Jaguar Lives! (1979)

 

Jaguar Lives! (1979)- * * *

Directed by: Ernest Pintoff

Starring: Joe Lewis, Christopher Lee, Barbara Bach, Woody Strode, John Huston, Donald Pleasence, and Capucine

Jonathan Cross (Lewis) is The Jaguar. He's an international man of action who globe-trots all over the place to stop the baddies using his Karate-fighting ways. When Anna Thompson (Bach) sends him on his latest mission, Cross leaves Sensei (Strode) (That's all he's credited as), and travels to the following places: New York, Hong Kong, Madrid, Rome, and Macao. He also goes to El Habbab, Santa Fortuna, and Belmonte, which may be made up locations. Along the way, he encounters characters such as General Villanova (Pleasence), Zina Vanacore (Capucine), Ralph Richards (Huston), and, of course, the main baddie, Adam Caine (Lee). Most of the above have goons, and Jonathan Cross beats them up. But will he finally falter in the fatal face-off at the finale?


In 1979, Karate and Kung Fu were red hot. Bruce Lee, Chuck Norris, and also James Bond ruled the action universe. So it was only a matter of time until a film like Jaguar Lives! (Can't forget that exclamation point) made it to your local drive-in in '79. Joe Lewis has the emotionless deadpanity of Chuck Norris, the rough-and-tumble ways of a young Gary Busey, and the facial features and hair of Michael Dudikoff. We as the audience basically like him, but not because of any real effort on his part. At least he's not annoying like Sloane (1985). He doesn't have enough of a personality for that, which we mean in the nicest possible way, of course. He's a Martial Artist, and that's that. He acquits himself well in the action scenes, which are quite entertaining.



The whole thing has a Kill Or Be Killed/Kill And Kill Again vibe, with a few dashes of Mr. Deathman (1977) or a 70's telefilm thrown in for good measure. Sure, it's rated PG, but the filmmakers probably hoped to distract us with its dizzying array of location changes and cavalcade of star-power. When it all kicks off, we're just kind of thrown into the middle of the plot, or so it seems. Then there's a gas station fight that's reminiscent of The Instructor (1981). A bunch of yay-hoos inexplicably throw a bunch of Native American-based racial slurs at Woody Strode. Why they do this to Sensei, of all people, remains unknown.


Then we get some James Bond connections with Bach, Pleasence, Lee, and Joseph Wiseman. Pleasence is one of those "El Presidente"-style South American generals. The great John Huston plays a wheelchair-bound dude for not a lot of reason that we can glean, but so what? He was here. Same for fan favorite Christopher Lee. Hey, if he can be in wacky comedies starring opposite Eddie Deezen - such as Desperate Moves (1980) - then surely he can be here for this. Simon Andreu and Capucine round out the very impressive cast. Then Joe Lewis kicks some goons off some motorcycles. It's not bad. There's much worse stuff out there.


Yes, surprisingly, Jaguar Lives! seems to have gotten a lot of negative reviews out there, but don't listen to them. It's solid, it delivers the action, the star-studded cast, and a variety of colorful locations. That's more than many movies of this sort can boast. If you saw that awesome poster, or that killer VHS box art, wouldn't you want to rent it? We say give Jaguar Lives! your time.

Comeuppance Review by: Brett and Ty

Day Of The Assassin (1979)

 Day Of The Assassin (1979)- * *1\2

Directed by: Brian Treanchard-Smith

Starring: Chuck Connors, Jorge Rivero, Glenn Ford, Henry Silva, Susana Dosamantes, and Richard Roundtree

When the Shah of Iran's boat sinks to the bottom of a Mexican bay, word spreads that said sunken vessel contains treasure. And not just any treasure, mind you, but supposedly among the contents of the loot is a piece of paper with the most important information in the world. What is that information? Well, Christakis (Ford) wants to find out, and he's willing to pay big. So he hires Fleming (Connors) to get the paper. But it's not going to be easy, because treasure hunters from around the world want to get to it first, among them Fessler the Mute (Roundtree) and Dante Vallone (Rivero). Police Chief Jorge Gomez (Silva) is at a loss. Susana, AKA "The Princess" (Dosamantes) is swept up in it all. Which adventurer will walk away with the prized paper?


Day of the Assassin is a nice, harmless adventure outing that sports a handful of cool moments. It definitely has its flaws; it's a bit too "safe", if you know what we mean, and the peaks-and-valleys structure of the film has some pretty deep (i.e. slow) valleys. But, overall, it's pretty amusing and mildly entertaining, thanks to its cast, its quirks, and the direction of fan favorite Brian Trenchard-Smith.


