Beyond The Law (2019)

 

Beyond The Law (2019)- *1\2

Directed by: James Cullen Bressack

Starring: Steven Seagal, DMX, Johnny Messner, Chester Rushing, Saxon Sharbino, and Bill Cobbs

Frank Wilson (Messner) is an ex-cop on the edge who has been accused of being dirty. When his son Chance (Rushing) is killed by some baddies, Frank emerges from hiding to track down the men responsible. Frank's tearing up of the town in his quest for answers immediately arouses the interest of Detective Ray Munce (DMX), and a shadowy underworld figure named Augustino "Finn" Adair (Seagal). But how do Swilley (Cobbs) and Charlotte (Sharbino) fit into all this? And who will be BEYOND THE LAW?


The filmmakers behind Beyond the Law really should have known that there is already a film called Beyond the Law. Namely, Beyond the Law (1993), starring Charlie Sheen. Don't people working in DTV talk to each other? But really it's even more telling than that, as it's indicative of an overall lack of creativity. There's nothing in 2019's Beyond the Law that you haven't seen before, and done much better besides. There's no character development, so you don't become invested in their plight or the plot, such as it is. Rather than come up with a fresh take on a standard storyline, or feature interesting characters that you care about, Beyond the Law 2019 just falls back on lazy plotting, trite and childish dialogue, and utterly boring by-the-numbers run-throughs of cliched material.


Yet another modern-day DTV pitfall this falls victim to is the inexplicable phenomenon of low/no lighting. Many scenes are underlit and we as the viewers simply can't see what's going on. This works especially poorly in Seagal's favor, as he tends to wear flowy black shirts. Occasionally he sports sunglasses, there's his classic Eddie Munster hair, and he's quite tan this time around. Sometimes people stand in front of an all-black background. Basically you can't see him.


For about the last 20 years or so of Seagal's career, his movies have centered around seedy nightclubs or strip clubs. There are almost too many to mention. This one is no exception. Why DTV filmmakers continually think this is something viewers need to see is beyond me. Probably it's for the same reason they load up the dialogue with those naughty and ever-so-edgy "swear words" - in other words, the aforementioned laziness and lack of creativity. But Seagal does get to sport his classic Cajun accent. So, there's that. Also he doesn't fight anybody. So, there's that too.


Which brings us to perhaps the greatest sin of all for Beyond the Law 2019: this is what we call a Lacktion movie. The audience is ready for action when they watch something featuring Seagal and Johnny Messner. Seagal even re-teams with DMX after Exit Wounds (2001). But this is no Exit Wounds. Not by a long shot. It doesn't live up to the solid cast.


Probably the person who comes out best in all this is Bill Cobbs. We used to say that he looked like Bill Cosby and even has a similar name. Well, now he's his own man. Somehow he doesn't resemble Cosby anymore and he's by far the best actor on show here. DMX and Messner both have gravelly voices that are fun to listen to, but DMX seems to have lost a step. He was probably in some sort of psychological turmoil after having to wear pink clothing in Joe Arpaio's jail.


In the end, Beyond the Law 2019 is self-serious and features no intrigue, plot twists, or anything whatsoever that would hook the viewer and keep them watching. It suffers in every area or department a movie can suffer. It is a weak entry in the canon of all involved and should be avoided.

Comeuppance Review by: Brett and Ty

Also check out a write-up from our buddy, DTVC!

Thrill (1996)

Thrill (1996)- * *1\2

Directed by: Sam Pillsbury

Starring: Antonio Sabato Jr., Stepfanie Kramer, Maxxe Sternbaum, Christine Harnos, and Bill Cobbs

Jack Colson (Sabato Jr.) is a hardworking guy with a precocious young daughter named Alice (Sternbaum). Luckily for Jack, his sister Teresa (Kramer) is the owner of a local amusement park. However, when there is an offer to buy the park, a mysterious evildoer (don’t worry, no spoilers here) starts causing havoc there. At first it’s just a few rides malfunctioning – seemingly by accident – but then the baddie graduates to a bomb on the rollercoaster. The rollercoaster is named Thrill, by the way. Inevitably, it’s up to Jack to save the park, save his daughter, and even find time for love with the fortune teller, Ann (Harnos). Will saving the amusement park be the ultimate THRILL? Stand by for the thrilling conclusion…

It’s terror on the log flume as fan favorite Antonio Sabato Jr. snaps into action in this made-for-TV “thriller”, originally aired on NBC. While the obvious play here for the filmmakers was to ape Speed (1994) – except make it a rollercoaster instead of a bus – and cross-pollinate that with Beverly Hills Cop III (1994), strangely, they really only opted for the former, and even then it’s only the climax of the movie. No terrorists take over the park, and there are no amusement park goons for Sabato to fight. It’s mainly just tourists wearing fanny packs and brightly-colored shirts walking around the Santa Cruz Beach Boardwalk. It’s not really a “whodunit”, because we very swiftly know who “dunnit” too early on. It’s mainly about a Fred Dryer-less Stepfanie Kramer sorting out the park’s financial matters while Sabato takes care of his daughter and forges a relationship with the fortune teller. Occasionally he intercedes to help people off a runaway floom, but Thrill really is a textbook study in lost potential.

Really, think about all the ways Sabato could outsmart baddies and kill them in an amusement park. The possibilities are endless. Yet that’s not the route they decided to go here. 

We realize it’s a TV movie but they still could have done it that way. Part of the fact that the amusement park is a family business is that Jack lets his daughter – who is a classic young tot, as we call them – just walk around the park with the staff. That includes an older Black gentleman played by Bill Cobbs – not to be confused with another NBC star at the time, Bill Cosby. Letting your daughter go off with him would be a colossally bad idea. But Norm (Cobbs) wears a bowtie and is harmless. Or is he? Regardless, he’s a ride operator who uses what looks like an Apple IIGS to control the ‘coaster. No wonder they’re having problems.

There’s also a Star Tours-like ride where patrons get in a windowless van and rock around while viewing CD-ROM technology. No wonder they’re still having problems. Of course, it all comes to a head during a death-defying fight on the Thrill coaster between Jack Colson and the baddie. Did you think it would end some other way?

For a TV movie that promises far more action than it delivers, Thrill is actually not that bad. Sabato and the daughter are likable, there is plenty of 90’s fashion and tech on display, there’s a rockin’ intro with kids on skateboards aggro’ing it up around the park, and Sabato has a dream sequence involving the local mime. That right there might be worth investigation. Yes, we would have liked a more paramilitary-style Sabato crushing some heads in the tilt-a-whirl, but if we can’t have that, Thrill – while actually far less than thrilling – delivers the next best thing.

Comeuppance Review by: Brett and Ty 

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