Chicago Overcoat (2009)

Directed by: Brian Caunter
Run Time: 94 minutes

This is an odd entry in organized crime drama genre. On one hand, it's a movie dripping with style and a few scenes over the top violence. On the other hand, it's a meandering story that cares more about style than exposition. Let's dive into the stylish insanity that is Chicago Overcoat.

The start of the movie confused the hell out of me at first because it looks like a cut scene from Sin City. A black and white flash back of a sleazy strip club in the late eighties with a sound track that was lifted from Sin City. The focus of the scene is the Sleazy Guy. A nameless sleazy creep that hangs around strip clubs and behaves in a sleazy manner. Unknown to Sleazy Guy, Lou Marazano (Frank Vincent) has orders to kill Sleazy Guy and does so in a graphic manner.

The movie cuts to the present (or 2009 which ever works) and we get an introduction of sorts to Lou Marazano. A career mobster who is caught between two family obligations and is wanting to retire to Las Vegas. His daughter divorced a deadbeat wiseguy from an affiliated mob crew so he is helping her and her son out. Then there is his mob obligations and his growing disenchantment with what the mafia has become. An opportunity for Lou to take care of his family and retire arises when imprisoned mob boss needs to eliminate three federal witnesses. The problem is no one wants to do the job for eighty thousand dollars so Lou is given the job.

After a few days of following the witness and setting an alibi for himself Lou takes out the first witness. With the body disposed of, Lou sends flowers to his victim's wife and gets ready for the next target. In the b plot, walking hangover and stereotypical burnt out cop Ralph Maloney (Danny Goldring) is going through the motions of investigating the disappearance of the first witness. That all stops when he discovers that flowers were sent to the first witness' wife. So Ralph and his partner, soon to be killed guy, look at past case files regarding the mob killer that leaves flowers as a calling card. However someone in the police department has tampered with the files and could be a mole. There is also a pointless cameo with Stacey Keach where Ralph and Keach's character talk about the investigation and getting older.

The third act is a mixed bag of both kinds of family drama, character development that doesn't go anywhere, and film padding. It goes from a story about man with two family loyalties to a story about an aging gangster who is going on a killing spree and looking dapper while doing it. The b plot has the Ralph becomes a massive dick and wants to arrest Lou by being a massive dick. Sprinkle in some impressive and violent action scenes and that is pretty much the movie.

It's not a bad movie, it just lacks a point to the story. The focus is more on showing the glory days of the 1920's Chicago mafia when none of the characters were alive during the 1920's. It's a gangster lite film. All violence and some light drama but none of the moral or emotional baggage of other crime and gangster films. It's a great rental movie if you're struggling to find something watchable but painful if you're a fan of the genre.

MVT: Dapper silver haired terminator in a three piece suit with a tommy gun firing on modernish gangsters.

Make or Break: A tie between plot lines that go nowhere and character development being used a run time padding. Both broke me out of the film a lot.

Score: 5.5 out of 10

Instant Action: Ninja (2009)

Ninjas with night vision is a pretty terrifying idea!

Written By: Boaz Davidson & Michael Hurst
Directed By: Isaac Florentine

There's some story at play in Ninja, and it's serviceable. That's faint praise, but it's okay for the story in a film that isn't really about a traditional plot based story to be merely okay. There's a good guy, a bad guy, some people who get caught in the middle, an object that is desired, and lots and lots of mayhem ensues. That story provides the framework for Isaac Florentine to film a pretty nifty action film. Ninja is first and foremost an action film, and there's nothing wrong with a well made action film, I'll let you in on that little secret for free.

The action in Ninja deserves to be focused on it because it is, as I said, pretty nifty. I was most impressed with the placement of Mr. Florentine's cameras. He presents a panorama of action with very little camera movement. Essentially he places his cameras in specific places and then allows for the action to come to the cameras. He's not so much interested in following the fray, but filming the fray as it happens. The end result is action that is both expansive and easy to follow. The filming of Ninja leaves the impression that there's more action taking place than meets the eye, if that makes any sense. It's kind of hard to describe, but because of the method Mr. Florentine uses to capture the action of the film there's a fullness to said action. Characters aren't confined to one corner of a room, or one floor of a building, the fight can take place anywhere and move anywhere.