It all kicks off with a fantastic opening sequence: a guy bombs, neck-snaps and knives people while parasailing. That's right, a man suspended by a parachute over a body of water by a boat manages to kill several people, while Jorge Rivero watches the incident through a pair of binoculars. We can't say we've ever seen that before.

Soon enough, we're introduced to Glenn Ford as Christakis. He wears gray formal suit pants and dress shoes with a cream-and-red Adidas warmup jacket, gold chain, and sunglasses. He may not be in the movie that much, but at least he has a funky wardrobe. Then we get to our hero, Fleming, played by our real-life hero, Chuck Connors. At least in Day of the Assassin, he looks like what Dolph Lundgren will look like 40 years from now. As Elderly Dolph goes on about his adventuring, he then encounters lots of his competition, the most noteworthy of which are Fessler and Gomez.


That's something we appreciated about the film - it features a panoply of middle-aged or older character actors that we know and love. Yes, Roundtree doesn't say anything (because he's "mute", you see), but it was nice having Ford, Connors, Silva, and Roundtree all together. Jorge Rivero is the young man of the group. Dosamantes is the only woman. Perhaps there should have been more women.


Connors, instead of wearing his usual Brooklyn Dodgers hat, has a variety of different baseball caps this time around. Maybe this was an in-joke because he always insisted on his trademark Dodgers cap, but he's seen with Baltimore Orioles, Chicago Cubs, St. Louis Cardinals (?) and perhaps one other baseball team's logo on his head. Or he'll put the hat on a desk in plain sight. Even in such a light and jaunty outing as Day of the Assassin, there's some Prerequisite Torture of our hero, Fleming. Guess you always have to have that, even in something pretty fluffy like this.

Other movie highlights include the standout score by Bebu Silvetti, who is perhaps best known in America for his Spring Rain disco album from 1977. He contributes some library music-esque funk and other notable cues. Put that together with the picturesque Spanish locations (although the movie is set in Mexico) and you've got two noteworthy elements right there.

When it comes to the films of Brian Trenchard-Smith (who's the original BTS), Day of the Assassin does not reach the heights of The Man From Hong Kong (1975), or the Jason Blade diptych Fists of Blood and Day of the Panther (both 1988) (he must like "Day of the..." movie titles), but it still holds a certain charm, especially when cars blow up with little or no provocation.


Day of the Assassin originally came to home video in the U.S. on the Prism label on VHS. There doesn't seem to be any DVD history of the film, then it jumped to Amazon Prime. Despite the film's shortcomings, there's still plenty to enjoy here, especially if you're a fan of anyone involved.

Comeuppance Review by: Brett and Ty

Angels' Brigade (1979)

Angels' Brigade (1979)- * * *

Directed by: Greydon Clark

Starring: Robin Greer, Jacqulin Cole, Liza Greer, Lieu Chinh, Susan Kiger, Noela Velasco, Sylvia Anderson, Neville Brand, Jim Backus, Alan Hale, Peter Lawford, and Jack Palance

Elaine (Robin Greer), April (Cole), Kako (Chinh), Michelle (Kiger), Terry (Anderson), Maria (Velasco), and their young assistant Trish (Liza Greer) are a special team of ladies assembled to take down drug gangs and evil militias in the L.A. area. All of them take time out from their day jobs when a baddie named Mike Farrell (Palance, not the guy from MASH) starts causing havoc all over town. Using their unique skill sets, and feminine wiles of course, they proceed to take down the bad guys in their own inimitable way. Armed with a high-tech van (it was the 70’s after all), can any force on earth stop the ANGELS BRIGADE?



A light, frothy, and some may say inconsequential bit of fun, this PG-rated actioner was clearly inspired by some of the TV shows of the day, most obviously Charlie’s Angels (Neville Brand plays their “Charlie”, but you can see him), but also The A-Team (hence the van), Wonder Woman, Knight Rider, and The Bionic Woman also come to mind. Even with the alternate titles, Angels Revenge and Seven Angels, the word “Angels” was never dispensed with.

Although clearly inspired by those shows, Angels’ Brigade was also somewhat ahead of its time, as teams-of-deadly-women movies mostly came later in the 80’s and into the 90’s with such films as Hell Squad (1986), Mankillers (1987), and Sweet Justice (1992), among others. The film is also reminiscent of the Cheri Caffaro Ginger series as well as Caffaro’s Savage Sisters AKA Ebony Ivory and Jade (1974). 

