Paydirt (2020)

Back in February I had Francis Rizzo III from KilmerKast on to discuss this film, as it was the place where our two podcast worlds intersect: Val Kilmer and DTV movies. Also it was free on Tubi, so easy for both of us to get at. In addition to us, our friend Todd Gaines at Bulletproof action has covered this.

Paydirt has DTV mainstay Luke Goss as the head of a gang of people who stole a bunch of money from a Mexican cartel and hid it away from them. To throw them off the scent, Goss goes down for a petty drug trafficking charge and gets 5 years in the can--put there by Val Kilmer, who ends up leaving his job on the force in disgrace when the bust only turns up the small amount of weed and Goss's arrest. Now Goss is out and the cartel wants their money, Kilmer wants his revenge, and Goss wants to get the gang back together to get the money too. As all these moving parts come together, will Goss and his crew prevail, or will the cartel take them down, or will Kilmer get his revenge? With all of these movies there's a twist, and this one may involve... an Oscar winner?

If you want to watch this without spoilers, don't read any further, because I can't discuss this without giving away what happens. Essentially, the movie tells us that the idea of the MacGuffin--in this case the bag of money Goss buried--is a fun plot device, but not realistic, so instead they never hid the money, they laundered it in a casino run by a character named Leo Cap, played by Oscar winner Nick Vallelonga. What that means is, all the trouble they went through to break into places to get information on the whereabouts of the money, and drawing out the cartels, and stringing Val Kilmer along, was all useless. What that means is, the movie should have ended in the first five minutes when Luke Goss got out of jail, because he had no reason to not just get on a plane with his gang and flee the country. What that means is the jokes on you movie makers, because you think you're so smart pooh poohing the MacGuffin, when in fact you have no movie without it. I feel like this has to be a first at the DTVC: a movie that obviates itself at the end; the only problem is, though it obviates itself, the 90 minutes I lost in watching it can't be brought back. I guess I got a podcast episode and a blog post out of it, so that's something.

Val Kilmer isn't in this much, and there's a sense that the cancer he was dealing with was preventing him from fully being there in the scenes he was in; but we also had a couple scenes with him and his daughter, which were really nice. If anything, the film giving us those nice moments, and allowing Kilmer to have those moments with his daughter, might make the plot twist that obviates the need to have the movie in the first place worth it. Right now Kilmer is kind of blowing up as part of the new Top Gun movie--which as of this writing I haven't seen--and I think seeing him in something like Paydirt makes me want a win like that for him more. I don't want to say he's been largely forgotten, but he's one of the greatest actors of his generation, and while it's fun to see him in DTV stuff--and cool to see him have an opportunity to act opposite his daughter--big screen success is what he's due for his level of talent.

Luke Goss on the other hand exists more in the DTV realm, but here with his native English accent, he's much better. The character he's playing has the potential to go full bro-y, but the English accent pulls us back from the brink and makes him endearing, which we desperately needed. This is his 11th film on the DTVC, but I think other than Tekken this is the only one where he speaks with his English accent. In a way it's a funny coincidence that I say his American accent makes him sound "bro-y," because he was in a band with his brother called Bros. Anyway, the question is, how high can his tag count get here at the DTVC, considering how many films he's done? The problem is, I generally don't do a Goss film unless someone else who's bigger is in it too. Kilmer, Michael Jai White, Gary Daniels have all featured in Goss films. One I may check out is Hollow Point, which was directed by Daniel Zirilli, who's someone whose work I like to support.

The heist movie has become easy money in the DTV world of the last 20 years or so. Get a group together, throw in a baddie to manage and a police officer to evade, give us quirky characters, and let them have at it. In a way, this film demonstrates the desperation in the attempts by people making these to try something, anything, to make them less run of the mill. I mean, they did have an interracial lesbian couple, so that's not so run of the mill; but the story is something we've seen so many times, guy who knows where the money is finally gets out of jail and all the players start scrambling to get their hands on it. In that sense, the plot twist that obviates the whole thing, shows us how mundane the whole thing has become, the problem is, this was no meta criticism on the genre, it was almost one that wrote itself into a corner and got stuck with the plot twist it went with. The question is, is this any worse than how one-note Hollywood has gotten? If they're not making reboots or sequels, they're making origin stories with one-name titles. Film in America has gotten safer everywhere, and this is the result. 