Mr. Florentine is very adept during Ninja at making the action easy to follow. Ninja is not made using the disorienting Chaos Cinema approach to action that I loathe oh so much. No, the action in Ninja is of the sort where I can see a character get grabbed, know that he's near a window and then follow the action as he is thrown from the window and into the path of another oncoming train. Being able to follow the action is such a small thing, but it's very important when it comes to crafting an enjoyable action picture. Mr. Florentine gets it right when it comes to filming action and recognizing that the audience wants to be able to follow what is happening.

This is my first film from Scott Adkins, and I'll have to admit I wasn't super impressed. He was decent as Casey Bowman, but he didn't blow me away. There's a roughness to his style of martial arts that I could see working much better in a more brawling sort of film. He's not bad in Ninja, far from it, but for as much as he has been hyped up to me I'll need to see some better work from him in some other films for that hype to be warranted.

The same is not true of Mika Hijii, who I knew nothing about coming into Ninja and ended up being happily surprised by. She played Namiko quietly throughout, but when an action scene required her to get rough and tumble she more than had the goods. An important moment for me was her fight on the subway. She didn't shrink away like some sort of scared and fragile violet. She did some impressive ass kicking of her own, before succumbing to the simple laws of physics. Which was another aspect of the film I appreciated. I've grown a little tired of the hundred pound woman, or even man, who can take on numerous behemoths at the same time and prevail easily. Sometimes simple body weight and physics dictate that the smaller person is going to lose the fight, regardless of gender. I was happy that Ninja gave Namiko her time to shine, but also kept it real in regards to her size and the result of her fight based on said size.

I'm interested in seeing the rest of the Ninja films, as well as more from Misters Adkins and Florentine, and Hijii-sama. Ninja is the sort of direct to video goodness that is becoming harder and harder to find these days. It brings the action goods in thrilling and industrious ways. There are plenty of action films out there begging for your time. Trust me when I tell you that Ninja is one of the action films worth making the time to see.

Rating:

7/10

Cheers,
Bill Thompson

Daytime Drinking with the Uncool Cat

We have all had those days. From the moment you wake up on the wrong side of the bed to when you eventually hide under the covers to go to sleep, absolutely nothing seems to go right. Makes for a miserable day when it happens to you, but when it happens to someone else? Entirely different story. Pure hilarity!

A lot of movies have taken this "from bad to worse" concept and used it to tremendous effect.  From After Hours to Meet the Parents, it's very entertaining to watch some poor sap who keeps getting deeper and deeper into trouble that he does not necessarily bring on himself. It usually works better if it's a nice guy too. If it's a jerk, it's just the universe giving him his comeuppance. Nice guy though? We can laugh and relate to his rotten luck.

Young-seok Noh's low budget 2009 feature, Daytime Drinking, not only fits comfortably into this sub-genre of comedy, but stands as one of the better examples of it. It is very funny, but has a subdued, quiet tone that adds to the realism and the audience's connection with the put upon lead, who has had way too many black cats cross his path.

The film starts, suitably enough, in a bar, with the protagonist, Hyeok-jin (Sam-dong Song) moping while his 3 friends get their drunk on. You see, Hyeok-jin is still heartbroken after his girlfriend has dumped him. However, his friends are having a jolly good time. Not wanting the fun to stop, they all agree to continue their drinking binge at a remote guest house the following day, where there is a fair and lots of good food and booze. They will meet up after the lengthy trip and party hardy. And who knows, it might cheer Hyeok-jin up.  Reluctantly, Hyeok-jin agrees to go, though it's easy to see his heart isn't in it. And after it fades to the title card, the fun begins.

The next day when Hyeok-jin arrives by bus, the town is seemingly abandoned. And cold. Really cold. It soon comes to light that his friends have entirely forgotten their drunken promise and now Hyeok-jin is stuck in this barren town with little to do. What follows is a cavalcade of bad decisions and worse luck.

Sam-dong Song is great as the stranded tourist. He has just the right amount of humility as his attempts to make the best of his weekend are constantly thwarted. But it is quite endearing when he struggles on, though nothing seems to be going his way. He remains relate able, and the audience never turns against him as he stumbles into another bad situation. One great scene has Song getting on an empty bus and a very "flighty" woman sits directly next to him and begins to engage him in conversation. A conversation that he definitely has no interest in at all. So, being polite, he apologizes and says he needs to get some "shut eye". Her reaction is something that he could have never expected. And that's not the end of it either. His bad decisions always come back to bite him on the ass. And he was trying to be polite! Heck, I remember one time when I was on a long bus ride and someone wanted to talk, and I actually made the excuse that I really wanted to read my book because I didn't want to pretend to sleep. I felt bad, but boy, I wasn't raked through the coals like poor Hyeok-jin.

