-
THEY CAME TO CORDURA Spotlights Tab Hunter’s Finest Moment
“One act of cowardice doesn’t make a man a coward forever, just as one act of bravery doesn’t make a man a hero forever.”
This pride has a bittersweet feeling for me since it also doubles as the fifth anniversary of the death of Tab Hunter. One of Hollywood’s biggest heartthrobs of the 1950s, the actor started his career as a contract player at Warner Bros. before making a name for himself as a full-fledged leading man. His work in films such as Damn Yankees, Lafayette Escadrille, and That Kind of Woman was sold on his all-American image, which usually ensured audience interest. His frequent pairings with Natalie Wood made him the object of desire to countless female fans, while away from the studio, Hunter worked at his craft by starring in live television plays (not too often done by major movie stars) and stage productions.
As most fans now know, the greatest role Tab Hunter ever played was Tab Hunter. For the majority of his life and career, Hunter was successful at keeping the fact that he was homosexual a secret, thereby forcing himself to play a part even when he wasn’t on a set. It wouldn’t be until the mid-00s that the matinee idol would reveal his sexuality to the world. If the secret he fought so hard to protect caused him to channel any anguish or nervous energy into his work, it showed. Throughout his career, Hunter fought against his dreamboat looks to be taken seriously as an actor, giving a series of performances that only grew stronger and deeper the more he delved into his craft.
Recently, Kino Lorber released a new Blu-Ray reissue of 1958’s They Came to Cordura, a stirring western that also features one of Hunter’s best performances. Set during the 1916 U.S. war against Pancho Villa, an officer (Gary Cooper) is tasked with recommending four men for the Congressional Medal of Honor and guiding them and a prisoner (Rita Hayworth) to the town of Cordura. During the trek, however, the definition of honor is tested by each individual.
They Came to Cordura got some much-publicized criticism (most famously from John Wayne) at the time of its release, and it’s easy to see why. The film (much like the novel it’s based on) challenges the notion of honor as well as those who are deemed fit enough to declare a soldier a hero. The film exposes the dark side of those men who are classified with the label of hero, exploring what their mentality has become as a result of what they’ve witnessed and experienced. The movie’s unflinching look at how a man’s humanity can be torn away remains hard to take but also offers up a fascinating insight into the cost of battle most would prefer not to acknowledge.
In the film, Hunter plays Lt. Fowler, whose fearless acts during battle have earned him a citation for the Congressional Medal of Honor. This stuns him at first. Of all the men being led to Cordura, it’s his arc which feels the most full circle. Fowler is a man beholden to both his pride and arrogance. He’s a determined soldier who defines his existence by his heroism. Fowler is humble, but also strategic, with the former characteristic shielding the latter. Like most servicemen, Fowler is careful with his emotions. He lives and dies by the military code, but when his character turn happens, it’s not without him facing his conflict between loyalty to duty and pure primal instinct. When he eventually gives in to the intensity of the situation he’s in, he begins to lose his grip on his sanity and becomes the antithesis of who he thought he was.
Fowler proves to be the film’s most plum part, and Hunter seemed to have realized this by the way he takes charge of the character. The actor carefully guides Fowler through his situation with an air of empathy that allows the audience to see how someone like Fowler can end up being pushed to the brink, mentally. The sensitivity Hunter shows towards his character echoes the maturity he’d developed as an actor by that point. With They Came to Cordura, the pinup boy for thousands of female movie fans had turned into a student of acting with the ability to turn out a compelling character portrait that in a just world would have garnered him an Oscar nomination. Perhaps the reason Hunter’s work is so good in the film is because it’s slightly reminiscent of his own struggle with himself.
They Came to Cordura should have done more for Hunter than it did. Despite what may be his best performance on screen, the actor was never able to shake that pretty boy image that largely defined his career in the eyes of others. Apart from a supporting role opposite Fred Astaire and Debbie Reynolds in the romantic comedy The Pleasure of His Company, Hunter found himself relegated to lower-quality films as a result of audiences’ changing tastes. However, his resurgence thanks to his work in the likes of Polyester, Lust in the Dust, and Grease 2 made him an icon for a new generation.
What’s always been interesting about Hunter’s coming out was that it was done without much ceremony. The coming out of someone as adored and lusted after for decades as Hunter was should have had more of a bombshell factor than it did. But the response to Hunter’s revelation mirrored that of the life he led following his announcement, which was itself quiet, grounded, and peaceful. It’s fair to say that Hunter wasn’t the biggest flag-waver the community ever had. Still, there’s something so undeniably inspiring about someone finally living the life they were always meant to after spending decades letting their outward persona define them. That will always be worth celebrating.
They Came to Cordura is now available on Blu-Ray and DVD from Kino Lorber.
-
FIVE SUPERFIGHTERS: Shawscope Vol. 2 – Roundtable Reviews
Arrow Video Cinapse is all about cinematic discovery. This Shawscope Volume 2 column is, therefore, a watch project for our team, and guests, to work through this phenomenal set from Arrow Video. These capsule reviews are designed to give glimpses of our thoughts as we discover these films for ourselves. Some are kung fu cinema experts, some less so; all are excited for the adventure.
The Hong Kong-based Shaw Brothers Studio cranked out a staggering number of feature films over its lifetime. With worldwide influence continuing to this very day, their contributions to cinema are myriad and undeniable. Arrow Video has curated a second volume of titles; an intentional way to wade into the deep waters of the Shaw Brothers. Beyond capsule reviews, our team also offers thoughts on the set curation and bonus features. Watch along with us, join us in the comments, or reach out on social media (linked below) if you’d like to submit your own
Ed Travis
Whether you love Shaw Brothers films or hate them, it can’t be denied that these bad boys follow formula. Sometimes the ingredients mix together for magic. Other times they feel rote and paint-by-numbers. Unfortunately, Five Superfighters falls into the latter category for me. Braggart wandering kung fu master whips the ass of a few young fools’ master. Those young fools make a pact to split up, train with whatever masters they can find, and meet back up in 6 months to get their revenge. But these idiots (young people are always idiots in Shaw Brothers films) don’t so much as leave a note for their master. So, feeling abandoned in his time of need, the master slides into alcoholism. The young idiots train up, their master receives some encouragement from a neighbor and kind of gets his drunken kung fu on, and eventually they all fight this boring-ass villain that set them all on this course. The “train up to avenge my master” trope is not a problem in and of itself, but this one doesn’t infuse much heart or soul into the age-old formula. It’s also filled with unfamiliar names and faces to me (which is a little odd since I’ve now seen dozens of these movies). It does appear that writer On Szeto has no less than 170+ writing credits to their name so I’m thinking we’ll encounter them again, but I’m not familiar with director Mar Lo or really any of the leads. All this said… the martial arts are, as always, spectacular, and these actors all do impressive work. It’s just a pity that the story doesn’t back up the martial arts with anything to latch onto so it becomes very forgettable.
