Cinema-Maniac: Incoming (2018)

Another day, another direct to video action movie, another Scott Adkin movie, and another dull experience. For me, one of the few things that can match watching a unfunny comedy movie is watching a dull action movie. Generally speaking action movies strive to deliver thrills to the viewers no matter how serious they can take themselves. A good action movie isn’t restricted by budget, and typically those behind the camera if capable can make something exciting out of very little. First time director Eric Zaragoza making his feature length directorial debut is not one of those individuals. Instead of coming up with ways to overcome his budgetary constraints he becomes a victim to them, although with everything negative surrounding the movie a good direction wouldn’t have been able to save it.

More than half of those screens in the background are useless.

Incoming script is nonsensical, and so poorly conceived I’m convince whoever wrote this probably never finished school. Basically the premise is there’s a space prison created by a joint effort between several countries, three people (a doctor, a CIA Agent, a pilot) go onto that space prison for an inspection, and things go wrong when the prisoners take over. During the movie it’s very evident through the bad dialogue it’s trying to explain away lap in logics due to its obvious budget constraints. Kingsley (Lukas Loughran) the main man in charge in this space prison explains to everyone the lack of personnel to the viewers, the lack of proper equipment in emergencies if prisoners break out, and in another scene specifically mentions the fact if the cameras weren’t analog the people inspecting it would have known to bring a part to fix the cameras. When you get the gold mine that is “The Geneva Convention doesn’t apply in space” line that’s the highest peak the writing reaches. Throwing expository dialogue after expository dialogue without much of a break. None of this would be an issue if the way characters spoke weren’t so artificial.

The movie obviously tries to infuse comedy failing because the actors are uncharmastic to make the comedic lines work. Not helping matters are recurring jokes that weren’t funny the first time being used multiple times with even more diminishing returns. If you remove the performances you’ll still get face with the issues of characters regurgitating the same bits dialogue several times. There’s no need to explain to the viewer where specifically someone graduated in piloting a spacecraft, why the spaceships are automatic, and definitely do not need repeating the terrorists are bad. Further adding to that last part, the terrorists aren’t threatening so building them up, and pretending they’re a threat contrary to what is actually shown makes it worse.

Then there’s dangerous the terrorists group known as the Wolf Pack. One of the least creative name for any terrorist group I’ve seen in any action movie made even worse by the fact you’re meant to take it seriously. The villain, simply referred to as Alpha, has his top men captured, and torture in space. The keyword being top men, so you naturally would assume the heroes would have to struggle, and outsmart their enemies. That doesn’t happen since nearly every encounter the heroes come out on top without consequences. If the movie didn’t establish the six captured prisoners are the best members in the Wolf Pack it would have been easier to believe our heroes beating them at every turn.

This hallway is in so much of the movie it deserves it’s own acting credit.

While I’m still on topic about the villains, the identity of Alpha is treated as a plot twist. Early in the movie it’s establish Kingsley has been trying to learn the identity of Alpha for five years. Half an hour later the identity of Alpha is revealed in a unintentionally funny manner. When CIA Agent Reiser (Scott Adkins) tells Kingsley people in high position knew one of the prisoners he was holding was Alpha for three, and a half years. The reason this information was withheld is because surveillance technology wasn’t developed enough to where politicians, and the government’s wanted it to be at. Further making you question if prison is supported by several countries you would think one of them would ensure something like an escape wouldn’t happen!

Having mentioned the fact this space prison is a creation by several nations I would imply it’s trying to make some kind of political statement. Although, saying that would be as inaccurate as claiming there’s an intelligent life form in Incoming. Anything related to politics within context has little ground to make a good statement. Simply bringing up The Geneva Convention, and not delving into it any further doesn’t equate to good commentary. So when head honcho Alpha eventually makes the “we’re dying for a great purpose” speech it feels out place. When you have a scene dedicated to how a character came up with the idea for deadly grenades made out of piss, but not touch on The Geneva Convention beyond torture is bad. Go back to your draft, make notes, and get your priorities straight.

Then we finally come to our heroes who are pretty stupid. There’s doctor Stone (Michelle Lehane) whom after hearing one sob story goes into a prisoner cell, and thus is reason the prisoners take over. Of course the prisoners wouldn’t have easily taken over the space prison if Kingsley, or anyone else that know about this prison bother hiring more personal. The dumbest thing in this movie is easily the fact you have a boardroom meeting scene of important people discussing how they should deal with the space prison having been taken over. This specifically is further exacerbated by the fact all the heroes involve signed a death clause that states the program (who really cares to be honest) will not take responsibility for their death, and implies they will take any measure to ensure the prisoners don’t escape. So why security doesn’t launch a missile as soon as they (whoever is in charge on Earth) learn it been taken over by prisoners makes no sense if it established some sort of death clause for its workers.

In case you’ve forgotten, the Geneva Convention doesn’t apply in space! Now em kill all!

There’s plenty of other stupid things like Kingsley into the control room knowing full well it’s taken over the prisoners, and he’s outnumber. Can’t forget the villains not trying to lock, or barricade any doors to ensure no one enters. Finally, there’s Reiser who is the worst written character in the movie. He’s just a amalgamation of nonsense. His turn to being evil comes during the climax has no context for it. I was scratching my head at this evil turn since nothing about it made any sense. Trying to made sense of it would require more work than the three credited writers Nigel Thomas, Rick Benattar, and Jorge Saralegui gave to the screenplay.

Mentioned in the beginning this is a direct to video action movie starring Scott Adkins. A very reliable man in this field who regardless of what movie he’s in is able to elevate it through his presence. Unfortunately this movie misuses Adkins. If you want to see him deliver a good performance that won’t happen since he’s stuck in tough guy mode for the whole movie. Saying every line with anger in it to get across he’s serious. Unlike the rest of the actors, his character is the easiest to believe, and physically fits the role well. When it comes to his action scene he has to fight on everyone else’s level so no one will see his martial arts skills.

That make up on McCusker (right) is pretty bad.

Oh right, the other actors who do surprisingly worse than Scott Adkins. Aaron McCusker in particular lacks the charisma to be a character worth cheering for, and his comedy relief is grating. He also lacks chemistry with Michelle Lehane who he shares many scenes with. Lehane can at least emote a little bit of emotion whereas McCusker cannot. The only other actor worth mentioning because I won’t bash him like everyone else is James MacCallum who just plays a desk worker. He’s charismatic in the very few scenes he’s in making me scratch my head he didn’t get more screen time. As for the villains they aren’t intimidating, nor do anything they say comes off as believable. I normally go into more details on the cast performances, but man, almost everyone did very poorly, and that best summarizes my thoughts of their acting in a nutshell.

