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| 1. Only the Strong Director: Sheldon Lettich | |
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Reviews (52)
Mark Dacascos plays a young capoeirista (a guy who practises capoeira) who gets some misfit students onto the right side of the law by teaching them capoeira. Of course this leads to some showdowns between him and various criminal elements. And that's it, really. But capoeira is a beautiful sport to watch, and the movie is a good teaser for the real thing. But Dacascos isn't really a capoeirista, and the movie misinterprets some of the basic elements of the sport. If you become interested in learning more after watching the movie, look up the nearest capoeira club in the phonebook and try it for yourself. I guarantee it will be an experience well worth your while! I speak from personal experience.
I found info about this DVD online when I looked for an mp3 for the "Mazda" Zoom song & discovered it was a (badly mangled) version of one of the songs from this video. So this is my first time seeing the actual art...the story-line sounds hokey, but it works because everything is beautifully choreographed by Frank Dux. It was a great introduction to an art form that is still little-known in the US. My husband and I have watched it twice already tonight, it's fun,has great music, and made me wish to learn more about Capoeira.
A predictable B-movie plot is elevated above the routine by virtue of its slick presentation and interesting cast, all of whom turn in creditable performances under the assured direction of Sheldon Lettich (former scriptwriter of RAMBO III who went on to helm some of Jean-Claude Van Damme's most popular entries, including LIONHEART and DOUBLE IMPACT). The script - co-written by Lettich and Luis Esteban - provides a showcase for the visual artistry of capoeira, practised with genuine flair by DTV favorite Dacascos (BROTHERHOOD OF THE WOLF), whose mastery of the form helps to win over some of the most problematic students at his former high school, now a crime-ridden wasteland whose faculty (led by Geoffrey Lewis, acting everyone else off the screen) is clearly at the end of its collective tether. A faint air of camp hangs over the entire enterprise, as ultra-buff Dacascos flaunts his pumped-up torso through a variety of tight-fitting vests (drool! slobber!) while facing off against ultra-butch Prieto (a real life martial arts instructor, making one of his first screen appearances), though ultra-cute Stacey Travis hovers around just long enough to blunt the film's relentless macho swagger and provide a fleeting romantic interest for Dacascos, thereby reassuring the movie's target audience that his character is entirely heterosexual. The film is naive, obvious and predictable, but it moves at a rapid clip and is well-staged thoughout, and the bone-crunching fight scenes manage to live up to every expectation. Good, catchy music score, too. Fox's DVD is a no-frills affair, including both widescreen and fullscreen versions of the film, along with a trailer (curiously framed at 2.35:1, though the main feature is correctly framed at 1.85:1). Sound and picture quality are uniformly fine. 95m 52s
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| 2. Brotherhood of the Wolf Director: Christophe Gans | |
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Reviews (332)
Loosely based on true events, this high-powered Gallic blockbuster - directed by Christophe Gans, hired on the strength of his incredible genre-bending adaptation of CRYING FREEEMAN - wowed French audiences when released in 2001. And no wonder! A high-kicking combination of horror movie, period drama, political thriller and 'Matrix'-inspired kung fu pageant, the film combines the best elements of these disparate sub-genres in a dazzling display of technical wizardry. Photographed in widescreen Super 35 by Dan Laustsen (MIMIC, THE LEAGUE OF EXTRAORDINARY GENTLEMEN), and played with solemn conviction by an all-star cast - including relative newcomers Vincent Cassel (LA HAINE), Monica Bellucci (the MATRIX sequels) and Jeremie Renier (LES AMANTS CRIMINELS), and veterans Jean Yanne (most recently seen in BELLE MAMAN) and Edith Scob (the elegant heroine of Franju's LES YEUX SANS VISAGE) - the movie is a riot of action and intrigue, sustained by a multilayered screenplay (co-authored by Gans and Stephane Cabel) which recounts an elaborate fable of class warfare and religious bigotry during a grim period of French history. The fight scenes - choreographed with ruthless efficiency by Hong Kong movie veteran Phillip Kwok (MASTER OF THE FLYING GUILLOTINE, HARD-BOILED, TOMORROW NEVER DIES, etc.) - are fashioned with elegant grace, and edited to perfection by Sebastien Prangere and David Wu Dai-wai (another prominent HK movie figure, Ronny Yu Yan-tai's current editor of choice). Much of the film's otherworldly visual texture is due to the sumptuous art direction (by Guy-Claude Francois [JEFFERSON IN PARIS]) and costume design (by Dominique Borg), which roots proceedings in a recognizable period 'style', despite Gans' resolutely modern approach to the material. It shouldn't work, but it does, somehow. The 'explanation' for the beast and its murderous activities - which takes into account a wide range of modern research into the story of an animal which really DID terrorize the French countryside during the 18th century - forms the backbone of the entire production, and while