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Movie Review: Born to Fight (1989) – Severin Blu-ray – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: Born to Fight (1989) – Severin Blu-ray – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Snake venom ingesting, ex-Vietnam prisoner of struggle Sam Wooden (Brent Huff of Cop Sport, which I reviewed proper right here) spends his days… nicely, he appears to only sleep so much and piss folks off merely by current… oh, and he seems to be like a Bayou Billy cosplayer, which given the problem of that recreation would go alongside strategy to including in the direction of the hostility leveled in opposition to him…

Anyway, Sam is employed by documentarian Maryline Kane (Mary Stavin) to go again to the camp he was brutally tortured in for a sequence of interviews in change for which he’ll be paid an ass-load of money.

As soon as there Maryline’s crew is straight away attacked and killed by Vietnamese troopers, and Sam finds out he was performed like a chump and Maryline’s actual aim is to rescue her navy father who has change into a P.O.W. as nicely… the identical common that refused to rescue Wooden’s comrades in ‘Nam. The promise of more cash smooths that shit over proper fast nevertheless…

Quickly our hero is balls deep in explosive motion territory and it’ll take each ounce of his grizzled machismo to discover a strategy to efficiently full the mission at hand!

Born to Battle is a Rambosploitation masterpiece from the staff that introduced us the lion’s share of stated style. The Finish.

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Okay, we’re not truly performed but… maintain your rattling applause…

What makes Born to Battle a lot enjoyable? Let’s begin with the solid! Huff is absolute perfection because the smart-ass, charming, and most-importantly, psychotic Wooden, and the chemistry he and co-star Stavin have is palpable.

Including to the combo is an absolute ass-ton of explosive motion as Wooden turns into a one-man-army who can remove whole platoons and bases with an infinite provide of bullets, rockets, and a dubbed-in “It may be performed… can do” or two.

The music of Al Festa is as much as the duty at hand as nicely, and is available in three flavors; intro to Flash’s Theme by Queen, intro to Strut by Sheena Easton, and bombastic hero theme.

Rattling, I haven’t even talked about the screenplay courtesy of the standard staff for all these affairs; Claudio Fragasso and Rossella Drudi, that makes an attempt to take no matter they did in Rambo: First Blood Half II and simply amp that shit up till the knob falls proper the fuck off, or one in every of my private fav scenes the place our hero screams out the names of his buddies left to die within the struggle… in sluggish movement as he unloads a large rifle right into a foe, and ends the checklist with ” …and all of the others!”

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Whereas the function is absolute fried gold, the commentary our pleasant fiends at Severin have included on this Blu-ray launch is likely one of the most hilarious, fulfilling listens I’ve had in what looks like endlessly as Huff and Stavin completely explode in uproarious, laugh-filled anecdotes of the movie’s manufacturing. Severely, it’s definitely worth the worth of admission on it’s personal!

Additionally included are interviews with Fragasso (wherein he reveals the stunning inspiration for the movie amongst different tales of creating the movie come to life) and Drudi (who elaborates on the creation of the image’s screenplay), and the movie’s theatrical trailer.

Additionally included is an prolonged lower of the movie which runs three minutes longer than the theatrical lower.

Bruno Mattei delivers one other jungle-based motion spectacular with Born to Battle, however there’s loads of humor and coronary heart among the many near-constant reign of bullets and fireplace, making that is one Rambosploitation flick that completely shouldn’t be missed!

 

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‘Motel Destino’ Review: Karim Aïnouz’s Tropical Noir Conjures a Potent Atmosphere of Heat, Desire and Danger Even if the Payoff Loses Steam

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‘Motel Destino’ Review: Karim Aïnouz’s Tropical Noir Conjures a Potent Atmosphere of Heat, Desire and Danger Even if the Payoff Loses Steam

Two young men fight playfully on a beach surrounded by rocky hills in the opening moments of Karim Aïnouz’s Motel Destino, their tanned bodies glistening under the scorching sun of Brazil’s northeastern coast. Before it’s revealed that the pair are brothers close in age, the scene sets up a torrid queer undercurrent that ripples throughout this erotic thriller even though the three principal characters enmeshed in a dark romantic triangle are all ostensibly straight.

