Visually and performatively stylized melodrama, slangy and retro and dreamily lit, like a much better Grease, or a nonmusical West Side Story. Rusty James (Matt Dillon in his third S.E. Hinton movie in a row) mopes around with his tough friend Smokey (Nicolas Cage, his second year in the movies) and his nerdy David Cronenberg-looking friend Steve (Vincent Spano of City of Hope) and Nice Guy Eddie, speaking wistfully about Rusty’s long-missing older brother, local-legend gangster The Motorcycle Boy. Rusty James has a hot girlfriend Patty (Diane Lane) who’s into him, but he cheats and disappears and flakes around. Rusty James is trying to keep alive the gang wars he barely remembers from his brother’s day, and just as he’s losing a fight, The Motorcycle Boy dramatically reappears. This is the earliest I’ve seen Mickey Rourke, four years before Angel Heart, doing his gentle/tough handsome-zen thing – everyone in town agrees he’s crazy, but we don’t see him acting crazy, except maybe when he liberates every animal in the pet store.
It’s clear from the tone of the thing that somebody is doomed – probably Rourke (and yup, sure enough). The cops aren’t happy to see him back, but a heroin-addict substitute teacher starts hanging around, and old rivalries start simmering. It’s kind of a hangout movie where not much happens, but it feels tense most of the time. Dillon’s character is kind of an idiot, and his idol brother’s return blows up his worldview that things were better in the tough old days. In the end Rourke has died, Cage has stolen the girl and said he’d take over the gang if there even was a gang, Rusty James rides his brother’s motorcycle to the ocean, and it sounds like Wall of Voodoo over the credits but I guess it was that guy from The Police.
I keep meaning to watch the four hours of extras on the Criterion disc, but haven’t found the time. The Outsiders was also a Coppola-shot S.E. Hinton-written gang movie made the same year, and I should have double-featured these. The cast in this film is impressive – the brothers’ shitty alcoholic dad is Dennis Hopper, Laurence Fishburne is a gang go-between, Tom Waits a bartender. William Smith, who starred in the real David Cronenberg’s Fast Company, is the mustache cop who uses inappropriate force to kill Rourke after the pet store incident.
Rumble brothers with grudge cop:
“We’re realists while they’re fantasists!”
“Realism will lose!”
I always watch the wrong Sion Sono movies. I heard either Love Exposure or Guilty of Romance was good, so somehow I got the idea to watch this instead – and I hated it, so now my chance of ever watching those others is lower.
Okay, I didn’t hate it. You can’t hate a movie where a group of young, failed filmmakers called the Fuck Bombers end up choreographing an actual gang war, and where stuff like this happens:
But it feels like Sono has cult-ready ideas, good-enough execution, and little sense of timing. Endless hours of build-up, and everything gets repeated to death by the time the end finally comes. Maybe it feels different at a midnight screening with a giddy audience, and at least it’s an improvement on Noriko’s Dinner Table (which I just realized has similar plot points to Alps).
Lead gangster is Jun Kunimura, who I just saw playing the devil, probably, in The Wailing. His daughter, a former advertisement star and the rainbow swordsman above, is Fumi Nikaidou (Lesson of Evil). Rival leader Ikegami is Shinichi Tsutsumi of One Missed Call. Hirata (Shin Godzilla star Hiroki Hasegawa) is the lead Fuck Bomber, and his Bruce Lee-prototype star is Sasaki (Tak Sakaguchi, star of Versus).
C. Marsh in Cinema Scope:
When Hirata dreams of filmmaking, he dreams of the practice’s classical conception, romanticized with the rigor of a hardcore purist: he envisions rack lighting, metres-long camera dollies on steel rails, a trained crew of hundreds, and, above all else, the sprocketed hum of rolling celluloid. In the end that’s what he gets, and it costs him everything. Sono seems sympathetic to the sentiment – he relishes the physicality of the traditional film equipment as much as Hirata does – but he ultimately undermines it. The form itself is a joke. The movie was shot digitally, on Red Epic: and though his characters would be doubtless loathe to admit it, the results look more than fine.
