Showing posts with label rambo. Show all posts
Showing posts with label rambo. Show all posts
October 14, 2014
Podcast Episode 34: JOHN RAMBO Is A Small Wonder
And thus concludes our Epic Rambo Rewatch.
The fourth entry, titled John Rambo or simply Rambo depending upon which version of the Blu-ray you're watching, is most notable for being the least Rambo of all the Rambo movies. There aren't many hallmarks of this franchise but the most recognizable of them, namely a scene in which Rambo slowly takes out a group of enemies in an enclosed space one at a time as well as the presence of an on-the-nose power ballad over the closing credits, are conspicuously absent in this (perhaps) final go around. It's therefore hard not to walk away from this movie feeling like Rambo/Stallone accidentally wandered into some semi-generic action film. Julie Benz will try your patience as she spends most of the first half of the film blandly monologuing, although every time her dickhead fiance wanders into frame the potential for unintentional comedy skyrockets. (I'm looking at you, awkwardly staged boat scene.) And Stallone's desire to legitimately educate the audience about the plight of the Burmese people while simultaneously portraying the military as virtual caricatures of evil is so blunt that it's kind of astounding. It's as if he's trying overly hard to justify the violence that Rambo will visit upon these bastards later on. But stick around because the last 20 minutes is a glorious melee of CG blood and guts as Rambo rips throats, cuts off heads and shoots guys so severely that they simply explode into a completely liquid state. It's awesome.
I'm really happy with the say this whole revisitation played out, as it gave me the chance to honestly re-evaulate the Rambo franchise for the first time in a decade. I discovered that Rambo III was much better than it gets credit for, while First Blood Part II is kind of an overhyped snore. I'm can't wait to dig into the next franchise on our docket, Terminator.
A note on this week's podcast: We spend a bunch of time talking about Marvel's plans for Avengers 3 and beyond, name the idea that most of the current Avengers may not actually appear in that film and the possibility of Sony, in a fit of desperation, finally allowing Spider-Man to play in the Avengers sandbox. As I was posting this podcast last night the news broke concerning Robert Downey Jr's deal to appear in Captain America 3, signaling the beginning of Marvel's Civil War storyline. I'll have more thoughts about this later, but I stand by everything we talked about in the podcast and I think our positions are pretty fairly validated by this latest development.
Also, fair warning: The section where we watch 80's sitcoms of our youth is a little uneven from an audio perspective. The TV audio is a little quiet and our reactions are pretty loud. Be glad that I edited that section down a bit, particularly the moment from the Small Wonder pilot where the son gropes his robot sister and says, "She even feels like a girl," which literally sent us screaming out of the room in horror. It's a wonder we didn't break the microphones.
Next Week: Brad Pitt drives a tank in Fury and hopefully also The Terminator.
October 08, 2014
Podcast Episode 33: Crouching Shatner, Hidden Netflix And A Requiem For RAMBO III
History is not always kind to movies. Particularly in the case of franchises, if a movie delivers a dramatic departure from the audience's expectations then the audience can turn on a film that's actually pretty good in its own right, thus souring the film for future generations based on reputation alone. I now believe Rambo III to be just such a movie. I also believe that anyone who tells you that Rambo II is the best of the franchise is functionally braindead.
The third entry in the Rambo series is far better than I remember it being, utilizing a clever role reversal by essentially having Stallone's musclebound super-soldier team up with the Soviet Union's version of the Viet Cong in Afghanistan while also delivering some of the best action in the franchise to date. I suspect that the long sections where Stallone halts the story to educate Americans as to the plight of the noble Afghan freedom fighters turned off audiences who just wanted to see Rambo stab the shit out of some Russians, but viewed through the lens of 2014 the film serves as a stark reminder that once upon a time our government considered the mujahideen to be heroes as opposed to terrorists.
Also, at one point Stallone sets his own spleen on fire.
Episode 33 of the podcast has some Rambo III talk at the end, but is mostly devoted to a discussion of whether or not William Shatner should return to the role of James T. Kirk in the next Star Trek film and the future of that franchise in general. Bart and I also chat at length about Netflix's upcoming sequel to Crouching Tiger, Hidden Dragon and how the theatrical landscape continues to shift as theater owners refuse to screen the film in IMAX theaters. Taken alongside the announcement that Netflix has signed Adam Sandler to a four picture deal, it's hard not wonder how the one-time DVD rental service will continue to impact both the development and distribution process going forward. This episode marks a bit of a shift in the podcast's overall structure, focusing more on what's happening in Hollywood this week than just about the particular movie we screened. I'm hoping to continue down that same path going forward.
