Reviews

What a movie! It's no wonder that martial arts movies have for years been stereotyped as crap, this movie is the archetypal example. Still, it's great fun. If you want to see a movie where the heroes have thick accents to accompany their less-than-stellar acting, this is the one. Very little plot-wise makes sense, but this may be one of the few films that deals with the predicaments of Asian-American youth in any way, not that it does so realistically. Jun Chong is great as FOB leader Young and Phillip Rhee is amusing in an early performance. The sequence in the liquor store featuring the thug with the giant flute is simply classic! How did these people think to include such things?!? To the film's credit, the fight sequences are actually well done, and karate legend Bill Wallace adds a touch of class with his presence, though I wonder what he was doing in this movie. If you can find this movie anywhere, do watch it. It will encourage you to make a film of your own.

This movie used to play on TV every once in a while, and its production values are more big-screen than small. The story is standard cop fare, but the pacing in impeccable. Some familiar faces (Robert Vaughn, Leslie Nielsen) are present, and the performances overall are more than adequate.

This movie is hard to find (it exists on VHS) but if you happen to catch it on TV, give it a watch.

Yes, this movie is one of the many children of the Bruce Lee era, but honestly, it is one of the most entertaining.

Everything from the sets to the story reek of cheapness, but it's all good. Jim Kelly has great fighting skill and the mere presence of Bond alumni George Lazenby and Harold Sakata is enough for the film to warrant a look.

The story -- concerning a fiendish plot to "freeze-bomb" the world -- is absurd, but the elements that populate it -- kung-fu, hot chicks, and grunting henchmen -- combined with great locales and a goofy soundtrack, make it a doozy.

If you expect Enter the Dragon, you won't get it with Death Dimension a.k.a Kill Factor, but this movie is still some great fun. Look for the senseless closing frame; it seals the deal.

Rudy does it again with this hot off the streets follow up to Dolemite. This entry is filled with the requisite Rudy Ray Moore raunch, humor and martial arts. Rudy eludes a crazy red-neck sheriff in this movie that also features an infamous scene where Rudy dives down a steep hill. See it for laughs and for a brain-blasting hit of Blaxploitation magic.

Fun action B-film in the Grand 1980's one man army tradition. It's great to see Marvin Hagler as an "actor". The story itself is pretty typical. A lone-warrior "Shane" type deal, but it's in a fun setting, and the action is hot. See this movie and reminisce about what B-action movies used to be like.

Fleshburn is a violent revenge story starring minor action hero Sonny Landham. The story really doesn't really break any new ground in terms of its structure, but it does incorporate a strange, spiritual element in its central conflict, and uses a Native American villain in a non-typical, not-so-stereotyped way.

The action in the film is intense, as it emphasises the psychological trauma of those involved in the peril of being stranded out in the desert by the Landham character, as opposed to a lot of gunplay or explosions. Fleshburn is something a bit off the beaten track, for those who want a look at a different action-type film.

This is one in a long line of blaxploitation films made during the 70's that were designed as money making vehicles. Most of them are simply terrible, but Melinda is actually a cool one.

Its basically a revenge tale, but it is chock full of melodrama and excitement. The story is an overdone one, but the films' cheapness actually benefits it. The settings seem authentic and the movie actually manages to capture some street life in it.

Admittedly, the acting is not excellent, but somehow the film manages to be entertaining in a "ghetto" way. Don't go out of your way to see it, though.

John and the Missus is a simple,touching and heartfelt story based on the novel of the same name by director, star and writer Gordon Pinsent. Concerning the trials and tribulations of a small mining community on Canada's east coast, the film contains beautiful scenery and excellent performances by all of the cast.

At times very tragic, the film manages to also convey feelings of hope when its characters must deal with the prospect of abandoning their lifelong community.

The film is metaphorically as well as visually rich, and is far superior to many films of exponentially higher budgets. A very potent human story, highly recommended.

Utu is quite a good film. Having said that, it is quite possible that we have seen it before in other settings.

Utu is unique in that it is one of the few films available in North America dealing with the Maori culture of New Zealand. Other than that, the film is basically an anti colonial sentimented film which could have taken place almost anywhere else in the world where colonialism was experienced.

Utu still manages to pack a punch in the very earnest way the main character sets out to rid his country of the white invaders. Utu, meaning revenge, is the basic theme of this story. The colonial army in the film pillages Maori villages. The Maori corporal who quits the army to fight against it seeks revenge. The story is simple, yet compelling.

The film examines imperialism in a light not uncommon to stories of this nature, but it is better in the sense that it does not try to gloss over the anger of the natives by arming them conveniently with western values. That is a crime many movies are guilty of. The level of violence in the film is typical by genre standards, and it actually lends itself to the films raw emotion. This one's worth a look.

