Reviews

Passenger 57 came out at the crux of the "Die Hard on a..." boom in the 90's. Speed, Die Hard 2, Skyscraper, Under Siege and it's sequel, No Contest and Passenger 57; all films that capitalized on the huge success of a single film that literally created a new sub-genre of action film. And though there were countless "terrorist" themed action movies before such as The Delta Force or Invasion USA for example, it really wasn't until Die Hard in 1988 that really turned the action genre on it's head. What soon followed was a barrage of copy-cat's that offered the same premise, just in different locations such as a boat (Under Siege), bus (Speed) and plane (Turbulence, Air Force One) rather than an office building. And then there were the flat-out shameless ripoffs like Skyscraper and No Contest. I have to admit though, I do still love those two quite a bit, but for completely different reasons other than being an action film.

While some of these types of films are better than others, Passenger 57 is one of the better ones. It's a serviceable terrorist/action film that takes all the standard tropes associated with this new genre and doesn't bring anything new to the table, but puts it all together rather well and effortlessly. As you can estimate by it's title, Passenger 57 takes place on a plane. Well, about a third of it actually takes place on a plane to be more accurate. But that's okay, because the change of scenery does wonders for the overall structure, in that it never gets boring or feels stale. The constant shift in location (hospital, plane, carnival, landing strip, then plane again) keeps the film visually and narratively interesting while keeping you, the viewer, on your toes.

This was Wesley Snipes first starring role in an action picture. While he had been a star in his own right well before this film in comedies, dramas and thrillers, this was the first time he was the main star of any film, let alone an action one. So it's safe to say Passenger 57 kickstarted his long and lustrous action career. Though he would continue to dip into more dramas, thrillers and a few comedies, it was really in the action genre where he flourished, even more so when he took on the role of Blade, the immortal vampire in 1998. But really, what better way to begin your action career than with this fairly by- numbers, yet highly entertaining exercise.

What kind of surprised me was how good this ended up being, and how for some reason it never received the type of status or hype as other "Die Hard style" action films did, like Under Siege for example. It has everything you'd want; action, fights, explosions, an excellent English villain, a killer roster of character actors (Tom Sizemore!), and a hip, fun vibe with plenty of style to burn. That's another area I found surprising. Passenger 57 is directed by Kevin Hooks, who up until this point had previously only worked in television, with the exception of the urban comedy Strictly Business the year before, yet did such a fantastic job handling a big budget action film his first time out. In fact, he does a much better job than most current action directors working today, which surprises me that Hooks didn't really make it big as an action director. Sure he did Fled and Black Dog later, but they just didn't seem really up to par with what he could do as a solid director in this genre. Yet at the same time, it seems to be a trend with these directors. They knock it out of the park with a solid film, but then sort of fade into obscurity. It happens to nearly all of them; Jan De Bont, Renny Harlin, Andrew Davis, Dwight H. Little, Geoff Murphy and most certainly Kevin Hooks.

You won't find anything groundbreaking in here, but it sure was a helluva good time from start to finish. Wesley Snipes shines, even impressing us with some killer stuntwork, while resident bad guy Bruce Payne again delivers yet another fantastic villain. Seriously, the guy is underrated as hell. For me personally, if I see his name in the credits, it's almost a guarantee I'll have a good time. The films constantly shifting locations keep the film moving along at a breakneck pace, while simultaneously ramping up the tension, suspense and thrills as the film progresses to a satisfying climax. Really, you just can't go wrong with Passenger 57. More people need to be aware of this little gem.

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We can all agree that most horror franchises lose a fair amount of steam at some point. Michael, Leatherface, Pinhead and Freddy all suffered from too many bad sequels, and Jason is no exception. Honestly, the last great Friday the 13th film was Part 6: Jason Lives.....31 years ago. Sure, people tend to love some of the others that followed for various reasons, but most certainly not because they're great horror films. Enter writer/director/actor Vincente DiSanti, who spearheaded a Kickstarter campaign in 2016 to fund an originally estimated short 22 minute fan-film. With an enticing teaser trailer and fantastic incentives, it's no surprise that they surpassed their goals, which might explain why it turned into a 55 minute film rather than the original 22. Anyway, here we are in October of 2017, with the film brilliantly being released for FREE all over the world on.....wait for it......Friday the 13th! Amazing. Let's dig in.

An avid back country hiker and vlogger, Kyle McLeod, is out hiking on a solo trip when he stumbles upon a deserted camp. He soon discovers that this camp has a brutal history and worse yet, he might not be alone.

Never Hike Alone is hands-down one of the best Friday the 13th films ever made. DiSanti and his crew took all of the fundamental elements that made the franchise so great in the first place and puts a fresh spin on it by incorporating the found footage narrative. But wait! Before you roll your eyes, hear me out. I personally can't stand found footage films. I find them lazy. But the way DiSanti incorporates it into Never Hike Alone works brilliantly. It's only a small tool, and thankfully, most of the film is shot traditionally. Even so, the found footage angle is still done surprisingly well, in that it's not shaky- cam nonsense, which was entirely refreshing. And that's another thing I found surprising here. The film itself is visually impressive. In fact, if you were to judge it purely on the camera-work alone, it's a better looking film than any of the last 6 in the franchise, including Freddy VS Jason. But that's just me. On a technical level, it delivers the goods in every single department; from the sound editing, the score, the effects, the stunts and most importantly, the editing. It's a trim 55 minutes that never overstays it's welcome, and utilizes every second to help push the film further along at a brisk pace.

On a narrative front, the film packs a punch. While the first half does a good job of setting things up in a timely manner, it's really the second half that delivers the slasher goods, and boy you're in for a treat. Every creative and technical decision DiSanti and his crew make bring the film to life in such a startlingly frightening way, that it makes you wonder why filmmakers today can't make films like this anymore. He doesn't bring anything new to the table, other than the found footage angle, but uses the typical slasher tropes to full effect, and in some instances, enhancing certain elements for a much more visceral experience. I don't want to give too much away before you've actually seen it, but needless to say, Vincente DiSanti did his homework. For example, every single time Jason (DiSanti) took a step, it sounded like a giant dinosaur was walking the Earth. You felt every single step. And that brings me to DiSanti's portrayal of Jason. He does a phenomenal job. The guy is big, and he takes on the role with gusto. I'd have to say it's probably one of my favorite Jason's after C.J. Graham in Part 6: Jason Lives. The makeup department also needs to be commended. I loved Jason's "look" in this. Traditional, yet cleaner. Again, it's more in tune with his look in Part 6 than say his zombie-look in Part 7 and 8.

If you've been missing a good traditional slasher, then Never Hike Alone will surely fill that sweet spot. The film was filled with nonstop surprises for me. It's so good in fact that you'll want more. You'll wish they were able to stretch it out for an extra half hour, but trust me when I say that it's a strong 55 minutes and just as long as it needs to be. And wait till you see the surprise at the end. I couldn't believe it. Such a.....awe hell. I'll just let you experience it for yourself. Just a great bombshell in an already great experience. I think you'll be pleasantly surprised at how good this little crowd-sourced film is compared to big budget studio films in general. Only, it's not just good.....it's GREAT!!

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Holy cow everyone. I can't believe how great this film was and how nobody EVER talks about it. How is that possible? This is the very definition of a lost gem. And it's such a "different" type of film altogether. I wouldn't even know how to categorize it really because it's like a melting pot of different genres, but it works! It's like Scorcese's After Hours, only set in California in 1985. And make no mistake, this is a very California film and it's amazing. Every single frame is drenched in 80's Hollywood, CA nostalgia. But it carries very much the same tone as After Hours, so that should give you some indication as to what to expect.