Returning to his home country after last year’s English historical drama Firebrand, Aïnouz takes inspiration from classic noir, notably The Postman Always Rings Twice and Double Indemnity. That sets up expectations for a denouement involving some kind of twist or retribution, which the movie only sort of provides, segueing from violence to a kind of dreamy deliverance. If that ending makes it less satisfying than the sustained tension and intrigue that precede it, there’s still plenty to keep you glued.

Motel Destino

The Bottom Line

A visual knockout that doesn’t quite stick the landing.

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Venue: Cannes Film Festival (Competition)
Cast: Iago Xavier, Nataly Rocha, Fabio Assunção, Fabíola Líper, Renan Capivara, Yuri Yamamoto, David Santos, Isabela Catão, Jupyra Carvalho, Bertrand de Courville
Director: Karim Aïnouz
Screenwriter: Wislan Esmeraldo, in collaboration with Karim Aïnouz, Mauricio Zacharias

1 hour 55 minutes

At the top of that list are the intoxicating visuals of Hélène Louvart, giving the film palpable heat, physicality and danger that recall the rising-star French cinematographer’s work on Eliza Hittman’s Beach Rats. The striking compositions shot on 16mm have grainy textures pulsing with vitality and electrified by bold splashes of saturated color. The look is like neon even in daylight, adding considerably to the movie’s erotic charge.

The aforementioned beach boys are 21-year-old Heraldo (Iago Xavier) and his slightly older brother Jorge (Renan Capivara), who’s about to have his first child. Heraldo is eager to leave their small beach town in Ceará, move to the city and find work as a mechanic, eventually aiming to run his own garage. But the brothers are on the payroll of local loan shark and drug dealer Bambina (Fabíola Líper), who refuses to let Heraldo go before they do an important two-man job.

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That evening at a beach bar, Heraldo hooks up with a stranger (Isabela Catão) and takes her to Motel Destino for a wild night. But once he passes out, she makes off with his money, leaving him locked in the room with no way to pay. Dayana (Nataly Rocha), who runs the seedy roadside joint with her older husband Elias (Fabio Assunção), eventually releases him. But Heraldo makes it to town just in time to see Jorge’s dead body being carted off after his botched attempt to carry out the Bambina job solo.

Aïnouz and screenwriter Wislan Esmeraldo keep the set-up tight, dispensing with unnecessary exposition. The tragedy also serves to fuel Heraldo’s dreams of Jorge, adding the weight of guilt, while fear factors in via his terror of Bambina’s semiautomatic-toting goon Rafael (David Santos) coming after him. Heraldo gets lucky with a hideout when he returns to Motel Destino and Dayana takes him on as a handyman, putting his electrician skills to work.

Production designer Marcos Pedroso renders the sex hotel as a place so sordid you can practically smell it — and that’s even before you see the donkeys humping in the yard. (Nothing like the sight of a whopping mule penis to hammer home a movie’s fascination with lust.) The rooms are bathed in a lurid red glow, as is the central corridor from which staff secure payment through window hatches that allow for the occasional bit of voyeurism. Security cameras also play into that element, uncovering secrets later on.

Perhaps even more pungently descriptive than the look of the place is sound designer Waldir Xavier’s aural racket of moaning and grunting coming from the rooms, sometimes with the added accompaniment of porn channels. Aïnouz doesn’t hold back in his depiction of an environment in which sex and desire are as dirty, sweaty, whiffy and animalistic as it gets. Heraldo even has to remove a large snake that gets into a room, and it’s not one of the sex toys provided by management.

