U. S. Marshals (1998)

Considering the success of The Fugitive, and the fact that a number of scenes were stolen by Tommy Lee Jones working the case with his colleagues, it was inevitable that people would try to come up with a sequel. You can't just frame Dr. Richard Kimble (Harrison Ford) again though, so what do you do? You get someone else who ends up on the run while declaring that they're actually an innocent party. Tommy Lee Jones (as Samuel Gerard) and co. are all back, joined for a large chunk of their investigation by Robert Downey Jr., and Wesley Snipes is the fugitive being hunted.

Neither writer John Pogue nor director Stuart Baird have filmographies full of features that would inspire confidence in anyone knowing that they were given responsibility for this. While the first film took an enjoyably simple premise and interspersed the cat and mouse narrative with some truly brilliant set-pieces (set-pieces that hold up today as prime examples of superior blockbuster movie moments), U. S. Marshals makes things needlessly complicated, scatters around a trail of breadcrumbs that viewers won't care to see followed, and only has one moment that comes even close to anything in the first movie. Pogue makes the mistake of thinking that Jones alone can carry the movie (as much as I like him, he isn't up to that task), and that Snipes can make a decent replacement for Ford (as much as I like him, he also isn't up to that task).

The supporting cast provide all of the treats here, although I am not saying that either Jones or Snipes are bad. They're just stuck with providing a centrepiece for something that doesn't allow them to work at their best. Downey Jr. is fun though, although his character development is as predictable as you might expect Downey Jr. to be saddled with at about this time, and Joe Pantoliano, Daniel Roebuck, Tom Wood, and LaTanya Richardson remain a loyal and talented group working for the determined Gerard. They also seem to be having fun with their roles, in contrast to the two leads who seem far less comfortable working within the confines of the blockbuster requirements.

The best way to describe everything else her is lacklustre. From the plotting and dialogue to the editing and production design, from the cinematography to the Jerry Goldsmith score, there's just nothing here that feels as if it was made with care and enthusiasm. I'm not saying that's the case, it just isn't conveyed to viewers. 

If you have recently watched The Fugitive and you are wondering what to watch next for the same mix of thrills, tension, verbal sparring, and spectacle, I would have to tell you to just rewatch The Fugitive. Or, as I have said before when reviewing it, be sure to make some time for In The Line Of Fire (which is a bit darker, but no less brilliant in terms of star-powered thriller fare). This sequel is probably already forgotten by most people anyway. If I have reminded you of it just now, and if you're now curious, then I can only apologise and encourage you to forget it again ASAP.

4/10

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New Jack City (1991)

A film I somehow missed when it was first released, despite hearing a lot of good talk about it, New Jack City constantly kept being held back from the top of my prioritised viewing list by many other movies. That’s a shame, because this is a great movie, energetic and entertaining throughout, with a nicely stacked cast.

It’s the tale of a drug dealer/crimelord, named Nino (Wesley Snipes), who seems to remain far too many steps ahead of the law. He rose to his position thanks to the introduction of crack cocaine into the drug market. Addicts die, threats die, competitors die, but Nino just keeps on trucking, much to the frustration of a special task force that has been assembled to bring him down. Headed up by Detective Stone (Mario Van Peebles), the two men most likely to get some kind of victory over Nino are Appleton (Ice-T) and Peretti (Judd Nelson). They are willing to do whatever it takes, even helping an addict (Pookie, played by Chris Rock) clean and asking him to do some undercover work for them.

Written by Thomas Lee Wright and Barry Michael Cooper, New Jack City dances beautifully between some moments of realistic violence, some very pertinent points on the changing face of modern crime and those in charge, and pure visceral cinema. All of the characters feel slightly larger than life, but that helps to underline the idea of the way territories have been redrawn and reformed. And there is snappy dialogue throughout that reveals extra information about choices made by the main characters.

