AMERICAN UNDERDOG: Football, Family and a Dash of Faith

AMERICAN UNDERDOG (Blu-ray Review)

2021/ 112 min

FROM LIONSGATE

Review by Stinky the Destroyer😽

Upon learning American Underdog was directed, co-written & co-edited by the Erwin Brothers, my first thought was, Great…another Jesus movie. In a way, I wasn't too surprised. NFL Hall-of-Famer Kurt Warner made his evangelical leanings abundantly clear immediately after winning the Super Bowl in 1999. However, it’s been my experience that faith-based movies - including those made by the Erwins - generally suck.

But I was pleasantly surprised that American Underdog mostly eschews the dogma to focus on Warner (Zachary Levi), his relationship with wife Brenda (Anna Paquin) and his remarkable rise from lowly grocery clerk to NFL superstar. The Warners’ faith pops-up on occasion, but isn’t the driving narrative force behind the film. Not overtly, anyway. 

Being old enough to remember back then, I can attest that Kurt was the feel-good sports story of the year. Talented, earnest and disarmingly nice, he was a hard guy not to root for, even if one wasn’t necessarily a Rams fan. His story was also well-documented throughout that season and beyond, meaning the segments of the film which focus on his football career contain absolutely no surprises whatsoever. Still, they are efficiently presented, enjoyable and - dare I say it? - inspirational.

"I got it at Foot Locker."

Less interesting is Kurt and Brenda’s story (but that could simply be because I’m more of a sports movie guy). From their country bar meet-cute through their pledge to stand by each other, the two are pleasant and likable, though the more heartwarming relationship is between Kurt and functionally-blind stepson Zack (Hayden Zaller), which is also inspirational enough without God’s help. Elsewhere, the film is nearly conflict-free, the closest thing to an antagonist being trash-talking Ray Lewis during the climactic Super Bowl game. As someone who dislikes both Lewis and the Baltimore Ravens, it was gratifying to re-live both getting served some humble pie.

More focused on family and football than faith, American Underdog follows the traditional sports flick playbook step by step. Then again, so did Kurt Warner’s career. There’s nothing particularly complex about the story or characters…just an enjoyably unobtrusive chronicle of the man’s unusual path to greatness. More importantly, it’s a faith-based film that doesn’t suck.

EXTRA KIBBLES

FEATURETTES - “Inspired” (casting the film); “Making the Cut” (editing); “New to the Scene” (Interview with actor Hayden Zaller); “Meet the Champion” (TV analyst/former coach Steve Mariucci interviews Kurt Warner); “A Coach’s Faith” (Interview with former Rams coach Dick Vermeil and actor Heidi Gardner); “Behind the Game”(football scenes); “American Underdog: Behind the Story” (Interviews with Kurt & Brenda Warner, cast & crew.

AUDIO COMMENTARY - By directors Andrew & Jon Erwin, producer Kevin Downes.

DELETED SCENES

TRAILER

DVD & DIGITAL COPIES

DEADLY GAMES: It's Deadly, Alright

DEADLY GAMES (Blu-ray Review)

1982 / 95 min

FROM ARROW VIDEO

Review by Josey, the Sudden Cat🙀

This lethargic 1982 obscurity purports to be a slasher film. However, there’s precious little actual slashing. 

Sure, your standard-issue masked killer is stalking and murdering young women, but these scenes are very few and far between. In the interim are endless scenes of cardboard characters playing football, playing board games, talking about sex and - if they’re female - occsionally getting naked. When killin’ time finally does arrive, would-be thrillseekers are likely to be disappointed at the complete lack of bloodletting…or anything resembling suspense.

Deadly Games is structured more like a murder mystery than a horror film, though we never see lead investigator Roger Lane (Sam Groom) doing any real police work. He’s too busy partying with the other characters, getting frisky with Keegan (Jo Ann Harris) and threatening his own wife with a gun (!), the last of which might be one of the clumsiest pieces of foreshadowing in horror history.

"Be with you in a minute..."

Elsewhere, boredom reigns. Cult favorite Steve Railsback is wasted in an embarrassing role as Billy Owens, a looney Vietnam vet and Roger’s best friend, while de facto final girl Keegan is so obnoxiously perky - overplayed to-the-extreme by Harris - that most viewers will be praying for her death. But writer-director Scott Mansfield seems to be so in-love with these characters and his own insipid dialogue that we’re inundated by both. Did he ever actually watch any of the slasher flicks he's trying to emulate?

