This week Steve Norman and Owen Hughes are joined by regular Failed Critic Andrew Brooker as they delve in to Ridley Scott’s latest instalment in the Alien franchise, Alien: Covenant, complete with Spoiler Alert as well as a spoiler free review.
Welcome one and all to another episode of the Failed Critics Podcast where Steve Norman and Owen Hughes are this week joined by special guests Andrew Brooker and Matt Lambourne to review big-budget pint-sized Marvel superhero movie Ant-Man! There’s both a spoiler-free discussion on the film and a return of our ‘spoiler alert’ right after the end credits where we go into more specific details.
Also featured on this week’s podcast: Owen discusses the 1970’s Werner Herzog movie Stroszek; Brooker finally manages to get his hands on The Voices, starring Ryan Reynolds; Matt is back to say a few things to say about Terminator Genisys; and Steve puts him through the Danny Dyer film The Other Half ….with very good reason!
There’s even time for the group to mull over the Attack On Titan trailer, talk about our latest celeb Twitter follower after the very first Failed Critics meet up and we “react” to the as yet unreleased Spectre trailer.
Join us again next week for the return of our TV Special in honour of the biggest new release this week. No, not Southpaw. No, not Inside Out either. No, not even Maggie.
“Oh no. Oh Hell no! Surely you don’t mean… it’s not….. it can’t be… no way….??”
Yes way. It’s the eagerly anticipated release of Sharknado 3!
Whilst it’s great to see Arnie back in the leather jacket, and although it’s an improvement on the previous two films in the franchise, Terminator Genisys is far from reaching the impossible heights that James Cameron set.
by Owen Hughes (@ohughes86)
Set in the year 2028, Joel Kinnaman plays Murphy, a brutally murdered cop who — wait a second. Sorry. I appear to have started this article off by reviewing the 2014 remake of RoboCop. Let me try again. Ahem… Space. The final frontier. Or rather the first of many frontiers for director JJ Abrams as he and Chris Pine — Oh man! I appear to have done it again. I’ll try once more. With a surprising and disappointing lack of Colin Farrell getting his ass to Mars, the Total Recall reboot is — Oops!! This is trickier than it looks.
OK. For real this time.
It’s very rare in Hollywood for a much beloved franchise to get a reboot some years later and turn it into a huge success. For every Jurassic World, or Rise of the Planet of the Apes, there are ten alternatives. After The Halcyon Company fought hard to acquire the rights for the Terminator series, they produced the bore-fest that was 2009’s Terminator Salvation. Alas, it was critically panned and the company folded not long after the film’s release due to various financial difficulties, despite making a profit on McG’s futuristic sci-fi actioner.
Thus with the rights to the series not reverting back to James Cameron until 2018, we now have Terminator Genisys (that’s without the colon in the title, unless you’re from America in which case you do get a colon), the fifth instalment of the franchise that began way back in 1984 with Cameron’s original movie. Although an argument could be made for placing this as the sequel to the original The Terminator, rather than the fifth in a series, and in the process wiping T2: Judgement Day, Terminator 3: Rise of the Machines and Terminator Salvation completely out of cannon. Not to mention the short lived TV series Terminator: The Sarah Connor Chronicles. They’re all ultimately pointless as director Alan Taylor (and writers Laeta Kalogridis and Patrick Lussier) retcon the entire job lot.
Or… do they?
You see, the plot and the placement of Genisys within the sequence of movies is almost as convoluted as the history of who has owned the franchise itself at various points over the past 30 years. Its opening scenes are almost carbon copies of the original, albeit with less visible buttocks and silhouetted Arnold Schwarzedongs as this is a 12A certificate film, after all. It also cuts out the Kyle Reese narrated opening scene of a Terminator drone flying over a dystopian future wasteland, kicking off instead immediately with a T-800 (played by an Arnie body-double) arriving in 1984 with a flash of light shortly before approaching a group of punks on Washday Eve. Then things get a little less familiar. Waiting for our original Terminator is a visibly older version of the killing machine, dubbed “Pops”, and the two duke it out in a bout of fisticuffs.
