combat with Christmas. Latino recruit Galan (Jacob Scipio) brags about being the son of the Antoino Banderas character Galgo in "Expendables 3." Galan is just as loquacious as Galgo and as impetuous. Waugh orchestrates two over the top combat sequences. The first takes place in Libya, while the second commences aboard the cargo ship at night. One of the best scenes depicts Christmas hauling butt on a bike with twin machine guns mounted on the handle bars. Careening recklessly around the ship, Lee strafes the villains pursuing him without mercy.<br /><br />Several new faces crop up for this high-octane thriller about mercenaries on a classified Black Ops mission. Like "Expendables 3," several new faces flesh out the familiar old ones. Asian marital arts legend Tony Jaa of "Ong-Bak: The Thai Warrior" trilogy, Indonesian martial artist Iko Uwais of "The Raid: Redemption," "Transformers" actress Megan Fox, HipHop vocalist 50 Cent, aka Curtis James Jackson, "Bad Boys for Life" actor Jacob Scipio, "Female Fight Squad's" Levy Tran, and "Godfather III" actor Andy Garcia join Sylvester Stallone, Jason Statham, Dolph Lungren, and Randy Couture. For the record, previous "Expendable" characters that Jet Li and Terry Crews portrayed were AWOL in this installment.<br /><br />Although it suffers from some obvious second-rate CGI, "Expendables 4" delivers more than enough trials by combat to gratify fans. After Barney exits the fireworks in a spectacular plane crash, a reluctant Lee Christmas (Statham) steps into his shoes. Megan Fox manages to look both seductive and pugnacious as Lee's girlfriend Gina. Clocking in at an energetic 104 minutes, the R-rated, fourth installment of "The Expendables" franchise moves swiftly to its explosive finale.</span></p>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-73196975636347031222023-12-25T16:33:00.000-08:002023-12-31T18:40:44.323-08:00NAPOLEON (2023) (**1/2 OUT OF ****) The Theatrical Cut<p> <span style="font-size: large;">Arguably, Oscar-winning British director Ridley Scott of "Gladiator" fame will be remembered as a cinematic wizard whose films boasted stellar production values, robust casts, and colossal budgets. Sadly, the dramatic content in some of his movies leaves something to be desired. Chiefly, Scott displays his considerable flair for choreography in staging the sprawling battle scenes in "Napoleon." Joaquin Phoenix, Vanessa Kirby, and Rupert Everett headline a cast of thousands. Unfortunately, the blood, guts, and thunder of combat overshadow the quieter moments of the Corsican-born tactician's life. Whereas the battlefield scenes bristle with excitement, suspense, and bravado, Napoleon's life off the field of valor proves far less volatile. Scott creates several 19th century combat scenes that rival Steven Spielberg's 20th century World War II epic "Saving Private Ryan." For example, the horse the eponymous hero rides in his first foray against the British at Toulon has its chest torn open by a cannonball! The chief problem with "Napoleon"<b> (**1/2 OUT OF ****)</b> is Scott himself. He treats Napoleon with nothing but contempt. Since Scott is British, this should come as no surprise. <br /><br />Now, add the bizarre casting of Joaquin "The Joker" Phoenix as Bonaparte. Although a gifted thespian in his own right, Phoenix generates little magnetism. The way Scott skewers Napoleon in "Napoleon" would be enough to make the 'Little Corporal' spin in his Parisian tomb. Mostly, the impeccably clad Phoenix neither strikes a sufficiently heroic stance nor endears himself to us as a human being with social skills. As his wife and life-long confidante Josephine, Vanessa Kirby of "Mission: Impossible - Fallout" savors every second of screen time as she taunts and belittles Napoleon. The actress reminded me of the late Leslie Caron of "Gigi" because she has such a mischievous personality. Anyway, Kirby dominates every scene with Phoenix in private. Meantime, Phoenix never rises from the ashes of an inscrutable performance as one of history's greatest legends. He remains a cold, aloof figure and little about him would incline us to regard him with a shred of sympathy. Comparably, Rod Steiger looked more believable as Bonaparte in Sergei Bondarchuk's "Waterloo" (1970), a far better film whose scope and spectacle has never been surpassed. If you haven't seen "Waterloo," you must see it!<br /><br />Scenarist David Scarpa, who penned the abysmal Keanu Reeves "Day the Earth Stood Still" remake as well as Scott's own comatose "All the Money in the World," focuses primarily on Napolean's military successes and failures. Of course, time doesn't stand still long in this 158-minute epic because Scott and Scarpa have so much ground to cover. Presumably, Scott must have worried about not only audience ennui but also story momentum. Since "Napoleon" doesn't lionize Bonaparte, he emerges as an unsavory figure who behaves petulantly at times. Certainly, Scott and Scarpa don't present a balanced portrait of Napoleon. They refuse to highlight some of his enduring culture endeavors, such as the Napoleonic Code that continues today. Furthermore, Napoleon's medical history has been white washed, otherwise we might feel a shred of sympathy for the tyrant. Indeed, characterization is held to a minimum in "Napoleon." The only other actor who stands out here is Rupert Everett of "My Best Friend's Wedding" as the snobbish Duke of Wellington, and he remains a vague figure with one decent line of dialogue. According to eminent Bonaparte biographer Andrew Roberts, when a sniper at Waterloo had Napoleon in his crosshairs sought permission to shoot him, the Duke snapped brusquely, "No! I'll not allow it. It is not the business of commanders to be firing upon one another!"<br /><br />The battle of Austerlitz provides the most memorable fireworks. As the combined cavalries of Russia and Austria burst across a frozen river toward the French, Napoleon's artillery pulverizes the ice into slush with barrages of molten cannon balls. Comparatively, the battle of Waterloo lacks the spectacle of Austerlitz. Everybody behind the scenes who toiled on the production design, costume design, and set decoration deserve to win Oscars in all categories. Lenser Dariusz Wolski's widescreen cinematography captures the color and pageantry of 19th warfare. Previously, he shot several Scott notable epics, including "The Martian," "Prometheus," and "The Counselor." Ultimately, Scott glosses over two things about Napoleon which remain inseparable in anybody's mind who has admired the Emperor's portraits. First, never once does Napoleon slip his hand into his tunic to suppress a spell of indigestion. Second, Scott never depicts Napoleon's health issues. Despite a little tampering here and there with history, "Napoleon" qualifies as a better than average military extravaganza. Now, the question remains whether the extended four hour plus version of "Napoleon" slated for </span><span style="font-size: large;">Apple TV+</span><span style="font-size: large;"> will make amends for any of these shortcomings.</span></p>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-43538915345208046562020-11-13T09:48:00.000-08:002020-11-13T09:48:04.525-08:00FILM REVIEW OF ''THE LAST REBEL"<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal">Freshman director Denys McCoy's post American Civil War
western "The Last Rebel" with Joe Namath, Jack Elam, Woody Strode,
and Ty Hardin isn't as bad as I first thought. Indeed, "Beyond the
Law" scenarist Warren Kiefer and co-scenarist Rea Redifer have fashioned
an entirely believable, rather predictable, but modestly entertaining horse
opera about two Confederate soldiers who split up and then shoot up a town in
Missouri. The anachronistic Jon Lord and Tony "Deep Purple" Aston orchestral
score is the best thing about it. Unfortunately, it is easy to understand why
Denys McCoy, aka Larry Spangler, used a pseudonym. Presumably, he learned his
lesson here. Nevertheless, Spangler deserves credit for imitating "Good,
the Bad, and the Ugly" opening credits with his own rendition, relying on
Harper's Weekly newspaper wood cuts of the Civil War for the opening credits.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Southwest Missouri in the spring of 1865 is the setting and
the time. The Federal troops are dug in on one side of the river, while the
Confederate troops have fortified themselves on the opposite bank. Anybody can
see how The Civil War foreshadowed World War I. Matt Graves (Jack Elam of
"Kansas City Confidential") spots a duck splashing in the river. Graves
rouses Burnside Hollis (Joe Namath of "Avalanche Express") and Hollis
fetches his rifle. A Union rifleman aims at the duck, but Hollis blows the bird
out of the water with one shot. The Union sharpshooter grumbles, "That reb
never misses."</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Nine minutes into the action, a Confederate messenger
arrives and informs the lieutenant that Robert E. Lee has surrendered. The
lieutenant (Herb Andress of "Lady Frankenstein") rides out to meet a
Union officer (Sebastian Segriff) in the middle of the river to discuss terms
of surrender. The Union officer warns him he must display a white flag. Before
the Confederate lieutenant can hang a white flag on his saber, the Yankees cut
him down in a hail of gunfire. Hollis decides he doesn't want to wind up in a
Federal prison camp, so he skedaddles. Matt follows him. They ride off and
don't stop until they spot a southern lynch mob about to string up a former
Union soldier, Duncan (Woody Strode of "The Professionals"), and
Hollis demands his release. He gives Duncan a horse and scatters the
southerners. This is sort of a surprise and says a lot about Hollis as a person.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Later that evening, Matt confides in Hollis. "I don't
like the way things are going. What I mean is, here we are, two busted rebels
out in the middle of nowhere, with a rock (Duncan) in our pocket. The way I see
it, we been running so long we don't know how to do nothing else. It's time
that we stopped and dug our heels in." Matt is the schemer of the bunch,
and Elam makes a superb villain.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Hollis trusts Duncan, but Matt doesn't share Hollis'
sentiments about Duncan. Our heroes find a stagecoach with a dead man in it and
a young girl. When they arrive in town with the stagecoach, Hollis and Matt
tell the sheriff (a bearded Ty Hardin of "PT-109") what happened. The
sheriff wants them out of town in an hour. Our heroes cheerfully ignore him and
set themselves up over at Pearl's place, a sort of saloon & cathouse.
Meanwhile, Matt obtains Hollis a suit of clothes fit for a tinhorn. Hollis suckers
a cowboy pool hustler (Michael Forest of “100 Rifles”) and takes him for every
cent. Basically, he wins about $4-thousand dollars and he entrusts it for safe
keeping with Duncan, so that he can enjoy himself in the arms of Pearl
(Victoria George of "El Dorado") Matt demands his share of the loot.
Hollis tells him that he gave it all to Duncan, but he doesn't know Duncan's
whereabouts. Hollis tracks down Duncan. Duncan, it seems, had taken the cash
and hidden it in his double-barreled shotgun. Masquerading as the Klu Klux Klansmen,
Matt sneaks up on them and arrests them. They force Hollis and Duncan to dig a
deep hole and then toss in knives to see who will survive. Our heroes surprise
the bad guys and decimate them with the help of a young African American youth
(Bruce Eweka) who wields a rifle.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">Later, Matt teams up with The Sheriff, but their alliance is
short-lived when Duncan drops the lawman with both barrels of his
double-barreled shotgun and Hollis drill him once for good measure. One of
Matt's trigger-happy pistoleros shoots Pearl. This is the second most
surprising thing about "The Last Rebel," since the Pearl character has
done nothing wrong. Hollis resolves to kill the assassin. He wants to confront
Matt out on main street, but by this time, Matt's men have started a fire.
Duncan laments the fire. "It'd be nice to use that front door once."
