Musings from Brian J. Noggle

I mentioned when talking about Judge Dredd that it felt like a throwback to the movies of the 1980s. The first Bad Boys came out the same year, and it seems like a far newer film. Will Smith when he was cool and Martin Lawrence chew up the scenery as two detectives hunting for heroin stolen from the police evidence room. A witness to a shootout (Téa Leoni) has been told to only trust Will Smith’s Lowery, a ladies man, but when she calls looking for help, she gets family man Burnett (Lawrence) who pretends to be Lowery. Which leads to some comedy as the detectives have to pretend to be each other to keep the ruse going. A couple of chases, gunfights, and explosions later, and finis.

C’mon, man, you’re not here for insight into the human condition. You’re here to see Smith and Lawrence chew the scenery and banter. Apparently, it works, since there have been two widely spaced sequels (2003 and 2020(!)). So an amusing couple of hours and a way for me to bring my pop culture knowledge all the way up to 1995.

And this might be the first film where Téa Leoni’s character did not annoy me. The list of those films includes Deep Impact, The Family Man, and Spanglish. I guess I did not specifically mention being annoyed with her in Fun with Dick and Jane, so maybe not.

I bought this videocassette at the Friends of the Library Book sale this spring, and it was only after I’d spent my quarter on it and I popped it into the videocassette player that I wondered if it was part of the four-movie Stallone set that I bought that has Demolition Man on it. I was pleased to learn it is not. Before I watched the film, I was not sure if I’d seen it before, but I think I had. To be honest, over the years, Stallone actioners and post-apocalyptic films didn’t stick with me after my younger years.

This film, based on a comic book, has Stallone as the title character, a sort of super-policeman in a crowded Mega-City One who serves not only as the person who arrests people, but can sentence and even execute them on the spot. A super-villain escapes prison and returns to the city, aided by powerful politicians who want to use the chaos to bring about a better world–wait a minute, am I watching Demolition Man? Apparently not, as this film also has Rob Schneider as comic relief in a hacker freshly released from prison. Dredd is framed for the murder of an investigative reporter and sent to a penal colony along with the hacker, and their transport is ambushed by marauders of the wasteland outside the city. They are rescued by Dredd’s old mentor, banished himself when he spared Dredd’s life on his conviction. The mentor reveals that Dredd and his friend, whom Dredd put into prison, are actually brothers, experiments in building the perfect judges. So Dredd and Rob Schneider return to Mega-City One to stop the chaos and to bring his brother to justice.

So you can see a lot of thematic material that was probably better presented in other films mashed up into this one. But it’s not a bad film–it’s just one that does not stand out. And when I watch it again–it’s the kind of thing I’m likely to watch again (and probably remember that I’ve seen it before next time)–I will enjoy it for what it is. A mid-1990s actioner that was already a bit of a throwback to the 1980s when it was released.

The film also featured Diane Lane, who played Judge Hershey, a trainee who becomes Dredd’s ally.
Continue reading “Movie Report: Judge Dredd (1995)” →

I’d had this film in the cabinet for quite some time, and I watched it instead of the growing selection of recent acquisitions spreading across the cabinets beside the television.

It has been a long time since I delved into Arthurian legend. I read Edna St. Vincent Millay’s The King’s Henchman in 2007. I saw The Sword of Lancelot with Cornel Wilde and his wife Jean Wallace sometime after the turn of the century but before I started relying on Movie Reports to provide content for my great advertising and affiliate marketing empire keep my mind straight as to what I’ve seen and when.

This 1981 film retells the legend of King Arthur from the time of his father Uther Pendragon–who receives Excalibur from the Lady in the Lake and unites England, but throws it all away and relies on Merlin to help him seduce the wife of his rival. The union produces a son, Arthur, whom Merlin raises. Arthur then reuinites England pretty much off stage, and then he meets a knight errant and bests him using the power of Excalibur inappropriately. The knight errant, Lancelot, falls in love with Guinevere but does not act on it until a drunken Gawain, put up to it by Morgana, Arthur’s half-sister, accuses them of adultery. Arthur orders a trial by combat, and Lancelot returns, and he and Guinivere consummate their shared love. Morgana comes to Arthur disguised as Guinivere and conceives a son, Mordred, whom she raises to supplant her half-brother. Arthur goes into a stupor and sends his knights out to find the Holy Grail which he hopes can restore him and England. So they all go out and look, falling into Morgana’s trap, except for Percival, who finds the Grail and restores Arthur just in time for a big battle where Arthur defeats Mordred but is mortally wounded, and Excalibur is returned to the Lady in the Lake for future distribution.

Sorry to ruin the story for you. Sadly, this is the 21st century, you know, and although school children will be exposed to many fine stories of today’s political mania, they won’t learn about the legend of King Arthur, and this would indeed be a spoiler alert for them.

