Only now does it occur to me.... DANGEROUSLY CLOSE (1986)

Only now does it occur to me... that Cannon Films––the studio of DEATH WISH 3 and INVASION U.S.A.––was capable of turning out a socially progressive message picture! While BREAKIN' 2: ELECTRIC BOOGALOO may sort of tackle corrupt real estate developers and BLOODSPORT might address shady Kumite ethics, DANGEROUSLY CLOSE––helmed by Albert Pyun, director of CYBORG, VICIOUS LIPS, and KICKBOXER 2: THE ROAD BACK ––takes a bleak and (mostly) sober look at yuppie vigilantism and institutionalized hate, updated for the '80s.

It's an oddly effective mashup of THE MOST DANGEROUS GAME, FAST TIMES AT RIDGEMONT HIGH, WALL STREET, and THE STEPFORD WIVES with a sort of STREETS OF FIRE/music video aesthetic (the smoke machines are working overtime).

It depicts a gang of preppy neo-fascists (called "The Sentinels") who are hell-bent on ridding their Academy of "undesirables,"

whether that means subculturally speaking, or otherwise.

In other words, the lone punk in a sea of preppies should be worried.

It prefigures HEATHERS (with none of the humor) as a cynical high school movie willing to "go there," particularly in depicting its suspicion of authority figures, the horror of school shootings,

 toxic jock culture,

and the American System's segregationalist tendencies.

The best part is that this is all dressed up in a video box that gives top billing to "Featuring Robert Palmer's Grammy Award-Winning Song 'Addicted to Love'!"

[Indeed, the soundtrack is pretty good––featuring music by Depeche Mode, Black Uhuru, Fine Young Cannibals, The Smithereens, and T.S.O.L., among others.] 

I wouldn't call it a masterpiece, but it's more sensible than you'd expect from Pyun, and almost plays like a grim riposte to the optimistic sex comedies, Savage Steve Holland romps, and John Hughes flicks that dominated the '80s teen landscape.

Film Review: LICENCE TO KILL (1989, John Glen)

Stars: 3.8 of 5.
Running Time: 133 minutes.

Tag-line: "His bad side is a dangerous place to be."

Notable Cast or Crew:  Timothy Dalton (THE LIVING DAYLIGHTS, HOT FUZZ), Carey Lowell (DOWN TWISTED, DANGEROUSLY CLOSE), Robert Davi (DIE HARD, THE GOONIES), Talisa Soto (Kitana in MORTAL KOMBAT and MORTAL KOMBAT: ANNIHILATION), Anthony Zerbe (THE DEAD ZONE, STEEL DAWN), Frank McRae (LAST ACTION HERO, 48 HRS.), Wayne Newton (TALES FROM THE CRYPT), Benicio Del Toro (THE USUAL SUSPECTS, FEAR AND LOATHING IN LAS VEGAS), Everett McGill (TWIN PEAKS, SILVER BULLET, THE PEOPLE UNDER THE STAIRS), Desmond Llewelyn ('Q' from FROM RUSSIA WITH LOVE through THE WORLD IS NOT ENOUGH, from 1963 to 1999), Grand L. Bush (LETHAL WEAPON, DIE HARD).  Music by Michael Kamen (LETHAL WEAPON, DIE HARD).

Best One-liner:  "God, what a terrible waste... of money."

LICENCE TO KILL might be the meanest of all the Bond films, feeling at times more like a DEATH WISH sequel or a spin-off of SCARFACE.  It's by no means a top-tier James Bond film, but I enjoyed it quite a bit.  The plot is thus: after his longtime CIA buddy Felix Leiter becomes mutilated and widower'ed on his honeymoon, Bond goes rogue, has his license to kill revoked, and hunts down the drug lord (classic 80s character actor villain Robert Davi) responsible.  As I said, it's quite mean-spirited, and is chock full of severed limbs, non-consensual BDSM, exploding heads, torture, and all sorts of other stuff you wouldn't expect in a Bond film.  There was a gung ho wave of anti-drug paramilitary-ism in the late 80s and early 90s with so many franchises turning in a cartel-related installment:  DEATH WISH gave us DEATH WISH 4: THE CRACKDOWN, DIRTY HARRY gave us THE DEAD POOL, DELTA FORCE gave us DELTA FORCE 2: THE COLUMBIAN CONNECTION, the Jack Ryan series gave us CLEAR AND PRESENT DANGER, and the James Bond series gave us LICENCE TO KILL.  I could go on.

Now, what about those beloved minutiae– the strange little happenings and unexpected appearances that make 80s action movies so enjoyable for me?   Well, here are my top nine such moments in LICENCE TO KILL:

#9.  Ninjas fly down from the rafters and start shooting nets out of their sleeves like Spiderman slings web.



No, this isn't a Cannon Film, and no, they don't appear in any other scene.

#8.  Q's finest gadget by far in this film (compare to his last great offering, "The Ghetto Blaster" in THE LIVING DAYLIGHTS) is a Polaroid camera that conceals a death-ray laser-beam.

PEW!

#7.  This random guy, whose explanation for a cartel torture-by-shark is to blame it on cartel torture-by-chainsaw.  He begins speculating to Timothy Dalton and Frank McRae about how much Columbians use chainsaws.

Then he says that they use them even more than people from Oregon.

What?  How is that a valid comparison?  Is it a logging industry reference?  Columbia and Oregon both possess a great deal of forest, though Columbia has four times the square milage of Oregon.  And if you were to pick a U.S. state that people associate with chainsaws, it'd probably be Texas.  Oh, nevermind– I get it.  It must be a handcrafted-artisanal-chainsaw-sculpture reference.

#6.  Wayne Newton as a preening televangelist cult leader.

He pulls it off wonderfully; it's no sort of stretch whatsoever.

#5.  Evil Everett McGill.

While I love "Good Everett McGill," as best depicted in "Big Ed" from TWIN PEAKS, I must say that I have a soft spot for "Evil Everett McGill," particularly as seen in SILVER BULLET and THE PEOPLE UNDER THE STAIRS. Here, we get the Evil variety, and while he only has about five minutes of screen time before he is voraciously eaten by sharks, it's a fine showing.


#4.  Guest-directed by Lucio Fulci?  A man has maggots thrown in his face,

 and Bond nearly meets some eye trauma at the business end of a wall-mounted swordfish.


You will note that I just basically described every Lucio Fulci film.

#3.  Even in 1989, the "80s Rule of Pools" is still in effect.  I've written about this elsewhere, but the idea is that if A., a swimming pool exists, then B., someone fully clothed must be pushed into it, arms flailing.

It's simply the 80s Rule of Pools, Mr. Bond.

#2.  Benicio Del Toro.  Fresh off his first film appearance as "Duke the Dog-Faced Boy" in BIG-TOP PEE WEE, Del Toro really sinks his teeth into "Dario," a lesser cartel henchman.

For whatever reason, I think he's wearing the same black blazer and red shirt he wears six years later in THE USUAL SUSPECTS:

though by 1995, he no longer looks as much like a member of Menudo, which is a shame in its own right.

#1.  Robert Davi (and his pet Iguana).

 

I don't have much to add here, other than to point out the Iguana is wearing a diamond choker.  Davi acts throughout as if he's in a hard-R-rated drug war flick and not a mass-market James Bond movie, and his frightening presence comprises much of what makes this film so memorable.  It's probably also why this film created the largest gap (it would be six years until Bond returned in GOLDENEYE) in the Bond franchise since its inception!

–Sean Gill