Posts Tagged ‘vice

10
Jul
14

Shakedown (1988) Law and Disorder

shakedown-poster

a Primal Root written review

Sam Elliott and Peter Weller are my guys. I’ll see just about anything featuring either of these two actors due to their excellent body of work , both Trashy and Embraced by the Masses. Come on, Elliott’s the main reason to visit Swayze’s “Road House” (1989), not to mention his turn as the enigmatic Stranger in the seldom seen lost classic, “The Big Lebowski (1998)  and Peter Weller’s filmography is basically a who’s who of sci-fi cult cinema, from Paul Verhoeven’s 1987 action  masterpiece, “Robocop” to 1984’s bomb-come-cult flick, “The Adventures of Buckaroo Banzai Across the 8th Dimension.”  And, as we all know, when two legends cross paths, one must always pay strict attention.

To my own shock and amazement, “Shakedown,” a film featuring two icons of cinematic strangeness, and strange plot that takes your from the heights of wacky action to the morose happenings of a court room drama and every imaginable place between, is not heralded as I had originally imagined upon hearing of it’s existence. I am hoping to correct that issue with this review.

Shakedown takes place on the tough, unforgiving streets of New York City and it’s tough, unforgiving courtrooms. It’s a tale of police corruption, murder and badass action sequences. The film begins with a big time drug dealer having to defend his life from a crazed cracker who shows up, asks for a fix, then pulls a gun on him. The cracker ends up dead as rat shit while our drug dealer, Michael (Richard Brooks), ends up wounded and on trial for the murder of a cop who never identified himself and was obviously looking to steal the gentleman’s crops and money. Thankfully, we see Michael press the REC button on his ghetto blaster, but the film forgets all about that until the last act of the movie once it becomes a life or death situation.

Thankfully for Michael the drug dealer, he has two of the coolest mother fuckers ever to live in New York City on his side. We’re talking public defender and avid Jimi Hendrix fan,  Roland Dalton (Peter “Don’t Call Me Buckaroo” Weller) and grimy, greased up, 42nd street undercover cop, Richie Marks (Sam Elliot, as grizzled and awesome as ever.)  Upon hearing of the case, Roland swoops down to defend Michael against the Good Old Boys club of the NYPD who are more than willing to make people disappear in order to cover up their own crimes and deceptions. The thing Roland doesn’t realize is that he will be facing down his old flame, Susan Cantrell, (Patricia Charbonneau) the new District Attorney in this murder case. And wouldn’t you know it, this is all happening on the eve of Roland’s marriage to the young and wholly unlikable Gail Feinberger (Blanche Baker) whose Father just so happens to head the biggest law firm in the city, which means Roland will become a partner and spend his life defending the rich and powerful and making sure those with the money get to keep it. Thankfully, this recent case, plus late night discussions with his district attorney ex-girlfriend, who acts as a cock riding Jiminy Cricket, has led to Roland’s reevaluation of the whole situation. Does he want to continue taking on cases for those who are innocent of any wrong doing but society wants them punished anyway, or to live a life with a woman who scolds him for listening to rock and roll too load in the morning while blending home made Orange Julius’s and wiping the asses of spoiled, rich old geezers? Decisions, decisions…

shakedown white

To help uncover any evidence pertaining to the case and delve into the police corruption itself, Roland meets up with his old pal, undercover cop, Richie in the shit stained, syringe covered restroom of a dilapidated 42nd Street grindhouse. Over a few drinks in one of New York’s many watering holes, the two decide to team up and put the hurt of the NYPD’s most crooked cops, when Michael’s case and hopefully put away some scumbag pigs in the process.

Now, don’t get me wrong, the law and order proceedings that take place in the court room and are discussed in between the opposing legal team’s fuck sessions are really interesting, but the real stars of “Shakedown” are the go for broke, mind blowing, action sequences scattered throughout the film to keep you from being too mellow. While Roland is either defending or banging, Richie is chasing and beating the snot out of New York’s nastiest criminals and cops on his quest for the truth. The man is willing to use 42nd Street theater neon lights as means to leap onto the top of moving busses while opening fire on suspects! The guy chases a man onto a carnival roller coaster before starting it up and ensuring the car derails thereby sending the criminal soaring to his hysterical death! And, in probably, the greatest action sequence I have ever witnessed, Sam Elliot, as Richie, with the aid of Roland and his Porsche, manages to chase down a private jet. climb onto the jet’s landing gear as it takes off, ride that landing gear to a height where the roof of the World Trade Tower’s are visible; toss a grenade inside and then leap into the ocean before the plane lands and explodes. Yes, Richie survives with no damage worse than a wet pair of Levi’s.

