All posts by Louis Fowler

Martial Arts

Lionheart (1990)

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Based on a story and screenplay by action star, martial artist and Tostitos spokesperson Jean-Claude Van Damme, Lionheart casts Bloodsport’s Belgian bruiser as Leo, a serviceman in the multinational Foreign Legion and stationed in the fun-to-say Djibouti; he’s one lone, stone-cold warrior surrounded by a bunch of comical Col. Klink-style Germans always riding his ass for something or another.

When his brother is gruesomely immolated by drug dealers, Leo uses his high-kickin’ feet to say goodbye to his superiors (and his superiors’ faces), hitchin’ a ride on a 1930s steamship to New York City where, as soon as he gets off the boat, in a moment of prescient critique, he harshly compares and contrasts the drug-abusing homeless dudes on the ground with the wholly porcine moneymen in their glass towers — to which he shakes his head and dismissively says, “America!”

Good burn, JCVD.

Leo soon hooks up with Joshua (Harrison Page, Carnosaur), a jive-talking fight manager whose profanity-rich dialogue would be moderately offensive if the guy wasn’t putting his heart and soul into this mildly racist character. Together, after beating up the cast of Beat Street, they make it to Los Angeles and, in between helping his sister-in-law and her adorable 5-year-old, he manages to get into one high-paying blood brawl after another, knocking out the best Frank Dux-choreographed stuntmen in parking lots, racquetball courts and the near-empty pools of the rich and famous.

Lionheart does a good job in casting Van Damme as the ultimate good guy: a nice, caring man doing everything through excessive violence to help his friends and family, all the while eschewing the continuous advances of a rich benefactor who is unsubtly letting him know she’s looking for a good-ish time, and I do mean sexually.

But he’s having none of it, instead choosing healthy alternatives such as constantly jogging around his neighborhood, eating bean burritos and outrunning the bulky Foreign Legion goons looking for him. (Although, to be fair, he does gratuitously preview his well-buffed buttocks for the ladies, although I’d really like to meet the woman who fell in love with this flick, Jean-Claude Van Damme and action films in general simply because of three seconds of tightly toned foreign ass.)

I’m not giving away any well-guarded secret by saying there’s a final fight with a ’roided-out Paul Stanley look-alike, but make sure to stay for the final scene, as JCVD and his friends and family enthusiastically hug and laugh maniacally as the camera pulls back and the credits roll. You’ll instantly feel pretty bad about yourself and your life if you’ve never had one of those tender moments in your non-Lionhearted existence.  —Louis Fowler

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Kitchen Sink

Pastor Paul (2015)

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WTFThe cinema of Ghana and Nigeria — referred to colloquially and collectively as Nollywood — is best known for its low-budget goofy actioners and laughable melodramas, but there is very much a frightening side to their filmmaking: the ominous atmosphere and existential dread of their many demon-possession films. Forget The Exorcist, Rosemary’s Baby, whatever … Ghana and Nigerian filmmakers have them beaten and beaten brutally.

Maybe it’s because they still fear Satan in a way that Westerners (lamentably) don’t anymore, but regardless, their horror epics featuring demonic witch doctors, torso-shaking, eye-rolling vessels and sweaty preachers calling on Jesus to get rid of that vile creature tend to leave audiences praying for their own soul by the time the credits roll.

But then you’ve got to deal with a sequel … or two … or three …

It’s a trend that I’m surprised took American filmmakers so long to latch onto, but auteur Jules David Bartkowski, armed with a camera, a white suit and about 100 bucks or so traveled to this foreign land, gathering the biggest names in (regional) African cinema — Wanlov the Kubolor, Funsho Ogundipe and Lady Nancy Jay, to name a few — and actually made a pretty good first attempt at introductory cinematic diplomacy.

Bartkowski is Benjamin, a mathematician working on African drum rhythms and their supposed equations. When sitting in a bar one afternoon, he’s talked into starring as a white ghost in a film called Pastor Paul. During the filming, however, he goes into a strange trance and when the eccentric director yells cut, Ben can’t remember anything. People tell him he’s possessed, so he travels to a nearby town to hook up with the area witch doctor, and then it gets truly bizarre — but in a financially responsible way, making it even more scary.

While many fish-out-of-water films use a certain sense of xenophobia to get their paranoid feelings of danger and despondency across, this film mostly avoids that; surprisingly, mostly everyone in Pastor Paul, from the little kids following the characters around to the long stretch of Christian preaching, is just doing their thing and Benjamin is caught in the middle of it, walking along, letting them tell their stories, letting the audience experience what he does.

