Friday Night Movie Night

This is something I want to start doing now and again.  I’m going to put some awesome action movie up now and again on Fridays for fun.

Tonight’s feature is my re-edited version of Hard Target.  Enjoy!


Hard Target part 1 from Kain424 on Vimeo.

Hard Target part 2 from Kain424 on Vimeo.

Hard Target part 3 from Kain424 on Vimeo.

Hard Target part 4 from Kain424 on Vimeo.

Hard Target part 5 from Kain424 on Vimeo.

Hard Target part 6 from Kain424 on Vimeo.

Hard Target part 7 from Kain424 on Vimeo.

Hard Target part 8 from Kain424 on Vimeo.

Hard Target part 9 from Kain424 on Vimeo.

Hard Target part 10 from Kain424 on Vimeo.

Hard Target part 11 (Last) from Kain424 on Vimeo.

Discuss here.

Neato Expendables 3 Motion Poster

Redline killcount

Redline (1997) a.k.a. Deathline a.k.a. Armageddon


Starring Mark Dacascos

and Rutger Hauer

Watch video:

Hauer kills 24

Dacascos kills 7


Redline rights held by Nu Image Films, Mondofin B.V., and Image Entertainment.

Return Of The Street Fighter killcount

Return Of The Street Fighter (1974) a.k.a. Satsujin ken 2


Starring Sonny Chiba

Watch video:

Chiba kills 36


Return Of The Street Fighter rights held by Toei Company.

Riddick killcount

Riddick (2013)


Starring Vin Diesel

Watch video:

Diesel kills 10


Riddick rights held by One Race Productions, Radar Pictures, Riddick Canada Productions, and Universal Studios Home Entertainment.

Killer Angels killcount

Killer Angels (1989) a.k.a. Ultra Force 1 a.k.a. Sha shou tian shi


Starring Moon Lee

and Gordon Liu

Watch video:

Lee kills 23

Liu kills 14


Killer Angels rights held by Jia’s Motion Picture Co.

Rage killcount

Rage (2014)


Starring Nicolas Cage

Watch video:

Cage kills 10


Rage rights held by Hannibal Pictures, Marco Polo Production, and Patriot Pictures.

Is That An Update?

I am currently working on this shit, guys

Ok, guys.  In short, the site up but I am very busy.  I plan on working on things for the site, but at the very moment, there is nothing.  When will videos finally make their glorious return?  I don’t know.  When will articles resume appearing on the front page?  Much sooner.

Thanks for sticking it out.


Spider-Cents and PG-13 Pains

I recently wrote a piece on some Action movie related things for a friend of mine’s blog.  I am reprinting the whole thing in its entirety here:

I was watching the new Spider-Man incarnation, The Amazing Spider-Man, the other day and I realized I have a difficult time getting into contemporary American cinema.  Maybe I’m getting old, but I can’t relate to the characters (who are, admittedly, younger than myself a lot of the time) or get into the drama of these stories.  I think it might be because the stories and characters take turns because they are expected, rather than earned.

I’ve come to notice a particular trend towards zero consequence in modern movies, and perhaps even more frequently in a lot of these Super Hero films.  Characters behave without recourse, and it ends up making these adventures ring false, and the deeds hollow.

The Peter Parker of The Amazing Spider-Man (not to be confused with the Peter Parker of the comic books of the same name) is the latest descendant of the Harry Potter-type. A your-parents-were-awesome-so-you-were-born-to-be-special wish fulfillment disguised as a character.  If it sounds like I don’t care for this modern iteration of a “hero”, it’s because I don’t.  He’s a whiny, needy, nothing and everything who is continually rewarded for his idiotic decisions and non-decisions alike.

Just your average (super good-looking, muscular, athletic, skateboarding, popular) nerd

He attacks police officers, afflicted scientists, and gets people he knows hurt and killed with such stunning frequency, you think he’d start to notice and straighten up.  But is he blamed or punished for this?  Not really.  The sole person who considers this emotionally unbalanced teen masquerading as a hero a true menace is treated as a villain.  No wonder kids want to be super heroes.

Notions of choice and accountability are rare in American cinema today.  I mean, the Ridley Scott-directed The Counselor was heavily about consequence, but it was also a convoluted mess almost no one saw.  Are audiences so desperate for escapism they’ll only watch movies with miniature drama, whose heroes all seem to represent the fulfillment of vague “chosen one” prophecies or children of greatness who can do no wrong?