Naturally, Heraldo and Dayana soon start having clandestine trysts while boorish hothead Elias is elsewhere. He’s busy with plans to build an extension and add more rooms, but it doesn’t take him much time to figure out what’s going on. Elias has already threatened to kill Dayana when she tried to run off in the past, so there’s no telling what he’ll do once he discovers he’s being cheated on.

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Aïnouz teases out the possible scenarios, stirring in homoerotic tension when Elias starts getting drunk and handsy around Heraldo. It’s clear the older man is no stranger to crime, even before we witness his method of dealing with a motel guest’s inconvenient heart attack. The identity of that guest and his link back to an earlier event is one of the screenplay’s more schematic touches.

Even so, the movie’s overripe sensuality pairs well with the menace of isolated settings like a wind farm on a lonely stretch of beach at night. Likewise the simmering threat of violence or sexual abuse.

But the climactic action is somewhat wayward, with a too easy solution supplied by an unfortunate animal in the wrong place at the wrong time. Dayana talks about being treated like an animal by Elias, and with the donkeys and goat and chickens always around in the motel yard, that metaphor feels heavy-handed. The script’s other failing is its wishy-washy wrap-up of the Bambina business.

Despite its flaws, Motel Destino has mood, rawness and atmosphere to burn, fueled by Amine Bouhafa’s score, which becomes steadily more disquieting as it ratchets up the urgency.

Strong performances by the three leads motor along on the characters’ nervous energy, apprehension or anger, and screen newcomer Xavier keeps you invested in Heraldo’s ordeal. Aïnouz employs the central character as a stand-in for Brazilian youth, whose drive and desire are held back by a corrupt older generation intent on maintaining its power. It’s that kind of oppression that forces young men like Heraldo to bend their fates.

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Furiosa: A Mad Max Saga (2024) Review

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Furiosa:  A Mad Max Saga (2024) Review

While most of the Mad Max franchise has little in the way of plot and character development, Furiosa: A Mad Max Saga is the rare exception.

Forty-five years ago George Miller (Lorenzo’s Oil) and Byron Kennedy (The Devil in Evening Dress) created a post-apocalyptic world where all manner of inhumane behavior ruled.  It was a vast wasteland where few controlled the limited available resources and survival of the fittest was the mantra.  Ruthlessness and lawlessness were abundant and the harsh desert climate swallowed all manner of people and creatures alive.  Starring Mel Gibson (Lethal Weapon), Mad Max was a box office success but divided critics.  This Memorial Day weekend the fifth installment in the franchise, Furious: A Mad Max Saga, will hit theaters.

In the Wasteland nothing grows.  All one can see is sand stretching out in all directions.  Besides a few pockets of colonies overseen by warlords, it is the emptiness of nothing.  However, there is a far-off region of abundance where the ground is lush and green and fruit grows on trees.  A young Furiosa (Alyla Browne; Three Thousand Years of Longing) lives there with her mother and her younger sister and is among the inhabitants who guard their paradise with their lives.  But when Furiosa is taken, her mother chases after the kidnappers to free her daughter and to keep the secret from getting out.  

Years later, working in disguise at the Citadel, Furiosa (Anya Taylor-Joy; The Queen’s Gambit) stows away on the gas tanker in hopes of finding and killing Dementus (Chris Hemsworth; Thor) whose gang killed her mother.  Found and taken by Praetorian Jack (Tom Burke; The Wonder), Furiosa plans her revenge but is caught in a war between Dementus, Immortal Joe (Lachy Hulme; Offspring), and The Bullet Farmer (Lee Perry; Happy Feet).  Determined she chases Dementus through the sand, exacts her vengeance, and escapes the Citadel with Joe’s wives.

