Prime Time: Madness In The Method (2019)

I like Jason Mewes, and I like almost everything that Kevin Smith has done, in film form, so I went into Madness In The Method hoping to like it. It looked silly, and I don't mind silly, and it looked like another attempt by Mewes to do something not completely tied to Smith and co.

Mewes plays himself, a movie version of himself anyway, and the start of the movie rolls through a brief history of his life and rise to cult stardom. The problem that Mewes has is that nobody will take him seriously as an actor. He wants to develop his career, but everyone sees him as "Jay", Mr Snooch To The Booch. When he's recommended some reading material about becoming a method actor, Mewes soon gets so serious about things that he starts killing people. He might be able to pin the blame on his friend, Vinnie Jones, but there will be many more deaths as Mewes struggles to bag the lead role in what is expected to be a huge hit movie directed by Brian O'Halloran. Oh, and Kevin Smith comes onscreen for a few conversations with his good buddy, of course.

I was surprised to find that Mewes didn't also write the script for this - that job went to Dominic Burns and first-timer Chris Anastasi (for reasons unknown, although I wouldn't be at all surprised if a number of scenes were improvised when certain actors were available) - but his first time behind the camera for a feature film isn't terrible. It's just not all that good. Considering the company he has kept for so many years, you'd think that Mewes would be wary of making something so meta. Maybe other people who enjoy his body of work expect that, but maybe some of them will be as tired of it as I am. It's a joke worn too thin at this point, certainly with this cast of characters, and that just leaves everyone involved here looking a bit, well, old and tired.

Fair play to Mewes for making himself essentially the butt of the joke, and for using his directorial debut to try to deliver both jokes and catharsis. It just doesn’t work, mainly because it’s an idea that requires a smarter approach.

The stunt casting helps a little bit. Jones is fun in his role, Smith and O’Halloran are both acting in line with every other screen performance they have ever delivered. Dean Cain and Teri Hatcher are reunited, although never onscreen together, Gina Carano plays the wife of Mewes, and Danny Trejo has fun being extra camp for a minute or two. Many other people come and go, including the cops on the tail of Mewes, but the film is all about the familiar faces roped in to the shenanigans.

Not quite as bad as I expected it to be, and Mewes doesn’t embarrass himself in the role of director, Madness In The Method is a low-budget bit of fun that fans of the View Askewniverse may find at least passable. Nobody else should bother with it.

4/10

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3 From Hell (2019)

Here's the one thing that I know about the feature film career of Rob Zombie. I am one of the many voices making up part of the problem. I LOVE his first film, he still hasn't topped it for me. It's a carnival sideshow experience in which you are taken by a variety of eye-catching grotesqueries by someone you don't entirely trust. Unfortunately, every movie he has given us after that one has been more of the same, with the exception of two movies that many fans didn't care for. I love The Haunted World Of El Superbeasto. I didn't love The Lords Of Salem. Sadly, the more that Zombie retreats back into his comfort zone, the more I appreciate him trying to channel Ken Russell in The Lords Of Salem, and the less likely it is that we will ever see him try that again.

Which brings us to 3 From Hell, a film that continues the saga of "the Firefly family", the notorious and nasty criminals we last saw being abruptly halted by a hail of bullets as they headed towards a police roadblock. The basic plot is similar to The Devil's Rejects, it's three bad people doing bad things until a final encounter leads them towards either another victory or potential death.

Sheri Moon Zombie, Bill Moseley, and Sid Haig in place? Check (although the role for Haig was greatly reduced, he has only one main scene, when news of his illness came along just before his death this year). A decent soundtrack? Check (note - it's still a bold move for ANY film to use In-A-Gadda-Da-Vida even all these years after Manhunter). Maniacs who like to deliver verbose dialogue before they commit their atrocities? Check. A '70s aesthetic throughout, no matter what time the film is supposed to be set in? Check. The baddies being a lot smarter/luckier than anyone with their M.O. would be? Check.

