Showing posts with label Tony Todd. Show all posts
Showing posts with label Tony Todd. Show all posts

Tuesday, September 24, 2024

Only now does it occur to me... EXCESSIVE FORCE (1993)

Only now does it occur to me... that Thomas Ian Griffith––performer of THE KARATE KID III's notorious, coke-addled villain Terry Silver––is... an auteur!

Yes, as they say in the action biz, he "pulled a Stallone"––he wrote, produced, and starred in this fine film, called EXCESSIVE FORCE. 

 

Though it wasn't the starmaker that New Line had hoped, I think he deserved this as much as Steven Seagal or Chuck Norris, whose respective films HARD TO KILL (1990) and THE HITMAN (1991) are tonally similar to EXCESSIVE FORCE, feature a similar amount of mullets, and are really no better or worse.


TIG is certainly a better actor, blow by blow, than Seagal or Norris

Also, this movie really capitalizes on Thomas Ian Griffith's piano playing––as COBRA KAI would also, decades later––and while he's playing a tough cop whose real passion is being a jazz musician, it's hard not to think about John Woo's HARD BOILED and its resident, clarinet-blasting Inspector Tequila.



TIG wielding Woo-style double-pistol action, as well

And with its Chicago-set, "mobsters and corrupt cops vs. one last virtuous hero-cop" plotline, it's hard not to see this as a pure mashup of HARD BOILED and THE UNTOUCHABLES. I wonder if TIG was up for the Billy Drago role in that?

 
The "Capone" here is ROCKY's Burt Young

Speaking of which, there are a shocking amount of top-shelf character actors rounding out this film.

James Earl Jones (R.I.P.) continues his '80s run of non-prestige action flicks, continuing in the vein of ALLAN QUATERMAIN AND THE LOST CITY OF GOLD and BEST OF THE BEST. Here, he plays a pathos-exuding friend of Thomas Ian Griffith, who also plays a mean jazz saxophone.


SQEEEEEEAD-ELLY-DEE


As always, so much pathos


We have the incomparable Lance Henriksen as TIG's creepy, cigar-chomping boss, 



Tony Todd as a (possibly) nefarious fellow cop,


and TIG's leg extension is basically a supporting character, in and of itself.

KARATE KID references abound. TIG's character name is "Terry," just as it is in THE KARATE KID PART III. He also sings "Danny Boy" in one of his first scenes; it's no coincidence that "Danny Boy" was one of the insults he flung at Daniel LaRusso in KK3.

Along the way, there are a lot of high-kicks, explosive squibs, jazz riffs, moody lighting choices, asymmetrical earrings, B-roll shots of the Chicago River, and the whole thing ends with a kitten exchange in a hospital.


TIG and JEJ both love kittens, what can I say

In the end, I am left with a strong desire to see NIGHT OF THE WARRIOR (1991), a film also written by Thomas Ian Griffith and starring... Lorenzo Lamas.


Friday, July 12, 2013

Only now does it occur to me... NIGHT OF THE LIVING DEAD '90

Only now does it occur to me...  that this is one of the best credit titles that ever was!

That's right:  the 1990 NIGHT OF THE LIVING DEAD remake was co-executive produced by zombie legend Romero and post-Globus Cannon films impresario Menahem Golan.  Brilliant!

As for the film, it's a mediocre but watchable Tom Savini-helmed retread of the original that contains a few nice flourishes (and a near-Shakespearean performance by Tony Todd of CANDYMAN fame), but in the end is the kind of disposable 80s horror that's best suited for the background of a party.

Tuesday, February 17, 2009

Film Review: CANDYMAN (1992, Bernard Rose)

Stars: 3.5 of 5.
Running Time: 99 minutes.
Notable Cast or Crew: Virginia Madsen, Philip Glass, Tony Todd, Vanessa Williams (no, not that one, the other one), Ted Raimi, Xander Berkeley, Clive Barker.
Tag-lines: "We Dare You To Say His Name Five Times!"
Best one-liner(s): "I hear you're looking for Candyman, bitch. Well, you found him! " [Not said by Candyman. Candyman is a class act.]

Guess who's coming to dinner? Candyman. Even if the movie itself doesn't quite live up to its place in the pop culture canon, it's still a horror essential. Philip Glass delivers one of his greatest scores. Everyone should own a copy. It takes elements from his previous work and infuses them with massive choral elements and a frightening, dusty old church organ. In fact, I think Bernard Rose wants you to recall prior Glass movies through the imagery- helicopter shots of Cabrini Green mirror the Pruit Igoe segment in KOYAANISQATSI, and police procedural stuff reminds one of THE THIN BLUE LINE.

And then there's Tony Todd. As the eponymous Candyman, he's likable, charming, and Shakespearian.

Candyman is someone I could see inviting to a dinner party, and not having to worry whether he was going to cause a scene or not. Look at his competition. They're either totally crass (Freddy, Critters, Chucky, etc.) or have no personality whatsoever (Jason, Michael Myers). I have to give points for Candyman being the classiest horror villain since Vincent Price. I could see myself hanging out with Candyman.