Dan Tabor
Given last week’s rather dour entry, this week’s Five Superfighters was a perfect kung-fu palette cleanser. The film again features Monkey Style, and has one of the most absurd premises yet, and I mean that in the best way possible. The film features a wandering kung-fu critic – if you will – who challenges both teachers and students to see if they are up to his standards. After beating a monkey style kung-fu master he inspires that particular teacher’s pupils to go away for six months, and improve their skills to prove to the critic their master’s kung-fu is worthy. These six months will eventually land them on their master’s birthday, so this is essentially a birthday present.
While the bulk of the film is your standard training film, with some spectacular hand to hand battles, what throws this film over the top is when the three disciples go out into the world looking for masters. One of them happens upon an older woman who learned kung-fu from her blind father. The student witnesses her effortlessly dispatch a man who wishes to be the widow’s next husband. The student never officially requests to be her student, and I think it’s because of her gender and age and instead attempts to secretly learn kung-fu by spying on her nightly practices and working for her making bean curd.
It’s not only how the film depicts this particular character – she wasn’t portrayed as “cute” or a damsel in distress, or a simply a conquest, that makes this a stand out entry as far as gender roles in these films goes. While toiling making bean curd for her during the day, at night he is only able to spy on her practicing alone to attempt to learn her leg heavy style. It’s only when the student meets her father, does the student throw himself on another man’s mercy to learn kung-fu. Instead of robbing her of her agency here, the father says he can not teach the student because his daughter’s rigorous curd making techniques have put him on the path to their family style already making her his teacher. I mean he still doesn’t throw himself on her mercy but it’s a definite step in the right direction.
Justin Harlan
The oddly named Five Superfighters features far less than five actual “superfighters” and the story really isn’t about most of them. In a movie that starts off hot and has such a fun title, it’s a bummer to quickly realize it’s a generic, mid-level entry in the Shaw catalog. Like so many other films in the classic Kung Fu genre, it’s about a quest for revenge… and, even while there are some really fun fight scenes, a video gamesque soundtrack that makes for some extra fun elements, and a few laugh out loud moments, it’s ultimately just another Kung Fu film.
I watched this film just a day ago and have already forgotten most of what it’s about that isn’t just me repeating that it’s a standard revenge film. The most standout things about the film were the idea that the main antagonist was a man who traveled around from town to town “correcting” bad Kung Fu. He primarily seemed interested in mocking the teachers and proving to them how their methods weren’t working. He never seemed too keen on actually helping anyone learn better. This premise, coupled with the first 10 minutes or so, were the top things about it. Sadly, it fell into a trap where it didn’t deliver on its early promise.
Admittedly, I may just have a bit of Shaw fatigue settling in, as happens when working through a collection such as this, but I’m excited by next week’s return of the great Chang Cheh and his Venom Mob!
And We’re Out.
-
MAD HEIDI is a Grindhouse Throwback that Understood the Assignment
While it may be unthinkable to make a nazisploitation film in the year of our lord 2023, after watching Mad Heidi I learned, it’s not completely impossible.
Believe me, I’ve seen my fair share of crowdfunded films “grindhouse” throwbacks, and Mad Heidi, which hits theaters for one night only, this Wednesday, June 21 at 7:00 p.m thanks to Fathom Events, is one film that finally understands the assignment. I initially sat down to watch the film thanks to the trailer that ran before Shin Kamen Rider, which looked, actually, kind of terrible – but in the best way possible. When I was asked if I wanted to review the film before its Fathom engagement, I agreed because of THAT trailer. Shockingly, that had to be the worst representation of this film possible, because Mad Heidi was a hell of a good time and has set a new bar for the kind of genre that can come out of a crowdfunding campaign, that scratched every genre itch a fan like myself could have.
I mean it also doesn’t hurt that the film raised nearly 3 million either.
The film itself takes place in this bizarre modernized, yet timeless storybook world of Heidi, as our 20 something namesake (Alice Lucy), is falling hard for Goat Peter (Kel Matsena), portrayed here as a black man. Peter brings the blaxploitation and is a smooth talking, lederhosen wearing cheese dealer. Goat cheese, hence the name – for the lactose intolerant. The crux of the nazisploitation angle in Mad Heidi is that the Swiss government is portrayed as a bunch of lactose loving, goose steppers who are out to eradicate the country of the dairy intolerant. After Heidi’s man is killed for selling goat cheese, she’s out for revenge and quickly lands in jail. It’s there this revenge-o-matic then becomes a women in prison film, with all the tropes, and skin you’d expect. From there we jump down the list of ‘ploitations as Johannes Hartmann and Sandro Klopfstein clearly know their way around their sub-genres, checking the boxes and delivering the goods every time they switch gears.
It genuinely feels like every cent of that 3 million is on screen, from the picturesque cinematography of the Swiss Alps, to the very ample and well executed gore and action set pieces contained in the 95 minute runtime(!). While the production itself is better than most, Mad Heidi primarily works thanks to its lead Alice Lucy. She quickly, and believably, goes from bright eyed Heidi, to a hardened killer who flawlessly cycles through anguish, pathos and ultimately disgusted satisfaction whenever needed. She carries this craziness on her very capable shoulders opposite Casper Van Dien as the heavy, who is visibly having the time of his life as the leader of Switzerland, President Meili. While Lucy and Van Dien pull the lion-share, the rest of the cast here are more than able to support their leads, turning in some great moments, that act as flourishes to the overarching tale of Mad Heidi.