much of the film is a rip-roaring joy, the climactic sequences are offset by an element of tragedy and sadness, which thoroughly distinguishes the movie from most of its Hollywood counterparts. All in all, BROTHERHOOD OF THE WOLF is a magnificent folly, way ahead of its time, and quite unlike anything ever made before. This review is based on a viewing of the Canadian disc from TVR Films which presents the original French version in its entirety (the international version, including the one released in the US and UK, appears to be shorter by about 10 minutes) and runs 150m 34s, minus the logos which open the video print and weren't part of the original production, and letterboxes the scope frame at 2.35:1 (anamorphically enhanced). The US disc - a region 1 release from Universal - is a no-frills affair which features a letterboxed anamorphic version of the shorter print, and some reviews suggest it's a better-looking transfer than the one featured on the Canadian disc. Captions and subtitles are provided. The Canadian version, however, is a 3-disc spectacular, and features (amongst many other things) an extremely frank documentary on the making of the film which opens with an actress being clobbered during an accident on-set, and proceeds to outline the various obstacles which constantly threatened the production schedule (not least the unpredictable weather during location shooting) and ultimately strained relations between director Gans and co-producer Samuel Hadida. That such a remarkable film emerged from these traumatic circumstances says much about the talent and dedication of these extraordinary gentlemen and all those who helped bring their unique vision to the silver screen. A triumph.
did we see the same movie?
If you need more evidence, there is no lack in the film. Our beast is often seen running with its pack, howling at the moon, and killing people. While Grégoire attempts to denounce the belief in human murders by wolf, one of the final scenes of the movie clearly depicts wolves doing just that: an obvious statement to disaffirm his slander. If you listen to the revealing narrative at the end of the film, it is stated that while visiting Africa Jean-François found the beast and raised her offspring, selecting the largest and strongest to take back with him to France and training it to be more ferocious and cruel than the average wolf. ***WARNING: SPOILERS AHEAD.
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| 3. Cradle 2 the Grave (Widescreen Edition) Director: Andrzej Bartkowiak | |
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Description Reviews (69)
In 'Cradle', DMX portrays Tony Fait--a high-tech thief who goes into a building one expects to be well-guarded and steals fifty black diamonds. Of course, he has help. This is one of the best opening sequences I have ever seen. Perfectly timed. Jet Li plays Su, an agent from Taiwan. He also wants the weird, black diamonds. So does everyone else. Fait and Su team up when Fait's daughter is kidnapped. All of this leads to the climax--another well timed cut between three fight sequences. The movie only goes bad during the end credits. But I am giving this film five stars because I really enjoyed Anthony Anderson, who finally tones down and plays a more serious role--and he is able to remain funny at the same time.
DMX's role is Tony Fait, a smooth (but somewhat excitable)master thief. He and his crew (including the lovely Gabrielle Union and his partner-in- crime from the afore-referenced "Exit Wounds" Anthony Anderson) break into a diamond exchange, and steal a cache of black diamonds. They were created by the Taiwanese government, and when agitated (kinda like what we saw as the principal weapon in the fifth Bond flick "Diamonds Are Forever") unleash incredible energy. They were originally stolen by the real bad guy Ling (Mark Dacascos), who intends to auction them off to a room full of worldwide nogoodnicks. Ling then abducts DMX's baby girl to ransom them back. And as they say, it is ON. You cannot have these guys together without great fight scenes, and this movie does not disappoint. Li has an incredible nonchalance about himself, and actually fights (and easily handles, of course) his first few adversaries with one hand in his pocket! He has to use both hands, though, when he ends up in the middle of a brawl with a crew of Ultimate Fighters. Of course, he can, and does, without raising much of a sweat (but he does get around to tossing around a midget as a "weapon"). Just as he did in Exit Wounds, Tom Arnold provides some comic relief (among his best lines: "I cannot read Chinese, but I know cop in every language"). Forget about the folks who dog out this movie. The acting is just fine. This script does not call for Meryl Streep, and neither is it incredibly thought provoking screenplay. It does not need to be. It doesn't pretend to be anything other than what it is, a slammin', ultra-violent, retribution filled, sexy action film. While I thought at first that the one-handed fight scenes were a bit much, as another reviewer noted, it does show another side of the virtuosity of Jet Li. And I don't really care whether Kelly Hu (bad-guy Ling's equally ultra-fine sidekick) would have beat down Gabrielle Union in two seconds "in real life". The two of them on the screen is worth seeing, in my humble opinion. Like action movies? Then this one is for you. Enjoy it for what it is, and you will have spent a great ninety minutes.
