Only now does it occur to me... POINT OF NO RETURN (1993)

Only now does it occur to me... that John Badham's lukewarm remake of LA FEMME NIKITA contains a romantic scene that was surely intended to be as iconic as the pasta slurping from THE LADY AND THE TRAMP or at least the food montage from 9 1/2 WEEKS––but instead, it lands about as well as the "Sexy V8" sequence from NINJA III: THE DOMINATION. To set the scene: as in LA FEMME NIKITA, Bridget Fonda plays a junkie turned assassin who's looking for a human connection. She makes one with "90s nice guy" Dermot Mulroney, who picks up one of her off-brand Chef Boyardee ravioli cans after she drops it in the grocery.

This, naturally, leads to a dinner, whereupon, like Constance Leonore Gielgud in TROLL 2, she decides that the best seduction tactic is to take the generic canned ravioli and feed it to Mulroney with her mouth.









I especially love the look of "discount marinara-sauce clown mouth" satisfaction afterward.

While on the whole it can't touch its progenitor NIKITA, there's a few things to like (or be fascinated by) here, like the muscular Hans Zimmer score with Enya-esque wailing; a bit part by Miguel Ferrer:

(who is essentially playing it as if Bob Morton survived ROBOCOP and took his job more seriously); Anne Bancroft as the mistress of "Assassin Charm School" (a role played by Jeanne Moreau in the original):
 
and finally, Harvey Keitel as the Terminator-esque badass The Cleaner,

a role perfected by Jean Reno in the original, but given an even more ominous (and overtly villainous) twist by Harvey Keitel, who is always welcome, no matter the context.

Only now does it occur to me... BLUE THUNDER (1983)

 Only now does it occur to me...  that I waited way too long to watch BLUE THUNDER.

Directed by John Badham (SATURDAY NIGHT FEVER, WARGAMES), and written by Dan O'Bannon (ALIEN, THE RETURN OF THE LIVING DEAD, John Carpenter's DARK STAR) and Don Jakoby (DEATH WISH 3, ARACHNOPHOBIA, John Carpenter's VAMPIRES), it's a thriller about the militarization of our police forces and the obliteration of personal privacy. It's about brave whistleblowers and bitchin', fully rad helicopters; possibly the median point between SNOWDEN and AIRWOLF.


The inimitable Roy Scheider stars as an LAPD helicopter pilot (battling PTSD from Vietnam) who's paired with a nerdy rookie (Daniel Stern),

and bossed around by a crusty but lovable Warren Oates

who is given an ample platform to growl "goddammit" and "you bright-eyed sons of bitches" with impunity, and chide the newbie Stern with monologues like: "You're supposed to be stupid, son, don't abuse the privilege.... for Chrissakes, I had 20 years in this outfit when your idea of a big time was sittin in front of the TV tube, watchin' Bugs Bunny and gnawin' on your Fudgesicle!"

Candy Clark appears in a brilliant supporting role as Roy Scheider's ex-wife; at the beginning, at least, it feels like outtakes from the most depressing domestic scenes in ALL THAT JAZZ.

"Goddamn your Black Irish heart, Frank Murphy!"

Malcolm McDowell plays the villain of the piece, obviously, named Colonel Cochran (and I'm going to continue with my conspiracy theories about HALLOWEEN III: SEASON OF THE WITCH being an inspiration to filmmakers everywhere), a nefarious Brit who was essentially a prep-school bully to Roy Scheider back in 'Nam (there are flashbacks).

He wears turtlenecks and uses "Catch you later!" as his evil catchphrase, which is fine, I guess.  It's okay, I think he's having fun.

"Catch you later!"

In all, it's a genuinely exciting conspiracy thriller with high stakes, despite sorta feeling like a big-budget episode of (the aforementioned) AIRWOLF, or even MACGUYVER. Prefiguring TOP GUN by three years, when its politics begin to show, it presents itself as anto-jingoist, opposing in every way the values of post-TOP GUN, Michael Bay school of filmmaking. In BLUE THUNDER, military technology is to be feared, not fetishized; and it depicts the new generation of Reagan-era jet fighter jockeys and their masters as schlubs propped-up by propaganda, accidentally firing heat-seeking missiles into a BBQ joint (because of misinterpreted thermal imaging) and into an office building (whose windows are reflecting the rays of the sun).


Also: Roy Schneider flies a helicopter upside down while screaming "Come on, you tub of shit!" which is without a doubt the "Smile, you sonofabitch!" moment of this movie.


If that's not enough of an endorsement, I don't know what is.





P.S.––Coming soon: horror films for Halloween.