Mad Heidi REALLY surprised me, and after that trailer, that wasn’t an easy task. The film was a pure dose of old school sleaze, that from start to finish as its trying to hit every sub-genre, while continually upping the madness. Cheese zombies anyone? Kung-fu fighting nuns? Veterans on a rampage? This film has simply everything a genre fan could crave. I was just in disbelief of how well executed all these forays and twist and turns were embedded in the narrative. It felt like one of those 70s Italian mashups like Hell of the Living Dead, where you’ve got a cannibal film, that turns into a zombie film, that hits another four genres – just not as cheap. Instead, Mad Heidi is a buoyant and entertaining trip down 42nd Street reading all the marquees imaging the film that could combine all of them. That said, I only wish I could have experienced this in a packed theater for the first time, because it’s going to rip.
-
Glorious Animation and a Relevant Story Make ELEMENTAL Essential
“Elements cannot mix!”
It’s interesting to imagine what the pitch for the hit Pixar movie Inside Out was like back in 2009. There could not have been a more unorthodox meeting taking place in Hollywood that day than director Pete Docter convincing then-studio head John Lasseter that a movie where all the characters were feeling, not people, but feelings, would be the next hit for Pixar. But Docter was given the green light, the movie was made, and a hit was born. This month the studio makes a similar gamble, this time with the elements of the earth (fire, water, air, and earth) for Elemental, their newest release. The notion of crafting a whole storyline around the four main elements does sound appealing, but just as with Inside Out, the question of whether or not such a concept can be sustained long enough to actually convey a story of substance remains. If Elemental does anything right, it proves it can.
Set in the sprawling landscape of Element City, Elemental centers on Ember (Leah Lewis), a young fire element who plans on taking over her father’s fire store in the predominantly fire-heavy community of Fire Town. When a series of failing pipes bring along a small flood of water, along with a water element Wade (Mamoudou Athie), who makes his living as a city inspector, the future of the store is thrown into peril. Enlisting Wade’s help, Ember goes to great lengths to save her father’s store, including stepping outside of Fire Town and looking at the other elements in a way she hadn’t before.
Elemental‘s story is both timeless and timely. Packed with the kind of animation, sight gags, and emotion that is now being successfully catered to both kids and adults, the film can touch on a myriad of traditional themes without feeling dated or stale. Ember is the perfect character for this kind of story, emblematic of many people who are the children of immigrants, and whose family history is with them through every step of their own journey. It’s the immigrant’s experience that emerges as the most predominant and truest of all the themes within Elemental. Throughout the course of the movie, we see Ember do her best to live up to whatever expectations and obligations she feels are being thrust upon her, due to the influence of her family’s history, while also doing the kind of battle most adult children of immigrants come up against. In the course of Elemental, we see Ember grapple with culture vs. identity, tradition vs. progress, and most importantly, where her own ambitions fit into the equation. Ember’s ambitions are perhaps the biggest component of her overall journey as it forces her to imagine a life not dictated by the one she always thought she should have.
When Elemental becomes the most telling is when it shows the extremely timely side of its story. The cultural (read racial) tensions are boldly presented here whenever any two different elements are seen existing in the same space. This is especially true in the movie’s opening moments when we see Ember’s parents who have just arrived in Element City being refused apartment after apartment by other elements. It’s an act that rubs off on them and to some extent Ember, as they treat any non-fire element who enters their store with suspicion, or at the very least, disdain. Ember’s journey with Wade, though done out of desperation to preserve her family’s legacy, shows an effort on the young generation’s part to break away from all of the ways of the past and forge the path that helps to end the cycle. Ember’s dinner with Wade’s feelings-heavy family and his struggle to eat some of the flaming hot food served at her father’s store are moments of humor that also speak to the willingness of young people to step out of their cultural comfort zones. But the biggest struggle for both Ember and Wade is in their future as a potential couple and whether or not the former has enough faith in the latter to give them a chance.
I sincerely hope that Elemental becomes the hit it deserves to be, especially since its marketing push has been curiously quiet, much in the way last fall’s wonderful Strange World was. But regardless of marketing, no one can accuse Pixar of not taking risks when it comes to the types of projects they put out. Elemental follows in the tradition of the aforementioned Inside Out and even Soul (still the best movie of 2020) as a high-concept story featuring ideas that might not seem tangible on the surface but are more universal than most could’ve guessed. These are the stories kids need to watch. While most animated movies have always sought to impart important life lessons amid entertainment, they have now entered a new phase of being both highly imaginative and invaluably authentic, showing the world and the complexities of people as they exist today.
-
Celebrate Over 40 Years of INDIANA JONES with All-New 4K-UHD Releases
New slipcover editions of Raiders of the Lost Ark, Temple of Doom, Last Crusade, & Kingdom of the Crystal Skull, hit 4K-UHD
We’re a few weeks away from the release of Dial of Destiny, the James Mangold (Logan, Ford v Ferrari) helmed fifth installment in the Indiana Jones series. The last few months have seen these films get the 4K treatment, brand spanking new restorations dropped on Disney+, and in steelbook/collectors versions to take home. This week sees a final wave of editions, showcasing the same hi-def visuals approved/overseen by Steven Spielberg, in new slipcase editions.
Raiders of the Lost Ark
Indiana Jones. An academic, whose archeological interests plunges him into swashbuckling, and often sticky situations. Cris-crossing the globe, with ancient tombs, mythical artifacts, booby traps, and a series of opportunities to punch Nazis. The film, like the others in the series is propelled by a MacGuffin, in this case the Ark of the Covenant, a chest holding the remnants of the stone tablets that took down the Ten Commandments. A relic the Third Reich believed could to guarantee victory in their war efforts. Certainly a plot to get behind, Nazis need putting in their place whatever era they crop up in. Raiders distills that action adventure movie into perhaps its more refined form. Deftly blending thrilling action with comedy, and wrapping it all around memorable characters, from the whip-cracking, sardonic charms of Harrison Ford in the lead, to Karen Allen as the firecracker Marion Ravenwood. What truly makes it special, is the magic of Spielberg. Exquisitely shot and paced, moving beyond a simple action film, but never losing a second of entertainment. The film crackles with an unreal sense of energy and life from start to finish, feeling as vital today as it did when it hit the screens 40 years ago.
