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La Bamba
Lou Diamond Phillips leaves a haunting impression as the late 1950s pop idol Ritchie Valens, who made the Latino influence in rock & roll conspicuous through his hit songs. Filmmaker Luis Valdez (Zoot Suit) creates a nimble, exciting, and sympathetic portrait of the boy driven to rise above obstacles of race and family legacy, and Esai Morales is equally fine as Ritchie's envious, searching brother. Great support from Elizabeth Peña and Danielle von Zerneck as Valens's sister and mother, respectively, and Joe Pantoliano is solid as the singer's straight-talking manager. Valdez brightens up the third act with a rock & roll show featuring, among others, Brian Setzer as Eddie Cochrane. Marshall Crenshaw turns up as Buddy Holly getting on that plane with Valens, and Los Lobos (who actually performs Valens's music on the soundtrack) has a nifty cameo as a Tijuana band that gives Valens a piece of crucial inspiration. --Tom Keogh Bats
This movie is for everyone who misses the old Roger Corman monster movies, only it has animatronics and computer effects instead of papiermâché. The title of Bats pretty much sums up the plot: Crazed bats are running amok, disemboweling people and cattle. Only beautiful wildlife zoologist Dina Meyer (Johnny Mnemonic, Starship Troopers) and stalwart sheriff Lou Diamond Phillips (La Bamba, the Young Guns movies, Courage Under Fire) can save the day! Let's be frank: The scenario is ludicrous, the dialogue God-awful, the special effects unconvincing--try as they might, the bats just aren't that scary--but what does it matter? The movie rips along effectively. There's always a bat attack just around the corner and the director makes liberal use of all kinds of editing and camera effects, including a distorted bat-cam point of view that makes no sense at all but is pretty entertaining. Various scenes imitate Alfred Hitchcock's The Birds, but lack even a hint of that movie's eerie precision. The actors play it straight without trying to be particularly serious. All in all, Bats knows what it is--trash-horror--and accomplishes its ends with good humor. Not quite up to the standard of Tremors (still the definitive trash-horror flick), but better than most recent efforts. --Bret Fetzer The Big Hit
Film fans might someday recognize 1997 and '98 as the years Hong Kong came to Hollywood. Stars Jackie Chan, Sammo Hung, Chow Yun-Fat, Jet Li, and Michelle Yeoh all appeared in major Hollywood projects and directors John Woo, Ronny Yu, and Tsui Hark directed Face/Off, Bride of Chucky, and Knock Off, respectively. Another entry into this new era of entertainment is The Big Hit, directed by Che-Kirk Wong (who also directed Jackie Chan in Crime Story), executive produced by John Woo, and produced by Wesley Snipes. Mark Wahlberg leads this all-American cast in a played-for-laughs macho blowout. Rounding out the testosterone brigade are Lou Diamond Phillips (sprouting a gold-capped tooth and a dirty mouth), Bokeem Woodbine, Antonio Sabàto Jr., and Avery Brooks. Wahlberg plays Melvin Smiley, a nice-guy hit man with an ulcer and a severe insecurity problem. He's short on cash due to the spending habits of his unsuspecting fiancée Pam (Christina Applegate) and his girlfriend-on-the-sly Chantel (Lela Rochon). He and his crew decide to do a little freelancing and cook up their own heist to make a little mo' money--specifically by kidnapping Keiko (China Chow), the daughter of a Japanese businessman whom they target for ransom. Little do they know her dad is broke and she's the goddaughter of their boss. The Big Hit has action scenes aplenty (one of the stunt coordinators worked on Woo's The Killer and Bullet in the Head) and the same cornball sense of humor as other films in the Hong Kong action genre. Slick pacing and over-the-top humor made this movie a miss with the critics but a fun ride for fans of Hong Kong-styled action. --Shannon Gee
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