Cast: Jackie Chan, Anita Mui, Francoise Yip, Bill Tung, Marc Akerstream, Garvin Cross, Morgan Lam, Alien Sit
A young man visiting and helping his uncle in New York City finds himself forced to fight a street gang and the mob with his martial arts skills.
This is the first movie I saw Jackie Chan starring in. Though I remember him in the CANNONBALL RUN movies. This was another temp for him to break in Hollywood after the previous film mentioned, and THE PROTECTOR with Danny Aiello.
Only this time he had more momentum as Quentin Tarantino had hyped him up and his films after a lifetime achievement award at the MTV awards when they were at the height of cool. Showing clips of all his films and detailing his injuries from doing all his acrobatic stunts.
Had a younger generation mesmerized and salivating over his work. Having him be a well-known foreign secret this was the first released film after.
The trailer showcased more action scenes than the stunts and didn’t include any of the more comedic elements.
The film is pretty run-of-the-mill only here. Most of his enemies are Caucasian. The film does show him struggling with the English dialogue so still eternally a nice guy and helping out a kid and his older sister, who had first set him up, and provides the film with some eye candy, but not a romantic one.
This has what is typical in his film’s build-up of him being impressive and early scenes, yet being defeated, then the finale and over-the-top action fighting extravaganza, where he is like Hulk Hogan in his prime beaten now feels no pain in his nonstop as now he is truly angry and fed up
The film feels more like something from the 1980s and Chan is a little too old to be quite believable as the character and his circumstances.
Luckily, this is less comedic and family-friendly than his films would eventually become in America, so this film does retain some edge.
Though the pharmacy supposed to take place in the Bronx is obviously filmed in Canada and is not as exciting as the title.
Written By: Jackie Chan & Edward Tang, Paul E. Clay
Cinematography: Yiu-Tsou Cheung and Yu-Tang Li
Editor: Peter Cheung
Cast: Jackie Chan, Maggie Cheung, Yuen Chor, Bill Tung, Kwok-Hung Lam, Charlie Cho, Keung-Kuen Lai, John Cheung, Ben Lam, Chi-fai Chan
Despite his success at apprehending criminals, Kevin Chan’s unorthodox approach to his work as a police officer sees him demoted to the traffic branch. Despite this, the man he put behind bars is now out of prison, and has vowed to make his life a misery. While this crime boss is harassing Kevin and his girlfriend, the police are contemplating reinstating Kevin to help them fight a group of bombers attempting to extort $10 million from building owners.
I will admit this film had some big shoes to fill. Unfortunately, it doesn’t quite rise to the challenge.
The film comes off as bigger, and it takes a little longer to get started, which might be why this is a longer movie. The film feels a bit bloated.
The stunts try to be bigger, heavier, and longer with a bigger budget, but in actuality, they feel like there are fewer of them or not a special, not as deifying, except for the final fight in the third act.
The film begins by bringing the audience up to speed with highlights from the first film. As there will be returning characters.
The action takes a while at the beginning between action scenes, though the fight scenes are bigger, to a degree. The film lives off of a building up to them. Unfortunately, they don’t quite measure up.
Jackie Chan sports a better wardrobe, and this time around gives the returning cast more to do even as his character ultimately feels less comedic and more serious.
Though he still maintains being the center of attention, he lets others do some of the work.
This film at least has more of a story and its crime syndicate tail. Even the more minor moves feel dangerous and impressive at times.
Cast: Jackie Chan, Brigette Lin, Maggie Cheung, Yuen Chor, Bill Tung, Chun-Yip Tong, Kwok-Hung Lam, Chi-Wing Lau, Charlie Cho, Hung-You Ham
Kevin Chan is a Hong Kong cop, who scores his first big hit by virtually single-handedly capturing and arresting a big drug- lord. Of course, the drug lord isn’t too happy about this and frames Kevin with the murder of another cop. Kevin has to clear his name, whilst keeping himself from getting killed or arrested and keeping his girlfriend from leaving him.
One of the joys of watching early Jackie Chan movies is watching him in his element. like classic silent movie, comedians. That is hard to mimic, and all managed to have their own signature style. where his appeal is all about his physicality here he does his own stunts as usual, but also manages to add into that element badass fights.