The allure here is of course the 4K presentation of the film. Restored from a 4K scan of the original film negatives, overseen by Steven Spielberg himself. A rich image, with vibrant colors, and deep inky blacks. The depth of image impresses, not just in the palette, but the details and texture of the film. The film crucially looks natural, lacking any signs of over-processing, and retaining a filmic appearance and natural grain. There’s a few places where the image goes a little soft, this is likely from the source material for the scan. Overall, you’re not going to find a better visual representation of the film for home viewing. Sadly, no extra features are included, just a code for a digital version of the film.
Temple of Doom
A prequel to Raiders, Temple of Doom sees Dr. Jones dropped (literally) into a remote region of India, where he is drawn into the plight of a village that has seen an ancient relic snatched away, and scores of children go missing too. Along with a plucky sidekick (Ke Huy Quan), and an out of her element cabaret singer (Kate Capshaw), the trio find themselves perilously in danger, as their efforts lead them into the clutches of a cult, intent on using the relic to fuel their black magic rituals.
Often labelled as “too dark” a feature, at least in comparison to the flanking films, with even director Spielberg and Indy creator George Lucas having gone on record about the darker themes that pervade the film. As a staunch Doom defender, these qualities are reflective of artistic temperament, something to understand and appreciate, rather than shy away from. Absolutely, there are some overly simplistic rendering of cultures and ethnicities, and the blurring of ritual with religion is occasionally questionable. But in terms of tone, the film adds an edge as instead of being a pure adventure like Raiders, it adds usurps expectation, with plenty of squeamish moments, and others that flirt at the edge of real horror. The opening nightclub sequence is a blast, a series of stunt/action setpieces make for a rollercoaster of a movie, at one point literally. Add in a slathering of wry humor, iconic visuals, the charm of Ford, and the uplifting sass of Quan, and Temple makes for terrific entertainment.
Like Raiders, this is an impressive upgrade for home video presentation. Consistently strong in terms of detail, depth of image, and quality of image. Colors are robust, but naturally represented. Grain is strongly present, adding to the filmic quality of the transfer. The texture of the set design, costumes, and backdrops stand out whether a day-lit bridge sequence, the neon lit interior of a nightclub, or the flame lit under-caverns of the film’s finale. It’s a hell of a good looking transfer. Again, no extras are included, save the digital code.
The Last Crusade
The real capper to the original trilogy, sees a family reunion as Dr. Jones (Jr) teams up with Dr. Jones (Sr) to foil those persistent Nazis. This time, in another retread of Raiders, it’s not the lost Ark of the Covenant, it’s the Holy Grail. The cup from which Jesus sipped at the last supper, long believed to confer immortality upon those who drink from it.
An aging lead and his older father, played with aplomb by Sean Connery, bounce well off the MacGuffin at hand, as does the idea of legacy. The banter and bickering between the pair is perhaps the film’s best quality. this exploration of an absentee father provides emotional undercurrent, and comedic relief against the adventuring and Nazi punching that we’ve all come to adore. It’s certainly a warmer and fuzzier effort than Temple, with a well wrought emotional component, the idea of an absentee father being something that echos in Spielberg’s output, most recently cumulating with The Fablemans. Besides this, Crusade is another wonderful example of the technical mastery and energy that he brings to action sequences. The film hurtles along, with a flurry of quips, punches, and smart wit that ties the film back to its predecessors, and sees this legend off into the sunset.
Paramount continue their sterling work on this series with another superb transfer. Again, the detail is the standout, with texture, complexity, and clarity of image impressing. The image is not overprocessed, with the natural colors, solid blacks, a healthy range of contrast, and overall aesthetic being maintained, along with the natural grain from the film stock. Whether sun-drenched dessert or torch-lit caverns, the film presents a consistent and excellent image. Again, a digital code is included.
Kingdom of the Crystal Skull
Unfolding nearly 20 years after the original trilogy, we see Indiana facing a new enemy. At the height of the Cold War, those pesky Soviets, led by agent Irina Spalko (Cate Blanchett) are set on unearthing an artifact that will lead them to an ancient city, and the remains of an alien civilization that once resided there. From the comfort of academia, he’s dragged into the adventure by Mutt (Shia La-Beouf), who delivers clues to the Soviet’s plan, and news that Indy’s mentor Harold Oxley (John Hurt) has gone missing while trying to find the skull himself. Foiling an evil force and family ties force Indy to don the fedora once again and get back into action.
Much maligned since release, there has been some recent revisionism lately to reframe the film. This, I will not stand. While there are moments of magic, largely down to the interplay between Indy and his uncovered family unit, and the sheer talents of Spielberg, the film overall is a plodding affair. Bogged down by David Koepp’s script, the film lacks sparkle and loses energy due to ungainly exposition. More egregiously, it feels more like Indy is along for the ride, the film building towards an inevitable climax more than something he is overtly involved in. Some of the action sequences and overtly obvious CGI also detract from the more impressive shift in aesthetic and palette to mark the change from the 30s/40s, into 1957, warm hues replaced by a pastel tint. The concept of Mutt makes sense, but the execution never quite gels. More successful is the return of Karen Allen as Marion Ravenwood. You can put this pair in any scene together and let that John William’s piece play, and it’s wonderful to behold. Where the film does tilt into interesting ideas is in its playing to the age of its protagonist, and the conflict between the academic and the adventurer. Sequences and characters play to this reflection on his choices, and the life he never had. The repositioning of Indy as a father is touching, and comically allows a ramping up of his more irascible tendencies. Another case of fleeting moments of magic, but it never quite coalesces into a successful whole.
