Henry Selick, the director of THE NIGHTMARE BEFORE CHRISTMAS, just made his first movie in thirteen years. Stop motion animation takes a long time, of course, but not usually that long. (With the exception of MAD GOD.)
It’s not like he took a vacation. Only a year after CORALINE Selick moved from Laika to Pixar to start a new stop motion division called Cinderbiter. They actually animated much of a movie called THE SHADOW KING – $50 million worth – and then cancelled it. And then he developed a bunch of other movies with a bunch of other people that didn’t even get that far.
But now, finally, he has a new, completed and released one called WENDELL & WILD. He wrote it with Academy Award winning screenwriter Jordan Peele, it stars the voices of Key and Peele, it’s about demons and zombie skeletons and shit, and it has Selick’s eye for design and increasingly sophisticated stop motion, so it’s the kind of thing some people ought to be interested in, in my opinion. Only trouble is it was produced by Netflix, so they just squirted it out in a little glob exactly like Wendell & Wild squirt the cream that grows their father’s nose hairs (more on that later), so most of the people I’ve mentioned it to never heard of the fuckin thing. I read that it didn’t even make it into Netflix’s top ten when it came out, but the computer animated movie THE BAD GUYS did a couple days later when they picked it up after it had already been on DVD, blu-ray and Peacock for five months.
That doesn’t seem fair. I figured I should write a review just so it’s on record somewhere that WENDELL & WILD is a real, existent movie that was made and released and can be viewed with your eyes and everything. (read the rest of this shit…)
It’s hard not to think of EVERYTHING EVERYWHERE ALL AT ONCE as some kind of miracle movie. I had no idea it was something I needed, or something that anyone would think to make, until a couple months ago when the trailer came out. It stars Michelle Yeoh in her best ever English language role, a very layered character who gets to be funny and goofy and troubled and kind of an asshole but totally lovable and yes, she also does some kung fu. It co-stars Ke Huy Quan, who we knew as a child star in INDIANA JONES AND THE TEMPLE OF DOOM and THE GOONIES, but who hasn’t been in a movie in almost 20 years, making a triumphant return in surely his best part ever (and he also gets to fight).
It would be worth celebrating just for putting those two actors together, even if it didn’t entirely work. But this thing is much more advanced than that. Written and directed by “Daniels” (Dan Kwan and Daniel Scheinert, of SWISS ARMY MAN and various music videos), it’s a very original movie, but if I had to give it a short hand description based on other people’s work I’d go with “if Michel Gondry made THE MATRIX.” Or if that scares you, substitute Stephen Chow. It uses a convoluted sci-fi gimmick as a vehicle for some absurd humor, artfully hand-crafted imagery and outlandish action, which all weaves together to explore ideas about life and relationships and family and happiness. That title is no lie. (read the rest of this shit…)
I don’t normally review Batman cartoons (I think the only time I have before is the Suicide Squad one, ASSAULT ON ARKHAM), but I think you will agree that this one falls into my jurisdiction. In fact, it’s so weirdly specific to my particular areas of interest that during the ‘70s-inspired opening credits montage with funky theme song, after seeing the names Mark Dacascos and Michael Jai White, Mrs. Vern turned to me in disbelief and said, “Did they make this only for you?”
Yeah, actually, it seems they did, so thanks, guys!
No joke, this is an animated movie set in the 1970s, based in the DC Comics universe but taking most of its template from kung fu movies. Its spy movie opening and funky, wah-wah heavy score are clearly homaging ENTER THE DRAGON, and there’s definitely some Jim Kelly/Blaxploitation influence in there, but its flashback structure mostly splits between an old school kung fu training movie and a getting-the-band-back-together type story. Two of my favorite plot structures in one. (read the rest of this shit…)
Where was I before I got off on this HIGHLANDER tangent? It was something about swords, right?
Oh yeah – G-2. I watched the Lorenzo Lamas fantasy/cop/fighting circuit movie THE SWORDSMAN (1992) and its sequel GLADIATOR COP (1995). I didn’t find out until after posting it that yes, as I kinda suspected, all the Lamas footage in the second one was outtakes from the first one. Used without permission, even. I should’ve checked The Good, the Tough and the Deadly, where david j. moore interviews Lamas, who says he only learned about GLADIATOR COP from an ad in a trade magazine, and when he threatened to sue they paid him what he got for the first one. Easy (if embarrassing) payday.
But the other weird thing I learned is that GLADIATOR COP writer/director Nick Rotundo, despite only having done the stock footage sequel, not the original, felt enough ownership of it to later do this not officially related 1999 movie about the same thing. Like both SWORDSMAN movies it deals with the (now re-designed) sword of Alexander the Great, which it again says is blessed by Apollo, and a modern day guy who’s good with swords draws pictures of it after having had dreams of it and himself in a battle in the past.
THE SWORDSMAN is an only-on-VHS Lorenzo Lamas joint from 1992. Coming two years after the end of Falcon Crest (for which Lamas was the only actor to appear in all 227 episodes), this was a particularly productive period for the actor and Taekwondo and karate black belt. His other films released that year were FINAL IMPACT, SNAKE EATER III… HIS LAW and CIA CODE NAME: ALEXA.
