VIDEO REVIEW: Ghost in the Shell

VIDEO REVIEW: Demon Knight

VIDEO REVIEW: Rumble In The Bronx

HERE'S JACKIE!: Rumble in the Bronx

Rumble in the Bronx

Director: Stanley Tong

Year 1995

Rumble in the Bronx is an extremely fun action romp starring martial arts legend Jackie Chan. The film is responsible for introducing the international action star to American viewers, and damn what an impact he has left on the cinema world. After falling on deaf ears with his American efforts, 'Battle Creek Brawl' and 'The Protector', two ridiculously underrated features, Rumble in the Bronx took the US box office by storm opening countless numbers of cinema fans to an entirely new style of action comedy. Sprinkled with humor and filled with tightly choreographed fight scenes, this Hong Kong/Canada production features an in form Jackie as he does what he does best; crazy stunts, over the top comedy, and fast-paced action. I must mention that this is the film that introduced me to Jackie Chan, so needless to say it holds a special place in my cinema-loving heart.

The film follows a young Hong Kong man named Keung, who travels to New York City in order to attend his uncle's wedding. After agreeing to watch over his uncle's market in the Bronx while he is away on his honeymoon, Keung quickly stumbles into a heap of trouble with some local thugs after confronting a group of them shoplifting. Forced to defend his uncle's employees and place of business, Keung expertly takes matters into his own hands and beats up the gang-members, but this only serves to infuriate them and their leader Tony. Armed with his wits and his martial arts abilities, Keung must take on the local gang while desperately trying to keep his new-found friends safe, including his young neighbor Danny and Danny's beautiful older sister Nancy.

Jackie Chan takes on the role of Keung, the soft-spoken Hong Kong native who just so happens to be a martial arts badass. Jackie is absolutely explosive in this entry, putting it all on the line as he displays, with great results, that he is the master of this genre. Coming off the heels of his masterwork, The Legend of Drunken Master, Chan does great justice in introducing his style to an international audience. It's hard to believe that within just three years, Jackie had starred in City Hunter, Crime Story, Supercop 2, the previously mentioned Legend of Drunken Master and Rumble in the Bronx, and finally Thunderbolt, but that is just a testament on how truly hard working the man is. With Rumble in the Bronx, he showcases his unique style in a somewhat American setting and focused for American audiences, and the results are absolutely astounding.

The film is briskly paced, matching the hyper tempo of Chan's expertly crafted choreography, making for a film that doesn't dwell too long on the details, yet rather relishes in presenting the next insane set-piece and action oriented extravaganza. The style on display is a mish-mash of Jackie's trademark film cues as he uses everything but the kitchen sink in his fight scenes, creating some of the most memorable and creative fight sequences in his rather storied movie career. The raid on the gang headquarters is one of the most imaginatively choreographed set-pieces of the film, showcasing Chan as he slips through grocery carts, tumbles under pinball machines, and climbs up walls, all the while using inanimate objects like refrigerators, chairs, and skis as brutal weapons. The action is quick and fierce and it moves so smoothly that it's impossible to not be impressed at the skill on display.

The setting is also rather interesting for this film because we are basically centered in New York City, particularly the Bronx, or Hong Kong's version of what the Bronx would be like. It is strangely represented, having that international flavor on hand thanks to the diverse crew of Canadian and Hong Kong actors comprising the cast of New Yorkers. Anita Mui, an extremely talented and accomplished Hong Kong actress and popstar, takes on the role of Elaine, an associate of Keung's uncle. In this film she's able to flex her comedic muscles and display just how endearing she is as an actress. Canadian born Francoise Yip, also gets some time in the limelight as Nancy the former gang member turned Keung's love interest. It's not the most demanding of roles, but her stunning looks and fierce personality help bring an added kick to the proceedings. The rest of the cast including Morgan Lam as young Danny and Marc Akerstream as the prick turned nice guy Tony, and they do a commendable job in bringing the over the top world to life. Needless to say, the film has its fare share of wild and expressive characters.