At first Fait and Su are opponents after the diamonds. When they are taken by Ling (Mark Dacascos) they team up to retrieve them. Su wants the diamonds and Fait wants his daughter Vanessa (Paige Hurd) back. Ling has kidnapped her as leverage against Fait. "Cradle 2 the Grave" also stars Anthony Anderson, Tom Arnold, Gabrielle Union, and Drag-On as Fait's assistants, willing and forced. They stage a raid on a deserted airfield where Ling is holding Fait's daughter and the diamonds. As far as martial arts movies go, "Cradle 2 the Grave" isn't bad. Many of the fight scenes are too well choreographed though and far too Matrixy in the way the actors bodies seemingly mock gravity. I seriously doubt that Jet Li can throw a 200 pound man about 20 feet through the air. This movie also makes the horrendous mistake of having one guy fight about 15 other guys one at a time. Just once I'd like to see all 10 or 15 guys jump the hero at one time and see how he gets out of it. I know that if I were one of those 15 guys, I'd be looking to take a cheap shot while he's working over one of the other guys. My only real problem with this film is the title. What exactly are they referring to when they call it "Cradle 2 the Grave". Ususally that term is reserved for discussions about Swedish social programs. At no time in this movie did Jet Li and DMX expound upon the benefits of an all-encompassing social safety net vis-a-vis the social benefits of a low-tax economic policy to foster long-term wealth production and distribution. Then again, the movie producers didn't even have enough time to spell out the word 'to'; so, I doubt they had the time to work such a policy discussion into the movie. ... Read more | |
| 4. Crying Freeman: Complete Collection Director: Christophe Gans | |
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Amazon.com Like true love, the course of mob business seldom runs smoothly, and the bodycount for the entire series runs into the thousands. Hit men and women aredispatched with knives, throwing knives, swords, karate chops, pistols, machineguns, grenades, missiles, and electricity. As the plot grows more baroque, theanimation grows more limited. After a certain point, the images of knivespenetrating skulls, full-body tattoos, bare breasts, and awkwardly animated sexualencounters become monotonous, but Crying Freeman is definitely not forthe squeamish or prudish. (Rated 17 and older, but more appropriate for 18 andolder: graphic violence, violence against women, rape, torture, ethnicstereotypes, extensive nudity, explicit sexual situations) --Charles Solomon | |
| 5. The Island of Dr. Moreau Director: Richard Stanley, John Frankenheimer | |
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Amazon.com Reviews (60)
This movie is nothing like the book, except for the fact that a guy is stranded on an island with a man who claims to have the name Moreau and is a doctor. The book had a lot to say about our society and the inner beast, but the movie is basically violence accompanied by a corny love story that was just as unnecessary. It wasn't romantic, you have to wonder why Fairuza Balk looked more human than the other animal-people, and you also have to wonder why Doctor Moreau didn't consider her the "perfect human" that this film claims the doctor was looking for. The animal designs in general were pretty awful. They're all almost the same - it's basically "Planet of the Apes" with spotted and striped apes. The people in "Cats" looked more feline than the character Cheetah. There was probably very little creativity put behind this aspect of the film. Making the doctor some thing of a sadist dictator is a bad turn as well. The first film adaptation, "The Island of Lost Souls," portrayed the doctor as a sadist dictator as well. H.G. Wells was alive at the time and hated that portrayal, and I'm certain he would abhor this film version. Much of the doctor's wit and wisdom is lost in the screenplay, which is sad considering Marlon Brando has some amazing acting talent and would have been a perfect choice to play the title character. In fact, most of the actors have amazing potential but are wasted with a bad script. The hero is perhaps the only hammy one of the group, and his character's only highlight is at the end when he turns the villains against each other. The last five minutes try to make up for H.G. Well's symbolism, as if the writers thought, "Wow that was some badass action, awe darn we forgot the plot!" Sadly, its too little too late. If they had taken out the mutant rats, the catgirl, and the script, they might have had some thing, but unfortunately all efforts are wasted.
