Miami Connection (1987)

       Every so often, there comes a film so bizarre, so unique, so out there, that it ends up being a must-see for those very reasons alone, regardless of whether the film itself is actually good or bad. Miami Connection is one of those movies, a low budget, martial arts film that has a lot of spirit and passion from the people who made it. Conceived by director Richard Park, and Tae Kwon Do grand master Y.K. Kim (who also wrote, produced, and stars in the film), Miami Connection (which barely takes in place in said location) is about a Miami ninja biker gang (seriously) that runs the cocaine circuit in Miami and sets its sights on conquering Orlando as well. Orlando is where we meet our protagonists, a band called Dragon Sound with band members that are all black belts in Tae Kwon Do. When these two clash, things get really crazy.

       Miami Connection was only released regionally in Orlando and West Germany during its original release time. It was only until recently that it was rediscovered by Drafthouse Films and shown to a wider audience with positive reception. When originally being made, no distributor gave it a chance, until a small distribution company bought it for $100,000. It became an underground cult film during this time and an old shame for Y.K. Kim. However, it has recently garnered a resurgence with positive reception from critics and audiences alike.

       So why was this film hid away so long? Maybe because it's notoriously so bad that it's amazing and the critics of back then couldn't figure it out. The film is so incredibly '80s that it can be seen as a time capsule of that area. From the hair, to the music (which we get to hear in full '80s synth rock glory), to the cars, to the everything – It's all '80s all the time.

       The aforementioned plot is as basic as it gets, giving our heroes every and any opportunity to kick butt. There's even a fight against some band members and a night club owner/manager! Any excuse to simply hit people is given in this film. It helps that the main characters that compose Dragon Sound (five men and a female singer) are all black belts in Tae Kwon Do in real life (save for the female). The action scenes range from stupid awesome to just stupid: sometimes characters do or don't get hit, sometimes characters do moves that have no reason to be made, and sometimes the moves being made make sense, but the fights are almost always unnecessary, which is what makes it all so great. The fights get really crazy at the end when our heroes have to go against the Miami Ninjas, who use all sorts of blades.

       In case you're wondering, yes, all these actors are bad actors. However, they have spirit and do try (not too hard), so it's actually not as painful as it sounds. On the contrary, the acting is hilarious most of the time, featuring terrible dialogue and a man who can't speak English (Kim). Some of the acting goes to really bad heights, and other times the acting is, well, obvious, which, in turn, can make it painful to watch.

       The music is really awesome, being as authentic of the time as ever. Featuring original songs such as "Friends" and "Against the Ninja," these songs are so radical that I couldn't help but dance like a goof when they played. The opening credits (which feature the song "Escape from Miami") are really cool for being so serious, which noticeably contrasts with the movie, which can't be serious even when it tries.

       I like that the setting is authentic, meaning that when they say they're in Miami or Orlando it's the real deal. They even show footage of the University of Central Florida, which is located near the downtown Orlando area. It is curious that nearly all the characters refer to their location as Central Florida, which is accurate, but still interesting; it's as if I were in Miami all the time but always referred to it as South Florida – it is accurate, being in the general South area, but there are other cities that compose South and even Central Florida. In that respect, Miami is always referred to as Miami (whenever it's even mentioned at all).

       And that leads me to my only complaint: It barely takes place in Miami. Consider this a precaution and not a spoiler: You don't wanna go into this movie thinking it's all in Miami, or else you'll end up a bit bummed like I was at the fact that, no, it doesn't take place on the mean streets of Miami but on the sorta-mean streets of Orlando. The title, as it turns out though, is a reference to the Miami Ninjas and not just the city; this ends up making more sense, since they're in Orlando but from Miami, hence, the Miami connection.

       Aside from the aforementioned complaint, I have no other problems with this movie. There's barely any filler (and if there is it's never boring), the music is out of sight, and the whole ride is always entertaining. There are many laugh out loud moments, as well as awkward scenes, dialogue, and so on. There's a few scenes where I'm pretty certain I saw the production crew standing around, too, which is classic.

      Overall, all I can say is that Miami Connection is so bad it's awesome. I recommend it to basically everyone and anyone who likes exploitation B-movies, hilarious movies, martial arts films, and films that are great to watch with others. And remember: Eliminating violence through violence is always the answer. 

