So….. My brother and I randomly sat down to try our hand at a podcast!
Sadly, I think I derailed some of the finer points he was trying to make, but oh well, it was fun to make.
Here’s hoping we do it again sometime!
February 27, 2015 • 4:21 PM 2
So….. My brother and I randomly sat down to try our hand at a podcast!
Sadly, I think I derailed some of the finer points he was trying to make, but oh well, it was fun to make.
Here’s hoping we do it again sometime!
July 28, 2011 • 9:00 PM 5
Hollywood tends to move in trends.
Really, really, obvious and demeaning trends.
In a market where film studios routinely invest upwards of 100 million dollars on their high profile projects, it only makes sense that producers would display a preference to go with “whatever works.”
This of course results in a lot of studios continually aping each other’s films from year to year in hopes of breaking even, or better yet; turning a profit.
In my lifetime alone, I can think of several trends in movies that have come and gone.
Naturally, I have compiled a brief list of said trends:
The first genre trend I noticed, even as a child; was the slew of old TV show (and cartoon) adaptations of the 90’s.
It makes sense, given that Nick at Nite was in the process of becoming an established “thing” at the time; not to mention the fact that a number of the filmmakers of this era were likely of the age group that would’ve grown up watching a lot of the 60’s TV shows.
While I can’t say who started actually this trend, or if it was even that profitable; it’s managed to stick around long enough to the point in which I doubt it will ever die.
TV shows will always be lovingly remembered by somebody, so as time goes by, it’s only natural that some poor deluded fool will pony up the money to make a movie of them in tribute.
As with TV show adaptations, videogame movies were something that sprang up during the 90’s, smack dab in the middle of the Super NES era.
While it’s hard to call videogame movies a trend in the fullest sense of the word, it’s evident that they were intended to be one in the mid-90’s.
Following the release of the surprisingly decent Mortal Kombat, videogame movies were stuffed down throats our en masse.
Despite this, videogame culture has apparently grown exponentially over the years, leading to videogame movie adaptations becoming increasingly regular.
The movies stick suck some serious balls for the most part, but the point is; they have yet to reach a point where they are no longer profitable, and thus they continue to exist.
Truth be told, this “trend” is actually more symbolic of the birth of a new film genre as opposed to a trend, but oh well; it’s my blog.
Comic book movies are, as THE INTERNET seems to want me to say; kind of a big deal.
Anyway, Batman served to open the floodgates and give way to the release of countless comic book films, many of which were of course; Batman sequels.
In response to the angsty, MTV culture of the day, as well as the popularity of “less-than-mainstream” comics, movies like The Crow, Barb Wire, Tank Girl, Judge Dredd, The Mask, and Spawn were all cranked out in short order.
While the success of these movies (except for The Mask) was largely scatter-shot, the success of Blade in ’98 ushered in the Marvel dominated era of the 2000’s.
Unless you’ve been living under a rock for the past decade or so, you’ve probably come to realize that Marvel is the flamboyant and insatiable whore of the comic book movie world.
The arrogant bastard that likes to prance about and shove his cock in your face and demand you tell him how amazingly massive it is.
*Ahem!* Not like I’ve ever had that happen to me or anything…
Routinely whoring out it’s intellectual properties from year to year, Marvel rode the success of X-Men and Spider-Man (and a string of critical failures) to take the film world by storm, largely through sheer volume of production.
In the 13 years since the release of Blade, Marvel has released a total of 25 major motion pictures, averaging nearly 3 films a year.
While it’s hard to call them rivals these days, (times have changed) DC manages to release, at best; 1 film a year.
The only difference is, DC films have a tendency to win Oscar nominations.
Anyway, for better or worse, strip-mining the previously established characters and events from comic books is kind of the thing to do for Hollywood producers in this day and age; and based on the record-breaking revenue gained from said movies, I’d say it’s what the audience is into as well.
Which brings me to the eerie prospect of a 4th trend in films that I would prefer not see come to pass.
Has anybody seen the trailer for Battleship yet?
If not, here yah’ go:
Some way, some how, they managed to get Liam Neeson to get on board the Battleship bandwagon, (I’m guessing it involved a free trip to Hawaii…) and in all honesty; I’m just plain confused by it all, aliens notwithstanding.
To my knowledge, Clue is the only other board game movie in existence at this point; and while that has kind of a cult following in some (seriously demented) parts of the world, Battleship just never really seemed like movie material in my mind.
To me, Battleship was always that one game my friend and I could never play without cheating.
Seriously man, after 5 minutes of calling out “Miss” to each other, inevitably someone would peek over the game, find a ship, and basically win the game.
Even the name “Battleship” doesn’t seem all that marketable to me.
It’s non-descript, it gives virtually zero indication of what to expect in the film outside of maybe a battle or 2 involving ships.
Oh well, goofy military shit is en vogue at the moment, so I’m guessing therein lies to the logic to the production house’s gambit.
The really puzzling part in all of this, is the fact that I recall hearing rumblings of a Monopoly movie being in the works.
I heard about the Battleship movie awhile back, but it wasn’t until I saw the trailer the other day that I truly realized they were actually going to make it.
What I mean to say is, I really hope Battleship doesn’t start a board game movie trend, ’cause I’ll tell yah’, I’m not an analyst, or anywhere near an expert in these matters; but if this shit comes to pass, we’ll be in for some epic-ly shitty over the next several years.
April 12, 2011 • 9:16 PM 0
Remember that awesome Mortal Kombat promo movie that made the rounds on the ‘net awhile back?
Well, despite talk of lawsuits early on, as promised; the makers of said video debuted the first in a series of web exclusive episodes for a project titled Mortal Kombat Legacy.
While I’m unable to watch the video at the moment, due to supremely bad connection speeds on my folk’s computers; I figured I’d post an announcement for this given that I was really looking forward to it.
Anyway, I haven’t watched it yet; so I have no thoughts or opinions to voice on it, but I will say this:
In the few seconds of footage I was able to stream (without sound mind you) I happened to see Darren Shahlavi in the cast.
For those that are unaware, Shahlavi is an English martial artist and actor with a decent pedigree in Hong Kong cinema, most notably/recently as the villain Twister in Ip Man 2.
While the man has, quite literally; some of the most laughable acting skills I’ve seen in awhile, he’s a tremendously talented screen fighter, so I’d be curious to see how he fares/who he plays in Mortal Kombat.
