The Wing Kong Exchange (feat. Inferno)

[Fuji Vice]

Re: The Wing Kong Exchange

Awe c'mon on man...it deserved at least a 7

Just splittin' hairs I know...

The thing is Drew, it doesn't matter what you think! No, just kidding, the thing is that I find the number I put on the film doesn't always indicate whether one should watch it or not. For example, I always try to highlight all of the positive elements when reviewing the film itself and reflect the negative in the number rating. I still try my best to recommend the film to those I think would enjoy it and tbh, I have gotten a lot of enjoyment out of films I have rated -10/10 so yeah, the number is only a real small part of my overall review. Anyhow, glad you liked it, Mannequin is certainly an underrated gem from a wonderfully creative time period for films, a period that we unfortunately may never see again.

 

[Fuji Vice]

Re: The Wing Kong Exchange

The Karate Kid: Who doesn't love this movie? I don't think I have ever heard anyone say that they didn't like it (at least the first one). Perhaps Ralph Macchio and Pat Moritas best movie(s) as it really was a touching underdog story. You hit everything on the head with this one. It is a timeless classic that everyone can enjoy. And being almost 30 years old, that is saying a lot. Great review of it, and it has made me want to go back and watch it again.

Men At Work: I loved this movie when I was younger. I would rent it every weekend I could while spending the night at my cousins house. I was a fan of Charlie and Emilio and to see them in a movie together was #winning. As big of fans as I was of them, Keith David stole the movie. He was brilliant in every scene and even now when I watch it, never fails to make me laugh. Dean Cameron was also great in the supporting role. Another movie I need to put on my queue to watch.

I will read Mannequin later and give my thoughts.

Thanks a lot buddy, glad you appreciated the reviews and took the time to comment, its one of the reasons why you are one of the best on the 'net! Glad you and others agree with me about David's performance, as he is easily the highlight of the film. I am with Johnny Lawrence on Dean Cameron though, as Chainsaw is a much better character than Pizza Dude. However I will reserve my thoughts on Summer School until it is reviewed.

 

[Fuji Vice]

Re: The Wing Kong Exchange

The Warriors​

The Warriors are the toughest gang on Coney Island. However, after they are blamed for the death of a rival gang leader their toughness will be put to the ultimate test. Now they are on the move, with nowhere to run, nowhere to hide and every cop and gang in the city looking for them. Can these Warriors make it back to Coney Island in one piece and clear their name before someone catches up with them?

"Welcome my friends, to another awesome review, can you dig it?"​

1979’s The Warriors is an adventure film the likes of which had never been seen before and has never been seen since. Its seamless adaptation of the classic Greek epic The Odyssey (by Homer) crossbred with Sol Yurick’s original pulp novel is nothing short of spectacular. It’s colorful yet vicious characters populate the film throughout and occupy every nook and cranny of the screen. The film itself was considered ultra-violent at the time of its release and even sparked riots and gang fights outside of cinemas showing it. While it may not be on the list of most critics top ten of all time, it nevertheless is nothing short of an extremely unique vision and a modern masterpiece of cinema.

"Who are these....Warriors?"​

Written and directed by Walter Hill (48 Hours) with additional writing by David Shaber (Nighthawks), The Warriors stars Michael Beck (Xanadu) as Swan, the defacto leader of the gang once their journey begins. Coming along for the ride are James Remar (Dexter, 48 Hours), David Patrick Kelly (Commando), Thomas Waites (The Thing) and Deborah Van Valkenburgh (The Devil’s Rejects). These are just the name actors here, as there are also several supporting players who deserve mention, among them Marcelino Sanchez as the vandal Rembrandt, Dorsey Wright as the ill-fated original leader of the group, Cleon, and Roger Hill as Cyrus, who may have a short amount of screen time but gives the film one of its most memorable moments. All the actors are really spot on here and credit must be given to Hill for not only assembling but directing a cast of largely unknowns and having it work out amazingly. From Remar’s brash and arrogant Ajax, to Beck’s cool headed Swan, every character dynamic is represented here, and represented well. Kelly’s turn as Luther (what the hell, he played a Luther in 48 Hours too!!) is wonderfully psychotic and delightfully over the top in every way. His “warriors come out to play†line has become a pop culture reference in its own right.

