Hard Target (1993) – 4K Ultra HD Blu-Ray Review: Kino Lorber + JCVD = A Fun Combination
Hard Target (1993) – 4K Ultra HD Blu-Ray Review
Quick note – I love Kino Lorber, and have been buying their releases for years (buy their Deep Rising release now). This time, I got lucky and received this wonderful film, so I could review it (I would’ve bought it anyway).
In 1993, something amazing happened. John Woo and Jean-Claude Van Damme teamed up to make their version of The Most Dangerous Game. The end result was a deliriously violent romp that features snake punching, motorcycle surfing, and a moment in which JCVD pulls back his long jacket, to reveal his deadly leg (instead of a gun – beautiful moment). What I love about Hard Target is how instead of being just another action film that featured JCVD spin kicking people in the face, it became a technically ambitious movie with lots of sweeping crane shots, practical stunts, and a plethora of side characters who steal the show from the main character. While JCVD fully commits to his role of Chance Boudreaux, it’s Lance Henriksen and Arnold Vosloo who walk away with the movie, as they clearly loved playing manhunting baddies who travel the world to help fulfill the bloodlust of rich hunters, who pay handsomely so they can murder handpicked prey. Whenever they are onscreen the movie becomes much more interesting, and despite Vosloo becoming a household name with The Mummy, I still always refer to him as “the guy from Hard Target.”
The film culminates with a doozy of a finale that pays homage to Woo’s prior films, and gives JCVD some moments to shine as he spins kicks, and shoots (it is a John Woo film, he needed to shoot a gun) his way to victory. The finale features some of my favorite action movie visuals of the 1990s (the Henriksen grenade bit lol), and it looks glorious on the new disc.
Hard Target clearly isn’t on the level of Hard Boiled or Face/Off, and that’s totally fine because it was never meant to be. The movie established Woo in America, and led to Broken Arrow, Face/Off and Mission: Impossible II.
What’s best about the new 4K is how it highlights the sweaty New Orleans locations, and gives the world a proper 4k release of an underappreciated action movie. According to Kino Lorber, it’s a brand new “4K Restoration of the Unrated International Cut – From a 4K Scan of the Original Camera Negative!” This means we get the unrated international cut, and it looks and sounds great.
Final Thoughts – If you are a fan of 1990s action cinema, you should definitely pick it up.
Extras
Audio Commentary featuring Action Film Historians Brandon Bently and Mike Leeder – I really enjoyed this commentary as Bently and Leeder dropped some cool action movie knowledge and shared some facts that I’d never heard before.
From Hard Boiled to Hard Target – Interview with John Woo (HD 12:52) – This is a highlight of the new release. I loved hearing about how Sam Raimi got Woo’s back when JCVD wanted to have his own edit of the film. Woo has such a likable presence, and I loved hearing about how he got the job, and how he approached his first American film
Henriksen vs Van Damme – Interview with Lance Henriksen (HD 8:46) – The highlight of this interview was hearing about how much respect Henriksen has for John Woo. Henriksen has worked with the biggest names in the industry, and to hear him talk about his love for Woo, and how he directs, is really cool (Henriksen would sit around on set and just watch Woo work). Also, it was neat learning that Henriksen requested the gun he has in the film.
Hard Times in The Big Easy – Interview with Yancy Butler (HD 14:36) – Yancy Butler is a blast, and whether she’s talking about fake snakes, or when she and JCVD wiped out on a motorcycle, she’s supremely entertaining. Also, she loved working with Woo, and had nothing but nice things to say about JCVD, who was very kind to her mother.
Gun Fu and Van Dammage – Interview with Stunt Coordinator Billy Burton (HD 9:05) – Billy Burton has been in the stunt business for decades, and he loved working with Woo.
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The King’s Man (2021) – Review – A Slightly Unnecessary Prequel That Is Saved by Some Fun Action Scenes
Quick Thoughts – Grade – C+ – The King’s Man isn’t as effective as its predecessors because it loads up on sincerity, and still wants to be a Kingsman movie. There are several effective action scenes, and cool visuals, but it feels like three totally different movies competing for space.
The best moment in The King’s Man happens when characters Orlando Oxford (Ralph Fiennes), Conrad Oxford (Harris Dickinson), and Shola (Djimon Hounsou), engage in a spirited battle with the mad, bad and dangerous Grigori Rasputin (Rhys Ifans – Having a blast, and stealing every scene he’s in). The back and forth battle that was thought up by director Matthew Vaughn is fun, fast, and wonderfully violent. The scene feels like vintage Kingsman, and it makes the rest of the film feel like a slog, as it leans heavily into sincerity and revisionist history, which never really feel like they belong. Many critics have noted that The King’s Man is what happened when Vaughn wanted to make a WWI film, and decided to do it by taking his Kingsman IP, and stuffing it into the timeframe. This assumption feels correct as the elements never really gel, and the end result is tonally uneven and is slightly saved by watching Ralph Fiennes go full action hero.