Films seem to have long-since dropped the “will-they-or-won’t-they-survive” sort of drama, especially in today’s franchise-building efforts.  Was there anyone seriously concerned they would kill off Iron Man at the end of The Avengers?  No.  They had to invent an entirely original character, because they won’t even allow the movie’s antagonist a just demise.

“We’ll let you go if you promise not to do it again.”

I’ll give The Avengers credit in that you actually see people on the streets reacting to the carnage occurring around them.  Sure, it’s basically just a couple dozen or so people, but at least it doesn’t give the impression this is some vacated cityscape as in Man Of Steel.

Why are these movies so afraid of collateral damage?  It’s of thematic importance our heroes have something to fight for, and yet we rarely see it.  Without showing us the danger these scenarios ring completely hollow.  Do studios think we’re too squeamish to imagine our heroes might fail and our world will be dominated by these aliens?  Or do they think such thinking will eliminate the “fun factor” if we know innocent civilians are out amongst the chaos?

I once watched a film where a demigod opened up an interdimensional portal over New York, let loose a colossal monster which then began stomping cars and crushing buildings, and only a small mismatched band of heroes could hope to save everyone.

It also had a decent run time

It was called Ghostbusters, and I would argue not too many people  would accuse it of being a dour or unfun movie.  In fact, not only is Ghostbusters widely considered  a classic genre film, it does so entirely without avoiding the subjects of consequence and collateral damage.  One could even say some of the movie’s best bits are derived  from these very themes.

I’ve noticed modern films have a surprising lack of violence, or rather, the lack of consequence to the violence.  When I was a child, we had G.I. Joe and the Teenage Mutant Ninja Turtles.  These shows, respectively, were about a paramilitary force loaded to the teeth with the most advanced weaponry, and set of bipedal reptiles trained in the ancient and deadly art of ninjistu, the martial art of ninja assassins.

These are shows whose very concepts are unavoidably linked to violence.  But each one found a way around using what, in most circumstances, would be lethal force to defeat their adversaries (always bent on world domination).  The favorite fix-it for these shows was the change from weapons utilizing bullets to those of lasers.

To be fair, the whole show is incredibly weird

The change in weaponry has a dual effect: firstly in that the weapon can pretty much magically change its use and level of damage and effect; and secondly that impressionable children may feel less apt to dig out their father’s laser gun and unwittingly zap someone to death.  Mostly, it’s for the latter.  In accordance with our culture’s strange rules, violence must be, in all its forms, shielded from the eyes of the youth.  This is why these television shows, and the many that preceded them and those that followed, used the same device to bring violent concepts safely into the hearts and minds of the youth.

Yeah, this is real

And how a comic book about lethal mutant ninja monsters who kill people

became a kid’s t-shirt and a catchphrase.

How does this relate to consequence?  I’m getting there.  See, the other thing shows about violent confrontation need is some level of of consequence.  Having heroes who can perform all manner of martial art gymnastics is good and well, but they’ll probably need to hit something if you want to keep kids watching.  But if our heroes are beating people mercilessly, won’t that encourage violent behavior in children? Enter the robots.

A robot feels nothing.  You can chop it apart, beat it, shoot it (with lasers), blow it up, mangle its innards, and it can still be shown on Saturday morning television to kids of all ages.  Loop hole granted.

When we’re talking about live-action films, we’re in the same boat.  But here, we’re also talking about a lot more money at stake.  Films are more commerce than art anymore, and anyone who disagrees can look at the sudden prevalence of PG-13 action films for proof.

Movies rarely receive the PG-13 rating by chance.  Much planning, editing, and giving up of artistic ground takes place before finally being granted this rating instead of a dreaded R rating.  Film studios recognize that kids under 17 will be turned away from R-rated films, and thus pressure filmmakers into making PG-13 movies and even frequently take finished films away from said filmmakers and edit them down.

Take the new RoboCop, a remake of one of the most famously violent movies ever made.  Iconic sequences from the original mostly involve vast amounts of blood and gore as the titled protagonist blasts round after round into corporate and streets scum, shredding their flesh apart in an amazing and also disgusting display of red violence.

Probably not lasers doing that

In one particular sequence, a corporate upstart is horrifically killed when a test of one of the corporation’s new products goes wrong.  The big machine pumps hundreds of rounds into the poor man’s already dead and mutilated body, implicating not only the companies shocked executives as spectators, but also us, the audience at home.  We’re meant to be completely taken aback by what we’ve witnessed, similar to the titular character’s human demise early in the film.

