Tag: the actors

The Yakuza

The Yakuza is a 1974 movie directed by Sydney Pollack.

An American detective travels to Japan to rescue his friend’s kidnapped daughter but finds himself the target of Yakuza operatives. Robert Mitchum stars as Harry Kilmer, a noir-styled, heavy-hearted hero. Mitchum’s easy, smoke-stained manner is interrupted by occasional bursts of violence as he and Ken Takakura’s Ken battle Yakuza soldiers. Takakura’s Ken is stoic and mostly silent throughout the movie. Yet in the cramped quarter combat scenes, he’s both efficient and brutal.

THE BEST – Honor

The code of honor is baked into Paul Shrader and Robert Towne’s script – Ken is bound to sacrifice himself out of duty – or “giri” – to Harry, while Harry finds himself committed to Brian Keith’s George. Mitchum’s Harry lingers in Tokyo despite Ken facing the brunt of the Yakuza’s revenge. There’s a nostalgic bent to this theme, as Mitchum’s World War II generation begins to fade and the Yakuza faces its own cultural reckoning.

THE WORST – Talking About Honor

But then again, it feels like Mitchum and Takakura have the same conversation regarding honor and obligation a dozen times.

THE WORST Part 2 – Harry Continually Messing Up April’s Life

Harry returns to Japan after decades to reunite with April, his one-time love and her daughter. They are both joyous to again see him. Then, he inadvertently causes destruction to their family before again leaving them.

Thanks a lot, Harry.

FOX FORCE FIVE RATING – 4/5

The Yakuza is a solid, thoughtful story that features terrific acting and action sequences. Mitchum and Takakura form an intriguing odd couple and the cinematography is a cool homage to noir thrillers of the past. Worth a watch.

Cobra Verde

Cobra Verde is a 1987 movie directed by Werner Herzog.

WHAT HAPPENS?

A bandit is sent to West Africa to convince a deranged King to resume slave trading with Brazil.

ONE LINE REVIEW

Cobra Verde is a vibrant Werner Herzog movie that features a classic Klaus Kinski performance.

THE ACTORS

In some respects, Cobra Verde is Kinski’s final powerful performance – or at least it’s his swan song with longtime collaborator Herzog. Kinski plays the bandit Cobra Verde with intriguing passive-aggressive tendencies – similar to the actor’s natural personality. For long stretches, Kinski is sullen – acting nearly entirely with his expressive eyes. As the movie progresses, Kinski seethes with contempt – erupting against the cast of countless native extras. Yet at times, the performance feels empty – an aging actor is prodded into rage.

THE DIRECTOR

Herzog’s setting is again brutally natural – we see the human and physical decay of an abandoned settlement, along with the casual degradation of chained slaves. There is no social statement to be made here – Herzog is again creating masterful realism. The scope of extras employed are extraordinary – his cameras continue to pull back revealing endless natives. In more narrative scenes, the brilliant colors, emotions and language of the locals creates a vibrancy not found in most movies.

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Race With the Devil

Race With the Devil is a 1975 movie directed by Jack Starrett.

Race With the Devil tells the story of two vacationing couples who are terrorized after witnessing a satanic ritual. Peter Fonda and Warren Oates play the leads – Oates carries the movie as his Frank boasts an extraordinarily natural everyman appeal, while Fonda’s Roger is miscast in any scene that doesn’t involve him racing. Lara Parker’s Kelly does a great job reacting to the terrors inflicted on the group – comprised of virtually every character the foursome encounter in a 400-mile radius. The implausibility of the story affects the movie’s tension, but there are enough highway chases and shootouts to satisfy.

THE BEST – Peter Fonda is Surprisingly Not a Dick

It’s odd to watch Fonda assume the role of an emotionally healthy man. Typically, his characters are juvenile, mean-spirited, man-child types consumed with motorcycles or cars. He actually exhibits a few moments of tenderness throughout the movie.

THE WORST – A Tale of Two Actors

Other than his famous last name, I’m never sure what Fonda brings to a role. He’s never a dynamic presence and often his only character trait is petty subversiveness. Any other actor could have easily played his part in Race With the Devil. However, Oates is easily one of the most natural actors of his generation. He perfects the unassuming nature of his characters, which is a vastly underrated acting skill.