While I do watch a lot of movies on a weekly basis, with a lot of them being great, I can't remember the last time I was this surprised, enthralled and in love with a film experience. It's one of the most amazing films I've ever seen, and some of the most fun I can remember having with a film. It's like a dark adventure, thriller, comedy (while not actually being funny), drama and romance, all mixed together in a way that very few films can actually do. I don't even know how you could possibly and effectively even advertise this, so I'm not entirely surprised that it didn't do well in the theater. What blows my mind is the fact that I'd never even heard of it until now. I mean, for someone who grew up on Landis films, and just cinema in general in the 80's, it's quite a feat, yet it happened. And really, it's a travesty. More people should know about this film, more should be aware. It's such a unique film altogether, and if you love cinema, obscure films, or even if you just love John Landis films, you owe it to yourself to check this out as soon as possible. And I'll say it again, it's unlike any film I've ever seen. It's kind of like a dark, surreal odyssey through 80's Hollywood in the span of about 2 nights, with so much happening and so much being thrown at you, all in a very unconventional way that you don't really know how to take it all in until it's over, and then it just kind of hits you all at once and you realized you just had one of the most interesting movie experiences you've ever had.

I absolutely loved and adored every single aspect of Into the Night, right down to it's title font. So much of this film just gets nearly everything right. John Landis, who has never been the most "visual" director, absolutely knocks it out of the park here, framing every scene in a very John Landis way, while also pushing his own envelope a bit, giving it more substance to every shot. I don't know how else to explain it, but if you're familiar with his very particular way of shooting, just imagine that but more, bigger, better and more impressive. Think of his work on The Blues Brothers, only more slick. Another surprising element is it's impressive soundtrack, led by........B.B. King of all people. And while that sounds a bit strange, to me at least, you'll be surprised how well his title song, complete with 80's synth (seriously!) fits the film so well. I had to keep asking myself "That's a B.B. King song??". I don't know if it was a trend he was riding in the mid 80's, but the synth background music that played along with his guitar and lyrics was magnificent, and encourages me to want to check out some of his stuff from around this time.

This was the first film John Landis directed after the Twilight Zone: The Movie tragedy, and if I'm not mistaken, he may have even been in the middle of court proceedings during this time. Maybe that accounts for it's dark tone? I don't know, but I should also mention that Landis also appears in this. While he's been known to pop up in his films for a brief moment here and there, I'd never seen him in such a large role, and I must say, it was awesome. His character never speaks, yet it's his physical actions and reactions that speak volumes and generate legitimate laughs. It's both admirable and impressive on a number of different levels and for a number of reasons. It makes you wish he acted more, because he was a revelation, even though he never spoke a word.

Into the Night is the very definition of a lost, underrated or obscure gem. Very few films pack the same kind of visceral punch that this one does, and the fact that it's gone largely unnoticed is such a sad reality, when in fact, it's quite an amazing film. It refuses to be boxed into a single specific genre, or defined because there are so many different elements that make it so unique. Even for a film that could in some ways partly be called a dark comedy, there is violence that will surprise you that always comes out of nowhere and blindsides you. And that's one of many wonderful elements this film provides you, the viewer.

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I remember fondly when this came out. I remember that it was an HBO production, and most importantly, that it was directed by Anthony Hickox, who I was as big fan of at the time. I loved the premise too, cops who turn into werewolves and dispatch vigilante justice in L.A.. But it's primarily an action flick, and above all else, that's really what sold me. And in that department, boy does this deliver the goods. I remember enjoying it initially, but I can honestly say that I haven't seen it since. So we're talking a good 24 years now, and I was hoping that this still lived up to those positive memories. And as chance would have it, I watched this during our much hyped Full Eclipse, but instead of going outside to view that, I decided to watch this "other" Full Eclipse instead. I think I made the right choice. Let's dig in.

Did Full Eclipse live up to my expectations? The answer is a big fat YES. I have to be honest, I'd watched a few films before this that just didn't do anything for me, so watching this one completely made up for that. It was everything I wanted in a film like this and more. The best way I can describe it is that it's like an early 90's John Woo flick, only with werewolves. There is a ton of action in here, and it's hyper-stylized in a way that is very John Woo on steroids. And I have to give it to director Anthony Hickox (Waxwork 1 & 2, Hellraiser 3). For someone who's stuck primarily to horror up until this point, he does a fantastic job handling the action sequences. In fact, I'm sad he didn't end up becoming a bigger action film director or sticking to this very specific style of directing . But much like other directors, his visual style and approach began to change and he just never carried the same aesthetic or visual tone that some of his better earlier films had. Looking at his filmography, and their comments, reviews and ratings are tough to see. The guy and a lot of his DTV films have been slaughtered and savaged by bad reviews. But I guess I should judge for myself and check them out at some point. All I know is that I attempted to watch one of his later films once (forget which one), and I just couldn't get through it. It was a hand-held shaky-cam mess and I couldn't believe it was the same guy who I admired so much up until that point. I mean, this is a guy who has done some amazing things visually with a lot of his early films, and I just can't stress that enough with Full Eclipse, a film that blindsided me with it's visceral punch of hard-hitting action and spectacle.

While this film carries elements of both the horror and action genre, it's really in the action where Full Eclipse excels. There was never a single moment during the action sequences where Mario Van Peebles wasn't shooting two guns at the same time while simultaneously flying through the air a la Face/Off or The Killer wearing a black suit and tie and landing on his stomach or back as he continues to shoot off rounds Chow Yun Fat style. Amazing. And again, it's also in Hickox's compositions and framing. Each scene, whether it be in the action or anything else, are so slickly realized and composited. It's hands down one of the slickest looking action films I've ever seen, and easily his most visually satisfying work to date.

While Mario Van Peebles was excellent as the lead, special attention must be made to the lead villain here, played by none other than resident bad guy Bruce Payne, and oh my word is he just amazing here. His attempt at an American accent is one of the most mind-blowing things I have ever seen, and really makes the experience all the better. It's bad, cheesy, over-the-top and quite simply, amazing. The rest of the cast is pretty solid too, with no weak links. But again, the real star of this film is Payne, and he steals every single moment he's on film.

While there's an insane amount of satisfying action, it's also a werewolf film, and in that regard, it also doesn't disappoint. I really have to give Hickox and HBO props for going the practical effects route on this one, because they could so easily have gone with lame CGI in it's infancy and it would have been absolutely dreadful. But I shouldn't really be all that surprised. After all, Hickox is the main who gave us the excellent Waxwork. Remember the werewolf design in that film? If you liked it, then you won't be disappointed here. Again, mad props to the team for going the old school route and not giving into the CGI fad.

This was a blast from start to finish, and a ton of fun. Much like other 90's films I've recently revisited such as Timecop and Freejack, Full Eclipse is an awesome example of this very specific type of action film, the 90's kind, and I really hope it gets a Blu Ray release someday. Though I will say that this DVD, even though it's from 2001, looks really good. The transfer was better than I was expecting, so I'm not complaining. Plus, I still dig those sweet snap- cases. If it's been a while, or if you've never seen it, it's absolutely worth your time to check it out.

