Should Be...: Hotline Miami

Courtesy of dreamcaster

We know, right?  We are only a few chapters into this game and it was so awesome we just had to share it.  This game sports a soundtrack that at times sounds like Animal Collective, chillwave, and retro synth a la Kavinsky.

The aesthetic is an acid trip take on 80s with a mean streak of ultraviolence.  Think the movie Drive as interpreted by a mental ward for the criminally insane.

And that's why we already, only 30 minutes into the game, think it would make for an incredible movie.  You are some anonymous schlub in a letterman jacket who can sport a variety of creepy animal masks that give you different abilities.  You single-handedly take on scores of white-suited thugs in a bloodbath that requires speed, reflexes, and timing in much the same way as any number of uber difficult 8-bit games from the NES/Master System era:  One hit and you're dead.  Use a gun instead of a bat or pipe and it warns every bad guy in the area.  Knock a guy out with a punch and he'll get up and kill you with the weapon he dropped.  It's a gratifying game and it just keeps on being its awesomely, unapologetically surreal and bloody self.

Quick note to any producers or screenwriters in our readership: Jump on this shit now!  It won't cost much money to film, and it is guaranteed a cult following if you stay true to the source material.

P.S. There is a link below if you'd like to buy this bad boy.  We recommend you do so immediately.

Skyfall

          Probably one of the most interesting things about Skyfall is that, in its 23^rd volume (24 if you count the original Casino Royale), the James Bond series has finally succumbed to an overarching theme in action movies (particularly sequels) from the last six or so years.  The protagonist not only has to battle against a mastermind foe and his scores of henchman, but also aging and obsolescence; mirroring the same fear that this kind of movie’s once-core baby boomer demographic is grappling with of late.  The hero is a creaking shell of his former self, held together with gobs of spit and disdain for the establishment.  Gone is the somewhat more youthful tallyho mentality, and in its stead we find a “gotta die sometime…” philosophy.  Couple that with an acute techno-fear, and we begin to see a pattern emerge.  The most egregious example of this is Live Free or Die Hard; but it can also be found to a lesser extent in Indiana Jones & The Kingdom of the Crystal Skull (a work of utter blasphemy), The Dark Knight Rises, The Expendables, and Red to name a few.  The biggest difference between Skyfall taking the plunge and the others is because there were functional reasons for each above and beyond just the plotline.  For some movies, it’s a function of the franchise star himself getting too old to do it and must therefore pass on the mantle in order for the franchise to live on.  In others, it’s because the director and/or star is bowing out of the series, and it allows a more poignant and understandable exit for the whole series as we know it.  And for yet still others, the entire premise surrounds the notion of persons too old or too forgotten to be taken seriously enough.  The thing about James Bond is that the precedent has been set up where a young-ish actor can take over at any point in the series.  It’s possible that Daniel Craig is signed on for ‘x’ number of sequels, but given the history of Connery and Roger Moore, there was no real impetus for explaining away Craig’s craggy and rugged middle-aged appearance.

Murtaugh and Bond: "Too old for this shit"

          And going back to the mention of techno-fear, Skyfall falls prey to a movie cliché as old as personal computers in movies themselves.  The writer (and by extension, the director) view computers and computing language as magic; where symbols, pictures, animation, and other nonsense take the place of actual hacking, programming, and even the foundations of an operating system.  This reviewer isn’t sure if it is that the people creating the movie are tech-retarded, or if they just think the moviegoing public is too daft to take cues from the dialog about what’s happening on a screen.  Frankly, this reviewer finds it demeaning in a way that few other tropes in movies can be.  If you’ve seen Hackers and its Technicolor nightmare depiction of what hacking is and does, you then understand the complete break from reality that happens on computer monitors in Skyfall.

Computers... as seen through the eyes of Hollywood

          One last strange move by this film, and the reviewer should note, SPOILERS are in yon paragraph… this movie makes a lot of unnecessary moves to sew up canon.  A longtime debate amongst Bond movie fans was whether or not each actor portraying James Bond was in fact portraying the same person.  That is to say that there is a theory floating around that the name ‘James Bond’ is a code name just as ‘007’ is… and that Connery, Moore, Craig, etc. are actually playing different men who all happen to be code name ‘James Bond’.  Skyfall diminishes that theory (but doesn’t entirely extinguish it); we know that Daniel Craig’s real name is James Bond.  What we don’t know, technically, is if the other actors assume that mantle or they are playing the same guy.