The film is more ponderous than other sword-and-sorcery fare of the era, such as the Conan movies, but it is trying to be a serious film and a piece of art and not just entertainment and/or a blockbuster. The pacing is a tad slow for modern audiences, and of the films I might have caught bits of at my friends’ house, sponging off of their HBO and cable, this is definitely the one without the sword with three blades in it (The Sword and the Sorcerer, 1982, which now that I’m thinking of it, I’ll look for it).

Also, some of the anachronisms in the film kind of took me out of it–not a problem when dealing with the Hyborean Age, but still: the Knights of the Round Table ride around, alone, on horseback in full plate through the whole movie. If they’d cut more of those scenes, perhaps the pacing would have been better. But I think they might have been trying for the high-budget, good looking film, and shiny armor was that.

When I was reading up on the film for this post, I was stunned at the cast. Helen Mirren as Morgana–there’s a scene where Morgana, who had used magic to stay young, as the spell was broken ages into an old woman, and Helen Mirren clearly did not turn into a crone. Gabriel Byrne is Uther Pendragon. Liam Neeson is Gawain. Patrick Stewart is Leondegrance, one of the first to pledge to Arthur. I didn’t recognize any of them because they were so young.

I probably won’t watch this film over and over, and the previous owner did not, either, as the film still had cellaphane over most of it. Which meant the picture was amazingly clear.

It’s a bit of a shame, gentle reader, that I think of this 19-year-old film as the new The Punisher, but that’s because I am old enough to remember the 1989 Dolph Lundgren movie which was an earlier take on the character. I do not think I’ve seen that film en toto, but I remember that it was made. This rendition of The Punisher, only fifteen years later, might be the first with the Marvel Studios flipping comic pages with the main titles. Blade didn’t have it, did it? It’s been a while since I’ve reviewed the Blade trilogy, and I might want to revisit them since there’s another Blade movie in the works (and I might not bother seeing it).

This film opens with a couple of guys looking to facilitate an arms deal of some sort, but it goes bad and the police drop in, but in the ensuing shootout, one of them is killed. Turns out that he’s the son of a mafioso, Howard Saint, played by John Travolta. Saint (not the Saint, clearly) places a bounty on the man responsible, who turns out to be Frank Castle, played by Thomas Jane. Castle is a deep undercover government operative who vows this is his last job, and he goes to a family reunion in the Caribbean with his family. When Saint orders the hit in the Caribbean, his wife, played by Laura Harring, asks to have the whole family eliminated, and the bad men do just that, killing the whole Castle family but only leaving Frank for dead. When he is restored to health by a local juju man, Castle returns to the country with only one thing on his mind: revenge.

So Castle sets up shop in a rundown apartment building populated by some misfits, including Rebecca Romijn-Stamos (not painted blue). And he goes about destroying Saint’s business and setting him up to do violence to those closest to him before Castle kills him.

It’s a bit on the sadistic side, but I am starting to think casual sadism is a bit of a trope in the first part of this “21st” century. I mean, some people (in movies) just need killing, but some of the killings in this film include a little pain and realization before the final offing. I dunno. I don’t mind my heroes outside the law, and I can tolerate a bit of torture (in fiction) for vital information, but modern films just include cruelty for its sake or for the cinematic sake of it, and that bothers me (says the man who has read, what, a hundred Executioner novels?)

Speaking of which, I had a little problem at the beginning because they altered the origin story…. But then I realized I was comparing Castle’s story to Mack Bolan’s origin story, and then I was mollified a bit. I mean, the Punisher character was quite modeled on the Executioner–the comic with the first appearance of the Punisher also had an interview with Don Pendleton for cryin’ out loud (speaking of the greatest gap in my comic collection).

I had a harder time with thinking that Thomas Jane (I keep wanting to type “Hardy,” which means it must be closing in on time to actually read The Return of the Native) in this film looked an awful lot like a younger Herb Alpert.

A man seeking bloody vengeance	The best musical artist in recording history

Maybe I am still confused.

So I liked the film alright in spite of the unnecessary brutality in spots. But not enough that I won’t like the reboot, although I guess that was a streaming show, which means it has been fired into the ether never to be seen again.

The film did feature Laura Harring as Livia Saint, and it’s not too often that I say, “Wow!” about an actress. But, “Wow!”
Continue reading “Movie Report: The Punisher (2004)” →

This is a buddy cop film comedy with Will Ferrell as a forensic accountant and Markie Mark as a hothead. They never get the good cases because two hotshot cops, played briefly by Dewayne Johnson and Samuel L. Jackson, get all the good cases, the headlines, and the nookie. When the two hotshot cops die in a foolish jump during a chase that did not have their normal Hollywood ending, Gamble and Holtz think that they have a shot to make the big time. But even though they’re on the thread of something big–a permitting violation has focused them on a British celebrity businessman who is involved in a massive bit of fraud to cover the losses incurred on behalf of a client.