In the entire film you’ll primarily see three sets; the control room, the hallway, and the prison cell room all of which are just a couple dozen feet away from each other. With the limited budget Incoming had is made very apparent the longer it goes on. Creating a fatigue in seeing the same sets being used for over an hour. There’s a evident absent of scale as everything gets reused. The poor set designs from a dark room with wobbly chairs and a bunch of TVs with CG LED monitors displaying sci-fi mumbo jumbo, to the cramp prison cells that all look a like, and a dirty hallway lack personality. Seeing these sets bring to mind that it’s a cheap movie instead of a hard sci-fi action flick.

You know, looking at these stills, there’s so much to criticize.

Now we come to the action sequences which is bad as everything else. Since the one cramped hallway is used for a majority of the movie the action sequences don’t allow room for movement. Limiting what the fight choreography could resulting in the shaky cam, bad editing, and bad cinematography during these scenes. Adkins suffers the most from this since he’s unable to do his usual high flying kicks he’s known for. You’ll get a series of attacks, and retreat for the action which gets repetitive very quickly. Add on to the fact that Adkins easily fights his way through everyone you not only get bad action, but boredom along with them.

Early on in the movie you get to see Big Ben (Great Bell clock in London) getting blown up with a badly composited explosion over it while in the stock footage people don’t react to it. This makes an immediate bad impression which instead of being a single bad spot in the movie is a indicator for the entire product. Incoming is a dull action movie even by direct to video action movies standards. If you’re a Scott Adkins competitionist go for it, though it won’t offer the goods in any area. Otherwise, I recommend passing up on this whatever chance you get.

Rating: 1/10

Cinema-Maniac: The Debt Collector (2018)

In 1986, there was a Hong Kong movie called A Better Tomorrow that influenced a entire film industry, and was the first of many collaboration between actor Chow Yun-Fat, and John Woo. While it’s uncertain the collaboration between Scott Adkins, and director Jesse V. Johnson will have any kind of effect on the direct to video action business. They certainly are leaving a mark already. From Savage Dog (2017) an ambition action movie with a historical background that’s solid, to the surprisingly good comic good adaptation of Accident Man (2018), and now a film with direct inspiration from buddy cop movies with The Debt Collector (2018). Adding on to the list of good films under their collaboration.

Sue: “See this towel? It’s for you after the beating I’ll give you.”

The Debt collector follows classically-trained martial artist French (Scott Adkins), who goes to work as a mob debt collector in order to save his gym. This synopsis sounds like something out of a early 90s action flick, and in some ways pays homage to that. Teaming French up with experience mob debt collector Sue (Louis Mandylor). Starting the relationship in predictable, but well executed fashion of the two not getting along, and over time striking a closer friendship. The banter between French, and Sue keeps the film proceeding events engaging when action isn’t on screen. Making wisecracks at each other expense, talking about the moral lines that should never be crossed in their line of work, sharing a bit about themselves, and some very subtle references to some of the actors previous works for fans to catch. Also, some tongue in cheek lines to the sorts of movies it burrows from.

What simply starts as a series loosely strung together events do lead up to a overarching story. It takes halfway through the movie before it gets there being more incline to be character driven than story driven. Slowly having French, and Sue engage in various scenarios all of which end up going south. Mixing tightly choreographed action sequences, comedy, and the occasional characterization into it many scenarios. Once the overarching story becomes a mainstay it’s also another predictable path. Leading to French to further if what the job requires of him is actually worth it. There’s the part of learning about his target making him reconsider his job. Coming together in a climax with a unexpected outcome for a movie starring Scott Adkins, and even more surprising is the ending. It’s an ending ultimately suits the story for how far both French, and Sue went for their job by having actual consequences movies it is homaging wouldn’t go for. Earning it’s ending by having its characters question what they do, and taking the time to delve into that. However, it does mean anyone expecting the usual triumphant Scott Adkins climax in this movie will be disappointed when not receiving it.

One noticeable misstep in its early goings is completely ignoring the whole save the gym motivation for French as the film progresses. It does kick off the plot in a organic fashion, but a more personal driven motivation would have serve a greater purpose in the long run, especially considering the course it final act takes. Briefly touching on the value French gym has to him will suffice initially since it’s a fun throwback action flick. That is until you reach the final act where it changes course, and the undercooked motivation weakness comes into full effect. Aside from this misstep in the beginning, just about the only other major drawback would be the uneven structure. Half of the movie is packed with action sequences one right after the other, and the other half takes a drastic turn into the dramatic side with some splices of comedy. Taking into account the story’s intention it misdirecting the viewer works in it favor. Well, mostly. Throughout the movie, you see stock footage of cows eventually being taken to get slaughter. It’s on the noise in it’s message delivery, and far from subtle as the closing lines hammer its point home.

Despite low budgets, Adkins is always reliable on the action side for excitement

Scott Adkins takes the lead as French with his British accent. This role allows Adkins to stretch more of acting chops than his usual role, though isn’t given any heavily dramatic scenes. The most dramatic he’ll get is letting out a sigh of exhaustion. While his dramatic scenes are lacking what isn’t is Adkin capturing the straight man characteristic of his role. Managing to be convincing as someone out of his element. Where he does deliver the most is where it counts (besides the action sequences) is with his co-star Louis Mandylor. Adkins rough straight man attitude compliments nicely against Mandylor sleazy has been demeanor. Mandylor easily outshines Adkins since the material provides him opportunities for his character to be more intimate with those around him There’s also intensity in Mandylor which he captures perfectly in his eyes when he has to get his hands dirty. Their chemistry is the film biggest strength creating something that feels genuine in the actor comradeship with each other. It’s unlikely you’ll care a deal about the characters, but you’ll definitely find the duo entertaining if nothing else.

The supporting cast will largely go unnoticed since all of them get push to the wayside because of the film’s story. Only Jack Lowe is able to leave much of an impression in a small role since his character is begging for his life. Showing an ease to become a character with not a lot to chew on. Biggest surprise is easily Tony Todd. He doesn’t get plenty of screen time, but visibly has fun in his brief appearance. Then there’s Vladimir Kulich in a bigger role who also doesn’t have much screen time, though he’s enjoyable if only for the fact Adkins is once again playing a character who works for Kulich. Other than that, the supporting cast do fine in their small roles that do prevent nearly all of them from being able to shine does also mean the acting in general is better than average in your direct to video action films.