Another element that plays heavily into Hyeok-jin's weekend is the Korean tradition of drinking. Throughout his misery it seems as if he is nursing a constant hangover as whoever he meets politely demands he get drunk with them. And anyone who has gotten hammered during daytime hours can usually tell you, it seldom is very much fun. And he is in this condition as things go downhill. Noh makes the great decision to never have Hyeok-jin's misfortunes seem like anything insurmountable, but just numerous moderate inconveniences. Until things get a little too out of hand. Yet another thing that makes the film more realistic.

There is so much to love about this unassuming flick. The low budget and snowy setting really add to the film's atmosphere, and every supporting character is wonderfully bizarre. The emotion behind it seems sincere and can be seen as more than the simple story of poor Hyeok-jin, but of life itself. The final moment in this will leave most of the audience chuckling, but should also make them think about what they could potentially do in everyday life. As the saying goes, without risk, there's no reward. And Daytime Drinking is certainly a very rewarding experience.

 

Make or Break: The scene where Hyeok-jin gets drunk in the bus stop with his beautiful neighbour from the guesthouse. Not only does it come to a very funny conclusion, but it sets off his weekend.

MVT: Young-seok Noh. WIthout a lot of resources he has crafted a film that deservedly gained international attention and he is considered one of the filmmakers responsible for the new era of independent films in South Korea. And as a side note, his follow up, Intruders, hits many of the same themes and events, and proves that he is far from a one hit wonder.

Score: 9 

Instant Action: Merantau (2009)

That's a heck of a lot of ass kicking to dole out for a girl you hardly know!

Written By: Gareth Evans
Directed By: Gareth Evans

I was floored by the action in Gareth Evans 2011 effort, Serbuan maut. That film had a lot of hype accompanying it, but I was still impressed by the type and tenacity of action presented by Mr. Evans. My mind was a blank slate going into Serbuan maut, but the same cannot be said for my state of mind when I started watching Merantau. Thanks to my previous exposure to Mr. Evans most popular film I came into his sophomore effort with certain expectations. Most of those expectations were met, and that's both a positive and negative in this case.

There's only one place to begin a discussion of Merantau, the martial arts action. I remain super impressed with the way that Mr. Evans films his action scenes. They are hard hitting and visceral in the best of ways. This isn't the stuff of light tag that is too often present in Hollywood action films. When someone is hit in Merantau their pain is easy to feel. The violence of the film brings with it a level of immediacy that makes the action easier to swallow. A lot of the action in Merantau is far fetched, but I bought into it because of how immediate said action was presented.

Where Mr. Evans most shines as a director is in his understanding of space and surroundings. The fight choreography of Iko Uwais and Yayan Ruhian deserves special mention. However, without Mr. Evans having his camera in the right place at the right time during every single fight the choreography would have been lessened. Mr. Evans focuses on the area around the fight, and to great effect. Some fight scenes have a claustrophobic feel, while others feel like the entire world is at the fighters disposal. Added to this is the way that Mr. Evans implements the sound work of Ichsan Rachmaditta. The various working parts of Merantau are really good in and of themselves, but it is the guiding hand of Mr. Evans that brings those elements together to craft a very well made film.

That's not to say that Merantau is a perfect film, or even that it is on the same level as Serbuan maut. In every aspect Merantau is an inferior film to Serbuan maut, but it's still a good motion picture. The main problem I had with the film was that it did drag in the non-fighting moments and that on the whole the film could have stood to lose a good fifteen to twenty minutes from its run time. The fighting, or martial arts if you will, in Merantau is lean and mean, but the movie doesn't always follow suit. The story that surrounds the fighting is bare bones. That isn't a problem all by its lonesome, but Mr. Evans spends far too much time on such a weak story. This in turn causes the film to drag and lose a lot of the momentum that the fight scenes build up. Luckily the fight scenes do eventually come around and get the movie back on track. But, Merantau is a tad too on the bloated side for the type of film it wants to be.