There are lots of stunts, shootings, and blow-ups, and it’s all very comic-booky, as reinforced by the “wacky” scene transitions and star-wipes and such. A lot of what we see is in the editing that way, such as the very cool opening credits sequence and a terrific montage as the ladies prepare for battle with their matching outfits and classic 70’s van. We did think, however, that with a little less goofing around the film as a whole could have been stronger. There’s only so many times you can hear the sound “BOINGGGGG!” during a fight scene before you realize the unserious vibe of the whole thing.

The girl power message of Angels’ Brigade is reinforced by the fact that the ladies are not just a formidable fighting force, but they all had good, independent jobs outside of their Brigade duties. There’s no nudity and the exploitation factor is low.


The character of Michelle is a professional singer, for example, and a movie highlight comes when we see her Vegas act, and Susan Kiger performs the song “Shine Your Love On Me” by Patty Foley for a reasonably enthusiastic crowd. Interestingly, Kiger was also in the movie Seven (1979), directed by Andy Sidaris, the same year as Angels’ Brigade. Apparently she felt safe with that number, having appeared in two movies with the number seven in one year. Coincidence?

As if the eye candy wasn’t enough, director Clark also brought on board what are basically a series of short cameos by not just Jack Palance and Neville Brand, but also Alan Hale, Peter Lawford, and Jim Backus, and there’s special mention of “Arthur Godfrey as himself”. Godfrey was an entertainer from a previous era of American history and his appearance in Angels’ Brigade was during the swan song of his life and career. An interesting way to go out, to be sure. 

In the end, while Angels’ Brigade has a positive, upbeat overall feeling to it, and is reasonably enjoyable for what it is (and not nearly as bad as some people seem to think), its one-dimensionality more or less sinks it in the end. But, then again, perhaps we’re overthinking it and it wasn’t meant to be examined that closely. 

For those of you out there seeking undemanding entertainment from the disco 70’s, you could do a heck of a lot worse than Angels’ Brigade. At the very least, it’s a one-time watch.

Comeuppance Review by: Brett and Ty

A Force Of One (1979)

A Force Of One (1979)- * *1\2

Directed by: Paul Aaron

Starring: Chuck Norris, Jennifer O'Neill, Ron O'Neal, Eric Laneuville, and Bill "Superfoot" Wallace









Matt Logan (Chuck) is a Martial Arts expert who runs a dojo, teaching children by day and fighting in the ring by night. His life is consumed by Karate, which is exactly why the San Diego police department seek out his expert counsel. It seems a drug epidemic is on the rise, and the narcotics officers who are trying to stem the tide, including Detectives Mandy Rust (O’Neill) and Rollins (O’Neal) (no relation, heh heh), are in great danger, because a ruthless assassin is out on the streets, ruthlessly killing cops who get too close to the center of the drug operation. 

Figuring that the mysterious killer only uses his bare hands, Matt Logan is called in to train the officers in the exotic use of Martial Arts. Soon Logan becomes personally involved and is searching for the killer himself. But what is the true motive of Sparks (Superfoot)? Find out today! Also Matt Logan has a Black son. (Charlie (Laneuville) was apparently adopted, but that explanation was not necessary. They should have left us wondering...)

A Force of One is pretty typical early Chuck: the pace is on the slow side and the man himself is wonderfully emotionless in the lead role. While this PG-rated outing does feel like a TV movie at times, it does provide plenty of Chuck fights and the movie as a whole isn’t bad. 

Chuck has some excellent backup in the cast department: Jennifer O’Neill is pleasant as the female cop/love interest, Ron O’Neal is always nice to see, as one of the narcotics cops, the great Bill “Superfoot” Wallace truly stands on his own two feet, and of course Aaron and Mike Norris serve various roles on the production, as is standard procedure for a Chuck venture. Director Paul Aaron later went on to make the Wings Hauser epic Deadly Force (1983), which, after having viewed both films, makes sense.

Matt Logan is introduced to his future students on the police force by the Captain saying “This is Matt Logan. He’s a Karate man.” This predating Out For Blood (1992) by many years. He certainly lives up to his standing as a Karate man, what with his impressive, large-scale black and white photos of himself glaring at you on the wall. 