As it transpires, this “good” Terminator, Pops, was mysteriously sent back in time even earlier to await the appearance of the 84 Terminator in a plot device that sends ripples through the timeline, distorting all manner of logical and illogical story lines. Jumping from the altered past to the future-future, we’re then treated to a show of Kyle Reese (Jai Courtney) and John Connor (Jason Clarke) taking out Skynet in the final battle. An enactment of an event that the original Kyle Reese (in Cameron’s movie) talked about occurring. Only now, it isn’t the final battle, as Skynet had one last trick up its sleeve. Back to the past, and Reese (now also naked and in need of a hobo’s trousers) is on the run from yet another Terminator in a 1984 that is unlike the one he expected. Waiting for him is a dreaded T-1000, played by the often under-appreciated Lee Byung-hun doing his best Robert Patrick impression. Apparently, the unassuming waitress Sarah Connor (Emilia Clarke) that Reese went back to save was now never a waitress at all, but is in fact a heavily armed survivor ready to take the impending apocalypse head on. She’s also apparently fully prepared for Kyle’s arrival and his involvement in her future, and invites Reese to come with her if he wants to live. And so begins the unravelling of an entire woolly-jumper-only-wardrobe’s full of threads after one tiny quizzical tug.
I realise that all sounds rather confusing, so to help you understand all this, here’s a quick summary. You ready? Stuff that we don’t really know about yet (wait for the sequel) has now happened in the alternate-past (1973) that has affected the current-past (1984) leading to alterations in the future-future (2029) that have changed Judgement Day in the prior-past (the mid 1990’s) to the new-present (2017). Clear as day, right?
And yet, despite this convoluted soft reboot, struggling to grasp when and what is taking place is not actually that difficult. In fact, whilst you’re watching what is yet another generic blockbuster blueprint executed to the required standard for a generic summer blockbuster box-ticking exercise, having to think about how each set piece fits alongside the other is a welcome relief. If you’re worried about whether you will be able to keep up, then have no fear. Exposition is your friend. “Mr Exposition” to be precise, played by JK Simmons, who helpfully pops up every so often to either personally explain what’s just happened, or to ask the other characters in the film if they wouldn’t mind quickly filling him (i.e. us) in on everything, just in case we missed it. You might mistake that for me complaining about Simmons. I’m not. I only wish he were in it more and had better dialogue to work with. The same could be said for Lee Byung-hun. Both actors were incredibly underused.
My major beef with this fifth instalment isn’t even to do with the acting, which a lot of other reviewers seem to have taken issue with. Jai Courtney – who I’m not ashamed to admit to have defended in public before – he in particular is used as a stick to beat the film with and I’m not entirely sure why. After speaking to Failed Critics writer Nick Lay about it, he told me that people dislike Courtney because “he just seems to be the type of lead that comes off a dull production line”. I get that. When you see him compared to actors like Sam Worthington, Taylor Kitsch etc, I totally see where folks are coming from. He’s good looking, well built, gradually getting bigger and better roles in bigger and better movies (or at least more expensive movies) without the average Joe being able to recognise his name if you sent them a CV with photo and portfolio of work. But still, I like him. He’s perhaps not made the best choice of film yet (let’s not talk about A Good Day To Die Hard or I, Frankenstein ever again), but he’s got charisma and can genuinely act, unlike a lot of his comparators. Like a lot of things about Terminator Genisys, Jai Courtney is fine.
Emilia Clarke as Sarah Connor is fine. Regardless of the fact she spends more time literally kicking arse than Linda Hamilton in the second Terminator film, she still seems less like an arse-kicking heroine and more like an adequate requirement for the story. But she’s fine. No better or worse than she’s been in Game of Thrones, for example. Jason Clarke (no relation), playing a slightly larger role than was perhaps expected in this time-hopping fiasco, is also fine. No better or worse than he’s been in Lawless, Zero Dark Thirty or last year’s Dawn of the Planet of the Apes, for example.
I don’t really care what anyone else says about “The Cyberdyne Systems Model 101 Series 800 Terminator”, “Pops”, “Uncle Bob” or whatever you want to call him, it’s always great to see Arnold Schwarzenegger back in the role. In the atrocious Terminator 3, he remained one of the best things in it, both in terms of his performance and having the best individual lines and scenes. Again here, he’s the outstanding performer. There’s call-backs aplenty to the more humorous wise-cracking T2 interpretation of the character, with the third film’s goofyness toned down considerably. Expanding on the idea that he potentially has the capacity to not just fake human emotions in order to better integrate himself into society and ultimately infiltrate human rebel bases, but actually organically acquire and increase his own emotional depth over time, effecting his decisions, ties quite nicely into the overall arc of the movie reflecting Skynet’s ultimate aim. It might come across as corny, but have you seen Judgement Day recently? Exactly. Original film aside, they’ve all had their fair share of cheese.
Technically speaking, Terminator Genisys hits the majority of the right notes. It’s by no means perfect, but it’s also not boring. It makes you laugh whilst simultaneously turning the action set pieces into progressively bigger and louder (and usually dumber) old fashioned fun. Sure it might sound a bit complex at first glance, but it’s actually a bog standard A-Z time-travel 12A family blockbuster. And that is its biggest problem. There are zero risks taken here. If there’s any part of the plot that veers from the already tried-and-trusted big-budget formula, I must’ve missed it. Having not just one, but a number of high-tech killing machines who stop at nothing until you are dead, it should be far more menacing a movie than it actually is. Instead, any moments of potential darkness are bizarrely steered well clear of, either through deus ex machina or – more often than not – characters just doing the complete opposite of the easiest / simplest solution in order to prolong events.
