“The only thing that stops me from becoming evil, is fighting evil.”
You know how in HIGHLANDER Christopher Lambert said he had “a kind of magic” because he was an immortal? Well, being in that movie made him a kind of movie icon and imbued him with his own kind of magic. It’s the kind of magic where he can come into MORTAL KOMBAT wearing a robe, act mystical and say “I don’t THEENK so” and somehow seem more cool than laughable. It’s also the kind of magic where he can reunite with the producer of MORTAL KOMBAT and say “why don’t we do another one like that but instead of basing it on a popular video game we’ll use a thousand year old epic poem?”
So here we have a movie that has a KOMBAT-esque logo, a techno and industrial soundtrack (Front 242, Juno Reactor, KMFDM, Junkie XL, also Anthrax), a big climactic fight with a crude CGI monster, and yes, it is also a recognizable adaptation of the story of Beowulf (Lambert), the monster Grendel (uncredited Vincent Hammond, also a suit performer in FULL ECLIPSE, THE RELIC and SPECIES II) and the king Hrothgar (Oliver Cotton, FIREFOX, WONDER WOMAN 1984). (read the rest of this shit…)
It is the futuristic year of 2000. In the real world, HIGHLANDER II‘s prediction of solar radiation creating the necessity for an electromagnetic shield over the earth has not come to pass. Instead we got President George W. Bush and Ron Howard’s upcoming HOW THE GRINCH STOLE CHRISTMAS!.
From the dawn of 1986 they came…moving stylishly down through the decades. Movies, TV shows, cartoons, struggling to reach the time of the reviewing, when Vern will write about the franchise
It has been six years since HIGHLANDER III, which did not make back its production costs at the box office. But in that time the mythology of the Immortals has taken on a new life on television, with Connor MacLeod’s younger friend Duncan MacLeod (Adrian Paul) entertaining fans through 117 episodes (not including the two he wasn’t in). Though the show ended in 1998 and its spin-off The Raven in 1999, they have clearly left behind a fan base that takes this shit seriously. From 1994-2000 there was an annual convention called “The Gathering” in Denver, Colorado, with Paul and other stars as guests of honor. From 1997-1999 there were three “Highlander Clan Cruises.” 1997 gave Australia the first of eight “Highlander Down Under” conventions. And the list goes on. Clearly this is a group of loyal fans waiting to be exploited. I mean catered to.
And so here on the cusp of the millennium we find the immortal movie series resurfacing in the Weinstein-Brothers-cheapass-franchise-exploitation era.
HIGHLANDER: THE FINAL DIMENSION (apparently also called HIGHLANDER III: THE SORCERER) arrived in late 1994 in the U.K., early 1995 in the U.S. It was only about three years after THE QUICKENING and already the producers were like, “I don’t know what you mean, ‘Planet Zeist.’ That’s not a thing that was ever mentioned in our movies.” And they made a new HIGHLANDER sequel that didn’t acknowledge any of that stuff – “a stand-alone alternate sequel to the original film,” as Wikipedia puts it. Of course, it takes place in 1994, so in my opinion it is for sure just an adventure Connor MacLeod had shortly before the ozone layer got real bad and he transitioned into the shield-building
From the dawn of 1986 they came…moving stylishly down through the decades. Movies, TV shows, cartoons, struggling to reach the time of the reviewing, when Vern will write about the franchise
industry and then years later was at an opera that reminded him he was from Planet Zeist.
But before they take us to Connor in the ’90s they fill in a piece of backstory that was skipped before. Turns out after his mentor Ramirez and then his wife Heather died back on the Highlands he wandered the world “searching for answers” until he “came to Japan, to the mountains of Niri and the cave of the sorcerer Nakano.” We see Nakano (motherfuckin Mako, CONAN THE BARBARIAN) forging Connor’s familiar sword. A ha*. Prequel.
Right now, in 2019, people sure do love a good TV series. Some claim that the premium cable and streaming shows are actually better than movies. As TV shows become more cinematic and cinema becomes more serialized, the two mediums seem to be growing into each other like a very respectable rat king. Big name real deal movie stars can star in TV shows or limited series and collect acclaim and awards instead of scorn for slumming it.
At the same time the industry is obsessed with “intellectual property” and franchises, so naturally we’re getting TV shows that prequelize or sequelize a popular movie/movie series. In recent years they’ve done Terminator: The Sarah Connor Chronicles, Tremors, Taken, Transporter: The Series, Training Day, Limitless, Ash vs. Evil Dead, Cobra Kai, Wet Hot American Summer: First Day of Camp and Wolf Creek, and soon we’ll be getting new Star Wars and Marvel tie-ins and maybe Undisputed and all kinds of shit.
From the dawn of 1986 they came…moving stylishly down through the decades. Movies, TV shows, cartoons, struggling to reach the time of the reviewing, when Vern will write about the franchise
That wasn’t how it worked in the early ’90s, though. There had been a few genre shows connected to movies: Planet of the Apes (1974) (and the animated Return to the Planet of the Apes [1975]), Beyond Westworld (1980), Blue Thunder (1984), Starman (1986-1987) and Alien Nation (1989-1990). None of these ran for very long, few are well remembered. TV was lesser than movies, you could never carry over the cast or the production value, and extending a movie series onto the small screen was not really a good bet.
