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.
The short version of this review if that The Amazing Spider-Man is a pretty damn good film. I liked it. Now, I fell off from being a fan of Sam Raimi’s Spider-Man movies. The first one was okay, but very cartoonish. The first sequel is something I passionately hate, and have no desire to ever subject myself to it again. Thus, I never bothered with the third film. That made the news of a reboot immensely pleasing to me. I was very excited to see all that muck washed away, and allow a new filmmaker to start with a clean slate. Mainly, what I like about this movie is how character driven it is, and how well developed the emotional qualities of it are. Instead of a very self-pitying Peter Parker, we get one that feels like the character I’ve wanted to see, and is one that is highly enjoyable to invest myself in.
Peter Parker (Andrew Garfield) is an outcast high schooler who was abandoned by his parents as a boy, leaving him to be raised by his Uncle Ben (Martin Sheen) and Aunt May (Sally Field). Like most teenagers, Peter is trying to figure out who he is and how he got to be the person he is today. Peter is also finding his way with his first high school crush, Gwen Stacy (Emma Stone), and together, they struggle with love, commitment, and secrets. As Peter discovers a mysterious briefcase that belonged to his father, he begins a quest to understand his parents’ disappearance – leading him directly to OsCorp and the lab of Dr. Curt Connors (Rhys Ifans), his father’s former partner. As Spider-Man is set on a collision course with Connors’ alter-ego, The Lizard, Peter will make life-altering choices to use his powers and shape his destiny to become a hero.
I want to start out with the tone of this film. Some may have labeled it a “darker” approach, but that is an incorrect term. This is a serious, dramatic approach to the character with substantive depth. However, that doesn’t mean it is not fun. In fact, this is a very fun movie that finally gives us the witty, charismatic Spider-Man that was sorely absent in the previous three films. There is a scene where Spidey to webbing a criminal to a brick wall, and the Web-slinger is spouting off the funniest wisecracks which never border on campy or cheesy. Spidey’s never been an intimidation type of hero like Batman or the Punisher. He uses his sharp wit and humor to throw his adversaries off balance, but most importantly, it shows that Peter Parker is having a lot of fun being Spider-Man.
The more dramatic tone is handled exceptionally well by director Marc Webb. The character is treated with love, respect, and integrity. The relationship between Peter and Gwen is very heartfelt, and never shies away from Peter’s understandable awkwardness. It makes the character endearing and likeable. Andrew Garfield and Emma Stone have solid chemistry making every loving moment magical. Of course, the emotional resonance for Peter goes deeper and further than this. When Peter loses loved ones in the film, it deeply penetrates through the screen. The connection and mystery surrounding his parents’ death is the linchpin of Peter’s story here. It’s what drives him forward through the narrative, and causes a lot of heartache and emotional pain for him. He’s sad, angry, and curious about it at different points in the film. Both Webb and Garfield make Peter’s pain strongly relatable and sympathetic. It pours out even stronger after what happens to his Uncle Ben, which is handled with similar circumstances as in the original comics.
Marc Webb and the screenwriters made some smart choices in presenting a similar yet slightly different origin for Spider-Man. Long standing events in the character’s origin still exist, but are simply given a different environment. Same general context, but presented in a way to not be carbon copies of what was done in the Sam Raimi Spider-Man. These sequences entirely retain the purpose and resonance they’ve always have, but we just get to see a different take on how they happen. For instance, Peter gets bitten by the genetically altered spider because he goes snooping around OsCorp seeking answers on his father. It’s not a pure chance that’s he’s at the lab. Specific actions are taken by Peter to place himself in that situation, and Spider-Man is born out of it. Again, these events are driven by character motivations. They are plot elements that link back up with one another and tangle up quite nicely.
I love the newly designed costume. Admittedly, I’m more of a general Spider-Man fan, not a die hard one. So, I felt that Spidey’s costume could use a little updating, and this fits the bill very well. The costume slowly comes together as Peter refines how he operates. I also love how the web-shooters come about. Sam Raimi decided to make them organic in his films because he didn’t think it was believable that Peter Parker could create an adhesive that some big corporation couldn’t invent. Here, it is invented by a big corporation – OsCorp – and Peter merely obtains a supply of the material. That’s a brilliantly simple solution. The mechanical shooters, however, are his creation.