This movie has a of Scott Adkins driving people

When it comes the action side, fight choreography is handle by Luka LaFontaine (also responsible for the fights in Savage Dog) goes for a more grounded treatment to better fit its movie. Meaning, restraining Adkins from using many of his high flying maneuvers in favors of a more brawler like approach. Thankfully, LaFonatine is more than capable to get creative with his fight choreography. Since Adkins typically fight with men taller, and bigger than him this makes fight scenes eventful as none of them go down easily. LaFonatine is able to corporate some clever counter moves into his grounded choreographed fights without them feeling out of place. Seeing Scott Adkins get fling into a wall when someone blocks his punches, or seeing Adkins get slammed multiple time on a bar table when the person he’s fighting him won’t let his go of his grip is nicely worked in. Adkins receives plenty blows in the film requiring his character to either fight out of a scenario where he’s out number 3 to 1, or use something in his environment to get the upper hand. The action choreography is perhaps the least complex Adkins ever performed, but it’s shot nicely, and edited together nicely to make them entertaining nonetheless. The film does have one gunfight towards the end, and it’s pretty laughable it continues the tradition of people constantly missing at point blank range in Adkins direct to video action films. It’s further highlighted by the fact that Adkin character background, but it’s still an enjoyable gunfight in spite of that leap in logic.

The Debt Collector proves that Jesse V. Johnson, and Scott Adkins compliment each other really well. Jesse V. Johnson molds a story, and character that are engaging while allowing Adkins a departure from his usual roles, and letting the action experts do their thing. Adkins is able to rely more on his acting, and is able to hold his own against Louis Mandylor who takes the spotlight from him. When it comes to the action side Adkins is always reliable on that front, but here it’s nice to see him shine in a different way. Jesse V. Johnson, and Scott Adkins shortcomings in their fields are evident, but their understanding of each other strengths compliment each other in the films they make, and that’s make them an effective team. Producing far better films than you would expect from the direct to video market.

Rating: 7/10

Cinema-Manic: Savage Dog (2017) Review

There was a time where straight to home video action films were the absolute worst the action genre could provide. Nowadays the notion hasn’t changed, but there’s been a steady rise in quality thanks to talented filmmakers knowing what to provide to its audience, and without it feeling like a cheap cash grab. One actor in the forefront in these straight to home video action movies is Scott Adkins. An actor who appears in some big budget movies in bit roles like Doctor Strange (2016), and The Expendable 2 (2012), but is mostly stuck in lower budget efforts. The trait most of these lower budget efforts share is Scott Adkins always work with competent directors whom also share his desire to make the best possible film despite their limitations. Sometime they work as mindless entertainment like with Ninja 2: Shadow of A Tear (2013), and Close Range (2015), while duds like El Gringo (2012), and Eliminators (2016) being just as common in his filmography. One thing his film can be counted on for is supplying good action sequences, and thankfully Savage Dogs falls into the category of Adkins better films.

Adkins: “They won’t release me until I improve my acting.”

Savage Dog is set in 1959 Indochina, following Martin Tilman (Scott Adkins), who is due for release from Den-Dhin-Chan labor camp run by Vietnamese warlords and European war criminals, but the corrupt forces running the jail will do everything in their power to keep him locked down. Telling a simplistic story in its heart, but aiming higher than it could achieve. The first half of the film focuses more on developing characters, and trying to tell a story about finding a purpose. Using the first half purely as buildup to eventually rein in the carnage the second half of the movie will be dedicated too. While the sentiment is admirable, the execution is simplistic on all front. Characters are typically shady, and money hungry all in the effort to evade consequences for betraying their country. It sounds like these characters have depth to them. In actuality, that’s about as far is it goes for developing most of it characters whom just meant to add to Tilman body count. It easier to root for our ex-British officer whom is hunted down by his own country when one of your villains is a ex-Nazi. Also, characters reiterating multiple time their all ex whatever of a certain country helps too.

In spite of a runtime of 94 minutes, the pacing is generally slow, but works in service of the movie. This does negatively affect some aspect of the story, like Martin Tilman romantic relationship that is meant to be the dramatic core of the film doesn’t work. Most of the bonding between Tilman, and his lover is glossed over. The other aspect of Martin Tilman that is tackle somewhat well is Tilman looking for purpose in his life. Evolving from his introduction into a satisfactory character arc. Aspects of Tilman past are kept limited, and to the point. Supporting characters are fine. Isabelle (Juju Chan) arc revolves around her believing in the good of people, and keeping that belief. She doesn’t grow beyond her introduction, and mostly serves the role of just being the love interest. One other positive could be Isabelle doesn’t become a damsel in distress, but at the same time it means she becomes useless to the story after the first half of the movie is done.

The only other character left to mention is Valentine (Keith David) whom also serves the film narrator whenever needed. Out of everything in the writing, Valentine narration is easily its biggest fault. Whereas the previous faults mention contributed somewhat positively to the bigger picture, Valentine’s narration could have been entirely removed. Sometimes stating the obvious, and sometime summarizing the purpose of a scene in a couple of sentences. For example, when there’s a scene of Isabelle, and Tilman relationship becoming more romantic, Valentine tells the audience exactly what they’re seeing. Same with when Tilman is brutally fighting as a bouncer against some unwelcome guest, and Valentine’s states (paraphrasing) that something savage has awaken within Tilman. Quite insightful in stating the obvious. Most silly of all, is given the fate of Valentine’s character he’s basically narrating from beyond the grave leading to some confusion. Sure, revealing the death of Valentine’s character could be considered a spoiler, but given his only purpose is get to killed, and provide pointless narration it’s better to have you prepare beforehand about that odd narrative choice.

So, this is Colonel Sanders with a clean shave.

Lastly, the second half of the film is where it finally picks up. Seeing Tilman embraces his anger, and seeing him kill a dozen, or so people like a one man army is it biggest strength. Narratively, the first half did a competently enough job to make this action onslaught satisfying. The hero is easy to root for, and the villains are easily detestable. Unfortunately, the first half is a hindrance with very little interesting things happening. Since the material never raises to the level it wants, die hard fans of Scott Adkins movies, or action junkies can endure the rough first half, but the average viewer isn’t as likely to stick around. For those who stick around will receive everything they could want from a lower budget action film starring Scott Adkins, even if it takes a while to get there.

Scott Adkins takes the lead as Martin Tilman. In terms of acting, Adkins takes a wholly serious role. Unlike his usual film, his cockiness that he portrays in some of his roles is absent here. Removing part of his charm that can be found in El Gringo (2012), and Accident Man (2018). When wholly serious, Adkins limited range of acting shows a lot, especially in the first half. Struggling to displays the years of violence, and yearning for a purpose Tilman is meant to have. Some of Adkins weak acting is hidden by having him participate in some fight sequences in the first half where believing Adkins is a expert fighter is easy to accept. Believing Adkins is a lost soul of sort is a pill not as easy to swallow. However, in the second half of the film, Adkins improves as the stunt work, and action sequences he’s good as performing become more prevalent than his dramatic chops. Adkins lack of strong acting chops is forgivable since the second half highlights his strength better.

