When I see the name Platinum Dunes attached to a horror remake, I hang my head in a wholly disheartened state. While I did enjoy their remake of The Texas Chainsaw Massacre on its own merits, everything after that has been stuck in the mud sinking further and further into uninspired junk. I’ve given them fair chances, but they have failed in such colossal ways. The final nail in the coffin was this remake of A Nightmare On Elm Street. A cluttered, drab, plodding mess is what this film turned out to be, and even not comparing it to Wes Craven’s original classic, it’s still a poorly executed film.
Five teenage friends living on one street all dream of a sinister man with a disfigured face, a frightening voice and a gardener’s glove with knives for fingers. One by one, he terrorizes them within their dreams – where the rules are his and the only way out is to wake up. But when one among them dies, they soon realize that what happens in their dreams happens for real and the only way to stay alive is to stay awake. Buried in their past is a secret that has just begun to be revealed. To save themselves, they must plunge into the mind of the most twisted nightmare of all: Freddy Krueger
Okay, remaking A Nightmare On Elm Street is not an outright terrible idea. There are certainly ways to expand upon the original idea, enhance the effects, and execute it with a new, yet still effective style. Surely, a sequel could just as easily do the same, but for whatever reason, despite the massive success that was Freddy vs. Jason and the fact that Robert Englund could easily reprise his iconic role, New Line Cinema chose to just remake the original. However, no one involved in this film did anything to make this a film worth making. I think it’s easier for a franchise to recover from a bad sequel than a bad remake. With a bad sequel, you still have better moments in continuity and filmmaking efforts to build upon, and if the sequel is bad enough, like Highlander II bad, you can disassociate it from continuity. A bad remake stops progress dead in its tracks because the beginning of this new continuity is not well received, fans don’t like the direction the property was rebooted into, and the general fan base doesn’t want to see more of it. There’s next to nowhere to go, and that’s why you rarely see sequels to remakes.
Jackie Earle Haley is an excellent actor, and I have very much enjoyed him in a couple of roles. There was a potential for him to deliver something impressive and unique here. There are a few things he does that were new and original in terms of mannerisms. However, by no fault of his own, neither the script nor director gave him anything worthwhile to sink his talent into. Krueger is poorly developed as the filmmakers try to take him in a different direction, but the entire premise backfires in such a sloppy, brain dead way. Trying to suggest that Krueger was wrongfully accused and unjustly murdered could work under more talented screenwriters and filmmakers, but it’s just handled stupidly and with no forethought. However, the biggest issue, for me, was that Haley was too recognizable even under that very good make-up job. When I saw this theatrically, I had just seen Haley regularly on the Fox television series Human Target, and so, his face was very familiar to me. Even the voice he uses is essentially that of Rorschach from Watchmen with a slur. It feels like a half thought out package, at best, which is an accurate blanket statement for this entire movie.
A problem arises with the performances by its young leads. This film does quite a good job accurately portraying sleep deprivation with people being frayed, exhausted, drowsy, and essentially very drained of energy. Unfortunately, that also creates a set of performances that are drab, lifeless, and generally disinteresting. The thing is, in none of the previous Elm Street movies did I ever have a problem with the actors actually putting energy into their performances when they were meant to be sleep deprived. For one, the make-up department did their jobs in weathering the young actors to look the part, much the same is done here, but secondly, energy and conviction are exactly what are needed to make these performances not just good but engaging.
Honestly, I don’t even think the lackluster acting is the fault of the cast. There are some very strong talents here such as Rooney Mara as the film’s lead Nancy Holbrook and Thomas Dekker, who I know well from the Terminator: The Sarah Connor Chronicles TV series. I think the blame is entirely in the hands of director Samuel Bayer. My point of proof here is Clancy Brown. Let’s put The Kurgan aside. Go watch Kathryn Bigelow’s Blue Steel, and you will see a charismatic, lively, and excellent performance by Brown in a very grounded role. The main difference is that’s Kathryn Bigelow, an Academy Award winning director who has done increasingly incredible work over the years. Samuel Bayer is making his feature film directorial debut here after almost two decades of directing nothing but music videos. This movie does look fantastic, but beyond the great visuals, there is nothing here that impresses at all. That’s what I keep seeing from all of these Platinum Dunes directors – movies that have excellent visuals and polished cinematography, but are very hollow, uninspired, and unimaginative. Music video directors know how to make a good looking product, but have next to no experience working with actors to craft anything more than superficial performances. Surely, sometimes you get a Russell Mulcahy or David Fincher, but there are far more directors like Samuel Bayer and Jonathan Liebesman that come around who just have little to no talent working with actors and drawing out a strong performance from them. They are good visual storytellers, to a degree, but lack the multi-facetted skills required to be a full-fledged filmmaker.
I think the biggest shortfall of this film is the lack of genuine suspense and tension. I was only afraid of another jump scare coming out of nowhere, and frankly, it kept me too on guard. I kept bracing myself for another cheap scare. This film just throws jump scare after jump scare after jump scare at you. It takes no talent or skill to have someone jump out of the shadows with a loud musical stinger behind it. It’s cheap and worthless. And some of the gags are so blatantly setup that I called them before they even happened. The result of all this is the fact that Freddy doesn’t feel built up enough. He’s not a looming figure screwing around with you making you squirm. He’s the boogeyman jumping out at the shadows every chance he gets like a kid on Halloween, and that’s simply a hollow, go-nowhere idea that shows the difference between a blunt, shallow filmmaker and someone like Wes Craven or James Wan who knows how to build up atmosphere, tension, suspense, and manipulate the nuanced aspects of a film to truly scare you.
Aside from the respectable, moody cinematography, I will give credit to the film in that the tone is kept serious. There is no camp humor or jokey qualities to it. The filmmakers try to keep it very solid, focused, and dramatic. Sadly, the skill of the filmmakers is too thin to hold the weight that the film should have. The entire film does feel like a product designed to grab dollars and be forgotten. There is no artistic passion behind any of it, and the quality of the story suffers for it.
As I said in a previous Elm Street movie review, I do applaud that the various filmmakers always tried to introduce new, fresh ideas into the franchise, and never just laid back on carbon copy sequels. The downside is that the new ideas haven’t always worked, and the entire plot of misdirection regarding Krueger’s possible wrongfully accused back story is poorly handled. The way Krueger acts throughout the picture doesn’t lend credence to a man who was dealt a grave injustice, but an evil, sadistic man who enjoys torturing and slaughtering people. All the while, our lead characters are running around trying to unravel a mystery that ends up being a red herring, and thus, it was all just a giant waste of the audience’s time and attention. The idea is not executed well to misdirect an audience, and there is ultimately no pay-off for it, regardless. Not to mention, it’s an extreme plot contrivance that every single one of these kids blocked out the memory of Fred Krueger and their time at that school. So, it was a potentially interesting idea, but with how short-sighted every idea is in this film, it had no hope of actually developing into anything close to its potential. That is another easy, blanket statement to apply to everything in this film.
The visual effects of this remake are really not very good. For one, there’s no excuse whatsoever for CGI blood in an A Nightmare on Elm Street movie. NONE! It looks cheap and unconvincing. There are a number of effects here that are passable, but the bad stuff really just jumps out at you. Also, this movie proves that a simple practical effect and some artistic vision trumps digital effects. The scene of Krueger pushing through the wall, which was achieved in the original with Robert Englund literally pushing himself against a latex wall above Heather Langenkamp, looks like flat, uninspired garbage in this film as a digital effect that seems like a leftover from The Frighteners. And on a similar level is Platinum Dunes’ regular composer Steve Jablonski’s score. Where Charles Bernstein’s score for the original was fresh and inspired with a perfect nursery rhyme style theme, Jablonski’s score is forgettable and entirely typical. The original Elm Street theme appears only once, and that is when the film’s title card slams onto the screen. It’s never heard again, and once again shows how little reverence these filmmakers had for the property they were dealing with.
And while the supporting cast is decently well acted, no one stands out. No one really takes the stage and defines themselves apart from anyone else. I do think it was a poor decision to not have a John Saxon style character here. A mature adult character with compassion and a level head who could carry substantial weight with him. Yes, there are actors here with that capability, but the writing and directing take no advantage of the talents that it does have to make these characters anything but mediocre, drab, and shallow. The whole film does feel like it’s playing it a little too safe, including the acting. If they pushed the boundaries further, maybe it would be more engaging and potentially scary. Craven’s original film did things that were original, new, and innovative. This remake just comes off as a tired, passionless piece of merchandise.
Quite frankly, there was no one trying on this film. They followed the script like a blueprint and just created a film as flat as the paper that script was printed on. One of Platinum Dunes’ big problems is that they keep getting music video directors who have no experience with a script, actors, or crafting scenes, only in creating a three minute long marketable image for a band. They really need to get a real director who knows how to create an engaging ninety minute story with dimensional characters and coherent plotting. Not to mention, a filmmaker who can actually make a suspenseful, scary horror film.
So, over twenty years later Rick Rosenthal would return to the Halloween franchise for this entry. I honestly have never liked Halloween: H20 for a multitude of reasons, and I don’t wish to sit through it again to review it. Thus, I was so immensely glad that this film promptly retconned the ending of that movie, and allowed for Michael Myers to live again and not die like a punk. I know there are those who disagree with that feeling, but so be it. While I do find this sequel enjoyable to a degree, it does have valid issues to critique about it.
For the first broadcast of the new reality website Dangertainment, a group of college students are hired to explore the ruins of the house of infamous murderer Michael Myers. Six cash-strapped friends decide to explore the home, but what they don’t know is that Michael is on his way home back to Haddonfield after a fateful confrontation with his sister Laurie Strode (Jamie Lee Curtis). Now, being broadcast across the internet, these unsuspecting victims will fall prey to Myers’ methodical blade.
If this movie was made ten years later, it probably would have been a found footage horror movie. Very little would have to change to accommodate that approach, but thankfully, that’s not the case here. I can understand why this story idea was used. This is the eighth movie in this franchise, including Season of the Witch, and a studio is going to feel like they need a fresh gimmick to drive in audiences. Paramount felt the same thing when they made Jason Takes Manhattan. The problem is that these ideas are usually not all that favorable with audiences. I love slasher movies, but I do like someone doing something fresh with the formula every so often. Frankly, I think Halloween: Resurrection executes this idea as well as it can be. In fact, it has some strangely honest commentary on reality television. Dangertainment mocks up the entire Myers house with false clues about Michael’s upbringing because they know actual reality is boring. No one would watch a bunch of people wandering through an empty house. The head of the company, Freddie Harris, has to dress it up and create an illusion and sell it as reality so to make it entertaining. I like that the Freddie character does come around to denouncing that illusion and the using of Michael Myers as a sound bite to drive viewership up. It shows an effort on the part of the filmmakers to make something of the premise, which is indeed dated. Halloween: Resurrection might be far from the pinnacle of this franchise, but it’s far more consistent than the rushed mess of The Revenge of Michael Myers.
If you watched the trailer for this you might believe that Jamie Lee Curtis had a larger role in it than she really does. Her story is confined to the opening sequence at a psychiatric hospital where she has her final confrontation with Michael. A quick summation at the film’s start states that Michael Myers had switched outfits with a paramedic before the last film’s climax, and it was that poor soul with a crushed larynx that Laurie decapitated. What ensues in this opening sequence with Laurie and Michael puts the storyline to rest. I’m sure there are fans who did not like this at all, possibly as much as I hated the ending of H20, but taken on its own merits, it is a well done sequence that is to the point. Laurie doesn’t go out in a blaze of glory, but really, you shouldn’t set your expectations that high for this movie. It’s just not that ambitious.
