Short Attention Span Review - The Brink (2017)

Short Attention Span Review - The Brink (2017)

The Brink is a curious film that doesn't seem to know just what it wants to be.  It works best when it's an ultra stylish and hyper-kinetic action smorgasboard a la John Wick.  This serves stars Jin Zhang and Shawn Yue best, and this was one of those riveting thrillers wherein I liked the bad guy (Yue) almost as much as I liked our hero (Zhang).  And that's saying something, because Zhang is way too cool in this movie, sporting a punk rock dye job and his standard graceful yet devastating martial arts talents.  The Brink also works surprisingly well as a zany spiritual journey where greed, vengence, and even love intersect, and fates are decided at the whims of a callous Sea Godess who may or may not exist--though without some sort of divine intervention, I'm not sure how anyone could have survived the waterlogged conclusion.  And then there are the melodramatic moments, which aren't nearly as overwrought as they can be in this breed of action movie, but still frequently crash and burn.  And while that awesome finale (a threeway showdown on the deck of a trawler being tossed around by a typhoon) is wild to look at, it does stretch the film's razor-thin sliver of plausibilty to its limits and beyond.  It remains an entertaing and flamboyant romp, with dazzling imagination and sizzling choreography to spare.  It's a bit silly here and there, and a bit sappy in parts as well, but that's easy enough to overlook when you have Jin Zhang kicking ass all over the place.  Oh, and Yue's bad guy had a wicked little weapon roughly the size of an ink pen that fired miniature silver harpoons.  Sounds ridiculous, but it was ill.

Final Grade: C+

When The Brink works, it works because stars Jin Zhang and Shawn Yue  really throw themselves into their parts.

Short Attention Span Review: Suspiria (2018)

Short Attention Span Review: Suspiria (2018)

Someone I know heralded this remake/reboot of Dario Argento's most beloved motion picture as superior to the original.  He did go on to say that given how far it strays from the 1977 cult classic, this should have been crafted as something else altogether.  "If that were the case," he said with the utmost confidence, "We would all be hailing this as a genuine masterpiece."  Full disclosure: this guy is clearly an idiot.  Of course, some of you liked Hereditary, so maybe shitshows are en vogue these days.  I don't know.  But I do know this: the 2018 Suspiria is a monumental clusterfuck with only a few stunning flourishes to offer any enjoyment for those who suffer through this master class in turd burglary.  This is far too little for me to submit any sort of recommendation, for while there are a handful of pieces to the puzzle that sizzle, they are few and far between.  And they are buried in a plodding and nonsensical affair that tries so very hard to be grandiose and transformative that it renders itself overwrought and tedious.  In many ways, it's a joke, a really bad joke, like a dad joke that has died and gone to hell.  The director has no feel for the material, and the cast and crew are betrayed by a script that is a mess when it aims for intrigue and a bit of a bore when it strives for excitement, save a few instances that must have been accidental forays into entertainment.  Remember the score for the original Suspiria?  Of course you do, Goblin's dizzying array of energy and brilliance were among that startling shocker's greatest strengths.  This time out, we get a softer approach from Thom Yorke of Radiohead, and I think this take on the material could best be described as one basic bitch of a score.  I would categorize the whole thing as abysmal, but I don't want to insult any abysses.  Friends, let me put it to you like this: Luca Guadagnino's Suspiria is like a reboot of John Wick directed by Steven Soderbergh that runs nearly three hours long and only dishes out six minutes of action.  And there is an entirely pointless subplot that constantly drags the whole sorry affair even further into tedium wherein Keanu's titular surrogate pulls double duty in a second role as an old woman with feeble ties to the plot.  And we're not supposed to know it's the same performer in another role, but it is painfully obvious and only makes this particular ingredient and the recipe as a whole less appetizing.  And those who like the original John Wick and those who don't give a shit about John Wick alike can only wonder why they bothered to waste their time with this hypothetical piece of shit.  Though, in fairness, any hypothetical piece of shit is better than the 2018 Suspiria in my book, because I can't really waste 152 minutes of my life watching a hypothetical piece of shit, can I?

Final Grade: F for "Fuck this."