So he is dangerous, as well as silly instead of as in his leader films, more silly than dangerous. it’s an element missing from his Hollywood American movies, as the action is not as impressive in those it was more about the stunts, as he was still doing them himself, but usually paired with an up star or comedic star for a comedy, and then, even in the fight scenes, not usually working with his team the fights are stuntman looked like in a musical obvious and waiting for their turn in the spotlight and making it look obvious staged, except for THE FOREIGNER that film is totally balls to the wall, it’s not a comedy
The choreography of the fight scenes is so impressive that he even has a moment in this film to work in a moonwalk scene because it was popular at the time
Part of his fandom is the fact of how hard he works, and that he is willing to put his life and body on the line, not only to get the right shot but to entertain his audience. To impress even being a perfectionist on smaller details at times.
What is the reason this film is considered a classic is that it showcases his appeal and comedy and action and a perfect mix. funny, but the sequences and situations are enough to cause worry while being amazed at the stunts and his physical skills, physically. He truly is in control and comes into his own here. (which is why the film has many sequels.)
He has a lot of purely comedic scenes to himself to show off his comedy skills physically will say he is more impressive with a dance partner, so to speak. As when he uses props the film has weapons, but they’re never truly used. Usually, they are only as threats or for use by others by the villains.
The hand-in-hand combat, at least reminds you of classic kung fu movies, only more modern and crime rate and visual comedy.
No, he doesn’t really allow anyone else to shine in this film just join in the festivities as they are needed.
The film doesn’t offer anything new to add story though I love interest is there the film offers no love story, but pretty distractions. There are the usual cops and criminals and double-crosses.
The car chase scene through a shantytown seems to have inspired an action sequence from Director Michael Bay’s BAD BOYS 2.
One scene to show off the impression a stunt near the end has him show it three times at different angles, though then it just ends suddenly after beating up the villain.
A model prisoner’s leave ends in tragedy when his past resurfaces, forcing him to flee. He starts over in Thailand until a local criminal coerces him back into crime. After this man attacks his family, he vows revenge.
When it comes to this film, you have to look at it sort of the same way. You would look at Director Xavier Gens work over the years.
He is a talented and serviceable Director but while his films have all had style, most of his films, generally come off as disappointing usually maybe more due to scripting problems or story problems. They look vivid, but they can never keep the audience’s interest throughout
This film seems more inspired by the work of Gareth Evans, writer and director of THE RAID movies.
As This film has some truly incredible fights that are bone, breaking, and crushing where you feel the violence in the hits in the action as the camera moves with it, and we see the action and the aftermath.
These scenes do come often more in the second half of the film isn’t as balls to the wall as advertised. As with everything you need a lead-up for there to be that action, and here it’s there even though in the lead-up, it’s a little more typical, and ends up becoming more of a revenge story, but a revenge story on both sides in a way.
They also try to set up the main character to be not violent to be violent even though he’s a fighter, he usually avoids any extracurricular violence as in the scene when he’s in the gym in a fight breaks out he stays out of it so more he only fights when he has to, He is forced Which is what set up the second half of the film is that he doesn’t want to, but he has to if he wants to get his revenge.
Most of the story and film are typical, but those are fight scenes. They are what helped raise the film above the material if it had been 90 minutes of just the action sequences with maybe reasoning in between this definitely would’ve been better as directors like Timo Tjahjanto managed to do that they managed to have spectacular action, but also stay on point with the story so that it is, they are both interesting this is a nice attempt and certainly is not worthy but unfortunately, it’s not successful across-the-board but it is entertaining and worth checking out especially if you are an action movie fan.
Cast: Vincent Cassel, Monica Bellucci, Tcheky Karyo, Romain Duris, Antoine Basler, Dominique Bettenfeld, Francois Levental, Ivan Marat-Barboft, Pascal Demolon, Marc Duret,
The charismatic criminal Dobermann, who got his first gun when he was christened, leads a gang of brutal robbers. After a complex and brutal bank robbery, they are being hunted by the Paris police. The hunt is led by the sadistic cop Christini, who only has one goal: to catch Dobermann at any cost.
This film is definitely a byproduct of the 1990’s. It had plenty of energy and played like a hyper-Tarantino crime tale with way more action. That seems like it retains a villain more over the top than the anti-heroes.
Actually, it plays more for an audience who loves Writer-Director Quentin Tarantino’s films that take too long and are too slow to get to the action. Even though this film builds over its running time to a big climax filled with tension.
The film feels like it is on drugs at the speed it goes through and lacks certain details. It feels cruel in a sense yet tries to be fun In other ways.
Tchkey Karyo is way over the top and means just to be. Think Gary Oldman in THE PROFESSIONAL, but miles past him in strangeness and chewing scenery.
Though that is the main problem of the movie is that there seems to be a lack of motivation or explanation for most of the characters or much of the action. Half the time it seems random or as a result of an extension of a character.
