“Braddock: Missing in Action III” Japanese Theatrical Poster
Looks like Chuck Norris (Slaughter in San Francisco) will no longer be missing in action. The Code of Silence star will be appearing Isaac Florentine’s Blood Brothers, which will be his first acting gig since 2012’s The Expendables 2.
WPI reports that Blood Brothers will uncover the war between the Botswana Defence Force (BDF) and poachers. Being an independent film, Norris and other Hollywood actors will play a few roles and most of the roles will be dominated by Batswana according to the producers of the film.
We’ll keep you posted on Blood Brothers as more information comes. In the meantime, Florentine (Close Range) is currently hard-at-work on Stoic, an action thriller starring Antonio Banderas (The Expendables 3).
I’ll be straight up and confess – I’ve never seen a Bollywood movie from start to finish, not one. While I’m being frank, I’ll also confess that if someone had told me that the first Bollywood movie I’d watch in its entirety would be called Rocky Handsome, I’d most likely have laughed in their face. However, as ridiculous a title as it is, Rocky Handsome was indeed the movie that popped my Bollywood cherry, and I have a legitimate reason to back it up. The Hindi language production is in fact a remake of the 2010 Korean movie The Man from Nowhere, a solid action thriller that had Won Bin out to rescue his murdered neighbours young daughter from organ trafficking gangsters.
Surprisingly, this isn’t the first time Bollywood has remade a Korean gangster flick. A Bittersweet Life was remade as Awaarapan; I Saw the Devil was remade as Ek Villain; and OldBoy was remade as Zinda. In Zinda, Bollywood actor John Abraham took on the role that Yoo Ji-tae played in Park Chan-wook’s 2003 masterpiece, and ironically it’s Abraham that also steps into the shoes of Won Bin for this latest remake. It appears he’s trying to corner the market for being cast as the Bollywood version of Korean actors. Abraham is half Syrian and half Indian, with his most famous role being that of the anti-hero in the 2004 production Dhoom, which was billed as India’s biggest ever action movie and spawned several sequels (all minus Abraham).
I was curious to see exactly what kind of Bollywood twist Rocky Handsome would bring to The Man from Nowhere, so braced myself for a journey into the unknown. The man in the director’s chair is Nishikant Kamat, who also plays the villain of the piece (played by Kim Hee-won in the original), and has worked with Abraham before on the 2011 action movie Force. Ironically Force is also a remake, this time of the 2003 Tamil language movie Kaakha…Kaakha: The Police. Is anyone beginning to see a recurring theme here?
I was rather taken aback then, to find that Rocky Handsome is in fact a shot-for-shot-, line-for-line remake of The Man from Nowhere. Sure, there’s some slight cosmetic changes – it’s now set in Goa instead of Seoul, and the drug addict mother uses a cricket bat rather than a Taser, however beyond these minor adjustments, it’s almost identical in every way. Even the run times are virtually the same. It’s not the first time a movie has been remade shot-for-shot, most notably Gus Van Sant’s 1998 remake of Psycho, Alfred Hitchcock’s 1960 classic, was also identical to its source material. However at least in this example, there’s a 38 year gap between the two, whereas here it’s just a short 6 years.
For someone that’s seen The Man from Nowhere, it makes it incredibly difficult to be engaged with Rocky Handsome. Rather than each actor bringing their own characteristics and flavour to their roles, instead everyone just looks like they’re doing their best to copy their Korean counterparts. Even inconsequential elements like small hand gestures and facial expressions are copied exactly, making the viewing experience one which borders on the bizarre. Young actress Diya Chalwad, who takes on the role originally played by Kim Sae-ron, comes across as incredibly irritating, making it equally difficult to care if Abraham eventually rescues her or not (which of course, for those who have seen the original, is already a foregone conclusion).
While it was certainly never its intention, Rocky Handsome serves as an interesting case study into just how important it is to have chemistry between two performers, and how it’s a crucial part of audiences buying into any relationships we see onscreen. In The Man from Nowhere you genuinely felt like Won Bin cared about Kim Sae-ron, and would do anything to get her back. Abraham and Chalwad share the same scenes, the same lines (yes that includes both the MP3 scenes and the smiley nail art), however there’s simply nothing between them that makes you believe that they have a close bond. Instead everything feels like its recycled and trying too hard to be poignant, reminding us that we’re not watching a Bollywood interpretation of The Man from Nowhere, we’re watching a Bollywood carbon copy of The Man from Nowhere.