This clip from the film stands as a perfect metaphor for the joy I experienced while watching director  Luca Guadagnino's valiant effort to deeply insult anyone and everyone who enjoys the original.  Personally, I'm ready to throw hands.

Short Attention Span Review: Atomic Blonde (2017)

Short Attention Span Review: Atomic Blonde (2017)

Stylish, vibrant, and exciting as hell, Atomic Blonde is a top shelf thrill ride that features two incredible performances and some of the most vicious action sequences ever captured on film.  First off, Charlize Theron is great in every role she decides to tackle, so it can't be considered much of a surprise that she is such an incredible asset to this slick spy thriller.  In what has to be her most physical role to date, she proves to be one of the most dangerous cinema badasses we've yet to encounter, and Atomic Blonde boasts several quality showdowns and one brutal battle royal for the ages.  She is almost matched by James McAvoy, who gets to cut loose in one of his most outlandish roles.  In truth, this may be my favorite thing he has done, and I consider myself quite a fan of his work, so that's high praise.  He's so volatile and so entertaining, and he shows off some action chops as well, though the film clearly belongs to Charlize.  Director David Leitch makes great use of an 80s setting for this vintage spy caper and even greater use of a fabulous 80s soundtrack.  He rounds out his cast with heavyweights like John Goodman and Bill Skarsgard, and even gets a deft showing out of Til Schweiger.  Leitch also wisely allows Daniel Bernhardt to give the heavies a boost with his menacing persona and his martial arts prowess.  Given that Leitch has a background in stunts and made his mark directing some scenes for John Wick, it should come as no surprise that he handles the action with incredible finesse.  However, I feel like it is his apparent skill in other areas that makes Atomic Blonde such a captivating success.  Yes, the film features several high-octane action bits, but it is also a mesmerizing thriller with numerous twists and turns, and enough emotional heft to keep viewers fully invested in both the characters and the intrigue.  Add the great use of a pivotal period in global history and a massive soundtrack, and you have a killer flick that deserves far more acclaim than it has received to date.

Final Grade: A+

Let's face it, Charlize kills every role she takes on, so it should come as no surprise that she slays it in perhaps her most physical role to date as an ultimate badass in Atomic Blonde.

Powerful Pages - James Bond: Vargr by Warren Ellis and Jason Masters (Graphic Novel - 2016)

Powerful Pages - James Bond: Vargr by Warren Ellis and Jason Masters (Graphic Novel - 2016)

As a general rule, I am wary of movie properties being adapted as comic books.  While I love both mediums, it just doesn't seem to work as well as it should in many instances.  However, Marvel has recently revived their Star Wars line to tremendous effect, and the praise heaped upon this take on everyone's favorite super spy courtesy of Warren Ellis and Jason Masters forced me to give it a look.  I'm glad everyone got the word out, because Vargr is a fantastic edition to the Bond catalog.  Cutting edge, dark, thrilling, and moving at a rollicking pace, I couldn't put this grisly escapade down.  Ellis did a fantastic job of plotting a non-stop assault that really put our hero through the wringer.  Masters took a low-key approach to the art and elevated the piece with his deliberate work and his refusal to shy away from the gruesome effects of all the carnage taking place.  I'm a big Bond fan, and I found Vargr to be as thrilling as any of his adventures on the big screen, and while it stayed true to the character, it was also the most ferocious take on the property I have encountered.  If this were a movie, Daniel Craig could play the part, though it would be far closer to John Wick than Casino Royale in terms of brutality.  While I note that Craig could play the part (and I honestly can't see any of his cinematic counterparts pulling off this level of phsyicality), I did like the fact that Ellis and Masters elected to render their own version of the character.  He isn't drawn like any of the actors who played the role and he doesn't necessarily look like the bloke (forgive me) on the old Ian Fleming book covers either.  In the end, I think that's precisely why this worked for me so well--Vargr felt perfectly at home in the character's legacy, but it was definitely its own thing.  It didn't aim to pay homage, it aimed to take a beloved property and break new ground, and I think that Ellis and Masters accomplished their mission.  Job well done, lads!