Supporting cast on the other hand come off as decent. For instant, Juju Chan whom plays Isabelle does good all her dramatic scenes. It’s night, and day how easily Juju Chan can emote in her delivery compare to Adkins. However, she’s also quite a capable actress able to work within Adkin limited dramatic chops to make a scene work better than it should. Just like the rest of the cast, the only issue I have with her acting is it’s mostly one note. Keith David whom plays Valentine delivers a good performance. He’s able to be more loose since his character isn’t as serious compare to everyone else. However, his best part of acting is when he’s narrating, giving some power to his narration, even if it’s ultimately pointless.

Finally, the cast of evildoers themselves. Vladimir Kulich is easily the best actor among them, though because of bad writing he reiterates the same dialogue multiple times throughout the film. He performs the role of a ex-Nazi without hamming it up, or being cartoonish. Marko Zaror plays another one of the baddie, as well as being the only other person, besides Cung Le, who can stand evenly with Adkins. Performance wise, both Zaror, and Cung Le are mostly one note. Cung Le has to come across as intimidating while Zaror somewhat has to give off a similar vibe. They do decently since they aren’t required to express much in their characters like Scott Adkins.

Explosions make Adkins sleepy.

When it comes to action, Savage Dog tries to be more realistic than Adkins usual film. Just a bit so the usual high kicks, and more elaborate martial art fight sequences Adkins is known for are tone down. Yet, don’t become a detriment to the action sequences. What partially makes up for this is sometime seeing gore within the action sequences. There’s isn’t a lot of gore, but when seeing the sight of a man face getting blown off by a shotgun at point blank range in a close up shot, or seeing Adkins decapitate someone’s head what gore it has truly satisfies. Not to forget some of the gore special effects are surprisingly good despite the film obvious, limited resources.

The fight sequences in the film are easily the standout of the film. They make up a majority of the action bits. Fight sequences in the first half are entirely one sided having Adkins easily beat whoever he’s fighting. Adkins fight are more of a bare-knuckle variety mostly punching his opponent with maybe the occasional kick. Just when you think you’re tire of seeing similar looking fight scenes. The second half allows Adkins to fight tougher opponent on two occasion. One of them is against Cung Le who gives Adkins a good beating. Unfortunately, the fight between Cung Le, and Adkins ends anticlimactically. Granted, the way it ends makes sense in context, but it just strange it chooses this moment to go against action movies norms.

The final confrontation between Adkins, and Marko Zaror is also a good one. It’s the only time in the film where Adkins has to overcome a foe whom has the upperhand in a fight. Unlike previous fights, the “realism” is slightly more removed here whenever both Adkins, and Zaror trade blows with knives. It doesn’t end the film on a bang since nothing elaborate is done in the film, but it does provide the film final moment of gore before ending which is probably one of the best moments in Scott Adkins career.

How much get can I get for this head?

The other action set pieces typically have Adkins blowing holes into peoples with guns, and barely getting hit with bullets non-stop. Gunplay is more interesting than your average action movie with Adkin seemingly being quick enough to dodge gunfire regardless of what gun is being used against him. Seeing someone get shot is made satisfying when seeing blood squib explode in small amount. Only negative to the action sequence requiring Adkins basically taking out an entire army at their base is the low budget here becomes the most apparent. Throughout the movie, the small budget is concealed well enough, but this particular set piece instead of seeing dozen of men go after Adkins at once you likely see at most 3, or 4 go after Adkins. It doesn’t feel like Adkins took out an entire army. However, that’s a small complaint against it. Jesse V. Johnson knows how to crafts, and capture action satisfactory.

Savage Dog ambition is never met, but is far better than your average straight to home video action film. Offering a refreshing setting, solid acting among the cast, and some good action sequences with the rare moments of gore to enjoy once the carnage kicks in. It’s a not a film I would give a general recommendation since it’s faults easily can ruin the experience for an average viewer. At 94 minutes, for fans of action cinema craving for another solid flick, or fans of Scott Adkins this is recommended to check out.

6/10

CINEMA-MANIAC: ELIMINATORS (2016) ACTION MOVIE REVIEW

There was a time when going straight to home video was considered a death sentence for anyone working in the film industry. However, ever since the popularity of streaming services like Netflix, Hulu, and many others the image of it has turned around. Now more than ever it’s more common to find a surprisingly profitable home video market, especially in the action genre as it’s more unlikely to be saturated with CGI action, or incompetent handling of action sequences which tend to be the common complaints from action fans about major action film productions. While most of these straight to video action movies are of bad quality. From my experience, you can come across some that are worthwhile as Ninja 2: Shadow of A Tear, and Close Range as brainless entertainment. As unlikely as it to come across the solid straight to home video movie the name Scott Adkin is one you can be assured to contain good action sequences, but quality films isn’t one thing he specializes in.

Eliminators plot is so bare bones, much like its characters, that any sort of attempted exploration, same with a simple synopsis, can be classified as a spoiler. A majority of the movie is basically Scott Adkin getting chased by Stuart Barrett (who is best known for his WWE in ring name Wade Barrett), and looking for his daughter. However, there is so little to the story that I struggle to write anything about it besides simply stating it’s thin, has flat characters, and can go for several minutes of nothing significant happening. For example, when Scott Adkin enters a child services building from the moment Wade Barrett begins to chase after Scott Adkin it stays on this single chase sequence for around 14 minutes of screen time. In this very prolong chase the only piece of information that is gathered is Scott Adkin obtain the location of his daughter right at the beginning of this chase sequence. After that, it’s simply playing a game of avoiding Bad News Barrett’s bullets. This sequence also contains a continuity error as it begins in day time when Scott Adkin enters the child services building, and then becomes night time when both Adkin, and Barrett leaves the building. Implying that yes, this whole portion in the child services building possibly lasted hours, even though only a couple of minutes just passes for the audiences.

I’ve got around 7 bullets of bad news to deliver to you.

The reason movies like Mad Max: Fury Road, and Ninja 2: Shadow of A Tear work in spite of their slim story is they know how to have the action scenes to drive further engagement. In Fury Road, it’s a constant ongoing spectacle with gorgeous visuals that is upping the antics, and Ninja 2: Shadow of A Tear crams as much well choreographed action scenes as possible while it briefly makes work of its very generic story. In these two films, while the writing were weak they attempted to fill the void by having events in the films play out so it wouldn’t be a chore to view when there isn’t action on screen. Eliminators takes the structure of these two bare bone story movies, and decides to have even less story, and prolong action sequences.

So now comes the question if the story, and characters are bare bones does the action sequences make up for them, and the answer is simply no. With little to invest in it became difficult to care about the action scenes the more frequently they came up. The first fight scene has Scott Adkins fighting against two hooded robber with bats attacking him. It’s a amusing short fight, and the subsequent fights aren’t quite as fun to watch since Adkins make quick work of everyone else. That is until Stu Bennett appears in the film, and participate in the best action sequences with Mr. Scott Adkins.

