Archive for the Heightened Abilities Category


Posted in 2013, Apocalyptic Films, Bizarro Movies, CGI, Cinema Knife Fights, Dark Comedies, ESP, Fun Stuff!, Heightened Abilities, Highly Stylized Films, Just Plain Fun, Just Plain Weird, LL Soares Reviews, Monsters, Plot Twists, Psychic Powers, Something Different, Twisted, Unusual Films with tags , , , , , , , , on February 11, 2013 by knifefighter

By L.L. Soares (with a guest appearance by Michael Arruda)


(THE SCENE: An all-night Chinese restaurant at midnight. DAVID WONG —looking a lot like actor Chase Williamson—sits in a booth. MICHAEL ARRUDA and LL SOARES enter and sit down across from him)

WONG: I didn’t think you’d make it.

LS: We’re professionals. Of course we made it.

WONG: Did anyone follow you?

MA: No, I made sure to drive erratically to throw anyone off our trail.

LS: You drove like that on purpose?

MA: Of course I did.

LS: Yeah, sure.

WONG: Enough of your bickering. I only have a limited time to tell you all about the soy sauce and the creatures from another dimension and the remarkable Dr. Albert Marconi.

LS: No need. We just saw the movie. We’re all up to date.

WONG: Are you sure? Did you watch the right movie?

LS: Of course we did!

MA: Calm down. Why don’t you tell him what you saw?

LS: Okay, sure. The movie JOHN DIES AT THE END is the tale of David Wong, who looked just like you…

(WONG nods)

LS: Wong is in a restaurant, just like this one, telling his tale to a reporter named Arnie Blondestone (Paul Giamatti). It’s about how he was pulled into a secret plan to save the Earth, along with his friend John (Rob Mayes), who sings in a punk rock band called Three Armed Sally.

Wong’s story begins with a chance meeting with a Jamaican guy at a party named Robert Marley, who tells David several things he should not know. Later that night, or rather the next morning at 3am, David is awoken by a call from his friend John, begging for help. He goes to help John battle some supernatural baddies and then ends up in a police station where a detective tells him that the night before, a bunch of people went to the trailer of a certain Robert Marley after a party and four are missing, the rest are dead, and John is a suspect. David has no clue what is going on, but a phone call from John (that was made the night before but just reaches him now) tells him he needs to get out of there. But he has to fight a man who appears to be a cop (but isn’t) first.

To explain beyond this (early) point would be kind of pointless. JOHN DIES AT THE END isn’t that kind of linear, straight-forward movie that caters to an easy synopsis. Suffice to say that David Wong goes on an adventure that involves a girl named Amy (Fabianne Therese) who has one prosthetic hand, her dog Bark Lee, Dave’s friend Fred (Jimmy Wong), a white rapper wannabe named Justin White (Jonny Weston), the world-famous magician Dr. Marconi (Clancy Brown), and John, who dies early on in the movie, but doesn’t exactly stay dead.

The catalyst for all this is a drug called “soy sauce” (because that’s what it looks like). When you take it, either it creates vivid hallucinations or opens your mind to realities we aren’t normally aware of. I’m not saying which. It’s also alive and when ingested it either kills you, or uses you for its own purposes. And those purposes ultimately involve a plot by people in an alternate world who worship a living machine called Korrok (voiced by Kevin Michael Richardson), and their desire to enter our plane of existence and make our world like theirs—a horrible place that lives only to serve Korrok.

The movie was based on the novel by David Wong…

(WONG nods)

LS: …this is getting a little confusing.

The movie is pretty good. mainly because you’re never sure what is going to happen next. I liked the fast, witty repartee in this one, and the rapid-fire pacing. A lot of times critics compare certain movies to amusement park rides, like roller coasters, but this movie lives up to the comparison.

It was directed by the great Don Coscarelli, who also gave us the classic PHANTASM (1979), THE BEASTMASTER (1982) and BUBBA HO-TEP (2002), and he does another cracker jack job here, bringing the novel to life.