Next Week: Our Rambo Rewatch comes to a bloody, bloody end with Rambo.
September 29, 2014
Podcast Episode 32 - Denny Crane vs. RAMBO: FIRST BLOOD PART 2
We've now officially past the halfway mark of our Epic Rambo Rewatch, which is the part where I'm left scratching my head wondering, "Why were these movies so popular?" As we noted in last week's conversation about First Blood, when people think about the character of Rambo, they're usually thinking about him from Rambo: First Blood Part II. And yet, this Rambo is kind of...boring. Stallone is at his best when he's allowed to be just a touch goofy, but here Rambo has become an emotionless cypher of destruction, morosely slaughtering dozens of faceless Vietnamese and Soviet soldiers in his attempt to rescue a group of American POWs. At least in the first installment Rambo was dealing with some pretty serious emotional trauma, which made his violent behavior kind of fascinating. Now he's basically a killer robot, which is ironic considering the movie's clear-cut hatred of technology and rigid systems. Is this really what we wanted from our action heroes in the 80's? All righteous fury and no semblance of humanity?
And while Rambo is an absolute void of personality, the same can be said of the direction by George Cosmatos. Sure, you've got plenty of combat, chase sequences and machismo, but it's all fairly perfunctory with no trace of any real joy or style. Even the part where Rambo obliterates an enemy soldier with his one of those exploding arrowheads feels somehow unremarkable, which might be the film's single biggest crime. There's no actual tension to any of the action, nor do you ever emotionally invest in Rambo's need to liberate his fellow soldiers. It's almost hard to believe that this is the same guy who directed Tombstone. It's very easy to believe that this is the same guy who directed Cobra.
In our latest podcast, Bart and I delve into our disappointment over one of Stallone's signature roles while simultaneously discovering the joy that is Charles Napier's rich and varied filmography. We also question the likelihood of Ryan Reynolds' long delayed Deadpool movie, chuckle at the cast of Police Academy fending off lava-spewing giant spiders and the marvel at the possibility that William Shatner's greatest role might in fact be Denny Crane.
Next Week: We gird our loins for Rambo III.
September 23, 2014
Podcast Episode 31: Drawing FIRST BLOOD In Our Epic Rambo Rewatch!
I've been hankering to revisit both of Stallone's most successful franchises, Rocky and Rambo, for quite some time. I'm intimately familiar with his pugilistic masterpiece, but amazingly I've only seen each of the Rambo films a single time each. Bart has only seen one film all the way through. That situation is simply untenable.
Thus we've begun to reexamine this bloody series starting with First Blood, which I remember as being easily the best movie in the series. When you think of Rambo, most people think of the character's second incarnation: a shirtless, headband clad uber-soldier cutting a swath of righteous destruction through an enemy jungle. (Either that or you think of this scene from UHF or most of Hot Shots Part Deux.) It's easy to forget that the first entry in the series is actually a harrowing nightmare of PTSD-fueled violence set in small town in Oregon, or that the film has quite a bit to say about society's mistreatment of military veterans.
But there's also a lot of Stallone being a total badass, so that's what audience chose to focus on.
In our latest episode, Bart and I discuss Rambo's gritty origins, determine whether Brian Dennehy is a complete dick and ponder whether or not Rambo should have died in the end as originally intended. We also chat about Matt Damon's imminent return to the Bourne franchise, speculate as to a future King Kong/Godzilla face off and discover Google's spectacularly unflattering celebrity profile pics.
Next Week: Rambo: First Blood Part II
September 15, 2014
Podcast Episode 30: ROGER RABBIT And Robin Wright At THE CONGRESS
The first 30-40 minutes of Ari Folman's The Congress is absolutely riveting. Robin Wright plays a fictionalized version of herself, an actress who threw away her early stardom in order to take care of her young son. Now, as the filmmaking process stands on the edge of a massive shift away from flesh and blood actors, Robin is offered one last contract by a studio who wants to digitally scan both her physical and emotional likeness in order to insert her into whatever film they see fit. Folman and Wright clearly have a lot to say about the power of choice and the nature of control, and maybe it's just my love of Hollywood inside baseball but the whole thing is fascinating.