I could praise the movie on any number of levels. Every actor here carries his or her eccentric role with a perfectly tasteful care not to go over the top or become too cartoonish. The dialogue is free of fluff and carries quite an element of eloquence, which is fitting when considering the overall dramatic intent. On a more basic level, the creature effects used on the half human, half animal hybrid creations inhabiting Moreau's Island are handled by none other than Stan Winston and done very well, and the soundtrack is appropriately eerie, with tribal drumming used in parts to enhance the mood. And, of course, the themes explored here, despite their familiarity (the power of instnct, and the danger of playing God), are driven home with potent efficiency, probably thanks to the extreme and sometimes bizzare nature in which they're handled. The fact that this movie carries such a human element with it is what I really like about it. It's easy to feel for the man-beasts, tragic abominations intelligent enough to know they're nothing but the waste products of a madman's search for genetic perfection. The protagonist, as well, benefits from the fact that he is very much an introvert and probably speaks less than Val Kilmer, who is less vital to the plot. His quiet observation helps add to the realism and mold a film which could have easily been a silly mess into a moving, artfully crafted piece of work. If you choose to judge this movie as harshly as most have, then go ahead, but at least see it first with an open mind. I for one feel a movie this bold deserves every bit of respect.
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| 6. Drive Director: Steve Wang | |
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| 7. Crying Freeman - A Taste of Revenge (Vol 2) Director: Christophe Gans | |
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Description Later, master Naiji-a powerful and driven fanatic-schemes to use the 108 Dragons'influence to spread his "Great Bear God" religion throughout the world. Forming anunlikely aliance with two of Freeman's past enemies, Naiji plans to replace the reluctantleader of Hong Kong's pre-eminent crime cartel with a perfect double capable of foolingeveryone, even his wife! | |
| 8. Scorcher Director: James Seale | |
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Description Reviews (4)
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| 9. No Code of Conduct Director: Bret Michaels | |
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Description Reviews (3)
The acting is mediocre at best. Charlie Sheen is often embarrassingly bad, leaving his dad to carry the film. Uncle Joe is just a throw in to keep the family employed and adds nothing to the film. The three drug goons are wretched. Charlie Sheen's once bright career continues to grind gears with this clunker. I rated it a 4/10. Action lovers might enjoy it, but others will want to pass. ... Read more | |
| 10. China Strike Force Director: Stanley Tong | |
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Description Reviews (4)
Disecting the story would be pretty pointless. It's standard fare and offers nothing revolutionary, but as with all martial arts movies it's what you come to expect. Kind of a shame really, but anytime I can watch Mark is ok with me. There is a rather touching performance dealing with the death of a character and the girls are lovely. Again, if you're looking for something deep this isn't the movie for you.
And the story is about a Chinese police team of Arron Kwok and Leehom Wang, who must stall some plot of a joint force of Chinese crime syndicate (Dacascos) and American gangster (Coolio), about some drug deal, but it is just a usual excuse to carry on 90 minutes of exciting actions and dull dialogues. Just wait till the film kicks off its action scenes, which are quite impressive. There are two things that you might be interested. Director Stanley Tong is famous for Jackie Chan films, especially "First Strike" and "Rumbles in the Bronx" (the latter reaching the No. 1 box-office hit in US), and ... (embarrasing silence) ... Lesley Nelsen's "Mr. Magoo." His first Holywood film was surely a bomb. But he went back to his roots, real Hong-Kong actioner, and made a pretty good one, even though it sometimes goes to far, showing too much superflous viloence. Another thing is that the location is not in Hong-Kong, but in Shanghai, and that may add some value to the film. This means it was shot in China, not in a rather crowded city of Hong Kong, so the actions are done with a larger scale as a result, and especailly the following two -- a "Driven"-like car chase sequence, and the final action using helicopter carrying a car and a glass panel held at the deadly height -- is very exciting.