Hollis smashes through a window, lands in the street and starts blasting away,
while Duncan joins him. The conflagration that consumes Pearl's place
backlights Hollis in a heroic pose.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal">"The Last Rebel" isn’t as bad as everybody says. Joe
Namath delivers an acceptable performance as Burnside Hollis and doesn’t say
anything more than he must. When Hollis decides to ride back to town to save
the girl, Duncan observes, "That's playing a damn fool." Hollis
replies, "Well, I guess I never was much else." Jack Elam as the
principal villain, Woody Strode as the ex-Union soldier, and Ty Hardin as a
corrupt sheriff bolster the cast. Ty Hardin has a memorable death scene in the
bordello lobby where he gets riddled with bullets. Although this movie was lensed
in Rome, "The Last Rebel" doesn't resemble a Spaghetti western.
Cinematographer Carlo Carlini's work here is pathetic compared with his
stupendous work on "Death Rides A Horse." When "The Last
Rebel" came out, it was still acceptable to refer to African Americans by
the 'n' word. Finally, Spangler got the firearms right for the era. Everybody totes
black powder guns.</p>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-2974587924344917572019-09-12T01:04:00.004-07:002019-11-06T17:20:25.981-08:00FILM REVIEW OF ''COLD BLOOD" (2019)<div style="line-height: 106%; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">French writer/director Frédéric Petitjean makes his feature film debut with “Cold Blood,” <b>(** OUT OF ****) </b>a somber but suspenseful, low-budget, crime thriller set in the snow-swept wilderness of rural Washington state. Veteran actor Jean Reno toplines in the familiar role of a professional hitman who prefers peace and solitude to the chaos and anarchy of the city. Nowhere near as entertaining as “Le Femme Nikita” or “Leon: The Professional,” “Cold Blood” qualifies as a cat and mouse thriller between a quarry and its prey. Imagine a slight spin on the Stephen King movie “Misery” (1990) where a woman saved a famous author after a car crash and confined him to a bed where she maintained him in excruciating captivity. “Cold Blood” depicts a somewhat similar storyline. A young girl has an accident in the middle of nowhere, and a suspicious hermit--a hitman in hiding--helps her recover at his secluded cabin. The two suspect each other of treachery, but the film plays out under different circumstances than “Misery.” </span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
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<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">Filmed largely on location in the Ukraine, “Cold Blood” benefits immeasurably from the atmospheric, widescreen cinematography of “Fifth Element” lenser Thierry Arbogast. “Cold Blood” is serene looking, but beneath that serenity lurks evil. Reno is as cold and calculating as he was in “Le Femme Nikita” and “Leon: The Professional,” but he has been cast here as the villain rather than a hero. Sarah Lind portrays Melody, the daughter of an underworld crime czar, who plans to avenge the murder of a father whom she barely knew. Joe Anderson is a tenacious N.Y.P.D. detective who never gives up a case. Happily, Petitjean doesn’t drag out the obvious, and “Cold Blood” doesn’t wear out its welcome before the villain receives his just comeuppance. Nevertheless, despite its many contemplative strengths, this tense movie is neither a date night outing nor a supercharged shoot’em up.</span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
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<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">“Cold Blood” opens with a lone figure careening recklessly through mountainous white terrain on a snowmobile. A sudden accident launches the rider into a head over heels trajectory into the sky as if propelled from a catapult. The rider smashes into the ground, and the impact knocks the helmet clean off, so the victim tumbling into the snow is revealed to be a young woman. When she manages to regain consciousness, Melody (Sarah Lind of “The Humanity Bureau”) finds a tree branch partially embedded in her thigh. Mustering her nerve against the horrific pain, this dark-haired twentysomething removes a fragment of the tree branch. During the crash, she skinned up her face, and she has blood caked on her forehead. </span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
<div style="line-height: 106%; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">Afterward, Melody crawls on her belly down a pristine white hillside, leaving a trail of bright red blood until she passes out again near a remote cabin by a lake where a solitary figure sits ice water fishing. After Henry discovers her body inexplicably on his property, he carries Melody into his cabin and dresses her wounds as best he can, considering they are seventy miles from civilization. Moreover, reclusive as he is, Henry isn’t prepared to accommodate guests, especially injured ones who require medical treatment. Fortunately, Henry has enough medical training and the equipment to keep Melody alive. Mind you, the logistics of Petitjean’s plot calls for Melody’s injuries to be moderate but not life-threatening. She is in no position to rummage around Henry’s cabin and ends up tearing open the wounds that she inflicted on herself during the accident.</span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
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<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">At this point, Petitjean leaves the two in the cabin and flashbacks ten months earlier to the bustling metropolis of New York City, where Henry is walking on a treadmill at a fitness club. A sleazy millionaire industrialist with organized crime ties, Kessler (Jean-Luc Olivier) joins Henry later in a steamy sauna accompanied by his two bodyguards. Somehow, after Henry excuses himself from the sauna, one of the bodyguards notices Kessler is bleeding from a wound. Later, at an entirely different place, Henry removes an inconspicuous attaché case crammed with currency from a coin locker. </span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
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<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">At Kessler’s funeral, two plainclothes detectives, Kappa (Joe Anderson of “Amelia”) and his partner Davies (newcomer Ihor Ciszkewycz), discuss the peculiar nature of the industrialist’s demise. According to the so-called ‘criminal’s manual,’ killers are supposed to attend their victim’s funeral, but Henry knows better than to show up for the last rites. Kappa explains to Davies that the bullet which killed Kessler was made from ice, so the police cannot use ballistics to trace the gun. Mind you, the ice bullet gag is an old assassin’s trick dating as far back as “Corruption” (1933) where a man was shot and killed with an ice bullet to frame another fellow for the murder. Although the case looks like a dead end for Davies, Kappa pursues it relentlessly. Anyway, everything comes full circle twenty-one minutes later as the gal who wrecked her snowmobile arrives in Spokane to rent a bike. </span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
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<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">Of course, whether she wants to admit it, Melody doesn’t have a clue about what she is letting herself in for when she stalks a career assassin who carefully plans everything. Indeed, as we learn later, Henry knew the odds were outlandish a pretty damsel-in-distress would show up conveniently near his front door with injuries which weren’t fatal but required immediate care. Petitjean ignores pesky reality. Naturally, Melody needed an excuse to justify her presence. Apparently, however, it never occurred to our heroine that she might have killed herself and accomplished nothing. </span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
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<span style="color: black; font-family: "georgia" , serif; font-size: 16.0pt; line-height: 106%;">“Cold Blood” amounts to a thinly plotted stalemate between these two characters for most of its 91 minutes. They treat each other with extreme caution and utter few words. They behave like two predators circling each other, biding their time for the right moment to catch the other off-guard. Melody has no idea Henry is prepared for virtually any contingency. Simultaneously, Henry cannot imagine the unsatisfying surprise ending that catches everybody—heroine, villain, and audience--napping. Altogether, “Cold Blood” is a little too anemic for its own good.</span><span style="color: black; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 106%;"></span></div>
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Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-91105354688049737362019-09-12T00:42:00.000-07:002019-09-13T14:54:34.809-07:00FILM REVIEW OF ''IRON SKY: THE COMIING RACE" (2019)
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<span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;">You can’t enjoy some sequels unless you’ve seen the original film that inspired them. Finnish director Timo Vuorensola’s imaginative sci-fi, fantasy farce “Iron Sky: The Coming Race” <b>(*** OUT OF ****)</b>, the follow-up to his earlier epic “Iron Sky” (2012), illustrates this maxim. If you’ve never heard of “Iron Sky,” don’t be surprised. Vuorensola’s original film made its greatest inroads into the American market with its home video release. Coining less than $123 thousand at the box office, “Iron Sky” received a limited domestic release for a two-month period in only eight theaters. Internationally, “Iron Sky” grossed $11.5 million, surpassing but not tripling its seven million Euros production budget. The Asylum’s ridiculous mockbuster parody “Nazis from the Center of the Earth,” which would make Jules Verne cringe in anguish, skewered it with little success. Since the sunset of World War Two, Nazis had been fodder for European zombie sagas, such as “Dead Snow” (2009) and “Dead Snow: Red Vs Dead” (2014) as well as “Outpost” (2008), “Outpost: Black Sun” (2012), and “Outpost: Rise of the Spetsnaz” (2013). Not only is the $17 million budgeted “Iron Sky: The Coming Race” a sequel to “Iron Sky,” but it also qualifies as a prequel, since it takes us back to the Mesozoic Era: the Age of Dinosaurs. Indeed, just as pungent with its witticisms as its predecessor, “Iron Sky 2” picks up the “Iron Sky” narrative thread and considerably expands it in different dimensions. Timo Vuorensola doesn’t cover the same conflicts as he did in his hilarious original film that thumbed its nose at political correctitude. A brief recap of “Iron Sky” shows the Sarah Palin-esque U.S. President (Stephanie Paul of “Crazy Love”) going toe-to-toe against the madcap Moon Nazis and triggering the nuclear annihilation of the Earth This Armageddon forced the human race to abandon Earth. Ironically, these fortunate survivors wind-up relocating on the dark side of the Moon, the same place where the Nazis had established their base 70 years after World War II! </span><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt;"></span></div>
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<span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;">“Iron Sky: The Coming Race” occurs 20 years after the destruction of Earth. If you saw the original, Nazi school mistress Richter (Julia Dietze of “Iron Sky”) and captured U.S. Astronaut James Washington (Christopher Kirby of “The Matrix Reloaded”) started out as enemies and then became lovers. They had a daughter, Obianaju 'Obi' Washington (Lara Rossi of “Robin Hood”), and she has grown up to serve as a jack-of-all-trades at Neomenia, the former Nazi moon base station. Sadly, Götz Otto could not reprise his role as the second Führer, because he kicked the bucket in the original “Iron Sky.” Nevertheless, Wolfgang Kortzfleisch (Udo Kier of “Melancholia”), who took an awful beating from Otto, returns from the dead in one of the film’s several surprises. Obi’s wizened mother Renate governs life on Neomenia where Nazis no longer rule. Meanwhile, Obi struggles to maintain the deteriorating moon base facilities against the ever-present threat of moon quakes. Watching her scramble about the grungy, industrial factory interiors with breathless abandon to tackle problems establishes Obi as a heroine who refuses to wait for problems to repair themselves. Basically, Neomenia has degenerated into a ghetto because of overpopulation and a shortage of supplies. Were things not complicated enough, a Russian spaceship blunders in from out of nowhere, and Renate must contend with asylum seekers. Initially, Renata had decided to obliterate the spacecraft. Obi thwarted this atrocity by shutting down Neomenia’s weapons system. Later, she takes a romantic interest in the handsome but goofy Russian pilot, Sasha (Vladimir Burlakov of “Lost in Siberia”), because she argues that humanity must migrate to Mars. A cannibalized space shuttle offers their only avenue of salvation. Along the way, Vuorensola gives us time off from the doomsday prospect, so Obi and Sasha can flirt with each other. Later, Obi collides with the treacherous Kortzfleisch, and he tells her about a fantastic element at the center of the Earth that will save mankind and provide endless fuel for the space shuttle.</span><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt;"></span></div>