And then we jump 20 years in the future and becomes largely animated, and while the visual palate is both fun and stylish, the story goes somewhat off the rails here. I think it's mostly because the status quo of this new world is not very firmly established before the audience is dropped into a communal hallucination where it becomes difficult to distinguish reality from imagination. It's a visual feast to be sure and often quite funny, but it also borders on incoherent at times. I was expecting to see Wright interacting with various incarnations of her artificially created self, but instead she gets embroiled in some kind of revolution before emerging into an apocalyptic nightmare in search of her son.
Still, even in its weaker moments the film is always engaging, and in its stronger moments you cannot tear your eyes from the screen. You should watch this movie if only for the actual scanning scene where Harvey Keitel, as Robin's agent, delivers a heart-breaking monologue that will burn itself into your memory.
And since we're dealing with blurred lines between humans and cartoons, we also talk briefly about Who Framed Roger Rabbit, although that conversation was ultimately cut short by my wife's insatiable desire to see college football.
Jenna Gabriel joins us for all this plus a discussion of film vs digital projection, Tarantino's takeover of the New Beverly Cinema, the design of the newest Batmobile and the dubious merits of Space Jam.
Next Week: In light of a possible fifth entry, we kick off a month-long rewatch of the Rambo series.
Labels:
ari folman,
batman v Superman,
batmobile,
bob hoskins,
dawn of justice,
harvey keitel,
new beverly,
podcast,
quentin tarantino,
rambo,
robin wright,
the congress,
who framed roger rabbit
July 11, 2013
Giant Monster Live-Tweet Part 1: GOJIRA (1954) Is A Nuclear Nightmare
"There is no difference between Godzilla and the H-bomb."You guys, I am really excited about Pacific Rim. Like, REEEEAAAALLLYY excited.
When I'm this stoked for a movie's release, I'm all about watching other films to get myself in the right frame of mind, whether that means spending all day watching a Marvel movie marathon before the midnight showing of The Avengers or revisiting Richard Linklater's Before Sunrise and Before Sunset in anticipation of a Before Midnight screening. Thusly, I've decided to spend the remainder of the week* live-tweeting a series of giant monster movies, a genre which I'm sorry to say I've largely neglected over the years. I want to get a bit of variety in these screenings (I could spend the better part of a month watching nothing but Godzilla movies) but I'll be heavily favoring older fare, as I've already seen a lot of the more recent monster flicks like The Host (this, not this) or Monsters.
It seemed only fitting that I should kick things off with the Elvis of giant monster movies, the original Japanese Gojira from 1954. (The film was released in America two years later with a bunch of Raymond Burr scenes edited in, but that version really only interests me as a curiosity.) It immediately reminded me of the first time I watched First Blood. Growing up in the late 80's/early 90's, Rambo had essentially become punchline. My only knowledge of the character was the image of an oiled up, muscly super-soldier. Basically, this:
So imagine my surprise when I discovered that the movie that started it all is actually a darkly violent tale of post-traumatic stress-fueled rampage induced by abuse at the hands of small-minded yokels. I was absolutely thunderstruck. Not only did this not fit in with my understanding of the character, but I was astonished to see just how far the franchise eventually strayed from its roots while simultaneously gaining a choke hold on popular culture. (Hell, at one point there was a Rambo Saturday morning cartoon.)
Godzilla is much the same. We all think of it as kind of a campy series featuring guys in rubber suits fighting each other while stomping around tiny model towns, but the first entry is actually a horrifying meditation on the dangers of nuclear proliferation. Godzilla is a monster baptized by radioactive fallout, the product of both millions of years of evolution and mankind's most devastating invention. This is a film made less than ten years after America wiped two Japanese cities off the map in the blink of an eye and the cultural reverberations are unmistakable. In 1954, the Japanese people are still rightfully haunted by the world's first nuclear holocaust, so it's of little surprise that the most expensive Japanese film to date would depict the destruction of Tokyo and the terrorizing of the Japanese people by a gigantic nuclear beast. It's also little surprise that it would become such a success at the box office.
