Tag Archives: Bai Ling

Neveldine/Taylor’s Crank 2: High Voltage

If you took Grand Theft Auto, The Looney Toons, bath salts, nitroglycerin, raw adrenaline, a bucket of piss, a spoonful of vinegar and a few ounces of C4 and chucked them all in a blender, you’d have something almost as utterly fucked as Neveldine/Taylor’s Crank 2: High Voltage, a sequel that leaves the first film somewhat in the dust, and if you’ve seen their initial Crank effort, you can imagine what a sheer feat that is. Cheerfully racist, unapologetically sexist, hedonistic in heaps and fully committed to being as mean, sleazy and batshit as movies can get, it turns an action movie into something truly out there. Jason Statham is the invincible Chev Chelios, a contract killer who gets put through the wringer when pretty much the entire organized crime faction in Los Angeles decides they want him dead. In the first film it was adrenaline that kept him going and here it’s electricity. Saddled with a weird synthetic heart, he’s on a mad roadrunner odyssey to get his original ticker back from legions of gangsters who want to sell it on the black market or transplant into the body of a weird old goat of a Triad boss called Poon Dong, played by David ‘do anything for a paycheque’ Carradine. Statham is a trooper, getting every part of his body fully zapped by all kinds of dangerous objects, engaging in shameless public sex once again with his spunky girlfriend (Amy Smart), this time in the middle of a horse racetrack. Explaining the plot is pointless because things just sort of… happen, in their own madcap way and it’s really hard to keep up with the kind of deranged marathon this thing runs. A frenzied strip club owner (the late Corey Haim) a thoroughly psychotic Asian hooker (Bai Ling), Chev’s ever loyal off-the-books Doctor (Dwight Yoakam) and all manner of punks, freaks, mafiosos and maladjusted urban monsters make appearances. Clifton Collins Jr. is equal parts terrifying and hilarious as El Huron, a flamboyant Cholo boss hellbent on killing Chev, but not before a few sadistic sideshow games first. The real heroes here are Neveldine and Taylor, two hyperkinetic ringmasters who aren’t afraid to get absolutely mental in their filmmaking process, injecting every bit of madness, mayhem and debauchery they can stuff into the script. Strippers getting shot in the tits and leaking silicone everywhere, a Mexican vato slicing off parts of a Chinese rival gang member and gleefully saying “check it out.. sushi!”, a severed head kept alive in a fish tank and a Godzilla inspired animated interlude are all but a taste of the bizarre pitstops this film makes on its hyper-violent, coked out flight path towards breaking the sound barrier. It’s either your thing or it isn’t, I mean I wouldn’t show it to my grandparents, it’d be a monumental exercise in tolerance for anyone with views that verge on conservatism. But fuck if it ain’t impressive for just for how far past the stratosphere it goes though, it’s like the first Crank film fell asleep, had a fever dream about itself and then this thing was birthed from that vision out of the death of a neutron star, mid explosion. I’ll stop because I’m running out of adjectives for ‘crazy’.

-Nate Hill

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THE ‘SHOWDOWN’ TRIPLE FEATURE by Kent Hill

This film might not seem like a big deal to you. It could merely appear as another throwaway action flick on your regular streaming service – one that you glance at out of curiosity, and then move on. But I really loved SHOWDOWN IN MANILA, and here’s the reason why . . .

Once, a long time ago, in the age of wonder, they were these glorious palaces that we called, Video Stores. They were a veritable treasure trove for cineastes of all ages to come and get their movie-fix. They housed the cinema of the ages and best of all, there would be movies you could find there, that hadn’t played at a cinema near you.

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These were the titles that were made specifically for this new medium of VHS. Like the drive-in before it, these stores needed product. Thus a new genre was born, and it was called Straight-to-Video. What arose were glorious movies, some of which, sadly,  died along with their era. Awesome were the sci-fi, the horror, and specifically speaking now, the action movies that would appear on the shelves. And such action. Real, intense, dynamic and always in frequent supply. It was good versus evil in all its glory – the villains wore dark shades and the heroes carried big guns. So, it was while watching SHOWDOWN that I was hit by this wave of nostalgia, engulfed by memories of the golden age of home entertainment.

