Karate Bearfighter (1975)

When we last left karate expert Masutatsu Oyama (Sonny Chiba) in Karate Bullfighter, he was ripping the horns off a charging bull. With such strong chopsocky powers, whaddaya do for an encore? Ladies and gentlemen, may we present the Toei Company’s immediate sequel, Karate Bearfighter.

From Wolf Guy director Kazuhiko Yamaguchi, it plays like two movies in one. In the first half, Oyama does little more than make a sake-and-meat soup, whore himself out for some freelance bodyguard work, ignore the woman who loves him and anger some karate students. But when some of his closest friends are killed, he’s thirsting for revenge.

Onto the second half, where Oyama befriends a little boy who steals his suitcase. The boy, Rintaro — Japanese for “runt,” I assume — lives with a boozehound father. As Oyama teaches the tot the skill of catching fish with one’s fists of fury, news arrives that Rintaro’s dad has been smashed by a falling tree, and without a costly operation, will die.

Someone agrees to pay for the operation, so long as Oyama can kill a bear with his bare hands — hence the title. (Try this tactic with the next spam call you receive: “Yes, I’ll sign up for your auto warranty service … if you slay a grizzly in return.”) Thus begins Karate Bearfighter’s best scene: Oyama battling to the death with a live bear. Or, as is painfully obvious even with the animal obscured by weeds and whatnot, a guy in a bad bear suit.

Where does a Chiba movie go from there? Having him kill some dudes who come at him flinging chains and spears, that’s where. Oh, and poking a guy’s eyes out for dessert. —Rod Lott

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Ambulance (2022)

Dear Santa,

What I really want for Christmas is a new drone. One with a camera and that goes real real fast.

If you get me this drone, I will be very very happy. I will make a movie with it. It will be about an ambulance that gets taken by bank robbers and is chased all over Los Angeles by the police cars and helicopters. I might even call the movie Ambulance. Maybe I will get a big star like Jake Jillinhall Gillinhall Gillenhal G. to star in it. He’s good!

I could use the drone to do lots and lots of cool camera tricks. It could swoop down streets real real fast or hover over their heads. I might even want to use it like in normal shots where the people who make real movies wouldn’t use it. Maybe if I make those shots super duper quick like a split second, no one will know.

But mostly I just want to use the drone a lot! I really really want people to watch my movie and then say “Hey he got a new drone!”

So please please bring me that drone. I gave you half an Oreo.

Your friend,
Mikey Bay

—Rod Lott

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Moonraker (1979)

Moonraker is the James Bond movie I hated as a kid because it wasn’t Star Wars enough. Today, I like it for the same reason.

Coming right smack in the middle of Roger Moore’s roguish run of seven 007s, this adventure tasks Bond with locating an American space shuttle reportedly hijacked while in flight. In his way are giant-sized foe Jaws (Richard Kiel, back from The Spy Who Loved Me) and bearded kazillionaire Hugo Drax (Michael Lonsdale, The Day of the Jackal), who looks like a Hugo: Man of a Thousand Faces toy guise come to life; in his bed is the delectable Lois Chiles (Creepshow 2) as CIA scientist Dr. Holly Phenomenalblowjob Goodhead.

The third and final Bond for director Lewis Gilbert, Moonraker has much to recommend, starting with the cold open’s airborne tussle while plummeting from a plane. From there, one can rely on the nauseating centrifuge sequence, the fight atop cable cars, a musical wink to Close Encounters of the Third Kind, a boat chase, Bond’s struggle with a massive python and Q’s exploding balls. On the flipside, the film also boasts a ridiculous gondola pursuit that goes too far over the top by venturing out of water, a pointless Magnificent Seven parody and, ironically, nearly all the scenes in outer space.

Famously, For Your Eyes Only was announced as the next 007 outing in The Spy Who Loved Me’s closing credits, until Star Wars’ stellar success convinced producer Albert R. Broccoli to postpone for a cash-grabbing trip to space. While that worked for the box office, it doesn’t gel well in a movie that does just fine on terra firma; a sense of cohesion suffers. Turns out, in Her Majesty’s secret universe, lasers belong in one spot and one spot only: nearing Sean Connery’s crotch. —Rod Lott

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Okja (2017)

When Okja premiered in 2017 on Netflix, many people maintained it’s about a girl and a “big pig”. However, I remembered a touching fable (foibles?) about a girl and a hippo-dog-elephant-pig. But I digress …

In an ideal farm in South Korea, young girl Mija (An Seo Hyun) cares for Okja, a wholesome hippo-dog-elephant-pig; he is taken to the big city, much like Babe: Pig in the City. But unlike Babe: Pig in the City, Okja is instead populated with pro-animal terrorists, pro-animal reality hosts and pro-animal factory farms.

Directed by the renowned Bong Joon Ho (Parasite), the film is notable for the extreme moments of scat jokes. But poop aside, it makes a children’s film in its own image. Also, the cast of Tilda Swinton, Paul Dano and Jake Gyllenhaal are playing to their characterized strengths — usually by stupid accents, but still.

What truly makes Okja a great film — which in turn makes Okja, a peaceful hippo-dog-elephant-pig, and how he is used — are the foot solders of this corporation, giving Okja a large boot to the head. It truly is unsettling about animal rights and how far we’d go.

Of course, it’s all undone by the time you crave a steak, but at least you know you tried. —Louis Fowler

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Skyway to Death (1974)

Good help is hard to find. That’s true today as it was in, oh, for the sake of argument, let’s say ′74. Palo Alto tramway management finds out the hard way when a disgruntled former employee — fired for being drunk on the job — sabotages the mechanical system, leaving a cable car hovering at 8,700 feet as treacherous winds approach. Lesson learned: Terminated workers should be escorted off the property.

Inside the cable car, the guide (bubble gum popster Bobby Sherman) does his best to reassure his seven passengers. Among them are agoraphobe John Astin (Wacky Taxi), pickpocket Severn Dardin (Saturday the 14th), philanderer Ross Martin (TV’s The Wild Wild West) and old bat Ruth McDevitt (The Birds), whose only concern is her goddamn $8 flower hat.

From director Gordon Hessler (Pray for Death), Skyway to Death was the earlier of two stranded-cable-car movies made for TV in the disaster-film heyday. At 67 minutes, it’s also the shortest; oddly, that does not work in its favor, feeling like a crawl compared to 1979’s three-hour-plus Hanging by a Thread. How the latter’s producer, Irwin Allen, got away with not citing Skyway as source material is a mystery, because Thread copies this one beat for beat, from the jinxed chopper rescue attempt to the them’s-the-brakes conclusion. —Rod Lott

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