The Fate of The Furious

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2017

Universal Pictures

Directed by F. Gary Gray

Produced by Neal H. Moritz/Vin Diesel/Michael Fottrell/Chris Morgan

Written by Chris Morgan
Based on characters created by Gary Scott Thompson

If way back in 2001 when the first movie in the franchise “The Fast and The Furious” hit the theaters you had told me that movie would be the first in a series of (so far) eight movies and that the eighth movie would feature a better James Bond villain than most of the recent Daniel Craig James Bond movies….

And fans of the Daniel Craig/James Bond movies are right now rolling their eyes or tuning out this review. But what can I say? To a large degree, “The Fast and The Furious” movies (as well as the Tom Cruise “Mission: Impossible” series) are giving me what I used to go to James Bond movies for. Insanely over the top action sequences. Astounding fight scenes. Lush, exotic locations. Cool gadgets and gizmos. More gorgeous women than one movie should be allowed to contain. Batshit insane plots that at once seem perfectly logical yet utterly nonsensical. Colorful, larger-than-life heroes. Brilliantly deranged multi-billionaire supervillains bent on taking over or destroying the world. All this and more is in THE FATE OF THE FURIOUS, a movie that despite being the eighth installment still manages to provide something new. A lot of it is improbable and some of it I do admit, baffling (the character development and relationships between Deckard Shaw, Dominic Toretto and Luke Hobbs is something that you’re either going to just have to go with or reject as total BS) but the movie delivers on what it promises and since I’m a fan of these movies, that was good enough for me.

Hard to believe that this series started off as a knock-off of “Point Break” ain’t it? In the course of eight movies we’ve watched Dominic Toretto and his crew morph from street racing hi-jackers into a gonzo, hyperactive mash up of The IMF and The A-Team and it’s been fun to watch. This movie ups the ante considerably as Dominic Toretto (Vin Diesel) goes rogue and turns against his own team, forming an alliance with international cyberterrorist Cipher (Charlize Theron) who has a plan to become her own nuclear superpower, a rival to both the United States and Russia.

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Dominic’s team is naturally baffled and mystified as to Dominic’s defection. Roman Pearce (Tyrese Gibson) thinks they should go get Brian O’Connor to help them out. Dominic’s wife Letty (Michelle Rodriguez) nixes that idea. Brian is out of the game (but it’s nice that they took a minute to acknowledge his character is happy in his retirement). The newest member of the team, hacktivist Ramsey (Nathalie Emmanuel) thinks they should give him up as a lost cause. The team’s technical expert Tej Parker (Chris ‘Ludacris’ Bridges) frankly doesn’t know what to make of the situation.

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Fortunately assistance arrives in the person of Mr. Nobody (Kurt Russell) the government shadow operative and his protege Little Nobody (Scott Eastwood) who brings along Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham) to capture both Dominic and Cipher and stop her nefarious plans.

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Oh, naturally it’s a little more complicated than that since you’ll remember (or maybe you don’t) that Deckard Shaw was the Big Bad of the previous movie and spent a considerable amount of the running time trying to kill Dominic and his crew. By now I’m sure you’ve heard about the controversy involving the circumstances of Shaw’s joining the crew and I think that writer Chris Morgan could have done better than to simply not address the issue at all. But since there are two more movies left to go as the current scuttlebutt says that the series will wrap up with the tenth installment I’m thinking that maybe there will be more to this.

And actually, considering that Statham steals the movie every chance he gets with such energy and humor I don’t think anybody will mind too much. His bickering back and forth with Dwayne Johnson provides much of the humor with Tyrese Gibson picking up the rest as he seems to have settled comfortably in the role of the series’ comedic relief. And Statham has a fight scene on Cipher’s flying headquarters that is among the finest of fight scenes he’s done. Seriously. It’s that jaw-droppingly good.

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As for the set-pieces: there’s a race through the streets of Havana that’s a nice callback to the roots of the series. A wild sequence in New York where Cipher takes remote control of hundreds of cars in Manhattan and uses them as weapons and the insane final action sequence which finds Our Heroes in Russia, being chased across a frozen sea by a nuclear submarine, barely staying ahead of it while fighting off hoards of enemies in vehicles just as tricked out as theirs.

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Some are going to say that THE FATE OF THE FURIOUS goes way too far. I’m not one of them. It’s a movie that knows exactly what it is, what it’s supposed to be and what it’s supposed to deliver. It’s not embarrassed or ashamed of what it is and director F. Gary Gray handles his cast and his movie with a sort of delirious, goofy glee as if he’s having the time of his life and wants us to join in the fun. I know I did. Highly Recommended.

