this post was submitted on 12 Mar 2025
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[–] [email protected] 1 points 1 hour ago

I watched the Scott Adkins film Accident Man this week. It's a film for a particular audience, one pre-disposed to enjoy direct-to-video action/martial arts schlock. On that level, it's fairly successful, though limitations of budget and time are apparent in the fight choreo. I'd guess about 10% of the blows are mistimed, or aimed obviously wide. Furthermore, as a showcase for stunt performers, they wisely avoid overly editing the fight sequences, but (presumably in an effort to inject "intensity" without utilizing editing) the camerawork strays occasionally into unmotivated shaky cam territory. It isn't hugely distracting outside of a couple beats though, and, without rapid fire cutting, the action remains mostly legible.

Speaking of stunt performers, the cast is the obvious selling point of the film. Adkins, Michael Jai White, Ray Park, Amy Johnston, and Ray Stevenson are probably the biggest draws for the film's intended audience, and they certainly deliver. While anyone who has seen Black Dynamite knows that Michael Jai White has excellent comedic instincts in addition to his physical prowess, I was pleasantly surprised by Ray Park, who I found to be quite funny as White's partner in crime. Stevenson provides some of his trademark intensity and gravitas, and a handful of other trusty character actors fill out the cast list. Comparatively speaking, Johnston draws the short straw, as her katana-wielding honey pot assassin suffers the most from the movie's early 90s, deliberately edgy, independent comics origins.

With all that being said, the experience is sort of spoiled by the narrative tying the fights together. Adkins is an amoral assassin who views his targets not as people, but as deposits into his bank account. He is misanthropic to the extreme, and it's a testament to Adkins' charisma that I continued to watch after he justifies brutalizing a group of bar patrons (who, to be fair, are depicted as harassing a woman) as necessary to diffuse his "PMT - Post Murder Tension". Tempting though it is to blame Stu Small and Adkins (who debuts as a screenwriter here), as I mentioned, the movie is an adaptation of an early 90s comic by Pat Mills. Mills is most famous for his involvement with the early Judge Dredd stories, so I'm inclined to believe that there's an element of satire in just how edgy everybody is. Much of Adkins' narration appears to be quoted directly from the comics, based on what I was able to find online, so I'd guess that much of what I'm about to criticize the film for is present in the source material and not a reflection of either writer.

The crux of the movie's plot is Adkins' ex-girlfriend (who, after leaving him, began a relationship with another woman) winds up dead, and Adkins sets out to uncover what happened. It's established that Adkins has hang ups about the relationship's end, because she was the only thing in his life that made him feel something. Despite this, it's clear from everyone that he interacts with that she wanted nothing to do with him after they split, and the brief glimpses we get in flashbacks show him to have been utterly uninterested in her as a person, rather than a sex object. Additionally, Adkins discovers that Beth was pregnant with his child at the time of her murder (and that Beth and her new girlfriend, Charlie, intended to raise the child as their own), which he immediately gloms onto in exactly the sort of toxic, possessive masculinity that you might expect from the shittiest kinds of men. To the movie's credit, there are a number of scenes in which Adkins' personal "stake" in the plot is criticized by the less sociopathic characters. Unfortunately, it doesn't fully commit to the bit, and there's a third act pep talk from Charlie to Adkins that feels ridiculously unearned given their history. Additionally, it doesn't sit right with me that Adkins is continuing to use misogynistic language pretty liberally during the final fight, when he's supposed to have experienced some character development on that front.

Also, as a minor annoyance, despite the film's title and his assassination gimmick being based around making his hits look like accidents, we really only see that twice, very early in the film. That's kind of a bummer.

All things being equal though, the movie mostly delivered on the promise of its cast, and the narrative issues I have with it aren't so glaring that I couldn't be bothered to watch the interstitial scenes in between showdowns. 3/5 stars.

[–] [email protected] 1 points 9 hours ago* (last edited 9 hours ago)

Watching some Bong-joon Ho in prep for Mickey 17 at the weekend: Mother and Snowpiercer.

Mother was sensational! Maybe better that Parasite. Similar gritty drama motifs.

Snowpiercer was pretty good but not great. I like his fantastical work and The Host is probably still my favourite film of his. (Okja also great but did not watch it this week.)

I also re-watched True Grit and LA Confidential this week. Both solid, True Grit better.

[–] [email protected] 1 points 15 hours ago

Mickey 17 Return To The Batcave Edgar Allan Poe's The Pit And The Pendulum

[–] [email protected] 2 points 1 day ago (1 children)

After rewatching Justice League Unlimited last week and remembering he voiced The Question, I've been having myself a little Jeffrey Combs film fest.

Watched all 3 Re-Animators and The Frighteners. I'll probably keep it going with From Beyond and/or Castle Freak, neither of which I've seen yet.

[–] [email protected] 1 points 18 hours ago (1 children)

Are the Re-Animator sequels worth a watch? I love the OG, but I've always assumed any sequels would lack its charm.

[–] [email protected] 2 points 16 hours ago (1 children)

Yeah, I think so. There are 4k remasters of both on youtube.

Bride of Re-Animator (2nd one) is good, and still pretty coherent (for Re-Animator anyway). It's also got one of my favorite speeches from West. It's based off the chapters of the Lovecraft story the first one didn't cover. It kicks off with West and Cain from the first one trying to rebuild Meg from spare parts.

Beyond Re-Animator is, if I'm honest, a narrative mess with plot holes you could drive a truck through, but it's still pretty fun. It's not based on the Lovecraft story at all, they made up some stuff with West in a prison for the actual 13 years since the last one. A new prison doctor who's been following his work helps him make some new reagent and shit gets out of hand.

Beyond has some of my favorite undead in the series though. A junkie gets a vial and shoots up with it, while he's still alive. It goes... poorly.

[–] [email protected] 1 points 4 hours ago

Well, consider me sold. Messy, but entertaining is exactly what I'd hope for from the sequels. Thanks for taking the time to reply!

[–] [email protected] 5 points 2 days ago (1 children)

Watched mickey 17, it was okay.

[–] [email protected] 1 points 8 hours ago

It could've lost about 20-30 minutes of runtime and been fine.

[–] [email protected] 1 points 1 day ago

All Quiet on the Western Front because I just finished the book. I gave it 3/5 stars. I enjoyed 1917 better.

[–] [email protected] 3 points 2 days ago

@BoozeOrWater 1. Mikey 17 2. Flow.

[–] [email protected] 2 points 2 days ago

I saw Mickey 17 at my local cinema. Overall it was a good experience, the other cinema-goers were quiet and respectful so we could all enjoy the film properly (doesn't always happen). The film itself was great for about two thirds and then pretty mediocre in the final third, but overall it was worth seeing for some classic Bong Joon-ho comedy.

[–] [email protected] 1 points 2 days ago

In the past week I've seen:

Ne Zha

The Rule of Jenny Pen (theater)


Ne Zha was decent. Really fun action sequences and great visuals in the action sequences. Some of the humor didn't land, likely because it's a kids movie and maybe because I'm American and Chinese humor just doesn't land as well for me.

The Rule of Jenny Pen was certainly something. Its basically John Lithgow physically and mentally abusing elderly people with a puppet. I'd recommend watching it. Lithgow does a great job playing an absolutely unhinged psychopath.

[–] [email protected] 1 points 2 days ago

Women in Love, definitely Ken Russell's masterpiece.

[–] [email protected] 1 points 2 days ago