Too tame for slasher fans, too slow for a thriller, and way too padded-out to maintain interest, Deadly Games is deadly dull, though some unintentional humor might be found in Harris’ cringeworthy performance, as well as NFL legend Dick Butkus showing up to make an utter fool of himself. As usual, Arrow Video does an admirable job of providing a decent transfer and new bonus features, but some relics don’t deserve to be unearthed. 

EXTRA KIBBLES

SOOTY’S A SH*T - Interview with actor Jere Rae-Mansfield.

PRACTICAL MAGIC - Interview with FX/stunt coordinator John Eggett.

AUDIO COMMENTARY - By The Hysteria Continues, a group that does a podcast.

IMAGE GALLERY

TRAILER

SUPPLEMENTARY BOOKLET - Includes a pretty good essay, “The Games People Play: Exploring Midwestern Gothic in Deadly Games,” by Amanda Reyes; cast, crew & restoration credits.

REVERSIBLE COVER - With new and original artwork.

Revisiting ESCAPE FROM L.A. in 4K

ESCAPE FROM L.A. (4K UHD Review)

1996 / 101 min

FROM PARAMOUNT

Review by Tiger the Terrible😸

“Honey, could you PLEASE turn that down?” 

This came from my wife, who was upstairs in the living room while I was down in the Dave Cave reviewing Escape from L.A. She actually had to ask more than once, the last time not-so-much a question as a final warning. The thing is, I don’t think I really had it that loud, but if nothing else, the audio of this 4K disc pumps out some serious low-end thunder during key action scenes. It was almost like watching the film in Sensurround (you kids might have to Google that term). 

I also gotta say this video presentation is equally impressive, offering Escape from L.A. in all its goofy, cut-rate-CGI glory. The overall image is clearer, more detailed and definitely more colorfully vibrant than the original DVD release (sorry, I’ve never seen it on Blu-ray to draw any kind of comparison). If premium picture and sound quality are one’s primary motivation for upgrading, this disc certainly passes muster. But unfortunately, aside from the trailer, there’s no supplementary material for those hoping to dive deeper.

As for the movie itself, my appreciation for Escape from L.A. has grown over the years. Back in ‘96, I took my wife to see it on opening night. Not only was I a huge fan of the original Escape from New York, but since director John Carpenter was in kind-of a creative slump at the time, I went in thinking this could signal a return to the greatness of his early-80s heyday. But while it was certainly fun seeing Kurt Russell as Snake Plissken again, I felt the film was just an unimaginative retread of the original, loaded with phony effects and campy self-parody (Snake surfing down Wilshire Boulevard???). While it was okay, those of us who spent 15 years pining for a sequel expected a lot more than simply okay. It was like Carpenter shit all over the legacy of one of his most beloved films with self-aware smarm.

"Wanna see my cat videos?"

But you know what? Like other Carpenter films that became latent cult classics, time has been fairly kind to Escape from L.A. Snake Plissken remains one of exploitation cinema’s greatest, most nihilistic antiheroes, and with hindsight, there was nothing Carpenter or Russell could add to the character that was gonna make him even cooler. So why not have a little fun with his image itself? Additionally, there’s a bit of demented genius behind the decision to use a nearly identical scenario as a springboard for social, political and cultural satire - heavy-handed as it is - with Plissken serving as a bemused observer. Even Shirley Walker’s playful score underlies the film’s subversive attitude.

As for the amusingly archaic CGI (still a bone of contention for some), I’d argue that Escape from New York’s special effects weren’t exactly stellar either, but we didn’t care because the main character was such an indelible onscreen presence. That same character carries this film, too, and Russell looks like he had a blast bringing Snake back for another go-round. We get the impression Kurt missed him as much as we did.

None of this is to say Escape from L.A. is a great film. It’s still reflective of a director whose best years were behind him. But looking beyond the wonky effects, rehashed story and ridiculous action sequences, we still have Kurt Russell in his prime and a story that’s a bit smarter than we might remember…with certain aspects which turned out to be somewhat prophetic (such as depicting the President as a dangerous, narcissistic lunatic). 

EXTRA KIBBLES

TRAILER

THE POOP SCOOP: Upcoming Kibbles!