PG-13

137 minutes

Silver Streak

MPW-57609

1976

20th Century Fox

Directed by Arthur Hiller

Produced by Thomas L. Miller/Edward K. Milkis

Written by Colin Higgins

Music by Henry Mancini

For most people “The” Richard Pryor/Gene Wilder Movie is “Stir Crazy.” But lemme ask you this: outside of the “Dat’s right, we bad, we bad” scene, how much of the movie’s plot or story do you actually remember? And let’s not even bring “See No Evil, Hear No Evil” and “Another You” into this conversation. Richard Pryor doesn’t enter SILVER STREAK until we’re a good hour into the plot but it’s a wise move. Because he gives the movie a huge burst of energy and unpredictability that carries us along for the other hour. He comes in the movie at exactly the right time he’s needed. And for me, that makes SILVER STREAK “The” Richard Pryor/Gene Wilder Movie. Put any of their other collaborations on the TV and I’ll most likely doze off thirty minutes in. Put SILVER STREAK on and I’ll be on the edge of my seat from start to finish. SILVER STREAK is a movie I’ve seen maybe fifteen times since I first saw in the theater way back in 1976 and I saw it again today on Netflix and laughed just as hard and enjoyed it just as much as I did the first time I saw it.

Before you continue with this review I feel it only fair to warn you that this is the movie with the “shoe polish” scene where Richard Pryor disguises Gene Wilder in blackface in order to get him past FBI agents looking for him. In the context of the movie their actions make perfect sense. However I know the hypersensitive among you don’t give a poobah’s pizzle for context so maybe you should just go to another movie review, okay? But you’ll be cheating yourself out of the scene where Richard Pryor is attempting teach Gene Wilder how to “be black” is among one of the most hilarious in movie history.

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Book editor George Caldwell (Gene Wilder) boards a train called The Silver Streak in Los Angeles to travel to his sister’s wedding in Chicago. Yeah, he could have flown but he’s looking forward to just getting some work done and being bored. His Pullman Porter Ralston (Scatman Crothers) assures him that boredom is exactly what he’ll get. He meets quite a few of his fellow passengers in the club car, including vitamin salesman Bobby Sweet (Ned Beatty) and ends up having dinner with the insanely hot Hildegarde “Hilly” Burns (Jill Clayburgh).

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Their late night rendezvous is interrupted by what George thinks is a dead body falling off the roof of the train past the window of Hilly’s compartment he sees while they’re in her bed. It’s complicated even more by George’s insistence that the man is her boss, Professor Scheriner (Stefan Gierasch) The next day George goes to check on the professor and instead runs into two shady characters, Whiney (Ray Walston) and Reese (Richard Kiel) who throw George off the train. They both work for Roger Deveraux (Patrick McGoohan) an international art dealer whose reputation will be destroyed if Professor Scheriner’s book about Rembrandt is published. Professor Scheriner has his possessesion “The Rembrandt Letters” ancient documents that will authenticate the claims Scheriner has made in public that Deveraux is a fraud.

George manages to get back on The Silver Streak with the help of eccentric crop duster Rita Babtree (Lucille Benson) who flies George to the next stop in her biplane and to his astonishment George sees that Professor Scheriner is not only alive and well but is ace boon coons with Deveraux. Hilly assures him that everything is okay. Well, George is ready to chalk up the whole thing to an alcoholic dream until Bob Sweet reveals that he’s actually FBI Agent Stevens and they’ve been after Deveraux for a year ever since he engineered a plane crash in Germany that killed 100 people just to cover his ass. Then Sweet/Stevens is killed and George is once more forced to jump off the train but when he seeks helps to get back on again it’s with the assistance of professional thief Grover T. Muldoon (Richard Pryor) and here’s where my plot synopsis stops because I cannot believe that after all I’ve told you, you wouldn’t want to see this movie.

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I mean, c’mon. Just look at the cast: Gene Wilder. Richard Pryor. Both at the height of their popularity and creative powers. Jill Clayburgh has never been sexier than she is in this movie. The bad guy is fargin Patrick McGoohan and his henchmen are Ray Walston and Richard Kiel. Ned Beatty. Scatman Crothers. Valarie Curtin, Fred Willard, Lucille Benson, Len Birmen and Clifton James (in a role that just as well might be a cousin to J.W. Pepper from the James Bond movies) all have major and significant supporting roles.

SILVER STREAK is essentially a riff on the Alfred Hitchcock notion of an innocent man getting caught up in a situation way above his head but discovering that he’s got talents and gifts he never knew he had to help him. And Gene Wilder does a really good job of being Cary Grant. While watching this movie today I was struck by two things: I never before noticed how handsome Gene Wilder truly was and how well he wore his clothes. He’s at the center of SILVER STREAK and he makes the movie work by never elevating George Caldwell to to status of superhero. George is a ordinary guy but he rises to whatever challenge he has to meet with strengths he didn’t know he possessed until he had to use them.

