Release Date: May 20th, 1993 (Cannes) Directed by: Renny Harlin Written by: Michael France, Sylvester Stallone, John Long (premise) Music by: Trevor Jones Cast: Sylvester Stallone, John Lithgow, Michael Rooker, Janine Turner, Leon, Paul Winfield, Ralph Waite, Bruce McGill
Pioneer, Canal+, Carolco Pictures, 113 Minutes
“Kill a few people, they call you a murderer. Kill a million and you’re a conqueror.” – Eric Qualen
This is one of my least favorite Sylvester Stallone films from his legendary run from the early ’80s through the mid-’90s. However, I still enjoy it because it’s Stallone and he has John Lithgow and Michael Rooker to work with in this.
The story is about a team of people that rescue mountain climbers. The two men on the team had a terrible falling out when one of them couldn’t save the other’s girlfriend and she fell to her death. However, they have to learn to work together again when a group of criminals crashes a plane and loses the money they stole in the mountain wilderness.
The two heroes are forced into being the criminals’ guides but once the money is located, the criminals try to take out Stallone. Stallone gets pissed and decides he needs to rescue the other guide, his former buddy, and to take out these criminals before they hurt more people.
The stunts in this are pretty impressive, especially considering the terrain and the environment. Sure, there are shots where it’s obviously not a real mountainside but they still had to get certain shots to make the film feel as real as possible.
There’s also a good amount of decent helicopter work in the film and the finale with the helicopter crashing and getting wrapped up by a cable ladder is pretty good.
Overall, this is exactly what you’d expect from a movie with Stallone on snowy mountain caps. It’s basically Die Hard on a mountain and that’s fine, as Die Hard created a formula that the action genre still tries to emulate.
Release Date: September 8th, 1993 (Los Angeles premiere) Directed by: Tony Scott Written by: Quentin Tarantino Music by: Hans Zimmer Cast: Christian Slater, Patricia Arquette, Dennis Hopper, Val Kilmer, Gary Oldman, Brad Pitt, Christopher Walken, James Gandolfini, Bronson Pinchot, Samuel L. Jackson, Michael Rapaport, Saul Rubinek, Conchata Ferrell, Chris Penn, Anna Thomson, Victor Argo, Tom Sizemore, Kevin Corrigan, Michael Beach, Ed Lauter (uncredited)
August Entertainment, Davis-Films, Morgan Creek Entertainment, 119 Minutes (theatrical), 121 minutes (unrated Director’s Cut)
“If there’s one thing this last week has taught me, it’s better to have a gun and not need it than to need a gun and not have it.” – Clarence Worley
Since I just revisited Natural Born Killers, a film written by but not directed by Quentin Tarantino, I figured that I’d also checkout the other one.
True Romance was directed by Tony Scott using a script that Tarantino sold in an effort to get enough money to make Reservoir Dogs. That being said, out of the two scripts he sold, this is the one that was translated to screen the best. Also, Tarantino doesn’t disown this film, as he does Oliver Stone’s Natural Born Killers.
I think that Scott’s directorial style mixed with Tarantino’s writing was a pretty good match. Granted, this also benefits from having an incredibly talented ensemble cast and one of Hans Zimmer’s most unique but incredibly effective musical scores.
Christian Slater and Patricia Arquette are f’n dynamite in this and despite the insanity of the circumstances they created, they were pretty believable, had superb chemistry and you really wanted these two kids, who had just found true love in each other, to make it though and have that “happily ever after” ending. They luckily succeed. Although, maybe they don’t but I’ll get into that towards the end of the review.
Beyond the two leads you’ve got so many notable people, many of which are in small roles or in the case of Val Kilmer, completely obscured to the point that you don’t even know that it’s him. The real standout scene in the film doesn’t even star the leads, though, it stars Dennis Hopper, who is only in a handful of scenes and Christopher Walken, who is only in this one iconic scene. And man, it’s one of the greatest scenes of Walken’s career. It happens midway through the film and it leaves you with a legitimate sense of dread, making you understand just how much trouble the young lovers are actually in.