On paper, this should be another easy win for Zombie. It's not though. Although it fails in different ways to 31 (which remains arguably his worst film), it still fails. Some fans may disagree with that, and I'm happy that Zombie is at least keeping his core fanbase happy. He seems to have a good relationship with them, and often delivers just what they want. It's just a shame that he doesn't take a chance nowadays on exploring other genre styles that will allow him to grow more, and potentially surprise audiences.

Most, but not all, of the problems here like with Zombie himself. The script is more of the nonsense that he likes to hear being delivered by his favourite actors, always a mix of gleeful nihilism and purported wisdom from those who are savvy enough not to be constrained by the laws imposed upon society by men who just weren't brave enough to give in to their base desires at all times. It also all starts off on the wrong foot, a double whammy of viewers being told a time period that never feels right and an air of sympathy for the main characters that you just can't see ever happening. EVER. Nobody onscreen is worth supporting.

The second main problem, aside from anything done directly by Zombie, comes from the main performances. Few people onscreen are actually bad, but they're rarely actually good either. Moseley is pretty much in self-parody territory now, pushed into that area by Zombie, and every moment he's onscreen feels a bit silly. Richard Brake, stepping in to the void left by Haig, has the potential to make a better impression in the role of Winslow AKA "Foxy", but he ends up looking and sounding far too much like Moseley. That leaves us with Mrs Zombie, who is the worst of the three, and suffers the most from the script. There's just no way anyone would consider her for a parole hearing, for example, given her history of constant unpredictable madness, and she's getting a bit too old to play the role in the same giggling and coquettish way she did back in House Of 1000 Corpses. You get supporting roles for people such as Daniel Roebuch, Jeff Daniel Phillips, Dee Wallace, Bill Oberst Jr, Danny Trejo, Pancho Moler, Emilio Rivera, and many others, although some are little more than the most fleeting of cameos it is some light relief to spot some of the familiar faces dotted around.

With House Of 1000 Corpses and The Devil's Rejects, Zombie delivered one hell of a double-bill. That hasn't changed. It's just that some people will have an inferior third instalment they can choose to watch at the end. Or, and bear with me, we can all forget it exists and just stay a lot happier. This film says nothing worthwhile, does nothing new, and deserves, well, I am sure you can guess.

3/10

Here's the movie available from Rob Zombie's site (because he needs the clicks more than I do . . . the blogger typed sarcastically).

June-Claude Van Damme: Inferno (1999)

AKA Desert Heat.

Inferno is one of those odd little movies that somehow gets itself a decent cast, has some decent humour, and has the potential to be a hidden gem. The reason that it never realises that potential lies with director John G. Avildsen, as well as Jean-Claude Van Damme (still struggling to recapture that onscreen charisma that helped him become a star over a decade previously).

Van Damme plays Eddie Lomax, a man who starts the film drunk in the middle of a desert area. He's staggering around and talking to someone, a person who may just be a figment of his imagination, and about to kill himself. His drinking and gun-waving ends up interrupted by some locals who beat him and take a motorbike that we was intending to deliver to his friend (Danny Trejo). This leads to Eddie eventually reaching a nearby town and pitting two gangs against one another while he helps to cut down their numbers.

Another reworking of Yojimbo (which is namechecked at the end, for anyone who misses it while the plot unfolds), Inferno feels very much like it is unsure of where it wants to go. The violence doesn't have the impact that it should, the moments of humour feel out of place, and scenes that skirt close to being sweaty and sleazy are too short to help the overall feel of the film. Writer Tom O'Rourke has fun but I'm not sure that director John G. Avildsen is on the same wavelength, perhaps more worried about the visual style or delivering moments that action movie fans will expect.

Aside from our leading man, the supporting cast here is generally well selected. You get Trejo, of course. Gabrielle Fitzpatrick is the woman who may catch the eye of the lead, and she does okay, but you also get Silas Weir Mitchell, Pat Morita, Larry Drake, and Jaime Pressly, as well as a horribly inappropriate bit of casting in the shape of Vincent Schiavelli playing a Mr Singh.

This should have been more in line with Last Man Standing, but with fists and feet replacing the guns from that film. I think ramping up the impact of the violence and the exploits of the bad guys would have made things ultimately more enjoyable. But it didn't do that. So what we end up with is an action thriller that titillates occasionally with the content (a couple of moments of sudden violence, one main sex scene) but is really playing it safe, for the most part. Casual JCVD fans should find it enjoyable enough though.