As for Richard Pryor…what can I say about Richard Pryor in this movie other than in my list of Top Ten Favorite Richard Pryor Movies SILVER STREAK would be in the Top Five. Just for a scene that he and Gene Wilder have. They’ve stolen a fire-engine red Jaguar and are racing to Kansas City to save Jill Clayburgh from the bad guys. Gene Wilder and Richard Pryor simply talk about the situation they’re in and what they have to do to save her and beat the bad guy while that magnificent Henry Mancini music quietly plays behind their dialog. That scene right there to me is what the magic of Gene Wilder and Richard Pryor in their movie collaboration was. SILVER STREAK is currently available for streaming on Netflix. Stop reading this review and go watch it.

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114 Minutes

Rated PG

Hudson Hawk

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1991

Silver Pictures/Tri-Star Pictures

Directed by Michael Lehmann

Produced by Joel Silver

Screenplay by Steven E. de Souza/Daniel Walters

Story by Bruce Willis/Robert Kraft

There are those that will insist that HUDSON HAWK is a failure, a flop and a misguided project doomed from the outset to failure. I strongly disagree. It is a movie that along with “Big Trouble In Little China” “The Last Dragon” “The Assassination Bureau” “Sunset” “The Man With The Iron Fists” “Action Jackson” “Shoot ‘Em Up” “The Adventures of Buckaroo Banzai” “Remo Williams: The Adventure Begins” and “The Life Aquatic With Steve Zissou” is a movie that nobody knew what to make of it because they couldn’t figure out what genre it was. Was it a caper movie? Yes. Was it a spy thriller? Yes. Was it a comedy? Yes. Was it action-adventure? Yes. Yes. Yes. Yes. Whatever you want to throw in. HUDSON HAWK was all of those and more because like those other movies I named and much more besides it defined being put in a genre because the story took whatever it needed from whatever genre it wanted to, mixed in wonderful characters and then it hit the ground running at top speed and never stopped until the end credits. Long before the term was coined and before I even knew what it was, when I saw HUDSON HAWK in the theater back in 1991 I knew I was watching a New Pulp movie.

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Eddie Hawkins aka The Hudson Hawk (Bruce Willis) is the world’s greatest cat burglar. That’s why on his first day out of prison after doing a dime, he’s blackmailed by his parole office and the Mario Brothers (not the ones you’re thinking of. These guys run a Mafia family). Along with his partner Tommy “Five-Tone” Messina (Danny Aiello) he pulls off the theft of the last commissioned work done by none other than Leonardo DaVinci, their individual tasks synchronized to the both of them singing “Swinging On A Star” at the exact same time. Yes, yes, I know how it sounds but if you’ve seen the movie I’m willing to bet that you’re grinning right now. Because the scene is impractical, silly, goofy and yet, you’re singing right along with Eddie and Tommy. Me, I admire a movie for having the audacity to even pull off such a notion. And what the hell, it’s downright FUN to watch.

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What gets Eddie interested in what is going on is that when he turns over the item he’s stolen to the Mario Brothers and their employer Alfred (Donald Burton) there’s an object inside which is desired by Alfred’s employers: Darwin and Minerva Mayweather (Richard E. Gant and Sandra Bernhard) who in a masterful comic performance always keep us an audience off guard as to what the hell these two whackos are going to do next. The object is also desired by CIA Director George Kaplan (James Coburn) and his ‘MTVIA’ Agents, all of whom are named after candy bars: Almond Joy (Lorraine Toussaint) Kit Kat (David Caruso) Snickers (Don Harvey) and Butterfinger (Andrew Bryniarsky) as well as by Anna Baragli (Andie MacDowell) who is a top operative for the Vatican’s own counter-espionage agency. Eddie is astounded to discover that the object was fabricated by none other than Leonardo DaVinci (Stefano Molinari who gets the best visual gag in the movie which also involves The Mona Lisa)

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The Mayweathers need Eddie to steal various DaVinci relics that will place in their possession the components of La Macchina dell’Oro. The last and greatest of DaVinci’s inventions. One that can turn lead into gold. The Mayweathers were supposed to be working with The Vatican and The CIA in this but oh those crazy kids decided to just go rogue and grab everything for themselves as they intend to use the power of La Macchina dell’Oro to control the world gold market. Hilarity ensues. As well as a lot of action and for me, at least, a fun movie.

My own personal theory as to why this movie wasn’t the hit it deserved to be back in 1991was that the year before, “Die Hard 2” completely blew all expectations to smithereens and made more money than the original. So people most likely went to the theater looking for something similar and simply didn’t know what to make of this goofy, pulp-inspired adventure. Moviegoers wanted to see more of John McClane or a character like him and just couldn’t get into this more laid back, less intense Bruce Willis who actually goes through most of the movie smiling and looking as if he’s having a great time.