Need to kill Sarah Connor? Need to save Sarah Connor? Need to have certain events still happen to ensure the future works the way you want? Need to change the past radically to keep things how they are? It’s all a load of complete and utter nonsense that follows neither rhyme nor reason. Complete and utter gibberish with things happening simply for the sake of continuing the story longer than would realistically be necessary. But, I didn’t hate it. It’s dumb, but so are so many other movies of this ilk.
Come five years time, if somebody asks me whether [scene A] happened in Terminator Genisys, Star Trek Into Darkness, Jurassic World or Men In Black III, I won’t have the foggiest. It’s as indistinguishable from the next $155m movie as any other before it. However, if you scratch hard enough, you’ll be able to glimpse the relatively decent concept buried underneath the astonishingly stupid and generic exterior. I can think of worse ways to spend two hours. Hell, I can think of two worse films within the actual franchise that this film belongs to!
No, we haven’t brought back Brooker and Paul!! I’m talking about the prequel to Illumination‘s Despicable Me franchise, all about those little yellow goofy sidekicks. Joining Steve Norman and Owen Hughes to review Minions is our animation expert Callum Petch. The team also take a look at action thrillers Everly (starring Salma Hayek) and Eli Roth’s Knock Knock (starring Keanu Reeves).
There’s even some news for the group to discuss this week as Tom Holland is named as the new (yes, NEW) high school age Spider-Man (they’re really making another Spider-Man film!) (Really!)
We also have a special guest débutante to the Failed Critics podcast in Nick Lay, author of our articles on We Are Many, Dish & Dishonesty and Kung Fury! In a pre-recorded review, he joins Owen all the way from Canada to discuss the micro budget British thriller Through The Lens. Meanwhile, Steve reveals the startling news that prior to this week, he’d somewhat unbelievably never seen The Terminator before, whilst Callum takes over the b-movie duties from Owen to review 80’s cult classic Hard Ticket To Hawaii.
Join Steve, Owen and Callum again next week as we review Terminator: Genisys and Magic Mike XXL.
A continuing series where Failed Critics contributors look back on a particular decade in the world of cinema and choose their favourite films from each year of that decade. Matt Lambourne has lucked out with arguably the most entertaining, balls-to-the-wall decade of all. This week he takes us through his choices for 1984, a year that had lots of good films but only a select few great films..
By Matt Lambourne (@Matt_Lambourne)
Based on the George Orwell classic of the same name and directed by Michael Radford, Nineteen Eighty-Four is the story of a dystopian alternative reality whereby the populous are enslaved by a totalitarian government under the watchful eye of the supreme leader known only as Big Brother.
Nineteen Eighty-Four paints a painful and all too realistic view of what big-government without restraint could be like. I happened to watch this for the first time after Netflix launched in the UK just a couple of years ago and I was taken aback by how relevant this is as a pre-cursor to a society that has been conditioned to accept mass-CCTV and government intrusion of their privacy almost as a given.
John Hurt is excellent in the lead role as Winston, a man who longs to love and lust and think for himself, all emotions that are outlawed by the state. The mighty Richard Burton makes his final silver-screen appearance as the state’s brutal iron-hand O’Brien and plays the role with just enough restraint to make him even more sadistically sinister. The film makes great use of colour to remove any touch of individualism from society, everything is steel, grey and cold which further establishes the mindset of a society bred to work for the exclusive benefit of the state.
Without going into spoilers, this isn’t a film to watch if you are looking for a happy-ending. Everything plays out with a ruthless and calculating efficiency of a state built as a machine. As I understand, the film may not quite live up to the splendour of the novel; however, when watched with a clear mind it is astonishingly profound as modern society continues to live under the influence of the metaphorical Big Brother.
Let’s get one thing straight from the get go. This is not a Vietnam movie, but I was somewhat drawn to it initially due to my interest in Vietnam movies. The 80s has a boatload of them, however Birdy is more of a psychological examination that just happens to feature a voyage into Vietnam for the two main protagonists, Birdy (Matthew Modine) and Al (Nic Cage).
The film follows 2 high school friends who are eventually separated and are sent to Vietnam. Birdy is already dealing with mental issues of feeling outcasted from his peers and has an unusually intense fascination with birds and flight. It later becomes apparent this is a metaphor for wanting to flee from the burdens of his life, however the trauma and mental fatigue of the war causes this rather innocent fascination to become an all-consuming fixation as his mental state deteriorates and he eventually winds-up in asylum.
