On Blu-ray/DVD: AVENGEMENT (2019) and GENERAL COMMANDER (2019)

AVENGEMENT
(US/UK - 2019)

The best-kept secret in action movies, Scott Adkins continues to pay his dues and delivers the performance of his career thus far in the stunning, blood-splattered AVENGEMENT. It's also his latest collaboration with director Jesse V. Johnson, another guy who's been plugging away on the fringes of VOD for several years now and is finally found his calling with Adkins. While THE DEBT COLLECTOR and TRIPLE THREAT weren't exactly the Adkins/Johnson duo's finest work, they really clicked on SAVAGE DOG, the terrific ACCIDENT MAN, and now AVENGEMENT, a film that should be playing on 2500 screens and turning Adkins into an A-list movie star. He stars as Cain Burgess, a convict in London's Bellmarsh Prison, a hellhole affectionately known as "The Meat Grinder." Given a supervised 12-hour, six-man security furlough to visit his dying mother in the hospital, he arrives 20 minutes after she passes--partially because the cops stopped for vanilla lattes, which really sours his mood. He manages to escape and embarks on a two-day rampage of revenge across London, settling old scores with everyone who had a hand in turning him into the violent psychopath he's become, with the ultimate target being his big brother Lincoln (Craig Fairbrass), a ruthless loan shark whose backstabbing machinations led to Cain's incarceration in The Meat Grinder.

Johnson and co-writer Stu Small arrange the story in a non-linear fashion through time jumps and flashbacks as Cain ends up at Lincoln's bar and holds a bunch of his flunkies hostage--including his right-hand man Hyde (Nick Moran)--and informs them what he's been up to over the last couple of days as he waits for his brother's arrival. Like an unholy alliance between Guy Ritchie (especially with Moran's presence), Steven Soderbergh, and longtime Adkins collaborator Isaac Florentine (the UNDISPUTED sequels and the two NINJA films among others), AVENGEMENT is a bit more imaginatively constructed than you normally see in VOD action fare, and in terms of style, ambition, and quality, it's a step up for Adkins and especially Johnson, following through on the promise of ACCIDENT MAN. But this is the Scott Adkins Show from start to finish. Outfitted with a grill after Cain loses most of his teeth in a prison brawl stair-stomping and with a face adorned with cut scars and burns after being splashed with homemade napalm by another inmate ("Looks like someone set fire to your face and tried to put it out with a shovel," Hyde snarks), Adkins looks like a feral, roid-raging Pete Postlethwaite in a performance of frightening intensity. A fundamentally good man--his boxing career ended when he became persona non grata after disobeying orders from Lincoln to throw a fight--Cain has been handed a shit deal by life at every turn, and the very person he looked up to is the one who continually threw him under the bus for his own personal gain and/or to save his own ass (watch the pain Adkins conveys with his eyes when his terminally mother visits him in prison for the last time and says "Thank God Lincoln is there for me"). Cain Burgess is a great movie character brought to vivid life by a seething, explosive Adkins. There are moments in this where he doesn't even look human. Filled with genuinely unpredictable twists and surprises and one of the great action sequences of the year once all hell breaks loose in the bar, AVENGEMENT is an instant cult classic and with its current 85% rating on Rotten Tomatoes, it seems like mainstream critics are finally taking notice of Adkins. It's about fucking time. (Unrated, 88 mins)



GENERAL COMMANDER
(UK/US - 2019)

The latest DTV excretion pinched off by former action star and probable Russian sleeper agent Steven Seagal has an even shakier foundation than usual. GENERAL COMMANDER was conceived in 2017 as a 12-episode TV series, but the project was abandoned by creator/co-director Philippe Martinez (JCVD's WAKE OF DEATH) after just two episodes were shot. The solution? Just put those two 40-minute episodes together and release it as a new Seagal movie. That certainly explains the abrupt non-ending that probably served as a cliffhanger to the third episode, along with the credit "Created by Philippe Martinez," the TV-style opening credits, a GENERAL COMMANDER logo that looks like Martinez should be expecting a cease-and-desist order from Van Halen's lawyers, incredulous technological capabilities that make the CBS prime-time procedural lineup look like John Le Carre tutorials, plus an overwrought but not-completely-terrible theme song performed by co-star Mica Javier. As if it even matters, Seagal *IS* Jake Alexander, the leader of an elite CIA black-ops unit specializing in hunting down the world's richest and deadliest criminals who rule the "dark web" and trade in untraceable cryptocurrency. After one of their own is killed in Cambodia in a botched raid on a black market organ harvesting operation, Alexander's handler (Martinez's wife Megan Brown Martinez, who's maybe a worse actor than Seagal) grows tired of his cowboy methods and disbands the unit. Alexander goes rogue, getting financing from wealthy Russian investor--wink wink--Katarina Sokolov (Evgeniya Ahkremenko) to set up his own freelance operation to track down Gino Orsetti (Edoardo Costa), the wealthy and powerful Malta shitbag and apparent Maximilian Schell cosplayer who's behind the black market organ outfit.