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And for me, that’s one of the major pluses of HUDSON HAWK: everybody looks as if their having nothing but fun making this movie. David Caruso in particular stands out for me as he steals every scene he’s in without saying a word. Kit Kat communicates solely with business cards and by his wardrobe/costume in whatever scene he’s in. The chemistry between Willis and Aiello feels real and I could easily have seem them continue to play Eddie and Tommy in a Crosby/Hope style in future films. I love that is not only James Coburn in this movie but that sound effects and phone ringtones from his Derek Flint movies are used as well. “Bunny! Ball Ball!” The lush sets and gorgeous locations.

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Understand me, my intention is not to change your mind about HUDSON HAWK or indeed, any movie I review. It’s just for me to give you my insight as to why I like and/or love a particular movie and maybe intrigue and/or interest you enough to maybe want to see it for the first time or revisit it. HUDSON HAWK is one of those movies that everybody seems to either love or hate. You can put me firmly on the side of those who love it.

100 Minutes

Rated R

Kong: Skull Island

GONCUks

2017

Legendary Pictures/Tencent Pictures/Warner Bros.

Directed by Jordan Vogt-Roberts

Produced by Thomas Tull/Jon Jashni/Mary Parent/Alex Garcia

Screenplay by Dan Gilroy/Max Borenstein/Derek Connolly

Story by John Gatins

Based on “King Kong” by Merian C. Cooper and Edgar Wallace

I’ll say this for KONG: SKULL ISLAND: It wastes no time in getting down to business. The movie knows good and damn well we’ve come to see King Kong and we do see him in all his towering glory in the first few minutes. But that’s only because we won’t see him again for a while because we’ve got to get the introductions of the human characters and necessary plot exposition out of the way. But that’s okay because thanks to the talented cast and energetic direction, you won’t be bored, trust me.

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Although KONG: SKULL ISLAND is designated as being a sequel to the 2014 “Godzilla” it starts off with newsreel footage that reminded me more of the beginning of the infamous 1998 “Godzilla.” And that’s not the only thing it’ll remind you of as you watch it. Pay attention and you’ll see numerous shout-outs, call-backs and homages to the 1933, 1976 and 2005 versions of “King Kong” because this is a reboot of the character and you need to take it on that basis because there’s no explanation of how Kong survived falling off the Empire State Building or how he got back to Skull Island. To steal from Marvel Comics, consider this to be Ultimate King Kong, combining elements from all the previous versions of Kong to create something new and surprisingly fresh.

It’s 1973. Bill Randa (John Goodman) and Houston Brooks (Corey Hawkins) work for a secret government organization named Monarch that investigates monstrous creatures that used to roam the Earth and Randa believes they still exist but hide in remote places like Skull Island. He secures a military escort to take him and a scientific expedition to Skull Island to prove his theory. The military escort is a wildass helicopter squadron known as the Sky Devils commanded by Lieutenant Colonel Preston Packard (Samuel L. Jackson). Packard jumps at the chance for the mission to snap him out of his depression about America pulling out of the Vietnam War.

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Also along for the trip is former British Special Air Service Captain James Conrad (Tom Hiddleston) and award winning photojournalist Mason Weaver (Brie Larsen) who has suspicions that the so-called scientific expedition is merely a cover for some sort of illegal and unethical secret military operation and she intends to uncover it. She uncovers something but it sure as hell wasn’t she thought it would be.

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Skull Island makes The Land That Time Forgot look like Coney Island. In the words of Seth McFarlane ; “everything that is not you wants to kill you.” Although not as totally and utterly frightening as Peter Jackson’s Skull Island (which gave me bad dreams for two or three nights after I saw his “King Kong”) there’s still enough beasties on this Skull Island to make our desperate band of heroes realize that they have absolutely no business being here. After a devastating battle with Kong that is apocalyptic in it’s savage carnage, our heroes are separated into two groups. They have to make their way to the north end of the island in two days where they hope to be picked up by pre-arranged transport. Of, course, the trick is to stay alive until then.

Did I say apocalyptic? I did. And I did not use that word by accident because much of KONG: SKULL ISLAND is going to remind you of “Apocalypse Now” believe it or not. John C. Reilly shows up as a character that owes much to Dennis Hopper’s crazed photographer from that movie and like Hopper, Reilly’s character lives with a tribe that worships Kong much in the same way that Hopper’s tribe worshipped Colonel Kurtz.