Despite this, there are at least some Bollywood influences incorporated into Rocky Handsome. Apart from the opening credits, which play over a flashback of Abraham’s wife serenading him on the beach, the two nightclub scenes from the original – first the police raid, and the second with the bathroom fight – here provide excuses to unleash some Bollywood song and dance numbers. So yes, that means that the bathroom fight is inter-cut with a Bollywood dance number. Forgivable? No. Also, when the cops finally crack the classified files and they gain access to Abraham’s past, we’re bombarded with a horrendous slow motion montage of him training bare chested, and various snippets of action from past missions. The montage frequently cuts back to the cop reading his file – “Secret Agent”, cut back to more bare chested posing, “Super Patriot”, cut back to slow motion gun firing etc. You get the idea. The cheesiness of these scenes is completely at odds with the dark tone that the rest of the movie has, making them stick out like a sore thumb.
One of the most interesting casting choices is that of Kazu Patrick Tang, the French martial artist who originally look set for a bright action career, after being the co-lead alongside Jija Yanin in the 2009 Thai movie Raging Phoenix. It seems though that he was never able to capitalise on the movies success, despite playing the lead in 2013’s lacklustre Dragonwolf, he most recently had an uncredited appearance (again alongside Jija Yanin) in Hard Target 2. Here he plays the role of the South East Asian henchman that Thai actor Thanayong Wongtrakul memorably played in the original. Funnily enough, Wongtrakul’s henchman is explained as being Vietnamese in The Man from Nowhere, however in the remake Tang is explained to be Thai. So the Thai guy plays a Vietnamese, and the French guy plays a Thai. Go figure.
Tang is a legitimate martial artist though, and has also featured in another 2016 Bollywood action movie in the form of Baahgi, which at least provides the promise of an interesting penultimate knife fight that capped off The Man from Nowhere on such a high note. Indeed the finale of Rocky Handsome is actually more violent than that of The Man from Nowhere, and throws in an extra minutes worth of action. Far from providing a brief glimpse of originality though, instead we’re just reminded that since 2010, another little movie has been released called The Raid. Cue stabbings galore, a knife in the eye, a machete in the head, and a thug armed with a sledge hammer. All very violent stuff, but that’s just it – it’s only violent. The finale of The Man from Nowhere was both violent and, more crucially, visceral. It felt cathartic. Here there’s an inescapable feeling that we’re watching an Indian guy playing a Korean guy, dishing out pain like an Indonesian guy. Nothing more, and as a result, it all feels very derogatory.
So, while Rocky Handsome may be my first Bollywood movie, it doesn’t really feel like it. It’s a replica of The Man from Nowhere, so as a reviewer, how best to approach it? The Man from Nowhere is a well-made movie, and as such, copying it also results in a movie that can’t be completely bad. However, the fact is that any filmmaker can copy another, if you’re going to remake something, then at least put an ounce of originality into it, or a twist in the tale. Based on this viewpoint, Rocky Handsome is a miserable exercise in copycat filmmaking, and will likely only find an audience on local shores that haven’t been exposed to the original. If it never travels beyond those shores, then that’s fine with me.
Oh, and you’re probably wondering why it’s called Rocky Handsome? Well, Abraham’s character has the nickname Handsome. When the cops finally crack his files and reveal his past, it turns out that his codename was Rocky. Got It? Rocky. Handsome. We even get a split screen over an hour into the movie showing Abraham in the past and present, when each name comes flying from either side of the screen to come together in the middle. Now that I’ve remembered this, I’m going to minus another point from my final rating.
Legend of Bruce Lee: Volume One | DVD (Well Go USA)
Today’s Deal on Fire is the 3-disc DVD set for Well Go USA’s Legend of Bruce Lee: Volume One, a 2008 martial arts series that centers around the legendary Bruce Lee.
Legend of Bruce Lee: Volume One contains the first ten episodes. The remaining 20 episodes will soon follow.
Young Bruce Lee (Danny Chan of Shaolin Soccer and Ip Man 3) has no interest in studying and is obsessed with martial arts. After losing a street fight, he resolves to master kung fu under the tutelage of Master Ye Wen. Targeted by street gangs after standing up for the weak, Bruce has no other option but to leave Hong Kong for a strange and far off land: America…
Legend of Bruce Lee: Volume One also stars Michelle Lang, Gary Daniels, Ted Duran, Natalia Dzyublo, Wang Luoyong, Hazen McIntyre, Ray Park, Tim Storms, Micheal Jai White, Traci Ann Wolfe, Mark Dacascos and Ash Gordey.
