Superfights (1995)

SOMETIMES, I WORRY that I won’t see another film worthy of Trashterpiece Theatre. But then along comes a movie like Superfights, and all is right with the world.

“Superfights,” as if I have to tell you, are a type of pro wrestling/martial arts hybrid – “where no one knows the outcome!” the announcer assures us – with Superfighters sporting gimmicky nicknames such as Budokai, Dark Cloud, and Night Stalker. Mega-fan Jack Cody (Brandon Gaines) attends every event, even teaching himself the moves he sees his favorite Superfighters perform. (Conveniently, he works in a warehouse full of mannequins, which he uses as practice dummies.)

After Jack becomes a local celebrity by beating up a trio of would-be muggers, he’s recruited by Superfights president Mr. Sawyer (Keith Vitali) to compete in the ring. Jack trains with Angel (Kelly Gallant), a freakishly muscular female Superfighter who overtly flirts with Jack but may have ulterior motives. Watch in amazement as Angel trains Jack using the latest advancements in 1995 technology, including punching at a stream of light and dodging giant phallic pipes that dart out of the walls.

Oh, I almost forgot: Mr. Sawyer’s Superfights empire might be a front for extortion, drug running, mind control, and murder.

Superfights captures the pure essence of direct-to-video, B-movie action flicks of the mid-‘90s. The B-level acting. The hokey, overly serious training montages. The meathead, be-the-best mentality of the fighters. The gratuitous violence. The melodramatic soundtrack, awash in mid-‘90s synth and squealing guitar riffs. This one’s got it all, set against the martial arts hotbed of…Harrisburg, Pennsylvania.

The film also features other ridiculous moments, such as Jack getting attacked by a ninja while jogging in broad daylight – a ninja who, while fleeing, literally tells Jack to “just say no” to the “vitamins” supplied by Angel as part of Jack’s Superfighters regimen.

All that being said, the fight scenes in Superfights are in-sane. Director and fight choreographer Tony Leung gives us dozens of fights featuring rapid-fire exchanges, impressive editing, and over-exaggerated impact with blood, sweat, and spit flying everywhere. It culminates in a multi-fight finale between Cody and Sawyer that’s so amazing, I immediately replayed it once the credits started to roll.

A real-life third-degree black belt, Gaines’ role in Superfights was his first and last in films; he’s now a public speaker, rabbi, and acupuncturist living in California. Gallant, unfortunately, has had her share of run-ins with the law since Superfights, including a wrongful death lawsuit and recent arrests for DUI and probation violation.

Highly entertaining and a candidate for repeat viewing, Superfights delivers the goods in both martial arts action and cheeseballiness – rightfully earning its spot in the Trashterpiece pantheon.

(Bonus: Watch for a brief appearance by wrestling legend Rob Van Dam as a doomed Superfighter. His fight was originally supposed to be much shorter, but the filmmakers were so impressed with his physical abilities that they made his fight longer and took a full day to shoot.)

Rating:

Is it suitable for your kids?

Violence: The Superfights get increasingly violent, leading to bloodied faces and broken bones. Superfighters beat up citizens and two-bit hoods while collecting “protection” money. Several people are beaten to death, many with blood spurting from their mouths. A man is bloodily decapitated by a ceiling fan.
Sex/Nudity: Angel is seen briefly nude from behind as she enters a shower. Jack and Angel share a kiss wearing nothing but bathrobes. Angel makes several overt advances on Jack, with lots of grabbing and groping. Sawyer and Angel are shown getting dressed post-coitus.
Language: “A**hole,” “bulls**t,” “s**t”
Drugs: Superfighters are shown taking Sawyer’s steroid-laced, mind-controlling “vitamins.” A man snorts cocaine.

Will your FilmMother want to watch it?

If she’s the kind of person who enjoys B-movies and talking back to the screen, but doesn’t mind some violence and bloodshed thrown in the mix, Superfights could be a great film for you to share. Otherwise, check it out yourself or with some friends.

