The President’s Man (2000) review- Everybody gets old, even Chuck Norris

As a pop culture figurehead, Chuck Norris has left behind a very complex legacy.

Despite being lauded as an action movie heavyweight alongside Schwarzenegger and Stallone, the U.S. Air Force veteran turned actor never really got the chance to star in any classic films that have stood the test of time.

Instead, Norris wallowed in B-movie schlock throughout most of the 80s and 90s, riding off his reputation as a real life martial artist and fitness spokesperson to generate box office returns. Even Norris’ lead role in the TV show Walker, Texas Ranger, which ran for nine-ish seasons on CBS, is mostly enjoyed ironically today thanks to comedians like Conan O’Brien and Chris Elliot.

This strain of ironic appreciation was brought to a whole new level in 2005 with the popularization of “Chuck Norris Facts” on the Internet, which cemented the exaggerated power of his roundhouse kicks and facial hair for a whole new generation.

Even though these jokes are old hat in 2018, I think it’s safe to say that Norris was at least vaguely aware of his own vaunted reputation several years before these memes started to spread, since that’s the only way I can explain his ridiculous character in the 2000 TV movie The President’s Man.

In this film, Norris plays Joshua McCord, an American government operative who is such a badass that he’s called in to complete dangerous missions that even the Marines Corps can’t handle. Basically, he’s a combination of James Bond, Batman, and Solid Snake, with a dash of Bushido philosophy thrown in for extra seasoning.

When he’s not busy breaking necks for the good ol’ US of A, McCord also busies himself with playing chess, teaching philosophy at a Dedman College in Dallas, and other scholarly pursuits.

This diverse skill set is put on full display in the first 15 minutes of the film, when McCord is summoned from a Japanese tea ceremony to rescue the First Lady after she is held hostage by terrorists in Rio de Janeiro.

After this latest mission is complete, McCord begins to wonder if he’s getting too old to carry on the mantle of “the President’s Man” and begins to train a younger replacement to maintain his legacy and keep Americans safe from domestic and international threats.

Now, an ambitious director and screenwriter could have taken this premise and elevate the story above what one would expect from the star of Invasion U.S.A and Lone Wolf McQuade.

Similar to what Clint Eastwood tried to accomplish in Unforgiven and Gran Torino, The President’s Man could have easily turned this into a meaningful deconstruction of Norris’ legacy as an 80s and 90s action star and what that means for a whole new generation of film fans.

Unfortunately, since this is a TV movie made by Norris’ production company and co-directed by his youngest son, any promise that this premise might have had is flushed down the toilet in the first 20 minutes, when it becomes painfully obvious that this film was shot for cheap and pumped out as quickly as possible to satiate the Walker, Texas Ranger fanbase watching CBS.

This means that the film is littered with production shortcuts that exposes its status as a TV movie, such as stock sound effects, bad original music, sloppy fight choreography, a generous use of stock footage and sub par acting from a lot of the cast’s major players.

Even someone who is a big fan of Norris won’t really get what they’re looking for here, since he’s not really the main focus of the plot after the first 15 minutes.

By then the movie mostly follows his protégé Deke Slater (played by Dylan Neal), who is doing all the heavy lifting in terms of character development as he trains to become the next “President’s Man.”

As such, Norris is mostly saddled with a mentor role for the next hour, which means all he has to do is give stern looks, dish out fortune cookie wisdom and barely break a sweat during the few action sequences he takes part in.

And despite being in great shape for someone who is over 60, Norris’ age is big detriment to his status as a believable action hero in this movie, since it becomes blatantly obvious whenever a stunt double 20 years his junior takes over on screen.

It also doesn’t help that Neal is much more charismatic and likable that his mentor, who can’t even be bothered to raise his voice a few octave levels above normal once he confronts the man who killed his wife during the film’s climax.

With that being said, I’m still a sucker for these kinds of legacy-hero stories, where a grizzled veteran takes a cocky young upstart under his wing and molds him into a more responsible person who is willing to sacrifice his well-being for the greater good.

Even though this dynamic was done much better in films like The Mask of Zorro and Ant-Man, I still found myself charmed by Neal’s gradual transformation and his good-natured flirting with Norris’ daughter Que (Jennifer Tung), who also serves as his liaison to the President.

However, Norris himself still barely registers as a presence on screen, which is a shame since he is obviously written to serve as the glue that holds this entire film together.

Instead, it’s obvious that he’s only interested in showing up to collect a paycheque and maintain his almost decade long stranglehold on the CBS television landscape.

And while I do think that Norris has earned his place alongside the Schwarzeneggers and the Stallones in the pantheon of American action heroes, The President’s Man is not a good representation of why he earned that reputation in the first place.