He also has some stylish fight pants, as do all the fighters, including Superfoot. During the climactic night fight scene, it’s pretty much all you can see. They must have gotten them at the evil sporting goods store in the movie. It’s too bad we can’t go there now. Their selection of jackets and other items look really cool. It’s also nice to see the 1970’s tech, such as rotary-dial pay phones, and Jennifer O’Neill’s pager, which looks to be the exact size and dimension as a brick.

In all, A Force of One is a decent, harmless, and enjoyable-enough Chuck jaunt.

Comeuppance Review by: Brett and Ty

Return Of The Tiger (1979)

Return Of The Tiger (1979)-* * *1\2

Directed by: Jimmy Shaw

Starring: Bruce Li, Angela Mao, and Paul L. Smith












In Bangkok, an American crime lord, Paul (Smith) is making his play to become the number one heroin dealer in the region. His main competitor is a Chinese gang who also wants control of the drug trade. But our hero, Chang (Li), is slyly playing them against each other so they can slowly wipe each other out. Inevitably, Paul and Chang will have to battle it out in the final confrontation. See who is victorious tonight!

From the opening of the movie, when Angela Mao shows up in a gym wearing a denim jumpsuit and stylishly beats up all comers, you know you’re in for an above-average chop socky outing. This is a true drive-in-style Martial Arts film, where characters have great outfits with huge collars, the dubbing is funny in its own right, there’s quality, non-stop fighting that is well-choreographed, and there are some nice directorial flourishes along the way that keep things from ever getting too flat.

Adding a lot to the proceedings is the extra-funky music, which includes some seriously badass drums. It’s easy to see why rappers like Wu-Tang like this style of movie, especially after hearing this cool soundtrack. Bruce Li even wears an imitation Adidas tracksuit for a bunch of his fight scenes, showing that the filmmakers trying to wring every last drop out of the Bruce Lee legend created something special that can stand on its own - and since a lot of these movies played on New York City’s 42nd Street, they ended up inadvertently inspiring some of the street culture of the 70’s and 80’s.

We always felt Bruce Li was underrated. While he came to prominence in the rush of Bruce Lee imitators along with Bruce Le, Dragon Lee, and our personal favorite knockoff name, Bruce Rhee, Bruce Li can hold his own as a high-quality Martial Artist, and this movie puts his talents on display - not only does Return Of The Tiger have the most threadbare plot to allow for non-stop brawls and fights, but there’s a hilarious scene where Li, right before a fight, oils himself up with oil that he just happened to have in his own pocket! 

So there’s a sense of humor here too, which is nice. Paul Smith, whose career has plenty of interesting moments, including appearing in the David Heavener vehicle Outlaw Force (1988), makes a visually different villain for this type of film. His bearded, hulking appearance gives Li a big challenge to overcome, and the climax - just like this movie overall - doesn’t disappoint.

Naturally, it takes place in the time-honored abandoned warehouse. Other things to watch out for are the musical stings (presumably) lifted right from the John Barry James Bond theme music, and an obese minion of the baddies named Tom who always wears a sweatshirt with the word “TOM” written in huge letters right on it. There are other memorable moments as well, making Return of the Tiger a cut above the legion of similar films being released at this time.

Also known in some territories under the awesomely overblown title of “Silent Killer From Eternity” (!), Media released this on VHS back in the good old days, so check it out if you can find it.

Comeuppance Review by: Ty and Brett

The Hitter (1979)

The Hitter (1979)-* * *

Directed by: Christopher Leitch

Starring: Ron O'Neal, Bill Cobbs, Sheila Frazier, and Adolph Caesar














Otis (O’Neal) is a down-on-his-luck ex-boxer who is trying to escape his past and start afresh with a new life. As a drifter, he ends up in Baltimore, and he crosses paths with pool hustler Louisiana Slim (Cobbs). But he’s going to wish he hadn’t. Meanwhile, he also meets an older gentleman named Nathan (Caesar), a man who has lived his life as a slickster, a fast-talking hustler who’s always looking to make a buck and can talk his way into - or out of - any situation. 

Nathan offers to be Otis’ manager and take him around to the bare-knuckle fighting circuit. Otis reluctantly agrees, and along with Lola (Frazier), a prostitute also seeking a better life, the three of them hit the road encountering different trials and tribulations. But just when things are looking up, the specter of Louisiana Slim rears its ugly head again, and Otis must face his fate - a fate that could get everybody killed. What will happen?

The Hitter is underrated, understated, and an entertaining and worthwhile movie. Notably, it’s one of the first - if not THE first - Punchfighter. Back in 1979, crowds yelled and held their cash in their hands as two men punched each other without gloves. Seeing as how the genre is still going strong today, although crud like Never Surrender (2009) is a far cry from the nuanced performances herein, The Hitter can legitimately be called a Punchfighting pioneer.