Film Review: DROP ZONE (1994, John Badham)

Stars: 3.5 of 5.
Running Time: 101 minutes.
Tag-line: "Something dangerous is in the air."
Notable Cast or Crew: Wesley Snipes (DEMOLITION MAN, BLADE), Gary Busey (SURVIVING THE GAME, LETHAL WEAPON), Yancy Butler (HARD TARGET, THE EX), Michael Jeter (THE FISHER KING, JURASSIC PARK III), Malcolm-Jamal Warner (THE COSBY SHOW, SONS OF ANARCHY), Grace Zabriskie (TWIN PEAKS, WILD AT HEART), Corin Nemec (TV's THE STAND, PARKER LEWIS CAN'T LOSE), Mickey Jones (TOTAL RECALL, EXTREME PREJUDICE), Kimberly Scott (THE ABYSS, BATMAN & ROBIN).  Music by Hans Zimmer (THE ROCK, BROKEN ARROW).  Directed by John Badham (SATURDAY NIGHT FEVER, WARGAMES, THE HARD WAY, SHORT CIRCUIT, BLUE THUNDER).
Best One-liner:  "God bless America!" [said by a lunatic Gary Busey––it's all in the enunciation]

DROP ZONE tells the tale of a risk-taking lawman who infiltrates a gang of sky-diving adrenaline junkies and thieves in order to bring them to justice.  You may recognize this as the plot of 1991's POINT BREAK, also co-starring Gary Busey.  Don't hold that against it.  DROP ZONE is simply a mediocre 90s action movie trying to make it's way in the world, but like so many of its misfit and forgotten brethren, when it hits its stride, it really hits its stride.  Here are a dozen of DROP ZONE's such "stride-hitting" moments.

 #1.  Gary Busey as a Poindexter.

He's the head of a corrupt ex-DEA sky-diving ring who robs government buildings, hijacks planes, and the like.  For this particular criminal maneuvering, he has adopted the costume and persona of a "Poindexter"-style nerd (with undertones of Buddy Holly!), who even draws attention to himself, pre-hijack, by explaining to the flight attendants how he's afraid of flying.  Nicely done, Mr. Busey.

#2.  This particular measure of Busey-related violence leads to the death of Wesley Snipes' in-movie brother, Malcolm-Jamal Warner.

He's around for about five minutes, and has "dead man walking" written all over him; he might as well be the cop who's got two days till retirement.  His death is spectacular––it involves Busey blasting open the side of an airplane, whereupon the air pressure sucks Malcolm-Jamal to the precipice, and despite Wesley Snipes' best efforts to melodramatically cling to his hand, he is sucked into the void while Wesley shouts "NOOOOOOOOO!"  Then the film, having threatened to turn into PASSENGER 57, returns to Earth and...

 #3. Let's talk about Wesley Snipes as "Nessip."  The quest for Malcolm-Jamal-related vengeance leads Mr. Snipes to infiltrate the sky-diving circuit so he can personally hunt down Gary Busey.

Because his role is more of the straight man, square-jawed hero, this leads to an uncharacteristically understated performance.  Don't expect DEMOLITION MAN or NEW JACK CITY levels of flamboyance here––you can tell he's a little frustrated with his role.  Perhaps because of this, the character is named "Nessip," which is an anagram of "Snipes."  Did Wesley request this personally?  Did having his own scrambled name in the mix somehow placate his ego?

#4.  Gary Busey Teeth Domination.  The aforementioned hijacking took place so that Busey could kidnap a hacker (played by talented character actor Michael Jeter) held in federal custody.  To assert dominance, Busey bites off his finger with his ginormous teeth, an event which leads to the following, brilliant exchange:

#5.  Poor man's Linda Hamilton.  You may recognize Yancy Butler and her intense eyebrows from JCVD's HARD TARGET.

Here, she plays Snipes' sidekick, a daredevil with a heart of gold.  She skydives and looks sad a lot.

#6. Hey, look, it's Mickey Jones!  Real-life best friend of Michael Ironside, former drummer for Bob Dylan, and go-to "hick" supporting player,

Mickey Jones plays a member of (fellow Texan) Busey's gang, which only seems natural.

#7.  A rockin' Hans Zimmer soundtrack.  This is from the era when he really went "full-guitar" and accompanied his pounding action with mournful, Ry Cooder-style riffs.  See also: BROKEN ARROW.

#8.  Grace Zabriskie as a two-fisted, Floridian flygirl and parachute jockey.

When you're watching her here, the idea that she is also "Sarah Palmer" from TWIN PEAKS is veritably mind-blowing.  I swear, she can pull off anything she sets her mind to––truly, she's one of the greats.  Plus, we finally get to see her with Wesley Snipes as a scene partner.

And this is the second time they've worked together!  See also: THE WATERDANCE (1992).

#9.  Gary Busey parachuting in zebra-print pajama pants.

I feel confident in stating this is worth the price of admission.

#10.  MIAMI VICE.  About halfway through, when I realized it was not going to deviate from its Florida locale, I began to discover that this is really kind of a big-budget MIAMI VICE episode, but with no Crockett, and with Busey perfectly encapsulating a vivid, "criminal of the week" guest star.

That's fine by me.

#11. Gary Busey Teeth Domination, Volume 2.  Busey challenges Yancey Butler to a tooth domination competition.  

He wins, obviously.

#12.  Busey's death––a.k.a. Gary Busey Teeth Domination, Volume 3.  Technically, I wouldn't call this a spoiler, since in every action movie from the 1980s and 1990s in which he played a villain, Busey dies.  Here, Wesley Snipes flings him out of a skyscraper without a parachute, and he goes to meet his maker in typical Busey fashion, teeth bared.


He swan-dives directly into the windshield of a truck being driven by Mickey Jones, and explodes.

In his final moments, he attempted to tooth dominate Death Itself.  Who are we to say that he did not succeed?

––Sean Gill