There's a couple of go-through-the-motions action sequences, and Seagal has about a 12-second, badly-edited fight scene with a CIA assassin played by Ron Smoorenburg, but even factoring in the extremely diminished expectations of a present-day Seagal movie, GENERAL COMMANDER is a crushing bore. Much of that is due to all of the exposition and background that must be established in any premiere episode of a TV series, which just makes it all the more obvious that this is just two episodes crammed together (Ross W. Clarkson is credited as a second director, the assumption being that he helmed the second episode, which relies far less on the ridiculous, wanky flourishes and pointless echo effects on some dialogue in the first half). Seagal is still the laziest actor alive, but at least he isn't obviously doubled like he usually would be (I guess this is him showing "commitment") and is actually there in most of the shots with his co-stars. Don't think he's turning over a new leaf, though: Seagal does disappear for unusually long stretches throughout, which is pretty much on-brand for a Steven Seagal TV series. (R, 85 mins)

On Netflix: THE PERFECTION (2019)

THE PERFECTION
(US  - 2019)

Directed by Richard Shepard. Written by Richard Shepard, Eric Charmelo and Nicole Snyder. Cast: Allison Williams, Logan Browning, Steven Weber, Alaina Huffman, Mark Kandborg, Graeme Duffy, Molly Grace, Eileen Tian, Milah Thompson, Winnie Hung, Johnny Ji, David Soo. (Unrated, 90 mins)

Horror's "slow burn" movement over the last decade has given way to term "elevated horror," often invoked when it comes to the likes of THE WITCH, HEREDITARY, the Jordan Peele double-shot of GET OUT and US, and other ambitious thinkpiece-launchers. The Netflix Original film THE PERFECTION is every bit as important a modern horror film, even though "elevated horror" really reeks of highbrow snobbery and a term used as a pass for those who like the movie in question but still regard the genre with scornful dismissal. Regardless of what kind of horror you want to call it, THE PERFECTION is a film best approached knowing as little as possible. It's a deranged gut-punch that weds the stylistic flourishes of Brian De Palma with the shocking ferocity of South Korean OLDBOY and THE HANDMAIDEN auteur Park Chan-wook. It's an out-of-left-field stunner from director Richard Shepard--best known for 2005's THE MATADOR and the 2009 John Cazale documentary I KNEW IT WAS YOU--who co-wrote with RINGER and SUPERNATURAL vets Eric Charmelo and Nicole Snyder. The filmmakers have so many twists and tricks up their sleeve--and they actually play fair with how they're revealed--that it takes some time before you realize you've been sent in the wrong direction, whether it's a flashback to show you that what you just saw is indeed not what happened, a second-act change in protagonists, or the way they have you continually shifting your alliances with the major characters.

In short, Charlotte Willmore (GET OUT's Allison Williams) is a former cello prodigy who walked away from a promising career to care for her ailing mother for what became ten agonizing years, with quick flashes indicating a suicide attempt and shock treatment in a mental institution. In her teens, Charlotte was a student of renowned cello instructor and arts benefactor Anton Bachoff (Steven Weber) and his wife Paloma (Alaina Huffman), and she reconnects with the two of them when they invite her to a cello symposium in Shanghai. They surprise Charlotte by making her one of the two judges of a youth competition for the next Bachoff scholarship. The other judge is Anton's most prized alum, globally-revered cellist Elizabeth "Lizzie" Wells (Logan Browning). Initially apprehensive of meeting one another (though they glanced at one another as children when a 14-year-old Charlotte left the Bachoff Academy and nine-year-old Lizzie was just arriving), they immediately hit it off, first with mutual respect then sexual attraction, and after several hours of dancing and drinking at a club, they end up spending the night together. Lizzie talks Charlotte into accompanying her on a two-week "rough and tumble" bus tour through off-the-grid parts of China, but the trip gets off to a rocky start when Lizzie can't shake the hangover from the previous night's partying. Things then get exponentially worse on the road after Lizzie becomes deathly ill and the irate driver kicks both women off the bus.

That's about as much of a synopsis--roughly the first 20 minutes of the film--as one can reveal without going into significant spoilers. You'll never see where THE PERFECTION is taking you and even when you think you do, you're wrong. Motives shift, perceptions change, and the rage is so palpable that this will likely go down as a furiously definitive statement of the #MeToo movement in the horror genre. The De Palma worship isn't subtle--drink every time you see a split diopter and you'll be as hungover as Lizzie is on the bus--and it promotes an overwhelming sense of unease and doom while at the same time being so playfully lurid in its style that you're dazzled even as you're cringing and wincing. Shepard, who previously worked with Williams when he helmed several episodes of the HBO series GIRLS, conducts a master class in screw-tightening tension, with the ill-fated bus trip a small masterpiece of nerve-shredding intensity as an unfortunate situation turns horrifying and quickly spirals out of control. It's extraordinarily well-acted by Williams and Browning, both tasked with difficult roles that run the gamut of every conceivable emotion. THE PERFECTION is a film that must be experienced rather than read about. It's as terrifying and disturbing as anything in the "elevated horror" (I'm using the term begrudgingly) movement, and in a perfect world, it would be playing on 2500 screens to astonished audiences who would exit the theater at the end, buzzing over that remarkable final shot and how much this movie fucked them up.

