Action Archive

Comic Tales: Death Note

The Death Note of the title is a book with the power to kill, all you need to do is write your targets name inside and hey presto! they’re history. Of course there are some conditions; you need to know what they look like for one – if for example you wanted John Smith to die, how’s the book going to know which John Smith is your intended target? On the plus side you can even pick the time and method of departure for your victim.

When this book comes into the possession of Light Yagami, a law student who’s lost his faith in the legal system, he uses it to dispatch criminals the system, for one reason or another, has been unable to convict. He’s like The Punisher with a pen, no need to get your hands dirty when all you have to do is scribble in a book.

The authorities are understandably not too happy with this one man judge, jury and executioner (dubbed Kira by the press) but how far will Light go to protect his secret identity? The “god of death” Ryuuk, the original source of the book, is Light’s sole confidant. Only someone who has touched the book can see Ryuuk, who looks like a Goth version of The Joker with wings.

I Spy: Our Man Flint

By 1966 the Bond series was firmly established and ripe for spoofing. TV had offered up the semi-serious The Man from U.N.C.L.E. (1964) and the out and out comedy Get Smart (1965) but ’66 gave us two of the best big screen pretenders in Dean Martin’s Matt Helm and James Coburn’s Derek Flint.

Our Man Flint didn’t just send up the super spy genre but told an entertaining, if completely bonkers, tale of weather manipulation by the evil Galaxy organisation. All the Bond series trademarks are here – the beautiful girls, the criminal mastermind (actually there are three and they’re arguably well intentioned), the gadgets (Flint’s multi purpose cigarette lighter) the exotic locations (even if they are only studio bound sets) and the cool theme tune.

One thing is very different though and that’s Flint. As portrayed by James Coburn, Flint is a much cooler dude than Connery’s 007. A master of everything from cookery to ballet (which he teaches), a snappy dresser and all round hip cat, Flint is in many ways the anti-Bond, but then he does come from the private sector whereas Bond is a public servant so that’s perhaps to be expected.

Of course for a spy to be really cool he’s got to have the right theme and nobody does it better than Jerry Goldsmith, who not only gave Flint music to kick ass to but also provided the theme tune to The Man from U.N.C.L.E.. Without Goldsmith and Coburn Our Man Flint just wouldn’t be worth watching.

Saturday Night’s Alright For Fighting: The New Big Boss aka The Legend of the Wolf

Donnie Yen is one of my favourite martial arts stars; he was a memorable villain in Once Upon a Time in China 2 squaring off against Jet Li, as well as staring in one of the best modern kung fu movies, Iron Monkey. Yen is a Bruce Lee fan, his credits include a TV version of Lee’s Fist of Fury, and this films title is a reference to Lee’s first starring vehicle, The Big Boss (I’ve no idea if the title was Yen’s choice though).

Yen gives us his best Lee imitation as Fung, a guy who returns to his village and the woman he loves with no memory of where he’s been for the past seven years. He’s got the poses and the noises down pat and he’s no slouch in the moves department either. It’s not Yen the star but Yen the director who lets the film down.

For his directorial debut Donnie must have wanted to show what he could do, unfortunately he shows us a little too much. The film is over stylised, from slow motion to filters to skewed camera angels, Yen bombards the viewer with everything he has. The fight scenes are also a little too fast and frenetic, speed isn’t everything – onscreen fights aren’t just about how fast you move but how good you look doing it. All too often the camera gets a little to close to the action and you’re left wondering why Yen the director is focusing on Yen the actors head when what’s happening with his extremities is far more interesting.

Comic Tales: Spawn

1997

I was a big Todd McFarlane fan, I’d loved his Spider-Man work and I enjoyed Spawn. Not only did I like his art, I thought what he was doing with Image comics was a commendable endeavour. I went to see Spawn at the cinema and, while it was certainly a watered down version of the comics, it filled my craving to see comic book heroes translated to the big screen. With the exception of Batman and Superman few had made the transition and, with no new Superman film for 10 years and Batman on a downward spiral (1997 was the year of Batman and Robin), anything new was cause for excitement.

2008

Just over 10 years later much has changed. McFarlane has been revealed for the money grabbing executive he is, Image no longer publish anything of interest (apart from Fell) and these’s now an abundance of superhero action on the big screen.