shakedown flight

It’s that combination of serious, intelligent courtroom drama and Gonzo, batshit crazy action that really makes 1988’s “Shakedown” possibly one of the strangest yet endlessly entertaining action films of the 1980’s. A lot of the appeal is derived from watching the film’s two leading men bring the big bad guys to justice as well as watching Peter Weller and Sam Elliott, two very likable cult actors, pal around and makes jokes with one another. These gentlemen never ascended to the pantheon of great action stars like Arnold, Sly and Bruce. No, Peter has become more well known a a science fiction character actor and Sam, outside of The Big Lebowski, is a bit more recognized as a western cinema staple. But here, watching the two unlikely actors turned action stars, one cannot help but marvel as they spray gun fire, make death defying leaps from buildings and spout witty retorts and villains burn to death. It’s like watching the high school A.V. geek and the guy in shop class who never bathes joining forces to crack down on high school crime. To put it bluntly, it’s a mother fucking hoot to behold.

Also, another highlight of the film for me, is that “Shakedown” features New York’s 42nd Street RIGHT before gentrification took hold, the theaters were dismantled, and the strip steadily became home to Disney stores and McDonald’s and attracted more tourists than locals. It’s a final swan song to what was once a sleazy, filthy, dangerous playground, A place of legend that is no more. Watching some good goddamn action sequences explode across this neon sodom is quite a spectacle to behold, but also a lovingly rendered final look at a place that now only exists in memory and cinema.

“Shakedown” is a one of a kind action film. Feeling like Law and Order by way of Robert Rodriguez and Michael Bay’s love child, “Shakedown” mixes together ingredients that should by no means make a tasty concoction, but manages to deliver something unique, exciting, fun and shockingly entertaining. You will be pulled in by the human drama and then blown out of your seat with astonishment and laughter as one rock ’em sock ’em action scene after another pummels you over the head with it’s bizarre and warped sense of reality. My friends, “Shakedown” must truly be seen to be believed.

“Shakedown” will shake your beliefs in action cinema to the ground. Watch it brace yourself for an awakening and an injection of pure, undiluted Trash.

I give “Shakedown” THREE and a HALF out of FIVE Dumpster Nuggets.

Stay Trashy!

-Root

19
Nov
11

Land of the Dead: Eat the Rich

a Dirty Thought with The Primal Root

The year was 2004 when all those old rumors surrounding George Romero’s long awaited fourth installment in his Dead series began lumbering back to life. For over a decade there were fan boy speculations  about a “Twilight of the Dead” , which would be really awkward with the popularity of those Twilight flicks,  or some other such continuation of the series. It wasn’t until early in 2000/2001 that steadily these rumors began transforming into fact. Romero was planning a new entry in his beloved, legendary, film series.  My excitement could hardly be contained.

By June 2005 we finally had our long awaited fourth film, “Land of the Dead”.  After years of hoping, false starts and sketchy rumors, there I was sitting in a theater seat, ticket stub in my pocket, about to see what Romero had cooked up for his starving fans. And to tell you the truth, I was a little underwhelmed on my first viewing. I’m sure a lot of it had to do with how much I had built this film up in my head over the two decades worth of anticipation, but I just didn’t think it held a candle to the original trilogy. The message seemed scatter shot, the characters thin, and the dialog cheesier than skating rink nachos.  I left having enjoyed myself but also feeling disappointed.

Now, looking back on Romero’s Land of the Dead almost seven years later, and in light of current events here at home and on Wall Street, his fourth Dead film has suddenly clicked with me and it’s message, it’s purpose, has become very clear.

As Romero’s Dead series has progressed our sympathy has been manipulated and shifted over to the living dead.  The seeds were subtly  planted in Dawn of the Dead but it wasn’t until Bub showed up as the star zombie in Romero’s  Day of the Dead  (85) that we all began the empathize with what we had always seen as a monster. Bub  recalled much of his living memories and even expressed very human, very un-zombie like emotions despite craving oozy living flesh to munch on. There was still something there. Something human. And by the end of Day of the Dead Bub proved to be more human and possess a purer spirit than most the human characters that populated the film. And in that idea Romero brought us as close as we’d ever been to siding with the shambling, decaying, walking corpses. Hell, we even cheer for Bub by the film’s end when he exacts revenge over those who have wronged him.