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Young Guns II has very quickly become one of my all-time favorite westerns, even slightly surpassing Tombstone. Gasp! But I'm telling you, this absurdly entertaining sequel has it all and then some. Any issues I had with the first film, and there were a few, are completely corrected with this entry. In fact, I couldn't think of a single thing to complain about here. It's about as perfect and awesome as a western could possibly get, and I know, that's a bold statement, but holy smokes this was fun.

Released just 2 years after the classic original, this film picks up years after the events of the first film, where Doc (Keifer Sutherland) has moved on and tried to put The Regulators behind him, while Billy (Emilio Estevez) continues his exploits and has a few new members of the group along for the ride. When the governor puts a bounty on Billy's head, he recruits former Regulators member and friend of Billy's, Pat Garrett (William Peterson) to bring him in.

Much like the first film, this one is filled to the bring with an insanely excellent cast in both the large ensemble as well as nearly all of the bit background players. If you're anywhere near my age (41), you'll spend a good portion of the film pointing out nearly every single notable actor and what you remember them from, no matter how small or insignificant their roles are in here, because to us, they're classic character actors and we've seen them dozens of times in some of our favorite films. And it's a blast seeing them all together in this film that never ceases to constantly surprise and entertain.

New Zealand director Geoff Murphy, whose most notable screen credit prior to this was the TV Movie The Quiet Earth, absolutely blows this one out of the water and completely stunned me with how beautiful and stylish this was, even for a western. Together with legendary DoP Dean Semler, these two create some truly stunning camera-work and imagery. Each shot was such a composition of precision and grace, constantly wowing me. While there are other great notable visually stunning westerns out there like High Planes Drifter, Dances With Wolves, Unforgiven and Tombstone, all of which I love, I personally feel that the work done here far exceeded my expectations and deliver (for me) the kind of visual experience I crave for these kinds of films.

I've always been a fan of Murphy, often considering him a vastly underrated director. I remember when Freejack first came out in 1992 and being in my early 20's and just loving his specific style in the way he directed. It reminded me a lot of Peter Hyams, and even Kathryn Bigelow. I loved it. And I have to say that his work here impresses me more than in any other film I've seen of his. In fact, this is making me itch to revisit both Freejack and Under Siege 2. Because of this film, I immediately just pulled the trigger and finally ordered another western he made a few years later, The Last Outlaw with Mickey Rourke for HBO. Needless to say, I'm pretty stoked for that one.

While I enjoyed Young Guns, I absolutely LOVED Young Guns II. It's just a better film all around, all tied together by Emilio Estevez' legendary portrayal of Billy The Kid. And as great as nearly every single aspect of this production is from the direction, to the writing, ensemble casting, cinematography and Alan Silvestri's thunderous (now iconic) score, it's really Estevez' performance that seals the deal. Even though I'd seen this several times before, I was just as enthralled this time, if not more, by his highly charming portrayal and infectious laughter. And it really is just a helluva good time from start to finish, maintaining a pleasant pace and vibe throughout. It's also a surprisingly macho film, with it's Bon Jovi title track and Alan Silvestri's retro-cool score punching your eardrums nearly every second. And let's not forget the legend that is William Peterson (Manhunter, To Live and Die in L.A.), killing it here as the legendary Pat Garrett. Seriously, I have a man-crush for the guy. I can go on and on about how great this often forgotten western is, but I think it's best for you to discover, or rediscover that for yourself. www.robotGEEKSCultCinema.com

I have to admit that around Maximum Risk and Knockoff (late 90's era JCVD), Jean-Claude lost me. I found no enjoyment in either of those films, and while I absolutely loved Double Team (1997), anything after went straight to home video, which usually means low-quality films, and that's just never a good sign. I did try a few of his films here and there, but I could never sit through one completely. They just weren't any good. So I pretty much strayed from him films until 2008's JCVD. But even then, with his career seemingly at a resurgence, nothing that came after that was any good either. In fact, the only thing I actually liked from him in the last 20 years is easily the Amazon show pilot for Van Johnson, where he was just absolutely brilliant. I haven't heard anything new about it yet, but I do hope it gets picked up for a series.

Philippe Savauge (JCVD), an army vet suffering from PTSD, is hired as a bodyguard for local boxing champ Wayne Barclay (Razaaq Adoti). When a local drug kingpin, Terrell Singletery (Viv Leacock) is released from a prison stint, he sets his sights on exacting revenge on Barclay from a long-running feud. Savauge soon realizes he has his work cut out for him and things get even more complicated when it seems like Barclay's sister and manager Tamara (Vivica A. Fox) might have a thing for Savauge.

The Hard Corpse reunites Van Damme with his Lionheart and Double Impact writer/director Sheldon Lettich, and honestly, that was the only selling point for me to actually make the effort to watch this. Sure it had been many, many years since either of them had a hit, but I went in hopeful. And you know, it wasn't bad. Not at all the kind of film I was expecting, but it wasn't terrible either. It was shockingly able to keep my attention even though it ultimately ended up being the kind of film that I don't necessarily seek out. And after having seen it, it's not a film I will probably ever watch again and won't go down as one of Jean-Claude's better films.

There's really not much motivation for you to actually check this out, unless you're a die hard completest of JCVD films. There's really not a lot of action, and you only ever see him use his martial arts skills during one scene in the film. Even then, it comes across so "blah". You'd never know these two (Lettich and Van Damme) were the same team behind some of his earlier classics like Bloodsport, Lionheart and Double Impact (a personal favorite). But still, it's not a bad film. Just not a good or enjoyable one. Sheldon Lettich, while one of the few who spearheaded the whole martial arts/action movement in the late 80's to early 90's has clearly lost his mojo by this film. While he would only ever direct 8 films in his career, this would be his last. What makes the experience more trying is that Van Damme just looks so tired and uninterested here. He literally looks like he couldn't give a damn anymore than he already does and comes across as completely bored and unmotivated. Sad day indeed. Not one of his worst, but you can certainly find a better way to spend an hour and a half of your time. www.robotGEEKSCultCinema.blogspot.com

I don't know how this one flew under my radar, because movie posters are one of my many passions, and a documentary about just that very thing would have immediately stuck in my head. But alas, I somehow missed this one. And I'm not entirely sure how I came across it now, but it looks like it was released back in 2016, but I guess it's never late than never. So let's dig in.

I think the topic of movie posters, and their ever-changing and evolving style is such a brilliant idea for a documentary. It's a topic that's rarely ever discussed anymore, except when complaining about the prices that any new Mondo release goes for. As for the state of movie posters in general, it's pretty sad, and I know I'm not the only one who really dislikes where they are right now with the big studios. Movie posters used to be an art form, just look at any of them beginning with the 20's going on through the 80's. Each decade offered a different style, but each very much an artistic endeavor, with the work being done in the 80's being a critical and commercial high point. Once we got into the 90's, it all started to change, with photography creeping into the format more and more and hand-drawn or painted artwork going out the window. And it's only gotten worse with Photoshop, where every single new film is either a floating head of the star, or a badly rendered collage of images from the film. Just look at most of Marvel's superhero films. Though I am loving DC's Wonder Woman marketing campaign and their colorful almost art deco approach to her posters, as well as Kong: Skull Island's classic artistic approach.