Dragonball Evolution (2009)

       Based on the highly popular manga series Dragon Ball by Akira Toriyama, Dragonball Evolution is a bastardization as well as an insult. Anyone who loved good ol’ Dragonball more than likely would despise this film – yet, there’s something ridiculously entertaining about the whole thing. When it comes to what makes a film bad, it almost always comes down to execution: Dragonball Evolution manages to actually have good cinematography, entertaining moments, colorful design, and a general sense of fun. However, it also has bad acting, bad scripting, and less than stellar special effects (some of the practical effects are fine, though).

       Dragonball Evolution (why is it called that?) tells the story of Goku (played by Justin Chatwin), who basically has to save the world from the evil Piccolo (James Marsters) and gather the seven Dragon Balls which will grant anyone one who has them one perfect wish. The rest of the story and its details are, as one might expect, not at all important or necessary to talk about in a review. Sure, I could talk about Goku’s love interest Chi-Chi (played by Jamie Chung, who’s attractiveness is one of the film’s strengths), about his grandfather (Randall Duk Kim), and other pointless stuff, but that would mean actually talking about the story (which doesn’t do this film any favors), so instead, I’ll point out moments that either showed the film’s strengths or weaknesses.

       The beginning is nice, showing some insight into Goku’s high school life and how cliché the bullies are (dur hur lameo). These are actually some of the best moments in the film, especially when Goku goes to Chi-Chi’s party and opens a can of whoop ass. Other neat moments are when the characters are in that place with the tournament and temple (I can’t find or remember the location’s name for some reason). Chow Yun-fat as Master Roshi in himself is always entertaining, appearing to have a lot of fun in the role. There’s also an editing technique used early in the film that I found particularly cool.

       So where does the film do wrong? In the most important of places: Acting & Scripting. The acting is the most noticeable problem of the two, but I guess it wouldn’t be there without the bad script, either. Awkward moments, terrible dialogue, and strange plot points are at full display. I call out Emmy Rossum (Bulma Briefs) and Joon Park (Yamcha) specifically for her bad acting and his lame dialogue (though I guess his acting isn’t much better). It’s amazing that Justin Chatwin is one of the better actors here – in fact, he’s one of the most likeable characters (for me, anyway). The best actors are obviously Chow Yun-fat and Randall Duk Kim. Here’s the rest of the problem, though: These characters have odd dialogue a lot of the time, the film itself has odd pacing, and a bizarre plot that made me question the entire premise within the first two minutes.

       It may not be the easiest thing to specify why, but I know for sure that Dragonball Evolution is not a good movie. I could blame it on the acting, the script as a whole, the disgrace it is to the source material, but in the end, all I’m able to really muster is that it’s a bad movie – not an awful one, not an unwatchable one (it’s actually entertaining largely for its badness), but just a bad one. It didn’t fail in its premise at all: I asked for an entertaining, pointless, bad looking film and by God I got one. But that’s the biggest problem of all: It had no reason to be made whatsoever. 

Pulp Fiction (1994)

       Hitting the world like a punch in the jaw, Pulp Fiction is a phenomenon of a movie that plays with itself as a genre film while simultaneously telling an excellent and fresh tale that never seems to get old with the passage of time or repetition. Featuring an all-star cast that includes John Travolta, Samuel L. Jackson, Uma Thurman, Harvey Keitel, Tim Roth, Amanda Plummer, Maria de Medeiros, Ving Rhames, Eric Stoltz, Rosanna Arquette, Christopher Walken, and Bruce Willis, Pulp Fiction weaves together three separate tales taking place in '90s Los Angeles, featuring killer dialogue, graphic violence, and a lot of humor - all to the sounds of an eclectic and brilliant soundtrack.