Not quite the same, ahem, impact

The remake completely sanitizes these moments by removing the gore, changing RoboCop’s “death” to a blocked out but colorful CGI explosion, and removing the violence of the original film’s lethal bullets by giving our hero a taser gun and making his enemies robots instead of humans.  Seeing a human body torn to shreds by an array of bullets is affecting.  Seeing non-blinking cyborgs with sparks bouncing off of them is quite a bit less so.  It may open the movie up to a broader audience, but it’s also a loss for the film’s integrity.  But worse, while we might suddenly be treated to a litany of ways to dispatch robots, and thus technically more violence, we are not shown or feeling the consequences of such violence.  We, the audience, are not asked to think about these acts, which may have a far more damnable effect.

If there is no consequence to violence, than what’s to stop an impressionable mind from committing it on another?  If all of the adversaries of one’s heroes are unfeeling combatants, why not begin assuming everyone who stands against you is equally unfeeling and undeserving of remorse?

Continuing on, the lack of consequence in choice in these more modern films may also have a damning effect in itself.  I return to the character of Peter Parker.  He causes his uncle to die.  He reveals his secret identity to his love interest. He reveals his secret identity to his love interest’s father.  He basically gets that guy killed.  What recourse does he suffer for these acts? Nothing.  He ends the film on good terms with his love interest, who’s father he had promised he’d leave her alone in a last dying wish scenario.  His bad behavior is rewarded throughout the entire film, while his primary antagonist, Dr. Connors (Lizard) is a man trying desperately to save lives and his own career but is treated as a vile enemy.  Something is off here.

Yet he still gets the girl

I feel like I’m not being particularly constructive here.  I really could go on and on about other movies which deal with choice, consequence, and violence incredibly well.  But let me try and end this on a more conciliatory note.  I believe this new iteration can be turned around.  They can make it all built toward something so character-shaping and interesting it would make for a very good turnaround.  Something even Sam Raimi’s much better Spider-Man movies messed up.

Fans of the comics know exactly what I’m talking about.

The AOBG Action 100 For 2013

Here’s Our New List Of The Top 100 Action Films…As Voted By The Following Members of
Eggiman – The Hestinator – Jawsunleashed – Bonehead_XL – luvmetender009 – BrettWasean – satanclause – Rutledal – orphen20 – Bananajuice – dude – Supernitpicker

- Out of 12, a film needed 5 votes to make the list.
- The top 10 has, next to its final grade, the total score and the number of votes, to show how close everything got at the top.
105-100 [7.8]:
‘A’ Gai Wak [AKA: Project A] (Hong Kong, 1983) (dir: Jackie Chan)
Death Wish 4: The Crackdown (USA, 1987) (dir: J. Lee Thompson)
Foo Gwai Lit Che [AKA: Shanghai Express] (Hong Kong, 1986) (dir: Sammo Hung Kam-Bo)
Kozure Ôkami: Ko Wo Kashi Ude Kashi Tsukamatsuru [AKA: Lone Wolf And Cub: Sword Of Vengeance] (Japan, 1972) (dir: Kenji Misumi)
Kozure Ôkami: Sanzu No Kawa No Ubaguruma [AKA: Lone Wolf And Cub: Baby Cart At The River Styx] (Japan, 1972) (dir: Kenji Misumi)
Speed (USA, 1994) (dir: Jan De Bont)

99 [7.818182]:
Kick-Ass (UK/USA, 2010) (dir: Matthew Vaughn)

98-97 [7.833333]:
Akira (Japan, 1988) (dir: Katsuhiro Otomo)
Blood And Bone (USA, 2009) (dir: Ben Ramsey)

96 [7.857143]:
The Getaway (USA, 1972) (dir: Sam Peckinpah)

95 [7.875]:
Huo Yuanjia [AKA: Fearless] (China/Hong Kong/USA, 2006) (dir: Ronny Yu)

94 [7.888889]:
Quel Maledetto Treno Blindato [AKA: The Inglorious Bastards] (Italy/USA, 1978) (dir: Enzo G. Castellari)

93 [7.9]:
On Her Majesty’s Secret Service (UK, 1969) (dir: Peter R. Hunt)