I watched this a couple weeks after Office, not knowing they were Johnnie To’s companion pieces on the 2008 financial crisis. This one presents the corrupt business world more harshly – no lavish sets and musical numbers, just greed, theft, disappointment, ruin and murder.
Connie meets Teresa:
An intertwining-destinies movie following a few character threads. Inspector Cheung (Breaking News star Richie Ren) is on the sidelines of the other stories while his girlfriend Connie is buying an apartment. Teresa is a banker who sells high-risk investments to confused old ladies, ends up with a pile of undeposited money when her loanshark client Yuen is murdered in the parking deck. And Panther (Ching Wan Lau, the Mad Detective) works for broke gangsters, runs around collecting money to bail out a buddy until he finds stock trader Lung who has an idea for fast cash. The real estate thing held little drama, the banking part hinged on some mild deceit (the old lady heard the phrase “high risk” a hundred times so you can’t entirely blame the banker) and coincidence, but Panther was fun – I’d watch a sequel that just followed him around some more.
“I’m the (k)night rider. The toe cutter, he knows who I am!”
I was immediately impressed with the character names, but also confused by the movie. Max is a cop, and yes his police station looks awfully run down, but it’s not some Tom Petty wasteland future – it’s all pretty much how I assume Australia looked in 1979. So maybe the apocalypse happens before part two, and that’s when Max becomes Mad. He gets pretty close to Mad in this one – give an awesomely dangerous guy a “Raindrops Keep Falling On My Head” montage showing how much he loves his precious family, and guess what’s gonna happen to that family – but I wouldn’t call his murder-revenge spree against the biker gang that killed his family and his partner and broke his arm a permanent madness.
“Any longer out on that road and I’m one of them – a terminal crazy”
Other Weirdness: the big cartoon music during tense scenes. And Max locks a dude to a bomb, suggests he sever a limb to get free – an influence on SAW? Pretty straightforward, sharp-looking movie. And hey, the baddies only run down Max’s wife and kid – nobody gets tortured or raped, making this one of the more palatable 1970’s revenge movies.
We all know Mel Gibson went on to star in The Beaver and Machete Kills, but who was everyone else? Max’s wife Jessie was in early Nicole Kidman film Nightmaster. Max’s even-madder partner Goose does a lotta TV, was recently in The Great Gatsby. Max’s boss “Fifi” was once in movies called Stone and Stoner in the same year. Lead baddie Toecutter played lead baddie Immortan Joe in Mad Max 4. Shot by David Eggby (not Dave Eggers) who later shot a couple of Riddick movies.
The most awesome/unevenly ambitious Spike Lee movie since She Hate Me. I knew in advance that Teyonah Parris (Coco in Dear White People) has a plan to deny her man (Nick Cannon) sex until he stops fighting with a rival gang led by Wesley Snipes, but didn’t know she gathers a legion of women who commandeer an army base. The social issues within a heightened, unrealistic comedic production (rhyming dialogue, dance scenes, narrator Sam Jackson) make for a great combo.
Cowriter Kevin Willmott was here last week but I didn’t go see him since my parents were in town.
A pretty bad mid-80’s cop movie with average acting and horrible comedy. But oh man, when the action scenes start, there is nothing better. Cars barrel down a hill right through a shanty town, Chan uses cars as weapons and shields, and it ends with a jump/fall so great they show it three times. Plot-wise, Chan has to protect Brigitte Lin from gangsters before she testifies. He does a poor job gaining her trust (having a disguised fellow cop pretend to attack so Chan can save her) then does a poor job explaining her presence to his indignant girlfriend Maggie Cheung.
Movie puts forth the Clint Eastwoody idea that gangsters can’t be convicted in the courts because the system is corrupt, so it’s best to kill them straight away. But oh man, the action scenes. Non-action highlights include an endless court scene with all dialogue in Cantonese except the oft-repeated English phrase “I object,” and a dogshit moonwalk.
