Rush Hour

We were very pleased to find ourselves back in the theatre this weekend enjoying "Rush Hour" starring Jackie Chan and Chris Tucker.

These actors are two of my low-budget favorites. Jackie Chan has been making martial arts films in Hong Kong for decades and only recently importing them to America for release on the big screen. Operation Condor (Armor Of God II), Supercop, and Mr. Nice Guy are a few of his most recent releases in the U.S. that have been dubbed into english. Mr. Chan performs all of his stunts himself and as a consequence has at one time or another broken just about every bone in his body. This is not his first film produced by an American movie studio, The Big Brawl (which I believe was an MGM release in the late seventies) highlighted a younger Jackie Chan who was painfully uncomfortable with english in a film that was weak in writing, premise and direction. (In my opinion, if they could have found a better way to get him to the Brawl it would have been all right, but you'd have to see the film to see what I mean. Look for it if you want, Blockbuster usually carries it.)

Chris Tucker is a young up-and-comer trying to define himself in a time when Chris Rock is receiving previously unknown acclaim for his comic form of hypocricy defying candor, and Eddie Murphy is enjoying a resurgence of popularity with his own open-faced style of reaction comedy. Tucker had a supporting role opposite Ice Cube in the movie "Friday" which is the african-amercan version of "clerks" in which he plays a loud-mouthed, squeaky-voiced slacker who complicates the life of his friend (Ice Cube) who is just trying to get through the day. From this role Tucker moved on to "The Fith Element" opposite Bruce Willis where he played an over-the-top trans-galactic disc jockey who was not cut out for the demmands of an epic space opera. Still loud and proud, Tucker landed a staring role opposite Charlie Sheen in "Money Talks" which was a more toned-down role for him, but well received enough for him to be marketable as a leading man.

In "Rush Hour", Tucker plays a "bad boy" L.A. cop assigned as the escort for Chan's character, a detective from Hong Kong come to America to assist in the investigation of his best friend's daughter's kidnapping. Niether Chan nor Tucker's assistance is wanted by the FBI so they are forced to team up to solve the case and save the girl together.

I have never had the opportunity to describe an action film as "charming" until now. Just as the action would die down, or the investigation would come to a seeming dead-end, a new thrill or a new joke would spring out of nowhere and hurl the audience right along. It is not the greatest cop movie out there. "Clockers", or even Eddie Murphy's "Metro" had a lot more actual police work and suspense engrained into the solution of the crime. However, Chan's and Tucker's on-screen inter-play, the development of the individual characters and their mutual relationship succeeds adequately in one film what could have been done extremely well in to; which is meant as a compliment, if you think about it. Really, their individual antics give way to a believable rivalry that fosters mutual respect and cross-cultural admiration. The individual comic talents of the actors mesh extremely well in the manner of Snipe&Harrolson or Hope&Crosby.

It is good to see Jackie Chan, Hong Kong's latest cinematic refugee give Hollywood a fair try. Neither party failed the other in the making of this film. And as for Tucker, he has risen to the occasion admirably and has placed himself in good stead for future work of quality and extreme violence.

If you are a fan of CHRIS TUCKER or JACKIE CHAN, MARTIAL ARTS FILMS, or BUDDY-COP MOVIES like "the Rookie" or "48 Hours" the YOU MUST SEE THIS FILM AS SOON AS HUMANLY POSSIBLE. It's a good ride and should be checked out by anyone who'd like to have a new experience or a good laugh when the movie hits second run. For all we know this may be the last Jackie Chan film made in America so we should take advantage of the big screen while we can.

The Friday Matinee v1.5

Chin Chin!

We were very pleased to find ourselves back in the theatre this weekend enjoying "Rush Hour" starring Jackie Chan and Chris Tucker.

These actors are two of my low-budget favorites. Jackie Chan has been making martial arts films in Hong Kong for decades and only recently importing them to America for release on the big screen. Operation Condor (Armor Of God II), Supercop, and Mr. Nice Guy are a few of his most recent releases in the U.S. that have been dubbed into english. Mr. Chan performs all of his stunts himself and as a consequence has at one time or another broken just about every bone in his body. This is not his first film produced by an American movie studio, The Big Brawl (which I believe was an MGM release in the late seventies) highlighted a younger Jackie Chan who was painfully uncomfortable with english in a film that was weak in writing, premise and direction. (In my opinion, if they could have found a better way to get him to the Brawl it would have been all right, but you'd have to see the film to see what I mean. Look for it if you want, Blockbuster usually carries it.)

