David Twohy is one of those talents who deserves better success than what he has achieved. He’s done some stellar screenwriting work with hits like The Fugitive and G.I. Jane, and many of his directorial efforts have received critical praise from genre fans. With Pitch Black, he struck a cult following chord that still, hopefully, resonates to this day. I’ve heard many say that Pitch Black is essentially a reworking of David Twohy’s rejected script for Alien 3, but my research does not confirm any correlation between the two projects especially since he co-wrote Pitch Black with two other writers in Jim & Ken Wheat. However, it is very easy to see how this could have been part of that franchise, but thankfully, this was its own thing that launched its own franchise that I am glad to say that I am a fan of. And yes, the director’s cut is the way to go for me.
When their ship crash-lands on a remote planet, the marooned passengers soon learn that escaped convict Riddick (Vin Diesel) isn’t the only thing they have to fear. Deadly creatures lurk in the shadows, waiting to attack in the dark, and the planet is rapidly plunging into the utter blackness of a total eclipse. With the body count rising, the doomed survivors are forced to turn to Riddick with his eerie eyes to guide them through the darkness to safety. With time running out there is only one rule: Stay in the light.
It’s interesting the structure that David Twohy goes for here. Once the crash occurs, most films would take on a gradual pace to establish many of these characters, and walk through the process of a slow burn build up to the lurking threats waiting for everyone. Instead, Twohy does a lot to jump forward beyond those gradual beats and goes for the tight, faster rhythm. He knows that the necessary focus is on Riddick, Fry, and Johns, primarily, and there are points that need to be hit with them before jumping headlong into the meat of the plot. We then learn more about these individuals as the conflicts and tensions escalate, which really works. Twohy keeps the pace very well balanced because of this approach. It starts out exciting, and continues to hold to that rhythm throughout. Danger is encroaching upon these characters, and that faster tempo is very essential to the effectiveness of the scenario.
The film has some very well crafted sequences that surely deliver on the suspense using silence, subtlety, and the darkness in very effective ways. While it doesn’t send chills up my spine to tingle me with terror, it is thrilling nonetheless. For me, I would veer this more towards an action vibe. The intention is survival horror, but there is enough intense action here to cater to anyone who isn’t so easily scared. Several characters are put into peril early on, some die, and that serves the tension later on knowing that anyone is expendable in this story. Anyone can fall prey to these quickly striking nocturnal creatures, and when they are charging through hordes of them with only minimal light to clear their way, it puts an audience on edge. Yet, little of this would mean anything if there weren’t well portrayed and written characters to involve yourself with.
I really like everything that David Twohy and Radha Mitchell do with Carolyn Fry, the now defacto commanding officer after the captain died during a hull breech. We know throughout the movie that she is not an altruistic hero as she tries to jettison the passengers to save her own life during the impending crash landing. So, there’s that condemnable quality that she works to redeem herself for through the film. She struggles to lead these people to safety as she constantly pushes that responsibility away, but she has to ultimately accept that leadership role in order to survive. Mitchell really stands strong in this role delivering a dimensional character that an audience can latch onto, emotionally, and invest themselves in as she grows and solidifies through this terrifying ordeal. Fry is vulnerable, but shows her strength by the end.
Cole Hauser makes the bounty hunter Johns a very good, subtly unstable foil here. He’s supposed to be a good guy considering he caught Riddick, but he’s a tough mercenary challenging everyone’s authority while feeding his drug habit. He’s a hostile wild card that could motivate people to safety, or more likely, jeopardize lives, including his own. He and Riddick are definitely set at odds, but the scenes between them are very interesting in the psychological aspect. Riddick is a guy who likes to play on peoples’ perceptions of him, and give them a certain amount of unpredictability to what he’ll do next. Johns knows plenty of Riddick’s tricks, and it’s interesting to see them subtly square off psychologically and physically.
Of course, the real star of the movie is Vin Diesel. The character of Richard B. Riddick is very much an anti-hero. He’s a convicted criminal who makes no excuses for himself, but knows how to use everyone’s fears and perceptions about him to his benefit. Diesel is very subtle in these moments speaking softly with a smirk showing that Riddick has people wrapped around his finger. Riddick knows just how far to push, and when to twist things back around. First and foremost, he is a survivor, and he knows that you can’t always do it alone. Vin Diesel injects confidence, intelligence, and cunning into the character, but also a very compelling mystique. Just like a Snake Plissken type, the less he says, the more interesting he becomes. His actions make him intriguing while what words he does speak weave a complex tapestry that simply sucks you in. You can gradually see this character becoming an iconic role as the film progresses, and even his opening narration sets the focus intriguingly upon Riddick right from the start.