Experience the awesome Superfights trailer,

then try in vain to fight your urge to see the film:

Superfights
* Director: Tony Leung
* Screenwriter: Keith W. Strandberg
* Stars: Brandon Gaines, Feihong Yu, Keith Vitali, Kelly Gallant, Chuck Jeffreys, Cliff Lenderman, Brian Ruth, Patrick Lung-Kong, Karen Bill
* MPAA Rating: PG-13


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GLOW: The Story of the Gorgeous Ladies of Wrestling (2012)

I BECAME A FAN OF PRO WRESTLING in late 1984, in the months leading up to the World Wrestling Federation (WWF)’s first WrestleMania. It all started for me with Greg “The Hammer” Valentine defeating Tito Santana for the Intercontinental Championship and tearing Tito’s ACL with the dreaded figure-four leglock. (Don’t worry, fans: Santana regained the title the following summer in a steel cage match.)

While the WWF (now WWE) had its share of cartoonish two-dimensional characters during the ‘80s, it was nothing compared to the first all-women wrestling organization, the Gorgeous Ladies of Wrestling (GLOW).

From 1986 until its abrupt end in 1990, GLOW’s roster was comprised entirely of “gimmick” wrestlers sporting clichéd ringwear and names like Ninotchka, Hollywood, Babe the Farmer’s Daughter, Matilda the Hun, Tina Ferrari, Dementia, Mt. Fiji, Jailbait, Lightning, Godiva, The Heavy Metal Sisters, and Big Bad Mama. With its weekly TV show from the Riviera Hotel in Las Vegas, which featured matches as well as skits with punchlines on the level of Laugh-In or Hee Haw, GLOW made the WWF look like Masterpiece Theatre.

The documentary GLOW: The Story of the Gorgeous Ladies of Wrestling takes a look back at this campy yet groundbreaking organization through interviews with the women who lived it. There are no third-party “experts” or wrestling historians telling the GLOW story; the women speak for themselves, discussing how they each got started, the essence of their characters, and the rigors of training and performing.

The women also talk about dealing with the mental and verbal abuse doled out by mercurial GLOW director/promoter Matt Cimber, who had a Hollywood background (his ex was Jayne Mansfield) and a close friendship with Riviera owner Meshulam Riklis, whose then-wife was actress Pia Zadora (Santa Claus Conquers the Martians). Interestingly, the two male driving forces behind GLOW – Cimber and creator/host Mike McClaine – declined to be interviewed for the film.

What’s also interesting about GLOW: Not a single wrestler badmouths her experience. There’s not an iota of resentment from any of them. These women saw themselves as a very unified group (the term “sisterhood” is used more than once) and they’re enthusiastic to discuss their time with GLOW, whether the memories are good or bad. In fact, any hardship at the hands of their bosses – including Cimber’s frequent jabs at their weight – gets laughed off by those who are retelling it.

Similarly, if you’re looking for an exploitative exposé on ‘80s excess, you won’t find it here. There are no scandals, no tales of debauchery, no drug arrests, no steroid use, no complaints of any of the wrestlers being a “bad worker.” And no one is still trudging around the ring like some decrepit relic a la The Wrestler’s Randy the Ram. (The only sad story is that of Mt. Fiji, who’s interviewed from a hospital bed as she has spent several years in a nursing home.) The film culminates in an emotional GLOW reunion, the only one that’s ever taken place since the organization folded more than 20 years ago.

What ever happened to the women of GLOW is probably not a burning question on people’s minds in 2013. But for fans of ‘80s wrestling like me, it was enjoyable to watch these ladies reminisce fondly about their time in the ring. They were a band of largely inexperienced sisters who created a weekly, successful all-female program in a male-dominated industry. And that, in its purest sense, is something truly gorgeous.

Rating:

Is it suitable for your kids?

Violence: Wrestling matches featuring the GLOW women “attacking” each other. Gruesome footage is shown of Lightning breaking her arm during a match.
Sex/Nudity: Archive footage is shown of a GLOW wrestler wearing nothing but a towel. Hollywood holds her issue of Playboy, though she covers up the photos of her spread.
Language: A few four-letter words and derogatory terms for women.

Will your FilmMother want to watch it?