Chris Tucker is a young up-and-comer trying to define himself in a time when Chris Rock is receiving previously unknown acclaim for his comic form of hypocricy defying candor, and Eddie Murphy is enjoying a resurgence of popularity with his own open-faced style of reaction comedy. Tucker had a supporting role opposite Ice Cube in the movie "Friday" which is the african-amercan version of "clerks" in which he plays a loud-mouthed, squeaky-voiced slacker who complicates the life of his friend (Ice Cube) who is just trying to get through the day. From this role Tucker moved on to "The Fith Element" opposite Bruce Willis where he played an over-the-top trans-galactic disc jockey who was not cut out for the demmands of an epic space opera. Still loud and proud, Tucker landed a staring role opposite Charlie Sheen in "Money Talks" which was a more toned-down role for him, but well received enough for him to be marketable as a leading man.

In "Rush Hour", Tucker plays a "bad boy" L.A. cop assigned as the escort for Chan's character, a detective from Hong Kong come to America to assist in the investigation of his best friend's daughter's kidnapping. Niether Chan nor Tucker's assistance is wanted by the FBI so they are forced to team up to solve the case and save the girl together.

I have never had the opportunity to describe an action film as "charming" until now. Just as the action would die down, or the investigation would come to a seeming dead-end, a new thrill or a new joke would spring out of nowhere and hurl the audience right along. It is not the greatest cop movie out there. "Clockers", or even Eddie Murphy's "Metro" had a lot more actual police work and suspense engrained into the solution of the crime. However, Chan's and Tucker's on-screen inter-play, the development of the individual characters and their mutual relationship succeeds adequately in one film what could have been done extremely well in to; which is meant as a compliment, if you think about it. Really, their individual antics give way to a believable rivalry that fosters mutual respect and cross-cultural admiration. The individual comic talents of the actors mesh extremely well in the manner of Snipe&Harrolson or Hope&Crosby.

It is good to see Jackie Chan, Hong Kong's latest cinematic refugee give Hollywood a fair try. Neither party failed the other in the making of this film. And as for Tucker, he has risen to the occasion admirably and has placed himself in good stead for future work of quality and extreme violence.

If you are a fan of CHRIS TUCKER or JACKIE CHAN, MARTIAL ARTS FILMS, or BUDDY-COP MOVIES like "the Rookie" or "48 Hours" the YOU MUST SEE THIS FILM AS SOON AS HUMANLY POSSIBLE. It's a good ride and should be checked out by anyone who'd like to have a new experience or a good laugh when the movie hits second run. For all we know this may be the last Jackie Chan film made in America so we should take advantage of the big screen while we can.

Untill next week, Cadets, never talk to strangers, unless they're telling you which theatre to go to.

High-Commander of Cinema
The Friday Matinee

p.s. All of Cinemania's thoughts and prayers go out to Cadet Rueda from Pico Rivera, who is recovering from a cornea transplant operation this weekend. We hope that he will be up, out, and at the movies in no time. Or he will be flogged.

p.p.s. A special Thanks goes out to Cadet Jones from San Jose for bothering to reply to the High-Commander's querry last week regarding what videos people have been watching lately. His participation has absolved him of the grief he inflicted on the High-Commander earlier in the course of these transmissions. Cadet Captain Casey from San Jose, who was also involved in this debacle shoud consider this and write soon. We would also like to thank Cadet Jones for volunteering the organizational rank of "sub-pleeb" for those who inccur our wrath at High Command. Anyway, High Command has been thinking about compiling a list of videos that Kick Ass and could save you all from serious brain-strain on those odd nights you go to the video store instead of the movie theatre. Cadet Jones' comments have formed the basis of this list. Write in and let High Command know what you've been watching, and if we ever get merchandise we'll send you a T-shirt or something. Thank you for your cooperation. We now return you to your boring lives.

