By the time the 1990s rolled around, I think everyone had given up on Rutger Hauer becoming some awesome super cool megastar, and “everyone” included Rutger Hauer himself. On the one hand, that’s too bad, because there for a while, he was a genuinely cool dude, good looking and charming but with something cruel and disturbing about him. There was no wonder a lot of the spooky ladies (and a fair number of lads) with whom I hung out with back in the day were loopy for Rutger. I’m pretty sure we had plans, at some point, to make a movie featuring Roy Batty in his little leather booty shorts from Blade Runner teaming up with Sting’s Feyd Rautha in his little metal thong thingie to… I don’t know glisten as they traveled from town to town, solving people’s problems.
The Greatest Movie Ever! podcast invited me on to stammer and giggle and eventually be edited into some semblance of coherence — or at least as much coherence as can be wrung from the colossally oddball Howling 2: Your Sister is a Werewolf, movie as famous for it’s depiction of Christopher Lee in new wave sunglasses as it is for Sybil Danning’s werewolf orgy.
Ahh, Ruggero Deodato. Is there anything he can’t make weird? Although best known for cannibal atrocity films like Cannibal Holocaust, Deodato was no different than any other workhorse of the Italian exploitation industry, in that he worked in pretty much every genre that required exploiting. He made cop films, kiddie films, sword and sorcery films, horror films, sexploitation, and in the case of Raiders of Atlantis, a film that manages to steal from both Road Warrior and Raiders of the Lost Ark, and maybe a bit of Seatopia from Godzilla vs. Megalon, in a way that keeps the end result unique despite the lack of originality in its individual parts. Deodato certainly keeps his genre films offbeat, if nothing else.
These days, it seems like Japan makes about five zombie movies a week, each one more half-assed and dreadful than the last. Once, long ago, when Italy and the United States had lost interest in the zombie film, Japan decided to start cranking a few out. They started out modest but promising, and by the time we got to Wild Zero and Versus, I do believe that I naively exclaimed that the zombie film was well served by Japanese stewardship. Then they made Stacy, and I started to wonder if maybe I had celebrated prematurely. A few years ago, the United Stated rediscovered the zombie film, and zombies themselves became a pop culture phenomenon that ultimately degenerated into hipster zombie parties and zombie olympics and such. Japan wasn’t going to miss out on things, and a whole slew of cheap, new Japanese zombie movies were soon flooding the market. They were and continue to be high on wackiness and low on watchability, pretty much like their microbudget counterparts in America.
Goro Miyazaki, son of famed Japanese animator Hayao Miyazaki, has achieved with his debut film, Tales from Earthsea, the same sense of profundity as his father. Unfortunately, while the elder Miyazaki’s profundity usually came from things like wonder, imagination, inspiration, wit, emotion, and beauty, Miyazaki the younger’s effort is one of profound tedium and disappointment. Some might defend the poor lad, saying that the shadow of his father is long indeed, and Hayao Miyazaki has set a standard for animated film making that his son, and indeed the entire Japanese animation industry, could never live up to. Of course, you could also say that Goro Miyazaki would be working at a Lawson’s Food Mart if not for his last name getting him a job. So, let’s call it even.
This movie was treading into precarious territory before I even saw it. Hidden Fortress is one of my favorite movies and not one I felt was in any need of being updated or remade. Still, I’m nothing if not fair-minded and bored late at night, so I decided to give this remake from 2008 a chance. While I told myself that I was going to judge it fairly, by the measure of it’s own merits rather than through the rosy lenses of my bias, I have to admit that i probably went in with a small chip on my shoulder regardless. Journalistic objectiveness is, after all, a myth. But I’m also not someone who is instantly offended by modern film makers remaking a classic, or what I consider to be a classic. To say The Last Princess is not as good as the original is, I think, fairly obvious. But the original notwithstanding, The Last Princess managed to be entertaining, if unspectacular. The very definition, I think, of adequate film making.
If you ever wondered what Jet Li would look like as a giant armored pine cone, this is the movie for you. Hong Kong, which I guess is now Hong Kong/China, has been on a “Warring States Period” kick for a couple years now, thanks in large part no doubt to the success Zhang Yimou has had internationally with the genre (and yes, I know his films were set long before the Warring States). I’m not one to complain. Hong Kong has always made a lot of period piece films; it’s just that now that have somewhat more historically accurate costuming and sets than they did in Half a Loaf of Kungfu. This sudden re-emergence of the period piece probably also has to do with mainland China’s willingness to throw money into the projects, not to mention actors and all the landscapes one of the biggest countries in the world can provide. Given the access, how can a filmmaker resist making a movie in which a guy in armor stands atop some impressively craggy peak and surveys a field of soldiers below him?
Director Denis Law seems committed to returning the Hong Kong martial arts movie to the glory days of when they had awesome stunt and fight choreography and were terrible in just every other way, but we forgave them because of the action scenes (or did you watch Iron Angels for the writing?). Bad Blood is the perfect example of Law’s approach to film making. The story is the sort of ridiculous, convoluted, half-assed sort of affair you’d expect from an early 90s actioner. It also stars Simon Yam as a guy named Funky, and that counts for a lot. Unfortunately, his wardrobe is subdued. My feeling is that if you are going to cast Simon Yam as a guy named Funky, then he should be sporting the insane sort of crap that he was wearing in Looking for Mr. Perfect.
For my money, this is where the wheels started to come off the Jackie Chan cart. Sure, we had already written off his American career after The Tuxedo (though I personally love Shanghai Knights and think Forbidden Kingdom is bland and stupid but largely inoffensive), but this is where the Hong Kong movies that were our refuge started to show signs of rot as well. I was with him through the 1990s, even when he was working with Stanley Tong, a director who has an impressive ability to make even the most talented action star seem dull and uninspiring. I was even with Jackie through the first part of the new millennium, and while some people didn’t care for output like Who Am I and Accidental Spy, I really enjoyed them.
My introduction to Hong Kong movies was, without a doubt, one of the best things to ever happen to me as a direct result of my writing about film. The year was 1989, and I was writing for one of the weekly arts papers here in San Francisco. I’d like to say that I was “working” for one of the weekly arts papers here in San Francisco, but the truth is that I was actually working as a clerical temp downtown, and that I was, at best, just making a meager dent in my nightly bar tab by writing a couple of film or album reviews a month for the lordly sum of a nickel a word.