MERRY CHRISTMAS MR. LAWRENCE (1982)

1982, National Film Trustee Co. Ltd

Directed by:
Nagisa Oshima
Produced by:
Jeremy Thomas
Written by:
Nagisa Oshima with Paul Mayersberg; based on the novel “The Seed and the Sower” by Laurens van der Post
Cinematography:
Toichiro Narushima
Editing:
Tomoya Oshima

Cast:
David Bowie [Sgt. Jack Celliers], Tom Conti [Gen. Lawrence], Ryuichi Sakamoto [Gen. Yonoi], Takeshi Kitano [Sgt. Hara], Jack Thompson [Hicksley]

The year is 1942. During World War II, a band of British soldiers are forced to serve time at a Japanese prison camp due to their actions against the Japanese. While most of the soldiers are relegated to punishment and hard labor, one such soldier, General Lawrence seems to have earned the respect of the commanding officer General Yonoi and his number one, Sergeant Hara. Lawrence has the ability to speak Japanese fluently and acts as a “bridge” between the English and the Japanese. While Yonoi has nothing but hatred towards the prisoners, all of that changes when respected British soldier Jack Celliers enters the prison camp. Yonoi seems to change his ways as he sees Jack as a man of respect. However, the lives of the prisoners change one fateful Christmas Day.

Director Nagisa Oshima has the respect of being both a Japanese auteur and quite a controversial figure in the world of cinema. He has tackled many taboos in his film career. With this film, based on a novel by former war veteran Laurens van der Post, what may look like respect between a pair of Japanese soldiers and a pair of British soldiers takes a bit beyond that but on a subconscious level. However, Oshima is a respectful artist and when he came up with the name of the film, perhaps to pay homage to author van der Post by spelling “Laurens” as “Lawrence”. Perhaps, Oshima wanted to present the film to van der Post as a tribute to the author's real-life exploits as a prisoner of war in World War II Japan.

The film brings out a sense of homoeroticism but done not in the manner of films like BROKEBACK MOUNTAIN (2007), but in a more subliminal level, especially between David Bowie's Jack Celliers and Ryuichi Sakamoto's General Yonoi. This could be said to be seen on the level of Yonoi, who looks to be sporting eyeliner and rouge under the right lighting. Whether Oshima perhaps meant to show Yonoi as an effeminant soldier as if he has a heart or even bringing out an homage to Bowie's famous Ziggy Stardust character, is never truly known. The homoeroticism is seen when Jack is forced to stop Yonoi from executing a fellow British officer the day after Christmas.

While the level between Yonoi and Jack can be said to have a sense of homoeroticism, the respect between Tom Conti's titular character of Lawrence and Takeshi Kitano's Hara is clearly a sense of respect and perhaps, seniority between the two as Conti may be seen as British and an enemy to the Japanese. However, in the military aspect, Lawrence has a higher ranking of Hara. It seems as if at times, Hara shows respect to Lawrence not only because of his fluency in Japanese, but perhaps because of his military rank as well. This is clearly evident in the fated Christmas Day scene, where a drunken Hara decides to release Lawrence after he attempts to escape the prison camp. Hara, who usually speaks in Japanese, belts out the titular phrase in English. Kitano, a former stand up comedian, makes his dramatic debut here and admits, it was this very film that influenced him to become a director, mostly in the yakuza eiga genre.

MERRY CHRISTMAS MR. LAWRENCE is truly a film for the ages. It is clear that David Bowie breaks through as an actor here, with Ryuichi Sakamoto, Tom Conti, and Takeshi Kitano giving great support. Truly a Nagisa Oshima classic!