In Theaters: BRIGHTBURN (2019)

BRIGHTBURN
(US - 2019)

Directed by David Yarovesky. Written by Brian Gunn and Mark Gunn. Cast: Elizabeth Banks, David Denman, Jackson A. Dunn, Meredith Hagner, Matt Jones, Gregory Alan Williams, Becky Wahlstrom, Emmie Hunter, Annie Humphrey, Stephen Blackehart. (R, 90 mins)

Very nearly a casualty of alt-right conspiracy theorist Mike Cernovich's attempt to engineer the cancellation of executive producer and GUARDIANS OF THE GALAXY helmer James Gunn over some offensive tweets in his past as some kind of "both sides" revenge for Roseanne Barr losing her TV show, BRIGHTBURN is an intriguing superhero deconstruction that owes a tremendous debt to SUPERMAN. Following the Man of Steel template starting with a childless couple discovering a human-looking alien child and raising it as their own, BRIGHTBURN doesn't take long to ponder the hypothetical of young Clark Kent discovering his inner Damien Thorn and running with it. Unable to successfully conceive a child, happily married Tori (Elizabeth Banks, who starred in Gunn's SLITHER) and Kyle Breyer (David Denman) are at least enjoying the continued attempts when they're interrupted by a crash in the woods behind their farmhouse in rural Brightburn, Kansas. Cut to the 12th birthday of their adopted son Brandon (Jackson A. Dunn), who's discovering new things about himself, namely the extent of his physical strength and an uncontrolled rage at those who wrong him. He's drawn to a glowing, rumbling light in the barn--which he's been forbidden to enter and has obeyed that order until now--where something locked under the floorboards is sending him a message and frequently putting him in a trance. Tori and Kyle write it off to the onset of puberty, and after finding some hidden photos of naked women and autopsies under his mattress, Kyle addresses his son's confusion by telling him that sexual feelings and "touching it" are normal and that he shouldn't be ashamed.

Emboldened by the conversation ("Good talk," well-meaning Kyle says after the awkward interaction), Brandon begins acting on his urges by stalking cute classmate Caitlyn (Emmie Hunter), even entering through her bedroom window and watching her from behind the curtain. He later breaks her wrist after she calls him a "pervert" in front of other kids. As his mood becomes darker and his artistic scribblings more violent in nature, Tori still keeps attributing it to changing hormones. This is even after the body count starts rising in Brightburn, starting with the slaughter of Kyle's chickens all the way to Caitlyn's Brandon-hating mother (Becky Wahlstrom), followed by threats to the school guidance counselor (Meredith Hagner), who happens to be Tori's sister. Only Kyle seems to realize that maybe the innocent baby they rescued from a crashed space pod that they've kept locked away in a secret room in the barn for a dozen years--now donning a cape and a creepy, crimson executioner's mask and hood and demonstrating decidedly superhuman powers--might be a force they can no longer control.

Written by Gunn's brother Brian and their cousin Mark, and directed by David Yarovesky, whose 2015 indie horror film THE HIVE starred James and Brian's brother Sean Gunn, BRIGHTBURN takes a novel approach to the superhero concept by mashing it up with the "evil child" subgenre, which is having a comeback year already--in terms of quantity if not commercial success--with THE PRODIGY and THE HOLE IN THE GROUND. Its use of Brandon's discovery of his true nature as a metaphor for puberty is intriguing, and the film contains some inventively gruesome kills that rely on some good old-fashioned practical gore effects, but the more it goes on, the more difficult it is to buy the stupidity of the Breyers, particularly Tori, who's still making desperate excuses for Brandon's behavior even after the sheriff (Gregory Alan Williams) has some pretty damning evidence that her son is pre-teen serial killer (though they really don't do anything different from Ma and Pa Kent, who definitely lucked out by having a better kid who didn't give them any trouble). Banks and Denman are good, despite being saddled with lunkheaded characters (how does Kyle possibly think his solution to dealing with Brandon is going to work?), and Dunn, who resembles a young Paul Dano, has an effectively dead glare in his eyes. Yarovesky stages a couple of solid scare sequences, with one involving a glass shard and an eyeball that might even have fans of Lucio Fulci's ZOMBIE squirming a little. The ending is a bit frustrating, only because it leaves the door open for a sequel, a feeling that's solidified shortly after by an early closing credits stinger featuring a surprise cameo from a major James Gunn BFF as a ranting, Alex Jones-type cable news nutjob making references to Rainn Wilson's character in Gunn's 2010 superhero black comedy SUPER, vaguely hinting at yet another goddamn "cinematic universe." Can't anybody just make a fucking stand-alone movie anymore?

In Theaters/On VOD: THE POISON ROSE (2019)

THE POISON ROSE
(US/Italy - 2019)

Directed by George Gallo. Written by Richard Salvatore. Cast: John Travolta, Morgan Freeman, Famke Janssen, Brendan Fraser, Robert Patrick, Kat Graham, Peter Stormare, Ella Bleu Travolta, Blerim Destani, Julie Lott, Nick Vallelonga, Devin Ellery, Chris Mullinax, Melissa Greenspan, Sheila Shah, Nadine Lewington, Ashley Atwood, Anson Downes, Bill Luckett. (R, 97 mins)

It's always unfortunate when great movie stars don't team up until the downside of their careers. This means you get things like Al Pacino and Anthony Hopkins having a one-scene confrontation in the 2016 straight-to-VOD dud MISCONDUCT, but they're never in the same shot together as it quickly becomes obvious that they weren't even there at the same time. That's not quite the case with John Travolta and Morgan Freeman in THE POISON ROSE, but it's just as dispiriting that these two never worked together until the era of VOD Travoltablivion. A neo-noir that feels like it's been frozen in ice since the waning days of Savoy Pictures and boasting the finest ensemble that 1997 had to offer, THE POISON ROSE opens in 1978 Los Angeles, as low-rent private eye Carson Phillips (Travolta, sporting a career-worst wig) is offered a job by a mystery woman (Julie Lott) to verify the whereabouts of an elderly relative named Barbara Van Poole, who's supposedly a patient at a sanitarium in Phillips' hometown of Galveston. Phillips is reluctant, as he got as far away from Texas as he could 20 years earlier when he was disgraced in a point-shaving scandal that ended his gridiron career. And before we go any further, yes, THE POISON ROSE is the kind of movie that asks you to buy 65-year-old John Travolta as a guy who was a college football star 20 years earlier.