Anyway, I think I’m done now.
Feel free to post your thoughts on what you thought of this, spoilers are very much welcome given that I really won’t be able to watch this until I get another new computer…
January 22, 2011 • 8:34 PM 1
I’m a fan of The Macho Man Randy Savage.
The highlights of his wrestling career took place largely before my time, however his over-the-top personality and legendary “OH YEEAAHH!!!” tagline were inescapable elements of growing up in the 80’s and 90’s.
While I got a chance to see him wrestle a few times in the WWF and WCW, at a time when he was largely past his all too brief prime; the things I remember most about Randy Savage, were his promo videos, and of course; his Slim Jim commercials:
In terms of mic performances, few pro wrestlers could top Randy Savage’s intensity.
Well-documented as a neurotic stickler for detail, Savage’s promos were often insane along the lines of say, The Ultimate Warrior; however they rarely ventured so far off into the absurd as to become downright incoherent as was the case with the Warrior:
Anyway with his throaty, vocal cord ripping voice, Savage had a capacity to mystify and entrance like few others before or since.
He’s probably the closest thing to a poet that the Azn Badger has ever had for a personal hero.
Despite my love for anything Savage, I have to admit; like most wrestling fans of my generation, I didn’t care much for his stint on WCW.
Everything else was just celebrity driven publicity stunts and old guys collecting fatty paychecks.
Enough about the “dark times” of WCW wrestling though, let’s get back to the SAVAGE.
Following his jumping ship from the WWF to WCW, Randy Savage claimed the intellectual rights to his Macho Man persona; resulting in him being absent from all WWF productions thereafter.
No videogame appearances, not toys, and certainly no more awesome promo videos.
Many would consider that an admirable feat, given the corporatist nature of the business.
As fate would have it though, Savage has come back to the WWF (probably for money…) and will be appearing the new WWF licensed videogame, WWE: All Stars.
Every time I have to type the acronym “WWE,” I die a little inside…
The game looks to be an over-the-top combo based fighter, hopefully sharing mechanics and aesthetic sensibilities with the excellent WWF Wrestlemania: The Arcade Game of old.
Despite the announcement of the game, the thing that really peaked my interest, was the fact that Savage was brought on board to improv one of his legendary promo videos to advertise the game!
Check it out:
Truth be told, I haven’t actually seen Randy Savage since his turn as Bonesaw in 2002’s Spider-Man, and I’ve gotta’ say; it looks like Father Time done caught up with him and put him in the Figure Four.
He looks to have gained some weight, as most aging bodybuilders do; but most noticeable of all is the fact that his previously Just For Men-ed beard is now a snowy white.
In all honesty, the man is starting to look like my dad.
Hell, if you dialed back his crazy voice a bit; his insane ramblings would probably sound pretty similar to the Azn Badger’s dad’s daily rants.
Anyway, I’m glad to see the Macho is back where he belongs.
He should never wrestle again, that much is for sure; but if this gets him the spotlight he needs to finally be inducted into the WWF Hall of Fame, then I wish him the best.
Please God don’t let him wrestle…
January 17, 2011 • 8:55 PM 3
Remember that ill-fated indie financed trailer for a possible Mortal Kombat movie that made the rounds on Youtube awhile back?
Well, in case you don’t, here’s a link to a lengthy article that I pounded out regarding my thoughts on it.
Anyway, as it turns out, that particular video clip; while permanently removed from Youtube, went on to have not-so-ill a fate after all.
After much fussing, bellyaching, and talk of lawsuits, director Kevin Tancharoen and his crew have finally been given the greenlight to begin work on a Mortal Kombat film project, though the format is somewhat different from what was originally conceived.
Instead of a feature film, direct to video or otherwise; the project is going to be carried out as an online series, most likely for use in promoting the series’ upcoming newest installment.
The videos are expected to hit the web sometime in April, and I for one am looking forward to watching them.
Larnell Stovall is kind of a hot commodity in the fight choreography game as of now, so any chance I get to see his work is one I’ll be sure to capitalize on at every opportunity.
(Thanks to the people at Twitchfilm.com for posting the article that tipped me off to this hot news!)
Ip Man 2 is coming to theaters in the US on January 28!
A long time ago I posted a huge article outlining my appreciation for Donnie Yen.
It was one of the first major articles I posted, and to date; remains one of the most viewed ones as well.
In that article, I made note of the fact that I was frustrated by the fact that despite my love for Donnie Yen movies, and indeed, kung fu movies in general; I’ve never really been given a chance to view any of them on the silver screen.
While I’ve owned Ip Man 2 for some time now, on 2 different formats; the prospect of seeing a film starring my hero Donnie Yen, on the big screen, is one that I feel I can’t afford to miss.
Theatrical releases of legitimate kung fu movies in the US are extremely rare, but for all intents and purposes this may end up being the only movie starring Donnie Yen that may ever be released here.
Rest assured, I intend to recruit a small army of friends, and plop their asses down in the theater to see this one, regardless of whether they’ve seen the first one or not.
Anyway, that’s all I’ve got at the moment, make sure to
November 6, 2010 • 6:23 PM 0
About a week ago I posted a bitchy/whiny article about how Demon’s Souls knocked me down and took my lunch money.
I was about 2 hours into the game at the time of writing said article, and I just wasn’t “getting” how the game worked.
I was frustrated by the game’s punishingly restrictive rules, and humbled by it’s timing heavy combat system.
I’m now 8 hours into Demon’s Souls, and I feel like I’ve got it by the nuts.
At around hour 3 I had memorized the layout of the 1-1 section of the Boletarian Palace level, making harvesting souls (money) quite a bit easier than before.
Around this time I also began finding uses for my souls in the form of upgrading my Knight’s long sword among other things.
Did I mention I named my character after the Ultimate Warrior?
After toughing it out for some time, advancing by inches every time, I met and defeated my first boss demon, Phalanx.
It was a tedious battle to be sure, but unlike some of the stiffer challenges I’d faced up to that point, (I’m lookin’ at you Red Dragon of one-hit kill-ery…) I managed to best the blob monster on my first try.
I should probably note, that I really admire the artistic design of the Phalanx demon.
Consisting of a hoard of shield-faced blobs armed with spears, all protecting a central core, I found it to be an inspired take on the Sumerian/Grecian military formation.
