The Iceman by Ariel Vromen

The Iceman (film)

The Iceman by Ariel Vromen

The true story of Richard Kuklinski, the notorious contract killer and family man, who has claimed of killing over a hundred victims.

The cast gives good performances. Michael Shannon brings gravitas to the Iceman. It’s impressive how much life he’s breathed into a role that is so oblique and intimidating. The audience never really knows what is going on inside his head, but a threatening violence is communicated underneath his dead calm demeanor. It’s an engaging scary performance. Winona Ryder is good in the role of Kuklinski’s wife Deborah but the potential of the role isn’t explored to the fullest. The real-life Kuklinski did hit his wife and broke her nose several times. Unfortunately for Ryder, it is not explored in the film. Kuklinski’s wife in the film suspects something is wrong but is scared to pry, which is contrary to her real-life counterpart had no idea what was going on at all. This was all probably changed to create more character likability for Kuklinski, more on that later. Chris Evans gets to transform and do some character acting as the Iceman’s assassin partner Mr. Freezy. Evan seems to be reveling in this part, it’s probably a breath of fresh air from having doing the recent Marvel films. James Franco also shows up in a fun cameo role.

The story, however, fails to rise above the sum of its parts. One particular aspect of dramatic filmmaking is for the story to be compelling, the audience generally has to empathize and root for its protagonist. It’s hard to feel that for Richard Kuklinksi because he is fully aware of his actions. Kuklinksi was an effective killer from his lack of compassion for people. He gave zero thought to murder and that’s what made him scary. But director Ariel Vromen tries to insert the idea that Kuklinski had empathy and struggled with balancing his antisocial behavior with the safety of his family. This is only touched upon and never fully explored. But perhaps there was nothing behind the real Iceman’s psychosis, maybe he just did not have empathy. The truth is Vromen doesn’t know more than we do and the film is only working on pure speculation. . So it is soft pedaling solely for dramatic purposes, Vromen should have just taken narrative liberties and just fully presented his own take of what happened.

Perhaps it’s not even Vromen’s fault, dramatic film was probably not the proper format for this story. I recommend everybody see the 1992 HBO documentary The Iceman Tapes: Conversations with a Killer. Watching Richard Kuklinski recount his own story was a much more compelling and shocking experience. The Iceman, by comparison, seems relatively watered down and this isn’t a story that should be toned down.

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Retrospective Review: Double Team by Tsui Hark

Double Team by Tsui Hark

There comes a time for every filmgoer when you like a bad movie that nobody likes. You can’t really pinpoint why you like them and it’s a bit embarrassing. Nobody really cares why you liked it because nobody wants to talk about a bad movie. You cannot exactly defend the movie because you see why it’s bad but you feel obligated to point out what’s fun about it. I’ve been wanting to write about films that aren’t new releases. This seems like a good opportunity to write about a film that I enjoy and really want to have a discussion about. So here are my thoughts on the 1997 Tsui Hark action film film Double Team

Let me set it up the historical context. It was 1997. There was a rising trend of Hong Kong action cinema in the West that came in the form of VHS, thanks to the long gone Blockbuster video store. A mutual interest begun to develop; Hollywood producers wanted to inject a new style into American action movies and Hong Kong directors were curious and excited about working with Hollywood resources. John Woo was the first Hong Kong director to be hired for a Hollywood project, and later Ringo Lam and Tsui Hark followed. Coincidentally, all three worked with Jean Claude Van Damme in their Hollywood debuts. This trend eventually died when the Hong Kong directors weren’t that curious anymore and felt that they were being treated to the equivalent of low-cost B-movie directors and the Hollywood resources did not seem worth it by comparison.

John Woo was the only director to rise up the ranks working with other A-listers. Tsui Hark eventually returned to working on Hong Kong productions and Ringo Lam collaborated with Van Damme on a few more straight-to-video productions before retiring from directing.

Tsui Hark has always been a hit-and-miss director for me. He always wants to do too much and ends up overstuffing his films at the expense of the primary idea he started with. But here, perhaps because it was hi American debut, that problem is not here. Working with an American studio and an English language script forced Tsui Hark to reign himself in.

So the setup… Counter-terrorist agent Jack Quinn misses his target, Stavros, on his final mission. He is sent to the Colony, an organization for presumed-dead assassins. He breaks free and seeks aid from Yaz, a weapons dealer for his final battle with Stavros.

Just a few small thoughts to get out of the way. The film is shot like a cartoon with its pastel-like color palette. The art direction is noteworthy as well, it gives a futuristic sense to everything here without being too far into the future or going too over-the-top. It looks like a future that can exist one day.