          But enough of complaints and theory.  Let’s take a look at what actually qualifies Skyfall as a Man Movie.  The fact that this is a James Bond movie automatically confers Honorary Man Movie status.  Some of the Bond movies are pretty horrible.  Some of the pretty horrible Bond movies are pretty damn entertaining; but that doesn’t give all of them an automatic MMG pass.  This one, however, had all the markings of a good action movie on top of the Bond brand and mystique.

Also part of the Bond brand and mystique

          The action sequences in this movie are pretty unrestrained.  The chases have a floaty feel to them that diminish their impact, but the fights and the destruction have a visceral feel to them that more than makes up for everything else.

          Javier Bardem got this reviewer thinking that he should legitimately contend for all the major acting awards as a Bond villain (unprecedented, but warranted).  He managed to encompass everything the character was about:  devious and a slave to obsession, unbalanced and a badass.

          Overall, this title is a very solid movie.  It continues the trend of lacking the hi-tech trappings of previous Bond titles; instead focusing on Bond as an operative more than a novelty-wielding dandy.  Overlooking the play-it-again themes and events of the film, we are presented here with a refined take on the super spy film… directed finally by someone with a gorgeous and artistic eye and sense of pacing.

Skyfall Trailer

Not Quite There: The Man With The Iron Fists

Going For It:

• Fairly bloody
• Doesn't take itself too seriously
• Created by a true kung-fu film devotee
• It might convince some people to dig deeper and find a really good kung-fu movie?
• RZA

The Case Against:

• So quick of a pace that most of the movie fails to keep up
• Half of a movie, that should be a trilogy, masquerading as whole
• Not enough cameos
• Not enough true kung-fu film fighting
• RZA

MMG Says:

RZA is a beautiful, beautiful man.  He has legitimately changed the landscape of music from his Wu-Tang days.  We are not going to take anyone seriously who says otherwise.  He was a delight in his Jim Jarmusch acting roles and on Chappelle's Show.  He is also a real, true fan of kung-fu movies, and seems to take from them the best of what there is to take from them. However:

1) He should NOT be an acting lead under any circumstances other than a Bobby Digital road movie or something like that

2) It is questionable whether he should be directing anything (jury's still out for the moment)

3) While it's possible to tell that he's a true fan of kung-fu movies, the fighting has more in common with any 2000s-era generic action film than anything from Shaw Brothers or Golden Harvest

So what is left from a kung-fu movie that only allows shadowy glimpses of wire work and fighting styles named after animals and eschews balletic orchestrated bouts of fisticuffs?  Plenty... in fact, way too much.  This movie has some brilliant ideas behind it, and some very colorful characters.  Having a town run by animal-based clans that are constantly warring? Fantastic!  But why not actually show them really having it out against each other?  And why tease us with a fucking bird man if you're only going to show him for 15 seconds?!  The Gemini Killers? Great, old-school idea.  But how about a little hint of backstory?!  Brass Body?  Very cool.  But maybe throw us a fucking bone about how he turns into metal.  Oh, and Lucy Liu's cadre? A nice bit of an admittedly inconsequential twist... except that we have no idea why they are doing the twisting!  Explain shit to us!

Here's the problem: this movie was mangled.  It's unclear if this is a RZA or Eli Roth problem, notes from the studio, or the result of test audiences imposing their ADHD all over the place.  What is clear is that RZA and Roth were unsure they'd every have the opportunity again to take the studio money and run with a martial arts movie... so they crammed it with dozens of great ideas and characters and moments, and sensible Western updates to countless classic kung-fu tropes.  Whether though it found its way to the cutting room floor, or just the pink butt end of a pencil during a rewrite, there is another half of a movie lurking around somewhere.  Everything was just so partially conceived or poorly explained that there is no doubt in our mind that the explanation exists somewhere.  This is not a case of depicting archetypes and scenarios from old school movies and we're just expected to go with it; it is very apparent just from the pacing and certain ineffable qualities that what we are watching is not whole.  Hell, this is likely 3 or 4 movies even... and what we are left with is a tame smile, a couple chuckles, and an empty feeling as to how this movie really could have been and meant something.

