Detention (2003)

detentionOn the basis of the low-rent but ridiculously enjoyable Detention, I wish Dolph Lundgren had been allowed to front each and every Die Hard rip-off. Although about a decade and a half too late to capitalize properly on the yippee-ki-yay, this film definitely is that, which its use of Bizet’s “Habanera” from Carmen makes perfectly clear.

One of the most dependable of those Expendables, Lundgren plays Sam Decker, a “soldier … teacher … hero!” (per the poster) who follows up a war stint in Bosnia with a teaching gig at the public, prison-like Hamilton High School. “I’m phys ed … and you’re history,” he tells a thug at the beginning of his last day of work. Decker will end it by supervising after-hours detention (hence the title), which he intends to spend with his nose buried in a rip-snortin’ Clive Cussler adventure novel.

detention1But damn those well-armed bad guys who planned on using the school grounds that night as part of their getaway plan after stealing $300 million of cocaine! Led by the smarmy, swarthy Chester (Alex Karzis, whom I’ve never seen before or since) and his pink-wigged “pussy puss” girlfriend (Kata Dobó, Basic Instinct 2), the foes have no problem shooting at the students, but Decker certainly has a problem with it, quickly moving into action-hero mode for a cat-and-mouse game that plays out all over campus, including the gymnasium that’s already conveniently set up for full-on archery.

Karzis delivers his lines — including “To be or not to be … that’s the bitch!” and “Being a dick is a great job. I fuckin’ love it!” — with the too-big theatricality one would expect from … well, the high school stage. The star of this show, lest we forget, is Lundgren, and Iron Eagle series director Sidney J. Furie wisely just lets Lundgren be Lundgren, the quiet badass. Class dismissed. —Rod Lott

Buy it at Amazon.

Impostor (2001)

impostorOriginally one-third of Miramax’s aborted sci-fi anthology Alien Love Triangle, director Gary Fleder’s Impostor clearly should have stayed that way instead of being expanded into a full-length movie. As a half-hour short (which the DVD allows you to see), it’s nice and compact in a perfectly acceptable Twilight Zone-ish way. But multiply that by three, and it only succeeds in not succeeding.

The elfin-faced Gary Sinise (TV’s CSI: NY) stars as Spencer, a weapons designer some 75 years into the future. One day at work, he’s arrested by military man Hathaway (Vincent D’Onofrio, Full Metal Jacket) and assumed to be an android with a bomb in his heart, intended to assassinate a government official.

impostor1So is he or isn’t he? Even Spence doesn’t know for sure, but he spends the rest of the movie running and trying to clear his name, making Impostor an uneasy mix of The Fugitive and Minority Report, which, like this, was based on a Philip K. Dick short story.

Somehow, the film seems to progress at half the speed of its on-the-lam main character. This is because it’s padded with repetitious scenes, needless subplots and just plain ol’ drawn-out sequences. Sinise’s miscasting doesn’t help matters; he’s about the most unappealing action hero modern cinema could think up. —Rod Lott

Buy it at Amazon.

Ticket Stub

ticketstubTim Hensley’s Ticket Stub is a collection of the cartoonist’s now-defunct zine, but that zine was really pages from his sketchbook. Don’t let that deter you in any way, however, because it has a theme and a point.

The backstory: For 10 years, Hensley worked as a closed-captioning typist for movies and TV shows. In his sketchbook, he would draw random scenes from said programming. Those pages became Ticket Stub the zine, and all eight issues now stand united like conjoined twins in Ticket Stub the book.

For those who love indie comics, oddball ideas or the medium of film — or, better yet, all three — the paperback will bring many a smile, and not just for its charming, wholly appropriate die-cut along the bottom edge. (That had to be an unnecessary expense for Yam Books, especially for such an upstart publisher, but damn, am I glad they sprung for it — a creative decision that just feels right.)

ticketstub2The scenes Hensley illustrates are not iconic; they appear to be chosen as haphazardly (if “chosen” is the correct term) as the films, which range from highbrow to lowbrow, classic to trash, beloved to obscure, Butterfield 8 to Big Momma’s House.

Each is accompanied by a few lines of Hensley’s own contribution. Some double as actual description, such as this bit on Hercules in New York: “A bear costume escapes the zoo and meets their carriage. Hilarity ensues — an Olympian in a taxi, or rather, a chariot, flexes. He kicks the shit out of sailors, drivers, mobsters. He cracks ribs.”

