Dir: Newt Arnold, 1988. Starring: Jean-Claude van Damme, Donald Gibb, Forest Whitaker. English. Martial Arts.

There are some who would say that Bloodsport was the film Ingmar Bergman intended to make when he directed Wild Strawberries. And to be perfectly serious Bloodsport is the better film.

When Frank Dux’s childhood friend and the son of his martial arts mentor is killed in a Kumite, a bloody underground mixed martial arts championship, Dux (Jean-Claude van Damme) goes AWOL from his army post to travel to Hong Kong to compete in the next Kumite and avenge his fallen friend’s honor. Hot on his trail, two military agents (one played by Forest Whitaker) follow him to protect the army’s investment in Dux’s amazing martial arts talents. With the help of a wrestler with a huge forehead (Donald Gibb from Revenge of the Nerds) also competing in the tournament and a plucky and attractive female journalist, Dux enters the brutal Kumite and displays his excellent fighting skills. But can he beat the man-killing, pec-flexing Chong Li or will he end up like his boyhood buddy?

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Posted by:
Gillian Horvat
Dec 10, 2008 9:34pm

Ghost Dog: The Way of the Samurai

Dir: Jim Jarmusch, 1999. Starring: Forest Whitaker, John Torney. Cult.

A contract killer (Whitaker), who lives his life in accordance with the “Hagakure: The Way of the Samurai,” becomes targeted by his mob bosses after a job goes wrong, leaving a witness behind.

Jim Jarmusch (Broken Flowers, Night on Earth) creates a film unlike any other with Ghost Dog. He manages to blend the coda of Kurisowa’s films about Feudal Japan with the characters and locales of an American mobster movie. In concept it may sound like the potential for a trainwreck, but in the hands of one of the leaders in independent cinema, it makes for truly original filmmaking. Jarmusch does a great job of utilizing this mixture of genres, not relying on cookie-cutter stereotypes, but rather, finding a way to flip everything on its head. The result is colorful characters that exist in a reality that is fresh and not found anywhere else.

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Posted by:
Seamus Smith
Jul 3, 2009 2:27pm


Dir: Roger Donaldson, 1995. Starring: B. Kingsley, N. Henstridge, F. Whitaker, A. Molina, M. Helgenberger. Science-Fiction.

Wow, check out this Oscar friendly cast...With a bunch of Oscar nominations and a win for Gandhi, there’s Ben Kingsley. And over there is Oscar-winner Forest Whitaker for his amazing performance as Idi Amin in The Last King of Scotland. Michelle Williams got a nod for Brokeback Mountain and Alfred Molina should have gotten one for Frida (or a number of other high caliber performances). It also has the cinematographer of Terms Of Endearment. Again… wow, this must be a classy film. This must be one of those Merchant Ivory flicks or something. Oh wait, Michael Madsen is in it. Halt the award talk. No, instead everyone is slumming, probably cashing a quick paycheck. It’s a kooky Sci-Fi flick called Species. And though it spawned a few straight to DVD sequels that no one ever saw, it’s actually a very watchable junky B-movie (make that an affectionate C+).

A teenage cutie, Sil (Williams), is raised in a glass bubble and is studied by Xavier Fitch (Kingsley). It turns out she is no ordinary teeny bopper… you see, radio telescopes picked up DNA from space, Fitch and the scientists at the lab combined it with human DNA to create her (choosing to create a female so she would be more docile - oh boy, were they wrong, right?). She grows up fast, they decide to put an end to their experiment and gas her, but she escapes the lab. Like The Terminator this moppet is a fish outta water in our world, but she’s a quick study. Oh, and underneath her beauty she’s actually a slithery spiked creature, a sorta Alien/Predator combo. Luckily for the censors she quickly grows into her adult form, the striking Natasha Henstridge. Although she stops aging, she does manage to get naked a lot.

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Posted by:
Sean Sweeney
Oct 18, 2010 4:32pm

The Crying Game

Dir: Neil Jordan, 1992. Stephen Rea, Jaye Davidson, Miranda Richardson, Forest Whitaker. Mystery.

In his introduction to the published screenplay of Chinatown, Robert Towne wonders if there’s anything left to do with noir. He wonders if the aesthetics and thematics and poetics of noir are simply outdated in the information age, where a sense of mystery is harder to come by. Sensibly, he shrugs off this worry and points to The Crying Game as an example of how noir can still say new things to us as a modern audience. The thing I admire so much about the film, though, is that it manages to be both a deeply personal love story as well as a morality play about modern day political crime in Britain. It’s an IRA story with terrorism, assassinations, and a queer love story at its center. Somehow it all makes complete sense.

The first third of the film is told in flashback. Fergus, played by Stephen Rea, is an IRA operative who feels immense guilt for having had a role in the death of a hapless British soldier, Jody, played by an overbearing and overacting Forest Whitaker. Whitaker’s character gets to know Fergus after he’s nabbed and before the inevitable happens, Jody makes Fergus promise to check in on his girlfriend, a London hairdresser named Dil, after he is gone. The story goes from IRA thriller to blue neon Brit noir when Fergus goes to London, haunted by the tragic fate of Jody. He looks in on Dil as promised and quickly becomes infatuated with her. Dil is a cool London chick and a transgendered woman (with a penis) though Fergus has no idea. Fergus isn’t saying who he really is and Dil isn’t saying who she really is. Once nature takes its course and Fergus discovers the truth about Dil he doesn’t handle it very well. But because of the fact that he actually has a conscience, and his genuine confusion over his feelings towards Dil, he doesn’t ever really leave her. The IRA is never truly going to let him go, though, and his loyalty to them becomes a liability for someone in the throes of a curious new relationship.

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Posted by:
Jed Leland
Apr 10, 2014 10:49am
Steve Earle and the Dukes
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