😺IN THE HEAT OF THE NIGHT on 4K 4/19 from Kino Lorber 

This masterpiece from director Norman Jewison (The Thomas Crown Affair) is one of the most radical and acclaimed movies of its generation. Rod Steiger (A Fistful of Dynamite) gives an Oscar-winning performance as a sheriff from small-town Mississippi who finds himself in an uneasy alliance with a black homicide detective from Philadelphia—strikingly portrayed by Sidney Poitier (Lilies of the Field). In the course of investigating the crime, the two strong-willed men must reconcile their inherent prejudice towards each other. The final result is justice—and an unlikely but touching mutual respect. Winner of five Academy Awards including Best Picture, Best Adapted Screenplay and Best Editing for Hal Ashby, In the Heat of the Night is a blistering commentary on race relations and a landmark in entertainment. Includes several new and vintage bonus features, as well as the sequels, THEY CALL ME MISTER TIBBS! (1970) and THE ORGANIZATION on Blu-ray.

🦈THE REQUIN on Blu-ray + DVD 3/29 from Lionsgate 

There’s terror in paradise when Jaelyn (Alicia Silverstone) and Kyle (James Tupper) arrive at a remote seaside villa in Vietnam for a romantic getaway. A torrential storm descends, reducing the villa to little more than a raft and sweeping the young couple out to sea. Suddenly, another danger appears: a school of great white sharks. With her injured husband watching helplessly, Jaelyn must battle the deadly predators alone in this tense thriller that rides an unrelenting wave of fear. The suspenseful horror-thriller The Requin arrives on Blu-ray™ + Digital and DVD March 29 from Lionsgate. The film follows a couple’s romantic getaway that goes awry after finding themselves at sea in danger of killer sharks.  Directed and written by Le-Van Kiet (Furie).

😺HEAVY METAL 4K Blu-ray SteelBook Edition Coming 4/19 from Sony

Based on the fantastical illustrated magazine HEAVY METAL, producer Ivan Reitman enlists the help of some of Hollywood's animation masters to create the otherworldly tale of a glowing green orb from outer space that spreads destruction throughout the galaxy. Only when encountered by its one true enemy, to whom it is inexplicably drawn, will goodness prevail throughout the universe. Richly and lavishly drawn, the vignettes of the orb's dark victories include the character voices of John Candy, Harold Ramis and a pounding soundtrack by Black Sabbath, Blue Oyster Cult, Cheap Trick, Devo, Donald Fagen, Don Felder, Grand Funk Railroad, Sammy Hagar, Journey, Nazareth, Stevie Nicks, Riggs, and Trust. Highly imaginative and full of surprising special effects, HEAVY METAL set the standard for alternative contemporary animation. An intoxicating experience not to be missed! Includes in ALL-NEW RETROSPECTIVE DOCUMENTARY AND THE SEQUEL, HEAVY METAL 2000, on Blu-ray.

 

😺DR. PHIBES DOUBLE FEATURE on Blu-ray 4/12 from Kino Lorber 

THE ABOMINABLE DR. PHIBES (1971) Meet Doctor Phibes: a one-time concert musician who’s now an all-time crazed murderer. In this clever, crypt-kicking classic, horrormeister Vincent Price plays a diabolical doc seeking the ultimate in revenge with precision creepiness and surgical wit. Watch Dr. Phibes live up to his promise: “Nine killed her, nine shall die, nine eternties in doom!” After a team of surgeons botch his beloved wife’s surgery, leaving her for dead, the emotionally distraught Dr. Phibes creatively concocts a fatal prescription for revenge.DR. PHIBES RISES AGAIN (1972) The eminent Dr. Phibes (Price) awakens from a decade of suspended animation and heads to Egypt with his mute aide-de-camp Vulnavia and the corpse of his dead wife. To resurrect his spouse, Phibes gets up to his usual, diabolical tricks: cleverly murdering people in strange and heinous ways to invoke a magical incantation. 

 

🐙TENTACLES on Blu-ray 4/12 from Kino Lorber

It’s angry. It’s hungry. It’s extremely well-armed—and it’s descending on a small seaside town to sample the local cuisine! When a giant, bloodthirsty octopus emerges from the deep, John Huston (Winter Kills), Shelley Winters (Bloody Mama), Bo Hopkins (White Lightning) and Henry Fonda (Meteor) do all they can to keep the marine menace from turning their sleepy village into a one-stop snack-shop. Cult movie maven Ovidio G. Assonitis, the twisted mind behind Beyond the Door, The Visitor, Madhouse and The Curse, serves up a slimy scare-fest with a pounding score by Italian genre great Stelvio Cipriani (A Bay of Blood). It’s a fast-paced thriller that’ll grip you with relentless terror—and never let go! Tentacles features a top-notch score by the great Stelvio Cipriani (Kidnapped, What Have They Done to Your Daughters?).