"The bat is about to become a popsicle stick, guess who's going to be the popsicle?"​

The performances of the leads and supporting cast only tell part of the story though, as the various colourful gang characters help to complete it. From the vicious pack of wild dogs known as the Turnbull AC’s to the vividly imaginative Baseball Furies and all the way through to the siren-like Lizzies, every group represents a different challenge for the Warriors and each has their own special place in the film. Clearly Hill was going for an over the top feel here, and it works but not in a way as to distract the viewer from the reality of what they are witnessing. Indeed the vicious fight scenes only serve to create a wild juxtaposition between the comical and the cruel, particularly when watching the Warriors beat up the colourful Furies or the roller skating Rogues. As our characters make their way through each section of the city, a DJ, unseen save for her incredibly delectable lips, informs us the viewers as well as the other rival gangs of their progress. This is a brilliant way of keeping us in the loop so to speak, and allows us to sit back and simply be awed by what we are seeing. I’d like to make special mention of the Orphans, the low on the totem pole gang who wasn’t even invited to the meeting. I find them to be the most interesting of all, and a metaphor for the gang unit as a whole. Though the other gangs may be tougher or more organized, they are all Orphans deep down, and would be in the same position as they are if not for different circumstances.

"Warriors, come out to plaay...ay."​

The film is certainly violent, with no less than several characters being beaten to death, a character thrown in front of a train (too bad, I loved the Fox and would have given an arm to see him live), another is shot and dies in gruesome slow motion and all of that happens before the grand finale. The violence is used as a tool mind you, its not just violence for the sake of violence, and even it is ballet-like in its gracefulness and the way that it is shot. Once again, Hill has to be credited with pacing this film the way he did, as nothing seems out of place and every scene works to maximum effect. While most consider his buddy-cop film 48 Hours his best, I clearly see more genius here than in that one. Even things as simple as class vs. class roles are examined here, as in the scene where Van Valkenburgh’s character attempts to pick up a corsage dropped by a prom couple only to be stopped by Swan, who understands the difference between their opposite sides of the tracks better than she. Indeed the morality play is understated, yet it is not difficult to glean Hill’s underlying motives for his script. The challenges faced by the Warriors reflect many challenges we face in our own lives, from temptation through to violent retribution. What’s fascinating is that the characters we watch (particularly Remar’s Ajax) don’t always make the right decisions, much as we don’t always make them, and the consequences they face are the same as we do.

"Ajax, heart of a lion, mind of a jackal."​

All the underlying details aside, The Warriors also has a ton of memorable moments and scenes, from Cyrus’ classic “Can you dig it†speech, which has been sampled by everyone from Pop Will Eat Itself to Shaquille O’Neal, Luther’s above-mentioned classic line complete with clanging beer bottles, the incredibly well edited and vibrant opening set to a rocking instrumental all the way through to the closing moments on the beach featuring the awesome Joe Walsh tune “In The Cityâ€. There really is a lot to be seen and felt while watching this film, and as I said before, Hill makes sure that nothing feels out of place. One particular scene that I wish to point out as my personal favourite involves Luther in a convenience store, letting his gang take whatever they want while he is on the phone. When the girl behind the counter very bravely asks him what money he has he responds by screaming “FOR WHAT?!?!†at the top of his lungs, before casually flipping a wad of money at her. This is astounding to me; since he had earlier killed the biggest gang leader in the city for apparently no reason yet spares the life of this person who openly questioned him. Truly a psychotic in every sense of the word, this scene just proves it beyond a shadow of a doubt. I also particularly enjoyed the Lizzies scene; as it was very reminiscent of the Sirens in Homer’s Odyssey and just an all around awesome moment that you know is coming but just don’t care.

"Good...no, the best...."​

Rating The Warriors is fairly easy, since I consider it one of the greatest modern American films of all time. Even before you look at the subtext the initial product is nothing short of spectacular in every way. The fact that the film inspired riots just adds to its mystique and heightens its dark sense of reality. Once the underlying social commentary is added, I find it impossible not to give this film my highest recommendation and believe that it is one that should be seen by everyone at least once in their lifetime. For that, I must go the full monty, as it most definitely deserves it. The Warriors is a film that I fell in love with as a teenager, and even now at the age of 32, I still find myself going back to it all the time, though I do prefer the original to the modernized special edition. My rating reflects that, as if I was rating the newer version I would chop off some marks for the inane comic book panels that I feel take away from the stark realism of the film. However I am not, so the end result is 10/10 and I do not feel I am overrating this film in the least.