But shit, HIGHLANDER II: THE QUICKENING wasn’t a good bet either. And producers Davis and Panzer, stinging from that loss, weren’t ready to leave the blackjack table. Maybe a TV-sized saga of the Immortals could be more than the Starman of the ’90s. Maybe it could be the M.A.S.H. of the ’90s! (read the rest of this shit…)
“It’s weird how they built a huge franchise off of the first film. I can’t quite understand it. It’s like they say in the film ‘There can only be one. ‘ In a genre film you can create any scenario you like, but once you break your own rules, the audience feels betrayed, which is what happened with HIGHLANDER II.”–Russell Mulcahy to Money Into Light, 2016
“The more cornered we were, the more stupid things we had to come up with.”–Christopher Lambert
From the dawn of 1986 they came…moving stylishly down through the decades. Movies, TV shows, cartoons, struggling to reach the time of The Reviewing, when Vern will look back at the whole franchise
I missed out on being disappointed by HIGHLANDER II: THE QUICKENING with the rest of the world in 1991. Somehow I never watched the HIGHLANDER movies until the 21st century, at which point I’d lived many years knowing part II had been universally rejected and mocked. And when I did watch it it was the re-edited and 19-minutes-longer “Renegade Version” put together for DVD in 1997, and I’ll be honest – I liked it! I’ve always been one for weird, not-taking-the-easy-road sequels like BABE: PIG IN THE CITY, BATMAN RETURNS, TEXAS CHAINSAW MASSACRE 2, MAD MAX: BEYOND THUNDERDOME, BRIDE OF CHUCKY, RETURN TO OZ, JASON X, etc. So I was into the idea of Connor MacLeod in a dystopian future city working with rebels to, uh… blow up a shield around the earth, because it’s not necessary anymore. I mean — sure. Why not? (read the rest of this shit…)
HIGHLANDER is the 1986 cult classic about immortal warriors of different nationalities waging a battle across centuries, and its opening is a clash in its own right. It starts with Sean Connery narrating flowery fantasy movie text, jumps to credits cut rhythmically to a rockin Queen theme song, and before we know it the gorgeously grainy cinematography of Gerry Fisher (WISE BLOOD, THE NINTH CONFIGURATION, DEAD BANG) and the orchestra of Michael Kamen (DEAD ZONE, BRAZIL) are lavishing cinematic glory on a super-powered sword fight between trenchcoated acquaintances in the Madison Square Garden parking garage during a professional wrestling match. The stadium rock band influenced by opera butts up against the rock arranger turned classical score composer for a sword-and-sorcery meets urban-action cage match. And somehow this all feels perfectly natural.
The production itself is a battle royale of nationalities: British and American financiers, Australian director Russell Mulcahy, Frenchman Christopher Lambert playing Scottish, Scotsman Connery playing Egyptian-Spanish, carrying a katana. Classes, cultures and eras fit together in unexpected ways, forming a movie that feels a little closer to the neo-noir-and-loneliness cinematography-porn of BLADE RUNNER than to other action films of ’86 like THE DELTA FORCE, AVENGING FORCE, NO RETREAT NO SURRENDER, QUIET COOL, DANGEROUSLY CLOSE or NEVER TOO YOUNG TO DIE. And yet HIGHLANDER developed enough multi-generational populist appeal to be declared “best movie ever made” by Ricky Bobby in TALLADEGA NIGHTS. (read the rest of this shit…)
I don’t know what I was expecting from KICKBOXER: RETALIATION, the new sequel to 2016’s KICKBOXER: VENGEANCE, which was a remake of the 1989 Cannon classic KICKBOXER. I waited for midnight Thursday to watch it on V.O.D. as soon as it became available, so clearly I was excited. But I didn’t think it was gonna be this good.
The original Kurt Sloane, played by Jean-Claude Van Damme, only made it to his part 2 in the form of a body double unceremoniously shot to death in an alley, leaving three sequels to a never-mentioned-before Sloane brother played by Sasha Mitchell. The remake Kurt Sloane, played by stuntman Alain Moussi, gets to stick around. A different Van Damme character, Sloane’s mentor Master Durand, does survive for the sequel and continues to be the heart and soul of the series.
I love when sequels open with the character we know suddenly in a whole different place and life situation. My go-to example is RAMBO III, where we find John living in a temple in Thailand, winning underground stick fights for money. But this is more like a TEMPLE OF DOOM opening because we find Kurt in a tux, sexy salsa dancing with his now-wife Liu (Sara Malakul Lane, Seagal’s daughter in BELLY OF THE BEAST) on a train at night. They get attacked and he has to slow-motion fight some people, including on top of the train in pouring rain as it crosses a bridge, until they all fall off. (read the rest of this shit…)
FORTRESS is one of those rare b-movie (or B+ movie?) gems that you come across every once in a while that has everything: good cast, great gimmicks, unexpected emotion and substance, cyborgs. It’s a 1993 sci-fi action movie, but clearly without a summer blockbuster budget, so it feels somewhere between Paul Verhoeven and ROBOT JOX. And that makes sense, because it’s the same director. Man, why did I never see this before? Didn’t I know it was a Christopher Lambert movie directed by Stuart Gordon? Don’t I believe in the auteur theory?