In doing so, I was awarded with what I had spent the entire game to that point wishing for:
4 hours into the game, and I encountered my very first checkpoint.
Eerily enough, as if crossing that first major threshold served to change the entire dynamic of the game from then on out; playing Demon’s Souls has become a markedly less devious affair.
While the early goings were teeth-grittingly difficult and frustrating, ever since I took out that first boss demon; my progression through the game has eased into a much more natural, and far less tedious pace.
Maybe I’ve just become accustomed to the cautious play style required to navigate the game, or maybe my character has just gotten strong enough that he’s able to power through what used to be one-hit kills; but either way, I’m enjoying the experience a whole helluva’ lot more than before.
I’ve killed no less than 4 more bosses in the past 4 hours of gameplay, 2 of which I didn’t even really have to fight.
What I mean to say is, there were 2 bosses that I took out through exploitative means.
As mentioned earlier in this post, as well as probably every first time Demon’s Souls player’s writings, there is a Red Dragon in the first stage that pwns you like a bitch if you so much as look at him funny.
Truth be told, he’s not so much a boss as he is a predictable, but still dangerous environmental hazard, but seeing as he killed me a few times and has a meaty health bar, I count him as at least a mid-boss.
Anyway, as an environmental hazard, the Red Dragon is stuck on a very simple looping movement pattern, making him unable to reach you in certain areas, as well as unable to defend himself from attacks launched from certain areas.
That being said, I took note of this, bought 80 arrows, and sat down for 15 minutes slowly chipping away at his health with a wimpy bow and arrow while standing completely out of harms way.
It was silly, it was spiteful, but good God was it satisfying to get that fucking dragon off my back for the remainder of my gameplay experience.
Exploitative Boss Kill #2 came in form of slaughtering the Vanguard boss of the Shrine of Storms using a similar tactic.
This one was not as satisfying as in the case of the Red Dragon.
The Vanguard was a demon that I had spent much of my time in Demon’s Souls expecting to have an epic showdown with at some point in the game.
You see, The Vanguard was the demon featured in the opening tutorial segment of the game.
While I don’t actually know if it’s possible to defeat The Vanguard during the opening sequence, in my case he killed me in 1 hit, thusly handing me my first humiliation of many to come while playing Demon’s Souls.
Sadly, my revenge would be bitter sweet; as instead of facing him head on, I found a way to get behind him and, much like the Red Dragon; peppered him in the back with arrows without him so much as trying to hit me.
Oh well, at least he coughed up a shit ton of souls.
As of writing this, I feel that I’ve grown to like Demon’s Souls very much.
It’s a tough game, for sure; but it’s one that can be very rewarding if you’re willing to play by it’s terms.
Not long ago I ran into a Mind Flayer-like creature in the Tower of Latria (a place I got lost in and quickly retreated from in favor of the Shrine of Storms).
Said creature could be killed quite easily, however I found that it could do the same to me with even greater ease.
Though I was killed in my encounter, on my second; I changed up my tactics and stayed out of sight until it drew very close.
In a very Solid Snake-esque maneuver, I dashed out from the shadows and caught the monster off guard, thusly killing it before it could even lift a finger/face tendril to attack.
It was a very satisfying moment, that would not have been nearly so rewarding if not for the fact that the game forced me to rethink my strategy.
Now that I think about it, I like that; that the game is always difficult, no matter how buff your character gets.
Not only does it keep you humble, it serves to make the gameplay more involving in the sense that you’ve always got to be on top of your shit, regardless of how puny your opponents may be.
While I may be a much better player than I was at the start, make no mistake; I still die in Demon’s Souls quite frequently.
Except for a few instances of ridiculous fall related deaths in the mine stage, I can concede that most of my deaths in Demon’s Souls are my fault.
I still get frustrated, yes; but I haven’t really felt the causes to be unfair or cheap.
Every now and again I get a little bit too adventurous, or a little bit too overconfident; and that’s generally when I find myself dead.
Thankfully, the penalty is just losing your money… All of it.
I’ll probably never get used to that, but I’ve never been too upset by it.
After all, it’s just money.
Thankfully, I’m not having to say that in regards to my purchase of Demon’s Souls.
September 11, 2010 • 3:24 PM 1
Battletoads and Double Dragon represented a novel and innovative concept for it’s time.
Bear in mind, even the very worst of the Double Dragon series (which would be Double Dragon V: The Shadow Falls) is still pretty good.
Put together, those 2 facts result in a game that is straightforward, fun, but ultimately kind of mediocre in comparison to the other games in it’s respective series’.
That being said, I spent a good portion of my youth playing Battletoads and Double Dragon, and I wouldn’t have had it any other way.
You see, when I said Battletoads and Double Dragon was the “most accessible” Battletoads game, what I really meant to say, was that it was the only game in the series that was playable to non-Super Saiyans or non-mutants.
The Battletoads series is well known throughout gaming circles as being SOME OF THE MOST DIFFICULT FUCKING SHIT KNOWN TO MAN, and as such, the majority of us mere mortals simply can’t play them without tearing out our hair and/or breaking the fucking controller.
In fact I’m proud to say that I got as far as I did.
Fortunately, Battletoads and Double Dragon is quite a bit easier than your traditional Battletoads game, resulting in my having beat it about a half dozen times or so.
I also beat the Battletoads arcade game way back in the day, but that was when my parents were feedin’ me quarters at a birthday party, so that doesn’t really count.
The one thing I always found be downright mean about Battletoads games, was the fact that they always bait you into thinking that the games’ gonna’ be fun and easy by giving you a cast of a colorful and cartoony characters to play as,
and a laughably easy beat ’em up intro stage:
Every fuckin’ game in the series does this, and as a kid you think that’s gonna’ be the whole extent of the gameplay experience, but no, they had to go and change up the gameplay for EVERY FUCKING STAGE.
True, for the time this was a fucking revelation in gameplay variety on a single cartridge, but for those of us who were too dumb to read the back of the box, or failing that, the instruction manual, this really fuckin’ FUCKED you over somethin’ fierce.
Needless to say, I had problems learning the goddamn Turbo Tunnel,
I had problems learning fuckin’ Karnath’s Lair,
and you can sure as hell bet I never had a chance in goddamn fuckin’ Volkmire’s Inferno:
That’s right, I remember the names of the levels.
Hard to forget when they STEAL YOUR SOUL.