The cast is pretty solid. I liked Chase Williamson as Wong a lot, he was a strong central character here…

(WONG nods)

LS: And the great Paul Giamatti rarely gives a bad performance. He’s good here, too, but his character is mostly around so Wong can tell him his story (and in the process, tell us). Rob Mayes, who plays John, might be familiar to some people from TV shows like the new version of 90210 and THE CLIENT LIST. And Clancy Brown, as the all-powerful Marconi, has been in tons of stuff from THE ADVENTURES OF BUCKAROO BONZAI ACROSS THE 8TH DIMENSION (1984) to THE SHAWSHANK REDEMPTION (1994) to STARSHIP TROOPERS (1997) and lots of television shows. I thought he was especially good in the sadly short-lived HBO series CARNIVALE (2003 – 2005), where he played Brother Justin Crowe.

Other recognizable faces include Angus Scrimm (the “Tall Man” from the PHANTASM movies) as a priest named Father Shellnut. And Doug Jones—mostly known for roles where he’s not so recognizable, including Abe Sapien in the HELLBOY movies, the Faun and the Pale Man from PAN’S LABYRINTH, 2006, and the Silver Surfer in FANTASTIC 4: RISE OF THE SILVER SURFER, 2007—plays a strange alien being named Roger North.

The cast is really good and the story gives us a good mix of thrills and laughs. The sheer unpredictable nature of the movie is what makes it so unique and enjoyable. Not everything is perfect—but for the most part I thought it worked really well. I give it three knives. People should check this one out.

WONG: Just three, huh?

LS: Errr…Tell him what you thought of it, Michael?

MA: I didn’t see it.

LS: What are you talking about? Of course you saw it. You were telling me all about it in the ride up here.

MA: Sorry. You must be mistaken.

(MA begins to make strange noises)

WONG: I think there’s something wrong with your friend.

(MA suddenly turns into a gooey monster with writhing tentacles)

LS: That wasn’t Michael at all! I’ve been tricked!

(WONG pulls out a gun and blasts the creature, which disintegrates.)

LS: Whew. That was a close call.

WONG: Your mission has been compromised. They’re on to us.

LS: I guess that means I better leave, huh?

WONG: Do what you want, but I’m out of here.

(WONG disappears)

LS: Wow. Neat trick.

(LS waves waitress over and lifts a menu)

LS: I’ll have number 4 and number 15 to go, and make it quick. Okay?

WAITRESS: Right away, sir.

LS (to audience): Well, at least this wasn’t a total loss.

© Copyright 2013 by L.L. Soares

LL Soares gives JOHN DIES AT THE END ~three knives.



Posted in 2012, Action Movies, Espionage, Heightened Abilities, Hit Men, John Harvey Reviews, Sequels, Spy Films, Suspense with tags , , , , , , on August 13, 2012 by knifefighter

THE BOURNE LEGACY Weaves Complexity with Great Action
Review by John Harvey

It takes a great deal of chutzpah to create and release a ‘Jason Bourne‘ franchise movie minus Jason Bourne.  The opportunities for failure greatly outnumber those for success, especially when essentially all of the key players (both talent and behind the scenes) who made the previous installments popular are now absent. This is the gamble undertaken by Universal’s THE BOURNE LEGACY a taut, high-octane, but often confusing spy thriller that seeks to (sort of) reboot the franchise in an alternate timeline to the previous ‘Jason Bourne‘ films.

Gone is Matt Damon’s stoic, intense Jason Bourne who drove THE BOURNE IDENTITY (2002), THE BOURNE SUPREMACY (2004), and THE BOURNE ULTIMATUM (2007). Also gone is Paul Greengrass, who directed the second two films (THE BOURNE IDENTITY was directed by Doug Liman).

While this loss of legacy talent is worrying, the replacements are far from being slouches.  Tony Gilroy, who wrote the screenplays for all three previous ‘Jason Bourne’ films, is now both screenwriter and director for THE BOURNE LEGACY. Gilroy has solid suspense/thriller credentials in directing or writing on such projects as STATE OF PLAY (2009), DUPLICITY (2009) and MICHAEL CLAYTON (2007). Meanwhile, stepping into the superspy slot is Jeremy Renner. Renner has been consistently good in films such as THE HURT LOCKER (2008), THE TOWN (2010) and THE AVENGERS (2012).