Finally, we had another Oscar winner in a DTVC film, and I had no idea until Francis let me know when we were doing the podcast. Nick Vallelonga won two Oscars for Green Book, and yet had this small part as a casino owner in this DTV film. I was trying to think how many Oscar winners we've had on here now. De Niro, Stallone, and Cage first come to mind. We also had Jack Palance and Angelina Jolie in Cyborg III. Ernest Borgnine's been on a couple times as well; plus we did an old Humphrey Bogart film--that wasn't exactly DTV. And then with The Irishman, in addition to De Niro we had Scorsese, Pacino, and Pesce. Out of all the Oscar winners we've had on the site though, the most tagged is Cuba Gooding Jr. with 11.

And with that, let's wrap this up. You can currently get this on Tubi. I think it's only for Kilmer completists, because it has that added element of him acting with his daughter. Beyond that, the movie is telling you not to bother--movies about MacGuffins are childish fantasy, right? One you should bother with though is KilmerKast, which is a really fun podcast Francis does that covers the career of Val Kilmer.

For more info: https://www.imdb.com/title/tt11176322

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

New York Ninja (2021)

I had heard a lot of good things about this, and people were asking me if I'd seen it. I discovered it was on Showtime, which my wife and I subscribed to because we wanted to watch the Bill Cosby documentary, but I'd forgotten to unsubscribe after the free trial was done. Since I was paying for it anyway, why not get my money's worth and make this happen? So here it is, June's indie post. In addition to us, our friends at Bulletproof have covered this as well.

New York Ninja was originally shot in 1984, then was found and finished in 2021. It follows John Liu, a TV sound technician whose wife is murdered when she witnesses a kidnapping. After grieving for a bit, the crime and lawlessness in NYC combined with the lack of justice for his dead wife leads him to take the law into his own hands. As the New York Ninja, his vigilante movement galvanizes the city, and at the same time, he gets closer to solving his wife's murder, and bringing down the kidnapping ring that led to her death. Meanwhile, a serial killer is terrorizing the population. What connection does he have with the kidnappings? And will our New York Ninja be able to take him down?

This was a fun time, and overall I enjoyed it. There were some great shots of New York City in the 80s, that I really loved; and the voice work from names like DTVC Hall of Famers Don "The Dragon Wilson" and Cynthia Rothrock, plus Ginger Lynn Allen, Linnea Quigley, Michael Berryman, Leon Isaac Kennedy, and PM mainstay Vince Murdocco, added a lot to the proceedings. I think my one qualm was the scenes where people were being victimized took too long before our hero jumped in--like we know what's going to happen, how much extra PTSD do the victims need? But that's a minor quibble, as the kid from Trekkies said, compared to an overall great time, and great work from Vinegar Syndrome and director/editor Kurtis Spieler. I don't want to say too much more, because I don't want to give much away, but this was a lot of fun. 

Among the many bright spots, Don "The Dragon" Wilson did a great job with his voice work for the star of the film. After doing Jesse V. Johnson's The Last Sentinel in 2007, he took 5 years off until he did a short in 2012, then had a small part in 2015's Scorpion King 4--which I've seen, but was dumped from Tubi before I could get images, so I'm waiting for it to be available for free again to do that in order to review it. Since then he's been doing a lot of stuff, some of which I've seen, but nothing like this. It's a different kind of challenge, we know he's an elite athlete, and in the 90s was one of the best DTV action leads; but here all that goes out the window and all he has is his voice. I think perhaps because he starred in a film like this, New York Chinatown, he understood this kind of New York-shot Hong Kong production, and knew what it needed to make it feel authentic. This is number 37 for him at the DTVC, meaning the 40 Club isn't far off.