Anyway, the fun part about about Battletoads and Double Dragon, was that it kept the varied gameplay of the Battletoads series, but placed more of an emphasis on the sidescrolling beat ’em up action due to the inclusion of the Double Dragons.
It should be noted however, that the general gameplay mechanics of the fighting are based purely off of the Battletoads games, meaning the movement controls are “slippery,” running attacks are king, and enemies can only be defeated via flashy, and sometimes dangerously slow, smash attacks.
Make no mistake, this is Battletoads and Double Dragon, not the other way around.
Some of the alternative gameplay functions that were carried over from the Battletoads series were:
A pathetically easy Turbo Tunnel segment,
and a brief rappelling segment akin to the Wookie Tunnel from the original Battletoads:
In addition to this, there was also an absurdly difficult Asteroids inspired spaceship shooting sequence in one of the later stages in the game:
I fuckin’ hated that stage…
Anyway, my fondest memories of Battletoads and Double Dragon, will always be playing it with my Korean buddy from up the street.
For whatever reasons, he insisted on playing the game, in particular the 3rd stage, while blasting 50 Cent’s “In Da’ Club.”
Fortunately, through the wonders of technology, I can replicate the experience for you!
Anyway, the basic plot of the game involved the Battletoad’s eternal nemesis, the delicious Dark Queen, hopping in her new Rat-Ship, The Colossus, and headin’ on down to Earth to wreak some havok.
Along the way though, she recruits the aid of the Double Dragon’s regular punching bags, The Shadow Warriors and their leader, the Shadow Boss (they mean “Master”).
This of course results in the Battletoads responding by giving Billy and Jimmy Lee a jingle.
With the “Ultimate Team” assembled, our heroes set off into the cosmos to whup the Shadow Boss/Master, and kick the Dark Queen right in her sweet, luscious ass.
*Ahem!* Pardon me…
That being said, let’s get down to the real business at hand.
The Best Track in Battletoads and Double Dragon is…
The Title Screen
If ever there was a track that better represented the Battletoad’s style, (aside from their theme music of course) it’d have to be the Title Screen music of Battletoads and Double Dragon.
Despite the game being the product of dual franchises, the music, graphical style, and gameplay of Battletoads and Double Dragon are almost uniformly based around the Battletoads aesthetic.
Indeed, every track in the game includes the heavy metal-ish simulated electric guitar work we’ve all come to expect from the Battletoads games, and I for one love that about it.
Seriously man, this track has wonderful sense of “let’s go kick some ass” to it that really gets you psyched to play the game.
At the same time however, it’s not an overly aggressive piece of music.
Much like the heavy metal-ish sound I just mentioned, the Title Screen track has an appropriate sense of “fun” to it that serves to remind you of the inherently cartoonish nature of the game you’re about to play.
My only complaint about the soundtrack of the game, is the fact that it doesn’t include any of either of the two franchises signature tracks.
Both the Double Dragon and Battletoad’s themes are absent from the game, as are any pieces of existing music from either franchise.
While it may seem fanboy-ish of me to say it, I’m actually surprised that Rare went ahead and made an entirely original soundtrack for the game despite the treasure trove of existing tracks they could have recycled.
Oh well, brownie points to them for putting in the extra hours.
Anyway, it’s been a long time coming, but that’s it for The Best Track in the Game #12.
To make up for the lack of Double Dragon factoids, (I felt I pretty much covered them in some of my earlier posts) here’s the intro of the old Saturday morning cartoon I used to watch way back when!:
Man that shit sucked balls…
I love how they actually went so far as to rhyme “dragon” with “braggin’.”
Also, the repetition of “You (blank) are dragon master, NOW” is just fucking awful…
August 19, 2010 • 10:59 PM 4
*SPOILER ALERT!* ZERO spoilers ahead in regards to plot details/major events, but most of the match-ups in the fight scenes are revealed below.
If you don’t wanna’ know who’s gonna’ be fighting who, stop reading NOW. *SPOILER ALERT!*
Let it be known, The Expendables is just about the most meat-head centric films I’ve ever seen.
Rest assured, The Expendables is all about suped-up cars, guns, tattoos, armbars, stupid one-liners, and one very gratuitous T&A shot.
Meat-heads of the world unite, the film that shall be your gospel has arrived.
Despite my general disdain for the UFC crowd and their, how shall we say, “sensibilities;” I came away from The Expendables feeling pretty good about the whole experience.
The Expendables is, of course; a product of the master of facial paralysis himself, Sylvester Stallone.
From what I remember, Stallone pounded out a script for The Expendables almost immediately after his previous film, Rambo; was proven to be a financial success.
The premise of the film is that of the “men on a mission” sub-genre of yore.
Basically, the plot boils down to a group of heartless mercenaries being sent on a suicide mission to liberate a fictional South American nation, only to discover, through the beauty and courage of a lady freedom fighter; that they do in fact give a shit about something in this world besides money.
While this describes the plot for just about every film in the genre, the one major difference between Stallone’s version and the rest is, of course; the fact that the “heartless mercenaries” in his version, are all played by noteworthy “faces” of action cinema, past and present.
In case you’ve been living under a rock for some time, Jason Statham, Jet Li, Dolph Lundgren, Mickey Rourke, Terry Crews, and (unfortunately) Randy Couture all star alongside Sylvester Stallone to make up The Expendables.
On paper, this would make The Expendables just about the greatest action film ever conceived, right?
Just take a look at Stallone’s own Tango and Cash.
No, The Expendables is not the greatest action movie ever, nor will it remembered alongside any of the true greats of the genre, but that doesn’t make it a bad movie.
On the contrary, I felt it was quite good for what it was.
While the script is utter crap, with most of the one-liners coming across as strained and almost painfully weak, like any good action movie the script is secondary to the action.
Thankfully much of the dialogue in the film is brief, although sometimes the “man speak” quotient can seem a bit overwhelming at times.
Seriously, everyone in the cast of this film make this guy seem straight-up femme:
Anyway, we’ve established that The Expendables, a dumb action movie; has a shitty plot and script.
It’s probably about time I got to talking about something we didn’t know, right?
Let’s talk about how The Expendables fared on the action front.
The action in The Expendables is quite good by modern standards.
It’s violent, chaotic, and often over-the-top, and after the awesomeness that was Rambo just 2 years ago, it’s just about everything I was hoping for in an American action film.