The plot of the film is simple. But isn’t that true of the best action flicks? The package is a beautiful cocktail of old and new, peppered with filmmakers wishing to deliver a splendid throwback, mixed with the stars that climbed to the dizzying heights of VHS stardom.

For those who know what I’m talking about, and even those that don’t, I say, go check out this little gem that is cut from the past, and at the same time, is polishing by the future. So, here now, I present a trio of interviews with the film’s stars Alexander Nevsky (The man on the rise), Matthias Hues (The action legend), and the man responsible for that important seed from which all great cinema grows, the script, Craig Hamman (the veteran screenwriter).

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Alexander Nevsky is a Russian bodybuilder, actor, writer, producer. His life changed when he saw Arnold Schwarzenegger in Pumping Iron and that spark would light the fire which continues to burn bright. In 1994 Nevsky graduated from State Academy of Management (Moscow). In 1999 he moved to California. He studied English at UCLA and acting at the Lee Strasberg Theatre Institute. He has risen from a bit-part-player to an international action star the cannot be ignored. With his imposing intensity, versatility and personal drive, Alex, I believe, is poised to enter the arena of formidable action superstars – its only a matter of when.

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Matthias Hues is a German-born actor and martial artist as well as being an action movie icon. He came to L.A. not knowing how to act or even speak English. The fateful moment would come when he joined Gold’s Gym and the establishment’s manager received a call from a producer who had just lost Jean-Claude Van Damme for his movie and needed a replacement. Matthias tested for the role, and he managed to convince the producers to give him the part despite having no prior acting experience. The movie, No Retreat, No Surrender 2, was a moderate success, but it opened the door. He is, of course, most recognized for Dark Angel, but has also played everything from a gladiator turned private investigator in Age of Treason to an aging hit-man in Finding Interest to a bumbling idiot trying to kidnap a rich kid in Alone in the Woods to a dancing lion tamer in Big Top Pee-wee. He’s even played a Klingon general in Star Trek VI: The Undiscovered Country.

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Craig Hamann came up alongside another young aspiring filmmaker whose work would go on to define a generation. When he and Quentin Tarantino embarked upon the journey to make their own movie, My Best Friend’s Birthday, there was no telling then, where the road would lead. Well we all know where Quentin ended up, but Craig too has enjoyed a long and prosperous career that has been anything but ordinary. He’s a writer, former actor, that has watched the industry ebb and flow. He’s directed Boogie Boys, had encounters with Demonic Toys and of course, of late, he’s been a part of an action-thriller in Manila. Craig has other projects in the works, and with the company he keeps, these efforts are, I’m sure, set to explode and entertain. Yet he remains a humble gentleman with a passion for his work and a dedication that has seen him endure as a great veteran of the movie business.

 

 

 

The Way of the Samurai Cop: An Interview with Matthew Karedas (Hannon) by Kent Hill

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You’re all familiar with the concept “so bad, it’s good” I’m guessing? If you’re not then I’m here to tell you that there is a thriving sub-genre enjoying the hell out of life just beyond the fringes of your current viewing tastes. Now, some might say that these are the lands where bad films go to die – but I say it is not so. You just have to look a little harder, you have to look with better eyes than the ones in your head that only see the mainstream and everything that floats down it. Remember shit rolls down hill too.

And you’ll be told that films like Space Mutiny, Troll 2 and The Room are only enjoyed by small minded juveniles that still think farts are funny. You’ll be told to stick with the cinema of the Golden Age, heck even the Silver Age – but what ever you do – stay away from the counterfeit Peso Age.

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If these are the voices that dictate your viewing pleasure then you best take off. This story ain’t for you. The cinema of Amir Shervan (top) and Gregory Hatanaka (bottom) is beyond your realm of understanding. For these guys play in the sandbox where bad is beautiful and lunacy equals legendary. These are the men who created the Samurai Cop.

In 1991 a ex-Stallone body guard and a trained New York actor strapped on the guns and a bad wig and took their place in cinema history. The film was Shervan’s tribute, some might say, to the American action film. What he made had bad acting, stilted action, a whole lot of tits, ass and Robert Z’Dar, blended with a mighty helping of stupid courage.

Then – just like that – the film vanished, along with its star.