The overall look of the film maintains that dramatic tone with a rich color scheme and respectably moody lighting. Cinematographer John Schwartzman really does a fine job giving weight and beauty to the dramatic character scenes, and plenty of rousing, exciting camera work to the action sequences. It looks like a big movie. As always, I only go see the 2D versions, but I can see a few sequences theoretically turning out rather impressively in 3D, especially the Spidey point of view shots when he’s web-slinging. There are plenty of dynamic and big shots in the action sequences to give your eyes a pleasant visual feast. Complementing that is James Horner’s gorgeous score. He’s done scores I’ve not cared much for, but he’s also done some wondrous work that I think highly of. He does an exceptionally strong job here giving the film both its poignant emotional moments and its big heroic themes. Marc Webb really pulled together all the right elements to encapsulate a cohesive tone overall.
And yes, Andrew Garfield is stellar in this role. I like his take on the character. He’s not some lowly geek with no spine. He’s much more modern as a teenager who has a good heart and the desire to stand up to the bully in Flash Thompson, but just doesn’t have what it takes to physically or confidently take a stand. He can be a little socially awkward here and there, but you can see his heart and charm shine through. Garfield brings out a fully dimensional character that I truly felt for throughout the movie. It’s a character journey where Peter has to come to grips with a lot of emotional struggles, and to grasp onto his responsibilities. He helped Curt Connors find the missing equation that allowed him to become this mutated menace, and Peter knows he has to clean up his own mistakes. As it has to be said, Garfield AMAZINGLY handles all these diverse aspects from the socially awkward to the heartfelt teenager in love to the emotionally hurting to the humorous wise cracker to the inspiring hero. He is truly a rock solid fit for this character, and a substantive actor who can carry this franchise for a long time to come.
Emma Stone is equally as good. She has talent to spare that makes an audience take investment in Gwen Stacy. She’s a loving, caring, well rounded character brought to textured life by Stone. She is beautiful and intelligent, making it no wonder why Peter Parker would be so fully taken by her. I know that, in the comics, Gwen Stacy is killed by one of Spider-Man’s villains, but frankly, with an actress of this quality and breadth of talent, it would be foolish to dispose of her in any soon-to-come sequel. Again, she has glorious chemistry with Andrew Garfield, and this film definitely takes its time to develop their loving relationship. I hope to see it grow and flourish in any sequels Columbia Pictures chooses to make.
I also very much liked what Denis Leary did with Captain George Stacy. Leary easily could’ve slipped into an area of comedy with his line deliveries, harkening to his role on Rescue Me with cynicism and such. However, he keeps it restrained. Leary has impressed me vastly with some dramatic roles in the past while also balancing humor such as in Suicide Kings. Here, he keeps Captain Stacy a respectable man with a serious, focused mind. He makes the character strong and pertinent as well as showing us some heart along the way. It’s very exceptional that so many characters are given noticeable development as the film progresses.
I even like how Flash Thompson is given some development. At first, he’s the usual hard ass bully muscling people around, but he’s given a few scenes where he softens a little. He expresses compassion for Peter’s loss, and even sort of kids around with him at the film’s end. That’s such an excellent touch to not make Thompson a one dimensional convenience. So many times, a bully is just a shallow foil for the hero to overcome. Here, we see that he is a human being with the capacity for being more than just a jerk. That’s very nice work by the filmmakers with excellent execution by actor Chris Zylka.
Greatly compelling in the role of Dr. Curt Connors is Rhys Ifans. He’s an intelligent character who slowly becomes more obsessed with his increasingly crazed machinations. Once he’s injected with that serum, it begins to change him both biologically and psychologically. Ifans goes from a fascinating, if distant character to much more unnerving and intimidating. It’s a rather subtle performance he puts in, never trying to go over the top. It entirely goes with the film’s general tone, and surely builds Connors up to being threatening as his psychological state becomes more unhinged.
Lastly with the cast we have Martin Sheen and Sally Field as Uncle Ben and Aunt May Parker. I really, really liked them in these roles. Sheen conveys the feeling of a surrogate parent doing the absolute best he can to be as good as Peter’s own father. He’s compassionate and understanding, but also, stern when called for. With the limited screentime he has, he creates a character that can resonate with an audience through Peter’s perspective. Sally Field gives Aunt May a more modern sensibility than how the character is usually portrayed as some soft, grandmotherly type. Field still gives her vulnerability and compassion, but feels like a parent most can relate to. She has some spirit, humor, and inner strength that I very much admired.