The second most iconic scene in this is where Patricia Arquette enters her motel room alone to find James Gandolfini sitting in a chair clutching a shotgun. It’s an unnerving and extremely f’d up scene, as Gandolfini brutalizes Arquette. It’s a scene that Hollywood wouldn’t have the balls to do today due to how brutal it is. However, Arquette does get the upper hand in this ultraviolent fracas and makes Gandolfini pay in an even more brutal way.
That being said, this is an exceptionally violent film but those who have experienced Tarantino’s work, should know what they are getting into, even if the material is brought to life by another director.
So watching this film for the first time in a long time, I was left wondering about the ending. We see the young lovers leave behind the craziness that became their life for a bit. The closing moments show them on a beach with a child. All seems well and good.
However, I doubt that Christopher Walken’s very driven and cold mobster character isn’t just going to stop looking for them, especially after the crew he sent to catch and kill them were all taken out in a blaze of violence in the film’s finale. So there’s that bit of worry in the back of my head and it does leave the movie open for a sequel. However, I’d leave this alone and never attempt that. By this point, that ship has most definitely sailed, anyway.
True Romance is a great film, top-to-bottom. It’s built up a legitimate cult following over the years and being that Arquette’s Alabama is directly tied to Harvey Keitel’s Mr. White from Reservoir Dogs sets it in the same universe as that film and Pulp Fiction and just adds to the picture’s mystique and coolness.
Also known as: Deadly Terror (working title) Release Date: December 29th, 1993 Directed by: Rachel Talalay Written by: William Davies, William Osborne Music by: Graeme Revell Cast: Karen Allen, Chris Mulkey, Ted Marcoux, Wil Horneff, Jessica Walter, Rick Ducommun
Twentieth Century Fox, 95 Minutes
“Excuse me… a little stiff. Caught a bitch of a virus.” – Computer Ghost of Karl
I never had much urge to see this way back when it was a current movie. Even though I was a fan of horror and cyberpunk concepts, I knew that it was directed by the same woman that did Freddy’s Dead, which murdered that once great franchise. I also figured that this would be full of computer graphics fuckery and that’s probably why she was hired, after she gave us that abysmally bad CGI 3D sequence in that previous movie.
However, I’m also a fan of the worst ’80s and ’90s cheese, especially in the realms of horror and sci-fi, so I figured that I’d finally give this a watch, as it’s on HBO Max. Plus, it starred Karen Allen and Chris Mulkey and I like both of them quite a bit.
So to be upfront, I didn’t hate this and even though it was a bad movie, there was enough to enjoy in it and the “virtual reality” stuff was every bit as awful and wonderful as it is in other movies from the same era like The Lawnmower Man and Brainscan.
The CGI is primitive as hell and it dates the movie but seeing it in the 2020s, nearly thirty years later, makes it much cooler than it would have been experiencing it back then. Frankly, it made me really nostalgic for this stuff and the early days of computer animation, the Internet and the sort of unknown wonderous world of what technology could be.
I even enjoyed the pixilated killer ghost whenever he appeared in the real world and thought that they utilized the CGI well for what they were trying to achieve.
So the story is about a serial killer that works in a computer and software shop. He steals the address books of clients after his boss uses them to show those clients how his address book software works on common PCs. The killer takes out everyone on the address books before finally killing the person who owns it. However, he is killed in a car crash. Upon getting an MRI, weird shit happens to the power at the medical facility and he is essentially copied onto a hard drive and is essentially now a digital copy of the killer’s brain (and I guess soul) that can travel the Internet and effect any electronics he possesses.
While it’s an interesting concept, I feel like you could easily just trap him in a toaster, unplug him and toss it into the furnace. Also, he is able to manipulate electronics in impossible ways, like using a small microwave to essentially turn an entire large kitchen into a microwave oven.
Plot holes, plot conveniences and ridiculousness aside, some of the kills in this movie are really damn good, such as the microwave kill. The killing sequences also have a bit of a Final Destination vibe to them, as you know the person will die but it’s interesting seeing how it’s all going to unfold. Kind of like watching a Rube Goldberg machine of death.
In the end, though, this is still pretty bad. Most people will hate it and dismiss it as unpalatable schlock but for me, it had enough cool stuff in it to hold my attention and to make me appreciate the effort.