4/10

You can pick up the disc here.
Americans can get it here.

xXx (2002)

Do you ever think you're cool? Have you ever played skateboard or snowboard games on a console and imagined living that lifestyle? Ever had daydreams that have you helping to save the world while also sticking it to the man?

Well just stop. You're not cool. Even if you're sometimes a little bit cool, by accident or design, then you need to remember that you'll never be as cool as Xander Cage, the cooler-than-cool main character in xXx.

Cage (Vin Diesel) is a man who spends his time performing EXTREME stunts that make him quite the rock star to his many fans. But it also gets him noticed by Agent Augustus Gibbons (Samuel L. Jackson), a man trying to convince his colleagues at the NSA that they need to start using a new type of secret agent for new types of criminals. And that's how Cage ends up dropped into another country and directed to get information on a major villain named Yorgi (Marton Csokas), which may give him an excuse to drive fast cars, pose in mid-air during jumps on a motorbike, skate down rails on a silver tray as he avoids sniper bullets, paraglide around, and cause an avalanche to give him an upper hand while he snowboards towards a big group of henchmen.

All of the above happens in xXx and I don't think listing them here would count as anything spoilery. This is a film made up of scenes built around moments they sold in the trailer. Well, those scenes and Vin Diesel's gravelly voice and attitude.

Writer Rich Wilkes seems to throw in everything that might work for the cool kids in the 21st century, and it works better than it should because of the way in which it's the whole lifestyle of the main character.

Director Rob Cohen handles the material competently enough. The most fun is to be had in the first third - a "training exercise" before the main mission - but the 2-hour runtime never drags, thanks to the spacing of the set-pieces and the mounting ridiculousness as everyone involved wants to prove how much they can deliver the goods while being a deliberate anti-Bond. If something can explode then it can explode BIG, if the soundtrack can fit a bit of nu-metal into a scene then it will (not enough to be grating, but it keeps popping up), and everything revolves around the fact that Vin Diesel is the smartest, strongest man for the job.

Diesel does well enough in his role, with a lot of thanks due to the stunt team here too (sadly, one of the main stunt players, Harry O'Connor, died - a sobering reminder of the efforts made by the people we so often don't see acknowledged enough), Csokas is enjoyable enough as the generic baddie with an accent, Jackson does his thing, and Asia Argento catches Diesel's eye and gets to act tough before the script lets her down by making her little more than a wide-eyed female onlooker during the main stunts that occur during the grand finale.

It's not a film that transforms the action genre but it's one that tries hard throughout most of the main sequences to entertain and provide something not already seen a hundred times before. While not entirely successful, and some of the moments clang like a dropped anvil, it's a fun slice of dumb.

6/10.

Get yourself a double-bill here.
Americans can get a nice disc here.

Ani-MAY-tion Month: Top Cat: The Movie (2011)

If you remember the original cartoon, and if you can still sing along with the theme song, then you should do yourself a favour and avoid Top Cat: The Movie. It's a stinker.

The plot concerns T.C. (voiced by Jason Harris) being framed for a crime he didn't commit and then being thrown into Dog Jail. The gang are at a bit of a loss without him, while Officer Dibble (Bill Lobley) is busy being mistreated by his new boss, Lou Strickland (Rob Schneider). Oh, and Strickland has also replaced the rest of the police force with robots, thinking that they can't be fooled. That may change if/when T.C. gets out of jail.

It's a running gag for many people that I am too kind in my movie reviews/ratings, and there's often some truth to that. I can be easily pleased, and I always try to look for the good in any project, especially anything made with more heart than technical nous. Top Cat: The Movie is a soulless, soul-sapping, lazy, horrible film. And that's me being kind. It's saved by the lowest score possible by a small degree of competence that I had to grudgingly acknowledge, but only just.