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<span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;">The lightweight humor in “Iron Sky: The Coming Race” will either get you to howl hoarsely or grin at its skewered ingenuity. The lookalike Sarah Palin president, which was a great sight gag in “Iron Sky,” is still a hoot to behold. She spent most of her time in “Iron Sky” on a treadmill, but here she mutates into a monster with other infamous demagogues, such as Stalin, Hitler, and Idi Amin. One cheeky scene shows all of these dastards arranged around an oblong table in a tableau that imitates Italian artist Leonardo da Vinci’s renowned late 15th-century mural painting of "The Last Supper." Tongue-in-cheek humor lurks in every frame. Timo Vuorensola is a gifted visual storyteller with an impeccable sense of pacing and pictorial composition. Like “Iron Sky,” “Iron Sky 2” doesn’t wear out its welcome at 90 agile minutes. The larger-than-life shenanigans are nimble, flavorful, but sometimes surprisingly violent. Hitler straddles a T-Rex like a cowboy at a rodeo, and the beast gobbles up the body of a man in its gigantic jaws. </span><span style="font-family: "Georgia",serif; font-size: 18.0pt;"><span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;"> </span></span><span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;">Happily, his demise is bloodless. Vuorensola and company borrow from other blockbusters, including a Hans Solo type Russian pilot as well as a harrowing “Raiders of the Lost Ark” cliffhanger caper. A gigantic molten boulder tumbles after our heroes as they struggle to control chariots drawn by rampaging Triceratops dinosaurs! Fortunately, the CGI imagery passes muster, just don’t bother to freeze-frame the images. Clearly, Vuorensola conjured up some picturesque ideas that his crowd-funded budget couldn’t accommodate. </span><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt;"></span></div>
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<span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;">The warped but inspired artistry of the “Iron Sky” epics is Hollywood didn’t forge them. The original movie’s Nazi plot isn’t the kind of comic material Hollywood would have sunk multi-millions into for a movie that “culminated in Armageddon.” These two Finnish satires provide refreshing but audacious commentary. </span><span style="font-family: "Georgia",serif; font-size: 18.0pt;"><span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;"> </span></span><span style="font-family: Georgia,serif; font-size: 20pt; line-height: normal;">Incredibly enough, while “Iron Sky: The Coming Race” was awaiting home video release, director Timo Vuorensola had already embarked on a third installment in the franchise: “Iron Sky: The Ark” with a release date set for 2020!</span><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt;"></span></div>
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Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-11541538086401364672019-09-06T08:50:00.005-07:002019-09-06T08:50:53.564-07:00FILM REVIEW OF ''THE FAST AND FURIOUS PRESENTS: HOBBS AND SHAW" (2019)<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
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<span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Villains make a movie
memorable.<span> </span>If the villains are smart,
you’ve got “Die Hard.”<span> </span>If the villains
are stupid, you’ve got a comedy. A stand-alone spinoff of the “Fast & The
Furious” franchise, “Hobbs & Shaw” <b>(**1/2 OUT OF ****)</b> suffers from mediocre
villains with too much money. <span> </span>These
villains shoot themselves in the foot repeatedly from fade-in to fadeout. <span> </span>Basically, our heroes worry more about the ticking
clock than these anemic adversaries. <span> </span>The
sloppy villains spoil half of the fun in this white-knuckled, high-octane, adrenalin-fueled
race against time to avert a global apocalypse. <span> </span>Brawny action icons Dwayne ‘The Rock’ Johnson
and Jason Statham reunite as heroic co-stars in this exciting but implausible science
fiction escapade. Johnson and Statham deliver adversarial charisma as they
compete with Idris Elba in this overblown, 137-minute, PG-13 rated, demolition
derby. <span> </span>Our heroes must thwart an evil United
Kingdom corporation named Eteon from recovering its own bio-engineered super
virus. Benignly codenamed ‘Snowflake, the virus liquidifies your internal
organs. <span> </span></span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal" style="margin-top: 12.0pt;">
<span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">Surprisingly, apart from celebrating
family unity, this souped-up apocalyptic outing shares little connection with the
Vin Diesel franchise.<span> </span>Although Johnson
and Statham reprise their roles from “The Fate of the Furious” (2017), you need
not have seen “Fate.” “Atomic Blonde” director David Leitch & “47 Ronin” writer
Chris Morgan, with “Iron Man 3” scribe Drew Pearce have rehabilitated Statham’s
Shaw character.<span> </span>Polishing off his rough,
abrasive edges makes Shaw more sympathetic.<span>
</span>Diplomatic Security Service agent Luke Hobbs (Dwayne Johnson of “Skyscraper”)
and soldier of fortune Deckard Shaw (Jason Statham of “Crank”) abhor each other.<span> </span>The C.I.A. dragoons them into an uneasy alliance.
Meanwhile, Eteon’s cybernetic super-soldier, Brixton Lore (Idris Elba of “Pacific
Rim”), tracks down the stolen CT-17 virus. <span> </span>Not only must Brixton contend with Hobbs and
Shaw, but also Shaw’s sister Hattie (Vanessa Kirby of “Jupiter Ascending”), an
intelligent, resourceful British MI6 field agent.<span> </span>Actually, as the leading lady, Hattie doesn’t
typify your traditional damsel-in-distress. <span> </span>Providentially, British MI6 had intercepted
the Eteon plague before the villains could deploy it. After Brixton
single-handedly eliminates her five-man unit, Hattie has no option but to embed
the doomsday virus in her bloodstream! <span> </span>No sooner has Hattie stolen the virus than Hobbs’
nabs her. While our quarrelsome trio struggle to evade Brixton, Hattie develops
a fondness for Hobbs, much to Shaw’s chagrin.</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal" style="margin-top: 12.0pt;">
<span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">“Hobbs & Shaw” crosses genres
from gravity-defying car stunts into sci-fi absurdity. <span> </span>Director David Leitch and his writers trot out
many familiar tropes from earlier doomsday sagas, such as “The Satan Bug” (1965),
“The Cassandra Crossing” (1976), and “Shaker Run” (1985). Even if these clichés
lack appeal to you, Johnson and Statham have a field day amusing us with their endless
verbal repartee. <span> </span>A wrestling match in
every respect, “Hobbs & Shaw” has our hot-tempered heroes egging each other
on with hilarious insults. Some will discover sooner than others that “Hobbs
& Shaw” amounts to little more than a game of one-upmanship, with our
heroes spending more time fighting against each other than their collective
foes. Like any good wrestling match, “Hobbs & Shaw” builds to a crescendo,
with a Samoan faceoff where our heroes regroup for the big finale.<span> </span>Estranged from his family for many years
because of a criminal patriarch, Hobbs approaches his Samoan clan with
contrition so he can enlist their aid.<span>
</span>Armed with nothing more than a flip-flop, the grand Hobbs matriarch
Sefina (Lori Pelenise Tuisano) rushes to Luke’s defense when her huge family
refuses to help him.<span> </span>Later, she is
ecstatic when Hobbs introduces her to Sam (newcomer Eliana Sua), her nine-year
old granddaughter.<span> </span></span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal" style="margin-top: 12.0pt;">
<span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">The chief flaw in “Hobbs &
Shaw” is its error prone antagonists.<span> </span>The
formidable and affluent Eteon Corporation with its huge army is reminiscent of billionaire
owner Carlton Drake’s corporation in “Venom” (2018). Like the Drake corporation,
Eteon espouses a similar agenda: humanity must undergo augmentation. <span> </span>Although the man behind Eteon sounds every bit
as ominous as Darth Vader, Leitch and his writers never reveal the dastard in
the flesh, and this undercuts his omniscience.<span>
</span>Instead, Brixton serves as Eteon’s point man, and he commands legions of
disposable black-clad henchmen.<span> </span>Brixton careens
around on a bizarre motorcycle which resembles a Decepticon from a “Transformers”
movie because it can alter itself physically.<span>
</span>Sheathed in a bulletproof body suit, Brixton boasts electronically enhanced
eyesight so he can duck each blow before Hobbs and Shaw can land them. A glimpse
of his cybernetics when he submits to a painful upgrade is intriguing.<span> </span>Literally, the technicians have to split open
Brixton’s back to tinker his metallic spine. <span> </span>Egotistically, Brixton hails himself ‘the
future of mankind. After building up Brixton as an indestructible, Eteon treats
him as expendable.<span> </span>Why wasn’t Brix
guarding the plague device in the first place?</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal" style="margin-top: 12.0pt;">
<span style="font-size: large;"><span style="font-family: "Georgia", serif; line-height: 107%;">As in “Deadpool,” “John Wick,”
and “Atomic Blond,” Leitch indulges his wizardry as a grand master of chaotic
pyrotechnics.<span> </span>He stages dozens of wildly
improbable stunts. One of the first has Brix miraculously weaving his
shape-shifting smart-cycle beneath the churning wheels of two eighteen wheelers
as they crisscross in front of him at a London intersection. Later, Brix
crashes through a London double-decker bus and creates two gigantic holes in
the vehicle.<span> </span>Naturally, Brix suffers
nary a scratch, and no passengers were injured.<span>
</span>Brix may remind you of the bungling Wily E. Coyote in the Roadrunner
cartoons as he survives one calamity after another.<span> </span>Leitch saves the best stunt for the finale
when Brix’s helicopter winds up towing a string of cars along a winding
cliffside road.<span> </span>Idris Elba makes a memorable
villain. Motormouth Kevin Hart springs up <span> </span>in a cameo as a nosy sky marshal who wants a
piece of the action. <span> </span>Luke’s former partner
Locke (Ryan Reynolds of “Deadpool”) annoys him before and after the mission with
his goofy antics.<span> </span>The scene following
the end credits is sidesplitting stuff, especially Locke’s B-positive gag. <span> </span>Happily, the incompetent villains in “Hobbs &
Shaw” aren’t big enough to overshadow Leitch’s audacious stunts and the wattage
of the Rock, Statham, and Idris Elba.</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<br /></div>
Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-27131002086380400082019-08-31T21:14:00.006-07:002019-08-31T21:14:47.724-07:00FILM REVIEW OF ''ROCKETMAN" (2019)<span style="font-size: large;">Taron Egerton delivers an electrifying performance as Elton John in "Eddie the Eagle" director Dexter Fletcher's "Rocketman," <b>(*** OUT OF ****)</b> a 'warts and all' musical biography about the British singer, songwriter, pianist, and composer who has sold reportedly as many as 250 to 300 million records since his debut on the charts in 1970 with "Your Song." Mind you, Elton's debut studio album hit the racks in 1969, but it wasn't released in the U.S. until 1975. Occasionally inspired, often conventionally straightforward, but hopelessly costumed, this cinematic greatest hits revue epitomizes the proverb 'money cannot buy happiness.' This hoary cliché finds refreshing relevance with the eponymous musician's own confession early on in writer Lee Hall's screenplay. Elton boasts that he has done everything, but he has never experienced true love. Now, if you're wondering what he felt about this off-delayed, somewhat contrived jukebox musical fantasy, it should come as no surprise that the five-time Grammy winning piano prodigy adores it. Indeed, Elton produced this two-hour plus extravaganza, with his husband, Canadian filmmaker David Furnish.<br /><br />Elton's biopic qualifies as an important first in movie history for its depiction of gay male sex. Essentially, however, most of these flagrant affections amount to little more than kissing and groping. Sadly, despite the musician's participation behind the camera, "Rocketman" has yet to achieve the lunar trajectory of Queen's comparatively prudish PG-13 release "Bohemian Rhapsody" (2018), with its phenomenal $900 million plus box office haul. Reportedly, audiences criticized "Bohemian Rhapsody" for sterilizing Freddy Mercury's love life. After watching this rise and fall and then phoenix-like rebirth of the British superstar's life, it seems miraculous that Elton has emerged from the pandemonium of his life and appears now to be at peace at age 72. Elton's second autobiography due out in print October 15th will undoubtedly prove more illuminating.<br /><br />Watching "Rocketman" is like watching Elton's greatest hits. The first time we see the superstar, he storms into a twelve-step AA meeting, presumably fresh from a concert, decked out as he is like the supernatural monster "Hellboy" from the Dark Horse Comics. Detaching the horns from his headpiece, Elton collapses into a chair and regales them with his woes. "Rocketman" chronicles Elton's rollercoaster life, including his bouts with his eating disorders, shopping sprees, and alcohol-fueled orgies energized with prescription meds as well as illegal substances. At one point, as he is topping the charts, Elton realizes he must hush up his secret life as a homosexual. When he outs himself on a pay phone to his serenely aloof mother, Shelia (Bryce Dallas Howard of "Jurassic World"), she smirks: "Oh, for God's sake, I knew that. I've known for years." Like Queen's front man Freddie Mercury, Elton survives a harrowing same sex encounter with a villainous manager, John Reid (Richard Madden of Disney's live-action "Cinderella"), who warns Elton--whether the latter lives or dies-that he will still reap his 20 percent of the profits. Perhaps a message lurks within for prospective rockers about confusing love with sex. Incidentally, a different actor played the same promoter in "Bohemian Rhapsody."<br /><br />Naturally, "Rocketman" eavesdrops on Elton's early years in flashback when he was shy Reginald Kenneth Dwight and discovered an affinity for the piano at age four. By age eleven, he had landed a scholarship at the Royal Academy of Music. Clearly, Elton suffered at the whims of his parents who withheld their love and affection. No, they didn't abuse him physically, but the emotional toll was just as devastating to the youngster. The first genuine friendship that he forged turned out to be with his long-time musical collaborator but heterosexual male, Bernie Taupin ( Jamie Bell of "Defiance"), who penned some of Elton's best lyrics. Apart from a brief hiatus between 1977 to 1979, Elton and Taupin spent more than 30 years together writing songs. Elton boasts that they had only one argument during all those years!<br /><br />Unlike most celebrities who shun the spotlight when it threatens to become too revealing, Elton John told director Dexter Fletcher that he wanted to see as much 'honesty' as possible about his trials and tribulations. At no time did the rock star admonish Fletcher and Hall about unsavory episodes in his life. Predictably, the sexual improprieties have been held to a minimum, but Elton's faithful heterosexual fans have probably resigned themselves to this revelation in a career that has been splashed across the tabloids for almost fifty years. The inevitable turning point in any rock star's life occurs when suicide rears its ugly head in their thoughts. One of "Rocketman's" insightful scenes takes place during such an instance. During a pool-party orgy with scores of oblivious spectators carrying on without a clue, a bleakly depressed Elton plunges headlong into the surreal blue depths and sinks like a rock. At the bottom of his pool, he finds young Reginald Kenneth Dwight playing his tiny piano. Mind-blowing accurately describes this unforgettable scene.<br /><br />"Rocketman" doesn't cover the entirety of Elton's life. Ostensibly, the last of his greatest hits "I'm Still Standing" marks not only the conclusion of the film but also the end of a life over 'troubled waters' as he comes to grips with his homosexuality, terminates his heterosexual marriage after two years, and emerges from rehab with a new lease on life. Of course, purists will argue that Fletcher and company have tampered with the chronology of Elton's life. Of course, they have! Nevertheless, they have tried to make his life as sensational as it is tall-all, while eliminating other events which did not contribute to the film. Taron Egerton's vocal performance as well as his bizarre wardrobe changes closely imitate Elton. Altogether, "Rocketman" qualifies as a blast!</span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-28677019558517370712019-08-31T21:12:00.003-07:002019-08-31T21:12:34.470-07:00FILM REVIEW OF "CRAWL" (2019)<span style="font-size: large;">Hollywood has been making movies about ravenous alligators as far back as "Sparrows" (1926) when Mary Pickford guided a group of innocent, young orphans through a gator infested swamp. Twenty years ago, "Lake Placid" (1998) and its three sequels featured a large alligator with a voracious appetite. The first "Lake Placid" remains the best, so avoid the rest. Last year, Dwayne Johnson tangled with a supersized alligator in "Rampage." The Asylum has churned out its share of home video schlock about alligators, specifically "Mega Python vs. Gatoroid" (2011), as well as the gator's distantly related cousin the crocodile. Numerically, sharks reign as Hollywood's alpha predator in more than 50 movies than either alligators or crocodiles. The latest gator epic is "Piranha 3D" director Alexandre Aja's "Crawl," <b>(*** OUT OF ****)</b> a weather-beaten disaster saga co-starring Barry Pepper and Kaya Scodelario as father and daughter trapped in the basement of a southwest Florida house during a Category 5 hurricane. Reportedly, an incident involving an actual gator attack on humans during Hurricane Florence inspired this film.<br /><br />"Crawl" reminded me of "The Shallows" because it takes place in one location. Meantime, this atmospheric, white-knuckled, nail-biting yarn will keep you just as alert, poised on the edge of your seat, as you wait for the next gator strike. Aja & "Dark Feed" scenarists Michael Rasmussen and Shawn Rasmussen have done an exemplary job of establishing the characters, the setting, and the conflict. Ignoring evacuation warnings, a daughter risks her life to save her father from dying in an isolated community that has been evacuated under the worst possible weather conditions. No sooner have the filmmakers confined father and daughter to a hopeless position than two, hideous, heavily scaled, twenty-foot-long carnivores scour the basement for them while more circle outside it. Most of the action occurs beneath the house as the flood waters rise ominously, and our hero and heroine bide their time patiently before they try to break out.<br /><br />Naturally, horror movies exaggerate evil because you're supposed to be frightened. Aja and his CGI wizards have forged some flawless gators that look remarkably believable. These gators are as ferocious as the gator in the crime thriller "Eraser" (1996) that a Witness Protection Specialist (Arnold Schwarzenegger) encountered. These reptiles act like black mambas. They see you. They devour you. At the very least, they snack on you, and the scary thing is how often father and daughter keep getting bitten but never shirk from their filial duty to fend for each other. Of course, real-life gators would be inclined to vamoose, but these melodramatic gators display no fear and hunt in groups. An overhead drone shot of a first responder in the water with gators approaching from all directions depicts their teamwork. The gators appear every bit as vicious as they sound when they crunch on the bones of their victims.<br /><br />Lately, life hasn't been a picnic for Haley Keller (Kaya Scodelario of "The Maze Runner"), and her performance on the swim team at the University of Florida at Gainesville hasn't been what she expected. Haley's older sister Beth (Morfydd Clark of "Love & Friendship") rings her up because she hasn't been able to reach their father. Haley tries to contact him, but she fares no better. Finally, she ignores the stern warnings of the authorities, and she strikes out on her own. She finds her father at their childhood house which evokes memories of happier days with her mother and sister. Dave Keller (Barry Pepper of "Saving Private Ryan") was repairing the house when an alligator blundered into the basement and took a bite out of his shoulder. Dave has taken refuge behind a series of pipes that the gator can neither squeeze through nor destroy with its jaws. Imagine Haley's shock when she is confronted by one of these huge critters after she trotted down the stairs into the basement. Miraculously, she evades the big lizard, but loses her cell phone, and must risk her neck to retrieve it.<br /><br />Aja and his writers knew that cornering our hero and heroine under such circumstances generates spine-tingling suspense, but to concentrate strictly on them as they await their fate would exhaust our patience. When disasters strike, looters take advantage of the predicament, and "Crawl" has a family of brothers and sister looting a convenience store. They arrived by boat, and they are the only living beings that a desperate Haley sees as she struggles to come up with a plan-B. Little do these looters know what awaits them as several gators cruise in for a killing. The looters confiscate a money machine, but they never get to see the rewards of their crime. When these gators attack, they are fearless, and they swim in groups to maximize their attacks on humans. Naturally, the looters and later the authorities have no clue what lurks beneath the trembling flood waters, and they pay a tragic price for their ignorance. The threat of death lurks constantly around Haley and Dave, and matters worsen throughout its scanty 87 minutes. Aja wrings considerable suspense out of Haley's desperate bursts of swimming to dodge the gators. Dave warns her not to swim out through a pipeline beneath the house because the gators entered the basement through it. Nevertheless, Haley finds no alternatives as the waters rise and swims cautiously along it until she glimpses a huge gator cruising past the opening. Like all stomach-churning chillers, "Crawl" knows when to spring unexpected jump scares on audiences. One of the scariest is a tree which bursts through a kitchen window with such spontaneity that it catches you off-guard. The cat and mouse game between Haley and the increasing number of gators heightens the horror and tension. At one point, she has her hand trapped in a gator's mouth and must free herself without losing her fingers.<br /><br />An ideal outing for either a rainy day or night, "Crawl" delivers thrills and chills galore with creatures that will make your skin crawl.</span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-18093172750798676462019-08-31T21:10:00.004-07:002019-08-31T21:10:30.861-07:00FILM REVIEW OF ''NAZI OVERLORD" (2018)<span style="font-size: large;">Abysmal best describes "Nazi Overlord," <b>(* OUT OF ****)</b> another of the Asylum's dreadful knockoff movies that desperately lacks humor. This 91-minute, straight-to-video release amounts to a particularly pale imitation of J.J. Abrams' "Overlord," with Jovan Adepo and Wyatt Russell. Naturally, the two pictures share obvious similarities. Each occurs during the historic D-Day landings at Normandy, France, in 1944. Technically, you can classify this World War II movie a secret mission deep in enemy country. Here, an Army Unit is ordered to Romania to bring back a rogue Allied female scientist who has been collaborating with the Nazis. You can also classify "Nazi Overlord" as bare-bones, low-budget, and it looks as if "Fortune Cookie" director Rob Pallatina lensed this movie with a camcorder. An animated graphic displays the fast progress of our heroes make across Europe to their destination. This was transitional device is acceptable because some American, World War II movies used similar transitions. The next time we see them, they are cruising around in a half-track, personnel carrier. This is a far cry from where things started. For a couple of minutes at the beginning, "Nazi Overlord" shows American G.I.s tangling face-to-face with German soldiers on the beach. Undoubtedly, this ranks as the strongest scene in this woebegone World War II travesty. Soldiers start out wielding rifles and pistols, but wind up killing each other with their bare hands, down and dirty, with savage rage. Sadly, for a moment, this knock-off captured the pugnacity of war.<br /><br />Captain Rodgers (Andrew Liberty of "Sex Tax: Based on a True Story") survives the brutality on the beach, and General Forrester (Tom Sizemore of "Saving Private Ryan") assigns him to lead his unit, with some deserters to locate and bring back the scientist, Dr. Eris (Dominique Swain of "Face/Off"). Incidentally, Swain bares her booty in one scene and her breasts in another. Although she shows up only in the last third, her crazy scientist character breathes a modicum of fresh air into this stale saga. Rodgers confides in Forrester that he feels the least qualified to lead the mission. Nevertheless, the Colonel sends him ahead. After all, the best heroes are always the reluctant ones.