Only now does it occur to me... SHOWDOWN IN LITTLE TOKYO (1991)

Only now does it occur to me... that SHOWDOWN IN LITTLE TOKYO––a film by action master Mark L. Lester, director of COMMANDO and CLASS OF 1984––functions as a true culmination of his favorite thematic obsessions: brilliant/groan-inducing action one-liners, explosions, and male musculature.

From my understanding, this film was butchered by the studio during the edit, but I think the general sensibility of Lester's vision still shines through. For instance, the man who brought us the lingering closeup of Arnold's jiggling pecs during a machine gun battle in COMMANDO begins SHOWDOWN IN LITTLE TOKYO with what feels like a formalist experiment: male musculature––covered in full-body irezumi (yakuza tattoos) is drenched in, alternatively, light and shadow.

It's the early 1990s action equivalent of Hollis Frampton's experimental 1969 short LEMON, whereupon a static shot of a lemon is subjected to different lighting techniques, revealing something 'profound' about the nature of darkness. Anyway, Lester and Frampton both pare the narrative to the bare essentials: in this case, pectoral muscles, and the different and dramatic ways in which one can view them.

Also, this movie––and those pecs, by extension––were shot by David Cronenberg's resident cinematographer Mark Irwin (SCANNERS, VIDEODROME, THE FLY, etc.). How 'bout that!

What is this movie about? You may be wondering. I've already told you. But if you insist on labels, it's about two tuff cops: Dolph Lundgren

 

 and Brandon Lee.

It's set in Los Angeles' (apparently) yakuza-ravaged Little Tokyo, and its premise is firmly rooted in 1991. You see, Dolph's Aryan-looking buddy cop is fluent in Japanese and was raised in Japan. Whereas Brandon's Asian American buddy cop was raised in the Valley and apparently has never even heard of Japan. This creates what we call dramatic tension. 

 

Acting-wise, as "the straight man," Dolph is basically doing That Thing that Dolph does, and Brandon, as the "funny one," is kind of doing a less cartoonish Bruce Campbell shtick. My wife and I are pretty sure that Brandon Lee took some acting classes before appearing in THE CROW.

Tia Carrere (WAYNE'S WORLD) is in here, too, as a singing gangster's moll who eventually is swept up in a (chemistry-challenged) romantic subplot with Dolph. The tracks she sings sound very "Olivia Newton John."

The villain is yakuza boss Cary-Hiroyuki Tagawa (MORTAL KOMBAT, THE PHANTOM, VAMPIRES, LICENSE TO KILL) who, as usual, treats us to some solid scenery chewing throughout.

The music, by David Michael Frank (THE MASK, OUT FOR JUSTICE), is, like the pecs, majestically pared down to the basics. There are essentially two tracks here, a "danger" track––used for all the action/peril scenes––and an "ambient" track, for everything else. The ambient track sounds a lot like the rootin-tootin electro-nonsense in THE GARBAGE PAIL KIDS: THE MOVIE. All of this is intended as a compliment. 

The one-liners are amazing. COMMANDO brought us "Don't disturb my friend, he's dead tired" and "Remember Sully, when I promised to kill you last? I lied." SHOWDOWN IN LITTLE TOKYO gives us "You have the right to remain... dead!," "It's kinda like one of those video games... you just defeated the first wave," and "We're gonna nail this guy, and when we get done, we're gonna go eat fish off those naked chicks!" The latter refers to a yakuza restaurant featuring the klassy combination of nude women and sushi, and is immediately followed up by this manly hand clasp, straight out of PREDATOR.

Speaking of gender politics, SHOWDOWN IN LITTLE TOKYO objectifies the male and female form with relative and trashy equivalency.

Of course, we have to give the advantage to the male form, so celebrated in this film that I'm pretty sure both Dolph and Cary-Hiroyuki spend more time in various states of undress than they do clothed.

 

The highlight (lowlight?) may be when Brandon Lee's character tells Dolph, apropos of nothing, "Kenner, just in case we get killed, I wanted to tell you, you have the biggest dick I've ever seen on a man." That being said, I am certain there is nothing in this film that can match the poetry of the final battle in COMMANDO.

In the end, I would categorize this as second-tier Lester and a damn fun time. Also, I'm pretty sure Tarantino is a fan, since A. It stars Dolph Lundgren, and one of Tarantino's first jobs was working as a P.A. on the Dolph Lundgren workout video, MAXIMUM POTENTIAL; B. it stars Brandon Lee, and Tarantino is a Bruce Lee obsessive (and a "children-of-Hollywood-stars" obsessive); and C., Dolph's character's backstory is very similar to O-ren Ishii's in KILL BILL (as a child, his parents were murdered in front of him by yakuza, in their bedroom).