AKA: Battle of Life Director: Ringo Lam Cast: Daniel Wu, Amber Kuo, Joseph Chang, Zhang Jingchu, Philip Keung, Eddie Cheung Running Time: 90 min.
By Paul Bramhall
The return of Ringo Lam to the director’s chair for 2015’s Wild City was big news for many Hong Kong cinema fans, and for good reason, with Lam the force behind so many of the territories classics. Proving that his come-back isn’t just going to be a one-off deal, a little over a year later the auteur has another production hitting cinema screens, and its title is significant. Kicking off with 1987’s seminal City on Fire, Lam’s ‘…..on Fire’ series became some of the most hard hitting movies to come out of Hong Kong. Such was their popularity, that soon other filmmakers were jumping on the bandwagon, with bets (1988’s Bet on Fire), walks (Walk on Fire, also from 1988), islands (1990’s Island on Fire), cheetahs (1992’s Cheetah on Fire), and even angels (1995’s Angel on Fire) being set on fire.
For Lam himself though, his last official entry was 1991’s Prison on Fire 2. Now, 25 years later, he returns to the series he’s most closely associated with. The title Sky on Fire is perhaps indicative of a director who’s regained enough confidence to revive such a synonymous name, as while reviews for Wild City split many down the middle (I thoroughly enjoyed it), others felt like it showed the signs of a director trying to find his way again. With Wild City now under his belt, many were hoping that Sky on Fire would be the full-fledged Ringo Lam movie we’ve all been waiting for, bringing back the grit that’s been missing from so much of Hong Kong’s output for a long time.
Sky on Fire is completely Lam’s show, with directing, script, and story all attributed to his name. After a successful stint playing the lead role in the U.S. martial arts infused post-apocalyptic TV series, Into the Badlands, American born Daniel Wu plays the lead in his first Hong Kong action movie since Dante Lam’s 2014 thriller That Demon Within. Wu plays the head of secruity for an advanced research centre of an advanced cancer research centre, located in a towering skyscraper named Sky One. The centre has found a way to use ex-stem cells to cure cancer, and now, for a variety of different reasons, there’s a number of characters who want to get their hands on the cure.
I could go into a lot more detail regarding the plot, however as it somehow succeeds at being both convoluted and forgettable at the same time, I don’t trust I’d be able to recall all of the exact events that take place correctly. As much as it pains me to say it, Sky on Fire is a ridiculous mess of a movie, one that frequently doesn’t make sense, and also manages to be ploddingly dull for large chunks of its run time. Proceedings open with a lab fire that takes place 5 years prior, in which we learn that a doctor who’s potentially found a way to cure cancer using ex-stem cells suspiciously dies, along with all his notes. Skip forward to present day, and we’re introduced to a series of disjointed events that take place in quick succession.
Joseph Chang (the villain from Wild City) and Amber Koo (recently seen as a ghost in Keeper of Darkness) play brother and sister, with Koo suffering from late stage cancer. She also seems to be simple minded, although this may not be the case, and could just be down to a lousy script that makes her seem like the village idiot. It’s hard to tell. They learn that a doctor in Sky One could help cure her, so head over with no other plan than to walk in and ask him to treat her, but instead stumble across a robbery attempt of the ex-stem cells in the basement car-park. The robbery is being committed by the surviving family members of the doctor that suspiciously died, who want to get the ex-stem cells for, well, I don’t remember exactly what. Anyway – the surviving family, Cheng and Koo, Wu, and a bunch of bad guys all end up trying to get them back. Oh, and Wu has a wife that died of cancer, which is there purely to serve as one more cancer connection to the story.
The plot is frankly ludicrous, and frequently baffling, although Lam plays it completely straight, seemingly unaware of how daft it all is. The fact that we’re introduced to the characters and their plights straight away also doesn’t help, as they’re given zero characterisation, but the plot demands that we should still be emotionally invested in their predicament. Learning that Koo has cancer and Chang wants to help her doesn’t class as character development, and as a result from the word go it’s difficult to care about what happens to them. Another pair of characters are introduced via a photo montage, of which is also seemingly expected to act as enough characterisation to make us want to care about what’s going to happen to them. It doesn’t.