But it's not all monsters and destruction. There's also some great human drama that really drives the majority of the film. (Godzilla himself doesn't even appear on screen until 22 minutes in.) There's the professor who wants to study Godzilla rather than destroy him. Not only does he find the creature a fascinating historical specimen, but he believes that Godzilla's resistance to radiation could prove vitally important to humanity's survival. There's also the scientist who's inadvertently creates a weapon so terrifying that he's willing to die just to keep it from ever being used again. (More shadows of the mushroom cloud here.) And on top of all that we get an old fashioned love triangle for good measure. So there's something for everyone.
Gojira is a truly remarkable film and the fact that Toho Productions shot this at the same time as Seven Samurai is mind-blowing. (They were both contenders for Japan's Best Picture award that year, with Samurai emerging victorious.) This was the perfect way to start off my Pacific Rim prep, setting a serious tone before getting into some of the later, sillier monster brawls.
On to the live-tweets!
Alright, first Giant Monster Live-Tweet is the original GOJIRA. Flame on.
— Daley Screening (@DaleyScreening) July 10, 2013
Holy shit the roaring! Not fucking around.
— Daley Screening (@DaleyScreening) July 10, 2013
I'm already starting to feel guilty about all the nuclear horror on display.
— Daley Screening (@DaleyScreening) July 10, 2013
Oh, black and white day for night. Aren't you the most muddied and charming thing I've ever seen.
— Daley Screening (@DaleyScreening) July 10, 2013
How long ago were they committing human sacrifice? Within a generation? That seems insane, no?
— Daley Screening (@DaleyScreening) July 10, 2013
Oh man, the ground is shaking, here comes the big guy...
— Daley Screening (@DaleyScreening) July 10, 2013
So much for that dude...
— Daley Screening (@DaleyScreening) July 10, 2013
Oh no, that dude lived! Nice twist, movie.
— Daley Screening (@DaleyScreening) July 10, 2013
Wow, still working the slow play on the monster reveal, huh? I'm surprised but I guess I shouldn't be. Classic move.
— Daley Screening (@DaleyScreening) July 10, 2013
"Goodbye! Farewell, creepy eye-patch guy!"
— Daley Screening (@DaleyScreening) July 10, 2013
He's got sunglasses OVER his eyepatch. That seems partially redundant.
— Daley Screening (@DaleyScreening) July 10, 2013
MAN IN SUIT! MAN IN SUIT! MAN IN SUIT!
— Daley Screening (@DaleyScreening) July 10, 2013
This court scene is basically a recap of the last 20 minutes, just to make sure everyone's TOTALLY on board with Godzilla's backstory.
— Daley Screening (@DaleyScreening) July 10, 2013
I like the women yelling about transparency. Can't tell if they're supposed to be dumb and screechy or the wise voice of reason.
— Daley Screening (@DaleyScreening) July 10, 2013
Depth charges! Awesome. Always makes me think of the Penguin sub in the Adam West BATMAN movie.
— Daley Screening (@DaleyScreening) July 10, 2013
Oh, Criterion you're the best. You make everything look awesome.
— Daley Screening (@DaleyScreening) July 10, 2013
"I swear I didn't love him even BEFORE he had an eyepatch."
— Daley Screening (@DaleyScreening) July 10, 2013
"Hey reporter guy, shut up so I can break this cyclops' heart."
— Daley Screening (@DaleyScreening) July 10, 2013
Never follow Creepy Eyepatch guy into his locked basement! This never ends well...
— Daley Screening (@DaleyScreening) July 10, 2013
Especially when you're about to break up with him! Jeebus.
— Daley Screening (@DaleyScreening) July 10, 2013
WHAT THE FUCK JUST HAPPENED IN THAT FISHTANK???
— Daley Screening (@DaleyScreening) July 10, 2013
"Face it man, she's never gonna leave Ceepy Eyepatch for you..."
— Daley Screening (@DaleyScreening) July 10, 2013
I did have sushi for lunch, which feels appropriate. Wish I had some now.
— Daley Screening (@DaleyScreening) July 10, 2013
This is some excellent model train work.
— Daley Screening (@DaleyScreening) July 10, 2013
Jesus Fuck, Godzilla is a BEAST. He will fuck up your miniature town like it's his job.
— Daley Screening (@DaleyScreening) July 10, 2013
I feel like Creepy Eyepatch is about to walk in on these two having an intimate dinner.