Finally, I must point out that one Little Tokyo filming location––a crime scene exterior––is shot outside the church from John Carpenter's PRINCE OF DARKNESS! (Which is now the Union Center of the Arts.)

(Also note, far left: Vernee Watson, a.k.a., "Viola 'Aunt Vy' Smith" from THE FRESH PRINCE OF BEL-AIR.)

Only now does it occur to me... HITMAN'S RUN (1999)

"Lesser Lester" Week Continues:

Only now does it occur to me... that Richard Donner's ASSASSINS (1995, starring Stallone, Banderas, and Julianne Moore) was apparently enough of a 'thing' to inspire some imitators––including Mark L. Lester's HITMAN'S RUN.

Banderas in ASSASSINS....


...and Eric Roberts in HITMAN'S RUN.


Mostly notable for an evocative scene where Eric Roberts kills a man in a phone booth by running him over with a wood-paneled station wagon,



HITMAN'S RUN follows the exploits a former mafia assassin (Roberts) in the witness protection program who comes out of hiding for one last adventure involving hackers, floppy disks, CD-ROMs, skateboarding kids, stylish haircuts, late 90s sweaters, and lite John Woo-style gunplay.

"Give a guy a gun, he thinks he's Superman. Give him two and he thinks he's God."

Other major highlights include the bizarre and possibly improvised interactions between Roberts and his new wife (who knows not of his hitman past).  I mean, just look at this beautiful exchange:





Yes, it certainly does seem so much longer.  But Roberts is doing a decent job, and I appreciate the extra effort his haircut is making.


Hey, look, it's C. Thomas Howell!

There's always a peculiar melancholy whenever I see C. Thomas outside of the 1980s... like I'm a distant relative who expected the worst, but when I see him, I squeeze his shoulder and say really sincerely, "Oh, I'm so glad to see you're doing okay."  I feel like I should be sending him $25.00 checks for his birthday, is what I'm saying.


I also learned that a recordable CD has 650 megabytes of memory.

Er-–wait a second––who is that sweater-vest-wearin', faintly 90s subculture HACKERS émigré?  I know him from somewhere...  It's almost like I can see him, about to be paddled by a douchey Ben Affleck...

Yup, it's Esteban Powell, best known as Mitch's pal "Carl" from DAZED AND CONFUSED!

Not a lot has changed.

His major character trait in HITMAN'S RUN is that he says things like "Whoa-kay!" instead of "Okay," and I suppose that's fine.

In the end this is the kind of generic mafia flick that's sort of worth your time. It's certainly a "lesser" Lester––on the second-rate action scale, I'd put it somewhere between a Glickenhaus and a Pyun.  Most of it will depend on your tolerance for the less-than-selective Eric Roberts (according to IMDb, he has THIRTY-SEVEN films coming out in 2016!), as apparently not everyone is on the Roberts bandwagon.  I, conversely, am driving that bandwagon.  I realize that some of the joy of Eric Roberts is how terrible many of his films are, but I still contend that the man himself is one of the finest actors of his generation (see RUNAWAY TRAIN and STAR 80 back-to-back if you don't believe me), and even amid the direct-to-video dreck, little shards of his talent keep piercing through.

Only now does it occur to me... BETRAYAL (a.k.a. LADY JAYNE: KILLER) (2003)

To begin "Lesser Lester" week:

Only now does it occur to me... that although it ended as hilariously and disastrously as a television series possibly can, and though it peaked near its halfway mark thanks to brilliant performances by Jimmy Smits and John Lithgow... in the end, I'm glad that DEXTER happened... even if only for the reason that it saved James Remar from being buried in movies like BETRAYAL (a.k.a. LADY JAYNE: KILLER).

James Remar is glad, too, even though he doesn't look it.

I believe I have isolated the exact moment when James Remar decides to phone in his performance.  It is while he is being held at gunpoint by his scene partner; literally, and perhaps also metaphorically.

Said scene partner is Erika Eleniak (former Playboy Playmate, BAYWATCH cast member, and UNDER SIEGE cake-jumper) who––to be fair––is really doing her best.

Conversely, James Remar has thrown in the towel.  He stares emptily, past the despair, past the paycheck, past the art and the craft.  He spends most of the film driving around in a car and on the phone, a hallmark of "we only have so-and-so on set for X amount of hours"-style filmmaking.

Don't worry, James.  If you behave yourself, there's a cameo in an X-MEN movie in it for you.

