Expend4bles (2023)

Gaddafi’s old chemical plant: Remember that ol’ thing? Expend4bles sure does! By using those four words onscreen in its prologue, the ’80s throwback franchise gives a nod to those better times — the “glory days,” we called them — when Expend4bles didn’t exist.

Why the movie didn’t just go with The Expendables 4 is a from-the-start sign of h0w 5tup1d 1t i5. Need another? Right after the title sequence, Barney (Sylvester Stallone) visits a local strip club to retrieve his wedding ring from a two-pronged dildo behind the bar. 

I almost wish that alone were the plot, since that’s a scenario I’ve never seen, whereas assemblages of shipping containers? Been there.

But since this series loves it some shipping containers, it tasks Barney and Christmas (Jason Statham, The Beekeeper) — and any other Expendables just chillin’ at HQ — with keeping stolen nuclear detonators from falling into the hands of a shadowy terrorist. Because this madman goes by the name “Ocelot,” prepare to hear that word more than you’d find in an entire run of Zoobooks magazine.

The movie’s largest problem is how little it resembles one. As helmed by Need for Speed’s Scott Waugh, it’s way too clean, looking like a Nickelodeon kidcom at worst or a Jardiance commercial at best. Consider the following:
• Nearly every outdoors shot of our principals is green-screened, even if they’re merely standing on a front porch in the suburbs.
• All instances of blood splatter appear swiped from a decade-old video game.
• Effects sequences involving planes, trucks and anything else explodable are animated no more realistic than episodes of Hot Wheels AcceleRacers
• Former Transformers eye candy Megan Fox is the one effect not in need of meddling, yet someone has Clone Stamped her entire face in Photoshop to give her an eerie RealDoll look.

With three-peat Expendables like Jet Li, Terry Crews and Arnold Schwarzenegger hard-passing on a return, new recruits have been drafted apparently at random from Redbox, by Redbox. When he’s not steering a tugboat, Tony Jaa (Furious 7) impresses with his lightning-fast moves, and Levy Tran (The First Purge) makes a brief impression wielding a chain. Meanwhile, Andy Garcia (Geostorm) chews a toothpick, and 50 Cent (Den of Thieves) utters modern action cinema’s most clichéd line: “Now that’s what I’m talkin’ ’bout!”

Despite the brainpower of three screenwriters, one good scene made it through to final product: Dolph Lundgren’s sniper character can’t shoot for shit without first donning reading glasses.

I enjoyed the first film. Same goes with The Expendables 2 and 3, albeit to a lesser, messier degree, and I can’t tell you a single thing that happens in them. Expend4bles is such a huge step down in quality — not to mention literacy — that it’s too often indistinguishable from the franchise’s direct-to-video imitators. Perhaps it’s time for The Expendables to go from expandable to expunged.

Sly almost makes a wise decision to ensure if there’s a fifth chapter, it’d be without him. But you know the 33 credited producers wouldn’t allow that. —Rod Lott

Get it at Amazon.

Side Show (1981)

WTF

Lance Kerwin, God rest his soul, was the master of losing his virginity on prime-time TV: first on a controversial episode of the celebrated James at 15 series, then again in the rightly uncelebrated telepic Side Show. (Did he ball a vampire in Tobe Hooper’s Salem’s Lot? My memory’s not what it used to be.)

With an open mouth forever stuck on flabbergasted mode, Kerwin plays Nick, a 16-year-old runaway and puppeteer with a killer Jimmy Durante impression right down to the last “ha-cha-cha-cha.” Back when those were marketable skills, that’s enough to earn him a spot in the traveling circus. In the freak show tent of the traveling circus, that is, but a job’s a job — and then some, with the fringe benefit of seduction by the luscious, post-Scorchy (and grown adult) Connie Stevens!

Directed by actor William Conrad after his long run on Cannon, Side Show offers little for viewers to grasp between the murder occurring in the final stretch and Nick’s intro (via Red Buttons, When Time Ran Out …) to his co-workers: the tall lady, the fat lady, the snake lady, the tattooed lady, the sword swallower, the man with no face and a little-people couple with the last name Tiny. With respect to the latter, the movie’s big conflict is whether Nick can finagle a reunion with their normal-sized son so the Tinys can meet their granddaughter. Can your nerves stand it?

Pay no attention to the entirely misleading VHS box art that sells this particularly low-wattage melodramatic number as some kind of slasher. Its horrors are, at best, the clowns, trained chimps and Stevens’ soon-abandoned Hungarian accent. Still, in concept, Side Show gives producers Sid and Marty Krofft their version of Freaks. Just don’t expect the brothers to employ their usual brand of Saturday-psychedelia disturbia, ladies and gentlemen — neither the encephalitic H.R. Pufnstuf nor the monstrosities of D.C. Follies—Rod Lott

Close Calls (2017)

While Dad’s out dining with his bitchy new girlfriend, troubled teenaged girl Morgan is grounded and home alone — well, almost home alone, if not for her invalid grandmother. 

