FORCE OF NATURE (2020) Mel Gibson / Emile Hirsch

So....let's take a trip back in time (two hours ago to be prescise) and I get wind that there's a new Mel Gibson movie in town. I've never heard of it, vaguely recognise (nor care about) the supporting cast and (most importantly) notice this is a 'Emmett/Furla' (EFF) production. 

My inner-Columbo screams "Holy Fuck...Hollywood's one-time MVP turned STD has gone STV"

The underlying question here is....why?

SYNOPSIS

Emile Hirsch (who I barely recognise from the otherwise enjoyable Into The Wild) plays Cardillo, a demoted, embittered, suicidal ex-Police detective with a dark tragic past (tm) who is content to finish out his career in a cushy police surveillance department in Puerto Rico....only to be told one evening, by his angry, shouty superior (tm) to actually get up off his ass and round up a bunch of people refusing to leave their homes (due to a incoming major hurricane heading that way) Cardillo is also partnered up with an attractive female partner (tm) who is his polar opposite (trademark overload)

(Don't worry Emile, that LIONSGATE logo has a similar effect on me too)



Despite Cardillo's reluctance to rock the boat (and actually do some police work) our two cops are called out en route, to an incident at a food market involving a black guy buying up 100lb of meat (mmm, I hope he's not keeping a CGI wildcat in his heavily padlocked cupboard?) Anyhow, as it stands, the two police officers kneel on the black guys windpipe, murdering him, thus causing race riots across the globe escort the black guy home (who coincidentally lives in the same appartment as the other folks they have been sent to round-up.....Holy plot device Batman!) The other tennants consist of some old secretive, German guy (with security cameras in and around his otherwise modest adode) and the other is a grumpy, shouty, sweary, tuberculosis-riddled, ex-cop (tm) named Ray (Mel Gibson) and his nurse daughter (Kate Bosworth)



(Mad Mel sitting in a chair marked 'Bruce Willis')


But if the impending hurricane wasn't enough, the 'Fickle-Finger-Of-Fate' has also sent a group of murderous thieves to this apartment block (armed to the teeth) looking to 'liberate' valuable paintings (Once again, my inner-Columbo assures me that neither the mysterious old German guy or the largely unseen big cat locked away in the cupboard will in no way, shape or form, bear any relevance to the outcome of the 'Pinteresque' melding of convential crime and drama tropes on display)

REVIEW

Despite not knowing of this movies existence a few hours ago...a cursory investigation confirmed my initial fears.....when I read that Mel Gibson took the role after Bruce (fucking) Willis opted out.



(Talk about a closed-Set?)


It's never a good sign, when Bruce (paypal-verified) Willis drops out of his customary 'Two-Day-Stay' work ethic, which invariably involves his usual fifteen minutes of 'sit-down-thesping' (for around $1m+ salary) But to be fair, I prefer Gibson over Wilis anyhow (even if Hollyweird doesn't) So as the movie unfolded, I was prepared for Mad Mel to have the (customary) switch-and-bait screentime of around 15-20 minutes (spaced out to give the impression he's headlining it, no less) Although Mel (here looking even more grizzled and Beard-ier) doesn't disgrace himself....the script takes that honour.....Alas all we're left with here is an OK-ish opening 20 minutes...followed by multiple 'myopic-shooters' wandering around endless coridoors of the world's smallest apartment block....as the supporting cast, pad out the running time with backstory, exposition and even (despite their predicament) tonal-shifting levity.



(A typically 'tense' scene)

Production wise, everything was competent...as to be expected from EFF, albeit too predictable (right down to the prerequisite overhead drone shots) but the sparse low-rent locations (clouded by wind machines and rain sprinklers) drag proceedings further down. What could have been a tense piece of 'siege-cinema', is saddled with both uninteresting support and predictable 'plot-devices' will leave the viewer (like the cast) checking your watch (for 'clocking off' time) at around the midway mark. The movie even has the gall to open up with a 'flash-forward' scene (involving Gibson) which would be OK if it had any later relevance....but alas it doesn't.....it's inclusion is there to both pad out the running time and give the gave the movie a bit more (much-needed) Mel.

(Gibson 'thanks' his agent)

I'd like to fool myself into thinking that Mel Gibson was doing a 'Cassavetes' here (i.e, securing funds for one of his own master-works) Yet however UNJUSTLY reviled his standing may be in Tinsletown, I'm almost certain he doesn't need whatever little money was on offer here.....and given his many directorial flourishes, woulda-coulda-shoulda at least have a better 'eye' for picking projects. Given Willis' almost coma-like performances of late, Gibson (to his credit) gives a little more 'oomph' and takes the fight to the (one-dimensional) bad guys on a few occasions, but come the halfway mark, seems as disinterested with it as you'll be.