The champ of delivering that snappy dialogue is Snipes, who gives what could well be his best ever performance, all confidence and no heart. Having said that, Snipes has so many great performances tucked away in his filmography that it’s tough to pick out a clear favourite. He owns every minute of his screentime here though, and it’s a good job. His character needs that charisma and presence to be at all believable, even while being so enjoyably over the top. Ice-T and Nelson have to bicker at one another in standard “cops who may not like one another, but will look out for one another” mode, and they do well with what they’re given, especially when delivering some more melodramatic moments in the finale. Then there’s Rock, delivering a fantastic performance as an itchy and desperate junkie who is given a big second chance at life. Bill Nunn and Bill Cobbs are as good as ever, Allen Payne does perfectly okay, although he is the weakest of the main players, and there are many others worth keeping an eye out for, from Michael Michele and Vanessa Williams to Russell Wong and Anthony DeSando, as well as Fab 5 Freddy, Flavor Flav, and more.

Although he has a supporting role, Van Peebles also gives himself the much more important job of directing this thing. Helped by the casting, and the soundtrack (this has an amazing soundtrack), he delivers a film that I would easily rank alongside many of the top crime films of the 1990s. It’s arguable that making something more grounded, and grittier, would have been a better approach, but this is a slickly-packaged bit of entertainment that is also a call for change. Van Peebles, with the script he is working from, gives viewers a sugar-coated pill, but you can still easily taste the sour centre. 

It may not seem as worthy as a film like Boyz N The Hood (released in the same year), or Menace II Society (which came along a couple of years later), but it is just as deserving of your time, even if it takes a very different approach to the social issues being explored.

9/10

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Drop Zone (1994)

Let's be clear from the very beginning. Both you and I know that Drop Zone, a mid-90s action movie that throws Wesley Snipes in a plot involving some skydiving criminals, isn't a traditionally great movie. Even if you've not seen it before, you have an idea of the kind of entertainment it is aiming to deliver. The important thing is whether or not it actually delivers.

If you don't want to read my full thoughts, the general answer is yes.

Things start with a major incident on a plane, one that sees Pete Nessip (Snipes) lose his partner/brother, Terry (Malcolm-Jamal Warner). This means the whole thing is personal, of course, which also means that Snipes has his badge taken off him, because he's clearly a cop on the edge. His main lead is the fact that these criminals managed to pull of their crime in such an audacious manner, signifying that they must be skilled skydivers. Pete makes contact with Jessie Crossman (Yancy Butler), a skydiver who may know some of the people involved, and he ends up joining a talented crew on a number of high-altitude exercises.

Directed by John Badham, a man with a very entertaining, but also very inconsistent, filmography, Drop Zone is a typical slice of action nonsense from this time. There's some very good stunt work throughout, but the only problem is the recurring inability to perfectly blend in the main actors during the few moments in which audiences have to see them close-up while they "skydive". Everything filmed at more of a distance is much better though. Writers Peter Barsocchini and John Bishop don't care much for anything that isn't a cliché, which makes the script as eye-rolling as it is amusing. Subtlety and smarts are kept to a minimum, but it's easy to forgive when the cast and action beats help to carry it all along.

Snipes is, and always was, a solid action hero. This isn't his best action movie role, that will always be his turn in Demolition Man, but he always seems capable of handling himself, even when he has to get to grips with skydiving. Gary Busey is the head villain, and he's a fantastic presence, relishing the opportunity to play another character who shows no mercy as he executes his criminal plan, and you also get a fun supporting turn from Michael Jeter. Butler is a bit of a weak link, I've just never found her an appealing presence (from the little I have seen of her work, which would be this movie and Hard Target), but it's another role hitting a number of expected beats. Kyle Secor is a highlight, playing a skydiver named Swoop, and everyone else does decidedly okay.

It doesn't really do enough to stand out from the crowd, but Drop Zone is the kind of film that you want to watch BECAUSE it's so similar to many other films from this time. It's unremarkable, yet that's part of the appeal when you're in the right mood.

6/10

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Prime Time: Coming 2 America (2021)

Coming along over thirty years after the original, Coming 2 America also comes after a lot of years that led to a decline in the star status of Eddie Murphy. And there's no John Landis here. So I can understand why fans would be wary.