-------------------

P.S. We hate to be a broken record.  This site isn't called the Titty Movie Guide or anything.  But how the hell is it that much of the movie takes place in a brothel, and there is an extended scene of multiple couples having sex, and we don't get so much as one single boob or butt cheek?  This movie has numerous spurting decapitations... they couldn't finagle one damn nipple?!

P.P.S. The ad campaign of having multiple hip and unconventional posters was a great idea.  We think this might be one of the best movie posters we've ever seen:

GIFs: Hell Comes to Frogtown

Not Quite There: Hell Comes to Frogtown

Going For It:

• Wrestling legend "Rowdy" Roddy Piper
• Frog people with decent make-up/costumes
• That's about it...

The Case Against:

• Severely uneven tone for the protagonist in the writing
• Severely dull
• Severely disappointing

MMG Says:

While we are a proud people here at the Man Movie Guide, we are not afraid or ashamed to admit when we were wrong.  This is one of those instances.  You will have noticed that some time back we posted, on its lonesome, the trailer for 'Hell Comes to Frogtown'.  In MMG-ese, that is our way of saying that we approve of that movie and that it qualifies as a true Man Movie up for review on down the road.

Let us set the stage for you:  Post apocalyptic.  Starring Roddy Piper, wrestling legend and pitch perfect star of MMG favorite 'They Live'.  The protagonist is named Sam Hell, one of the few times we endorse a cute/clever character name.  Sam is an exceedingly rare fertile man in a world that consists only of the following: fertile women, desert wasteland, fertile women, mutant frog people, and fertile women.  Sam is contracted by the government to begin repopulating civilization.  This, dear reader, is a can't-fucking-lose proposition... right?  Not so.  Not so.

The movie starts off nicely enough.  Piper is detained for a crime before the movie begins.  In the initial few scenes he is a wisecracking jokester; and while not every line hits its mark, it is a very good indication that we are getting our hands on the one-liner wisenheimer brand of action hero in this movie.  Only this never really happens.  The viewer must slog through an entire movie as bare and bereft of life as its arid backdrop. The action is few and far between, fairly somnambulent, and Piper doesn't do quite the ass-kicking job that we'd come to expect from either the ring or 'They Live'.  Piper's character even loses his charm pretty quickly; as his 'sit-on-it-and-spin' attitude largely falls prey to a messianic mope routine with occasional bouts of slapstick (centering around his genitals in an electric chastity belt and his ability to cross his eyes... which is oddly not related to his balls' predicament).

As for the supporting cast, it's a mixed bag.  We get a super butch/fairly attractive commando who shows off her tits while escorting Piper.  And if you have a thing for Katey Sagal, then perhaps you can make a case for watching the movie, since there are extended scenes of her bordering-on-malnourished doppelganger prancing around in assorted lingerie.  Then we have poor Rory Calhoun, who genuinely looked and sounded like his handlers had to unhook his oxygen tank between takes (he seemed so close to death that we actually had to check on the proximity of this movie to his actual demise... and astonishingly he held on for another 11 years, and worked another 5).  Lastly, there are the frogs.  There isn't a whole lot to say about them, except that looking at them was one of the scant pleasures this reviewer got from the movie.

This movie, like so many others that fall short, failed to achieve true Man Movie status because it tried to walk in both the light and the dark.  If it resorted to Lloyd Kaufman (Troma) antics?  We have ourselves a winner.  If it went the route of all the killer action movies of the 80s, the Golden Age of the one-liner action film, and focused more on making Piper an ass-kicker who always says something droll after offing a frog? We'd worship it as a direct-to-video masterpiece.  Instead we're left with a movie that gets a passing grade only because we're proud they tried.

“You Shoot Zombies Where Now?” or Do We Need a New Paradigm?