Phillips arrives in Galveston and is promptly stonewalled by Dr. Miles Mitchell (Brendan Fraser, a last-minute replacement when Forest Whitaker backed out), the weirdo in charge of the sanitarium, who insists that Ms. Van Poole is undergoing intense treatment and cannot be bothered. Using his downtime to renew old townie acquaintances like Sheriff Bing Welsh (Robert Patrick), aging hippie Slide Olsen (Peter Stormare), and obscenely wealthy mover-and-shaker Doc (Freeman), Phillips gets involved in another mystery when college football star Happy Chandler (Devin Ellery) takes a nasty hit on the field and dies. An autopsy reveals speed, meth, and an overdose of a cancer drug in his system, and the chief suspect is his wife Becky (Ella Bleu Travolta), who has plenty of motive since Happy was abusive and was sleeping with several other women, including Doc's sultry chanteuse daughter Rose (Kat Graham). Further complicating matters is that Becky's mother is Jayne Hunt (Famke Janssen), the woman Phillips left after his football scandal and the widow of a Galveston oil baron who was Doc's chief competitor. Doc wants part of Jayne's empire and for her to talk a snooping Phillips into going back to L.A., and Jayne wants Doc to grease Sheriff Welsh and the local law to take the heat for Happy's death off of Becky. All the while, Phillips keeps investigating and uncovers a conspiracy of corruption, a cancer cluster resulting from groundwater contamination, rampant medical billing fraud, and disappearing sanitarium patients, with random people threatening and taking shots at him to let him know he's no longer welcome in Galveston.

This is more or less DIPSHIT CHINATOWN, with the period detail primarily limited to the cars and people smoking indoors, with no real point to it taking place in 1978. Freeman's Doc is straight out of the Noah Cross playbook ("He owns everyone and everything!" Jayne says) and the story is so convoluted that you'll ultimately stop caring. In relation to Travolta's recent output that's almost enough to make John Cusack and Bruce Willis look away in embarrassment (GOTTI, SPEED KILLS, TRADING PAINT), THE POISON ROSE has a little more going for it--it's hard to dislike any movie that opens with GREEN BOOK Oscar-winner Nick Vallelonga getting kneed in the balls--and its biggest disappointment is that it takes itself too seriously and never fully embraces its inherent insanity. This is a film where Peter Stormare is shown singing a country music ditty and even he doesn't have the weirdest accent in it. It's been a while since Fraser was in a feature film, and if he's gunning to reinvent himself as a character actor in the Sidney Lassick mold, he's off to a promising start with his fey, lisping, whiny Dr. Mitchell. Fraser gives THE POISON ROSE its biggest spark and it's entertainingly weird whenever he's onscreen, plus his final scene is a viral YouTube clip waiting to happen. There's a hilarious scene where local drug dealer Lorenzo (Blerim Destani) is firing at Phillips in an empty football stadium, and Phillips grabs a football and takes him down with a perfectly-thrown spiral. It's also nice to see Travolta acting with his daughter Ella Bleu, even if it's something dumb like Phillips teaching Becky how to properly dunk donuts in coffee. Screenwriter and Travolta pal Richard Salvatore, working from a self-published novel by, uh, Richard Salvatore, gets off a few good P.I. zingers in the requisite noir narration, with Phillips cracking that "the next big case Bing solved would be his first," but usually it's cliches along the lines of "This is a bad place...worse than you can imagine," or this groan-worthy exchange more fitting for DEAD MEN DON'T WEAR PLAID:

Phillips: "You're tough as nails."

Jayne: "Those nails got rusty."  

The film was directed by George Gallo, best known for scripting the 1988 buddy classic MIDNIGHT RUN and co-writing 1995's BAD BOYS, but has done little else of note. IMDb and some reviews are crediting two Italian filmmakers--Francesco Cinquemani and Luca Giliberto--as additional co-directors, though their names are nowhere to be found on the film itself. Shot in Savannah, GA, THE POISON ROSE is a US/Italian co-production from Cannon cover band Millennium and Italian producer Andrea Iervolino, and the closing credits list an Italian unit. Cinquemani--who also directed the abominable Italian HUNGER GAMES ripoff ANDRON that somehow starred Alec Baldwin--has been actively plugging THE POISON ROSE all over social media but it's not clear from this exactly what his or Gilibertro's contributions were. The inclusion of numerous Italian actors in the cast listing on the film's IMDb page who aren't even in the movie--among them Claudia Gerini (JOHN WICK: CHAPTER 2) and Bruno Bilotta (DEMONS 2)--could indicate either some serious post-production tweaking or that Iervolino had Cinquemani and Giliberto shoot additional scenes specifically tailored for the Italian and/or European market, though I really can't imagine this being a hit anywhere.

