Le Mal Aimé, Part 139: “Wild Card”


The authorism of Simon West is not intended for the weakness of the heart. Unlike Joseph H. Lewis or Phil Karlsen, his studio work compromised has less a moral component and much more to do with what he can get away in a low, pleasantly and decent grotesque package. While yesterday’s companions were placed in a studio and asked to do miracles from all that was given to them, the HireLings of the 90s, videoclips and commercial directors increased the pros for their alleged style and malleability, came to the international scene of co -production of their career.

At the end of the 1950s and 60s, Hollywood directors like Karlsen, André de Toth, Jacques Tourneur, Sidney Salkow, George Sherman, Robert Aldrich, William Dieterle, Edgar Ulmer and more went to Italy to impregnate funds and make largely undesirable historical films.

Several years later, West went to China to film for a few years. Like the directors of Yore, he took a lot of detour to survive, and that placed him in a proud line of gender directors who refuse to stop or be a pigeon. Before his first move, he redid the film “Heat” without distinction, frankly Somnambulant Burt Reynolds “Heat with a list of the list amazing behind the star Jason Statham, who nevertheless has a B-Film edge.” Wild Card “was only a big film more when it was new in 2015, but today is a wonderfully violent film. The game in this case: to ruin lives, especially yours.

I have been a Western fan since “con air”, and even if I cannot say that he always facilitated me as Carmen Sandiego all over the world and in projects that are both ridiculously insignificant and fashionable, I cling because he can still surprise me. Whether it is the winning misanthropy of “Expendables 2”, the CGI athletics of “Skyfire”, the bisexual palette of “The Old Man”, the spicy theatrical “stolen”, or the perfect framing of “When A Stranger calls”, West Zigs when he could also easily Zag.



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