92-91 [7.909091]:
Blade (USA, 1998) (dir: Stephen Norrington)
Star Wars: Episode IV – A New Hope (USA, 1977) (dir: George Lucas)
90-80 [8.0]
The Blues Brothers (USA, 1980) (dir: John Landis)
Bonnie And Clyde (USA, 1967) (dir: Arthur Penn)
Die Hard 2 (USA, 1990) (dir: Renny Harlin)
Kickboxer (USA, 1989) (dir: Mark DiSalle & David Worth)
Licence To Kill (UK/USA, 1989) (dir: John Glen)
The Long Kiss Goodnight (USA, 1996) (dir: Renny Harlin)
The Magnificent Seven (USA, 1960) (dir: John Sturges)
Rambo III (USA, 1988) (dir: Peter MacDonald)
Revenge Of The Ninja (USA, 1983) (dir: Sam Firstenberg)
Safe (USA, 2012) (dir: Boaz Yakin)
79-78 [8.083333]
The Avengers (USA, 2012) (dir: Joss Whedon)
Casino Royale (UK/Czech Rpublic/USA/Germany/Bahamas, 2006) (dir: Martin Campbell)

77-75 [8.090909]
Heat (USA, 1995) (dir: Michael Mann)
Star Wars: Episode V – The Empire Strikes Back (USA, 1980) (Irvin Kershner)
Taken (France/USA/UK, 2008) (dir: Pierre Morel)

74-73 [8.125]
The Fugitive (USA, 1993) (dir: Andrew Davis)
Ging Chat Goo Si [AKA: Police Story] (Hong Kong, 1985) (dir: Jackie Chan)
72-68 [8.142857]
Django Unchained (USA, 2012) (dir: Quentin Tarantino)
Ging Chat Goo Si 3: Chiu Kup Ging Chat [AKA: Police Story 3, AKA: Supercop] (Hong Kong, 1992) (dir: Stanley Tong)
Le Pacte Des Loups [AKA: Brotherhood Of The Wolf] (France, 2001) (dir: Christophe Gans)
Meng Long Guo Jiang [AKA: The Way Of The Dragon] (Hong Kong, 1972) (dir: Bruce Lee)
Mission: Impossible – Ghost Protocol (USA/United Arab Emirates/Czech Republic, 2011) (dir: Brad Bird)

67-62 [8.166667]
Army Of Darkness (USA, 1992) (dir: Sam Raimi)
Dirty Harry (USA, 1971) (dir: Don Siegel)
GoldenEye (UK/USA, 1995) (dir: Martin Campbell)
Indiana Jones And The Temple Of Doom (USA, 1984) (dir: Steven Spielberg)
Starship Troopers (USA, 1997) (dir: Paul Verhoeven)
Universal Soldier: Day Of Reckoning (USA, 2012) (dir: John Hyams)
61-59 [8.2]
Demolition Man (USA, 1993) (dir: Marco Brambilla)
Giù La Testa [AKA: A Fistful Of Dynamite, AKA: Duck, You Sucker] (Italy, 1971) (dir: Sergio Leone)
They Live (USA, 1988) (dir: John Carpenter)

58-55 [8.25]
Bloodsport (USA, 1988) (dir: Newt Arnold)
Django (Italy/Spain, 1966) (dir: Sergio Corbucci)
Hard Target (USA, 1993) (dir: John Woo)
Kill Bill: Vol. 1 (USA, 2003) (dir: Quentin Tarantino)

54-51 [8.272727]
Black Dynamite (USA, 2009) (dir: Scott Sanders)
Dip Huet Seung Hung [AKA: The Killer] (Hong Kong, 1989) (dir: John Woo)
Jurassic Park (USA, 1993) (dir: Steven Spielberg)
Ying Hun Boon Sik [AKA: A Better Tomorrow] (Hong Kong, 1986) (dir: John Woo)
50-49 [8.285714]
Chocolate (Thailand, 2008) (dir: Prachya Pinkaew)
The Great Escape (USA, 1963) (dir: John Sturges)

48-42 [8.333333]
Dredd (UK/USA/India/South Africa, 2012) (dir: Pete Travis)
Dung Fong Tuk Ying [AKA: Eastern Condors] (Hong Kong, 1987) (dir: Sammo Hung Kam-Bo)
Face/Off (USA, 1997) (dir: John Woo)
The Incredibles (USA, 2004) (dir: Brad Bird)
Olympus Has Fallen (USA, 2013) (dir: Antoine Fuqua)
Rambo: First Blood Part II (USA, 1985) (dir: George P. Cosmatos)
True Lies (USA, 1994) (dir: James Cameron)`
41-37 [8.363636]
Blade II (USA/Germany, 2002) (dir: Guillermo Del Toro)
Sin City (USA, 2005) (dir: Robert Rodriguez & Frank Miller)
Skyfall (UK/USA, 2012) (dir: Sam Mendes)
The Lord Of The Rings: The Fellowship Of The Ring (New Zealand/USA, 2001) (dir: Peter Jackson)
The Wild Bunch (USA, 1969) (dir: Sam Peckinpah)