The Friday Matinee v1.4

Greetings,

The High-Commander of Cinema wishes to send his regrets to all faithful cadets out there that The Friday Matinee has failed to occur this week.

The fact of the matter was that there just didn't seem to be anything worth seeing.

Sure, we could have seen Knock Off, the new Van Damme film costaring Rob Schneider. This film actually had potential based on initial reviews which hyped the location (filmed in and around Hong Kong). However, it just seemed like so much filler between the end of summer and the beginning of the holiday seasons. The studio has squirreled it away safely from Leathal Weapon 4 and all the meteor movies. This week the movie industry seems to be just passing time.

We did watch a couple of videos this weekend though, and may catch some second-run movies later this week to make up for the time Christine (The Uberfrau of Cinema) and I missed together this week.

I would encourage anyone who is looking for a movie to rent to check out An American Werewolf In London. I just saw it for the first time (uninterupted and uncensored). It's a werewolf movie (duh) that was pretty fresh for its time. It predates The Howling series, Silver Bullet, and a slew of others. AAWIL also had groundbreaking special effects and makeup. Check it out if you're in the mood for a tongue-in-cheek horror film that helped to revitalize the genre in the late seventies.

I would be interested to know if anyone has seen anything worth watching on video or in the theatre lately. Some films that may be worth watching may not have gotten to Tucson yet and it would be good to keep an eye out for them. We've been waiting for Cousin Bette, a Jane Austinish comedy about a spinster who devoted her life to making her family credible and finally takes her revenge when she gets fed up with their poor treatment of her.

Hopefully next week will end this dry spell in potentially good cinema. Untill then, look both ways before crossing the street and never, ever, waste your money on a film with "fun for the whole family" printed on the box/marquee.

High-Commander of Cinama

The Friday Matinee

Pi

Shalohm!!

This weekend in Tucson AZ, (The current Headquarters of The Friday Matinee) the winner of the 1998 Sundance Film Festival, Pi, opened to resounding indifference on the part of the local population. Which is unfortunate, because it was a damn good film.

Pi is a Kaballistic Pilgrim's Progress of a film. The plot revolves around a reclusive mathematician who is attempting to prove that predictable and significant patterns and numbers exist everywhere in the world, and in the stock market in particular. The main character, Max Cohen, is developed as a person who is haunted by the consequences of a history of challenging authority and convention, while at the same time being portrayed sympathetically as an Everyman who simply wishes to perceive the order he believes governs the world. It is this fine balance between naive curiosity and knowledgable audacity that thrills the audience as Max' quest for his personal Grail leads him to a journey of self-discovery steeped in the imagery of mathematics and Judaic mysticism.

Order, God, Salvation, Respite. Our need for growth, our ignorance, our majesty, and our concept of faith, are explored in the unwinding spiral of the plot. Pi is a challenging film that lacks the whimsy of "Brazil", or the Liberal-conscience rending of "Smoke Signals". It production is gritty, but professional. The coarse lighting and sharp contrasts (accentuated by the black and white film) mirror the absolutes that Max finds he must reckon with. It can be graphic, and some of the imagery and concepts may be disturbing.

However, because of both the quality of the piece technically, and the quality of the piece as a realized expression of art, I would urge people to see it. There simply isn't anything else out there from Hollywood that has intelligently wrestled with this material in recent memory. It will be unique, and I'll admit, some people will not find it to their taste, but if you are at all intrigued by the effort, then the film will at least be appreciated for the fine work it is.

I would reccommend this film to be seen in the theater, but I realize that it may only be playing in brief engagements in your community so put it on your "plan to see on video list" if this article has reached you too late. See it if you DO NOT want to see a dumb film.

*****

This week's episode of The Friday Matinee has been brought to you by the cooperation of Cadet Meyers, who is visiting us in Tucson this weekend. We appreciate his patience and support of our efforts. (Cadet Meyers liked the movie but was afraid that some people might not like it because of violent imagery at the end and the frank discussion of metaphysics.)

The Friday Matinee v1.3

Shalohm!!

This weekend in Tucson AZ, (The current Headquarters of The Friday Matinee) the winner of the 1998 Sundance Film Festival, Pi, opened to resounding indifference on the part of the local population. Which is unfortunate, because it was a damn good film.