The animation is sub-par and quite ugly at times, which would be okay if it was ironically emulating the occasional crude style of the old TV show, but it isn't. It's also just feels cobbled together. For example, look at the scene with T.C. and his cohorts trying to get into a concert that has been sold out. Sold Out. It's stated quite clearly. Yet, moments later, when the gang are all inside, viewers can see a theatre that is quite clearly almost empty. Okay, that's not something that the youngest viewers will note, but there's no excuse for so little effort being made.

The script, in line with everything else, does the bare minimum - broadly sketching out the characters and lighting up each plot point like a neon sign - but it does it all with no sense of fun. Just because something is aimed at younger viewers doesn't mean that it can't contain some interesting developments for them.

The only good points I can mention are the vocal performances (which aren't great, but at least try to repeat the familiar tones of the characters from how people will remember them) and that small degree of competence that allows the whole thing to play out as a feature from start to finish, with a proper beginning, middle, and end.

One to avoid if at all possible. To use a potential innuendo: Top Cat hits bottom!

2/10

http://www.amazon.com/Top-Cat-Rob-Schneider/dp/B00DBPBQ72/ref=sr_1_5?ie=UTF8&qid=1399502381&sr=8-5&keywords=top+cat

Rise Of The Zombies (2012)

Another zombie movie from The Asylum, and another one directed by Nick Lyons (who also gave viewers the poor, but slightly better than this, Zombie Apocalypse), Rise Of The Zombies features the usual selection of jobbing actors trying to invest their paper-thin characters with something, anything, to make the movie more watchable as it repeats the same cycle for 90 minutes until a weak, weak ending.

Things start off promising. Survivors of the zombie outbreak are holed up in Alcatraz. There's potential here, but it's soon squandered. Zombies still get in and the main characters all make stupid decision after stupid decision, culminating in the moment when they set off from the island in search of safety elsewhere. Because that's a better decision than killing the zombies that managed to get in and reinforcing the huge stronghold that is Alcatraz. Zombies munch on folks, people bicker, zombies munch on folks, people bicker, repeat ad nauseum. Oh, there's also LeVar Burton, stuck with having to play possibly the stupidest doctor that I've ever seen in any zombie movie. Ever. He is determined to find a cure that will save the one he loves.

There are one or two decent moments here, with one scene showing how easy it is for zombies to climb up the Golden Gate bridge being as enjoyable as it is ridiculously stupid, but there's no reason to ever seek this film out beyond stumbling across it accidentally on the TV schedules. Lyons isn't the worst director, but writers Keith Allan and Delondra Williams didn't make his job any easier by churning out such a laughable and lame script.

The cast includes Mariel Hemingway, Danny Trejo (currently tied with Ving Rhames in the "pay me and I'll turn up for anything" category), Ethan Suplee, the aforementioned Burton, French Stewart, and Chad Lindberg. The rest of the cast is made up of the usual supporting players for The Asylum AKA people who can rack up a long list of credits on IMDb thanks to their portrayal of "screaming zombie victim #8". Hey, nothing against that, a job is a job, but all I'm emphasising is that the rest of the cast features nobody truly memorable. There are one or two other main characters, but the cast can't do enough to overcome the weak script. Without having any recognition factor they just blur together into one featureless crowd.

Rise Of The Zombies isn't good, in case you didn't gather that already. Some of the effects are okay, but a lot of the film just feels rushed and/or lazy. Critics of The Asylum may rush to tell me that ALL of their films feel that way, but I'd disagree. Sometimes they do appear to be trying. Just not on this occasion.

3/10

http://www.amazon.co.uk/Rise-Zombies-DVD-Danny-Trejo/dp/B00BFCJLT8/ref=sr_1_1?s=dvd&ie=UTF8&qid=1395320665&sr=1-1&keywords=rise+of+the+zombies

Reindeer Games AKA Deception (2000)

Ben Affleck stars in this twisty turny action thriller directed by John Frankenheimer and written by Ehren Kruger and it's not as bad as you may have heard. It's not as good, or clever, as it thinks it is but it's a mildly entertaining way to spend two hours and benefits from the presence of the gorgeous Charlize Theron being absolutely gorgeous.