As it is based on a graphic novel, maybe it is better explained in the source material. As here it seems to be a greatest hits quality. That plays exactly like a comic book in feel and texture. Even though the supporting characters are quirky and have their defects. They carry the film over more. As the leads seem there more to look cool.
While it’s nice to see Vincent Cassel and then wife Monica Belluci together and in love on screen. Even Belluci seems to do more acting than Cassel here as he seems more to be the lead and there to look cool and be a mastermind over all else.
it feels like a down-and-dirty popcorn movie. That would have gone even further in popularity if it had a better soundtrack.
It’s a film that is a nice try as it is stylish all over the place, but once you get over it. There isn’t much there except to wonder. If the director had better material would this be much better?
Mild-mannered businessman Anthony Wong’s life is shattered when his pregnant wife is run over by a busy taxi driver. This and another incident with a sleazy cab driver caused Wong to go on a mission to kill bad taxi drivers.
This is a fun movie despite the storyline of it being a revenge/vigilante movie. As it keeps changing tone throughout
One minute it is a comedy, then it seems like a satire then it goes for a more dark and violent route. But that you really take any of it too seriously.
The film starts out with begat looks to be a comedic scene then it becomes an over-the-top action sequence.
One of the supporting characters is a police detective who constantly does dumb things but rarely has a good idea and dresses like a teenager of the time. Though he is a middle-aged adult.
The other supporting character is a super cool cliche who always wants to get in on the action. No matter how dangerous it is. Our lead is more of a nerd who is polite and pushed to the edge but seems to stay that way throughout the killings that politeness.
Even as most of the taxi drivers throughout the film are mean-spirited and vicious. So it makes it easy to hate them. At least most of the ones he comes across and attacks. There is at least one nice one throughout. So it does offer some hope and not a total stereotype.
The film is a strange hybrid that makes the film more fun than it has any right to be. The action happens so fast.
The film is wacky, yet never feels too ridiculous or over the top. It manages to stay grounded even under the silliest circumstances.
Written by: Baltasar Kormakur and Hallgrimur Helgason
Based on the Novel By: Hallgrimur Helgason
Cinematography: Peter Steuger
Editor: Skul E. Eriksen and Sigvaldi J. Karason
Cast: Victoria Abril, Hilmir Snaer Guonason, Hanna Maria Karlsdottir, Baltasar Kormakur, Pruour Vihjalmsdottir, Olafur Dari Olafsson, Prostur Leo Gunnarsson, Eyvindur Erlandsson, Halladora Bjorn Sdottir
Will the 30-year-old, Hlynur ever move out of his mother’s apartment in Reykjavík? Social welfare keeps him passive but things change when his mother’s Spanish friend, Lola, arrives and stays through Xmas and New Year’s Eve.
Before going off to make more action-oriented Hollywood films. Director Balatasar Kormakur (2 GUNS, BEAST, EVEREST, CONTRABAND) came through with this very visual erotic coming-of-age story of late maturity and being in a love triangle with your mother.
I would like to say this film can be easily categorized, but this film is one you can never quite take too seriously. So that one minute It’s a romance then it seems like an aimless character study. Then it seems like a woe-is-me for a character we can never quite feel sorry for. So if anything we can say this film is a quirky comedy.
There isn’t much substance to the material. A kind of love and lust triangle between a son, mother, and lodger. So that it ultimately becomes a film about relationships or connections.
A lodger is a free sprint and flamenco teacher played by Victoria Abril. Whose performance full of life, charisma, vitality, grace, and spirit is what saves the film. Not to mention her obvious beauty. She truly saves the film and is the only reason to watch it. It’s what got me to watch. As when she isn’t in the film it drags. You wonder was the character written around her or was she cast perfectly and it worked out?
Only wish she was in a better film that matched her talents and made her just her own thing to admire and love about the film. Rather than the only thing.
The main character is an unlikeable selfish jerk, but he is our guide. So when he gets his comeuppance. We aren’t as upset as it is expected. The film tries to come off as a foreign Woody Allen-inspired film. Only less artistic and more aimless.
His mother finally found a relationship and forced him to grow up. The downfall of his responsibility. Though originally seemed like it might focus on a lesbian relationship. It ultimately adheres to the male gaze and sexual fantasies and actions of straight sex.
The film is pretty open-minded for its time and has a liberal openness as it offers no judgments on anyone. It ultimately becomes about a young man learning to grow and become responsible. Learn how to truly have an adult relationship. So in certain moments is a relationship comedy.
Which leads to the increasingly complicated situations he finds himself in. That proves to be his downfall and maybe his saving grace.