With films like Spider-Man, X-Men and Batman Begins showing how to make a comic based film that will appeal to more than just the geek audience, the dark days of 1997 seem a long time ago. Re-watching Spawn now shows what a poor film it really was. The effects look truly awful (hard to believe ILM had a hand in this) and it’s amazing they had the balls to put so much in the finished film.

SF & Fantasy Sunday: Conan the Barbarian

When I first saw Conan the Barbarian I was disappointed, I was a big fan of the character and the film failed to match my vision of him. My image of Conan was one made up as much by Marvel’s Savage Sword of Conan and Conan the Barbarian comics as by Robert E. Howard’s stories and John Milius’ film felt too ponderous, it lacked that pulpish fun that made the books and comics so enjoyable.

Yet I’ve come back to the film time and again over the years, owning it on VHS and two different DVD releases, and each time I think I’ve enjoyed it more. The reason for that is simple; it no longer bears the weight of having to match my image of Conan. It is what it is, and while that isn’t my ideal vision, there is still much to enjoy about the film.

One thing it doesn’t have though is great performances, Arnie would improve as his career progressed, but he’d always be closer to winning a Razzie than an Oscar. What amazed me while doing a little research before writing this, was that Sandahl Bergman, who played Conan’s love interest Valeria, wasn’t just nominated for the Golden Globe’s New Star of the Year but actually won the award! Was 1982 a particularly lean year for new talent in Hollywood? Surely it must have been as she manages to make Mr Schwarzenegger look good, giving a flat lifeless performance. Thankfully her career nosedived after winning the award.

Comic Tales: The Punisher – Extended Cut

When crooked businessman Howard Saint’s son is killed in an FBI sting operation Saint wants the man responsible, undercover FBI agent Frank Castle (Thomas Jane), dead. He sends his men to kill Castle and his family but, while they manage to kill his wife and son (along with a large proportion of his extended family), they fail to kill Castle himself. Big mistake! Frank comes after Saint looking to dish out a little punishment.

The Punisher isn’t your usual Marvel Comics superhero and Jonathan Hensleigh’s film isn’t your usual comic book movie. This is a throwback to the ‘80s action films, featuring the sort of extreme brutality you don’t see often in action films anymore. It’s surprising that, in an era where a Die Hard movie gets a PG13 rating, the studio had the gumption to go for an R rating rather than tone the film down for the teen market.

Hensleigh didn’t just direct the film, he also co-wrote the script and it’s reasonably faithful to the source material. Its a little uneven, the origin section drags a bit and the likes of Roy Scheider and Samantha Mathis are wasted in underwritten parts, but when it gets going it really hits the spot. The film’s high point is the fight with The Russian, a hitman hired by Saint and a character straight out of the comics. It’s so exuberantly violent that I couldn’t help smiling as the pair crash through walls and pretty much destroy Castle’s apartment. From there on out it’s almost nonstop action as The Punisher takes down Saint and his army of hired guns.

I Spy: Dr. No

The film that started it all, without Dr. No not only wouldn’t we have a series that’s still going strong well into its fifth decade, but we’d also be without Derek Flint, Matt Helm and those two men from U.N.C.L.E. Napoleon Solo and Illya Kuryakin (all of whom will be making an appearance here in the coming weeks) along with numerous others over the years.

That’s not to say Dr. No is a perfect film, far from it. While it features many things that would become staples of the series (the egomaniacal villain, the hidden base, the beautiful women) they’d all be improved on in later entries. Some things are absent though, Dr. No has no lead henchman and goes mano-a-mano with the super spy in the climactic confrontation. There’s also no Q, but as the gadgets that came with him would lead the series into silliness that’s not such a bad thing.

Even two of the series most famous features aren’t firing on all cylinders first time out. Maurice Binder’s opening credits sequence is eye catching but compared to what he’d create for subsequent films it almost feels dull. Then there’s the music. Monty Norman’s Bond theme is a fantastic piece of music that would be used to punctuate the action sequences in later films, you heard that theme and you knew something good was coming. Here it’s used as accompaniment for Bond walking into a hotel lobby, amongst other equally banal moments, and it just doesn’t sit right.