There are a couple of notable supporting roles here including Keith David as the Muslim passenger Imam. He offers up a very solid character with strong beliefs and morality that add to the diverse personalities and attitudes of these characters. David is always a charismatic actor who can do tough everyman like in They Live or The Thing, but turn around and give you a substantive, cultured character such as Imam. Add to that is Jack, portrayed by Rhianna Griffith who comes to idolize Riddick, and forms some kind of attachment to him. There’s an odd twist to the character that seems fairly unnecessary, but it’s another trait to make Jack a slight bit more memorable. These are both well established, well portrayed characters which aid the film in very grounded, human ways.
Now, Pitch Black has a certain stylized look at times that never entirely sat right with me. I do like some of the over exposed daylight shots driving home the triple sun environment, but the rather monochromatic color washes don’t quite appeal to me. I just feel there must have been a better, more subtle way to color time these scenes to allow a slightly more varied color palette to shine through. Also, the inverted colors used in one false scare moment and a few cinematography and editing choices feel more akin to a flashy, stylized music video. These artistic choices just seemed more akin to stuff I had seen in the direct-to-video market than a theatrically released motion picture. That is sad for me to admit because beyond these off-beat moments, there is a lot of excellent cinematography to be had here. There’s a definite effort put towards production value with the cinematic camera moves and angles chosen. When the film gets into the darker and darker environments, it really takes on a very moody, atmospheric, and dangerous visual intensity. The whole planet eventually feels like a black, empty void perfectly reflecting the tense situation at hand. I also like that, in contrast to the overly exposed daytime scenes, the full-on night time scenes seem straining a little for exposure. You feel how dim the light is that these people have to work with and ward off these creatures, and that extra grain on the film stock just adds more gritty edge to the movie. Those issues I had are present only in the early part of the film. The remainder of it is shot, edited, and executed especially well.
Considering this was made on a $23 million budget in the early 2000s, I will say that the visual effects are fairly good based on those factors. In the grand scheme of CGI, Pitch Black has a LOT of room for improvement. These filmmakers were very ambitious with what they wanted to achieve on such a limited budget, and I can’t fault them for that. There are some better looking moments than others, and it is likely best, by design, that so many of these effects are played out in dark environments. In a brightly lit one, these creatures and digital effects would look really bad. While Riddick’s “shine job” vision allowing him to see in the dark is pretty damn cool, the creature vision is quite primitive like some cheap Photoshop radial blur effect. I hate to talk poorly about all of this because I see the ambition and visionary talent at work, but the budget could only be stretched so far to accommodate that, which is very unfortunate. If you doubled this film’s budget, the visual effects would be approaching excellent, I’m sure. As it is, if the characters and scenario pull you in, I think any shortcomings in the CGI will be forgivable in an audience’s eyes.
Another really exceptional quality here is Graeme Revell’s rich score. The main theme is excellent, thrilling, and rather triumphant. In an age of films that rarely attempt to forge a recognizable main theme of any kind, it’s refreshing to see especially a genre film crafting one that strikes a strong chord. Even though it had been several, several years since I had seen either this or The Chronicles of Riddick, I still recalled the theme fondly. Revell has done some stunning work when he really applies himself, such as on The Crow, Strange Days, and The Craft, and his effort really shows through here.
Surely, the basic concept of Pitch Black is not very original as I’m sure you can draw comparisons to the Alien franchise and various other science fiction / horror classics. However, like I said, even if this film does tingle you with terror, it has action and excitement to engage you. I definitely like the Riddick character. He’s very intriguing, and a solid anti-hero in cinema is always a fun concept. Vin Diesel was the right man for this role, and I love that he has had such a devotion to it alongside David Twohy. Pitch Black is definitely a cult classic which has plenty of merit and entertainment value. It’s a straight up type of film with certain plot conveniences to allow for this story to happen, but if it hooks you and you have fun watching it, none of it is gonna matter.
This is one of those movies I haven’t watched since the 1990’s, but I remember liking it a lot. In watching it again, it’s amazing just how much of it I remember, which is a hell of a lot. This might seem like an under the radar action movie, especially since it couldn’t even earn back half of its $8 million budget upon its theatrical release, but boasting a cast of Christopher Lambert, Mario Van Peebles, Denis Leary, and Patrick Stewart, it’s got respectable muscle. That’s one thing that always struck me strongly about Gunmen in addition to Lambert and Van Peebles teaming up as buddies in this, and then, portraying enemies the following year in the third Highlander movie. So, let’s see what Gunmen has to offer that I find so vastly entertaining.