On Blu-ray/DVD: TRADING PAINT (2019) and TRIPLE THREAT (2019)

TRADING PAINT
(Spain/US - 2019)

Neither as hilariously bad as GOTTI nor as aggressively awful as SPEED KILLS, the dirt racing drama TRADING PAINT is the "best" of John Travolta's recent VOD output simply by default. Oh, make no mistake, it's terrible, but it has a couple of supporting performances that save it from total Travoltablivion. Travolta (also one of 25 credited producers) is Sam "The Man" Munroe (that's the best nickname they could come up with?), a legend on the Alabama dirt racing circuit who's passed the torch on to his son Cam (Toby Sebastian, best known for his stint as Trystane Martell on GAME OF THRONES). Sam's racing team is plagued by minimal funds and Cam is tired of losing, so he causes a rift when he bails to race for his dad's longtime arch-nemesis Bob Linsky (Michael Madsen). Sam and Cam have always been there for each other, especially after Sam was behind the wheel in a car crash that killed his wife 20 years ago, and Sam is so incensed by his son's betrayal that he comes out of retirement and gets back on the track. This almost ends in tragedy after Sam wins a race and Linsky thinks Cam went easy on him, prompting him to have one of his other drivers (Chris Mullinax) try to knock Cam out of the next race, causing Sam to plow right into Cam's car, with the younger Munroe's car going up in flames as he barely makes it out alive with two broken legs. This leads to a reconciliation as Cam goes on a long road to recovery and rejoins his father's team to reclaim the crown from Linsky at the final race of the season.

Co-written by Gary Gerani (PUMPKINHEAD) and directed by Sweden-based Iraqi filmmaker Karzan Kader, TRADING PAINT is as perfunctory and formulaic as it gets. There's no excitement in the blandly-shot racing sequences, and the forced dramatic tension has no foundation or ultimate purpose. Why are Sam and Linsky such bitter rivals? And who thought present-day Michael Madsen, who's more or less morphed into KILL BILL's Budd, was credible casting as the top driver on the circuit? This is the kind of film where characters who already know each other speak in laborious exposition in order to clumsily get the audience up to speed. An early scene has Sam and new girlfriend Becca (Shania Twain, in her acting debut) out fishing, with Sam asking "Why'd you move down here?" as she goes into the whole backstory of her divorce and finding a new job. Wouldn't they have already covered this subject by this point in their relationship? The same goes for the track announcers when Sam rejoins the circuit, their racing analysis essentially serving as an in-movie summary in case you just stumbled on it or dozed off: "Sam 'The Man' Munroe, coming out of retirement and now he's mixed up in the crazy soap opera that has his son Cam driving for his old arch-rival Bob Linsky...hell, you can't write this any better!" Well, they could, but they didn't bother trying (Cam, embarking on his comeback: "Racing is in our blood!"). Twain has a charming screen presence as Becca and certainly deserves to be in a better film, and Kevin Dunn, as Sam's limping buddy Stumpy (that's original), gets a long monologue where he has to tell a really dumb story about how Sam once saved him from an alligator attack (hence, "Stumpy"), but Dunn is a total pro who uses all of his Character Actor Hall of Famer skills to convincingly sell it. The great Barry Corbin also turns up for a cameo as a folksy racing radio show host, and it's these little bits that periodically upgrade TRADING PAINT from "bad" to "inoffensively mediocre." (R, 87 mins)




TRIPLE THREAT
(US/China/Thailand/Australia/UK - 2019)

An EXPENDABLES-type summit of today's top martial-arts and second-tier action stars, TRIPLE THREAT strands its packed cast in a story that's generic and uninspired even by the standards of VOD. Any one of these guys have made much more interesting films on their own or in pairs and while it seems they're enjoying themselves, this really should've been something special. In the fictional Maha Jayan jungle in southeast Asia, a team of mercenaries led by Devereaux (BLACK DYNAMITE's Michael Jai White) have infiltrated a prison camp with the help of local trackers Payu (ONG-BAK's Tony Jaa) and Long-Fei (CROUCHING TIGER, HIDDEN DRAGON stuntman-turned-actor Tiger Chen, one of 30 credited producers), who were enlisted under the guide of helping out with a humanitarian rescue mission. It's a rescue mission, but the mercenaries' true target is their boss Collins (Scott Adkins), a deadly international terrorist who's being held at the camp. A skirmish claims the life of the wife (Sile Zhang) of camp guard Jaka (THE RAID's Iko Uwais), and Collins' crew leaves Payu and Long-Fei for dead. As required by law in films of this sort, Jaka winds up in an illegal, underground fight tournament where he vows revenge on Payu and Long-Fei until they convince him that they were misled and that they're after Collins as well, thus forming the titular unholy alliance. Also mixed into the melee is wealthy heiress Xiao Xing (Celina Jade of WOLF WARRIOR 2 and the TV series ARROW), who's committed to wiping out an Asian crime syndicate headed by Su Feng (Monika Mok), who happens to be the chief benefactor of Collins' terrorist activities.