The gunplay is especially over-the-top, with terrific sound editing, and a wonderful sense of “oomph” that is rare among action films.
Trust me, from the first time someone is shot in this film, you know just what kind of movie you’ve gotten yourself into.
Oh yeah, despite it being less brutal and gory than Rambo, the violence level is right up there in Steven Seagal territory in terms of blood-letting.
It should be noted however, that virtually all of the bullet hits are done, not with squibs, but through digital effects.
While this saddened me to some extent, as I figured that if anyone was going to do things “old-school,” it would be Stallone, admittedly it doesn’t do much to effect ones’ overall enjoyment of the film.
The cinematography in The Expendables is vaguely Greengrass/Bourne-esque throughout i.e. lots of intentional camera jitter, rapid-fire edits, and shakily framed shots, though personally I didn’t have a problem with this.
Bear in mind, I’ve been watching dumb action flicks from the cradle and on, so MTV style editing, and, well, MTV style camera work are nothing new to me.
My eyes are trained son, ain’t no tricks out there my eyes can’t see…
I will say this though, the cinematography in all of the vehicle-based action sequences in The Expendables, is fucking atrocious, and downright frustrating to follow.
Outside of that though, my eyes are trained son…
While I hate to make such a big deal about this one point, I encountered several reviews, including one by a vlogger I happen to trust and admire, Noah Antwiler AKA Spoony, that took offense to the cinematography in this film, so I figure this particular argument deserves some special attention.
The Expendables is a typical American military action flick.
While there are in fact a handful of protracted brawls between major players in the cast, (which we will get to in a minute) the vast majority of the action in the film is choreographed in such a way that death is dealt swiftly and often.
That is to say, there is not a whole lot of depth or drama to the choreography of the action, both armed and unarmed in The Expendables.
In fact, most of the shots of violence in the film are arranged in such a way that we really aren’t shown a whole of the detail in the various battles that are taking place, but rather just the deathblows in each engagement/exchange.
Think of it as taking a highlight reel approach to editing a number of fight/action scenes together as opposed to putting a premium on drama or continuity.
The Expendables is a film that often has several skirmishes happening parallel to one another, a fact that necessitates overlap between most of the action in terms of editing, resulting in a film that simply cannot stop to do the proper dramatic justice to any one of said action set-pieces.
While I generally disapprove of editing multiple action scenes together, (see Cradle 2 the Grave and virtually every Michael Bay film ever made) I found the last 30 minutes of The Expendables to be a fine example of how to implement said technique effectively.
This leads to most of the fights/gunfights seeming fragmented, and somewhat lacking in coherence, given that much of the cast in this film is past their physical prime, do you really think you’d want to see what these guys looked like without the help of the guy in the editing room?
Speaking of which, let’s take a moment to talk about the fighting element of The Expendables.
The Expendables had a number fight scenes in it, most notably Dolph Lundgren vs. Jet Li, Jason Statham and Jet Li vs. Gary Daniels, Stone Cold vs. Sylvester Stallone, and finally, Stone Cold vs. Randy Couture.
In order, here are my thoughts:
Dolph looked surprisingly spry despite his age.
Sure, the fight was edited to shit, and the framing was frustratingly “off” at times, but the sheer novelty of seeing fuckin’ Ivan Drago go toe-to-toe with Jet Li was enough to keep me engaged.
Dolph employed a fairly linear boxing/kickboxing fighting style of sorts, with most of his punches coming in at straight angles, and more importantly, in bunches.
While the drama of the fight is virtually non-existent, largely due to a few (intentionally) giggle-inducing beats, the scene was good for what it was:
That being said, Jet Li’s performance in the film is rather odd.
His character is legitimately funny throughout, and his physical presence is impressive, but sadly limited.
While industry great, Corey Yuen, is credited as a choreographer for Li’s scenes, sadly the pair isn’t given much screen time to deal with.
Despite this, Jet Li’s performance possesses the grace and flexibility he is known and loved for, though the rapid-edits have the side-effect of obscuring his speed.
Jason Statham’s performance was largely similar to that of Jet Li’s, in that he looked good, but with the “A to C” as opposed to “A, B, C” style of editing, we really couldn’t tell just how good he was.
Having worked with Corey Yuen before, in The Transporter; it’s no surprise that Statham’s movements and execution are pretty much spot on for the demands of his character.
Speaking of “execution,” his character, who displays a penchant for knives in his fighting style, allows Statham ample opportunity to wow with his close-quarters knife work.
Seriously, I haven’t been happy with any of Jason Statham’s performances, physical or otherwise, since the first Transporter movie, but his work in The Expendables, particularly when armed with knives, was downright impressive.
That’s a pretty big fuckin’ compliment coming from me.
Anyway, Jet Li and Jason Statham’s tandem battle with Gary Daniels was legitimately impressive in a brutal sort of way.
Bear in mind, at this point in the film, (which was easily the highlight of the whole thing for me) Stone Cold vs. Stallone, Gary Daniels vs. The Dudes from The One and War, and Randy Couture hiding behind a bunch of sandbags, are all happening simultaneously.
While it makes me sad to see a talent like Gary Daniels as criminally under-used as he was in The Expendables, I have to admit it was pretty neat to see him be on the receiving end of a martial arts double-team in a military action flick.
The reason I keep emphasizing the word military, is because it implies severity, life and death stakes.
When people fist fight in this movie, it’s not for honor, or glory, it’s simply to make the man standing before them stop breathing and get out of their way.
That being said, Gary Daniels fares about as well as any human would when faced with the prospect of taking on 2 men at once.
The fight is not so much a fight, as it is brutal beatdown, but like every Steven Seagal fight in existence has taught us, sometimes that’s a good thing.
Moving on, Stone Cold vs. Stallone was probably one of the most glorious “big man” fights I can recall in film history.
With Stallone being over 60, and Stone Cold turning out truly horrendous fighting performances in The Condemned and Damage, I was expecting a sluggish bar room brawl of sorts, but color me surprised when this unbelievable masterpiece of beefy old-guy fighting cinema came rolling around the corner.
The choreography is sharp, with the punches being swung fiercely and often, and Stallone routinely busting out impressive takedowns, and, in particular; one hell of an agile flying armbar.
In fact, my only gripe with this whole fight, is that, again; most of the drama is lost due to the highlight reel style editing.
More specifically, while Stallone’s takedowns and submission holds are impressive to behold in execution, unfortunately there really is no “why” in regards to his implementation of them.