AlbertV's Rating: A+

ASSASSINATION GAMES (2011)

2010, Motion Picture Corporation of America

Director
Ernie Barbarash
Producers
Brad Krevoy, Patrick Newall, and Justin Bursch
Writer
Aaron Rashaan Thomas
Cinematography
Phil Parmet
Editing
Peter Devaney Flanagan

Cast
Jean-Claude Van Damme [Vincent Brazil], Scott Adkins [Roland Flint], Ivan Kaye [Polo Yakur], Valentin Teodosiu [Blanchard], Alin Panc [Kovacs], Kevin Chapman [Culley], Michael Higgs [Godfrey], Kristopher Van Varenberg [Schell], Marija Karan [October], Bianca Van Varenberg [Anna Flint]

After their work together on Isaac Florentine's THE SHEPHERD: BORDER PATROL (2008), Jean-Claude Van Damme and Scott Adkins play unlikely allies in this tense action thriller from director Ernie Barbarish.

Vincent Brazil is an aging assassin in Bucharest, Romania. As he recently completed his latest mission, he is given a new mission from his contractor Culley. The target is local mob boss Polo Yakur. Polo is a ruthless gangster who gets things his way at any cost. As a matter of fact, he and his boys terrorized a couple and after gang-raping the wife, the wife is now in a coma. The husband, Roland Flint, also is a top assassin. When Brazil goes to kill Polo, Flint happens to be there as well. The ensuing shootout results in the death of Polo's brother.

When Brazil and Flint confront each other, they soon realize the only way to stop Polo is to team up together. Brazil wants the money for the job while Flint wants to seek revenge for the attack on his wife. Polo learns of the arrangement and hires two corrupt police officers to go after Brazil and Flint. Will the two assassins successfully hit their targets and at what cost?

Aging action hero Jean-Claude Van Damme and British martial arts ace Scott Adkins (who idolized JCVD) work well as a team here. Previously, they had fought each other in Isaac Florentine’s 2008 film THE SHEPHERD. The chemistry between the two seems to work well as a pair of assassins who have different agendas for the same target. This theme is reminiscent of a classic kung fu film, THE SECRET RIVALS (1976), where two experts of various styles have different agendas for the same villain. Where they used kung fu, Van Damme’s Brazil is a knife expert while Adkins resorts to using firepower with a dash of martial arts. While it is not the martial arts spectacle one usually expects from Adkins, it is more about Adkins driving away from his usual dose of MA mayhem and resort of a more dramatic action film.

The interesting choice of casting the progeny of Jean-Claude Van Damme somehow works with this film. Kristopher Van Varenberg plays Schell, one of two corrupt officers working for the target while Bianca Van Varenberg shows a more dramatic performance in the role of Anna, the comatose wife of Scott Adkins’s character. A mystery comes in the form of October, played by Marija Karan. She doesn’t offer much to her role as she is a foil who seems to have a thing for Van Damme’s aging hitman. While she sees Brazil as a lonely man, Brazil actually has a few turtles to keep him company.

As mentioned, Van Damme and Adkins are more known for their skills in martial arts. However, the martial arts aspect of the film is kept to a minimum here. In his brief fight scene against Adkins, Van Damme resorts to using more close quarter attacks while in another brief scene, Adkins throws a few kicks against some of the villain’s guards. However, when it comes to unarmed combat, Adkins follows suit and uses more close quarters attack. Many may not like that idea, but for this film, it works out pretty nicely.

ASSASSINATION GAMES is worth at least a rental to see what Van Damme and Adkins can do without using too much of their trademark martial arts. It survives thanks to the premise of the film and some pretty good action scenes.

AlbertV’s Rating: B

THOR (2011)

2011, Paramount Pictures/Marvel Enterprises

Director
Kenneth Branagh
Producer
Kevin Feige
Writers
Ashley Edward Miller, Zack Stentz, and Don Payne; story by J. Michael Straczynski and Mark Protosevich
Cinematography
Haris Zambarloukos
Editing
Paul Rubell

Cast
Chris Hemsworth [Thor Odinson], Natalie Portman [Dr. Jane Foster], Tom Hiddleston [Loki], Stellan Skarsgard [Dr. Erik Selvig], Kat Dennings [Darcy], Idris Elba [Heimdall], Rene Russo [Frigga], Anthony Hopkins [Odin Allfather], Ray Stevenson [Volstagg], Jaimie Alexander [Sif], Tadanobu Asano [Hogun], Joshua Dallas [Fandral], Colm Feore [King Laufey], Clark Gregg [Agent Phil Coulson]

The Norse God of Thunder and Marvel Comics' superhero is given the live action film treatment and thanks to the direction of Kenneth Branagh, is one for the ages.