Despite a release nearly 20 years after Last Crusade, Kingdom shares the overall aesthetic of its predecessors with aplomb. Kingdom showcases a greater range of vistas and settings that the other films and it impresses across the board. detail, range of color and contrast standout, highlighting the massive attention to detail in the production. As a ‘newer’ feature, the image does present with a little more refinement, most notably in term of a reduced grain, but is similarly free of any over processing. Again, we see a digital code included.
The Indiana Jones series are available on 4K-UHD via Paramount Home Entertainment from June 6th
-
EXTRACTION 2: Bigger! Bolder! Better…?
Photo courtesy of Netflix When Extraction debuted on the Netflix platform three years ago, it had all the earmarks of being a calling card for its director, top-level stunt performer Sam Hargrave, and star, actor Chris Hemsworth. Within the film’s simple narrative of a disillusioned mercenary (Hemsworth) tasked with saving a young kidnapping victim from being used as a bargaining chip in a turf war, Hargrave delivered a true maximalist action spectacle. The film is loaded with intense gun battles, brutal brawls, and wild car chases that showcased Hargrave’s sharp directing skills and what Hemsworth was capable of, outside the confines of green screen acting in superhero films, with a performance that highlighted his dramatic abilities and his bruising physicality as an action star.
Both men approached it as if they had something to prove. Nowhere was that more evident than in the jaw-dropping 12-minute continuous action scene at the film’s center that was designed to appear as one long, unbroken camera shot of Hemsworth’s character, Tyler Rake, battling his way through a stretch of urban sprawl in an effort to protect the child he’s rescuing. This daring sequence was a state-of-the-art melding of practical stunts, innovative fight design, and seamless digital editing. If Extraction was intended to be a calling card, this section of the film was a fist that shoved the card into the audiences’ collective faces and demanded they acknowledge it.
Photo courtesy of Netflix Now, three years later, Sam Hargrave and Chris Hemsworth are back with a new Tyler Rake adventure, simply titled Extraction 2. Realistically, there are only so many logical paths that a narrative continuation can take for a film as straightforward as the original. Here, they opt for the old adage “bigger is better.” In doing so, Hargrave and his team have crafted a very similar, but grander, film that easily tops the controlled chaos of the first entry while also doubling down on all of its flaws.
Like the original, the weakest aspect on display is the script by Joe Russo (co-director of Avengers: Endgame), which finds Tyler being hired by someone from his past to rescue not just one child this time but an entire family who are being forcibly detained by their vicious gangster patriarch. The story, at a glance, is as simple as its predecessor but it layers in more dramatic moments for Hemsworth and returning cast member Golshifteh Farahani to shine. The majority of all the non-action moments are still very thinly sketched though, doing a disservice to the solid work by the pair and the rest of the cast. When the pace relents for brief intervals to let the audience breathe these moments feel longer than they should and teeter on the edge of being detrimental to Extraction 2’s propulsive nature.
Photo courtesy of Netflix Even the quieter moments that are well realized like the opening that shows Tyler’s unlikely survival after the events of the first film and the surprisingly realistic depiction of physical rehabilitation he goes through because of it are affected by oddly specific choices in the script. Quickly after the hospital montage, Tyler is back training on his own in a rural, snowy landscape in a scene that is so similar to one in Rocky 4 it has to be an intentional choice. And that juxtaposition is a little jarring. The original Extraction had moments like this too where the gritty post-John Wick “tacticool” seriousness of the film’s vibe slid headfirst into more 1980s-style action silliness. The first film, for example, cheekily had Tyler swiftly finish off a baddie with a piece of lawn equipment he shares a name with and plays that moment completely straight. Here with the sequel’s “more is more” approach, people are dispatched with multiple things that would be found in your uncle’s tool shed: a shovel, a pitchfork, nails, and exercise equipment. Extraction 2 is filled with the highest level of modern action filmmaking skill and a lot of it is in service of violent gags that would fit perfectly into a classic pun-filled Arnold Schwarzenegger film. It all feels very intentionally meta while being played earnestly straight.
Poster image courtesy of Netflix The thing is— these flaws and quirks, while apparent, don’t really matter. Why? Because this sequel succeeds beautifully at the thing that matters most for a movie like this- it’s legitimately fun and thrilling. Watching Hemsworth (and Farahani whose action role here has been significantly expanded from the first film) just decimate Eastern European thugs in various exceedingly savage ways is a joy. It’s hard to care much about things like thin characterization and incongruent tones when you have a jacked-to-the-gills Chris Hemsworth precision sniping henchman with a grenade launcher or taking out bad guys with literal flaming punches all beautifully captured by Sam Hargrave’s dynamic and confident direction.
The centerpiece of all the craziness on-screen in Extraction 2 is, of course, the staggering 21-minute unbroken rescue sequence that ups the ante from the original in every way by having Hemsworth’s Rake fight through a maximum security prison and a full-scale riot before engaging in a crash-heavy car chase (filled with enough vehicular destruction to make the ghost of Hal Needham smile) and eventually taking on attacking helicopters while standing atop a speeding train with a gigantic machine gun. It’s a technical marvel of an action scene full of memorable moments but here the length of the scene and the variety of settings make the digital seams, intended to hide the edits, a little more noticeable than previously. This is a minor complaint though. Taken as a whole, this audacious “oner” sums up Extraction 2 well. It’s bold, exciting, and every few minutes something so outlandishly cool happens that when a flaw does pop up it isn’t long before it’s completely overshadowed by all of the exceptionally crafted visual mayhem on display.
Extraction 2 is now available to stream worldwide on Netflix.
-
THE FLASH is a Big, Bold, Fan-service Delivery Mechanism – if You Can Overlook its Biggest Problem
It’s a bit of a weird time for DC movies as they’re positioning themselves into the next DC Universe reboot under the planning and guidance of James Gunn and Peter Safran, and we’re in the “winding down” phase where we see if the current iteration goes out with a bang or a whimper. Frankly I’m a little sad to see it go.
DC’s attempt at creating a universe fumbled hard early with the financially successful but atrocious Batman v Superman: Dawn of Justice and Suicide Squad movies. The hastily assembled Justice League was further hurt by the exit of director Zack Snyder (its completion was overseen by Joss Whedon and met with middling reviews).
