Saturday, 25 January 2025

Barbara v Amazon: 007 in limbo

In this season of The James Bond Cocktail Hour podcast, we are covering the six year gap between Licence to Kill and GoldenEye, covering everything James Bond-related, from books to comics to video games, to non-Bond properties which tried to fill the gap.


We start the new year with a look at the current spate between Eon and its new partners Amazon, and what it could mean for the series going forward.

Check out the episode at the link below:



























Edge of Darkness: Compassionate Leave

Edge of Darkness: Into the Shadows

Edge of Darkness: Burden of Proof

Edge of Darkness: Breakthrough

Edge of Darkness: Northmoor 

Edge of Darkness: Fusion











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BITE-SIZED: Final Exam (Jimmy Huston, 1981)

After murdering a couple on another campus, a killer is loose on the campus of Lanier College.


It falls to students Courtney (Cecile Bagdadi) and Radish (Joel S. Rice) to try and stop him.



Final Exam is no hidden masterpiece. But it is a good example of how the slasher genre, even in its initial run of the early eighties, was capable of playing around with its conventions.


The film is not that scary - I will admit to being checked out during the third act - but it contains a few elements which make it stand out. 


The primary one is a great character.


Joel S. Rice’s Radish is initially presented as a nerd, a familiar archetype. 


As the movie goes on, he is shown to be more fleshed out. While he is a prankster, he does not follow other examples of this character (Alfred from The Burning), and turn out to be a creep, or an annoying prankster. And he supports the final girl from a space of friendship rather than pure sexual desire.


The veteran slasher watcher in me knew he was being set up to die, but this is the rare case where his death has an emotional impact - there is a genuine sense of tragedy when he dies.


That actually goes for all of the deaths.


Like 1989’s Intruder, this film takes over half the runtime for the villain to start stacking bodies.


Because the film bothers to flesh out these characters, even though the scenes are not scary, the characters’ deaths still carry a level of viewer investment. 


Related









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BITE-SIZED: Those Who Wish Me Dead (Taylor Sheridan, 2021)

A veteran smoke jumper (Angelina Jolie) has to protect a young boy from hired killers as a forest fire rages.



After watching Firestorm, I was curious to check in on this more recent, spiritual remake. It almost plays like Firestorm’s more A-list competitor.

A straightforward, star-led action thriller, it is hard to realise how rare this type of movie has become. 

It has only a few villains, with a small plan with high stakes: murdering a child. In 2020s Hollywood, a boilerplate thriller like this is a unique object

Angelina Jolie is solid in the lead. One wishes this movie had been a hit - Jolie is a great action star, and should be getting more opportunities at bat.

While Jolie is the focus, the standout character is played by Medina Senghore, playing a heavily pregnant woman who becomes the film’s action hero, tracking the villains and killing the Big Bad.

The film ends up as more of an ensemble piece: Our heroes win by working together.

The villains might have the power of a (largely unseen) organisation behind them, but trapped in a raging forest fire, that counts for nothing.

Did I love it?

No. But it is an efficient programmer - it does its job. 

Related 

Firestorm

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Friday, 24 January 2025

BITE-SIZED: Maniac Cop (Bill Lustig, 1988)

A cop is stalking the streets of New York City. 


A maniac cop…



Written by Q the Winged Serpent’s Larry Cohen and directed by Maniac’s Bill Lustig, Maniac Cop is a solid eighties slasher.


It plays on assumptions about cops, their role in society and the way ordinary people act around them.


The ‘cop from hell’ reversal might have carried more of a jolt in 1988; in the age of increased visibility of police violence and over-militarisation, it feels almost quaint.


The New York City of the movie is the stuff of popular nightmares: the ‘Fear City’ popularised following its near-bankruptcy in the mid-seventies, filled with roving gangs and drug dealers. 


It is the NYC of reactionary fantasy, but it is also the NYC popularised by movies.


The cast are solid:


Genre mainstay Bruce Campbell is fine as an innocent man on the run, and Tom Atkins is great as the veteran cop on the case.


The film is pretty tense, although that head of steam starts to peter out once the menace is given a shade more explanation and Cordell is revealed.


I am usually a fan of unexplained antagonists, but I left the movie a little wanting. We never get a sense of how Cordell returned - he just appears to be an immortal zombie. It might be a taste thing - I am not the biggest fan of supernatural antagonists.


Ending aside, Maniac Cop is worth checking out.