Of course it wouldn't be a Jackie Chan film if it didn't infuse comedy into the mix, and with Rumble in the Bronx, Chan hams it up for all he's worth. As usual, a great deal of slapstick and classic comedy, in the vein of Charlie Chaplin, is at the root of the film, and it's all done in good fun. It is a style that has followed Jackie throughout his entire career and one that he has honed as the years have gone by. From his early Lo Wei produced work to his modern American efforts, Chan has always crafted his own unique style of combining comedy with action and Rumble in the Bronx really nails the formula, and in some of the oddest of ways. What I love most about this entry is the energy that it produces. It's infectious, and Jackie seems to feed off of this as he goes ape shit and pushes his body to the limits. That's one thing in a Jackie Chan film that you can always count on, and that is he will go absolutely crazy on the bad guys by the film's end, and this film is no exception. A true classic!

Rumble in the Bronx is an exceptionally good time at the movies and a perfect example of Jackie Chan's immeasurable talents. As an introduction to his work, it is a fine stepping stone, and you really can't go wrong with such an energetic production. Chan is in top form, showcasing why he is the master of this style of film-making, and his stunt work and fight choreography in the film is seamless in its fluidity and ingenuity.

The cast also matches up perfectly with Chan's vision, pulling out the comedic punches and maintaining that same exhausting pace and attention to detail in both expressive performances and relentless action. The diverse cast is a greatly appreciated addition to the film, and it helps to set it apart as a unique vision of this fictionalized version of New York City. Anita Mui, Francoise Yip, Morgan Lam, and Marc Aderstream do a great job in filling in this world, making it extremely entertaining and super-charged. That's really the best way to describe this film... Super-charged. It's fast paced, extremely expressive, outstandingly outrageous, overtly silly, and marvelously entertaining. If that's your thing then jump aboard this Jackie Chan driven crazy train. Rumble in the Bronx is.....

Jackie Chan finds out just how shitty New York City is.

Don't do it Danny! Don't pull Uncle Bill's finger!

Oh Anita Mui.... you're so crazy.

Jackie stumbles onto the Mad Max set. Look out Jackie!

That's one badass chick!

Don't make Jackie angry. You won't like him when he's angry.

See what I mean about over expressive!

It's Jackie the zombie! RUN!

Jackie! Stop playing with those man's balls!

Weeeeeeee!

Get some Jackie!

Jackie... you silly, silly man.

Look at this guy! He's a freak of nature!

Strike a pose there's nothing to it.... Vogue!

What the hell did you say about my jean jacket?!?!

Jackie quit clowning around!

Jackie look out!

Oh shit! He's got that look in his eyes again!

REVIEW: Congo

Congo

Director: Frank Marshall

Year 1995

Congo is a ridiculously enjoyable, yet highly overlooked, gem, which features an outstanding cast and a slew of impressive practical and digital effects. The film basks in its adventurous nature while never forgetting to inject an abundance of fun and wonder into the mix, and the combination of all of its elements makes for one hell of an enjoyable ride. Spirited in nature and whimsically daring, Congo whisks us away to a world filled with savage jungles, ancient temples and killer apes, all in the name of adventure and fun. Sign me up!

The film follows a motley group of scientists and adventurers, as they set off on an expedition to the African Congo for various personal reasons. Dr. Peter Elliot is there because he wants to set his gorilla Amy out into the wild to communicate with other apes, in hopes that he might learn something about their way of life. Dr. Karen Ross, on the other hand, is in search of her company's missing expedition, namely her ex-fiance who is reportedly in grave danger. Lastly there is Herkermer Homolka, a Romanian entrepreneur who is in search of the lost city of Zinj, an ancient mine that is said to contain riches beyond imagination. Set against the elements of the jungle and plagued by its many dangers, the team of adventurers soon come to find that there are some things that are not supposed to be found, and some places that should never be entered. Congo!