Pi is a Kaballistic Pilgrim's Progress of a film. The plot revolves around a reclusive mathematician who is attempting to prove that predictable and significant patterns and numbers exist everywhere in the world, and in the stock market in particular. The main character, Max Cohen, is developed as a person who is haunted by the consequences of a history of challenging authority and convention, while at the same time being portrayed sympathetically as an Everyman who simply wishes to perceive the order he believes governs the world. It is this fine balance between naive curiosity and knowledgable audacity that thrills the audience as Max' quest for his personal Grail leads him to a journey of self-discovery steeped in the imagery of mathematics and Judaic mysticism.

Order, God, Salvation, Respite. Our need for growth, our ignorance, our majesty, and our concept of faith, are explored in the unwinding spiral of the plot. Pi is a challenging film that lacks the whimsy of "Brazil", or the Liberal-conscience rending of "Smoke Signals". It production is gritty, but professional. The coarse lighting and sharp contrasts (accentuated by the black and white film) mirror the absolutes that Max finds he must reckon with. It can be graphic, and some of the imagery and concepts may be disturbing.

However, because of both the quality of the piece technically, and the quality of the piece as a realized expression of art, I would urge people to see it. There simply isn't anything else out there from Hollywood that has intelligently wrestled with this material in recent memory. It will be unique, and I'll admit, some people will not find it to their taste, but if you are at all intrigued by the effort, then the film will at least be appreciated for the fine work it is.

I would reccommend this film to be seen in the theater, but I realize that it may only be playing in brief engagements in your community so put it on your "plan to see on video list" if this article has reached you too late. See it if you DO NOT want to see a dumb film.

*****

This week's episode of The Friday Matinee has been brought to you by the cooperation of Cadet Meyers, who is visiting us in Tucson this weekend. We appreciate his patience and support of our efforts. (Cadet Meyers liked the movie but was afraid that some people might not like it because of violent imagery at the end and the frank discussion of metaphysics.)

Untill next week Cadets, I'll leave you with this vaguely irrelevant thought: "Always Question Authority, so you can know when to Challenge it."

Shalohm!!

P.S. As always I welcome your comments and suggestions. Write The High-Commander, sometimes he gets lonely if he doesn't think you care. THCoC

Dead Man On Campus

This weeks adventure was titled "Dead Man On Campus."

The events of the film center on two college roommates, who undoubtedly are supposed two represent Generation X, that need to earn passing grades (for various reasons) to be able to continue attending college after their first term. Their only apparent solution is to find another roommate who is prepared, or at least predisposed, to commit suicide so that they will earn straight A's according to an archaic rule in the school charter.

I had two preconceptions going into this film that were created solely by the trailers and commercial. One:) That I was in for a cutting edge cinematic experience from hungry directors and writers who haven't yet been brought into the plush stables of the big studios. And, Two:) That I was about to see a whacky, irreverent comedy the likes of Animal House, or Revenge Of The Nerds.

Though it was occasionally teetering on the edge of breaking into a full-scale music video (an unfortunate side-effect of being bankrolled by MTV, I'm sure) the direction was very well done, leaning heavily towards intense. The writing was sharp. I appreciated the most the interaction of the minor characters with the central figures of the film, creating a sounding board for the behavior of the rapidly degenerating roommates. I was not disappointed with the technical proficiency of the up-and-comers working behind the camera.

However, DMOC did not have the fast-paced, way-over-the-top attitude of Animal House. This is okay. It unfolds with deliberate formation of the circumstances that will carry the audience to the final moments of the film. It is tight and precise. While it results to slapstick on the rare occasion, it does not become stupid or overly Juvenile.

A striking element of the film is that at face value this is a disgusting proposition which the audience is willing to ignore in the belief that the movie, being a comedy, albeit a Dark one, will insert a sufficient amount of zany material into the plot to desensitize us from the grizzly nature of the intent of the two main characters. It does not. If it can be said that there could be a tasteful treatment of the subject of suicide within the scope of this picture then I would say DMOC sincerely attempts to achieve this. Nevertheless, the humor present in the film springs from the circumstances that conspire to thwart the roommates in their goal. The great success of DMOC is that it finely balances the audience's moral dilemma with the scamperings of the main characters as their plans run the risk of unraveling.