Bruce Willis' loss...Is also Mel Gibsons loss (and now ours)


FACTOID

IMDB have the estimated budget for this to be at $23,000,000 (meaning that either Gibsons salary was $22m....or that the accountants involved should be handed the 'Glengarry' leads)

BEYOND FURY (2020) Darren Ward

This is a review for a movie that's quite close to my own (Guinness-soaked) heart.
A film that has spent several years in development hell, primarily due to funding and the other tribulations associated with making quality movies outside of the studio-system.
After a long wait, it's finally here, in all it's blood-soaked gory glory.

Ladies and (those few) Gentleman out there, I am proud to review Darren Ward's latest, Balls-To The-wall, Gore-To-The-Floor, Foot-Smashing, Pistol-Whipping, Eye-Popping, Southampton Chainsaw Massacre (more commonly known as) BEYOND FURY

Synopsis:

Former Mercenary, Hit-man and all-round 'Double-Hard Bastard' Walker (Nick Roberts) has laid down his guns and 'increased the peace' since decimating half of South East England (in 1997's blood-splattered 'Sudden Fury') Now settled down with a wife (and a child on the way) things are looking tickety-boo for our hero....But worry not wastrels, this aint no 'Tom Hanks' rom-com, and anyone familiar with this directors work, will surely know that notions of both peace and love are about as short-lived (not to mention 'family-friendly') as a Peter Suttcliffe cartoon on Cbeebies.

(Walker - Texas Homecare)

Exiting a resturaunt one evening, the happy couple have a random (yet grave) encounter with two drunken, abusive lowlife's in the nearby carpark. What starts out as profane 'ribbing' takes a darker tone to crude insults. These degenerates are led by 'Spider', son of feared Russian crime-lord Ivan Lenzivitch (Giovanni Lombardo Radice) and unbeknownst to Walker, Spider has a truck full of Daddies 'footsoldiers' ready to cause maximum damage.

(Rednecks)

Walker attempts to defend his pregnant wife's honour but is set upon in a brutal fashion by his unforgiving assailants. Our Hapless couple are taken to a garage, wherein Walker manages to get in a few licks of his own (notably a returned flick-knife into the owners neck) but is soon overpowered and given the 'Ike Turner' workout by his captors. Severely wounded and near unconscious, Walker is forced to watch his wife stripped, violated and subsequently mudered.

(Deadnecks)


The bad guys (drunk on their own self-importance) dump the bodies of both walker and his wife, in a nearby alleyway. Police (led by Joanna Finata & Harold Gasnier) find their bodies...but it turns out Lenzivitchs' goons have made three fatal mistakes:

Mistake #1 was fucking with Walker in the first place.
Mistake #2 was killing Walkers pregnant wife.
Mistake #3 was not finishing off the job.

Because Walker is (somehow) still alive, pissed off and itching for payback.....

Let the hunt begin....

 (Fuck Blondes, this Gentleman prefers redheads)

Review:

Beyond Fury is the 'threequel' of director Darren Ward's blood-soaked trilogy (and a direct sequel to his first full length release 'Sudden Fury') Despite several (hard) years in the making, the sheer determination and perseverance shines throughout in every scene. Whilst still boasting over-the-top violence and excellent FX work....the carnage is never glorified. Ward stays true to the explotation 'genre' he loves so dearly....whilst highlighting the consequences of such bloodletting.

(Don't order the swordfish)


Sure, there's an (almost regimantal) plethora of clichés on parade here. Lesser movies (and likewise directors) would invariably succumb to the temptation for comedic mugging, but thankfuly Ward wisely opts for 'respectful nods' over 'knowing winks'.

For example, the many instances that  various characters gush platitudes about 'How Much Of A Badass' Walker is, would make even Steven Seagal blush.....But in Ward's capable hands, it works. The key is (as always) to play it straight.

Despite (or maybe 'thanks' to) the lack of resources for multiple takes or reshoots, the cast (Ward's strongest to date) compliment each other on screen. Giovanni Lombardo Radice needs no introduction (and shows no signs of slowing down in either his 'craft' or enthusiasm) but Ward has also added a few more familiar faces to his arsenal.

We have Jeff Stewart (The Bill, Mob Handed) who's always great value for money, as Frankie, an associate of Lenzivitch, living on borrowed money (and likewise time)

(Bill Why-Man)


Then we have Dan Van Husen (Salon Kitty, Nosferatu The Vampire & Innumerous Spaghetti Westerns) as Reverend Mortimer, Walkers former mentor, who despite his vows, is always on hand to assist his friend on the path to vengeance (thank God for that, eh?)