The King’s Man revolves around the events that start and end World War One. The assassination of Archduke Franz Ferdinand of Austria is still the catalyst, and the assasination planned by a Blofeld-esque secret villain pits the nation of King George, Kaiser Wilhelm, Tsar Nicholas (all played by Tom Hollander in a cheeky bit of casting) against each other, and leads to a whole lot of trench warfare and death. While the three nations are killing each other, a group lead by Orlando Oxford, and his allies Shola and Polly (Gemma Arterton) have to figure out a way to save the United Kingdom, by stopping the war, to make sure the country isn’t overrun. To do this, they need to keep Russia in the war, battle a nefarious supercriminal, and convince the United States to enter the skirmish. Normally, this much plot would be enough for two films, but Vaughn also adds in a father and son story between Orlando and his son Conrad, who desperately wants to join the war effort, but is thwarted by his overprotective dad, who doesn’t want to see him die in combat. Their relationship and its struggles weigh down the film, as the added sincerity, and constant bickering are not organic. Their relationship feels like a plot device that gets Orlando from point A to point B, and feels like it’s part of another movie.
The King’s Man is at its best when the action kicks off, and there are several fun action scenes involving silent knife fights, and Ralph Fiennes dangling from an airplane that make you wish Vaughn leaned into the action more. It is refreshing that he tried something new with the prequel, but the added elements and relationships do not blend well with Kingsman shenanigans. Also, if the prequel fully leaned into the insanity showcased in the first two films, the revisionist history would make sense. However, with the added sincerity, the wild events and twists feel glaringly out of place. I’d love to mention what happens at the end, but it would spoil the film, just know that the actions of Orlando and his crew save millions, but result in a future where many more millions are killed. Basically, all Orlando and his crew want to do is save England, and they don’t care if anybody else around the world dies.
Final thoughts – Watching Ralph Fiennes battling Rhys Ifans is worth the price of admission, and there are several fun action scenes, but, overall, The King’s Man doesn’t totally justify its existence.
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Mark and Norbert discuss the 1995 classic Heat. Directed by Michael Mann, and starrring Robert De Niro, Al Pacino, Val Kilmer, and many telephones, the movie focuses on what happens when a master criminal attempts one last heist. In this episode, they discuss coffee, juice, and Pacino going big while drinking coffee. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
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Nightmare Alley (2021) – Review: Guillermo del Toro Takes a Tragic Tale and Loads it With Bells and Whistles
Quick thoughts – Grade – B – Guillermo del Toro’s adaptation of William Lindsay Gresham’s 1947 novel (he says it isn’t a remake of the 1947 film) is beautiful to look at, and jam-packed with solid performances. However, the 150-minute running time weighs the film down and slows the pace to a crawl. Yes, del Toro purposefully made the scope massive to build towards the ending, and slow burns are always welcome, but the added fat keeps the film from getting an A.
In a recent interview with Uproxx, del Toro said “I believe that there is a beautiful place for a new resurgence of noir, because it is the most cinematic, lush, glorious genre. And other than horror, it has been my love all my life, both in the novels and in the filming genre. I love them equally.” You can tell how much he loves noir with Nightmare Alley, a movie that is loaded with femme fatales, booze, shadows, cheekbones, shady characters and a gut-punch ending that is wonderfully nasty. The problem is he decks out every frame with exorbitant production design and intense lighting which add a digital gloss to what should be low down and dirty. It’s neat that almost every lampshade, sign, and tent are slightly askew, and traditionally noirs have relied on style, but all the bells and whistles take away from the character study.
Nightmare Alley focuses on the rise and fall of Stanton “Stan” Carlisle, an ambitious man with a mysterious past, who is first introduced by burning down his midwestern home. Stan clearly has skeletons in his closet, and that’s why he accepts work with a traveling carnival managed by Clement “Clem” Hoately (Willem Dafoe), who keeps his workforce in line with a mixture of booze and just enough pay to make them happy. While at the carnival, Stan is tutored by Pete Krumbein (David Strathairn), and he’s taught how to use a coded language system in order to fool people into thinking he has mental powers. While he’s working for the carnival, he meets Molly Cahill (Rooney Mara), and the two break away from the carnival and start a two person “spook show” in Chicago where they take the money of the local elite. Stan’s show puts him in the crosshairs of Dr. Lilith Rutter (Cate Blanchett), a prominent psychologist who wants to use Stan to make boatloads of money. It would be a shame to spoil the rest of the film, so just know that there are twists, turns, double-crosses, and Richard Jenkins being creepy (and loving every second of it).