 

[TroyTheAverage]

Re: The Wing Kong Exchange

I am so glad you reviewed this movie. It is one of my favorites and a movie I like to watch once or twice a year. The Warriors could be set in modern day and it would still hold water. I like that you pointed out that there is no violence just for the sake of violence, as it was crucial to the Warriors making it back to Coney Island in a true kill or be killed sense. Nothing is wasted as every second of screen time is important to the movie and it feeds well from scene to scene as you pointed out. Now I must go watch this movie before I go to bed. You made me want to see it again. Great review yet again sir.

 

[Fuji Vice]

Re: The Wing Kong Exchange

Thanks buddy, glad you enjoyed it and glad you picked up on some of what I was talking about. While I don't mind violence for the sake of violence (depending on my mood) its always nice to see a film that holds itself to a higher ideal. Hope you enjoyed re-watching The Warriors, it is f*cking awesome isn't it?

 

[Fuji Vice]

Re: The Wing Kong Exchange

Beverly Hills Cop​

When free-spirited Detroit cop Axel Foley’s friend Jimmy is murdered, he takes some time off to go investigate. This leads him to Beverly Hills, where he encounters a web of intrigue involving drug smugglers, troubles with the local “by the book†cops and a series of misadventures with the rather unique individuals who populate its streets. Can Axel stop the man responsible for killing his friend and earn the respect of the Beverly Hills police force?

"As if you needed ANY other reason to watch this film."​

Beverly Hills Cop, released in 1984, was arguably the film that made Eddie Murphy. While he had previously done a couple of comedies, some stand up tapes and the odd appearance on SNL, nothing could have prepared viewers for this film, which took the world by storm on its initial release. It was a critical and commercial success, paved the way for multiple sequels and really put Murphy on the A-list. Not bad for a “vehicle†film if you ask me and certainly a highlight in a decade full of wonderfully inventive action films. Beverly Hills Cop has been imitated many times, but the original remains the best and most well remembered.

"Ok, so I don't like to party ALL the time."​

Directed by Martin Brest (the excellent Midnight Run, Scent of a Woman) and written by Daniel Petrie Jr. (Turner & Hooch, Toy Soldiers) from a story by Danilo Bach (tongue in cheek horror film April Fool’s Day, should really review that some time) it was clearly designed as a film meant to highlight Murphy’s particular talents, which it does in spades. Murphy is wonderful here as Axel Foley, a role that may be one of if not his best. He plays the brash detective well, bringing an irreverent sense of humour to a character that must always look on the bright side of life, being a Detroit cop and all. Murphy has an undeniable charisma that really shines through on screen here, and his interaction with all of the characters is great. The film co-stars Judge Reinhold (Gremlins) as bumbling cop Billy Rosewood, John Ashton (Some Kind of Wonderful) as no nonsense cop John Taggart, Lisa Eilbacher (Leviathan) as Jenny, Foley’s childhood friend, Ronny Cox (Total Recall, Robocop) as Lt. Bogomil, Rosewood & Taggart’s supervisor and a real hard ass and Steven Berkoff (Octopussy) in a delightfully slimy performance as antagonist Victor Maitland. Bronson Pinchot (TV’s Perfect Strangers) makes a hilarious cameo as Serge, an art gallery co-ordinator, while Jonathan Banks (48 Hours, Airplane!) shows up as a cold blooded associate of Maitland’s.

"Alright, alright, I promise to stop making fun of you for starring in Honky Tonk Freeway!"​

Right from the get go we know we’re in for a treat, as Glenn Frey’s “The Heat is On†brings us into the grungy streets of Detroit, where Foley is attempting to pull an undercover sting on a cigarette smuggling operation, a sting cut short by interference from his fellow cops. The ensuing chase, complete with Murphy flailing about in the back of the cigarette truck is a real highlight, and the Pointer Sister’s “Neutron Dance†fits it perfectly. In fact, every time I hear that song I can close my eyes and see that entire scene play out in my head, which of course means that either I have a photographic memory (possible) or it was just that memorable. Other awesome scenes include the strip club takedown of some armed robbers, with more hilarious Foley dialogue and a great tune, “Nasty Girl†by Vanity 6 playing in the background. The initial meeting of Foley and Maitland at the latters office is great, as is the final shootout at his mansion. There is also a couple of real fun moments involving the backfiring of a car due to proper placement of fruit that must be seen to be appreciated. Finally, there are so many wonderful moments where Murphy is interacting with the various denizens of Beverly Hills that mentioning them all would make this my longest review ever.