A bounty hunter, Cole Parker (Mario Van Peebles), and a con man, Dani Servigo (Christopher Lambert), each have half the clues to the whereabouts of a $400 million treasure of stolen drug money. Against their wills they are forced to team up to battle an elite squad of mafia assassins employed by the wheelchair bound Loomis (Patrick Stewart), and led by the ruthless Armor O’Malley (Denis Leary). If Cole and Dani survive a relentless chase across a jungle and two continents, they will have to face each other because a half billion dollars is not enough to share.
Gunmen is a fun action film, but one with heart, character, and dramatic weight. This all comes to us from Deran Sarafian, the director of Death Warrant, and screenwriter Stephen Sommers, who would go on to director Deep Rising, The Mummy, and various other fun big action movies. This seems to be a really good pairing. Sommers’ writing creates a fun concept with strong characters and his signature dashes of fun and humor. Sarafian grounds the movie with a real grit which mixes serious consequence with a thrilling ride. He makes it a harder edged action movie than Sommers typically would make, and that style perfectly works for this film. Plus, I like that the film hits the ground running dropping us into events already in motion as everyone is already on the trail of Dani and the money. That rhythm and tempo remains constant throughout the film propelling every event forward briskly. There’s very little slowing down in Gunmen, and because of that, these filmmakers are able to tightly pack a lot of exciting content into the 90 minute runtime.
I also really like that this film is a bunch of criminals, mercenaries, thieves, and bounty hunters running amuck. There’s not a law enforcement presence anywhere at all. Lots of betrayals, distrust, and personal agendas twist the plot around making it fun and interesting. This keeps every character on their toes, and allows for some spontaneous moments of drama and humor to occur that just add to the fun factor. At its core, Gunmen is a buddy action film headed up by an incredibly perfectly pair of actors who give it vibrant life.
Frankly, any movie where Christopher Lambert is having a good time is a winner for me just on entertainment value alone. His character of Dani Servigo is full of laughs all the way. Where Mario Van Peebles is the straight arrow and dramatic anchor of the duo, Lambert is the comedy, but is not farcical. These two have excellent chemistry together, and Van Peebles is able to get his fair share of humor into the mix. Once they spark off that chemistry, the film becomes more and more fun. The banter between them made me laugh so much. It’s a real delight. And Van Peebles really shows a lot of worth leading this film with a strong weight, charisma, and edge. Cole Parker is a definite tough bounty hunter able to hold his own against anyone, and is portrayed as a very smart, sharp, and cunning professional. Yet, while there’s a lot of fun, Gunmen still finds those quiet moments of character building and heart-to-heart scenes to maintain substance. Cole and Dani solidly bond together, but they still have their fun adversarial moments such as Dani shooting Cole in the leg to keep him from running off with the money and Cole later returning the favor to sharp, clever comic effect.
I severely love Denis Leary. He is a great comedian, but he has always impressed me with his dramatic work. I especially love his turns in Judgment Night and Suicide Kings, and here, he plays vicious bastard immensely effectively. Leary’s cynical humor is perfectly molded into an edgy, charismatic, sadistic, and bad ass villain. Armor O’Malley is a perfect mercenary out for himself, and willing to double-cross anyone for his own betterment. Leary’s sarcastic charisma fuels the performance and makes Armor an entertaining enemy all the way through.
Patrick Stewart’s role as Loomis is not expansive, but by no doubt, is solidly portrayed. You see this feeble man in body and mind ordering around Armor and his hired guns, and you can perceive someone who once had a strength and authority to him. However, age and circumstance have diminished him, and his sad double-cross departure in the film seems only inevitable. With Stewart in this role, it certainly adds a special notoriety to the character which elevates Loomis’ importance in the plot.
Lambert, Van Peebles, and Leary, along with many of their supporting co-stars, prove to be very action capable actors. As the title suggests, there is a very generous amount of intense gunplay and shootouts packed into the film, but there’s plenty of physicality and stunt work to behold. There’s loads of excitement throughout especially when helicopters are involved. That tight pace I mentioned before completely adds to the exciting momentum of the action. It just keeps on coming allowing for very little time to slow down, but it does have it s well timed breaths between the blazing thrills. The climax has everyone in a sort of cat-and-mouse game aboard a luxury motor boat, and it is very cleverly and sharply executed. I love how this is all shot keeping this a little shadowy to give the sequence some visual edge. Overall, the film is really damn well shot in the cinemascope anamorphic format from the director of photography of Star Trek VI: The Undiscovered Country. The quality of the cinematography really enhances every fun, thrilling moment of Gunmen.
