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Hot Shots! Part Deux movie

Lots of what passes — or rather is passed — for humor in “Hot Shots! Part Deux” could be cured with Rolaids. A massive dose of saltpeter would take care of the rest. In other words, it’s got the smell of a summer blockbuster written all over it. Bawdy, bratty and burp-riddled, it’s a predictably idiotic follow-up.

Director Jim Abrahams, who took a swat at the flyboy genre in Part Un, turns less successfully to Saddam Hussein and Persian guff this time out. Abrahams and co-writer Pat Proft aim their loglike lampoon at the “going in to get the guys” genre, particularly the macho puffery of “Rambo III.” There are also no less blatant sendups of scenes from “Casablanca,” “Apocalypse Now,” “The Godfather, “Star Wars” and “Lady and the Tramp.”

Abrahams, who directed “Airplane!” and “The Naked Gun” with the Zucker brothers and Proft, the man behind the night shtick of the “Police Academy” series, deliver a familiarly fast-paced barrage of jokes that range from side-splittingly sophomoric to nauseatingly lame. In more than one instance, they are, of course, one and the same. Gags that make you gag.

Charlie Sheen is back as macho action icon Topper Harley. No longer a top gun, Harley is newly bulked up and chest-hairless for a mission pitting him against Saddam and Hillary Rodham Hussein. Saddam, a lisping cross-dresser on intimate terms with his Dustbuster, has already foiled three rescue attempts when Topper is recruited at the behest of Gen. Tug Benson (Lloyd Bridges), who has been elected president in the sequel.

Topper, who is nursing a broken heart in a Buddhist monastery — where the monks “have taken a vow of celibacy, just like their fathers and their fathers before them” — takes on the assignment only after learning that a former commander, Col. Denton Walters (Richard Crenna), is now missing somewhere between “Iraq and a Hard Place.” His depilated pecs peeking through garlands of bandoleers, Topper parachutes into the incongruous jungles of Iraq, scrambles through a Beverly Hills back-yard barbecue and finally winds up behind enemy lines on the grounds of Saddam’s palace.

The owner of a puffy pooch, Saddam is a silly savage in his slippers with turned-up toes — doubtless the filmmakers’ comment on the homoeroticism inherent in the action genre rather than just another cheap shot. If Saddam is several beans short of a bag, President Benson is an empty sack. Benson — “Hot Shots’ ” answer to Leslie Nielsen in “The Naked Gun” — is played with magnificent boobery by Bridges, whose reenactment of the presidential sushi-puking incident provides a bona fide belly laugh.

Most self-respecting action guys don’t much go for girls, but Topper enjoys a billet-deux in le sequel. Not only is he reunited with his love interest, Ramada (Valeria Golino), but he also knocks boots with a CIA glamour puss (Brenda “Hardbodies II” Bakke) in nutty spoofs of “No Way Out” and “Basic Instinct.” Sheen, who has the sex appeal of a meatloaf here, brings a Stallonesque lunkishness to the scenes, which, like the movie itself, are Sly in name only. God help me, I laughed and slapped my thighs.

“Hot Shots! Part Deux” is rated PG-13 for potty humor and sex jokes.

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Hot Shots movie

It takes about 30 seconds to plug into the rubber-chicken spirit of Jim Abrahams’s “Hot Shots!” — just long enough for a naval officer to pull up to a teepee in the middle of nowhere, ring the doorbell and wait, before the flap is opened, for the occupant to unbolt the 20 or so locks and chains on the inside.

No film that pokes fun at “Top Gun” can be all bad, and that’s what “Hot Shots!” is — a spoof of the Tom Cruise hit. It is to “Top Gun” what “Airplane” was to the “Airport” movies, what the “Naked Gun” movies are to dumb television cop shows — it’s “Naked Top Gun.” Abrahams, the middle member of the trio of Zucker, Abrahams and Zucker, who made “Airplane!” and the “Naked Gun” films, knows a solid formula when he see one, and he doesn’t depart a millimeter from it.

The story line for these films is merely a clothesline for Abrahams and his co-writer, Pat Proft, to hang their tattered laundry on. In this case, the man inside the teepee is Topper Harley (Charlie Sheen), the ace of all naval flying aces, who was drummed out of the Navy for gross insubordination. But the Navy needs him back for a secret operation in the Middle East, a mission to destroy a nuclear power plant (belonging to guess who?) that cannot succeed without him.