I do really like the look of this sequel. It makes great use of atmospheric lighting. It has the polish of a major studio feature, but Rosenthal and his cinematographer just know how give it that shadowy, moody quality. True to the John Carpenter roots, there’s some very solid use of blues and fine steadicam work. The video camera footage of the internet broadcast is about what you’d expect in the pre-high definition digital era. We get more and more of it as the film progresses, and you could take it or leave it depending on your disposition towards it. It has some effectiveness in certain sparse moments for us to see things from the characters’ point of views, which is evocative of the found footage genre like The Blair Witch Project had already shown, but there’s nothing special to witness here in that regard.
The biggest highlight of this movie is that I absolutely LOVE the score by Danny Lux. I honestly believe it is the best score of the sequels. Lux adds a heavier punctuation to the familiar themes, and overall, he crafts a more haunting, partially gothic aura to the film. It’s a score that really soars far above the quality of the film it is attached to. Regardless of what you think of this movie, you should definitely give this score a standalone listen. It is immensely effective. Danny Lux does an amazing job with it.
Now, I don’t think this is a bad cast. For the most part, they do come off as fairly standard slasher film fodder, but this cast does seem like they are putting forth an honest effort. Each one tries to make their character enthusiastic, charismatic, and somewhat entertaining. There’s no real standout, but everyone essentially delivers a performance of a consistent, equal level. I wouldn’t say this new cast features anything approaching greatness, but it’s good for the expectations you would likely have.
Bianca Kajlich does well in making Sara a relatable and sympathetic lead. There’s very little to the character, same with everyone, but there’s enough of a decent, vulnerable person in her performance for it to work. She has this internet based relationship with the high school freshman Myles. Through that, they’ve built a foundation of trust and friendship, and it plays fairly well into the movie near the climax. Ryan Merriman is endearing as Myles. He’s definitely the audience’s conduit into having sympathy for the victims. He and his friends are at a Halloween party watching the online stream of the Myers house expedition, and witness the horror as it progresses with little to be able to do about it. Despite Myles and Sara being strictly internet pals, Merriman does a fine job creating an emotional connection between both characters. It’s almost a shame that the film never allows them to actually see each other face-to-face.
The role of Freddie Harris is indeed filled by Busta Rhymes. Clearly, he didn’t need to be in this movie, but I will give him credit that he doesn’t slack off. He portrays a role that’s within his ability as a charismatic salesman, but also does a fine job with the more fearful, regretful moments later in the film. We surely could have done without the Kung Fu fight against Michael, but at least the filmmakers did enough to set it up earlier on. In the fiery climax, he’s certainly played up for the sake of his fans, and it does feel rather out of place. You might as well have Arnold Schwarzenegger charge in there for as much as its played like an action hero moment. It would be essentially the same effect.
The role of The Shape is filled by Brad Loree who I feel does a decent job. It’s definitely Dick Warlock inspired, but not quite so rigid. His performance is simply okay. It doesn’t standout, the same as the rest of the cast, but it works fine for the demands of this film. Also, while he is listed as 6’2”, I think the baggy coveralls make him appear smaller in stature than he likely really is. The mask for his Michael Myers could have done with a little less airbrushing detail, but really, no sequel has really gotten the mask to look right compared to the original film. I’m not sure why that’s been so difficult.
The most important question, though, is if this film is scary. Well, it has the potential to be depending on how weathered of a horror fan you are. Rick Rosenthal really does a lot to set a strong visual atmosphere conducive to scaring an audience. There are plenty of spooky moments of Michael Myers lurking in the shadows, only seen in glimpses. It certainly has moments that could scare certain people, but generally speaking, it’s not going to do much for the seasoned horror fan. Especially ten years on, with the far more intense films we’ve gotten in this genre, regardless of your preference, Halloween: Resurrection is fairly tame. Even John Carpenter’s original is not really an effective horror film anymore to me, but I respect it immensely on every artistic level. It is, after all, the movie review of mine that launched Forever Cinematic in the first place.
The Halloween franchise is kind of a mess. There are a lot of subjective ups and downs depending on what storylines you enjoy. For me, I really liked where things were potentially going with the sixth film, The Curse of Michael Myers, mainly in its Producer’s Cut form, but so much tanked that potential resulting in Halloween: H20. I hated that film for killing the continuity and storyline that I loved, and intending to dispatch Michael Myers in an unimaginative, bullheaded fashion. This sequel ultimately feels like a weak whimper trying to extend the bankability of the franchise just a little further without enough ambition or unique talent to elevate it. It just tries to be a fun slasher flick, and if you take it as that, it’s fine. I can sit down and burn ninety minutes with it on a whim, but it’s entirely forgettable and dismissible. Aside from the potentially divisive opening with Laurie’s death, it really plays it safe with an either fun or lame premise. Essentially, you can take this film or leave it. If it’s on cable, and you’ve just time to kill, it’s a decent watch. I would like to give it a better recommendation, but knowing that there are a some far stronger films in this franchise, I can’t give it any further credit than this.
There has been one conspicuous omission from my reviews of the Halloween franchise, and it is this first sequel. The reason for this is, one, I have never really written a full review of it before, and secondly, I’ve never really cared for it at all. This stems from the fact that it has very little to offer me as either a fan of John Carpenter’s original or as a big slasher movie fan. Simply said, so much of it just doesn’t appeal to me. From the reworked score to the bland hospital environment to the clear shift from atmospheric horror to a reliance on gore, this isn’t the Halloween sequel that I want to see. Even the ones that are technically worse films, they have an entertainment value that I can indulge in on some level. There are many reasons why this film doesn’t even give me that much.
Picking up exactly where the first film left off, it seems the inhuman Michael Myers is still very much alive and out for more revenge as he stalks the deserted halls of the Haddonfield Memorial Hospital for Laurie Strode (Jamie Lee Curtis). As he gets closer to his main target, Dr. Loomis (Donald Pleasence) discovers the chilling mystery behind the crazed psychopath’s actions
It might sound somewhat unfair, but the vast majority of my gripes with this film are in comparison to John Carpenter’s original. However, with the fact that this film picks up exactly where the first left off, it demands that comparison because it is trying to convince us that this is a seamless continuation of that movie. The problem is that it doesn’t feel seamless in many aspects, and they are largely on the technical side. Still, there are issues with the quality of the script, and just the effectiveness of Halloween II as a horror movie that I wish to address.
To be straight up honest, I do not like the score for this movie at all. Yes, they are the same themes with John Carpenter and Alan Howarth doing the score, but the overly saturated synthesizer sound has never been to my liking. It doesn’t sound like a horror movie score to me. It sounds silly and over bloated. The first film’s score felt far more subtle and artistically applied. To me, the score for Halloween II just evokes no sense of tension, suspense, or chilling atmosphere for me. There are many instances where a strategic use of score could have been utilized to craft great suspense and nerve-racking tension, but instead, it’s dead silent. This score relies more heavily on the musical stingers, and feels poorly implemented overall. Carpenter’s scores usually craft a brilliant soundscape for a unique auditory experience, but there seems to be a significant lack of score in the moments where it should flourish.
Now, this is a very well shot movie, done so again by acclaimed director of photography Dean Cundey. It has some very good lighting schemes in certain scenes, and the continued use of the Pana-glide camera work is excellent. Director Rick Rosenthal does make an effort to emulate John Carpenter’s visual style, but I have always felt that the color palette of Halloween II was never quite right when compared to the first film. The hospital interiors feature a terribly bland color scheme, as most hospitals do, and because of this, it doesn’t have any of the visual pop of the first movie. There are no daytime scenes to soak in that late autumn feeling as this is all set at night, and really, it feels like it could be any night of the year. The film also lacks the atmospheric blue tones that Cundey used in the original as well as several other films he’s shot. Also, when I look at this film in certain instances, the lighting just doesn’t look quite right. The feeling, the mood, the balance of light and dark, at times, doesn’t feel consistent with the first film. This is especially evident when new footage is spliced into the revisited footage from the ending of Halloween. It’s not even knowing that it is new footage married with old footage. Back to the Future, Part II did this sort of thing seamlessly, and was also shot by Dean Cundey. These issues, I think, also stem from the fact that the first movie was a late 1970’s independently produced film while this is an early 1980’s studio produced sequel. It is inevitably going to have a slightly different visual feel due to extra money, studio mandates, a shift in filmmaking aesthetics, and a change of directors.
Even then, Rick Rosenthal’s film was tampered with by the studio and Carpenter as they felt it was too tame in comparison to other recent slasher films. While I can see the clear evidence of that since there is a definite lack of suspense, although much of that is, again, due to the absence of a score in key scenes, this is a sequel that didn’t stay true to its predecessor. Yes, of course, this is a slasher film that is going to follow many of the tropes of the genre which were originated in Halloween. However, this sequel feels like it’s trying to fit in with the Friday The 13th style slasher film craze instead of staying true to the Halloween style slasher. The genre exploded after the success of Friday The 13th, and it became very indulgent in gore and sexuality. It essentially became exploitative in that regard, and this film embraced that mentality whereas Halloween was a film built entirely on suspense and atmosphere. There is some suspense here, but it is especially sparse. Instead of holding to what made Halloween successful and effective in the first place, Halloween II tries to conform to what was popular at the time, and thus, feels second rate to me. Rick Rosenthal tries to match Carpenter’s style in many regards, but then, Carpenter comes in and tries to veer it away from what he originally did. It’s certainly not a film that is one director’s vision, and even then, Rosenthal isn’t given much to work with to make this as good as the first movie. I really didn’t get the feeling that there was enough creative effort put into this film to make it succeed in the creative vein.
One of the bigger problems here is that Halloween II feels scattered. The first film had a distinct plot progression as elements gradually converged with one another in a tight, cohesive way. This sequel is extremely loose in that regard. Laurie is essentially a stationary target throughout the movie, spending a good chunk of it asleep or screaming, but Michael Myers roams about the hospital killing everyone else while Loomis is out scouring the streets for Michael. No longer is Loomis in sync with his prey anticipating his psychology and instinctual impulses. He’s tagging along with the police instead of driving the narrative forward. Even the majority of his dialogue feels retreaded from the first movie as he re-explains the history of himself and Michael, and his talk about evil incarnate. It entirely feels like it is only there in case someone watching this movie never saw the first one. Even Donald Pleasance seems a tad monotonous delivering this reworked dialogue. While his performance is still of a high quality, there’s just nothing new for him to do here. The film also hardly feels like it’s building any momentum. John Carpenter reportedly had a very difficult time coming up with a story for this film while writing the script, and it really does show. Dr. Loomis and Laurie Strode have next to nothing to do here except uncover newly conceived secrets about Michael and Laurie’s past, which amounts to nothing. There’s no mounting tension heading into the third act, and Laurie’s chase scene earlier on is very mild and slow paced. This film doesn’t offer a sense of escalating threat until the last few minutes before Loomis engulfs himself and Michael in an inferno. The pacing is very monotonous because the story is very loose and lacks directional momentum.
The supporting characters here are mostly a lot of interchangeable hospital staff going about their mundane duties getting killed, and an audience likely couldn’t care less about any one of them. They feel like standard, hollow slasher film fodder, but without even the crutch of a stereotype to make them funny or entertaining. Carpenter’s original was smartly and greatly cast filling out very lively characters, but here, there are just so many throwaway characters with very little personality that very little care was needed to put together a memorable supporting cast. Even Sheriff Brackett vanishes from the film after learning of his daughter’s death, and so, we get new police officers who have really nothing fresh or pertinent to contribute to the story.