One of two highlight scenes from Eliminators

The two fight sequences between Scott Adkins, and Stu Bennett are actually pretty good. A surprise given one is an martial artist, and the other is a pro-wrestler. There’s also a large height difference as Stu Bennett simply towers over Adkins. However, with both actors being professional in choreographed fights, Tim Man (the film’s credited fight choreographer) takes both men backgrounds incorporating their fights. Stu Bennett is very commendable for keeping up with Scott Adkins during their fight sequences, and visibly takes enjoyment in no selling the many Scott Adkins kicks he takes. During their first encounter Adkins, and Bennett don’t do any complex reversals, or complex techniques it’s still a good fight both men pull off. Basically ending up just being a showcase how much of a beating both man can endure in long takes, yet still continues performing the more of the action sequence.

Thankfully, Adkins, and Stu Bennett fights are enjoyable because they are the only while action sequences in the film. Whatever action the rest of the film has to offer isn’t quite as exciting, nor impressive to see. In particular a very lazy gunfight between Adkins, Daniel Caltagirone (whose character is forgettable), and Bennett in a single place. All that occurs in this gunfight is both men firing, missing hitting each other, one takes cover while the other does more shooting, and repeat the process for the rest of the sequence. Gunfights in Eliminators usually lack urgency since you know the main participants in them won’t get hurt. Sure, that’s same criticism can be applied to other action movies, but in Eliminators when your two top stars have to participate in all the action sequences it’s more noticeable neither will get taken out. Editing in them are fine, but the lack of interesting cinematography choices. Especially the last gunfight in the film where Adkins despite having the disadvantage of carrying a shotgun, and fighting against two goons whom have AK-47 (appearance wise at least) makes quick work of them. It’s their stupidity that gets them axe. One of them definitely deserves if they unload an entire clip of bullets onto a scarecrow.

In terms of acting Stu Bennett (a former WWE Wrestler) comes away the best in the film. Despite being asked to hardly deliver any dialogue Stu Bennett did the best he could. Without much to bite into his character Bennett visually sold his role of Bishop well coming across as a viable threat to the almighty Scott Adkins. Remaining silent for most of the movie, and given what his purpose of the film he’s easily the best actor. Scott Adkins is again is a reliable man of action, and his performance in this is a nice departure from his usual tough guy shtick he sticks with. He’s in a slightly more vulnerable state constantly seeing him either partially retreat in a action sequence, or seeing Bennett giving him a good beating does wonder for an actor who seemingly appears invincible in his movies. The supporting cast, same with the music, are forgettable addition to the flick. It’s simply better to look up clips of Scott Adkins, and Stu Bennett fight scenes, and not put yourself through a bare bones movie just for those scenes.

Eliminators is a bare bone action film that is unable to sustain its momentum through its entire run time. Thin characters, and a very basic story without much substance can’t be save by action sequences alone, especially when one of its major actor has to be kept alive in order for their to be someone competent for the hero to fight. It provides the goods in terms of action, but even with your brain turned off there isn’t enough here that warrants your visit.

2/10

 

Cinema-Maniac: Close Range (2015) Movie Review

Straight to video films generally lack in quality so imagining an ocean of action films that are possibly worse than the higher budgeted action films is not far fetched. Action films in general offer a wide range of approach in execution, but unfortunately they also have negative stigmas to overcome. In particular to the ever famous claim that no one watches action movies for the stories which is far from the truth. A great story can make an action movie unforgettable which is proven with Indiana Jones: Raiders of the Lost Ark. However, plotless, and brainless action movies aren’t off the table for enjoyment either as Mad Max: Fury Road is currently the most critically acclaimed of these plotless action films. Sure it has a story, but the spoonfed dialogue, loosely written story, and simple characters results in underwhelming writing. Close Range offers pretty much the same thing; simple characters, a loosely written story, but loads of good action scenes for your entertainment in 81 minutes.

Close Range is about a rogue soldier turned outlaw who is thrust into a fight with a corrupt sheriff, and a dangerous drug cartel in order to protect his sister and her young daughter. That synopsis is about as much as the story evolves, or develop in the course of yes 81 minutes. It’s bare bone storytelling relying on basic character archetypes that can be defined as the good guy, and the bad guy. With its length there’s little room for character development. That includes lead character Colton MacReady (whose last name is what I usually order at McDonald’s) whose characterization is simply to make Scott Adkins (who plays Colton MacReady) look cool. Colton characterization paints him in a good light usually by his family whom only say positive things about him. What is strange about the simplistic storytelling are its intention are clearly too just string together a series of action scenes. This is evident by some leap in logic in the story from the corrupt sheriff who doesn’t call for backup when a dispatcher tells him she heard heavy gunfire from a phone call, to a drug kingpin who only takes a handful of henchman despite the hero killing dozen of his men including his son very early in the film, and if Colton MacReady is on the run why isn’t the military shown to be chasing after him. It’s brought up that Colton put a superior officer in the hospitals, and was meant to be jailed so one would expect the military actually be bother to pursue Colton. This plot point goes nowhere as there isn’t a single character dedicated to represent the military in any way. It’s usage is to make Scott Adkins appear more dangerous, and cool, even though he’s already both of those things.

One aspect of the writing that goes against the simplistic story, and characters is Sheriff Jasper Calloway (Nick Chinlund). Unlike the other characters whom fall under the good, or bad category the film attempted to make Jasper Calloway fall in the middle category. However, the treatment of his character is out place with the rest of the film writing. Jasper Calloway doesn’t have allot of screen time to paint him in a grey zone. He’s given the position of evil, but loving family man without bothering to mention if what he did was due to desperation. It simply comes across that Jasper despite his personal life status did what he did only for money. There’s Colton sister, Angela Reynolds (Caitlin Keats) who is a better representation of the grey zone resorting to shady activities to pay for a home. Unlike Jasper Calloway, Angela Reynolds is given the role of damsel in distress until the latter part of the film. She works in the confined of what the film aims for whereas Jasper Calloway clearly shows signs of wanting to uphold the law, but his character isn’t explored so it ends up going nowhere. Calloway is also purposeless since his second biggest contribution in the story is sending officers to chase Colton for a car chase. By the standard definition the film leaves many things to be desired none more important than tension for a rush of excitement seeing our hero struggle to stay alive. However, the film applies the rule of cool approach to its writing preferring to stylize for entertainment. It doesn’t pretend to be more than more what it wants to be, which is a brainless action movie, and the writing complements it with a length that makes sure it doesn’t drag out it welcome.

In Adkins case fighting a Truck is easier than fighting Jason Bourne.

Scott Adkins takes charge in a leading role that require little in the acting department from him. Adkins only requirement is to look tough, sound angry in most of his line delivery, and perform the action scenes convincingly. He fits the bill of good action star looking right in the role while putting in a solid performance as a tough guy. It’s not showcasing Adkins skill much in the acting department as he is constantly in action hero mode. For the role, Scott Adkins only goal is to convince you he’s awesome, and pulls it off. Having both the look, and skills to perform what required of him in elaborate action scenes he makes enduring through the film lesser moments of excitement worth it.

