Revenge of the Green

Revenge of the Green Dragons—You die now!

Crimeziners who are fans of subtitled “foreign” films will no doubt have seen Andrew Lau classic Infernal Affairs. Crimezine chum Marty Goodfellas Scorsese liked it so much he remade it as Oscar-winning The Departed.

Scorsese is credited as Executive Producer on Revenge of the Green Dragons, which may give the impression to many that this is somehow a Marty movie. Unfortunately it is not. What we are dealing with here is a cult style Chinese movie with English dialogue. If it worked with the Departed, why not here?

“There’s a storm coming detective, and I don’t know of any umbrellas that will keep this city dry,” Quite. It is clear from an early stage that Marty has thrown a fat pile of cash and his best wishes behind this movie and not much more. Meanwhile, Scorsese pal Ray Liota turns up half way through the movie, looking antsy and bloated, in the kind of glorified cameo he specializes in. But he appears bored and apologetic throughout.

Revenge of the Green Dragons. Is based on the story of a real-life retro street gang—the kind of “terrifying” and “merciless” criminals who had middle class America squealing with fear and disbelief before the current crop of Islamic-based criminals came on the scene.

Sonny (Justin Chon) and Steven (Kevin Wu) are two Chinese-American brothers from Brooklyn who find themselves embroiled in the world of the Green Dragons street gang. It doesn’t matter how hard you shout at these nice young men, they are not going to listen. They are quite determined to hammer their square-peg lives into the round hole of street-murder, gang-banging and heroin-dealing. A déjà-vuish demise of such copybook proportions you really wonder how they didn’t see it coming.

Fans of grisly slow-motion murders—headshots, torture, mom-rape, and lovingly filmed knife wound close-ups will not be disappointed. There are also very many patented Bruce Lee, crazed-face-of death-you-die-now expressions pulled by each and every interchangeable bad guy at all the appropriate moments.

There is a half-hearted racism/immigration theme  here, but this seems to have been rather clumsily trowled into the plot as an afterthought.

Naturally it all ends badly, and with a great deal of unintentional ennui—But you already knew that didn’t you Crimeziners?


Kill the Messenger Film

Kill The Messenger the story of Gary Webb

Some stories are just too true to be told. At least this is what new movie Kill the Messenger tells us about investigative reporter Gary Webb.

But who is Gary Webb? We hear you ask. Simply put he is the man who blew the lid off the CIA plot to secretly fund the right-wing terrorist death squads in Nicaragua.

They did this, according to Webb, by importing billions of dollars of drugs and guns into inner city America, an act that was almost singularly responsible for the crack cocaine epidemic of the 1980’s

Kill the Messenger is a cinematic re-telling of the Webb story on crack cocaine and the CIA. The movie follows Webb [Jeremy Renner] in his mission to break the story of the century, it also follows the subsequent implications of “the little man” coming up against the full might of the US governments covert policy in Central America.

Crimeziners who have not heard of Gary Webb, or his book Dark Alliance should immediately follow the link below as the story is not only an astounding piece of journalism it is also one of the bravest and perhaps foolish stands against the kind of “big government” that it is currently so fashionable to criticize.

As for the movie, well this is a grim little piece of cinema. Renner is marvelous throughout, but this is not a date night movie by any stretch of the imagination. Brief cameos by Ray Liotta and Michael Sheen and Andy Garcia sadly don’t help much.

If you are a fan of politics or current events you will no doubt be familiar with the train-wreck repercussions of US government policy in Central America. You  may also be aware that Webb’s story—although widely rubbished at the time by the CIA and their establishment media puppets—has become a matter of historical record—too late for Gary Webb unfortunately, after his journalistic career was ruined by the fallout from this sensational story he was found dead in 2004. Although he had been shot twice in the head, his death was ruled a suicide.



James Ellroy, Perfidia, Crimezine

James Ellroy: palaverous, pleonastic, perpetrator of Perfidia

Good evening peepers, prowlers, pederasts, panty-sniffers, punks and pimps. It is time to bark like a Demon Dog. James Ellroy, self-styled White Knight of the far right is back, with a perfidious new purveyance of faithlessness, treachery and betrayal. Perfidia is the fourteenth full-length Ellroy offering. A seven hundred page donkey choker of a novel set in the 23 days surrounding the Japanese bombing of Pearl Harbor, Hawaii in 1941.