The film is a time waster and has some good ideas and tries to twist it so that instead of playing the victim the main character is almost a villain at times, but learns to grow up somewhat. Though none of it Is compelling enough to keep a major interest.
Cast: Tony Leung, Jane March, Frédérique Meininger, Arnaud Giovaninetti, Melvil Poupaud, Lisa Faulkner, Jeanne Moreau
In 1929 French Indochina, a French teenage girl embarks on a reckless and forbidden romance with a wealthy, older Chinese man, each knowing that knowledge of their affair will bring drastic consequences to each other.
This is one of the more troublesome movies to watch now as even though it’s based on a classic novel, it still is a love story between an older Asian man and a young French girl. Watching the film we know that both actors are of age but the film is overly erotic, and both actors even being of age are extremely attractive.
So while full of sex. at heart, it tries to be a romance and shows how power, race, and class bring them together, but also pull them apart, as take advantage of the other in their own way. The film feels like a book textured with beautiful international yet a small story. That has heavy and strong ramifications.
I remember when this film came out as one of the first artistic erotic films I remember seeing. As the sex was graphic and realistic, rather than being exploited, it seems to come more from passion, romance, and love.
This would obviously be hard to make today one of the other aspects that was the appeal at the time was that there was an interracial romance on screen. Full of risky material that deals with racism as well as classism.
The rules were reversed as here was an Asian man who was more classy, and had money which he comes from, and her family is more poor, desperate, and savage, he seemed to pluck her off the streets and seduce her, and to a certain point her family despised him for being Asian do like the money that he spends.
The film has plenty of artistic touches that help the film flourish. The art direction is top-notch, and the main character is the defining, all-white suit that he wears throughout.
The film also happened to be the jewel in the way to the brief film career of the actress, Jane March it was also her screen debut. She was unbelievably beautiful. She followed this film up with films like TARZAN AND THE LOST CITY OF GOLD and PROVOCATEUR and the infamous Hollywood bomb THE COLOR OF NIGHT. Though like her The scope of the film is beautiful to look at. She has continued to work over the years here and there, but never quite in a starring role. The biggest budgeted Hollywood film she was in recently was the remake of CLASH OF THE TITANS.
By the end when it comes to the characters she is the one you won’t forget, and was hoping that Jane March would have a memorable acting career aside from this film, but she achieved one-and-done status (One-and-done is usually where an actor actress is so good, but they never ever act again, and are only defined by one role where they stay unforgettable maybe even that character to life so strongly that even when you look at pictures of them in real life, you still see more of the character than the actual actor Which can work for the film as in your mind it makes them more real) even as she appeared in a few other films. None were good one was more infamous and reputation so that leaves the one she truly shines in and shows so much promise.
I remember being pulled into this film and caring about the characters beyond the sex scenes I will admit that the first time one watched the cultural and political stuff went over my head. Though one can remember the lush Scenery and feeling like you are watching an escapade.
The film truly is a perverted story of a taboo romance that once was more common at the time based on a novel, luckily in the film, the girl is aged up a bit and shows her learning of the world through him, usually through the comfort that he can bring her.
Cast: Andrew McCarthy, Molly Ringwald, Ben Stiller, Patti D’Arbanville, Viggo Mortensen, Molly Hagan, Doug Hutchinson, Leon Rossom, Marita Geraghty
A college student from Cincinnati breaks off his engagement to his wealthy fiancée after falling in love with a girl from Kentucky. She claims to be 20, but he learns she is actually only 16 and already married.
The film gets to buy on its reunion of the two stars, Andrew McCarthy, and Molly Ringwald, again, a rich boy, who falls for a girl, who is considered the wrong side of the tracks only hear her character is full of misfortune and mystery, rather than upwardly, mobile and spunky as well as early appearances of Ben Stiller, Viggo Mortensen, and Doug Hutchinson
By the end of the whole affair comes off as distracting from his ultimate fate and destiny. A doomed romance that is part of growing up for these characters.
Based on an off-Broadway play the film comes across more as having the substance of a 1950s melodrama which would also explain the film’s appeal to me, which is Molly Ringwald, her best and most luscious ever on screen, playing a romantic lead, becoming across more as a femme fatale, maybe it’s the color palette of her pale skin with her enhanced red hair and also Her at the time more an adult role in growing perfectly into it. Like a Greta Garbo or no not as voluptuous as Bridget Bardot.
