FIGHT OR FLIGHT – Review

Josh Hartnett in FIGHT OR FLIGHT. Courtesy of Vertical Entertainment

Everything is exaggerated and over-the-top in the action-comedy FIGHT OR FLIGHT but the sky-high, stunt-filled film starring Josh Hartnett, which is really both fight and flight, certainly delivers on popcorn entertainment, both in the high body count action and the silly, strangely British-flavored comedy. Josh Hartnett is very entertaining as a disgraced, drunken Secret Service agent trying for a second chance, with an assignment to bring in a mercenary assassin who is on a plane where nearly everyone is trying to kill one or the other of them.

Action-comedy FIGHT OR FLIGHT opens with a shot of a jet flying high against a blue sky, as “The Blue Danube” plays, then cuts to a shot of a passenger aboard that flight, with eye mask and neck pillow, being rudely jolted awake as a brawl spills across the aisle, followed by a pan to the other aisle of the wide-body plane, where another army of brawlers are battling. All roiling with only the Blue Danube for sound, It gives to a taste of what this entertaining, silly, stunt-filled action-comedy has in store.

The opening is a clever set- up for this highly entertaining, high body count stunt fest with a John Wick vibe and goofy humor, which for some unknown reason felt British to this reviewer. No thinking required for this popcorn escapist delight and actually it might actually give you a headache to try to figure some details out. Just buckle-up that seat belt and go along for the comedy and action ride.

We next cut to 12-hours earlier, on the ground, as a young guy in a suit bounces happily down a city street, listening to “Sunshine and Lollipops” – until a phone call sends him into sends him into an angry string of cursing as he hurries to work. Cursing the doorman and being rude to everyone on his way, this jerk storms into work, hoping to avoid his boss.

Work for our cursing, arrogant guy in the suit, Aaron Hunter (Julian Kostov, from “White Lotus”), is at an private security agency run by ex-CIA folks doing similar work for private clients. Something has gone horribly wrong in Bangkok, and our suit is hoping to dodge his boss on the way in. He doesn’t.

Arrogant, foul-mouthed Hunter arrives to get the update from his assistant, Agent Robinson (Jyuddah Jaymes), but snarls at another agent, Simmons (Willem Van Der Vegt), when he chimes in with new information. When the boss, Katherine Brunt (Katee Sackhoff), shows up, Hunter tries to talk his way out of trouble with a string of excuses, until Agent Simmons calmly and efficiently provides the information Hunter doesn’t have, quietly showing him up in front of their boss Brunt.

The dry-humor workplace comedy bit is one of several occasional touches of silliness to come, comic relief amid the stunt action mayhem. That action and comedy balance is part of what makes this popcorn flick such fun.

What has gone wrong in Bangkok is an explosion that wiped out their whole team at that location, The bigger problem this creates is with their assignment to capture an elusive assassin known as the Ghost. Although no one has ever photographed the assassin, they know the Ghost is in Bangkok, and is not headed for the airport. The nearest other team is an hour and a half flight away. Desperate measures are needed. The desperate measure is to call disgraced U.S. Secret Service agent Lucas Reyes (Josh Hartnett).

Hartnett’s Lucas Reyes is trapped in Bangkok and currently drinking himself to death, unable to leave after being placed on the No-Fly list and having his passport revoked. But Lucas is not too happy to hear from his old buddy Brunt, with whom he also has a romantic history and now distrusts. Still, he eventually, reluctantly agrees to the assignment, in exchange for a new passport, a ton of cash, and lifting the no-fly ban.

Brunt knows which flight the Ghost will be on but has no photo to share. Lucas’ assignment is to locate the Ghost on the flight, take the target into custody and hand the assassin over to Brunt when the plane arrives in San Francisco.

What Lucas doesn’t discover until they are in the air, is that nearly everyone on the plane is there to kill him or kill the Ghost. He has to survive – and keep the Ghost from being killed too, to collect his fat paycheck.

The plane is a double-decker wide body, with a luxury class, first class and coach seating. Luckily, Lucas gets some help from flight attendants Isha (Charithra Chandran, of “Bridgerton”) and Royce (Danny Ashok).

Josh Hartnett is terrific as the hard-drinking yet strangely very capable Lucas, who would like to get his life back on track but still craves the drink. Lucas Reyes is that familiar hero in need of a second chance. The hard-drinking Lucas is a sad soul at a crossroads, and someone with a bit of a heart, despite being a mercenary. And he is amazingly good at his job, despite the copious amount of alcohol he consumes.