FOX FORCE FIVE RATING – 3.75/5

Race With the Devil is a creative hybrid of horror and 70s chase genres. It’s worth a watch – especially if you’re a Warren Oates fan.

The Master Touch

The Master Touch is a 1972 movie directed by Michele Lupo.

The Master Touch tells the story of a thief who decides to do the proverbial “last job” before retiring. Kirk Douglass plays Steve, a technologically sophisticated criminal who recruits Giuliano Gemma’s Marco, a trapeze artist, as his protege. Typical of many Euro offerings of the time, Gemma does the heavy lifting while Douglass sleepwalks through much of the movie. Gemma’s highlights include several fun fight scenes and a tremendous car chase sequence. His usual affable personality fits with Douglass’ easy charm. Yet, Douglass turns on the intensity over the movie’s final act, revealing a gritty darkness.

THE BEST – That Badass Car Chase

The Master Touch features one of the wildest Euro Crime car chases you’ll find. Gemma’s Marco and a Mafia tough rampage through “German” streets, destroying cars, scaling steps and defying physics. One of the cars carries another flipped vehicle before getting shredded into a convertible.

THE BEST Part 2 – Early 70’s Technology

The style and imagination of 70’s technology is fascinating. Douglass’ Steve employs a variety of gadgets – including “electronic computers” – that are now laughably outdated but wildly inventive and chic at the time.

THE WORST – Steve Constantly Incriminates His Wife

Typical of most Euro Crime plots, the relationship between Steve and Florinda Bolkan’s Anna makes no sense. Anna wants Steve to not lie to her about his upcoming heist, yet she plays a major role in the scheme. It’s a confusing, frustrating hole in an otherwise solid movie.

FOX FORCE FIVE RATING – 3.75/5

The Master Touch is an interesting Euro Crime offering. Gemma’s action scenes are fun, the technology and 70’s style are impressive and Douglass shines during the movie’s climax.

Requiescant

Requiescant is a 1967 movie directed by Carlo Lizzani.

Requiescant tells the story of a preacher’s adopted son who attempts to save his sister from a corrupt group of ex-Confederates. Lou Castel stars in the title role and while his Colombian roots don’t exactly match his Mexican character, he exhibits a quiet intensity. Mark Damon’s George Bellow Ferguson steals the show. His aristocratic Confederate character is both genteel and vicious – but also reveals a simmering attraction to Carlo Palmucci’s Dean Light. It’s an intriguing performance – especially cast against Castel’s Bible-toting sharpshooter.

THE BEST – Overhead Shots

There’s nothing extraordinary about Lizzani’s direction – in most respects, Requiescant is a straightforward Euro-Western. However, during the movie’s climatic final scenes, Lizzani lifts his camera high above to show the wreckage of a saloon battle. It’s a simple and cheap technique, but extraordinarily effective.

THE WORST – Navajo Joe Levels of Casting

Castel is an interesting and occasionally dynamic actor but it’s hard to overlook his complexion – especially when cast against the Mexican peasants he represents. This contrast is even more striking when you remember Castel’s role in A Bullet for the General.

FOX FORCE FIVE RATING – 3.75/5

You have to suspend reality for much of the movie, but Requiescant is a solid Euro-Western that features some unique touches. It’s definitely worth a watch.

Network

Network is a 1976 movie directed by Sidney Lumet.

WHAT HAPPENS?

A struggling television network profits off the ramblings of a mentally ill newscaster.

ONE LINE REVIEW

Network is a vicious satire that takes on media and commerce.

THE ACTORS

Terrific performances permeate Network, including Faye Dunaway as an executive driven to turn a stale news program into entertainment. Dunaway expresses an amazing range of emotion – she’s resolved, cutthroat and stoic regarding her vulnerabilities. Her Diana Christensen merges with William Holden’s veteran producer Max Schumaker, who struggles with his pending mortality. Holden is most intriguing in these scenes, as his aging character seeks emotional affirmation from Diana, who is incapable of satisfying his needs.