Thankfully, the War element does not get in the way of a complex tale of friendship and adversity but merely acts as a vehicle to deliver to the mental breaking point for the Birdy character. Nic Cage, in an early and refreshing role, performs admirably as the linchpin buddy that keeps Birdy mentally balanced in the real-world. Given that he must act with his face behind bandages for the large parts of the film shows great acting dexterity that is lacking from some of his later performances.
Modine is more Private Pyle than Private Joker as a good all-american kid who finds solace through delusion and again has to dig deep into the actor’s toolbox to perform a role with no human persona during the most intense parts of the movie.
Director Alan Parker does a magnificent job in making a movie that is hard to remove from the psyche – again, for not especially positive reasoning. The story is far from triumphant and is quite depressing in places and is hardly box-office material. However, that is not meant to dissuade you from seeing this film. It is one that lingers in the memory and you’ll find few characters as interesting or as touching as Birdy.
If there are movies that can pretty much stereotype a decade, then The Terminator surely has to be on the shortlist. Made with little expectation for box-office success, the pressure was off to deliver a fully adult orientated science-fiction romp for a then little known director, James Cameron.
The film throws you into the deep-end right from the opening sequence, whereby Arnold Schwarzenegger is sent back in time to modern day Los Angeles and turns up butt-naked and looking to acquire his target, Sarah Connor who would eventually give birth to the leader of mankind’s last line of rebellion against the enslaving machines.
At the same time, the rebels from the future send back one soldier to protect her, thus beginning a deadly cat and mouse pursuit between the 2 human targets and an unstoppable force brought menacingly to the screen by Schwarzenegger.
Where The Terminator succeeds is in convincing the viewer that this complex sci-fi story could indeed be a far-out possibility. The mythology is established very quickly in the film through the flashbacks of Kyle Reece (Michael Biehn) that portrays the bleak future that mankind has created in its pursuit of technological advancement.
That said, it’s popcorn friendly at the core. Arnie puts in a fantastic stone-cold performance as the villain of the film and given his enormous physique is entirely convincing as a killing-machine. Linda Hamilton shows great versatility initially as the 80s damsel in distress to slowly maturing into a heroine as she comes to terms with her role in mankind’s future.
The action satisfies, plenty of gun-battles and well choreographed car-pursuits ensure the momentum of the film is heightened throughout as the Terminator is in constant pursuit of the vulnerable human heroes.
Curiously, The Terminator doesn’t even make the top 10 highest grossing movies of the year. This goes to prove what an incredible following the film drew from the home video market and a master-stroke (deliberately or otherwise) in Cameron waiting a further 8 years to give a baiting fan-base the sequel they so longed for.
The Terminator leaves a fantastic legacy in establishing James Cameron as one of the hottest directors in the business setting him up wonderfully for his like Sci-Fi extravaganza in Aliens whilst taking Biehn along for the ride as well as bit-parters Bill Paxton and Lance Henriksen, whilst firmly establishing Schwarzenegger as one of Hollywood’s hottest action stars.
Ghostbusters is a long standing love for many movie-goers, myself included. It’s probably the oldest memory I have of watching movies; those classic old RCA red-spine VHS tapes were pretty unique and haven’t left my memory in all this time. I could ramble on about why Ghostbusters is great and it only narrowly missed out on the #1 spot for 1984 in my assessment. However, Failed Critics has its very own Ghostbusters superman. So to tell you why Ghostbusters is so good and still so revered to this day, I hand over to Failed Critics own, Carole Petts.
On the occasion of Ghostbusters’ 30th anniversary, I wrote for the Guardian about why this silly science-fiction comedy has ensured in the public consciousness for so long. I’ve tried many times to pinpoint why this is my favourite film of all time, and honestly, it always comes back to the fact that it makes me laugh without fail; that every joke is as fresh now as it was when it was filmed. I’m clearly not alone in this – some of my favourite viewings have been with an audience, who clearly adore the film as much as I do (validating my devotion somewhat, it has to be said) and will quote and laugh along with me all the way through. You simply can’t ask for anything more from a comedy film.
The plot is actually an archetypal product of the early 80s age of Reaganomics. Three Columbia University parapsychologists – Ray Stantz (Dan Ackroyd), Egon Spengler (Harold Ramis) and Peter Venkman (Bill Murray, at the top of his 80s comedy game) are stripped of their public sector funding and forced to start their own business hunting and trapping spooks. Coincidentally, a massive paranormal event is brewing which will bring about ‘a disaster of Biblical proportions’, so that’s handy. The aforementioned calamity is personified by two Central Park West neighbours – Dana Barrett (Sigourney Weaver, showcasing hitherto unknown comedic muscle) and Louis Tully (Rick Moranis, underrated here but who then received many deserved leading roles as a direct result). The whole shebang is brought to a show stopping finale when the destroyer of worlds is summoned in the form of a giant marshmallow man trademark beloved of Boy Scout camps across America. Stupid? Of course it is. But it’s endearing, and funny, and touching at times as well.