— Daley Screening (@DaleyScreening) July 10, 2013
"Everything you believe is wrong. Also, can I marry your daughter?"
— Daley Screening (@DaleyScreening) July 10, 2013
Yeah, trying to keep Godzilla out of Tokyo the same way you keep a dog in your yard probably wasn't the wisest plan.
— Daley Screening (@DaleyScreening) July 10, 2013
Oh wow that heat breath is badass. The power lines melting is a sweet effect.
— Daley Screening (@DaleyScreening) July 10, 2013
Wow that felt like an cut scene from nuclear test blast footage. I'd be terrified if I saw this in Japan in 1954.
— Daley Screening (@DaleyScreening) July 10, 2013
"Right now, Godzilla doesn't hold a candle to MAN OF STEEL's destruction." -An asshole
— Daley Screening (@DaleyScreening) July 10, 2013
Holy shit how did Godzilla just sneak up on these guys? They really didn't notice him?
— Daley Screening (@DaleyScreening) July 10, 2013
Godzilla is the opposite of Flava Flav: he hates clocks.
— Daley Screening (@DaleyScreening) July 10, 2013
Oh wow, glowing ridges! Sweet!
— Daley Screening (@DaleyScreening) July 10, 2013
I love all these close ups of buildings collapsing with no visible Godzilla. Like he's stepping on a different part of the building.
— Daley Screening (@DaleyScreening) July 10, 2013
Toy planes with firecrackers to the rescue!!!
— Daley Screening (@DaleyScreening) July 10, 2013
So much for Tokyo...
— Daley Screening (@DaleyScreening) July 11, 2013
When is Creepy Eyepatch's secret evil fish tank gonna come into play?
— Daley Screening (@DaleyScreening) July 11, 2013
Hokey science ahoy! I had no idea this movie would hinge on something called an Oxygen Destroyer.
— Daley Screening (@DaleyScreening) July 11, 2013
The only thing creepier than a guy with an eye patch is a guy with an eye patch wearing a lab coat.
— Daley Screening (@DaleyScreening) July 11, 2013
I've been giving him a lot of shit, but Creepy Eyepatch is actually a great character. I should probably stop calling him creepy.
— Daley Screening (@DaleyScreening) July 11, 2013
Man, that schoolgirl choir really gets to you, huh? "Look at all the people you're about to kill, Eyepatch!"
— Daley Screening (@DaleyScreening) July 11, 2013
"Alright Geiger counter guy, just swing the wand over the water here. If it starts clicking, start swimming."
— Daley Screening (@DaleyScreening) July 11, 2013
Scuba diving with one eye has to suck.
— Daley Screening (@DaleyScreening) July 11, 2013
I love that they're diving down to fight Godzilla underwater. That takes BALLS.
— Daley Screening (@DaleyScreening) July 11, 2013
That guys gonna get the bends like a motherfucker...
— Daley Screening (@DaleyScreening) July 11, 2013
No joke, the model work in this movie is top notch.
— Daley Screening (@DaleyScreening) July 11, 2013
Awwww bye bye Godzilla.
— Daley Screening (@DaleyScreening) July 11, 2013
I always thought that Godzilla was like James Bond and it was always supposed to be the same monster. Guess not
— Daley Screening (@DaleyScreening) July 11, 2013
Wow that was fantastic. Still, I'm excited to get into some sillier Godzillas, with more monsters.
— Daley Screening (@DaleyScreening) July 11, 2013
Next up: Trollhunter...
*I'm taking a break on Saturday to see A Band Called Death at the Brattle, but I'm also planning to revisit something I've already seen just to keep the momentum going, probably The Host since I haven't actually watched it since I first bought it on DVD. Also hoping to squeeze in Godzilla: Final Wars on Sunday morning.
---------------------------------------
Title: Gojira
Director: Ishiro Honda
Starring: Akira Hakarada, Momoko Kochi, Akihiko Hirata, Fuyuki Murakami, Haruo Nakajima
Year Of Release: 1954
Viewing Method: Criterion DVD
Labels:
a band called death,
before midnight,
first blood,
giant monsters,
godzilla,
gojira,
live-tweet,
monsters,
nuclear weapons,
pacific rim,
rambo,
raymond burr,
seven samurai,
the host,
toho productions,
uhf
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