Merantau falls well short of being a great film, but it's still a darn good action flick. The story can be tossed aside, and the bloated nature of the film shouldn't pose too much of a detriment to the film. The fighting in Merantau is where it's at, and in that aspect the film delivers on all of its promise. The kinetic energy of Mr. Evans action direction pulled me in and refused to let me go. Any action fan should find something to like in the action provided by Merantau. I know I did, and I know that Gareth Evans has emerged as one of the best young action directors working today.

Rating:

7/10

Cheers,
Bill

Instant Action: Valhalla Rising (2009)

Vikings, what gives, huh?

Written By: Roy Jacobsen & Nicolas Winding Refn
Directed By: Nicolas Winding Refn

There are a myriad of ways to read Valhalla Rising. Usually I would go on and on about the many interpretations of Valhalla Rising and why I feel said interpretations make the film stronger. I'm not going to do that this time. Rather, I'm going to quickly give you my take on the film. One Eye is the Christian god, the young boy is Jesus, and the land they visit is the hell that North America has become thanks to religious zealotry. Where the film veers from the traditional Christian myth is that in Valhalla Rising god takes on the role of his son, and in doing so attempts to spare his son from the pain of death. However, One Eye's actions lead to the same result, and this ties into the repetitious nature of the film. People are people, and it matters not whether god, Jesus, or some other religious figure takes action to steer people on a different path. People are doomed to repeat their mistakes, and are doomed to a hellish existence because of the unchanging nature of life over the generations. Maybe I'm loony in my interpretation of Valhalla Rising, but it's a film that lends itself to many interpretations and as I always say, there is no wrong when it comes to the interpretation of cinema.

That's not all the arthouse side of me has to say about Valhalla Rising. A film like Drive showed me how impressive Nicolas Winding Refn can be as a filmmaker. Bronson further informed my opinion of his artistic merits as a filmmaker. Valhalla Rising plants a stake in the ground and says that Herr Refn is here to stay as a valuable artistic filmmaker of this generation. The entirety of Valhalla Rising is intense, atmospheric, and haunting. This is accomplished through many factors, not the least of which is the gorgeous filmmaking of Herr Refn. Morten Søborg's cinematography is beautiful to behold, and it aids the film at every turn. There's never a dull moment in Valhalla Rising, and it is by no means a fast paced film. It is Herr Refn who takes the many fantastic elements of Valhalla Rising and melds them into a cohesive whole. Valhalla Rising isn't interesting in making narrative sense, but as a film it makes perfect sense.

My writing has been a bit scattershot to this point. That's what happens when one tries to express their opinions about a film like Valhalla Rising. I was mesmerized while watching Herr Refn's film, and the brief moments of brutality brought me out of my trance. Similar to the aforementioned Drive and Bronson, Valhalla Rising isn't action from stem to stern. The action in Valhalla Rising is used as a form of punctuation. The action is well done in Valhalla Rising, but it's not the focal point of the film. It doesn't need to be either, because the little action that does take place is savage enough to remain with the viewer during every second of the films run time. The pace of Valhalla Rising is laconic, and brooding, thus the action is used to bring the viewer back to attention. Let me be specific, I never found Valhalla Rising to be dull, but the action scenes infuse the film with just the right jolt of energy every time the film needs said energy.

Thanks to his role in Hannibal, most of the Western world now has Mads Mikkelsen on their radar. Long before he was an enigmatic serial killer, he was the star of any number of Danish films. Valhalla Rising is a film that shows Herr Mikkelsen at his brooding best. There's such a thing as screen presence, and in Valhalla Rising Herr Mikkelsen has it in spades. When he is on screen all of the attention is on him, and he accomplishes this without ever saying a single word. One Eye catches the attention of the viewer and he refuses to let the viewer escape his grasp. With his dominant presence, Mads Mikkelsen bull rushes the audience and savagely drags them through the special kind of hell that is Valhalla Rising.

Nicolas Winding Refn's version of a Viking tale isn't going to be for everyone. It's abstract, highly interpretive, and favors atmosphere and screen presence over a standard plot. Most of all Valhalla Rising shows Herr Refn as a filmmaker unwilling to compromise his vision. Valhalla Rising is intense, brutally savage, and acidly atmospheric. I was drawn into this world, and engaged by the minimalist filmmaking. Valhalla Rising is a heady film, and beyond any real genre label. Valhalla Rising is a one of a kind venture, and that's always something worth seeing, and in this case worth praising.