If there's one thing to say about Congo, it is that it is jam-packed with great characters. Dylan Walsh takes on the central role of Dr. Peter Elliot, the primatologist who has been researching the effects of sign language on primates, through the use of a mechanism that allows the animals to vocally communicate. Walsh is absolutely genuine in this role, giving a simplistic, yet heartfelt, performance that really pulls on the heart strings as well as engages you on all that is going on within the film. Coming on board the production as a frankly unknown actor, gave great credence to his authenticity as an animal researcher, and combined with his exceptional acting ability, he was able to really knock this one out of the park. Essentially paired with him is actress Laura Linney as Dr. Karen Ross, the no nonsense scientist who can dish it out as well as take it. Compelled to find her missing co-workers, Linney dispenses a great deal of courage into her character making you really root for her, even though at times she can be quite rigid and cold. Like Dylan Walsh, Linney wasn't a big name star, but she really took on the role and made it her own, showcasing a great deal of charm and sass as the determined Karen Ross.

Also along for the expedition is Ernie Hudson, who takes on the role of Captain Munro Kelly, the jungle guide. Hudson is absolutely astounding as the bombastic great white hunter, who just so happens to be black, and he is given countless moments in the film to really show his stuff. Witty, courageous, and sharp tongued, Hudson brings a special spark to the movie, and his presence only adds to the enjoyability of the movie. The last of the heavy hitters is Tim Curry as Herkermer Homolka, the opportunistic treasure seeker who has all his life dreamed of finding the lost city of Zinj. Curry, as always, is a hoot, as he steals every scene he is in with his over the top facial expressions and his delightfully entertaining persona. The man is a living legend in my opinion, and though Congo is not one of his best performances, it still is chock full of outstanding moments that will simply put a smile on your face. All in all, the cast is exceptional and it is one of the reasons that this film is so much damn fun to watch. Did I also mention that there is a small part played by the living legend Bruce Campbell? What's there not to like?

Aside from the extraordinary cast, this movie has a great deal of other aspects that remarkably make it a thing of entertaining beauty. First and foremost, the production is especially balanced in the effects department. The collaboration of practical and digital effects are seamless, and they both meld quite well together to help immerse the audience into the world that Congo is bringing to the screen. The elements that are brought together to bring Amy the gorilla to life are impressive, and the end result is really jaw dropping, as both performance and mechanized facial expressions produce movie magic which makes the unbelievable, believable. You'll find yourself caring about this little furball as if she was a living breathing creature, and in that aspect I'd say the filmmakers and effects wizards did their job perfectly.

The same can be said for the more ferocious creatures of the film in the form of the gray killer apes. These bad boys are a menace and blood-thirsty to boot, and the same practical approach of performance melded robotics are used to these creations, and with great results. They are frighteningly grotesque and they make for outstanding opposition to our unsuspecting heroes. Their initial meeting with these mythical beasts is one of the most potent moments of the film, and a great deal of the credit should go to the outstanding creature design of the gray killer apes. Of course it is the locations and presence of the jungle locales that really aid in bringing these moments, and this film in general, all together. From the majestic volcanic mountainside, to the ravaging river rapids, to the thick lush rainforests, this production allows itself to get immersed in its jungle settings making for an adventurous outing that is truly entertaining and above all, fun.

Congo is without a doubt one of the most remarkably underrated films to have ever come out during the mid 90's. Its combination of jungle exploration coupled with its stupendous cast and wild special effects, should have assured it a place in cinema lover's hearts, but instead it was overlooked and mysteriously panned on its initial release. Maybe it was the film's lack of super stars which couldn't capture the attention of a dedicated following, but in my opinion, this never came into question when viewing it for myself. All the actors involved did a tremendous job in bringing this behemoth to life and the adventurous nature of the film is impossible to ignore and write off. The sympathetic performance of Dylan Walsh, the tense portrayal of Laura Linney, the charismatic presence of Ernie Hudson, and the devilish nature of Tim Curry, is a match made in cinema heaven and I have always appreciated the strange concoction that is Congo's cast of characters.

Added onto that great structure is a film production that knows how to use effects and understands the careful balance of applying it so that it doesn't overwhelm the story and take you out of the picture. The creation of Amy the gorilla is a beautiful combination of film-making mechanisms that aid in bringing that sense of reality and authenticity to the forefront, all while presenting some overtly out of this world concepts, such as a talking ape. This same application can be seen in the film's other special effects as miniatures and digital creations form in bringing some of the most lively moments of the film to life. Possibly ahead of its time, and definitely missed by a mass audience, Congo is a movie that generates a great deal of atmospheric fun. You've got a group of adventurers, scientists, and treasure hunters, on a crash course to an ancient city crawling with killer apes. How can this not be entertaining? If you're in the mood for an adventure that is truly fun and remarkably enjoyable, then give this one a go. Congo is.....