The idea of the Colony, a secret organization that helps police the world behind-the-scenes via surveillance and advice, is a pretty fun quasi-Utopian concept (the members of the organization live in a sea view resort but are not allowed to leave the place ever) and it is where the film picks up in its second act. The sequences where Van Damme rebuilds himself in a training montage and his escape from the Colony were both interesting and fun visual set pieces. They keep the movie interesting without relying on acting or fight choreography and are specifically designed around things Van Damme can do. Where John Woo dressed Van Damme with gunplay and Ringo Lam with drama, Tsui Hark dressed him up with visual crazy concepts and just let him shine throwing his signature kicks. Tsui Hark recognized that acting was not Van Damme’s forte (at least not until 2008’s JCVD) and decided to let him be the straight man and created chaos around him for contrast. This brings us to the casting of Dennis Rodman…

Dennis Rodman is funny in an absolute hammy way as Yaz the arms dealer. He is so blatantly obnoxious having so much fun playing himself and making basketball puns I can’t help it but laugh along with it. I’m not saying Rodman should be in every movie but he’s likable here. There’s an appeal in movies where the audience witnesses two characters that would never meet under normal circumstances. Van Damme and Rodman make such an odd pairing that it’s just interesting to watch. Heck, seeing Dennis Rodman fist bump a computer-hacking monk is mind bogglingly entertaining.

From a fight choreography standpoint, having to showcase Van Damme’s roundhouse kicks sacrifices a lot of smaller beats within a fight. Van Damme’s roundhouse kicks are beautiful but cinematically speaking, they look slow because of the 360° windup. It’s a powerful kick but also very one-note and requires a certain amount of distance, which means there is not a lot room for upper body parrying. You’ll notice Van Damme never does too much with his hands in his films but rather holding back so he can throw a kick. The roundhouse kick is also a definitive finisher; nobody who receives a kick like that can continue that particular round.

Double Team showcases Van Damme’s kicking ability by cinematically creating a sense of speed and power. Peter Pau, the cinematographer for Crouching Tiger Hidden Dragon, and Sammo Hung, the action choreographer, both solve that problem by injecting a crackling frenetic energy into the action scenes that makes the audience flinch and jump as if they were in the fight.

As an example, I’m going to describe an action sequence in the film:

Van Damme kicks a henchman, who is firing at him with a machine-gun-in-a-suitcase, through a hotel room door. The henchman falls into the hotel room and is kicked back into the opposite direction by another Chinese henchman. The henchman flies toward Van Damme like a sad ping pong ball. Van Damme roundhouse kicks him off to the side. He drags along the floor, barely alive, almost smashing his head to the wall. The camera then swish-pans to a white marble statue of a thinking man and lingers there for 2 seconds. Van Damme then fights the Chinese henchman (played by Hung Yan Yan, Club Foot from the Once Upon a Time in China series) in the living room, who then crazily takes off his shoes, revealing a switchblade held between his toes and proceeds to cut Van Damme with a series of kicks.

The short ping pong game between Hung Yan Yan and Van Damme speeds up the entire feeling of the fight because we’re only seeing Van Damme for half the time. The focus is brilliantly on the poor henchman who is being knocked back and forth. By the time we cut back to Van Damme, he’s already winding up to kick him to the side.

So how do they maintain the speed of the scene for the next part? Admittedly, Van Damme is passively dodging Hung’s kicks before retaliating but the idea of a henchman who is using a knife clenched between his toes to cut the hero is so insane that we’re just completely distracted. Yes, it’s a game of shifting the audience’s focus. Plus, Hung Yan Yan is a fantastic kicker.

Lastly, why that swish-pan to the statue? It’s such a tiny odd detail but it adds a lot to that moment. I always find myself laughing at that moment. Why? 1) It’s a moment of relief. It’s a short recess for the audience to rest their eyes. 2) We see that the henchman wishing he were dead. 3) Marble statues are beautiful. It’s an odd hilarious short tonal shift.

Here’s a clip of that action sequence here:

A lot of action gets better and better as the films goes on with shots like this. The end sequence with Mickey Rourke at the Coliseum made for a nice finale. They share a good fight. Even though it doesn’t seem well-planned on the villain’s part to place a whole field of marked mines and fistfight over it with a live tiger roaming around.

As for Mickey Rourke, he’s a decent villain but I don’t know why he had to buff up like that. It just makes him move more sluggishly. Perhaps that’s the filmmakers were busy thinking how to make Van Damme look good, they forgot about Mickey Rourke. It’s a shame because there’s nothing that exhibits his boxing training here. It’s still a great finale sequence nonetheless. The final explosion builds to a hilarious ending involving a hallway full of Coca Cola vending machines and the end credits end on a techno song featuring Dennis Rodman on vocals.

There is a lot of craft in this movie, but it’s buried under its blatant obnoxious surface because it’s so insane. The insanity is what’s mesmerizingly fun about it. And maybe that’s why audiences failed to connect with Double Team when it was released. I genuinely like this movie a lot.

With that all said, I will officially say it publicly. 3, 2, 1… I liked Double Team!

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