THE THREE MUSKETEERS (1948): Kelly's Heroes

THE THREE MUSKETEERS (Blu-ray Review)

1948 / 126 min

FROM WARNER ARCHIVE COLLECTION

Review by Mr. Paws😸

With Lana Turner’s top billing in 1948’s The Three Musketeers, there's no questioning who was the bigger star at the time, even though she’s more of a supporting player here. However, she does give the film’s best performance. As Milady de Winter, Turner is seductive, treacherous and utterly hateful, making the character’s ultimate fate pretty damn satisfying.

Not that the rest of the cast are slouches. Van Heflin gives head-musketeer Athos considerable gravitas, while Vincent Price is wonderful as the conniving cardinal, Richelieu. Legendary character actor Keenan Wynn also stands out with his amusing turn as Planchet, d’Artagnan’s loyal servant. Speaking of d’Artagnan, I would argue that Gene Kelly is miscast in the lead role (and a maybe bit too old), but he’s certainly entertaining, especially during the numerous action sequences, which he apparently helped choreograph. 

"Talk to the hat..."

Those action scenes - the swordplay, in particular - are still pretty amazing seven decades later. The initial clash pitting d’Artagnan and the musketeers against Richelieu’s guards is a definite highlight. Rousing and often quite funny, the scene deftly establishes the film’s breezy tone, an aspect which not only endeared it to audiences, it arguably influenced later adaptations of the story (most notably, Richard Lester’s similarly star-studded 1973 film, which is still this writer’s favorite version). 

Though a bit overlong, The Three Musketeers remains an exciting adventure film bolstered by a great cast (including June Allyson, Angela Lansbury, Frank Morgan & Gig Young), as well as handsome, colorful production design (which really shines in this vivid Blu-ray transfer). Whether or not this is the definitive adaptation of Dumas’ classic novel is certainly open to spirited debate, but time and umpteen retellings haven’t diminished the fun found here. 

EXTRA KIBBLES

“LOOKING AT LONDON” - Fitzpatrick Traveltalks short from 1946.

“WHAT PRICE FLEADOM” - MGM Tex Avery cartoon from 1948.

RADIO PROMO

TRAILER

REPEAT PERFORMANCE: Noir or Not?

REPEAT PERFORMANCE (Blu-ray Review)

1947 / 93 min

FROM FLICKER ALLEY

Review by Mr. Paws😸

Whether or not Repeat Performance is true film noir is certainly open for debate. Noir guru Eddie Muller even acknowledges as much during his introduction to the film. After all, the basic concept seems more Rod Serling than Raymond Chandler. 

The plot does, at times, unfold like an extended Twilight Zone episode. It opens with our amiable heroine, Sheila Page (Joan Leslie), shooting husband Barney (Louis Hayward) on New Year’s Eve. After wishing aloud to friend William Williams (Richard Basehart) that she could re-do the whole year over again, Sheila’s wish is granted, this time with knowledge of what’s going to happen. However, she’s the only one who knows.

Sheila hopes to prevent certain things from ever happening - Barney’s murder in particular - but while she can alter the course of events, she’s unable to change the outcome. That might not be such a bad thing because Barney is such a drunk, abusive, narcissistic bastard that we’re incredulous when Sheila not only tries to save their marriage, but his life. Then again, anyone who’s ever endured an abusive relationship knows that simply walking away isn’t always so easy, so our heart goes out to her.

H

Happiness is a warm gun.

But is Repeat Performance film noir? Again, that’s debatable, though even The Twilight Zone often ventured into noir territory, narratively as well as aesthetically. Sure, this film is primarily a supernatural melodrama, but one could easily argue it has its own femme fatale in homewrecking playwrite Paula Costello (Virginia Field). And while William’s not the primary protagonist, his bleak fate is largely of his own making. Finally, the suspenseful final act definitely has the look, pace and tone of classic noir.