(Compadre to Padre...ho-ho) 


But in my humble opinion, the ace in the pack, is (once again) long time stalwart, Victor D Thorn, as shadowy agent Smith, hot on the trail of Walker.

(The one and only Victor D. Thorn)

Yes, Thorn still sounds like Chris Tarrant with Tourettes, but he has a great screen pressence and some genuinelly funny lines (made funnier by the po-faced nature of their delivery) and alongside Roberts, Thorn makes up the Darren Ward repertory company, that's lead to three collaborations so far (and hopefuly more to come?)

 

The rest of the supporting cast give their all too (no slackers here) Notably Dani Thompson & Tina Barnes (both in difficult roles) Whilst Chris St Omer, Gary Baxter, Glenn Salvage and Anthony Straeger give suitably hissable performances as Lenzivitchs' partners in crime.

Cinematography is crisp and clean (as is the editing) and the (John Carpenter-esque) soundtrack (courtesy of Dave Andrews) is first rate. As usual with Ward's pictures, the technical merits belie any budgetory constraints and this is without a doubt, the best looking movie he's made to date (would be nice to see this on Blu-Ray someday soon?) hint-hint, potential distributors?

(There's nothing like a subtle 'Cannibal Ferox' reference....and neither is this)


As usual with Darren Ward's movies, the devil is in the detail. The decades between releases have not only matured the film-maker, but also finely tuned his deft handling of daily 'minutiae'.....Best exemplified in a (genuinelly heartbreaking) sequence, which finds Walker (full of understandable rage) brought to his knees, not by an opponent, but by the mere sight of an empty childrens cot.
You can't buy (or fake) scenes like this.

 Less harrowing, but equally telling, was a scene early on in the resturaunt between Walker and wife. They decide to leave impromptu, but Walker (regardless of the spontaneity) still finishes off his beer (how many Hollywood movies, do you see where the cast leave full food and drink, after barely a forkful?) Whether or not this was planned or just a 'human trait' on Nick Roberts behalf, it still adds a touch of detail and realism to proceedings. It's always little touches like these that stay with me, long after the movie is over.

(Walker knows to always finish your beer...never leave a soldier behind)


 If all the aforementioned 'ingredients' don't attract you to 'Beyond Fury' then it's highly likely that you have any genuine affinity for the genre to start with (and I shudder to think how you actual came across this review in the first place?) However, if you do have a taste for extremely violent revenge thrillers that set standards (instead of merely following them) then this movie will restore your faith in UK independent film-making. Highly Recommended (if you hadn't figured my rating already?)

Unlike Deontay Wilder....get 'Beyond Fury' (DrumRollCymbal)



P.S, Who says you can't buy happiness?
 

See 'Beyond Fury'.....Before it see's you.

CODE OF HONOUR (2016) Steven Seagal

Back in 1974, the late, great (and much missed) Michael Winner kickstarted the whole 'Vigilante' genre with the seminal classic 'DEATH WISH'. By the time of the third movie in 1985, Charles Bronson was referred to as 'Mr Vigilante' (presumably for postal reasons) But I guess such labelling would be demed 'Transphobic' nowadays?
In 2016 (the rightful heir to Bronsons stoic tough guy persona) Steven Seagal revives the genre...but up's the ante, by being referred to as (I shit thee not) 'The Super Vigilante' (not entirely sure if this is a dig at the current glut of DC/Marvel franchise pics....or merely just the Stout Sensei's ego running into overtime?) But digression aside, CODE OF HONOR has (after a brief stint in about 4 cinemas in Syria) hit VOD/DVD.

Can Seagal still (literally) kick it?....Have I learnt to string together semi-coherent sentences yet?....Read on to have all your fears and doubts confirmed?

A drug deal with two rival gangs ends in a (CGI) bloodbath, when M.I.A Colonel Robert Sikes picks them off from a great distance with a high powered rifle. Clocks get stopped, heads get put to bed, as our cigar-chomping goateed anti-hero casually guns down a multicultural selection of assorted badguys. It's a pretty cool sequence with explosions and shot up cars (but the CGI blood lets it down a little) After dispatching all but two of the criminals, Sikes parasails down (with back projection worthy of an episode of Adam West's 'BATMAN') before knifing one bad guy, and leaving one survivor (presumably to warn others)

(Goatee in motion......Weeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee!)