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The cast is first rate with John C. Reilly easily walking off with the movie’s MVP award. I wouldn’t dream of telling you the background of his character as it’s one of the most fun elements of the movie, which has all the excitement, feel, style and downright snap, crackle and pop of classic 1930’s and 1940s adventure movies. Samuel L. Jackson surprised me in this one and for an actor whose career I’ve been following as long as I’ve been following his, that’s not easy to do. Jackson manages to get in some social commentary about the military view of The Vietnam War without being heavy-handed or slowing down the plot the least little bit. John Goodman looks and sounds better here than he has in quite a while and appears to be having a ball. His first line in his very first scene got a big laugh from the audience I saw the movie with as he obviously means for it to have a double meaning as he looks directly at us and does everything except wink to make sure we get the joke.

Corey Hawkins I know from “Straight Outta Compton” and “24: Legacy” and he shows a definite gift for disappearing into different characters as there’s nothing of his other roles in this one. As for Tom Hiddleston…if the guy ever decides to go for being a straight-up action hero I would say that based on this movie, he can pull it off with no problem. If some smart studio ever gets their act together and makes a decent Modesty Blaise movie he’d be a perfect Willie Garvin.

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As for the star of the show himself, Kong is portrayed as what he should be, frighteningly majestic with a air of savage, yet sad nobility. I always like it when Kong is hinted at being more than just an animal and we get that here. Although this Kong doesn’t have a fight here that I would say tops the one in Peter Jackson’s where his Kong took on three T-Rexs, his final showdown with the gruesome Alpha Skullcrawler is deliriously satisfying in it’s sheer destructive spectacle.

I saw KONG: SKULL ISLAND on a day where it was cold and snowing like mad but for 118 minutes inside the theater I felt like it was summertime. Because that’s exactly what KONG: SKULL ISLAND is: a fun, goofy, pulp-inspired summer blockbuster that’s not afraid to be what it is; an adventure ride designed to do nothing but thrill and entertain and it does that the full 100%. Go see and enjoy.

KONG: SKULL ISLAND

PG-13

118

And P.S…DO NOT LEAVE WHILE THE END CREDITS ARE ROLLING. Just like the Marvel movies there’s a scene after the credits are done that promises more to come.

 

 

Foxy Brown

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1974

American International Pictures

Written and Directed by Jack Hill

Produced by Buzz Feitshans

Costumes for Pam Grier Created and Designed by Ruthie West

Music Composed, Conducted, Arranged and Produced by Willie Hutch

FOXY BROWN wasn’t the first Pam Grier movie I saw. That would be “The Arena” released that same year. It actually was a couple of years later that I saw FOXY BROWN. Every couple of years you could count on one of the grindhouses on Manhattan’s 42end St. hosting a Pam Grier Double or Triple Feature and that’s when I saw it. Right from the first time I saw it it became for me THE Pam Grier movie. At least until I saw “Jackie Brown” in 1997

But when people ask me which one of Pam Grier’s classic movies from the Blaxploitation Era they should watch first, I always say FOXY BROWN. It was made after “Coffy” which it shares a lot of similarities to and in fact, FOXY BROWN was intended at first to be the sequel to “Coffy” which was a tremendous hit for American International Pictures. But for me, there are scenes in FOXY BROWN which forever stamped Pam Grier as the first female action star and she pulled it off with not only her breathtaking beauty and unbelievably gorgeous body but true acting talent. This is why I think Pam Grier has had such lasting power in the film industry whereas other women, black and white working in the movies at the same period didn’t last. Right from the start Pam Grier had an earthiness, a believability to her performances, no matter the situation her characters were in.

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This is the movie that has the classic scene where Foxy Brown pulls a small automatic pistol right outta an afro wig big enough to make Angela Davis jealous and shoots two bad guys dead.  There’s something about the way Pam does it that makes you buy the scene with no doubt at all. And then there’s the scene where she gets into a brawl in a lesbian bar. It starts with a woman squaring off on Pam, claiming that she’s a karate expert with a black belt. Without batting an eye, Pam snatches up a bar stool and wallops the piss outta her. Pam stands over her downed opponent, throwing the stool over her shoulder, proclaiming; “I got my black belt in bar stool.” Again, the way she delivers the line and her body language more than sells the scene. You easily believe that Pam Grier knocks out lesbians with bar stools all the time.

Foxy Brown has got two men in her life that are both involved in drugs at opposite ends of the spectrum. Her brother Linc (Antonio Fargas) has gotten into deep trouble with a drug syndicate run by Steve Elias (Peter Brown) and Miss Kathryn (Kathryn Loder). Using a modeling agency as cover they run drugs and use prostitutes to keep local judges, police officials and other public servants off their backs with sexual favors. Michael Anderson (Terry Carter) is a DEA agent who has spent two years in deep cover trying to get the goods on Elias and Kathryn to no avail. Anderson is forced to have plastic surgery to change his appearance and with a new identity and face, he and Foxy make plans to go away and start a new life.

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But Linc figures out who Michael really is and in order to get himself off the hook, rats out Michael who is then killed by the syndicate. Linc is then himself killed by Elias and that sets Foxy off on her roaring rampage of revenge. Foxy infiltrates the drug syndicate by posing as a prostitute. But her true identity is soon found out and that’s when things really get cranked up in more ways than one.