So the film has rather predictable shenanigans and a recurring gag that the geeky Gamble (Ferrell) has the attention of beautiful women, including his wife (played by Eva Mendes) and an ex-girlfriend (Natalie Zea), which Holtz cannot fathom.

Eventually, of course, they get their man and save the day.

Overall, I might have confused this film with The Nice Guys, the Gosling and Crowe period piece. Well, not that closely. But I suspect that The Nice Guys is better. When picking films to watch one evening, my oldest mentioned that he’d started to watch this on Netflix but abandoned it. Given that he’s a Will Ferrell fan, this commentary probably explains why this film really never entered the zeitgeist for me to remember it outside of a profligate movie buying incident.

Well, I guess I am on a Virginia Madsen kick. I mean, I posted the trailer of Electric Dreams for a twee post on AI, and then I watched Sideways. While researching her C.V., I discovered that she was the love interest in this film from back in the 1980s, and since I just watched Highlander in January, watching this film just seemed the thing to do. Also, note that since I picked up a second set of videos in the Highlander series, watching them again will mean that I’ve watched the series through within a span of five or seven years–more than the Conan series even. Make of that what you will.

So: Highlander purists deny this film from the canon, and it’s a strange thing that there are Highlander purists and Highlander has a canon. The film strays a bunch from the thin story set forth in the first movie and retcons some things in that make little sense in a continuing franchise, but this was the 80s, man (the film’s release date was 1991, but the zeitgeist was 80s). They weren’t thinking in terms of story arcs and trilogies and whatnot then–they were thinking “Hey, can we milk this almond one more time?” So when the third movie came along somehow, it ignored the events and stories set forth in this film. Rightly so.

At any rate: The film takes place in the far off future of 2024 (that is, next year). In 1999, Connor MacLeod, grieving the death of his wife Barbara (apparently, he married the woman from the first movie) due to–radiation sickness? Severe sunburn?–helps a scientific team to build an artificial “Shield” to replace the ozone layer which a decade after the first movie has broken down enough to threaten all life on Earth (remember that? No–we remember the artificially created panic around the possibility, but by the actual 1999 we’d moved onto the artificially induced panic of Y2K). The film takes place in 2024, 25 years later, when Connor has aged.

Here’s the retcon: MacLeod and Ramirez, Sean Connery’s character from the first film, were actually revolutionaries on a planet called Zeist where they rebelled against the rule of General Katana, played by Michael Ironside. When they’re captured, they’re exiled to Earth, where they’re immortal until they slay the other Zeistians(?), which I would guess includes all the other people who were killed in the first film and the Kurgan(?). Wouldn’t they have been fellow revolutionaries on Zeist? Ah, forget it, they’re just making stuff up and not planning beyond the end of this movie. Once Connor (I keep typing Duncan because that’s the Highlander from the television series) got the prize at the end of the first film, he could have chosen to go to Zeist (but he didn’t remember that part?) to be immortal there but chose to age on Earth (the alternative) with his wife. Who then died twenty-five years before the film takes place.

At any rate, for some reason, General Katana can no longer just wait for MacLeod to die of old age and sends two goofy assassins to kill him. Earth, meanwhile, under the shield is a miserable place, hot, humid, and without the chance of rain or the site of the sun and the stars. When the elderly MacLeod defeats the Zeistian assassins, the quickening from their deaths restores his youth and Zeistian immortality. He encounters the head of a resistance group, played by Virgina Madsen, who has learned that the Shield might not be necessary any more as the ozone layer appears to heal itself, and then General Katana comes to Earth himself to tackle MacLeod and so Michael Ironside can chew some scenery. Katana makes himself partner in the parent corporation (with a smarmy corporate leader Blake played by John C. McGinley, last seen hereabouts in The Animal. Sean Connery’s Ramirez is resurrected for some quick comic relief and to sacrifice himself to save MacLeod, and MacLeod defeats Katana and turns off the Shield to save mankind (I’d say “spoiler alert,” but, c’mon, man, we knew it would happen).

That is a lot of backstory and whatnot to make essentially a low budget B-movie about swordfights. It does not add the depth that the flashbacks do in the first movie, and they really don’t add anything at all. But it’s not bad for all that, although I don’t have an emotional stake in the Highlander canon to worry about the real serious issues you guys about this film in the whole mythos. Because it really wasn’t planned to be a mythos, and it doesn’t seem to have been planned much beyond getting the film done cheaply at all.

I have additional copies of the other two films in the to-watch library, so don’t be surprised to see a movie report about Sonny Spoons chewing the scenery in the near future.