Unfortunately the same can’t be said for the rest of the cast. Nick Chinlund, Caitlin Keats, Jake La Botz, Tony Perez, and Madison Lawlor deliver one note performances from pure evil (Tony Perez), unlikable douche bag (Jake La Botz), scared child (Madison Lawlor), and so forth. The supporting cast roles are pretty much an afterthought by having little material where they change emotions. Most facial expressions from actors don’t change when they are introduced to when it finally ends. At most, Nick Chinlund is the most dynamic of the supporting cast, but always comes across agitated. Chinlund doesn’t have the skill to make his character come across as sympathetic. Other cast members like Jake La Botz, and Caitlin Keats deliver exposition most of the time. Resulting in tedium when they don’t speak like people. Caitlin Keats at least gets to perform in the action in the last of act of the film, though not for long, and not performing anything that nearly as elaborate as what Scott Adkins has to pull off. She still deserves of praise for making her moment in the action seem convincing.

Fight choreography is credited to Jeremy Marinas who should applauded for his work on Close Range. The film opens quite ambitiously by having Scott Adkins beat up a bunch of goons single handily in a Mexican compound in one take. Despite the limitation that comes with the one take shot the opening action sequence is well filmed, and performed. One aspect in this fight that works in its favor is its in a enclosed area with not many people in the background. Keeping focus on Scott Adkin fighting whoever is in front of him. Another standout sequence is a one sided fight between Scott Adkins, and Jeremy Marinas. There’s no suspension of who will win the fight, but both actors make it entertaining by allowing each to offer blows before the eventual end of it. Switching battle tactics frequently in the fight turn the tide of the fight in their favor. While the action sequences favors a combination of gunfights inter splice with constant bullet dodging in the third act it does contain a good car chase, fight scenes including a climax that combines it with gunplay, and other set pieces to satisfy the checklist of variety in violence. It’s final act is where it begins to stop caring about logic as characters seamlessly fire endless rounds of bullets from a single clip. All of this is made more impressive when a majority of these set pieces take place in a two story house. This house gets filled with bullet holes, broken glass, and eventually having  a few dead bodies. Due to the story, the film doesn’t offer a high body count, but more than makes up for it in quality. It’s an understatement when saying the production team made great use of everything at their disposal.

Close Range is a satisfactory film for action junkies. The story while simple is clear in its intention to string together a series of action scenes which is why it only bothers to make our hero awesome, and our bad guys villainous. With a length of 81 minutes the film never outstays its welcome being capable of filling the quota of viewers looking for popcorn entertainment. Its low budget action filmmaking from the duo of Scott Adkins, and director Isaac Florentine whom keep on pushing the boundaries of what’s capable with a low budget action filmmaking for the better. While the writing won’t leave an impression it will at least entertain while it last.

6/10

Cinema-Maniac: The Legend of Hercules (2014) Review

The Legend of Hercules is an insult to not just Greek Mythology, but common sense. A rush plot that overuses cliches and overlooks the basics of storytelling like context, characterization, and anything resembling human emotion. The action scenes that don’t include Scott Adkins are uninspired, insipid, and sucking any shred of entertainment away. These Greek set action scenes are the most over the top ever depicted in the era yet provide nothing to dissect. Avoid this film! Done and finished like that. If you’re expecting anything informative you better stop reading now. Now clearly I have allot more to say about the film seeing the length of my rant. What better way to best get across my hatred than express my same exact thoughts while viewing the film. I’ll leave no stone unturned because there are some bad movies worth viewing.

Upon seeing the opening of the film which is an unimpressive one track wide shot of Greek civilizations going to war with each other into the ancient land of Argos. This one track shot highlights the plastic looking CG environments, blurred explosions, and humans that look smudgy regardless how far the CG is from the camera. However, despite a poor first impression the film is gracious enough to give us SCOTT ADKINS! He’s so awesome that in fact, the extras in the opening scene just started cheering upon seeing Adkins appear despite being told not too. Coming into the film with a action scene that overuses slow motion and cheap props (like all the action scenes), but nonetheless Adkins presence makes it awesome. Full of energy he’s able to sell an opening action scene that had no context (no seriously, it’s glances over just about every detail you can think off regarding a war) and makes it exciting. At the end there’s no question that Scott Adkins wins the fight, his opponent kingdom, and thus has the opposing army and his own army bow down to his greatness. Truly this man is a legend among legend and….what eleven minutes that’s it. Adkins is just a supporting actor despite clearly selling a action scene that should not have had worked on any level. BOOOOOOOOOO! Put Scott Adkin back on screen. If you seriously think I’m going to buy “I got pregnant with a God child to put end to your reign because you are just too demanding” plotline without developing character, context, or the conflict you are wrong. I still have a functioning brain cell intact after viewing this. At some point you might expect me to flip the switch and go back to my formula with an attempt to be fair, but then Kellan Lutz appears around the twelve minute mark.

Fast forward the plot twenty years later and Kellan Lutz appears on screen for the first time in the film riding horses with plastic doll Gaia Weiss. I didn’t think it was possible, but these two actors manage to make the simple task of horseback riding difficult to buy. Once they reached their destination at some pond they have a “romantic” moment. The scene gets across Hercules love Hebe despite this being the first time we see them together. For those wondering nope the film never develops the romance nor any of the characters to sell the romance. The only thing that happens at the pond is Hercules gets a necklace from the women he loves which on itself could metaphor Hercules commitment by wearing, but he’s does not hold it to any importance rendering it meaningless. After Hercules brother, Iphicles, comes into the scene he tells his men to take Hebe back to the kingdom of “Just Make Things Up As We Go Along-dom”.

Riding back to their proud kingdom at day time, yet for some reason wait until night time to actually start moving the brothers hear a noise. Getting off their horses the brothers arm themselves to fight a foul beast. A lion appears making his presence known to Hercules with his loud and furious roar that shakes the land. The fact that his opponent is Kellan Lutz further boosts the beast ego so much in fact that when HERCULES THROWS A STEEL SPEAR AT A LION IT DEFLECTS IT WITHOUT A SCRATCH! How is the lion killed you asked? By being choked to death by Hercules. Nope, I’m pretty sure the CG Lion couldn’t handle putting this on his resume thus ending his career on screen. CG Lion number 06-27-1997 will truly be missed. Before I move on the lion Hercules fought wasn’t ordinary. It was in fact the legendary Nemean Lion who has golden fur that’s impervious to attacks. I’m telling you this because the film does not explain this meaning unless you know what the Nemean Lion is this scene is various degrees of silliness.