You’ll hear some complain about FOXY BROWN as they don’t like the gratuitous nudity Pam Grier displays throughout the movie and that she’s raped at one point in the movie. They argue that those scenes as well as her posing as a prostitute contribute to the objectification of black women. Is it objectification? Maybe yes. Maybe no. Me, I take FOXY BROWN for what it is: an action adventure revenge yarn where it’s a black woman as the protagonist instead of a white man. And a very satisfying one at that. And it’s one of the true classics of the Blaxploitation Era. There’s a dozen movies that I think should be seen if you call yourself a student or fan of Blaxploitation and FOXY BROWN is definitely one of them.

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What I’ve always loved about her as with most of Pam Grier’s movies, she doesn’t wait for men to rescue her. She rescues herself, such as in the scene where she’s being held captive at a farm which is the drug manufacturing plant for the syndicate. She’s raped, drugged with heroin and still manages to turn the tables on her captors and blow up the farm. She does enlist the help of an all male neighborhood watchdog organization obviously inspired by The Black Panthers but that’s because they’ve got the guns and ammo needed to help her shut down the syndicate. And the scene where she asks the brothers for their help doesn’t rely on her sexiness or vamping the men into helping her. They quite wisely and intelligently ask her what her motivations are and she tells them. They talk as equals.

But in their supporting roles, the men are very good. You can’t ask for better than Antonio Fargas and Terry Carter. They build solid characters in a short amount of time and so we feel for Foxy when they’re killed. I also like how there’s different types of black men in this movie. We don’t just see pimps and pushers. Sid Haig also shows up near the end of the movie and it’s always a blast to see Sid Haig and Pam Grier together in a movie as they’re good friends in real life and it shows on screen. Their chemistry crackles that good.

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While Peter Brown is just your standard generic honky bad guy, I really like Kathryn Loder. She’s got this really strange expression in her eyes and her body language is such that you instantly get that Miss Kathryn may be a criminal genius but she’s got some bad wiring upstairs. Her performance is almost as much fun as Pam’s to watch. They make for well matched opponents.

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If you haven’t seen FOXY BROWN yet then you just oughta. Get yourself FOXY BROWN, “Coffy” (as for all intents and purposes they’re virtually the same character) “Jackie Brown” and make it a Pam Grier Night. Trust me, you won’t be sorry.

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 Rated R

94 Minutes

Suicide Squad

Suicide-Squad-Poster-June-2016

2017

DC Entertainment/Warner Bros./RatPac-Dune Entertainment/Atlas Entertainment

Written and Directed by David Ayer

Produced by Charles Roven/Richard Suckle

Based on characters from DC Comics

Ask me what my favorite comic book of the 1980s was and there’s a better than 90% chance I’ll say “Suicide Squad.” As envisioned by writer John Ostrander, the best and simplest way to describe the concept of the team is “The Dirty Dozen with superpowers.” Created by the ruthless, brilliant and intimidating Amanda Waller, a high ranking government official, Task Force X a.k.a The Suicide Squad members are imprisoned supervillains given a choice. Work for the government by going on missions so dangerous that it’s almost a certainty they’ll be killed. Survive the mission and they get their sentences reduced or even commuted and they walk away free.

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As you can guess by the name of the team, a lot of team members did indeed get killed. The comic book was memorable for it’s characterization and that nobody in the book was safe. You never know who would get killed on a mission. And even if they didn’t get killed on a mission, there was an excellent chance that Amanda Waller herself would kill them if they got the slightest bit out of line or just throw them back into jail to rot.

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That’s the basic set up of the movie version of SUICIDE SQUAD as well. Amanda Waller (Viola Davis) meets with The Joint Chiefs of Staff at The Pentagon to get approval for Task Force X. She presents them with her team: the world’s deadliest hit man, Deadshot (Will Smith) pyrokenetic gangbanger El Diablo (Jay Hernandez). Half-man/half-reptile Killer Croc (Adewale Akinnuoye-Agbaje) ancient sorceress The Enchantress who lives in and occasionally possesses the body of archeologist Dr. June Moone (Cara Delevingne). Master climber Slipknot (Adam Beach) Captain Boomerang (Jai Courtney) a thief who uses technologically customized boomerangs in his work and Harley Quinn (Margot Robbie) who used to be the respected psychiatrist Dr. Harleen Quinzel who mistakenly believed she could cure The Joker (Jared Leto) and instead became infected with his madness. She fell in love with him and helped him to escape. Big mistake.