I’ve only seen one of those, but I bet none of them open with text about a king in ancient Greece:
“2300 YEARS AGO ALEXANDER THE GREAT INHERITED A LEGENDARY SWORD BLESSED BY APOLLO. WITH THIS SWORD HE FELT INVINCIBLE AND LED HIS TROOPS INTO BATTLE CONQUERING THE KNOWN WORLD. UPON HIS DEATH, ALEXANDER HAD THE LEGENDARY SWORD BURIED WITH HIM AS HE BELIEVED HE WOULD RISE AGAIN.”
Lorenzo Lamas plays Andrew, a cool long-haired homicide detective who has psychic visions when he touches blood and in his spare time dreams images of himself in a robe looking at old statues and swords and fighting a guy with a hood hiding his face. Then he’ll wake up, add a sketch to his dream journal, and tie his hair into a ponytail.
Andrew has a comic relief partner named Leo (Frank Crudele, BLACKJACK, STEP UP ALL IN, one episode of Highlander: The Series) and a therapist (Michael Copeman, THUNDERGROUND, SCANNERS III, UNIVERSAL SOLDIER II, six episodes of Highlander: The Raven including the pilot) who you can tell is kind of a cool ex-hippie type because he has grey hair but wears a colorful Hawaiian shirt and is into experimental therapies. (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
July 19, 2013
Most art is derivative of something or other, but jesus christ is it uncomfortable how flagrant R.I.P.D. is about trying to repackage MEN IN BLACK. Instead of a secret government agency investigating aliens who secretly live among us it’s a secret police department investigating dead people who secretly live among us. But you got the younger guy recruited and learning about this real world beneath our sugar-coated topping and partnering with an older, grumpy guy and they have goofy ray gun looking guns and go around questioning weird informants who turn into crazy cartoon special effects creatures (though Rick Baker is retired, so they’re mostly digital). I swear RIPD even has a headquarters that looks like they built it over the set from MiB.
The young guy is Nick Walker (Ryan Reynolds, BLADE TRINITY), in life a Boston PD detective betrayed by his partner Bobby Hayes (Kevin Bacon, ELEPHANT WHITE) over some kind of gold treasure they stole from a crime scene. Nick was having regrets and wanted out so Bobby shot him in the face during a raid. Instead of Heaven or Hell, Nick goes to RIPD to continue as a cop and help them round up “deados” who illegally stick around on Earth. Not really a noble calling, in my opinion. (read the rest of this shit…)
TANK GIRL is a messy, silly, winkingly obnoxious version of the ’90s expensive b-movie, one of those weird ones that doesn’t exactly work but is kind of charming just because they had the gall to try. John Waters producer/FREDDY’S DEAD: THE FINAL NIGHTMARE director Rachel Talalay somehow convinced MGM to pump money into this adaptation of a cult British comic book about a smartass punk girl driving a tank through post-apocalyptic Australia. (Other MGM releases in 1995: FLUKE, SPECIES, GET SHORTY, also distributed THE PEBBLE AND THE PENGUIN, HACKERS, SHOWGIRLS, LEAVING LAS VEGAS, GOLDENEYE, CUTTHROAT ISLAND.) The movie’s story of facing off against a typical bad guy, even fighting him to the death on a raised catwalk for the climax, is too half-assed and conventional to work, but the frenetic style and goofy tangents are a successful extension of the main character’s personality.
Lori Petty (BATES MOTEL, POINT BREAK) pours every drop of hyperactive tomboy playfulness in her voice and persona into the character of Rebecca, who is never specifically called Tank Girl but does steal her would-be namesake when she escapes imprisonment by the wasteland’s fascist oppressors, Water & Power. This militarized corporation hordes the last of the water and cruelly attacks anyone who finds their own source. In my opinion they are not a good company to work for; when they fire employees they kill them with machines that harvest their body’s water content. (read the rest of this shit…)
I don’t know about you guys, but I’m still not a member of the Chuck Norris Fan Club. (Unless somebody got me a membership as a prank, but as far as I know that’s not true.) But I decided to watch his first movie with Cannon (a relationship that also produced a prequel, a sequel, a DELTA FORCE, a second DELTA FORCE, a job for his son on a third DELTA FORCE, and by far his most entertaining starring vehicle I’ve seen, INVASION U.S.A.). This one also has a political message based on a right wing pet cause, but it can’t quite match the outlandish cartoonishness of INVASION, and it’s much more emotionally manipulative. But I kinda enjoyed it.
The great music by Jay Chattaway (MANIAC, Star Trek: The Next Generation) gets your American flag erect during the Vietnam War opening where Braddock and his men patriotically terrorize some guerrillas until he decides to dive onto an enemy (and the camera) holding two grenades, only to wake up from a dream in the present. (read the rest of this shit…)
Round 1, Final Bout, Team Blanks vs. The Red Fist Club
“You’ve got steel balls, but no brains.”