Verdict:

4/10

Corner store companion:

Jack Link’s Original Beef Jerky (because it’s the manliest snack you’re likely to find, despite being bland and largely flavourless).

Fun facts:

-Original air date: April 2, 2000 (on CBS).

-Budget: $2 million.

-Chuck Norris’ birth name is Carlos Ray Norris.

-Despite his reputation for dishing out white-hot death through the barrel of a gun, Norris only tallies one firearm related kill in this film. The rest of his fatalities are courtesy of neck breaks, throwing knives, and roundhouse kicks.

-Two years later, Norris would star in this film’s direct sequel The President’s Man: A Line in the Sand. While Tung returns as his daughter Que, Neal wouldn’t reprise his role and the character Deke Slater is played by actor Judson Mills, instead. The only other thing worth noting about this sequel is that it’s actually a lot more competently put together than the original, which makes it much less interesting to talk about.

-Between the original airing of The President’s Man in 2000 and today, Norris would only star in four more feature films. The rest of his film and TV credits roles throughout that time consist of the last two seasons of Walker, Texas Ranger and cameo appearances in movies like The Expendables 2 and Dodgeball: A True Underdog Story.

Castle Keep (1969) review-You got your Vietnam in my WWII movie

When I originally picked up a DVD titled “5 Classic War Films” for $4.99 I didn’t expect it to include a movie like Sydney Pollack’s Castle Keep.

Judged solely on the low price and the cheesy posters featured on the cover, I strapped myself in to watch some bottom-of-the-barrel, exploitative trash.

The hokey plot synopsis for this film specifically didn’t help matters either, since it centres around a rag-tag group of American soldiers tasked with defending a medieval castle full of priceless art pieces during the Battle of the Bulge.

However, while Castle Keep doesn’t attain “classic” status, as advertised, the filmmakers should be given credit for trying to inject some art house sensibilities into an otherwise formulaic war movie.

Within the first 20 minutes, the movie stomped my expectations into the ground by establishing a detached, laid-back tone that doesn’t initially seem to fit with other “man-on-a-mission” World War II epics of the time (think The Dirty Dozen).

Instead of getting down to business and showing the audience how the castle is being fortified for the on oncoming German assault, most of the first and second act features our main characters just farting around.

They drink, they smoke, they fuck (with several trips to a nearby brothel) and they carry on inane conversations that don’t really go anywhere. Mid-way through the movie one of the soldiers spouts off about how indestructible Volkswagen Beetles are, and that this particular model of car will inherit the earth after the war wipes out all human life.

Coupled together with a dream-like score that seems like it jumped right out of an old perfume commercial, and Castle Keep becomes a truly bizarre viewing experience, to the point where I even wondered if I put in the wrong DVD by mistake.

In the last 40 minutes the story does eventually turn into a more conventional direction, with plenty of explosions and gritted teeth that would satisfy even the most jaded action junky. However, this kind of action climax gets so exaggerated that it veers off into the direction of satire, especially when Germans soldiers start using fire trucks to mount the castle walls.

To be fair, most of these strange choices make sense if you put this film’s release in the right historical context.

By 1969 the United States had been escalating their involvement in the Vietnam War for over a decade, with no real end in sight. With that in mind, it’s understandable that Americans like director Sydney Pollack would have become disillusioned with traditional military heroics and decided to make a film about the tedium and pointlessness that’s involved in a protracted foreign conflict.

Actor Peter Faulk (who plays sergeant Rossi Baker) even reveals the filmmakers’ intentions at one point during the chaotic climax by blurting out “What the hell war is this?”

While the filmmakers should be applauded for this kind of ambition, Castle Keep is not without its problems.

Certain sections of the film suffer from poor ADR and sound mixing, to the point where you can’t even tell which character is supposed to be talking.

Because the movie adopts the look and feel of a waking dream, the middle part of the story really drags, something that could have been solved by chopping at least 20-30 minutes off the runtime.

And while the individual actors do a really good job with the material they’re given, it doesn’t stop them from being flat caricatures with no real depth. This usually what happens when characters are written to hammer home a theme rather than to tell a good story.

Overall, even though I think calling Castle Keep “pretentious” would be a bridge too far, I wouldn’t fault anybody else for using that label to describe it.

After all, the filmmakers are obviously much more concerned about waxing poetic on lofty topics like war, art, and sex rather than telling a good story with fleshed out characters, which definitely prevented me from engaging with the movie on an emotional level.

With that being said, Castle Keep did at least take me by surprise and give me something to think about once it was over. Hopefully this becomes a re-occurring theme throughout my adventures into the darker corners of Corner Store Cinema.