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Once she gets her approval, Waller implants Nano bombs in their necks which can blow their heads off at the push of a button and gives the button to Colonel Rick Flag (Joel Kinnaman) the Army’s most decorated Special Forces officer. He’ll lead the team in the field and his friend/bodyguard Katana (Karen Fukuhara) an expert martial artist and swordswoman will watch his back.

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Although the team’s reason for existing is to take on enemies to American national security, their first mission is to take down one of their own: The Enchantress. She’s taken control of her host body and released the spirit of her brother, The Incubus (Alain Chanoine). Her intention? To build a machine capable of destroying humanity. Why would a magic user, supposedly ages old and possessing near infinite power would want to build a machine? It’s best if you don’t ask. There’s a lot in this movie that will go down a lot smoother if you don’t stop to ask pesky questions like that. But when you think about it, it really doesn’t say much for Amanda’s project if the first mission her team has to go on is to kill their most powerful member, right? Oops, that’s another question. Sorry. I’ll stop bringing logic into this review.

And it’s a good thing that we’re going to stop talking logically because now we have The Joker who really has no logical reason for being in this movie. Oh, he runs around in the background trying to find out where Harley is being kept after Batman (Ben Affleck) captured her and then hijacking a military helicopter to rush to Midway City to rescue her but in truth, what he’s doing here is no more than a glorified cameo. Leto’s pimped-out Joker is not funny, not scary, not intelligent and at best is sleazy. I’m not a fan of Heath Ledger’s Joker but compared to what we have here, it’s Laurence Olivier on his best day. Jai Courtney brings nothing to the role of Captain Boomerang and it’s a continuing source of mystery to me how he continues to get work in such high profile movies. And Adam Beach is way too good an actor to be thrown away in a nothing role like Slipknot. I just hope he got paid really well for it.

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Now before you start to think I didn’t like SUICIDE SQUAD, here are the things I did like: the more I see of Ben Affleck as Batman/Bruce Wayne, the more I want to see him. The chemistry between the team members is quite good, especially between Deadshot and Harley Quinn. But she gets along with everybody when the voices in her head aren’t telling her to kill everybody. Margot Robbie is flat out terrific as Harley and steals the movie every chance she gets. It helps that she gets most of the funny lines and knows how to deliver them so that we never forget that Harley is batshit insane even while we’re laughing with her. I totally loved Viola Davis as Amanda Waller. This is without a doubt the Amanda Waller straight outta the comic book. You want a clue as to how much I love Amanda Waller? This is how much: she’s a permanent guest on my desk where her intimidating stare reminds me everyday that I better write or else:

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Much has been made of the soundtrack but they’re made up of songs that we’ve heard way too much in movies the past twenty years. I get the impression somebody was going for a “Guardians of The Galaxy” vibe with the music and with the humor. Which for me worked. The problem with “Man of Steel” and “Batman V Superman” was the unrelenting grimness, the doom and gloom pervading both movies from start to finish. Here, the characters are allowed to smile and crack a joke once in awhile.

So should you see SUICIDE SQUAD? Chances are you already have if you’re a DC fan. And that’s a problem with the movie. This is one that’s definitely made for the fans. There’s a lot of characters that are introduced very quickly and with the barest of descriptions. Except for Deadshot and Harley. We get to know quite a bit about them, actually and the scenes with Deadshot and his daughter provide some welcome sweetness before we get into the mayhem and madness.

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I liked David Ayer’s movies a lot and he didn’t disappoint me with SUICIDE SQUAD. It’s the first DC movie they’ve produced that I can honestly say I enjoyed from start to finish. The one thing I insist on in my movie adaptations of my favorite comic books is that the spirit of the comic book be there. And it certainly is in SUICIDE SQUAD. If you read the comic book and loved the series as much as I did, you’ll enjoy the movie. If you’ve never read the comic, you may want to spend some time with Google to get the full background on the characters before going to see the movie. Enjoy.

123 Minutes

Rated PG-13

 

Star Trek Beyond

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2016

Paramount Pictures/Skydance Media/Alibaba Pictures/Bad Robot Productions

Directed by Justin Lin

Produced by J.J. Abrams/Roberto Orci

Written by Simon Pegg/Doug Jung

Based on “Star Trek” created by Gene Roddenberry

They say that the third time’s the charm and in the case of STAR TREK BEYOND I’d have to say that’s a fact. Not that the first two movies were out and out awful. They weren’t. They had the burden of being reboots of the beloved franchise that has lasted for fifty years now. And the news that the reboot would be set in an alternate timeline with new actors playing the classic roles of Kirk, Spock, McCoy, Uhura, Scotty, Sulu and Chekov didn’t send fans into the stratosphere with joy. I liked the first “Star Trek” even though I didn’t find the story engaging or particularly thrilling. But I enjoyed seeing new faces playing familiar characters and I think the infusion of new creative blood behind the camera is the best thing that could have happened to “Star Trek” overall.

