Maximum Risk (1996) - 8/10 - Definitely Van Damme's most traditional "thriller" to date. He does a great job and the film is solid.
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Maximum Risk (1996) - 8/10 - Definitely Van Damme's most traditional "thriller" to date. He does a great job and the film is solid.
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Oh Ororo, you could've been a hand model! Get ready for one more Storm Hyper Combo Wallpaper next Friday!
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As I explained in Part 2, Let's Get It On, War Machine figuratively crashed and burned circa 1996 with the end of War Machine v1. In the later issues of the title, he was pushed out of the black and silvers and placed inside an alien suit of armor known as the Eidolon Warwear. Soon thereafter, his solo series was cancelled and the character threatened to slip into serious superhero obscurity.
All throughout this era, it's important to note that killing was never taken lightly by War Machine. A few baddies were killed here and there, but that led to many a crisis of conscience for our hero. I bring this up because the War Machine of the 90s is largely remembered as the "Iron Man that kills." He may have been more aggressive, but killing never came any easier to Jim Rhodes back then.
Anyway, by this point, the War Machine armor we all know and love was missing in action after Rhodey's time traveling journey back home from WWII in War Machine v1. And the Eidolon Warwear armor didn't last long either, as Rhodey was soon separated from that alien suit and left without a costume.
Oddly enough, it was at this time of Rhodey's greatest dip in comic book popularity that he received his most high-profile mainstream attention to date. At the end of the 90s, War Machine was featured as the newest playable character on the Marvel Comics side of the arcade smash hit, Marvel vs. Capcom. Granted, you never see War Machine unmask in this fighting game, but it's obviously intended to be Rhodey inside the suit -- you can tell by his playful quips and hard line attitude.
But back in the comics, James Rhodes was making only the most peripheral of supporting appearances from the late 90s into very early 00s. The only notable action came from Kurt Busiek and Sean Chen's run on Iron Man. Rhodey and the War Machine armor saw a bit of a resurgence, but this time the armor was piloted by the character of Parnell Jacobs, Rhodey's heretofore unknown "other best friend."
Busiek's War Machine story was short but notable, as threads from the tale would inform the armored character for the rest of the decade. This was evident when writer / artist Chuck Austen put his indelible mark on on the character in the U.S. War Machine MAX series.
Though Austen is always a hot-button topic for online comic book fans, most will agree that USWM was his finest work for Marvel and it left Rhodey in a better place than it found him.
Unfortunately for the 616 Marvel Universe, U.S. War Machine isn't in continuity. It occurs in an alternate reality where Rhodey was the first armored pilot and Stark was instead the second (along with some other stuff about building the armor with Victor von Doom). This book was released as a weekly series in black and white, Marvel's rare stab at a more manga-style of publishing, I guess.
Meanwhile, in the main Marvel 616 continuity, after quick set of very small supporting appearances in Frank Tieri's Iron Man, Rhodey became the headlining character in the ensemble adventure, The Crew. This comic was a "Money Train"-esque mystery by Christopher "don't call me Chris" Priest and Joe Bennett. It saw Rhodey pawn off the last of his War Machine armor and go at it plainclothes style while getting revenge for the death of his junky sister.
Dying after a short seven issues, Rhodey spun from the The Crew directly into Sentinel Squad O*N*E, which was both its own book and a short lived superteam of sorts in the X-Men Universe. Rhodey was the head of a military outfit that helped police the dwindling mutant population following M-Day (the culminating event of the House of M crossover).
In O*N*E, Rhodey piloted both full-sized Sentinel armor as well as his own Sentinel-esque personal armor (sort of like a fuchsia and blue Iron Man suit, if you will -- it actually looks pretty awesome). Rhodey could be found fighting with the Sentinels all the way up through Civil War, where he briefly appeared in Reggie Hudlin's Black Panther as one of the few characters to stand neutral in the epic hero vs. hero crossover battle.
Then, after years spent out of the own armor and mixing it up on the sidelines, War Machine was appointed the overseer of The Initiative program, starring as one of the more experienced members of Dan Slott and Stefano Caselli's superhero military outfit in Avengers: The Initiative.
But something wasn't quite right with Rhodey, as quick peaks here and there revealed that he was now more machine than man. This deformed and robotic Rhodey was a mystery for readers, as there was no foreshadowing and barely any flashbacks to fill people in on the deal.
Avengers: The Initiative would, alas, hold no substantive answers as Secret Invasion soon took hold of the Marvel Universe and sent Rhodey charging into the story arc known as War Machine, Weapon of SHIELD.
NEXT: It's War Machine on the battlefield in Superhero History: War Machine - Part 4, Back in Black!!!
Banter abounds about who's missing from The Expendables (hint: Jean-Claude Van Damme, Kurt Russell, Carl Weathers, and Wesley Snipes), Ross is late to Facebook, getting stuff out of the claw machine, Kirby, Black Panther premieres in Australia and Marvel reprints Jungle Action, Jill Scott as Storm, Nick discovers Daddy's Pearls, and Ross loves the Little Mermaid.