Dead Man On Campus is definitely worth seeing second-run. It is a sharp commentary on the anxiety of Generation X vs. the "who-gives-a-f**k" attitude of the older demographic. It resolves well and was good for a laugh.

The Friday Matinee v1.2

Salutation, O Stalwart Cadets of Cinema!

This weeks adventure was titled "Dead Man On Campus."

The events of the film center on two college roommates, who undoubtedly are supposed two represent Generation X, that need to earn passing grades (for various reasons) to be able to continue attending college after their first term. Their only apparent solution is to find another roommate who is prepared, or at least predisposed, to commit suicide so that they will earn straight A's according to an archaic rule in the school charter.

I had two preconceptions going into this film that were created solely by the trailers and commercial. One:) That I was in for a cutting edge cinematic experience from hungry directors and writers who haven't yet been brought into the plush stables of the big studios. And, Two:) That I was about to see a whacky, irreverent comedy the likes of Animal House, or Revenge Of The Nerds.

Though it was occasionally teetering on the edge of breaking into a full-scale music video (an unfortunate side-effect of being bankrolled by MTV, I'm sure) the direction was very well done, leaning heavily towards intense. The writing was sharp. I appreciated the most the interaction of the minor characters with the central figures of the film, creating a sounding board for the behavior of the rapidly degenerating roommates. I was not disappointed with the technical proficiency of the up-and-comers working behind the camera.

However, DMOC did not have the fast-paced, way-over-the-top attitude of Animal House. This is okay. It unfolds with deliberate formation of the circumstances that will carry the audience to the final moments of the film. It is tight and precise. While it results to slapstick on the rare occasion, it does not become stupid or overly Juvenile.

A striking element of the film is that at face value this is a disgusting proposition which the audience is willing to ignore in the belief that the movie, being a comedy, albeit a Dark one, will insert a sufficient amount of zany material into the plot to desensitize us from the grizzly nature of the intent of the two main characters. It does not. If it can be said that there could be a tasteful treatment of the subject of suicide within the scope of this picture then I would say DMOC sincerely attempts to achieve this. Nevertheless, the humor present in the film springs from the circumstances that conspire to thwart the roommates in their goal. The great success of DMOC is that it finely balances the audience's moral dilemma with the scamperings of the main characters as their plans run the risk of unraveling.

Dead Man On Campus is definitely worth seeing second-run. It is a sharp commentary on the anxiety of Generation X vs. the "who-gives-a-f**k" attitude of the older demographic. It resolves well and was good for a laugh.

***

It may not totally Kick Ass, but some of you may care to know that trailers for Star Trek: Insurrection have begun to roll. It will be in theaters by December. Write if you want more info.

Well, that's it for this week. Remember to drink your milk and don't buy any copies of TITANIC.

The High Commander of Cinema

Blade

This week's film was BLADE.

Blade is an adaptation of a comic-book storyline that follows a vampire-hunter who himself is the offspring of a vampire. This convention happens rarely enough that I felt compelled to see its latest permutation.

Wesley Snipes plays the sternly silent killer know by vampires he hunts as the "Daywalker". A name that attests to his abilities to resist those weaknesses such as daylight and garlic that vampires may fall victim to. He is assisted by Whistler, a grizzled vampire hunting veteran who is Blade's companion and weapons developer. The two follow vampire migrations from city to city and do their best to eradicate the species.

There are some marvelous fight scenes, particularly the hand to hand action. Snipes' unflinching manner is almost reminiscent of Clint Eastwood's spaghetti westerns as the ultimately collected lone warrior. The fountaining over-abundance of blood is almost chilling as the slain vampires go through their final death-throws. And, there is some really good direction.

However, the film suffers from attempting to condense a plot that probably took over a year to publish in serial form into 110 minutes. While the main characters are appreciable (the heroes more than the villains) there are times if you wonder that a particular minor character is presented almost as an obligation to the reader of the comic book (of which I am not) as their screen time is awkward and often irrelevant. You get the feeling that you are missing a chunk of the story, and you probably are in terms of character and sub-plot development because it just wouldn't fit.