I wasn’t old enough to see Ghostbusters when it was released at the cinema – indeed I had a VHS taped from a TV screening, and only saw the full, uncut version for the first time when I was 18 and received the DVD for Christmas (it still appals me that Egon swears and Ray appears to receive a blowjob from a ghost). I was the perfect age to be scared by the library ghost and the Class 5, full-roaming vapour in the hotel, named in the cartoon as Slimer. I wasn’t old enough to have seen Alien, and to know that Sigourney Weaver was the world’s number one female kick-ass action hero at the time this film was made. But I knew this film was going to stay with me for the rest of my life. As I’ve gotten older, it’s taken on many different meanings to me – I’ve known what it’s like to be part of a public sector organisation that suddenly no longer needs you, and to be thrown into the real world (although I hasten to add my departure was not precipitated by making up test results in order to impress pretty ladies). But if this film has taught me anything, it’s to have faith in my own abilities. And that everyone has three mortgages nowadays.
Once upon a time in America is a Sergio Leone film. No, it’s THE Sergio Leone film! Set in prohibition era New York, the film transcends almost 4 decades following a gang of young hoodlums who engage in petty crime and rise to eventual bosses of the local bootlegging industry. The film is told from the viewpoint of Noodles (Roberto De Niro) who after 30 years of exile returns to New York after a member of his former gang makes contact him with, simultaneously blowing his new identity.
The film segregates beautifully across a complicated time-line and fills the viewer in via well executed flashbacks on the gang’s struggles in a Jewish ghetto in the 1920’s as children and their progression to adults consumed by the greed, lust and power that eventually destroys the gang and their friendships. De Niro is slick and at the top of his game, whilst James Woods puts together what I think is his strongest performance as the overly ambitious and ruthless Max.
The placing of the film amongst the all-time greats is hotly contested, partially due to the varying number of cuts available for the film. On its original release, a heavily edited version was compiled at the request of Warner Bros. At only 139 minutes in length it was a commercial and critical disaster and was put together against the wishes of Leone to attempt to squeeze more screenings per day of the movie and remove concerns over the graphic content.
However, many a critic would praise alternative cuts that remained more faithful to the original Leone edit, with Sight & Sound polling the movie in their top 25 films of all (at #10) and director Brian De Palma (Scarface, The Untouchables, etc) ranking it as the best movie depicting the prohibition era. Given that Leone turned down the opportunity to direct The Godfather to work on this project, he had immense belief in the story and his ability to deliver a crime epic that would become his legacy.
I am often surprised at how few people I speak to that enjoy crime movies that have not seen Once Upon a Time in America. That said, to be enjoyed at its best requires a good 3 hours or so dedication making it a tough watch, but boy is it worthwhile. If you’re a fan of The Godfather or Goodfellas or other films of that variety, this is a must watch. Sergio Leone signs off with what is his final and greatest masterpiece, and without question is the best film of 1984.
You can find more of our revitalised Decade In Film articles so far here, from 1963-2004.
by Owen Hughes (@ohughes86)
It’s fair to say that I’m a self-confessed action film nut. Give me a free 90 minutes and any Jean-Claude Van Damme movie and I’ll smile and say “thanks very much”. It may be no surprise to learn then that I am also a Stallone fan; and with that, a fan of the Expendables franchise. Simon West’s light-hearted but immensely fun sequel to the more serious original (which was written by, directed by and starred Sylvester Stallone) is one of my favourite modern popcorn munching action movies.
Thursday saw the release of the third entry into Sylvester Stallone’s modern action franchise, the succinctly named, The Expendables 3. Whilst overall it’s perhaps not as impressive – in terms of critical success and box office success – as either of his Rambo or Rocky films of decades past, they do feature an impressive cast of 80’s and 90’s heroes as long as the protruding big blue veins in his large muscular arms. Amongst whom returning to Stallone’s side as he stops the latest megalomaniac (an incredibly intense Mel Gibson), are familiar faces such as the arse-kicking Jason Statham, knife-sharpening giant Dolph Lundgren and cigar-chomping Arnold Schwarzenegger. Plus, a load of other recognisable members such as Terry Crews, Randy Couture and Jet Li pop up here and there.