Rating:

9/10

Cheers,
Bill Thompson

Universal Soldier: Regeneration (2009)

Directed by John Hyams

Starring Jean-Claude Van Damme ("Luc Deveraux"), Dolph Lundgren ("Andrew Scott"), Andrei Arlovski ("NGU"), and Mike Pyle ("Captain Kevin Burke")

Rated R

REGENERATION is the third film in the UNIVERSAL SOLDIER series (excluding those two made-for-TV movies), but it was the fourth film, DAY OF RECKONING, that served as my first experience with not only the series but with director John Hyams, who really impressed me with what he brough to the table in terms of how he could shoot action scenes. While this movie, ultimately, didn't do much in the way of explaining the weirdness of DAY OF RECKONING, the opening minutes alone made me hungry for more Hyams. The man knows how to film violence. My God, what a fucking opening. It's like being dropped into a warzone.

The teenage children of Ukraine's Prime Minister are kidnapped by masked terrorists in a hale of gunfire. Turns out the terrorists want their people freed from prison, so they use both the Prime Minister's children and the threat of Nuclear warfare is leverage. In other words, there's not much room for negotiation. And this is where the titular Universal Soldiers come into play. The Universal Soldier program that was established in the previous films was apparently suspended years earlier when problems arose, but a bunch of lab geeks and military officials kept the program alive and preserved a small group of Soldiers. The Universal Soldiers here are portrayed in a way that sort of combines the Nazi idea of creating super-soldiers with the hardcore, militant training of Russian soldiers. In other words, there's a hint of ulterior motives and bad intentions.

Working for the terrorists, however, is their very own Universal Soldier - an advanced, rogue model (played by MMA fighter Andrei "The Pit Bull" Arlovski) who is basically the soldier to end all soldiers. The ultimate killing machine. The terrorists hole up at the Chernobyl Nuclear Plant, and, like a guard dog that has machine guns strapped to it, the "evil" Universal Soldier, NGU, singlehandedly guards the makeshift base and occasionally pops out of the shadows to murder large amounts of people without breaking a sweat. Returning are the original Universal Soldiers, Luc Devaraux and Andrew Scott. Luc is now part of what is basically a rehabilitation program, and Andrew is the Ace up the sleeve of the film's corrupt scientist. Without getting into details, all of their paths eventually cross at some point, leading to tons of choreographed fight scenes and action set-pieces. Violence, violence, violence.

One of the more interesting elements of the film is the character of Luc. He's being rehabilitated and essentially trained to be more of a human, but his killer instincts remain. He's like a dog that can turn on its owner at any moment. There are also some noteworthy parallels between actor Jean-Claude Van Damme and his character. There's an undeniable theme of "out with the old, in with the new" present in not only the content of the film but in the subtext as well, and Luc is representative of the "old" in the same way that Van Damme is considered an Action star of the past. They're both old and basically washed-up, but they still have the skills to pay the bills, and it's only a matter of being able to tap into it.

What director Hyams and the screenwriters of the film did with the whole Universal Soldier... uh, "universe" in REGENERATION is pretty interesting. They brilliantly took an established product and re-packaged it in a way that makes sense and gives it some teeth rather than re-hashing the same old shit. Not only is it clear from the casting of an MMA fighter in an important role, but from the choreography of the fights as well (submission moves galore), that there are fans of combat sports behind the scenes, and REGENERATION undeniably caters to that demographic, but there's a great balance here between the MMA mentality and just straightforward, old-school Action. It's a successful clashing of worlds, and the results are pretty fucking good.

Overall, REGENERATION is an incredibly satisfying Action film. Great character psychology, awesome fight choreography, a ridiculously high body count, an old-school Action movie mentality with modern-day resources, and many great action set-pieces as opposed to only like two or three big ones spread throughout the film. Of course most films need to take a break from the action and the violence in order to tell a story, which is understandable, but REGENERATION tells a story while people are getting their asses beaten or shot. Oh, and there's an amazing headsplosion too.

Make or Break: The opening set-piece.

MVT: John Hyams

Score: 7.5/10

Check out my review of UNIVERSAL SOLDIER: DAY OF RECKONING HERE

Episode #186: Inglorious Scoumoune

Welcome to another episode of the GGtMC!!!