In Land of the Dead Romero asks us to almost explicitly see ourselves as the Dead, who in this film represent the disenfranchised. Those who have been left behind  with nothing except the possibility of the wealthy, powerful, elite will send in their troops to take whatever they can get their hands on in order for the rich to have their Scotch, cigars and Pringles which I’m pretty sure I spotted  on route to Fiddler’s Green. When the zombie apocalypse happens we will all be longing for the comfort of a can of Pringles.

Fiddler’s Green is a high rise fortress, a kind of utopia, for the wealthiest of zombie apocalypse survivors to spend the rest of their days hiding behind it’s concrete walls wearing the finest of clothes, eating hot meals and shopping their lives away as they towerhigh above the dead who are kept out by the bordering river and strategically placed electric fences.  But,  outside of  Fiddler’s Green is another story.  Also kept out are those deemed unworthy. Other living survivors who, for whatever reason, aren’t worthy of living a life of protected, maintained luxury. Fiddler’s Green is surrounded by make shift shacks, decayed building, sick, tired, dirty and poor humans struggling to survive with no aid of any kind. Those who cannot live in Fiddler’s Green are given few choices: They are put to work as part of the new military force put together to protect the wealthy, manufacture and deal drugs, prostitution, gambling,risk your life as entertainment for the masses as a contestant in a makeshift game of death,  or you can try and survive on the streets. Good luck!

It’s a strange concept thing to imagine that money could mean anything at all after the dead pretty much take over the planet, but if you can put aside your disbelief, there is a very poignant message about the haves, the have nots, and those who are considered less than human as an insurgency rises among the living’s lower class aims to over throw the current power elite and replace it with a more communal government and the dead who have begun communicating, have had enough, join together, and strike back against their oppressors.Because when the power and the dead are placed side by side, there is very little difference besides one being full of warm flesh and blood and the other craving to sink it’s rotten teeth into it.  And as the living dead make their way to Fiddler Green, tear down it’s walls and begin ripping apart the entitled citizens cowering within, it’s impossible not to cheer for those who have been ignored, abused and left to rot beyond the cities borders.

I implore you to go back and watch Land of the Dead again while the memory of the bank bailouts we payed for, the economic crisis that ended in many of us being laid off, and the Occupy Wall Street Movement where peaceful protesters were beaten mercilessly is still fresh in your mind. No matter what demons, creatures or myths we create to symbolize our societal  fears and angst the greatest threat you and I shall ever face is one other. Specifically those who have been corrupted by power and greed.

Land of the Dead worked well as an allegory for Bush era 9/11 anxieties but also seems to fit just as well within our current situations here at home as the division between the classes continues to grow ever wider. In the film, the dead are easily distracted by fire works. As they explode over head in beautiful arrays of bright colors the dead cannot help but stop in their tracks and give these meaningless, momentary bursts of light their full attention.  One cannot help but draw a parallel between the dead’s mindless attention to these fireworks (AKA: sky flowers) and the appeal of reality television, celebrity gossip, and other such none sense we are fed and made to believe is important to our every day lives when there are far more important issues at hand. It’s easy to tune out and focus on the meaningless. The trick is, to get your eyes off the ‘Sky Flowers” and focus on what’s right in front us.  What actually matters.

Romero has a lot to say in Land of the Dead and, in the case of all important works, it’s all open to interpretation.  But when I watch it today I can’t help but see it as a very timely “revenge of the repressed” fable that is perfect for where we are as a society and it’s by no means a happy one. We can only hope that one day, maybe, a new society might come in, devour the old and give us something new and better.

Land of the Free or Land of the Dead?

Stay Trashy,

-Root

30
Mar
10

Friends, Family, Chaos and Magic Squirrels : The Hot Tub Time Machine


a review by The Primal Root

Wow, did I just completely throw away my youth? I mean, I had fun and everything…but what about all the shitty decisions I made? The friend I screwed over? The one that got away? All the times I took the easy way out…and how would my life be now if I had the opportunity to do it all over? These are the questions asked of us and our main characters in the straight forwardly titled and beautifully executed film, Hot Tub Time Machine, a midlife crisis movie teaming with raunchy laughs, 80’s nostalgia, amputations and a surprising amount of heart.

