The Tough Ones (1976)

Clint Eastwood’s iconic character of Dirty Harry inspired many a trigger-happy cop who plays by his own rules, but in Italy, he invented practically a whole new genre, with a prime shaker in their police film movement being Filthy Leo Tanzi (Maurizio Merli, Magnum Cop); in The Tough Ones, he delivers homily after homily about how the criminals rule the streets, all the while chasing down a sadistic hunchback (Tomas Milian, Don’t Torture a Duckling) who craps bullets. Literally.

Punching, kicking and most definitely shooting every punk and purse snatcher from here to the Coliseum, Roman detective Tanzi is an unlikable brute in a surprisingly stylish sports coat, the type of guy who’s got no problem browbeating his psychiatrist girlfriend, loudly, in a restaurant. As he works his way through the pristine Italian underworld, it keeps leading him back to the utterly disturbing villain who totes a smile and a machine gun like a Punisher baddie, probably from the Garth Ennis era.

Even when Tanzi’s boss demotes him to the permits department, he still finds the time to help track down a gang of rapists, preferably by slamming their heads right through a pinball machine. Much like the aforementioned Harry, to see an antihero cop take matters into his own fist, especially in the sleaze and grime of the sports car-driving, marinara-covered underbelly, it remains a cool enough ride of coveted two-fisted violence some 40 or so years later.

Also known as Rome Armed to the Teeth, Brutal Justice and Assault with a Deadly Weapon (from Sybil Danning’s Adventure Video line, which I remember fondly), famed director Umberto Lenzi directs with all the subtly of a hunchback spraying the crowd with gunfire, laughing manically as the spaghetti-sauce splashes across the screen, all to a funky Franco Micalizzi score, which, remarkably, is included here on compact disc in the gorgeous Grindhouse Releasing package.

An entertainingly blood-spewing example of the legendary poliziotteschi film series of the 70s, The Tough Ones may not be as trashily seminal as Lenzi’s Eaten Alive!, Cannibal Ferox or even Nightmare City, it is still nominally far dirtier than any American cop flick from the same era. So go ahead, make his … well, I’m sure you know the rest. —Louis Fowler

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Startup.com (2001)

On one internet company’s rapid rise and speedier fall, the documentary Startup.com would be more fun if its subjects didn’t come off as such egotistical assholes.

Friends since their high school days, Tom Herman and Kaleil Isaza Tuzman decide to chase fortune by staking their claim in the lawlessness of the World Wide Web with a site called govWorks.com, a public-to-government facilitator — in other words, you could pay your parking tickets online. As many did in the dot-com boom, Herman and Tuzman start believing this idea will reap millions upon millions.

We watch their heads balloon as their head count balloons from under a dozen employees to more than 200, thanks to venture capital, all before even having a legitimate product. When their site finally goes live, mishaps not only follow, but march in time; their Gordon Gekko-level greed so clouds their judgment, they fail to recognize their massive shortcomings, not the least of which is not having a fucking clue what they’re doing. It’s rather amazing they allowed co-directors Chris Hegedus (The War Room) and Jehane Noujaim (Control Room) to let cameras capture their abhorrent, self-fellating behavior.

After witnessing this pair of douchey hotheads do douchey hothead things — like Tuzman irreparably damaging their friendship by firing Herman via form letter — their downfall is the icing on Startup.com’s cake. To be honest, as engaging as the film is, I wanted to see even more failure, as we are told karma dictates. Real life eventually (read: in 2017) gave us what the movie could not, with Tuzman found guilty in federal court for schemes of widespread financial fraud. —Rod Lott

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The Golden Age of Disaster Cinema: A Guide to the Films, 1950-1979

With Glenn Kay and Michael Rose’s wonderful Disaster Movies: The Ultimate Guide long out of print, the field has been open for a title to swoop in as a no-brainer purchase for those interested in navigating the oft-campy subgenre. I’m afraid Nik Havert’s bid, however, isn’t it.

As hinted by the title, The Golden Age of Disaster Cinema: A Guide to the Films, 1950-1979, his definition of the subject is perhaps too malleable, stretched to include alien invasions produced by George Pal and ecological-revenge fantasies, rather than sticking to the perils of Irwin Allen and others who either influenced or Xeroxed the projects of his reign.

Year by year, movie by movie, Havert ticks through offerings from screens big and small, but other than the occasional emailed remembrance by someone who worked on the film, his articles follow an unfortunate formula: brief remarks of innocuous criticism preceded by several paragraphs of beat-by-beat story synopsis, each maddeningly ending with a same-Bat-time/same-Bat-channel question as repetitive as it is needless. For example:
• “Will any of them make it out alive?” (Airport ’77)
• “Can any of them escape, and will the infection spread if they do?” (The Crazies)
• “Who will survive the wall of water rushing for Brownsville, and will the town ever be the same?” (Flood)
• “Will they make it, and will anyone else survive the aftermath?” (Avalanche)
• “Will either shelter be strong enough to hold off the attacks, and what awaits the survivors further down the mountain if they make it through the night?” (Day of the Animals)

While Havert is obviously passionate about disaster cinema, he is unable to convey that in a way that engages the reader, and calls too many films “lost” that are not (like This Is a Hijack). On the plus side, the McFarland & Company paperback is thorough, packed with obscurities — where else will one learn of Flug in Gefhar? —Rod Lott

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The New York Ripper (1982)

I’ve seen Citizen Kane once. But Lucio Fulci’s The New York Ripper — as well as many other of Fulci’s flicks — I’ve viewed on VHS, DVD and now Blu-ray, more times than I can even count, many from a very young age that my parents should probably be ashamed of.