Whether the mission fails or succeeds, or whether Topper wins the heart of the beautiful base psychiatrist (Valeria Golino) or loses out to a rival fly-jockey (Cary Elwes) is completely irrelevant. This movie — like the others from Abrahams and the Zucker brothers — is a live-action Mad magazine parody. These filmmakers specialize in the secondhand, and the trashier the pop culture source the better. Their stock in trade is the dumb gag, the cheap laugh, the surreal non sequitur, all fired off with oblivious aplomb at a scattershot rate of about 10 a minute.

Added up, that’s roughly 1,000 gags, a virtual mother lode of dumb stuff, and if the ratio of laughs to jokes were anywhere near where it should be, you’d probably leave the theater sick from the hilarity. Luckily (or unluckily), no one will be in need of resuscitation after “Hot Shots!” The film is innocuous enough, and it provides a few laughs — say, when the pilots approach their jets with claim tickets in hand for valet parking — but it’s hardly a comedy gusher. The picture’s niftiest performance is given by Lloyd Bridges, who’s hilariously befuddled even though most of his comic business is lifted straight out of the Leslie Nielsen playbook. Abrahams, perhaps to his credit, isn’t proud — he recycles what has already been recycled. But live by the gag and die by the gag. And sadly, “Hot Shots!” dies, rather pitifully and resoundingly.

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The Guns of Navarone movie

With a quick paced plot, interesting characters and some great on location filming, The Guns of Navarone is quite simply the best World War II action/adventure movie ever made!

Captain Mallory and Colonel Stavros lead a small group of men on a secret mission behind enemy lines, in occupied Greece, to blow up some huge guns that have been sinking ships in a channel of the Aegean sea. Mallory and Stravros have bad blood. They work to destroy their common enemy, The Nazi’s, but Stavros is holding a serious grudge against Mallory. Also in the group is Corporal Miller who is an explosives expert. He has a complete lack of enthusiasm for the mission, as well as the military itself. Private Brown has the nickname of The Butcher of Barcelona but is he as good a killer as he is given credit? Youngest in the group is Private Pappadimos who is related to Greek resistance members. In Greece they are joined by Pappadimos’s sister and her friend, Anna.

Shot in Greece, The Guns of Navarone makes full use of the landscape as well some ancient ruins. They filmed in a city and it appears as if half the town’s population were extras. The characters jump from one action sequence to another. Several scenes play out with no dialogue. The director was smart enough to let the character’s actions speak for themselves. The action scenes are not just there for action sake, but for a specific reason in advancing the plot.

Anthony Quinn in Columbia Pictures’ The Guns of Navarone (1961) The movie has the expected action climax but it likewise has a dramatic one. After Miller discovers someone has destroyed his explosives, he suspects someone in the group is a traitor. The scene is Niven’s and Peck’s best. The scene ends with, the usually cool headed, Mallory losing his temper with this memorable line. “You got me in mood to use this thing, and by God, if you don’t think of something, I’ll use it on you!”

Most action movies become quaint over time. Although made in 1961, The Guns of Navarone is still as exciting today as it ever was!

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Glory movie

I’ll admit that the Civil War just isn’t my choice of an afternoon. Between TNT’s affinity of putting Gettysburg on every 4th of July and the love that multiple friends of mine seem to harbor for drawn out epics concerning the Civil War (either on film or in book), I just have gotten fairly sick and tired of seeing the Civil War on celluloid again and again. You pile on the fact that I had to change my phrasing to “the war of Northern aggression” whilst I was living in Raleigh, North Carolina and I just don’t want to hear another thing for it.

This said, you can see why Glory is a very special exception to my rule of antipathy towards war films with muskets in them.

Marking Edward Zwick’s first, and perhaps finest, attempt at directing a serious film, Glory concerns the first black regiment of the Civil War. It follows the 54th of Massachusetts from their formation at the behest of Boston abolitionists to their martyrdom at Battery Wagner in South Carolina. A note: I feel no guilt about telling you this. It is akin to saying the ship sinks at the end of Titanic.

Although the film, as one retells the plot, should feel a little hokey, it has no such aura about it. It does not feel contrived. It does not feel blaring in its point about equality. What it does feel like is an incredibly compelling movie of the bond formed not only between soldiers but between man and man… regardless of color.

The script works, but does not work great. The acting works, but, with the exception of Denzel Washington’s Academy-Award winning performance, does not work great. In fact, aside from such things as those that grabbed awards in this film, nothing works exceptionally well.

