New action movie book celebrates the wildest, funniest films in the genre

It’s here, action movie fans (well, not so much here or anywhere just yet). Mine’s Bigger Than Yours! the 100 Wackiest Action Movies is available for pre-order through Amazon. Spanning the globe and genres, we break down the likes of Miami Connection, GetEven (sic), Wired to Kill, Deadly Prey and many many more (96 more, to be precise). We’ve highlighted highlighted action genre gems with all of the necessary components for greatness: Heroes! Villains! Henchmen!

We have shootouts in abandoned warehouses, choice zingers spanning “I’m going to kill you LAST” to “here’s a quarter, buy yourself a personality,” rambling spiels (“I’m telling these motherfuckers that if they continue killing our children to make their precious millions that they deposit in their secret Swiss bank accounts, counselor, before your last suit even gets off the court clerk’s desk, I’ll have their stinking bodies in garbage bags and ship them back to Japan for fertilizer.”) Wilhelm screams, heroes hanging off choppers (what’s with chopper pilot lateness? they never time it just right), shooting villains off fire escapes, and getting teary-eyed over wallet photos of loved ones…

Our pal Brian Trenchard-Smith (Strike of the Panther/Stuntrock) penned the foreword. If you enjoyed your last book, Death by Umbrella, there’s a reasonable chance you’ll dig this one too.

The Perfection

Call it the worst thing to happen to the cello since Yo-Yo Ma copped to playing over a recorded track at the Obama inauguration…

The Perfection yo-yos from one genre to another, psychological thriller, body horror, rape-and-revenge. Yet it succeeds in committing to none convincingly enough to merit more than a passing commendation due to its dialogue howlers and exposition vomited out two-thirds in (OK, maybe the emptying of stomach contents, metaphorically at least, means The Perfection actually sits squarely in the body horror camp, “camp” being the operative term).

Two music conservatory grads — cello virtuoso products of fictional Bachoff Music College, Massachusetts — meet in Shanghai at a star-studded student school audition…one of ’em’s career has been sidetracked (Charlotte, played by Allison Williams) thanks to being a PSW for her ailing mom, the other is a global touring superstar, Lizzie (Logan Browning). The two play a cello duet for the assembled, then fan-girl each other into a night on the town then into the sack.

The next day, Lizzie starts to develop stomach upset and headaches. Instead of convalescing in the hotel like a normal human, she urges Allison to go on a long-haul bus trip into rural China as “she only has two weeks off” before going back on tour. At the best of times, nobody would go on a long-haul bus trip, let alone when the Chinese equivalent of Montezuma’s revenge is coming to clear out the pipes…

Lizzie soon vomits maggots all over the bus window, then when allowed to disembark, shits all over the side of the road in full view of the commuters, this as Allison yells indiscriminately at everyone in English, instead of the one Chinese guy actually conversant in the language, “my friend needs a doctor!”

As the plot unspools, the director hits the reset button, and there’s a goofy video rewind showing what actually happened to Lizzie, which in the hands of a competent filmmaker, would’ve been realized in the form of subtle foreshadowing…but which here takes the form of an exposition dump, speaking of dumps.

The Perfection, despite some game performances, awesome set pieces, and fun globe-trotting, can’t come together. The disciplinarians of the fancy-pants school screams Suspiria, and given that Allison Williams plays essentially a variation on her Get Out role, you don’t have to be the Long Island Medium to see where this thing is going. Plus, what kind of music school would, at its own expense, host an elaborate and very costly global talent search that might as well have had Simon Cowell and Howard Stern judging it?

When an antagonist wails, “You cut off her hand for nothing,” it’s a master class in melodrama, which precedes a revenge denouement too cartoonish and laughable to match the serious allegations against the school.

The “famous” “Cello duet #3” was composed especially for the movie, and it’s a tonal misfire as well.

** (out of 5)