Final Grade: A

Thrilling, dark, and action-packed, Vargr is a great entry into the Bond legacy.

Top 5 Movie Shootouts: #1) The Way of the Gun (finale)

In this Top 5, I've been ranking my favorite movie shootouts for you.  This comes with a disclaimer: I'm excluding war films because they don't really seem to fit with what I'm going for.  Maybe I'll do a Top 5 Combat Scenes one day to break them down.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to comment and share your take.

This list started with John Wick (the Red Circle) at #5, and since then I've listed The Wild Bunch (finale) at #4, The Good, the Bad, and the Ugly (finale) at #3, and Heat (downtown L.A.) at #2.  Now, it's time to discuss my choice for the top spot on this list, a cult classic that is near and dear to my heart.  

Top 5 Movie Shootouts: #1) The Way of the Gun (finale)

To say that I greatly enjoy The Way of the Gun would be a bit of an understatement.  If I were to list my favorite movies, it may just crack that Top 5, and it would surely be in my Top 10.  While there are many things I enjoy about the picture, the exciting and yet incredibly grim shootout that brings it to a close has to be considered its strongest asset.  As soon as I decided to put this list together, I knew that I couldn't put anything else at the very top.  To do otherwise would be disingenuous, and those who know me well will tell you that I do my best to keep it real.

While the director of The Way of the Gun, Christopher McQuarrie, isn't as much of a household name as he probably should be, critics and audiences have been much kinder to his recent work with Tom Cruise than they were to his offbeat directorial debut.  This outing came about after his script for The Usual Suspects earned him broad acclaim, and I'm not sure that a quirky yet downbeat shoot 'em up served with a healthy dose of basic criminal philosophy is what anyone expected for his first feature film.  In truth, when I watched it during its theatrical run in 2000, the final product varied greatly from my expectations.  However, since I had a blast with the picture, I never held that against it. 

Like most of the films to make this Top 5, this one combines quality direction with some terrific acting.  McQuarrie got the best performance of Ryan Phillippe's life out of him in the role of Parker, a tough guy with a penchant for mouthing off, while the one and only Benecio Del Toro is sublime as his icy counterpart, Longbaugh.  These are not likable characters, and the big gunfight that they are steadily marching toward throughout the film doesn't provide them with a likable outcome.  Oh yeah, and the weary but unwavering "bag men" who our leads square off against in this blood-soaked finale are led by none other than James Caan.

Whether the conclusion is likable or not, it is most definitely a fitting way to close out this particular film, with the riveting shootout standing as a damn-near perfect metaphor for the film as a whole.  Parker and Longbaugh are both savvy and good, and we may not like the code they live by, but we have to admire them a bit for their efforts.  Unfortunately, when they make their big play, it becomes obvious that they're just not good enough.  Fortunately, their code allows them to perish under these circumstances with their honor intact.  Hell, they went for it all and gave it their very best--and they almost pulled it off.  Like the saying goes, there's no shame in trying . . .

The cinematography is a wonderful throwback to the somber hues and the brilliant splashes of blood that made the work of directors like Leone and Peckinpah so impressive to behold.  In a way, my preference for these legends (and the inclusion of some of their best work on this list) may help to explain my fondness for this gritty sleeper.  The choreography is also excellent, with McQuarrie's brother (a former Navy Seal) giving the proceedings a serious boost in the way of technical prowess.  The gun protocol and combat tactics on display here are just as important to the overall effectiveness of the showdown as the direction and the acting.  Seriously, the final shootout in The Way of the Gun probably features more reloads than you're apt to see if you go all in for a marathon of The Cannon Group's greatest hits, and Parker and Longbaugh could have put together one hell of a clinic for properly clearing a room.

It's all a bit somber and a bit gory, and it is also quite nihilistic, but for my money, there is no finer shootout in the history of the cinema than the gloomy but painstakingly authentic* conclusion to The Way of the Gun.

*There is one gag during the big gunfight at the end where the film abandons all of the realism it has worked so hard to present and clearly lampoons a typical action film's disregard for such considerations, and this knowing wink is yet another reason I love this movie so much.

. . .

