Showing posts with label scott wolf. Show all posts
Showing posts with label scott wolf. Show all posts

Wednesday, 9 June 2021

Prime Time: Double Dragon (1994)

In the many conversations that I've had over the years about videogames that have been adapted into movies, Double Dragon seems to get the least attention. There's probably a good reason for that. Namely, it's not a very good adaptation of the videogame. It's certainly not a terrible movie though, not if you're after some family-friendly martial arts antics with some fun baddies.

Robert Patrick plays white-haired Koga Shuko, a crime lord desperately seeking a magic medallion that goes by the name of the Double Dragon. The medallion gives the wearer power over body and soul, and Shuko has one half already. He can place himself inside the body of anyone else in his vicinity. But if he also gained the other half, which bestows super-strength, then he would be unstoppable. That part of the medallion ends up in the care of brothers Billy Lee (Scott Wolf) and Jimmy Lee (Mark Dacascos), which means Shuko will do anything to capture the brothers.

Written by Michael Davis and Peter Gould, who would both go on to comparatively better projects in the 2000s, Double Dragon is in line with other films and shows that decide to tame numerous elements of the source material to appeal to a family audience. I remember Double Dragon on my Spectrum 48K and being blown away by the fact that one of the enemy types you fight were whip-wielding women (represented here by a woman named Linda Lash, played by Kristina Wagner, although she's depicted in a way that only hints at the videogame character). There were also weapons you could pick up and use, another element largely discarded here.

Director James Yukich has a long list of directorial credits, but this is the first of only two fictional features that he helmed (unless I have missed a title while perusing his extensive filmography). The rest of his work is largely made up of music videos and comedy specials. Thankfully, he doesn't do himself a disservice here. Double Dragon has energy and a slightly whacky sensibility, which is much better than it being over-edited to oblivion and couched in a combination of misguided stylistic choices.

Wolf and Dacascos are decent enough leads, with the latter bringing his impressive fighting skills to the film. Patrick is a fun villain, helped by the look given to him for the film, including the wide-shouldered suits worn throughout. Alyssa Milano is Marian Delario, a rebel fighter working against the system (the world of the film is a weirdly vague dystopian society) and a less passive supporting female character than you might expect. Milano is suitably appealing and resolved to help enact change in the world around her. Wager is underused, sadly, but okay, and Nils Allen Stewart and Henry Kingi play a large thug named Bo Abobo, with Kingi playing him in his mutated form.

I understand why this isn't exactly celebrated, or even remembered often. The fighting isn't impactful, the plotting is silly, the dialogue between the characters has lines to make you cringe, and there's no real brand recognition for the target demographic. But, and it's a big but, taken for what it does onscreen, as muddled and silly as it is, it's not a bad way to spend just over an hour and a half. Especially if you have kids, I'd say aged about 8-12, who may enjoy the action and effects.

5/10

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Friday, 26 December 2014

Go (1999)

Directed by Doug Liman, and written by John August, Go is often described to people as a teen version of Pulp Fiction. Seriously, you'll find that phrase in almost every major review of the movie, so I decided not to buck the trend here. It's got drugs, some violence, plenty of dark humour, a great soundtrack, and a few main events shown from the viewpoints of different characters, which all means that the comparison point is a good one, even if Pulp Fiction is itself hugely influenced by a multitude of movies to have come before it.

Anyway, let me try to describe the various escapades. First of all, we get Ronna (Sarah Polley) looking to make some quick money as she faces eviction over the Christmas holiday season. She seizes her chance when a couple of guys (Scott Wolf and Jay Mohr) come into her work looking for her colleague, Simon (Desmond Askew). Simon often sells drugs so when these two potential customers start to enquire about any other potential supply avenues, Ronna decides to arrange a sale. She then has to buy product from dealer Todd Gaines (Timothy Olyphant), which puts her at serious risk if anything goes wrong during the proposed exchange. Things go wrong. Meanwhile, Simon is having a blast in Las Vegas with his friends (Taye Diggs, Breckin Meyer and James Duval). Vegas is such a glorious place to be, as long as nothing goes wrong. Things go wrong. There's more to discover here, but part of the joy of the film is finding out how the tales are interconnected and just what changes when seen from a different viewpoint.

Liman and August do a fantastic job here, keeping the energy levels up without the film every feeling hyperactive, and peppering conversations with great lines and references without it feeling overly-stylised. They also take a number of standard situations that we've seen done many times before and manage to give each one a twist, often weaving confidently between the sublie and the ridiculous. All of this would be impossible if it wasn't for the fantastic ensemble cast, taking the material and elevating every bit of it.

Polley, Wolf, Mohr, Askew and Diggs have rarely been better, and Olyphant is as great as he always is. Then we have William Fichtner as a slightly strange lawman, Jane Krakowski as his equally strange wife, Nathan Bexton as a pill-popper who hallucinates about conversations with cats and dancing with strangers to the Macarena, and even Katie Holmes does okay in her role. There's even a small, fun role for Melissa McCarthy that's worth looking out for.

There's one character I have yet to mention, and that is the soundtrack. Jam-packed with cracking tunes, Go has one of the best soundtracks of the 1990s. It's one that I listen to a lot, and it's also one that perfectly complements the visual style of the film. From the opening Columbia Pictures logo to the closing credits, this is another film that proves just how important the perfect song choice can be.

It's worth noting that what I find fun and cool could just as easily be viewed as tiresome and annoying by someone else. This is a film I used to recommend heartily to everyone until I started to realise that not everyone was won over by it in the same way as I was. I still heartily recommend it, but now do so with the standard, usually unspoken, proviso: No film is for everyone.

9/10

http://www.amazon.com/Go-Special-Sarah-Polley/dp/0767835093/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1418650151&sr=1-2&keywords=go