And it really is a shame that Jamie Lee Curtis got hooked into doing this film. It is an utter waste of her talents. She spends the majority of the film either laying in a hospital bed, running away from Michael Myers, or hiding in a parked car. This is a sequel that brings people back to simply do nothing new or challenging. To me, it’s another sign that there was a lack of creative drive behind this. Every character feels either generic or wasted. Also, since Jamie Lee Curtis had since adopted a shorter hairstyle, she had to be fitted with this blatantly obvious bad wig. This just further adds to the nagging inconsistencies between the two films.
Now, I know there are people who are fans of Dick Warlock’s Shape, but I have never liked his lethargic, robotic movements at all. If this movie is supposed to pick up at the exact moment the first left off, there should have been a demand for consistency. Nick Castle’s Shape moved with a relentless fluidity. He felt like a shark hunting his prey with a fierce single-minded focus. Warlock is so horribly stiff that I see no ferocity or cunning intellect here. Before, Michael’s actions had a clearly evident intelligence and deliberateness behind them. He stalked his prey with patience and purpose. He observed them before striking. Here, he just shows up and starts killing like a mindless machine, and to me, that’s just not interesting or intriguing at all. Warlock is a great stuntman, but as Michael Myers, he does nothing good for me.
I can appreciate some bad slasher movies because many of them at least show that they are trying. Their end result might not be creatively successful, but the filmmakers put forth a visible effort to make a somewhat effective horror film. For me, Halloween II doesn’t even give me that much. I find it to be a very dull, bland, and boring slasher movie. It has none of the atmospheric tension or magic that John Carpenter harnessed for the first movie, and the story is very lazy even for a slasher film. I think Halloween 4: The Return of Michael Myers is the vastly superior sequel in every aspect. Also, released the same year, I passionately believe that Friday The 13th, Part 2 is one of the best slasher films ever made. I don’t hate Halloween II. It just doesn’t do enough either way to motivate a passionate response from me. Any other films in this franchise I don’t end up reviewing are simply because I don’t wish to subject myself to them again or even for the first time.
I don’t think any of the sequels to The Howling have a good reputation, and that’s quite clear from this very first one. You cannot take this movie seriously, which goes under either the subtitle of Your Sister is a Werewolf or Stirba Werewolf Bitch, neither of which can be taken very seriously either. However, you can have a vastly inferior sequel that is surely not a good film still be a greatly entertaining one. If you want to trade scares for some stupid werewolf action then Howling II might be for you.
After countless millennia of watching, waiting and stalking, the unholy creatures known as werewolves are poised to inherit the earth. After newscaster Karen White’s shocking on-screen transformation and violent death, her brother Ben (Reb Brown) is approached by Stefan Crosscoe (Christopher Lee), a mysterious man who claims that Karen has, in fact, become a werewolf. But this is the least of their worries as to save mankind, Stefan and Ben must travel to Transylvania to battle and destroy Stirba (Danning), the immortal queen of all werewolves, before she is restored to her full powers!
I honestly don’t know how this film was approached as a sequel to The Howling. Practically no effort is put into making it feel or look like a natural continuation of that story in that world with those characters. Howling II can only be described as seemingly taking place in the B-movie alternate universe of the first movie to where artistic brilliance and visionary storytelling is replaced with as much “new wave” music inspired flash and cheesy goofiness as possible. Just how they recreate the ending of the last film as a lost piece of news broadcast footage says enough with horrendous makeup effects and an actress who bares zero resemblance to Dee Wallace. Sadly, that’s just a taste of what’s to come.
Some of the editing in this movie is just bad. Certain sequences are choppy, have little coherence to the action that is occurring, and frankly, just comes off like a perplexed mess at times. The plot is much the same. Much of it is rather laughable changing werewolf lore for silly reasons. These werewolves apparently have no vulnerability to silver, and titanium must be used. Of course, stakes through the heart and holy water being some of the weapons of choice here clearly reek more of a botched up vampire screenplay than a werewolf one. So, yeah, this wasn’t a screenplay with much thought put into it, but how stupid this thing is along with some of the performances simply turns this around to being entertainingly bad. The first movie really did, reportedly, throw out a lot of what was in Gary Brandner’s novel, and if his work on the screenplay for this film is any indication, it was likely all for the best. The quality of this sequel is not built on its execution, but the script itself and the ideas it conjures up. You really can’t watch Joe Danté’s original movie followed by this and see any correlation of tone, concept, or artistic quality between them. Howling II is simply pure 1980’s cheesy entertainment value. Scares don’t factor into it, just a lot of jovial laughs because the movie is played so straight.
As ludicrous as the film makes itself out to be, when you have Christopher Lee unloading all of this exposition it’s hard not to buy into it all. With Lee being as stoic and imposing ever, the silliness of the movie is simply enhanced to higher levels of awesomeness. Whether he’s Count Dracula, a Dark Lord of the Sith, Saruman, or anything else, Lee sells every role he takes on with total earnestness and theatricality. That is no different with his performance as Stefan. Of everyone here, he plays it the most dead straight, and is the most awesome because of it. However, when he was cast in Gremlins 2, Christopher Lee apologized to director Joe Danté for having starred in this silly sequel to his remarkable film. That’s some class right there.
Mostly going for broke through his enjoyably non-dimensional acting talents is Reb Brown. His reactions to Stefan’s exposition is probably the same as the audience’s – total, eye-rolling disbelief. It makes for some funny moments, but it’s really when Reb delves headlong into his guttural screams as he blasts away with a shotgun at this film’s sad excuses for werewolves that his base level entertainment value comes to light. A good performance? Not by a long shot, but like so much here, it’s all a lot of bad junk that compiles into a raucous fun time.
Of course, rounding out the cult following cast is Sybil Danning who is here simply to add a busty sexy appeal, and she surely excels at that. However, the werewolf sex scene in this film is purely gratuitous while being entirely unappealing to look at. Whereas the first film made it a great melding of eroticism and primal terror, this sequel just throws in a sex scene for the hell of it and decides to glue a ton of cheap furry makeup on the actors. Aside from Danning ripping off her top, there’s nothing worth seeing in this sequence, and you can stick around for the end credits to see that bare-breasted moment repeated a total of sixteen times.
The werewolf effects in this sequel are not close to being even second rate when compared to Rob Bottin’s amazing work on the first film. They are cheap and often cheesy. Most times, the filmmakers try to disguise them through all the terrible rapid fire, incoherent editing, or by having people be chased by a steadicam point of view shot. Unfortunately, there’s no real hiding substandard quality like this. These bad makeup effects, along with a couple of cheap visual effects, are yet another thing that makes this movie as enjoyably bad as it is.
I suppose the one genuinely good thing in Howling II is the new wave rock main theme by Babel, which is repeated every few minutes. It’s a really catchy tune, and so, it’s not at all a burden to hear again and again and again. However, what score there is beyond that isn’t much worth noting. I’ll also say that the movie is fairly well shot with some good production values and art direction. So, it’s not a poor film to look at. It really is just some of the sloppy editing that makes so much look incompetent.
Like I said, there is nothing here that is remotely scary, but when the shotgun blasting, titanium stake stabbing, and magic wielding action begins, it’s quite enjoyable in all its over-the-top cheesiness. Seeing Christopher Lee and Reb Brown standing back-to-back gunning down crappy looking werewolves is about as much fun as it sounds. Howling II is a terrible sequel to the visionary original, but if you take it as it is in being a film that feels like it exists in an entirely different universe than the first, you can have a lot of fun watching it. It’s just pure B-movie indulgence.
Good werewolf movies are difficult to come by. Most just don’t find a way to make them interesting, alluring, or entertaining like vampire films are more easily able to do. However, there are a few universally accepted classics of this subgenre, and this 1981 film from director Joe Danté based on the novel by Gary Brandner is indeed one of them. For me, it’s a movie that’s taken some time to get into. The first time I rented it on VHS I was working twelve hour shifts to the early morning hours, and fell asleep halfway through, same as with The Amityville Horror. This time, I gave it my full attention and patience.
Severely shaken after a near-fatal encounter with a serial killer, TV newscaster Karen White (Dee Wallace) takes some much-needed time off. Hoping to conquer her inner demons, she heads for “the Colony,” a secluded retreat where her new neighbors are just a tad too eager to make her feel at home. Also, there seems to be a bizarre link between her would-be attacker and this supposedly safe haven. And when, after nights of being tormented by savage shrieks and unearthly cries, Karen ventures into the forest to find answers, she makes a terrifying discovery. Now she must fight not only for her life, but for her very soul.
The Howling is an extremely slow burn film. Joe Danté gives you only the vaguest of teases early on hiding his ravenous creatures in the shadows and brief glimpses, which can be effective. The best execution of this is in the first act of the film where Karen encounters Eddie, the supposed serial killer portrayed by Robert Picardo. The use of darkness, suspense, and subtle backlight is a brilliant work of art. However, my suspicions from way back on first viewing were right in that we don’t see a werewolf in all its full glory until well past the halfway point in the movie. Until then, Danté takes the time to utilize some psychological aspects as Karen is haunted by her experience with Eddie. She is hit with nightmares and startling visions that heighten her fear and paranoia. This film is a bit of give and take. You certainly go into this wanting to see the werewolves reeking havoc often, but you have to wait a very, very long time to get to that point. However, once you do, the pay-off is excellent as Danté doesn’t hold back anything.
Many would know the special make-up effects work of Rob Bottin from John Carpenter’s The Thing, but that would be another year after this picture. Here, he creates some of the most amazing werewolf effects ever. Everything is so lifelike with very fine details and textures in addition to very elaborate methods used in the transformation sequences. Today, it would all be digital effects, but in 1981, you needed a practical effects master to realize something of this stunning vision of horror. The full size werewolves are wholly frightening as they tower probably at a good seven feet tall with every ferocious quality imaginable. What Bottin accomplished here will truly unnerve and terrify many. How he did it on a $1.5 million budget, even in 1981 dollars, just floors me.
This is also one of the absolutely most beautifully shot horror films I’ve ever seen. Joe Danté and his cinematographer John Hora utilize some very inspired camera angles and compositions. However, the most gorgeous aspects are the brilliant backlighting and the use of colored gels to create a wonderful haunting atmosphere. There are films that are simply shot in color, and then, there are films that utilize color in remarkable ways. The Howling is truly the latter as these reds, blues, and greens highlight the creepy and eerie moments like fine brush strokes of artistic inspiration.
The Howling does more than simply give you werewolves slashing and gnawing on humans. Firstly, it has some satire on the entire self-help movement. Trying to aid those afflicted with being a werewolf with therapy and a push towards integration into society is handled with the right kind of wit without being comical. Joe Danté definitely has that talent to fuse horror and humor such as with Gremlins, but he keeps things on point with the horror and barely diminishes that at all. Furthermore, this film gives us a strange but perfectly executed mix of sensuality and terror in one sex sequence. Once again, the artistic beauty of the film is on display as two people engage in sexual activity at a campfire, but as the act becomes more virile, the beats within are unleashed and they begin to transform. What begins as very erotic turns into a frightening, primal act that still gets the heart pumping. This is a very tantalizing and compelling sequence melding these two things together in a very provocative way.
The cast of this horror classic is jam packed with excellent acting talents such as Dee Wallace, Patrick Macnee, John Carradine, Kevin McCarthy, Robert Picardo, Noble Willingham, Dick Miller, and several others. Every single one of them does a solid job bringing forth the distinct qualities of their characters’ personalities. In particular, Dee Wallace leads the film with the right level of vulnerability and traumatic unease. The fear the audience regularly feels is channeled through her performance, and the journey her character goes through in this results in a unforgettable conclusion. Also very notable is Robert Picardo proving yet again that I know he’s a great actor. What he does as the supposed serial killer Eddie is tremendous and dead-on-the-mark showing a very subtle intimidation factor with his restrained charisma and clear full fledged absorption of this character into himself. He also acts through all the wickedly good make-up with exceptional ease. He might have only a few brief scenes, but he really becomes one of the most memorable things about this cast.