<br /><br />The clueless people that produced "Nazi Overlord" must have never seen an episode of television's "Combat." The American soldiers here stand in the open and make easy targets for Nazi snipers. The M1 rifles look bigger than some of the Americans. There is no sense of camaraderie among these fellows. Few of the characters on both sides make a lasting impression. Fortunately, whoever supplied the firearms knew the range of guns well. Nobody carried anything that wasn't period correct. However, the captain and the lieutenant run around with officer's insignia emblazoned on the front of their helmets. Officers never displayed rank insignia for fear that snipers might exploit this advantage. The dastardly Dr. Eris is working on a Biblical plague and uses locusts to spread it. Unlike "Overlord," none of the German soldiers turn into psychotic zombies. Dr. Eris gets the drop on Captain Rodgers, and they have to witness the atrocities that she performs on her human Guinea pigs. Neither knee-slapping nor disgusting, these scenes simply look idiotic with the victims spurting blood, eventually exploding, with locust swarming around them.<br /><br />Monotonous from fade-in to fade out, "Nazi Overlord" earns a star for not making the egregrious error of showing an integrated, black & white Army Unit as in "Overlord." Tom Sizemore takes top billing, but he isn't around long. You see him at the outset when he recruits Captain Rodgers and then at the end when he escorts our hero to meet the President. The idea of creating a plague using locust struck me as trivial. The experiments were mediocre and the blood effects were bland. Beware of "Nazi Overlord."</span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-89261939976217404902019-08-31T21:08:00.003-07:002019-08-31T21:08:31.597-07:00FILM REVIEW OF ''THE PROFESSOR" (2019)<span style="font-size: large;">Johnny Depp is cast as a strait-laced English academic at a prestigious New England liberal arts college in director Wayne Roberts' wannabe tragicomedy "The Professor" (* OUT OF ****) who discovers he has terminal lung cancer. He is warned he has a year, perhaps a-year-and-a-half, if he commences appropriate medical treatment. If he waives treatment, however, he may last six months. Alas, Professor Richard Brown has never smoked cigarettes, and one of his closest friends finds it ironic that lung cancer will claim his life. Initially, he tries to break the news to his wife Veronica (Rosemarie DeWitt of "La La Land") as well as his teenage daughter Olivia (Odessa Young of "Assassination Nation") over dinner. Instead, Richard finds them obsessed with their own alarming revelations. Veronica reveals she has been cheating on Richard with his snobbish boss, Henry Wright (Ron Livingston of "Office Space"), the chancellor of the university, who happens to be married, too. Meantime, Richard's daughter admits she is gay. At this point, their dinner table conversation spirals. Veronica shows little empathy for her daughter's admission, and the two excuse themselves without waiting for Richard's bombshell. Eventually, he will tell them. These two scenes are about as spontaneous as "The Professor" gets for a movie which advertised as a whimsical comedy about cancer. Anybody who has either survived cancer (in whatever form) or has supported a loved one through the ordeal may find this woebegone misfire appalling. Basically, "The Professor" is neither clever enough to be genuinely funny nor impertinent enough to be darkly satirical. Roberts comes up nothing new about life with cancer except his own pathetic lack of imagination. Whatever attracted Depp to this shallow soap opera, originally entitled "Richard Says Goodbye," must have been discarded on the editing room floor.<br /><br />Cancer charts a different course for Richard Brown than he would have taken. We learn the same time Richard does that malignant tumors in his upper back account for the pain he has suffered for quite some time. Indeed, nothing about his condition has changed. Mind you, Doctor Barron (Michael Kopsa of "Countdown") spells out the awful truth. The cancer has now spread to Richard's spine and adrenals. Inevitably, Richard will die, and nothing can save him from this dreadful fate. Nevertheless, Brown keeps his troubles to himself, so he can teach for another quarter and then obtain a sabbatical. Eventually, he confides in his oldest friend, Peter (Danny Huston of "X-Men Origins: Wolverine"), who breaks down in grief-stricken anguish at the news. The odd thing about "The Professor" is the supporting cast is more captivating than its simple-minded protagonist. Richard demands a sabbatical. Peter doesn't think he can grant the request.<br /><br />Meantime, the quarter semester commences. Suddenly, Richard has a momentary, last-minute meltdown in the university millpond with a distraught duck. Afterward, he shows up in class for what constitutes one of the film's better scenes. College professors know what the first day is like. Most have an inkling about how everything will play out. Richard takes one look at his packed class and shocks them. Separating the wheat from the chaff, he offers anybody who wants to skip class for the entire quarter a grade of C. Eventually, Richard whittles the student population down to the size of a cozy graduate seminar. No longer does Richard want to contend with students whose classroom attendance is spotty. He runs off three kinds of students: those in sweat pants, those who've never read a book, and those who're business majors. Finally, the remainder must arrive punctually and read Herman Melville's classic "Moby Dick." The diverse supporting cast comes to the fore, and each forges believable student characters for themselves.<br /><br />"The Professor" breaks down into various teaching scenes. Richard indulges in liquor by convening class in a bar. He counsels his student to never squander one second of life, but to plunge into it for the sake of adventure. During the class in the bar, Richard escorts a bar maid into the men's room where they enjoy standing room only sex. Presumably, Richard and Veronica's marriage withered after Olivia's birth, and husband and wife drifted apart. Later, in clear sight of everybody at the university, including Chancellor Henry Wright, Richard shares a joint with a male student who earlier had given him a bag of pot brownies in exchange for oral sex. Remember, it's an R-rated movie with no frontal nudity. Richard defies the rules for the sake of it, and his status as a tenured professor shields him from any repercussions. Henry tries to take Richard down a couple of notches, but our hero outsmarts him. Since he is carousing with Richard's wife, Henry realizes that discretion is the better part of his valor. This showdown between Richard and Henry marks Depp's most heroic moment as he gains the upper hand.<br /><br />Sadly, Depp generates little charisma as he struggles to maintain a straight face and welcomes cancer as an excuse to create his own bucket list. He proclaims himself a libertine open to any new experience. Afterward, apart from a night in the hospital and some recurring bouts of illness, Richard remains immaculate. When he hurts, he clutches his sides and collapses on the floor. Never in "The Professor" does our protagonist soil his apparel during a seizure. Never does he let his fashionably combed hair to dishevel. Richard's friends treat these moments as life threatening and rush to him. Essentially, our hero changes little over the course of the film's 90-minute running time. He treats Olivia with positive fatherly love and counsels Veronica to keep her sexual escapades discreet. At one point, encouraged to attend a therapeutic self-help group, Richard retreats in contemptuous defiance to a bar drown his distress. Don't worry about the ending. Nothing traumatic occurs. Our hero cruises serenely into the dark night without a regret. Melancholy at best, dreary at worst, "The Professor" thumbs its nose up at cancer as if it were a trifle.</span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-83439752391557652642019-08-31T21:06:00.004-07:002019-08-31T21:06:55.216-07:00FILM REVIEW OF "ABDUCTION" (2019)<span style="font-size: large;">Hollywood makes three kinds of sci-fi flicks. First, epics that occur in space. Second, stories that transpire on Earth. Third, yarns that utilize both settings. "Abduction" (** OUT OF ****) qualifies as the second. The premise of "Assassination Games" director Ernie Barbarash's "Abduction," a tolerably cheesy sci-fi saga mashed up with a crime thriller, is utterly preposterous. The elaborate but convoluted premise virtually defies synopsis. Imagine the kind of movie those schlockmeisters at Asylum Studios would crank out about 'aliens trafficking in humans,' and you'll see why "Abduction" earns points for its goofy SyFy Channel charm. Aliens from another dimension can "bend space time," but they're are running out of that commodity. When they entered our world, they disrupted our three-dimensions and wound up marooned here ever since. Apparently, these aliens-called 'Visitors'--had established contact earlier with the ancient Chinese back in the Stone Age. While time ticks away at their expense, the Visitors have embarked on a hunt for humans with either "specific genetic codes" or exceptional 'chi.' The pseudoscience of Feng shui plays a critical part in the flawed navigational system of the Visitor's starship. These singular humans can produce enough chi to propel the Visitors through the three-dimensional matter in the Earth's gravitational pull. None of these humans, however, will survive the journey. Basically, all you need to know is that the Visitors have abducted Scott Adkins' daughter and nothing is going to stop our hero from getting her back alive. Clearly, Barbarash and "Operation Rogue" writer Michael MacLean have appropriated "Close Encounters of the Third Kind" and combined it with "Taken."<br /><br />These sinister aliens, sauntering around in dark robes with hoods covering their cadaverous faces, are fairly straightforward. Not only do they speak in predictably ominous tones, but they also can emit a light from the palms of their hands. Near the end of this nimble 97-minute nonsense, the Visitors unveil themselves in their native form as towering, green, crystalline, warriors. Omniscient and infallible as these Visitors appear, they make a supreme error when they abduct British SWAT team leader Andrew Quinn (Scott Adkins of "Avengement") and his adolescent daughter Lucy simultaneously. As one of two protagonists in this buddy picture, Quinn searches desperately for his missing daughter. She is one of many Earthlings shanghaied by these space invaders to salvage their malfunctioning navigation system. In a parallel plot, a deadly assassin who has never missed a single shot in his entire life, Connor (Andy On of "Zombie Fight Club"), promises his wife he will quit killing people for an Asian crime syndicate. Connor yearns to turn over a new leaf. Unexpectedly, the Visitors clad like monks in robes materialize mysteriously in his apartment and abduct his wife. Inevitably, Quinn and Connor collide with each other when they tangle with these formidable aliens. Connor tries to shoot them, but they dissolve his bullets into dust!<br /><br />"Abduction" unfolds in a gloomy warehouse where a huge, sweaty thug trundles unconscious humans around in a wheelbarrow. Quinn finds himself among other less fortunate humans who the aliens have seized as slave labor. These woebegone souls have a spider-like apparatus attached to the nape of their necks with a glowing jade emerald at the center. The atmosphere is ominous as Quinn fights one of the monks and takes a blow to the chest that literally knocks him backwards some twenty feet or more through a solid brick wall of a towering temple to plunge into a watery abyss. Miraculously, Quinn survives the fall! After he climbs out of the water, Quinn discovers he is in Vietnam at the Victory Fountain Park in Ho Chi Minh City. Wandering the city without a clue, he lives like a vagrant until the police arrest him and turn him over to hospital authorities for observation. Quinn suffers from the effects of time travel. Not only does he stutter unless slapped, but he also has become an amnesiac. Eventually, he tells his tale of woe to a Vietnamese doctor, psychiatrist Dr. Anna Pham (Truong Ngoc Anh of "Truy Sat"), about aliens abducting his daughter on Sunday, 7 January 1985. Imagine our hero's shock and stupefaction when Dr. Pham informs him the year is 2018. Quinn is appalled at this revelation, but he convinces Dr. Pham that he is no lunatic. When they consult with her elderly mentor, Dr. Dao (Aki Aleong of "Pound of Flesh"), the latter explains how the aliens use Feng shui as a navigational tool which will enable them to leave the earth.