I also really enjoyed the score by John Debney. Since the film is set in South America, we get some Latin flavor in the music that blends in beautifully with Spanish guitars and percussion. The action scenes have some very good and original driving beats which hold to that musical style. It’s really a wonderful piece of work from the man who would later score Sudden Death, Sin City, Predators, and Iron Man 2. This film also incorporates a lot of early-to-mid 90’s hip hop / rap music very well. It’s surely not my genre of music, but they are all very good songs which aid the vibe the film is going for. After all these years, the opening title track of “Bite The Bullet” by Kid Frost has stuck firmly in my mind, and I think that says quite a lot.
I honestly think I enjoyed Gunmen more now than I did years ago. It really is a solid, fun, enjoyable action movie with a fully charismatic cast that doesn’t disappoint. There’s near wall-to-wall action with a full helping of laughter between Lambert and Van Peebles’ superb chemistry. There are only a few films that really exemplify my preferred style of 1990’s action films, and this is definitely one of them. Really tight pacing with a grounded sensibility that still has its tone opened up for great fun. The film doesn’t get cheesy or diminish the grit of its action by adding in those humorous elements. It all works very cohesively for a well-rounded piece of entertainment. This is just a movie of pure enjoyment right from the start and it only builds as it progresses. While Gunmen got the shaft on DVD in the United States as a pan-and-scan edition, I was very pleased to find it on iTunes in its proper widescreen format for purchase or rental in standard or high definition. If you’re looking for a really solidly made action film with intense excitement and a lot of laughs, you really cannot go wrong with Gunmen. I give it a very strong recommendation.
With Attack of the Clones there was some improvement in the prequels, but many of the stinging problems from The Phantom Menace still exist here. The pace is generally improved with some more action sequences, some better characters, and more interesting locales to explore. However, the supposed “love story” between Anakin Skywalker and Padmé Amidala couldn’t be more contrived or agonizingly acted. Of course, there are frivolous character and story elements peppered throughout which have no bearing on anything at all. So, let’s jump into it, and deconstruct Star Wars: Episode II – Attack of the Clones.
Set ten years after the events of The Phantom Menace. Padmé Amidala (Natalie Portman) is now the Senator of the planet Naboo, and is leading the opposition to creating an army of the Republic. This is in response to a faction of political separatists, led by former Jedi Count Dooku (Christopher Lee), who want to breakaway from the Republic. After an assassination attempt on the Senator’s life, Jedi Knight Obi-Wan Kenobi (Ewan McGregor) and his Padawan learner Anakin Skywalker (Hayden Christensen) are sent to protect her. After the assassin strikes again with the Jedi thwarting the attempt, they capture the assassin, but she is killed by a bounty hunter named Jango Fett (Temuera Morrison) before they can obtain any answers. The Jedi Council then send Obi-Wan and Anakin on separate missions with Chancellor Palpatine (Ian McDiarmid) fearing for Senator Amidala’s safety. Anakin is sent with Padmé to Naboo as a protector. However, their feelings for one another slowly stir to the surface causing emotional conflicts for them. Worse yet, nightmares of his mother trouble Anakin enough to return to Tatoonie in an attempt to save her from dire peril. Meanwhile, Obi-Wan’s investigation ultimately leads him to the planet Kamino where he uncovers a deeper conspiracy involving this assassination plot, the Separatist movement, and a Clone Army which could lead to all-out galactic war.
While there are various negatives I wish to point out here, let me counter-balance the review of Episode I by starting out with some positive aspects of this film. Mainly, the visual effects are far improved and much more consistent than what The Phantom Menace offered. It’s hard to believe that CGI evolved so much in such a short span of time, but the industry required it. Bigger films were being made now because filmmakers saw what could be accomplished, and the technology and artistry of these effects houses simply pushed hard to match up with the demand. Everything is generally more detailed in Episode II, and the story allowed for a more vast and diverse set of locations, vehicles, props, and alien creatures. So, there was more of a canvas to apply the improvements in digital filmmaking. Still, the movie is starved for more practical locations. Granted, many don’t exist in reality, but the constant filming against blue screens begins to wear thin. It takes away from the potential depth of the frame, and the tangibility of the environments they inhabit. So much of it just feels fake because it is fake.