Release Date: December 25th, 1993 Directed by: George P. Cosmatos Written by: Kevin Jarre Music by: Bruce Broughton Cast: Kurt Russell, Val Kilmer, Michael Biehn, Powers Boothe, Robert John Burke, Dana Delany, Sam Elliott, Stephen Lang, Joanna Pacula, Bill Paxton, Jason Priestley, Michael Rooker, Jon Tenney, Billy Zane, Charlton Heston, Thomas Haden Church, Paula Malcomson, Lisa Collins, John Philbin, Harry Carey Jr., Billy Bob Thornton, Terry O’Quinn, Frank Stallone, Christopher Mitchum, Robert Mitchum (narrator)
“Take a good look at him, Ike… ’cause that’s how you’re gonna end up! The Cowboys are finished, you understand? I see a red sash, I kill the man wearin’ it! So run, you cur… run! Tell all the other curs the law’s comin’! You tell ’em I’m coming… and hell’s coming with me, you hear?… Hell’s coming with me!” – Wyatt Earp
I feel like an asshole because I haven’t seen this since it was first on VHS where I then watched it a half dozen times but then haven’t seen it since.
I knew that this was packed full of a lot of great manly men actors. However, I had forgotten how many were actually in this and some of them I wouldn’t have recognized back in the mid-’90s as they hadn’t fully blossomed by that point.
What’s really interesting about this pretty over-the-top, high octane western flick is that it is pretty accurate. Granted, some things were adapted from stories and legends that made the rounds after the events of the film but that’s due to there not being a whole lot of recorded history on the lives and extra context of some of these historical figures and frankly, that’s not too dissimilar from most historical pictures trying to be as factual as possible. Sometimes, there are only so many facts and you have to turn to the folklore to fill in the blanks.
This film was directed by George P. Cosmatos, a guy I will always appreciate because he helmed Rambo: First Blood, Part II and one of my favorite and grossly underrated action films, Cobra. He also directed Leviathan, which is an underwater Alien knockoff but it’s got a solid cast and is pretty entertaining, regardless.
Apparently, Kurt Russell was also pretty instrumental in the direction of this movie, as well. From what I’ve read, he was pretty much an uncredited co-director, as he felt really passionate about this movie and his role as the legendary Old West hero, Wyatt Earp. So it’s hard to fully give director credit to either Cosmatos or Russell but their combined effort turned out one of the greatest westerns ever made.
Beyond the direction, this film is also great because of its immense and uber talented cast.
Top-to-bottom, this film is full of stars but they all fit their roles to a friggin’ tee. They blend into this world and while you very much know who they all are, you don’t get lost in the sea of familiar faces because they’re all so good and so is the script.
I’ve got to say that the real standout for me was Michael Biehn, though. Man, he’s already one of my favorite actors of his era but he shines in this movie like he never has before. This truly elevated him and he showed up for work, ready to make Johnny Ringo one of the most iconic western movie villains of all-time. He succeeded at that, greatly. Re-watching this now also kind of pisses me off, as he never really reached the superstardom he probably deserved and he should’ve really moved on to bigger things after this.
I also loved the hell out of Powers Boothe in this and I’d say it’s one of his best performances too.
All in all, this is action packed, fast paced and has the right level of testosterone flowing through every scene. Well, except for maybe the romantic horse riding bit, which feels a tad out of place. But other than that, this is a pretty close to perfect masterpiece.
Rating: 9.5/10 Pairs well with: other ’90s westerns and films with just a bunch of badass dudes kicking the shit out of assholes.
Release Date: June 4th, 1993 (Seattle International Film Festival) Directed by: Richard Linklater Written by: Richard Linklater Music by: various Cast: Jason London, Wiley Wiggins, Sasha Jenson, Michelle Burke, Christine Harnos, Rory Cochrane, Ben Affleck, Adam Goldberg, Anthony Rapp, Marissa Ribisi, Catherine Avril Morris, Matthew McConaughey, Shawn Andrews, Cole Hauser, Milla Jovovich, Joey Lauren Adams, Christin Hinojosa, Parker Posey, Deena Martin, Nicky Katt, Esteban Powell, Jason O. Smith, Mark Vandermeulen, Jeremy Fox, Renee Zellweger
“That’s what I love about these high school girls, man. I get older, they stay the same age.” – Wooderson
I always viewed this movie as a spiritual successor to Fast Times at Ridgemont High. Mainly, because it is a coming-of-age high school movie but it is just as serious, as it is comedic. While it is goofy and funny, it’s a much better film than what it appears to be on a surface level, similar to Ridgemont High.