You mean you've never heard of Saturn productions? Well, the now defunct company used to churn out Kung-Fu flicks such as the great Mantis Vs. Falcon Claw during the 70's and 80's. Mantis is easily the best of them all. Humorous, even by cheap-fu standards, Mantis features a fight with a fan (not a fanatic, but an actual folding hand fan) and many other interesting little unrelated encounters. The dubbing is atrocious (which means its great fun). The fighting is furiously great, but the main reason to get your hands on the tape would be to watch the previews for other Saturn productions which appear at the film's end.

Year of The Dragon is a controversial picture at best and has been subject to debate over its presumed racist themes. This gangster flick centers around a Vietnam-vet cop (Mickey Rourke) and his Triad adversary (John Lone), and is probably more thematically correct in terms of the gangster depictions than most Hong Kong flicks of the same nature. The movie has many residual sentiments from Vietnam and this is personified through Rourke's racist character. The film itself not necessarily racist as it is more of a reflection of the defensive nature of people when confronted with change in their environments. As a gangster picture, this film shines and is also one of the best developed cop pictures of the eighties. The action, while well staged, is overshadowed by the dramatic tension which never lets up. If you've missed it, see it.

'Tongs' is essentially 'Scarface' in Chinatown. As such it is an intense story, filled with the violence and melodrama that make the gangster genre so compelling. Simon Yam is great as a migrant who comes to America and blasts his way to the higher rungs of the underworld ladder.

A diamond in the rough for gangster fans. As good or better than many of the similar Hong Kong crime tales, not counting John Woo or Tsui Hark's work.

This movie, "New York Cop" has nothing particularly new to offer genre fans, but the story, despite its' familiarity, is engrossing. It is refreshing to see a cop movie with actors you don't necessarily recognize, so as to create a more authentic atmosphere in a sense (not to say that the acting was great). A cop struggles with gangsters and partners and loyalty, which is typical, but the action sequences in the film are tense and exciting. Mira Sorvino is in this film, which is interesting to see given the direction her career took, although she plays nothing but a novel role here. Still a good cop film.

Trespass is an action movie. No doubt about it. But to judge it accordingly would be a mistake. Walter Hill, one of the best action directors ever, is at the helm of this movie, which automatically makes it worth a look.

The movie concerns a couple of hick fire fighters (Bill Paxton and Bill Sadler, in great roles): one a classic hick, the other a borderline psycho, chasing treasure in the ghetto. They eventually cross paths with some big-time G's (gangsters) led by Ice-T and Ice Cube.

The story still sounds familiar, and for Hill it is a return to certain familiar territory. Like many of his pictures the movie centers around machismo and male posturing, but not since Hill's 48HRS had he done a film that contained some subtle social commentary on race relations, and paranoid stereotyping. There are fierce gun battles as expected, and the story is never boring. "Die Hard in the Ghetto" , may have been an equally suitable title.

The movie is tense , funny and great, and sadly, was ignored at the box-office during its' Christmas 1992 release. Fortunately, it has been immortalized on home video and DVD.

The movie Hurricane Smith on its' own, well, isn't very good. You've seen the story before: A man seeks a lost one in a far off land and violence somehow ensues. It's a fish out of water story as a Texas roughneck battles Aussie rednecks. But the roughneck is Carl Weathers! (Apollo Creed to all you Rocky fans) Weathers exudes a determined and righteous presence that is very rare. And his intensity makes the movie great. The script could have played up the hostilities of this novel setting a bit more, but that may have been asking to much of such a movie. But Carl Weathers makes it worth watching. Why he has never risen above Apollo Creed is beyond me.

Operation Dumbo Drop is one of those movies that despite its' implausible and shallow trappings, is wholely enjoyable.

The movie is set during the Vietnam War, a setting in time not particularly known for its' lightheartedness. The story concerns a group of soldiers who must replace an elephant from a village where one was originally a war casualty. Sound ridiculous? Well, it is. However that does not stop the completely likeable cast including Danny Glover, Ray Liotta and Denis Leary from appearing to have fun with the movie. While the movie is set up as children's fare, there are some relatively intense scenes of war which are inevitable given the setting.

Yet through it all, the story manages to exude humor and warmth which make it easily one of the most pleasant Vietnam-era movies ever. While not necessarily recommended for all kids, this movie is family friendly and entertaining, contrary to popular belief.

Kickboxer 2 is, well, an unnecessary sequel which unfortunately lacked the presence of the phenomenal Jean-Claude Van Damme. Despite this, the movie manages to be a great deal of fun. The fights are well staged and there is an excess of campy acting which is a requisite of this genre. It is one of many of these types of flicks which could make you cry if you take it seriously, in that you'll regret paying money to rent, or (God forbid) buy it. However if you ignore the lack of substance and enjoy it for what it is (which is very little), you will find that you may even start to love (perhaps pity) the movie for it's ignorant simplicity. Heck, Tong Po is back and in always ready for carnage. Sasha Mitchell makes a decent replacement for Van Damme perhaps lacking in physique and skill, but definitely on par in the brain power department. This is best described as a guilty pleasure.