The plot is as follows: Ben Affleck plays Rudy Duncan, a man imprisoned for stealing cars who is about to get his freedom. His cellmate (Nick Cassidy, played by James Frain) is also near the end of his term, five years. Nick has been developed a relationship with a woman who has been writing to him in prison and is looking forward to getting out and meeting her. But as the day of freedom approaches, tragedy strikes. When Rudy leaves the prison he sees the lady of letters (Ashley, played by Charlize Theron) waiting. After a few moments of wrestling with his conscience, Rudy jumps off the bus and runs over to her. He then introduces himself as Nick. What follows seems too good to be true. Rudy is happy, he's in the arms of a beautiful woman who wants to look after him and the only problem is the fact that he lied about his identity. That problem soon becomes pretty major when the happiness is spoiled when Ashley's brother (Gary Sinise) and his gang crash the party. They are planning to rob a casino and they know that they now have the man who can help them. At least, that's what they think. If Rudy comes clean then he's worthless to them and will end up dead but if he tries to keep up the pretence his options aren't looking as good that way either.

Starting with a bunch of dead Santas and then moving back in time, this is a movie that you know isn't necessarily going to end well for most of the people involved. Seeing that Gary Sinise has a gang that includes Danny Trejo, Clarence Williams III and Donal Logue reaffirms that notion. Yet, strangely, it never feels that tense and that's possibly due to the main role going to Ben Affleck.

Here's the thing, I am no Affleck hater (I'm about the one guy who enjoyed Daredevil, as flawed as it was, and I am happy to see him doing so well in his directorial career) but he just doesn't make this role work. He never seems worried, he's not all that convincing and he walks through the movie with that Teflon coating of a star that won't be unexpectedly killed off. I'm not going to spoil the film by telling you if that remains true by the very end of the movie but it certainly kills off the tension for the first 3/4 anyway. Thankfully, the rest of the cast includes those already mentioned (and did I remind you of how gorgeous Charlize Theron is?) and a delightful supporting role for the great Dennis Farina.

The direction by Frankenheimer is solid although with the film running at just over two hours you can't help thinking that a little pruning here and there might have helped. A better script from Kruger would have also helped. It's not THAT bad but it just doesn't hit the sweet spot required. The surprises aren't as surprising as they should be and the lines that are supposed to be cool sound like they were written by someone pretending to be Shane Black as opposed to, y'know, Shane Black. It's a shame that Kruger appears to have peaked so early in his career and has never come close to writing something approaching his work on the superb Arlington Road.

Thankfully, the performances carry this movie along for the duration. Affleck may not be great here but he's okay, which doesn't matter when time is given over to the great supporting actors anyway. Charlize Theron once said that this was her least favourite of all her movies but I think she was too harsh. It's not essential viewing but it has some nice touches, a bunch of great actors and a chance to bask in the glow of the gorgeousness of Charlize Theron (which you might recall me mentioning just two paragraphs above).

6/10

http://www.amazon.co.uk/Deception-DVD-Ben-Affleck/dp/B00005B71N/ref=sr_1_1?s=dvd&ie=UTF8&qid=1355072115&sr=1-1

Bad Ass (2012)

Danny Trejo is a badass. You know it, I know it, everyone has been well aware of it for years now. But in this movie he IS Bad Ass. He gets his own theme tune and everything, which makes it all impossible to deny.

Springboarding from a real incident (shown here on YouTube), Bad Ass is all about Frank Vega (played by Trejo), a man who hasn't had much luck since the days that he spent serving his country in the war. Time and opportunities kept slipping away from him until he was an old man without much in his life. But all of that changes when he retaliates against two thugs on a bus and the whole incident is recorded by witnesses and uploaded online. Frank becomes a hero though he doesn't think of himself as a hero. He just wants to get on with his life and be left in peace. But it's not long before more violence occurs in his life and he has to continue being a badass while others are left to clear up the mess.

I, and many other movie fans that I know of, think Danny Trejo is great so I'm happy to see him getting more lead roles than ever before. His biggest role might always be Machete but films like this one are good enough to keep fans happy, even if they aren't actually great.