El Hablador, Cast Away, Jean-Claude Van Damme in Derailed and JCVD, Up in the Air, Cloudy with a Chance of Meatballs, 3 Idiots, Whiteout, and Planet Patrol. Then, after the end theme, a sung tribute to Teddy Pendergrass and the Comic Book Ink gets thrown under the bus.
Hi there, and happy Martin Luther King, Jr. Day. At Pete's request, I will be guiding you through the quagmire that is Monday. I apologize up front if my navel gazing posts are not as stimulating at Pete's Culturology columns. He is a hard act to follow. I totally understand why he has such a tough time writing these posts, the weekend is boring, all the fun news happens during the week.
Instead of the typical swill about music and other inane things, let's focus on today's holiday. I recently found out that someone fairly close to me is responsible for why Carnegie Mellon University does not give it's students all of MLK day off (or at least when I attended they did not). Instead there is a half-day of 'activities' and other things planned, after AM classes. I'd apologize for this "transgression" against your party schedule, but really - how important is a day off from classes?
According the Wikipedia, labor unions proposed and championed MLK Day as a foil for another federal holiday. Bravo labor unions, way to totally use an awesome dude's assassination for your personal profit. While on the outside an admirable cause, that is nearly as underhanded as the various Hallmark Holidays we are bombarded with daily.
Of course, it doesn't matter how it got established, it is a day for us to remember Dr. King and his contributions. That's all I've got people.
9. Predators
8. Death at a Funeral
7. Grown Ups
6. Repo Men
5. Megamind
4. The Eagle Path
3. Tron: Legacy
2. Iron Man 2
1. I Love You Phillip Morris
Why the Top 9? Because 10 is too many and 9 is better. 3 X 3 = pants.
Sudden Death (1995) - 6/10 - "Die Hard in a hockey arena" is too long and overdone, but still very good. Great Van Damme acting.
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Thank your deity of choice that it's Frey's Day! In fact, I'll thank Frey® it's Friday! Thank you, o great god of phallic fertility! So here we go... new digs for Culturology; are you as excited as I am? Wow! ... All this talk of excitement and phallic fertility is getting me all worked up!
I feel some sense of obligation to really knock things out of the park with this post, since I asked off of Mondays and Nick & Neal accommodated within a week, but we all know that that's not necessarily going to happen. I think, though, that by February I should really be rolling again. You've got to give me a break, Culturology is now an entire entry-year old, and a little bit prone to a wee sophomore slump here. But we soldier on.
Since Nick, I believe, has finished his massive Jean-Claude Van Damme movie watching marathon--though we may still sneak in one more JCVD Roundtable to cover the Oughts (and we also have some other awesome JCVD offshoots coming up soon)--I do still want to mention that nothing that JCVD ever did is nearly as entertaining to watch as Jackie Chan when Chan was at his peak (I'm thinking Drunken Master and Police Stories I & II here). Especially the Police Story comparison needs to be made (or even Rumble in the Bronx, for that matter) because it's the exact genre that Van Damme never managed to do as well as Jackie Chan (and Chan's amazingly-willing-to-be-injured stunt team). This ties in, more or less, with my sense that the most important part about Van Damme is that he was 1) white and 2) not American (Nick and I already discussed this to some extent in the first roundtable), since it's my sense that the boost of martial arts stars in the States, as much as it had to do with the rise of Hong Kong film-making and Bruce Lee's lasting impact, was really about the fact that the US had waged three consecutive wars against various Asian countries.
You can more or less map Edward Said's "Orientalist" readings of Victorian literature as it pertained to British imperialism (say, especially, for this case, George Eliot's Daniel Deronda) onto Kickboxer as it relates to post-Vietnam War blowback. Where JCVD, in way that Chuck Norris never could, becomes Thai (learns the "ancient ways"), but still, despite his apparent willingness to adapt to a new culture remains the "White Warrior".
As opposed to Jackie Chan, who just did awesome stunts all over the place.
+++
Also, I feel like, since I wrote about it back in the summer, I should weigh in on this whole Tonight Show situation. Of course, back in my previous post, I basically said that, excepting a few rare occasions where guests like Norm MacDonald (who should have his own talk show) or William Shatner are hilarious, Conan O'Brien had gotten incredibly boring and bland (and that, really, as Nick pointed out, Conan hadn't been really funny for a decade already). The platform probably is outmoded. So I'm not really on O'Brien's side. I watched the show last night, just to see what it was like now, what with the controversy, and Conan's interview w/ Rob Lowe was really pretty hilarious, old form for Conan. Too little, too late, I suppose.
I'm sure Bob Odenkirk wishes he was doing more, but I almost think Conan would be good in a position with some new show similar to Odenkirk's with Tim & Eric Awesome Show Good Job, where he'd be the guiding light to some comics that were doing more interesting things, obviously inspired by their mentor's glory days. (It's a suitable comparison as well because, apparently, back in the day at SNL, O'Brien, Odenkirk, and Robert Smeigel shared what was the funniest office in Manhattan at the time.) Or Conan doing weird comedy for the internet, at least, instead of bland corporate shilling for NBC (or for Fox, or where ever he ends up).
Though my guess would really be that Conan just grew up at some point and doesn't really want to work very hard any more (I'm sure he works hard to maintain his new bland self, I realize that). So I guess i still don't really care, but I'm pro-funny. Bring the funny.
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