 The police arrive (surprise, surprise...5 minutes later) and notice mysterious Federal agent William Porter (Craig Sheffer) snooping around the crime scene. After a brief dick-measuring contest, Porter works in liaison with the police, without giving too much away of his actual intentions at this point

 ("I don't care if you are Elton John....FREEZE!")

The director realises too much plot/dialogue/exposition may be off-putting to Seagal's fanbase, so we then skip to the obligatory (if not contractually enforceable) 'Strip Club' sequence. Seagal (requiring no doubles in this location) sits there gazing on as a bunch of surgically enhanced 'Ladies' shake their meat to the disco beat. No doubt, the character of Sikes is meant to be thinking of black Op missions in Angola....However Seagal (the thespian) merely lights another stogie and piehawks in silence (and 30 minutes into the movie, and he still hasn't uttered, mumbled or southern drawled a single word yet.....let alone had words dubbed into his mouth) Seagal talked more in HARD TO KILL (and he portrayed a coma patient in that one)

  (The Horror.....The Horror")

Amidst this naked flesh, we are introduced to the character of  Kerri (Helena Mattsson) a Heather Graham lookalike. In keeping with the order of natural selection/misogyny found in these movies, she doesn't actually strip off, and has a backstory and shit. When her child gets ill at School she leaves the strip club early, after warning her fellow worker to watch out for the scary looking guy sat in the back row (Seagal) as apparently he's a lousy "tipper" (I have it on very good authority that Steven Seagal is very generous with Strippers, Sex-Workers, etc.......but that's for another court case, I guess?)

 ("Nice legs....What time do they open?")

With our unlikely heroine out of the club, Sikes averts his gaze from the dancers long enough to notice a gang of scummy criminals sat ahead of him. With little regard for what few innocent patrons are in the club, Sikes exits the bar, and then gives new meaning to the term 'Blow Job' by bombing the shit out of the establishment (tough shit, if you just called into the 'Snake Eyes Strip Club' asking for directions, or a book of matches?)

 (Seagal regretted eating Chilli-Peppers before a fight scene)

Admittedly, it's a pretty cool sequence to see Seagal walk away (as a building explodes in slow-mo behind him) in what I assume (given how shoddy the actual CGI work is in the movie) a real shot done in one take?

  (Every good Fire Engine needs it's Hoes)

Kerri returns to work (with no further mention of her child's illness) and is met by Porter at the crime scene. Porter notices Sikes looming in the background (like Michael Myers in 'HALLOWEEN' ) But our 'Anti-Hero-Super-Vigilante-Colonel-Commander' vanishes 'Like A Ghost' (tm) These vigilante murders have not gone unnoticed by local crime boss 'Romano' (an underused James Russo, clearly paid in cocaine for his appearence here) who senses a pattern, and is keen to Question Kerri (as the only survivor of the Strip Club massacre) He sends his goons to retrieve her.

  (Craig Sheffer celebrated bagging a role in his first, but probably not last 'Seagal' movie)

 Porter decides to come clean about the vigilante to the police, and introduces Sikes in the customary 'Isn't -He-Just-So-Fucking-Cool' monologue (an unwritten law in all Seagal movies) to his bemused colleagues

(Quote:)

"His name is colonel Robert Sikes....He is a Commander of one of the most elite units....His service record is impeccable....His skills at hand-to-hand combat...weapons, firearms, explosives is un-matched. He's trained to blend into any city, any terrain. And he's using those skills and that training to go after gangs or drug dealers, or anyone, who in his mind is threatening the moral fabric....the well being of this country"

 (Nice knife-Rack)

It transpires that whilst Sikes was leading Black Op missions around the globe, his wife and child were accidentally killed in the crossfire of a drive-by-shooting.....Hence his 'Vigilante-ism' The police send out Detective James Peterson (Louis Mandylor) to apprehend Sikes by all means necessary.

Meanwhile, Romano's goons catch up with Kerri at her house, but Porter arrives and goes ape-shit with his knives. Giving chase in an alleyway (one of the many glamorous locations on display, Ladies and Gentlemen) Romano's heavies are just about to get the drop on Porter (who is out of bullets and knives) when up pops Sikes (and at the 45 minute mark) utters his first lines of dialogue. Sikes mumbles some deep mumbo-jumbo about "Saving The World" and "Anonymity" There's a begrudging sense of respect between Master and Pupil, they agree to not kill each other long enough to arrange a second meeting at a nightclub (owned by Romano, no less) later that evening.