Directed by Craig Moss (who also pitched in here and there to tweak the screenplay by Elliot Tishman), the movie is an easy sell to anyone who has enjoyed films such as Walking Tall, Urban Justice, Death Wish and Harry Brown. The fact that it has Trejo in the lead role and a supporting cast that includes Charles S. Dutton, Ron Perlman, Richard Riehle in a small role and Craig Sheffer in a blink-and-miss-him cameo also helps. Joyful Drake and young John Duffy may not be as well known but they're likeable enough in their roles.

Sadly, other aspects of the movie are quite poor. The action isn't too bad but the script is weak, and laughably bad in places, and the actual plot is a bit cheesy and ridiculous (e.g. the moment in which Frank Vega easily finds some evidence missed by police). Then we have the way in which Frank gets to know his neighbour, Amber Lamps (Drake, playing a character actually named as a nod to the way in which the word "ambulance" was said by the asswhipped idiot in the original, real life event). It's just unbelievable even if it allows for a number of nice domestic scenes showing a softer side of the character, and a softer side of Trejo.

So it's unbelievable at times, cheesy and ridiculous and has a very weak script. Despite those flaws, I still can't help rating the movie above average because Trejo is just so enjoyable in the lead role.

6/10

http://www.amazon.co.uk/Bad-Ass-DVD-Danny-Trejo/dp/B0083TZXSE/ref=sr_1_1?ie=UTF8&qid=1347906754&sr=8-1

A Very Harold & Kumar 3D Christmas (2011)

Time has rolled merrily along since the second Harold & Kumar movie and the two characters have gone their separate ways. Harold (John Cho) has a great job, a lovely wife (Paula Garces, reprising her role from the first two movies) and generally a life of comfort and security that always seemed to elude him while he spent his time getting high. Kumar (Kal Penn) hasn't really gone up in the world and is, funnily enough, still mostly interested in getting high. Fate brings the two together just in time to put Christmas in jeopardy and they spend the movie trying to put things right. If Harold doesn't manage to sort out a Christmas tree that will please his father-in-law then he will be in big trouble. Especially when that father-in-law is played by Danny Trejo.

With Jon Hurwitz and Hayden Schlossberg back on the writing duties it's surprising to find that this Harold & Kumar movie feels the least like an actual Harold & Kumar movie. Perhaps that's due to the Christmassy nature of the whole thing or perhaps it's simply because our duo have, inevitably, grown up. Just a little bit.

Regardless of the reason, we get quite a slightly movie this time around. The one thing that stays constant throughout all three movies is just how much fun the supporting players are. Danny Trejo in a Christmas sweater, Patton Oswalt as a drug-dealing Santa, Neil Patrick Harris as "Neil Patrick Harris", Eddie Kaye Thomas and David Krumholtz as bickering friends, Thomas Lennon as the main scene-stealer this time around, Richard Riehle as another Santa Claus and Elias Koteas as a violent gangster - there's plenty to enjoy.

Director Todd Strauss-Schulson doesn't do too badly in his role, and the direction and script both make some of their best little gags out of the whole 3D razzle dazzle, but you can't help feeling that this should really be the last hurrah for Harold & Kumar. The quality and quantity of the comedy has dipped since that enjoyable first outing but they've managed to stay the course through a decent enough comic trilogy.

6/10

http://www.amazon.com/Christmas-Two-Disc-Blu-ray-UltraViolet-Digital/dp/B006OFN0ES

Machete (2010)

Well, ummm, I actually saw and reviewed Machete ages ago for Flickfeast.

That review is here - http://flickfeast.co.uk/reviews/film-reviews/machete-2010-2/

An easy 8/10 and great fun. But the best news, at this moment in time, is that it can now count as my weekly Seagal and saves my poor, aching eyes from any more punishment this week.

As the end of my Seagal quest approaches (and I've seen every movie that he's made so far with the exception of Clementine, a movie I couldn't get a hold of for love nor money) I have one thought looming large in my mind - the next quest subject is going to be someone or something much more enjoyable.

Does Seagal have some great movies to choose from? Yes he does. Does he have any actual star power? I'd be generous and say that there was a time when he did. Should he have made half of the movies in his filmography? Hell no!