Joining them are a bunch of young whippersnappers (Glen Powell, Kellan Lutz, Ronda Rousey and Victor Ortiz) whose careers are only just beginning. Whilst at the other end of the experience scale sees notable newcomers Wesley Snipes, Antonio Banderas, Harrison Ford and Kelsey Grammer join the crew. If nothing else, it shows how far the series has come when it can attract stars such as Gibson and Ford, as opposed to the early incarnations with the likes of Steve Austin and Mickey Rourke taking top billing.
However, a review of The Expendables 3 this is not. For that, check out Callum’s review from this weekend! Instead, I’m pitting the original Expendables cast against the latest big name additions. One film each, best of 5, let’s see who’s indispensable to the series and who is expendable.
1. Jason Statham vs Wesley Snipes – Crank vs Demolition Man
Often seen throughout this second sequel squaring up to each other with their knife skills (and knife puns) on display, they are arguably the two actors who have the most on-screen chemistry with our chief protagonist, ol’ Sly Stallone. But who has been in the best action movie? Crank is an exhilarating non-stop self-aware adrenaline-junkie of a movie. The entire cast appear to be pumping energy drinks directly into their bloodstream. None more so of course than The Stath, spending the duration of the movie keeping his adrenaline flowing in every possible way you can think of. But what about Snipes? Demolition Man, released at a transitional time for action movies from the over-the-top kill-em-all era of the 80’s to the smarter, cooler 90’s, is everything Expendables wants to homage. Snipes’ charisma may be mostly responsible for why this movie is still so enjoyable, but let’s face it, it’s no Crank.
Originals 1 – 0 Newcomers
To many, this won’t even be a debate. Arnie is arguably the greatest action hero we have ever seen. A genre is defined by his mere presence thanks to movies such as Terminator 2, True Lies, Total Recall and indeed the Vietnam jungle survivalist sci-fi horror, Predator. If the debate was “who is better in The Expendables 3“, then sugar-tits himself Mel Gibson would walk that contest. Unfortunately for the fresh-faced post-apocalyptic Australian Max, there is no comparison. Schwarzenegger can quite literally become an elected member of the Republican party and I’ll still turn up in the cinema to see whatever film he’s starring in these days. There’s still so much good will towards him thanks to films such as this all time classic of the genre. The man is a legend. Sorry, Mel.
Originals 2 – 0 Newcomers
3. Dolph Lundgren vs Antonio Banderas – Showdown in Little Tokyo vs Desperado
Yes, yes. OK. I am aware that Rocky IV is Dolph’s most iconic film and quite possibly his best – I won’t even entertain suggestions of Masters of the Universe or The Punisher. But we all know Rocky IV isn’t an action movie, don’t we. Never mind that, Showdown in Little Tokyo is massively underrated. Lundgren is as wooden as he ever was in these early roles of his, but there are some brilliant stunts, one liners and his final showdown lives up to expectations. Is it better than anything in Desperado? Well, no. That would be silly. Banderas is the epitome of cool in the film that really propelled him into the English-speaking public’s conscious. The direction from Robert Rodriguez is excessive, unrelenting and fantastic; Banderas is absolutely perfect as the sexy, dark and mysterious mariachi. Not only does he steal the show in the third act of The Expendables 3, he’s stealing a point for the newcomers.
Originals 2 – 1 Newcomers
4. Randy Couture vs Kelsey Grammer – Hijacked vs Transformers: Age of Extinction
Oh, boy. This is a close one for all the wrong reasons. Whilst you’d think the odds would be stacked against Grammer given the best action films he’s featured in outside of The Expendables 3 are directed by Brett Ratner (X-Men: The Last Stand) and Michael Bay (Trans4mers), it should be a cake-walk for his opposite number. But looking at the best films Couture has starred in, one appalling The Mummy spin-off (The Scorpion King 2: Rise of a Warrior) and a straight to video revenge movie where he’s out-shined by a 5 minute Vinnie Jones cameo (Hijacked), it’s not all that straight-forward. At least Grammer was entertaining in some rather average movies. The comeback is on!
5. Sylvester Stallone vs Harrison Ford – First Blood vs Raiders of the Lost Ark
Oh, boy. This is a close one for all the right reasons. Saving the best ’til last was meant to make this challenge easier. Instead what I’m looking at is two of Hollywood’s legends, famed more for what they bring to the screen besides what is traditionally considered “great acting”, both duking it out until the 12th round. They have a swagger, a deserved arrogance, something unquantifiable that makes them both the iconic and charismatic performers we know them as today. Comparing First Blood (the beginning of the Rambo franchise and an action movie with real emotional depth) with Raiders of the Lost Ark (the beginning of the Indiana Jones franchise and an action movie with sophistication and undeniable amusement) is just as tough. Of the two, just edging it for me would probably be First Blood. I make no apologies for this either. As good as Indy is, he’s stilla nerd isn’t he? Rambo is just.. better.