Synopsis (taken from back): Two young and handsome cops Darren and Alex watch the charity event, and suddenly an assassination occurs. Alex follows the assassin and suspects the beautiful woman, Norika, with move of taking something off from the victim's jacket pocket. Actually, she's a Japanese interpol agent. Darren and Alex try to save Norika who is trapped, but in the midst of the bullet showers, Alex dies heroicall. Darren on a quest to save Norika and revenge for Alex, he pursues them relentlessly and defeats the gang in a high-octane action sequence involving helicopters, and fights on a large glass plane... **I know the translation is bad, but that is what is written on the back cover.** I have to say the fight sequences are well choreographed. Mark Dacascos looks great, Coolio does a passable job of the typical ghetto gangster, Aaron Kwok has improved in acting and his mandarin, the other actors performed well also. There is a great deal of English dialogue but it does not detract from the movie. I am sure that audiences will really enjoy the helicopter fight sequence as well as the fight on the large glass pane fifty stories in the air... I hope this was helpful. ... Read more | |
| 11. Crying Freeman - Abduction in Chinatown (Vol. 3) Director: Christophe Gans | |
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| 12. Double Dragon Director: James Yukich | |
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Reviews (18)
It has just enough comedy in it too. So that's how it is a Jackie Chan-style kung fu flick. It was critically trashed in it's day, and ended up being a box office ghost, but it deserved much better. Make no mistake, It is suitable for family viewing, but it also is enjoyable to martial arts fans and fans of the source video game. There's something in it for everyone. DOUBLE DRAGON tells the story of the future in L.A. It is now called "New Angeles" after a horrible earthquake has partially submerged the city in water. Evil businessman Koga Shuko (Robert "T-1000" Patrick, who does these roles in his sleep) is seeking to get his hands on a mystical chines amulet known as the "Double Dragon". It was split into two halves, but whoever could possess and unite both halves who attain godly power. Koga already has one halve in his possesion, but the other half belongs to Satori Imada (Julia Nickson), who is the adoptive mother of martial arts expert brothers Jimmy and Billy Lee (Mark Dacascos and Scott Wolf). Koga is hot on their trail, and Jimmy and Billy join to stop Koga and save the world. The story is one that is more than adequate enough to build a video-game-based-martial-arts-movie on, but that's just one of DOUBLE DRAGON's virtues. The movie is so crammed with action that it's almost impossible to imagine why it was so overlooked in it's day. In their first appearance onscreen, the Lee brothers establish theie martial arts credentials at a tournament, and things only go uphill from there. Dacascos and Wolf and just as good actors as they are karate experts. They actually not only can act, but also look young enough to be playing brothers who are 17 or 18 years old. If you doubt this, then here's a little FYI. In 1994 (when DOUBLE DRAGON was released) Wolf was 26 years old, and Dacascos was 30!!! This may be the only kung fu movie Wolf has done, but not Dacascos. In fact, he recently played the bad guy in the Jet Li martial arts flick, CRADLE 2 THE GRAVE (which I plan on immediately buying.) Julia Nickson is also very watachable, playing apparantly the only person who cares enough about the Lees to take them in. She even gets to do alittle fighting in the movie. As for Patrick, This may not go down in history next to his T2 villian, but it does in my book. That Double Dragon medallion really is something, too. Satori's half gives "power over the body", allowing the wearer to become impervious to injury or death, just take anything and shake it right off. Koga's half gives "power over the soul", allowing the wearer to turn himself into some kind of ghost and take possesion of any human body. If I had that kind of power, I wouldn't even need to study Tae Kwon Do. In closing, I would just like to say, DOUBLE DRAGON rules baby!!! Buy it, now!!!
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| 13. Kickboxer 5 Director: Kristine Peterson | |
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Ok, let's look at the good points. Um...Mark. I loved watching his various workouts, especially the one towards the end where he's standing outside the ranch house. He makes a gesture which seems to move the flock of sheep about him. Mere serendipity I assume, but effective. He then proceeds to show off some back flips and an arrow break on his neck, which he learned from his father, Al. It's for movies like this that DVD's were invented. You can fast forward past the parts you don't like. Which sadly, are too plentiful in this movie.
The characters are pretty boring and the film itself is very tame for an R-rating though Dascasos use of the word "buttface" could be a bit extreme for some. The film could have gone without attaching the Kickboxer name to it. Even on its own two feet, this movie isn't very good and I am somewhat a fan of the lead (Mark Dascasos).
Overall I'd say Mark has done better movies like Only the Strong and Drive. ... Read more | |
| 14. Redline Director: Tibor Takács | |
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| 15. Boogie Boy Director: Craig Hamann | |
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| 16. Sanctuary Director: Tibor Takács | |
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Amazon.com Reviews (6)
This movie had the potential there but it lost it and was quite confusing in bits as well as being slow. My recommendation is to see the movie first before you buy it.