Beneath the glitter and spandex, there are messages about women’s empowerment, unity, and perseverance. Any of these could be a reason for your FilmMother to watch this entertaining documentary with you. (Point of reference: My wife entered the room halfway through GLOW, working on other things. By the end, it had her full attention.)

 

Whoa, whoa, whoa...I take it back, Itakeitback, ITAKEITBAAAACK!!!

GLOW: The Story of the Gorgeous Ladies of Wrestling
* Director: Brett Whitcomb
* Screenwriter: Bradford Thomason
* Stars: Lori Palmer (Ninotchka), Jeanne Basone (Hollywood), Ursula Hayden (Babe the Farmer’s Daughter), Dee Booher (Matilda the Hun), Lisa Moretti (Tina Ferrari), Emily Dole (Mt. Fiji), Trish Casella (Jailbait), Cheryl Rusa (Lightning), Dawn Rice (Godiva), Helena Le Count (Daisy), Donna Willinsky (Spike), Sharon Willinsky (Chainsaw), Lynn Braxton (Big Bad Mama), Matt Cimber
* MPAA Rating: N/A

Win Win (2011)

IT’S SATURDAY NIGHT, and I’m taking FilmMother out for a belated birthday dinner and a movie. I’m excited about getting the chance to see a film in a theater, and I wonder aloud about when was the last time she and I did so without the kids.

“Valentine’s Day,” she informs me. She’s referring to both the holiday and the movie from 2010. In other words, over a year ago.

So yes, while we have seen movies in theaters since then (Toy Story 3, Despicable Me), this is the first time in a long time that we’re hitting the local cineplex childless.

My immediate thought: Let’s make this count by picking a good movie that the kids either couldn’t or wouldn’t want to see.

Plot:
In Win Win, Paul Giamatti (Private Parts, Shoot ‘Em Up) is small-time New Jersey lawyer Mike Flaherty, who has a declining practice, financial woes (both in his practice and his family life), and an aging client named Leo (Burt Young) battling the early stages of dementia. When Mike learns that Leo’s estate would pay $1,500 a month for an at-home guardian, he offers himself for the job, then puts Leo in a senior living facility and pockets the money anyway. But Mike’s visions of an easy payday begin to fade when Leo’s teenage grandson Kyle (Alex Shaffer) suddenly appears on the scene. And just when Mike thinks he's found a way to make this new development work, the boy's mother (Melanie Lynskey) shows up and puts Mike’s plans in jeopardy.

Critique:

From the opening scene of two joggers passing Mike as he tries to keep a steady pace, Win Win writer/director Tom McCarthy (The Station Agent) prepares us for a portrait of a man who is losing ground: Mike’s caseload is waning, expenses at work and home are growing, and he’s coaching a god-awful high school wrestling team.

McCarthy’s films thrive on relatable characters in an environment that captures the realism of everyday life, and Giamatti is a perfect fit for both of these elements as Mike – a good guy and family man who, in desperation, makes a move to improve his life that he believes will truly hurt no one.

Of course, no film is complete without conflict, and Win Win has its share in the form of Leo’s supposedly reformed addict daughter Cindy (played with convincing vulnerability and opportunism by Lynskey) and the fallout from when Mike’s little scam is ultimately exposed. However, the film isn’t just 105 minutes of heavy drama; it also features several laugh-out-loud scenes as well as engaging and well-shot wrestling sequences.

And while the framework of Win Win has been seen many times – guy does something for selfish reasons, grows feelings for those he's exploiting, tries to explain “it's not like that now” when he gets caught – it’s a true testament to McCarthy's vision, and to the stellar cast he's assembled, that in watching Win Win you don’t feel like you've seen it all before.

Speaking of the cast, in addition to the always reliable Giamatti, Win Win features The Office’s Amy Ryan as Mike’s supportive yet Jersey-tough wife Jackie; Jeffrey Tambor as Mike’s colleague and assistant wrestling coach Steve; Bobby Cannavale in a highly entertaining turn as Mike’s childhood friend Terry, who’s still clinging to his glory days as a high school wrestler (even though he sucked); and newcomer Shaffer, who does an impressive job as the brooding and guarded Kyle.

