Join Frank, Tom, and Mac with special guest Perrin Spychala as they discuss Pierce Brosnan’s second outing as 007 in Roger Spottiswoode’s TOMORROW NEVER DIES. Released in 1997, the film also features a terrific ensemble composed of Jonathan Pryce, Michelle Yeoh, Teri Hatcher, Ricky Jay, Gotz Otto, Vincent Schiavelli, and Joe Don Baker.
Cynthia Ann Christine Rothrock, is an American martial artist and actress who I first encountered in a little movie called Raging Thunder or No Retreat, No Surrender 2 (part of my beloved Seasonal Films Library). From there I followed her through the China O’Brian and Martial Law movies. It is fortuitous that she shares this triple martial arts action extravaganza with Don “The Dragon” Wilson; the pair having shared the screen in a number of Cynthia credits, including The Martial Arts Kid and its forthcoming sequel.
Rothrock holds black belt rankings in seven styles of martial arts and was a high level competitor in martial arts before becoming an actress.
It was in her hometown in Northern California in 1983 where she was on the Ernie Reyes’ West Coast Martial Arts Demonstration Team. A Leading Asian Film production company, Golden Harvest, was searching, at this time, in Los Angeles for the next Bruce Lee. Rothrock’s forms and manoeuvres were observed at a demonstration by Golden Harvest and they signed a contract with Cynthia there and then. It was two years (1985) later that she made her first martial arts movie, Yes, Madam (or Police Assassins / In the Line of Duty Part 2) which also starred Michelle Yeoh. Proving to be a box office hit, Cynthia ended up staying in Hong Kong until 1988 doing seven films there.
Rothrock would go on to be one of a handful of western performers who achieved stardom in the Hong Kong film industry, before even achieving success in their own country. Producer Pierre David initiated Rothrock’s move to back to America, offering her a co-starring role with Chad McQueen in Martial Law, Rothrock’s first U.S. production. A ten year successful career in B-grade action movies would follow in movies such as: China O’Brien and China O’Brien 2, Guardian Angel, Honour & Glory, No Retreat, No Surrender 2 and Prince of the Sun amongst a roster of thirty films
Rothrock appeared in the television film The Dukes of Hazzard: Reunion. She was also the inspiration for the video game character Sonya Blade from the game Mortal Kombat, though was given neither credit nor compensation. After the film Sci-Fighter, she retired from acting to teach martial arts at her studio in California. She made her comeback in 2012 with a role in the family film Santa’s Summer House, and in 2014, she starred in the action movie Mercenaries, (the all-female Expendables) alongside Kristanna Loken, Brigitte Nielsen, Vivica A. Fox and Zoë Bell directed by Chris Olen Ray.
Like her contemporaries of the genre, Cynthia is still going strong, busy with slate of movies either in the works or beginning production. She is dynamic, fearsome and as I’m sure Cynthia will tell you herself . . . she isn’t too old to quit kicking ass yet.
James Gunn doesn’t quite surpass the first Guardians film with his followup, but there is more than enough to love from a sequel that stands monumentally taller than any other Marvel film (save for the first).
Gunn is such a remarkable auteur; his use of seminal popular music, blended with his not only perfect casting of genre actors but knowing how to use them, is what keeps this Guardians film from being a rehash of the first.
The story, while at times has too many plot points running at once, stands on its own, and is not reliant upon any other arc within the Marvel Cinematic Universe. That is incredibly refreshing. The film is about Star-Lord and his father Ego, played by Kurt Russell who turns in yet another fantastic performance.
Guardians 2 does use a few conventional gimmicks: the token Stan Lee cameo that has worn out its effectiveness sixteen movies ago, and an opening scene with a CGI de-age character which actually works well. Aside from that, and a second act that drags its feet slightly, the film is a lot of fun and you’ll be smiling and laughing through the entire film. Heck, you may even tear up during a few moments.
What’s very disappointing about this film, is the incredible missed opportunity of reuniting onscreen Kurt Russell and Sylvester Stallone. Call me shallow, but that’s a moment a lot of us were hoping for going into this film, knowing the kind of genre respect and sensibilities that Gunn has as a filmmaker, it is kind of a shock that this didn’t happen.
Speaking of Stallone, seeing him in a film like this is an absolute joy. He doesn’t have a whole lot to do in the film, he’s mainly being setup for an expanded role in future Marvel films, but you can tell he’s having a lot of fun. Towards the beginning of the film, he shares a scene with Michael Rooker, and anyone who loves CLIFFHANGER will stand up and fist pump in the theatre.
Perhaps the best, and most effective part of the film isn’t the special effects (which are brilliant), or the genre actor cameos (which is even more brilliant), but a scene between Star-Lord and his Ego, as they discuss The Looking Glass’ hit song, BRANDY. It’s a very sweet and emotional moment between a father and son and showcases the star power that Russell brings to the role.
There are a plethora of scene stealing moments. The opening scene, the opening credits, the musical numbers, Baby Groot, Awesome Mix Tape Vol. 2, Michael Rooker – like I said, this film may not be as good as the first, but it’s an awesome experience and do yourself a favor and run the theatre to go see it.