Supporting cast is good as well. Brit Charithra Chandran is excellent in her role as Isha, and Katee Sackhoff is spot-on as hard-as-nails boss Brunt. Julian Kostov is funny as the foul-mouthed Hunter, and Marko Zaror is over-the-top as a weirdo passenger who goes by the name Cayenne. Hugie O’Donnell plays the overly-dramatic lead flight attendant, Garrett, while Sanjeev Kohli and Declan Baxter play the unflappable pilot and more “flappable” co-pilot, respectively.

An endless stream of adversaries come for Lucas but the film alternates between comedy and action, with a few breaks for brief character development scenes. The humor in FIGHT OR FLIGHT has a vaguely British feel but actually the film is American, albeit with an international cast the includes some Brits. At other times, the comedy is pure AIRPLANE. The action/comedy’s John Wick feel has more of a basis, as it was produced by the same team as the John Wick ones.

Emmy-winning director James Madigan does well helming his first feature film. keeping things moving briskly and balancing comedy and action well. The script by Brooks McLaren and D. J. Cotrona is pretty wild but has nice touches that lift this entertainment offering out of the familiar and predictable, while still satisfying its audience.

The entertaining action/comedy is also packed with colorful characters, great stunt fights along side silly humor, plus a bit of a heart and even a message against about slave labor being used to build smart phones.

Describing more would create spoilers, so we’ll stop here on that. The film is fast, fun, and keeps your interest throughout with both good characters and stunt work. Moving around the large plane keeps the visuals varied, as Hartnett’s Lucas battles one adversary after another. The John Wick vibe is strong but there is a bit of Indiana Jones too, although Hartnett’s drunken assassin is no intellectual heavy weight. he’s still likable. What happens with the Ghost we would say more about, to avoid spoilers, but it adds another layer of interest, as both of them are trying to survive the flight on a plane full of assassins.

Tons of action ensues, but many of the characters have a comic bent, while Lucas Reyes alternates between beating people to a pulp, heavy drinking and soul-searching. Josh Hartnett is surprisingly good and very likable in this oddball role, and you can’t help but root for him. Not in the fights, where he seems to defeat all with ease, no matter how much he drank, which is a nice comic bit. Hartnett reportedly did his own stunts, and looks pretty good doing them.

The stunt work is terrific, with that John Wick feel you might expect from these producers. The stunts are varied, and feature an array of characters, which keeps them interesting. Director James Madigan cleverly uses the action sequences to advance character development, and the action is nearly non-stop, with brief breaks for exposition and more character development, and of course, comedy.

Director Madison keeps everything cooking, and moving briskly in this film that runs under two hours, This is a high body count action film with an R rating but the action is stunt-work with a cartoon violence style rather than gore, although there is blood.

FIGHT OR FLIGHT is purely popcorn action comedy fun, despite a little bit about fighting slave labor used to produce smart phones. It is ridiculously far fetched but fast-paced and laced with humor, topped off by a winning performance from Josh Hartnett as a surprisingly likable drunken assassin. This is well-done, highly-entertaining popcorn fun. If you aren’t squeamish about the high body count that all its cartoon violence delivers, this fast-paced mix of laugh-out-loud comedy and high-octane stunt fighting is a good escapist distraction from a grim real world.

FIGHT OR FLIGHT opens Friday, May 9, in theaters.

RATING: 3 out of 4 stars

NIGHT OF THE ASSASSIN – Review

Shin-Hyun Joon stars as Inan, in the South Korean action film NIGHT OF THE ASSASSIN. Courtesy of WellGoUSA

South Korea has been exporting a lot of high-octane action flicks in the past several years. They tend to emphasize hard-hitting stunts and gritty, dynamic fight choreography, largely eschewing the enhancements (or detriments) of CGI and fanciful wire work. That’s been consistently true for both period pieces and contemporary crime fare. This title, NIGHTOF THE ASSASSIN, led me to expect another dose of slam-bang action. The reality turned out to be more contemplative for much of its running time, before wowing viewers with the inevitable climactic battles in grand style.