The ending of The Howling is fantastic and frightening. First off, the entire third act is just excellent every step of the way as we finally get our full helping of werewolf awesomeness in a hair-raising escape sequence. However, what comes after that when Karen returns to the television studio for her news report is exceptionally tragic and clever. What she sets out to accomplish with her live report is smartly turned on its head by these filmmakers. Almost no one believes what they see and dismiss it as a high quality fabrication. They believe it to be spectacle instead of the raw, chilling reality that it is. The film concludes on a very signature Joe Danté beat of wit and humor. He has always been a unique filmmaker infusing a special, unmatched blend of the bizarre and the humorous with excellent results.
Now, is The Howling a horror movie for everyone? Maybe not. I’m sure there are people who wouldn’t enjoy sitting around for fifty minutes before we get a real good look at a werewolf, which I honestly had an issue with. After Karen’s early encounter with Eddie, there’s very little horror or suspense to engage you on the horror movie level until you’re more than halfway through the movie. The characters and performances are perfectly fine to move the plot forward in the interim, but there’s hardly anything to get your heart pounding with terror in that time. However, I appreciate the artistic brilliance of this film, and anything that doesn’t quite work for me is possibly more attributed to just not being quite my style. I also wholly endorse teasing us with the werewolves, much like Ridley Scott did with his creature in Alien. Build up suspense with it, and then, once you finally reveal it, you’ve got a great, startling moment of awe. This is a remarkably well made movie, and one that absolutely has its rabid fan base that I entirely respect. Whether or not the slow, slow build up and reveal is to your taste, this is one of those horror essentials you need to see. The pay-off for that build-up is definitely well worth the wait, and seeing what practical effects could achieve back in the day will show you what CGI has almost never been able to replicate.
RavensFilm Productions presents the Forever Cinematic Friday The 13th movie retrospective covering all twelve films in the slasher franchise. Reviews by Nick Michalak.
Friday The 13th (1980)
Friday The 13th, Part 2 (1981)
Friday The 13th, Part 3 (1982)
Friday The 13th: The Final Chapter (1984)
Friday The 13th, Part V: A New Beginning (1985)
Friday The 13th, Part VI: Jason Lives (1986)
Friday The 13th, Part VII: The New Blood (1988)
Friday The 13th, Part VIII: Jason Takes Manhattan (1989)
Jason Goes To Hell: The Final Friday (1993)
Freddy vs. Jason (2003)
Reviews for this sequel have been pretty lukewarm, and while I don’t blame anyone for feeling as such, there are some high and not-so-high points. This is not a blanket mediocre film, but the averaging out of the varied content can leave one feeling that way. As documented recently here, I feel Pitch Black and The Chronicles of Riddick are really strong films in their respective, specific genres, with my preference being for the latter movie. Riddick does fall between the scale and premises of those films, but doesn’t live up to either one quite as well as it could have.
Betrayed by the Necromongers and left for dead on a desolate planet, Riddick (Vin Diesel) fights for survival against alien predators and becomes more powerful and dangerous than ever before. Soon, bounty hunters from throughout the galaxy descend on Riddick only to find themselves pawns in his greater scheme for revenge. With his enemies right where he wants them, Riddick unleashes a vicious attack of vengeance before returning to his home planet of Furya to save it from destruction.
There are three sections of this movie for me to critique which all have their distinct qualities. The first act of the film feels very sparse as it is just Riddick fending for himself on this desolate planet. There’s a few bits of narration from him and a flashback with the Necromongers that fill in some plot gaps from the aftermath of The Chronicles of Riddick. It also contains the only and very brief appearance of Karl Urban as Vaako. I had hoped for more from him here, but I figured it would be no more than a cameo. Anyway, this first act didn’t do much for me. It was kind of cool seeing Riddick wounded, vulnerable, and out in the wild getting back in touch with his animal side. However, it is quite sparse not giving you much beyond the survival action set pieces to get involved with. The film was starting to feel like an adventure that would play out in some prequel comic book – a very small scale transition piece story that is a stepping stone to something larger.
Thankfully, as I anticipated, once we get some bounty hunter characters injected into the mix, the film really started to entertain and engage me. Sure, the premise is quite stripped down and basic feeling more in line with Pitch Black, but if you’ve got a couple of vibrant, enjoyable characters to fill out that premise, you’ve got enough to make it worthwhile. It does take a few minutes to get them warmed up, but it’s the clashing dynamics between everyone that sparks it all off. Essentially, there are two teams of bounty hunters, or mercs as they are called. The first is lead by Santana, who is an enjoyably sleazy, down and dirty type with a very gritty, testosterone jacked team. The other is a more clean cut operation lead by actor Matt Nable’s character who has personal ties to Riddick and the events of Pitch Black. These two teams clash immediately causing a lot of conflict, and striking some very humorous, entertaining interactions.
Santana is portrayed very well by Jordi Mollà. I found him the most lively and charismatic character of the film. Mollà paints Santana as a very salacious individual with little respect for anyone else outside his team, and especially doesn’t like being ordered around by any of them when they’re forced to team up. Santana has definite smarts, but his attitude surely digs his own grave with many characters, especially Riddick. Also, former wrestler Dave Bautista is part of Santana’s team, and he does his part well, especially since Diaz doesn’t require much beyond being tough, formidible, and a little charismatic.
And color me majorly impressed by Katee Sackhoff. She portrays the exceedingly tough Dahl, part of the opposing team of mercs. She more than imposes her physicality upon Santana and others who try testing her, and has the attitude to go with that. This isn’t some stereotypical tough chick routine. Sackhoff kick ass as a bonafide hard edged, sharply skilled mercenary who has an extra distinctive flourish to her character. I’m sold on the actress and the character completely.
Now, Matt Nable’s character, of Boss who does have a bit of a reveal that I’ll not spoil for you here, is fairly okay. As I said, he adds a tether back to Pitch Black, but he’s really little more than that. The character is confident, authoratative, and intelligent, but compared to the colorful Santana, the tough as nails Dahl, or the nicely fun muscle bound hired guns of Santana’s gang, this is a rather mild character. He also sits on the fence never becoming an outright, reviled villain, and the ending reflects the reason why. There’s some intended depth with this character, but because he is so much on the fence, you don’t know if you’re supposed to sympathize with him or view him as a vengeful enemy. The film never galvanizes him into what kind of adversary he should be, and thus, comes off as quite forgettable and mild.
It is clear that Vin Diesel has a love for Riddick, and so do I. I think he is very fascinating type of anti-hero that has so many avenues of expansion, but this film really takes no ambition with Richard B. Riddick. The character is still written well by David Twohy, but that signature aura of mystique isn’t quite there. That ambiguity of what kind of hero he might choose to be, or the cunning way he manipulates events and perceives deeper into others isn’t really utilized here. Because the is a straight forward survival story with only bad guys and no potential good guys, you generally know how Riddick is going to deal with everyone. There’s no one of morality or sympathy like Imam, Carolyn Fry, or Jack / Kyra here to sway or alter Riddick’s actions. He’s out for himself, and will bargain however he can to escape this planet alive without being held captive. So, there’s no place for a lot of those more complex elements of Riddick to exist in this story, and that’s unfortunate. Diesel still does a really good job in the role, making him a fun, smart, highly capable, and entertaining protagonist. It just doesn’t feel like we’re getting every element of the character that I love. I kept perceiving something being missing from the performance or portrayal all throughout the movie, but couldn’t really put my finger on it. There is more to this character that we have seen in both previous movies, but this movie is just a little too stripped down to allow him to develop or be fleshed out. It also seemed like Vin Diesel didn’t wear contact lenses this time out, and instead, had Riddick’s “shine job” eyes digitally done.
I loved Graeme Revell’s score for both previous movies, but I wasn’t impressed with his work in this film. The familiar main theme does make some subtle appearances, but we never get a full fledged crescendo of it. Many of the action beats are scored appropriately well. Yet, the rest of the score feels very different in many places from Pitch Black or The Chronicles of Riddick. There were a number of cues which just didn’t strike the right chord with me, same as some of the humorous bits of Riddick and the silly tricks with his dog-like pet. Those were certainly there to forge an emotional bond with this animal, which seems to have a massive unexplaned growth spurt during the first act, but because it was such a poorly done CGI creation I just couldn’t care that much about it.
The digital visual effects are about on-par with those in The Chronicles of Riddick, but like with Pitch Black, it’s good that a large chunk of these effects appear during dark environments. The creatures that strike at nightfall are considerably better rendered than Riddick’s pet, which is the only CGI that I cringed at. Of course, there’s only so much you can do on a $38 million budget where entire landscapes are enhanced with digital effects, and thus, you’re stretching your dollars to their limit. Thankfully, the CGI is pretty good in large part, and added to the film a whole lot more than it detracted.
I do like that David Twohy put forth the effort to build in connections to both of the previous movies. Again, you’ve got some flashbacks with the Necromongers showing what happened after Riddick killed the Lord Marshal, and how it led to him being left for dead on this nearly barren planet. Yet, I know this was not the film Twohy nor Diesel intended to make when they laid out their plans for The Chronicles of Riddick, and so, this is a smaller scale story intended to be a springboard towards a larger scale adventure. As much as I absolutely want to see this franchise take off and allow these fimmakers to tell the Riddick stories that they want, I’m not sure this is the movie to get them there. Like I said, this story is probably stripped down too much in terms of character and conceptual development, and focuses more on the entertainment value of action sequences. While all of the action is very well executed making for a bloody, violent, and fairly exciting movie, it has one more major failing.
As I said, there are three sections of this film to critique, and the last one, clearly, is the ending. Riddick is an action / horror survival story putting this character into increasingly treacherous and deadly scenarios where he must fend for himself. People are going to betray him and attempt to kill him, possibly even stranding him on this planet to ensure their own survival. I won’t detail the ending of this movie, but frankly, it is a terribly weak ending that is a copout to the entire premise. There’s no dramatic punch to this ending, no rationale for the actions of the other characters involved with it, and leaves you hanging with an empty feeling. The film builds to a tense, riveting crescendo, and then, fizzles out. This film absoultely should have ended with a strong, impactful, emphatic statement for the character and franchise. I even sat there through the end credits hoping for an extra scene to appear, but once those credits roll, that’s all there is. Up until this point, I was enjoying myself, and was engaged in the excitement of the action. I was interested to see how the machinations of these deceitful characters would manipulate the fate of Riddick. It was a fun adventure with plenty of graphic violence pulling no punches, and just having a good, gritty time with itself. It’s just those last few minutes of the movie where you just don’t know how Riddick is going to get out of this at all, and the entire movie cheats you out of even a decent pay-off. I just felt letdown, and it’s worse yet because I know David Twohy can write something better than this. He wrote Warlock, co-wrote The Fugitive, and co-wrote both previous Riddick movies. It’s a whimper of a conclusion when it should have been amazingly awesome to re-energize audiences about the character of Riddick, and leave them wanting to see more bad assery from him.
I had been waiting for this movie for a long time, and I really wanted this franchise to be very successful. So, it really, honestly pains me to give any amount of negativity to jeopardize that success, but this really feels more like a movie many would rent instead of rushing out to the theatre to see. Even removing the ending from the equation, it is a fairly average sci-fi / action movie without the same stylized visuals or scope of Pitch Black or The Chronicles of Riddick. However, it has some extra punch in the graphic violence and some pleasing female nudity, and has some entertaining and well portrayed characters to liven up the uninspired story. You can potentially have a good time with this movie, but I don’t feel it’s a strong enough outing to give Riddick the new injection of box office life that he needs for David Twohy and Vin Diesel to do what they desire with him, unfortunately.