Sure, he’s shaking and convulsing around them, stricken by evil creepy crawlies, to bring it all back to the main story, but it’s the moments in between that are infinitely more interesting, to explore the souls of the friends (and enemies) he’s just made, sitting around talking and enjoying bowl after bowl of fufu with his grimy fingers.

But even more interesting is instead of bringing American techniques to Ghana and Nigeria, the filmmakers used theirs, the Africans, as a way to tell a compelling enough story, filled with plenty of strange tangents and obscure jokes to keep both Hollywood and Nollywood viewers both intrigued and waiting for parts two, three and four, which we’re promised is coming, to great terror and foreboding.  —Louis Fowler

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Sci-Fi & Fantasy

The Martian Chronicles (1980)

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“What the hell is this?”

That’s probably what acclaimed author Ray Bradbury said, concurrently spitting grape soda out of his nose, when watching a cowboy-suited Darren McGavin on the run from a group of Man Who Fell to Earth rejects, as I did, too.

Taking a handful of stories from Bradbury’s collection of the same name was a highly ambitious project, one that was probably a little too big for the dreams of director Michael Anderson (Millennium) and star Rock Hudson (Avalanche), but they gave it their made-for-TV all and delivered The Martian Chronicles, a cinematic oddity which includes, yes, Darren McGavin (Billy Madison) running around Mars while dressed as a flashy cowboy.

Originally broadcast in three long, excruciating parts, the first night’s section deals with the landing and subsequent explorations of Mars and how Martians, for really no good reason at all, like to elaborately screw with our puny human brains. Examples of this include astronaut Nicholas Hammond (The Black Cobra 2) finding his Illinois childhood home on the red planet and astro-nut Bernie Casey (Never Say Never Again) grabbing an alien gun (for lack of a better term) and proclaiming himself as the second coming of the Martians. Or something to that effect.

Meanwhile, Hudson looks on coolly as the greatest astronaut who’s ever lived.

In part two, we find former astronaut McGavin opening up a Wild West-themed diner, promising to serve hot dogs and chili at 1970s prices to all the future immigrants. (Where and how he got these wieners and sauce is never explained, but I would’ve liked an explanation.) Sadly, no one ever comes to said eatery except for an alien offering him a deed to a portion of Martian land, whom McGavin promptly shoots. All this is done in a sparkly, spangly cowboy outfit, mind you.

Meanwhile, Hudson looks on coolly as the planet Earth explodes into nothingness.

You’d think that after such a dark revelation, things would get a little more entertaining, but instead we find an old man and his robot wife and daughter making dinner and looking to the stars while a lovelorn Christopher Connolly (Hawmps!) flies a foot-pedaled aircraft around the planet, only to find an insanely grating Bernadette Peters, practicing for her upcoming role in Heartbeeps, no doubt.

Meanwhile, Hudson looks on coolly as the temporal gates collide and time becomes a figment of our imaginations.

With workmanlike direction from Anderson, he seemed to forget all the tenuous life lessons he learned on Logan’s Run and made the most by-the-book miniseries possible, all the while barely covering the book. Well, except for that one scene where Darren McGavin goes bonkers dressed a cowboy, which is kind of the worst story in the book, but hilarious on the screen. He should have gotten his own series after that.  —Louis Fowler

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Western

Those Redheads from Seattle (1953)

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Hubba-hubba! The carpetbaggers match the drapes when Agnes Moorehead takes her four single and ready to mingle (mostly) carrot-topped daughters (Rhonda Fleming, Teresa Brewer, Cynthia Bell, Kay Bell) from the titular city of Seattle to Gold Rush-era Alaska for some snowbound romance and minor Klondike mystery-solving, as the gals try to find their newspaper publisher father’s murderer whilst pitchin’ woo with the fool’s gold worth of lonely prospectors that permeate the Arctic climate.

In between the absolute roster of wonderfully misplaced musical numbers by the likes of Hoagy Carmichael, Johnny Mercer and Ray Evans, these flame-maned fillies are a vivacious trio of backtalkin’ spitfires that are always sampling scandalous cosmetics like “rouge” and high-kickin’ them glammy gams to tunes that uses words like “Alabammy” and “honeylamb,” with momentarily blonde sister (and all-around pesky tomboy) Nellie the constant brunt of gender-fluid ribbings because, even at 12 years old, she’s not a hot-to-trot redhead ready for marriage like her flame-retardant hermanas.

