Qeuey Quirkiness from PCG
The latest from PCG’s Quirky Queue
Donnie Yen, the most prolific Asian action star working, is doing what they all do, which is to transition from pure martial arts films to grittier action dramas. This one delivers the goods in almost every department (though it could use a bit of a trim IMO) and as a student of both realistic combat techniques and great action choreography, I was pleased to see how Yen’s always spectacular choreography has continued to not only improve, but work nicely with the story. For example, it’s not unusual to see MMA style techniques in action movies these days, but Yen really knows how to set these up within the framework of a given fight’s psychology.
This low budget sci-fi actioner holds up pretty well against its more expensive brethren thanks to good performances from a likable cast. Loved the score for this one, reminiscent of The Terminator though it was.
COME BACK TO ME
A good concept, dark enough to be shocking at times, but more often rather pedestrian thanks to what seems like rushed directing. Like I know anything. But anyway, the cast, looking like soap opera stalwarts, rises to the occasion throughout, making it a decent watch.
The end times prophesied by St. John in the book of Revelation are here! And while the tribulation of those left behind, or whatever, is indeed horrendous, it’s also a rich mine of comedy gold. Those little scorpion/locust things are a major annoyance (as well as a hilarious homage to The Outer Limits’ Zanti Misfits) but they pale in comparison to cursing crows, fiery comets and The Beast himself, as portrayed by Craig Robinson.
‘Member this one, from 1985? Based on the popular board game (when was the last time that happened?) this one drops some 80s B-listers into an old dark mansion with a scoundrel who is blackmailing them, and of course the bodies hit the floor. The multiple endings have all been clumsily edited into the digital version for Clue completists (?)
SIR ARTHUR CONAN DOYLE’S SHERLOCK HOLMES
The Asylum, progenitors of “mockbusters” like SNAKES ON A TRAIN and TRANSMORPHERS, offers up its take on Sir Doyle’s famous detective, hoping you’ll accidentally rent it instead of the Guy Ritchie/Robert Downey Jr. smash. You could do worse though, as there is plenty of eye candy and decent enough acting.
DEATH ON DEMAND
How do you take a cast of attractive, frequently nude actors and make their sex scenes utterly repugnant? How do you turn the tongue-in-cheek subtleties of a self-conscious slasher script into a humorless embarrassment? How do you make gory, harrowing death scenes boring beyond belief? Apparently, you hire a reality show director, and let him ply his cynical trade, unhindered. To be avoided.
Jean-Claude Van Damme plays a retired mercenary drawn back into the game when the American daughter of an MMA contender is kidnapped by sex traffickers. Not as much martial arts as that synopsis might imply, but still plenty of satisfying action, and JCVD’s grown kids are certainly coming into their own as performers.
Though it’s a little found footagey, this bizarre effort transcends that gimmick in short order, becoming a trippy meditation on the power of art versus the comfort of mundane existence. Not for everyone but those who “get it” will love it.
THE TOWN THAT DREADED SUNDOWN
Drive-ins of the 60s and 70s seem to have been the targets of the films created by Charles B Pierce, who helmed this 1976 proto-slasher that is probably too deliberately paced for young whippersnappers. I know it was for me; though there are a handful of moments that stand with the best of the early slashers. A good sense of time and place (Texarkana, post-war 1940s) is the film’s greatest asset, making it well worth a watch.
Stay tuned for the next Quirky Queue! Coming soon!