RavensFilm Productions presents the Forever Cinematic Star Trek Classic Movie Retrospective. Covered are the first six films of the franchise featuring the full original cast and crew of the Starship Enterprise. Starring William Shatner, Leonard Nimoy, DeForest Kelly, James Doohan, George Takei, Walter Koenig, and Nichelle Nichols. Also starring Stephen Collins, Persis Khambatta, Ricardo Montalban, Kirstie Ally, Robin Curtis, Christopher Lloyd, Laurence Luckinbill, David Warner, and Christopher Plummer. Reviews by Nick Michalak.
You don’t know how excited I was to watch this movie again, and then, wonder to myself why in the HELL haven’t I watched this frequently over the years. Of course, I speak of the director’s cut which I feel is a vastly superior and richer story. From every fan I’ve heard from, they are hardcore about Pitch Black, but not so much about this one. I am really more the reverse. The more expansive science fiction epic traveling to various unique worlds, and facing multiple dangers with colorful characters is right in my cinematic sweet spot.
After years of outrunning ruthless bounty hunters, escaped convict Riddick (Vin Diesel) suddenly finds himself caught between opposing forces in a fight for the future of all races. An army of fearsome world ravagers known as Necromongers are “cleansing” and forcibly converting other species in their goal of universal conquest, but Imam (Keith David) and the Elemental Ambassador Aereon (Judi Dench) believe Riddick holds the key to a prophecy that could bring down Necromonger Lord Marshal (Colm Feore). Now, waging incredible battles on fantastic and deadly worlds, this lone, reluctant hero will emerge as a champion, and the last hope for a universe on the edge of annihilation.
Vin Diesel and David Twohy really develop the character of Riddick further and in more depth. There’s more emotional texture on the surface now, especially when conversing with Imam. I absolutely love how this film expands this character without ever betraying what made him fascinating to begin with. He’s placed into a larger story and a larger world which delves further into who he is, where he came from, and that’s exactly what a sequel should do. Every bad ass, intriguing quality of him is intact, but circumstances force him to make choices he never thought he’d be faced with. Diesel does an excellent job stretching Riddick out into this wider universe. He still carries the air of mystique with him, but there’s more emotional weight and tethers to the character. The connection with Imam is quite cool, if only for having two of the deepest, smoothest voices in Hollywood trading dialogue, but honestly, these are especially good scenes. Diesel also gets more dynamic action sequences to shine in, and galvanizes Riddick into a bigger, smarter, more clever bad ass than before. I also love the light touches of wit and humor that we are given. Riddick has some clever, fun dialogue making him just as funny as he is threatening and dangerous.
Building upon his character is the relationship with Jack, who now goes by Kyra and portrayed by Alexa Davalos. She’s grown into a jaded version of Riddick because she feels he abandoned her. She’s a convicted criminal willing to kill for pleasure or to survive. Davalos does a very good job in this role making a solid emotional connection with the audience, and shows her physicality is in prime shape. Some might know her from her three guest appearances on Angel as the electricity powered Gwen Raiden, where she also showed she could throw down. Davalos is a great successor to this role, and the film pulls no punches in tearing these characters away from Riddick, forcing him to stand more and more on his own. I like that Kyra and Imam become involved in the Necromonger storyline, albeit in different ways, and so, all threads tie tightly back into the main plot.
The director’s cut absolutely makes this an excellent film. The theatrical version cuts out the real meat of the Furyan subplot including the character of Shirah who comes to Riddick in visions and unlocks his power as a Furyan. All of that is rather critical to the entire driving factors of the movie. It gives motivation and purpose to Riddick and Lord Marshal, and propels them forward with more weight and depth. Without all of that, the story becomes thinner and more basic. I remember seeing moments in the trailer from this subplot, and being upset when they didn’t appear when I saw the film theatrically. This aspect of The Chronicles of Riddick gives depth, purpose, and poignancy to Riddick, and simply makes it a more substantive story that I really, strongly endorse.
There’s also amazing action everywhere in The Chronicles of Riddick. From the mercs chasing Riddick on the frigid ice world to the race against the scorching, lethal sunrise on the prison planet Crematoria, we get wickedly conceived and executed set pieces. There’s plenty of violence, especially in the unrated director’s cut, as Riddick really cuts deep into his adversaries, and we get plenty of bang for our buck. The stunt work is amazing, and the imagination on display is rich and refreshing. David Twohy creates some very dynamic acrobatic moments that do strain physics, but it fits just fine into the hyper stylized intensity. He absolutely goes for an expansive scope that stunningly sucked me into the film. The entire look of the movie is just awesome with excellent cinematography and a brilliant, epic vision from Twohy himself.
The Chronicles of Riddick has a very lavish production design that I could compare to a big Dino De Laurentiis 1980’s science fiction / fantasy epic like Flash Gordon or David Lynch’s Dune. This really goes all out in detailed costume designs, big sprawling landscapes, and simply elegant sets filled with depth and nuance. Twohy really went for broke making this an exquisitely high grade production, and I think it immensely pays off at every turn. Some of the visual effects are exceptional, but there are a number of moments that are quite noticeably less than excellent. Regardless, the vast, stunning vision of David Twohy is realized impressively, and with stronger resources than what he had on Pitch Black. The visual effects are a MAJOR upgrade from that movie allowing for Twohy’s vision to thrive on screen. There might be a green screen effect here or there that could be a notch or two better, and the animals set loose in the Crematoria prison are the most obvious undercooked CGI elements, but the visual effects spectacle is very strong creating a fully realized and enveloping universe. I thoroughly love every aspect of the look of this film. It’s what hooked me from the trailers, and it’s what continues to excite me. And yes, Graeme Revell does return to reprise his themes from the first movie, and does a remarkable job capturing the feel of this more action / adventure-centric sequel.
What I absolutely, deeply love in this film is Nick Chinlund as the bounty hunter Toombs. He is a massive upgrade in entertainment value over Johns in Pitch Black. Toombs is a rugged, sleazy, charismatic joy to be had all through his screentime. He’s an excellent, fun adversary for Riddick. Chinlund and Diesel have great adversarial chemistry to the point that I had always wanted Toombs to return for a sequel, but you can’t always get what you want. This role made me an enthusiastic Nick Chinlund fan.
And damn, does Karl Urban not do his best in everything he does? He’s a hardened, menacing threat as Vaako who schemes against the Lord Marshal to succeed him as leader of the Necromongers. This might seem like a subplot that is a bit extraneous, but it has strategic impact on the main plot. And Urban’s strong presence and dramatic weight really helps enhance Vaako and his role in this film. As I always say, Karl Urban is an actor with a rich depth of talent who never gives anything but his absolute best every time he takes on a role. He does rock solid, consistent, high quality work, and that has made him a wholehearted favorite of mine since The Lord of the Rings and The Bourne Supremacy.
And it’s odd to speak of the film’s main villain after all of these supporting characters, but Colm Feore is great as the Lord Marshal. He adds the right balance of militaristic conqueror and haunting specter. He is a man of supposed ultimate power seeking universal domination, and is fully consumed by his radical faith. His unwavering mindset makes him immensely dangerous like a barreling down freight train, and Feore has the right eerie quality to sell all of this. He fills the role just right making him a seemingly insurmountable enemy fueled by these fantastical powers of the Underverse. He doesn’t have the entertainment value of Toombs, or the fierce intensity of Vaako. However, he is the dominant presence that none can contend with, but you do get the subtle feeling that, whether it’s Riddick or Vaako, someone is going to take him down by the end. The climax entirely plays upon that expectation, and executes it in a very clever way.
Pitch Black was the one-off adventure that introduced us to Riddick, and just allowed us a small glimpse into the potential of this character. The Chronicles of Riddick was clearly the start of a larger, epic story that I have been excited to see continued for nine years. David Twohy establishes a great, exciting, and vast universe for endless possibilities with this movie. I love taking a character like Riddick and injecting him into a different kind of film. So many sequels aren’t a tenth as ambitious as this film strives and succeeds to be. Many would do the same old thing, playing it safe with audience expectations, but Twohy engages us with Riddick and develops him further in a story that forces that to happen. It puts Riddick into the bigger picture of the universe, and sets the stage for something even more fascinating and expansive to occur.
With the third film, Riddick, hitting theatres this weekend, it’s great to see another chance being taken here with a franchise of ripe potential. The Chronicles of Riddick was not profitable upon its theatrical release, and that was a terrible shame. Twohy and Diesel had well plotted plans for two more films, but would need that larger budget to realize them. So, I don’t expect Riddick to expand as wondrously and amazingly upon the concepts of this film, but more a fusion of the styles of Pitch Black and The Chronicles of Riddick. Finding a middle ground between them seems like it could generate success and appeal to fans of both films. Again, my preference is towards the second film as it just breaks open the universe in a stunning realization of imagination, and is fueled by some great action sequences that have always stuck with me through the years. The Chronicles of Riddick is greatly exciting, immensely enjoyable, and simply fascinating to see unfold with its fantastical ideas and purposeful spectacle. If you haven’t been exposed to these films, I strongly encourage you to do so, and I hope that Riddick lives up to the years of anticipation. Even if it’s smaller scale, I’m greatly pleased to see a solid, imaginative franchise get another chance at success.
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.
Well, it’s that time of year where we hit a double shot of special months here at Forever Cinematic. First off, September brings the second year anniversary. It’s very weird that it’s only been two years. It feels like a long, long time ago when it was 2011, but 2012 feels like it was yesterday. This year has gone by way too fast for my comfort, but I have been exposing myself to far more movies than ever before. Anyway, I am hoping to pound out a lot of reviews before the end of September for this occasion because I am seven reviews away from my 200th review on Forever Cinematic. Of course, I have a couple of special favorites in mind to celebrate this, and a few films I’ve been trying to get around to recently. Last year, the 100th review landed right in the middle of Forever Horror Month in the form of Hellbound: Hellraiser II, and I’d rather have free reign to choose number 200 this year. Many reviews are half finished waiting for time to balance itself out for me. Plus, very shortly, I plan to do a video review retrospective on the first six films in the Star Trek franchise – the movies featuring the full original cast and crew. That should hit in the next week.
And of course, Forever Horror Month returns this October, but I won’t be pushing for one review posted per day. I do have over twenty horror films I want to get around to watching and reviewing, but I don’t want to overtax myself this year. With that said, you can likely expect reviews for the Scream movies, the original Dawn of the Dead, Horror of Dracula, Poltergeist, Rick Rosenthal’s Halloween sequels, and probably a couple of rather bad horror movies. I like to rant about crappy movies every once in a while. You’ve gotta know which films to avoid, too.
And since September contains a Friday The 13th, I am planning to do a couple of special tributes to the slasher film franchise including an all encompassing video review of all twelve movies. Also, ten years ago, a friend and I attempted to make a Friday The 13th fan film on a VHS camcorder. It wasn’t much, but it’s a sentimental loose thread for me, so, I am working on a reconstruction of that 10 minute short. All of this will appear on the RavensFilm Productions YouTube Channel in the coming weeks in addition to a review of Riddick. I am hoping to stop procrastinating and watch and review Pitch Black and The Chronicles of Riddick in the next week. All three of those films will be reviewed here, in the written form, first!
I know me writing movie reviews is hardly a unique or important thing, but I have greatly enjoyed writing each and every one of these nearly 200 reviews over the last two years. I just hope circumstances allow me to continue doing this as I have a number of film, video production, and web design obligations in September and October. Beyond that, I am dedicating a lot more time to opening up new opportunities for myself to bolster my income. I appreciate all of the support and feedback all of you offer, and you can expand your view of my content to that YouTube Channel with all of my short films, music videos, audio commentary tracks for my films, movie trailers, the Forever Cinematic video movie reviews, and various other things that my creativity sparks into being every so often. So, I hope you all enjoy the reviews that are coming up. They are a reflection of my passion and love for film, and if there are any movies you’d like to recommend to me, feel free to do so. Thanks much, and take care!