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| 17. The Base Director: Mark L. Lester | |
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And besides, any movie with Tim Abell in it is worth seeing! ... Read more | |
| 18. Cradle 2 the Grave (Full Screen Edition) Director: Andrzej Bartkowiak | |
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Description Reviews (69)
In 'Cradle', DMX portrays Tony Fait--a high-tech thief who goes into a building one expects to be well-guarded and steals fifty black diamonds. Of course, he has help. This is one of the best opening sequences I have ever seen. Perfectly timed. Jet Li plays Su, an agent from Taiwan. He also wants the weird, black diamonds. So does everyone else. Fait and Su team up when Fait's daughter is kidnapped. All of this leads to the climax--another well timed cut between three fight sequences. The movie only goes bad during the end credits. But I am giving this film five stars because I really enjoyed Anthony Anderson, who finally tones down and plays a more serious role--and he is able to remain funny at the same time.
DMX's role is Tony Fait, a smooth (but somewhat excitable)master thief. He and his crew (including the lovely Gabrielle Union and his partner-in- crime from the afore-referenced "Exit Wounds" Anthony Anderson) break into a diamond exchange, and steal a cache of black diamonds. They were created by the Taiwanese government, and when agitated (kinda like what we saw as the principal weapon in the fifth Bond flick "Diamonds Are Forever") unleash incredible energy. They were originally stolen by the real bad guy Ling (Mark Dacascos), who intends to auction them off to a room full of worldwide nogoodnicks. Ling then abducts DMX's baby girl to ransom them back. And as they say, it is ON. You cannot have these guys together without great fight scenes, and this movie does not disappoint. Li has an incredible nonchalance about himself, and actually fights (and easily handles, of course) his first few adversaries with one hand in his pocket! He has to use both hands, though, when he ends up in the middle of a brawl with a crew of Ultimate Fighters. Of course, he can, and does, without raising much of a sweat (but he does get around to tossing around a midget as a "weapon"). Just as he did in Exit Wounds, Tom Arnold provides some comic relief (among his best lines: "I cannot read Chinese, but I know cop in every language"). Forget about the folks who dog out this movie. The acting is just fine. This script does not call for Meryl Streep, and neither is it incredibly thought provoking screenplay. It does not need to be. It doesn't pretend to be anything other than what it is, a slammin', ultra-violent, retribution filled, sexy action film. While I thought at first that the one-handed fight scenes were a bit much, as another reviewer noted, it does show another side of the virtuosity of Jet Li. And I don't really care whether Kelly Hu (bad-guy Ling's equally ultra-fine sidekick) would have beat down Gabrielle Union in two seconds "in real life". The two of them on the screen is worth seeing, in my humble opinion. Like action movies? Then this one is for you. Enjoy it for what it is, and you will have spent a great ninety minutes.
At first Fait and Su are opponents after the diamonds. When they are taken by Ling (Mark Dacascos) they team up to retrieve them. Su wants the diamonds and Fait wants his daughter Vanessa (Paige Hurd) back. Ling has kidnapped her as leverage against Fait. "Cradle 2 the Grave" also stars Anthony Anderson, Tom Arnold, Gabrielle Union, and Drag-On as Fait's assistants, willing and forced. They stage a raid on a deserted airfield where Ling is holding Fait's daughter and the diamonds. As far as martial arts movies go, "Cradle 2 the Grave" isn't bad. Many of the fight scenes are too well choreographed though and far too Matrixy in the way the actors bodies seemingly mock gravity. I seriously doubt that Jet Li can throw a 200 pound man about 20 feet through the air. This movie also makes the horrendous mistake of having one guy fight about 15 other guys one at a time. Just once I'd like to see all 10 or 15 guys jump the hero at one time and see how he gets out of it. I know that if I were one of those 15 guys, I'd be looking to take a cheap shot while he's working over one of the other guys. My only real problem with this film is the title. What exactly are they referring to when they call it "Cradle 2 the Grave". Ususally that term is reserved for discussions about Swedish social programs. At no time in this movie did Jet Li and DMX expound upon the benefits of an all-encompassing social safety net vis-a-vis the social benefits of a low-tax economic policy to foster long-term wealth production and distribution. Then again, the movie producers didn't even have enough time to spell out the word 'to'; so, I do | |