Personally I found this documentary to be highly enlightening, and thoroughly entertaining. It's not perfect, but a very fun way to spend 2 hours of your life, especially if you're an artist or collector of movie memorabilia. For the most part, I really enjoyed it, but I felt that it devoted too much time to the state of modern-day posters today rather than the art and skill of it in decades past. Meaning, a good chunk of this film's running time is pretty much spent on Mondo and other's like it, which is cool because they are the ones who reinvigorated the "hand-drawn movie poster" movement, but I really would have liked to have learned more about the older posters and their artists, which they do touch on early on, but I guess not enough for my liking.

At the same time it was interesting getting to see in person the artists that I currently follow, some of who's work adorns my walls, and their thoughts on the current movement and where it's headed. It also brings up an issue that I have with these new posters, and that's the flippers who buy the extremely limited quantities out within seconds and immediately flip them around for ridiculous fee's on eBay in a matter of minutes. I knew I wasn't the only one who had an issue with this and I was glad to hear from the artists themselves how it pretty much makes them sick that some (flippers) are only in it for the money and take so much away from the collectors who just want one to hang on their wall, not for profit. It's good that most new companies out there that do the same thing are mass producing them instead of limited runs of 100 like Mondo, that way anyone can get one if they want. I like that idea.

Definitely worth a watch and it's a fun one at that. Just wish so much time hadn't been spent on the current movie poster crisis, and instead focused on the classics and their lasting appeal compared to the over- Photoshopped nightmare we're currently in. But I get it, trust me I do. There's a resurgence and an urgency and art about the movie poster format and it's because of companies like Mondo and others. Hell, I still try to grab one from time to time because some of them are just too killer. One thing's for sure, watching this will definitely get you into wanting to track down some old favorites, or even check out what new artists are doing with them these days. www.robotGEEKSCultCinema.blogspot.com

From what I remember, this film kind of came and went with little attention. It rarely stands out as one of Rutger Hauer's more iconic film roles, and that's a shame really because having revisited this some 3 decades later, it's really a pretty great little film. I don't know why it took me so long to come back to it, or why it never stuck with me the way other action films from the same era did. But alas, I'm here now with some great news. Wanted: Dead or Alive rules.

If there's anything it's known for, it will more than likely be the fact that Gene Simmons plays the villain, here as a Middle Eastern terrorist who has a vendetta against Nick Randall (Rutger Hauer)., a bounty hunter. But really, Simmons barely appears on screen, resulting in more of a glorified cameo until the very end. It's really Hauer's show and man does he deliver the goods.

W:DoA surprised me for a number of reasons. First, it's more of a thriller rather than an action film. There is action, and it actually starts off like a great one, but there really isn't a lot in here, or at least not as much as you'd expect. But that doesn't take away from the enjoyment factor because regardless, it's a great piece of Cult Cinema anyway. One of it's other surprising aspects was just how well it was made. Writer/Director Gary Sherman (Vice Squad, Poltergeist III) displays a fine hand and a sharp eye for directing action. Well, not just the action, but the entire film. The film just looks fantastic, and clearly delivers the goods on a visual level. It's yet another reminder of how these little films were made at one point, 30 years ago, where directors actually put effort into setting camera's shots up, in giving the film an overall aesthetic. They don't do that anymore, and if they do, it's becoming exceedingly rare. Lastly, the whole Middle Eastern (Delta Force) terrorist angle obviously wouldn't play today, but it's interesting to see how often this idea was used in films back in the 80's, and how easy they made it look.

Gene Simmons never really broke out into acting the way he really could have, more often than not playing himself in television show guest stints, but he did score a few memorable roles as a villain (all in the 80's) in cult classics like Runaway, Never Too Young To Die and this one. He does so well in fact that it's a shame he never stretched his acting chops further into other areas or projects. Or hell, it would have been just as cool if he just kept playing villains for the rest of his acting career because he's so good at it, even when he doesn't utter a single line. His menacing gaze alone says enough, and comes off as way too easy and natural for him.

Rutger Hauer is a revelation in this. Much in the same way he made Split Second as enjoyable as it was, he's the main reason why this film is as great as it is, the glue that keeps it all together. It's his show, and he steals and chews every scene and every second he appears on screen. The film looks fantastic, and Simmons is a great villain, but it's Hauer who elevates this film to far beyond your average 80's action/thriller. He makes it fun, whether he's playing it as a straight up tough guy, or in the moments when he's vulnerable – Hauer gives the role a healthy dose of bravado, even when he's being a jerk.

If there was one thing I would have changed, it's that I probably would have liked just a bit more action, but that's not in any way a complaint, because as it stands, W:DoA is a fantastic film, with enough thriller and action elements to keep you entertained, on top of everything else you get such as a sharp script and memorable performances. If it's been a while, it's definitely time to revisit this little gem. You won't regret it.

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Until now, I had no idea this film even existed. I always felt that Carl Weathers deserved a better shot at being an action star, so when I see this randomly, I kind of got really excited. I thought "maybe he was bigger in the DTV circuit and I just wasn't aware?". I mean, look at that cover, and just the title alone sounds awesome. I was hoping for something along the lines of Action Jackson, but in a low-budget way. Who wouldn't?!

Billy "Hurricane" Smith is in search of his sister, who has gone missing in Australia. When he heads over there to find her, he's met with resistance from the community, and discovers she may have been mixed up in a drug-smuggling and prostitution ring.

While all the right ingredients are here, Hurricane Smith, sadly, resulted in a very tame affair. In fact, there's virtually zero action until the final 30 minutes. And while the action was fairly straight forward and competent, ultimately it couldn't save this film, which is sad really because this should have been a slam dunk.

Carl Weathers really deserves better than this. He does a fine job in the lead, but he's just completely wasted in this effort. It really carries more of a Made-for-TV vibe than a low-budget action flick because of the lack of well....action. And when it comes down to how he got his nickname "Hurricane", it's nothing like you expect. I also have to admit, it's really weird seeing him without a mustache. It's so weird in fact that it's distracting. The only other notable face in here is Jurgen Prochnow, as the always reliable screaming villain. You have to admit, the guy can scream well. His work in Judge Dredd 3 years later is another solid example of that.

It's hard to get past so many of the films absurdities because had the film been at least fun, or full of action, those little things could easily have been forgiven. But being null of any sort of excitement whatsoever, you can't help but notice. For example, there are never any cops around, ever. Even during this one sequence with a car chase where the main bad guy chases down a bus full of passengers, crashes both vehicles causing them to flip over, gets out of the vehicle, turns it right side up, gets back in and continues a chase all while shooting his gun while dozens of people are crawling out of the bus. No cops anywhere. There's another scene where he's (the villain) chasing a woman through a hotel with a large butcher knife screaming that he's going to kill her, and nobody says or does anything. The film is full of moments like this and as I mentioned, could easily have been overlooked or even gone unnoticed if there was action to distract you.

All in all, a wasted effort in my opinion. Cool title, great actor in the lead, and a very early 90's vibe that's marred by a dull script that doesn't offer up any of the things you want to see in a low- budget action film titled "Hurricane Smith" and starring Carl Weathers until the final act, and by then, you're kind of over it. I will say that the action, when it finally appears, was done competently well enough to be interesting. It won't blow you away or anything, but at least when it does finally show up, it's not bad. But really, Carl Weathers deserves better than this.

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What a completely pleasant surprise this was. For me, this tiny little film was able to do what Marvel's bombastic budgeted film was unable to, and that's entertain me. One of the most endearing things you'll notice immediately is that this is indeed a rather small production. So small in fact that it reminded me of an episode of a television show. But that's also one of it's greatest qualities. Because the film is so small and so intimate, not relying on a abundance of special effects or bad CGI to tell the story, rather the actors themselves and it's because of this that Doctor Mordrid is as great as it its.

