Photo © Lightsavior Productions
Russell Crowe in ‘The Exorcism’
Russell Crowe in ‘The Exorcism’
The Bikeriders
(In Theaters June 21)
Writer-director Jeff Nichols calls Danny Lyon’s 1968 coffee table book, The Bikeriders, “the coolest book I’d ever come across.” Lyon’s documented the Chicago Outlaws Motorcycle Club, with black-and-white photographs and with anecdotes provided by its members. Having fallen in love with the book and its subject, Nichols weaves a narrative around a fictitious biker club known as the Vandals. They too are being chronicled by a young writer-photographer (Mike Faist), clearly fascinated by them. The story is told from the perspective of Kathy (Jodie Comer), a Midwestern neophyte. Kathy becomes obsessed with handsome club member Benny (Austin Butler), and they marry just five weeks after meeting. Tom Hardy gives a lived-in performance as Vandals club leader Johnny, with Boyd Holbrook, Michael Shannon, Emory Cohen, Toby Wallace and Norman Reedus all contributing fine turns as club members. The crux of Nichols’ story arises from the evolution that changes this biker club into a vicious gang. among other factors, the desire to belong is powerful. (Lisa Miller)
The Exorcism
(In Theaters June 21)
A portly Russell Crowe appears as an actor portraying a priest in an Exorcist-like film. Written and directed by Joshua John Miller, it’s notable that Miller’s own father, Jason Miller, played Father Karras in William Friedkin’s The Exorcist. Some believe that production was cursed since two actors died, and several cast and crew members fell ill or were seriously injured during the production. This script takes this notion to new heights, positing that making a film about demonic possession serves to conjure demonic forces. The idea intrigues but the execution fails to create scares or dread. Crowe’s character is a recovering alcoholic intent upon rehabilitating his image while redeeming himself in the eyes of his teenage daughter (Ryan Simpkins). Adding to Crowe’s star-power, Sam Worthington appears in an extended cameo. Crowe and Simpkins work what magic they can, but the mediocre script just doesn’t compel you. (Lisa Miller)
The Game of Clones: Bruce Lee Exploitation Collection Vol. 1
(Severin Blu-ray/Digital)
Bruce Lee’s star was rising at the time of his death in 1973. His demise did not call down the curtain on Bruce Lee movies. From 1973-1984, hundreds of flicks were produced to capitalize on his name. Some featured “Bruce Lee” in their titles (The Soul of Bruce Lee) and many starred actors called Bruce Le, Bruce Li, Bruce Lei, Bruce Lo or Bruce Chi.
The phenomenon receives ample documentation in a seven-disc set, the wryly titled The Game of Clones. Back in the ‘70s, most fans doubtlessly saw through the charade (even if they fretted over the declining production values) and enjoyed them as a subset of the martial arts genre. Others were duped out of their pocket money at the grindhouses where these titles were shown. Hopefully, the popcorn was good.
The booklet included with The Game of Clones is essential, less for its reproductions of colorful lobby posters and stills than its perceptive essays by Michael Worth (a filmmaker initially inspired by kung fu flicks) and Chris Poggiali (a writer-authority on the genre). The material they survey is vast and confused. Studios in Hong Kong, Indonesia, South Korea and other Asian nations knocked out boatloads of these pictures, often retitling earlier releases or issuing versions with different edits and soundtracks.
Those C- studios understood that Lee’s death left an open field for harvesting. But as Poggiali writes, another factor was at play. In 1973 the U.S. Supreme Court ruled that “obscene” movies could be banned under “local standards.” American movie distributors retreated from X-rated products and seized on more violent but less sexually explicit low-budget action fare. Cheap production houses were happy to feed their hunger.
Bruceploitation faded in the ‘80s, replaced by all things Ninja. However, those little remembered movies helped reinforce and expand the mythology surrounding Bruce Lee, who remains one of the last century’s most culturally influential actors. (David Luhrssen)