"Get the f*ck outta' here!"​

It’s not so much the characters themselves that are that interesting as it is their reactions and dialogue when dealing with Foley. Murphy was able to bring out the best in every actor here, eliciting anger and frustration from Ashton & Cox, youthful exuberance from Reinhold, venomous fury from Berkoff and over the top comedy from Pinchot. In fact it’s a good thing that Murphy was the star because I don’t think anyone else could have handled this role with nearly the ability that he did. The story in this film is fairly straight forward and is full of standard plot clichés, but Murphy is so damn funny and so perfect in the lead role that we start to forget that we’ve seen a lot of this stuff before. His dialogue in the hotel when complaining that Michael Jackson can sit on top of the world as long as he doesn’t do it in the Beverly Wilshire is nothing short of hilarious and gets a laugh out of me every single time I see it. Similarly, his conversation with Pinchot about the price of some of the pieces of “art†at the gallery leads to another side-splitting scene with some great accent work by Pinchot. “Get the f*ck out of here! No, I cannot†is one of the funniest things you’ll ever hear in a film without a doubt. Murphy also shines when simply reacting to things he sees, such as the clothing people are wearing or the women driving around the city.

"Does this badge make my gun look small?"​

As mentioned above, the soundtrack in this film is excellent, and I should probably take a moment to mention the other really popular song from this film, the instrumental Axel F, by Harold Faltermeyer, which became a popular radio tune in 1984 and is still heard all over the place today. If anything besides Murphy is synonymous with Beverly Hills Cop, it is this song. Other artists that populate the soundtrack here are Patti LaBelle, with the great “New Attitude†and the catchy “Stir It Upâ€, Junior, with “Do You Really (Want My Love?), and Rockie Robbins, coming in with the always enjoyable “Emergencyâ€. As far as a snapshot of the sound of 1984 goes, you can’t do much better than this soundtrack, as every song is very reminiscent of the period that it came out in. The soundtrack was a big seller and still move sunits today, which is fascinating considering it’s almost 30 years old. The film itself was shot on a $14 million budget and brought in an absolutely staggering $234,760,478 in the US alone, making it the box office champ of 1984. When all was said and done it grossed over $316 million worldwide which is remarkable for any comedy, especially an R-Rated one, and a testament to Murhpy’s drawing power.

"Damon Wayans gave me the banana I'm putting up this car's tailpipe."​

Beverly Hills Cop is obviously not going to win any awards for acting or screenplay, but it is nonetheless a film that I believe you should check out. It has enough action to satisfy the die hard fan and enough comedy to satisfy everyone else. Murphy is captivating as the lead and the rest of the characters around him really step up to the plate. Finally, it is a wonderful piece of nostalgia for those who lived through the 80’s, and though I am sure many of you have seen it, those of you who haven’t should certainly get to doing so immediately. While I have some minor issues with the production and plot, I definitely won’t let them stand in the way of giving this film the credit it deserves. I’m going to give this one an 8/10, for the number of times I’ve just gotten into any car on the street and driven away with it. That’s how they do it in Beverly Hills you know.

 

[TroyTheAverage]

Re: The Wing Kong Exchange

Beverly Hills Cop is definitely Murphy's best movie. The sequels were not that good, nor was 48 Hours that good. This is the movie that has and will define Murphy for the rest of his career. All the characters were top notch and Murphy played the part of a cop better than expected. Although this kind of movie would not work today (I am sure of that) back then it did. I, and I am sure a lot of other people my age and older can sit down and watch this movie over and over again and still laugh every time. I will have to put this on my list to watch again because it has been awhile since I had seen it.

Another top notch review.

 

[Fuji Vice]

Re: The Wing Kong Exchange

I thought 48 Hours was pretty good, but a totally different type of movie. I agree that this is Murphy's most memorable role though, I always look at him as Axel Foley for some reason, no matter what piece of poop he is starring in currently. Thanks again for the comments buddy, you are a true friend.

 

[TroyTheAverage]

Re: The Wing Kong Exchange

48 Hours was OK, I just think BHC blows it away in every aspect. They let Murphy be Murphy in this one. He didn't go over the top and he worked so well with everyone. He didn't try to steal scenes, or if he did, he didn't do a good job of it. Murphy and Reinhold were damn perfect together as well. I couldn't believe they worked so well together.