Also like Ridgemont, it has a stacked cast that features a ton of young stars. These stars would become big names as the ’90s rolled on and the turn of the new millennium took many of them to the heights of Hollywood. There are future Academy Award winners in this cast.
It’s also directed by Richard Linklater and it has similar beats to his other coming-of-age films, although it doesn’t have as hard of an edge as the really dark, SubUrbia.
The story starts on the last day of school and it follows several characters over the course of that day and night. Each one is faced with an uncertain future, new changes and challenges on the horizon but ultimately, everyone wants to forget about their problems and just enjoy the night.
The film takes place in the mid-’70s, even though it came out in the ’90s. But it’s also timeless and regardless of the timeframe in which it takes place, it’s also really true to what the ’90s were like. I know, because I was this age in the ’90s. I can’t speak on how this will play for modern high school students but the world is a weird, incredibly soft place now.
What makes this movie so much better than most of the films like it is the performances of the cast and how genuine everything feels. Linklater obviously wrote this based off of his own high school experiences and his personal intimacy with the material comes through in every scene. And frankly, there isn’t a single unnecessary or dull scene in the entire film.
Additionally, all the big plots are well-balanced and organized, as the night plays on and several characters weave in and out of the larger story, overlapping.
Dazed and Confused has stood the test of time incredibly well. I feel like it’s material will always be relevant and because of that, it is one of the greatest motion pictures of its type.
Rating: 9/10 Pairs well with: other Richard Linklater coming of age films, as well as other good coming of age high school movies.
Release Date: August 6th, 1993 Directed by: Robert Townsend Written by: Robert Townsend Music by: Cliff Eidelman Cast: Robert Townsend, Marla Gibbs, Eddie Griffin, Robert Guillaume, James Earl Jones, Bill Cosby, Another Bad Creation, Luther Vandross, Sinbad, Naughty by Nature, Cypress Hill, Big Daddy Kane, Stephanie E. Williams, Roy Fegan, Frank Gorshin, Marilyn Coleman, Bobby McGee, Don Cheadle, Nancy Wilson, Tommy ‘Tiny’ Lister, Jenifer Lewis, LaWanda Page, Faizon Love, Biz Markie, John Witherspoon, Wallace Shawn, Chris Tucker (uncredited)
Tinsel Townsend, Metro-Goldwyn-Mayer, 100 Minutes
“You don’t have to vote. I’ll leave. I’m sorry about what happened to the neighborhood tonight, but I feel even sorrier watching what’s going on in this room. How can we stop the crime and the gangs if we act like we don’t see them? Everybody complains about the police. They aren’t perfect, but how can you complain when you do nothing? You don’t have to vote.” – Jefferson Reed
Meteor Man is a very ’90s movie but it’s also aged tremendously well for what it is. Additionally, it has so much heart it’s damn hard not to love. Plus, it features a large roster of legendary black actors that it’s really cool seeing them all in one place under the direction of the uber talented and then young Robert Townsend.
I love this movie, although I was a bit apprehensive in revisiting it for the first time in at least two decades, as I didn’t want my memories of it to be diminished.
I’m happy to say that I actually have a deeper appreciation for it now than I did back then when I was really impressionable and nowhere near as versed in motion picture history or the art of filmmaking.
To be real, this is a film with several flaws and it features a superhero whose powers are never clearly defined and seem to change on a whim for plot convenience. At the same time, this barely matters, as this isn’t simply a cookie cutter superhero tale, it’s something deeper with more meaning than a typical Marvel or DC adaptation. It’s also better than the vast majority of comic book movies from (and before) its era.
At its core, this examines the turmoil and effects of inner city crime on its communities. It asks when “enough is enough” and it shows good people actively trying to overcome it and clean up their neighborhoods.
Many critics in 1993 tried to make the point that the film failed because it showed that people could only make a difference with a superhero doing the bulk of the work. What the reviewers failed to see was the bigger picture or frankly, the f’n film.