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Cut to 25 years later and a new filmmaker, inspired by the newly uncovered brilliance of Samurai Cop, decides to get the old band back together and make a sequel. Only problem being . . . the Samurai Cop is missing, presumed dead.

But Matthew Karedas (formerly Hannon) was just chillin’. He’d grown tired of jumping through Hollywood’s hoops and so, he got a real job and took the time to raise his young family. It was one of Matt’s daughters that saw the word on the web of her father’s supposed death and told him he should post word – tell the world the Samurai Cop Lives!

So he did, and the rest dear friends is history. Samurai Cop 2 : Deadly Vengeance was released around the world to adoring fans and took its long-awaited seat beside the awesome original. Nearly all the cast returned, along with some new faces. One genius stroke was the casting of fellow “so bad, it’s good” megastar Tommy Wiseau (The Room). The meeting of Karedas (Hannon) and Wiseau on screen being equaled only by the scene from Michael Mann’s Heat, which saw the powerhouses of Pacino and De Niro square off.

So, kick back with me now as we sit down with the Samurai Cop himself to learn about the past, chat about the future, shoot the breeze on the subjects of bad acting and equally bad wigs . . . and of course hear all about rubbing shoulders with Tommy Wiseau. Ladies and Gentlemen I proudly present . . . Matt Hannon (Karedas), The Samurai Cop.

Barry Sonnenfield’s Wild Wild West: A Review by Nate Hill

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I don’t get the hate for Barry Sonnenfield’s Wild Wild West. I just don’t.  It’s like I saw a completely different film than the entire rest of the continent. To my knowledge, there’s me and a couple other friends I know who love and cherish it, and the rest of the world has seemingly cast it out into the cold, inexplicably bashing it no end. Wtf. It’s a rollicking good time, full of a brilliant blend of situational and slapstick humour, lively characters from a great group of performers, incredible production design, and a dash of swash and buckle. It may not have much in common with the 1960’s era tv show its based on, but kudos to it for breaking new ground. Will Smith plays Marshall Jim West, a cocky (there’s literally a small window of freeze frame where you can see his ebony schlock in full glory. And don’t even ask me how I know that), ballsy (ok sorry I’ll stop) secret service cowboy badass who is working a case against some nasty villains who want to use president Ulysses S. Grant for diabolical ends. He’s led to old foe General ‘Bloodbath’ McGrath (Ted Levine in a show stopping, wickedly devious southern psycho role) a confederate lowlife who will hopefully lead him to whoever is kidnapping the nation’s best and brightest scientists for some Bond villain-ish scheme. West is joined by kooky inventor Artemis Gordon (a classy Kevin Kline) and the two embark on a shoot em up quest to thwart the evil plan of Dr. Arliss Loveless (Kenneth Branagh), a dastardly mega villain with plans for America that don’t involve presidents or laws or anything sane. The film is endlessly inventive, wildly funny and parades forth a reel of set pieces, each more amazing than the last until we realize we’re actually watching a fifty foot tall steam punk mechanical spider stomp all over the Utah desert (there’s a priceless story involving that and the film’s odd duck of a producer Jon Peters, which you can watch Kevin Smith regale an audience with over on YouTube). West and Gordon are joined by sultry Rita (Salma Hayek) a Femme Fatale with a hidden agenda who tags along under the guise of damsel in distress. It’s just plain fun and I still don’t get how anyone could dislike it. Witty barbs, raunchy double entendres and sarcastic banter permeate the wonderful script. Nifty gadgets, detailed costumes and clanking machinery speckle the epic production  design. An atmosphere of playful fun oversees all of it from beginning to end. Smith and Kline make a dysfunctional buddy duo for the ages, squabbling right up until the last frame. Branagh hams it up so far over the top as the bad guy that he nearly implodes on himself. Levine is deliciously creepy and crusty. Watch for other gem performances from Bai Ling, M. Emmett Walsh, Debra Christofferson, Sofia Eng, Rodney A. Grant and Musetta Vander. If you’ve seen it and already love it, good for you let’s go have a beer. If you’ve seen it and hate it, you’re a silly bum (to put it mildly). If you haven’t seen it, do so, form your own opinion and fall into one of the above two categories. It’s a classic for me.