Someone else the 40 Club is even closer for is Cynthia Rothrock, as this is her 39th on the site. Also funny is the fact that she was dubbing someone else's voice, because she had her voice dubbed by Brinke Stevens in the Leo Fong flick 24 Hours to Midnight. Her part isn't as big as Wilson's, but the fact that she could be a part of this, especially with her background in Hong Kong films, was still worth it. Like Wilson, she went on hiatus after making a film in 2007--Lost Bullet, which I still haven't been able to track down--and came back in 2012, and has been putting out stuff ever since. I don't know how much of that stuff we'll do, like Cool Cat or Martial Arts Kid, but I may get to it if that's the difference between her hitting the 50 Club down the road or not. As it is, her becoming just the sixth member of the 40 Club will be a huge deal.

Vinegar Syndrome is known for restoring and releasing on Blu-ray some films that we never would expect to find outside of a cheap VHS rip that may or may not have been uploaded to YouTube, but what they did here with Kurtis Spieler is another level. There's something almost Godfrey Ho-ish about it, like it's in that tradition, only this isn't "we have this film, we should use it to make money," this is more like "we have this movie, the world should see it." And the work involved to bring it to light like this, they essentially wrote a new script and new film score, then had all the voice work dubbed in. Unlike Godfrey Ho who tried to make something new with what he had, here everyone involved was trying to make the best representation as they could to do the people who worked on the film initially proud. It's not just a love of film, it's a love of the fans of this kind of film--us--and a love for the people who work both in front of and behind the camera to produce the films we spend so much time enjoying. This is why Vinegar Syndrome is the best in the business at what they do, but even for them they, and everyone else involved, really outdid themselves here.

Finally, we always talk about New York City being a character itself when a movie is shot there, and this film really captures that, especially the 1980s version. First, we had beautiful shots like the one above, which you don't always see in 80s NYC movies. Beyond the grit and grime and crime and crumbling infrastructure, it was still one of the greatest cities in the world, and this movie leaned into that part, while still giving us all the bad parts. There's danger everywhere, yet at the same time, millions of people worked and lived in the city at that time. The way the movie co-opts one of the city's most iconic symbols, the "I ♥ NY" logo, and turns it into "I ♥ NY Ninja" it accentuates that NYC dichotomy in the 80s, how the greatest city could seem so great and so not great at the same time. I went into this looking for a fun ninja romp, and wasn't expecting the level of nuance with which they handled the issues NYC was facing at that time, but it was a welcome surprise and something I appreciated.

And with that, let's wrap this up. Right now this is available to stream on Showtime if you're subscribed to that. Also, after July 1st I think you can buy this on Blu-ray from the Vinegar Syndrome site. This is both fun 80s ninja movie, and love letter to low-budget 80s genre films from the modern crew involved in getting this version to us. On that score, this is worth our support, and hopefully with that support if Vinegar Syndrome has more of these we'll get more releases.

For more info: https://www.imdb.com/title/tt15358226

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

 

Legacy of Lies (2020)

This one has been in the can for a long time, so I decided to finally make it happen. Of course I realized I've just put out an Adkins podcast, so it's like an Adkins-palooza here at the DTVC this week. In addition to us, our friends at Bulletproof, and Mitch at the Video Vacuum have covered this as well. 

Legacy of Lies isn't a scandalous biopic about a celebrity chef--think "Lagasse of Lies" for that--but instead has Adkins in a common story construct for him: former special forces guy, raising a child on his own, when said child is kidnapped and he's forced to come out of retirement. The details here involve a daughter, the Russians, a Ukrainian journalist, and a MacGuffin of sorts. Will Adkins put the pieces together in time to save his daughter and take the baddies down?

That might be the shortest synopsis I've ever written, but how many times have we seen this construct with him? In addition to this, I have Abduction, Seized, and Eliminators. It feels like we're talking Seagal "former CIA agent comes out retirement" territory, but at least Adkins doesn't mail in the action in this, which helps. On the other hand, the 101-minute runtime doesn't do it any favors, as we're working on a well-worn plot device, and it would help to move it along since we pretty much know where we're headed. I think if you're behind on your Adkins--which is easy to do with how many he has come out at a time--leave this one until you've done some others first.