Stallone’s grappling in The Expendables, is the equivalent to watching Jean-Claude Van Damme do a series of his famed slow-motion aerial kicks.
There’s really no practicality to it in the context of the fight, it’s just flash for the sake of flash.
While it’s a minor gripe, seeing as this has already spiraled into a much more technical and in-depth review than I was initially expecting, I figured I should bring it up.
In one scene, Stallone managed to defy Father Time, and Stone Cold made a believer out of me in regards to his career as an action movie guy.
Which brings us to the last major sequence of manly fisticuffs in The Expendables, MMA legend Randy Couture vs. modern WWF legend, “Stone Cold” Steve Austin.
I’ll just say this:
This fight was made for UFC and wrestling fanboys, and no one else.
After the terrific spectacle that was, well, pretty much every other fight in this movie, it brought a tear to my eye to see the final brawl in the movie be such a let down.
Randy Couture should not be in movies.
More specifically, Randy Couture should not be in this movie.
Seriously, I’m not even hating on the UFC stuff right now.
Randy Couture, and more importantly, Randy Couture’s character, could have, and should have been excised from the script, as neither has much of anything to offer.
Regardless, Randy Couture, though a nice guy, and a terrific athlete, is a truly terrible actor, and barely adequate screen-fighter.
Throughout the movie we bear witness to Couture body-slamming and, well, fiercely body-slamming bad guys, sometimes with a mean expression on his face, usually without.
To say that the choreography given to Couture in this movie is limited is like saying Hulk Hogan’s repertoire of wrestling moves was limited.
It’s an indisputable fact.
That was 1 of 3 moves Hulk Hogan possessed over the years.
Personally, I preferred seeing Couture body-slamming people as opposed to, well, just about anything else he did in the movie.
Anyway, I don’t want to go into the details of Couture vs. Stone Cold, but I will say this:
It’s not half as good as Stallone’s fight, and Randy Couture is as stiff as mother fuckin’ Frankenstein.
Alright, well I’m officially spent.
I’ve honestly got more to say, but I’m starting to fade, so I think I’m gonna’ try to call it quits for tonight.
The Expendables was a good time, if mayhem, testosterone and explosions are what you’re looking for.
It’s not a classic in the making, but it’s definitely fun for what it is.
The script is ass, though Mickey Rourke manages to carve a soul into the film with one gut-wrenching scene of apparently improv-ed ACTING.
The gunplay is tops, with comparisons to Stallone’s own Rambo in terms of entertainment value,”oh shit” factor, and spillage of bodily fluids of the sanguine (look it up, dumbass) variety, being entirely warranted.
The fighting is difficult to follow for some, (not me) but surprisingly rewarding despite the relatively advanced ages of the majority of the performers.
In all, I had fun with The Expendables, and I’m pretty sure that was the point.
Have fun with The Expendables, ’cause if you can’t, then chances are you’re just being a dick and need to lighten up.
July 1, 2010 • 9:06 PM 1
For the first time in the series, a new “inventory system” was added, granting the player access to a machine gun, a shotgun, and a grenade launcher at all times throughout of the game.
The addition of these special weapons changed the dynamic of the game drastically.
Selecting weapons was done by pulling the trigger while in cover, so there was very little pressure to select weapons quickly, however, by giving the player options on how they wished to approach every gun fight, it slowed down the pace of the game somewhat.
It should be noted that the “Time” aspect of the 3rd Time Crisis, is almost entirely a non-factor at this point in the series.
In addition to this, because the expectation was that the player would be using these powerful new weapons throughout the game, the difficulty level was padded in the form of granting several enemies a lifebar system as opposed to the “one shot, one kill” dynamic of the previous games.
I use the term “padded,” because the whole lifebar system felt tacked on and inorganic.
In prior games in the series, one shot was usually enough to kill virtually any enemy in the game.
Some bosses in Time Crisis 2 would take several shots to stun, but even then, none of them had a fatty lifebar floating over their head to tell you when they were going to flinch.
Despite the lifebars hanging over most enemies’ heads in Time Crisis 3, for the most part they didn’t flinch when being shot, which resulted in many instances where enemies would land hits on the player while eating entire clips in the face.
Strangely enough, despite the vast assortment of enemies with lifebars in Time Crisis 3, the overall difficulty level is decidedly lower than Time Crisis 1 or 2.
Once again, I attribute this fact to the new weapons.
In short, giving the player a machine gun that never has to be reloaded is always a bad idea in a rail shooter.
Because the core gamplay, no matter how frenetic or Paul Greengrass-ed the fuck out, consists of nothing more than spotting enemies and pointing your gun at them.
Do you realize how easy that is when all you have to do is wave the gun across the screen few times to kill everything at once?
Well I’ll tell you: Pretty fuckin’ easy.
Difficulty level aside, Time Crisis 3 was a solid entry in the series.
The color palette was once again made even more vibrant than in the previous game, giving the game a cartoonish, almost anime-like aesthetic.
In fact, many of the character designs in the game reflect this trend, with outrageous, and often; flat-out stupid hairstyles and clothing being the norm for most of the cast.
Case in point:
Sadly, not even Wild Dog was able to escape the aesthetic shift, as his appearance in the game was marred not only by the inclusion of a fruity sidekick/son(?) named Wild Fang, as well as his least pimp, and by far worst “look” in franchise history.
Interestingly enough however, one thing Time Crisis 3 did with just the right amount of flair, was it’s story.
Unlike the majority of the cutscenes in the previous 2 games, Time Crisis 3 included a great deal of action in most of it’s story sequences.
In addition to this, the player characters, Alan and Wesley, were a helluva’ lot more defined than any of the previous ones, with a goofy sort of “buddy cop” dynamic being played up between the two.
Although at no point is it ever made clear that “No one can beat them.”
The story involves a fictional Mediterranean nation called Lukano, which is being invaded by the Zagorias Federation.
The head of the Zagorias Federation, Giorgio Zott, intends to use the location of Lukano to serve as a launch pad for tactical nuclear missiles.
Whoever the fuck named “Giorgio Zott” deserves to get smacked upside their head, ’cause that is just about the goofiest and least threatening last name I’ve heard in a while.
Anyway, international badasses that they are, VSSE dispatches 2 agents, Alan Dunaway and Wesley Lambert, to handle the entire conflict CONTRA style.