 

[Fuji Vice]

Re: The Wing Kong Exchange

Yeah, I agree that Murphy and JR had a great chemistry together, Ashton as well. 48 Hours was good for what it was, though as I say a totally different movie. I may do 48 Hours one of these days for comparison's sake, but again you are right, Axel Foley is better than Reggie Hammond (though Hammond's speech to the redneck's at the bar may be Murphy's single best on-screen moment in his entire career).

 

[TroyTheAverage]

Re: The Wing Kong Exchange

I don't remember that scene. I will have to go check that out. I will probably have an "oh yeah" moment when I see it.

 

[Fuji Vice]

Re: The Wing Kong Exchange

I don't remember that scene. I will have to go check that out. I will probably have an "oh yeah" moment when I see it.

LOL, that happens a lot to me, especially when someone brings up a movie I haven't seen in awhile!

 

[Fuji Vice]

Re: The Wing Kong Exchange

Real Genius​

When Mitch Taylor becomes one of the youngest students ever to be accepted at a University for genius’s things couldn’t be better. He’s rooming with Chris Knight, possibly the smartest young genius in the world, meets a great girl and gets to work on a laser. Unfortunately for him some of the other students get jealous and try to make his life a living hell. Can Mitch, with the help of Chris and some others, stop these bullies and prove himself to be a real genius?

Another unheralded gem from the 1980’s, Real Genius is great for a lot of reasons. It’s blessed with some very memorable characters and some great performances, it’s got a great 80’s soundtrack and it features not one but two classic movie douchebags. While it will never receive any accolades for being a great film it is still wildly entertaining and that’s the bottom line. It most certainly seems to take a backseat to a lot of the other classic 80’s films, which is a shame because it is fantastic in its own right and one of those defining films of my youth that I can go back to at a moment’s notice. Real Genius is quite simply genius in the guise of a light-hearted, teen comedy, and that’s something that doesn’t come along every day.

"How do you do, I'm the guy that's going to sleep with your wife."​

Directed by Martha Coolidge (Valley Girl) and written by Neal Israel (Bachelor Party, Police Academy, Moving Violations…nice work buddy!) along with co-writers Pat Proft (Naked Gun series, Hot Shots) and Peter Torokvei (Back to School, Armed and Dangerous), the film was designed as a showcase for fast-rising star Val Kilmer (who had just made his big screen debut in Top Secret the year before). While Kilmer certainly steals many of his scenes as the carefree yet brilliant Chris Knight, many of the other cast members make strong contributions in their own right. Gabriel Jarret stars as Mitch, the young genius who is thrust into the school perhaps against his will, while Michelle Meyrink (the criminally unsees Nice Girls Don’t Explode, Revenge of the Nerds) plays his love interest, a totally geeky girl named Jordan. The two have a very good on-screen chemistry and it is one of the highlights of them film. Jon Gries (High School USA) makes some brief yet memorable appearances as Lazlo, a super genius who prefers to avoid people at all costs. Rounding out the main cast is William Atherton (Ghostbusters, Die Hard) as Professor Jerry Hathaway, a classic movie jerk, and Robert Prescott (Bachelor Party) as Kent, an all time great douchebag character that you just want to see get his by the end of the film.

"See, I told you we could use our science skills to come up with a more potent cocaine...now to the marketing department!"​

The relationships between the protagonists are what drive the film though, and Kilmer, Jarret, Meyrink and Gries do an excellent job playing off of not only each other but the supporting cast as well. Their interactions with these characters make for some great moments, particularly in Kilmer’s case. His conversation with a professor (‘Always…uh, never forget your referencesâ€) is a hilarious moment as his general attitude towards life. We all wish we could be like Chris, super smart yet also able to step back and enjoy the fun things in life, like turning the entire dorm into an ice palace or creating giant waterslides. Jarret and Meyrink, as mentioned above, have some great moments, including a touching scene where Jarret tells her that he likes her simply because she’s nice. Its little nuances like that which really make their performances strong and believable. Gries is wonderful as the anti-social Lazlo, who plots to win sweepstakes contests from his dungeon below Kilmer’s room. His first appearance in the film is wildly funny and really sets a tone for the rest of his scenes. Credit must be given to Gries for making the most out of a small role, as he is immediately remembered by many when this movie is brought up in conversation.