Bruce!!!! NOOOOOOOO!!!!!!

Over Oppressive Work-Place Staring Contest! GO!

Oh Amy... You're such a little sweet-heart.

It's not a bad question Burt.

Oh Tim Curry..... You silly beautiful bastard you.

This ape really knows how to party first class.

Double your fun!

I get it man! You really liked Ghostbusters! Can we move on with our lives now?

Pull my monkey finger you freaky lizard.

Ernie Hudson is cool as shit... that is all.

Who wants to play king of the mountain?

Oh shit! There goes the neighborhood.

Where the shit are we?

Good idea bringing the emergency Rave equipment and not more guns... Ass!

Damn you Amy and your cuteness! Damn it to HELL!

A god among men.

What you talking about Apey?

Anyone order roast Ape?

REVIEW: Ghost in the Shell

Ghost in the Shell
Director: Mamoru Oshii
Year 1995
 
Ghost in the Shell is a fantastic science fiction animated film that delves into the true essence and meaning of life by commenting on the possibility of machines becoming something more than just soulless creations. This evolutionary step in both animated features and thought-provoking storytelling is a shining example of how filmmakers can use the medium to create some rather inspiring narrations on the human condition, both in its significance and unprecedented ramifications. Filled with action, beautiful artistry, and an intriguing plot, Ghost in the Shell is not only a masterpiece, but it’s a classic example of how truly complex an anime can be.
 
Set in the year 2029, the film follows a team of high-level government operatives lead by a tough as nails female cyborg cop named Motoko Kusanagi, as they police a cyber-punk metropolis for malicious anarchistic hackers aiming to disrupt society. Their recent case has them hot on the trail of an illusive and notorious cyber hacker named ‘The Puppet Master’, who is wreaking havoc across the interactive network which is connected to all of the people of Earth. What makes this miscreant’s actions that much more alarming, is that they seem to have an unhealthy fixation on Major Motoko Kusanagi and her relevance to being a cyber-genetic creation. As they narrow in on their suspect, they come to a shocking realization that ‘The Puppet Master’ may be far more complex and unsettlingly then they ever bargained for. One thing’s for sure, the world won’t be the same once this mysterious hacker’s true intentions come to light.

The world of Ghost in the Shell is a fantastically technologically driven one, in which everything across this cyberpunk landscape is connected within a network that is like a beefed up version of our own internet. What’s rather special about director Mamoru Oshii’s vision for this future tech-centric society, is that the function of the network is not only embedded within the character’s everyday life, but it is also visually replicated in the look and presentation of the metropolis where the story is set. The thriving neon metropolis is like vibrant eye candy and it’s especially interesting to compare the correlation between the resemblance of the city landscape at night to that of a computer chip, with its intricate grids and sleek design. The fusing of both the visuals to the thematic arc of the story is something of a perfect union, because it allows the viewer to dive right in to the metaphorical narrative that focuses on the meaning of life and the concept of machines becoming something much more than just man’s creation, which is the core backbone of this deliciously twisted science fiction tale.
 
With the metaphorical connections in place and the stage set, Oshii pushes the visual look of the film into uncharted territories as he allows the grungy nature of this world to spring to life in the most expressive of ways. From the darkened back alleys to the neon caked and congested streets of the city, the lived in nature of this fictional world is exceptionally crafted. Through this meticulous recreation, born from Oshii’s mind, we really get a chance to feel the age of the expansive metropolis and it’s the detailed way in which he introduces us to each various location that really builds up the history of this technologically driven world. Not only do we get to visit the thriving portions of the city, like the looming skyscrapers and corporate headquarters, but we also get to see the more traditional and weathered side of this aged society. The best example that showcases the visual scope of the landscape is the precious moments in which we get to traverse through the film’s less refined locations. For instance, the chase scene that occurs in the marketplace, where the crew is chasing down a suspect, is one of the most visually impressive moments of the film, allowing us to revel in the sheer wonder and scale of the world at hand. I absolutely loved the look of the packed shopping district, filled with its diverse characters and kaleidoscopic colors, and the closing moments of the scene really gives the viewer a feast for the eyes, not to mention a miraculous fight sequence.