Reason being, Meteor Man loses his powers and is about to be killed by the violent gang and that’s the moment where the good, scared folks of the neighborhood finally proclaim that “enough is enough” and they fight back to help save the one man that came to their rescue when he’s at his darkest hour.
The community in the film become the heroes the neighborhood needs. And while Meteor Man regains his powers for a final showdown with the film’s big villain, it’s the community again that saves the day when even bigger villains show up to finish the job. More than anything else, this is about people inspiring each other and coming together.
That being said, it’s still really damn cool that this message came together so beautifully in a film about a superhero. That also made it cooler and more universally accessible for all ages than just being a movie about a gang controlled neighborhood. We’d seen those many time before this and many of them lacked the heart and soul that Townsend put into this motion picture.
As far as I know, this is also the first black superhero film. If it’s not, please correct me in the comments.
All in all, Meteor Man is a product of its time but that doesn’t mean that its message isn’t relevant, today. It’s light, it’s fun, it’s energetic, it has character, it has love and it definitely deserves more recognition than its gotten over the years. I hope, at some point, new generations discover it and see it for what it is and not what the critics in 1993 thought it was.
Rating: 7.75/10 Pairs well with: other Robert Townsend movies, as well as other ’90s superhero movies.
Also known as: Super Mario Brothers: The Movie (original script title) Release Date: May 28th, 1993 Directed by: Rocky Morton, Annabel Jankel Written by: Parker Bennett, Terry Runte, Ed Solomon Based on:Mario by Nintendo Music by: Alan Silvestri Cast: Bob Hoskins, John Leguizamo, Dennis Hopper, Samantha Mathis, Fisher Stevens, Fiona Shaw, Richard Edson, Mojo Nixon, Dana Kaminski, Lance Henriksen, Frank Welker (voice), Dan Castellaneta (narrator)
“[bathing in mud] Do you know what I love about mud? It’s clean and it’s dirty at the same time.” – King Koopa
Super Mario Bros. was one film in a string of a few that helped to build the reputation that video game movies suck. Looking at the picture in comparison to the video game series it’s based on, I get it. And frankly, it irked the shit out of me when I saw it in 1993.
However, seeing it with pretty fresh eyes nearly three decades later, I have a very different view of the film now. Especially, when I just look at it as its own weird body of work apart from the video game franchise.
Removing the source material from the equation, I can still see why this would be viewed as a bad film by most but for me, a lover of really weird shit, everyone in this cast and late ’80s/early ’90s cyberpunk shit, this is kind of a feast of awesomeness!
Additionally, the Alan Silvestri score is great, lively, playful and boisterous. It reminds me of his score to Honey, I Shrunk the Kids, which was, honestly, what really set the magnificent tone for that movie. Here, Silvestri’s work is just as effective and man, I miss scores like this.
This movie also feels like a time capsule into the heart of the ’90s. It embraces the wonky tropes of the decade and it completely misses the mark it should’ve been aiming for. Although, in retrospect, I really like that this just did whatever the hell it wanted to and provided the world with something so damn bizarre and zany.
I really liked the bond between Mario and Luigi, even if trying believe that Hoskins and Leguizamo are supposed to be real brothers is maybe the most unbelievable thing in the film. That kind of doesn’t matter, though, as nothing in this needs to make any sort of logical sense. It’s actually cooler that it doesn’t. Now that’s something I’d typically be highly critical of but this movie with its flaws is still so much fun and overly ridiculous that it adds to its charm.
I guess Dennis Hopper was miserable working on this due to behind the scenes clusterfucks and severe delays but honestly, it probably worked to the movie’s benefit, as he truly comes off as an insufferable prick and it just makes his character that much more sinister and entertaining to watch.
Additionally, I really liked Samantha Mathis in this, as she played Princess Daisy, the apple of Luigi’s eye. Her and Leguizamo had nice, believable chemistry and she really was a highpoint of the picture. In fact, her final scene where she returns as a gun toting badass really made me wish a sequel had been made.
That being said, I actually wouldn’t be opposed to having more things made from this version of the Super Mario IP. I get it, it was a bomb and most people hated it but it’s also unique and kind of special in its own odd way. Plus, it’s developed a good cult following over the years and I think many people are like me, where seeing this decades later really allows you to separate from what it should of been and wasn’t to seeing it as its own cool thing.