       First off, it's important to point out what kind of film this is. It's first and foremost a genre piece, an exploitation film that is an homage to the kinds of films it has been inspired by. It's also a very successful black comedy, featuring a hilarious cast of characters, scenes, and dialogue that is as quotable as anything that's ever been put on film. Characters such as Jules (Jackson) and Vincent (Travolta) have great chemistry and provide us with excellent conversations to witness. Essentially, every character in this film is excellent in one degree or the other, be it Mrs. Mia Wallace (Thurman), Marsellus Wallace (Rhames), Butch (Willis), or Winston "The Wolf" Wolfe (Keitel). Roth and Plummer are notable as a couple who rob places, with an interesting chemistry and equally interesting dialogue and scenes. However, my favorite character has to be (of all the people) Jimmie, played by Quentin Tarantino himself. As is in Reservoir Dogs, my favorite character ends up being played by Tarantino; something about the way he looks, acts, and is makes it almost impossible for me to not make him my favorite character/person in whatever thing he may be in. In any case, Jimmie has my favorite monologue in the movie and some of my favorite lines as well; the scene that features him is also probably my favorite.

       When it comes to music, Tarantino knows his stuff. He does this sort of thing instinctively, carefully, with smart input and direction. The soundtrack for Pulp Fiction is classic, featuring assorted genres of music that also fit perfectly well in whatever scene they are featured it. While I would say the best use of music in this film is the opening and closing credits, the music is excellent all of the time and can sometimes really make a scene what it is, so it's almost unfair for me to single out a scene or two as being the best; all I have is my opinion, and not even that can be selective.

       I don't know what it is, but Tarantino is an incredible writer with an incredible knack for dialogue, be it unimportant or part of the actual over-arching story. He infuses each of his characters with personality, making them memorable for a variety of reasons. Essentially, any character that has notable screen time could be extremely well liked and memorable because they actually are characters, they are "people" who exist in this world (which is essentially a movie-like world, a theory which can be backed by Tarantino's love for movies in his movies). Tarantino's talent also goes for the stories he writes, but that goes without saying.

       Pulp Fiction is a true American masterpiece, the kind of thing that lives up to its name and manages to stay with you and have an impact on your life in some degree. Quentin Tarantino made something unique, yet old fashioned, and all brand new all at once. Movies like this don't perpetually exist. Movies as well written, as well acted, as well played as this one don't get made. As Jules might say, God came down and graced Tarantino with the will and mind to write this story down and make this film so that the world may see it and embrace it for what is: a perfect piece of pulp fiction.

Reservoir Dogs (1992)

How does a robbery turn out this badly?

       Bloody, violent, profane, and full of pop culture references, writer-director Quentin Tarantino's feature film debut is a masterpiece of crime and confusion, dialogue and characters, action and irony. The film stars the following: Harvey Keitel as Mr. White, Michael Madsen as Mr. Blonde, Steve Buscemi as Mr. Pink, Tim Roth as Mr. Orange, Chris Penn as "Nice Guy" Eddie, Quentin Tarantino as Mr. Brown, Eddie Bunker as Mr. Blue, and Lawrence Tierney as Joe Cabot, featuring the voice of Steven Wright as DJ K-Billy.

       The set-up is that a group of guys plan on stealing a jewelry store in a get-in-get-out heist. As one might expect, all goes to hell, tensions rise, people don't know who to trust, and blood is shed. While we never see the robbery in process (knowing only what happened by the various accounts given by the characters), the film's focus is on the people involved in the crime and not the main crime itself. This provides us with an interesting film which believes that, above all, characterization is king. Sure there's violence, blood, and death, but that all comes from the characters. There's never any moment of violence for violence's sake. Tarantino directs everything with finesse, never framing a bad shot, always knowing what he's doing. Even though it is a debut (not including his first short film), he knows what he's doing. Sure, you could say it isn't perfect, but there's no doubt that Tarantino knows how to direct.

       When it comes to who in this film is the better actor, there's almost no definite winner. No matter how much screen time a particular character might get, each and every actor in this film is excellent, believable, and naturalistic. Keitel is excellent as White, a veteran criminal who tries to keep his cool as things get chaotic. Buscemi is phenomenally likeably hilarious (in both senses of the word) as Pink, a guy who has trouble keeping is cool and is the first to believe that the robbers were set-up, meaning that there is a rat among them. He also doesn't like his alias. Madsen unnervingly and convincingly plays Blonde, a criminal fresh out of prison who might be calm and loyal but is also a complete psychopath (this is displayed best during the famous torture scene). Penn is great as Eddie, son of Joe (Tierney's character); both are fantastic in their roles as good ol' gangsters. Roth is probably my favorite (as far as the acting goes) as Orange, a guy who spends a lot of his screen time bleeding and screaming. Bunker (who plays Blue) and Tarantino (who plays Brown) do not get as much screen time, but they make their roles their own through dialogue and character traits. (For the record, Mr. Brown's my favorite Reservoir Dog, but as far as the main Dogs go, Mr. Orange is my favorite.)

