BADLAND (2019)

October 31, 2019

 Greetings again from the darkness. Westerns are always a risky proposition for a filmmaker, but some are drawn to the genre and seem to thrive on the intricacies that fans have come to expect. Justin Lee is one such filmmaker. He wrote and directed this film and follows the familiar tropes: a quiet, proud protagonist; the strong, lonely woman; the corrupt gunslinger – maybe wearing a badge, maybe not; and of course, the battle of good versus evil.

Kevin Makely stars as Matthias Breecher, a Civil War veteran and now Pinkerton detective carrying out the orders of Senator Benjamin Burke (Tony Todd, CANDY MAN, 1992). Senator Burke has pledged to track down war criminals and hold them accountable by administering justice. Breecher is the Senator’s hired hand who travels from town to town, serving warrants and dealing with those who refuse to abide

Mr. Lee’s film is divided into four chapters. Chapter 1, “The General”, finds Breecher face-to-face with tough-talking General Corbin Dandridge (Trace Adkins). It’s here where Breecher first flashes his impressive gun skills, and it’s soon after where he crosses paths with Harlow (recent honorary Oscar recipient Wes Studi), a competitor in the “bounty-hunter” game. Chapter 2, “The Cooke’s” has Breecher tracking down Reginald Cooke (played for all it’s worth by a finger-wagging Bruce Dern), a sickly old man dying slowly from pneumonia and living with his daughter Sarah (Oscar winner Mira Sorvino). Local bad guy Fred Quaid (James Russo) is trying to seize the Cooke’s land (apparently this is the possessive apostrophe in the chapter title). During this segment we get a nasty fist fight, an ugly shootout, and Breecher falling for Sarah and actually shushing his horse. Chapter 3, “The Sheriff”, brings us to the terrifically named town of “Knife’s Edge” where equally terrifically named evil guy Huxley Wainwright (Jeff Fahey) wears a badge and rules the town with a reign of terror, and with Old West waterboarding. There is even a double-tap grave side shootout. It’s an old mining town and the citizens live in fear – especially the good-hearted barkeep Alice (Amanda Wyss). The segment ends with a ‘high noon’ duel in the dusty street.

Chapter 4, “Breecher”, acts as a finale for our hero, a man we are told was “born to violence.” His dreams of owning land may have faded, and soul-searching has him reckoning with the man he’s become. Mr. Makely reminds of actor Anson Mount in his ability to hold a scene, and we can’t help but think that in his younger years, Mr. Fahey could have easily played the Breecher role. Despite the out-of-place linguistic stylings, director Lee proves the lessons of the old west never get old, and it leaves us with the message … ‘Be still, young man.”

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STUBER (2019)

July 11, 2019

 Greetings again from the darkness. A wild and over-the-top chase-fight-shootout at the Staples Center is the action-packed opening sequence, leading us to believe we are about to spend 90 minutes watching a mountain-sized rogue-cop out for vengeance. And then, as soon as that He-Man cop squeezes into the front seat of an electric car Uber, everything changes. The seismic shift in tone transitions our movie into a throwback to the 1980’s buddy action-comedies, only with a few contemporary twists. Whether that’s an improvement will depend on your preferences.

As intense as that opening sequence is, we can’t help but chuckle as we see Dave Bautista and Karen Gillan, co-stars of GUARDIANS OF THE GALAXY, reuniting on screen as police partners Vic Manning and Sara Morris. Their attempts to apprehend drug dealer Teijo (Iko Uwais, THE RAID: REDEMPTION) goes horribly wrong and sets Vic on his mission to track down Teijo as he strives to avenge the death of his partner. It’s this personal vendetta that has Vic prioritizing the job and his need for revenge over his relationship with his daughter Nicole (Nathalie Morales, BATTLE OF THE SEXES).

Vic inadvertently schedules his LASIK surgery on the same day as Nicole’s gallery showcase of her sculptures, and this decision leads to his being crunched up in the front seat of Stu’s UBER (“Stuber”, get it?). Kumail Nanjani (THE BIG SICK) stars as Stu, the timid, peace-loving guy who also has a lousy job at a retail sporting goods store, and makes bad financial decisions based on his WHEN HARRY MET SALLY situation with Becca (Betty Gilpin). Stuck in the friendzone, Stu’s unrequited love has him in the role of good guy to call whenever Becca gets dumped or needs money.

Director Michael Dowse and writer Tripper Clancy turn the film into a road trip around the L.A. area, with each new destination punctuated with another comedic exchange between the intimidating Vic and the ‘I just wanna be with Becca’ Stu. In supporting roles, we get Mira Sorvino as Vic’s police Captain McHenry, and Jimmy Tatro as Stu’s entitled and clueless store manager Richie.

Other than the frenetic opening sequence, most of the action scenes play second fiddle to the comedic interactions between opposites Vic and Stu. Unlike FREE FIRE where the comedy and action complemented each other, this film oddly allows some of the violent moments to double as punchlines … these end up failing as both action and comedy. The film is certainly at its best when Vic and Stu are riffing off of each other, especially in the cozy front seat. The eyesight gag is overplayed and gets old pretty fast, but Kumail again proves he’s a master of deadpan one-liners. The hulking Bautista more than holds his own (despite the incessant squinting), and the film touches on today’s man vs the traditional idea of a man’s man. It’s a bit of a throwback to such buddy films as 48 HOURS, MIDNIGHT RUN, and TANGO & CASH, but it also provides a contemporary take on rogue cops, romance and masculinity. It’s no LETHAL WEAPON, but the banter between Kumail and Bautista provide quite a few entertaining moments.

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BENEATH THE LEAVES (2019)

February 9, 2019

 Greetings again from the darkness. It doesn’t happen often, so it’s probably kind of fun for them when a father and daughter are able to appear in the same film. This is writer-director Adam Marino’s first feature film, and he cast Paul Sorvino and Mira Sorvino not as father-daughter, but as Police Captain and Detective. The script, co-written by Marino, Naman Barsoon, Daniel Wallner, and Mark Andrew Wilson treads familiar, yet usually interesting ground … a crime topic covered previously by numerous TV shows and movies.

The film opens with an abusive father (Don Swayze) doing despicable things to his young son and daughter, before the two of them take action against him. We then flash forward to a prison escape that occurred after a fire is set. One of the escapees is an especially demented psychopath with a trait that ties the story back into the opening sequence. What follows is a whodunit police procedural that focuses on Detective Erica Shotwell (Oscar winner Ms. Sorvino) and the four boys who survived their encounter with the twisted prison escapee some 15 years ago. Doug Jones plays James Whitley, the prison escapee returning to finish the job on the 4 that got away. Mr. Jones is best known for his fabulous “creature” work in THE SHAPE OF WATER and PAN’S LABRYNTH.

The four boys, now grown men, are played by Ser’Darius Blain, Christopher Backus, Christopher Masterson, and Kristopher Polaha, the latter of which is now Detective Shotwell’s partner … though, against his vociferous protests, is prohibited by the Chief from working the case that he is oh-so-close to. Also providing support work are Melora Walters, Jena Sims, and fingernails in general. Director Marino’s film is mostly B-level material, and actually much milder than what we see on many TV shows these days. It does, however, reinforce the notion that screwed up kids quite frequently grow into screwed up adults.

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