Had it been packed with A-list stars, Win Win (a hit at Sundance) would currently be the talk of the town and number one at the box office. But the fact it’s not jammed with “movie stars” but rather with believable, respected, relatable actors is truly what makes it work.

There were only eight other people in our theater when FilmMother and I saw Win Win. A great movie-going experience for us, but a travesty for such a well-made, feel-good, and rewarding film as this. Right this wrong; go see Win Win as soon as you can.

Fun facts:
* McCarthy planned for Amy Ryan’s character to have a leg tattoo of her favorite Jersey rocker, but he wasn’t sure if it should be Bruce Springsteen or Jon Bon Jovi. He asked Alex Shaffer’s mom, who’s from Jersey, and her immediate response was, “Jon Bon Jovi, of course!”
* Shaffer is a nationally ranked wrestler in real life. A two-time regional champion, he became a New Jersey state champion in his weight class just before filming Win Win (his acting debut).

Rating:

Is it suitable for your kids?

Win Win is rated R largely for adult language, with some adult themes and one butt shot courtesy of Cannavale’s character as he e-mails a picture of his bare ass to his estranged wife.

Will your FilmMother want to watch it?

Most definitely. Win Win is a great movie to share together, and she’ll be happily satisfied after viewing it.

They’ve fallen, and they can’t get up!
(What, you think you can do better?
Add your witty caption in the Comments section.)

Win Win
* Director: Tom McCarthy
* Screenwriter: Tom McCarthy
* Stars: Paul Giamatti, Amy Ryan, Bobby Cannavale, Jeffrey Tambor, Burt Young, Melanie Lynskey, Alex Shaffer, Margo Martindale, David W. Thompson
* MPAA Rating: R


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The Wrestler (2008)

[UPDATED 2/24: See end of review.]

THOUGH I HAVEN’T thought about him for years, I would say that I am a fan of Mickey Rourke; his work in ‘80s films Year of the Dragon and Angel Heart immediately come to mind. He was a charismatic actor and a force on the screen – until bad behavior, burned bridges, and a bizarre switch to boxing derailed his career.

Which makes Rourke’s turn in The Wrestler that much more heartbreaking to watch. It’s hard enough to witness what his character goes through, but it’s just as heartbreaking to see what we missed without his presence as a leading man over the last 15 years. (Recommend reading when you’re done here: “Mickey Roars” by Entertainment Weekly’s Chris Nashawaty.)

Plot:
• Randy “The Ram” Robinson (Rourke) was a top professional wrestler in the 1980s, ending the decade with a classic match at Madison Square Garden against his evil nemesis, The Ayatollah (Ernest Miller).
• 20 years later, Randy’s gone from selling out the Garden to wrestling in bingo halls and school gyms. He lives in a trailer park. He drives a van with his own action figure on the dashboard. He still uses ‘80s metal songs for his entrance music. He attends pathetic “fanfests” at local VFWs (with even more pathetic turnouts). He’s broke, but he still spends a thousand dollars a pop on performance-enhancing drugs and tanning booths. And when he’s not wrestling, he’s working at the loading dock of the local Acme.
• For companionship – something he will probably never get from his estranged daughter, Stephanie (Evan Rachel Wood) – Randy turns to lap dances at the local strip club from Cassidy (Marisa Tomei), who, in stripper years, is a bit past her prime as well.
• After suffering a heart attack following a brutal “weapons match,” he’s told that he can’t wrestle anymore or it will kill him. But an enticing offer is dangled in front of him by a local promoter: a 20th-anniversary rematch with The Ayatollah.