Let's begin with Jeffrey Combs, who soars and excels as the Doctor. His performance as the titular Mordrid is really the biggest plus that makes this film as entertaining as it is. His intensity, even in the most mundane scenes, is oftentimes hilarious and mesmerizing at the same time. Combs sells it, and it makes me wonder how great he would have done in the role of Dr. Strange. One of the other highlights of this film is none other than cult cinema icon Brian Thompson as the villain Kabal, another mystical sorcerer who chooses to use his powers for evil. Aside from Combs, Thompson is another reason that this film works as well as it does. His peculiar accent and mannerisms help give the character of Kabal a much more memorable presence, and it's hilariously cheesy awesome.

Like I mentioned before, the scale of this film and it's story is so small that it looks and feels like an episode of a TV show, but that doesn't make it any less entertaining. Quite the contrary. It was a highly enjoyable experience and exactly what we were needing after spending the day watching a few duds. Could it have been better? Sure. Was it bad? Hell no! But what blows my mind is that I found it far more entertaining than the film I just saw in theaters last month. Even with all those insane special effects, they couldn't fix the fact that the film was really dull. At least in this one, you're invested, entertained, and you genuinely care about what's going to happen next, whether it's silly or not.

While this film isn't filled with the amount of effects and magic play you hoped, I will say that what is in here is done rather well. Yea it's early 90's grade effects, but within the confines of the film and it's universe, they work well. I think the thing that was a constant surprise for me was how competent the entire thing was, from the direction, the pace, and the action. It looks better than you expect, and throw in the unintentional cheesiness, and well you've got yourself one helluva good time. Most of all though, it's Jeffrey Combs and Brian Thompson that make this great and worth the watch and investment. At a surprisingly short runtime of under an hour and a half, you've got nothing to lose.

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My little town is notoriously skimpy when it comes to good VHS finds at our local thrift stores. Most of the time, there just aren't any good finds, which is pretty sad. But every once in a while, I'll come across one that I think will be halfway decent, only to discover that it's so much better than I anticipated. These are the kinds of film experiences I thrive on, that I live for, and Best Seller was that kind of experience, a film that just took me completely by surprise. I've always loved the cover, it's a nice reminder of when actors actually showed up to take a photo for a movie poster, as opposed to the photoshop messes we get today. It's a cool image for sure, but the film still could have gone either way. Luckily, it ended up being awesome for all the right reasons.

Cleve (James Woods) is a hit-man who reaches out to Dennis (Brian Dennehy), a cop and author, with an idea for a new book, the story of Cleve and his life as a hit-man. Dennis, skeptical and weary from the beginning, and Cleve travel the country gathering evidence and facts for the book, all the while a powerful former client of Cleve's will stop at nothing to prevent it from ever seeing the light of day.

The Good: Powerhouse performances. First and foremost, the film is only as strong as it is for 2 important reasons; James Woods and Brian Dennehy. It's as if this film, and better yet the script, was specifically written with them in mind. They're just fantastic in this, both bringing their very unique brand of tough-guy machismo to their roles. It's perfect casting if there ever was such a thing.

Mid 80's grittiness brought to life. John Flynn's impeccable direction serves the film extremely well, and after seeing this, it's no surprise he would follow this up with films like Stallone's Lock Up and Seagal's Out for Justice. His particular brand of gritty gives the film an overall sense of dread and bravado, almost as if the film's style serves as another character of the film. Even watching this in full frame on VHS didn't take away from it's visual impact.

Razor sharp intensity. Genre writer/director Larry Cohen (Maniac Cop, Q: The Winged Serpent, It's Alive) writes the film as he's writing a hard-boiled detective novel. It's a detective story in a sense, but a different one altogether. Instead of a cop investigating a series of crimes or murders, you have a cop/author who's investigating a supposed hit-man and his past deeds to basically call bullshit to his claims of high profile murders, yet Cohen plots the film in such a way that it feels like you're watching an old school detective thriller about a cop tracking down a serial killer. It's brilliant and intensely effective.

The score packs a punch. Jay Ferguson delivers one helluva brilliant synth score for a film who's score would normally be the last thing you would notice. But much like John Flynn's direction, Ferguson's score serves as yet another character to the film, giving it a moody atmosphere that screams 80's synth, but in the best possible way. I loved it so much in fact that I immediately set out to try and track it down, only to discover that it may never have even gotten an official release as a soundtrack. I could be wrong though, and if I am, please feel free to correct me. I need this soundtrack in my life, because it's that good. HELP!

The Bad: There is no bad. Much like my experience watching Shoot to Kill, this is another solid example of the perfect 80's thriller. I didn't find a single thing I would change with this film. Every single aspect, from the direction, the script, the performances, the action, the score, were all essential in creating a truly riveting film experience with an insatiably satisfying climax.

robot GEEK'S Cult Cinema

If you watch as many Direct-to-Video Low-Budget action movies as I do, then you know that a majority of them are just alright. Some end up being forgettable, some end up being just plain terrible, and then some will just blindside you out of nowhere and end up being amazing. This is one of those films.

Brian Thompson (Cobra) plays Frank Ryan, a mercenary who's hired to sneak into South America and rescue an imprisoned rebel leader. To do this, he must go undercover as a gay fashion designer, and will have to hire and train 7 women to be both models and assassins to be able to pull this job off.

You'll know in the first 5 minutes whether this film is your cup of tea or not, because right off the bat, it's blatantly absurd in a very cheesy late 80's/early 90's kind of way - the kind of action film I just so happen to be obsessed with. None of it is on purpose either, it's all done straight in a legitimate way, which makes it all the more amazing and hilarious. If you're into this kind of thing, then Hired to Kill delivers on every level. It's a film that, while a bit goofy, fires on all cylinders to deliver exactly the kind of action film experience that I just love to death; cheese, action, explosions, nudity, one-liners, awesome and unintentionally hilarious.

Brian Thompson just rules so hard in this. What can I say? Thompson is a bad-ass in this. He really is. From his very first second of screen time, which is literally the very first image of the film, he exudes a cool, tough guy, machismo that is a bit ridiculous, yet so unintentionally silly and hilarious. How cool is he? Well, when his alarm clock goes off, instead of just pressing a button to turn it off, he instead pulls out a gun from under his pillow and shoots it, without ever opening his eyes. That kind of cool. His "I don't give a ****" attitude is what really sells it though. First and foremost, it's the cheesy dialogue, but it's also in his delivery. He seems to just really hate women in general, and because of this, his character is fascinatingly entertaining in an overly macho way, like he's overcompensating for something. It's highly amusing, and Brian Thompson sells it like nobody else does. It's really a shame he never got the chance to do more films like this as an action star. If this film proves anything, it's that Thompson should have been given more opportunities like this other than typically playing a villain.

I'd never heard of Greek writer/director Nico Mastorakis before this. It seems though that he was a pretty busy guy, throwing out a good 2-3 films per year during the 80's and 90's. I think what surprised me a bit was that he didn't just stick to action. Comedy seemed to be a genre he constantly came back to, as well as horror and thrillers. Yet, if this film is any indication, action seemed to be his calling. As I look into them all though, it seems the "quality" of his work varied greatly from film to film, as is usually the case with these type of filmmakers. Jim Wynorski, Richard Pepin and Joseph Merhi are other examples of genre directors I love for certain films, but tend to offer work that is sub-par, or falls flat for the most part. It would seem Mastorakis easily falls under the same category; a director who has a few solid standouts, but otherwise who's large output of films are pretty forgettable. It's a bit disappointing too, because just based on his work in this film, he does a pretty great job in terms of his camera setups, action sequences and editing. Or, a decent enough job that benefits the material.

