Monday, March 10, 2025

Kickboxer - "Why Doze Guys Try to Huuuurt Me?"


I got the new 35th anniversary 4K edition of Kickboxer (featuring the badass lenticular slipcase seen above) this past Christmas, and after watching it six times since then, I feel like I can write something about it.

First off, I’ve written about a lot of Van Damme movies, but I’ve held off on this one. While Bloodsport is awesome, Kickboxer is what started my JCVD fandom. I’ve watched this movie too many times to count, and I will watch it countless times in the future. Because of this, I didn’t think I’d have much to say about it beyond, “Man, this is awesome.” It’s easier to write about Van Damme movies if they’re more outrageous (Street Fighter) or just bad (Double Team). But with this new release, it’s time to finally address my favorite Van Damme movie.


Man, Kickboxer is awesome. Seriously, this is all I want from a Van Damme movie: broken English, splits training, nonsensical training, montages with on-the-nose song choices, slo-mo roundhouse kicks, Van Damme dancing, Van Damme drunk acting, and revenge. I know this isn’t objectively good, but I love it.


Watching it over and over again allows me to notice new elements. This time, a couple things stuck out to me. First, there’s a scene I’m now obsessed with. The drunk dancing stuff and Eric being a dick and doing the “Can he move like me?” stuff is great, but it’s played out. This time, Van Damme being distracted by a bird cracked me up.


Van Damme and Eric are training in the park after they get to Thailand (and Eric has had a chance to catch gonorrhea from the local talent), and they begin talking about their respective childhoods. This is mainly used as an explanation for Van Damme’s accent and loose grip on the English language, but there’s a moment in which he tells Eric that their deceased father would have been proud of him. Eric agrees, looking down for a moment in contemplation while Van Damme, having heard a bird chirping in a cage a local is holding, wanders off to check it out. Eric, rightfully annoyed, calls Van Damme back and training continues. 


It’s just such a random little moment, and I’ve somehow never really noticed it. Now it’s one of my favorite scenes. I mean, Van Damme wanders over there and stares at that bird like such a dumbass that you wonder if he’s ever seen a bird before. Perhaps it’s just great acting, but I think Van Damme really got distracted during the scene and wanted to see the bird. There’s no callback to it later, and it’s not like Van Damme talks about his love of birds or anything. It makes no sense…or does it?


Watching this movie over and over again, you’re forced to pay more attention to the dialogue. While writing about the bird scene, a line from early in the film came back to me and unlocked an aspect of Van Damme’s character. While talking to reporters about going to Thailand to prove that he’s the best kickboxer in the world, Eric says Van Damme wants to be a vet (though Eric wants him to be a lawyer). It’s never brought up again, but there are animal elements later on that make a lot more sense with the vet stuff in mind.



First, Van Damme’s fascination with the bird makes much more sense, as he’s an animal lover and wants to check out a bird he’s never seen before. The scene still needs more of an explanation, such as Van Damme telling Eric that it’s a rare whatever bird native to Thailand or something, and then Eric can say something funny and disparaging about Van Damme wanting to be a vet. But I’ll let it slide. 


The other part that it unlocked for me I used to just write off as a silly trope of martial arts movies. As Van Damme focuses during his fight with Tong Po, he remembers his time training in the ancient ruins or whatever. He has a vision of fighters from the past and, more importantly, he hears and sees an eagle, which seems to give him the power he needs to defeat Tong Po.


Part of the reason I just dismissed this as a trope is the movie Hot Rod. In that film, Andy Samberg invokes the spirits of animals multiple times to give him the strength to perform stunts and/or fight his stepdad. I can’t find anything to confirm this, but I’m convinced this is inspired by Kickboxer


There are actually a few similarities between Hot Rod and Kickboxer. There’s the spiritual connection to animals, the fight scenes with Ian McShane, the training scenes/montages set to ‘80s music, the relationship between brothers, a family member with a serious medical condition, etc. It’s not a full on parody or remake or anything, but I think it’s safe to say Kickboxer, and films like it, were a big inspiration for Hot Rod


Or maybe I watched Kickboxer one too many times, and it’s time to shut up about it.


Special Features


International Cut


The international cut is a nice addition beyond being a new version because it's in 4x3 and not fully restored, making it more like the viewing experience most people had the first time they saw it.


If this was as cleaned up as the theatrical cut, it would probably be my preferred version. But there's not enough differences for me to consistently revisit it. Plus, I was hoping an “international cut” meant full frontal nudity, but there isn't any.