Murphy once again plays Prince Akeem (as well as many other characters), based in his homeland with his family, a wife and three daughters. As his father (James Earl Jones) passes away, it comes to light that Akeem may well have a male child from his time in America. This was all thanks to his loyal manservant, Semmi (Arsenio Hall). And a male child is apparently required to take over the throne from Akeem, despite the strength and intelligence of his eldest daughter, Meeka (KiKi Layne). Under pressure from the neighbouring General Izzi (Wesley Snipes), Akeem finds his son, Lavelle Junson (Jermaine Fowler), and brings him back, along with his mother (Mary, played by Leslie Jones), and his Uncle Reem (Tracy Morgan).

While it's not the funniest comedy film released in the past few years, not by a long shot, Coming 2 America manages to remain consistently amusing throughout, as well as taking moments to celebrate some of the popular art and culture of African Americans. Director Craig Brewer keeps everything moving along nicely enough, with the only main flaw being an unnecessary flashback or two that features a de-aged Murphy on a previously-unseen stage of his adventure that made up the first movie. Remember when movies had to use smart camera positioning, make-up, and stand-ins to do that kind of thing? New technology isn't always the best option. 

The script, by Kenya Barris, Barry W. Blaustein, and David Sheffield, stays largely on point, with the focus this time around being on the need for old patriarchies to be shaken up in order for any real progress to be made. Akeem once again wrestles with traditions, wanting to move forward while remaining respectful, and his life is nicely juxtaposed with the life that his son has known, but this is a male-dominated film with a loud message about gender equality, and the casting of the supporting roles helps immensely with that.

Layne is superb, trying to keep her grace and her cool while justifiably angry at the old rules keeping her sidelined. Nomzamo Mbatha is equally wonderful as Mirember, the royal groomer who has some strong views on the way things should be run. You get cameos from En Vogue, Salt-N-Pepa, and it's nice that they didn't try to recast Shari Headley (Lisa, the love of Akeem's life). Although not always front and centre, Headley is the one person often influencing the way that Akeem thinks and acts. Then you have Jones, who is a lot of fun for pretty much every minute she's onscreen. Murphy and Hall are having a lot of fun, whether in their main roles or portraying some of the many faces familiar to fans of the first film (the barbers return, as well as one or two other firm favourites). Fowler is a worthy addition, and he often outshines a lively Morgan (the wide-eyed youth just plays a bit better than the loud-mouthed, cocky, uncle), but it's a huge treat to watch Snipes having so much role as the menacing-but-rictus-grinned General who looks set to wage war.

There are no major set-pieces, and very few BIG laughs throughout, unlike the first film, but this is a good way to do a belated comedy sequel. You get to spend some time re-acquanting yourself with some very likeable characters, and there are lots of call backs to keep you smiling. I've seen many people complain about it, which is just down to personal taste, but I've been struggling to wonder why some have warned others away from it so strongly. Personally, I'd tentatively recommend it. It's an easy one to enjoy in company for an evening's entertainment.

6/10

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Undisputed (2002)

Written and directed by Walter Hill, fans of the director may be completely unsurprised to hear that Undisputed is a tough, entertaining, action movie. It's a bit more low-key than many other releases in his filmography, but it certainly holds up as a Walter Hill movie.

Wesley Snipes is Monroe Hutchens, a prisoner in Sweetwater, and the number one boxing champ for ten years. The prison has a major boxing match every few months, with plenty of money to be won and lost, and Hutchens is given due respect because of his fighting prowess. Ving Rhames is George "Iceman" Chambers, a boxing champ who is imprisoned after being found guilty of a rape charge that he denies. Chambers immediately starts to try and throw his weight around, but that doesn't matter. What matters is the inevitable showdown in the ring between the two pugilists.

Despite the prison setting, this isn't really a prison movie. You get very few of the familiar tropes there (no tense shower scenes, for example), but it is also a way to heighten the atmosphere and veritable need for these two men to fight, and decide an ultimate winner.

