Showing posts with label vincent d'onofrio. Show all posts
Showing posts with label vincent d'onofrio. Show all posts

Monday, September 23, 2019

Eat Your Heart Out, Rollerball



A good sports flick is, for me, a great thing, but a good POST-APOCALYPTIC SPORTS FLICK? There's a special place in heaven for that.

Quick Plot: Sometime in the future, the world has become a barren wasteland of dusty agriculture and dog farms. The only real source of entertainment seems to come from "The Game," a rugby-esque sport played by both city professionals and wandering teams. One such group is led by Sallow (the late and always great Rutger Hauer), a former pro league member whose fall from grace now has him eking out a nomadic existence.



When Sallow's team has a particularly violent round of The Game, their "qwik" (think the Quidditch equivalent of a seeker) becomes too injured to carry on. A scrappy farmer's daughter named Kidda (a young and forever kickass Joan Chen) fights her way onto the team, quickly proving her skills and convincing the bitter Sallow to take a chance visiting the big underground city for a chance to go pro. 




To understand what any of this means, it's helpful to have a better picture of The Game, which is awesome and should be an Olympic medal event. The main thrust is simple: there's a dog skull in place of any traditional ball or golden snitch, and the qwik's goal is to impale it on a stake across the field. In his or her way is the equally motivated opposing team's qwik, plus the defense: a slash, drive, and backdrive (typically big dudes or dudettes armed with specific weaponry trying to block qwiks) and the position I'd most definitely fight for: the chain. 

It's exactly what is sounds like: an armored chain-spinner who in the glorious case of The Blood of Heroes, is played by a baby-faced Vincent D'Onofrio.



For all its swordplay, The Blood of Heroes doesn't overdo its violence. In fact, it's probably far more fitting to categorize this film as a sports flick over any other genre.

Written and directed by David Peoples (screenwriter of Twelve Monkeys), The Blood of Heroes is a pure delight for someone like me. Yes, any violent post-apocalyptic sports drama tends to connect, but I have TWO cases of Rollerball that prove there can always be exceptions. 



Why this film isn't discussed more surprises me. Sure, the production values are modest, it being late-era Ozsploitation, and the internet tells me that the game has found some longevity across the world (both under the name "Jugger" and "Blood of Heroes"). As a narrative, it's fairly swift and small, its "big game" played out in a dark indoor black pit of sorts with a fairly small crowd for its first half. But guys, here's the thing: The Blood of Heroes might very well be one of my new favorite sports films.



Does it hold a pomchenko to The Cutting Edge or a full-split foul ball catch to A League of Their Own? No, but its gender politics are on par. The Game is a coed sport and never once is Kidda or her female teammate The Big Climber every questioned for their sex. What's even more progressive is the film's attitude toward sex, which is to say, its total "it's cool" attitude towards sex.

Kidda has sex. She has sex with her teammate, which makes perfect sense, even if there's some truthfully light joking about how doing so after a game is as impossible as it is necessary. Later, Kidda has sex with a different teammate in a scene that is more tender but no less sexy. Her former partner shows absolutely no bitterness or jealousy. In Peoples' world, adults are attracted to each other and act on it, and the consequences are simply that they have a good time.



This shouldn't be revolutionary, but can you name a single film--especially from this era--where that's the case?

While I could have taken an extra hour of world-building in The Blood of Heroes, its smallness is incredibly refreshing and ultimately, very satisfying. We know just enough about Kidda and Sallow to be fully invested in their goals, and their supportive teammates (including a young Delroy Lindo) are intriguing enough to hold up the rest of the film. While the version streaming on Amazon is apparently cut, I found it to be nearly perfectly paced, ending (mild spoiler) on a simple post-game celebration that needs no further exposition. This is a lean, modern sports drama that hits the right emotional beats we've come to expect form our baseball and football flicks, but adds a surprising level of maturity that you simply wouldn't expect to find from a bit of Ozsploitation with a one-eyed Rutger Hauer



High Points
Seriously, this movie even has a last minute aged player coming out of retirement to sub in AND incredibly moment of sportsmanship between rivals. IT IS PURE JOY


Low Points
While it's both a product of a low 1989 budget and mediocre transfer to Amazon Prime, it's still a little frustrating to see how hard it can be to differentiate the two teams during several scenes of gameplay



Lessons Learned
Silk is real, and it is fabulous

If playing The Game with only one eye, the trick is to simply swivel your head a whole lot (or just be as cool as Rutger Hauer)


No one carries the dog boy

Rent/Bury/Buy
I loved many things about The Blood of Heroes, and with its swift 90 minute running time, there is absolutely nothing that should keep you from watching it on Amazon Prime yesterday. Have at it. 