On a better note, George’s decision to shoot in high definition digital video was something I was supportive of, same as with Robert Rodriguez. That evolution in video camera technology has actually allowed for my independent filmmaker career to exist. Unfortunately, I did not see Attack of the Clones in a digital projection theatre. That experience would have to wait for Revenge of the Sith.
Another positive is that there is more life with a few characters. Ewan McGregor steps into the mentor role of Obi-Wan Kenobi well injecting some nice dimension into his scenes. He feels more fleshed out and comfortable this time around. A little chuckle here, some urgency there go a long way to show the depth and personality of his matured Kenobi. He truly feels like a good leader, a fine Jedi, and an interesting character to follow now. His single scene opposite Kenobi’s alien friend Dex shows more intelligible and relatable character traits from him than most anything displayed in The Phantom Menace. It shows both a jovial, friendly side, but also, the inquisitive mind of the character. McGregor is surely an excellent actor with a wide range, and I am glad that his talent was allowed to be more in the forefront here. Of everyone in the prequels, his performances feel the most natural and dimensional. I feel he sells Anakin’s downfall more that Hayden Christensen does.
The legendary Christopher Lee gives us a villain with some substance in Count Dooku. I only find it unfortunate that he doesn’t show up until half way through the film. This would be better if he was built up more to create mystery or anticipation around him, but he’s barely mentioned in that first half of the movie. And where Darth Maul had nothing to say for himself, Dooku has plenty, and Lee works his scenes very well. There’s enough ambiguity about Dooku to build suspicion and doubt over what he claims to be truth. Lee’s performance rides the fence of a man who could either be a straight out villain or a controversial strong leader who has a valid point of view. He’s just shady enough to keep it all uncertain. His scene opposite the imprisoned Kenobi is quite rich with juicy character interactions. It is a pleasure indeed.
Unfortunately, from there, the quality of the performances start to get more one dimensional and hollow. Natalie Portman, again, is reflected as a far lesser grade acting talent than she truly is with poor characterization and awkward, ineffective emotions. While she has a generally good show of emotions, they seem to lack depth or realism. The romance, of sorts, between Padmé and Anakin never feels earned, only forced. For the life of me, I cannot rationalize why a young woman dedicated to peaceful, intelligent solutions would ultimately marry a man who confessed to a rage filled slaughter. Tusken Raiders or no, Padmé has always sought out the way of peace in all situations. She never comes off as someone in favor of blind hatred or rage, and in all other instances, appears to have a distaste towards unwarranted violence. She didn’t murder Nute Gunray at the end of the last film. She retook her throne and put him into the custody of the authorities. She believes in justice, and resolving conflicts with negotiation and rational thought. However, she marries a man who is volatile, insubordinate, emotionally unstable, immature, and supports tyrannical political ideals. There is no rational reason they would be attracted to one another side from the physical aspect.
Now, I really don’t know any of Hayden Christensen’s other work to offer a perspective on his talents. Granted, the characterization of Anakin Skywalker is not his fault at all. He played the character that was on the page. There’s nothing different he could’ve done with what he was given to make Anakin a better character. Still, there are many moments where he comes off as wooden. Much of his intended “serious” or “mature” dialogue is delivered with a drab, downtrodden empty quality. As with Portman, there’s no depth behind what is said. Anakin Skywalker should have been a rich character with many sides from the brave and honorable to the conflicted and troubled. Considering the entire saga is ultimately his story from innocent child to conflicted Jedi Knight to the evil Darth Vader to redemption through his son, Anakin Skywalker should have been the most fascinating character of all six films, but he ultimately comes off as one of the least interesting and most annoying in these prequels. So, what Lucas gives us is a very immature and flat character who has little for an audience to emotionally invest themselves in.
There are other characters which I do have things to say about, mainly the Jedi Masters, but they are best left for my summation in the Revenge of the Sith review to avoid redundant criticisms. However, to briefly touch upon those thoughts, I have to say that if Yoda has nothing intelligent or pertinent to say, he ought to keep his mouth shut. So much of his dialogue ultimately makes him seem like a short-sighted fool. He has plenty of opportunities to act upon the bad vibes coming off of Anakin, but he never takes any action in response to them. And I do believe having Yoda engage in frivolous lightsaber battles is a terrible idea. Instead of criticizing the cringe inducing visual of Yoda flying around like a video game character and acting like some dim-witted action hero parody, I want to point out the purpose of lightsaber battles in the Star Wars saga. They are a plot device used to twist the storyline into a new direction, and that is not at all a negative thing. However, that is not the case with Yoda’s duels.