This is now 21 Adkins films on the site, but the first since November, so like Dolph there's been a bit of a break since we've covered one of his. I have 6 or 7 watched as well, so we could get him close to the 30 Club pretty soon. This was one of five films he had come out on 2020, and now we've reviewed four of them. (The fifth, Dead Reckoning, I haven't seen yet, but haven't heard great things either so I may leave it for a bit.) Out of the four I've done, I don't even know how I'd rank them. Seized uses the same plot construct as this, replacing the daughter for a son, and the Russians with Mexican cartels; Max Cloud was unique, but didn't execute the video game thing as well as I'd have liked; and then Debt Collectors was a fun Jesse V. Johnson sequel, but may have been better as a 43-minute episode of a Debt Collectors syndicated TV show. Where does that leave us with him, as he's probably the most exciting, dynamic DTV action star in the business right now? We can't expect everything to be Avengement, but I do think there may also be a law of diminishing returns with him too. He was forced to slow down due to Covid, so he only had two films come out in 2021, and I liked both more than anything he had come out in 2020. Maybe less is more in this case.

Speaking of "legacy," as Adkins starts to get more and more films under his belt, he'll start to pass some of the bigger DTV names in terms of all-time status. My top five is Dolph, Williamson, Rothrock and Wilson (tied for third), and Daniels. He's got some work to do to crack that group, but after that I have Seagal, Lamas, Dudikoff,Van Damme, and Dacascos, with Michael Jai White at 11th. This is where Adkins is starting to move, and while 2020 was more quantity over quality, it looks like 2021 is the reverse, and I think the two together a DTV action star makes. There has to be the quantity to make your way into the 30, then 40 and 50 Clubs; but also the quality all-time bangers that we can point to to show you're one of the greats. The other issue he runs into is, a lot of these other names above him aren't done yet, despite being in some cases 15-20 years older than him. It'd be like Barry Bonds moving up the home run list, only to have Babe Ruth and Hank Aaron come back and hit more. After a couple solid ones in 2021 though, I'm excited to see what Adkins has next.

There seems to be two ways to get the former special forces guy out of retirement: kidnap his child, or find him in some seedy, out of the way bar, and convince him without coercion. We can see why Seagal always opts for the latter: he never wants to be seen in light where he's not in control; but why Adkins is always doing the former is more puzzling. Doesn't he look at a script and say "I've done this before, in fact I did this already this year!" Adkins definitely brings a lot more action than Seagal, he's not mailing these in and looking for a paycheck; but by the same token, I think it would be more fun to see him in the Seagal scenario. Adkins as "Jonathan Cold," former MI6, called back into action while holed up in some dive in rural Thailand to stop any one of Vinnie Jones, Florin Piersic, or Ving Rhames, teaming up with Byron Mann and one or two women in black leather, but no Cajun accent and no mailing in the action. Just give me 10 of those and pump them directly into my veins--okay, maybe five, and just air them for me to watch on Tubi.

Finally, one thing I appreciated about this film is they didn't make Adkins affect an American accent. Maybe I'm biased as an American, and I don't think Adkins does a bad American accent, but I just prefer him as an Englishman. I've noticed Isaac Florentine seems to be the biggest offender of this, as he's either using an American accent, or a Russian accent in the Boyka films. Fellow Englishman Gary Daniels never does this, he always has his natural accent, and it always works. No matter what, the action is the most important thing, and Adkins always brings that; but the accent matters too. Come on Scott, do it for the children.

And with that, let's wrap this up. While this was on Tubi, it's now on Netflix, but that could change with the way Netflix dumps its movies. If you've seen a lot of the great Adkins films already, this is worth a look, especially if you're already paying for Netflix; if not, I'd get to some of those other ones first.