Mother Moorehead, years away from her role as the shrewish Endora on TV’s Bewitched, tries to keep a tight leash on the foursome, but those 1950s-era hormones are running wild and free in 1900s Yukon Territory. With a liberal amount of ankle skin and hand-holdings, all gloriously filmed in 3-D, you actually feel like you’re right there in the parlor, courtin’ one of those interchangeably gorgeous sisters to a badly timed and ill-fitting Jerry Livingston and Mack David tune! If only IMAX had been around then …

At 90 minutes, director Lewis R. Foster’s effervescently buoyant Those Redheads from Seattle is a fun Technicolor throwback where two-fisted men engaged in fisticuffs over the ownership of women in general, and these dames not only like it, they fall madly in love with the big galoots and/or palookas because of it, with a finale full of comically ribald weddings to back it up. If we walk away from Seattle with any lessons learned, it’s that gentleman might prefer blondes, but everyone loves a redhead.  —Louis Fowler

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Thriller

The Firm (1993)

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If you’ve ever wanted to see someone kick the ever-lovin’ crap out of Wilford Brimley while he’s down on the ground — and let’s face it, we all have at one point in our lives — then why don’t you just go right ahead and move The Firm to the top of your queue.

We tend to forget there was a time when legal thrillers were actually Academy Award-chasing, taut courtroom explorations of a usually broken legal system, stylistically told in such a legalese-driven, attention-demanding way where viewers, no matter how bored, collectively waited on the edge of their bench for a jury-read verdict in the last 15 minutes so nerve-wracking you’d think it was their mama up for murder one; TL;DR, remember movies like The Verdict, … And Justice for All or From the Hip?

In the early 1990s, however, much like a young Michael Bay with LegalZoom gift certificate, that all changed when along came best-selling wunderkind John Grisham, an author whose works of idealist first-year Southern lawyers taking on a judicial system for dummies in very stupid (but thoroughly entertaining) works like The Pelican Brief, The Client, A Time to Kill and Christmas with the Kranks were adapted for films in a rapid succession not seen since the great Stephen King boom of the mid-’80s, dumbing down a subgenre that has never since recovered.

The best of these cinematic legal briefs, in my opinion, was the 1993 adaptation of The Firm — not to be confused with the best-selling series of booty-enhancement exercise videos, unfortunately — starring Tom Cruise as a super-driven hotshot fresh out of law school (and harnessing unexplained Olympic-level gymnastic abilities for reasons never offered) as he takes a job with a shadowy law firm made up of some of the most aged Caucasian actors Hollywood had to offer, including Gene Hackman, Hal Holbrook and the aforementioned Brimley as the oatmeal-lovin’ head of security. I’m pretty sure I saw Statler and Waldorf in one of the sweeping long shots, but that could just be the Mandela Effect.

When a well-meaning business trip to the Cayman Islands leads to Cruise seeing some clearly marked and easy-to-read files he apparently wasn’t meant to see, things get pretty complicated as he tries to figure out a way to turn everything over to the feds without being disbarred or have the mafia (obligatory Paul Sorvino cameo) cap him. When a short-lived, mostly cognizant Gary Busey enters the picture, things get mildly confusing, what with all the switcheroos and double-dealing and subplots about overbilling, many scenes of which are still parodied today, as of late by an extremely irritating M&M’s ad that plays before most movie trailers.

With a very strong cast, including the mannish-jawed, Southern-style bold ’n’ saucy combo of Holly Hunter and Jeanne Tripplehorn, Ed Harris as an impatient spook and an out-of-place David Strathairn as a supposedly hardened convict, perhaps the most memorable character is Saw’s Tobin Bell as the law firm’s hitman, a role made even creepier by him sporting an albino mullet, apparently from the Rutger Hauer for Men signature hairpiece collection.

Director Sydney Pollack (Tootsie) does a great job of crafting a tense, paranoid thriller based around the dumbest of conceits, but with a smirking Cruise in control and a cast of fermented gravitas, it surprisingly still holds up almost 25 years later, with enough turns and twists to keep anyone from yelling “Objection!” to their television, no one in particular listening. Apparently they made a sequel to this, in the form of a TV series, but I’ll be damned if I ever heard about it. Case closed. — Louis Fowler

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