Rating: 5.75/10 Pairs well with: the other few ’90s movies based on video games, as well as other early ’90s cyberpunk films.
Release Date: January 8th, 1993 Directed by: Mark Jones Written by: Mark Jones Music by: Kevin Kiner, Robert J. Walsh Cast: Warwick Davis, Jennifer Aniston, Mark Holton, Deep Roy (stunts)
Trimark Pictures, 92 Minutes
“[the Leprechaun talks to himself while sitting over his pot of gold] Ah! Try as they will, and try as they might, who steals me gold won’t live through the night.” – Leprechaun
I think that this is the one remaining “slasher” franchise that I have left to review. While I don’t specifically see these as slasher movies, the majority of the world deems them as such.
These are very similar in that they feature a murderous monster picking people off throughout the film but the Leprechaun uses magical methods and creativity more than simply picking up sharp objects and decorating the floor with the meat and fluids of his victims.
This is an odd series and I actually thought it improved, to a point, with its sequels. That being said, this one is the dullest in the franchise but I still enjoy it.
The main thing I like about these movies, which are far from great, is Warwick Davis. He’s awesome as the Leprechaun and his one-liners make me laugh, as he gleefully torments and murders those he believes stole his gold.
As far as the rest of the cast in this film goes, it’s only really notable for being Jennifer Aniston’s most prolific role before she exploded with fame a year later on Friends.
There’s not a whole lot to say about this chapter other than that it kicked off a cheap-to-make horror franchise that started getting the straight-to-VHS treatment by the third film. However, this is still amusing because of the title character.
Rating: 5.25/10 Pairs well with: the other Leprechaun movies starring Warwick Davis.
Release Date: April 23rd, 1993 Directed by: Ted Demme Written by: Seth Greenland, Doctor Dré, Ed Lover Music by: Michael Wolff, Nic. tenBroek, various Cast: Doctor Dré, Ed Lover, Badja Djola, Cheryl “Salt” James, Colin Quinn, Denis Leary, Bernie Mac, Bill Bellamy, Terrence Howard, Richard Gant, Guru, Ice-T, Larry Cedar, Jim Moody, Joe Lisi, Karen Duffy, Roger Robinson, Richard Bright, Rozwill Young, Vincent Pastore, Caron Bernstein, Kim Chan, Ken Ober, B-Real, Ad-Rock, Apache, Bow-Legged Lou, Bushwick Bill, Busta Rhymes, Chi-Ali, CL Smooth, Pete Rock, Del the Funkee Homosapien, D-Nice, Dres, Eric B., Fab 5 Freddy, Flavor Flav, Freddie Foxxx, Heavy D, House of Pain, Humpty Hump, Kid Capri, Kris Kross, KRS-One, Leaders of the New School, Melle Mel, Monie Love, Naughty by Nature, Penny Hardaway, Phife Dawg, Queen Latifah, Run-DMC, Scottie Pippen, Sandra “Pepa” Denton, Stretch, Yo Yo, Da Youngsta’s
De Passe Entertainment, Thomas Entertainment, New Line Cinema, ,,, Minutes
“You fucked me! You fucked me! You might as well kiss me ’cause you’re fucking me!” – Sgt. Cooper
I’m one of the few people that saw this in the theater back in 1993 and honestly, I’m one of the few that saw it in my theater, as there were only three of us on opening night.
Still, I was stoked to see it, as I was a weekly viewer of Yo! MTV Raps at the time and the thought of Ed Lover and Doctor Dré in their own movie featuring dozens of rappers had my fourteen year-old self pretty damn excited.
The film also features Fab 5 Freddy and T-Money from Yo!, as well as some top up and coming comedians from the era like Bernie Mac, Denis Leary and Colin Quinn.
Now this isn’t specifically a well acted movie but it doesn’t need to be, as it is a buddy cop comedy made to appeal to teenagers that had a love of hip-hop. That being said, Lover and Dré were great, their chemistry shined through and their comedic timing was superb.