The New York Ripper, however, as bloody and gory as you’d imagine, is also Fulci at his most misogynistically goofy, throwing in so many offensive tropes against women that you have to wonder who was the person who hurt him so bad, filling his Italian soul with such anger. I have my theories, and Fulci does a great job of stabbing them all to hell, right in the guts and other assorted parts.

In a hysterical preamble, a possibly homeless man is playing fetch with his dog underneath the Brooklyn Bridge, only instead of a ball, the pooch brings back a largely decayed human hand. From there, we follow jerky police detective Fred (Jack Hedley, For Your Eyes Only) and even jerkier psychotherapist Paul (Paolo Marco, Watch Me When I Kill) as they constantly crack wise while they investigate the bizarre clues that take them on a wild goose chase throughout the city.

Let me rephrase that: a wild duck chase, mostly because the slasher will call and taunt both his victims and police in a creepy, Donald Duck-esque voice — one that I’m sure had the Disney lawyers checking their copyright-law books. From the inner workings of a live sex show on 42nd Street to the scummy apartment of the neighborhood sex freak, every red herring is taken as deviantly far as they can go in a reasonable, somewhat mainstream film.

With a brutally downbeat ending — spoiler alert! — featuring a little girl dying of a childhood illness (natch) and crying for her daddy in a hospital room, there are many times when The New York Ripper is such a down and dirty film, I’m surprised no one is wearing a Make America Great Again hat, each scene pornographically lingering on every physical and mental stab wound with sadistic glee.

The Blu-ray reissue from Blue Underground is an absolute embarrassment of impoverished riches, from the second disc full of fully produced documentaries and interviews, to a copy of the sleaze-funk score by Italy’s answer to Isaac Hayes — at least by me — Francesco De Masi. While many of the stars might be embarrassed to have taken part in — or be taken apart by — The New York Ripper, I’ll proudly set this edition on my shelf next to Zombie, The Beyond and, hell, even Citizen Kane. —Louis Fowler

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Mighty Morphin Power Rangers: The Movie (1995)

While I have never been a fan of the Power Rangers — I was in high school during its original release and knew better — I went to a screening of the gritty remake a year or so ago, mostly disappointed and dismayed how they got rid of everything that made the original even remotely watchable: the bright colors, the cheap monsters and the generally jovial atmosphere.

As a matter of fact, when the Black Ranger shoved his sword into Rita Repulsa’s chest and said, “Eat Zord, space bitch!” I walked out of the theater in disgust.

But, settling in to watch the original Mighty Morphin Power Rangers: The Movie, I was taken back to a time where I sat in the living room, agitated, trying to coerce my brother through bribes and threats into changing the channel to What’s Happening!! Youth truly is wasted on the young, isn’t it?

As the 1995 film starts, immediately we’re introduced to the fun teenage heroes — all in their signature Power Ranger colors, natch — about to skydive as a part of the Angel Grove Jump-a-Thon to benefit the observatory, which will probably come in to play later, right? (Oddly enough, the gang is jumping with the two local bullies, Skull and Bulk, who they’re always hanging out with, for some reason.) As the Red Hot Chili Peppers’ version of “Higher Ground” blasts on the soundtrack, rest assured we’re not in Fox Kids territory anymore, thank Zordon.

After landing at the drop point, they all immediately go rollerblading through a dangerous construction site, when, as they pass by, the hardhats find a mysterious sewer cover with a lion’s head on it; you know it’s something important because the operatic chorus unleashes an important swell in Latin. Instead of calling the experts at the local college to help them figure out what it is, the workers get a crane and open it themselves, unleashing a glowing purple egg.

A couple of the film’s monsters break the egg and unleash a 6,000-year-old demon named Ivan Ooze, who both resembles and acts like a tween-friendly version of notorious child murderer Freddy Krueger, right up to saying “Welcome … to my nightmare!” during a fight scene. Ready for war against the Power Rangers, Ooze launches an all-out early CGI-filled assault.

After a punch-up in a parking garage with the Ecto-Monsters (or whatever they’re called), the Power Rangers lose their super-ninja powers and, when their father figure Zordon lay dying, they decide to go to a distant planet that looks like the California desert to get said powers back. On that planet, a half-naked warrior woman named Dulcea shows up to help and gives its intended audience their first real erections.

The special effects are state-of-the-art (mostly terrible) computer graphics — Ivan Ooze and his liquidic sequences are ghastly even for a kids’ movie — but the Power Rangers themselves, here not replaced by their Japanese Super Sentai variations, remarkably, pull off some impressive fight moves that the children of the ’90s really didn’t deserve and probably didn’t know what to do with in the elementary school playground.

Regardless, it’s still far more watchable than the aforementioned reboot, Saban’s Power Rangers, but probably not as good as the official sequel, Turbo: A Power Rangers Movie, I’m guessing. —Louis Fowler

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