In this pre-gun era costume drama, Shin-Hyun Joon stars as Inan who is a rural region’s top assassin – all business, efficient, no ideology or emotions. The film opens with his collapsing after another swift success, and learning that he has a life-threatening heart defect which can only possibly be treated with an extremely rare herb. His cardiac condition leaves him so fragile that he not only must quit his career, but even avoid vigorous sex. He wanders to a remote village, trying to hide his identity and live a peaceful life. He takes a menial restaurant job working for a widow (Lee Jung-Min) and the orphaned lad she’d adopted. Unfortunately, a large vicious gang brazenly rules the area, enabled by police and local officials who give them free rein to reign due to bribery and/or fear.

As must be the case in such movies, though Inan tries to remain anonymous, circumstances force him to respond to an imminent threat with his old skills. But it comes at a cost, since his heart keeps letting him down in key moments. The early going is slower, with more levity than expected, before the rest of the plot kicks it up several notches, with a slew of baddies presenting various types of menace for an exciting buildup to the epic final act. The fights are skillfully designed and performed in a package that’s more athletic than gory.

Inan’s flat affect serves well for establishing the persona of an emotional outsider with an evolving, underlying noble concern for the oppressed villagers around him. He’s got a code honor that means everything, including finishing whatever he promises to start. At any cost. The rest of the cast competently fill standard character slots on both sides of the law and economy. Writer/director Jeong- Deok Kwak only teases the action to come for quite a while before cranking out a bunch of genre-satisfying sequences, mostly wielding swords and knives skillfully. Not the start-to-finish thrill ride of many others, but a solid example of the first-rate camera and stunt talents finding steady employment in Korea.

NIGHT OF THE ASSASSIN (aka THE ASSASSIN), in Korean with English subtitles, is available streaming starting Friday, July 21, on Hi-YAH! and will be available on digital, DVD and Blu-ray starting on Aug. 8.

RATING: 3 out of 4 stars

COLD BLOOD – Review

Jean Reno in the thriller COLD BLOOD. Photo credit: Screen Media

French action star Jean Reno re-teams with Thierry Arbogast, the cinematographer on LA FEMME NIKITA and,THE FIFTH ELEMENT, for action thriller COLD BLOOD. In this English-language French-Ukrainian film, Jean Reno plays a legendary hit man, the kind of role he has played well many times. With the help of cinematographer Arbogast, stunning locations, and a good supporting cast, they do their best to add style and suspense to this action thriller. Unfortunately, it is not enough to overcome the messy, nonsensical script.

Reno plays a retired hit man living in a remote cabin in Washington State when a young woman (Sara Lind), who has been injured in a snowmobile accident, suddenly turns up nearly on his doorstep. This begins a twisty tale built around the assassination of a mysterious billionaire, a tale of secrets, power, and money, with a couple of persistent cops on the case and all set in a snowy Washington State landscape.

With Thierry Arbogast’s stylish, striking cinematography and some breathtaking scenery, the film almost looks like a James Bond-like thriller. COLD BLOOD also stars Joe Anderson (TWILIGHT), David Gyasi (INTERSTELLAR), François Guétary (“Lost”) and Samantha Bond (“Downton Abbey”). Director Frédéric Petitjean does try to build suspense and create a feeling of a mystery but he is battling a script that isn’t sure where it wants to go. However, he bears blame for this mess, as he also wrote the script.

This film is filled with odd bits that seem to be there for no logical reason, or maybe because the filmmaker just wanted to include it but didn’t know how. The film opens in Washington State at Reno’s hermit hit man’s snowbound cabin but then flashes back to months earlier in New York City, where a wealthy man is assassinated. The film switches to Washington State for the millionaire’s lavish funeral. But then something weird happens, and the murder investigation moves to WA too.

Maybe the writer/director didn’t know that is not how murder investigations work in the U.S. or maybe there is an unseen investigation in NYC going on, but it really does not make sense – except that the filmmaker wanted the rest of the story to take place in snowy rural Washington (with Ukraine playing the part of Washington State). Why the script didn’t have the murder take place there to begin with is not clear, except maybe the filmmakers just wanted to shoot in NY (which plays itself in its brief scenes).

That bit of illogical plot is typical of the strangeness that runs throughout this thriller. If some of these oddities could have been played for comedy, but the film is played completely without humor. A few examples: In one scene as the young woman recuperates in the cabin, Reno’s character Henry fries a fish and serves her the whole fish on a plate, with only a wooden spoon to eat it. Neither of them reacts, as if everyone eats fried fish with a wooden spoon. Hmm. It’s not the only example either.