36 [8.375]
Joheunnom Nabbeunnom Isanghannom [AKA: The Good, The Bad, The Weird] (South Korea, 2008) (dir: Kim Jee-Woon)

35 [8.4]
The Crow (USA, 1994) (dir: Alex Proyas)

34-30 [8.416667]
Conan The Barbarian (USA, 1982) (dir: John Milius)
First Blood (USA, 1982) (dir: Ted Kotcheff)
Léon [AKA: The Professional] (France, 1994) (dir: Luc Besson)
Lethal Weapon 2 (USA, 1989) (dir: Richard Donner)
29-28 [8.454545]
Per Qualche Dollaro In Più [AKA: For A Few Dollars More] (Italy/Spain/West Germany, 1965) (dir: Sergio Leone)
Serbuan Maut [AKA: The Raid: Redemption] (Indonesia, 2011) (dir: Gareth Evans)

27-22 [8.5]
Die Hard: With A Vengeance (USA, 1995) (dir: John McTiernan)
The Expendables 2 (USA, 2012) (dir: Simon West)
Jui Kuen II [AKA: The Legend Of The Drunken Master] (Hong Kong, 1994) (dir: Chia-Liang Liu)
The Last Boy Scout (USA, 1991) (dir: Tony Scott)
No Retreat, No Surrender 2: Raging Thunder (Hong Kong/USA, 1987) (dir: Corey Yuen)
Per Un Pugno Di Dollari [AKA: Fistful Of Dollars] (Italy/Spain/West Germany, 1964) (dir: Sergio Leone)

21 [8.571429]
Dip Huet Gaai Tau [AKA: Bullet In The Head] (Hong Kong, 1990) (dir: John Woo),+Companeros!+-+01.jpg
20 [8.6]
Vamos A Matar, Compañeros [AKA: Companeros] (Italy/West Germany/Spain, 1970) (dir: Sergio Corbucci)

19-18 [8.636364]
Hot Fuzz (UK/France/USA, 2007) (dir: Edgar Wright)
Mad Max 2 [AKA: The Road Warrior] (Australia, 1981) (dir: George Miller)

17 [8.714286]
Highlander (UK, 1986) (dir: Russell Mulcahy)

16 [8.8]
Gekitotsu! Satsujin Ken [AKA: The Street Fighter] (Japan, 1974) (dir: Shigehiro Ozawa)

15 [8.833333]
Lethal Weapon (USA, 1987) (dir: Richard Donner)

14-11 [8.916667]
Aliens (USA/UK, 1986) (dir: James Cameron)
Predator (USA, 1987) (dir: John McTiernan)
Rambo (USA/Germany, 2008) (dir: Sylvester Stallone)
The Terminator (UK/USA, 1984) (dir: James Cameron)×576.jpg
10 [9][90/10]
Death Wish 3 (USA, 1985) (dir: Michael Winner)

9 [9.090909][100/11]
Il Buono, Il Brutto, Il Cattivo. [AKA: The Good, The Bad And The Ugly] (Italy/Spain/West Germany, 1966) (dir: Sergio Leone)

8-7 [9.25][111/12]
Commando (USA, 1985) (dir: Mark L. Lester)
Indiana Jones And The Last Crusade (USA, 1989) (dir: Steven Spielberg)

6-5 [9.333333][112/12]
Die Hard (USA, 1988) (dir: John McTiernan)
Total Recall (USA, 1990) (dir: Paul Verhoeven)
4 [9.5][114/12]
Indiana Jones And The Raiders Of The Lost Ark (USA, 1981) (dir: Steven Spielberg)

3-2 [9.545455][105/11]
Lat Sau San Taam [AKA: Hard Boiled] (Hong Kong, 1992) (dir: John Woo)
RoboCop (USA, 1987) (dir: Paul Verhoeven)
1 [9.583333][115/12]
Terminator 2: Judgment Day (USA/France, 1991) (dir: James Cameron)