The zombie genre in film, as we know it today, is now 43 years old (thanks to Romero's seminal Night of the Living Dead).  Scientists estimate the number of zombie movies since 1968 at roughly 71,286,492.  It is statistically likely that three more will be made before you finish reading this article.  This then, begs the question, “Why don't the folks in zombie films know what a god damned zombie is?!”

Now I'm not going to pretend that I have seen every zombie film.  Many of you out there may be just as qualified on the subject, if not more so.  There could be some straight-to-video, big box, halfway decent zombie movie out there where the second the dead start coming back with a case of the munchies everyone just instinctively knows to plug them right between the eyes.  There could be dozens of movies where all people are well-informed on zombie dispatching methodology.  But there has yet to be a single one to have captured the imagination of the public...or even the rather hefty zombie nerd cabal.

The rather hefty zombie nerd cabal.  To be fair, the author looks just like this...

The modern vampire movie admittedly has something of a head start on zombie flicks.  But in that time, there have been several dalliances with aware characters handling nosferatu.  While people might be a bit slow to catch on, once it's been established that vampires are involved, people seem to know all the 'rules'.  And there're lots of them!  There are so many rules regarding vampires, that characters in movies will even fight over which ones are the correct ones (as in the vastly underrated From Dusk 'Til Dawn) or fall victim to believing some of the more agreed-upon rules, as in Roman Polanski's The Fearless Vampire Killers or Pardon Me, But Your Teeth are in My Neck (you know, “Oy vey! Have you got the wrong vampire.”)

When you think about it, the vampire expert is just as central to a vampire story oftentimes as the bloodsuckers themselves.  Reaching all the way back from the Bram Stoker original, there is a sizable vein of Van Helsing-type characters who will appear if only to inform everyone else of what to do and what not to do.

What not to do: Get bitten.

We certainly don't see much of that in zombie films.  The corollary may be the scientist figure that will conclude after half the population have become undead cannibals that these people may in fact, just possibly, might not be living people anymore.  At that point some revelation often comes in the form of a rough how-to in zombie killing. 

And the funniest thing about this all?  The guide to how to best quickly and definitively kill a zombie is an awful lot like how to best quickly and definitively kill a regular person.  Want to kill somebody real quick?  Shoot them in the head!  Want to make sure that someone doesn't recover? Burn them till there's nothing left!  We're not talking neurosurgery here.

The closest we've come to anyone actually knowing ahead of time what to do with a zombie is the farcical and hilarious Shaun of the Dead.  But even then, it took an overrun town and a whole record collection to understand what was truly going on.  You could try to argue that movies like Day of the Dead and Land of the Dead had resident zombie experts.  But, and this is a big but, those movies take place in a world where people ran around clueless for two movies before that.  Nobody ever sees it coming, and nobody ever accepts it even in the face of irrefutable evidence.

Nothing to see here. Things couldn't be more normal...

One of the many things that make zombies so captivating and terrifying can also be one of the most overdone and cliché devices in all of zombie movies.  You know what I'm talking about, when a character will watch their beloved boyfriend/girlfriend/husband/wife/bartender/softball coach get bitten, spew gore from every conceivable orifice, go limp and die, only to come back up with that fogged-over thousand-yard-stare and inhuman gurgling snarl.  And what does the character do when watching their brutally maimed loved one creep towards them hungrily like a fat person towards a Krispy Kreme?  Why, they run right into the zombie's arms; and when those arms start digging into flesh, all the character can muster is, “Why are you doing this?  It's me, Johnny So-And-So!”  Even if I didn't know what a zombie was, I'm pretty sure I wouldn't be looking to embrace my mom if I just saw her get chewed up by a skeletal corpse to the point where she looked like a run-over squirrel.

And so we come to the point where it's fair to ask: “Do we need a new paradigm?”  Do we need a zombie expert to hear one report of suburban cannibalism before he or she successfully forewarns anybody willing to listen?  I would argue yes.  And I would also argue no.  Over 40 years into the genre, I think it's safe to write characters that exist in a world where zombie fiction or lore exists prior to the latest radioactive accident/spellbook read/grave disturbed/Voodoo curse.  But, then again, 71,286,495 zombie movies now exist... and yet, we're still watching... and we're still amused.