Most, however, read like bad poetry on open-mic night, and in this case, that’s a good thing indeed. Witness his words for The Care Bears Movie: “Bereft of pals, gather a gumshoe, a cigar between the plush pandas, a black widow knit near the wagon wheel and share — the clouds and rainbows mar with crevice. The witch concurs.”

The final issue takes a detour by stringing the panels together into a comic, but with invented dialogue. Why else, where else, would Casper the Friendly Ghost greet a girl with, “I was shot in my crib. Do I give you goose flesh?”

If you’re only familiar with Hensley — as I was — through his retro-teen-comics work à la Wally Gropious, note that this art does not resemble that art. The drawings here — far more fleshed-out than the word “sketchbook” suggests — demonstrate a different skill set and wider range. The witch concurs. —Rod Lott

Buy it at Yam Books.

The Dynamite Brothers (1974)

dynamitebrosLeave it to schlock director Al Adamson (Satan’s Sadists) to merge the kung-fu and blaxploitation genres with The Dynamite Brothers, marketed as the first movie of its kind to pair a black and Asian lead. Timothy Brown (aka M*A*S*H’s Spearchucker) is Stud Brown, “the black cat from Watts,” while Alan Tang is Larry Chin, “the kung fu cat from Hong Kong.”

No sooner has Chin arrived in San Francisco than he’s handcuffed by the cops to Stud, if only to allow the characters to meet cute and then bond as they escape and run around the woods like so many Defiant Ones.

dynamitebros1The duo gets mixed up in a drug war too complicated for the film to adequately explain. Needless to say, the cop after them (Aldo Ray, The Centerfold Girls) is racist and corrupt, and James Hong (Blade Runner) plays a narcotics kingpin who kills his enemies with an acupuncture needle. The final confrontation takes place at Hong’s castle, if only so several henchman can fall from it.

One poor guy gets his scalp ripped off; a mute girl gets her face mutilated with a straight razor; and several honky bitches get naked. Dynamite is more competent than the usual Adamson fare, and comes complete with a groovy, ass-shakin’, jazz-funk soundtrack and a wild, Pop Art, quasi-animated title sequence. —Rod Lott

Buy it at Amazon.

Krull (1983)

krulljpgEven as a kid, I knew Krull to be a weird and not altogether successful amalgam of Star Wars, Excalibur, The Lord of the Rings, Clash of the Titans, Dragonslayer and many, many others. Peter Yates’ film follows the standard adventure template set out by its betters: Take some reasonably attractive and devastatingly dull people, throw in an incomprehensible evil only they can stop, mix with secondary actors far more charismatic than the leads, and stir. It doesn’t really matter that it feels like the people behind the camera are making it all up as they go along, as long as something is always happening.

And what happens offers its share of pleasures, if you can fight your way past a few substandard effects and the pale-white blandness of leads Ken Marshall and Lysette Anthony. Past that, Krull offers:
• bizarre Stormtrooper/alien hybrids conquering a pseudo-feudal kingdom with laser muskets;
• invaluable character actor Freddie Jones (Dune) as the movie’s Obi-Wan;
• fierce-yet-lovable highwaymen (including Liam Neeson and Robbie Coltrane!);
• a wimpy-yet-lovable shape-shifting magician;
• a towering-yet-lovable cyclops;
• the glave, a legendary weapon that actually has very little purpose, but is kinda cool;
• and the crystal spider, terrifying and not-at-all-lovable. It’s one of the last true examples of Ray Harryhausen-esque stop-motion monsters and cinema’s last great giant spider until Shelob replaced it in my nightmares.

krull1If nothing else, I would love Krull just for its part in one of my favorite geek jokes of all time, a quick visual gag on TV’s American Dad: a close-up of Wizards and Shut-Ins magazine, the cover proudly proclaiming, “500 Reasons Why Krull is Better than Sex!”

Better than sex Krull ain’t. But it’s far preferable to more modern, but far less fun adventure epics like Dungeons & Dragons and Eragon. Those movies were craven attempts at pandering to a fan base, whereas Krull, for all its numerous faults, at least tries to have some fun. —Corey Redekop

Buy it at Amazon.

Random Genre & Cult Movie Reviews