THis week the Gents rise from bed (5am recording) to bring you another (in)glorious episode of the podcast you have come to love!!! This week the Gents bring you reviews of Inglourious Basterds (2009) directed by Quentin Tarantino and La Scoumoune (1972) starring Jean-Paul Belmondo.

Direct download: Inglorious_ScoumouneRM.mp3

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!

Episode #127: Mishima: A Life in Four Shades of Black

Welcome to another episode of the GGtMC!!!

This week Sammy had other duties to attend to so Uncool Cat Chris stepped in to help Large William review a couple flicks for your listening pleasure. The guys covered Black (2009) directed by Pierre Laffargue and Mishima: A Life in Four Chapters (1985) directed by Paul Schrader.

We didn't cover any feedback this week but will be back next week to go over some more feedback with Sammy and Will!!!

Direct download: Mishima_Four_Shades_Black.mp3

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!

Episode #109: Amer Saddle

Welcome back to another episode of GGtMC!!!

This week the Gents cover Amer (2009) a buzz film from the festival circuit and Silver Saddle (1978) a spaghetti western directed by Lucio Fulci.

Also, you get to experience Sammy being owned by his son because he was bored with the film chat. Not a fan.....YET.

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!

Episode #105: I Horde Alone

On this episode, we welcome Ian Loring from the Cinerama and 35mm Heroes Podcast to the show and we review two very interesting films. We go over I Stand Alone (1998) from director Gaspar Noe and La Horde (2009) a French Zombie flick.

This episode is packed with chatter and Large William and Sammy trying to take care of children at the same time, it was a very, very busy morning folks!!! I want to thank Ian again for coming on the show, he is a world class gentleman and we can't wait to have him back on at some point.

Check out Ian's shows:

Cinerama Podcast

35mm Heroes Podcast

ans some of his writing over at eatsleeplivefilm.com

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!

Episode #75: The Red Riding Trilogy

Better late than never, this week the Gents cover The Red Riding Trilogy (1974, 1980, 1983) and a ton of feedback. 

Episode #61: Play Thirsty For Me

The GGtMC is back and bringing you more entertainment and film reviews for free!!!
This week we cover Park Chan-wook's THIRST (2009) and Clint Eastwood's directorial review PLAY MISTY FOR ME (1971).
We hope you enjoy the show!!! It's a massive show that only the GGtMC can bring you every week!!

Episode #60: Dolph And Mario

Episode #60 is upon us and it brings gifts of more genre film coverage, this week we cover COMMAND PERFORMANCE (2009) starring and directed by Dolph Lundgren and DEADLOCK (1970) starring Mario Adorf.
Don't forget to vote for us over at podcastalley.com, leave us an iTunes review and donate to the GGtMC cause if you can, we appreciate our listeners so much and thank you for the support.

Episode #51: Anti-Slams

What a doozy of an episode for you guys this week, Jim Brown and Lars von Trier....a match made in....ummmm....I dont know where actually.
This week the Gents cover THE SLAMS (1973) with Jim Brown and Lars von Trier's latest ANTICHRIST (2009)....good times....maybe?

Episode #49: The Road Will Deliver Us To The Void

Here is the wrap up of what we saw at the Toronto International Film Festival, we decided to put all three films into the same show because these three films were our favorites of the festival.
DELIVER US FROM EVIL from director Ole Bornedal
THE ROAD from director John Hillcoat
ENTER THE VOID from director Gaspar Noe

GGtMC at TIFF #7: Mother

In the final of our single TIFF coverage episodes, we go over MOTHER from director Bong Joon-Ho...stay tuned next week for our TIFF wrap-up coverage with a special trilogy show of sorts.

GGtMC at TIFF #6: The Ape

In this episode of coverage from the Toronto International Film Festival, we go over THE APE by director Jesper Ganslandt.

GGtMC at TIFF #5: Valhalla Rising

The Gentlemen go over Nicolas Winding Refn's VALHALLA RISING, another film we caught at Toronto International Film Festival.

GGtMC at TIFF #4: Solomon Kane

Another TIFF bonus episode, this time we go over SOLOMON KANE from director Michael Bassett and starring James Purefoy.....enjoy gang!!!!

GGtMC at TIFF #3: Vengeance

Another TIFF episode brings our coverage of Johnnie To's VENGEANCE.... more to come gang!!!