Yet despite early troubles, DC’s movie universe has arguably righted itself with plenty of bangers: Wonder Woman, Shazam, Birds of Prey, and Gunn’s own followup The Suicide Squad provided a more fun and approachable playground of ideas, and Snyder, when given the opportunity to complete and release his own version of Justice League, slammed it out of the park. But with soft audience response to Black Adam and Shazam: Fury of the Gods (which is a lot of fun), it’s increasingly clear that this version of DC’s superheroics is winding down with just a couple of hands left to play.
The Flash, directed by Andy Muscietti (a fan favorite of the horror genre, known for Mama, It, and It: Chapter 2), has a lot of ingredients for success, but also a giant millstone around its neck: that of star Ezra Miller, whose outrageous and violent offset behavior has fueled plenty of controversy and negativity. To many fans’ dismay, the film moved forward with its embattled star. The film’s marketing has seemingly downplayed Miller and instead focused on the much anticipated return of Michael Keaton’s Batman.
If you can get past the distaste of Miller’s involvement (and I’m not saying that you should; I absolutely understand and applaud the choice of many fans who are opting not to support Miller with their dollars), the good news is that The Flash is a deeply rewarding time at the movies.
Barry Allen, aka The Flash, is now a full-fledged superhero and a member of the Justice League, but despite his superpowers and even the help of billionaire genius Bruce Wayne, he can’t fix the one thing he wants to most: to vindicate his father (Ron Livingston), who was falsely imprisoned for the murder of his mother.
As the Flash, Barry discovers that his super speed can not only break the sound barrier (that’s a normal Tuesday), but also a time barrier, turning back the clock and allowing him to physically travel backward through time. This sets him off on a bold plan to save his parents from their respective fates, but you’ve read A Sound of Thunder (or at least seen it parodied on The Simpsons), so you know where this is going. By moving into an alternate timeline, Barry unwittingly enters an alternate universe as well, and in this intersection of space and time, General Zod (Michael Shannon) and his forces are attacking the Earth – events we saw in Man of Steel – but this time there’s no Man of Steel in this universe to stop them.
Knowing what he does of the possible future, Barry sets out to round up any superheroes he can find – a younger version of himself and an aging Batman (Michael Keaton). And with luck, some clues to finding Superman.
Multiversal storytelling is the current trend in cinematic structure (not only with the MCU’s Multiverse and its connected “Spider-verse“, and DC’s Television “Arrowverse”, but alternate concepts like Teenage Mutant Ninja Turtles and Everything Everywhere All at Once). But going back to the world of comics, it was DC who most notably acknowledged, pioneered, and embraced multiversal concepts, leading to major events like Crisis on Infinite Earths. So it’s cool to see that come around and finds its way into their movies.
For all of their offscreen misconduct and impropriety (Miller uses they/them pronouns), Miller plays an affable and charmingly dorky character. Two of them, in fact – both past and present versions of Barry Allen who encounter each other, providing the basis for a lot of character-based humor.
The film cleverly works on a “same but different” basis of delivering up great surprises, alternate versions of familiar characters and events, including a new take on Supergirl (Sasha Calle) and the return of Michael Keaton as the 1989 Batman: old, tired, lonely, and just maybe willing to put on the cape and cowl for one last fight because the stakes demand it.
I certainly won’t ruin any fun surprises but there are plenty of them. Supergirl’s introduction is perfect; fans will anticipate exactly what’s about to happen but that doesn’t make it any less enjoyable. Michael Keaton seems to be having a great time back in the role, and makes a great show of it. We spend some time at Wayne Manor and the Batcave, and it’s a great rush of nostalgia. And we even get a peek at the wider multiverse, which is a blast full of surprises and references that fans will have fans losing their minds. (At one particular moment, my wife grabbed my shoulder and gestured madly at the screen as if to ask “YOU SEE THIS?!?”)
The Flash is a big, bold, colorful crowd pleaser, and like its Marvel counterparts (Across the Spider-Verse, What If?, Spider-Man: No Way Home), it’s creative with its multiversal shenanigans – in some ways a bit more so, since DC has a richer history to draw from.
Given the real life realities, I don’t think Ezra Miller should return to the role regardless of how well it succeeds, but taking this movie for what it is – this is a film where everyone involved seems to be setting out with the goal to making you site back and enjoy yourself, and they’ve succeeded wildly.
-
JOHN WICK CHAPTER 4. Visceral Violence in a Sublimely Realized Underworld
4K-Review of the latest installment of the action spectacular
Back in 2014, I wandered into a screening at Fantastic Fest with the simple knowledge that it was a revenge movie and that it’s star, Keanu Reeves, would be in attendance. A few hours later, the audience emerged, truly shaken by the combination of “Gun-Fu”, sublime action, and a man’s love for his dog (and wife I suppose). Snap forward a few years and the Wick franchise has both a TV series and spin-off movie in the works, and a fourth installment in the franchise that makes a solid claim to be the best entry yet.
Chapter 4 picks up immediately after the events of Parabellum. John Wick (Keanu Reeves) is “Excommunicado”. No longer privy to the services of, nor welcome at any of the institutions that fall under the High Table, the syndicate of assassins to which Wick has long sought to extricate himself from. Low on friends, resources, and safe harbor, Wick chooses to go on the offensive after his longtime associate Winston (Ian McShane) guides him to a series of arcane laws that permit him to challenge the head of the High Table to a duel, thereby ending the conflict. This Marquis (played to petulant perfection by Bill Skarsgård) looks to solidify his own position by stamping out the sheer insolence of being defied by Wick, and the spark of rebellion he represents, by upping the bounty on his head, and stamping out any who stand to aid him, and defy his organization. Allies emerge, and Wick spearheads an international assault to force the hand of the Marquis, and bring an end to his slaughter.