In case you were wondering what LADY JAYNE: KILLER actually is, it's an early 2000s Cinemax-style actioner directed by genre master Mark L. Lester (COMMANDO, CLASS OF 1984).  I apologize for the glib assessment, but this is a fruitless, through the motions thriller that most likely involved tax write-offs.  Adam "Not-Alec's-Brother" Baldwin (FULL METAL JACKET, D.C. CAB) is in this thing, too. 
What I'm essentially saying is that instead, you should go watch COMMANDO for the thirtieth time.

Lesser Lester Week

You probably know the work of two-fisted action master Mark L. Lester from films like COMMANDO, CLASS OF 1984, FIRESTARTER, and SHOWDOWN IN LITTLE TOKYO.

Lester explains to Arnold that the proper pronunciation of "Jenny" is actually "Chenny."

You may even have seen his talents on display in deeper cuts like ROLLER BOOGIE or EXTREME JUSTICE.  Well, we're not going to be discussing any of those.  This is lesser Lester week, so prepare yourself.

Film Review: COMMANDO (1985, Mark L. Lester)

Stars: 4.5 of 5.
Running Time: 92 minutes.
Notable Cast or Crew: Arnold Schwarzenegger, Rae Dawn Chong (TALES FROM THE DARKSIDE: THE MOVIE, CHAINDANCE), Alyssa Milano (DOUBLE DRAGON, POISON IVY 2), Vernon Wells (WEIRD SCIENCE, KING OF THE ANTS), David Patrick Kelly (WILD AT HEART, THE WARRIORS), Bill Duke (ACTION JACKSON, PREDATOR, THE LIMEY), Dan Hedaya (BLOOD SIMPLE, THE HUNGER, MULHOLLAND DR.), James Olson (AMITYVILLE II, RAGTIME), and a very special appearance by Bill Paxton. Music by James Horner (48 HRS., TITANIC). Cast by Jackie Burch, clearly one of the best casting directors of all time (THE BREAKFAST CLUB, SIXTEEN CANDLES, D.C. CAB, PREDATOR, DIE HARD, THE RUNNING MAN). Cinematography by Matthew F. Leonetti (EXTREME PREJUDICE, FAST FORWARD, POLTERGEIST).
Tag-lines: "Let's party!"
Best one-liner: See review.

Now this is a difficult task I have before me: what can one write about COMMANDO which has not already been writ in the annals of cinema history? I believe that COMMANDO has universal appeal. There's truly something for everyone in COMMANDO. Yet not everyone is willing to sit down and check themselves out some COMMANDO. Thusly, there are many people- the sorts of people who wouldn't immediately recognize DPK as the universal abbreviation for David Patrick Kelly- that aren't giving COMMANDO a fair shake. So I shall put forth the solution to a perennial problem: how to vault COMMANDO from its position as a beer n' nachos slugfest to something that even the Cabernet Sauvignon crowd could enjoy? Well here ya go: a list of 7 low-brow and 8 high-brow happenings in COMMANDO- the best of both worlds. Hopefully, I can win over some hearts and minds. I'll begin with the low-brow because that's exactly the sort of no-class pandering you'd expect of this site:

LOW-BROW HIGHLIGHTS OF COMMANDO:

1. RDC. Or, for the uninitiated, Rae Dawn Chong.

I like Rae Dawn Chong. I like Rae Dawn Chong a lot. When Ironside needed a go-to lady in CHAINDANCE, who did he pick? Rae Dawn Chong. When C. Thomas Howell was pretending to be black in SOUL MAN, whom did he romance? Rae Dawn Chong. When James Remar needed some luvin' after getting freaked out by gargoyles in TALES FROM THE DARKSIDE: THE MOVIE, who did he shack up with? Rae Dawn Chong. All these great minds can't be wrong about Chong. Anyway, she's pretty horrible in this movie. She's kind of the Kate Capshaw/Willie Scott of COMMANDO. I don't know why I started with this one. Hell, I don't know why I'm telling you this, period.

Anyway, somebody must've liked it, or else they wouldn't have told her to be really annoying for the duration. Which only proves my point: this theoretical person who likes screechingly vocal, nettlesome female leads is dissimilar to me in almost every regard. And yet the both of us can find common ground in COMMANDO!

2.

I really miss these kinds of mall elevators. They used to be in every movie. Well, they at least used to be in RUNNING SCARED.

3. The emphasis on sweaty Arnie pec-shaking as legions of men wearing mustaches constructed from felt purchased at Jo-Ann Fabrics are gunned down in a wanton display of gratuitous violence.