For more info: https://www.imdb.com/title/tt6834916

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

 

War Pigs (2015)

This is one that's been in the can for a long time, so long that I had to rewatch it for this review. I think the reason for this is two-fold: the film isn't all that remarkable as far as Dolph's filmography, and it's been available on Tubi seemingly in perpetuity, so there hasn't been a lot of urgency to make it happen. At this point though we don't have a lot of Dolph left before we're delving into things like Fat Slags and Sharnado 5. In addition to us, our friends at Bulletproof Action and Mitch at The Video Vacuum have covered this, so you can see what they thought as well. Now, without any further ado.

War Pigs has Luke Goss as a Captain for the US Army in WWII who has been demoted after a mission goes FUBAR due to bad orders from the top. That's when cowboy colonel Mickey Rourke swoops in with a proposition: work with French Foreign Legion Captain Dolph, and lead a ragtag group of soldiers known as the War Pigs across enemy lines to get intel on a potential super weapon the Nazis are creating. After a lot of training to get them ship-shape, Dolph and Goss take their men on the mission, and things start to turn FUBAR again. Now it's time for Goss's moment of redemption.

After watching this, I thought, there was enough material here for a 43-minute episode of a syndicated TV series--and when I looked at Bulletproof's review, they said something similar. I know that's a common take I give on these films, but this really had that vibe. A good chunk of the film was getting the guys into shape--like I think the mission was only the last 30 minutes. With the film's slim budget, I wonder if that was by necessity as opposed to by design. Either way, we're left with something that isn't quite there. We've seen the Dirty Dozen paradigm before, and while this wasn't quite that, it was in that vein. "Let's whip the guys into shape!" "Look at them struggling up those hills!" "Oh no, the tough one to crack is crackin' foxy again, now it's going to be tougher on everyone!" And on that score, some of the more fun elements we could have had with a period piece were missing. There were no 40s slang terms like "crackin' foxy," these were just 2010s bros dressed in military fatigues that could've been WWII, combined with Dolph as a Legionnaire, Rourke as a cowboy colonel, and Goss looking cool smoking cigarettes. All the same, the end was kind of fun, and on that score I would've loved watching this as part of the War Pigs 90s syndicated TV series at 3am on a Saturday night while I'm eating cold burritos and trying to get the room to stop spinning after a night of drinking. As a 90-minute movie on Tubi, maybe notsomuch.

This is now 62 Dolph movies, extending his record for the most on the site; but this is his first since November, so it's been over seven months. From the time I started the blog 15 years ago, this is the longest non-hiatus break in Dolph posts ever. I don't know how this has happened, except that I had a lot of podcast episodes that I wanted to do accompanying posts for, plus I was trying to get some other names up, and next thing I knew it was 7 months. The other thing is we don't have a lot of Dolph left. We have 4Got10 and Kindergarten Cop 2 from this mid-2010s period; and then recent ones like Castle Falls and Pups Alone; but from there it's Small Apartments, Fat Slags, Seal Team, things like that. Do we even bother with those? And part of me's like do I even bother with this one when I'm just getting it up here to have them all? But then there's the Dolph factor, where every scene with him is better for having him in it. It's the Dolph Effect, the reason why he's the Babe Ruth of DTV films, and in that sense, this is worth it for him. He's going to be 65 in November, so hopefully by then we'll have 65 movies up for him, making him the only actor on the site to have that distinction--the closest is the only other member of the 50 Club, Gary Daniels, who has 54 films and just turned 59.

S

Mickey Rourke is back. This is now his third film on the site. Of all the Hollywood stars who have gone the DTV route, Rourke is the most fascinating for me, because he's almost indicative of how that world changed in the mid-2010s. In 2008, after a career drought, he reemerges and is nominated for an Oscar for The Wrestler, which he was amazing in; and that same year he's great in The Informers; then two years later he's a villain in a Marvel movie, Iron Man 2. The thing is though, the film ecosystem was starting to shrink at the same time, and the DTV stuff was there for him to make a quick buck. Between the three films of his we've reviewed, The Expendables, Skin Traffik, and now this, he's had barely any screentime, but like his friend Eric Roberts, his small scenes enhance the film. It begs the question: is it more worth it to spend the budget on a day of shooting with Mickey Rourke, or spend it on more realistic effects--as this movie used CGIs for the bullets and shots hitting people. I kind of lean more toward the former, I know the bullets and blood are fake either way, but the Rourke is always real.

