The boys are back, covering one of the most iconic films of their early friendship, and a 90’s classic, Leon- The Professional. In their classic format, J. Blake and Dion Baia talk about the US cut verse the International Cut, the provocative storyline, and the auteur-styling. So sit back, crack open a cold one as the fellas take you back in an all new episode of Saturday Night Movie Sleepovers!
Hello and welcome to another all new, exciting edition of Saturday Night Movie Sleepovers! This go around Dion Baia and J. Blake are celebrating the 20th anniversary of a Sci-Fi film that is held in a very high regard by many and conversely disliked by many others- so much so that upon it’s release it was hailed as both the best and worst summer blockbuster of all time! Wow, how polarizing! But the fellas are talking a SNMS audience favorite this week with Luc Besson‘s iconic film The Fifth Element, from 1997.
After briefly chatting about epic hair pieces and martial-art movies, Blake and Dion get down to business and reminisce about the summer of 1997 when this film was released and all the other movies they remember that were out that season. The boys both relate their experiences of seeing The Fifth Element in the theater, and discuss director Luc Besson‘s catalog, particularly his 2008 classic Taken, and their mutual love for the director’s film prior to this one, Léon: The Professional. They go into the background in the creation of Fifth Element‘s story, and the journey Besson went on getting this to the screen. They look at the gorgeous futuristic world that was created by French artists Jean-Claude Mézières and Jean (Moebius) Giraud, and the subsequential lawsuit that was filed against Besson after the film’s release. Dion and Blake gush over their mutual love for Bruce Willis and Gary Oldman, and attempt to contrast this movie against other futuristic, Future Noir, Sci-Fi properties that are comparable to this one. They speculate on Chris Tucker‘s potential real-life influences on his Ruby Rhod character, and also note Besson‘s reoccuring theme of older men helping younger women (or even young girls as in The Professional ) and how it oddly, in his case, mimics the director’s real life to an extent. So does the pairing of CGI, miniature and Practical Effects hold up, and because of their pairing, actually help the longevity? Why is this film so darn polarizing to fans and critics to begin with? And did John Carpenter actually successfully sue Luc Besson? Well grab your Multi Passes, your Zorg Industries ZF-1 Pod Weapons Systems, and make sure you’re blocking any incoming calls from Mr. Shadow, because we’re all going to the 23rd Century this week and an all new episode of Saturday Night Movie Sleepovers!
Welcome to another edition of Saturday Night Movie Sleepovers! This week J. Blake and Dion Baia delve way into the video racks and bring out a long-forgotten classic from the early 1990’s back when long, wet mullets were in style, and we didn’t question when villains were able to acquire scores of loyal and nameless henchmen with automatic weapons. Of course we’re talking the 1993 Jean-Claude Van Damme film Hard Target, which also debuted badass Action director John Woo to the Western Hemisphere.
The “Muscles From Brussels” puts in a Grade A performance in this entry into the sub-subgenre of hunting-men-for-sport films. The boys get into the career of JCVD, and talk about his highs and lows (the controversy of his off-screen beefs with other actors and the debate about his actual martial art ability, and the fascination he has for having twins in many of his films), and the age-old burning question of everyone’s minds: it is a slyly disguised mullet or just slicked-back long hair here? Hmmm… And how awesome are Lance Henriksen and Wilfred Brimley in this movie? And what’s a Zanenabe? We got a lot going on in another exciting and highly informative episode of Saturday Night Movie Sleepovers!
Here is the original source material for what has begot practically an entire subgenre of film, the short story The Most Dangerous Game, by Richard Connell (which Dion mistakenly referred to as ‘The Deadliest Game” in the cast).