After a bloodsoaked beach landing, and a romp along the coast, our heroes find themselves under fire from a giant ass gunship.
Fortunately, the pair happen upon a foxy young member of the Lukano Liberation Army, named Alicia Winston, who just happens to have the world’s fastest and most well-armored jeep in the world.
While riding the jeep, our heroes battle the games’ first boss as he bears down on them with his gunship.
Despite the impressive visage of taking on a big ass plane while riding a jeep, the battle is really pretty straightforward once you’ve taken out the plane’s defenses and forced the flame-haired brute to fight you out on the loading ramp.
Other than the occasional lateral juke every now and again, the guy really just stands there and eats whatever you throw at him.
Oh yeah, and at one point he pulls a 10 foot long Vulcan out, but even so, he’s cake.
Long story short, he dies, the plane goes up in flames, everybody macarena.
With that, Alicia begins to guide our heroes through Lukano and towards the tactical nukes.
Unfortunately, a fuck ton of enemies show up, forcing Alan and Wesley to split off from Alicia and fight their way through a marketplace.
This was one of my favorite parts of the game, largely because of the music and the cute little motorcycle battle towards the end.
Eventually, our heroes make it through the town and reunite with Alicia, hitching a ride on a train while they’re at it.
While riding the train, a foppish, clawed ninja-like character, similar to Moz from Time Crisis 1, attacks them, serving as the stage boss.
The character has no dialogue, but unlike Moz, he actually puts up a decent fight.
Oh yeah, and he doesn’t take 3 shots to kill either.
The boss moves about quickly, often forcing the player to take their shots at times when he is just likely to hit you as the other way around.
To add to the excitement of things, the train the players are on is progressively falling into a pit during the fight, causing your perspective to be obscured for most of the fight.
Despite the bosses arsenal of grenades and claw slashes, he too ends up kicking the bucket like all those that came before him.
Curiously enough though, there is no explosion following his death.
Sometime during the 3rd and final stage, Wild Dog, and his new apprentice, Wild Fang, show up for their obligatory showdown with our heroes.
This time around, Wild Dog is looking a little worse for wear, with his hair long and unkempt, and beginning to gray at that.
Despite this, Mr. Dog demonstrates further improvements in his arsenal, fielding a flamethrower, a rocket launcher and a sword-like blade attached to the machine gun arm he had last time around.
Wild Fang is somewhat of a mystery to me, as despite his armaments consisting of little more than a Mauser pistol or two, his main method of attack involves him kicking objects at you.
By “objects” of course, I mean things like forklifts and I-bars.
You know, standard stuff.
It’s never explicitly stated, however I believe one can assume that Mr. Fang has had some sort of bodily enhancements.
Although if BUFF Bryant is any indication of what a “strong” human being is capable of in the Time Crisis universe, then I could be wrong.
Anyway, the Wild Pair attack in tandem, offering up an exhilarating and diverse challenge that is definitely a step up in difficulty from Wild Dog’s appearance in Time Crisis 2.
However Wild Dog looks like shit, so the game loses brownie points for that.
Eventually, the Wild Pair is defeated, with Wild Dog going about his normal routine of, you guessed, blowing himself up.
After heated gun battles against ninjas, machine gun toting hooligans, and even the occasional submersible or two, it isn’t long before our heroes find themselves at odds with Mr. Giorgio Zott himself.
Like, with a fucking sword, up close and personal.
Zott begins the fight with a submachine in one hand and a sword in the other.
He is exceedingly accurate with both, and even sees fit to borrow Johnny Cage’s shadow kick from time to time.
During the fight, the arena is constantly being flooded with all manner of enemies, ramping up the difficulty level to an extent.
For the final phase of the battle, Zott switches out his weapons in favor of a pair of 4 tubed rocket launchers.
Despite the imposing nature of a man firing more rockets than any human probably should, Zott goes down shortly thereafter, proving be a gaudy and colorful, but otherwise harmless final boss.
Also, he doesn’t explode.
Even as Zott bites the big one however, the missiles he had set up earlier suddenly spring to life and begin to launch!
Fortunately, Alan and Wesley have the power of “dynamic cutscene intervention,” which the put into to play just in time stop the rockets and rob the player of any measure of participation in the games’ final crisis of time.
Remember how I said the cutscenes were flashier this time around?
Well, this is just about the only case wherein I felt this was a bad thing.
That being said, thanks to the power of cool cutscenes, Alan and Wesley get to walk away from a massive explosion, whereupon they are greeted by Alicia.
High-fives, fist-pumping, and three-way fucking ensue.
As a supplement to the main story mode, the console port of Time Crisis 3 includes a series of single player side missions wherein the player assumes the role of Alicia as she assists the VSSE agents and attempts to find her imprisoned brother.
Alicia’s missions include a new leveling system wherein her weapons start out in a downgraded state, only to steadily increase in power with repeated use.
By the end of the game, her weapons display power and rates of fire well in excess of their capabilities in the main story mode.
In addition to this, Alicia also makes use a sniper rifle, which is cleverly implemented into the gameplay by way of a zoom-in button in place of normal “duck” button.
Perhaps the most impressive use of the sniper rifle in Alicia’s game is it’s use during a pivotal point in the main storyline wherein Alicia saves her brother from Giorgio Zott by shooting a pistol out of his hand.
After saving Alicia’s brother, whole experience culminates with a fast-paced battle against Jake Hernandez, a traitor to the Lukano Liberation Army.
The battle is fought under a strict time limit, and is perhaps the most difficult boss battle in the entire game.
In all, Alicia’s missions are intensely varied and excellent throughout, with many of the mission adopting Crisis Mission parameters, such as extremely limited ammo, time, and even the occasional innocent civilian from time to time.
That’s not to say that Time Crisis 3 doesn’t include Crisis Missions of it’s own, however their largely the same as the previous game, so we’ll consider that covered from last time.
Aside from it’s exceptionally colorful and action movie-esque plot, another highlight to Time Crisis 3 was it’s soundtrack.
In short, the soundtrack of Time Crisis 3 is excellent, regardless of it’s connection to the Time Crisis series.
Time Crisis 1’s soundtrack consisted of only a minute or two of of actual composition, with most of it’s running time being made up of variations of the same core theme.
Time Crisis 2’s soundtrack was greatly expanded from the first, however the instrumentation was weaker and not as engaging as the first.