So the prodigiously chested Morgan (Jordan Phipps, Amazon Hot Box) ditches her shirt immediately and hangs out in a red bra. Between bong rips and asthma inhaler hits, she receives creepy, increasingly obscene phone calls, likely from her incel stalker. 

The sitter-in-peril flick is an exploitation staple. Close Calls may be the only one to dare go this far. I don’t mean in content; I mean in literal running time. 

Look, as a heterosexual male, let me say unequivocally that I love boobs. But let me also say unequivocally there is no reason — none! Not even those! — for Close Calls to play out for 128 minutes. On one hand, I get that writer/director Richard Stringham (who also worked with Phipps on that year’s 10/31 anthology) would want to showcase his lovely leading lady and her special effects as much as possible. The camera placement makes that clear, especially when her face isn’t even in frame.

On the other, needless scenes litter and clutter the movie — often a problem of directors making the leap from shorts to their first feature, which is the case with Close Calls. It needs to be tight in order to be taut. For example, what does a scene of Morgan pleasuring herself add? Nothing, except for the squish-squish-squish SFX, which are more than a bit much.

So is that twist ending, which emerges from nowhere and goes to the same place. —Rod Lott

Get it at Amazon.

Knight Chills (2001)

If you think watching people play Dungeons & Dragons is boring, Knight Chills would like to have a word with you. Now, you’re correct and the shot-on-video movie is dead wrong, but Knight Chills wants a word nonetheless. It’s either not listening or doesn’t care an iota. You’re going to see some serious, no-move-spared RPGing, dammit.

Once a week, a handful of students meet for D&Ding in the basement of a teacher (Tim Jeffrey) who doubles as dungeon master: “The scent of nutmeg is overwhelming.” John (Michael Rene Walton, Superfights) is one of the regulars, despite being openly ridiculed and bullied by the others. John’s dogged attendance might have something to do with fellow gamer Brooke (Laura Tidwell) looking like a layaway-plan Jessica Chastain.

After Brooke soundly rejects John’s date offer in front of the others, he dons the full regalia — from armor to sword — of his gaming character, Sir Kallio, and embarks on a killing spree of vengeance. Even with “Sir Kallio” being a name one shouldn’t speak in the presence of others, Knight Chills’ premise is terrific for a slasher movie, yet near-instantly squandered by first-/last-time director Katherine Hicks.

Although each kill is different, milady, that variety across homicides isn’t enough to offset the mind-numbing scenes of seemingly eternal game play. The scent of something is overwhelming, all right, but it sure ain’t nutmeg. Zero hit points. —Rod Lott

Get it at Amazon.

Godzilla 1985 (1985)

With a revisit of Godzilla 1985, the biggest question isn’t why it took Toho more than a decade to bring the king of the monsters back from retirement. The biggest question also isn’t why it ignores the 14 sequels following the 1954 original Godzilla. Rather, the biggest question is why the opening introduces some kind of flying tick the size of an Igloo ice chest, only for it to never reappear.

At least that’s my biggest question. More serious G-fans may wonder otherwise, like, “This was the first Godzilla movie you saw in full?” It sure was! Before I could drive, it took some convincing for my mom to rent it for me. New World Pictures’ VHS release had Marv Newland’s immortal Bambi Meets Godzilla cartoon playing upfront, too.

But to answer the inquiries posed in paragraph one: Who cares when Raymond Burr is back! Returning for the first and last time since the Americanized franchise-starter, Burr (Gorilla at Large) is the barrel-chested newspaperman Steven (née Steve) Martin. Also returning: Godzilla, re-emerging in Japan after all these years, taking out a Russian sub in the process. The Russkies blame the U.S., not the big lizard, thereby stoking nuclear fears.

As the lone Western Hemisphere-based survivor of Godzilla’s initial stampede three decades prior — you know, before the world discovered color — Martin is summoned to the Pentagon as an adviser. The Pentagon is played by a darkened room, plus one hallway to allow for product placement for Dr Pepper, so misunderstood.

That’s about all the “story” Godzilla 1985 requires. The Japanese authorities employ bird chirps to lure our favorite kaiju into a volcano; luckily, Godzilla takes a detour to stomp the shit out of downtown Tokyo first — the film’s raison d’être. Having previously performed assistant duties on King Kong vs. Godzilla and others, director Koji Hashimoto understands his simple mission and rises to the occasion: Showcase the nice model work and get out of the way.

By contrast, the Burr/Pentagon/American footage handled by R.J. Kizer (Hell Comes to Frogtown) is all passive spectatorship. However, it does allow for the introduction of, despite his red hair, a U.S. military major (Travis Swords, Pink Cadillac) who milks his second-banana status for all it’s worth. For example, while monitoring the sitch in Japan, he notes, “That’s quite an urban renewal program they’ve got going over there.” He’s not wrong. —Rod Lott

Get it at dvdrparty.

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