What makes Glory the finest Civil War film (and one of the finest war films period) that I have ever seen whittles down to the infamous X-factor: The unidentifiable component of a movie known as magic. It is perhaps the end result of the ingredients of the witch’s brew of moviemaking.

This X-factor does not merit further discussion. It is, like the laws of Physics, one of the things of the universe to which the why can only be explained by a higher power. I have spent five years contemplating said X-factor, and am no closer to realizing what makes a good movie good then when I started. I only know this: when a movie is crap, it is crap. When a movie is good, it is good. And Glory is very, very good.

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Force 10 from Navarone movie

  • Author: admin
  • Filed under: Action, War
  • Date: Feb 18,2008

Near the beginning of “Force Ten from Navarone,” we’re treated to selected footage from the original 1961 production. The German soldiers flee once more in panic, the explosives detonate yet once again, the great guns topple, the rock cliffs split open. If you’re a fan of the original “Navarone,” study these moments intently; they’re the only connection between this movie and its namesake.

So why call the movie “Force Ten from Navarone?” Maybe because the word “Navarone” inspires a knee-jerk response; the first movie was great, so maybe this one will be, too. Or maybe because Alistair MacLean, author of the original “Guns of Navarone,” wrote this sequel. It hardly matters. The 1961 movie had wit and style and excitement. This one is a weary rehash of old action movie clichés, not even redeemed by such stalwarts as Robert Shaw and Edward Fox.

Just to set things straight: “Force Ten from Navarone” has none of the same characters as “Guns of Navarone,” has nothing to do with guns and does not involve an assault on an island. It does, however, end with a gigantic cataclysm caused by sabotage.

The sabotage is aimed at a key bridge in Yugoslavia, and an enormous dam a few miles upstream. The war effort apparently hinges on whether the bridge, behind enemy lines, can be destroyed. And so a commando force led by Shaw is dropped behind the lines, finds the bridge heavily guarded, and decides to blow up the dam so that the bridge (and the valley) will be swept away.

These activities occupy perhaps 75 per cent of the movie’s running time, and are punctuated by an impenetrable subplot involving rebels, loyalists, double agents, local guerrillas, and The Girl (who is played by Barbara Bach of “The Spy Who Loved Me”). After several turncoats are revealed and executed, and after everyone has double-crossed everyone else a sufficiency of times, the bridge and the dam come into view and the movie ends with a great deal more style than it began.

That’s because the special effects involving the destruction of the dam are really pretty well done. And they’re set up with those reliable old clichés from almost all movies involving war and sabotage. How well we know them: First, we get a long shot of the objective (whether it is giant guns or giant dams or giant impenetrable fortresses), and there’s appropriately Wagnerian music on the sound track. Then, seen from far away, Nazi soldiers strut back and forth on the parapets. Our heroes, reclining behind rocks and trees, examine the scene with binoculars.

At this point it is obligatory, I believe, for one of the heroes to express the opinion that the enemy objective is so well guarded that any raid on it would be folly. The exact words are usually, “It would bloody well be suicide!” But then the explosives expert (usually a very unmilitary type drafted directly into the commandos after a civilian career as an unkempt genius) allows as how an explosives package could do a lot of damage, if it were placed just so.

“Force Ten” honors all the obligatory clichés, and then there’s a nice twist involving the explosion inside the dam, and then we get the special effects, and then it’s over. It doesn’t leave much of an impression; a director like Guy Hamilton, a graduate of four of the Bond pictures, can turn out action movies like this in his sleep. This time, alas, that’s apparently what he did. The film leaves one regret, that the late Robert Shaw wasted part of his last year in making it.

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Flyboys movie

The MPAA has rated Flyboys PG-13 for war action violence and some sexual content.

Like most modern inventions, the airplane had hardly left the ground before someone came up with an idea of how to use it as an instrument of war. In Flyboys, we learn about some Americans that joined the legendary French Lafayette Escadrille and risked their lives serving as some of the first military pilots.

The script follows a handful of these US born soldiers, including Briggs Lowry (James Franco), whose father foists him into the service; African-American boxer Eugene Skinner (Abdul Salis), an expatriate enjoying the racial tolerance extended to him in France; Blaine Rawlings (James Franco), a man with little to lose after the bank forecloses on his family’s ranch; and Lyle Porter (Michael Jibson), a devout Christian who flies by faith.

For the most part, these young men were just looking for adventure in the sky. With the Allied powers of France, England and Italy losing ground to the aggressive Germans, the naive volunteers are readily welcomed by the French. Taken under the wing of Captain Thenault (Jean Reno) and veteran US flyer Reed Cassidy (Martin Henderson), the flyboys are trained in aircraft operation, fighting techniques, and how to quickly take their own life in the event of an impending crash.