Sky on Fire has another significant issue, which comes in the form of CGI. It’s overloaded with it, and none of it works. Most glaringly, the Sky One tower itself is a CGI eye sore, looking like a promotional video that you see in a new apartment complex showroom. The building never once looks like a natural part of its environment, instead resembling a shoddily put together bunch of pixels stuck on the Hong Kong harbor. Other uses of CGI are on par with a Nollywood production in their complete failure at integrating into the environment that they’re supposed to set. A helicopter looks embarrassing, a bad guy falling from the tower was done better 40 years ago, and sometimes even the Hong Kong skyline is a poorly rendered CGI creation. I won’t talk about the explosions.
There are parts of Sky on Fire were you really want to laugh, and know that it’s the right thing to do. At one point a character, upon getting ahold of the ex-stem cells, in complete seriousness declares, “Ex-stem cells, such a beauty!” In another scene a dog gets run over, and its death is the most poignant out of all the deaths that take place (which includes an important character being set on fire! At least the theme is being maintained more literally than previous entries). Someone even gets an injection that’ll make their heart explode within 30 minutes, Uma Thurman could have saved a lot of effort on training to Kill Bill if she knew that was around. However it’s simply not possible to laugh, because everything is filmed so seriously and with such weight, that it ultimately becomes mind numbing to get through.
Of course any Ringo Lam crime thriller is expected to deliver some gritty action sequences, and Sky on Fire has its moments, although they’re few and far between, often hindered by the issues already mentioned. I do give credit to one fight scene though, in which Wu faces off against the main henchman in the confines of a small house. At one point, he picks up a glass table and literally smashes it into the face of his attacker, providing a simple but surprisingly welcome variation on the usual get hit and fall through a glass table HK action cinema trope. There’s also a brief Hong Kong rooftop foot-chase, how long has it been since we had one of those!? Mercifully, the buildings used are real and not CGI, although unfortunately it’s over before it really gets started, and again it comes to an abrupt end thanks to some rickety CGI air conditioning units.
It’s unfortunate that the action in a Ringo Lam movie only serves to break up the monotony of it, rather than complimenting what’s unfolding onscreen, however it’s sadly indicative of just what a miss Sky on Fire is. The ending almost feels like Lam realised what a mess he’d made, and simply threw his hands in the air and told the CGI team to do what they want, as the final shot literally resembles something from the finale of Man of Steel. Who knows, maybe his next movie is going to be titled Dawn on Fire?
It’s a shame, as Lam has always been one of my favourite directors, and Wild City in my opinion showed an assured hand and understanding of what it takes to make a gritty crime movie in the current Hong Kong film industry climate. Sky on Fire should have been the movie to cast aside any doubt that his long-time fans still may have had, but in its current form it’s almost impossible to ascertain what it was originally conceived as – Cancer themed drama? Pharmaceutical thriller? Medical action flick? In the end it’s a messy combination of all of those, all of which seem to be working against each other. They say the sky’s the limit, and with Sky on Fire, it appears that Lam may have reached his.
Old school martial arts fans, rejoice! Kino Lorber will be releasing No Retreat, No Surrender on Blu-ray on February 21, 2017.
The upcoming Blu-ray will include the International cut (with extra scenes and alternate music) and the rarely seen “New World” U.S. cut (alternate opening sequence and soundtrack), as well an interview with the film’s lead, Kurt McKenney.
This 1986 cult martial arts classic is noted for being one of the first U.S. productions by Hong Kong action director, Corey Yuen (Yes, Madam), who would later find bigger fame in America choreographing Lethal Weapon 4 (1998) and Kiss of the Dragon (2001).
No Retreat, No Surrender is perhaps best known for giving Jean-Claude Van Damme (The Hard Corps) his first starring role. The film also features an all-star martial arts cast, including Peter Cunningham (Righting Wrongs), Timothy D. Baker (Bloodfist II) and the late Kim Tai-chung (Tower of Death), once again, as “Bruce Lee”.
Blu-ray features include:
85-Minute U.S. Cut
94-Minute International Cut
Interview with Star Kurt McKinney
Audio Commentary by Screenwriter Keith W. Strandberg
Martin Scorsese’s long-awaited Silence – starring Andrew Garfield (Hacksaw Ridge), Liam Neeson (Taken) and Adam Driver (Star Wars: The Force Awakens) –opens in theaters on December 23rd.