Overall, the plot makes no real sense and stretches itself in all kinds of directions trying to create plot twists and surprises. At times, the plot is far too transparent and then completely confusing at others. Although the film is in English, it is clear that some of the cast are dubbed, which adds an additional distraction to some scenes. The film ends with a dramatic scene, but since the script has not bothered to keep track of all the loose ends, it leaves the audience with plenty of unanswered questions and even big plot points unresolved. If they are still there.

Arbogast’s cinematography is spectacular, making the best of the film’s admittedly wonderful locations, which include breathtaking wilderness scenery and stately mansions. The cinematography and art direction are excellent, providing the film’s major enjoyment, Too bad all that beauty serves such a lame story.

Likewise, Reno does his best with this sorry material, and he manages to milk a few good moments, Overall the cast is good but there is only so much they and Reno can do with this sloppily cobbled together story.

COLD BLOOD opens Friday, July 5, in several cities and is available on-demand.

RATING: 1 out of 4 stars

REDEEMER (2014) – The Review

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For my money, there are two truly amazing, ass-kicking action flicks that came out of 2014 and wouldn’t you know, neither of them are from the United States. One of them is the Indonesian sequel called THE RAID 2 and the other is the Chilean film called REDEEMER, written and directed by Ernesto Diaz Espinoza. If you enjoy your action fast-paced and in your face, then this is a must-see movie starring Marko Zaror as Pardo, a top former hit man for a drug cartel who has gone rogue, taking down bad guys and wrong-doers in an effort to redeem himself for his past sins in hopes of one day seeing his wife and unborn child in Heaven, both of whom were murdered by a rival assassin known as Scorpion, played by José Luís Mósca.

Feared and respected by Chilean gangsters, the tattoo-covered Pardo — known as The Redeemer — carries with him a handgun with a cross embossed in the handle and a single bullet. Before each mission of redemption against a sinner(s) he prays and plays a holy round of Russian roulette. If he lives, he goes forth and cleans another bad soul of the streets. Bodies quickly pile up as The Redeemer gets closer to the drug lord, an English-speaking, sarcastic jackass named Bradock, played by Noah Segan. As Pardo manhandles and punishes anyone who crosses his path, his true test of will and talent shows up out of his past.

Espinoza has crafted a superbly precise punch-fest, showing off some truly incredible fight choreography developed by the star, Marko Zaror, accompanied by the complimentary cinematography of Nicolas Ibieta. Keeping up with these fights while keeping it real and still visually engaging must have been a Hellish task, but that collaboration pays off big time. Not only does REDEEMER have the look and style of what made the best early 90s action flicks so memorable, it also features an equally reminiscent soundtrack with music by Claudio Rocco.

REDEEMER is a success due to many elements. The general plot is not necessarily anything original, but the story itself takes on its own personality and is unique enough to carry itself without ever feeling tired and played out. I found myself watching the film, not distracted, but in the back of my mind thinking about how it has elements of what made films like DESPERADO (1995) and THE CROW (1994) so memorable. Then I also realized it had storytelling elements that reminded me of Jackie Chan films, such as RUMBLE IN THE BRONX (1995), but without the cheese factor. That’s when I realized this is a film seen 20 years past its era, but it never feels dated. This is martial arts action filmmaking at its nostalgic finest.

Zaror is a master of his craft. Some of the fight sequences will literally blow your mind. Seriously. If you’re not careful, you’ll be picking bits of your brain off your widescreen television. In particular, the final fight before Pardo finds Bradock is with Bradock’s right hand man, his captain, so to speak, and this fight is not only long but rich in detail. Espinoza works beautifully with Zaror in capturing the essence of the fight with realism. Not only does the scene amaze with its creativity but the finer details like Pardo sizing up his opponent, noting his weaknesses and finding his opportunities are all present. Furthermore, Espinoza doesn’t make Pardo another unbeatable, perfect fighting machine. Pardo gets hit frequently and does not always have the upper hand. This is especially true once we witness Pardo’s final fight for his life and the life of a young woman.

REDEEMER gets the adrenaline flowing from the beginning and maintains an exhilarating pace, but the film also catches the eyes of more discerning viewers who may appreciate the MMA (mixed martial arts) sensibility of Zaror’s talents and the evolution of Pardo’s fighting style(s) as he adapts his technique depending on the number and abilities of his opponents. REDEEMER does often implement the slow motion camera technique in the editing room, but does so with a very light hand with the purpose of showcasing the more extraordinary spinning kicks and flips and acrobatic awesomeness that occurs on the screen. This is a film about drug dealers and organized crime, so guns do come into play, but are not the focus of the action and Pardo himself favors his feet and fists over guns as his deadly weapons of choice, except when absolutely necessary.