Thor is the son of Odin, the ruler of Asgard. The next to take over the throne, Thor learns of old rivals getting into Asgard and attempting to steal a relic Odin took years ago after a war ensued between the Asgardians and the Frost Giants. When Odin tells Thor to stand ground, he disobeys his fathers and along with his brother Loki and his friends, they herad to Jordheim, the land of the Frost Giants. After a warning to leave Jordheim, Thor unwittingly sets off another war between Asgard and the Frost Giants.

Odin is angered by Thor's action and his arrogance. Called an old man and a fool by his son, Odin finds himself no other alternative. He relinquishes Thor of his powers and banishes him to Earth. Once there, Thor finds himself in the company of a scientist team consisting of Dr. Jane Foster, Dr. Erik Selvig, and intern Darcy. As Thor continues to act arrogant on Earth, Odin falls into a coma. Loki takes over the throne and hatches a devious plot to ally himself with the Frost Giants. Meanwhile, Thor begins to learn more about emotions and humility. When Loki unleashes a monster called The Destroyer to wreak havoc, Thor must learn the ultimate lesson in humility to regain his powers and stop his brother once and for all.

The legend of Thor comes from Norse mythology. Thor is considered the God of Thunder. When Marvel Comics adapted the character, the original story involved a disabled doctor who has the power to transform into Thor with a strike of his walking stick. When Marvel finally went ahead with the long awaited film adaptation, they had plans to use this original story. However, when famed British actor and filmmaker Kenneth Branagh came on board to direct the film, the story was changed to a more subtle storyline that meshes the Marvel universe with something expected in perhaps a Shakespeare play. Surprisingly, this mesh works very well.

Australian Chris Hemsworth beat out a series of other actors, including his own brother Liam and TRUE BLOOD actor Alexander Skarsgard to win the coveted role of Thor. Hemsworth has truly made the role his, combining the look of Thor (long blond hair and icy blue eyes) with a great performance as a warrior with an attitude who must learn humility to regain his godly powers. Hemsworth also performs the action quite well, dabbling in some close quarter style combat when Thor finds his hammer, Mjolnir, surrounded by the organization known as S.H.I.E.L.D.

The storyline' Shakespearean style comes in the form of a sibling rivalry between princes. Along with Hemsworth, Tom Hiddleston churns out a wonderful performance as Thor's brother Loki, who starts out as an ally and one loyal to his brother to one who grows into a treacherous rival who learns of his true origin and uses it to his advantage in his attempt to take over Asgard. The ever popular Anthony Hopkins brings greatness in the role of Odin, the ruler of Asgard who is forced to take away his son's powers.

Natalie Portman returns to comic book films (after the sucessful V FOR VENDETTA (2006)) to play Dr. Foster, a scientist who believes that Thor is not from Earth and delves into his world. She feels a special connection to Thor and eventually, a love story between the two is imminent. Stellan Skarsgard does well as Dr. Erik Selvig, Jane's superior who attempts to debunk Thor's story but grows to become a true ally...or does he? Kat Dennings fits the role of college intern Darcy to a tee with her college style humor. She brings a bit of comic relief to the mix when it comes to her scenes with Thor. In his extended cameo, Clark Gregg reprises his role of Agent Coulson from IRON MAN 2 (2010) and tries to understand who Thor is and where he is from.

For those who have not seen the film as of yet, there are two special cameo appearances. One this reviewer will say is that of Samuel L. Jackson, who returns to play Nick Fury as THOR is part of the set up for the 2012 ensemble film THE AVENGERS. The other is one that will not be spoiled, but this reviewer will say that this particular cast member is also part of THE AVENGERS and he appears mid-way through the film. No, it is not Robert Downey Jr. as Iron Man either. Hemsworth will not only be in THE AVENGERS but in 2013, he will return to the role in THOR 2, which there will be a new director as Kenneth Branagh will not return.