Our story begins with Nick (Craig Robinson) digging his fingers into a dog’s sphincter to diagnose a butt itching problem at the posh animal spa he’s employed at. We are then introduced to Adam (John Cusack) who’s girlfriend just ditched him and is living a soulless, self centered existence despite having found wealth in his professional life. Also living with Adam is his nephew, Jacob ( Clark Duke) who spends his days playing Second Life in Adam’s basement but is otherwise aimless. But the ultimate screw up in our band of heroes is Lou (Rob Corddry, finally finding a role he can sink his teeth into) who is hospitalized after nearly asphyxiating himself in his garage while sitting in his running car and singing along to Motley Crue’s Home Sweet Home.

Upon hearing the news Adam and Nick arrive at the hospital to check on their old friend. The doctors are afraid it might have been a suicide attempt, although Lou adamantly denis it, and recommend that the old friends spend the weekend together in order to keep an eye on Lou to make sure he’s okay.

Our three friends bring along Jacob and head out to their old stomping ground a once prosperous ski resort town. Once they arrive in the hotel where they lived some of the greatest moments of their youths, the immediately realize the place stands a a metaphor for their lives, it’s run down, smelly, tired old wreck. They check into their suite where the commence a sad sausage fest game of quarters…in the face of such desperation the four stumble upon the impressive hot tub on their back porch. A hot tub time machine…

Male Bonding in the Hot Tub Time Machine

After a drunken night of male bonding our guys wake up in 1986. The exact year when Adam, Lou and Nick vacationed there and made decisions that would shape all their lives forever. And Jacob? Well, he didn’t yet exist…but that existence plays a crucial role here.

It's the 80's! Do a lot of coke and vote for Ronald Reagan!

Hot Tub Time Machine isn’t the kind of film you pay to see expected anything besides vomit jokes, possibly some boobs, and good amount of belly laughs. I can report back that Hot Tub Time Machine delivers all of these and more in spades. But what I Wasn’t expecting was the amount of emotional weight the film managed to pack in amongst all the stabbings and awkward threesomes. The film is obvious wish fulfillment for all of us whose young and stupid years are slowly becoming prologue to a life that might not be exactly what we had in mind and our constant meditation is, “What could I have done differently?” It’s a bitter sweet theme dipped in pathos and capturing that often saddening thought that maybe our best years are behind us and just maybe we wasted them.

Mammoaries of a wasted youth.

Through the portal of the Hot Tub Time Machine Adam is given a second chance with the one that got away after she stabbed him the eye with a fork, Nick has another shot at his music career that went bust after a performance at a bar at the ski resort, and Lou gets the opportunity to stand up to some ski instructors that kicked the shit out of him when his friends didn’t show up for the fight. While Jacob must get the Hot Tub time Machine up and running again so they can make their way home…if he can track down the magical Hot Tub repair man played by Chevy Chase in a bizarre cameo.

Traveling through time in search of his career, Mr. Chevy Chase.

Speaking of cameos, and one that steals the entire show at that, is Crispin Glover who plays an disgruntled amputee bellhop in the present who lost his arm sometime in the winter of 86 when he was a happy-go-lucky bellhop eager to please the guests. His performance is hilarious and goofy in typical Crispin fashion and manages to generate some suspense as our main characters keep running into him in situations that could lead to him losing his appendage. This role could have been the stuff of general shrugs and disinterest in the hands of any other thespian but Crispin makes the role a stand out. Good work, sir.

Our hero, ladies and gentelmen!

Hot Tub Time Machine is nothing profound. It’s a damn good time and an excellent party movie. One that doesn’t get too caught up in all the science talk and ramifications of the time travel equations of which all their knowledge comes from films such as Back to the Future, The Butterfly Effect and The Terminator. They do change their fates and even the outcomes of several events oin 1986. Some deirectly…and some through a magic squirrel… The time travel aspect of the film is just the vehicle to bring us a great piece of trashy comedy about the importance of the relationships in our lives, those of our close friends and our family and these bonds are often more important than we can possibly fathom. The universe is ruled by chaos and we are at it’s mercy. We cannot always control who comes into our lives or what happens to them but we do have a choice in how we treat those we care about.

I’m not going to lie, Hot Tub Time Machine is funny as shit. But damn it if there weren’t a couple moments strewn through the proceedings were I got something in my eye. And I don’t mean jizz or vomit.

your pal.
-The Primal Root

Here's to good times, good friends, and good booze!




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