I’ve made some mentions of the Die Hard clone in recent months in reviews of Sudden Death, Olympus Has Fallen, and more. Now, just because you’re the first do something, or the one who sets the trend doesn’t always mean you did it best. However, in the case of John McTiernan’s blockbuster action film Die Hard, there is simply no equal. While I don’t list it as my number one favorite of all time, I cannot deny that this is likely the best action movie ever made, and there are a lot of qualities that go into making it that exceptionally awesome.
NYPD Detective John McClane (Bruce Willis) has come to Los Angeles to spend Christmas with his estranged wife Holly (Bonnie Bedelia) at her company’s holiday party. However, as he waits for the festivities to end, the entire building is taken over by a heavily armed team perceived as terrorists, but their sinister leader, Hans Gruber (Alan Rickman), reveals that his interest is purely in greed. As the hostages are rounded up, McClane slips away with only his service revolver and his cunning wits at his disposal. What begins as a perfectly planned crime quickly ignites into McClane waging a one man war to save everyone before they are all blown sky high.
There are many things that set Die Hard apart from everything else, but I think the biggest key of it are the characters. Beyond just the performances, this film takes its time to introduce them to you, and allow for their dynamics and personalities to play out before any of the action begins. This is mainly the development between John and Holly McClane. Their turbulent marriage is fleshed out in smart, subtle beats that never feel like exposition, just natural conversation. These are real, relatable people in a grounded reality with normal problems that are soon thrust into an extraordinary situation, and because we get to know these characters through levity and emotional conflict, we care greatly about them once peril befalls them. Even the villains are given their due time to feel fleshed out and dimensional such as how Hans Gruber discusses men’s suits, art, and culture with Takagi before threatening him with a gun for the password to his vault. These moments make Gruber an interesting and engaging villain who has a fairly equal amount of depth to John McClane. This way, it is also a battle of wits and personalities as much as it is a pure action conflict. This is so much due to the time director John McTiernan and his screenwriters took to slip those important character building moments into the film, and that makes it a greatly more substantive action film that you would regularly get in any decade.
Now, the 1980’s were filled with the larger than life, nigh indestructible action hero. Then, comes along John McClane. This guy who is as vulnerable as the rest of us that gets beaten up, his feet sliced up by glass, bleeds everywhere, feels fear, and gets progressively worse for wear as the film goes on. All the while, under the intense stress of a violent life or death scenario, he’s cracking wise with everyone left and right just doing what he can to cope and survive. Where a Rambo or John Matrix type would just burst in blazing a full arsenal to wipe out everyone, McClane has to be clever and cautious every step of the way against these extremely well-armed killers. All he has is his wits, and Bruce Willis’ well established comedic talents blended perfectly into the quick witted quips of McClane. I’m sure there was speculation abound leading up to this film’s release as to Willis’ ability to be an action hero because of doing so many comedies, but he was able to bring a completely unique identity to this role that is hard to match. While it is the wisecracks that we remember so much, the purely human moments of drama really sell this character as one that stands apart from so many others. Bruce Willis really shows that he could do the full spectrum of acting here as he leads this film with charisma, heart, and physical intensity. He brings a fresh dimension and grounded realism to McClane that makes him the beloved, very human, bad ass icon that we so love.
Just how McClane is a distinct departure from the action heroes of the day, Hans Gruber distinguishes himself from many of the over the top, cheesy villains of the 80’s. Alan Rickman is brilliant as Hans Gruber. What truly makes this so is that he’s not obvious at all. Gruber is a guy who is smart, charming, smooth, educated, and charismatic. Yet, he’s a calculated, clever, ruthless villain. You can see that Gruber had every single detail of this plan plotted out perfectly, and is able to outsmart and keep ahead of everyone except for the one wild card in his brilliant crime in John McClane. As much of an sociopathic, murderous villain as Gruber is, you can be thoroughly entertained by the charisma and intelligence Alan Rickman injects into him, but you still rejoice when McClane finally does him in.
A little unexpected humor arises from the less than sharp minded LAPD and FBI. Paul Gleason’s Chief Robinson is clearly in over his head exercising clear incompetence while thinking he’s got everything under control. Then, FBI Agents Johnson and Johnson, a joke in and of itself, are too full of themselves with their gung ho testosterone to be perceptive enough to know when they’re being played. Add in more competent, yet still funny characters like Argyle the limo driver and Theo, Hans’ charismatic safe cracker, you’ve got laughs for miles without damaging the serious integrity of the action and drama of the movie. This is seriously one of the most quotable action movies ever.
Yet, amidst all the explosive thrills and well-timed humor, we get the tether of humanity with Sergeant Al Powell. Reginald VelJohnson connects perfectly in this role bringing the tired, wounded, and alone McClane into contact with someone on the outside who can be a moral and emotional support. An action film is great when the thrills are exciting and bombastic, but you get something exceptional when this thread of humanity is so strongly in place. VelJohnson gives us the full spectrum from lovable and funny to heartfelt and compassionate to stern conviction. Powell is ultimately given some depth and substance showing that this film wasn’t going to take a shortcut anywhere at all. The very human moments between Powell and McClane are a special strength.
But indeed, the action is ultimately the driving force of this movie, and once that spark of excitement is lit, it runs on pure adrenalin with riveting intensity and masterful execution. This is big action with a real sense of gravity and peril. The scale makes it amazingly fun and exciting while the weight of the drama makes it suspenseful and electrifying. I love the subplot with Karl’s vendetta against McClane for the murder of his brother, and when the two finally clash, it’s awesome. After all of the heavy gunfire and explosions, the few minutes of visceral raw physicality are a breath of fresh air before the scale of the action escalates further with the roof exploding signaling the third act rocketing forward. Die Hard does nothing but amaze you at every turn. Every step of the way, we care about these characters in the thick of danger, and we gradually see it escalate as Gruber’s plan unfolds. It’s also great seeing McClane figure things out a little at a time, such as wondering why Hans was on the roof, and then, realizing he plans to blow it sky high with all the hostages on it.
I tend to write these reviews while watching the movie so to pick up on all the nuances, but Die Hard is so consistently engaging, thrilling, and entertaining that I could hardly tear my attention away to type anything up. Whether it is the absolutely wickedly awesome action, the touching character building moments, or the great laughs it elicits from an audience, Die Hard is the perfect example of executing an action film correctly. There’s not a moment wasted, and the editing is dead-on sharp and perfect in its pacing and timing. Moments are so excellently punctuated with the right cut, and even more so with Michael Kamen’s remarkably intense and spectacular score. His is a masterwork of brilliant, sophisticated action film compositions. Not to mention, this is an expertly shot movie using those beautiful anamorphic lenses and that cinemascope widescreen canvas to accentuate the scale of the action. And where many action films today can barely keep the camera steady long enough to understand the geography of a single scene, McTiernan and cinematographer Jan de Bont do so many subtle things to layout the geography of this entire building. Early on, they walk you through the entire central area of the Nokatomi Tower over the opening credits so you understand where the hallways, elevator, offices, and stairway are so we can navigate it as competently as the characters. As the film goes on, we revisit the conference room, the elevator shafts, and the roof to maintain a familiar environment for the action. As a film lover and a filmmaker myself, this movie just makes me gush from a technical standpoint as it is so perfectly executed in every moment. This film is exquisitely made from a massively talented team of filmmakers, sonic geniuses, and brilliant visual artists.
This film was adapted from the Roderick Thorp novel Nothing Lasts Forever, and many of the mind blowing and clever moments in the film are taken directly from the novel. McClane’s jump from the exploding roof with the fire hose wrapped around him, the C-4 bomb thrown down the elevator shaft, and more exist in Thorp’s novel. Apparently, it was a novel written as a sequel to The Detective, starring Frank Sinatra, but he declined the role. Years later, it was supposedly intended as a sequel to Commando, starring Arnold Schwarzenegger, before being re-fashioned into the action classic that we now know and love. Indeed, everything has its right time to come to fruition, and Die Hard happened in the right way at the right time with the right talent.
Between this and Predator, John McTiernan established himself as one of the premiere action movie directors of the time, and of course, this launched Bruce Willis into blockbuster super stardom. Despite how Willis now feels about doing action movies, saying he’s bored with them at this point, we will always have these pinnacles of the genre when Willis was in his prime and eager to do his absolute best. Die Hard is probably the most perfect action movie I have ever seen as it hits all of the beats of excitement and character just right with a spot-on mix of drama and humor to make it an undeniably memorable experience. For anyone who has only ever seen either the fourth or fifth film in this franchise, you are doing a horrible disservice to yourself in basing the quality of Die Hard on those films. As I said from the start, there is simply no equal.
Yep, I could make a whole month out of reviewing Die Hard clones before even getting around to reviewing Die Hard. Seagal, Van Damme, Snipes, Ford, and every other action star under the sun got their turn to grapple with this formula. So, Thomas Ian Griffith got his chance as Detective Jack Wild in this film that spawned two sequels, neither of which starred Griffith, but let’s see how Crackerjack stacks up to the competition.
Chicago cop Jack Wild (Thomas Ian Griffith) reluctantly aggress to join his brother’s family for a vacation at the exclusive Panorama Springs Hotel, high in the glacier-capped Rocky Mountains. But when a team of mercenaries determined to hijack over $50 million in diamonds descend on the resort, Jack strikes back. Now, together with beautiful hotel guide K.C. (Nastassja Kinski), Jack must race against the clock to stop their calculating leader Ivan Getz (Christopher Plummer) from getting away and exploding the glacier above the hotel to cover his tracks.
The burnt out cop is a very familiar trope in action movies, but if you get an actor who can really flesh out the character, it all works nicely. Thomas Ian Griffith again proves his quality as an actor showing Detective Wild to be relatable and interesting. Being a bit unhinged, he charges headlong into danger as if he does have nothing to lose, and that’s how he feels after his wife and kids were killed. When he’s dragged up to the ski resort, he’s restless and still potentially volatile, but after making a connection with Katia, you see him soften and begin to turn a corner. Griffith and Nastassja Kinski have some good, touching chemistry that translates really well on screen. The charisma he naturally brings into the film really enhances the clichéd material in the script, and makes Wild a dimensional and enjoyable character to follow.
The film really does a lot to build up the emotional investment in Jack Wild’s fractured situation. The flashbacks to the last moments of his family’s life are touching, and director Michael Mazo really takes the time for those emotions to sink in. The reveal of who actually killed his family is a rather unneeded additional motivation for Wild, but I’m hardly going to hold that against the movie. It’s not striving for fresh, original ideas as there is much lifted directly from Die Hard from the basic premise to very similar bits of dialogue, Getz’ right hand mercenary looking like a carbon copy of Karl, Getz threatening to kill an innocent man to motivate Wild to return the diamonds, and him planning to wipe out all the witnesses with a cataclysmic explosion. However, the filmmakers still manage to make this a very fun and entertaining ride despite how by-the-numbers and uninspired this script is. Much of this is due to some impressive action scenes, and the villain that we are given here.
I love Christopher Plummer. He’s an absolutely tremendous actor in so many compelling roles, but you know what? I think every serious, respectable actor deserves to take on a nicely cheesy villain role at least once. As Ivan Getz, I think he just eats up the fun quality of the role, and does make for an intimidating adversary even if so much is clearly lifted from Alan Richman’s Hans Gruber. The rather stereotypical German accent is the most obvious evidence, but it adds to the film’s B-movie charm. Getz separates himself from Gruber, though, by being a bit of a megalomaniac with delusions of grandeur akin to the Third Reich. It allows Plummer to have some intriguing monologues that kind of gives you flashbacks to him as General Chang in Star Trek VI, and that’s generally not a bad thing. Plummer and Griffith have some solid exchanges that build up the personal adversarial connection, mostly done over a two-way radio, and it’s enough fuel to keep the movie going at its consistent, good pace.