Considering that it's supposed to be an old-school grindhouse flick, and also considering the fact that the Bluray doesn't have any extra features worth shelling out wads of cash for, I recommend picking up Machete on DVD and having a good time.

http://www.amazon.co.uk/Machete-DVD-Danny-Trejo/dp/B0049EO130

Death Wish 4: The Crackdown (1987)

I must say that as the Death Wish movies evolved and moved away from the interesting and serious first movie it wasn't exactly the worst thing that could happen. While the sequels became more outlandish and implausible, the entertainment factor seemed to settle at a reasonable level and Charles Bronson always managed to hold your attention as vigilante Paul Kersey.

The rapists and muggers might have started to hide away but a new breed of criminal overshadows even their nefarious deeds. The drug dealer. After witnessing the effects that drugs are having on the kids of today, Paul Kersey decides to once again take the law into his own hands and start killing those who he feels most deserve it. The police close in, Paul finds his services being hired by someone with a vested interest and everything unfolds predictably enough for those who have enjoyed the previous movies.

J. Lee Thompson was the man who took over the directorial duties from Michael Winner and he does a perfectly reasonable job. Some of the continuity and editing feels rushed and clumsy but these movies are all about Bronson believable kicking ass and, once again, he does just that.

The script, this time by Gail Morgan Hickman, is quite basic but also utilises some plot points not all that dissimilar to Yojimbo, which at least makes this more than just a rehash of a rehash of a sequel to the original.

Bronson is excellent, as ever, in the main role and the other actors all do just fine with what they're given. Kay Lenz is the love interest this time, Dana Barron has a brief turn as the daughter of Lenz's character, Danny Trejo and Mitch Pileggi have what must amount to two minutes of screentime between them (but they're always great folk to see in films) and George Dickerson and Soon-Tek Oh play two very different police officers.

If you enjoyed the previous three movies then I can't think of any reasons that you would have to hate this one.

6/10.

http://www.amazon.co.uk/Death-Wish-DVD-2012-Release/dp/B0073DOJUE/ref=sr_1_10?s=dvd&ie=UTF8&qid=1329000829&sr=1-10

Marked For Death (1990)

Steven Seagal steps up to the mark to put an end to that voodoo and hoodoo that you do, in a movie that ends up being one of his very best thanks to a decent script, enjoyable baddie and the standard slap-happy chop-sockiness from our hero.

Seagal plays John Hatcher, a DEA agent in need of a holiday. The war against drugs clearly isn’t working and Hatcher needs to take a break from everything. He heads home to visit his family (including Elizabeth Gracen, Bette Ford and a young Danielle Harris) and finds that the dangerous world of drugs has begun to infiltrate his old neighbourhood, much to the chagrin of his old coach, Max (Keith David).  Hatcher doesn’t want to get involved but when he’s caught up in the middle of a violent shoot-out he realises that he has to help. But these drug-dealing Jamaicans, led by the fear-inducing Screwface (Basil Wallace), will go to any lengths to maintain their superior position. That includes targeting Hatcher’s family, which only makes Hatcher angrier.

I don’t know quite why I love this movie as much as I do, I just know that it will always be a favourite of mine. The action is decent, Seagal still can’t act and the content is slightly less gritty than his first two star vehicles but Marked For Death has plenty to make up for that. The opening sequence is great fun, and features a silent and younger Danny Trejo, the supporting cast is massively boosted by the inclusion of the great Keith David, it’s a blast watching Seagal face voodoo “powers” head on with his usual bone-breaking style and then we have one of my favourite exchanges in any action movie ever: 

“One thought he was invincible... the other thought he could fly.”

“So?”

“They were both wrong.”

Michael Grais and Mark Victor are responsible for the script, which is full of a few other gems that should raise a smile, and Dwight H. Little directs what may remain a highpoint in his film career. 

 

It’s undeniably dumb in places, especially with the inclusion of Joanna Pacula’s character for nothing more than a bit of exposition, but it’s also consistently fun, benefits from a great turn from Tom Wright, has room for a small Kevin Dunn appearance, throws a decent car chase in there and some impressive swordplay. If Steven Seagal hadn’t lucked out with Under Siege I still say that this would have remained his finest hour. 

8/10

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