Lambert plays Brennick, an ex-soldier (“the most decorated captain of the Black Berets, yet you quit in disgrace…”) busted with his pregnant wife Karen (Loryn Locklin) trying to sneak out of the country because it’s illegal to give birth twice. They both end up at the Fortress, a giant underground, privately owned prison. The convicts become property of the Men-Tel Corporation and used for prison labor. Their job: to keep building further into the ground, making more room for more convicts to build even further. That’s my favorite concept in the movie because it so deviously illustrates the problem of the prison industrial complex. Zed-10, the computer program that runs the place (voice of the director’s wife Carolyn Purdy-Gordon), keeps saying the Men-Tel slogan “Crime does not pay.” But of course for them it does. (read the rest of this shit…)
I know MORTAL KOMBAT is not exactly a high kwality movie. It has one or more leads who are completely unconvincing as fighters. Linden Ashby as Johnny Cage can maybe get by on arrogance, but the teacher from BILLY MADISON as Sonya Blade just comes off as a grouchy aerobics student in a black painter’s cap that’s supposed to make her a supercop. This movie is a pioneer in bad computer generation imaginations, possibly the first movie to prove that CGI not good enough for a feature film is in fact good enough for a feature film. (Say thank you, SPAWN).
But I gotta admit, I kind of like this stupid fucking movie. It has, as we Americans say that the French say, a certain… I don’t know how to spell it in French. It invented a completely new style of cheesy stupid fun. And it keeps a straight face the whole time. I mean, look at Scorpion there. Does he look like he’s gonna wink at you? Fuck no. The man is serious. (read the rest of this shit…)
After reviewing Franco Nero in the white ninja movie ENTER THE NINJA, I got some suggestions to check out THE HUNTED. I’m pretty sure at least one person tried to get me to review this a long time ago, so I hope you will enjoy this and forgive me for taking so long.
Christopher Lambert plays a white businessman who, along with his colleagues, has just wrapped up a big sale one night in Tokyo. Don’t get too excited, he’s not a ninja businessman, just a regular one in a suit and tie. Christopher decides not to go utilize some geishas with his buddies, instead going to a bar to drink by himself. But he sees Joan Chen (ON DEADLY GROUND), drinks some sake with her, ends up going back to her hotel with her. At first he’s very shy and polite, doesn’t go inside, but she invites him in for traditional Japanese hot tub sex. (read the rest of this shit…)
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VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
“The only thing that stops me from becoming evil, is fighting evil.”
So here we have a movie that has a KOMBAT-esque logo, a techno and industrial soundtrack (Front 242, Juno Reactor, KMFDM, Junkie XL, also Anthrax), a big climactic fight with a crude CGI monster, and yes, it is also a recognizable adaptation of the story of Beowulf (Lambert), the monster Grendel (uncredited Vincent Hammond, also a suit performer in FULL ECLIPSE, THE RELIC and SPECIES II) and the king Hrothgar (Oliver Cotton, FIREFOX, WONDER WOMAN 1984). (read the rest of this shit…)
It is the futuristic year of 2000. In the real world, 
HIGHLANDER: THE FINAL DIMENSION (apparently also called HIGHLANDER III: THE SORCERER) arrived in late 1994 in the U.K., early 1995 in the U.S. It was only about three years after 
“It’s weird how they built a huge franchise off of the first film. I can’t quite understand it. It’s like they say in the film ‘There can only be one. ‘ In a genre film you can create any scenario you like, but once you break your own rules, the audience feels betrayed, which is what happened with HIGHLANDER II.”–Russell Mulcahy to Money Into Light, 2016
HIGHLANDER is the 1986 cult classic about immortal warriors of different nationalities waging a battle across centuries, and its opening is a clash in its own right. It starts with Sean Connery narrating flowery fantasy movie text, jumps to credits cut rhythmically to a rockin Queen theme song, and before we know it the gorgeously grainy cinematography of Gerry Fisher (WISE BLOOD, 
I don’t know what I was expecting from KICKBOXER: RETALIATION, the new sequel to 2016’s 
FORTRESS is one of those rare b-movie (or B+ movie?) gems that you come across every once in a while that has everything: good cast, great gimmicks, unexpected emotion and substance, cyborgs. It’s a 1993 sci-fi action movie, but clearly without a summer blockbuster budget, so it feels somewhere between Paul Verhoeven and 
I know MORTAL KOMBAT is not exactly a high kwality movie. It has one or more leads who are completely unconvincing as fighters. Linden Ashby as Johnny Cage can maybe get by on arrogance, but the teacher from BILLY MADISON as Sonya Blade just comes off as a grouchy aerobics student in a black painter’s cap that’s supposed to make her a supercop. This movie is a pioneer in bad computer generation imaginations, possibly the first movie to prove that CGI not good enough for a feature film is in fact good enough for a feature film. (Say thank you, 
After reviewing Franco Nero in the white ninja movie 