Well, there you have it.  One recent hit, three indisputable masterpieces, and one cult classic to rule them all.  If you're a fellow cinephile and you too enjoy the occasional movie shootout, do share your thoughts.

Top 5 Movie Shootouts: #2) Heat (downtown L.A.)

In this Top 5, I'm ranking my favorite movie shootouts for you.  Many of my choices are classics that will be hard to argue, but I'm certain that my choice for #1 will ruffle some feathers.  Oh well.  I should also note that I'm excluding war films because they don't really seem to fit with what I'm going for here.  Maybe I'll do a Top 5 Combat Scenes one day to atone for that.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

So far, I have ranked John Wick (the Red Circle) at #5, The Wild Bunch (finale) at #4, and The Good, the Bad, and the Ugly (finale) at #3.  Now, we're really turning up the heat (forgive me) with the most bullet-laden gunfight to make my list.

Top 5 Movie Shootouts: #2) Heat (downtown L.A.)

Michael Mann is a superb filmmaker who has directed some fantastic movies, and high energy action setpieces are one of his specialties.  Heat is one of his best movies, and I don't think there's any question that the most thrilling sequence that he has ever put together is this film's high-octane shootout, which takes place in downtown L.A. during the aftermath of a high stakes robbery.

Much like The Wild Bunch, this shootout represents a dynamic pairing between a visionary director and an impeccable cast.  This time out, Robert DeNiro, Val Kilmer, and Tom Sizemore are among the professional crooks exchanging rounds with an elite task force that includes Al Pacino, Ted Levine, and Wes Studi, among others.  It's a great ensemble and they do a fantastic job of embracing the required physicality and drama of this bloody battle in the streets.

I'm not sure how many shots are fired, and I'm not sure how many innocent bystanders are gunned down, but I am certain that no other shootout on this list boasts as many flying bullets or casualties.  It's a sprawling affair that covers several blocks and consistently ratchets up the intensity, yet it's a tribute to the cast and crew that it is easy to follow and never stoops to masking lapses in clarity with the hyper-kinetic edits that have become prevalent in more recent action flicks.

This is a well-staged gunfight that does its best to remain plausible with the various combatants utilizing advanced tactics and frequently reloading.  Rambo can fire 1,000 bullets from a weapon that has a maximum capacity of 200 rounds, but these guys can't.  They utilize cover, reload when necessary, and as a result, this gripping shootout rocks.  Such a sequence could have been quite a farce in the wrong hands, but it I think it works to perfection with Michael Mann at the helm.

It should also be noted that this setpiece is a tremendous asset to the film itself.  There are some major deaths, and as a whole the shootout serves as a tremendous blowoff for all of the incredible tension that Mann's slick thriller has been building up since the opening reel.  As I said before, Heat is a terrific movie and this is truly an action sequence for the ages--and I'm not sure that either of those statements would hold true if either the overall composition of the piece or the potent gunfight that elevates the proceedings fell short. 

. . .

Well, we're down to #1, and while I have frequently hailed my final pick as the best gunfight ever captured on film, it comes from a cult classic and not a feature with the same pedigree as the rest of my choices for this list.  With that in mind, I imagine that it will be a bit more controversial, but I guess we'll just have to wait and see.

Top 5 Movie Shootouts: #3) The Good, the Bad, and the Ugly (finale)

Okay, so here's the drill: in this Top 5, I'm ranking my favorite movie shootouts for you.  Many of the films set to make this list are classics that will be hard to argue, but I have no doubt that my choice for the top spot on this list will not sit well with many.  Oh well, I call them like I see them--and in this case, I'm 100% convinced that I'm right.  Also, I should point out that I'm excluding war films because they don't really seem to fit with what I'm going for here.  Maybe I'll do a Top 5 Combat Scenes one day to atone for that.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

 Thus far, we have John Wick (the Red Circle) at #5 and The Wild Bunch (finale) at #4.  Today, we're going with the very epitome of an exercise in style over substance at #3, and as such it depends more on landmark director Sergio Leone’s vision and flair and less on choreography and staging.  In fact, this is easily the simplest gunfight to make my list, and it features the fewest players.  Yet, as I noted a moment ago, this is an exercise in style, . . . and what an exercise in style it has proven to be. 