(Just say No.......To fake CGI Blood)

With a few hours to kill (not to mention 'Criminals') Sikes takes his brand of justice to a small gathering of scuzzy drug addicts. Oddly enough, he only shoots the male stoners. Leaving one zapped out woman smoking her crack pipe, oblivious to being covered in the brain matter of the dealer that lays dead, alongside her? A bizarre sequence. Vicious, nasty (and even in a movie of this ilk, morally questionable) but lessened slightly by more CGI assisted blood (are squibs so expensive, nowadays?)

 (The lighter side to Steven Seagal)

In an actual act of rare common sense for this kind of movie, Porter actually informs the police about his meeting with Sikes. And goes to meet his ex commander not only wired up, but with a tactical squad nearby to apprehend the 'Super Vigilante'

Sikes, undaunted lights another ciger (giving his erstwhile namesake George Segal a run for his money) and continues to make up for lost dialogue (by not shutting the fuck up about Porters many failings in life)

Namely that Porter had (quote)

"Fucked everything that moved....Drank every drink....Snorted every drug.....Accepted every vice......Foreign And Domestic"

This seems to be the juxtaposition between Sikes and Porter. Sikes had his family cruelly taken away from him....Whereas Porter pissed his family away. For all the mocking of the movie....This is a pretty good sequence, and Seagal actually manages to nail the intensity of the scene.

(Always turn off your flash, whilst taking 'Selfies' in the mirror)

After mucho introspection, Sikes then caasually announces that he's holding not only another detonator, but also a radio scrambler (to prevent the tactical squad from getting the nod) and that Porter is sitting on a timebomb (like quote: "The one we used in Afganistan") which will detonate if Porter leaves the seat. Romano however, is onto the duo in his club, and a gunfight ensues....Requiring Porter to fight off the bad guys whilst remaining seated. Sikes just disappears ("Like-A-Fucking-Ghost" etc)

(Russo surrenders all dignity in his role as Drug Lord Romano)

Romano surrenders and is arrested, and is due to stand trial. However, Sikes blows his head off at a jam-packed (14 person) press conference outside the law courts. Everyone is covered in Further CGI brain matter, and (hopefully) the producers sent Russo packing with his well-earned $20, and directions to the nearest Billy Zane, Albert Pyun, Eric Roberts film-set (whilst that particular afternoon was still young)

(Utah's Parking Laws were getting stricter by the day)

Kerri (and son) move into Porters seedy hotel room (not sure if that's allowed under Utah's 1998 'Hotellier Health & Safety' Regulations?) Regardless, it forces Porter to ditch his bottles of booze, bond with the child, and clean his act up. Meanwhile there's a (frankly pointless) subplot about the Commissioners daughter  getting killed in the nightclub shoot-out. And also a Senator who likes sleeping with girls that are (clearly) 60 years younger than he is?  The police finally manage to locate a file on Sikes (most of it Redacted) which leads them to question if Porter is making the whole thing up, to cover his own vigilante tactics?

(Let's hope they omitted 'MY GIANT' from this dossier?)

And it seems that the Police might actually be onto something, as Porter flees his motel, and finds a trail of dead bodies that Sikes has left in his wake. However, we are now (confusingly) shown all of Sikes previous kills performed by Porter. It seems\ like an interesting concept? Is porter imagination Sikes as a manifestation for his rage? Quite apt, given that Seagal is always referred to as a "Ghost" (or is a dig at the fact that he's never on set enough) For a brief spell it seems as if this eleventh hour 'twist' will result in the first time a Seagal character hasn't actually been in a Seagal movie at all?

(A guy actually older than Seagal get's the love scene in this one?)

However this 'concept' is ditched when Porter gets the drop on Sikes on a rooftop. The two guys shoot the shit, then engage in a pretty cool knife fight. Sikes notices police helicopters closing in, and jumps through a skylight....Leaving the police to think that Porter *IS* the vigilante. Porter evades police fire, and makes down into the building to see if Sikes Survived the fall. Of course Sikes survived the fall.....he's played by Steven Fucking Seagal. Although he does have to remove a shard of glass from his hand (so maybe Seagal is aware of his own omnipotence) But s soon as the glass is removed, both men resume their fight, before Sikes activates another bomb. Porter runs away, but the explosion takes out most of the top floor of the building.....Surely no-one could survive that?

(Never punch a guy with a glass jaw)

The police retrieve one burnt corpse from the wreckage....which is identified as Sikes. Kerri and her son are siting nearby,  and it seems that the youngster has been given a catchers mitt by his mothers "Friend" (which we, the viewer is meant to think was Porter....however the scene is left open ended by not showing either character).....So, who actually survived.....and more importantly....Who actually existed? All in all, it's a pretty enigmatic and ambitious ending to what is an otherwise routine STV action thriller?

("Mommy, shall I wait here, whilst the guy with the goatee shags you in the customary creepy finale?")