Director Jesse V. Johnson--who's worked with Adkins several times, most notably on the wildly entertaining ACCIDENT MAN--and veteran fight choreographer Tim Man (ONG BAK, BOYKA: UNDISPUTED) stage some expectedly brutal throwdowns, and there's a surprising amount of splatter, but TRIPLE THREAT still never really catches fire. It doesn't take advantage of having all of these people in the same movie (there's also retired UFC fighter Michael Bisping, CHOCOLATE's Jeeja Yanin, freestyle full combat champ Dominique Vandenberg, and jump kick world record holder Ron Smoorenburg), and Jaka going off on his own in mid-film to attempt an undercover infiltration of Collins' team seems like a decision made less for the narrative and more to accommodate Uwais' availability. The pace drags in that middle section when the focus is on Payu, Long-Fei, and Xing, and when Payu finally confronts Devereaux after realizing it was he who killed his wife, Jaa is actually forced to growl "This is personal." Adkins has some fun as the villain, even though the script (credited to six writers!) requires him to emphatically declare "This ends tonight!" when he realizes the Triple Threat is coming for him. TRIPLE THREAT leaves no cliche untouched, but while you could certainly do a lot worse in the world at Redbox, this is unfortunately among the most forgettable efforts of almost everyone in it. (R, 96 mins)

Retro Review: THE CHOSEN (1978)

THE CHOSEN
aka HOLOCAUST 2000
aka RAIN OF FIRE
(Italy/UK - 1977; US release 1978)

Directed by Alberto De Martino. Written by Sergio Donati, Alberto De Martino and Michael Robson. Cast: Kirk Douglas, Simon Ward, Agostina Belli, Anthony Quayle, Romolo Valli, Adolfo Celi, Virginia McKenna, Alexander Knox, Ivo Garrani, Spiros Focas, Massimo Foschi, Geoffrey Keen, Alan Hendricks, Peter Cellier, John Carlin, Penelope Horner, Caroline Horner, Vittorio Fanfoni, Teresa Rossi Passante, Andrea Esterhazy. (R, 102 mins)

The Italian ripoff is one of the most enjoyably rewarding aspects of being a fan of '70s and '80s exploitation and Eurocult cinema. If there was a game-changing American blockbuster (THE GODFATHER, THE EXORCIST, JAWS, STAR WARS), an immensely popular genre effort (DAWN OF THE DEAD, CONAN THE BARBARIAN, RAMBO: FIRST BLOOD PART II), or even an influential film that wasn't necessarily American-made but was a worldwide hit (THE ROAD WARRIOR), it was guaranteed that at least a dozen shameless Italian ripoffs would follow in its wake. These often starred slumming, past-their-prime American and sometimes British actors who weren't getting lead roles at home and often had to resort to TV guest spots, considered at the time to be a step down. By contrast, European producers were offering starring roles, top billing, treated them like royalty, gave them an all-expenses-paid Italian vacation, and all they had to do was put in the bare minimum for the biggest paycheck, or in many cases, a suitcase full of tax-free cash. In the annals of Italian ripoffs, the 1978 OMEN knockoff THE CHOSEN stands out from the crowd, not just because it's unusually ambitious, has a much bigger budget than most of its Eurotrash imitation brethren, and a distinguished supporting cast, but because it stars a surprisingly engaged Kirk Douglas. Already a Hollywood legend by this point and not exactly hurting for work (he had Brian De Palma's THE FURY in theaters at the same time), Douglas had enough clout and his name enough value that he could've gotten away with doing as little as possible, shot his close-ups, and gone sight-seeing while his stand-in did the heavy lifting and competent editors could create the illusion that he was there the whole time, but he approaches this with all the gravitas and teeth-clenched, lock-jawed intensity of SPARTACUS.

THE CHOSEN works largely because Kirk clearly believes in it. In an era when aging leading men who stayed in Hollywood were often begrudgingly starring in glossy, big-budget horror movies that they never would've made in their heyday--Gregory Peck wasn't that enthused about being in THE OMEN, and William Holden did DAMIEN: OMEN II because he turned THE OMEN down only to see it become a huge phenomenon--Douglas passionately brings his A-game to THE CHOSEN and busts his ass like his reputation and the future of his career depended on it. We're obviously not talking Henry Fonda literally phoning in his performance from his living room in the 1977 Italian JAWS ripoff TENTACLES or Richard Harris turning up, presumably at gunpoint, in Bruno Mattei's 1988 RAMBO knockoff STRIKE COMMANDO 2, but it's always fascinating to find someone of Douglas' stature in a movie like THE CHOSEN, and usually, it's for the wrong reasons, especially in those occasional instances where they don't even stick around to dub themselves. But THE CHOSEN isn't a run-of-the-mill, quickie Italian ripoff, and perhaps Douglas recognized that. It deals with the same core ideas as THE OMEN and has some very OMEN-esque cues in Ennio Morricone's score, but also has the political and corporate plot elements that would eventually turn up in subsequent OMEN sequels as well as other Italian ripoffs like the insane THE VISITOR. It's a rare case of an Italian ripoff inadvertently influencing the later sequels to the movie it was ripping off in the first place, including a disturbing sequence in a maternity ward that foreshadows the third OMEN film, 1981's THE FINAL CONFLICT.