THE BOURNE LEGACY‘s storyline essentially runs parallel to that of THE BOURNE ULIMATUM, showing the ripple effect of Jason Bourne’s bad behavior in Manhattan. Powerful people in the United States intelligence community (including Stacy Keach and Ed Norton) have been thrown into a frenzied state of damage control as Bourne threatens to blow the lid on their clandestine superspy program. They coldly decide that the only way they can keep secrets and save themselves is to implement a ruthless, scorched-earth protocol. Translation … everyone dies. Well, everyone but them.

Which brings us to Aaron Cross, a member of Operation Outcome, one of the CIA’s other black ops superspy programs. Different from Jason Bourne’s Treadstone program, Outcome provides its agents with green pills that enhance physical abilities and blue pills that enhance mental abilities. The pills are the leash that keeps the agents under control. In LEGACY, they’re also the MacGuffin that drives most of the suspense and action.

Cross is stationed at a deeply remote training facility in Alaska when the powers-that-be send an airborne drone to blow him up with a hellfire missile, having already killed off the other Outcome agents. Cross (obviously) outwits them, but then finds himself running dangerously low on the power pills that keep him going. His desperation to escape death and get a new supply of drugs brings him in contact with Dr. Marta Shearing (Rachel Weisz), a virologist/geneticist who works in a top secret medical lab that monitors Outcome agents. Shearing, having barely survived an assassination attempt at the hands of the previously-mentioned powers-that-be, has no other option but to throw in with Cross and help him score a fix.

Ultimately, the established storylines of the previous ‘Jason Bourne‘ films weigh heavily on THE BOURNE LEGACY, sometimes to its benefit and sometimes not so much. While the filmmakers would have you believe that you don’t need to see the previous films for this one to make sense, don’t buy it. So much of the terminology, code names, characters, and other devices get carried over (or at least referenced) from previous films to this one that, if you’re not up to speed with (at least) THE BOURNE ULTIMATUM, then you’ll have several “Huh? What? Hey, who’s that guy?” moments in LEGACY. Also, while it’s pretty easy to tell the bad guys from the good, it’s not always easy to keep track of who comes from what agency or their ultimate motives. With THE BOURNE LEGACY, Gilroy shoots for a dense, complex plot, but in reality the movie is often just plain confusing and a bit frustrating.

On the plus side, the action sequences in THE BOURNE LEGACY are a real treat, with the final set piece being breathless and completely captivating. Unlike goofier, pulp action films (ahem … THE EXPENDABLES), the ‘Jason Bourne‘ aesthetic hews closer to a version of reality where the gun battles, fights, and chase scenes could perhaps be real (…if you squint and smear a lot of Vaseline on the lens). In these films, the action tends to be more suspenseful and have more consequences. Also, with Gilroy at the helm, we get a smoother, polished shooting style (via cinematographer Robert Elswit), rather than Greengrass’ shaky camera style.

In terms of acting, I found Renner’s Aaron Cross to be more engaging than Matt Damon’s Jason Bourne. Where Bourne was almost constantly laconic and mechanical, Aaron Cross is more expressive, affable, and vulnerable. But, when the action starts, his training and chemical-induced enhancements kick in to produce a complete killing machine. As an action hero, Renner provides more texture and nuance than Matt Damon. In addition, while Weisz could have been given the role of obligatory “female in need of saving,” she provides a much more dynamic and dramatic performance.

The bad guy side of the equation is more disappointing. Stacy Keach, Ed Norton, and Dennis Boutsikaris literally fill suits and provide serviceable, if entirely predictable, performances as heartless spymasters from shady government agencies. Renner’s Aaron Cross deserves a strong nemesis. Perhaps he’ll get one in the inevitable sequel.

Ultimately, THE BOURNE LEGACY is a good, but not great, fork from the core ‘Jason Bourne‘ franchise. With a less convoluted structure and better villains, it would have been far more enjoyable. Still, the action is worth seeing on the big screen and I look forward to Jeremy Renner continuing to perform as Aaron Cross.

Official Website:

Directed by Tony Gilroy
Screenplay by Tony Gilroy and Dan Gilroy
Starring Jeremy Renner, Rachel Weisz, Edward Norton, and Stacy Keach
Running time: 135 minutes

– END –

© Copyright 2012 by John D. Harvey

John Harvey gives THE BOURNE LEGACY~three and a half knives.