Crackerjack is indeed action packed, but features far more gunplay than Griffith’s martial arts skills, much like Van Damme in Sudden Death. However, this is still plenty exciting with big, explosive moments and fun thrills up and down this high altitude adventure. Despite being a direct-to-video feature, the action set pieces are quite impressive, especially when the helicopters blow up, and the finale has some really good miniature effects. For its time, this was a quite admirable action picture, but I would expect modern audiences to be left wanting more spectacle.
Now, if there’s one thing that makes Crackerjack feel distinctly direct-to-video it’s the synthesizer score. Absolutely, a completely synth based score can be excellent. I’m a Jan Hammer Miami Vice fan after all, but there’s a difference when you have a score that is primarily composed for an orchestral arrangement but is performed on a keyboard. After a while, it got to be almost distracting because I kept feeling like I was watching something from Full Moon Features like Subspecies. The score just sounds cheap in this context, and really detracts from the otherwise high production values here. If this score had been given an orchestral treatment, it would have been perfectly fine. There are times when the score works very well, but the obvious limitations do regularly show through.
You could maybe say the same for the cinematography as it is fairly point and shoot with very little in the way of special cinematic visuals. There’s nothing along the lines of crane shots, intriguing angles, or steadicam work, but compared to a lot of shaky cam action films today, I can find that more minimalist approach to be enjoyable. The action scenes are very competently shot, and you’re never confused as to what’s happening. The editing is conservative allowing the action to drive the cuts, and not forcing kinetic excitement by cutting to another shot every split second. Fast tempo editing definitely has its gold standards, but I do enjoy seeing a time when filmmakers did take their time to just allow the action to play out with more comfortable framing and stable camera work.
Crackerjack certainly doesn’t have the budgetary muscle to compete on the scale of its theatrical brethren, but I would say it’s good action B-movie indulgence. Griffith does a very good job in this role making him both an emotionally damaged man, but also a sleek, sharp, and savvy action hero. He brings his natural charisma into the mix to make Jack Wild a really enjoyable protagonist to follow through this perilous adventure. Again, if I’m examining this small window into his career, I can’t say that this could’ve been a breakout film even if it did have a theatrical release budget. The script is very derivative of possibly the best action movie ever made, aiming entirely for the low budget fare, and doesn’t inject anything fresh into the formula. You can definitely get entertainment value out of the film’s fairly well used clichés and the fun performances. If you need any further convincing, you can check out the very funny video that introduced me to this movie courtesy of TheCinemaSnob.com.
I had thought I had reviewed all of the past Star Trek films I was going to review, but I figured, “Why the hell not?” I’m not going to run through all the back story of the production of this movie because it’s been documented in great detail already elsewhere. Star Trek: The Motion Picture is definitely very far from being the best of the franchise, and is rightfully ranked low on the scale. However, there are some elements of it that I have always liked, and have never heard anyone else give credit to. So, here I am to provide you my perspective on this misstep in taking this 1960’s television series into a feature film franchise.
When a destructive space entity is spotted approaching Earth, Captain James T. Kirk (William Shatner) returns to the newly retrofitted U.S.S. Enterprise to take command away from the young and driven Will Decker (Stephen Collins). Kirk’s entire trusted crew is reunited with the addition of the alien navigator Lieutenant Ilia (Persis Khambatta), and the surprise return of Mr. Spock (Leonard Nimoy) who seeks deep, soul searching answers from the mysterious intruder. Now, the crew of the Enterprise must intercept and find a way to stop this alien intelligence before it destroys every human life on Earth.
Okay, let’s get the obvious critiques out of the way. This movie is especially dated in so many ways. Even though this was made because Star Wars was a big success, this is distinctly a science fiction film more akin to those made before Star Wars existed. The grindingly slow pace and the very cerebral focus fall more into a 2001: A Space Odyssey or Logan’s Run mentality. The costuming and general look of the film are quite 1970’s like Battlestar Galactica. The one piece jumpsuits with their muted color palettes don’t have much of a progressive feel from the vibrant, yet simple uniforms of the television series. There’s a definite reason why these uniforms never reappeared anywhere in Star Trek – they’re instantly dated, impractical, and unappealing. The cast utterly hated wearing them. There’s so much in this film that feels like a step backwards for its time. Amidst films like Star Wars, Alien, and even Superman: The Movie, which all made large leaps forward with the science fiction and fantasy genres with special effects, exciting storytelling, and progressive filmmaking innovations, Star Trek: The Motion Picture feels like it was lagging behind the times on all fronts.
The more immediate problem here is how little resemblance this bares to the television series. Star Trek was an exciting piece of episodic science fiction. It was usually quite intelligently written, and it had action, peril, consequence, and danger making for thrilling entertainment. This film has almost none of that. Star Trek: The Motion Picture has been called The Slow Motion Picture and The Motionless Picture by many people. I do enjoy a slow burn, methodically paced film, but this is slow pacing simply for indulgence sake. For example, this film takes almost an hour before the crew of the Enterprise actually encounters V’Ger at all, and every plot element is almost agonizingly drawn out with next to no impact. Instead, this film concerns itself with a drawn out briefing scene, a malfunctioning transporter, a malfunctioning warp drive, and many graceful, yet frivolously time sucking visual effects sequences. So much of this content could be chopped out entirely for an exceedingly tighter story structure, and leave room for building more substance and momentum into its intended story.
While there are character dynamics at play, the film takes no real time to develop a particular story to be engrossed in. While Stephen Collins and Persis Khambatta put in good performances as Decker and Ilia, respectively, not enough effort is put into developing them to the point where an audience is invested in their plight. Kirk, Spock, and McCoy, just self-contained within this film alone, are infinitely more fascinating than Decker and Ilia. This is firstly a script problem, and secondly, a directorial issue. Robert Wise had a very highly acclaimed career, but nothing in his filmography says he was the right man to direct a feature film version of Star Trek. This is the director who did several musicals like West Side Story and The Sound of Music, and methodically paced thrillers like Run Silent, Run Deep. He could do critically acclaimed science fiction such as The Day The Earth Stood Still and The Andromeda Strain, but none of his work aligns with the exciting, innovative style that was Star Trek. Apparently, Wise really only directed this film because his wife was a fan of the television series.
Circa 1983, George Lucas did a very intelligent interview that coincidentally details the problem of this film, and unfortunately, makes you wonder where that George Lucas disappeared to. He said, and I quote, “One of the fatal mistakes that almost every science fiction film makes is that they spend so much time on the settings, creating the environment, that they spend film time on it. And you don’t have to spend too much film time creating an environment. What they are doing is showing off the amount of work that they generated, and it slows the pace of the film down. The story is not the settings. The story is the story, the plot.” Star Trek: The Motion Picture spends so much film time gushing over the exquisite detail of its models and visual effects that it forgets to actually tell an engaging, thrilling story. I will admit that the models are excellent, but due to a rushed production schedule to meet an unrealistic release date, many of the film’s visual effects were less than what they were supposed to be. The director’s cut released in 2001 went a long way to rectify that, but the fact still remains that this film is better suited as a dazzling visual effects reel than a well constructed and smartly conceived narrative movie. However, while the script is terribly misguided, and the choice of director was way off the mark, there is one great element that flows through both the good and the bad first six Star Trek films – the core cast.
The one actual strength of this film are the character interactions. The foundation of Kirk, Spock, and McCoy is retained as solidly as ever. When Bones first beams on board the Enterprise, I really love the exchange between him and Kirk. How McCoy is still as fiery and cranky as ever is great, and how Kirk pleads with his friend because of how desperately he needs him on this mission has always been a favorite moment of mine. It shows that the characters that we know are intact and the actors know exactly who they are inside and out. Jim Kirk knows he can’t do it alone. He’s already without Spock at this point, and so, he has to draft Dr. McCoy back into service. Spock and McCoy balance out Kirk’s ego, passions, humanity, rationale, and decisiveness. You can see this in the first minute that McCoy steps foot on the bridge, and once Spock joins them, the equation is complete. DeForest Kelley did get all the best dialogue, and constantly proved to be an excellent talent in this role. He doesn’t have a great deal to do in this movie, but the moments he does have are pitch perfectly filled with passion, depth, emotion, and wit. Kelley is actually one of the few to inject a humorous, smart quip every now and then, which this film greatly needed to break up its monotonous tone. It’s amazing that the entire original series cast did not miss a single beat slipping back into these classic characters after so many years, and that comfortable, sharp chemistry is part of what always made them work so greatly in any medium.
What I really like about James T. Kirk is that he is a man with an ego, but he’s not so consumed with it to not be aware of it. He’s able to correct himself when he realizes he’s in the wrong, and that becomes clear when dealing with Decker. When Kirk learns that his objection to Decker countermanding his phaser order was justified, he retracts his stance and acknowledges his error. Later on, he catches himself quicker when Decker offers an alternative course of action in defending the ship, and it shows that he’s tempering his actions. William Shatner really does a lot to enhance Kirk in this story as a man who is a little older and a little out of touch with his own ship. He stumbles here and there, but is able to stay on his feet, on his toes. The sort of ticking clock of V’Ger coming closer and closer to Earth forces him to make brash, impulsive decisions. They may not be the wisest ones, but they are the chances he has to take as a Starfleet Captain.
The finest performance in this film, by far, is from Leonard Nimoy. While other characters lack a through line arc, Spock is given one that is prominently at play throughout the movie. In the midst of a Vulcan ritual that would purge all emotion from him, Spock telepathically connects with V’Ger, and begins to question if logic is enough. He then abandons the Kolinahr ritual to seek out V’Ger in hopes of finding answers to his questions. Early on, you can see Spock is troubled and distant. Nimoy utilizes such subtlety in these moments, and it is very compelling seeing that unfold behind his masterful facial expressions. Yet, we gradually see the more comfortable and familiar Spock take stage on the bridge. The intelligent insight and perceptiveness of Spock is hit perfectly on the mark showing us exactly what value this character brings to this crew. Spock progresses and develops as he explores V’Ger in depth, and he once again becomes whole through a introspective, soul searching journey. What story there is in this film is really Spock’s in relation to V’Ger, but it certainly feels like a subplot that is almost drowned out by the constantly dull banality of the weak main plot.
What you have to give credit to is that despite all the blatantly obvious flaws of this movie, it does treat its characters with respect, and features some good character development. At the beginning, Kirk is restless as an Admiral pushing the proverbial paper work around, and Spock is empty, incomplete, and searching. By the end, Kirk has found his home and his purpose again as the commander of a starship, and Spock has embraced more than just logic. And it is clear to me that there was supposed to be more going on with Decker. He starts out ambitious and driven, a man who wanted this command, but had it robbed form him by the very man who endorsed him for the position. In the end, he finds another purpose and path for himself. While the film doesn’t convincingly drive him down that road at all, you can see there was an intention there for it. The fact of the matter is, even if the movie is bad and ill-conceived, as long as the characters are treated with respect and the actors are solid in their portrayals, I can find some enjoyment and a little admiration for any Star Trek film with the original cast.