There's so much to love about this film. Not only does it deliver on the action, but just the premise alone, about training 7 women to become assassins, and heading into South America under the false pretense that they're famous fashion models, is just ridiculously awesome. There are moments that the film is just so absurd, that they apparently didn't stop and think how plausible any of it would be. For example, there's a scene where Ryan (Brian Thompson) is training the women in a camp ground, and using cardboard cutouts as targets that pop up. Some of them are of him, and some of them are of the notorious leader they'll be going up against to get to the other leader they're attempting to rescue. The bad guy is none other than Oliver Reed. Yes, that's right. And so when these cardboard cutouts of him appear it's quite hilarious. You think "how did they get this perfect image of him? And when and how the hell did they get these made?". It's just so random and unapologetic-ally silly, but that's what makes this film so great.

Hired to Kill has everything you could want in a film like this; nudity, tons of action, explosions, one-liners that rival the best of Schwarzenegger, an absurd but highly enjoyable premise, and a scene where Brian Thompson kisses Oliver Reed. It's a nonstop ride of nonsense, cheesy fun, action-packed and entertaining as hell. It's exactly the type of film you hope it will be.

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I'll admit, despite my love for the series as I explored them all for the very first time within this past year, I was a little weary going into this one for a number of reasons. First of all, that cover is just awful. It looks like a Made-for-TV movie. It's also not an entry in the decades long franchise that anyone ever mentions. At least, not in my experience. But I needed to finish the franchise, even if I wasn't particularly all that excited about this one.

Truthfully, it took a good 30 minutes for me to really get into it. Much like the cover art, it has a very Made-for-TV quality about it. Yet it's not a bad looking film. Writer/director Allan A. Goldstein does give the film an overall nice look, despite the film looking limited to an extent. But still, he's an odd choice for something like this, especially when you look at all the previous entries. Nothing in Goldstein's past filmography would lead you to believe he could deliver a solid Death Wish film. Nothing. My guess is Menaham Golan got him cheap. So I was kind of thrown off with that for a bit, but I'm glad I stuck it through because the film only got better and better as it moved along. In fact, simply based on how the film looked and started right off the bat, I was not at all expecting it to go where it ultimately did in terms of the action and violence.

Poor Paul Kersey (Charles Bronson). The guy just cannot catch a break. It doesn't matter where he moves, or how many years have passed since the last catastrophe, he just seems to attract trouble and torment. It's like it's never far behind, always just waiting in the wings for the absolute worst moment to strike, and it always does. Essentially, that's what the Death Wish films feed off of, and it's what makes them the films they are. But seriously, how much can one man take before he loses his mind? Thankfully that hasn't happened yet, and whenever tragedy strikes, Kersey shifts into revenge mode to deliver some vigilante justice, but you'd think that by now he would just stop dating altogether. I mean, every single woman in his life, whether it be a family member or love interest, dies simply because they are a woman in a Death Wish film. That's just the formula Michael Winner began with in the first film, and carried on into the second, and it's a formula the series has continued even going into this one. Now that I think about it, I can't recall a woman close to him dying in Part 3, but I could be wrong. And the kills. Oh the kills! When they finally do come into play, they're pretty spectacular. I'll just leave it at that.

The cast is pretty solid, but aside from Bronson returning, the only real standout is the casting of Michael Parks as the main villain, who does a formidable job in the role as a slimy, cantankerous businessman who runs his businesses like the mob. Speaking of casting, Bronson was 72 when he made this, which just blows my mind. The guy doesn't look a day over 60 and age has not slowed him down one bit.

So the film itself turned out to be a lot better than I anticipated. It takes a bit to get used to it's particular TV atmosphere, but that doesn't really last long because soon enough, it begins to slowly resemble the kind of film you were looking forward to right from the start. There's really nothing about the story that set's it apart from any of the other previous entries; the woman he loves is killed, so he goes out for revenge. Same ol' story. Though it has a lower body count than most of the other films, it's the way and manner that these sorry sons of bitches are killed that kind of blew me away. There may be less killing, but it's pretty brutal all the same. I also have to give credit to Allan A. Goldstein, the director. When the action kicked in, the film took on a whole new life and it was awesome. Whether it be a chase, shootout, fist fight or execution, the film kind of shifts gears and I kind of wish there was more violence because the film was so much better when there was. I really dig it. It's almost as if the film was directed by 2 different people, and for all I know, maybe the 2nd unit or assistant director's had something to do with that. In either case, you can bet your ass that when it comes to the "revenge" aspect to the film, Death Wish V: The Face of Death does in fact deliver the goods in a big way.

Despite all my praises, because it is indeed a highly enjoyable film and better than I was expecting, it doesn't come off as one of the best in the series. In fact, taking into consideration that they're all pretty great each in their own very specific way, this would easily be the weakest in the series. But rest assured, that doesn't make it a bad film in any way. If there's anything Death Wish V proves, it's that it has a lot of things stacked against it right from the get-go, yet ultimately prevails despite it's numerous obstacles. It caught me off guard in a good way, and while it might not be the best entry in the franchise, it's vastly superior to a lot of the paint-by-numbers copycats that were prominent in this genre on both the big and little screen. It's a great film, you just have to give it a chance.

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If you love high octane B Movies, then this one's for you. It's a relentlessly paced onslaught of huge explosions and action that never let's up. It's also highly absurd and totally ridiculous, which is what makes it so great! You really have to suspend all disbelief and just check your brain at the door because common sense was not a factor when writing the scrip. It's dumb, but also so much fun. It wears it's early 90's vibe on it's sleeve (mullets!), and easily one of the most enjoyable Die Hard knockoff's out there, not to mention on a visual level, it looks fantastic. Yea it may be unintentionally hilarious because of how absurd it is, or how totally ridiculous scenario's are what drive the film forward, but again, it rules because stuff get's blown up on a minute to minute basis and it's kind of hilarious, awesome, and ridiculous all at the same time. I had such a blast with this, and I hope you will too. Just check your brain at the door.

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If you're in the mood for a fun low-budget, cheesy sci-fi/action Robocop ripoff, then boy do I have the film for you. It won't blow your mind or anything, but if you're into this kind of stuff, then The Demolotionist will make you happy. I mean, look at this cover. It's incredible. Just judging from that cover alone, if this was the type of film you were in the mood for, I can guarantee you that you will not be disappointed. The Demolitionist will deliver the goods and then some.

Essentially just a female Robocop ripoff, this film seems to revel in it's cheesiness, never taking itself too seriously. Everything is over the top, from the hammy acting, to the dialogue, to the cartoonish violence and the bright neon lighting. Some may be put off by some of these things, especially the pink powder squibs instead of blood when victims are shot, but I actually quite enjoyed it for all of these reasons. In fact, it's when the film tries to be serious that it starts to fall apart. Luckily these scenes are few and far between, and the film recovers.

I have to assume that the hamminess of it all was intentional, because there's just so much of it, but in a really fun and entertaining way. So if that sort of thing turns you off, then maybe this isn't for you. But if it doesn't deter you, then I can tell you're in for a great time, with quite a few surprises as well.