It’s really only required viewing for hardcore losers like me, which is what you are if you own this version.


I’ve seen people praise it for restoring Eric’s original voice, but the dubbing has never bothered me, mainly because the edited cut is what I grew up with. And I think that’s the main takeaway here: if you grew up with this cut, now you have the best version of it. If you grew up with the edited cut, it’s just nice to have the option to check out the international cut.


The Interviews


The director of photography has the longest interview, and he has some decent behind the scenes stuff about Van Damme blowing up on set one day, yelling “Stallone was right!” But my favorite fact was about the torches during the final fight; he said there was no way they could get away with that in America because they were kerosene torches and created a lot of smoke, “but it looked great on camera.”


The Tong Po interview is okay, but he just seems to be jazzed that people still give a fuck about this silly movie.


The JCVD interview is the boundless drivel you've come to expect from him at this point.


The Commentaries


The first commentary was okay, but it was largely just them praising the movie.


The second commentary was rough. It features one of the directors, David Worth, who is in his 80s. He sounds like a bad Biden impression throughout the whole thing. The moderator tries his best to keep things moving, but you mainly end up with interactions like this: “David, where did this scene come from?” David: “It was written.” Sure, not the most dynamic question, but the moderator didn’t have much to work with. And, of course, there’s the possibility that there doesn’t need to be any commentaries for this movie, much less two, and my dumbass didn’t need to listen to either of them, but it is what it is.


Random Thoughts 


First off, this might sound weird but it almost feels wrong for this movie to look this good.


Eric introduces Kurt as wanting to be a vet, but he wants him to be a lawyer. I wouldn't trust JCVD with my dog or my legal needs.


Eric Sloan is the fucking man. The first thing he does, after placating his loser brother and going for a boat ride, is pick up a hooker and bring her back to his hotel. “Hey man, the champ needs herpes if he's going to fight Tong Po!”


That said, who gives a prostitute flowers? I know Eric's the man, but that's some beta shit.


Kurt Sloan doesn't sound like the name of a guy with a thick Belgian accent speaking broken English, but at least they came up with a reason for JCVD to be from Belgium in this instead of just expecting the audience to go with it.


During a heartfelt conversation between the two brothers, Van Damme gets distracted by a bird and walks off to check it out. I fucking love this movie.


One of the best things anyone has ever done online is create a loop of Eric doing the “Can he move like me?” routine.



Eric gets his ass annihilated for a whole round, and his first comment is about the music driving him crazy. He has a point; that music is insufferable. 


Winston doesn't give JCVD a ride because there are two more fights. So the heavyweight champion from America fighting the best in the country is an undercard?


“You aren’t good enough!” You’re right, Winston, but how the fuck would you know?


You know that feeling you get when your brother's just been paralyzed in a kickboxing match, and you need to go sightseeing in Bangkok during a montage until you stumble across a kickboxing gym?


“But you are American.”

What are you talking about, Xian? Your English is better than his. Why would you make that assumption?


So much of the training is about making him flexible enough to do the splits. This is truly a JCVD origin story.


Eric's first words to Kurt after waking up from his injury: “This is Lo. He's teaching me how to ask the nurse for a blow job.” (International cut)


While I appreciate the international cut's inclusion of a scene with Eric breaking down and telling Kurt to get revenge on Tong Po and “fuck him up!”, I like the theatrical cut better because the first time we see Eric post-injury it's a dialogue free scene of him using a wheelchair and pinching a nurse’s ass.


“Kurt, put on your sluttiest tank top. You know, the one with the weird shoulder clasps? We’re going dancing.”


Wait…the dancing scene is longer in the international cut, making it undeniably better.


What was the dude who picked up the table going to do with it? He just picked it up, held it in front of him, screamed, and waited for JCVD to kick him into the water.


“Why doze guys try to huuurt me?” is still my favorite line reading of Van Damme's career.


“What are they saying?”

“Nok su kao. ‘White warrior.’”

Fucking racists.


I love JCVD, but if his blood got splattered on my face, taking a taste would be the last fucking thing I would do. I’d probably find the nearest bottle of bleach and douse myself with it.


God, I love the abrupt endings to movies like this.