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While most of the Mad Max franchise has little in the way of plot and character development, Furiosa: A Mad Max Saga is the rare exception.  From the beginning, we understand why Furiosa is motivated to stay alive while watching the “politics” play out around her.  Miller and Kennedy’s script has human emotion surrounded by the usual anger and degradation found in the other Mad Max films.  However, there is still the usual action, explosions, and blood and gore that audiences have come to expect from these movies.  Miller, who also directs this latest installment, remains faithful to the franchise while still managing to come up with new and inventive ways to torture and blow up people and places.

What makes this movie even more interesting is the cast, specifically Taylor-Joy.  While Charlize Theron (Atomic Blonde) was simply a stone-cold bitch as the adult Furiosa in Mad Max: Fury Road, Taylor-Joy infuses the character with layer upon layer of experiences that shape her into the person she becomes.  From feeling the emotions that come with loss and grief to those prevalent when one is scared or brazen, etc., she is the whole package.  Hemsworth starts off the film as a leader but eventually deteriorates into a madman whose plan crumbles before his eyes.

Furiosa: A Mad Max Saga has its good points but some bad ones as well.  For starters, it is too long.  You’ve seen one desert chase seen, you’ve pretty much seen them all so Miller could have trimmed a few minutes here and there and still had the same film.  The special effects are also less than stellar taking the audience out of the action on more than one occasion.  Luckily, many fans of the franchise won’t let those distractions bother them too much.

It seems after all these years and five films, we finally have an actual story intertwined with the action.  This development makes the movie better than most of the rest of the franchise and, especially for fans, makes it a worthwhile option for movie-going this holiday weekend.

Grade: B- 

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Furiosa: A Mad Max Saga images are courtesy of Warner Bros.. All Rights Reserved.

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‘Haikyuu!! The Movie: Decisive Battle at the Garbage Dump’ Review: A Treat for Fans, but Not Many Others

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‘Haikyuu!! The Movie: Decisive Battle at the Garbage Dump’ Review: A Treat for Fans, but Not Many Others

It’s been four years since the end of season 4 of “Haikyuu!!,” the super-popular sports anime about a young high school volleyball team, and now fans will finally get to watch the beginning of the end of the story created by Haruichi Furudate, thanks to the feature film “Haikyuu!! THE MOVIE: Decisive Battle at the Garbage Dump.” Much like last year’s exquisite “The First Slam Dunk,” the movie takes place during a single match, which becomes the epicenter of a clash of ideals and personalities. Unlike that movie, though, this match is rushed, unnecessarily short, and lacking in context.

The problems with “Decisive Battle at the Garbage Dump” begin with its adaptation, which takes about 33 chapters of the manga and compresses them into a single 85-minute movie (compared to the anime’s usual pacing of about 5 chapters per 22-minute episode). Where “Attack on Titan” famously squeezed its final arc over 4 years and many comically-titled seasons, “Haikyuu!!” makes this climactic moment come across as rushed. Due to the short running time and amount of story to cover, this movie is not for newcomers at all. 

'September Says'

Much like “Demon Slayer: Mugen Train,” “Decisive Battle at the Garbage Dump” picks up the story from the anime right where it left off, without much concern for either newcomers or established fans who have forgotten where things ended last season — considering it aired in 2020, it feels like a lifetime ago. The movie fully expects the audience to be intimately familiar with the first four seasons of the anime, the character arcs and relationships, and even Karasuno’s team history, because it provides none of that here.

The plot concerns the titular Battle at the Garbage Dump between long-time rivals Karasuno High and Nekoma High, who have faced each other numerous times in practice matches. Now, they’re playing one another in the Nationals Tournament, giving protagonist Shoyo Hinata a chance to play a real match with stakes against friend-rival Kenma Konzume. For Shoyo, the match is not just an important step in winning the whole tournament, but a battle for the soul of Kenma and whether or not he’ll ever learn to enjoy volleyball — which leads to many a tear-inducing moment. 