<br /><br />Presumably, Quinn and his daughter were caught in the same net. He managed to escape and tracked her down. The aliens thwarted his initial rescue attempt. Although Quinn was one of many humans the Visitors grabbed, he lacked the "specific genetic codes," so they relegated him to drone ranks with the emerald apparatus. Principally, "Abduction" harkens back to the post-apocalyptic, sci-fi television show "Falling Skies" (2011 to 2015) on TNT, where enemy aliens captured humans and controlled them with a similar spinal contraption. Barbarash has done his share of action movies with Jean-Claude Van Damme, so he is no stranger to martial arts actioneers. As outlandish as the sci-fi plot is, "Abduction" musters occasional footholds of gravity with Barbarash's acrobatic staging of various fight scenes. He focuses on the collective plight of Scott Adkins and Andy On. Their shenanigans with martial arts and silenced pistols proves far more cinematic than these monolithic, CGI-forged, extra-terrestrials. As villains, the Visitors are comparably lukewarm. Early action depicting Connor's clash with a trigger-happy gang of Russians boasts ramped up levels of violence comparable to Keanu Reeves' "John Wick" shoot'em ups. Adkins is comparable to Roddy Piper in John Carpenter's "They Live" (1988), while On is the equivalent of Chow Yun Fat in John Woo's "The Killer" (1989). "Abduction" qualifies as the kind of picture best watched with lots of beer and pizza, but it has none of the electrifying intensity of "Avengement," another recent Scott Adkins outing.</span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-37043355426438837462019-08-31T21:05:00.000-07:002019-08-31T21:05:18.154-07:00FILM REVIEW OF ''VAULT" (2019)<span style="font-size: large;">"Almost Mercy" writer & director Tom DeNucci and co-scenarist B. Dalton bite off more than they can chew in "Vault," (** OUT OF ****) an ambitious but humdrum portrayal of a momentous robbery that also heralded the decline of La Cosa Nostra in America. Basically, "Vault" depicts a little known but spectacular $34 million robbery committed by two small-time hoods who never learned that crime doesn't pay. The infamous robbery took place on the morning of August 14, 1975, at the Hudson Fur Storage at 101 Cranston Street in Providence's West Side in Rhode Island. Not only did they pull off this once-in-a-lifetime robbery without casualties, but they also got clean away with more loot than you can ever imagine. Afterward, however, they discover that claiming their share of the loot would be an involved and drawn-out proposition. Up-and-coming thespians Theo Rossi and Clive Standen, who headline this low-budget crime saga, orchestrate the operation in this cliché riddled heist caper. Several familiar crime genre stalwarts, Chazz Palminteri, Don Johnson, William Forsythe, Burt Young, Andrew Divoff, and Victor Pastore, provide sturdy support in peripheral roles in this 99-minute, R-rated potboiler. DeNucci and company score brownie points galore for restoring the year 1975 with nothing egregious to burst the nostalgic bubble. Unfortunately, DeNucci isn't as gifted a maestro as Martin Scorsese, especially since his historic Mafia heist in "Goodfellas" (1990), co-starring Robert De Niro and Ray Liotta, shares certain similarities with "Vault." Despite its' commendable production values, "Vault" generates little excitement, resorts to hackneyed movie formulas, and ultimately tempts you to fast-forward the action to fadeout. Indeed, crime doesn't pay in "Vault," but the authorities have never able to prove in court without a shadow of a doubt who ordered the robbery. DeNucci and Dalton have their own take on the mystery man. The action boils down to criminals versus criminals. In fact, the police are seen only occasionally! At the same time, DeNucci chronicles the friendship between the two protagonists, Deuce (Theo Rossi of "Cloverfield") and Chucky (Clive Standen of "Patient Zero"), who met when they were fifteen. DeNucci delivers few surprises along the way, and the action is wholly derivative. The supreme irony of "Vault" is the Mafia may have been the culprits who made off with the $34 million. Crime buffs may tolerate it once but watching it more than once might be sleep inducing.<br /><br />Tom DeNucci covers a lot of ground with little flair in this half-baked but historically exciting yarn. During the opening 30 minutes, DeNucci and Dalton introduce Deuce and Chucky, and their first scene together is reminiscent of a Tarantino conversation from one of his early films. Poised to rob a pawnshop, Deuce refuses to wear a mask. Futilely, Chucky argues with him about wearing a mask. Everybody will only remember the muzzle of his revolver, Deuce rants, rather than his facial features. Eventually, Chucky relents and then sheds his own mask. The two gunmen enter the store and brandish their weapons. All but one of the employees, Karyn (Samira Wiley of "Rob the Mob"), refuses to cooperate with Deuce's revolver staring her in the face. Deuce marvels at Karyn's defiance and finds himself attracted to this fearless African American dame. Oddly enough, despite her initial hostility, Karyn reciprocates Deuce's interest. Later, she accompanies Deuce home and samples his mother's cooking. Meanwhile, Deuce and Chucky get too big for their britches and try to rob two banks in the same day. Indeed, they might have gotten away with it, had Deuce not enlisted his younger brother, Tommy (Michael Zuccola of "Erebus"), as their getaway driver. As he listens to the police-band radio, Tommy loses his nerve and splits seconds before Deuce and Chucky dive into the backseat. The police surprise the pair, and they land in prison. A shady Frenchman, Gerry Quimette (Don Johnson of "Miami Vice") recruits them as bodyguards to protect him from the Mafia. Since he is French, Gerry cannot become a Made-Man, and Mafia chieftain Raymond Patriarca (Chazz Palminteri of "The Usual Suspects") isn't happy with Gerry's blasphemous request. Nevertheless, Raymond and Gerry have a complicated history of collaboration, and Gerry knows more about Mafia business than any non-Italian could and still rise for breakfast each day. After our protagonists are released from prison, Gerry contacts them about a heist at the Hudson Fur Company. He promises them each a $70-thousand payday. Initially, Deuce is leery about it, but Chucky persuades him to change his mind. They hire five accomplices to help them clean out about 146 safety deposit boxes in a huge commercial vault at a private warehouse. Nobody has ever dared to rob Hudson Furs, probably because everybody knew it was a Mafia safehouse.<br /><br />DeNucci directs "Vault" as if it were a documentary. First, neither Deuce nor Chucky engage our sympathy. Low-life thieves that these characters are, the enigmatic actors portraying them struggle to give them any redeeming qualities. Little about Deuce and Chucky is likeable. Second, by the time these two give up the ghost, you'll find nothing amusing about their naïveté. Morally, DeNucci glorifies neither the crime nor the criminals. DeNucci stages the heist, but he doesn't generate a palatable sense of either dread or suspense. The actual robbery is more monotonous than nerve-racking. Our protagonists aren't even in the vault while their accomplices drill industriously into one safe deposit box after another, piling up heaps of currency on the floor. Meantime, Deuce and Chucky keep several Hudson Fur Storage employees at gunpoint. Indeed, "Vault" musters a surprise or two, and one is the reversal ending that surprises both of them. DeNucci helms the first two-thirds of "Vault" with efficiency rather than finesse, while the final third, where Deuce and Karyn reunite, spirals into boredom. At this point, you'd think these guys would have realized they would get their share of the lead instead of the loot. Despite the unique significance of its historical background, "Vault" qualifies as routine at best and uninspiring at worst.</span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-32041392400486906822019-08-31T21:03:00.000-07:002019-08-31T21:03:02.626-07:00FILM REVIEW OF ''ATTRITION" (2019)<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
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<![endif]--><span style="font-size: large;">Surprisingly, the latest Steven Seagal actioneer "Attrition" <b>(**1/2 OUT OF ****)</b> qualifies as a notch above the last 36 movies he has starred in since "Half-Past Dead" (2002). Basically, a standard-issue abduction yarn, with a dash of fantasy, "Attrition" benefits from Seagal's above average but formulaic screenplay as well as "Borderland" French director Mathieu Weschler's polished helming. Weschler's touch permeates this by-the-numbers crime melodrama and makes everything palatable. He imparts a sense of spontaneity rarely seen in Seagal's quickly made, contrived, cookie cutter sagas. Jordan Dieselberg's editing, Vincent Vieillard-Baron's widescreen cinematography, and Can Aydin's dynamic stunt work--involving at least 33 Asian stunt men--are all impeccably forged into a unified whole. You don't witness this level of craftsmanship in most run-of-the-mill Seagal shoot'em ups. Predictably, the star casts himself as another durable, but conscious-stricken government Black Ops agent who renounces violence. He hangs up his guns and disbands his unit. Axe (Steven Seagal of "Under Siege") pledges to atone for the lifetime of death and destruction that he has inflicted over the years. Genuinely contrite, he channels his energies and expertise as a doctor to serve the people of a poor, remote, jungle community.<br /><br />Mind you, with its human trafficking, narcotics smuggling, and martial arts faceoffs, you've seen variants of "Attrition" with other genre stalwarts, such as Jackie Chan. Seagal plays the tall, dark, bearded Axe as a truly sympathetic fellow in this gritty, homicidal thriller. The scene where he persuades a desperate dad to refrain from committing suicide so his young son will not face an orphan's future is incredibly sentimental. Furthermore, "Attrition" boasts two other scenes where different characters break down and gush tears of gratitude for the compassion shown them. In another scene, a character learns his Master is his own father! Reportedly, Seagal planned a scene about Chinese girls mud wrestling in the nude, but Weschler convinced him to remove this objectionable scene since it would have been incompatible with the film's somber tone. The genius of Weschler's direction is that he doesn't wear out either his welcome or Seagal's with this nimble, atmospheric, 85-minute, R-rated actioneer. Naturally, the despicable villains are no match for our invincible heroes, and the final assault on Qmom's lair is staged with both flair and efficiency. Nobody gives a bad performance, and the sprawling Thai scenery is breathtaking. None of this, of course, will matter to most Segalites, but they will be rewarded amply with a firefight at the outset and even greater one during the third act.<br /><br />Our conscientious hero and his Black Ops team mount a rescue operation during the murky pre-credit sequence of "Attrition," with Axe providing some insightful, voice-over narration that reflects his philosophy. "The weight of war is a heavy burden to bear. Some say it's a necessity, a stage on which good can triumph over evil. But sometimes, the cost is too great to justify the means. For all the lines that have been crossed in the name of justice, taking a life for a life will only perpetuate the cycle. The war must be fought from within. It would take a lifetime to make amends for the terrible things I've done." As Axe and his heavily armed team blast their way into a dilapidated factory, they slaughter the opposition without a qualm. Their triumph over evil is short-lived. Axe discovers that the object of their mission, a beautiful young girl, has bled out from a chest wound. Three years later, our hero settles in the Far East, abides by the teachings of Buddha, and uses his medical skills to alleviate suffering among the destitute in the jungles of Thailand. Axe turns away nobody from his non-profit clinic.<br /><br />Inevitably, Axe's serenity is shattered after the sinister villain, Qmom (Kang Yu of "Kung Fu Jungle"), dispatches his gimlet-eyed henchmen to kidnap a twenty-year-old girl, Tara (newcomer Ting Sue), who refuses to accept Qmom's hospitality. An open-air market scene with hundreds of sheets draped across corridors of makeshift clothesline scaffolding demonstrates Weschler's flair. Qmom's men pursue Tara through this colorful maze. Nevertheless, the best efforts of our damsel-in-distress to elude the villains proves futile. The bad guys catch her and deliver her to Qmom. This tense scene bristles with kinetic energy and dazzling flashes of color. The freshly dyed, rectangular sheets hanging up on display break up the monotony of the humdrum settings. Later, Tara's brokenhearted father appeals to Axe for help. He explains his oldest daughter was born with an amazing gift to heal. Apparently, Qmom has kidnapped Tara because he believes she can heal him. This unsavory opium dealer lives in luxury in a nightclub/fortress, because he doesn't feel safe enough to venture out of it into the sunlight. He learns about Tara from a street gambler who owes him a bundle. The only derivative scene that stands out "Attrition" is Qmom's entrance. Our villain is shown sparring vigorously with a bloody punching bag. The bag splits open after Qmom concludes his workout, and out dangles a dead man's arm. Presumably, the James Bond extravaganza "Die Another Day" (2002), where the North Korean villain beat an adversary to death who was sewn up in a punching bag, may have inspired Weschler.