Tuesday, January 29, 2013

Kickboxer 4: The Aggressor (1994)

Albert Pyun is back in the director's chair in Kickboxer 4: The Aggressor, which also introduces Tong Po (this time played by Van Damme regular Kamel Krifa) back into the Kickboxer-saga. This means several things - It was probably shot very, very fast, it features at least one of Pyun's "own" actors, this time Nicolas Guest and, as usual, an interesting musical score by Tony Riparetti. For us "pyunboys" this is good stuff, we want it to be this way. It's like meeting old friends once again, it's safe and we know what we're getting.

It has a good start, a typical Pyunginning. A voice-over, someone recollecting the past, it's dark and edgy compared to part 3 and in a nice montage from the first two movies we learn how David Sloan (good ol' Sasha!) now is in prison after being wrongfully accused of killing a drug lord (well, he DID killed a drug lord and tried to take the body from Mexico to the US, so maybe he's guilty anyway...). Now he gets a chance to get out with helping the cops to go undercover and once and for all take down Tong Po - who also happens to have kidnapped his wife! David must now enter an illegal tournament and kick some ass once again!

Pyun really tries hard with his meager budget to go back to the seriousness of the old movies and he almost succeeds! The first part is damn fine, with a good performance from Sasha Mitchell and some short but effective burst of violence. Tong Po is this time even more over-the-top (and with a less effective make-up), a comic book villain played with a sense of humour. Here another of Pyun's trademarks shows up: the quirky, off-beat comedy - which is an odd thing in a movie like this, but when the budget is so low and the shooting schedule probably was shorter than a normal working week, it just adds some odd charm to the story. The scene where Tong Po tries to play sitar is both fun and unexpected.

My biggest problem with Kickboxer 4 is the last half hour. I'm pretty sure it just wasn't time to choreograph and shoot a better fight, but even with Pyun's standard it's pretty weak - and sloppily made. After some slow-moving pre-fights in the main arena, the end fight is basically David and Tong Po stumbling around in the garden (and on a dinner-set long table) in a very not-so-impressive "fight". It just doesn't seemed to had been time for much rehearsals...  I'm a big fan of Pyun and very forgiving because I know under which circumstances he worked, but I know he can do better than this! The rest of the film is packed with stylish cinematography, some imaginative directing and a decent cast.

But what makes it interesting for us pyunboys is the atmosphere. The editing, the music, the noir-ish voice-over in the beginning. That special, almost surrealistic and poetic form of filmmaking that Pyun is unique for. I doubt others will see it, but we who have lived with the guy for our whole lives can smell it, sense it. That's what makes even a very generic kickboxing-film like this interesting.

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