Somehow Luke Goss hadn't had a tag until now. I'm not sure why I was avoiding that for so long, but with this post we're fixing that. This is now 10 movies on the site, which is a pretty prodigious number, so he should've been tagged before this. He plays an American again, and like most of the film's anachronisms, he's the most modern American bro-y, yet at the same time he does a great job smoking cigarettes and looking cool. Like other Brits, like Scott Adkins and Bruce Payne, he's much better with his natural accent, but also because he's affecting an American accent, he affects a modern one in this. I wish he had watched some 40s movies and tried to do that American accent instead. A good Bogey would've been perfect. Anyway, I don't know what it is about Goss more than someone like Adkins that makes his American accent turn him into a total American bro guy, but maybe it has to do with the fact that his brother Matt has a residency in Las Vegas. Maybe he's only studied American males there in that environment, so all he knows are the dudes who swoop in for a weekend, dump a bunch on bottle service, destroy a hotel suite, maybe get lucky with a lady, then drive back to LA and their fiancées and pretend none of it happened despite the fact the pictures are all over Instagram. He's reflecting our worse back at us.

Finally, when the War Pigs have finished their training and are ready to go on their mission, they're given new patches. This might have been the most authentic WWII moment of the film for me. I remember my grandfather, who passed away last November just shy of his 97th birthday, never really talked about his time in WWII, but one day I was visiting him in Florida, and we were watching a History Channel show about when Mt. Vesuvius erupted during the war, and he was like "I was there for that." He told me about how he'd injured his eye--an injury that made him blind in that eye--and was recovering at a military hospital in that area, and then had to go help evacuate residents. He then took me into his room, where he pulled out a container that had all of the stuff he still had from the war, and among that he showed me his patches. They looked very similar to that one in the way they were constructed, especially one he got for all the patrols he'd been on. Before he passed, he moved back up to New England, and I'm not sure what happened to that container, but either way it was a cool moment with him.

And with that, let's wrap this up. This is currently on Tubi, and my hunch is it will always be on Tubi. If you've seen a lot of other Dolph and are closing in on the end of the road like I am, give this one a watch. It's not his worst, and it's not his best, it just is.

For more info: https://www.imdb.com/title/tt3779300

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

The Kill Reflex aka Soda Cracker (1989)

This is one that was on Tubi, and in the interests getting more Williamson on the site, I needed to make it happen. Also, I was a guest on the Comeuppance podcast where we went over our top 5 Williamson flicks, and I figured I should watch this on the off-chance it makes my list. In addition to us and Comeuppance, there are only two other critic reviews on IMDb: action mainstays Bulletproof Action, and Down Among the "Z" movies with Steve Q.  

The Kill Reflex is a film based off a novel called Soda Cracker, where Williamson plays the eponymous hero--Soda Cracker, not The Kill Reflex--though a copy of this says "Fred Williamson is the Kill Reflex." Anyway, Williamson's partner is killed, and he wants revenge. He and new partner Maud Adams have to deal with pressure from the top, which makes them think something fishy is afoot, especially after he sets his sights on local drug kingpin Bo Svenson, whose recent release from prison seems to coincide too well with Fred's partner's untimely death. But as they dig deeper, will they like what they find? Could Fred's partner have been dirty? At least he's taking his partner's son to the shooting range.

This isn't the best Fred, but it's the kind of Fred that's good because it's Fred, if that makes sense. The movie starts with him waking up his partner and partner's wife by playing loud music and making them breakfast. The story isn't giving us much beyond that, but I can see why Fred would've wanted to adapt it into a film. He loves the Chicago hard-boiled detective type, and this is definitely that. From an action standpoint though, this is more drama, and I think Fred excels more when his movie has less story and more action. The other thing this one lacks is names. We have him, Maud Adams, Bo Svenson, and then small parts from Frank Pesce and Phyllis Hyman. I think this could've used any of a Gary Busey, John Saxon, David Carradine, Jim Brown, or Robert Forster to enhance the proceedings. Still, as a Fred fan, this is a fun enough watch.