So that her looks and appeal in this film come across as like a 1950s silver screen siren where the film is classic because of the beauty of the star in the role which truly shows that either they were becoming a movie star or a movie star but you can’t remember much story-wise or plotline about the film but you can probably remember where you were and how it felt when you first saw this image or saw this felt
After all most of the films that we consider classic because they’re so well remembered, but yet we can’t remember half of their stories unless you’re a true film aficionado, but you remember the stars because films were notoriously all around better back then, or consider to be made better, as the stars supposedly had to have all the talents of being able to sing, dance and we the stars on-screen charisma liability with their personality rather than necessarily they’re acting skills.
However, it also feels like a film where she was trying to show a more adult and artistic side. Showing she had grown up to a degree. Something we commonly see with child stars who want to be seen in a new or different light and sometimes choose extreme roles in subpar films, for the opportunity. Though at this point she had already done THE PICK UP ARTIST and
FOR KEEPS. This was the first of her films with a new look. A kind of rebirth though in familiar territory with an old co-Star
This film would’ve been perfectly fine back in the day as it resides any emotions and tries to rely on acting ability, but comes across more basing itself on star quality in a romance story with a color palette that represents the season
So watching it feels like how some migrate to woodlands to see the changing of the color of the leaves. Here you’re watching the film to watch your favorite teen actors kind of grow up or play more adult roles and see if they can pass the test.
Wow, they perfectly do OK in their rules. It does feel like Molly Ringwald is a little Miss Cass. She looks the part but something is off that just doesn’t make her feel correct in the role. She does the best she can, but there seems to be a lack of an edge when it comes to her performance. Though again you will remember her looks or her look in the film.
Then, again, maybe that’s me as it is what I remember most of why I wanted to see the film and why time the time I might come back to the film
Ultimately watch this film mainly if you’re a completist you like a good romantic tragedy, or you could think of it as a continuation of PRETTY IN PINK, but only in the aftermath.
I can admit, it’s not the greatest movie, and Andrew McCarthy was brought in late, but offered fans of PRETTY IN PINK. A kind of reunion of the two actors, obviously in a vastly different film and in a more adult playground, definitely more dramatic a little bit out of range from their usual roles.
I will say that I saw the film based on that coupling and also based on Molly Ringwald, looking exquisite in the trailers in the posters and watching the film. I was not fully satisfied or disappointed. It’s just that the film was so cold and didn’t have the warmth nor was it that interesting. Keep in mind I saw this as a teenager so it was very boring and even watching it today. It’s very tepid It’s one of those. I don’t know exactly what the reason for all of this is but OK Storytelling.
It had higher hopes especially coming from the director David Anspaugh. Whose film before this was the hit movie HOOSIERS
Written By: David Matalon, Sasha Perl-Raver and Jen D’Angelo
Story By: David Matalon and Sasha Perl-Raver
Cinematography: Judd Overton
Editor: Jeremy Cohen
Cast: Kiernan Shipka, Olivia Holt, Lochlyn Munro, Julie Bowen, Randall Park, Charlie Gillespie, Troy L. Johnson, Liana Liberto, Kelcey Mawama, Stephi Chin-Salvo
When the infamous “Sweet Sixteen Killer” returns 35 years after his first murder spree to claim another victim, 17-year-old Jamie accidentally travels back in time to 1987, determined to stop the killer before he can start.
A movie that one can easily see why there is a comparison with the film FINAL GIRLS. Both involve trying to save mothers from a killer having a serial killer who seems unstoppable and being sent into a different period of world.
Though Totally Killer has its own identity and a mystery more at its heart as well as back to the future time travel element.
This movie really makes no sense but it also doesn’t try too hard to. It’s silly and funny as well as fun. This by the end comes across as a guilty pleasure. It is a horror film but feels more like a comedic send-up of slasher films as well as time travel films with some graphic violence.
It’s simplistic but half the humor Is having a character with modern sensibilities dealing with the less politically correct attitude of the past. As well as the movie is a bit tongue-in-cheek and has a sense of humor about itself. Though staying on the ball when it comes to the story and plot. As well as characters.
Kiernan Shipka is good in the lead role being equally dramatic and comedic when need be. It’s also nice to see a film that is more diverse when it comes to casting and not making it a big deal or obvious.
Director Nahnatchka Chan’s second movie after the surprise hit ALWAYS BE MY MAYBE also brings along that film’s star and co-screenwriter Randall Park to play a small, pivotal supporting role in the film.
This plays more like a teen comedy and is a film you have to experience to get the most out of it. Talking or reading about it doesn’t do it full justice. It has the right campy attitude with enough rebelliousness and inside jokes from the culture of that era and movies.
In the end, it is a mystery that has you guessing. Though when all is revealed it doesn’t feel like it matters as much as it should.
Cut To The Chase 