As someone who was a little lukewarm on Parabellum (aka Chapter 3), this fourth installment is a hard hitting return to form for the franchise. Creator/writer Derek Kolstad stepping aside, leaving Shay Hatten (Parabellum) and Michael Finch (Countdown, Predators) to take over. The underlying plot of revenge within this ceremonial underworld of assassins remains much the same, but the film bristles with creativity, energy, and a witty playfulness. It’s the longest of the films, running close to 3 hours, but it never wastes a minute, delivering relentless action and superb pacing. Hopping around the globe from one spectacular setpiece to another, from the complex (a shootout around the Arc de Triomphe, to a more simple affair seeing Wick ascend a long series of steps in a battle of endurance and misfortune. My personal favorite, an explosive shootout in a dilapidated house that invokes the Hotline Miami videogame. Chad Stahelski stamps his claim as one of the best action filmmakers working today, with his brutal constructs wonderfully wrought by cinematographer Dan Laustsen.
It’s a credit to Keanu Reeves that the films central remit of revenge endures. He perfectly conjures this blend of vulnerability and invulnerability, to endear and engender fear. No longer just sustained by the loss of his wife and the pup she left him, but raging against a system that has turned against Wick for trying to leave them behind. A cool and determined contrast to the flailing impotence of the Maquis, who despite his powerful position, can do nothing against the force of nature that is the Baba Yaga. The film brings back some familiar friends and foes, and does a damn good time of introducing some new mysterious figures,including Shamier Anderson’s Mr. Nobody, Scott Adkins in a fatsuit as German mobster Killa, and Donnie Yen as the film’s MVP, Caine. A retired assassin coerced into returning to work to take out his former friend, who blindness plays into several character quirks, but makes him no less lethal than his adversary. Yen is an exquisite addition, a delivery of “F-you” alone makes for one of the most joyous parts of the entire film. Gravitas and grace are also added in the form of Hiroyuki Sanada as Winston’s Japanese counterpart Shimazu, and Rina Sawayama as his daughter Akira. A frersh infusion of blood, and ideas across the board that combine with Stahelski’s efforts to deliver a muscular flex of filmmaking that shows there is plenty of life in the franchise.
The Package
John Wick Chapter 4 is a densely packed film, hopping around the globe, with settings that range from brooding warehouses, dimly lit nightclubs, hotel lobbies, and art galleries. From cool blues to warm amber hues, the film presents a rich and detailed transfer. Blacks are deep, colors are strongly represented, without any oversaturation, or loss of natural representation. Detail and depth of image standout too. A quality and consistent transfer. The release hosts an array of extra features. While it seems like a rich assortment, the breadth of features is met by its brevity. Most featurettes only running a few minutes. The standout here is the breakdown of the Arc de Triomphe setpiece, and the piece focusing on Donnie Yen’s approach to his character. The film is crying out for a director’s commentary.
- Chad and Keanu: Through Wick and Thin: Chad Stahelski and Keanu Reeves have a partnership that stretches all the way back to the first Matrix film. In this retrospective piece, we trace their remarkable friendship and decades-long collaboration.
- Train Like a Killer: Weapons Master Robert “Rock” Galotti and Keanu Reeves reveal the rigorous training that Keanu had to endure to make John Wick: Chapter 4 a reality – from gunplay, to jiu jitsu, to some hard-hitting stunt work.
- Making A Killing: In John Wick, sets are not merely the backdrop for each scene – they are integral parts of the action, with Wick often using whatever is on hand to take the fight to his enemies. Here we explore the craft at play in designing the sets of John Wick: Chapter 4 and the ways set design and action choreography go hand in hand in this legendary series.
- The Psychology of a Killer: Chad Stahelski explores the psychology of John Wick, a character who, despite four films, is still a mystery in many ways. We unpack the complicated code of ethics that Wick lives by, and the ironic bonds he shares with the men trying to kill him.
- The Blind Leading the Fight: John Wick: Chapter 4 witnesses the arrival of Caine, a blind killer played by legendary actor and martial artist Donnie Yen. With a style not seen since The Blind Swordsman: Zatoichi, Caine shows that a killer’s greatest instincts come not from his eyes, but from his mind. Here we uncover Yen’s journey on this film, exploring his prep for the role, his insight into the character, and his intense training regimen to portray this unlikely killer.
- Suit Up / Shoot Up: Costume Designer Paco Delgado uncovers the cooler-than-cool suits worn by the assassins of John Wick that feature bulletproof lining – just what every killer needs for a night out on the town. We also explore the more refined looks of the Marquis and the Old West-inspired garb of the Tracker.
- Packing a Punch: Pulling off a kill takes a village. Get a behind-the-scenes look at the way Team Wick incorporates special effects into the practical stunts and locations of the film.
- One Killer Shot: John Wick: Chapter 4 features one of the boldest single-take shots ever attempted in action filmmaking. Fight Choreographers Jeremy Marinas and Laurent Demianoff team up with Stunt Coordinator Scott Rogers to dive into the creative challenges that went into planning this one-shot sequence that sees John Wick take on Paris’s deadliest killers.
- Killing at the Speed of Traffic: Take a look at a nonstop action sequence featuring John Wick’s car-fu at the Arc de Triomphe! The driving force of this piece will be a look at the effects achieved at the iconic location, and sets the stakes of every assassin in Paris descending on Wick.
- A Shot in the Dark: The John Wick series takes audiences into a world that is both thematically and visually dark. For film crews, that meant enduring hundreds of night shoots, with crews switching to a virtually nocturnal mode of life for long stretches of production. Here we explore the tenacious work of cast and crew members who tough it out night after night in pursuit of Wick’s dark, iconic aesthetic. Along the way, we explore some of the most iconic night scenes in the film, culminating with Wick’s brutal staircase fight.
- In Honor of the Dead: In creating John Wick: Chapter 4, Chad Stahelski drew on references from some of the greatest films ever made. Uncover the cinematic homages depicted in the film, from David Lean to John Woo, to the samurai epics of post-war Japan.
- Theatrical Trailer 1
- Theatrical Trailer 2
- 4K-UHD also includes the film on Blu-ray, along with a digital download code
The Bottom Line
John Wick Chapter 4 builds on it’s predecessors to deliver more of what you expect, but continues the franchises success in building out this underworld of assassins, while crafting creative, thrilling actions sequences. Stahelski and Reeves continue to cement the legacy of Wick, and set a standard for the modern age American action flick.