For starters, the casting in this is just insane. I don't even know where to begin, but pretty much every few minutes you'll see an icon pop up in a bit part, and then there's the main cast, all notable cult icons. Again, it's insane and I spent more time picking out all the familiar faces than paying attention to the actual plot, which like I said, is just Robocop but with a female instead.

Something else that surprised me was how well this was made. When you go into these types of films, you have to expect it to have a certain low-budget quality, and this one does. But what surprised me was how good everything looked for the most part. There are moments where certain sequences or shots have a professional quality, like something out of a big budget film. And then the remainder of the film definitely puts a lot of style in every shot. I wouldn't say it works all of the time, but when it does work, it adds something to the overall experience.

I've only seen 2 other films with effects wizard Robert Kurtzman as director. The first being Wishmaster, which I absolutely loved, and the other one being the ultra-low-budget horror film The Rage, which I disliked so much that I couldn't even finish it. So while the cover of this one just screamed awesome and attracted literally every one of my senses, I was still on the fence about whether I would actually enjoy it or not. Kurtzman fell so hard from one picture to the next that I found it hard to work up any real excitement over this. But that cover man. It's amazing. I was in. What I didn't realize until now was that this was Kurtzman's first film as a director after co-founding KNB Effects Group. I had always thought Wishmaster was his first film for some reason, but that would be false. This film was made 2 years before Wishmaster. He does show some promise as a filmmaker, especially with his one and only big budget film Wishmaster, but I don't know how much of that was attributed to his DoP or Cinematographer. Sadly, he never built on that promise as The Rage clearly shows his decline in style, substance, and quality.

Moving on. There are several area's where the film does falter quite a bit. First and foremost, when it tries to be serious and throw emotion at us. Another area would be that a lot of the action sequences just aren't choreographed and edited very well. And much to my surprise, the film isn't gory, or even very violent. Yes, there is a lot of action in here, but it's all very cartoony and silly. In fact, I don't even recall much blood at all. And lastly, there was this annoying thing that kept happening with nearly every shot. The camera angle would be set, and whether it was a still shot or a tracking shot, it would begin to slightly tilt towards a dutch angle. It happened so often that it became a constant annoyance, and sadly, it ended up ruining some rather stunning shots where it would have been better without that happening.

All in all a very fun experience. Deeply flawed, yet there's so much to enjoy that you can easily overlook a lot of this low-budget films shortcomings. I guess the best way I can describe it is that it's a hot mess.

This is a film that I'd been wanting to see for quite some time, yet was made difficult by the fact that it has never gotten a release outside of VHS and Laserdsic. And when I did come across it on these formats from time to time, they were always too expensive for me to spend on a blind buy not knowing if the film was really any good or not. But I do have to admit, that RCA VHS was always so attractive to me, so I always kept an eye out for it hoping I could come across one fairly cheap. And I eventually did.

While this wasn't as "awesome" as I was hoping for, it was still a very good thriller. There are things that work, and there are things that don't. Thankfully, the things that do work, work extremely well and make up for some of what the film lacks. Mainly what it lacks is substance. There were long stretches of time where nothing very interesting happened, yet it wasn't altogether boring either, if that makes sense. What does work in it's favor is the strong cast, Lustig's excellent visuals and a fantastic ending.

Starting with the cast, while I've always found Rip Torn to be just a flat-out odd actor, he comes across even more so in here where he tries to pull off an Italian gangster. And I'm aware of Jan Michael Vincent's reputation and substance abuse as much as the next guy, but considering Lustig had to shoot most of his scenes solo because he was just so out of it most of the time, I honestly couldn't tell. He seemed coherent enough, and I never once noticed he rarely ever shared the same shot with other actors. The guy who really steals the show in here though is Lance Henrikesen. While he seems to be one of the busiest actors in history, knocking out half a dozen films or shows a year, he always finds time to really go nuts with a character from time to time and in here, he gives us one of his most memorable, insane and most entertaining villains I've ever seen from him. Seriously. This movie is worth the watch just to see Lance play insane over the top psychotic hit man alone. Truth be told, it's Lance who ends up saving this film, making it a much better film overall than had someone else played the main bad guy role.

The action and stuntwork will definitely be a highlight for anyone who watches this, because it's what ultimately drives the film. There are some nice sequences scattered throughout the film, but sadly, not as much as you would like. However, once the film hits it's third and final act, Hit List kicks into high gear delivering some outstanding action, stuntwork and car chases. I won't spoil it for you, except to say it's awesome and worth the investment.

William Lustig has not made a lot of films as a director, though he is a highly prolific producer. Of all the films he's made, he'll most likely be remembered as the director of such cult classics as the Maniac Cop trilogy, Vigilante and Maniac. I personally find him a highly underrated filmmaker. He has a very specific style when it comes to making films, a very gritty, yet stylized approach that give all of his films a very Lustig quality. I had always hoped he would direct more, or use his specific talents in the action/thriller genre, but it just seems that those weren't in the cards. I am glad that he did ultimately give us a handful of gems though. I just wish there were more.

This is the perfect example of why you can't have too much of a good thing. When I randomly came across the first film in the series, No Contest about a year ago, it was more than just a pleasant surprise. It was awesome. I loved it. Essentially just a low-budget Die Hard ripoff, it ended up being one of the better ones in a sea of Die Hard ripoffs. In fact, it's damn near an identical clone! What was even more surprising, aside from it's impressive casting, was that it was directed by Paul Lynch, who's only real big credit was directing the very first Prom Night. He again returns in the director's chair, and again re-teams with star Shannon Tweed.

In this sequel, oddly re-titled Face The Evil here in the U.S., they bring along the always reliable baddie Lance Henrikeson, and Bruce Payne, who shockingly turns a good guy performance this time around. While not as impressive as the cast of the first film, they do solid work with what they have to work with.

Aesthetically, director Paul Lynch seems to kind of go-through-the- motions here. While a competent looking film, it's a far cry from his slick streamlined approach where he was channeling John McTiernan. Here he takes a much looser and more freestyle approach, meaning you won't find any of the impressive widescreen shots and slick camera-work that made the first one so good.

I have to admit. I had high hopes for this one. I mean, how could I not? The first one was just so fun and well made when I wasn't really expecting much to begin with. And knowing the same star and director were returning only got my excitement even hotter. But while the story, about a mad man who wants to release a chemical agent that kills instantly, was okay, the many sub-par fight scenes, action sequences, and less than stellar camera-work leave you let down.

While knowing full well that Shannon Tweed cannot possibly do most of the fighting and stunts in both of these films, it was easier to take seeing her stunt double the first time around simply because the first one was a much better and enjoyable film all around. Here though, it comes off as annoying when 90% of the time you see a stunt double with a bad blonde wig doing everything, even the simplest punches, kicks, or tumbles.

I think what this film does best is remind you how good the first film was, and if anything, get's you to go back and revisit that randomly surprising film.

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Joe Dylanne is a plain clothes New York cop. When he receives a phone call from an old flame about her family who's gone missing in the woods, he immediately setting out to help, traveling to the northwest woods only to discover that her family has been murdered after accidentally crossing paths with drug dealers and their operation. When Dylanne discovers that her younger brother survived, together with her brother's survivalist skills, they set out to seek revenge on these cold blooded killers in a hunting game of survival.