Silence tells the story of two Christian missionaries (Garfield and Driver) who face the ultimate test of faith when they travel to Japan in search of their missing mentor (Neeson) – at a time when Christianity was outlawed and their presence forbidden.
The film is based on Shusaku Endo’s 1966 acclaimed novel with a script written by Jay Cocks (Gangs of New York).
Today’s Deal on Fire is the Blu-ray for 2014’s Godzilla. In this gritty, realistic sci-fi action epic, Godzilla returns to its roots as one of the world’s most recognized monsters.
Directed by Gareth Edwards (Star Wars: Rogue One) and featuring an all-star international cast, this spectacular adventure pits Godzilla against malevolent creatures that, bolstered by humanity’s scientific arrogance, threaten our very existence.
Godzilla stars Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen and Bryan Cranston.
Takashi Miike (13 Assassins, Terra Formars) remains one of the hardest-working filmmakers in the world. Despite his 100+ filmography, which has a share of rough spots, there’s no denying that he, at least for the most part, delivers both quantity and quality to audiences.
In addition, Miike has tackled just about every genre known to cinema (even a musical), and now the mega-prolific director is adding another unexpected turn to his resume: a Chinese wuxia film.
According to AFS, the planned wuxia project (in case you’re not familiar with the term, a wuxia film is Chinese fiction dealing with martial arts, sorcery, and chivalry.) has the preliminary title of The Assassin of the Tang Dynasty. No casting details are available, but given the subject matter (which is curiously similar to 2015’s The Assassin), you can expect a mostly Chinese cast.
We’ll keep you updated on news regarding The Assassin of the Tang Dynasty. In the meantime, Blade of the Immortal, a live-action movie adaptation of Hiroaki Samura’s manga, will be Miike’s next released film.
Director: Luigi Bazzoni Producer: Manolo Bolognini Cast: Franco Nero, Silvia Monti, Rossella Falk, Edmund Purdom, Maurizio Bonuglia, Pamela Tiffin Running Time: 90 min.
By HKFanatic
Barely five minutes into The Fifth Cord and Franco Nero’s character is swigging back a bottle of J&B behind the wheel of an automobile. So I had a feeling this was going to be a good giallo, and for the most part I was right. The Fifth Cord is your standard Italian horror film of the early 70’s, with Nero playing an alcoholic reporter out to solve a murder mystery before everyone in his social circle winds up dead. There’s not much exceptional about the film but for the fact that it was scored by legendary composer Ennio Morricone (The Good, The Bad, The Ugly) and lensed by Academy Award-winning cinematographer Vittorio Storaro (Apocalypse Now, Last Tango in Paris, Dick Tracy).
Indeed, The Fifth Cord is one of the most visually stunning giallos you’ll ever see. While it lacks the inventive POV shots or aerial camera work that Dario Argento frequently brought to the genre, the film is beautifully lit and features some wonderfully fluid camera movement. Although director Luigi Bazzoni never went on to become famous in the horror genre, he at least understood one thing about the giallo: besides the lighting, half the atmosphere of these films is location, location, location. Nearly every shot of The Fifth Cord showcases unique architecture or interior design that helps heighten the paranoid mood of the film, whether it’s the hospital with gray spiral staircases outside its windows; a cement apartment building with dust particles shimmering inside beams of light; or the swank home where a young boy is terrorized by a killer in one of the most harrowing scenes of the film.
Ennio Morricone unleashes a dissonant score with a lot of propulsive drums. The frequent party scenes feature a kind of Morricone-style lounge music. The music is good but it’s used sparingly so overall The Fifth Chord is not one of Morricone’s more memorable ventures. Followers of the composer will still want to give the film a watch since the score displays a lot of variety: from sweet female “la la la’s” to gothic organ music depending on what the scene calls for.
For giallo fans with a hunger for red meat, The Fifth Cord is disappointingly bloodless. There are a handful of murders but nothing up to the standards of onscreen brutality that Dario Argento would set later in the decade. There’s plenty of skin to go around, though: whether it’s Franco Nero romping in bed with his prostitute mistress or a kinky sex party where a bunch of rich elites pay money to watch a young couple get it on. Personally I’d rather have an elaborate murder set-piece than 70’s-style nudity, but the best giallo usually managed to fit both in.