Even if one doesn’t agree, Repeat Performance is an entertaining film, with yet another affable performance by Leslie and a deliciously nasty turn from Hayward. After a slam-bang opening scene, things are a little pokey and meandering for a time, but as the film gains momentum, so does our attention, which is ultimately rewarded with a satisfying climax. Recently rescued from obscurity and wonderfully restored, this is another solid release from Flicker Alley.

EXTRA KIBBLES

INTRODUCTION BY EDDIE MULLER

PROFILE OF JOAN LESLIE - A brief appreciation of the actor’s career.

EAGLE-LION: A NOIR-STAINED LEGACY - The best of the bonus features, this doc looks at the short-lived studio’s film output.

PROMOTIONAL PRESSBOOK - Digital version of the original pressbook.

AUDIO COMMENTARY - By Nora Fiore (aka The Nitrate Diva).

SUPPLEMENTAL BOOKLET - Features an essay, “Repeat Performance: A Book to Film Comparison,” by Brian Light.

REVERSIBLE COVER - The reverse side features original poster art.

DVD COPY

SEOBOK: PROJECT CLONE: Not Just the Gong Show

SEOBOK: PROJECT CLONE (Blu-ray Review)

2020 / 115 min

FROM WELL GO USA

Review by Tiger the Terrible😸

Around this house, the arrival of Seobok: Project Clone on Blu-ray was a big deal indeed. 

Not because of the concept, although it’s a solid, reliable foundation for an intriguing story. In this one, Min Gi-heon (Gong Yoo) is a cynical ex-intelligence agent - and dying of a brain tumor - who’s coerced back by his ruthless old boss, Ahn (Jo Woo-jin), to escort the first human clone out of Korea. That clone, Seobok (Park Bo Gum), is almost childlike, despite being in his twenties. He’s never experienced life outside of the facility where he was created. 

Nor was it for the action, though there’s certainly plenty of that. Ahn wants Seo Bok destroyed before he falls into the wrong hands. At the same time, the greedy chairman of the facility essentially wants to dissect him because, not only is Seo Bok developing powerful telekinetic abilities, his DNA might contain the secret to immortality. Though initially concerned with protecting Seo Bok because it could save his own life, Min ends up being the only one who sees him as a human being. This leads to a road trip/chase with fighting, gunplay, mind-over-matter mayhem (courtesy of Seo Bok) and plenty of soul searching by Min.

"That your Winnie the Pooh jacket?"

No, the main reason the movie is a big deal is because my wife's a die-hard Gong Yoo fanatic. She first fell in love after discovering him in K-dramas and has since dug into all-things Yoo, including Train to Busan, even though zombie movies aren’t really her thing, and the recent Netflix sci-fi series, The Silent Sea. While I don’t share the same twitterpated devotion as my wife, Yoo’s low-key, tough-but-tender style certainly suits Min, since the character isn’t too far removed from the redemption-seeking dad in Train to Busan. It’s an affecting performance, especially during moments which see him reluctantly becoming something of a father figure for Seo Bok.

The film itself is a well assembled amalgamation of sci-fi, action, road movie and a dash of buddy comedy. Seo Bok’s skills are similar to those depicted in Scanners, though he’s capable of going full X-Men when pushed too far. Speaking of which, the action is deftly handled, bolstered by some impressive special effects, particularly during the climax which pits Min and Seo Bok against…well, pretty much everybody. The combined story elements don’t result in anything particularly original, but the protagonists earn our investment and the bad guys - though broadly drawn - are suitably hateful, so the film is constantly engaging, right down to the poignant denouement.

While I’m certain my wife would be content to watch her hunky heartthrob read a dictionary, Seobok: Project Clone is more than just the Gong Show. As demonstrated in other films and series, he’s a plausible action hero, but not the whole reason this film works as well as it does. Solid direction, tight pacing and strong characters keep things interesting despite a narrative that often charts familiar territory.

EXTRA KIBBLES

FEATURETTES - “Making of Seobok”; “The Characters”

3 TRAILERS

BLACKLIGHT: Liam Does Bronson...Again

BLACKLIGHT (Movie Review)

2022 / 108 min

FROM BRIARCLIFF ENTERTAINMENT

Review by Tiger the Terrible😾

Ever since 2008’s Taken, the continuing onslaught of movies featuring Liam Neeson as a geriatric asskicker has become something of a running gag. However, I still appreciate them, even some of the goofier ones (like The Ice Road). Part of that might be because I’m nearing the age when he began displaying such latent badassery, but also because he’s become sort-of a 21st century Charles Bronson.