For example: the climactic saber duel in The Phantom Menace results in the death of Qui-Gon Jinn which gives way to Anakin being less-than-well trained by Obi-Wan. The death of Darth Maul opens the way for Dooku to become the new Sith apprentice, and setup the circumstances for the Clone War. In Attack of the Clones, Anakin charges into battle, gets his arm chopped off, and begins to lose more of his humanity from this loss. This motivates him to kill Dooku in Revenge of the Sith, and his death makes way for the rise of Darth Vader. Then, Obi-Wan destroys Grievous, and thus, motivates the end of the Clone War, the attempted arrest of Palpatine, and Anakin’s turn to the Dark Side of the Force. Vader versus Obi-Wan in that same film results in the half-man, half-machine Sith Lord, destroying Anakin Skywalker further. Ben Kenobi’s death in A New Hope allows him to become “more powerful than you can possibly imagine” by becoming one with The Force, and helping to guide Luke anywhere at anytime. The duel in The Empire Strikes Back clearly sets up a whole host of character and plot twists to the point where in Return of the Jedi, the final duel between Luke Skywalker and Darth Vader becomes the catalyst for Luke to put down his arms, and ultimately, instigate the event that turns Darth Vader back into Anakin Skywalker. So, you see, lightsaber duels are never gratuitous action scenes. They serve a very specific plot purpose. That is except for all of Yoda’s lightsaber battles.
They do absolutely nothing to further the saga along. Here, he fights Dooku, only to lose. In the following film, he fights the Emperor, only to lose. By showing that Yoda is unable to defeat a Sith Lord in battle makes it difficult to believe he’s the right one to train Luke in The Empire Strikes Back. Not to mention, in that marvelous film, Yoda talks entirely about how the physical is inconsequential to one’s power with the Force, but in Attack of the Clones, he does nothing but resort to physical means of combat when a few minor Force tricks do nothing against Dooku. And once he has lost, he is apparently so worn out from the battle that he has to strain his Force abilities to lift a piece of machinery from crashing down on Obi-Wan and Anakin. In Empire, Yoda lifts the whole X-Wing fighter from the swamp and onto land with amazing grace and ease. There, all that mattered was the will and confidence to achieve such a feat. This is another obvious example of George Lucas’ change in philosophy that occurred between the creation of the two trilogies. Yoda’s physical strength should not have an effect on his power with the Force. If Yoda can only call on his Force powers in short bursts and it exhausts him to do so, that only shows that his power is very limited. This is in direct contrast to Yoda’s teachings in Empire that, because the Force is his ally, he is powerful beyond physical strength. By failing to defeat any Sith he opposes, and straining to do what should be easy for him with his purported Jedi mastery, it only proves that he’s no more capable than any other Jedi. Yoda is supposed to be the most accomplished and powerful Jedi around, but if this is the extent of their power and wisdom, it is no wonder the Empire was able to wipe them out.
Another thing that is eradicated, again, is intelligence. I mentioned in The Phantom Menace the absurdity of how the Senate was run in that one outspoken statement from any one representative immediately causes sweeping change in the Senate. That returns here, and in cringe inducing fashion. As Senator Amidala returns to Naboo to hide from her assassin she leaves Jar Jar Binks to act in her place with her Senatorial power. Representative Binks is then manipulated into going before the Senate and propositioning the Senate to vote emergency powers to the Chancellor so he can authorize the creation of a Clone Army. This one vote from one STAND-IN for a Senator immediately allows for it to happen. Meanwhile, throughout the rest of the film, the Senate is entrenched in conflict over whether to create an army or not, and Amidala has been the leader of the opposition to this. I find it highly improbable that the majority of the Senate and Amidala’s supporters would suddenly roll over because this dim-witted fool speaks up. I mean, it’s not like they didn’t just have Padmé on a holonet transmission where she could speak on her own behalf in front of the Senate. Not to mention, why is everyone talking about going to war the whole film when, until Obi-Wan uncovers the Separatist’s plans, no hostile action had been taken against the Republic? As far as the Republic knows these people simply want to become a separate autonomous alliance of worlds. Sure, the Republic being split in two would cause some controversy and unease, but immediately jumping to the prospect of war is a little rash when they have no evidence of violent intentions from the Separatists.