Of course, since the genre was still being born and finding its legs, the formula wasn’t yet perfected at this time - in fact the first half-hour of this movie more resembles a sex comedy than a Punchfighter. Even on a technical level, there are some issues, as the boom mic is painfully obvious not just in one scene, but in many scenes. 

But the cast is of a very high quality, with O’Neal, Caesar, Frazier and Cobbs making this more a gritty, realistic character study than anything else. Future Punchfighters such as Last Man Standing seemingly took a page from The Hitter’s playbook.

Helping the movie immensely is Garfeel Ruff’s soundtrack. It’s truly excellent, and on top of having a winning title song, individual characters have their own songs, where the lyrics are about them. It’s novel, it’s funky, and the songs are very well-performed and catchy. There was a soundtrack that was released on LP back in the day, but someone really should reissue it on CD. Come on Dusty Groove, where are you on this one?

The great Ron O’Neal reminds us all just why he’s so great with this one. He’s a trained actor who can also Punchfight. That’s rare. He has a cool hat, a very cool coat, and of course a cool attitude as well. He’s much better here than he is in Super Fly (1972), but The Hitter doesn’t get any of the attention. As Far as Adolph Caesar, he’s superb as Nathan. He’s more than the folksy comic relief we believe him to be at first, he later shows true depth. And we just knew him from the Bruce Lee cash-in The Dragon and The Cobra (1980). In an interesting coincidence, Caesar says here to a Karate fighter, “You may not be Bruce Lee, but he did it all with mirrors anyway.” This links Adolph Caesar to Bruce Lee in TWO movies to date. Weird, eh?

But The Hitter is more than just a “Blaxploitation” movie, it’s just a solid movie with good performances that transcends that term. And it’s from the director of Border Cop, of all things.

It has that great 70’s drive-in feel, and anyone wishing to see the origins of Punchfighting should check this movie out.

Comeuppance Review by: Brett and Ty

Border Cop (1979)

Border Cop (1979)-* *

AKA: The Border, The Blood Barrier

Directed by: Christopher Leitch

Starring: Telly Savalas, Eddie Albert, Danny De La Paz, Michael V. Gazzo, and Cecilia Camacho












Frank Cooper (Savalas) is a tough guy working border enforcement on the Mexico border. He seems to have an ambivalent attitude about letting illegals cross over, preferring to take naps and let them cross. He is very close to his 20-and-out retirement. When his partner is injured and he gets a new one, Hale (Robin Clarke) he doesn't understand his ways. Cooper has plenty of clashes with Commander Moffat (Albert) - mainly because Moffat is corrupt and in bed with Chico Suarez (Gazzo).  Suarez is an unpleasant and merciless Coyote, spiriting illegals into the USA to work at very unpleasant jobs where they are abused by the management.

One of Cooper's best friends is a young man named Benito Romero (De La Paz). He's a scrappy kid who just wants to have a good life with his new wife Leina (Camacho), so he ends up working for Suarez. Unfortunately, he gets trapped and can't come home. He and his compatriots are abused by their gringo bosses and Romero is seen as a troublemaker. Once Cooper gets wind of what's going on, he tries to sort out the situation in his own way...meanwhile Romero wants to get revenge on his captors. Is that possible in this dangerous world?

Without Telly, there would be no movie. That's really the bottom line. While this is a dark, somewhat violent drama perfect for the drive-in era, only Telly's charisma saves the movie from utter mediocrity. In one of the more interesting turns in the film, Romero and his friends are forced to work in an abattoir - and there are graphic, extended, documentary scenes of cows being slaughtered, skinned and gutted. Why we need to see this, I don't quite know.

Illegal Mexicans come in strapped under a car Sideshow Bob-style at the beginning of the film, and that's when all hell breaks loose. Eddie Albert is a classic actor (not to be confused with Punchy himself, Edward Albert), whose career goes at least back to the 1930's. His role is fairly small, but important and he fills it well. His partner in crime Suarez is played by another classic actor, Michael Gazzo. Despite having a long and fruitful career, his name should be more well known. If you haven't seen it yet, please check out the movie Fingers (1978). He's in it and it's a great film.

Despite its flaws, mainly that the plot isn't as cohesive as it could have been, and could have used some more action, Border Cop is a relevant, serious movie that Telly fans should check out.

Comeuppance Review by: Brett and Ty