Thursday, February 27, 2025

2025 Academy Awards Predictions


This is a special year for the Academy Awards for me because this is the first time in years that I plan on watching the whole show instead of just watching clips the next day, and that’s solely because Conan O’Brien is hosting. I’m a huge Conan fan, and I know he’ll bring some of his weird ass humor to the event. In general, I find the Oscars to be a tough watch, but I think he’ll add some much needed silliness to the whole affair.

As for the movies themselves, I thought this was a good year for film. I need to stop writing that, though, because so many movies come out each year it’s kind of hard for there to be a “bad” year for film. I suppose there are times when the big awards movies don’t jive with my tastes, but since they’ve expanded the amount of nominees and the membership of the Academy, that’s been more and more rare.


For this year, four of the nominees for Best Picture were on my personal top ten list, and I enjoyed all the nominees, even if some weren’t exactly my thing. I was mainly excited that my favorite film of the year, A Complete Unknown, received so much love, and hopefully it takes home a few awards. 


But who knows? The other aspect that the expanded membership has added is uncertainty. In years past, it was fairly easy to predict most of the main winners, especially Best Picture. Worst case scenario you could narrow it down to two films. Now, it’s wide open. I’ve seen clickbait articles making the argument for four different possible winners this year, and I personally don’t know what to pick. As I type this, I plan on just going with my gut when I get to the prediction part of the article. 


The uncertainty makes the prediction process much more difficult, but it makes the show itself immensely more interesting. So I’m looking forward to a few surprises and a lot of silly shit from Conan. 


As usual, I’ll make my prediction, pick my favorite of the nominees, and also name my favorite overall (in the case that my favorite wasn’t nominated at all). 


For a full list of nominees, click here. Or, you know, just Google it, you psycho.


Cinematography


Prediction: The Brutalist


Pick and Favorite: Nosferatu


Original Score


Prediction, Pick, and Favorite: The Brutalist 


I also loved the Challengers score, and I cannot believe it wasn’t nominated.


Original Song


Prediction: Elton John


I don’t know how much the Emilia Pérez fallout and double nomination will affect this category, so I’m going with the safe Elton John choice. I have no favorite here because I didn’t listen to most of these, and I think this is a stupid category, in general. I would rather see a Best Use of Music in a Movie that could reward the best needle drops of pre-existing music.


Visual Effects


Prediction, Pick, and Favorite: Dune: Part Two


Dune: Part Two deserves something, right?


Original Screenplay


Prediction, Pick, and Favorite: The Substance


Hoping for a surprise with this one.


Adapted Screenplay


Prediction: Nickel Boys


Pick and Favorite: A Complete Unknown


Documentary


Prediction: Soundtrack to a Coup d’Etat


Full disclosure: this category is a huge blindspot for me each year, as I just can’t find the time to watch most, or, as was the case this year, any of these nominees. 


Animated Feature


Prediction: Flow


Pick and Favorite: Memoir of a Snail


International Feature


Prediction, Pick, and Favorite: I’m Still Here


Supporting Actor


Prediction: Kieran Culkin


Pick and Favorite: Edward Norton


Supporting Actress


Prediction: Zoe Saldaña


Pick: Monica Barbaro


Favorite: Margaret Qualley


Actor


Prediction, Pick, and Favorite: Timothée Chalamet


Fingers crossed that the AI-enchanced accent shit with The Brutalist gives Chalamet the edge.


Actress


Prediction, Pick, and Favorite: Demi Moore


Director


Prediction: Brady Corbet


Pick and Favorite: Coralie Fargeat


Picture:


Prediction, Pick, and Favorite: A Complete Unknown


Okay, this is just wishful thinking. But I did hear about this weighted voting thing they’re doing, and there’s a chance that The Brutalist and Anora are either really high or really low on a lot of lists while A Complete Unknown could be in the top three on a lot of ballots giving it the win. Probably not, but I want to see it win. I feel like I’m way off this year, though. I could see Brody winning, and Anora taking Actress, Director, and Picture. Or maybe it’s Conclave. Nothing would surprise me. 


So that’s that. Follow along and see how badly I did this Sunday! But who knows? Last year, I went 13 for 15, so maybe I'm on a roll with these.


And, as always: Hi, Mom!


.


Tuesday, January 21, 2025

Blue Velvet - "Yes, That's a Human Ear, All Right."

David Lynch had been on my mind before his recent death. The Blank Check podcast recently covered him, so I had watched his entire filmography, including Twin Peaks and a lot of short films. Lynch’s work tends to stick with you, but watching so much of it in such quick succession made me think about what kind of Lynch fan I was. 