Upon returning to their kingdom together. Iphicles takes credit for killing the Nemean Lion and tells in front of a crowd that Hercules ran away from the first sign of danger. Remember this is Kellan Lutz’s Hercules not Arnold Schwarzenegger so it’s not hard for anyone to buy that Hercules ran away from danger. Heck I believed it even though I clearly saw what actually happened. Thus the almighty KING ADKINS (I know his character has a name, but I like the sound of KING ADKINS better) announces to the crowd that his son, Iphicles, will in fact marry Hebe in three moons. Three moons? I could help with that just give a minute to unzip…what you meant days not the other kind? You modernized 90% of the dialogue so why of all things “wed in three moons” is kept as is. By no surprise Hebe is dissatisfied with the announcement of whom she’ll be force to wed. I totally could get behind Hebe in this situation because she’s not marrying King Adkins. I mean when the only man throwing himself at you is Kellan Lutz could you really blame Hebe for running away. Hercules goes after Hebe and promises her they’ll run away together. Out of kindness Hebe says yes in the hopes this will make King Adkins jealous (my made up plot sucks I know, but much better than what the film provides). Thus the two ride off into the night, but wait until daytime to actually start their journey. Are you kidding me Daniel Giat, Giulio Steve, Renny Harlin, and Sean Hood? Four freakin writers? Not one of them thought to themselve “Wouldn’t it make sense for Hercules and Hebe to run away right after Hercules makes that proposal. It’s night time making it difficult to spot them, none of Adkins guards are chasing after them, and they have a head start”.

After a bad chase scene void of any excitement and zero technical prowesses King Adkins sends Hercules to war in Egypt. It was at this point that I realize Hercules character is so poorly written that I was actually cheering for the “villain” of the film. For Adkins character we at least saw he led an army to gain an entire kingdom even if it was just for gold as oppose to Hercules who in the film has only killed a lion thinks he entitled to anything he wants. Out of those two I would cheer on the bloodthirsty tyrant who has a right to constantly be pissed off at Hercules because he worked hard and violently killed to get the things he got. Hercules on the other hand thought process is “You just don’t know how difficult it is to be the son of a king with no responsibility having the power of a God. I hate you”. You could labeled Kellan Lutz as a hero all you want in the film, but he just comes off as a drama queen who got a sex change into a man. It’s also upon this force return Hercules learns from his mother he’s the son of Zeus. This shocks Hercules upon hearing the news since Kellan Lutz’s Hercules is that slow in head. Really movie? You know just force me to compliment Disney Studio writing which by my standard guarantees you just failed in the written word of storytelling. In Disney’s Hercules he knew he has super strength and was conflicted about his true origin. This Hercules does not face emotional conflict, has no desire to learn about himself, nor does he ever goes to speak to Zeus unless he wants something without earning it.

Would you believe me if I told you the previous paragraphs vaguely summed up the first thirty minutes of the movie. I got that much material to complain and rant on in thirty minutes. This is just a fraction of my feelings as you could only imagine how poorly I view this film in its entirety. Pass the thirty minute mark the four writers gave up on writing dialogue. ARRRGGGGGHHHHHHH, EEEEEEEEEEEERRRRRRRR, BOOOOOOOOOOOOO, is what makes up the rest of the film dialogue. Just a constant barrage of men shouting from the top of their lungs. Moving on, in the next twenty minutes little happens. Hercules goes to Egypt to fight with his father army and with one other soldier are the only survivor of the battle. Captured, Hercules and General Goodlooking (who’s too young to play a veteran war general) are force to fight other prisoners. This plot point is a poor ploy to just have the following eighteen minutes consist of action scenes. All of which rely on wire work that Pinocchio would call dated. The action scenes are unexciting because Kellan Lutz barely gets hurt. Fun fact, in the action scene where Kellan Lutz enters an arena the crowd boos when the announcers introduces Hercules was not scripted. According to the extras on set they said they were lied into believing they would see Dwayne Johnson in the movie. To be fair though the extras are justified for their boos. Hercules strikes a deal with his master to let General Goodlooking go scot-free if he could wins his freedom against six undefeated Greek warriors. Why that actually sounds cool. The film took many liberties with the legend already so maybe in this one scene Hercules will face Achilles, Jason, Perseus, Odysseus, among other worthy opponents. Oh man the possibilities are endless. One over the top, dead of excitement, and predictable fight scene later. Damn you writers I actually expected something decent from that scene!

Meanwhile in Argos news spread across the land that Hercules died in battle. Lets take moment and mourn the loss of Kevin Sorbo’s Hercules who will be missed. Or damn it, thinking of the wrong Hercules again. Actually what I meant to say was bring on the champagne because Kellan Lutz’s Hercules is pronounced dead. YEAH! Afterwards King Adkins speaks to his angry wife whose hatred for him is far from subtle. Adkins wife tells him that she gave birth to Hercules to end his tyranny. Of course given Kellan Lutz is the person she gave birth to King Adkin takes it as an insult (like anyone would) and kills her on the spot. There is also a scene of Hebe stating continually (it’s the only thing she talks about in the movie) how much she loves Hercules (just pretend it’s Dwayne Johnson she’s talking about to buy it) when speaking with Iphicles. Once Iphicles gets across Hebe has no say in the matter will forever be locked in a loveless marriage she attempts to commit suicide. In the context of the film Hebe feels sad that Hercules got killed, but in my version I actually believe Hebe came to the realization that her failed planned to make King Adkins jealous thinks a world without Adkins is not worth living. Of course Old Man (he’s is not that important of a character) stops her and tells her Hercules is still alive and planning to overthrow King Adkins.

Skipping towards Hercules overthrow you’ll be hard press to read that nothing else happened in between. Reaching the fifty minute mark you think seeing a God attempting to rally supporters to overthrow King Adkins would on some level be interesting. All that happens is General Goodlooking finds his wife murdered, Iphiles captures General Goodlooking, Hercules is captured, Hercules gets chained up, and whipped for being a very, very bad actor. Despite these events there’s no buildup on any kind and the bad attempt to sell the romance with sex. Although, I do thank the director who despite showing his stars (any male actors) togaless for more than half of the movie does not show Kellan Lutz likely bad interpretation of a sex scene. So Hercules, just because he asks, obtains his full strength from Zeus without earning it. Kellan Lutz goes “God of War” (Kratos, the protagonist, fights with weapons connected by chains) on his opponent and is just as lame as everything else in the movie. Witnessing this King Adkins retrieves to his castle because Hercules showing off his strength bored him.