       An important trait in this film (and all subsequent Tarantino films) is the writing. None of the dialogue in this film feels forced, wooden, or like something someone wouldn't say. Of course, this has a lot to do with the way the actors treat the material, but none of it would really matter if the actors were great but the writing wasn't. Tarantino infuses his script with rich reveals of his characters, from their general interests, to their relationships with other characters, to how they handled (or would handle) certain situations. For a film full of violence and blood, there are many scenes in which characters are merely talking to one another. It is in these scenes where Tarantino shows his real talent for dialogue and characterization.

     
       Style is also an extremely important part of this film, which also has to do with the film's soundtrack. From the black suits to the cars that are driven, these sorts of details matter to Tarantino and add to the film and its mythology. Small things from an old cereal brand to a scene specifically dealing with details needing to be remembered, Tarantino breaths his film with real people, real things, and real attention while also juxtaposing it with stringing moments of movie moments, movie situations, and movie awareness. The soundtrack adds to the style, featuring "super sounds of the seventies," which acts as soundtrack dissonance when mixed with violent moments. Above all, the soundtrack makes the whole thing a lot more cool/awesome while being a homage to older films from the 1950's and '70's. Homage is something Tarantino probably loves more than anything else, being a film buff first and a film maker second.

       Reservoir Dogs ranks as a classic crime film, as well as a classic independent film. The performances are top notch, the writing is top notch, the action is entertaining and also realistic. The soundtrack is classic and the dialogue is incredibly memorable and quotable. When it all ends, we are left with a sad scene of a heist gone awry, with a sad sort of ending that cuts to end credits featuring a song that gives off the opposite feelings that the film's end has provided. Reservoir Dogs isn't there to make us laugh (although there's plenty of laughs to go around) as much as it is there to tell a story about a group of criminals who get involved in something bad when it was supposed to have worked out all right. It's like an excellent crime novel that leaves you floored with its characters, situations, action, and understanding. When the end credits roll, I don't have any realization, I don't have any sort of feeling that I've learned something new or that I am emotionally effected (although that's possible). More than anything, I sit back, take it in, and enjoy what has been witnessed, revel in its greatness, and above all, feel satisfyingly entertained, even inspired. I wish I could put it into better words, but in all honesty, for something as simply done as this, I can't. It just is.

Rope (1948)

       Alfred Hitchock's Rope (adapted from the play by Patrick Hamilton) is particularly famous for one special novelty: the use of long takes with little to no editing, making it appear as though the film is shown in one long continuous shot. While the film has a few cuts here and there, the way the film is shot happens to be only the second most impressive thing in the film; the other thing is the acting. The stellar performances and the camera continually rolling (for the most part) compliment each other in a way that is almost always reserved exclusively for the stage. Indeed, given that it's based off a play, this film acts like one completely, featuring one setting during its entirety and taking place in real time. It also features minimal music and relies only on the dialogue of its actors, as well as the ever growing tension that permeates throughout the course of the film.

       The film's plot is fairly simple: It starts with the murder of David Kently, strangled with a rope by Brandon Shaw (John Dall) and Philip Morgan (Farley Granger). The reason why they kill David is not explained immediately but becomes clear during the course of the film. As it turns out, they're hosting a cock tail party the same day they kill David, but as one will find out, all this was intentional and carefully planned. I won't go into much detail, since explaining any more will spoil the film and its surprises. We see that the character's motivations seem to stem from various things, from possible jealousy to simply the thrill of taking the life of another individual. The characters of Brandon and Philip (played phenomenally by both Dall and Granger) are so different from one another it almost seems like it was meant to be that these two would concoct such a heinous act together.