Douglas stars as Robert Caine, a successful London-based American industrialist whose Caine Enterprises is about to break ground on a nuclear power plant in the Middle East. The first red flag appears when Caine's wife Eva (Virginia McKenna), who opposes the construction of the plant, is killed by a fanatical protester (Massimo Foschi) in a botched assassination attempt on Caine. Then the Prime Minister (Ivo Garrani) who approved the plant is defeated in an election by military hardliner Harbin (Spiros Focas) who sternly informs Caine that his project is too dangerous and will never come to pass. One by one, everyone who opposes the construction of the plant is killed in a variety of OMEN-inspired freak accidents (including a bisection that would be copied in a much gorier fashion in DAMIEN: OMEN II, which opened two months later) as Caine, over the objections of his son Angel (Simon Ward), starts to question whether the plant should be built. A chance meeting with a priest (Romolo Valli), who may as well be named Father Exposition, leads to Caine's realization that the design and layout of the power plant is an atomic-era recreation of a Biblical prophecy of the apocalypse brought about by the Antichrist (and to further hammer it home, Father Obvious emphatically declares "The dragon of the apocalypse...is your atomic plant!"). The priest tells him that the Antichrist is a mirror image of Jesus, and with the help of Caine Enterprises chief computer programmer Griffith (Anthony Quayle), Caine discovers that a nonsense mathematical equation is really the revelation that he has "generated something that is not human." This is just before Sara (Agostina Belli), the much-younger anti-nuke journalist with whom has been having a fling, announces that she's pregnant with his child.

Directed and co-written by Alberto De Martino, best known for the blasphemous, goat-rimming 1974 Italian EXORCIST ripoff THE ANTICHRIST (belatedly released in the US in the fall of 1978 as THE TEMPTER) and whose next film was the MST3K favorite THE PUMAMAN, THE CHOSEN is endlessly entertaining despite boasting the most awkwardly-cadenced protest chant you'll ever hear ("What do our children...want to be...when they grow up...ALIVE!") and its inability to play its cards close to the vest. This makes some of Belli's performance as Sara a little baffling, since by the time she's acting strange and refusing to enter a church, we already know who the Antichrist is thanks to De Martino using no subtlety in his direction of Ward, making him look sinister from his first moment onscreen (and he's named "Angel," for Christ's sake). The screenplay has some intriguing ideas that lead to arresting images, like Caine holding a meeting of his 12-member board of directors that's staged exactly like The Last Supper. The sight of the inscription "IESVS" carved into a cave wall near the plant site and the use of the equation "2√231" to illustrate the priest's assertion that the Antichrist is a mirror image of Jesus and Griffith reminding Caine that digital numbers can form words won't fool anyone who's ever looked at the Dio logo upside-down or keyed "80085" into a calculator when they were in third grade, but like the De Martino's THE ANTICHRIST using sexual frustration as the impetus for demonic possession, THE CHOSEN is film that tries harder than it needs to and has ambitions beyond presenting a rote (yet memorable) series of splattery kill scenes.

Originally titled HOLOCAUST 2000 for its European release in late 1977, the film was rechristened THE CHOSEN when it arrived in the US in the spring of 1978 in an altered version with a different ending. The HOLOCAUST 2000 ending is more open-ended and suggests that Caine and Sara's child is the Second Coming and will battle its evil, mirror image older brother. But the cobbled-together US ending features newly-shot footage of a bearded Douglas walking through an airport, intercut with Angel vowing to complete the nuclear power plant by his 33rd birthday in a meeting with the board of directors, which he's just increased from 12 to 21 members. This goes on while an unseen figure--Caine, played by a pair of hands probably not belonging to Douglas--blows up the Caine Enterprises headquarters to ensure Angel's evil plan never comes to fruition. It isn't known whether De Martino shot this new footage commissioned by US distributor American International (ABBY and FOOD OF THE GODS editor Corky Ehlers is credited with "additional editing" in the US credits), but that was the version I remember seeing when CBS aired this in prime time in summer 1983 under its HOLOCAUST 2000 title. The film has undergone a number of title changes over the years, which hasn't been easy to keep straight given the two different versions. Despite being retitled THE CHOSEN for the US, the title reverted back to HOLOCAUST 2000 for TV and on Vestron Video's 1985-issued VHS, even though it has the CHOSEN version's "Kirk blows shit up" ending, and when it finally appeared on DVD from Lionsgate in 2008, it was retitled RAIN OF FIRE, but was the original HOLOCAUST 2000 European version without the explosion. Confused yet?

Scream Factory's new Blu-ray (because physical media is dead) contains both the HOLOCAUST 2000 and THE CHOSEN cuts, albeit in different aspect ratios (HOLOCAUST 2000 is 2.35:1, while THE CHOSEN is 1.78:1). There are minor tweaks to both versions aside from their endings (the conclusion to an early confrontation in an asylum between Caine and his wife's killer plays a bit more smoothly in the US cut), with both clocking in at 102 minutes, THE CHOSEN running a few seconds longer. Oddly, a Douglas-Belli sex scene is slightly more explicit in the US version, with some additional Belli nudity and a few extra Kirk thrusts. In a display of Douglas' absolute commitment to the project, which includes doing his own stunts like being thrown off a hospital gurney and into the air by asylum inmates while strait-jacketed, both versions showcase full-frontal Kirk in an insane dream sequence where he envisions the end of the world while running and flailing around a desert in his birthday suit. Whether it's a sense of professional dedication or just Douglas showing off his still-sterling 61-year-old physique (which he would also be happy to do in 1980's ridiculous SATURN 3, possibly influencing the future exhibitionism of co-star Harvey Keitel), his willingness to throw himself into his role helps sell the hell out of THE CHOSEN, a gem among '70s Italian genre ripoffs that deserves to be better known.