Snipes is on good form here, and certainly brings his A-game with the physicality, but it is Rhames stealing a number of scenes, giving a performance that feels very much inspired by a troubled boxing talent that rhymes with Schnike Schnyson. Peter Falk is good to see in a supporting role (an old mobster without the memory and wits he once had, but with the right connections), Michael Rooker is impressive as a tough guard who isn't also unnecessarily sadistic, and both Wes Studi and Fisher Stevens do well, each aligned with a respective fighter.

Hill directs with his usual good eye for some solid action beats (there are few people who have more consistently made manly movies that successfully blend bone-crunching violence with real art), but things fall down slightly in the script, which he co-wrote with David Giler. It is hard to know who we are really supposed to be rooting for, and what they might have done to deserve any extra support. Okay, a revelation about why Snipes is inside helps to show him in a better light, but he's still a prisoner serving a long sentence. And Rhames is still in there on a charge of rape, with his character doing himself no favours in the way he maintains a cocky and unapologetic stance.

Quality throughout, if inessential, Undisputed is worth a watch. If only to get through it and on to the sequels, which are allegedly more fun. I will be finding out soon.

7/10

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The Expendables 3 (2014)

Well, here we are again. I enjoyed The Expendables, as did many other people. The Expendables 2, on the other hand, fell a bit flat. It was too busy being smug and self-referential to work as well as the first movie. Thankfully, this third outing is a bit of a return to form.

The plot this time sees Barney Ross (Sylvester Stallone) recruiting some newcomers to help him track down a very bad man (Mel Gibson) who was once one the same team as Barney. But will the newcomers be up to the task? Or will Barney still need some help from his regular colleagues (Jason Statham, Dolph Lundgren, Terry Crews, Randy Couture, and Jet Li)?

That's all you need to know. The essence of the movie has already been made clear from the advertising campaing. If you haven't seen it then let me surmise it for you just now: STALLONE, STATHAM, LUNDGREN, CREWS, COUTURE, LI, SCHWARZENEGGER, BANDERAS, SNIPES, FORD, ROUSEY, ORTIZ, LUTZ, POWELL, GIBSON. If this is successful enough to lead to a fourth movie then they're going to need a much bigger poster, because it's all about mixing the action beats with more star power than you'd usually glean from a dozen movies of this ilk. Everyone does a good enough job, all clearly having fun, and that fun is infectious. Gibson is a bit underused, although he does his best with the role, but these movies always struggle to give everyone enough screentime (Harrison Ford only gets a few minutes, and Jet Li pops up for what amounts to a fleeting cameo).

Before opening in cinemas nationwide, The Expendables 3 was already getting a lot of attention for two main reasons. One, the content was being toned down to appeal to as wide an audience as possible. Two, a torrent of DVD quality leaked online a few weeks before the big release date. For the first part, I have to say that I didn't notice this being a lighter affair. There may be less actual bloodshed, but the fights and stunts are all still top-notch stuff. As for that torrent, the conspiracy theorist in me wonders whether or not someone had the bright idea of doing that to head off any potential disappointment at the box office. I recommend seeing the movie in the cinema, with all of the action accompanied by some major, seat-rumbling, surround sound, and I hope it actually does well enough to satisfy all those involved.

Patrick Hughes may be the director this time, with Stallone on screenwriting duties once again (this time accompanied by Creighton Rothenberger and Katrin Benedikt), but this is a film, and indeed a franchise, that seems designed to work no matter who is behind the scenes. It's all down to the stars, it's down to the set-pieces, and it's down to the many fantastic stunt performers who help create such memorable moments.

Highlights include an opening sequence that celebrates Wesley Snipes joining the crew, and actually features a winking gag that works well, a sequence in which Stallone is joined by Kelsey Grammer as he looks to recruit his new team, Banderas being a non-stop motormouth, and pretty much any scene starring the lovely Ronda Rousey.

It's cheesy, it's dripping with machismo, it's completely over the top. In short, it's in line with the series, and delivers exactly what fans will be hoping for.

7/10

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