THOR is truly a great adaptation of the Marvel Comics hero, thanks to the performance of its cast, a great storyline that plays out like a modern day Shakespeare play and the direction of one Kenneth Branagh.

AlbertV's Rating: A

SAINT (2010)

2010, Tom De Mol Productions/Parachute Pictures/A-Film Distribution

Director
Dick Maas
Producers
Dick Maas and Tom De Mol
Writer
Dick Maas
Cinematography
Guido van Gennep
Editing
Bert Rijkelijkhuizen


Cast
Egbert-Jan Weeber [Frank], Caro Lenssen [Lisa], Bert Luppes [Goert Hoekstra], Escha Tenihatu [Sophie], Huub Stapel [Saint Nicholas]


From the director of the international horror hits THE LIFT (1983) and AMSTERDAMNED (1988) comes this holiday thriller, revolving around the legend of Saint Nicholas.


In the Netherlands, December 5 is usually a day of celebration as they celebrate Saint Nicholas. The legend is that St. Nick is a bishop who comes to town to bring presents to all the good children of Holland. However, according to an urban legend, Nicholas is actually a child murderer who strikes whenever there is a full moon on December 5. In 2010, a full moon falls on Amsterdam on December 5.


Detective Goert Hoekstra is put on indefinite leave when he proposes a boycott of the holiday due to past events. As a child, Goert had seen his family massacred by what he believes is the ghost of St. Nicholas. While no one of the force believes his story, bodies begin to pop up, including that of local college girl Sophie. When Frank, Sophie's ex-boyfriend, is framed for her murder and the murders of his friends, the police are shocked to discover St. Nicholas riding his horse on the rooftops of Amsterdam. When Frank is able to escape after the chase, he meets Goert. Together, they plan to stop St. Nicholas and his reign of terror once and for all.


There have been many controversial holiday horror films, including the 1984 cult classic SILENT NIGHT, DEADLY NIGHT. Where that film featured a serial killer dressed as Santa Claus, SAINT features the zombified ghost of Saint Nicholas. Writer/director Dick Maas nearly caused an uproar in his native Netherlands with the film. However, the film overall is proven to be one of his good films.


In an interesting reversal of trademark, Maas has cast one his favorite actors, Huub Stapel, in the villain role. Stapel, who played the hero in both of Maas' international films THE LIFT and AMSTERDAMNED, appears as the evil Saint Nicholas, or Niklas in Dutch. The opening is set in 1492, where Niklas and the Black Piets ravage a small village only to have the tables turned on them when they are burned to death.


In the role of the elder detective is Bert Luppes. Luppes tends to overplay his performance in the role of Goert, who as a kid, saw his family murdered at the hands of Nicholas, who had become zombified. While no one believes his story, he proves to be the only one who is correct only to find a believer in local college boy Frank, played with at times comic relief by Egbert-Jan Weeber. The lead female roles, played by Caro Lenssen (daughter of popular Dutch actress Renee Soutendijk) and Escha Tanuhati are practically there to just sit there and in the case of the latter, get killed.


Despite the bad acting, the highlights are the death scenes and in the vein of AMSTERDAMNED, a spectacular stunt sequence. The deaths are at times very gruesome with lots of impalements and a very nicely done decapitation from Nicholas' curves staff. The nicely shot stunt scene involves Nicholas riding on his horse jumping on the rooftops of Amsterdam. Now, this looks to have been done by a combination of greenscreen technology and CGI, but it still looked pretty impressive for this type of film. Kudos goes out to stunt coordinator Willem de Beulaker for pulling this off as well as a nicely done car stunt involving Weeber taking on members of the Black Piets, Nicholas' zombie henchmen.