4. Occasionally in an action movie, they'll show the same explosion twice, from different angles, for dramatic effect. Sometimes they'll show it three times, perhaps alternating shutter speeds or frame rates to give it that DAYUM SHIT IS BLOWIN' UP sparkle. Once in a blue moon, they'll even show an explosion four times, cause they just couldn't resist.

Well, in COMMANDO, the same explosion is shown nine times. Don't take my word for it, either:


5. One-liners, one-liners, one-liners. I know you've heard them all before, from "Don't disturb my friend, he's dead tired" to "BULLLLLLLL-SHIT!!!" My personal favorite is probably the head-scratchingly homoerotic, "John, I'm not going to shoot you between the eyes. I'm going to shoot you between the balls!" Regardless, I don't think that I can quite emphasize enough how many one-liners are used in COMMANDO. Look at this graph which compares the number of successful one-liners used in COMMANDO to the number of successful one-liners used in everyday life.

The numbers are staggering. I also appreciate that three thousand years of dramatic writing from Aeschylus to Shakespeare to Eugene O'Neill found culmination in 1985 with the following exchange:

FUCK YOU, ASSHOLE! *click*


Fuck YOU, asshole!

6. Arnold flinging a phone booth containing a frightened David Patrick Kelly!


7. An axe-low-blow!?


Alright, before I get off track and we lose too many brain cells:

HIGH-BROW HIGHLIGHTS OF COMMANDO:

1. So many random windows in COMMANDO have artsy, Vittorio Storaro/Dario Argento/Bernard Bertolucci-style colorful backlighting. Didn't expect that in COMMANDO, did you? Well, COMMANDO is full of surprises.



2. I've been working, on and off, on this sort of existential science-fiction film called BLACK HOLE ADVENTURE. It attempts to merge the youthful whimsy and 80's-tastical-ness of those old CHOOSE-YOUR-OWN-ADVENTURE novels with the crushing pessimism and random tragedies of adulthood, and it's all wrapped in a package that's half ROBOT MONSTER and half SPACE ACADEMY. I only mention this, because I discovered that David Patrick Kelly is somehow wearing BLACK HOLE ADVENTURE.


That out-of-this-world suit! The scratchy, woolen needlework! All tied together with a pair of Spicoli's checkered surf shoes from FAST TIMES AT RIDGEMONT HIGH! A-plus, DPK. An A-plus.

3. Hedaya's ponderous jowls. Hedaya's shaggy, caterpillar-esque eyebrows. Hedaya's deeply cleft chin. Hedaya's sunken, terrifying eyes. Hedaya's five o'clock shadow. Hedaya's unnervingly fleecy chest hair, always threatening to crawl out of his shirt and onto YOU. All of these disparate elements converge to form Dan Hedaya.


4. BOOM- out of nowhere- Paxton. He only gets like three lines in a throwaway role as an air-traffic controller, but I still say even just ten seconds of Paxton is ten seconds of class.


5. The COMMANDO font.

Busy, but not too busy. Colorful, but not too colorful. Kinda sporty, but kinda militaristic. Framed elegantly by parallel horizontal lines. I could go on.

6. The opening montage of Schwarzenegger and daughter Alyssa Milano which seems to borrow equally from Leni Riefenstahl propaganda, contemporary political advertisements, the Marx Brothers, the Three Stooges, and THE SOUND OF MUSIC.




7. The void in Bill Duke's eyes. Even for the film fan who has seen it all, there's something sincerely uncanny about Bill Duke's deadpan stare. Most of filmdom's great psychos- from Lon Chaney to Dwight Frye to Anthony Perkins to Crispin Glover- have an active glint in their eye, a quivering eyebrow, a narrowed eyelid. Not Bill Duke. Bill Duke looks into your soul, confident that neither he nor you even have one. Then he says that he likes the price of your Cadillac and runs you down with it.


8. James Horner's score. Ever since I got my hands on a copy, I've had nothing but steel drums and discordant wailin' sax stuck in my craw. Now, it may be a total rip-off of Horner's previous score for 48 HRS., but at least this time the tropical locale provides a bona fide excuse for the steel drum action. This is a throbbing, pulsating, hard-driving score that never lets up, never quits, never stops with its firm jams and unyielding grooves.

In all, COMMANDO is the tale of a man who so loves his daughter, Chenny, that he blasts, low-balls, and blows away a ton of dudes so that he can get to a fictitious Latin-American country, change into a Speedo,

row to shore, change back into commando clothes, blow away some more dudes, take off his shirt, and finally face off in a steam room with the leather-pantsed, chainmail-sweater-wearing bastard who has wronged him.











Four and a half stars. Make sure, uh, nobody gets poked in the eye or whatever.

-Sean Gill