The Fifth Cord is not one of the best but it is very watchable, mostly due to director of photographer Vittorio Storaro and actor Franco Nero (Django, Street Law), who has one of those expressive faces just made for the silver screen. Sadly, this movie falls into the same trap as many other Italian horror films in which the killer just has to be someone on the fringes of 70’s mainstream society, whether it’s a homosexual, transvestite, a cripple, someone deformed, etc. As if there’s no way those kinds of people could lead a normal, well-adjusted life. It’s a bit uncomfortable from a modern perspective, but as a viewer there’s not much you can do about it.
The Fifth Cord DVD is available from the always reliable Blue Underground. If you’re a fan of Franco Nero, Ennio Morricone, or Vittorio Storaro, you could certainly do worse than this film. I’d only recommend that viewers educate themselves with the best the giallo genre has to offer – the seminal works of Dario Argento, Lucio Fulci, Michele Soavi, etc. – before queuing up The Fifth Cord. Oh, and make sure you’ve got that bottle of J&B ready.
HKFanatic’s Rating: 7/10
On January 3rd, Scorpion Releasing is unleashing a wave of Cirio H. Santiago (Future Hunters) classics on DVD, as part as their “Roger Corman’s Post Nuke Collection” line up. If you’re fan of this cult Filipino filmmaker, you’ve came to the right place; so grab your pork adobo and enjoy the jeepney ride!
Equalizer 2000 (1987)
First up, Equalizer 2000 (aka Apocalypse Warriors). You won’t find Edward Woodward or Denzel Washington in this flick. Those guys were too expensive.
Think of this one as Mad Max meets Kung Fu meets the partial title of Frank Herbert’s sci-fi novel.
After the end of the world, Earth is a thirsty planet ruled by vicious warlords. One woman is brave enough to fight back; she bands together five warriors to save her town and their precious water…
Dune Warriors stars David Carradine (Kill Bill Vol.1, Vol.2, Circle of Iron), Rick Hill (Deathstalker), Luke Askew (No Retreat, No Surrender 3: Blood Brothers), Jillian McWhirter (Bloodfist VII: Manhunt) and Blake Boyd (Raiders of the Sun).
Wheels of Fire | DVD (Scorpion Releasing)
Wheels of Fire (1985)
Sorry folks, no Richard Norton, David Carradine or Robert Patrick in this one. The only selling point this flick has is the fact that it’s another Road Warrior rip-off.
The Future is now. There are no rules and no place to hide from the deadly Highway Warriors who ravage the roads in machines of destruction.
Wheels of Fire stars Gary Watkins (Johnny Dangerously), Laura Banks (Demon of Paradise), Lynda Wiesmeier (Avenging Angel) and Linda Grovenor (B.J. and the Bear…I remember this… sh*t, I’m old!).
The Sisterhood | DVD (Scorpion Releasing)
The Sisterhood (1988)
What do the leading ladies of Knight Rider, For Your Eyes Only and Robert Patrick have in common? They make up the cast of The Sisterhood (aka Caged Woman), a female Mad Max if you you will.
The year is 2021 AD. Women have been enslaved by a brutal army of men who survived the nuclear holocaust. Their only hope for freedom is in the hands of a nomadic band of fierce she-warriors: The Sisterhood.
The Sisterhood stars Rebecca Holden (Knight Rider), Lynn-Holly Johnson (For Your Eyes Only), Barbara Patrick (yes, it’s his wife) and Chuck Wagner (America 3000).
If you’re interested in these titles, they’re all available for pre-order at Amazon.com. And don’t forget about Stryker, another Cirio H. Santiago flick that’s also being released on January 3rd. Despite not being part of the “Roger Corman’s Post Nuke Collection,” it very well should be! Read about the release here... maraming salamat po!
Mad Max Fury Road, eat your heart out! Kino Lorber presents the Blu-ray & DVD for 1983’s Stryker, a Philippine-made, Mad Max 2: The Road Warrior rip-off directed by Cirio H. Santiago (Future Hunters), one of Paul Bramhall’s favorite filmmakers.
Stryker is a cult classic that stars Steve Sandor (Bonnie’s Kids), William Ostrander (Christine), Monique St. Pierre (Motel Hell), Mike Lane (Grotesque) and Ken Metcalfe (Stranglehold).