Since it’s a Guillermo del Toro film, the cinematography, production design and costumes are all top notch. Tamara Deverell’s (The Strain) production design is inspired, as the carnival she helped create is believably gritty, and the posh offices are loaded with angles and window blinds that allow shadows to hit the actor’s faces perfectly. Overall, it’s a top-notch production that feels a bit excessive, but, if you’ve watched a del Toro film before, this isn’t surprising as he loves his production design and intricate costumes. In the end, it’s a film worth watching for Cooper’s inspired performance, the gut-punch ending, and the love that del Toro fills it with (you can tell he loved making this noir).
Final Thoughts – Nightmare Alley is too glossy, but it’s worth a watch.
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The Novice (2021) – Review: Lauren Hadaway Has Crafted a Tense and Thrilling Experience That Will Linger in Your Memory
Quick Thoughts – Grade – A – Writer and director Lauren Hadaway drew from her own experiences as a college rower and a sound editor to craft a confident, assured, and thrilling movie.
2021 has been an excellent year for first-time feature-length directors, such as Rebecca Hall (Passing), Fran Kranz (Mass), and Lin-Manuel Miranda (Tick, Tick…Boom!). The streak of wildly confident debuts continues with The Novice, which was written, directed and edited by Lauren Hadaway who drew from her four years of rowing at Southern Baptist University, and sound design work on movies like Whiplash, Army of the Dead, The Conjuring 2, and Warcraft, to craft one of my favorite films of 2021. The Novice is a wildly confident first feature that showcases Hadaway’s ability to direct, edit, and get excellent performances from her cast. In a perfect world, the IFC released movie will get a swell of word-of-mouth support that leads to some major awards, but, in a year of stiff competition, it would be nice to see it build on its best U.S. Narrative win at the Tribeca Film Festival, and become a popular cult classic.
The Novice centers around a college freshman named Alex Dall (Isabelle Fuhrman – so good) becoming wildly obsessed with becoming part of the varsity rowing crew at her elite college (being a novice doesn’t work for her). Dall is the type of student who isn’t as smart or athletic as her peers (Hadaway compares her to Honda, whereas her teammates are Ferraris), but she will work harder than all of them combined, and if others take 10,000 hours to perfect their craft, she’ll accrue 15,000 hours to make sure she’s just as good. Dall earns her high grades, and a spot on the rowing team by being in a state of constant motion that involves training, studying, and learning everything she can so she can keep up with the elite. The obsession leads to nothing good, and it’s probably the most refreshing element of The Novice. This isn’t a Whiplash-esque film where obsession leads to success, this is the type of movie where obsession leads to self-isolation, lost friendships, bloody hands, and horrific looks from teammates. Instead of being picked up and carried around by her teammates after helping them become champions, she seems content to alienate herself from all of them so she can be briefly better than they are.
Adding to the assured direction, editing and performances, is the horror-esque cinematography by Todd Martin (He’s shot music videos for Radiohead, The Chainsmokers, and Kygo), who makes the tunnels that lead to the rowing facility seem like the gates to hell, and the training sessions seem more like torture than practice. Also, the score by Alex Weston (The Farewell) adds to the stress and makes simple things like taking tests, or walking to practice seem like a nightmare. While watching, I was blown away by how assured and confident Hadaway was. However, after reading more about her career, the surprise disappeared, as she’s worked with Quentin Tarantino, Damien Chazelle, Zack Snyder, James Wan, and Ava DuVernay, and has admitted how obsessive she can be (make sense for a sound designer). The Novice is the product of a talented filmmaker who understands the medium, and uses excellent sound design, and a dose of obsession to make a confident movie.
Final Thoughts: Watch The Novice, and tell people how good it is.
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Encounter (2021) – Review: A Decent Genre-Blending Film That Is Buoyed by Another Solid Riz Ahmed Performance
Quick thoughts – Grade – C+ – Riz Ahmed is excellent as always, and so are Aditya Geddada and Lucian-River Chauhan. But, Encounter never fully gels as it tries to juggle multiple genres, and never fully explores either. The idea is worth tackling, but Encounter doesn’t stand alongside movies like Take Shelter or Bug (which both star Michael Shannon), which fully commit to the trials and tribulations of their characters.
