Cage

Cage_1989_poster

One of the great joys of quick-dry cement-headed action flicks like Cage is reveling in a piece of art which couldn’t be made today, especially given how folks are offended by just about everything it seems.

Featuring the Twin Towers Reb Brown and Lou Ferrigno, who’ll kick your teeth in even as you cower in your safe space, Cage is another one of those human cockfighting ring action flicks similar to Bloodsport. However it’s a wagon-load more racist. But have no fear. Nobody comes off well in this.

Reb (Scott) and Lou (Billy) play army buddies fighting over in Vietnam. Billy is seriously injured and airlifted back home, recuperating in a Veterans hospital. Scott helps him recover from his injuries and eventually, both of them are working honest-to-goodness blue collar jobs tending to the waterhole they opened, “Incoming.”

It’s frequented by two buffoonish stereotype Italians, Mario and Tony, bottom feeder mobsters, who just happen to be there when some equally buffoonish Mexican stereotypes rob the place. Impressed by how Scott and Billy (especially Billy) handle themselves, the indebted mob duo decides to kidnap the mentally challenged Billy and force him to fight in the underground Los Angeles cage fighting circuit.

The fighting ring, which isn’t unlike the earliest savage incarnation of the rule-free UFC, is governed by perhaps the ethnic group that comes off the least well in this production, the Chinese. Their champ is bankrolled by a Triad mobster and is king of the hill, top of the heap…

REB_BROWN_FERIGNOOf course, Scott has to track down his brother, and enlists the help of a reporter trying to break the story for the LA Times. Meanwhile, poor Billy has to fight for his very survival.

Cage is laughable, yet remains highly watchable. Reb Brown exudes effortless charm. He may possess an acting range from here til the end of your arm, but there’s something indescribably awesome about the man, without whom we wouldn’t have our podcast*.

Notable as well for featuring the uncredited ex-prison boxing champ Danny Trejo in a rather thankless role as hired muscle.

*** (out of 5)

[*CHECK OUT OUR PODCAST OF CAGE!]

Child’s Play

Childs-play-movie-poster1In The Horror of It All: One Moviegoer’s Love Affair with Masked Maniacs, Frightened Virgins, and the Living Dead, author Adam Rockoff asked, “Why is Halloween loved but Friday the 13th despised?” One word. Blood.

Critics love restraint and Child’s Play is mostly bloodless too. But that doesn’t mean it isn’t bloodcurdling. Roger Ebert, whose antipathy to horror was infamous, said the film was “cheerfully energetic,” undoubtedly due to it holding back.

But for true fans, it’s neither here nor there if horror’s got gore. That’s at odds with public perception. We’re open to getting frights where we find them, even if it’s Toys ‘R’ Us. And unlike critics, we don’t punish films for gore. (The word “punish is forever ruined by Silent Night, Deadly Night.)

In Child’s Play, like A Nightmare on Elm Street, the series’ quality is inversely related to the number of lines spouted by its antagonist. For most of the first installment, the Chucky doll’s utterances are of the Ned Flanders variety, a “hi-da-lee-ho,” paired with an innocent rhyme, “I’m your friend to the end.” And when the doll becomes animate, it’s actually the silence that drive the horror, not the one-liners.

The spirit of a serial killer, Charles Lee Ray (an amalgam of Charles Manson, Lee Harvey Oswald and James Earl Ray) enters into a Good Guys doll, which is then purchased in a back alley by a penny-pinching Chicago mom for her son Andy.

One night mom has to work late and Maggie, a babysitter co-worker, is a last minute sub to put Andy (and his new friend) to bed. Director Tom Holland makes great use of the hulking 19th century Brewster apartment complex in Chicago’s north side, and the creepy, creaky building becomes a character until itself, almost like the sprawling Brooklyn mansion in The Sentinel. It’s in the apartment’s living room where Chucky comes to life, after making excuses via Andy to stay up late “to watch the 9 O’Clock news.” Dutiful Maggie balks, and for her troubles she’s pummeled with a hammer between the eyes, causing her to fall to her death from the kitchen window.

childs_play_movieChicago’s Finest is soon on the scene, including the former Mr. Susan Sarandon, Chris (speaking of The Sentinel).

The cops notice tiny footprints leading up to the crime scene, and eventually, they realize there’s a killer in their midst, the likes of which unseen in The Windy City since perhaps Henry in Portrait of a Serial Killer.

The animate doll, unwilling to be trapped in a plastic body for eternity, tracks down a Voodoo practitioner to “be a real boy,” to quote Pinocchio, and leads sweet Andy out on a CTA train to a seedy neighborhood (probably the kind President Obama once tried to “community organize).

Chicago PD finally comes around after dismissing mom’s tale of a doll minus its batteries that’s wreaking havoc.

The film holds up exceedingly well. A mere blink from the psycho ginger doll causes shivers. Creepy dolls may be overused in supernatural horrors, but killer dolls are a different matter entirely.

And here’s some advice: as collectors know, these toys retain their value when kept in their packaging.

***3/4 (out of 5)

[CHECK OUT OUR CHILD’S PLAY DISCUSSION ON THE REALLY AWFUL MOVIES PODCAST]