After the last breakdown of technology, this is the post-apocalyptic future. The world is nothing but dirt, gangs and lone “road warriors,” but the most devastating consequence is that water is nowhere to be found.
Special Features:
New HD master
Commentary by filmmaker Jim Wynorski (director of Chopping Mall)
The London Korean Film Festival, now in its tenth year, has been gathering steam. This year sees offerings from the likes of Kim Sung Soo (Asura: The City of Madness), Woo Min Ho (Inside Men) and Hur Jin Ho (The Last Princess).
Alongside these high profile movies, there are also some smaller scale arthouse offerings, which the Glasgow leg will feature. First there is Dong Ju: The Portrait of a Poet, a biopic of the well-regarded poet; Factory Complex, an essay film which won the Silver Lion at the 56th Venice Biennale; and Shifted Horizon, a collection of director Seoungho Cho’s video works.
Look out for City on Fire reviews for these films soon. Until, then, you can read our review for Inside Men: The Original.
As streaming service giant, Netflix, pours most of its money into original programming instead of obtaining film streaming rights, fans of specific cinematic genres and niches have had to look to other streaming services and physical media in order to consume the wide array of classic and current films that they are looking to watch.
Thankfully, a new service, FilmStruck, has finally launched as of November 2016, offering up everything that fans of both physical media and specific niche cinema have been searching for: an end-all-be-all streaming service that offers up a wide selection of classic and current world cinema, as well as specialized programming and supplements that other services like Netflix make no effort to provide.
Put together in part by The Criterion Collection and TCM, FilmStruck offers a wide variety of High Definition films and supplements, whether they be previously available on DVD or Blu-ray from various companies or The Criterion Collection, or new to streaming and previously out of print.
Readers of City on Fire will be happy to know that FilmStruck provides many Asian and genre films that action and world cinema fans crave like candy. For example, fans of Criterion have known for many years now that the company has always been reliable as to releasing classic samurai films in pristine condition.
However, most of those samurai films are now streaming online, ranging from many of Akira Kurosawa’s classics (Sanshiro Sugata, Rashomon, The Hidden Fortress, Yojimbo, Ran, etc) to nearly every installment of the Zatoichi franchise, including Takeshi Kitano’s own The Blind Swordsman: Zatoichi remake. Speaking of Kitano, many of his violent Yakuza films are streaming as well, including Violent Cop, Boiling Point, and Sonatine. That FilmStruck’s library ranges from Kurosawa’s debut Judo film from the 40s to Kitano’s gangster classics from the 90s demonstrates the breadth of its library. And that’s not even including the hundreds of other varied films and genres that are available to stream, such as random Asian horror and Anime titles. Fans of this kind of stuff need to get behind FilmStruck, because it is clearly a service that cares about film and its fans.
If the library wasn’t good enough, film fans can rest assured that the prices for the service are exceptional and a near steal based upon what it offers viewers. You can either pay $6.99 per month for the basic FilmStruck library or $10.99 per month for the entire library including the Criterion Channel, which offers most of these Asian specialty titles. There is also a $99 per year fee for those who need no convincing and want to dive right in. Better yet, you can start off with a free two-week trial.
However, there is currently a downside to the service, one which will improve with time. The service is only available upon all hand held devices, computers, and the Amazon Fire Stick at the time of this writing. Those hoping for a simple app that can be downloaded on any Vizio TV will have to try harder if they want to watch these pristine transfers on their big screen. While the service will be launching on other platforms in the coming months, it’s access is fairly limited right now. Also, the service can only be viewed within the United States. Therefore, cinema buffs from around the world will have to wait until this limitation is lifted, if ever.
For those who are curious about seeing more details on FilmStruck, such as what films it carries in its library or as to what specific devices it streams upon, you can click here. Otherwise, say hello to the new streaming service that you should be giving your money too and looking forward too adding more Asian and world cinema titles to watch online. Happy streaming!
The masked crime-fighting duo, known as The Green Hornet and Kato, are once again heading to the big screen in a new Green Hornet reboot that’s currently in development. Gavin O’Connor, the filmmaker behind the recent Ben Affleck actioner, The Accountant, is set to helm the project.
According to Deadline, O’Connor looks to wipe the slate clean with the hope that a storied, branded IP can get a do-over, as happened with Christopher Nolan’s Dark Knight films and JJ Abrams’ Star Trek and Star Wars pictures.
