As a young boy I often copped an issue of Lone Wolf and Cub from the local comic book store both for the samurai aspects, as well as the ...ahem, adult content. Then later, when Dark Horse comics published the entire series in graphic novel format, I read each, finally realizing the entire scope and breadth of the work. My son was born during that print run. I'd read the book the day I bought it, pushing his baby stroller through the park as Ogami Itto pushed Daigoro through forest, mountain, and winter. I'm a police officer, part of what I believe to be a warrior-culture. Something struck home. Ogami Itto, the Lone Wolf, is a warrior archetype, as clearly as any knight of King Arthur. Brave, honorable, dedicated, strong, and deadly. Imagine, then, my incredible surprise at the actor chosen to play him. It's not the double chin that I mind. It's not the rotund torso. It's not the pasty faced, gotta-poop, squinting faces he makes. All right, it's all of that, but mostly, it's that the movie would have been SO SPOT ON PERFECT if they'd only picked a different actor. The swordplay, cinematics, other actors, story, all of it is PERFECT. But I can't get past the double chin.
Reviews
5 Reviews
Better then I remembered
26 February 2003
Warning: Spoilers
It took me nineteen years to figure it out. I remember sitting in the theater as a ten year old, with a sinking feeling that never eased, that this movie made me fundamentally depressed. Let's face it. The crew abandons Starfleet and no doubt become outlaws. Kirk's kid gets croaked. The Enterprise gets fragged. And finally, for all our troubles, we get a lobotomized Spock at the end. Over the years, I chalked it up to ye olde "Odd Numbered Star Trek movies suck" phenomena. When my wife bought me the DVD for Valentine's Day, I guess I put on a happy face. I was coming down from the thrill of watching Wrath of Khan again. Can't say exactly why I popped in III tonight. I was just going to watch it for the text commentary (Kind of like "Pop Up Video" for Trekkies). And then something funny happened. The story sucked me in. The dark emptiness of the Enterprise with only a handful of men risking it all to save their friend. Christopher Lloyd's semi-cheerful turn as a realistic bad guy. It was refreshing not to see the uber-intellect of Khan, or the perfect precision of the Borg. Lloyd is just your basic pain in the ass adversary who has his own share of problems to deal with. Of course, there were some hokey parts, but they only give it a campy flavoring, and don't stop the flow of the film. All in all, this film was a worthy addition to the canon, and fits perfectly between Khan and Voyage Home, which, by the way, is coming out in Collectors Edition very shortly, and I'll have to think of a good reason for the wife to buy me that next.
The Street Fighter
(1974)
I'm going to eat this apple...HIYAAA...I BIT THE APPLE
28 November 2002
Considering the types of films we Americans were making back in 1974, this film stands up rather well. Of course, the best thing about it is Sonny Chiba's absolute commitment to doing everything in the most macho, accentuated way possible. I hate to be a copycat, but "Injured ape with respiratory problems" is the perfect way to describe his fighting style. Sonny does some pretty weird poses, and kind of slouches and stutter-steps around like James Dean doing improvisational ballet. That, and the thirty second pauses he takes between beating up people to breathe/twist face/grunt/breathe/try to breathe/twist face, grunt are priceless. I think you can really see his ninjitsu training in this film. He does a lot of wasteful movements. I recommend the film, but the guy in no way could be called the successor to Bruce Lee.
Brotherhood of the Wolf
(2001)
Staggeringly beautiful...oh, besides Monica Belluci?
26 November 2002
What a fantastically shot movie. At times I wanted them to stop hammering me with the convoluted conspiracy theories and the contrite romantic entanglements of 18th century france just so I could watch the snow fall. Each frame is so perfectly lit, costumed, and photographed that everything else is forgivable.
And while we're on the topic of beauty, let's just say on the day I meet the Creator, I'm going to walk up and say, "God? Everything else aside, this is for Monica Belluci!" and give him a high-five.
But all of this is really just cosmetic right? If the story itself doesn't stand up, it isn't worth the price of admission. And sadly, I have to say, I would recommend a rental over a purchase for this.
And while we're on the topic of beauty, let's just say on the day I meet the Creator, I'm going to walk up and say, "God? Everything else aside, this is for Monica Belluci!" and give him a high-five.
But all of this is really just cosmetic right? If the story itself doesn't stand up, it isn't worth the price of admission. And sadly, I have to say, I would recommend a rental over a purchase for this.
Punch-Drunk Love
(2002)
SHAM ART
8 November 2002
I imagine Paul Thomas Anderson giggling like a mischievous child whenever he reads a positive review for this film. He's fooling them again. Throw enough disjointed images and visual cues into the mix, and someone is going to rub their chin and say, "Ah ha! This makes NO sense...so it MUST BE ART!!!" And, not wanting to look foolish, the other critics all nod like Stepford Wives and agree. My problem isn't with the performances in the film. I enjoyed Sandler and Watson, and the usual cast of rounders (Where was John C. Reilly?)but I simply take umbrage when a film-maker decides to play games with inconsequential colors, bright flashes, and whispers in the audio when the main character looks at pudding. This movie reminded me of "A Life Less Ordinary", and that's not a good thing.
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