So, it wasn't a great year in the cinema as we know.
Crash ended up winning Best Picture this year. As I've said before, that movie was simply "just okay". I'm not looking to discuss the decline in the art of making exceptional cinema. Does Hollywood make too many "safe choices" based on finance? They sure do. That is precisely what I want to talk about here. I want the safe choice to be a little more like something I can get behind. I can't figure out where we are going wrong. Where are my less than intellectual martial arts/boxing style movies these days? Where is my
Karate Kid II? Where is the current generation of
Bloodsport? I just don't get what happened to films like these. They are fairly low budget, follow a simple plot formula, and you can run them constantly on late night TBS for about a billion years. Trust me, a significant portion of the male population has seen
Kickboxer at least 10 times.
I'm either missing these or they just aren't happening. To refresh the memory of Hollywood types (of course, they all read this blog) and to just lay out what I'm talking about, here's a laundry list of what you need to make one of these movies -
1. A Great Score - This is key to everything and sets the mood, builds up to key moments, and is as essential as any character. There is really one man for the job here.
Bill Conti. If you don't know Bill, educate yourself. Watch any Karate Kid movie or Rocky IV.
2. You need a leading man. He can be a muscled up teddy bear of a guy with an inner giant lurking below the surface or an everyman with just enough charm and athletic skill to pull off some degree of believability as he's converted into (at least at times) an imposing physical presence. Ralph Macchio is always available people. He needs work. Just don't go trying to make Karate Kid IV on me and put Ralph in the Mr. Miyagi role or something. That will push me over the edge.
3. You need a teacher. These seem to work best if they are older men of Asian descent, but this need not always be the case. I'd like to see some innovation here, but why not stick with the tried and true formula for now? How about getting
Bolo Yeung into this role? He's still alive somewhere, right?
4. The villain(s). This is key, you need great villains to make a great movie of this kind. There are two great ways to go here. The first way is to have a team of bad guys with a central bad guy or two, like the Cobra Kai. The second way is the solo, seemingly unbeatable, win at all costs, ultra bad guy. Chong Li played by our boy Bolo in
Bloodsport is a great example of this. Asian guy with a mean streak is pretty conventional for this role but I also like the tremendous hulking mass of a man angle. Billy Zabka was quite the aberration with this. Trying to make another Johnny probably isn't our best bet.
5. The training montage. So you've got your villains. You've somehow pitted them against your hero. Maybe the date of the big match is known and maybe it isn't. These are variables. What isn't variable is the training montage. This is absolutely key. We need a 5 minute scene set to music where we see the hero train and take his skills to the next level. He will need to have encountered some difficulty in training with his teacher leading up to this of varying levels depending on the type of leading man. The training montage though is where he attains what he has set out to attain - ridiculous, probably non-sensical, fighting skills. From here on out, he is a totally new man.
6. The girl. There is almost always a girl. She usually gets involved pretty close to the training montage. The girl can range from total wet blanket who almost submarines the whole situation to possible one night stand (though it never turns out that way) that gives the guy that extra pep in his step for the big day. The best formula here in my mind is someone deceptively hot that shows concern for the hero while providing plenty of support without turning negative and undermining his confidence. Elisabeth Shue is just about perfect in Karate Kid. She's the role model here. Talia Shire in every Rocky movie = wet blanket. The Talia Shire approach is not my preference. Boo Talia Shire! Boo!
7. This is the final key to a successful film. The showdown. This is where it all comes together. By this time in the movie, the hero is defending his honor, fighting for his girl, avenging his master, or some subset of all of these. The hero is most likely beaten to the edge of defeat, prior to finding some sort of inspiration. He then goes on to trounce his opponent in superhero style, justice is served, and all is right with the world.
That's it, end of movie. Ninety minutes later and you are done. Cinema gold or at least cinema bronze.
What isn't to like about this? Can you make a solid movie of this type and make a profit? Heck yes you can. You should be able to do great with this formula. DVD sales alone should bail you out. Movies of this kind need to be about a C+ to make a profit. So I ask you, where have they all gone? I can't figure it out. In the 80's and early 90's, we were seeing a steady stream of these. Some were okay, some were terrible, and some starred Steven Seagal. I can do without Seagal, but give me a couple of these a year. Someone threw up the greenlight for another Fast and the Furious movie. We should be able to get a freakin' martial arts movie done.