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Nighthawks

Nighthawks is a 1981 movie directed Bruce Malmuth.

WHAT HAPPENS?

An undercover cop is tasked with hunting down an international terrorist.

ONE LINE REVIEW

Nighthawks is a stylistic crime thriller that features Stallone before his ascent into superstardom.

THE ACTORS

Sylvester Stallone’s Deke is the figurative bridge between his gritty 70s characters and the excessive action heroes he would later portray. While the script is laden with cliche cop dialogue and reactions, Stallone manages to allow his character moments of realism. He maintains a physical, alpha edge but remains a likable, sympathetic character.

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Death Race 2000

Death Race 2000 is a 1975 movie directed by Paul Bartel.

Death Race 2000 tells the story of a murderous road race set in a dystopian, totalitarian future. The various racers, each boasting comic attributes, score points by killing pedestrians. The race is ultimately sabotaged by a group of anti-government rebels. David Carradine stars as the ruthless Frankenstein, a veteran driver with several limb transplants. Sylvester Stallone adds a comic touch as stereotypical gangster Joe Viterbo. While the social commentary suggested by the movie’s themes is extraordinary, a distinct tone and basic logic to flesh it out are never found.

THE BEST – Turn Your Brain Off

If you don’t overthink the logic of a 70’s exploitation movie (like I do), you’ll greatly enjoy Death Race 2000. The characters are stupidly fun – including Carradine’s leather-clad creation, Stallone’s old-timey gangster and a lustful Nazi. The cars are incredibly cheesy, yet beautiful in the retro-futuristic vibe of the time. The violence is never threatening and often hilarious.

THE WORST – Take Your Pick

We’ll ignore the gaping holes of logic and atrocious, stiff dialogue – although a highlight is Carradine dryly telling his navigator/love interest Annie: “if you just stop trying to kill me for a minute and trust me….” and focus on the awkward Carradine/Stallone brawl, which is inexplicably won by the straw weight. It’s an embarrassing moment even for a movie that suspends reality.

FOX FORCE FIVE RATING – 3.5/5

There’s enough weirdness and potential to give Death Race 2000 a viewing. While its flaws are glaring, the movie is a unique experience.

Syndicate Sadists

Syndicate Sadists is a 1975 movie directed by Umberto Lenzi.

WHAT HAPPENS?

A biker vows revenge on two rival crime families after his brother is murdered while investigating a kidnapping.

ONE LINE REVIEW

Tomas Milian shines in an essential 70’s Euro Crime classic.

THE ACTORS

Syndicate Sadists is Tomas Milian’s show. His Rambo character is a drifter that possesses an impeccable cool and Serpico-esque, 70’s style. His wit and wiry, physical prowess foreshadows a more natural version of the amped-up action heroes that would soon follow. Milian’s easy delivery and natural comic style carries the movie.

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Dillinger

Dillinger is a 1945 movie directed by Max Nosseck.

Dillinger tells the rise and fall story of John Dillinger from petty crook to America’s most wanted bank robber. Lawrence Tierney plays the title character with a hardened, dominating menace. He creates a truly contemptible villain – one fitting with the era and decidedly slanted direction of Max Nosseck. There is no redemption even remotely suggested – Tierney’s Dillinger is a cold-blooded killer and thief.

THE BEST – It’s Tierney’s World

The orbit of Dillinger is all-consuming. There’s little oxygen left for the remaining characters. Tierney’s Dillinger dominates conversations. Some of the best:

“John, I don’t think we should do this.” “I don’t care what you think.”

“I’d like to know where I am.” “You’re with me.”

“Why don’t you take that poster down?” “I like it there.”

THE WORST – The Disguise

For a movie that boasts a surprising grit and hard moments of realism, Tierney’s comic mustache and glasses when he’s finally killed is mostly hilarious. This facet of the ending is a strange departure from the rest of the movie’s tone – along with a stain on Tierney’s otherwise hard-boiled, authentic performance.

FOX FORCE FIVE RATING -4.25/5

Dillinger is highlighted by an outstanding performance by Tierney. The supporting cast is passable and despite the era’s insistence on social commentary, Dillinger maintains a unique authenticity and menace.