John Wick Chapter 4 hits home video on June 13
-
Hideo Gosha’s Explosive Yakuza Classic VIOLENT STREETS – Blu-ray Review & Unbox
The Cult favorite Toei crime saga is new on Blu from Film Movement Classics
Violent Streets chronicles a sprawling gang war of escalating violence, but centers on a retired Yakuza named Egawa, played by actual retired Yakuza, Noboru Andô. Egawa now spends his time running his nightclub, a retirement gift of sorts from his gang.
Despite having left the criminal life, it’s never very far away and things aren’t exactly easy. He’s still in the same neighborhood (possibly to make him easier to subjugate), and maintains contact with a couple of criminal associates (Akira Kobayashi, Bunta Sugawara). In his club, upstart thugs seem to be pointedly trying to test his nerve, goading him into violence. Most of all, he misses his old ex, who left him for a more successful gangster rival.
Meanwhile, things are heating up in the criminal underworld. One gang kidnaps a famous singer/actress from a television studio owned by another. Their simple ransom plot goes awry when they accidentally kill her, causing a much deeper rift than intended and fueling the flames of conflict into a straight-up war that even Egawa can’t avoid.
While Egawa is the film’s primary character, the cast is a relatively large one with lots of gangsters in different factions, and once the war gets going, there’s plenty of fighting and killing. The action heats up and there’s a fair amount of this violence back and forth – perhaps most memorably, there’s a hitman who dresses in drag to get close to his targets.
Whereas earlier yakuza and samurai films (like Big Time Gambling Boss, or Gosha’s own Samurai Wolf duology) were often concerned with themes of honor or nobility, Violent Streets and similar films of its time has no such aspirations. As Mark Schilling points out in the Blu-ray booklet, this genre shift moved from the ninkyo (chivalrous) ideal to the unglamorized jitsuroku (true record). Virtually all the characters in the film, including Egawa and his allies, are vile scumbags, and there’s not much that’s noble or righteous about them. If we have any investment in Egawa as a “good guy”, it’s for three main reasons: he’s less despicable than his foes, his grievance is legitimate, and he has solid chemistry with his charismatic costars.
Personally I prefer the ninkyo ideal of Yakuza films (which later served as the basis of Hong Kong’s heroic bloodshed subgenre) which is more cinematic and engaging to me than than the unapologetically mean jitsuroku, but this is nonetheless a compelling Yakuza film with an all-star cast, and a must-watch for the genre.
The Package / Unboxing
Film Movement’s Blu-ray edition of Violent Streets is now available to purchase.
The Blu-ray disc is housed in a clear case and includes a slipcover. On my copy the slipcover was a bit wide for the case, causing it to sit very loosely. Also included is a 16-page booklet with notes by author and historian Mark Schilling.
Special Features and Extras
A Street that Can’t Be Beat (8:44)
Author Patrick Macias (“TokyoScope”) reviews the film, introduces its “big four” key players, and places it in historical context as the yakuza genre was beginning to wane.
Tattooed Director: Hideo Gosha (15:38)
Interview with the director’s daughter, Tomoe Gosha.
Audio Commentary with author Chris Poggiali
Hideo Gosha Trailers
HD Trailers for all three titles in Film Movement’s new Hideo Gosha release lineup. These appear to be newly cut trailers for these restorations, featuring Film Movement logos and updated titles.
Samurai Wolf (1:31)
Samurai Wolf 2: Hell Cut (1:24)
Violent Streets (1:31)Film Movement Ad (1:26)
A/V Out.
Except where noted, all 16:9 screen images in this review are direct captures from the disc(s) in question with no editing applied, but may have compression or resizing inherent to file formats and Medium’s image system. All package photography was taken by the reviewer.
Further reading:
-
BROOKLYN 45 is a Ghoulishly Clever Supernatural Thriller
Ted Geoghegan’s Brooklyn 45 hits Shudder Friday and is an engrossing chamber piece that feels like the perfect mix of Twilight Zone and Tales from the Crypt. You know, a self contained character driven story with just enough supernatural mystery to hook you and just enough gore and revelations to keep you there. The film takes place in New York in the aftermath of World War 2 when a group of friends who all served together are summoned to a NY brownstone by their colleague Lt. Col. Clive Hockstatter (Larry Fessendenx) who’s wife Susan recently died. Turns out the four veterans and Marla’s husband Bob, have all been gathered together to attempt a séance, so Clive can reach out to his wife who committed suicide because no one believed her that her neighbors were secretly Nazi spies.
The cast here composed of both character actors and headliners are all given their moments to shine, with some extremely engaging and empathetic takes thanks to some stellar performances, coupled with some thought provoking metaphors. The film itself is an interesting take on the cyclical nature of hate and prejudice, but using a post World War II New York to mirror our current US landscape. A few years ago it would have been immigrants, today it’s trans people and members of the LGBTIQA+ community. While the faces of this “enemy” may morph and change, Ted Geoghegan is clear to show how the blind bigotry and prejudice have not. While the single setting may throw some off, it’s something that really allowed the actors and director to fully explore the subtext of the scenario and their characters to illustrate that everyone, at least in their mind, is fighting for what they believe is right.
It’s hard to really do something new with a trope as well worn as the séance gone awry. But Ted Geoghegan does not only that, but also throws in a few great subtext such as all these soldiers are haunted by their own ghosts, along with the ones they’ve summoned. The performances here by an ensemble of older actors really makes me pine for more genre films just like this, since they offer up a bit more nuance and character than the typical teens with a ouija board who you’re secretly hoping bite it. It’s the kind of experience and grit that allows an actor to really use the dialog and script to show or pervey something a less experienced actor might not even see on the page. Because of that depth it felt like every character here was easily worthy of their own film. I really dug Brooklyn 45, it’s an atmospheric spine tingling tale that’s as focused on the scares as it is churning out well crafted pot boiler.