A prequel to The L.A. Quartet, that includes The Black Dahlia and LA. Confidential and the Underworld U.S.A. Trilogy of American Tabloid, The Cold Six Thousand and Blood’s a Rover. Ellroy threatens from the very outset that this will be the first in a new quartet, featuring a cast of crimetastic characters from his earlier bestsellers.

All the gang are here: Bucky “Tojo teeth” Bleichert, Lee Blanchard, Dudley Smith, Kay Lake. Mickey Cohen—on and on. According to the Dramatis Personae at the end of the book, there are at least 87 characters, and it seems like we meet a new one on every page. That’s right Crimeziners—Perfidia pops, purrs and pontificates as the benzedrine buzz of perverse pomposity and brass-knuckle beatings hit heavy from page one. Things get ugly fast. But you knew that would happen. This is Los Angeles, City of Angels, the hardboiled home of James Ellroy, and he rules baby.

Racist epithets bounce like bullets. Note the rampaging right wing revelry. Kough as the Kitchy Kreator Koos Konstantly about a Karnival of KKK Kooks. Thrill as he creates a swirling nexus of bad ju-ju. Observe as he ravages the reader with ribald repetition: J@P. J@P. J@P. J@P; CH¡NK. CH¡NK.CH¡NK. JEW, JEW, JEW, Short sentences shift, as his nomenclature of nastiness runs out of control. Jews we learn are Commies who started the Russian Revolution. They are cynically responsible for World War II. No doubt many suspected this. Seig-heils abound. Nazi uniforms abound. Preposterous far right posturing goose-steps across every page.

Item: Hideous Hari Kiri. Seppuku slashings. J@p murder most horrid.

Japanese criminologist Hideo Ashida plays a central role in Perfidia. As do very many homogenous white LAPD cops—every one of them savage booze-addled haters and bitter racist homophobes. “Queer” humor features heavily. African Americans do not. They are called C**NS, Jigab**s, Nigg@s. They live in “Darktown or the “Jigab** Jungle.”

Item: Benzedine. Opium. Benzedine. Opium. Benzedine. Opium Benzedine. Opium.

But this is just a bit of fun, right? Raping rectums with right wing rhetoric. It is not to be taken seriously, is it? Ellroy is after all the Dr. Seuss of gross abuse. When he heaps on the homo hate and the perverted panty peeping putrescence—It is just dear sweet uncle Jim isn’t it? The night stalker of crime noir. You would invite him over for a slumber party sleepover with your troop of teenaged girl scouts in a New York second wouldn’t you? Of course you would. Squeeeeeeeeee.

But what’s this? A perverted peep inside the diary of Kay Lake? A narrative noodling? A feminist faux pas? A cynical sop to the bull-dagger community?

No need to worry Crimeziners the leitmotif is lusty and lascivious. We get lots of lovely “lesbos” and Kute Kate schleps schlong plenty long[time] with every man she meets—and tells us everything. [Pant!]

Item: Terpin Hydrate. Benzedine. Terpin Hydrate. Benzedine.

But the sexy shenanigans don’t end there my round-heeled friends.

Slanderous salaciousness swims forth as Ellrovian characters rut with real-life screen divas: Joan Crawford features. Bette Davis features—on and on. This is not a work of love. It is a work of megalomaniacal obsession, bordering on insanity.

Item: Booze-addled room-spin. Pints of Whiskey and Mezcal. Terpin Hydrate. Benzedine. Opium. Chained-cigarettes on booze and bennies.

Staccato sentence structures twist taboos with verboten verbiage—ravaging the reader with ribald repetition. Boo-coo big-words and kanji characters come rápidamente. Hep-cat crime slang and cop-jargon are trowelled across every page. Bow down the malignant milieu of the monstrous mensch. Submit to the power of his poetical dialecticism. He is verbose, putrescent and marvelously malfeasant.