I really just enjoyed how everything felt more contemporary here. Characters felt like products of the world we live in, and have realistic depth. It’s a long period of time before Peter Parker dons a costume in this because a lot of time is taken to develop the characters and the context of the world they inhabit. It all feels very rich and dimensional. This now feels like a film franchise that can have many layers to it that is not so action dependent. It can create a compelling story driven by the characters and their emotional states. Marc Webb definitely leaves the mystery about Peter’s parents open to be further explored and unraveled in another film or two. There is a single scene just after the start of the end credits featuring Dr. Connors speaking to this effect with an unidentified character. It’s a definite tease that keeps that storyline in the forefront of the minds of the audience. I also like how Norman Osborn is continually mentioned, but never shown. This sets up an unknown reveal of if and how the Green Goblin may enter into this franchise.
The visual effects are pretty good. There’s a lot of really good stuff, and some effects that could still be better. The Lizard himself can seem a tad lacking in the seamless realism. Granted, it’s difficult to make a nearly seven foot tall Lizard appear realistic, but I just felt that it didn’t always interact well with its real world surroundings. It could be a little cartoonish, especially when tumbling around with Spider-Man at times. However, it never soured the movie to me. Admittedly, the digital creation looks better in darker environments such as the sewers or nighttime exteriors, and that’s mostly where we see him. Thankfully, essentially everything with Spider-Man as a digital effect is practically seamless. I wasn’t so sold on it from the trailers, but in the film itself, I really can’t see any difference. The motion of the character remains consistent with realistic weight given to his movements. No loss of texture was evident to my eyes, either.
The action sequences tend to be very smart. It’s very much making great use of Spidey’s various powers, and the environments they are set in. I immensely loved the subway car scene where Peter is first discovering his powers, by accident. You see the Spidey Sense in action as he reacts instinctually to threats and showcases his speed, agility, and strength without even realizing what he’s doing. It’s also a rather funny sense as Peter unintentionally assaults some troublemaking subway riders. There is a sequence showing Peter being overwhelmed by these strong powers, but he slowly reigns them in as he gets more comfortable having them. It’s handled with some wit and humor along the way. More dire action scenes really demonstrate the great dynamic between the Lizard and Spider-Man. The former has the strength and size advantage, but that just forces Spidey to be more inventive and strategic in how he battles this foe. The climax of the film is very well handled entirely shying away from the worn out “damsel in distress” scenario, and going with something far more organic from the plot that has more dire consequences for the whole city of New York.
However, as I said, this is a character driven story, and the film doesn’t end two minutes after the action climax. It takes what time it needs to tie off the emotional and character threads that the film spent so much careful time developing. I really, really like that, and it’s qualities like that which really elevate this film for me. While I wasn’t astounded or floored by the film as a massively exciting experience, I found more value in that it was structured around character and the intent on building a deep, rich palette to draw upon for stories with more emotional depth and resonance than what was given to us previously. I can definitely see some people not quite liking this film so much as does feel like a 136 minute film with its more easy pace. It is a film that takes its time, but balances the drama with plenty of fun.
If Sam Raimi’s Spider-Man 3 was the equivalent of Joel Schumacher’s Batman & Robin, then The Amazing Spider-Man is the Batman Begins equivalent for this franchise. I give The Amazing Spider-Man high praise and a wholehearted recommendation. I was disappointed that The Avengers had such a weak plot and a totally stock villainous force with no emotional depth or character development. This is just the opposite as I came to care for practically every pertinent character on screen because the writing was so strong and the direction was very strong and deeply impressive. The story is injected with plenty of substance with beautiful chemistry from its romantic leads. It never gets lazy by falling into clichés, and is intent on being fresh and weighty with a nice sense of fun. The more I think of it, the more I love what this movie has to offer. I wholly believe it is worth your time to experience it. While it doesn’t have as much big action punch as The Avengers, I damn well enjoyed The Amazing Spider-Man a hell of a lot more. It feels like a full, fleshed out film with a world of possibilities to explore in subsequent entries. I just hope most of the audience can see the value in it that I do because I really want to see more of this Spider-Man.