CODE OF HONOUR is a really interesting movie. Sure it's low budget, and lacks big set pieces. But all of it's faults (chiefly CGI blood) it manages to spread out it's limited content, thanks to good pacing. It tries to do something different with the Seagal formula. Like 'Bruce' the shark in JAWS, it utilises the inactivity of it's star, by adding a mystery element. It's not a prefect plot-twist, but it's a risk that the likes of (Seagal's usual director) Keoni Waxman rarely take with his star. Apert from the bad CGI, another grumble is the lack of fights. Craig Sheffer (a really underused talent) does the majority of the fight scenes in this one. Seagal seems content to just sit back and pick off his prey with a high powered rifle. He's cool doing it....But had he snapped a few arms, or at very least 'Took-The-Ruckas-To-All-These-Motherfuckas' and bust some aikido on these street punks....this could have a mini-classic?

(Don't ask)

Michael Winnick directs proceedings in a very workmanlike manner. But (after a glut of previous over-complex Seagal flicks) sometimes 'basic' can be a blessing. I love the theme of the Teacher/Student chase. And the fact that they nearly went all 'Twilight-Zone-ish' at the end was a brave attempt to mix it up a little (after the slightly generic 'ABSOLUTION') But good intentions don't always result in good movies, and whilst I enjoyed the movie.....I could see the average punter (clearly expecting UNDER SIEGE 3 with very new release) being a bit bored, or even baffled with this one? For once the plot satisfies....it's the action that underwelms. Maybe if MARVEL were thinking of another Big Screen PUNISHER re-boot, perhaps Seagal could still be nimble enough?

(The polar opposite to FIRE DOWN BELOW)

After waiting what seemed like an eternity in DTV land after ABSOLUTION (2015) Seagal now has FOUR more movies to be released this year. ASIAN CONNECTION has more action, but looks generic. THE PERFECT WEAPON has a sci-fi slant (but looks a little too low budget) KILLING SALAZAR looks decent (but I think Like Goss and Georges St. Pierre will be the main stars of that one....Plus Keoni Waxman is directing) As with END OF A GUN (but the details haven't been verified yet) Another movie CONTRACT TO KILL will probably turn up in 2017 (same with the rumoured Seagal directed 'ATTRITION') So like the proverbial bus....You wait all day for a Seagal....and then four come along at once.

(Even if you had infinity knives....I would punch you up into the air like a kite)

I doubt CODE OF HONOUR will gain Seagal new supporters. But his diehard fanbase should enjoy it, whilst maybe bemoaning the lack of hand-to-broken hand combat. Seagal isn't dubbed in this one, although he is slightly doubled in the long silhouetted shots of the climactic knife fight. Seagal also seems a lot slimmer in this (which is another reason they should have been more action) A few more fight scenes may have lifted it out of the ordinary (or at very least complimented the plot-twist in the final third) The other performances are all ok (no real stinkers) Sheffer is his usual intense (Don Stroud-Looking) self. Russo is good in his few scenes. Mandylor is reassuringly bland and the requisite eye-candy is present and correct.

(More bad CGI blood)

I was chuckling slightly at the end credits at the bizarre 'Special Thanks To' credits, that kick of such plaudits as (quote) "All Those That Rescue Shelter Animals" (which then makes it look s if the subsequent names have all adopted 3 legged cats from their local Pet-Pound) Axeman 'Eddie Van Halen' is one such name on the 'Special Thanks' list....and to be fair, the funky (almost 80's sounding) Guitar track on the closing credits sounds a lot like his handiwork....I wonder if he and Seagal have ever 'jammed' together?

Interesting (ish) Factoid

Seagals character makes a few references to the term 'Foreign And Domestic' throughout the movie.....which was the original title of this movie, back in it's development stage.




Technical Guff

Code Of Honour is brought to you (in the UK) by 'Highfliers Films' on the DVD format only (Bastards....I want it on Blu-Ray) It is rated 18, runs at 106 minutes, and has zero special features (unless you think a choice of listening to the movie in either Dolby Digital Stereo or Dolby Digital 5.1 is somehow qualifies as a feature?) It does however contain trailers for the following:

The Runner
D-Day Survivor
Haunting At 1666
Essex Vendetta (which looks really funny and right up my street)
Alien Battlefield
Badge Of Honor

SUDDEN FURY (1998) Darren Ward

Most DVD releases nowadays promise the earth (but couldn't deliver cold pizza) Almost ten agos ago, i was fortunate enought to stumble across the cover for Darren Ward's SUDDEN FURY. The lurid pictures and synopsis had me hooked straight away, and I bought it immediately. I expected a cheery, low budget gore-fest...and it didn't dissapoint in those regards. But it also had something else...an honest, heartfelt energy (that papered over the occasional dodgy accent or three) And above all else, it restored my faith in British moviemaking (which at the time was content to churn out 'Grim-Up-North Tragi-coms' or 'United-Colours-Of-beneton-Film Four Fuckoffs') Here was a UK movie for fans of Lucio Fulci or Umberto Lenzi. It also proved that a director could think outside of the 'Let's Hire Ricky Tomlinson to play an opinionated Scouser' box, and make something for the die-hard fans of gritty crime/horror movies.