How’s this for a weird twist on the fighting tournament movie: mismatched undercover narcotics agents Billy Blanks (USA) and Jalal Merhi (Canada) train real hard to enter an underground fighting tournament so they can impress crime lord Mr. Li (James Hong). It works, he hires them, and the tournament is never mentioned again.
Up until that point it has all the traditional tournament movie touches, though. The older mentor is Master Pan Quing Fu, a hall-of-famer martial artist who helped the Chinese government catch 23 Triad leaders in the ’60s, appeared in SHAOLIN TEMPLE with Jet Li, and is playing himself in this movie! We know he’s a good dude because when Mr. Li tries to “pay repects” to him with a bunch of cash Master Pan burns it with a torch. (read the rest of this shit…)
ROUND 1, FIRST BOUT, BLOODSPORT SEQUELS VS. TEAM BOLO
“You’re a true warrior, Alex.”
The hero of the original BLOODSPORT, Frank Dux (played by the icon of tournament fighting movies, Jean-Claude Van Damme) trained in ninjitsu as a kid after stealing a valuable katana and then impressing its owner by having second thoughts and returning it. As an adult he’s in the Army, but goes AWOL to enter the dangerous underground Kumite tournament.
The replacement hero for the Van-Damme-less part 2, Alex Cardos (Daniel Bernhardt, the Swiss martial artist and model who had been in a Versace commercial with Van Damme) is also a dirty sword-stealer, but this guy does it as a grown man, has no regrets and doesn’t try to give it back. He goes to a party at Pat Morita’s house, steals the sword from upstairs and makes a lunch date with a lady he was flirting with named Janine (Lori Lynn Dickson) as he flees. (read the rest of this shit…)
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Recent commentary and jibber-jabber
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VERN on Drive-Away Dolls: “Oh wow, Margaret Qualley lesbian private eye Coen/Cooke comedy sounds like what the world needs.” Apr 19, 13:02
BuzzFeedAldrin on Drive-Away Dolls: “Like you said, it was insubstantial and breezy but a good time all the same. I also couldn’t help but…” Apr 19, 06:21
The Undefeated Gaul on Rebel Moon Part One: A Child of Fire: “I also tend to enjoy Snyder’s movies on some level even if they’re objectively not very good, and REBEL MOON…” Apr 19, 04:35
DB on Drive-Away Dolls: “This is actually the first in an entire thematic trilogy of lesbian exploitation comedies that Ethan & Tricia are making.…” Apr 19, 02:57
Kaplan on Rebel Moon Part One: A Child of Fire: “Thanks for the review, Vern. I appreciate that even with a movie that’s a bit of a turkey, you give…” Apr 19, 01:18
MaggieMayPie on Drive-Away Dolls: “I haven’t seen this one yet but I plan to watch it soon and am looking forward to it. There…” Apr 18, 21:05
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Glaive Robber on Rebel Moon Part One: A Child of Fire: “I’ve always said I evaluate movies the way I evaluate people, and I have since learned this was inaccurate. I…” Apr 18, 20:07
Dreadguacamole on Rebel Moon Part One: A Child of Fire: “I never was a Snyder fan, but I liked his Romero remake and usually gave his stuff a chance… until…” Apr 18, 17:33
Ben on Rebel Moon Part One: A Child of Fire: “The whole directors cut thing seemed like a really transparent attempt by netflix to recreate the snyder cut hype but…” Apr 18, 17:30
VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
Henry Selick, the director of THE NIGHTMARE BEFORE CHRISTMAS, just made his first movie in thirteen years. Stop motion animation takes a long time, of course, but not usually that long. (With the exception of MAD GOD.)
It’s hard not to think of EVERYTHING EVERYWHERE ALL AT ONCE as some kind of miracle movie. I had no idea it was something I needed, or something that anyone would think to make, until a couple months ago when the trailer came out. It stars Michelle Yeoh in her best ever English language role, a very layered character who gets to be funny and goofy and troubled and kind of an asshole but totally lovable and yes, she also does some kung fu. It co-stars Ke Huy Quan, who we knew as a child star in 
I don’t normally review Batman cartoons (I think the only time I have before is the Suicide Squad one, 
Where was I before I got off on this 
THE SWORDSMAN is an only-on-VHS Lorenzo Lamas joint from 1992. Coming two years after the end of Falcon Crest (for which Lamas was the only actor to appear in all 227 episodes), this was a particularly productive period for the actor and Taekwondo and karate black belt. His other films released that year were FINAL IMPACT, 
I’ve only seen one of those, but I bet none of them open with text about a king in ancient Greece:
TANK GIRL is a messy, silly, winkingly obnoxious version of the ’90s expensive b-movie, one of those weird ones that doesn’t exactly work but is kind of charming just because they had the gall to try. John Waters producer/
I don’t know about you guys, but I’m still not a member of the Chuck Norris Fan Club. (Unless somebody got me a membership as a prank, but as far as I know that’s not true.) But I decided to watch his first movie with Cannon (a relationship that also produced a prequel, a sequel, a 
Round 1, Final Bout, Team Blanks vs. The Red Fist Club
ROUND 1, FIRST BOUT, BLOODSPORT SEQUELS VS. TEAM BOLO