"Is this a punchable face or what?"​

As for the douchebag duo of Atherton and Prescott, not much else can be said other than that they are fabulous and extremely easy to hate. Atherton was no stranger to the douche role, having just completed his masterful performance as Walter Peck in Ghostbusters the year before. He is so slimy and arrogant as Hathaway that you are really satisfied when he finally gets his comeuppance in the end. I won’t spoil the moment for you, suffice to say it is totally worth it and you’ll never look at popcorn the same way again. Prescott actually somehow manages to out-douche Atherton in this film, no easy feat in and of itself. His smarmy character Kent is the type of guy that you just want to beat the crap out of on basic principle. His line about Knight and Taylor being at a party with girls is delivered so well you literally want to reach into your television set and punch him in the nose. Prescott is a veteran character actor who has been in many films and television shows, but it is his role as Kent that has defined his career, at least in my eyes. When an actor who has never really become famous is the first person you think of in a film that features Val Kilmer and William Atherton you know he did a damn good job.

"Well that's enough beer for Thursday morning anyways..."​

There are a lot of uproarious scenes in this film, from the above-mentioned ice house to the party “with girlsâ€. Atherton has some funny parts hosting a cable television show and Kilmer is brilliant in his interactions with the members of the opposite sex. The grand finale is simply movie magic, as the bad guys get theirs, the good guys get the win and everyone gets to go home happy. Hot damn they need to be making more movies like this today, because we’d be a lot better off if they did. The soundtrack is also fantastic and features some real classic 80’s material. We’ve got some Bryan Adams doing “One Night Love Affair (awesome), Don Henley performing “All She Wants To Do Is Dance†(sweet), “Everybody Wants To Rule The World†by Tears for Fears (shout, shout, let it all out) and seminal 80’s band The Payolas make an appearance with “You’re The Only Love†(classic). The film grossed just under $13 million, making it the 66th highest money earner of 1985. Not too good when compared to the whopping totals of competing films such as “Back to the Future†or “The Goonies†but respectable nonetheless. It has developed a cult following over the years and continues to enjoy play on television from time to time. At the end of the day its not always about the money it makes or the message it promotes, its simply about having fun, something that Real Genius does quite well.

"The 80's...when sh*t like this was advanced."​

As I said earlier, nobody is going to be handing out awards to this film from a critical or commercial standpoint, but that doesn’t mean that you should avoid it. In fact, I’d like to take this opportunity to recommend this film to everyone, because it is truly an underrated gem of the 80’s and a great showcase for the talents of several actors. Once you add the douchebags to that you have a winning film, which I can go back to at any time and still get a laugh out of. It’s rated a little low for my tastes when looking at the usual sites, and is certainly better than a lot of the critics said it was at the time of its release. For all these things I think I will be a real genius myself and go 7.5/10, but then again, compared to me, most people have the IQ of a carrot, so that comes as no surprise.

 

[TroyTheAverage]

Re: The Wing Kong Exchange

I loved this movie. Just watched it a couple of weeks ago. This and Top Secret as a matter of fact. Another timeless 80's movie. It is great comedy. Val Kilmer in my mind has only been better once since these two movies and that was in Tombstone. Some could make an argument that he was better in a lot of movies, but fuck them, this is my opinion. Sorry. Anyway, the sophomoric humor is what I really love about this. It fits this kind of movie very well. It made you hate the guys you were supposed to hate, and love the guys you were supposed to love.

Atherton and Prescott were great as the douchebags and had a great chemistry with everyone they interacted with. Meyrnick (to bad she stopped making movies) was great as Mitch's love interest. She wasn't hot in the classic sense but she somehow made up for it with her performance.

I will add more to this later though. Fuckers in class are to loud and making it hard to get my thoughts straight..

 

[Fuji Vice]

Re: The Wing Kong Exchange

Thanks for the comments buddy, I'm glad you appreciate the genius of Real Genius. Agree on Kilmer not being that great since this film, though to be fair I think he's had more than a couple of good performances. Certainly in Willow, True Romance, Heat, The Salton Sea, Spartan and Kiss Kiss Bang Bang as well as Tombstone. I do though think that Chris Knight is the best performance of his career. I always had a thing for Meyrink, she's not super-model hot but she is very cute and has that "girl next door" quality that I love. Atherton & Prescott rule and I'm glad you brought them up.