(The J, the I, the M, the M, the Y, the J, the I, the M.......It's JIMMY!)

SUDDEN FURY opens with 'Henchman' Jimmy reading the riot act to a couple of inept (would be) hit men (with GCSE's in fuckupery, and little else) The two guys (partial to the 'devils dandruff') have completed the job, but were given implicit instructions to "Shoot the motherfuckers in the heads" by crime boss Mr Randell (Paul Murphy) Tempers (not to mention, some hilariously overblown southern accents) reach boiling point, when Jimmy points out that they won't be receiving the rest of their fee. Mr Randall (who is sat in a car outside) bursts in, and together with Jimmy, they proceed to punch, kick and shoot the shit out of the two 'defectives'

(Randell about to get De Niro on yo' ass!)

We cut to a darkened room, and a guy named Walker receives a phone call, informing him of a new assignment....cue the opening titles...fuck yeah! (this is my kind of movie)



The location switches to Randells office, as he gripes about his on-going war with rival Harris, whilst bollocking Jimmy for hiring such lowlife fucker-uppers in the first place. Randell thinks he's got his shit sewn up, until he receives a call from Mr Pike (the late, great David Warbeck) a hit man for Harris, (who's sadism is matched only by his chronic asthma) Making Randell listen as he tortures two of his henchmen, by burning their faces off with a blow torch (ouch!) Pike explains that further 'examples' like this, will be made, unless the stolen drugs are returned at a planned meet up. Randell hits upon the idea of hiring freelance muscle (and all round tough motherfucker) 'Walker' (Nick Rendell) to be the bagman.

(Warbeck going all out in his memorable role as Mr Pike)

Walker (tough bastard he is) arrives at Randells, and after a minor altercation, kills the doorman (as you do) rather than be frisked. Randell explains the details of the meet-up, and even agrees to pay him a cool million, as long as (quote) "Not one of those Cocksuckers is left alive" Walker agrees, and the meet is set for the next day. Unbeknown to Walker, all he'll be getting is a bullet in the head as payment from Jimmy on completion of the job.

(Walker...Texas Homecare)

The meet is at an abandoned warehouse(tm) were Pike squares up to (quote) "Living Legend" Walker. Much swearing, macho posturing and an asthmatic fit soon give way to a brutal shoot out. This is were director Darren Ward delivers the goods. Camerawork, pyrotechnic and squib work are top notch throughout this movie, but this initial orgy of bullets comes out of nowhere (and certainly made this viewer sit up) Torso's explode, Head wounds gush the red stuff, many 'clocks are stopped' and several 'heads are put to bed' during this sequence, culminating in Walker getting the drop on Pike (with a close-range shotgun blast to the stomach) and making off with the money and cocaine. Jimmy attempts the planned double-cross on Walker, but gets a bullet in the leg, plus a warning to "Tell Randell, I'm coming to get him!"

(Doctor, doctor, I've got this spot on my head.....Ah, nevermind)

Walker wakes up from a bad dream in the house of his only trustworthy friend Alex. Both agree that it's best if Walker lays low (whilst his wounds heal) On the other side of town, Jimmy (disgraced and limping) is met outside hospital and brought to Randells house, as the crime boss is tucking into the most horrid looking lasagne possible! (see below) Randell has jimmy sent away for his ineptitude, and never afraid to get his own hands dirty, arranges (through his 'plant' at Harris' house) to slaughter his rival, his wife and even his kids (dig those TMNT sweaters) and even double-cross the snitch that got him in there...What a bastard!

(Fuck the violence.....This is the sort of stuff the BBFC should take umbrage to)

Alex is skipping town for a few days 'on business', leaving Walker home alone. Jimmy returns from Spain with his leg healed, and a desire to get back into Randell's good books. Randell explains that he slaughtered Harris and his wife (and gloats about killing the kids, in a very funny sequence) to a bemused (but nonetheless promoted) Jimmy. Meanwhile, Alex is kidnapped in a car park. He is later tied to a chair, tortured and questioned by a man named Lennox (the amazing Chris Tarrant sound-a-like, Victor D thorn) and his sidekick Marcus. Lennox wants to know the whereabouts of the "Cash and Coke" that Walker absconded with.