Espinoza delivers a movie that takes me back to the heyday of JCVD (Jean Claude Van Damn) and exposes audiences to a martial arts master otherwise not well known to the world outside of Central and South America. The drug lord played by Noah Segan is occasionally a bit much, cheeky and perhaps trying to hard to channel Christian Slater, but ultimately we realize he’s not the true big bad antagonist to Pardo anyway, which allows the audience to write Bradock off a sort of comic relief. REDEEMER is well worth seeing and, given the opportunity, certainly worth seeing in the theater if you’re a fan of quality action movies.

REDEEMER opened in theaters and Video On Demand on June 12th, 2015.

Overall Rating: 4 out of 5 stars

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Fox pursues ‘Deadpool’ spinoff “true-er” to roots

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With the box office success, or at least initial success, of ‘X-Men Origins: Wolverine’ underway, Fox has made the decision to venture into a spin-off movie for the “merc with the mouth” himself. Ryan Reynolds portrayed (successfully) Wade Wilson in the ‘Wolverine’ movie, a talented and dangerous assassin who in the comic books would later become the deformed mercenary for hire known as Deadpool, enhanced with a healing factor similar to that of Wolverine’s.

Now, if you’ve seen the ‘Wolverine’ movie and have any knowledge of the source material, you’ll know just how horifically they (Fox) screwed up the Deadpool character in this movie. So, as it seems they must have heard the cries and roars of devoted fans across the country, Fox has allegedly promised a spin-off much closer to the true Deadpool. Ryan Reynolds is attached to reprise his role as the wise-cracking merc-for-hire, and while it is being said he will “regain” his ability to shoot his mouth off (in ‘Wolverine’ his lips were stitched shut) it is unclear whether the studio will go so far as to have Deadpool disfigured and/or masked as he is in the comics.

Upon discovering this news, I have taken upon myself to offer up a fairly straight forward explanation of who and what Deadpool is in an attempt to educate potential viewers unfamiliar with the character and the studio who apparently needs a crash course themselves. This has been pulled straight from Marvel.com:

Powers
Deadpool possesses a superhuman healing factor derived from that of the mutant Wolverine that allows him to regenerate damaged or destroyed areas of his cellular structure at a rate far greater than that of an ordinary human. As such, he can regrow severed limbs or vital organs. The speed at which this healing factor works varies in direct proportion to the severity of the damage Deadpool suffers. This healing factor also affords Deadpool a virtual immunity to poisons and most drugs, as well as an enhanced resistance to diseases and an extended life span. Unlike Wolverine’s natural healing factor, Deadpool’s is mentally driven to a partial extent.

Due to the presence of this superhuman healing ability, many of Deadpool’s natural physical attributes have been enhanced. Deadpool’s musculature generates considerably less fatigue toxins than the muscles of an ordinary human being, granting him superhuman levels of stamina in all physical activities. His natural strength, agility and reflexes have been enhanced to levels that are beyond the natural limits of the human body. Deadpool’s agility and reaction time are superior to those of even the finest human athlete.

Abilities
Deadpool is an extraordinary hand-to-hand combatant and is skilled in multiple unarmed combat techniques. He is a master of assassination techniques, is an excellent marksman, and is highly skilled with bladed weapons (frequently carrying two swords strapped to his back). He is fluent in Japanese, German, Spanish, amongst other languages.

Weapons
Deadpool employs any number of weapons depending on his current assignment. Most often he will utilize a combination of guns and blades.

[source: Hollywood Reporter]

Review: ‘The Prodigy’ on DVD

For a film that was made way back in 2004, ‘The Prodigy’ sure did take a while to hit DVDs … premiering on shelves May 2007. I just recently heard of this little indie-action sleeper that’s getting reviews ranging from moderately entertaining to some who say its a freakin’ masterpiece. Well, I fall much closer towards the center of the sliding scale on this one, but that’s not to say the film was disappointing. Quite the contrary. For a film I’d NEVER heard of until a few days ago, I found the movie to be much better than the dime-a-dozen low-budget direct-to-DVD action flick I had presumed it would be. Exactly why director William Kaufman hasn’t been given his creds before now I cannot say, but I’m glad it did finally see the light of day.

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