Verdict:

6/10

Corner store companion:

Skor butter toffee (because it looks fancy, but it’s still really just cheap candy on the inside)

Fun facts:

-Release date: July 23, 1969

-Budget: $8 million (estimated)

-Box office gross: $1.8 (Canada/US)

-Two years after this film was released, Peter Faulk (one of the main supporting cast members) would go on to find great success by staring in the series Columbo. Faulk ended up playing the titular, unassuming detective in a grand total of 69 specials, with the final episode airing on Jan. 30, 2003.

-Mass murderer Ronald Defeo Jr. claimed that he was watching Castle Keep right before he shot his parents and four siblings to death in Amityville, New York on Nov. 13, 1974.

-While this film ultimately flopped, both critically and financially, director Sydney Pollack would bounce back with his next project They Shoot Horses, Don’t They?, which landed him 10 Oscar nominations (including one for Best Director).

The Devil’s Own (1997) review-Sexy, terrorist Brad Pitt

One of my main objectives with this website is to showcase movies that have fallen through the cracks in a vast entertainment industry that’s been sent into overdrive thanks to the Internet.

Now, this doesn’t mean every film I review will be a hidden gem or a cinematic monstrosity on par with The Room. However, sometimes it means that the subject in question will be a solid outing with a few noticeable flaws that keep it from attaining greatest.

Enter Alan J. Pakula’s 1997 action-thriller The Devil’s Own, a film that received lukewarm reviews upon its initial release and very little retrospective fanfare in the subsequent 20+ years. Which is too bad, because the movie is quite well put together overall.

This is obvious from the first five minutes of the film, which features an intense Michael Mann quality shoot-out between IRA assassin Frankie McGuire (Brad Pitt) and members of the British Army on the streets of Belfast, Northern Ireland. After McGuire survives this fire-fight by the skin of his teeth, he’s sent on a mission to New York City to acquire a bundle of Stinger Missiles that his terrorist brethren will use to rain hot, sweet death on even more government forces back home.

To complete his mission, McGuire takes refuge with unwitting police sergeant Tom O’Meara (Harrison Ford) and his family, who are eventually caught in the crossfire when this weapons deal gets more and more complicated.

(warning: trailer contains major spoilers)

Obviously, the movie’s biggest surface level draw is its star power, since its two leads were at the peak of their own career trajectories at the time of its release.

In 1997, Ford was in the middle of perfecting his mid-aged, reluctant everyman action hero shtick, while Pitt was just starting to prove himself as a “pretty boy actor” who doesn’t hesitate to take on edgier roles.

The pair also play-off each other really well on screen, hammering home the film’s underlining story about two Irishmen from different backgrounds and how their divergent upbringings colour their outlook on life.

If nothing else, it’s good movie to watch with your parents, since mom gets to ogle mid-90s Brad Pitt and dad gets a chance to live vicariously through Ford’s baby boomer grit.

However, this dynamic also highlights the movie’s biggest flaw.

Even though I’m far from an expert on conflict in Northern Ireland, I know that it’s a tricky, intricate subject that’s difficult to do justice on screen. This is especially true in the mid-90s, when tensions between the IRA and the British government were at a fever pitch.

The filmmakers of The Devils’ Own opted to side step this problem by downplaying the rougher edges of Brad Pitt’s character and portray him as a sexy freedom fighter instead. However, because of this, the film runs into problems with tonal consistency. One minute Pitt’s character is a ruthless killer who doesn’t hesitate to gun down government soldiers, and the next he’s shown to be a sweet, sensitive soul who gets down on one knee when he talks to small children.

While Pitt does his best with this material, the contrast between serious drama and romanticized fluff is still very jarring and hasn’t aged very well in a post-9/11 world.

Also, the less said about Pitt’s Irish accent the better.

Despite these hang-ups, the movie is still very well shot and paced, probably thanks in large part to veteran director Alan J. Pakula (All the President’s Men, Sophie’s Choice) being at the helm.

And while The Devils’ Own probably won’t change your life, it’s still a welcome two-hour distraction that does a great job of showcasing two Hollywood heavyweights in the prime of their respective careers.

Verdict:

7/10

Corner store companion:

Lucky Charms (for obvious reasons)

Fun facts:

-Release date: March 26, 1997

-Budget: $86 million (estimated)

-Box office gross: $140,807,547 (worldwide)

-Unexpected cameo: Julia Stiles plays one of Ford’s teenage daughters (side note: this film was release theatrically two days before her 17th birthday)

-Musical highlight: “God be with you Ireland” by Dolores O’Riordan (plays over the opening credits)

-Shortly before her untimely death in August of 1997, Diana, Princess of Whales, took 15-year old Prince William and 12-year old Prince Harry to see this film. Diana was fiercely criticized in the media for taking her sons to see a rated-R movie that appears to glamorize the IRA.

–The Devil’s Own serves as the final film of director Alan J. Pakula’s career before he passed away on November 19, 1998 at age 70.