Top 5 Movie Shootouts: #3) The Good, the Bad, and the Ugly (finale)

Clint Eastwood is a true titan of the cinema, yet he was basically just some up-and-comer with a lean physique prior to his work with Leone.  I’m not sure that he or anyone else realized just how big of an impact those so-called spaghetti westerns would have on the film industry, but Leone’s daring juxtapositions and his grandeur would usher in a whole new era for one of Hollywood’s most beloved genres.  It is entirely possible that no western has had as much impact or cultural significance as The Good, the Bad, and the Ugly, and the shootout that brings this masterpiece to an end remains thoroughly enchanting.

As Eastwood, Lee Van Cleef, and Eli Wallach square off in a remote cemetery with a fortune in gold on the line, the sprawling film gives way to an operatic pairing of sight and sound.  Ennio Morricone’s monumental score perfectly captures the tension as Leone’s camera carries us through a series of extreme close-ups deftly interwoven with vivid wide shots.  Steely gazes give way to fingertips that dance above the weapons that will soon determine who winds up dead and who winds up with the gold.  The three men involved in this exhilarating standoff have each worked valiantly and suffered greatly to arrive at this moment, and Leone wrings every drop of suspense that he can out of the impending gunfire.

So deft is his touch and so perfectly suited to this wild reinvention of the western genre are the cast and Morricone’s score that the sequence remains nothing short of spellbinding to this very day.  Once the first weapon is drawn and the shots ring out, the shootout concludes in the blink of an eye, but that only underscores the power and scope of this grand finale.  Just as Leone used a daring collage of imagery and Morricone’s haunting score to perfectly capture the anticipation of this duel, he utilized brutal concision to convey the finality and brevity of the resolution to this grand yet finite conflict with the same precision and effectiveness.

Yes, this one is all about style, and it’s truly the build-up that makes this gunfight a classic, but that doesn’t impact its standing in the legacy of the cinema.  I have no qualms about featuring the poetic and visually stirring climax of The Good, the Bad, and the Ugly on my list, and I’m sure that those enjoy a great film will second that.  

. . .

Those readers who are left wanting after this revelation should find more to their liking when my next selection arrives courtesy of a far higher body count and enough firepower to make Rambo take cover.  Look out, L.A.--the heat is on when I unveil my choice for #2 on this list.

Also, those who enjoyed this piece may want to see where I ranked The Good, the Bad, and the Ugly when I did my Top 5 Clint Eastwood Movies a while back.  Here's a hint: it's #1 with a bullet!

Top 5 Movie Shootouts: #4) The Wild Bunch (finale)

With this Top 5, I'm breaking down my favorite movie shootouts for you.  Many of the films set to make this list are classics that will be hard to argue, but I have no doubt that my choice for the top spot on this list will not sit well with many.  Also, I should point out that I'm excluding war films from this Top 5.  I may revisit them with a Top 5 Combat Scenes at some point or something of that ilk, but they didn't really seem to fit with what I'm going for here.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

Yesterday, I started things off with John Wick (the Red Circle) at #5, and while that was a recent gem I am going all the way back to 1969 for my next selection.

Top 5 Movie Shootouts: #4) The Wild Bunch (finale)

When you take legendary director Sam Peckinpah's knack for turning violence and machismo into a ballet of bullets and bloodshed, it should come as no surprise that one of his movies made it onto this list.  Additionally, while many of his pictures contain riveting gunfights, I think that this grand finale is Sam's greatest achievement.  Honestly, I consider the grim conclusion to The Wild Bunch to be among the best endings ever, and this rousing shootout where four men challenge an entire army is surely worthy of the #4 spot here.

The biggest attribute that this particular shootout boasts aside from Peckinpah in the director's chair is the amazing cast.  William Holden was a true leading man, and this scene allows him to march into battle with Ernest Borgnine, Ben Johnson, and Warren Oates at his side.  This rugged band of outlaws is not comprised of heroes, yet the final reel of this classic western finds the gang taking a valiant stand that will cost them their lives.  They do this because they value loyalty more than gold, and the scene where they march toward their inevitable demise perfectly sets the stage for the carnage to come.  