What’s almost hard to understand is how Marvel allows Gunn to make non-templated films that are a part of the MCU, yet really have nothing to do with any of these silly “phases”. The two Guardians films are different, they don’t fit inside of Marvel’s box of conventionality. They take place within a world where Gunn has the absolute freedom to do whatever he wants, and that in itself is a feat that is a cause for celebration, and very much leaves you looking forward to the next Guardians film.
Far North is like a half whispered tale told round a campfire way out in the tundra, a tale that keeps the fire going while freezing your blood. I’m not sure if it’s based on some Inuit parable or fable, but it certainly has the aura of such. There’s a whole lot of land up there, and most likely centuries of stories just like this one, witnessed only by the wolves and the winter cold, as well as the few hard bitten inhabitants who call it home. Michelle Yeoh is Saiva, an outcast from her tribe after being deemed cursed by her shaman at birth, left to wander the expanse alone. Her only companion is a young girl (Michelle Krusiec) who she rescued from marauding soldiers as a baby, and has raised somewhat as a daughter. The two live an isolated existence, until Saiva finds half dead soldier Loki (Sean Bean) wandering the tundra, and reluctantly takes him in. That’s where trouble begins, as he takes a liking to the young girl, a bond is formed, and another is soured and broken. There’s a third act shocker that will have your skin crawling, a jarring act of violence, deception and betrayal that leaves us feeling as cold and cast out as Saiva, an existence which probably foretold such horrors years ago when the shaman gazed upon her face. It doesn’t quite fit with the lyrical beauty and ambient pace that came before, but it’s definitely an unforgettable way to end the story, and a reminder of humans and their capacity for darkness. Roaming caribou, miles of ice, wandering wolves, and the few humans who survive out there, perhaps affected by something deeper, something elemental that lives in the very air. Not a perfect film, but fascinating and quite unlike any other. Oh, and a warning: ther are some graphic and suspiciously realistic scenes of animal violence.
In some respects, Danny Boyle is Britain’s answer to Steven Soderbergh – a filmmaker who moves effortlessly from independent to studio films and works in a variety of genres: gritty drug drama (Trainspotting), kids film (Millions) and edgy horror (28 Days Later). Like Soderbergh’s Solaris (2002), Boyle has tried his hand at science fiction with Sunshine (2007). It was critically lauded in England as a thinking person’s genre film but was met with mixed critical reaction in North America and lackluster box office.
Sometime in the far future, our Sun is dying. The Earth is in the grips of a solar winter and the only chance we have for survival is to reignite the star. A spacecraft called the Icarus II, with a crew of eight and carrying a nuclear bomb roughly the size of Manhattan, will hopefully kick-start the Sun and save humanity. On the way there, they pick up a distress beacon from Icarus I, an earlier expedition with the same mission but that had mysteriously disappeared en route. Do they alter their course and check out the ship in the hopes that they can use its bomb and thereby doubling their chances? The decision lies with the ship’s physicist, Dr. Robert Capa (Cillian Murphy) and it is one that will affect the entire crew in ways they can’t yet imagine. Through a series of intense situations brought on by unforeseen complications, there’s a real possibility that the Icarus II may not make it back alive and the characters have to realistically deal with this chilling realization.
Sunshine starts of as an intellectual science fiction film a la 2001: A Space Odyssey (1968) and then shifts focus to an engrossing mystery involving the Icarus I and shifts again to a slasher film reminiscent of Event Horizon (1997) for the last third. This last shift has drawn the most criticism from reviewers and does test the film’s credibility. Do the filmmakers really need to add even more danger for the protagonists to face? Isn’t the fact that they are heading straight towards the Sun with limited resources and crew challenging enough?
Sunshine does an excellent job showing the dynamic between the crew members and how it gradually breaks down when things go horribly wrong. Crew member turns on crew member and an oversight or miscalculation has catastrophic effects. The cast is uniformly excellent and refreshingly absent of big name movie stars. Instead, we get solid character actors like Cillian Murphy (The Wind That Shakes the Barley), Rose Byrne (28 Weeks Later), Michelle Yeoh (Crouching Tiger, Hidden Dragon), and Cliff Curtis (Bringing out the Dead). Some of them are cast wonderfully against type and others, like Chris Evans, show previously unseen depth.
It is also nice to see the characters solving problems with reason and intellect that actually makes sense. That’s not to say that Sunshine is all brainy posturing. There is plenty of intense, visceral action that is emotionally draining much like Boyle did with 28 Days Later (2002). As he showed with that film and his debut, Shallow Grave (1994), he certainly knows how to ratchet up the tension.
This is also a visually impressive film as Boyle not only shows off the usual iconography of the genre – spacecraft, spacesuits, etc. – but doesn’t fall into some of the more tired clichés, like aerodynamically-designed spacecraft and evil computers. He also doesn’t telegraph who lives and who dies which gives the film an edgy unpredictability. At times, it feels like Sunshine wants to be the 2001 for the new Millennium but then the slasher film elements creep in and it resembles a more traditional thriller. It’s too bad because up to that point, Boyle’s film is a very smart, thought-provoking piece of speculative fiction.