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BITE-SIZED: Someone to Watch Over Me (Ridley Scott, 1987)

When a veteran cop (Tom Berenger) is assigned to protect a wealthy woman (Mimi Rogers) who witnessed a murder, he finds himself falling for the blue blood.


This entanglement puts both his marriage and his family’s lives on the line when the killer turns his sights on him.





Based on the movie’s pedigree, I was kind of hopeful.


Like all Ridley Scott projects, Someone to Watch Over Me looks great.


But the movie never has lift off.


It is a familiar thriller premise, with a love triangle lent interest by the class difference between the would-be lovers.


A better film would have lent into the layers of tension the story lays out: Betraying his wife, crossing professional and ethical boundaries, and then the variable of a homicidal killer jeopardizing it all. 


Tom Berenger is a relatively unknown quantity to me. The one film I have seen of his from this period is Betrayed, in which he plays a Neo-Nazi.


He is believable as a blue-collar cop and has decent chemistry with both Rogers and Lorraine Bracco as his wife.


Frankly, while he is believable as an unfaithful husband, the movie does not do enough with that complication.


There is nothing here - no great forbidden love. It just plays as a run-of-the-mill affair.


And the crime story is uninvolving. We get a couple of competent setpieces, but nothing that sticks in the mind.


The story feels so small and pointless.


Scott’s feel for creating a sense of place and character is the film’s standout element - you get a sense of Berenger entering a completely different world from the one he lives in. 


But that is about it.


The cast are good (Bracco is fantastic), but there is not much else to discuss.


Related


Black Rain


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Avenging Angel (Robert Vincent O'Neil, 1985)

After an old friend is murdered, Angel (Betsy Russell) returns to the streets to avenge him.


Eighties sequels are so wild. Look at the difference between the first and third Rocky movies. Or, using Sylvestor Stallone’s other iconic franchise, look at the contrast between First Blood and its sequel.


The original Angel is basically a gritty social drama. Avenging Angel is an action movie.


Even the recasting of Donna Wilkes with Betsy Russell makes sense for the pumped-up, cartoonish aesthetic of the new movie. Wilkes was believable as a teenager, working for the film’s more sombre and tragic tone.


While Russell is actually younger than her predecessor, she reads as older, and she is costumed to foreground her physique. Whereas Angel shied away from trying to sexualise its heroine, Avenging Angel foregrounds it.


Indeed, shorn of the aspirations (or pretensions?) of the original, Avenging Angel is more of a straight genre piece.


Aside from a few cast members (Kit Carson, Susan Tyrell), you could be forgiven for thinking this was a completely new movie. 


It would probably play better that way.


I watched the two movies back to back, and the difference in style and tone is not immediately apparent.


The moment the movie really jumps the shark, when our heroes try to break Kit Carson out of the sanitarium. 


 Filled with pratfalls and overtly “comedic” music, the scene basically re-sets the table for the film (Susan Tyrell goes for broke pretending to be a grieving widow).


Everything in the film is cranked up to extremes. The heroes are super-good looking and super-virtuous, the violence is over-the-top and the whole movie takes place in a cartoonish day-glo environment that feels more like the Girl Hunt sequence from The Band Wagon, than the gritty real-world locations of the first movie. 


The whole movie is goofy - one bad guy slips while running away and slides out a window.


Though made by New World, this movie feels like a Cannon picture. It feels like the camera could pan into Exterminator 2 or one of the Death Wish sequels.


And unlike the original Angel, this movie has proper action movie villains: OTT yuppies.


In a skewed way, these villains sum up the movie: the film creates a bizarre class dynamic, as Angel gathers a collection of outsiders to take down these wealthy killers.

 

In the lead, Betsy Russell is gorgeous but a little flat as Angel 2.0. It does not help that the character seems to have been smoothed out - she appears to be completely well-adjusted, and her dynamic with her friends lacks warmth and sense of history.


Angel is presented more like a vigilante, getting into costume (hairspray, tank top, hot pants, an oversized peacemaker) before returning to her old haunts to take down the bad guys. She looks like an action figure, and is about as deep.


Overall, the characters feel like archetypes, which works for this movie. I cannot say I enjoyed it, but the movie seems to know exactly what it is.


It feels like the filmmakers want to replicate the ridiculousness of the original’s finale, and extend that for the entire movie.


If that was their aim, they succeeded.


The original has more bite, but on its own terms Avenging Angel is junky fun.


Related


Angel


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