The violence that ensues is bold, stirring, and incredibly gruesome.  Peckinpah shot some great action bits during his lengthy career, but nothing quite like this.  The cinematography is stellar, the effects are terrific, and the performances elevate this orgy of bloodshed into the realm of classic cinema.  It is all a bit crude, but what else should we expect from The Wild Bunch?  

So brazen is this gory battle that it teeters on the brink of absurdity, but the harsh themes and the spectacular craftsmanship give it enough resonance to remain potent.  In many ways, this explosive firefight is difficult to classify, as it is clearly exciting and perversely entertaining while it is also gritty and nihilistic to such an extent that you may feel a little dirty after watching it.  I find it to be one of the most incredible climaxes ever filmed, and it is a perfect way to wrap up this tale of hard men who have become obsolete and have little to live for aside from their value to one another.  In fairness, The Wild Bunch may warrant a higher spot on this Top 5, but I had to make some difficult decisions when I put this one together.

. . .

Tomorrow, we turn the clock back another 3 years to 1966 to discuss the next shootout to make the cut.   In the meantime, while The Wild Bunch may be Peckinpah's best motion picture, you can check out my Short Attention Span Review of Bring Me the Head of Alfredo Garcia to learn more about my favorite film from this visionary director.

Top 5 Movie Shootouts: #5) John Wick (the Red Circle)

I'm ready to tee off another Top 5, and this time I'm going to break down my favorite movie shootouts for you.  Many of the films set to make this list are classics that will be hard to argue, but there will also be some contention.  I have no doubt that my choice for the #1 spot on this list will not sit well with many, but it's an easy call as far as I'm concerned.  Additionally, I do want to point out that I'm excluding war films from this Top 5.  I may revisit them with a Top 5 Combat Scenes at some point or something of that ilk, but they didn't really seem to fit with what I'm going for here.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

I'm going to get things started with my choice for the #5 spot on this list, and this one goes to the new bloods.

Top 5 Movie Shootouts: #5) John Wick (the Red Circle)

I'm a big Keanu Reeves fan.  I have lots of love for so many of his movies, going all the way back to Bill & Ted's Excellent Adventure.  I consider Point Break to be a classic so far as guilty pleasures go, and I like The Matrix as much as anyone.  Hell, I have even gone to bat for Keanu's work in Francis Ford Coppola's epic take on Dracula, and that performance is reviled by most everyone for reasons I fail to comprehend.  One of Keanu's most surprising hits arrived in 2014, when John Wick seemingly came out of nowhere and reminded everyone that Reeves is a true cinema badass.

John Wick is one hell of a thrill ride, with the highlight being a spectacular shootout at a club called the Red Circle.  This dazzling setpiece showcases some killer choreography and clearly displays Keanu at his very best.  For those who don't know, this dude is all about training for his roles and bringing as much legitimate action to the proceedings as possible.  Whether we're talking about learning martial arts or tearing up the shooting range with a variety of guns, the man is dedicated.  In scenes like this, it shows up on the screen in a big way.

In addition to riddling bad guys with bullets, this shootout gets some serious bonus points for mixing in a lot of killer martial arts.  Of particular note is the presence of Daniel Bernhardt as a serious rival who actually gets the better of Wick as this wicked shootout comes to an end.  Bernhardt previously squared off against Reeves in The Matrix Reloaded and provides a credible threat, and that greatly amps up the intensity of this thrilling sequence.

I greatly enjoyed John Wick and it succeeded largely because of Keanu's presence and the amazing stunt work.  While the whole movie is loaded with excitement, it's the shootout at the Red Circle that really puts it over the top, and I find it worthy of inclusion on this list.  In fact, I seriously debated ranking it higher, but the #5 spot will have to do.

. . .

Stay tuned, peeps--there are some classic movies coming up on this list, as well as a cult classic and a personal favorite at #1 that will have my coolest readers nodding their heads in agreement while everyone else wonders if I've gone cuckoo*.

*Pretty sure that happened sometime during the 80s.  Yes, I was only a child then, but it was the 80s.