If you read this far we’re finally at Hercules overthrow. Music in this film in general is unnoticable because it’s only purpose is to be loud. There’s no composition nor instrumental arrangements in anything that is heard. So while people were getting killed on screen I was to listening to Aya Hirano “Bouken Desho Desho” to lift up my spirits and worked to put me in a good mood. Who knew listening to cheery and upbeat music for a an action scene would worked so much better than a random arrangements loud noises. Hercules army march towards King Adkin front gate and by sheer luck some of King Adkins arrows men turn to Hercules side. Man is that lazy writing and pure convenience that even though the arrow men could easily kill Hercules just turn to his side. Motivation is simply because he’s a great hero, even though throughout the movie everything is a cakewalk for him. So when Hercules enters King Adkins temple he walks straight into King Adkins trap. King Adkins, despite the rain pouring down, is able to create a wall of fire because he’s just awesome. So picture this, Hercules and his men surrounded, outnumbered, and ensuring that there is a high possibility Hercules men lives will be lost. Now picture Zeus just giving Hercules a lightning whip to easily killing a dozen or so men by himself. I’ve been avoiding discussing the idea of Hercules saying in a previous scene he’s no God, but a mortal. Why don’t you remember the last time you raised your hands up at the sky, physically grabbed lightning, and used it as a whip? I do it all the time because according to this film I am a mortal.

Then finally it comes down to climax which is made exciting because of SCOTT ADKINS! So who’ll win this fight; on one corner you have SCOTT ADKINS who in the film is a conqueror of kingdoms, commands respects looking pissed off in every single scene he’s in, and most importantly age holds no meaning to him. Despite the main story taking place twenty years after the opening scene the only thing he has to show for his age is a clearly fake beard! And on the other corner you have Kellan Lutz who plays Hercules accomplishing…um no wait let me think. He went to war in Egypt despite only having eighty troops and survives…although it’s technically his fault they died since he suggested to rest in a area that guaranteed their enemies to ambushed them and left themself no way to escape. Oh man that’s bad. No wait, Hercules has the strength of a God and can wield lighting which he never uses in a majority of the film. Ummm….he has muscles, but no personality of any kind. Ahhh…this guy sucks. I honestly tried to make Kellan Lutz sound good.

The climax is actually decent because of the fight choreography actually allows Kellan Lutz opponent to be on equal ground. You might question Hercules strength as he gets tossed around during the final action scene like a rag doll, but remember his opponent is SCOTT ADKINS! Before Kellan Lutz has a chance to choke King Adkins to death Iphicles comes into the fight threatening to kill Hebe if Hercules kills King Adkins. Knowing the small possibility that Hercules could save her Hebe takes stabs herself in the chest because a life without Scott Adkins is just not worth living and a life with Kellan Lutz is worth ending your misery. This scene, like everything else, leaves as little of an impact as possible. The fight resume and if the film wasn’t unrealstic enough Kellan Lutz kills King Adkins. NOOOOOOOOOOOOOOOOOOOOO! Unbelievable the filmmakers had the nerve to kill off the only decent thing to be found in the movie. Yes Scott Adkins only screams in the movie, but he has energy, charisma, acting talent, a martial art background, but most importantly is not Kellan Lutz. I kid you not when I say Kellan Lutz starring in this film is the equivalent of a sleeping pill; the longer you are expose to it the more you’ll want to go sleep.

Hebe wakes up and lives happily ever after with Hercules. Of course with my hatred towards the film I pretend Hebe became blind thinking Hercules was Scott Adkins. Finally this is the end of the review. Without question if it wasn’t for the over top performance and glorious presence of Scott Adkins this film would have earned a zero. Whenever Adkins is on screen he’s brings excitement to the film working against some incredibly poor production values. Adkins was in the film long enough to earn a ten percent rating. He’s the film biggest appeal even in a traditional sense his performance is bad. Unfortunately the spotlight is given to Kellan Lutz whose performance has the same effect of a sleeping pill, charisma of a corpse, non existent acting talent, and finally just sucks at his job. He doesn’t look convincing in the part, he can’t act, has no charm, and personality of any sort. So like I said in first paragraph there are some bad movies worth seeing and this film, under no circumstances even if you’re held at gunpoint should not be seen.

1/10

Cinema-Maniac: Ninja: Shadow of a Tear (2013) Movie Review

Two years ago I saw the original film simply titled “Ninja” (2009) which had solid action scenes for a low budget film, but that’s where the compliments end. Nearly any film with the titled “Ninja” is guaranteed to be awful. Either being ninjas are difficult to modernized or most of the ninja titled films tend to go in a downward spiral in their writing. “Ninja: Shadow of A Tear” is one of the better ninja movies while its simple plot won’t amaze a good pacing prevents the action from becoming tiresome and a better direction elevates the production sides.

Ninja: Shadow of A Tear tells a basic story about Ninjitsu master Casey out for revenge when his pregnant wife is murdered. As action movies goes it’s as straightforward as it could be. Wasting little time on character development, building up the villain (an evil drug lord no less), or challenging the character’s morals. All of which is done in a hasty matter to advance the familiar plot threads if spend too much time on would have lead to boredom. Benefiting it’s clear rehashing of plot points is good pacing. Being simple enough to follow spacing the action enough for it not to become tiresome. Allowing enough room to setup the many action scenes it has in a somewhat justifiable manner the serves the plot some purpose. In terms of characters it’s filled with stock characters from the lone wolf hero, Indian accent taxi driver, the former rival, and the classical last minute villain switcheroo. The same rule also applies to the scenarios the hero is put in. You’ll know the hero will fight behind a bar, get tortured, escape from a prison, go looking for hidden military base in a forest, eventually kill drug lord soldiers, and the rest action genre veteran or not can predict what’ll happen next. Resembling a setup more fitting for a video game the plot won’t stick to mind in any form, but if it does anything correctly aside from pacing is working towards the production team strength.

Scott Adkins as an actor has little range, but thanks to the script he’s mostly required to be angry, focused, and leave his martial art do the talking. Adkins just like in the previous film is a solid fighter who knows how to perform a good fight. He’s agile that his fight scenes are fast performing elaborate moves that shows his skills even while wearing a Ninja suit. This being a Adkins film vehicle he’s merely here to show off his fighting abilities. The cast are adequate to not ruin the film. Being aware of what roles they’re playing the cast do what is required in them. Director Isaac Florentine knows how to frame an action scene and puts a bigger budget to better use. Unlike it’s predecessor this sequel has night scenes that actually look like they take place at night. Also a plus is the non use of shaking cam during action scenes. Everything on the production side is as solid as it could be delivery the goods in satisfying results. Much like the story nothing will inherently stand out, but the commitment from the production team to strive for better is clear.

Ninja: Shadow of A Tear is an enjoyable brainless action film and not as bad as it could have been for a film that went straight to DVD. The plot is typical and simple, but is a complemented by good pacing, solid action scenes on a low budget, and solid production values. For a film with “Ninja” in the title they’re certainly worst out there, but few ninja films are as watchable even with your brain turned off.

6/10