There were some interesting twists, and some of the choreography, as I've said, was pretty cool to watch. If you see this film observe the backgrounds. Often times the human population is moving at a different film speed as the less action-oriented scenes are played out. Also, there are some chilling depiction's of how far the vampire infestation has progressed as the background of a car chase may pause on streetcorner to focus on an image of vampire feasting on a prostitute or an intense and unnoticed act of random vandalism by a street gang.

See this movie in the theaters if you REALLY like MORTAL KOMBAT. You may bother to see it second run if you Really like vampire films (but be prepared for moderate predictability). And bother to watch it on pirated cable if you want to see Wesley Snipes kick ass.

The Avegers

Last weeks movie was THE AVENGERS. This film is a remake of the TV show that existed in a surreally empty world in which the two archetypes of the ideal British citizen, John Steed, the epitome of tradition and restrained dignity, and Dr./Mrs. Emma Peele (sp?), the revolutionarily modern lady scientist, dispose of the equally archetypical villains that plague the structure of a well-ordered society. The characters seem to step out of time as if they were pieces at play in a vast game in which the entire landscape is the board on which they move. This is due mostly to the low budget the show operated on, which demanded remote, low-cost locations and virtually no extras. The result of this thrift however was a charming show that coincidentally appealed to the population of a Britain in transition. As class and social status meant less under the new democratic-socialist motives of society the tension (often sexual, but always unrequited) between our two super-spy heroes typified a nation's struggle for balance with what tradition told them to cherish and what modern circumstances demanded in change. The Avengers, in short, showed us the face of a modern Europe.

Bearing this in mind, the modern upgrade of The Avengers to the big screen is a visually stunning calculation in conflict, surrealism, and simplicity. The struggle of characters, attitudes, and roles is brought into the fore with force as new technologies are exploited to add a slightly alien perspective to the backdrop. Examples range from the prospect of microwave induced weather control to a pocket-watch that doubles as a global tracking system. Care was taken in the direction of the film to accentuate the surreal, borrowing images of bowler hats (a hold-over from the original series) and other anachronisms as well as various mazes, exaggerations, and subtle word play to remind the viewer of the nearly cosmic level at which the events of the conflict occur. At the same time, the film retains the simplicity of layout in location and direction with very few actors, less extras, and no clutter.

The plot itself suffers from the same weakness that most TV adaptations suffer from. It is a two-hour pilot for a series that will never happen based on an existing pilot that was probably only an hour long (at the most). It admirably includes character development that may have been only imparted piece-meal throughout the course of the series, but ambiance (even the twistedly enticing nuances of this film) can only carry a movie so far. This one eventually ends somewhat abruptly and predictably with a fight and a big explosion, but all in time for tea.

Definitely hit this one on video. If you can, hit a Matinee (especially if you've seen the show). You might even want to see it with a bunch of friends, but you should probably wait for second-run on a night that you're willing to go "What the hell." But however you see it, and you eventually should, look for all the goodies and gadgets. Peek into the background. And, enjoy how Steed and Peele react to each other as they decide whether, and how, they can co-exist.

The Friday Matinee v1.1

Dear Fellow Cinemaniacs,

Yes, it is not only the return of The Friday Matinee (Or, if you will, Son Of Friday Matinee,) but my first serious effort to do this once a week as a writing exercise that may inform you of just what you may be missing out there on that Friday afternoon. You may remember that the Friday Matinee began in practice as a means by which my wife and I manage to spend some time together once a week and has evolved sporadically into fits of written criticism that has been vomited over the Internet to, so far, as many as two other people. (Whom we will recognize as TFM Cadet Captains Casey and Weinstein)

I have taken the liberty of adding additional names to the list of people receiving what I hope will become an anticipated weekly interlude for persons who may like movies but don't necessarily want to take a chance with those films that aren't ear-blowing mind-numbing (reverse that at your pleasure) summer blockbusters that you are almost societally obliged to attend.

This will be dedicated to the little guy, Joe Public. Okay, actually it will be totally self-serving; reflecting my personal bias rooted in an early childhood planted squarely in front of a TV and appreciative of the Silver Screen merely as a perversely grander extension of that medium. I live for remakes of TV shows like Lost In Space and adaptations of literature like Kull or Tarzan. I'm not saying that these films are always good and I won't say that they transcend being flashy two-hour versions of the originals, but I will take the chance to find that diamond-in-the-rough and try to let you know exactly what you'd be getting in for if I were to recommend a film.