As for the rest of the action of the film, it is top notch and extremely inventive. In this movie we get a hefty helping of frantic gunplay, brutal beat downs, and pulse pounding car chases, that mix perfectly with its intricate and contemplative narrative. The violence on display is raw to the core, making for a nasty atmosphere that relishes in snapped bones, eviscerated flesh, and grotesque mutilation. Even though most of the carnage centers around synthetic beings being ripped apart and mangled, the end result in witnessing all of this nasty dismemberment is quite potent to the validity and harshness of the world. One of the most memorable moments of the movie, that truly showcases the cruelness of the film’s environment, takes place in the forgotten and distraught portion of the city which has decayed over time by neglect. The scene starts off with Major Motoko Kusanagi taking on a large insect-like tank. As the battle rages on, Motoko gets a few pot shots in against the seemingly unbeatable metallic behemoth, only to later be decimated by the heavy artillery that the powerful machine is equipped with. The mangling of Motoko’s body and the way that her synthetic flesh just hangs from her broken frame, is twisted in its presentation and quite morbidly impressive.
 
It is in this shocking and visceral moment, filled with painfully perverse gore, that we are presented with one of the film’s most poignant images. We watch the mangled Motoko as she lay disjointed on the ground and we are taken aback by the realness of the moment. Though she is just a machine and conceivably without a soul, we still relate that humanistic trait to her and we sympathize with the predicament that she is in. It’s this strange conundrum that drives the entire series up to this point. Are machines more than machines? Can they evolve into something else entirely, even without the aid of the ones which created it? As her human cover is stripped from her body, we still come to compare her to human because of the actions that follow this pinnacle moment. This instance is a great bridge to the overall arc of the story, and what continues is a revelation that truly feels inspired while still managing to maintain a certain esteem of mystery and wonder. With its unapologetic approach and masterful storytelling, Ghost in the Shell is a science fiction animation that really raises the bar on animated features.

Ghost in the Shell is a tremendous and thought-provoking anime entry that brings about a tale which is so interwoven within its fictional world that the allegory comes off as visual poetry. Often violent and exceptionally disturbing, the film goes to the extremes in order to absorb the audience into its imaginative construct, leaving the end result to be nothing less than breathtaking. Mamoru Oshii has crafted a film that goes above and beyond the requirements for good storytelling and has established a fictional universe that is as important to the structure of the narrative as it is relevant to the proceedings on display.
 
With its heavy dose of cyber punk style and its tendency to get a little gritty and disturbing, Ghost in the Shell tells an intriguing story about the evolution of man and the inherent plausibility that the things that we create could somehow become equal to us. In this nightmare scenario, the filmmakers decide to bridge the gap between man and machine by establishing a world where technology and humanity are at a merging point. The union of these two entities, though bloody and foreboding, is exceptionally crafted and even though there is a great deal of violent, bombastic flair, the story is surprisingly spiritual as it goes about spinning a yarn about the soul of a machine and the evolution of life as we know it. Simply put, Ghost in the Shell is one…..

Ewww! Gross!

She's just not feeling the horseshoe dude.

There's a lot of gun fire in this flick.

Seriously! Tons of gun fire!

Hey shithead... start shooting that gun!

Bato is like the Arnold Schwarzenegger of Anime characters.

Am I digging the stache, goatee, glasses trifecta? Shit yeah!

Bato is a little shy around naked butts.

Talk to the robot hand.

I don't know what the hell is going on here, but damn is it heavenly.

Nothing like getting kicked in the face by a hot, naked, and invisible chick.

Well at least we were able to salvage the best parts.

I bet that dude is about to shoot that gun off.

This guy is having a bloody good time.

The itsy bitsy spider tank shot up the place to shit.

The horror! The HORROR!

Could you not do that? You're really creeping me out.

What a horrible time to lose one's head.