After Riz Ahmed and his film Sound of Metal had success with Amazon Studios last year, it was exciting to hear that he’d be back in another Amazon backed film that centered around Ahmed protecting his children from a group of aliens, who after coming to earth on a meteor, burrow themselves into the world’s populace and take them over (think Invasion of the Body Snatchers, or Bug). What’s even more exciting is that director Michael Pearce completely reconsidered the character after Ahmed approached him about being in the film, and the character went from being in the directors words, a “Default White Anti-Hero,” to being a warm, steely, and laser focused killing machine, who is clearly unhinged. An added bonus to casting the Academy Award nominated actor, is that Aditya Geddada and Lucian-River Chauhan were brought in to play his kids. Both child actors are excellent, and they have wonderful chemistry with Ahmed. The best moments in Encounter feature the family spending time together, and it makes you wish the movie was 95% focused on them in a car, listening to K-pop.
The biggest problem with Encounter is how the plot elements never totally gel. In the beginning of the film, we are treated to footage of a meteor hitting the earth, and the supposed fallout is that humanity is slowly being taken over by body snatching aliens. Shortly after the invasion, we are introduced to a former marine named Malik (Ahmed), who is holed up inside a dark hotel room, and preparing a survival kit loaded with bug spray, guns, and more weapons. When he leaves the seedy hotel (after smooshing several bugs with a bible he found in the room), he doesn’t go off to battle the alien threat, instead he travels to his ex-wife’s home, kidnaps his two children, and in his words, takes off on “a crazy road trip with your cool ass dad!” It would be a shame to spoil the rest of the film, just know that it involves gun fights, paranoia, and solid cinematography by Benjamin Kracun (Beast, Promising Young Woman), which captures the wide open expanses of Nevada and surrounding plains and valleys. The movie falls apart when all the cards are laid on the table, but, if you are a fan of Ahmed, Encounter is worth a watch.
It will be interesting to see how audiences handle the expectations created in the trailer, which makes Encounter out to be an Uber tense alien flick that features Ahmed kicking butt. It wasn’t an issue for me, as I’ve learned to be flexible and appreciate the experience, which may or may not have been marketed to get people in the seats. But, for people looking for Invasion of the Body Snatchers meets Taken, they’ll either be disappointed, or annoyed that their expectations weren’t met (which seems odd, but it happens a lot). Either way, there are things to like about Encounter, just don’t expect a totally connected narrative.
Final thoughts: Encounter is based on an interesting idea, but the script by Joe Barton and Michael Pearce doesn’t know how to tie together the various genres in a way that feels organic. At times it feels like they are jackhammering home their ideals, which takes away from another solid Riz Ahmed performance.
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The Movies, Films and Flix Podcast – Episode 401: The Purple Rain and Tron: Legacy Soundtrack Draft
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome!
Mark and Nicholas Rehak (@TheRehak on Twitter) discuss their favorite songs from the Purple Rain and Tron: Legacy soundtracks. In this episode, they draft their favorite songs, and talk about the history of both albums. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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The Power of the Dog (2021) – Review – A Satisfying and Impressive Film From Director Jane Campion
Quick Thoughts – Grade A – The Power of the Dog is an impressive piece of filmmaking that excels on every level. Academy Award winning director Jane Campion (The Piano, Bright Star) has created a fine film that builds towards the most satisfying ending of any 2021 film. The movie will linger in your memory, and hopefully it will be a player when awards time rolls around.
Adapted from Thomas Savage’s 1967 novel of the same name, The Power of the Dog is an impressive western that has been carefully crafted by writer/director Jane Campion. What makes The Power of the Dog so impressive is how it subverts western genre tropes, features a unique horror-esque score by Johnny Greenwood, and according to cinematographer Ari Wegner, was filmed like a horror film. The term “slow burn” has been thrown around a lot, and it makes sense, but that implies that nothing much happens until the end, and that can’t be further from the truth. The Power of the Dog is rich with tiny moments that deserve attention, and the clues laid out make it a movie worth rewatching. Campion planned the movie for years, and her dedication to making it layered, humorous, and visually rich have paid off.
The Power of the Dog focuses on the happenings at a massive ranch in rural Montana, which is home to Phil (Benedict Cumberbatch – who went unbathed and suffered from nicotine poisoning several times during production) and George Burbank (Jesse Plemons), two brothers who couldn’t be more different from each other. Phil is the alpha male on the ranch, who is respected by his ranch staff, and feared by everyone else around him. George is a milquetoast individual who seems tired of his overbearing brother, and his life gets better when during a cattle drive, he meets inn owner Rose Gordon (Kirsten Dunst), and her son Peter (Kodi Smit-McPhee). George quickly proposes marriage to Rose, and she accepts, which causes chaos in the Burbank household as Phil begins to lash out at Rose, which pushes her into a depressed drunken stupor. Things get infinitely more interesting when Peter comes to the ranch during a school break, and finds his mom suffering from depression and his presence mocked by the macho cowboys on the ranch. Phil is initially horrible to the slightly-framed and non-masculine Peter, but he becomes impressed with his confidence and inquisitive nature (there’s a great dolly shot involving Peter walking back and forth from a location that you need to see). So, he takes Peter under his wing, and offers to teach him how to ride horses, and starts making him a rope made from cowhide. It would be a shame to spoil anything more, just know that the rest of the film features scarves, piano playing, cowhides, and rabbit death.