       However, the actor who gets top billing here is James Stewart, playing the former head master of Brandon and Philip, Rupert Cadell. Brandon believes that of all people, Rupert would be the one to understand his reasoning behind murdering David. Stewart's character is incredibly important and unique and his acting is also top notch, with his best scene being the final monologue he delivers at the film's end. Stewart's trademark dialect also makes its appearance and actually adds to his character in a way I didn't think possible (although in a way, his dialect always adds to whatever character he plays to some degree).

       The rest of the actors do an excellent job, but the standouts are without a doubt Dall and Granger. The character of Philip is such a nervous wreak throughout while Brandon is so smug and proud of what he's done he can't hide his excitement. His explanation for murder and his reasoning for doing what he does is so convincing and evil it's more than just thrilling in itself to witness; it's outright disturbing. To see Philip go from concerned to just completely losing it is also something wonderful to behold. The suspense attached to the possibility of anyone knowing what these two have done is another thrill the film does expertly and it wouldn't be half as exciting if not for the fine performances taking us through this nerve shattering event.

       Without a doubt in my mind, Rope is one of the greatest thrillers I've ever seen. As a film in general, it is also one of the best I've ever seen, packed with amazing performances and stellar camera effects that keep us on the edge wondering what will happen next. It may not be the most known film out there, but it's most definitely worth at least one viewing. And if you've already seen it, why not see it again, for thrill's sake?

Looper (2012)

       Looper is not your typical sci-fi film. It isn't your typical time travel film. It isn't a typical film at all. It isn't conventional, mainstream, or what you'd expect. It stars Bruce Willis and Joseph-Gordon Levitt, both playing the character of Joe (Levitt is the younger version were as Willis is the older). The third feature film from director Rian Johnson (Brick, The Brothers Bloom), Looper takes the science fiction genre and gives it a fresh spin, using an original premise with excellent acting, shots, effects, and script.

       Joe is a looper, a hit man who kills people from the future in his present (the year is 2044). Time travel gets invented in the future and is outlawed immediately, so the mob uses it to dispose of people. Joe does his work gladly and understands the price that comes with this sort of job. During a regular hit, Joe's kill doesn't arrive on time, but when he eventually does, it turns out to be future Joe. From this point on, Looper becomes a chase, morality, and philosophical tale about sacrifice and the way things end up in circles, with plenty of violent action to keep you on the edge. 

       The visuals and sound in Looper are all top notch. The film has the look of a modestly budgeted picture, with practical effects (for the most part) and unique shots (camera shaking, tilting, panning, etc.), giving it an old fashioned look and feel. There tends to be a nice amount of care in the details, from Joe's apartment, to the diner he frequents. It may not be much to the average viewer, but it's something that I noticed and shows up throughout the film's entirety. These details could range from the machine in Joe's room that plays music, to the color of the cigarettes his girlfriend smokes. The details are not too much to fully distract us; they exist to show us how life is in this future, how things work, and how people live.

       Speaking of people, the actors are all great. Special mention to Paul Dano for his small but memorable role as Joe's best friend and Jeff Daniels as Joe's boss (who essentially becomes a scene stealer in almost every scene he's in). Emily Blunt is also in this film and has a very active role towards the latter half of the film. Her performance really surprised me, but not as much as the performance of Pierce Gagnon, who plays the child of Blunt's character, Sara. Without giving anything away, Gagnon (as Cid) does an incredible and convincing job as a young boy who is a lot more than what he seems. Another special mention goes out to Willis, who doesn't play the usual wise guy this time around. Levitt and Willis channel and embrace the roles they are given (which is technically the same role), with Levitt really channeling Willis and Willis playing his role as seriously as can be. Older/Future Joe is such a dark character, that whatever preconceptions you may have of him at the beginning will change by the film's end. 

       Speaking of the end (which I won't speak about), Looper doesn't end the way you might think. The easiest way to put it is that Looper has an unexpected ending. Much of what Looper does can be considered unexpected, as well as unconventional. The film does not glorify anything and there are certainly no heroes to be found. The film also plays with the dynamic of time travel very well without getting too deep into the subject (the film outright lets the audience know that it isn't going to go into it). While the film can be simple, it isn't structured in simplicity. When time travel is dealt with, things get tricky, things get complex, and things get philosophical. While one can get many themes out of the movie, I think the two themes that remain constant and understanding are choice and cycle. We all have the power to choose and make things different, regardless of what someone says about the future. We also have the choice to do good and bad things, and sometimes we do the wrong things because we think we're doing them for the right reasons. And as for cycle, well, everything goes in a loop (no pun intended). The final line in the film seems to sum up the main points and ideas presented in the film (or at least put a more significant layer onto the film) by emphasizing the last theme presented in the film: sacrifice. With choice comes sacrifice, and these things tend to go in a cycle. But that's just one interpretation.  