Usually, when I watch an entire series or filmography, I’ll just post a ranking of it all. But with Lynch, I couldn’t bring myself to do it. Not only was I not sure if I should include Twin Peaks (and how could it not be at the top of the list just for the sheer insanity of The Return?), it just didn’t make sense to rank his films because, depending on my mood, his films would shift wildly in ranking. 


But my when my brother asked what my favorite Lynch film was over the weekend, I had no problem picking Blue Velvet. I might have a couple controversial thoughts about Lynch’s films, like preferring Lost Highway over Mulholland Drive or placing Wild at Heart near the top of my favorites, but I can never shake one basic ass opinion about his work: Blue Velvet is his masterpiece.


Sure, plenty of people have favorites over Blue Velvet, but it seems like the consensus pick as the film that cemented him as one of the greatest filmmakers of all time. I enjoy Blue Velvet much more than just as a symbol of Lynch’s greatness. I find it to be the perfect mix of straightforward narrative and Lynchian oddness.


I enjoy all of Lynch’s work, but when it comes to his straightforward films (The Elephant Man, The Straight Story) I always wish they were a little weirder, and I wish his unhinged stuff (Inland Empire, Mulholland Drive, a lot of The Return) made just a little more sense. A few of his movies strike this middle ground, like Wild at Heart, Dune, and Fire Walk with Me, but Blue Velvet is easily my favorite. 


First off, the theme is simple but timeless: under the veneer of a picturesque small town in America, complete with picket fences and smiling firemen, lies a dark, evil underworld. This isn’t a unique idea, as America’s image and history has been a juxtaposition in art since the country’s inception. But it perfectly encapsulates Lynch as a person. He’s always described as this nice, normal Midwestern guy, yet he’s fascinated with the dark dreams of the subconscious. With Blue Velvet (and with a lot of Twin Peaks), Lynch gets to have his all-American clichés but also his American monsters.


Beyond that, Blue Velvet sticks with me because of the characters. You have the contrast between Dorothy and Sandy and Jeffrey and Frank. These seemingly polar opposites can somehow exist in the same small town, showing that maybe they’re not all that different. 


The fun of it is watching these characters portray these extremes, especially in Jeffrey and Frank. Jeffrey’s over-the-top “good boy” shit cracks me up throughout the film. He tries to be helpful to the local police, he muses on “the king of beers,” and he’s just a general dork. And Frank is pure rage. Yes, he’s horrifying, but there are moments that will always make me laugh, like his love of Pabst Blue Ribbon, his sucker punch to Jeffrey at Ben’s place, and some of his lines to his lackeys (“No, I want you to fuck it!”). 


The “joy ride” Frank takes Jeffrey and Dorothy on is one of my favorite sequences of all time. The car ride itself might be one of the most terrifying rides ever, and the trip to Ben’s place is amazing. I’d be happy with Dean Stockwell’s lip-synching alone as Frank seems to struggle to keep his head from exploding, but all the other weird shit is great. Just who are all these people in the apartment? Ben’s general look is fantastic. And Stockwell adds so much with his odd little quirks, like alternating between looking asleep and being wide-eyed seemingly for no reason. It’s easily the most surreal moment in the film, but there’s still enough plot going on (the drug talk, the kidnapped child being hidden away, etc.) that it doesn’t feel like it’s just thrown in there to add some weirdness to the film.


Unhinged Lynch can be great, but this restrained version which felt the need to keep things narratively together is my favorite because it makes it easier to revisit the film, which is why Blue Velvet is easily the most rewatchable film, for me. I have to be in the right mood to put on Lost Highway or Eraserhead, but I could watch Blue Velvet no matter how I felt. 


The story is easy enough to follow, but it’s the overall look and feel of the film, and the many moments that I love that keep me coming back. The score and soundtrack perfectly capture the theme of the film, and the classic Lynch look, especially at Dorothy’s apartment, create a feeling of unease without being showy. It’s a beautiful dark world that I would never mind entering through a severed ear. 


All my claims of a simple narrative can be argued, of course, as there are plenty of fascinating theories about the film and its undertones. I like digging into that stuff, and I’ve watched plenty of YouTube videos about the film and disappeared down dozens of reddit rabbit holes, but that isn’t required to enjoy this film, but that kind of research is necessary (at least for my dumbass) for something like Mulholland Drive, even if I think I kind of know what’s going on. My favorite films have always been ones that can be delved into but also enjoyed on a surface level. 