We're still on the march to get Fred into the 30 Club. After doing the podcast episode with Ty and Brett, I have a few Fred flicks in the hopper--though I also dug into more of his older Blaxploitation stuff too, which may not fit as much on here, at least not until we cover more of his DTV stuff first. That means we're at 23 for him, and at the rate I'm doing reviews overall, let alone Williamson reviews, we may not get there until next year. Another list he's moving up is the director list, with this being his 9th directed film on the DTVC. That puts him in a tie for seventh with Jim Wynorski and Jesse V. Johnson, but other than Albert Pyun's 42 director credits, no one else has more than 15, so he could move up this list. (Also of note, Dolph is quietly moving up this list too, with 6 director credits so far. We might have to create a 60-10 Club for him!) This film is another one for Fred completists more than anything. I don't know that I can recommend it outside of being a Williamson movie, but often with his movies, he's the biggest factor in it working, so maybe a good Williamson quotient is all you really need.

Maud Adams was in this, a mere six years after she was in Octopussy. Interestingly enough, this is back-to-back reviews with an Octopussy alum, after we did The Return of Swamp Thing with Louis Jourdan last week. You'd think being a "Bond Girl" would get you bigger parts, but it doesn't look like it worked out that way for her, which might have been a commentary on how some of those Roger Moore Bond flicks were received by the industry--even if they're some of my favorites. I think her part here is really any woman from the late 80s--lots of coats with shoulder pads, lighter shades of lipstick, and hair that's teased but not too teased. I just think of how many family Christmas parties I went to around this time where aunts dressed like this. She does great though in this role, her and Williamson have good chemistry, and she works well as a detective. We've seen her one other time on the DTVC, in another film with Williamson, Deadly Intent, and while she didn't do a lot of stuff, she has some more DTV stuff in her filmography, so I imagine we'll see her again.

We also had soul singer Phyllis Hyman in this as Bo Svenson's girl. This was one year after she did School Daze, and looking at her bio on Wikipedia, it seems like her career was still going well enough at this time, so I wonder if she did this part as a favor for Williamson. One of the great female soul singers who happened to be around when there were so many greats that I don't know if she always gets her due, especially when she didn't have as many hits; she also struggled with bipolar disorder, which caused her to turn to drugs and alcohol, and tragically take her own life in 1995. If you watch the Whispers' Unsung episode, they talk about how they were on the bill with her at the Apollo when it was announced that she died, and rather than cancel they decided to go on with show in her honor. Another one of the great soul acts who are overshadowed by the number of great acts from their era.

Finally, because this was based on a novel, I was curious to know if the author, Jaron Summers, had written anything else, or if this novel was still available. It looks like no to both questions. According to IMDb, he was a screenwriter, mostly for TV shows, who hasn't done any work since 2012. A lot of the work he did do was an episode here or there for TV shows like Miami Vice or The Incredible Hulk, so exactly the kind of thing that would've lent itself to a novel that could've been adapted into a film like this one. I wonder where the idea came from though: was he eating a lot of soda crackers, and thought "what if there was a hard-boiled detective who ate so many of these his colleagues called him 'Soda Cracker'?"

And with that, let's wrap this up. As of this writing, you can catch this on Tubi under the name Soda Cracker, but at least once since I've watched it a few months ago Tubi has threatened to take it down, and while it's survived, they could pull it at any time--the dangers of living and dying by streaming services. Also, if you go back into the archives on the Comeuppance Reviews podcast, episode 61, "Best Freds Forever," is the one I was a guest on where we discussed Williamson. It was a great conversation, definitely worth checking out.

For more info: https://www.imdb.com/title/tt0097663

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!