Anyone who is a war movie buff will likely find something to enjoy here. Touted as the first movie in forty years to focus on the aerial battles of World War I, seeing these vintage aircraft in action is truly exciting — even if some scenes are obvious electronic recreations. Unfortunately, all the dogfights and exciting combat sequences don’t leave much remaining runtime in which to get to know and care about the large cast of characters.

The resulting violence will also be a concern for parents. Besides planes being shot down, the loss of human life is depicted in detailed crashes, falls from heights and pistol shots (one is self-inflicted). These portrayals and the many perilous situations depicted will undoubtedly be too intense for preteen audiences.

As well, these brave boys tip back more than a few glasses of booze after a day in the air, and manage to convince the teetotaler Christian to do the same. Visits to a local brothel are another recreational pastime — although no untoward activity is seen.

Yet what keeps this film from crashing on our family viewing scale is its strong messages of loyalty, tolerance, and fighting for a valiant cause. An additional bonus is the historical value of remembering how these pioneering Flyboys helped to maintain freedom — often at the cost of their own lives.

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Flesh & Blood movie

The film begins in 1501, where an unnamed city in Renaissance Italy is under siege. Many landsknecht mercenaries were hired by the city’s former ruler, Arnolfini (Fernando Hilbeck), to reinstate him. Arnolfini’s Son, Steven, tries an experimental plan to blow open the city gate with explosives, but it fails rather comically. The city will be taken with an old-fashioned assault. To motivate his men, Arnolfini grants his troops 24 hours to take any spoils they can find within its walls. The plan works, and the men successfully take the city and slaughter the defenders.

Arnolfini turns to the Mercenary Captain, Hawkwood (Jack Thompson), to stop his men’s rampant pillaging. He fears there will be nothing left for him to rule. Hawkwood is indifferent to Arnolfini’s demands. Captain Hawkwood had accidentally attacked a young Nun during the attack and feared her death would lead to his damnation in the afterlife. Arnolfini promises to get medical attention for her if Hawkwood will rein in his men. Hawkwood reluctantly agrees, even turning on Martin (Rutger Hauer), his friend and second-in-command. Arnolfini’s cavalry, who are personally loyal to him, round up the foot-soldiers. The mercenaries are summarily ejected without food, weapons, or shelter. They disperse throughout the Italian countryside, bitter and angry.

Martin’s son is stillborn to one of the camp followers (prostitutes) in the pouring rain. Martin decides to bury the infant, but in doing so unearths a wooden statue of Saint Martin of Tours — a saint with a sword. The mercenaries’ chaplain takes this as a sign from God that they should all follow Martin as their new leader. Desperate, Martin and his small band soon head out to seek revenge and better fortunes.

Meanwhile, Arnolfini’s son, Steven (Tom Burlinson), is betrothed to Agnes (Jennifer Jason Leigh), a young woman he has never met. Steven is an intellectual who prefers working on his inventions to romance or politics and has misgivings about the arranged marriage, but Agnes wins him over once they finally meet. Agnes is a remarkable manipulator to the point of callousness, and in a scene where she is curious about sex, she orders her maid to have sex with her lover (a soldier in her entourage) so she can observe the act. Once she has seen enough, she steps in and orders the pair to stop. She does however appear to display genuine feelings for Steven. In a scene beneath two rotting hanged corpses she convinces him to eat a mandrake root with her, challenging the man of science that it will make the pair fall in love, as in accordance with folk law. Their entourage is soon attacked and robbed by Martin’s band who have taken to brigandage. Arnolfini is critically injured in the attack, and Agnes hides so the mercenaries will not find her. She is hauled away, hidden among her valuable dowry.

Martin discovers Agnes later that evening as they begin to strip the caravan of all its valuables. The men seek to gang rape the pretty noblewoman, but Martin (as their new leader) decides to take her himself. She immediately begins flirting with and attempting to seduce the virile Martin, realizing that he will protect what he considers “his.”

Martin, Agnes, and the rest of the band come upon a Castle, some of whose inhabitants are suffering from the Plague. The Mercenaries capture the place with ease, thanks to the help of Agnes, who appears to be adapting to her new circumstances remarkably well. They set themselves up in style, and Agnes begins grooming Martin as a feudal lord. He enjoys wearing the fine clothing (formerly belonging to the Castle’s owner), food, and the notion of being a Peer. While a competent soldier, he has never dreamed of having so much. Agnes recognizes this, and strokes his ego whenever possible to aid her position. She proves herself a remarkable manipulator, and for the second time in the film succeeds in making a man (this time Martin) fall in love with her. Before long she seems almost to be enjoying herself, and is soon considered part of the group by the mercenaries. Seemingly happy with the situation, she appears to have given up on her former life.