Eyes Wide Shut, Kubrick's final film was well worth the wait.

Meticulously crafted as with all of Kubrick's films, Eyes Wide Shut moves slowly but provides many interesting moral scenarios for Tom Cruise and Nicole Kidman's characters to contend with.

Many scenes, including the ritual-like scene in which Cruise's character finds himself within a ceremony of masked, zombie-like people, grow on the viewer and provide a nightmarish world, while being completely believable.

The film does not tie up all ends, and of course moves at a very deliberate pace, but it is never dull, and like other Kubrick films like Dr. Strangelove, 2001 and A Clockwork Orange, is impossible for the viewer to remove from memory.

This movie was one of many to supposedly offer theories as to the mysterious death of the ultimate kung-fu superstar Bruce Lee, and undoubtedly for him just another reason to roll over in his grave.

This movie contains a popular theory that Lee was killed by greedy film producers, and from there the film is simply a springboard for countless fight scenes with then rising Kung-Fu hero Ron Van Clief (The Black Dragon)

Boring after awhile, but entertaining in the nostalgic sense which envokes memories of all the wild conspiracy theories surrounding Lee's death at the time, and of all the martial arts hopefuls who wished, in vain, to fill Lee's shoes in the movies.

Make no mistake, Lethal Weapon 2 is a sequel. But, as such, it is almost as fresh as the first film.

Unlike many movie sequels which simply try to re-create and recapture the flavor of the first, the Lethal Weapon franchise is allowed to grow and mature to an extent in LW2. Riggs is no longer the maniac suicidal (well he still is a maniac) and Murtaugh now works much more in sync with him. The pair are now like a well oiled machine, although they still have their disagreements. Humor is one element that is taken to a higher degree in this film, and it is an effective tool in moving the film along, where as in the first, suicide contemplation and other dramatic scenes served a similar function.

The film however, could not have succeeded without heinous villains, and despite the fact that their activities are never explained, the South African diplomat/criminals serve as formidable adversaries.

Lethal Weapon 2 does of course require the viewer to have seen the first film in order to fully understand the characters and certain references, but still, as a companion piece to LW1, or as its' own film, LW2 is solid entertainment.

A Better Tomorrow is a film best watched with some level of familiarity of the John Woo films that followed it. This forceful melodrama is largely responsible for the direction Hong Kong cinema took in the years up to the 1997 handover. The story is largely familiar to Woo fans and concerns many emotional elements like friendship, honor and forgiveness. All of these elements come to a head in the form of violence. The gun battles are not as ferocious as those in Woo's later pictures, but they manage to illustrate many emotions on screen that had not been seen in any similar action picture to that date, save for some from Sam Peckinpah's prime, like the Wild Bunch. As in all of Woo's gangster films, the villain is a pure figure of evil and the heroes, despite being morally questionable, are very righteous. Chow Yun-Fat's now legendary performance is the real clincher here, but the whole cast is good. Some of the makeshift dramatics are obvious and slightly hinder the film from being taken seriously at times, but given this was a change of direction for Woo, this is understandable. The climactic shootout is awe-inspiring, and it leads to an even more emotional showdown between the protagonists and the crime boss.

Overall, this picture succeeds using the same core elements that would later make John Woo's work so fabled.

The Octagon on the surface is just another in a long line of not-so-great Chuck Norris karate pictures. But wait; there are differences.

Admittedly the quality of production is poor, but the addition of ninja assassins as chief antagonists was interesting. It should have intrigued us, but the film was just not meant to be great. The most entertaining aspect of the film is Chuck Norris' voice over narration of his thoughts. His voice echoes in whisper whenever he thinks of anything. This element may have been meant to be mysterious, but obviously it was just another part of the movie that may have swayed the viewer into thinking this was a comedy. This movie is at best described as a guilty pleasure, or something to watch on a night when you can't get to sleep. But for sarcastically humored people, or just undemanding viewers, The Octagon is fun to watch.

This movie, something of a prequel to Billy Jack, starts off looking like a typical cheap biker film of the era, but somehow despite the poor performances and non-existent plot, manages to entertain on some levels. Billy Jack, the Native American protagonist, defends an ungrateful small town from local biker hoodlums. Since Billy is the closest thing resembling a sympathetic character in the film, other than a girl victimized by the bikers, the viewer accepts his tough-guy approach to dealing with the biker gang. All the confrontations lead to a somewhat tense climax at a gang pad, where Billy finally manifests his final violent justice. This movie tries to portray Billy as a lone hope hero in a world gone wrong where few intervene on behalf of their fellow human being, and it comes off as being ridiculous in some ways, however despite that fact and Tom Loughlin's lacklustre performance as Billy, the character still exudes the quiet confidence of a western or kung-fu hero. By virtue of this, the film is watchable.