I also have issue with what was done to Boba Fett in Attack of the Clones. I’m a general fan of the character, and I find him interesting and exciting. However, Lucas does another frivolous, pointless change to a character. Making Boba Fett a young clone of Jango Fett is inane as it serves no purpose towards the plot or the characters of Jango or Boba. There is no reason Boba Fett couldn’t have been a regular offspring of Jango, and be given his own unique identity instead of being just another clone out of thousands or millions. I also find it quite creepy that Jango is raising a clone of himself. It almost sounds like the strange machinations of a mad scientist to being doing such a thing. Speaking of pointless things, the assassin Zam Wessel had no purpose to being a shape shifter. Again, it serves no purpose to the character or plot. It actually could have been used intelligently with Zam changing form and escaping into the crowd, and creating an actual challenge for Obi-Wan and Anakin. Instead, it’s just there to make her more “alien” and to show off another little visual effects gag.
Digging into Jango Fett a little more, I did enjoy what Temuera Morrison brought to this role. He’s both a cunning, dangerous bounty hunter and a smooth gentleman. Morrison has some restrained charisma in this role allowing Jango to come off as a smart and savvy villain that is confident without being arrogant. He has a very nicely played scene opposite McGregor as Fett and Kenobi size each other up in a stand-offish exchange of words. It’s a strong first true impression of Jango that really sparks an interest, and Morrison handles the overall demands of the role exceptionally well.
On the technical side of things, Ben Burtt should be ashamed of some of the editing in this film. The one part that stands out is the saber duel between Anakin and Dooku. The close-up shots of the two swinging their blades around actually have no continuity to them at all from one shot to another, and hardly look like they’re clashing blades. It looks more like an interpretive dance than an aggressive battle. It’s shoddy work. There are other instances where editing should’ve been tightened up to maintain immediacy in character reactions, or maintain rhythm in certain action sequences. However, the sound design in the film is excellent. The sonic charges deployed by Jango Fett in the asteroid field create one of the most awesome speaker blasting sound effects I’ve ever heard. The city sounds on Coruscant are excellently crafted to create a nicely enveloping world, and the end battle scenes are well balanced for fine clarity where the sound effects don’t simply become an indiscernible onslaught.
What I also do like about this film is the added atmosphere tying in with the mystery elements of the story. The various night scenes create a neo noir visual aesthetic that really appeal to my tastes greatly. The stormy environment of Kamino was an excellent choice that further heightened the mood of the film. As Kenobi gets deeper into the mystery, the more treacherous his surroundings become, and it culminates in a stellar fight between Obi-Wan and Jango. The slippery aspect of the landing platform added a different dynamic which keeps the sequence exciting and unpredictable. Obi-Wan doesn’t get to rely on the lightsaber as much, and has to be more innovative and cunning to survive. This is more akin to classic Star Wars were characters were made intelligent to figure their way out of tight situations.
Of course, pulling directly from the original trilogy is not entirely the most successful approach as the end duel between Anakin and Dooku demonstrates. It tries to recreate some of the smoky light and shadow effect of the climactic duel in Empire, but it comes off as forgettable and mild. It really comes down to a buildup of characters, emotions, and plot points. In Empire, the visual of the carbon freezing chamber with its smoke and orange and blue lighting enhanced the tone of the story being told. It is dark, mysterious, foreboding, and ominous. Everything built up to this, and it sends a chill down the spine of many viewers. Here, it’s just a nice visual. There’s nothing inherently bad about it, but it’s just another hollow throwback to a better film. The duel itself is not that impressive, either. Conversely, I’ve never had an issue with the asteroid field battle in this film. It’s entertaining and exciting. While it is a throwback to Empire, it works for me as it is a logical progression of the plot, and showcases some of Obi-Wan’s cunning combat skills.
While the plot is more sensical than The Phantom Menace, there is both padding to make up for a lack of plot developments and hanging plot threads that never get tied up, ever. Obi-Wan’s investigation into the poison dart should really end with the scene where he meets Dex who tells him its from Kamino. Instead, it goes on for another two scenes where he investigates the planet in the library, and then, since he can’t find it there, he goes to Yoda for answers. Yoda has none, but the little kids he’s training do. This not only unnecessarily pads out the film, but also makes Obi-Wan Kenobi look stupid because he can’t figure out something a five year old who can’t act could. It’s never explained who deleted Kamino from the Jedi Archives, or how they did it. Also, everything about Jedi Master Sifo Dyas ordering the Clone Army despite having died around the same time is never cleared up or resolved. I could speculate on the truth, but that is all that can be done. Lucas lays no clues to come to a confident answer, and no one in the film tries to figure it out. It’s entirely forgotten by the next action sequence. It is also curious that the Sandpeople would hold Shmi Skywalker captive when they’ve always been murderous scavengers, and there is fan conjecture over this saying it was orchestrated by a third party. However, there is hardly anything within the context of the films to perceive it as anything more than it appears to be.