Lynch’s work is largely focused on dreams, and that can be applied to Blue Velvet with its descent into the ear, the use of “In Dreams” by Roy Orbison, Sandy’s blatant talk about dreams and what robins represent, and the overly happy, to the point of being suspicious, ending. It’s always interesting to consider what’s real and what isn’t in a Lynch film, but when he keeps things on the edge where anything could be dream or reality, it makes things much more enjoyable. Sandy’s dad’s odd reaction to Jeffrey’s grisly discovery of “Yes, that’s a human ear, all right” seems like it could be from a dream because it’s so matter-of-fact for something so shocking. But maybe he’s just a very structured cop to the point of seeming robotic. Either way, that is a human ear, all right, and Blue Velvet is a perfectly odd and normal movie at the same time. 




Random Thoughts


You know how it is: you stop to throw a few rocks at an old shed and, while looking for a good one, you find an ear instead. Happens all the fucking time.


God, I love the music in this, both score and soundtrack. It’s all perfect.


“Yes, that’s a human ear, all right.”


The dude just standing there with his dog always creeped me out. That’s the kind of shit I love about Lynch. “Instead of Kale just walking alone, let’s have a weird fat guy wearing sunglasses standing there with a dog!”


Jeffrey is such a stereotypical “good guy” it’s hilarious.


Laura Dern emerging from total darkness is one of my favorite cinematic entrances for a character.


Not to get into theories since many others have already covered everything better than I ever could, but the whole Lincoln assassination stuff is pretty interesting. Lincoln Street is bad news. Frank Booth. Well, that’s kind of it. But it’s still interesting.


Dorothy’s apartment building always reminds me of the apartments from Silent Hill.


“Ah. The king of beers.” Jeffrey seems upset that Sandy’s dad doesn’t drink Heineken, but this line is like an assurance that it’s only because it’s Bud. How could Heineken stand a chance against the king of beers?


“I don’t know if you’re a detective or a pervert.” Definitely a pervert. A Heineken-swilling perv.


Frank doesn’t show up until forty-three minutes, but he’s shot out of a fucking cannon.


The first time I became aware of this movie was seeing it in the video store when I was probably twelve or so. I remember seeing Hopper on the back hitting the nitrate, and thought, “This is probably too much for me right now.” And I was right. It was good that I waited a few more years for this.


What the fuck is hanging on Jeffrey’s wall? Every time I watch this, I end up Googling it and finding, of course, no answer aside from, “That’s Lynch for you!” 


Sandy: “How’d it go?”

“Well…”


“And the robins represented love.” It’s truly wild, looking back over his entire filmography, that Lynch has a character say anything represents anything, even when discussing a dream. But that encapsulates what I love about this one. It’s the perfect blend of traditional narrative and Lynchian oddness.


“See that clock on the wall?”

“Yeah.”

“Five minutes from now, you’re not going to believe what I’ve told you.” Oh, fuck off, Jeffrey.


Sitting between Brad Dourif and Jack Nance (who keeps calling him a pussy), with a crazed Dennis Hopper driving has to be one of the most terrifying car rides of all time.


Ben lives above or next to a bar simply called “This Is It.” Great bar name.


Of course, Ben is a suave fucker. Who else wears a ruffled shirt and cummerbund just hanging out at the house?


“Do you want me to pour it?”

“No, I want you to fuck it!”

In Frank’s defense, that was a dumbfuck question for Dourif to ask.


That random punch to Jeffrey when he doesn’t automatically join in with the “Here’s to Ben” toast makes me laugh every time.


Dourif: “Hey, David, I feel like I should be doing something during the ‘In Dreams’ part.”

Lynch: “Okay, Brad, take this snake and dance around or something.”


I think this was the first non-Quantum Leap role I saw Dean Stockwell portray. Definitely exposed me to his range as an actor.


Imagine how stupid I felt after years of thinking “I’ll fuck anything that moves” was primarily a Jay quote from Clerks.


Say what you will about Frank, but the man is a music lover.



It’s so fucking funny when the floozy from Ben’s just instinctively climbs on top of the car to dance to “In Dreams.”


“He put his disease in me.” 

“Dorothy, ix-nay on the isease-dey.”


“Sandy, I should really go with her to the hospital. Like she said, I did put my disease in her, so this is partly my fault.”