I even liked “Star Trek Into Darkness” even though it made the mistake of trying to be “The Wrath of Khan” and apparently nobody took a cue from The Next Generation movie “Nemesis” or the three episode arc from Enterprise: “Borderland” “Cold Station 12” and “The Augments.” Because if they had, they’d have known that trick never works.

But thankfully STAR TREK BEYOND has a new director and an original story at last to work with. And the result is a movie and a story that feels like it could have been a movie made back when the original cast was in their prime. Much of that feeling comes from a screenplay that gives every crew member something to do and their chance to shine. The best “Star Trek” movies are the ones where all of the crew members are active in the story. And this one reinforces the concept that the reason Kirk is able to save the universe on a regular basis is that he has the best and brightest in Starfleet at his side and he knows the best way to utilize their skills and talents as a team.

The U.S.S. Enterprise is in the third year of it’s five year mission and Captain James T. Kirk (Chris Pine) is feeling the ennui of deep space exploration. He’s increasingly wondering what he’s doing out here and if this is really what he’s supposed to be doing with his life as he only joined Starfleet on a dare. First Officer Spock (Zachary Quinto) is also having a spiritual crisis of his own. Vulcans are now an endangered species and Spock is beginning to think that he should be on New Vulcan helping his people instead of gallivanting around the galaxy.

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The Enterprise puts in for shore leave at Starbase Yorktown, a ridiculously huge city in space for some much needed R&R but that doesn’t last long. Starbase Yorktown’s commanding officer Commodore Paris (Shohreh Aghdashloo) is soon dispatching Kirk and crew on a rescue mission to the planet Altamid. Turns out that the rescue mission is a trap. The Enterprise is attacked and destroyed by a swarm of spaceships. Krall (Idris Elba) who is looking for an ancient superweapon he insists is in Kirk’s possession captures most of the crew. The bridge crew is separated: Kirk with Chekov (Anton Yelchin) Spock with Dr. Leonard ‘Bones’ McCoy (Karl Urban) Sulu (John Cho) and Uhura (Zoe Saldana) are prisoners of Krall while Lt. Commander Montgomery Scott (Simon Pegg) comes under the protection of Jaylah (Sofia Boutella) a scavenger whose martial arts abilities are more than considerably dangerous.

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As Kirk puts his crew back together, Krall’s plan is gradually uncovered. Using the ancient superweapon, Krall intends to attack Starbase Yorktown and kill everybody inhabiting it. He will then use the Starbase and it’s considerable resources to attack The Federation. Can Kirk reunite his crew in time to find a way off the planet and stop Krall? Since Paramount has already announced there’s going to be a fourth movie I think that in itself answers that question.

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For the first time, Chris Pine looks comfortable playing James Kirk and I think that’s because he’s become confident enough in his own acting abilities. He’s been in a significant amount of movies other than the “Star Trek” movie where he’s distinguished himself and so I think he’s not fighting so hard to not be William Shatner. Which is what I got from his earlier performances in the previous “Star Trek” movies. In fact, a lot of the fun in watching his performance here is because he is doing Shatner in many of the scenes, especially the opening scene where he’s negotiating a peace treaty. He’s even got his hair cut in a style reminiscent of Shatner’s hair style in The Original Series.

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Zachary Quinto and Karl Urban nailed the essence of their characters right from their first scenes in the first movie and that hasn’t changed. Especially Karl Urban. I say again that I’m halfway convinced he must somehow be related to DeForest Kelly as he channels his spirit to an uncanny degree. The movie’s story wisely puts McCoy and Spock together most of the time and their scenes together are perhaps the best tribute to Leonard Nimoy and DeForest Kelly.

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Simon Pegg’s Scotty gets a nice subplot of his own (hey, if you’re writing the screenplay then why not give yourself a juicy subplot?) as he becomes a sort of mentor/big brother to Jaylah. She herself meshes so well with the crew that I’m hoping they’ll bring her back as a permanent member in the next movie. Idris Elba adds Krall to his already impressive resume of bad guys. The only problem I have with him is his motivation. In all three of these movies revenge has been the motivation for the bad guys and it’s wearying to me. Now that we’re getting more original stories let’s have some original motivations for the bad guys to be carrying on cranky, okay?

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And Starbase Yorktown is astoundingly impressive enough to deserve it’s own movie. I read a review of this movie where the writer said that if there’s ever a “Deep Space Nine” movie then it should look like Starbase Yorktown and I agree wholeheartedly.

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So should you see STAR TREK BEYOND? Chances are you’ve already seen it, especially if you’re a rabid “Star Trek” fan like me. But if you haven’t, by all means go see it. For me this has been a pretty sad movie year and STAR TREK BEYOND is one of the bright spots that reminds me why I go to the movies. Enjoy.

122 Minutes

Rated PG-13