Tag Archives: dolph lundgren

[REVIEW] The Expendables 2

The Expendables 2One of the very first movies I reviewed here after I rebooted the blog in 2010 — man, I wish I hadn’t done that — was The Expendables. My reviews were a lot shorter then than they are now, so if you click through and have a read you won’t be gone long. If you’d rather not see what I wrote, then I can sum up the review in a just a few words: I didn’t like it.

Now to clarify: I didn’t think it was terrible. My review doesn’t spend 500 words talking about what a worthless piece of trash it is. I don’t think it’s worthless and I don’t think it’s a piece of trash. What I do think it is: a failure to deliver on its promise and a strange misstep for Sylvester Stallone as a director and a writer after making two excellent movies in a row, Rocky Balboa and Rambo.

The whole premise of these films is that when you bring together the action luminaries of today and yesterday, you get something special, particularly when you stage the action in the classic ’80s style. For those who don’t remember the ’80s, it was a time when heroes were essentially invincible, were as deeply characterized as a sheet of paper and, most importantly, the audience could actually see what’s happening onscreen. The Expendables got two of these elements down, but squandered the third by rendering up virtually unwatchable, lackluster action sequences that are shaky-cammed to death. I honestly don’t know what happened. To make matters worse, the mostly excellent cast was completely wasted, especially Jet Li and Dolph Lundgren, who deserved a lot better.

I hate to say this, but The Expendables 2 has all these problems and more. It’s possible that the cast is even more wasted than it was in the first go-round, and though it’s a lot easier to tell what’s going on when the bullets start flying, all the worst qualities of ’80s action filmmaking are in full effect, meaning that even though the kill-count is astronomically high, none of it has any visceral impact at all.

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[REVIEW] Command Performance

Command PerformanceA couple of years back I reviewed Sylvester Stallone’s The Expendables. You may have been around then, and if not the review is easy to find. The selling point of that movie was that action heroes of the ’80s and today were getting together to do an old-school kind of movie with plenty of bullets and explosions and machismo. It was not entirely successful. What’s more, it overlooked a salient point: some of those action stars have never stopped making old-school action films. In fact, one of The Expendables‘ many stars has pretty much made a career out of keeping the ’80s alive, and that man is Dolph Lundgren.

I’ve made it my mission of sorts to seek out and watch every movie Dolph Lundgren has ever made and I’m making slow but steady progress. Command Performance is the latest of these films, released in 2009 (predating The Expendables) on DVD and Blu-Ray. Pretty much everything Dolph Lundgren does these days is confined to the DVD shelf of your local media outlet, which might be sad considering that he had a short career as a screen hero decades ago, but is actually a good thing, because movie studios have no use for the kinds of movies Lundgren makes. If he were still making it to the big screen regularly his films would not have the freedom to be what they are.

Command Performance is such a throwback that it actually falls into the “Die Hard in a…” format that plagued the action genre through the late ’80s and early ’90s. That’s not to say it’s bad, but it’s definitely got the ring of familiarity to it. This time the venue for the terrorist baddies is an arena where a special pop-rock performance is being staged for the Russian president and his daughters. The glitzy pop star is Venus (Melissa Molinaro), and her show is about to be ruined by a group of ne’er-do-wells led by Oleg (Dave Legeno). Oleg has an old score to settle with the Russian president: years before, the man who would be president led a group of soldiers to the home of Oleg’s parents to arrest Oleg’s father. Oleg’s father had been a part of the coup attempt against Mikhail Gorbachev, and rather than face the humiliation of a trial and imprisonment, he kills first his wife and then himself. Young Oleg was never the same.

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[REVIEW] Showdown in Little Tokyo

Showdown in Little TokyoAs part of my ongoing effort to watch every movie Dolph Lundgren has ever made, I revisited Showdown in Little Tokyo after some 20 years. I didn’t like it back then, though I made some allowances for the movie because it had Brandon Lee in it, and I’m sorry to say I don’t like it much now, either. It’s not the fault of either of the two leads, rather it’s the result of less than inspired writing and somewhat dodgy action sequences. I’m not sure if the film ever got a theatrical release, but it’s the sort of thing that just screams “direct to video.”

Showdown in Little Tokyo came relatively early in Lundgren’s career as a leading man, and it’s clear that filmmakers were still trying to figure out how best to use him. He was (and is) a giant man with pretty decent hand-to-hand combat skills and he was an okay actor then, though he’s much better now. Lundgren hadn’t had a chance to really show what he could do yet, though Universal Soldier was right around the corner and he would acquit himself well there. All the movie folks seemed to know about Lundgren was that he was an exotic specimen, and it’s evident from the way he’s used in this film that they wanted to take advantage of Lundgren’s strange mixture of traits.

In Showdown in Little Tokyo, Lundgren plays Chris Kenner, an American who spent his formative years in Japan and who lost his parents in a bloody assassination by a yakuza killer played by the inimitable Cary-Hiroyuki Tagawa. Kenner managed to scar his parents’ murderer in the immediate aftermath of the attack, a moment that will become more significant as the movie unspools.

Kenner now works the Little Tokyo section of Los Angeles as a police officer, putting his cross-cultural skills to work. Unfortunately for us, beyond seeing him enjoying sushi and noodles at a local restaurant (as well as tossing him a few lines in Japanese), we never actually get much of a sense of Kenner’s connection to Japan, as he’s too busy kicking ass and taking names to indulge in such nonsense.

Because Kenner is a lone-wolf cop who gets things done, he must of course be saddled with a wise-ass partner he initially detests, but with whom he eventually shares a grudging respect. That partner is played by Brandon Lee, making his American film debut as Johnny Murata, a mixed-race cop who knows essentially nothing about his Japanese heritage. They have a “meet cute” when Kenner is attacked in the aforementioned sushi place by yakuza thugs and each mistakes the other for one of the bad guys. Ha. Sparks fly, et cetera, et cetera. Move along, nothing to see here.

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[REVIEW] Masters of the Universe

Masters of the UniverseWhen He-Man and the Masters of the Universe first hit in the early ’80s I was almost, but not quite, out of the demographic for the toys and the television show. I never personally owned any of the action figures, but I had a friend who did. He also had a younger brother who was squarely in the target audience, though, so he had something of an excuse.

Because I wasn’t really who Mattel was after, the show never got its hooks into me. I was aware of it, sure, because it was part of the zeitgeist and therefore impossible to avoid completely. I was more of a GI Joe: A Real American Hero kind of kid, though I was probably too old for that, too.

Given that I wasn’t ready for tween-nostalgia in 1987, it’s sort of surprising that I actually went and saw Masters of the Universe in the theaters. As I say, I had no particular attachment to the setting or the characters. I suspect it was because Dolph Lundgren starred as He-Man, and even then I thought Lundgren was pretty cool. Unfortunately, Masters of the Universe is a terrible showcase for him besides being a bad movie in general.

When you get right down to it, there’s no real reason why Masters of the Universe had to be as bad as it is. Some of the people working behind the scenes are legendary in their fields, including SF/fantasy artist William Stout (who did the production design) and Jean Giraud, better known as Moebius, who also contributed, though I’m not sure what. There are elements of goodness embedded throughout, promising something better than what we got. What exactly went wrong?

I think the blame can be laid squarely on the backs of Menahem Golan and Yoram Globus, the masterminds behind schlock production house Cannon Group. You may know Cannon best for making Chuck Norris a bona fide (though relatively minor) action-movie star, but they made a lot of other films, too. The Apple, anyone?

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