Saturday Night’s Alright For Fighting: Ong-Bak

When the head of a religious statue, the Ong-Bak of the title, is stolen by a man from Bangkok Ting (Tony Jaa) volunteers to find it and return it to the village. Arriving in the city Ting meets Humlae, a young man who left the village to make his fortune in Bangkok but instead has become a gambler and petty conman. With Humlae’s help Ting tracks down the missing Ong-Bak while along the way he gets caught up in an illegal fighting ring (luckily he’s proficient in Muay Thai) and Humlae finds redemption.

I’d heard a lot about Tony Jaa and his breakthrough film, from Jaa being dubbed the new Bruce Lee to the bone crunching fight scenes. Would the film live up to all the hype? The answer is yes…and no. Jaa is indeed an amazing talent; he combines the gymnastic stunts of Jackie Chan with a brutal fighting style. He’s doesn’t really get much chance to show he can act but he does what’s required – move fast , hit hard and look good.

So what’s wrong with the film? Put simply, the editing sucks. The film features what could have been the greatest chase scene every filmed, what stops it achieving that is the way it’s been edited. Clearly the filmmakers realised they had some amazing stunt work here and decided that if showing a jaw dropping moment once was good, showing it two, and sometimes three, times would be even better. Wrong! What this does is ruin the flow of the fight and pull the viewer out of the film. The chase is the worst example but this attempt to exploit the stunt work is evident in almost all the fight scenes.

Comic Tales: Superman – Theatrical Version

What better way to start a season of films based on comic books than with Richard Donner’s Superman? This is the yardstick by which all subsequent superhero movies have been measured (and usually found wanting), it’s also the one that provided the blueprint for doing it right -

  • Take the subject seriously but not too seriously.
  • Pepper the film with respected thespians.
  • Stick closely to the source material (there’s a reason these characters have been around for decades).

Of course you can stick to those rules and still turn out a dub if you don’t have the secret ingredient that’ll make it all work. Superman’s secret ingredient is Christopher Reeve. In a film that features Marlon Brando, Trevor Howard, Glen Ford and Gene Hackman, it’s Reeve, an unknown at the time, who makes the biggest impression (particularly as Clark). The effects, which seemed so amazing when I first saw the film at the cinema aged 13, now seem dated but that just serves to focus the attention more on the performances.

It’s not perfect, the teenage Clark Kent section goes on a bit too long and we don’t see Sups until an hour into the film. I could also happily do without the “Can you read my mind” flying scene with Lois Lane, and while we’re on the subject of Lane, I’ve never seen what the attraction would be for Clark. Margot Kidder’s Lois is rude, arrogant and, lets be honest, not much of a looker. That Reeve makes us believe in this bizarre attraction, most memorably in the poignant finale, just emphasises how impressive he is.

Watching the Detectives: Robert Downey Jr. is Harry Lockhart and Val Kilmer is “Gay� Perry in Kiss Kiss Bang Bang

Petty thief Harry Lockhart stumbles into an audition while trying to evade the police and finds himself jetting off to L.A. where he shows his face at a Hollywood party, meets gay P.I. Perry van Shrike aka “Gay” Perry and gets caught up in a murder plot.

I’d bought this on my younger brother’s recommendation but, truth be told, wasn’t really expecting much, just your average dumb Hollywood buddy movie. How wrong I was! This is a gem of a film that manages to work as a detective movie, a comedy and an insightful jab at the fakeness of Tinsel Town.  It’s also got some politically incorrect humour which scores it another plus point.

Michelle Monaghan does well as Downey’s love interest come femme fatale while Val Kilmer has a ball as the tough as nails gay detective. This is Downey’s film though and he knows it, from the comical voice over to some gross out comedy, he’s perfect. Lockhart’s a nice guy whose heart is in the right place even if the rest of him usually isn’t and thanks to Downey we’re rooting for him to make good.

Shane Black disappeared for about 10 years after The Long Kiss Goodnight and, whatever he was doing, it was obviously time well spent as this is by far the best thing he’s ever put his name to. Some scenes quite simply left me in awe at the deranged mind that could think this stuff up, the final shoot-out being a case in point. It’s also the first thing he’s directed but hopefully not the last as it’s as visually inventive as the script is literally, with plenty of sight gags as well as Lockhart’s quick fire jibes.