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. 

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.

Assault on Precinct 13 (1976)

       John Carpenter's Assault on Precinct 13 was released in 1976 and was the director's second full-length feature film. The movie tells the story of a few people trapped in an almost abandoned police station that is under siege by a gang of street killers. If that sounds like the plot to an exploitation feature, that's because it is. Assault on Precinct 13 was made on a low budget but never lets that get in the way of the action, suspense, atmosphere, or even the score (though, it might get in the way of some of the acting). While it isn't always action packed, it surprisingly keeps the attention of the viewer and is never exactly boring, thanks to the aforementioned suspense and characters.

       Shot in glorious Panavision, Carpenter makes very good use of the anamorphic widescreen format. For a film that doesn't always have a lot going on and takes place in the dark half the time, the format never seems to be put to waste. Nearly every shot takes advantage of the space that the format provides it with. The score (composed by Carpenter himself) is excellent and is only composed of synthesizers that not only sound creepy but really help establish the paranoid atmosphere of the film. Right from the opening titles (red letters on a black background), the score lets you know you're in for something serious.

       Serious seems to be the word in this film. Majority of the characters (which include a cop, two secretaries, and a couple of convicts) take everything as serious as can be. The convicts are mainly the ones in charge of the comic relief; they have a sense of humor, but are not merely there for comic relief alone and get serious when the time calls for it. The film also has a few moments that impressed me (one in particular shocked and impressed me) but that doesn't mean the film as a whole isn't good; just some moments are more eventful than others. On that note, I'd like to say this: Exploitation films typically have filler (people just talking, that sort of thing) but this movie, while not always full of action, never seems to have a moment of filler. Every scene seems to be there for a reason, and for a film where the siege doesn't occur until the half way point, that's pretty impressive.

       Assault on Precinct 13 isn't the best action movie I've ever seen, it could've been better, but for a second feature and for a low budget movie, it's actually really good. It just happens to suffer from the ol' it-could-have-been-better problem. But even with that in mind, it managed to keep my interest, managed to have plenty of suspense, and had really good action scenes. The acting is okay, but the characters themselves (especially the convicts) can be entertaining (in a low budget kind of way, I guess). Overall, it's a really good movie that is worth checking out, especially for Carpenter fans. When it comes to low budget exploitation action, or just action in general, this one delivers.