THE CHOSEN airing on CBS as HOLOCAUST 2000 on 7/30/1983

In Theaters: JOHN WICK: CHAPTER 3 - PARABELLUM (2019)

JOHN WICK: CHAPTER 3 - PARABELLUM
(US - 2019)

Directed by Chad Stahelski. Written by Derek Kolstad, Shay Hatten, Chris Collins and Mark Abrams. Cast: Keanu Reeves, Halle Barry, Laurence Fishburne, Ian McShane, Anjelica Huston, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Tobias Segal, Said Taghmaoui, Jerome Flynn, Jason Mantzoukas, Cecep Arif Rahman, Yayan Ruhian, Margaret Daly, Randall Duk Kim, Robin Lord Taylor, Boban Marjinovic, Susan Blommaert, Unity Phelan, Roger Yuan. (R, 131 mins)

An unexpected sleeper hit in theaters in 2014 after being given an 11th hour reprieve from VOD excommunicado, JOHN WICK provided Keanu Reeves with another iconic character that's single-handedly carried him through an otherwise rough career patch: a retired hit man who walked away from his old life to be with the woman he loved, unleashed as vengeance personified after the son of his former employer steals his car and kills his puppy Daisy, the final gift given to him by his wife before she succumbed to cancer. 2017's JOHN WICK: CHAPTER 2 was even better--a gonzo, comic-book-inspired actiongasm that cranked up the stakes, the inventive world-building, and ended with its hero embarking on a run for his life with seemingly the entire world in pursuit. JOHN WICK: CHAPTER 3 - PARABELLUM (that title's a bit of a mouthful) opens just seconds after the ending of CHAPTER 2 as Wick, branded "excommunicado" by the High Table of the organization after killing double-crossing Santino D'Antonio (Riccardo Scamarcio) on the consecrated grounds of the NYC branch of the hotel-for-assassins The Continental, is given a one-hour head start by Continental manager Winston (Ian McShane) before a $14 million mark is opened on Wick and offered to every professional assassin in the world.

Unable to get out of the city and dodging bullets, knives, and various other lethal weapons everywhere he goes, Wick calls in a favor and seeks safe passage from The Director (Anjelica Huston), a Russian ballet instructor and enigmatic figure from his past. Meanwhile, the High Table sends The Adjudicator (Asia Kate Dillon), an ice-cold problem-solver whose job is to enforce appropriate punishment to any of those who aided Wick in his escape, including Winston and The Bowery King (Laurence Fishburne), both of whom are given seven days to get their affairs in order before they're relieved of their duties. The Director gets Wick on a boat to Morocco, where he visits the Casablanca branch of the Continental, run by former colleague Sofia (Halle Berry). This leads to a meeting in the desert with a High Table elder (Said Taghmaoui), who offers Wick his freedom if he goes back to NYC and eliminates Winston, who's been deemed unreliable after failing to properly handle the D'Antonio debacle. Waiting in NYC is Zero (Mark Dacascos sighting!), a sushi chef and ambitious assassin ordered by The Adjudicator to kill Wick.

With Reeves and director Chad Stahelski returning, there's certainly a nice, lived-in feeling of comfort with the increasingly complex world of JOHN WICK. But like almost all franchises on its third go-around, CHAPTER 3 does start feeling like it's spinning its wheels at times. Derek Kolstad, the screenwriter of the first two films, is also back, but there's three additional credited writers, a telling indicator of how cluttered and structurally chaotic this often seems. After an electrifying opening half hour, the repetition starts creeping in, and there's only so many ways Wick can blast a bad guy in the head at point blank range before it starts to become a blur (Stahelski seems particularly indebted to Gareth Evans' THE RAID 2, right down to the presence of Cecep Arif Rahman and Yayan Ruhian as two of Zero's chief flunkies). But just because it isn't as fresh and inspired as its predecessors doesn't mean there isn't a lot to enjoy: the knife fight is terrific; a long gun battle with Wick, Sofia and her two loyal, ass-kicking, crotch-biting dogs vs. the army of Casablanca crime boss Berrada (Jerome Flynn) could almost be its own stand-alone short film; an amusing shout-out to Andrei Tarkovsky; an eye-piercing that's right up there with Lucio Fulci's ZOMBIE; Lance Reddick as the NYC Continental's unflappable concierge getting to blast shotguns as he helps Wick take on some of Zero's guys; and Dacascos has a lot of fun as Zero, who's assigned to kill Wick but can't stop being a gushing fanboy whenever he's in his presence (and he gets not one, but two opportunities to remind Wick "You see? We're the same!"). But after a pair of creative, inventive action sagas, CHAPTER 3 is still enjoyable but the fatigue is there. The stylish elements and the colorful look just feel recycled from CHAPTER 2, the whole Casablanca detour doesn't serve much of a narrative purpose other than bloating the running time (and Berry's role is little more than an extended cameo), and the increasingly epic nature of the action sequences necessitate using more noticeable and less convincing CGI as a crutch as the JOHN WICK franchise starts resorting to FAST & FURIOUS-esque silliness. The door is left open for an inevitable CHAPTER 4, so I'm predicting here and now that John Wick will be in space or at the very least battling a cyborg by CHAPTER 6.