Originals 3 – 2 Newcomers
And that’s the end of that! It seems the newcomers made a valiant effort but it’s the originals that have come out on top. We can only hope that if Jackie Chan, Nic Cage, Dwayne ‘The Rock’ Johnson, Kurt Russell and Vin Diesel turn up in The Expendables 4, things might go a bit differently in the rematch!
Do you agree? Are you outraged by this outcome? Leave a comment below and wind Owen up.
As well as reviewing new releases Captain Phillips, Escape Plan, and Le Week-End, we also hear from our roving correspondent Carole Petts who is reporting back from London Film Festival, and Steve watches The Phantom Menace for the first time as a ‘critic’. That’ll go well.
We’re taking a week off next week (boo!), but we’ll be back at the start of November with reviews of Thor 2, Bad Grandpa, and whatever arty emotional nonsense James has gotten around to watching.
This year, Dwayne ‘The Rock’ Johnson is appearing in approximately 347 films. His screen time in this summer’s blockbusters is longer than the reign of Queen Victoria, and only Kevin Bacon (in those disappointingly bad EE adverts) will be seen by more pairs of eyeballs in darkened cinema screens across the land.
This is no happy accident though, rather it is the result of over a decade of hard work and bucketfuls of natural charisma that have led to the first true wrestling/Hollywood crossover action star. You have to admire the way that Johnson has put in a hard shift at the acting coalface, biding his time in an assortment of ropey children’s films like Tooth Fairy and Race to Witch Mountain, and honing his skills in small unconventional roles in films as diverse as Be Cool and Southland Tales.
Where he seems most at home though, is in the action genre. His film debut as the Scorpion King in 2001’s The Mummy Returns led to a woeful spin-off film, but even when left high and dry by a terrible script and lacklustre direction there is a genuine glint of stardust in the shit. Like Arnold Schwarzenegger before him, Johnson is a giant slab of muscle with a great sense of humour and a winning smile. Recent performances though, have suggested a greater depth of performance that could be the missing piece of the action star jigsaw that has been incomplete for so long.
Interestingly, Johnson has made a recent habit out of resurrecting franchises that should by rights have been long consigned to the great bargain bin in the sky. First with the Fast and Furious films, then the Journey series, and more recently with GI Joe: Retaliation. It’s not just franchises he is single-handedly resurrecting, and this summer he has achieved the near impossible by getting someone other than teenage boys excited about a Michael Bay film.
With that in mind, here are a few more moribund film series that I think Dwayne ‘The Rock’ Johnson could infinitely improve:
The original was one of Stephen Spielberg’s best films, but the series went rapidly downhill after that. With Jurassic Park 4 in the pipeline, who better than The Rock to add a touch of kick-ass action to the mix. The only problem being the films’ inherent implausibility and complete lack of scientific grounding in fact. I mean, there’s obviously no way a T-Rex could withstand a People’s Elbow.
Aliens v Predator
It would take an infinite amount of monkeys an infinite amount of time to explain how two brilliant franchises combined to produce such a bad collection of spin-off films. It’s time for The Rock to resurrect this bafflingly bad, but so full of promise franchise. For the first time, Aliens and Predators must combine forces to defeat the most deadly force in the the universe…the Rock Bottom.
The worst thing about these dreadful films is the hour and a bit of watching some unlikeable fuckwits wander around a house while nothing happens. How about we watch The Rock chilling out at home for 90 minutes, and then he punches a ghost in the face. Box office gold.
Tell us which films you’d love to see Dwayne Johnson ‘rock’ up in. Is there a single film that wouldn’t be improved by his presence?
On this week’s podcast we review Zero Dark Thirty, Flight, Hyde Park on Hudson, and The Possession We also induct the second member of our Corridor of Praise. Let’s hand over to Gerry to introduce him…
Murzzuschlag, Austria. The Second World War is ending. Aurelia Jadrny, a clerk in her early twenties whose husband was killed just eight months after their wedding, is working at her desk when she spots a tall, good looking man in his late thirties walking past. He’s wearing the uniform of the gendarmerie, Austria’s rural police, and she likes a man in uniform. Over time, they talk through the window – she works out when his shift is so she’s always at her desk. His name is Gustav and when they marry late in 1945 he is thirty eight, she is twenty three. He is assigned to Thal, a tiny village, and they live in a simple stone house at the top of a hill, 100 yards from a ruined old castle, on the single unpaved road in the village. There is no plumbing, no shower, no flushing toilet, and the nearest well is a quarter of a mile away. They make do, scraping by on his meagre wage through hard work and thrift – an ethic they will instil in their children.