Blood gout, brass knuckle work, beaten bloody with a beaver-tail sap and lead-lined gloves—when willllllllll it ennnnd? More pages to go—lots of them—many of them in italics. Bombastic. Grandiloquent. Loquacious. Circumlocutional. A veritable bow-wow’s breakfast of tautological rambling. A palaverous and pleonastic police procedural to end all others. Do you dig it nowwwwww? Of course you do. You worship. You kow-tow. You indulge his every whim. Ellroy is the master. He rules over your every waking breath and commands your nightmares. He is the man—the god—the bestial second coming—and he conquers all.

Only another three novels to go Crimeziners, unless the white-coated men with butterfly nets capture the old goat first. But even then, you just know Ellroy will be there in the Los Angeles home for the criminally priapic, scratching out his DeSadeian prequels until the Faustian muse snatches him from us. James Ellroy the deranged and garrulous king of crime fiction long may he reign.


The Alberto Domínguez song Perfidia popularized by Xavier Cougat (1940) and Desi Arnaz plays throughout the novel. Dig the “flashback to Paris” scene in Casablanca—Perfidia plays again—and more recently in the Wong Kar-wai flick Days of Being Wild. Crimezine prefers the Julie London version.

Walk among the Tombstones review

Liam Neeson stars in Lawrence Block’s A Walk Among the Tombstones

Thank goodness for Liam Neeson Crimeziners. If you’ve got kidnapped female relatives, he is definitely the one to call. Let’s face it, he is so introspectively crumpled and Liam Neesonish there isn’t a felonious spouse-snatcher, or kiddy-bothering ransom merchant anywhere who can match his patented soft-Irish charm and “troubled-look-to-camera thoughtfulness”.

How appropriate then, that Neeson should take the lead as the Crimetastic Mathew Scudder in Walk Among the Tombstones the latest cinematic interpretation of Crime legend Lawrence Block’s grand oeuvre. Many with better memories than Crimezines cognac addled collective consciousness will be just about able to recall the 1986 Scudder movie 8 Million Ways to Die, starring Jeff Bridges and Rosanna Arquette. Apparently this cinematic marvel barely made enough buckeroos to cover the bar bill.

It is perhaps no surprise then, that Scott Frank, screen writing genius behind Elmore Leonard’s Get Shorty, Out of Sight and [cof] Marley and Me, reckons it took ten long years to get this movie made. That’s a lot of Hollyweird spritzer brunches, and air-kissing focus groups for one man to endure. But Crimezine commends his tenacity. Mr. Frank is a strong advocate of adult-orientated crime movies that don’t involve superhero costumes. But, he reckons that the time is now past when such movies can be made with the frequency they once were. He even doubts that a movie like Get Shorty could be made in today’s movie making climate. Those that do make it are the exception he says.

With this in mind, Crimezine was eager to take a walk amongst the aforementioned tombstones. With the forces of righteousness on its side—surely this move will be unable to fail? Welllll. Nesson is awesome as Scudder and the movie gets off to a rip-roaring start, examining his back-story motivation. The power of the Scudder books is brought to life in an admirable way, incorporating the former detectives boozehound past and twelve-steps present. And Brian “Astro” Bradley is adorable as Scudder acolyte TJ. Expectations run high and one just can’t help but get a thrill of pleasure when Neeson growls the classic Scudder line, “I do favors for friends”.

But then we meet the supporting cast. None of whom are bad per se—but there are no stand out performances whatsoever and the remainder of the movie unwinds like a low-budget teleplay. Grungy nastiness abounds, as does questionable motivation, grisly mutilation and industrial strength misogyny from two limply thuggish kidnappers—who appear to be recent overacting graduates from the Hollyweird Academy of bad guys. It is all very disturbing, but not for the right reasons. Scott Frank thinks TV is the new home for ambitious screenwriters. Seeing this movie one can perhaps understand why.