Her fiancé is determined to win her back however, appearing to have fallen in love with the girl. Steven, though well educated, is not a soldier and has only a small group of cavalry at his disposal. He desperately turns to Hawkwood for guidance, but discovers that Hawkwood only wants to lead a quiet life married to the former nun he had injured. Steven is forced to blackmail Hawkwood by threatening to have the nun — now mentally impaired by her injury — locked away, proving that he can be as ruthless as his father when necessary. Steven then pursues Martin with Hawkwood’s help.

Steven discovers Martin’s whereabouts, but his forces are insufficient to take a defended castle. During the siege Martin confronts Agnes about where her feelings lie in regard to himself and her fiancé. He reveals that he loves Agnes, and could not exist without her, claiming he’d kill her before losing her to Steven. Agnes in turn says she loves them both, because they are one and the same, only of different ages. When Steven builds an experimental siege tower in an attempt to storm the castle, Martin recalls Steven’s earlier (failed) gunpowder bomb and uses a version to successfully destroy the mobile siege tower in turn. The stalemate is finally broken when the plague begins to spread among Steven’s forces, infecting Captain Hawkwood and others. Trapped in the castle after the destruction of the siege tower, Steven is captured by the mercenaries and shackled in their courtyard. Agnes joins in the torture and abuse of the captive, and even makes love to Martin in his presence. She still has feelings for Steven though, and we see her hesitation and reluctance. However she does not wish to jeopardise her position and we see (albeit under pressure) would rather kill Steven than lose face amongst the mercenaries.

Using a fictional new Arabic medical technique mentioned by Steven, Hawkwood is able to cure his plague. He has no forces to continue the siege, and Steven is presumed lost though. In a last-ditch effort, Hawkwood flings pieces of diseased, dead dog into the Castle via catapult. One chunk is tossed into the castle’s well by the chained Steven, effectively poisoning it. Hawkwood then leaves to get additional troops. Agnes sees the poisoning of the well, and Steven tells her to make her choice whether to tell the mercenaries or not.

Most of the mercenaries wish to leave the castle and flee with their loot for fear of contracting the plague, however Martin convinces them to stay. The next day they meet for breakfast and Agnes watches as, one by one, they drink the infected water. When Martin begins to drink, she slaps the cup from his hands. The other mercenaries soon grow ill and begin dying of the plague. Furious at Martin, they beat him and hurl him into the well. As she did before with Steven, Agnes joins in with the mercenaries in taunting Martin and hurls a jug at him.

Soon after, as the mercenaries flee the castle for fear of contracting the plague Hawkwood and Arnolfini, who has recovered from his wound, return with an army. Inside the castle Martin escapes from the well with the help of Steven, who he promises to release him in exchange. However on seeing the besieging army he flees to the belfry, leaving him chained still. The Castle is soon breached and a bitter but one-sided fight ensues.

Steven manages to free himself, and as the final battle rages he races to find Agnes. During the fighting the wooden structure of the belfry catches alight. Before long all the remaining mercenaries, save for Martin, are dead. Hawkwood watches dispassionately one by one his former soldiers meet their end.

Martin meanwhile confronts Agnes, who professes that she still loves him. Maddened and convinced that she has been manipulating him all along, he seeks to murder her as he promised. Before he can complete the act Steven arrives and a bitter fight ensues before the two. The cunning and hardened mercenary eventually overpowers Steven, and has nearly succeeded in drowning him when Agnes strikes him over the head. Leaving the unconscious Martin to drown, she recovers Steven and they run to escape the blazing castle. Hawkwood finds them and leads the pair out. Martin however is still alive, but before he can confront them a burning rafter falls from the ceiling, sealing him in. Just before the room completely collapses we see Martin staring after Agnes with a look of loss, and for the first time, sadness.

Agnes and Steven leave the burning castle along with Hawkwood and his army. We see the surviving camp followers of the mercenaries beginning their careers anew with the victors. The couple embrace, but over Steven’s shoulder Agnes sees a figure, Martin, still alive and escaping from the castle, a sack of loot over his shoulder. She says nothing, allowing him to slip away unnoticed.

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