That’s Maggie on the left:
Won best picture/choreography at the HK Film Awards (vs. fellow nominee Mr. Vampire, heh), got at least five sequels. Maggie was still three years away from As Tears Go By, Brigitte starred in Peking Opera Blues the following year, and baddie Yuen Chor directed over 40 films in the 1960’s and 1970’s.
Bob Hoskins (between Brazil and Roger Rabbit) is a cheap gangster who gets a job driving for expensive call girl Cathy Tyson (The Serpent and the Rainbow) after release from prison. He acts shitty and ignorant, hates his job, but finally warms up to Cathy, helps her search for her old friend, the two of them going on a sort-of Taxi Driver underworld revenge spree, getting in trouble with head gangster Michael Caine.
Hagrid plays Bob’s rat-faced friend. I didn’t recognize Detective Lester Freamon, so young and with few lines or close-ups, until his death. Hoskins won best actor at Cannes, Baftas, Golden Globes and a bunch of film critic groups, but lost the oscar to Paul Newman. DP Roger Pratt worked with Terry Gilliam through 12 Monkeys.
Bob watches Lester Freamon on TV:
Bob’s idea of a disguise:
I thought everyone in Outrage had been killed except for one cop and new boss Kato, but here’s Takeshi still alive and I had to try to keep track of the various crime families again. This did turn out better than the original, but I’m still hoping Election and Drug War destroy ’em both.
People: Tomokazu Miura of M/Other is in charge of some clan, and young hotshot Ryo Kase of I Just Didn’t Do It and Like Someone In Love is his #2 man.
Takeshi and Kimura:
Takeshi teams up with scarfaced ex-rival Kimura with his two dumb-as-hell employees to wage war on these guys. Baddies are brought low by other baddies. Another clan is somehow involved. The Japanese Dr. Guggenheim (Akira Nakao, a regular in 1990’s Godzilla movies) is the first to die. Then lots more die. There is a brief appearance by a woman.
The Japanese Dr. Guggenheim:
We get two partner cops to identify with. Sourface Shigeta (Yutaka Matsushige of Last Life in the Universe) is the outsider who needs everything explained to him, and his sneaky balding corrupt partner (Fumiyo Kohinata of Dark Water) wants to start some shit and get the action going. Beat Takeshi shoots the balding guy at the end, after everyone else is already dead.
L-R: balding cop, sourface cop
A good variety of music, and the score has hints of Dead Man. Scenes end with fade-outs as if to provide space for TV ads. My main concern was listening to the language and noting that half of all sentences end with a sound like arrOH, or errOR. Fumi thinks it’s some kinda gangster embellishment.
We open on five mumbly hoodie youths mugging a white woman – and the youths turn out to be the protagonists. So I was on the movie’s side from the start, but it only gets better. After an alien from a freshly-landed meteorite claws Moses, the mini-gang-leader, he kills it and takes it to Nick Frost’s weed room. But a hundred more meteors land, carrying far more dangerous creatures – pitch-black hairy wolf-bears with glowing teeth, looking for the slain female. So the kids mount a defense against rampaging aliens using knives, swords and fireworks, joined by the still-irritable white woman (Jodie Whittaker, title character in Venus) and opposed by cops and a mad drug dealer.
Despite all the bloody death, the movie is mostly an action/comedy – the rare successful one. It builds to one of the sweetest minutes of film I’ve seen all year, Moses carrying the group’s full arsenal racing towards a gas-filled apartment, leaping over the blind beasts under a shower of slow-motion sparks.
Luke Treadaway (one of the twins from Brothers of the Head) plays a stoner nature-channel enthusiast who helps figure out the aliens’ motivation. Writer/director Cornish goes way back with Edgar Wright and just cowrote Spielberg’s Tintin movie, so this is his big year.