Crimezine wholeheartedly recommends the outstanding Scudder novels by Lawrence Block. Start with the first: The Sins of the Fathers (1976). Contact Lawrence and buy his books at:

The Drop Dennis Lehane Crimezine

Tom Hardy and James Gandolfini: standout performances in The Drop

Everybody loves a good heist movie—right Crimeziners? Thing is, The Drop is much more than just another heist movie, it is a slow burning tale of manipulation based around Brooklyn Bar Marv’s. James Gandolfini is the marvelous Marv, an on the ropes bar manager who used to own the place until his gambling debts forced him to sell up to the new owners—a Chechen organized crime syndicate.

The Chechens needless to say are very bad people—the kind of gangsters who would hack you up and dump you in the East river in a New York second if they thought you were trying to steal their money. Who would do such a thing? Plenty of folks as it turns out, because the Chechens are using the bar as a “drop joint” a collection front for their ill gotten loot. And in the down at heel environs of Marv’s Place, there are a whole host of bottom feeders stupid—or desperate enough to give it a go.

However, the real star of this movie is simple-minded barman Bob Saginowski played by Tom Hardy. Bob is a sweet guy who puts up with bitter uncle Marv, because he doesn’t have options. But Bob’s life changes irrevocably one dark winter night, as he heads home and finds a battered puppy abandoned in a trashcan. Who would do such a thing?

Enter nutso neighborhood character Eric, who has gifted the battered puppy as a nasty surprise to his ex Nadia. [Noomi Girl with a Dragon Tattoo Rapace.] Needless to say Eric is non too happy when Bob and Nadia hook up and begin nursing the puppy back to health. Bottom feeder Eric has many cruel and creepy surprises up his sleeve for the young couple, all delivered with his characteristic sniveling nastiness.

Just as it seems things cannot get any worse for Bob, a junky duo snatch the till takings at the bar. They want the drop money, but settle for five large instead. Not much money in the scheme of things but the Chechens want their money back on the hurry up. What is a guy to do?

The Drop was based on the Dennis Lehane short story Animal Shelter. Lehane wrote the screenplay for the movie, which after his outstanding record of success with projects such as Mystic River, Gone Baby Gone, Shutter Island is a natural progression. This movie isn’t exactly Lehane’s first rodeo as a screenwriter. he has written three episodes of the award winning series The Wire and worked as writer and creative consultant on the crimetastic HBO series Boardwalk Empire.

It is rare to see a screenplay this real or this engaging. Standout performances by Gandolfini and Tom Hardy are so good you almost don’t want The Drop to end—This was Gandolfini’s last movie before he died. He chain smokes and waddles corpulently through every scene and whilst his performance provides an outstanding epitaph, one cannot help wishing the great man had shown a little more concern for his personal welfare. Run don’t walk. Go see The Drop today.

The Drop Dennis Lehane

Kisses—Tom Hardy and Rocco the pitbull star in the Drop

Crimezine Tony Bulmer

The Rover: more murders than you can shake a dingos donger at

Strewth Crimeziners. There’s not even a moment to say g’day and wouldn’t you know it, a truckload of bleary-eyed bludgers have just stolen Guy Pearce’s car. But the great man isn’t about to chuck a wobbly, no mate. Guy is a man who gets even, no matter what the price.

Now Mr. Pearce is, as many will know, is a Crimezine favorite. He played the charming Mike Young in 80’s soap Neighbors but has since redeemed himself considerably, starring in such cinematic classics as Ravenous, LA. Confidential and er… The Adventures of Priscilla Queen of the Desert.

Well, you can be assured there are no queens in this desert Crimeziners. It is dryer than a drovers dog out there in the outback. And you can be certain there is even less happening there, in a post apocalyptic Australia, than on a work week Tuesday in Wisconsin. It is however cinematically “Atmospheric” and if you enjoy that kind of thing, that is just fine and dandy. To add to viewing enjoyment the endless panoramic vistas are accompanied by a soundtrack composed by a particularly heavily drugged and tone-deaf Velvet Underground fan, whose hobbies include listening to flies and drawing his nails slowly down a blackboard.