Critique:
• Heartwrenching. Grueling. Depressing. Just a few of the words that come to mind when watching The Wrestler, especially Rourke’s performance. It’s already been said by dozens of reviews and bloggers, and it’s true: Rourke is phenomenal. It’s a milestone in character study, with Rourke showing us who Randy is through minimal dialogue and an emphasis on emotions and reactionary acting – reactions to the situations he’s placed in, and those he puts himself in.
• Rourke and Tomei’s on-screen chemistry is palpable. The parallels between Randy and Cassidy are a large part of what draws them together: They’re both past their prime for what they do, which is put on a show that is different from who they are in real life. And in that real life, their relationship skills – often put on hold to please their customers – consist of awkward yet endearing fits and starts that have you hoping they’ll make it work.
• As a former follower of pro wrestling, I can say that The Wrestler accurately captures the essence of the “indie” wrestling leagues: the small, nondescript gyms and banquet halls, the former headliners crossing paths with promising up-and-comers, the reactions and sometimes profane chants of the crowd…it’s all presented here in true-to-life form.
• The Wrestler owes a lot to its haunting musical score by Clint Mansell (featuring Slash) that makes the film even heavier to absorb. In addition, the soundtrack features many ‘80s metal tunes to play into Randy’s time-capsule persona, with songs by Guns ‘n Roses, Ratt, Quiet Riot, Accept, Cinderella, Firehouse, Slaughter, and Scorpions.
• Director Darren Aronofsky and cinematographer Maryse Alberti shoot The Wrestler with a documentary-like feel, creating an over-the-shoulder experience for the viewer. At times it’s almost like you could reach out and touch Randy – and in some scenes, you’ll want to pull him back and save him from himself.
• The filmmakers do a good job of accurately depicting life in blue-collar New Jersey (having lived there, I would know), with mentions of neighboring locations like Allentown, PA and Randy’s possible big match with The Ayatollah in Wilmington, Delaware.

Wrestling trivia:
• All the independent wrestling leagues you see in the movie (WXW, CZW, ROH) are real leagues that do business in the NJ/PA/DE area. In fact, it was WXW owner Afa (of the ’70s tag team The Wild Samoans) who trained Rourke for The Wrestler.
• Don’t know wrestling lingo? Angle, hard way, blading, face, heel, spots…if these terms sound Greek to you, click here for a crash course in wrestling-speak.

At the time of this review, the Oscars are three days away. The race for Best Actor is basically between Rourke for The Wrestler and Sean Penn for Milk. Here are the pros and cons for each man, as I see it:

Pros for Penn: Penn disappeared behind his role and became Harvey Milk. An amazing portrayal of the gay rights activist, which comes following the recent furor by gay advocates surrounding California’s passing of Proposition 8, which eliminated same-sex couples' right to marry in the state.
Con for Penn: He won this award for his work in 2003’s Mystic River. Will the Academy feel it’s too soon to reward him again?

Pros for Rourke: Who doesn’t love a comeback? Rourke brought much of his real-life hardships and career struggles to the role of Randy. And there are many who still value his contributions to film before the ‘90s began.
Con for Rourke: He may have made too many enemies in Hollywood (and amongst Academy members) to earn their vote with just one film.

Me? Both men deserve to win, though I’d be lying if I said I wouldn’t love to see a Mickey Rourke acceptance speech.


[UPDATE: Well, Sean Penn won the Oscar...which robbed us of a Mickey Rourke acceptance speech that night. However, he did give an acceptance speech the night before, winning for Best Male Lead at the Independent Spirit Awards -- a speech that is profane, hilarious, heartfelt, and worth showing here (NSFW).]

Rating: 4 stars (out of 5).

Will your kids want to watch it?

If they think it’s all about pro wrestling, they might. However, a) there are only about five scenes of in-ring action; and b) The Wrestler is in no way suitable for children:
• A bloody weapons match includes the breaking of tables, smashing of glass panes, and the use of barbed wire and a staple gun.
• During one match, Randy cuts himself on his forehead with a razor blade for added dramatic effect.
• There is a lot of adult language, drug use, and drug-related language.
• Tomei is nude for a large amount of her screen time, and Randy gets explicitly randy with a girl in a nightclub bathroom.

Will your FilmMother like it?

She may not like it – in fact, she may find it hard to watch for its heartbreaking content – but she’d find it hard to deny that The Wrestler is a powerful film, and one that will stick with both of you for days to come.

The Wrestler
* Director: Darren Aronofsky
* Screenwriter: Robert Siegel
* Stars: Mickey Rourke, Marisa Tomei, Evan Rachel Wood
* MPAA Rating: R


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