They quickly have a son, Meinhard, and struggle along despite the widespread famine in newly-occupied Austria. In 1947, with the famine ongoing and at its worst, they have another son. In this small, impoverished stone house in rural Austria, one of the 20th Century’s greatest stars has just been born. Gustav and Aurelia name him Arnold, and their big, broad genetics and hard working nature will combine to make Arnold Schwarzenegger one of the most influential men in modern American culture.
Both boys are encouraged by their father to frequently take part in sport, particularly football. As the children grow up, they start to do sit ups to earn their breakfast as well as doing a lot of chores. At 15, Arnold decides to take up weightlifting over football, attending a gym in nearby Graz. The dedication his harsh father has drilled into him leads him to break into the gym when it is closed on weekends. At 18, he serves in the army as part of his military service. During basic training, he goes AWOL to take part in the Junior Mr Europe bodybuilding contest – the week he spends in military prison is made worthwhile by him winning the competition. In 1966, he takes a plane for the first time to go to London for the Mr Universe competition. He comes second but a judge spots his potential and invites him to live with his family in London to train him. A year later, age 20 and with a slowly improving grasp of English, Arnold wins the Mr Universe title – the first of three. He moves to Munich and goes to business school, recognising that his Mr Universe titles are the way to achieve his long-held ambition of moving to the US.
In 1968 he moves to LA, training at Gold’s Gym and embarking on the path to being an American legend. He wins the first of seven Mr Olympia titles in 1970, but his brother Meinhard dies in a drink driving accident in 1971 followed by his father a year later. Arnold doesn’t attend his funeral, and by this stage he’s had his first film role in Hercules in New York…
It started innocently enough. We sacked off Sky Movies after a couple of months, the way most people tend to. But, for some reason, when we phoned to cancel, they let us keep the even numbered channels free of charge. Trade secret: they don’t show any of the good films on the even numbered channels. What they do show are a great many Christmas films, on repeat, all year around. And so began my love affair with Jingle All The Way.
Following in the footsteps of Bruce Willis and Mel Gibson, Arnold Schwarzenegger swaps action movies for good old fashioned Christmas spirit. There’s something oddly refreshing about seeing The Terminator throwing his significant frame into normal, everyday things, like operating a VDU mattress ordering database, and arguing with his missus. The film is set on Christmas Eve, and boasts a stellar bell-heavy soundtrack. Not only is it festive as fuck, it showcases Schwarzenegger in all his glory. Arnie on a climbing frame, Arnie taking a field sobriety test, Arnie running through the streets chanting ‘Dasher; Dancer; Prancer; Vixen; Comet; Cupid…’, Arnie wearing intense amounts of lycra.
Inspired by the real life high demand toy hunts of Christmases past, Jingle all the Way tells the tale of the fist fights and general screaming involved in trying to track down the much sought after TurboMan action figure. I experienced this struggle first hand, in December 1993, when my parents attempted to procure a Talkboy (the variable speed cassette player which originated in Home Alone 2: Lost in New York) for my little brother. He ended up with two. Which proves the competition for toys was not so intense in the East Midlands. Either that, or my dad is secretly Arnie.
Featuring the usual festive check list of dead beat dad, department store shenanigans, someone nailing fairy lights to the roof of a house, and a reindeer being punched in the face. Seriously. We follow Howard (Arnie) and a corrupt postal worker (Sinbad) as they attempt to partake in a little last minute holiday panic buying. Sinbad, a noted stand-up comedian, improvised the majority of his lines in the film. Apparently, Schwarzenegger also ‘improvised many of his responses in his conversations with Sinbad’s character’. Bless.
The action culminates at the ‘Wintertainment parade’, where Howard, still having been unable to buy one of the bloody dolls, stumbles his way into a TurboMan costume, and onto the main float. His turn as a live version of the action figure is so authentic that, later, he conducts a full five minute conversation with his wife and son without either of them realising who he is. That small strip of yellow plastic (pictured above) manages to conceal not only his eyebrows, but his thick and distinctive Austrian accent. Clearly he really has been spending too much time in the office.
Supporting cast includes Rita Wilson (Mrs Tom Hanks) in the role of long-suffering wife of a mattress salesman, the late Phil Hartman (Troy McClure) as the sleazy neighbour, and Jake Lloyd (young Anakin Skywalker) as the spoilt kid who couldn’t just be satisfied with a skateboard. Plus a random but always welcome cameo from Jim Belushi. Oh, and did I mention Arnie punches a reindeer in the face? Happy Holidays.
Read the 12 Days of Christmas Films series, or watch Jingle All The Way on Sky Movies almost every day from now until Christmas.