So what can liven this thing up we hear you ask. Well, there are the murders of course—a lot of murders. There is wounding too and cruelty to midgets, but mainly murders. There is also a soupçon of roadside crucifixion, but Director David Michôd is just funning with us here, in a way that might lead us into thinking something is actually going to happen. Not much does. Then there are some more murders.

We would like to say the pace picks up when facially ravaged and perennially sweaty Pearce meets the wounded and mentally challenged Rey, played by Robert Pattinson. It didn’t—there are however more murders to look forward to. And all the while we were wondering about Guy Pearce’s hair: Alopecia? An engaging sub plot that we liked very much.

There is a thriving genre of artistically shot “horror in the desert” movies. If you liked films like 29 Palms and The Hills Have Eyes, and Mad Max, you may very well enjoy this movie a great deal. The poobahs at the Cannes film festival did not, and you just know that if a film is too artsy for those bludgers—it is very artsy indeed.

Now, there is a point to relentless horror Crimeziners, but it is a very long time in coming and standout moments by the chilling Gillian Jones aside, this movie is deader than a dingo’s donger. Fair dinkum? We thought so. Now where are those tinnies? A golden throat charmer was never more sorely needed.

Sin City -Micky Rourke as Marv

Micky Rourke as Marv in Sin City a Dame to Kill For

New York City. West 34th. It is raining. Shambling concrete towers reach for the ominous sky. Crimezine is here for one reason: to see the new Frank Miller/ Robert Rodriguez crime thriller—Sin City: A Dame to Kill For.

It has been a while since the last Sin City epic Crimeziners—2005 to be exact, which is an eternity in Hollyweird terms. Why you may ask when the original genre busting movie made big box office buckeroos? Well, the similarly styled Spirit movie, also written and directed by Miller sank  faster than an Italian cruiseship and lost almost as much money. Still, best not mention that eh?

The fabulous Marv played by Micky Rourke is back once again and he has been drinking…heavily. You just know that means trouble right Crimeziners? Especially for those frat-boy funsters who are setting fire to the Sin City derelict down on his luck. Meanwhile, supersmug teenybop heartthrob Joseph Gorden-Levitt is new in town, thinking he can make fast and flashy at Kadie’s place. Trouble you will be pleased to hear is on the way when the cocky young buck imagines he can fleece the sinister Senator Roarke [played by the awesome powers Boothe] at cards. Hideously mangled? You betcha.

So what else happens? Wellllllll. Jessica Alba wiggles her ass and drinks pints of vodka straight out the bottle [Don’t try this one at home children] and a crumple faced Josh Brolin wanders around with a permanent hangover, wondering endlessly in a gravelly voice what the hell is going on.

Bad shit is what is happening dude and lots of it and the pantingly gorgeous femme fatal Ava Lord [Eva Green] is behind much of the upset, ably assisted by the almost supernatural Manute [Dennis Haysbert]. The gorgeous young strumpet elevates the role to Bond Villain proportions. Hurrah! we hear you cry.

Old favorites also make swift appearances—the marginally revamped girls from the old town and a spectral Bruce Willis as John Hartigan. This film really does have a stellar cast and marvelous cameos come in the form of Christopher Lloyd, Ray Liota and Lady Gaga.

Cinematically, the film is much the same as the first—grizzly silhouettes, extreme neo-noir contrasts—weird shit that looks like nuclear fallout drizzling endlessly from the sky. Needless to say, it is always night. As for the action there is lots of that, the decapitation count rides higher than an Islamosupremacist Sunday school outing and there is at one point, a gouging so unspeakably horrible the entire auditorium broke out with cheers/laughter/cries of unmitigated terror.  The sound of actual vomiting could be heard amongst audience members for several minutes after this scene—maybe it was the hotdog/nacho plate combo-meal?

Given that this is the kind of cinematic vehicle we are dealing with, it seems strange that certain critics are leveling accusations of political incorrectness at this movie. To wish that a Frank Miller/Robert Rodriguez movie should be more politically correct is like buying a Motley Crue record and wondering wistfully why it doesn’t sound more like limp-wristed student popsters Cold Play.

Crimezine love, love, loves Frank Miller and Robbo Rodriguez and we love the noirtastic harboiled world that is Sin City.