You know, this was so much better than I was expecting. It's one of those films I came across countless times at the video store as a kid but never gave it a second thought. Digging through my tape collection recently I realized that I had gotten this about a year ago and it's been sitting there all this time. I'm sure it was in one of my obscure 80's action phases and probably also because it was an RCA VHS release, which means it came in one of those sweet side-loader slip cases, which I collect from time to time. So I threw this one recently when I was in an action mood and let me tell you, this is definitely one you'll want to track down.

It's not great by any stretch of the imagination, and doesn't reinvent the genre, but if you're looking for something very 80's, made competently well, and delivers just the right amount of thrills to keep you invested for the long haul, Quiet Cool will deliver the goods. This one offered up a number of surprises for me, the first being that it starred 80's action staple James Remar as the main good guy, which is something you just didn't see very often in his entire career. Sure he's played the good guy a few times, but I had never seen a film where he was the lead, and not playing the villain. So that was a somewhat refreshing surprise. But then I was also surprised to see another baddie regular (and sometime film director), Nick Cassavetes, again playing his usual douche bag villain, barely uttering a word. Mainly just looking mean and badass in his big shoulder padded jacket and mullet. He made this the same year he played another douche baddie in the cult classic favorite The Wraith.

One of the other things that surprised me about this is that I was not expecting this to be a "hunted in the woods" type of film, especially since the film opens in New York, which is a pretty awesome section of the film by the way. But once the film moves to the northwest forest setting, it's where the rest of the film stays and the hunt begins, where it ultimately becomes a predecessor to films like Survival of the Game and The Hunted.

Written and directed by Clay Boris, it's a competently crafted film that carries much more of a professional's touch, looking like a film that would certainly play at your local cinema in the 80's, which combined with how entertaining it is, I'm really surprised that it didn't. Boris has a pretty long career, dating all the way back to the late 70's and still working today, and tackling pretty much ever genre, but with most of his work relegated to TV. Nothing in his filmography immediately stands out as anything I've ever seen or heard of, but at least we have this little gem.

Really, this is a far more entertaining DTV 80's flick than you and I expected it to be, and if you're into these kind of films, I strongly suggest seeking this one out. The long Out Of Print DVD is ridiculously expensive, and honestly, it's not that good to warrant the shelling out of almost $50 for it. I also highly doubt it even comes in widescreen on that OOP DVD. My suggestion is either VHS or Laserdisc. The VHS, oddly enough, is not very common so it might take some good old fashioned hunting on your part to find it, but you'll find it cheap when you do. Same goes for the Laserdisc, which I see more of than the VHS. And trust me when I tell you you're not missing out on anything by watching this the old school way. In fact, I think it adds that little extra spice to the experience.

Quiet Cool is an old school and highly entertaining action/thriller that proves James Remar is just as good playing the good guy as he is being a regular villain. If you're also wondering what Quiet Cool even means, fear not, it's explained in the film.

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As I finally dip my toes into Charles Bronson films in my older age, I'm realizing that I've really been missing out on some fantastic revenge/action/thriller cinema. So I've decided to invest my time and immerse myself in a good chunk of his 80's output, primarily his contract films for Cannon Films, of which there are many.

I love the Death Wish films. Each one is distinctly different from the other, and as I dove into this latest entry, I wasn't a bit surprised that that little detail still rang true. Because I'm such an action lover, I had always thought that Part 3 would always be my favorite one, because let's be honest, it's insane. But what struck me as rather surprising was how much I just loved this one, and truthfully, I wasn't expecting to. For some reason nobody ever talks about the Death Wish films after Part 3. So that was worrisome. I half-expected to come into a film that was a wreck, with a Direct- To-Video feel, and thankfully, that was not the case. And I should have known better. After all, this is yet another in a long string of collaborations between director J. Lee Thompson and Charles Bronson. In total, they would end up making 9 films together, though this one would be the the only Death Wish film they would make.

You know, I'm not even gonna bother with a synopsis this time because they're pretty much all the same at this point. Paul Kersey moves to a new city, only to have to take the law into his own hands once again because of gangs, or thugs, or whatever and they always eventually get to someone he loves. It's always the same story, only moved to a different city each time.

Death Wish IV has now taken the top spot as my favorite Death Wish film. It's 80's Trash through and through and it's glorious. Essentially it takes some of the "crazy" from Part 3, but decides to step it back a little, while in the process going a little cheese instead of taking the serious turn of parts 1 & 2. It's awesome, in the same kind of way Rocky IV and Rambo III are awesome, because they perfectly capture the extreme cheesy part of the 80's decade, and relish in it's absurdity. Whether that's intentional or not is up to debate.

I'm kind of taken aback at how this entry is not considered an important or essential part of the franchise. Just having seen it for the very first time, to me, this feels like what the series has been naturally building up to; to this point. The series has gone the serious route, then the over-the-top insane route, so now it's time to dive into the late 80's "Trash" route, and boy does this film deliver.

Director J. Lee Thompson delivers another solid 80's action/thriller yet again. It's hard to explain exactly, but there's something to the specific way he shoots films, edits them, and puts them together. There's a very particular "aesthetic", that's very 80's, very streamlined and professional, and very much his own. I just can't stress enough how fantastic a director he was and how his work only benefited Bronson's films.

Bronson, to his credit, delivers yet another solid performance. It's effortless. He plays calm and cool like nobody else, almost to the point of being a robot. But when he puts on the charm, or has that little twinkle in his eye, he can make you forget he's about to kill you. By this time, Bronson is showing some serious age, yet it doesn't slow him down or prevent him from being a badass. Quite the contrary, age and experience has only made him more capable. It's hard to think of anyone else in this role. Sure there are plenty of guys who can pull off the tough older guy who takes the law into his own hands, but Bronson has an ability to really come across as Mr. Nice Guy when he wants, like flipping a switch, and it's that ability that gives Bronson the edge over most. Like, for example, the new Death Wish remake coming soon with Bruce Willis in the role. I love Willis. I grew up with him as being one of my favorite action heroes. However, he has really turned into a grumpy, uninteresting man in his older age. Even in interviews, he's so unlikable, usually speaking with a hint of arrogance, and a complete lack of interest in doing interviews. It's kind of sad, but mainly annoying, that an actor who was so likable and charming in the 80's and on into the 90's could turn into.....okay, I'm getting off track here. Sorry, moving on.

You would think by this point the whole vigilante premise, or just the Death Wish films in general, would be tired. I mean, it's pretty much the same film each time, just slightly altered and more reflective of that particular time it was made. But no, that couldn't be further from the truth. In fact, as each film is released, each with varying degrees of years between them, they only get better, and more entertaining. I have had a blast with these films, and though I went into this one with some apprehension, much like I will with the next installment, Part 5: The Face of Death, I'm glad to report that my fears were laid to rest and this entry was by far my favorite and most entertaining in the series. Here's to hoping the next installment goes out with a bang.

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Okay, so it's not a work of art. But you know what? That's fine because it's not trying to be. In a few words it's basically just "Cheesy Gory Fun". That's it. And on that level, it succeeds tremendously. And guess what? It's actually pretty damn funny. It's not trying to be a serious or even scary horror film. So get that thought out of your head. It's cheesy, low-budget horror with some pretty great effects work by Robert Kurtzman (Wishmaster, 1/3 of K.N.B. EFX Group) and a really strong ensemble cast, with some notable cult icons thrown in like Robert England, Clint Howard and Courtney Gains to name a few. I didn't know what to expect going in, but ultimately this surprised us with how fun, gory, cheesy, and funny it was. And it's also surprisingly well made for a small film.