Much of the “Haikyuu!!” anime is about love of the sport, about opening your mind to new experiences, and waiting for the moment when you find your passion even if you weren’t initially expecting it. Particularly, the film highlights Kei Tsukishima’s growing appreciation for the sport, while mostly focusing on Kenma’s reluctance to enjoy playing. Indeed, while the primary characters are clearly the Karasuno players, Kenma is our main character, as we get several flashbacks showcasing his history with volleyball. As for the volleyball and the match itself, “Decisive Battle at the Garbage Dump” looks and feels designed to turn movie theaters into sports arenas filled with cheers and chants, calls for “chance ball” and insults to the ref. 

Sports anime tend to fall into one of two categories — superhero stories or character dramas. The former treats skills as inhuman feats of strength, like “Blue Lock,” while the latter tend to be more grounded and actually teach about the sport, portraying real moves and plays, like “Slam Dunk” and “Hajime no Ippo.” When it comes to “Haikyuu!!,” the anime and manga credited for a rise in high school volleyball players in Japan, the story has long served as a rather good introduction to the mechanics and psychology of volleyball. The anime not only explains terms and rules, but also how every little thing impacts a match, from the opposite team’s cheer squad to the role a televised match’s gym lights have on player attention. 

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The movie continues this, with an exhilarating POV sequence showing everything a setter has to think about when doing a play, an entire subplot about how singling out a player and blocking his attacks demoralizes the entire team, down to simple things like how sweat can ruin a whole play. We see this in Kenma’s arc throughout the film.

Though already a fantastic player in the anime, the movie shows him getting increasingly invested in the sport and the match, and the more he cares, the better he plays — and the more dangerous he becomes to Karasuno. At times, Kenma is portrayed as a proper mustache-twirling villain, a Hannibal Lecter-type genius who is ahead of everyone, and with a cruel sense of humor, while the mentor-mentee relationship between several players across both teams makes for even higher personal stakes than other matches in the anime.

As fast-paced and energetic as the match itself is, however, it is bogged down by the pacing. It is already hard to make what is essentially season 5 of “Haikyuu!!” into a feature film that can stand alone while also be a good continuation of the ongoing story, but the short running time means the film ends up being mostly a series of highlights rather than a properly flowing narrative. There are big emotional pay-offs during the match, sure, but by the time the final whistle is blown, it’s kind of shocking to think they actually played three full sets in so little time. This has more in common with the previous “Haikyuu!!” movies, which were just compilations of the greatest moments of each season, rather than a story made for the big screen first.

This comes at the cost of the characters, too, as the focus on Kenma and Shoyo’s relationship means the film glosses over the rest of the cast. Though everyone gets a moment to shine, the film relies heavily on the audience filling in the gaps of the other individual rivalries and even the history between the two teams (the title itself never gets properly explained in the film, so you’ll have to remember the scene in which it was explained, way back in Season 1). What is supposed to be Karasuno’s biggest match ever ends up being the shortest in the entire series.

If the plot of “Decisive Battle at the Garbage Dump” suffers from its transition from TV to film, the animation at least gets a big glow-up. Though the characters look just as they do in the anime, the big budget allows for characters’ facial expressions and subtle body movements to get as much attention as the big volleyball plays and the spikes. Though there is some 3D used, it is to give more impact and flexibility to the 2D, rather than replace it. A POV sequence from Kenma’s perspective in which the action speeds up to showcase the adrenaline and rush of the sport, before slowing down in a climactic moment, is a definitive highlight of the film and almost justifies this entire endeavor.  

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“‘Haikyuu!! THE MOVIE: Decisive Battle at the Garbage Dump” has enough moments of volleyball thrill to satisfy fans who have waited four years for the return of Karasuno, but when the credits start rolling, and it becomes clear just how much story is left to tell. Mostly, it’s unclear what exactly was won by avoiding a fifth season and rushing through the climax of this entire story.  

Score: C+

Crunchyroll will release “Haikyuu!! The Movie: Decisive Battle at the Garbage Dump” in theaters on Friday, May 31.

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