And I also reviewed the 12 Monkeys TV series on Atomic Junkshop.
After reading Bruce Lee’s biography, I Netflixed ENTER THE DRAGON (1973), the movie that showed Bruce Lee’s dream of superstardom was within his grasp (he died too soon to realize it). Lee plays a Shaolin monk recruited by British intelligence to hunt down a Shaolin renegade running a crime empire, including a sex-trafficking ring. Getting to the bad guy requires competing in his martial arts tournament against John Saxon (who only realized midway through the film that he wasn’t the hero) and Jim Kelly (the trio of white/black/Asian fighters was part of Lee’s idea for another, unmade film). Solidly entertaining, though now that martial arts films are so mainstream, it doesn’t have the seismic shock it must have given audiences in ’73. “A man’s strength is measured by his appetites — no, a man’s strength is fueled by his appetites!”
Alfred Hitchcock again — MURDER! (1930) suffers from being a yet another Filmed Stage Melodrama in which actor-producer Herbert Marshall tries to clear a former protege of murdering a rival (“If I hadn’t told you to gain experience in the provinces, this wouldn’t have happened.”). Despite several stagebound scenes, though, some of the visual moments are interesting, such as a couple getting ready in the morning, the pressure on Marshall to vote guilty with the rest of the jury. “We use life to create art, then we use art to critique life.”
NUMBER SEVENTEEN (1932) is another filmed play, but with a lot of what would later be classic Hitchcock elements, such as lots of identity games and a very visual final chase. However, after an initially great shot of a windswept street, the results are dull and confused as the various cast members explore the eponymous address which contains a dead body, a stolen necklace and possibly an undercover cop. Hitch’s next film was the equally forgettable Waltzes of Vienna but I’ll be jumping over that one to the classic Man Who Knew Too Much. “You don’t have to do nothing — in this house things just happen.”
THE FAST AND THE FURIOUS (2001) has a cop infiltrating a street-racing ring with an eye to bagging alpha racer Vin Diesel for a series of highway robberies, only to find himself going native as he bonds with Diesel and falls for the racer’s younger sister (Jordana Brewster). I watched this because any series with this many movies in it must be doing something right; while fast cars, sexy people and male bonding all have time-tested viewer appeal, I can’t see anything that made this in particular stand out. Michelle Rodriguez plays Diesel’s woman. “I watched my dad burn to death — I remember hearing the scream.”
Directed by Hiyao Miyazaki’s son, Studio Ghibli’s TALES OF EARTHSEA (2006) has magic mysteriously going haywire, forcing the wizard Sparrowhawk (Timothy Dalton) to search out the cause and restore the balance. A young man guilt-ridden over having slain his own father joins with the wizard and together they confront an immortalist (Willem Dafoe) desperately struggling to open the barriers between life and death, no matter the cost. This was good, though the young man’s patricide doesn’t make any sense to me. “You turned away from light so that you could see only darkness.”