Johnny Knoxville

Review: The Last Stand

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The Last StandThe Pitch: He said he’d be back. It just took a few years…

The Review: When I started this blog nearly three years ago, it was with an intention to share and express my love of cinema in all its forms. I’ve never considered myself to be much of a writer, but have always hoped that enthusiasm and my increasing knowledge would carry me through. You, dear reader, can continue to be the judge of that, but I’ve always enjoyed a broad church of film and that’s only increased over the past five years. But some things have been missing from the cinema catalogue, thanks to my age and a large number of years when my viewing was restricted to home entertainment. One of the most significant gaps in my viewing experience has been the Austrian Oak, the ultimate action icon of the Eighties and Nineties, and if you discount his selection of cameos from the last decade, I can count two Arnie films I’ve seen in the cinema for the first time: The 6th Day and Eraser. If you had the chance to see either yourself, you have my sympathies, but like me you might just be pining for a great Arnold Schwarzenegger film to show up in cinemas.

The Governator has stopped governating, or whatever it was he was attempting to do to California for most of the last decade, and he’s decided to see out his remaining years doing exactly what he does best: make action movies. You’ll find he’s easing himself in gradually, as he’s only in around half of The Last Stand. The set-up does see a bit of Arnie, looking befuddled while Johnny Knoxville and Luis Guzman clown around in their sleepy backwater on the U.S. / Mexican border, while in the main plot Eduardo Noriega’s highly dangerous criminal gets sprung from his prison transport and slips through the fingers of FBI agent Forest Whitaker. Noriega’s making a run for the border, but it also turns out he’s an illegal but highly experienced racing driver in his spare time (but of course) who’s got a 250 mph supercar and is making a break right for Arnie’s border town, where Peter Stormare and his crew are preparing to spring Noriega over the border when he arrives. As Forest and his FBI chum(p)s repeatedly fail in their attempts to slow down a man so powerful he doesn’t even need to stop for gas when driving half way across southern America, only Arnie, that guy from Jackass and the guy who they built a statue of in Community stand in his way.

I’m not going to pretend The Last Stand is high art, and thankfully for most of its running time neither are the makers of the movie. It’s director Kim Jee-Woon’s first big English language pic, and the director of I Saw The Devil and The Good, The Bad And The Weird knows how to make an action movie. He keeps his camera interesting through everything from the initial break-out to the final showdown (including an innovative chase through a cornfield), but even he can’t wring much originality or tension out of the set-up. Forest Whitaker gets the expository role, and I can’t remember a part he had so thankless since Species – although a few others have come close – and the first hour cuts between his efforts and the incompetent sleuthing of the other hometown police, including Jaimie Alexander and Zack Gilford. It’s all scripting by rote, and starts to tip over into deeply maudlin around the hour mark, as if it needs something to kick it into high gear.

That thing is about 6′ 2″ and built like a leathery tree, and when Arnie finally gets his thing on, the whole film goes up at least two gears in both entertainment and action. The earlier sequences almost feel a cunning ploy, to soften the focus of the background elements while setting up the stakes, so that when the elderly Terminator does arrive it feels all the more impressive. Either way, when it happens, Arnie simply comes in and blows everyone away, driving, punching and blasting through everything in sight like an unstoppable Austrian train. It does acknowledge he’s getting on a bit, briefly, but then proceeds to ignore that and the last act is an orgy of satisfying movie violence and occasionally silly comedy, one where all of Arnie’s team get a reasonable look in. It’s a complete throwback to the action movies Arnold made his name with in the Eighties, and while it’s no Predator or Commando it’s an awful lot better than Eraser or The 6th Day, crucially only taking itself too seriously for one brief, Ahnuld-free stretch in the middle. If you want to just kick back and turn off your brain, you could do a lot worse.

Why see it at the cinema: Hopefully you’ll see it with an audience who all enjoyed the over-the-top elements as much as I did. The poor box office seems to be an indication that audiences would rather illegally download this kind of movie than see it in a cinema; their mistake, don’t make it if you’re a fan and get the chance.

What about the rating? Rated 15 for strong bloody violence and language. As you’d expect – or hope for – from the director of I Saw The Devil. Plenty of blood spray, but it’s more cartoon violence than anything.

My cinema experience: Picked up my ticket from the ticket machine, dodging the reasonable queues at the Sunday afternoon Cineworld in Cambridge, and settled in near the front on the left of a half-full cinema. It appears I picked the wrong half, as all of the raucous laughter and enjoyment was coming from those sat further back on the right hand side; everyone else on my side, with the exception of me, was sat in stony silence for the majority of the running time. I was this close to switching sides… No sound or projection issues.

The Corridor Of UncertaintyTwenty-two minutes of promotional activity of the usual form before the film commenced. Just about reasonable.

The Score: 7/10 (probably around a 5 for the bits without Arnie and an 8 with him)

Review: Jackass 3D

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The Pitch: Johnny Knoxville takes one step closer to not needing that old age make up…

The Review: If the thought that it’s more than ten years since Johnny Knoxville and his pals burst onto our screens, then have a thought for them. Could they have really imagined that after all this time, they’d still be attempting to find cruel and unusual ways to tease, torment and torture each other? There has, of course, been a long break since the last instalment, even if you include the deleted scenes which escaped onto DVD under the pretence of being a separate movie, so it is it really worth the wait? For that matter, is it really worth the trouble?

The excuse for this dip into the well of human depravity, of course, is the opportunity to affix a D to the 3 of the title. Always looking to do things properly where it counts, they’ve got some proper 3D kit, then set about finding ways to use it. This isn’t to say that every stunt requires the use of 3D; indeed, more of them than not would be absolutely fine in 2D, but there are undoubtedly some memorable moments. What actually works better here is the other new innovation, the high speed camera used to capture the moments of heavily inflicted pain; watching the moment of impact in crystal clear slow motion adds to the feeling of awe and sense of fascination as you watch the slow-motion convulsions, and also to the empathy you’ll feel for each one on the receiving end.

Of course, Jackass has never been about purely sadistic pleasures; the intent is to make us laugh, and a lot of that is dependent on the camaraderie and interplay between the various Jackasses. Most make a return, only Raab Himself and Brandon DiCamillo not present from the core cast and the rest might look a little more creased, but are still willing to give their all in both the physical and the just plain daft. Knoxville might be the figurehead, but the most telling contribution is that of Steve-O, who has discovered sobriety since the last movie and enters into most of the stunts with a new found sense of self-awareness, giving him much more of the expression of a rabbit in the headlights, about two seconds before it’s about to connect with bumper.

It’s not all about the physical, of course, and Jackass is as smart as ever in the execution of some of its high concepts, such as a bar fight played out by Wee-Man and a few of his friends. April and Phil, Bam’s put upon parents, get put upon again although it’s sometimes more of their own choosing now, and stalwarts of the series from Spike Jonze to Rip Taylor all pop up in their well-worn roles. So to answer those earlier questions, it was worth the wait; absence has made the heart grow fonder and the technical innovations add an element of freshness to the familiar. As to whether it’s worth the trouble, that’s one you can only answer if you’ve seen and enjoyed Jackass before; it’s always gelled in a way that its contemporaries have struggled to do, and it remains consistently funny throughout. If Jackass is your (sick) bag, then there’s little this year that will make you laugh as hard or as long.

Why see it at the cinema: For anyone even slightly inhibited, the company of others should allow you to truly enter into the spirit. (And by that, I don’t mean you should urinate on the row in front. Just to be clear.)

Why see it in 3D?: Where else can you expect to see a giant pink dildo being fired out of a cannon straight at your face? IN 3D?

The Score: 9/10