<br /><br />Since thirty-eight minutes has elapsed in "Attrition," you know that Axe cannot refuse the grieving father. Indeed, our hero has been awakened from his sleep by a winged angel who converses with him on more than one occasion about the forthcoming confrontation. Reluctantly, Axe reassembles his elite team of troubleshooters, in a flavorful homage to Sylvester Stallone's "Expendables" franchise as the heroes gather. They set out to rescue Tara. Unlike the opening scene with its ill-fated hostage, Axe resolves to see that the same outcome doesn't occur twice. Staunch Steven Seagal fans won't be disappointed with the slickly orchestrated "Attrition." The finale at Qmom's heavily guarded stronghold has everybody either tackling or killing bad guys. Watching Seagal give the arrogant opium dealer his just comeuppance is swell stuff.</span><br /><span style="font-family: "Georgia",serif; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"></span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-87151618862493880102019-08-31T13:49:00.002-07:002019-08-31T13:49:27.830-07:00FILM REVIEW OF "THE GOLDEN ARROW" (1962)<span style="font-size: large;"><span style="font-family: Georgia, "Times New Roman", serif;">American actor Tab Hunter is cast as an Arabian prince in </span></span><span style="font-weight: normal;"><span style="font-size: large;"><span style="font-family: Georgia, "Times New Roman", serif;"></span></span></span><span style="font-size: large;"><span style="font-family: Georgia, "Times New Roman", serif;">Italian director Antonio Margheriti's fourth film "The Golden Arrow," <b>(*** OUT OF ****)</b> a lavish, sword and sorcery, fantasy yarn about a dashing young gent who sets out to reclaim his rightful position in society after he learns that he is descended from royal blood. Sporting an anachronistic hair-style, Hunter knows nothing about his genuine biological father—the Sultan of Damascus--and remembers only the bandits that raised him from infancy. Scenarists Giorgio Arlorio of "The Mercenary," Augusto Frassinetti & Bruno Vailati of "The Thief of Bagdad," Giorgio Prosperi of "Indiscretion of an American Wife," and Filippo Sanjust of "The Seventh Sword," have cobbled together bits and pieces from other classic tales, such as the Arthurian legend about pulling Excalibur out of a rock, to forge their outrageous, entertaining, but formulaic epic. Hassan (Tab Hunter of "Damned Yankees") plays a man not only seeking to avenge his slain father but also marry an attractive princess and ascend to the throne of Damascus. The slim but muscular Hunter looks fit as a bandit chieftain, and he gets to perform his share of acrobatics in this far-fetch fable. Nevertheless, Hunter's fans may be disappointed to learn that the former teen heartthrob has been dubbed by another actor. Chiefly, the baritone voice of the other actor sounds more appropriate for an individual of his background. Although it is unmistakable everybody has been dubbed, the dubbing matches the lips better than most European adventures in the early 196os.<br /><br />Hassan and his outcasts manage to enter to palace in Damascus where the festivities are scheduled to occur. A fair-sized crowd has assembled to see who can launch a golden arrow. The golden arrow is indeed unusual. The future ruler of Damascus as well as husband to the princess must be physically able to shoot the magic arrow. Furthermore, the arrow acts like a boomerang because it returns to the archer after it has found its mark. Three noble leaders struggle to let the arrow fly. Sadly, they fail in their efforts. Only one man can send the golden arrow streaking aloft. Hassan masquerades as a nobleman from the Islands of Flame, and he exhibits his uncanny power when he propels the arrow successfully into flight. Hassan exploits this ceremony as an opportunity to kidnap Jamila (Rossana Podestà of "Helen of Troy") and hold her for ransom. Ironically, he becomes so enamored of the princess that he double-crosses his cronies and releases her. The three suitors, the Prince of Bassora (Renato Baldini of "Snow Devils") and two others set out to find Jamila something that no other man can give her. She decides to make one of them her future husband when he brings back that something special. Ultimately, these three men fail, and the worst loser of the three is Bassora. Bassora leads his army against Damascus so he can claim Jamila as his bride. Predictably, Jamila has prayed to Allah, and the god dispatches three genies to help Hassan find the golden arrow and save Damascus from Bassora.<br /><br />The widescreen cinematography of "Valdez is Coming" lenser Gábor Pogány is absolutely gorgeous. Every composition could easily accommodate a picture postcard. Mario Serandrei's editing is just as good. He doesn't allow shots to linger to the point of boredom. The production designs and set decoration are equally noteworthy. Everything about "The Golden Arrow" except its charming visual effects and formulaic looks really striking. Margheriti directs at a whirlwind pace and his scribes spring surprises often enough to keep these adolescent antics entertaining, though I suspect the depiction of the cultures may be inappropriate. Lastly, composer Mario Nascimbene provides an orchestral soundtrack that underscores each twist, and the theme for the genies is memorable. Some parts of the film were shot on location at Mortuary Temple of Hatshepsut, Deir el Bahari, in Egypt. The sprawling, large-scale confrontation between Hassan and his genies atop flying carpets bombing the army of the Prince of Bassora is something you don't often see in movies. If you want clean, wholesome, juvenile entertainment, nothing about "The Golden Arrow" should offend you.</span></span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-16918542748334154892019-05-06T23:39:00.003-07:002019-05-06T23:43:09.553-07:00FILM REVIEW OF "DRAGGED ACROSS CONCRETE" (2019)<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hashtag"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Unresolved Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<a href="https://www.blogger.com/blogger.g?blogID=7398118200855168532" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=7398118200855168532" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-size: large;"><span style="font-family: "georgia" , serif; line-height: 107%;">Most of us watch movies to escape the drudgery of our everyday
lives. We want our heroes to vanquish the
villains and reap the rewards of their valor.
Hollywood often provides the dessert of a happy ending. If it makes us feel sufficiently good, perhaps
we’ll watch it again. Depending on our maturity,
we don’t want to experience too much reality.
Teenagers crave mindless horror movies because death poses little threat
to them than it does to grown-ups. Nobody wants to see their heroes die
tragically, despite the suspense that makes us sweat out the ending. If you prefer films with sugarcoated endings
rather than a meandering melodrama where anything appears possible, you should
probably shun the Mel Gibson & Vince Vaughn crime thriller “Dragged Across
Concrete” <b>(**** OUT OF ****)</b>, a gritty saga about two cops who have crossed the
line one time too many. Writer &
director S. Craig Zahler maintains the reputation he has forged for himself in
his last two movies: “Bone Tomahawk” (2015) and “Brawl in Cell Block 99” (2017),
relentlessly brutal outings where the heroes face odds hopelessly stacked
against them. Watching “Dragged Across
Concrete” for Mel Gibson fans won’t remind them of the shenanigans of the “Lethal
Weapon” franchise. Suspenseful, lingering,
but heavyweight in every aspect from fade-in to fade out, this austere R-rated
crime yarn is neither as pitiless as “Bone Tomahawk” nor as pugnacious as “Brawl
in Cell Block 99.” If you relish movies where the protagonists improvise
against the unexpected to dispatch their adversaries, you might enjoy it more
than the snowflakes who will be alienated by its nihilism. Thirty years ago when the stars were younger
and life offered the prospect of greater optimism, movies like “Dragged Across
Concrete” could never have been financed.
Clocking in at an intractable 158-minutes, this elaborate heist caper boasts
memorable characters, top-notch casting, but its soap bubble of optimism bursts
before more than a quarter of an hour elapses.</span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><span style="font-family: "georgia" , serif; line-height: 107%;">“Dragged Across Concrete” opens with two seasoned plainclothes
detectives on a stakeout. Brett Ridgeman
(Mel Gibson of “Braveheart”) and Anthony Lurasetti (Vince Vaughn of “Clay
Pigeons”) flush an African-American drug dealer out of a high-rise apartment
complex after another cop impersonates a plumber to complain about a water
leak. The drug dealer flees via the fire
escape, and Ridgeman and Lurasetti collar him.
Ridgeman questions him about the whereabouts of a duffel bag of heroin. As he grinds his shoe into the nape of the dastard’s
neck, Ridgeman learns about a partially deaf Latino woman shacked up in the
apartment with the drug dealer. Unbeknownst
to the detectives, an apartment dweller some floors up has made a video of their
excessive force. Although the two cops
have made a major bust, everything they’ve done comes back to haunt them. Ridgeman’s former partner, Detective Lieutenant
Calvert (Don Johnson of “Miami Vice”), suspends them without pay. The two aren’t happy with the consequences. Bridgeman’s better days have passed, and
Lurasetti is accustomed to having the finer things. Unlike Lieutenant Calvert, Ridgeman has failed
to change with the times. He does good,
solid, police work, but displays little compassion. His wife, a former cop, Melanie (Laurie
Holden of “The Mist”) quit the force because of multiple sclerosis. Moreover, the Ridgemans live in a low-life
neighborhood, and their teenage daughter, Sara (Jordyn Ashley Olson of “The Shack”),
endures bullies every time she comes home from school. Ridgeman wants to move his family to a better
side of town. Ridgeman’s younger partner Lurasetti plans to propose to his
beautiful fiancée, Denise (Tattiawna Jones of “Tully”), but the departmental suspension
threatens to cramp his style. </span></span></div>
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<span style="font-size: large;"><span style="font-family: "georgia" , serif; line-height: 107%;"> </span></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><span style="font-size: x-small;"><span style="font-family: "georgia" , serif; line-height: 107%;">Ridgeman learns from a criminal informant, Friedrich (Udo Kier
of “Blade”), about a felon in town who has been planning a big crime. Initially reluctant to cross the line without
his badge, Lurasetti goes along with Ridgeman, and they stake out this
suspicious crook, Lorentz Vogelmann (Thomas Kretschmann of “Resident Evil:
Apocalypse”), who plans to orchestrate a once-in-a-lifetime haul that will set
him up for life. Part of his plan
requires the help of two trigger-happy accomplices. Furthermore, Vogelmann hires two African-Americans
as drivers, Biscuit (Michael Jai White of “Black Dynamite”) and his childhood chum,
Henry Johns (Tory Kittles of “Get Rich or Die Tryin'”), who has just gotten out
of prison. Johns discovers that not only has his mother
lost her job, but she has also resorted to prostitution to pay her bills. Unfortunately, she and his crippled brother
are so deep in debt they face eviction. Reluctantly,
Johns joins Biscuit as a back-up driver for Vogelmann to help them out. </span></span></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=7398118200855168532" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=7398118200855168532" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-size: large;"><span style="font-family: "georgia" , serif; line-height: 107%;">Patience is required to appreciate “Dragged Across Concrete.” This heist film unfolds methodically, and we
are as baffled as these two cops about Vogelmann’s designs. Characterization is
really sturdy here. Ridgeman calculates
everything in percentages. Can they thwart
Vogelmann and survive? Gibson looks
terrific with his silver hair and thick mustache. Life hasn’t treated Ridgeman well, but he has
himself to blame, too. Despite the disparity
in their ages, the two stars radiate chemistry.
You can believe they’re partners because they know each other with a familiarity
that has bred mutual respect. The villains are hopelessly homicidal. Garbed from head to toe in impersonal black
outfits, they wear goggles and wield magazine-fed, submachine guns equipped with
silencers. They issue lethal threats,
and they show no mercy. Vogelmann has
planned his heist painstakingly, and Biscuit and Johns realize that they may be
expendable. Shrewdly, they stash cellophane-wrapped,
automatic pistols out of sight in case they suspect Vogelmann of
treachery. Writer & director S.