In a lot of ways, I saw the duo as their generation’s Abbott & Costello but unfortunately, they weren’t able to do anymore movies beyond this one. That’s kind of a shame, as they would’ve only gotten better but at the same time, Yo! MTV Raps was cancelled only two years later, ending a great era for hip-hop fans, which I feel had a lasting negative impact on hip-hop music going forward.
What makes this so fun to watch, especially now, is that it shows me how pure hip-hop still was in 1993 before it devolved into the overly corporate bullshit it became. This came out in a time where rappers still had real shit to say and a lot of the music was simply about having a good time or expressing positive messages. Sure, we all love the gangsta shit too but this film mainly features the East Coast side of the classic hip-hop era at its peak. There’s something magical about seeing all these guys in their prime, many of whom we have lost since then.
The bulk of the story revolves around Lover and Dré being failed barbers and having to join the police force to pay their rent. What they don’t know is that there is a sinister scheme afoot in their part of Harlem that leads to their beloved mentor and father figure being murdered for his real estate. This sets the pair off on trying to solve the mystery, even though they aren’t detectives and the police force doesn’t want them to be anything more than basic beat cops.
Along the way, they run into countless rappers, some of which have larger roles and most of which just have cameos. What’s weird about adding all these rappers in is that none of it seems forced or out of place. All the cameos are well handled and it’s kind of amazing that they actually got so many people in this movie.
The film is directed by the late Ted Demme, who was instrumental in bringing Yo! MTV Raps to the small screen. He would go on to direct a pretty good handful of films before his death, most notably Blow.
Additionally, this is written by Lover and Dré, which is probably why everything feels so natural, as they essentially play themselves in the film and they already head good relationships with all the other people in the movie, specifically the dozens of rappers.
This certainly isn’t a movie that’s going to resonate with those outside of my generation, who didn’t already have a love for East Coast hip-hop of the early ’90s, but it’s still pretty funny and these guys had incredible charisma and natural chemistry.
Rating: 6.75/10 Pairs well with: other hip-hop comedies of the ’80s and ’90s.
Also known as: Shootfighter (unofficial shorter title) Release Date: May 5th, 1993 Directed by: Patrick Alan Written by: Judd B. Lynn, Larry Feliz Jr., Pete Shaner Music by: Joel Goldsmith Cast: Bolo Yeung, Maryam d’Abo, James Pax, William Zabka, Michael Bernardo, Martin Kove, Edward Albert
ANA Productions, 100 Minutes
As a pretty hardcore Karate Kid fan, it’s probably kind of nuts that I hadn’t seen this film until now. Reason being, for those unaware, is that it reunites the two antagonists from that film (and the Cobra Kai television series) by featuring both William Zabka and Martin Kove.
This also stars martial arts legend and intimidating badass, Bolo Yeung. And what’s really interesting about Bolo’s role in this, is that he is a good guy! He’s actually the sensei of the two young guys that enter a martial arts tournament put on by a madman criminal.
In a way, it’s also strange seeing Zabka play a good guy, as he became famous playing bullies in ’80s teen movies.
This movie came out during the height of fighting games in video arcades across the world. It was also the height of low budget, usually straight-to-VHS martial arts flicks. So the story isn’t too dissimilar from that of a classic fighting game. In fact, the two heroes feel like they’re loosely based on and inspired by Ryu and Ken from the Street Fighter video game series.
I like the heroes here, though. They have a good chemistry and camaraderie and I actually like cheering for Zabka, even though I was always pro-Cobra Kai anyway… sorry, LaRusso.
I don’t usually watch these type of movies and expect to be impressed by them. I tend to like them quite a bit, regardless. However, I was impressed by the action and fight choreography in this. While it’s not the most exceptional martial arts action you’ll ever see, it was on par with the best action coming out of low budget US martial arts flicks from this era.
Also, the tone and style of the film is really good and it feels like a fighting game come to life. I wish my fourteen year-old self would’ve rented this back in 1993 because he would’ve probably loved it and watched it as often as he watched early Van Damme movies, as well as the American Ninja series.
I dug this, a lot. I’m also glad that there’s a sequel because I plan on checking it out in about a week, as I work through my queue.
Rating: 6.5/10 Pairs well with: its sequel, as well as other early-to-mid-’90s martial arts flicks.