SAINT is definitely a pretty good Dick Maas horror film. While the controversy revolves around Holland's St. Nick, Maas has crafted a great film in the vein of SILENT NIGHT, DEADLY NIGHT and mixes it with some great stunts. It is clear why Dick Maas is truly one of the most underrated directors to come from the Netherlands.


AlbertV's Rating: B

REVIEW: 9413

1998, Booms Movie Production Ltd./Mandarin Films Distribution

Director
Francis Ng
Producers
Herman Yau and Karbie Ng
Writer
Sandy Shaw
Cinematography
Herman Yau
Editing
Eric Cheung

Cast
Francis Ng [Smash-Head], Christine Ng [Dr. Carmen Leung], Amanda Lee [Mandy], Fredric Kao [Officer Kar], Lee Kin-Yan [Fatty Chuen]

Plot
Hong Kong police officer Smash-Head accidentally shot a female hostage but was cleared of all charges thanks to his corrupt boss Officer Kar. However, this action has caused Smash-Head to go crazy. He busts criminals without identifying himself, he spends his time dancing and going to nightclubs. However, when he is given a chance to see psychiatrist Dr. Carmen Leung, he begins to slowly feel a sense of redemption. However, he still has to deal with Officer Kar and his shady dealings. When is ultimately forced to choose sides, Smash-Head delves into depression and madness but decides he must make the right decision.

Review
Francis Ng is definitely quite a talent in Hong Kong. Perhaps best known for his role of Ugly Kwan in the first YOUNG AND DANGEROUS film, he makes his directorial debut here with Sandy Shaw's script about a cop forced to go bad but seeks redemption.

Ng looks to be perfectly suited for the role of Smash-Head, the police officer who enters a downward spiral because of an accident. As a result, he is forced to deal with his dirty boss's dealings for money. Smash-Head even goes as far as going to the local nightclub just to see club girl Mandy, played by Amanda Lee. However, despite all the madness, there is a very funny scene worth mentioning.

At a local club, Smash-Head yells at the band for being too boring. When the band plays a more upbeat tune, he gets excited and not only dances, but goes as far as stripping down to his skivvies for the crowd. This is perhaps the only comical scene to break away from the seriousness of the film. While the character of Smash-Head may seem at first a comical character, it is more than that as the film progresses.

9413 is a pretty good directorial debut for actor Francis Ng, combined with his performance and Sandy Shaw's script about a man who is internally combusting and forced to do the right thing.

AlbertV's Rating: A

REVIEW: Taxi Driver (1976)

1976, Columbia Pictures/Bill-Phillips Productions Inc./Italo-Judeo Productions

Director
Martin Scorsese
Producers
Michael Phillips and Julia Phillips
Writer
Paul Schrader
Cinematography
Michael Chapman
Editing
Tom Rolf and Melvin Shapiro

Cast
Robert DeNiro [Travis Bickle], Jodie Foster [Iris], Harvey Keitel [Sport], Peter Boyle [Wizard], Albert Brooks [Wizard], Cybill Shepherd [Betsy]

Plot
Travis Bickle is a former Marine who lives in New York City. Finding a job as a nighttime cab driver, he goes everywhere in the city. He is disgusted with all the pimps, prostitutes, and drug dealers of the city. However, it is more that he is lonely. He has no friends and spends his free time either at the adult theaters or at home. When he meets political volunteer Betsy, he falls for her. However, a terrible first date leads Travis to lose her. As Travis draws deeper into both depression and insanity, he meets Iris, a 12-year old runaway who has become a child prostitute. He decides to help her at any cost, thus showing his personality as a lonely man who is tired of the "garbage" of New York City.

Review
Over the past few decades, Martin Scorsese and Robert DeNiro have been one of the most prolific director-actor teams in Hollywood. After their first collaboration MEAN STREETS (1974), the pair returns in what is hailed as a classic film.