Time Crisis 3 however, has a very robust and exhilarating soundtrack, that while bearing very little resemblance, if any, to the previous entries in the series, definitely stands out as perhaps the best of all Time Crisis games.
My favorite track, by far, was the Stage 2-1 music:
A close second was the first bosses theme:
Sadly, Wild Dog’s theme is once again a step down from it’s original debut, however, given his severely demoted standing among the other villains in the game, it’s entirely appropriate.
Despite Time Crisis 3’s relative lack of difficulty, and borderline childish aesthetic, it stands as a worthy successor to the series, if not a dramatically different one.
Check back for a possible Part IV!
June 12, 2010 • 10:22 PM 1
If not, then you should probably click the video above and check it out.
I for one was very impressed, not just by the production values and artistic design of the video, but also by it’s cast.
To top things off, the fight choreographer of the video is Larnell Stovall, who you will of course remember conducted the fights in Undisputed 3.
And we all know how well that turned out.
That is, I believe the idea was to combine the bloody, dark, urban and “ugly,” aesthetic, atmosphere and subject matter of Se7en, and combine it with the underground fighting tournament plot-line of Enter the Dragon.
On paper, I think it’s a great idea.
Though the Mortal Kombat series of games were never really my favorite, (I was a Capcom and SNK kid) one thing I will admit about them, is that they always had a pretty impressive roster of characters.
Sure, the digitized graphics of the older games in the franchise seriously restricted the developers ability to create truly outrageous and memorable designs, and palette swapping was often out of control, but even so; most of the character designs had a lot of charm and personality to them regardless.
I have to say, it was truly refreshing to see some of the more gruesome and imaginative character designs in the series I.E. Baraka and Reptile; be integrated into live-action in such a way as to highlight their gruesomeness.
Previous attempts at doing so in the film series were often cheap looking, and very “PG-13” in their approach, so much so in fact, that most of the costume and makeup designs were often times laughable, especially in that piece of monkey-crap, Annihilation.
Some purists may object to it, but I feel that moving the Mortal Kombat series away from it’s “Outworld” elements is a good move.
I always felt that Mortal Kombat games were at their best when they kept the mysticism and inter-dimensional bullshit on the fringe instead of at the forefront of their presentation.
Goro was fun and memorable because he was the only inhuman character in the first game.
That and he was a broken-ass piece of shit that knocked you across the room anytime you tried to do anything but jump-kick his ass.
By the time we got to MK3, and we reached a point where it was becoming hard to distinguish just who the hell wasn’t some crazy fucked-up monster from Outworld, I felt like things started to get gimmicky.
Mortal Kombat: Rebirth seems like it’s trying to keep things grounded in a twisted and warped, but otherwise fairly believable reality.
No mention is ever made as to Shang Tsung being any kind of sorceror, nor are Reptile and Baraka ever made out to be anything more than malformed and psychotic men.
May I just say, that after all the internet crap about Harlequin fetuses and what not, I always figured it would only be a matter of time before someone tried to use the concept in a movie.
Congrats to Mortal Kombat: Rebirth for being the first movie I know of to actually do so.
So, we’ve established that, conceptually and artistically speaking, I think Mortal Kombat: Rebirth has something going for it.
But what did I think of the fighting?
In short, the action put on display in this 8-minute video is pretty much on par with some of the better American martial arts movies.
Lateef Crowder is his usual impressive self, with indications of his Capoeira skills being restricted largely to his posture and the occasional hand-plant or spin-kick.
He, along with the choreographer, seemed to play up Baraka’s fierce and brutal nature in such a way as to tone down the sleekness of Crowder’s movements, and put more of an emphasis on throwing his weight around and giving power and intent to his attacks.
His strikes, particularly his punches, were a little bit guarded and slow, a fact that may have been due more in part to the cinematography than Crowder himself.
Even so, I felt some of his punches just didn’t have the right “big-ness” to them that a character as vicious as Baraka should have had.
Crowder’s performance was pretty good for what it was, but sadly I believe he has little hope in his career of ever being cast as anything but “the Capoeira guy with the dreads.”
Matt Mullins’ Johnny Cage was pretty good as well.
His movements were sharp and impressively quick, however I felt his attacks during some of the longer, and more complex sequences, were a little bit off.
While Crowder’s punches seemed to be overly restrained at times, Mullins’ seemed to come out half-cocked.
There is a 4-5 hit sequence early on wherein Mullins hits all his marks, but I get the sense he’s just putting his hands where they need to be, instead of fleshing out, and “selling” every move.
It’s a minor gripe, especially since Mullins was actually able to carry out the choreography quite well, and indeed left somewhat of an impression, but it’s still something I felt needed pointing out.
One thing worth noting is that probably the most impressive moment in the whole fight, a inside-spinning-kick, was delivered by Mullins and not Crowder.
Mullins’ form in executing this kick, compared to his somewhat wimpy movements during the longer, more contact oriented beats of the choreography lead me to believe that it may just be a lack of comfort that is holding him back.
Flashy acrobatics and kicks seem to be his forte, but not complex hand work and sparring.
The cinematography during the fight was classy and efficient, with very little unnecessary movement or trickery being emplyoed.
The angles were well selected, and some of the panning shots during the more complex sparring were very nice.
Though I can’t say I am familiar with Tancharoen’s directing skills, I have read that he is a dance choreographer and has directed several dance videos and features, which, on paper should make him well-suited to filming any sort of physical action, in particular man-to-man combat.
In all, the fight was well shot and choreographed, and I have no doubt that, given a longer production schedule, all the players involved in the film, both in front of and behind the camera, could produce something pretty impressive.
On the whole, I found the Mortal Kombat: Rebirth video to be quite impressive.
I feel that, should it get picked up for production, chances are it would do best as a straight-to-video feature.
The straight-to-video market has been rapidly legitimizing as of late, and given the grounded in reality, but otherwise ridiculous subject matter of Tancharoen’s concept thus far, I don’t think it would be taken as seriously in theaters as the director might hope.
Regardless, Tancharoen was fortunate to score a stellar cast for his production, one that I hope he manages to maintain if the movie ever gets picked up.
We all know Michael Jai White can fight, and we all know he can play the lead, so why not let him do both as Jax?
I would watch that, in fact I would look forward to that.
Well, those are my thoughts on Mortal Kombat: Rebirth, chances are the buzz surrounding it has already past, but oh well.