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Java Heat poster

This innocuous fix of action exotica has renegade American counterterrorism agent Jake Wilde (obnoxiously handsome model type Kellan Lutz) sojourning in Indonesia in his hunt for the culprit in a string of international terrorist bombings. In a scenario reminiscent of Red Heat and The Kingdom, the irreverent, charmingly ugly American is teamed as an action odd couple with totally serious Indonesian counterpart Lieutenant Hashim (Ario Bayu). Naturally, this far-fetched pairing allows for corny intercultural bonding and mutual respect to develop as the two must set aside their differences if they are to rescue an abducted sultana (Atiqah Hosiholan) and save Lieutenant Hashim’s family from capitalo-terrorist Malik (Mickey Rourke, who tops himself for sleazy weirdness). Java Heat milks its colorful Indonesian locations to pleasing effect, lending to every scene a degree of novelty, and never slows down long enough to be less than amusing.

4 out of 5 stars. Ideological Content Analysis indicates that Java Heat is:

10. Antiwar. Wilde’s younger brother, who joined the military to follow admiringly in his footsteps, is a casualty of the War on Terror.

9. Feminist. A female university student suggests that the sultana’s accession to the throne has been sabotaged for sexist reasons.

8. Anti-slut. Hookers are untrustworthy creatures. Their lifestyle is one of degradation, torture, and personal ruin.

7. Anti-drug. A nightclub slut slips a mickey into Wilde’s drink.

6. Anti-gay. Malik is a pederast. Wilde rebuffs the offer of ladyboy companionship.

5. State-skeptical/media-critical. A self-aggrandizing general plays to the media and stages a raid for publicity. News reports unjustly vilify Lieutenant Hashim.

4. Anti-capitalistic. Behind the highly publicized bogeymen of the War on Terror lies a cynical profit motive for conflict. Malik is the personification of western exploitation of Third World countries.

3. Pro-miscegenation. Wilde is initially a suspect in what is believed to have been the sultana’s death because he flirted with her at a royal soiree. He also has encounters with Indonesian hooker/masseuse types.

2. Pro-family. Wilde and Hashim, a model father, are both motivated by family-oriented grievances.

1. Multiculturalist. “We’re not all terrorists.” Like The Kingdom, Java Heat is at great pains to persuade western viewers that not all Muslims are evil and violent. Toward this end, the film presents an idyllic portrait of Lieutenant Hashim’s happy domestic existence and and his family’s hospitality. As always, the multicultural experience is a humbling one for the Caucasian and particularly for the American, who discovers that he is not so exceptional. “Americans. You are like children.” To Indonesians, an American is only a “bule dog”, or stupid white person. “From now on, we play by my rules. Java rules,” Hashim informs Wilde after getting the best of him in a physical altercation. Hashim embodies the film’s attempt to show that, along with the legendary corruption, the Third World also boasts truly devoted civil servants, dispelling Wilde’s colleague’s assertion that, “They’re all dirty in that country.” Indonesia, though plagued by terrorism, is depicted as representing a potentially peaceful realization of a multicultural society, with Hashim and a Christian colleague on the police force interacting as cultural equals.

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Babyface (1977) ****1/2  Dan (Dan Roberts) is a man on the run after an uptight, psychotic mother (Thundercrack‘s Marion Eaton) catches him with her not-so-innocent pigtailed jailbait daughter Priscilla (Cuddles Malone), so, lucky lug that he is, he gets a gig as a stud at a kinky, upscale bordello for perverted women. Writer John Mulligan’s story is a lot of fun, and director Alex de Renzy shows himself quite the adept at orchestrating sexual mayhem.  By the time Babyface is finished the viewer has been treated to slapping, cougarism, whipping, anal, group sport, plastic wrap mummification, and attempted emasculation, all of which is delivered in a friendly, humorous, lighthearted style. Most important, however, is that all of the participants are clearly enjoying themselves. Oddly, this is the only film listed for both Roberts and Malone at IMDb. Each has a memorable screen presence and, as Babyface demonstrates, had the potential for stardom within the adult genre.

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