The Green Hornet franchise – created by George W. Trendle and Fran Striker – originated as a radio show in the 1930s that centered around a newspaper publisher and his Asian valet/martial arts expert. Secretly, the two battled crime as the feared Green Hornet and Kato.
When the heroes made their transition from radio to screen, The Green Hornet, aka Britt Reid, and Kato, were played by Warren Hull/Gordon Jones and Keye Luke in the 1940s; then by Britt Reid and Bruce Lee in 1960s; and finally, by Seth Rogen and Jay Chou in the 2011 film.
It’ll be interesting to see who they cast as the two main leads. Scarlett Johansson as Kato? And who knows, maybe O’Connor’s affiliation with Affleck means his Britt Reid has been found? The possibilities are endless – stay tuned!
Director: Herman Yau Producer: Wong Jing Cast: Anthony Wong, Angel Wong, Vincent Wan, Mariane Chan, Lo Meng, Ng Sui Ting, Peter Ngor Chi Kwan, Shing Fui On, Cindy Yip, Chang Yin, Tsang Yin Running Time: 97 min.
By Martin Sandison
After the success of the sadistic and powerful Bunman: The Untold Story, the director and star team of Herman Yau and Anthony Wong set about making another classic slice of Category III horror, Ebola Syndrome. Those expecting more of the same will be disappointed, as the movie is far more tongue in cheek than it is nasty. Bunman’s Wong is completely psychotic, and delivers one of the greatest performances of its kind; Ebola’s Kai is one of the most disgusting characters ever to grace the screen. Credit must be given to Anthony Wong for both portrayals, as alongside Simon Yam, he was the king of Category III.
The action starts with Kai seducing his bosses wife, being discovered by him, and promptly murdering everyone. He absconds to South Africa where he works for a pittance as a chef in a Chinese restaurant. When Kai and his new restaurant boss take a trip to a tribe to buy a low-price pig, Kai rapes a tribe girl who evidently has some kind of disease. It’s Ebola, and he contracts it. The irony comes in that Kai is one in ten million people who is immune to the disease; but he can give it to anyone through his bodily fluids, and boy does he love to spread them around.
Some horrendous highlights are: Kai penetrating a piece of meat as he listens to his boss having sex in the next room, and cooking it the next day; in a nod to Bunman he murders people who have the virus and makes them into “South African burgers”; he also wipes his nose, post-sneeze, on garments in a clothes shop. The last one doesn’t sound bad, but as the viewer knows that he has Ebola, and no one else in the movie does, the amping up of his disgusting nature makes for cringe-worthy viewing. Ebola, as explained in the movie, is a real virus that causes internal bleeding that’s fatal, and has a very high death rate.
Of special note, the cast includes Lo Meng (Two Champions of Shaolin) as Kai’s boss, in a noteworthy non-martial arts role; divorced completely from the Venom mob Shaw Brothers movies that made him famous. He aquits himself well in a dramatic and comic manner, the latter especially when he’s channelling his chi having energetic sex with his wife. Shing Fui On (Big Silly Head to his fans) has a small cameo, chewing up the scenery as usual. Vincent Wan Yuen Ming (Wild Search, Don’t Give A Damn) has a small part as the Police officer who goes against Kai, and actresses Marianne Chan Miu Ying (Ghost Punting) and Cindy Yip Sin Shi (A Moment of Romance 2) are featured at different stages of the narrative as Kai’s love interests.
The direction is very well-handled by Yau, with some creative shots, Hong Kong-style visuals and a tight running time. One shot stood out for me as brilliant: a POV inside Kai’s mouth as he goes to kiss a girl, with the Ebola rife in there. It’s hilarious and disgusting, as is the movie overall. Without Wong’s maniacal performance, the movie wouldn’t really stand up; he delivers on every level. As the film climaxes, it breaks into that secret world of Hong Kong filmmaking madness that blows the mind – it cannot be described, because it is a massive spoiler – rest assured, this one doesn’t disappoint.
Interestingly, I watched some extended nasty scenes in the deleted footage. It seems strange were cut out, as they are in no way as bad as some of the scenes in the full length Bunman. The aesthetic of Ebola Syndrome is a little tacky and over colourised, and let’s be honest, the idea is a little silly. This doesn’t detract from a rollicking good piece of category III outrageousness.
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