I should also point out that my foil and my whetstone, my dear wife Christine, ultimately will have something to say about what we may see on a given week, so those films that may be approached with open skepticism or mere caution by the pulp viewer will be occasionally supplemented by films of actual quality of the Independent variety (Such as the recently released Smoke Signals, for instance.) It won't all be oddball science-fiction, horror, or Hong-Kong action, but I won't be able to tell you what it will be until we're there at the ticket office.

I would also like to point out rather quickly here that I'm not intending to be this verbose in the regular installments of TFM. This here is an introduction to make sure that everybody is up to speed with what's going on and to give them an opportunity to respond with suggestions or polite requests to be taken off this list. This is okay. I understand that the last thing you may want is another e-mail to look through on a Monday morning, or maybe you just don't give a damn about the movies since you grew up. Fine, just let me know. But, if you can take it each week, muddle through it without liking it, and don't mind sending me your most volatile criticism this would be even more appreciated. Let me know if I steered you wrong, made a bad call, or just sound stupid. I'll even include your comments if you want so we can all have a laugh (let me know if that's okay though). Like I said at the beginning, this is an exercise for me, so help me grow stronger by it. Also, let me know of any changes that need to be made with e-mail addresses and/or the addresses of anyone that I don't know that may want to receive a copy of this.

Now, with that out of the way...

Last weeks movie was THE AVENGERS. This film is a remake of the TV show that existed in a surreally empty world in which the two archetypes of the ideal British citizen, John Steed, the epitome of tradition and restrained dignity, and Dr./Mrs. Emma Peele (sp?), the revolutionarily modern lady scientist, dispose of the equally archetypical villains that plague the structure of a well-ordered society. The characters seem to step out of time as if they were pieces at play in a vast game in which the entire landscape is the board on which they move. This is due mostly to the low budget the show operated on, which demanded remote, low-cost locations and virtually no extras. The result of this thrift however was a charming show that coincidentally appealed to the population of a Britain in transition. As class and social status meant less under the new democratic-socialist motives of society the tension (often sexual, but always unrequited) between our two super-spy heroes typified a nation's struggle for balance with what tradition told them to cherish and what modern circumstances demanded in change. The Avengers, in short, showed us the face of a modern Europe.

Bearing this in mind, the modern upgrade of The Avengers to the big screen is a visually stunning calculation in conflict, surrealism, and simplicity. The struggle of characters, attitudes, and roles is brought into the fore with force as new technologies are exploited to add a slightly alien perspective to the backdrop. Examples range from the prospect of microwave induced weather control to a pocket-watch that doubles as a global tracking system. Care was taken in the direction of the film to accentuate the surreal, borrowing images of bowler hats (a hold-over from the original series) and other anachronisms as well as various mazes, exaggerations, and subtle word play to remind the viewer of the nearly cosmic level at which the events of the conflict occur. At the same time, the film retains the simplicity of layout in location and direction with very few actors, less extras, and no clutter.

The plot itself suffers from the same weakness that most TV adaptations suffer from. It is a two-hour pilot for a series that will never happen based on an existing pilot that was probably only an hour long (at the most). It admirably includes character development that may have been only imparted piece-meal throughout the course of the series, but ambiance (even the twistedly enticing nuances of this film) can only carry a movie so far. This one eventually ends somewhat abruptly and predictably with a fight and a big explosion, but all in time for tea.

Definitely hit this one on video. If you can, hit a Matinee (especially if you've seen the show). You might even want to see it with a bunch of friends, but you should probably wait for second-run on a night that you're willing to go "What the hell." But however you see it, and you eventually should, look for all the goodies and gadgets. Peek into the background. And, enjoy how Steed and Peele react to each other as they decide whether, and how, they can co-exist.

This week's film was BLADE.

Blade is an adaptation of a comic-book storyline that follows a vampire-hunter who himself is the offspring of a vampire. This convention happens rarely enough that I felt compelled to see its latest permutation.