Most of Bronson’s post-’60s career consisted of modestly-budgeted action flicks that never approached high art - even within the genre - but were reliably entertaining. And until the dreaded Cannon years, fans of ol’ Chuck rarely walked away disappointed. Neeson has more-or-less taken the mantle, cranking out a similar brand of middle-aged mayhem.

However, I’m wondering if Neeson might be entering the Cannon Films phase of his own action career, because Blacklight is a listless, formulaic bore. 

Liam burns another Eggo.

Neeson plays Travis Block, an obsessive-compulsive who does a lot of the FBI’s dirty work. He’s tasked with bringing in rogue agent Dusty Crane (Taylor John Smith), who seemingly snaps during a routine encounter with cops and later escapes Travis’ custody. However, Dusty is actually trying to blow the whistle on FBI director - and Travis’ oldest friend - Gabriel Robinson (Aidan Quinn), who has set-up “Operation Unity,” a program that targets and assassinates innocent people. While attempting to provide local reporter Mira Jones (Emmy River-Lampman) with evidence, Dusty is murdered by two of Robinson’s thugs. Now Travis must use his particular set of skills to…

…well, you know the rest. It’s what we signed up for. But unfortunately, Blacklight is indifferently conceived and woefully predictable, right down to clumsily contriving family members for Travis to worry about. There are a couple of decent - albeit implausible - action sequences, but they serve an poorly-structured narrative that lays all its cards on the table in the first 45 minutes. After that, Travis and Mira simply move from one crisis to another, with no attempt at additional plot developments or surprises. 

It ain’t Neeson’s fault, though. As yet-another age-defying, one-man wrecking crew, he’s earnest and likable. But this time, it’s not enough to lift Blacklight above mediocrity. Though competently assembled (‘assembled’ is definitely the right word) everything about the film is hopelessly generic.

APEX: The Bruce Willis Movie of the Week

APEX (Blu-ray Review)

2021 / 93 min

FROM RLJE FILMS

Review by Tiger the Terrible😼

Tonight’s Bruce Willis Movie-of-the-Week is Apex, another budget conscious riff on “The Most Dangerous Game.” This one is just as laughably bad as the other six movies Willis knocked-out in 2021, but believe it or not, a few of those laughs appear to be intentional.

In the near future, Apex is a high-tech corporation that gives rich people the opportunity to hunt humans on a remote island. They recruit prison inmates as prey, offering freedom if they survive the hunt. Enter Thomas Malone (Willis), a disgraced ex-cop now doing life in prison. To one group of severely overconfident hunters - led by glowering trillionaire Samuel Rainsford (Neil McDonough) - he just looks like a tired old man. But of course, they underestimate their prey.

Willis spends a majority of his screen time hobbling through the woods, leaning against trees in exhaustion and occasionally eavesdropping on the hunters’ bickering. And in one hilariously prolonged scene, we watch Malone enjoy a breakfast of hallucinogenic berries. We rarely actually see Willis interacting with the rest of the cast, prompting one to suspect all his scenes were shot separately (maybe on a weekend between shooting Survive the Game and Deadlock).

"Is that poison oak?"

Elsewhere on the island, this group of ‘elite’ hunters has to be the dumbest collection of toxic masculinity - including the lone female in the group - ever assembled to gun down an old man (with automatic weapons, no less). In fact, their frequent verbal pissing contests usually result in them killing each other. Perhaps writer-director Edward John Drake found inspiration from Tucker & Dale vs. Evil, but whatever the case, Rainsford has to bring in more cannon fodder professional killers to finish the job. This results in a genuinely amusing montage of Malone taking-out assorted bad guys one by one (including a hilarious scene involving the accidental firing of a rocket launcher). However, Willis is still conspicuously off-camera for most of the mayhem.

Bad performances, stupefying dialogue and phony special effects notwithstanding, I can’t honestly say Apex is boring. Like most of his recent play-for-pay gigs, Willis puts minimal effort into his role, displaying the lazy arrogance of a guy who thinks he’s above the material, yet blissfully unaware of just how far he's fallen since the Die Hard residuals dried up. So there’s a lot of fun to be had at his expense, especially during a scene featuring sly allusions to Willis’ bonafide classics. Sure, Drake probably intended it as a respectful homage, but it's more fun to think it was meant as a reminder of the good ol’ days, back when his star still gave a damn.