Craig Zahler isn’t cut from the same cloth as cult director Quentin Tarantino. Zahler refuses to impress us with clever references
to influential crime films, and his dialogue is straightforward like the realistic
dialogue in Jack Webb’s vintage “Dragnet” television series. Zahler’s characters are philosophical, but
they are neither pretentious nor loquacious. Basically, “Dragged Across Concrete”
qualifies as a hard-boiled melodrama that offers no easy way out for anybody. </span></span></div>
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Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-73597486367086233672019-04-22T18:38:00.000-07:002019-04-22T18:38:25.166-07:00A FILM REVIEW OF ''THE HIGHWAYMEN" (2019)<span style="font-size: large;">"Blind Side" director John Lee Hancock's authentic, Depression Era, road-trip, manhunt thriller "The Highwaymen," (*** OUT OF ****) co-starring Oscar-winning actor Kevin Costner and Oscar-nominated Woody Harrelson, serves as the flip side of the classic Warner Brothers' gangster epic "Bonnie & Clyde" (1967), with Faye Dunaway and Warren Beatty. Told from the perspective of the two seasoned manhunters who tracked down the bloodthirsty young Texas couple, "The Highwaymen" confines their quarry Bonnie & Clyde to the periphery of the mayhem, out-of-the-limelight, depicting them in either far-off shots or close-ups, so audiences cannot sympathize with these trigger-happy desperados who had gunned down policemen without a qualm. "Young Guns" scenarist John Fusco has provided far more history about this pugnacious pair in this Netflix movie than its celebrated theatrical predecessor. Often, when we see Bonnie, we are given only glimpses of her feet encased in ruby red shoes. She walks with a limp that she acquired after Clyde drove off a bridge under construction when he missed a detour. This mishap injured Bonnie so severely that she resorted to laudanum, a concoction of opium and alcohol, to relieve the agony until she died in May 1934 in a hail of gunfire from two former Texas Rangers--Frank Hamer and Manny Gault--along with a posse in Bienville Parish, Louisiana. Throughout this chronicle of their pursuit, Hamer and Gault were amazed by the relative lack of height of the two criminals in comparison to the media attention that transformed them into titanic celebrities during what was termed 'the Public Enemy era' between 1931 and 1934. In the final scene, Hancock gives us a lingering glance of the two felons, looking like two clean-scrubbed, fashionably attired cherubs, with an arsenal of firearms at their fingertips.<br /><br />As depicted in "The Highwaymen," the beginning of the end for the notorious duo started with a prison breakout that Bonnie & Clyde orchestrated to free accomplices from the Texas-based Eastham Prison Farm in 1934. Warden Lee Simmons (John Carroll Lynch of "Shutter Island") of the Texas Department of Corrections got the green light from Governor Miriam "Ma" Ferguson (Kathy Bates of "Primary Colors") to hire Hamer to stop the crime spree of these two twentysomething renegades. Privately, Ferguson had nothing but contempt for the Texas Rangers, recently disbanded under a cloud of corruption, and warned her own duly appointed constabulary that they would face repercussions if the two former Rangers nabbed Bonnie & Clyde. Frank Hamer (Kevin Costner of "Dances with Wolves") comes out of retirement and accepts Simmons' offer despite the misgivings of his socialite wife. Hamer chooses an old friend and former Texas Ranger Benjamin Maney Gault (Woody Harrelson of "Natural Born Killers") to accompany him. Neither Hamer nor Gault is in good enough shape to chase a teenager around the block near Bonnie's mother's house. Hamer hasn't fired his revolver in such a long time that he cannot obliterate bottles with bullets. While immaculately dressed officers of the state of Texas as well as the FBI rely on the latest modern crime-fighting technology to pursue the elusive Bonnie & Clyde, Hamer counts on his frontier savvy about human nature and maps charting the couple's whereabouts to ferret them out. Comparatively, this evokes memories of the turn-of-the-century John Wayne western "Big Jake" (1971) where Wayne tracked down the dastards who kidnapped his grandson, while law enforcement handicapped by modern technology could do little despite their apparent advantages over him. Ultimately, Hamer and Gault put everybody, including FBI with their aerial searches, to shame. Essentially, our heroes qualify as underdogs who manage to triumph despite incredible odds to stop the Barrow gang.<br /><br />Mind you, "The Highwaymen" certainly isn't the most exciting manhunt melodrama. At times, the going is mighty slow because Hamer and Gault painstakingly gather clues and develop leads based on their bloodhound instincts. Although most of the action involves Hamer and Gault, they have few encounters with Bonnie & Clyde until the finale. The scene that highlights best what our heroes must contend with occurs when they tail Bonnie & Clyde out of a town and then lose them in the middle of nowhere. Clyde careens off the highway into a barren field and swerves in circles around Hamer and Gault. Clyde churns up a blinding dust storm and loses the two Texas Rangers. Eventually, after he learns that the felons are cruising off for 'greener pastures,' Hamer decides to pursue them into Louisiana where the authorities have issued no warrants for their arrest. During the manhunt, Gault agonizes about his ability to shoot a woman. Later, they learn Bonnie Parker has been as just as cold-blooded and homicidal as Clyde. This is a far cry from the vintage Warner Brothers movie. Hamer follows a lead involving one of Clyde's accomplices in Louisiana. He cuts a deal with the father of one of Clyde's cronies that culminates in the inevitable ambush of the twosome. The posse catch Bonnie & Clyde as they approach their accomplice's father who is seeking roadside assistance. Reportedly, in real life, the posse poured so many volleys of gunfire into the couple that the barrage deafened them.<br /><br />Clocking in at two hours and twelve minutes, "The Highwaymen" aims for the older demographic that loved "Unforgiven." Nevertheless, it ranks far above anything that Costner has made in many moons. Costner and Harrelson lend their considerable gravitas to Hancock's authentic looking film. The $49-million production does a commendable job of recreating the utter despair and destitution suffered by too many people during the Great Depression. Some critics and historians have accused Hamer of overstepping his authority after he shadowed Bonnie & Clyde into Louisiana, and he could have taken them alive. Hancock and Fusco show that Hamer was prepared to do whatever was necessary to kill the couple. Despite its impressive adherence to history, "The Highwaymen" will always lay in the shadow of the Oscar-winning Warner Brothers' classic, but it does provide greater insight into Bonnie & Clyde.</span>Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0tag:blogger.com,1999:blog-7398118200855168532.post-44999598479760188922019-04-22T18:35:00.001-07:002019-04-22T18:35:31.063-07:00FILM REVIEW OF ''TRIPLE FRONTIER" (2019)The premise of "Triple Frontier," <b>(** OUT OF ****) </b>Netflix's limited theatrical release about retired special-ops who rob a South American drug trafficker, sounded promising. "All is Lost" director J.C. Chandor and Oscar-winning "Hurt Locker" scenarist Mark Boal focus on a team of sympathetic, hard-luck, military types who should appeal to any red-blooded connoisseur of American action cinema. Furthermore, these heroes see this mission as their chance to start over. Despite their faithful military service to Uncle Sam, they received neither proper recognition nor sufficient compensation. Now, they embark on a campaign to plunder millions in blood money from a notorious narcotics honcho. Everything boils down to black and white simplicity. Our heroes are cut from the same clichés as Sylvester Stallone's far more seasoned cronies in the "The Expendables" trilogy, and they do come loaded for bear. Nevertheless, these guys behave like amateurs, compounding one mistake after another, and undermining their own best efforts. Since the good guys must be sympathetic, the villains must be repugnant. Cartel drug traffickers qualify as ideal heavies. Reviled in real life as much as on the screen, they kill without a qualm and hold nothing sacred. They deserve to die a thousand times. Our heroes should be virtuously white, while the villains should be shady as sin. Comparably, James Brolin led a group of amateurs on a similar mission in "High Risk" (1981), but everybody survived with their loot intact for a triumphant finale. "Triple Frontier" had potential, but it wastes its powerhouse cast (Ben Affleck, Oscar Isaac, Charlie Hunnam, Garrett Hedlund, and Pedro Pascal) in a hackneyed hokum about the malevolence of greed. Like we don't know the corrosive nature of greed. Presumably, Chandor and Boal must have cut their teeth on the Humphrey Bogart classic "Treasure of the Sierra Madre" (1948) because "Triple Frontier" contains a similar storyline. Unfortunately, this escapist oriented, testosterone-laden tale turns sour in Chandor and Boal's hands. Imagine what "The Expendables" might have been if they lost, and you may pass up watching "Triple Frontier."<br /><br />Technically, "Triple Frontier" is a crime movie instead of an adventure epic. Our heroes initiate a home invasion and loot a wealthy cartel mobster's premises. Initially, they search without success for his safe, until it dawns on them the house is the safe! Meantime, since the villain lives beyond the law, he cannot blow the whistle on them without running the risk of the authorities intervening. Greed enters the picture, and our heroes take too many duffels of loot. Until the 1970s, Hollywood maintained a strict censorship policy that crooks never delight in their ill-gotten gains. This policy was part of a larger rule Hollywood struggled to enforce: Crime must not pay! When the Clint Eastwood & Jeff Bridges heist caper "Thunderbolt & Lightfoot" (1974) came out, the studios gave these criminals greater flexibility, but not without the usual life and death consequences. In "Triple Frontier," we are rooting for our heroes to haul off millions when we realize they've completely lost their minds. Poor planning sabotages their heist. Indeed, they pull off the robbery, but pulling off the getaway is something else. Stallone and his "Expendables" cohorts would have gotten clean away, but these loose cannons must pay the piper. "Triple Frontier" takes a tragic turn around its 90-minute mark, and you have to ponder whether you want to shed a tear for this band of clowns-in-camouflage. Naturally, The character with the greatest amount to lose inevitably gets it. This kind of old-fashioned morality takes the joy out of what could have been an audacious adventure epic. During the getaway section, our heroes behave like trigger-happy amateurs. They find themselves against odds even more incredible than those of the cartel. Primarily, they find themselves at the mercy of the local population. The getaway occurs in sprawling, spectacular, mountainous scenery, with Hawaii standing in splendidly for Brazil. Our heroes exfiltrate in a wobbly helicopter with their ill-gotten gains dangling beneath it in a cargo net. Foolishly, they have loaded more than the chopper can accommodate and fly over the Andes Mountains. They disintegrate into their own worst enemy.<br /><br />"Triple Frontier" gets off to a promising start as Chandor and Boal introduce the heroes and their particular predicament that has prompted them to commit a crime. The chief protagonist is Santiago 'Pope' Garcia (Oscar Isaac of "A Most Violent Year"), and he is a private military contractor who coordinates drug busts with the local authorities. Pope has a confidential informant, Yovanna (Adria Arjona of "Pacific Rim: Uprising"), and she knows the whereabouts of the local drug trafficker. She also knows that he has concealed millions in his walls. She provides Pope with everything he needs to know about this despicably murderous narco. Pope enlists four of his old service buddies and outlines a scenario that each of them could tote off duffels stuffed with multi-millions in cash. Eventually, Pope consults Tom 'Redfly' Davis (Ben Affleck of "The Town") and asks him to draft a combat plan. Reluctantly, Davis designs a scheme with a timetable. Pope persuades a pilot, Francisco 'Catfish' Morales (Pedro Pascal of "The Equalizer 2"), to fly them across the Andes to a ship on the coast. After Davis agrees to accompany them, William 'Ironhead' Miller (Charlie Hunnam of "King Arthur") signs on, and his little brother, MMA fighter Ben Miller (Garrett Hedlund of "TRON: Legacy"), joins them. Afterward, everything goes sideways. Greed overrides good sense, and one of the five takes a fatal bullet in the head. "Triple Frontier" never recovers from the tragic death of this character. In part, he brought it on himself. At this point, our heroes whine like knuckle-heads who bit off more than they could chew and are choking on their own greed. The performances are uniformly robust, but the filmmakers have given each actor little to work with to make their respective characters memorable, for example, like "The Magnificent Seven." If you're hoping for thrills and chills, "Triple Frontier" provides few.Van Robertshttp://www.blogger.com/profile/14921324935997062163noreply@blogger.com0