Wesley Snipes plays the sternly silent killer know by vampires he hunts as the "Daywalker". A name that attests to his abilities to resist those weaknesses such as daylight and garlic that vampires may fall victim to. He is assisted by Whistler, a grizzled vampire hunting veteran who is Blade's companion and weapons developer. The two follow vampire migrations from city to city and do their best to eradicate the species.

There are some marvelous fight scenes, particularly the hand to hand action. Snipes' unflinching manner is almost reminiscent of Clint Eastwood's spaghetti westerns as the ultimately collected lone warrior. The fountaining over-abundance of blood is almost chilling as the slain vampires go through their final death-throws. And, there is some really good direction.

However, the film suffers from attempting to condense a plot that probably took over a year to publish in serial form into 110 minutes. While the main characters are appreciable (the heroes more than the villains) there are times if you wonder that a particular minor character is presented almost as an obligation to the reader of the comic book (of which I am not) as their screen time is awkward and often irrelevant. You get the feeling that you are missing a chunk of the story, and you probably are in terms of character and sub-plot development because it just wouldn't fit.

There were some interesting twists, and some of the choreography, as I've said, was pretty cool to watch. If you see this film observe the backgrounds. Often times the human population is moving at a different film speed as the less action-oriented scenes are played out. Also, there are some chilling depiction's of how far the vampire infestation has progressed as the background of a car chase may pause on streetcorner to focus on an image of vampire feasting on a prostitute or an intense and unnoticed act of random vandalism by a street gang.

See this movie in the theaters if you REALLY like MORTAL KOMBAT. You may bother to see it second run if you Really like vampire films (but be prepared for moderate predictability). And bother to watch it on pirated cable if you want to see Wesley Snipes kick ass.

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Kick Ass Preview of last week:

When watching the previews for THE AVENGERS, I saw a trailer for SOLDIER starring Kurt Russell. Kurt Russell (ESCAPE FROM NEW YORK, TANGO & CASH) plays a genetically obsolete soldier left on a backwater world which is soon threatened to be overrun by top of the line troops from the government that created him. Russell has to decide whether or not to lay down and die or help the small population of humans who have taken him in. (I wonder what he'll do?) I heard about this movie last spring. Apparently Russell speaks very little. Less than Arnold in the Terminator, if you can believe that, and has received what is believed to be the highest income per word in the history of Hollywood for his work on this film.

Kick-Ass Preview of the week:

In the trailers for Blade I saw a preview for a movie called VAMPIRE$. John Carpenter (THEY LIVE, ESCAPE FROM NEW YORK, HALLOWEEN) is producing and MAYBE directing (I will check for those interested). VAMPIRE$ is based on a book I read almost eight years ago of the same name by John Steakley. The basic plot centers around a group of vampire hunting mercenaries (not generally nice people) working for the Vatican who are lead by the toughest man in the world, Jack Crow. The tables are turned as the group learns that the Vampires have learned of their existence, in particular, the identity of their leader. New methods of fighting the creatures must be found (and are) in order to survive, much less continue defending mankind. James Woods plays Jack Crow. A quote from the pre-text of the book sums up the mood of the novel pretty well:

"I know fucking well there's a God because I kill vampires for a living. Are you listening? I kill vampires for money. A lot of it. So don't tell me there ain't no God. I know fucking well there's a God.

I just don't understand Him. - Jack Crow"

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So, there you have it. This is a grossly expanded version of what I plan to do each week, so bear in mind that there will only be one movie review per entry in the future (unless I see something that really needs to be known about). Kick Ass Preview of the week will only be reported as sufficiently Kick Ass Previews present themselves. And, on hopefully rare occasion, I may get on the soapbox to respond to one issue or another, or to answer questions or criticisms, but this won't be regular unless popularity demmands it.

Thanks for your time everyone. Talk to you next week.

The High Commander of Cinema

P2

Greetings Cadets!


This is a pre-emptive review to serve you, the Good and Faithful, and to help avoid some confusion in your upcoming cinematic viewing pleasure.

DON'T BE FOOLED

P2 is NOT a sequel. It is an episode of Seinfeld gone horribly, horribly wrong.

That is all.

Until next time Cadets, remember, don't park by strange vans.

The High Commander of Cinema