DeNiro gives out of his greatest performances as an ex-military man who moonlights as a taxi driver. The reason is because he is both bored and lonely. Set in New York City (and shot on location), DeNiro's Bickle is someone who hates all of the "garbage" of New York City yet he spends time at the adult movie theaters when he is not at work. While this may be seen as a hypocrisy, it is more that Bickle is so lonely that his mind isn't set right. Thus, it is Bickle's slow departure into violent tendencies that drives the film as a whole all because of his loneliness.

He does find a potential love interest in Betsy, a volunteer campaign manager, played well by Cybill Shepherd. However, he has more of a dark style of approaching her, first by stalking her at work. He finally does make his way to ask her out and while their coffee date goes well, their actual first date is a disaster. Why? Because Travis takes Betsy to a (you guessed it) porno movie. At first, he doesn't seem to let go, but finally snaps when he confronts her at work. This shows that Travis, just for the slightest while, seemed happy, until the porno movie bit sends him back to square one.

In comes Jodie Foster's Iris, who ultimately becomes the catalyst for Travis' breaking point. Learning about her past and as to why she has become a child prostitute makes him finally snap. He offers to help her and while she doesn't believe, he ultimately risks his life to save someone and perhaps, save himself from the loneliness that has taken over his life. It is as if Travis wants to act like either a father figure or "big brother" to Iris because he doesn't really have anyone to rely on. Even hanging out with his fellow cabbies on break doesn't really help him throughout the course of the film as he sits there while Wizard (Peter Boyle) tells some stories about his work.

TAXI DRIVER is truly a great film that combines a great storyline about one man's loneliness and doing what it takes to break it, all complemented with one of Robert DeNiro's most exciting performances.

AlbertV's Rating: A+

REVIEW: Coffy (1973)

1973, American International Pictures

Director:
Jack Hill
Producer:
Robert A. Papazian
Writer:
Jack Hill

Cast:
Pam Grier [Coffy], Booker Bradshaw [Howard Brunswick], Robert DoQui [King George], William Elliott [Carter], Allan Arbus [Arturo Visconti], Sid Haig [Omar], Barry Cahill [McHenry]

Plot:
Coffy works in the daytime as a nurse. However, she is on a personal quest of vengeance. Her younger sister had been forced to take drugs and as a result, she is a patient at the hospital. Coffy poses as a local hooker who picks up drug dealers and then goes after them. With help from aspiring politician Howard, Coffy gets more information on two of the top drug dealers of the city, King George and Arturo Visconti. She decides to start a war by playing both sides of the equation against each other. However, Coffy soon realizes that there is more than there seems to be.

Review:
Writer/director Jack Hill teams up with one of his discoveries, Pam Grier, in this classic Blaxploitation action film. As the titular character, Grier delves as perhaps the prototype for films like LA FEMME NIKITA (1990) and NAKED KILLER (1992). While the more recent films depict the sexuality in terms of its use in the assassin world, Grier uses her sexuality here to start a war between drug dealers all in the name of revenge. However, unlike the assassins of today, Coffy is a everywoman with a regular job, in this case, a nurse.

The film has the central theme of revenge as she goes after the dealers for her little sister, who has been victimized by drugs. While the drug dealer who was responsible for her sister’s undoing is never revealed, Coffy is a one-woman army against all the drug dealers. In the first ten minutes, she blows a dealer’s head off with a shotgun with the embers still flying into the dealer’s afro. In the spirit of the 1966 spaghetti western DJANGO, Coffy learns of the two biggest drug dealers and decides to play them against each other. To show the racism of one of the drug dealers, he has his ally/nemesis killed in a way that was done in the days of history.

The film offers an interesting twist at the end and it is this film’s success that Hill originally wanted a sequel. The movie would have been called BURN, COFFY, BURN. However, the film’s production company opted not to do a sequel. However, Hill prompted to make a new action film with Pam Grier with practically the same premise. That film would be the more popular FOXY BROWN, released nine months after this film was released.

COFFY truly is a great film. While the typical plot themes of Blaxploitation are there, one can’t help but see Pam Grier blow someone’s head off (both yes and no pun intended) all in the name of revenge.

AlbertV’s Rating: B+