Overall, The Power of the Dog is a top notch production that features excellent production design from Grant Major, who also designed the sets for King Kong, The Frighteners, and the Lord of the Rings trilogy. Also, the costume design from Kirsty Cameron (Slow West, Whale RIder), is inspired, as the chaps, button up shirts, and hats, all tell a story, and make the characters standout from each other. The movie also showcases the skills of Ari Wegner, who after In Fabric, Zola, and Lady Macbeth has established herself as a premier cinematographer who is great at creating claustrophobia and dread in Florida hotel rooms and New Zealand valleys.
Final thoughts: The Power of the Dog is proof that Jane Campion is an A-list director, and hopefully the movie will be a contender during awards time.
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The Movies, Films and Flix Podcast – Episode 400: Tequila Sunrise, Kurt Russell and Slick People
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The MFF Kurt Russell tradition continues! Mark and John Leavengood (@MFFHorrorCorner on Twitter) discuss the 1988 film Tequila Sunrise. Directed by Robert Towne, and starring Kurt Russell, Mel Gibson, Michelle Pfeiffer, and Raul Julia, the movie focuses on what happens when Kurt Russell goes full slick. In this episode, they discuss smooth Kurt Russell, pinky rings, and saxophones. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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West Side Story (2021) – Review – An Impressive Remake That Features Fun Performances and Inspired Cinematography
Quick Thoughts – Grade – B+ – The Steven Spielberg directed remake is at its best when Rachel Zegler and Ariana DeBose are able to shine. West Side Story is also beautiful to look at as cinematographer Janusz Kaminski has made almost every frame look visually interesting. It’s an ambitious remake that will be a contender come awards time.
When it was announced that Steven Spielberg would be remaking West Side Story (which was adapted from the 1957 Broadway musical of the same name, that was inspired by Romeo & Juliet), the 1961 classic that won 10 Academy Awards, many were left scratching their heads at the decision. Why would Spielberg want to remake a legitimate classic that is wildly beloved? The answer is, he loves West Side Story a lot, and wanted to bring an updated version of the musical that acts as a companion piece to the original. The end result is a successful movie that mixes up the musical performances, introduces some fresh faces, and isn’t some lazy remake that was made to put a few extra dollars into a studio’s pocket. It helps that Spielberg gets career best work out of Janusz Kaminski (Saving Private Ryan, War of the Worlds), and the screenplay by Tony Kushner (Lincoln, Munich, Angels in America) does a fine job restructuring the original film’s plot, while still making it familiar to West Side Story superfans. It’s a polished product, with vibrant costume design from Paul Tazewell (Hamilton, Harriet), and inspired production design by Adam Stockhausen (The Grand Budapest Hotel, Bridge of Spies) that allows the actors to move freely during their song and dance numbers choreographed by Justin Peck.
The story remains the same, and still features tragic lovers, dueling gangs, and epic musical numbers that feature lots of finger snapping. What’s changed is that Spielberg has 60 years of technological advances on his side, and he loads the films with sweeping crane and dolly shots that put the Panavision Panaflex Millennium camera to good use. The final product is beautiful to look at, and if you pay attention, you’ll notice the involved shots that must’ve required excessive blocking and marking to make sure the shadows and lighting work throughout long scenes involving lots of movement.
What makes the film really work are the performances from Rachel Zegler (Maria), Ariana DeBose (Anita), Rita Moreno (Valentina), and Mike Faist (Riff), whose performances feel wildly alive. The MVP of the movie is Ariana DeBose, who takes on the role of Anita (Moreno won an Oscar for her portrayal of Anita), and fills it with life, passion and charm. The movie comes alive when these characters are on screen, and they are accompanied by a strong cast including Ansel Elgort, David Alzarez, Corey Stoll, and Josh Andrés Rivera, who all sing, dance and perform with aplomb. Spielberg has put together a likable cast, and it will be neat to see their careers takeoff in 2022.
Final thoughts: West Side Story is a winning film that features alive and thrilling performances.
Movies, Films & Flix 