Monday, May 6, 2013

Only In the World of Virtual Reality Can There Be a 13th Floor


To our modern 21st century eyes, there's something rather adorable about the excitement we and our elders had towards the prospect of virtual reality in the mid-1990s. Before the Sims could make us feel like gods or Wii Fitness could fool us into full body workouts (or arm flailing), the idea of video game make believe sparked the imagination of a full generation of mediocre sci-fi filmmakers.

We had The Lawnmower Man. It had a sequel. There were Strange Days and Virtuosity. Heck, even the steamy sexual harassment thrills of Disclosure feature a rather hilariously pixelated Demi Moore causing some mayhem. It was quite the rage, culminating in one of action cinema’s most frustratingly influential trendsetters, The Matrix.



Just before Neo took that pill, however, director Josef Ruznak (who, a decade later, would damn his soul to hell with the abominable It’s Alive remake) tackled Daniel F. Galouye’s 1960s era sci-fi novel, Simulacron-3, adapting it into the much more tongue-friendly title, The Thirteenth Floor.



Quick Plot: An elder gentleman with the steely blue eyes of Armin Mueller-Stahl wanders through a 1930s era LA with a mission to hand off an important letter to a shockingly blond Vincent D’Onofrio. We soon learn that Stahl is actually Hannon Fuller, a techno-genius-mogul of sorts playing around in his next big hit, a virtual reality program that drops users into the past. Fuller’s Bill Gatesian plans are foiled when he’s stabbed to death outside a bar in the present (1990s), leaving his next-in-command Douglas (the poor American man’s Clive Owen, Craig Bierko) to solve the mystery of his murder, decide the future of the program, elude future President Dennis Haysbert’s detective probing, and fall in love with Past It Girl Gretchen Mol.


Also, to rock a kickin' '30s 'stache

Science fiction is a complicated genre when it comes to time. On one hand, the ideas presented in the stories are supposed to be fairly speculative, meaning nothing should feel bound by its era. On the other, does any other genre age more noticeably? Part of it is that the ‘idea of the future’ is fragile, rendering visual imagination obsolete or out of date once that time finally arrives. Sure, Starship Troopers rather accurately anticipated iPads, but it’s hard to believe a Logan’s Run prediction of the next few centuries when everyone’s dressed as if they’re preparing for a typical Saturday night at a roller disco.



The Thirteenth Floor circles that problem, as the concept of virtual reality as defined by ‘90s cinema has all but become a punchline. Looking past that is equally problematic: without giving too much away, this is a story that had been done so much better (both visually and emotionally) in the then-underseen, now slightly-overrated Dark City. There are some deeply thoughtful ideas at play in The Thirteenth Floor, but there’s also a murder mystery to solve and gooey romance to slog through. At about 100 minutes, there’s simply not enough time for anything of genuine depth to transpire.



This is not to say that The Thirteenth Floor is a bad movie. It has Vincent D’Onofrio sporting long greasy blond locks for goodness sakes! It has Armin Mueller-Stahl in jeans! OF COURSE IT’S NOT A BAD MOVIE. 



It’s just kind of mediocre.

High Points
While The Lawnmower Man graphics still elicit a few good chuckles, the film seems to come alive most in its virtual reality experiment, playing with colors and visual style as Douglas experiences a post-Boardwalk Empire, pre-Wizard of Oz world


Low Points
At its core, there are some truly fascinating themes present in this film, ones that could explore identity, humanity, god syndrome, and so much more. But perhaps due to its marketability as a sci-fi thriller, The Thirteenth Floor never really commits to fleshing out its heart




Lessons Learned
Even simulated universes contain a steady supply of L-shaped bedsheets to best cover the female form after a night of lovemaking



When making a bargain martini, a pretzel is a sufficient, if not quite desirable substitute for an olive

The best way to channel a lack of class is to chew gum with one’s mouth open 

You Know You’re In a ‘90s Film When…
The grocery checkout cashier asks you whether you prefer paper or plastic 




One could buy three packs of cigarettes for less than $7.50

A pointed reference is made at America’s Most Wanted



Rent/Bury/Buy
The Thirteenth Floor was streaming on Netflix until the Great May 1st Purge of 2013. It’s unfortunate since that’s probably the best way to watch this film. It doesn’t REALLY merit a rental or purchase, but as a lazy weekend viewing, it’s more than adequate. The film’s ‘90s nostalgia ages in the typically interesting way of that era’s sci-fi, while the actual mystery aspects are strung out well enough to keep you curious until the end. The story has been done better, but hey...pixels!