(Randell gives true meaning to the term 'Turtle Power' as breaks a childs neck)

Walker receives a house call from a horny prostitute with an atrocious Scottish accent (Laid on by Alex, as a gift to his chum) Meanwhile, despite having his knees and fingers broken, Alex goes to the grave rather than rat out his friend to Lennox.
Whilst Walker is entertaining his 'Tartan-Tart', he receives a phone call, tipping him off about Alex, prompting him to abandon the rumpo, much to the displeasure of his 'Highland Fling' (with her heartfelt lament of "Where the fuck are you going, you haven't even come yet?")

("Listen you slag, I'm paying you....Now get your kit on and fuck off!")

It seems that Randells number is up, as we witness him getting blown away, whilst reading ill-fated newspaper 'TODAY' (oh the embarrassment!) in his garden, by an unseen assailant. Whilst we ponder such double and triple crosses, we are treat to a (obligatory) round of 'Tooling-Up' and 'Photo Burning' , as Walker jumps in his Ford Fiesta, and heads out on the road marked 'Revenge.

(Mr Lovebuckets 'Exploding Tonic Water' gets them every time)

Staking out Randell's factory, Walker goes about 'Seagaling' a whole bunch of guards in a brutal fashion (using guns, rusty saws and his fists and fingers of fury) whilst still having time for the occasional 'war' flashback (this one has a certain Major Lennox, so now we've established 'previous' between them, you just know there's gonna be a shitstorm when these two hard bastards throw down)

("Walker!!!!")

Poor Marcus is gutted (literally and graphically) by Walker, during his onslaught on the compound. All Lennox can do is shout foul-mouthed 'Chris Tarrant-isms' down his walkie-talkie, to his ever-dwindling troops. Upon finding Alexs' bloody and battered corpse, walker goes apeshit, killing a shitload of guards, before cauterising a gunshot wound, teaming up with Jimmy (who's become a good guy) and finally squaring off with Lennox, in a battle Royale Mano-O-Mano, kung-fu-athon (replete with more flashbacks, a car chase, explosions and a human fireball) Walker gets his 'Sudden Fury', but exits the movie in a shot up car, badly wounded and screaming for his life.

(Once Upon A Time In The SouthEast)

SUDDEN FURY filled an important void in my life, when i was becoming disillusioned with low budget, independent cinema. Sure, some of the performances are a little hokey. But trust me, you've not lived til you've heard Victor D Thorn shout "WALKER!!!!" down a walkie-talkie (that said, he's great at shouting "MITCHELL!!" down a mobile phone, as well) Budgetory flaws aside, it's a stunning debut and it has a genuine passion for the genre and it's fans. No amount of Hollywood mega dollars can buy what this movie has (heart and a love for not only it's source material, but for it's audience) It can easily sit alongside Jim Van Bebbers DEADBEAT AT DAWN, Lindsay Shonteff's HOW SLEEP THE BRAVE and David Kent-Watson's G.B.H. (take these four movies, add alcohol, and have a great movie night...trust me, be there, done that!)

("I told you about my 'Saw Neck' in confidence, and you went ahead and spilt your guts anyhow")

It takes guts (in every sense of the word) to pull of such stuff with a low budget....But also a certain skill, to make it so damn entertaining. As my review for his recent A DAY OF VIOLENCE stated, Darren Ward is a name to look out for. Whereas Tarantino needs to spend $80m to make a movie look low budget...Ward is the polar opposite. May his hunger remain and keep him true to the medium, he's clearly so passionate about?

(Burn Baby Burn, Tesco Inferno)

SUDDEN FURY is a blood soaked B-movie Ballet of Brutality. And if you like the look of this movie, be sure to buy it's upcoming DVD re-release (on the 28th of Febuary...wahey...on my sisters birthday!)

Features include:

Trailer
Deleted Scenes
Extended Scenes
Bloopers
Applying the gore (40min makeup footage)
Photo Gallery

Nightmares (multi award winning short film 10mins, 2004 Super16)
Bitter Vengeance (17min short film that Sudden Fury is based on)
Audio Commentary (Director Darren Ward & actor Nick Rendell)

New Featurette - '12 years on the Fury still burns' (32mins) including David Warbecks unseen death scene!!!

I defy any self respecting fan of Horror, Crime, Exploitation, Gore, Indie movies not to be blown away by this sick and twisted shocker. Highly Recommended!