Again, the romance storyline between Anakin and Padmé really doesn’t hold together. The dialogue is stilted, the performances are wooden, and the entire interaction is more like a screenwriter’s naive perception of love. The Han Solo and Princess Leia relationship worked because these were two well developed characters with strong personalities and honest, realistic emotions. It felt like a natural, organic relationship that evolved and grew between them. Plus, they didn’t fall in love and get married within the course of a few days. Anakin and Padmé feel like an immature teenage high school couple who over dramatize their so-called romance because they have no genuine grasp on what real love truly is. They think that what they have is love, but they would be wrong. What they have, at best, is the illusion of love built upon teenage style angst and physical attraction. And again, Padmé is subjected to Anakin whining about Obi-Wan, blaming him for everything that’s wrong in his life, being insubordinate to his superiors, bitching her out in front of the current Queen of Naboo, and confessing to the mass murder of not just the Tusken Raider men, but the women and children, too. Quite frankly, in any other film, Anakin Skywalker would be the psychotic villain, and Padmé would be running away from him screaming in horror. I can’t imagine that she is meant to be a moronic idiot, but that’s exactly how she continually comes off considering all of this nonsensical madness. No woman in her right mind would be so eager to love and marry a man like this. It also makes no sense to me why Padmé is so vehemently opposed to just being involved with a man. She keeps saying she loves Anakin, but then, says she can’t love him because she’s a Senator. That doesn’t compute in my brain. No other reason is ever given. She’s a Senator, and so, she can’t go out on a date. That’s her entire reason. No expansion on that at all. It’s ridiculous.
Never minding all of that, Attack of the Clones has plenty of good action sequences. While not all come off as rational, like Obi-Wan uncharacteristically jumping out the window to grab the assassin droid (couldn’t he have just used the Force to disable it and bring it to him?), the scenes are well structured and choreographed. They are all different and maintain good momentum, to a point. The previous movie had a serious lack of compelling action scenes, and traded them off with long, drab dialogue scenes. Here, it seems like they have to milk the action scenes for as much as they’re worth because the plot lacks enough threads to weave throughout the 120+ minute run time. While the droid factory sequence is decent, it is ultimately another piece of run time padding. It could be a much tighter sequence, if you had to have it, but it needs to be long to stretch the story out. This is the case with most of the action scenes especially the speeder chase through the nighttime of Coruscant. It’s not a bad action sequence, but an action scene is best when it’s tightly paced and gets straight to the point. If you’re going to have a chase scene, make it count with a solid pay-off.
Again, there are some cringable attempts at humor here, but this time, it falls on R2-D2 and C-3PO. I won’t get into it. It’s brain dead idiotic slapstick gags that would even be bad in some television program for kindergarteners. This crap has nothing to do with anything in story, action, or character development. It’s gratuitous garbage filled with horrible puns, and that’s all I’m going to waste my time mentioning it because this review is too long as it is already.
I really hoped to say more positive things about this movie, but the more I dug into it, the more flaws I saw. It’s frustrating to me that I want to enjoy more about this movie, but it’s designed to backfire on me. I’m not going into these films with the intent of tearing them down, and I hope the praise I have offered up reflects that mentality. I don’t have any memories that stick out about my theatrical experiences with this movie, unlike the other two prequels, and so, I can’t recall my early feelings on it. I did purchase the John Williams score CD the same day, and so, that says something. Of course, regardless of the quality of the films, I do own all of the soundtrack CD sets. Anyway, while Episode II makes some improvements from Episode I, some problems are exchanged for others, and some of the biggest ones are never fixed. Again, I don’t want to hate on George Lucas, but the man is not helping me to avoid doing so. I can forgive certain underdeveloped aspects of a film depending on various factors, but the rampant stupidity of some characters and the horribly contrived love story are too much to forgive. Thankfully, I do have very fond memories of Star Wars: Episode III – Revenge of the Sith, and so, I have more sentimental leeway to offer it. But that’s another review for another time. As Attack of the Clones stands, it’s a long way from greatness, but at least, I can sit through it. I can’t say the same for The Phantom Menace.