Fear and Loathing in Las Vegas (1998)

"We were somewhere around Barstow, on the edge of the desert, when the drugs began to take hold." 

       Based on the book by Hunter S. Thompson (first published in the 1971 November issues of Rolling Stone magazine), Fear and Loathing in Las Vegas is a hilarious and savage look at the death of the American Dream. Although, it could just as easily be a movie about two whack job's doing all kinds of drugs on a weekend trip to Las Vegas, with no point to it at all.

       Fear and Loathing is a movie that you will either love or hate. It took me a second viewing to fully appreciate its brilliance, which is hidden under a swarm of lunacy, hallucinations, and strange behavior. It's a movie that many people have loved, as well as hated. It's polarized many critics, audiences, and just about anyone lucky/unfortunate enough to stumble upon it. It's not an easy trip to take, but as Raoul Duke says, "Buy the ticket, take the ride."

       Directed by the one and only Terry Gilliam, the film stars Johnny Depp as Raoul Duke, AKA Hunter S. Thompson, and  Benicio Del Toro as his attorney, Dr. Gonzo. The plot is arguably non existent, as it has our protagonists covering a race, gambling, taking all kinds of drugs, covering a DEA convention, wrecking convertibles, etc. etc. The amount of things that happen in this movie is so insurmountable the film cannot even show us all of it. Duke himself can't seem to remember half of it, for that matter. Speaking of Duke, Depp narrates over the film as Thompson, who is essentially Duke, since Duke is Thompson's alter ego. His narration keeps all the pieces together (your mileage may vary), explaining the situations, explaining his philosophy, questioning why he's in Vegas in the first place, etc. Most of the time the narration is commenting on the events conspiring on screen, but twice in the film, Thompson monologues about the failed Love Generation, the reason it failed, and so on. It's at these points the film shows its heart most, showing us that all the behavior we see is a result of a failed attempt to promote peace and love (as well as hide from the gruesome beast that is reality) with LSD and marijuana in a time of Vietnam and Richard Nixon.

       The cast also includes many guest stars, which I refuse to list because 1) It's unnecessary and 2) It'll ruin the surprise for those who don't know. The cinematography by Nicola Pecorini is excellent, while Gilliam's directing matches the cinematography in terms of brilliance. Just about everything from the art direction, to the costumes, to the set design is excellent. Visually, the film is incredibly excellent. The soundtrack is phenomenal, using music from Big Brother & the Holding Company, Tom Jones, The Youngbloods, Bob Dylan, the Rolling Stones and so on to great effect. The score by Ray Cooper, which shows its face every so often, is also excellent, manifesting the fear and loathing (and paranoia) into music.

       When all is said and done, Fear and Loathing in Las Vegas is better left experienced than explained. It's a film that should be watched by anyone with an open mind, and with an understanding that they will either hate or love this film. And if they hate it, they should re-watch it. And if they love it, they should re-watch it. Fear and Loathing is definitely a film that gets better with repeated viewings, which may be required for some to fully understand all that is happening (or at least some of what is happening). It's a comedy that isn't funny, a dark look at what we all strive for, a portrait of America at its worst, and a metaphor so vast that it might take you some time to fully conceive what you just witnessed. Indeed, this film is not for everyone, not for the faint of heart. But if you decide to take the trip, then may the Lord be on your side, and may you fully get something out of the experience, be it positive or negative. For there is no other film, story, trip, or metaphor quite like the one Thompson experienced and the one Gilliam concocted for the screen.

"There was only one road back to L.A. - U.S. Interstate 15. Just a flat-out high speed burn through Baker and Barstow and Berdoo. Then onto the Hollywood Freeway, and straight on into frantic oblivion. Safety. Obscurity. Just another freak, in the freak kingdom."