Now, I firmly believe that Jerry Goldsmith was the quintessential feature film composer for Star Trek. I only find it unfortunate that he just happened to end up scoring some of the worst regarded films in the franchise. While this film has its excessively long, drawn out sequences, they translate into some very inspired and wonderful compositions by Goldsmith. Beyond the new main title theme, I have always loved his Klingon theme as it just encapsulates the feel of them perfectly. Overall, Goldsmith sets the right tone with his score adding in cues that evoke danger, mystery, and the unknown. Even if you can’t bare to sit through this film, listening to Goldsmith’s score is a pleasure. I own the 20th Anniversary Collector’s Edition CD, and it is one of the late maestro’s finest epic scores.
While the film has visual spectacle, is fairly well directed, and is technically sound, it was a severely misguided attempt plagued with problems. Nobody was happy with this movie during production or upon release. There were constant creative disputes amongst Gene Roddenberry, the screenwriter, Nimoy and Shatner, and the studio to where rewrites happened daily with the ending being conceived essentially on the spot. Today, a movie like this would kill any chance for a franchise, but Paramount was willing to revamp the creative team and it resulted in what is widely regarded as the absolute best of this film franchise – Star Trek II: The Wrath of Khan. With this first movie, I suppose if, by some slim chance, this film does engage your interest and attention, it could be fairly thought provoking about your place in the universe, but there’s a long way it could go to improve upon that material by simply adding more substance into its proceedings. Star Trek: The Motion Picture simply does not have enough meat on the bone to satisfy, and instead, fills itself out with a lot of pointless fat in the form of mind numbingly long visual effects sequences. There are certainly fan edits out there which trim this movie down to under ninety minutes, and it’s likely a little better off for it. I think it is important to say that this is not so much a bad movie as it is a mostly unexciting and dull one. I can’t really urge anyone to go see it if you haven’t already, but if you have seen it, I hope that what I’ve had to say here at least opens you up to seeing that it does have some merits, even if they are lost in a vast sea of stillness.
I grew up in the 90’s watching the X-Men animated series, and that’s what my main knowledge and fandom of the property stems from. It’s been sorry to say that the live action movies have, to me, failed to be remotely as faithful. Simply said, I have had a number of issues with all of the previous films of this franchise, and I was skeptical about The Wolverine going into it. Color me pleasantly surprised – I REALLY liked this movie. I have barely a major issue to levy against this film, directed excellently by James Mangold. While Wolverine has been a very central character in all the previous films, save for First Class, this film actually puts forth the honest effort to make him more than just an action bad ass. Some might find the film less than exciting, but for me, this steers this character into the right direction.
After the events of X-Men: The Last Stand, Wolverine (Hugh Jackman) has become a vagrant lost and detached from society until he is sought out by Ichiro Yashida, the man whose life Logan saved at Nagasaki in 1945. This now powerful businessman seeks to repay this debt to Logan by absolving him of an unending life via his mutant healing factor. Regardless of consent, Wolverine is left physically vulnerable by secretive forces as he attempts to protect Mariko, Yashida’s granddaughter and heir to his empire, from the Yakuza and a band of deadly ninjas. Wolverine is now pushed to his physical and emotional limits as he confronts not only lethal samurai steel but also his inner struggle against his own immortality to emerge more powerful than ever before.
This is one of those reviews where I’ll address my minor issues with the movie first before delving into what I very much enjoyed. The Wolverine has a rather good tone keeping things mainly dramatically based, but it does inject some humor and levity. However, it possibly could have pulled back in a few places. Stuff like Logan and Mariko hiding out in a hotel which ends up being a “love hotel” where couples go to get it on. Some humor comes out of this which is rather gratuitous. The first half of the movie has these moments where there’s already been a fine balance of levity and drama, but adds in just a little more humor that makes it feel a tad extraneous. It throws that balance off just enough to slightly detract from the dramatic progression of the film, but by the halfway point, these issues evaporated.
Also, I wouldn’t begrudge this movie if it intentionally disavowed X-Men Origins: Wolverine from its continuity. I say this because in that film we clearly see that Wolverine’s memories were robbed from him via an adamantium bullet to the head. However, in this film, Wolverine easily remembers events from Nagasaki, 1945, more than thirty years before his memory loss. While the previous X-Men films have shown him recovering memories, particularly from the Weapon X program, it’s a bit of a shady area as to how he is able to so clearly remember these events. Even then, if you went by the continuity of Origins, he was still going by the name James Howlett at that point in time, but Yashida knows him only as Logan, which he doesn’t adopt until the 1970’s. This franchise’s continuity is extremely shoddy, and it’s that reason why I both eager and skeptical about how next summer’s X-Men: Days of Future Past will possibly resolve these continuity issues.
However, a more significant issue is very valid. Wolverine’s healing factor is repressed for the bulk of this film where his wounds heal at the rate of a normal human being. Yet, he is constantly extending and retracting his claws with not a drop of blood or sight of a wound on his knuckles. I did buy many X-Men comics in the 90’s including X-Men #25 where Magneto ripped the adamantium from Wolverine’s body, and his healing factor is overloaded to where to stops working. Thus, his knuckles continually bleed out every time he unsheathes his bone claws, and he keeps them wrapped in bandages. I can understand that the PG-13 rating would never allow Wolverine going around bleeding profusely in graphic fashion through most of the runtime, but it is a serious oversight. It didn’t take me out of the film at all, but it’s a definite flaw in the film’s logic that I felt should be addressed.
Now, onto the good stuff. Undoubtedly, this is Hugh Jackman’s most dimensional performance as Wolverine. The film takes him on a journey from this man living in the wilderness, cut off from everything after Jean Grey’s death, and vowing never to hurt another person. We get an arc for Logan where he rediscovers his purpose, and finds a reason for living. He reinvests himself in a reason to fight for someone else, and become that honorable, yet animalistic warrior that he once was. Jackman does an excellent job showing the rugged anger early on, but he contrasts that with the vulnerable, physically weakened Wolverine. There’s a great balance in his performance that really shines through, likely due to James Mangold’s smart direction. I also like that despite having no healing factor, Wolverine still proves to be one of the toughest bad asses on the planet. He gets shot up, slashed, and beaten, but does he ever push forward with everything he’s got. And of course, Jackman is in the best shape of his life here as he finally achieved the lean, muscular physique he always wanted for Wolverine. He is totally ripped, and that creates a real raw, intimidating presence. The fight scenes are some of the best he’s ever done as this character.
Tapping into the vulnerability of Logan are two women. The first is Yukio who seeks him out, and seems to have a great deal in common with him. They are both warriors who have lost loved ones in their pasts, and are brought together by Yashida as wayward souls. Yukio is able to keep Logan on his toes as she is as smart as she is deadly, but has formed a bond of trust and respect with him. Rila Fukushima does a very, very good job in this role handling all the physical demands amazingly well, and making this a character who is enjoyable as well as dimensional.
Mariko is the one who peels back the vulnerability of Logan’s heart. While there is never an overt romantic connection between them, the film builds an intimacy with these two. They get very deeply involved with each other learning the pain and love that have affected them. Logan is driven to protect her at every cost, and the emotional bond is built up with a lot of subtlety and grace. I really found this to be the main cog towards exploring Logan. Through Mariko, we see the change in him from the lost, fractured man to the fiercely determined warrior. The chemistry between Jackman and Tao Okamoto is really sweet and endearing as the two characters grow closer.
I feel this film is filled with a strong set of characters that are well cast. Will Yun Lee impressed me thoroughly as Harada, a ninja and archer who has dubious allegiances, and demonstrates some amazing physical feats early on. When the Yakuza are chasing Logan and Mariko through the Tokyo streets, he’s jumping and flipping from one rooftop to another and picking guys off with his bow and arrow. To me, he essentially put Jeremy Renner as Hawkeye to shame with just that one sequence. Beyond that, Lee simply grabbed me right from the start with his edge and presence. Plus, Harada has a really enjoyable arc as his loyalties and honor are certainly in question as he is associated with certain underhanded individuals, but has the best of intentions.
There are many characters that have their own personal sense of honor, however misguided it might be, and it creates this very strong gravity to each character. Shingen Yashia, Mariko’s crime boss father, is really damn good exercising authority and conviction with a really imposing presence. Ichiro Yashida is also solidly portrayed with a more honest breadth of honor, but he still has some turns to show for himself later on. These characters all have depth and dimension making them intriguing and engaging.
However, the femme fatale villain of Viper was possibly the least captivating character. The character is very well portrayed by Svetlana Khodchenkova giving her plenty of juicy material to wrap this venomous character up in, but ultimately, she’s just a hired villain with little purpose or motivation of her own. So, she’s not nearly as interesting as all these characters who are enveloped in honor, tradition, culture, greed, and betrayal. Their stories are much more strongly interconnected because there is family involved, and it is all tangled up in a treacherous web of deceit. Regardless, there’s not a single weak link in this cast, and they all put forth great efforts that truly impressed me. I cared about so many of these characters due to the strong performances behind them, and a solid writing by Scott Frank, Mark Bomback, and the uncredited Christopher McQuarrie.
What I really found refreshing in The Wolverine is that is doesn’t feel the need to have to throw action sequences down your throat to engage you. I believe some may disagree and find the film lacking, but it really hit the spot for me. Like I said, these characters are compelling enough all on their own for me, and it is quite a while before we get a real action sequence here. The film invests you in following Logan, and seeing what kind of man he is now. It peers you into his mind and pained heart as its central focus, and introduces action where the story requires it. Especially with superhero films, we tend to see action thrown at us right from the beginning telling you that action is the central focus of this movie. Director James Mangold tells you otherwise with how this film begins and progresses. It has important substance to introduce you to so that when the action occurs, you can be invested in the danger faced by these characters, and that is highly admirable in my view.
And the action here is rather stellar. From the trailers, I thought the bullet train sequence would not be very good, but I was so proven wrong. I found it exceptionally well constructed especially with how Logan and his combatants have to keep dodging the overhead structures that keep flying over their heads. Sometimes they duck, sometimes they jump over top, and sometimes, an unfortunate adversary goes on a very rough flight goodbye. There’s more to it than that, and every clever element just made it work very well for me. While it is all clearly CGI settings and backgrounds, there was still a sense of danger involved considering this is a train rocketing along at hundreds of miles per hour.
There are also some excellent fight scenes. I have to love me some samurai sword fights mixed in with perilous acrobatic martial arts maneuvers. When Wolverine faces off with Shingen, claws versus sword, it’s really the moment where the bad ass hero that we know re-emerges, and it’s a great moment and pay-off. There is plenty of slashing and impaling of Yakuza upon Wolverine’s claws early on. Now, I didn’t think of it at the time, but really, Wolverine never gets a full-on bezerker battle with ninjas. I know that’s appalling because that’s practically the signature moment every die hard fan would want to see. There is a confrontation leading into the third act, but there’s very little close range combat in it for Wolverine to start ripping at ninjas. Also, the use of blood on his claws is rather inconsistent. Sometimes, we’ll see blood on them after he impales a guy, but most times, we either don’t get a good look at them or there’s simply nothing shown. James Mangold did do an interview this past week hinting at a bloodier, more violent unrated cut of the film on Blu Ray, but we’ll have to wait and see. He supposedly did remove a more elaborate fight between Wolverine and the ninjas. Why, I couldn’t tell you.
I honestly think this is the best score I’ve ever heard from Marco Beltrami. Up until now, I don’t think he’s ever done anything this diverse or exceptional. He really captures the flavor and feel of Japan in subtle ways throughout his score. He never seemed to go for anything easy or expected in that realm. It’s a very fine piece of work that also highlights some great moments with due weight.
The cinematography is indeed damn good. I had desired a Wolverine film that was dark, gritty, and raw from when Darren Aronofsky was attached, but Mangold and his cinematographer did a lot to make this more polished look work. The Wolverine gives us a strong, vibrant color palette, and the nighttime scenes have a pleasing neo noir quality. It gives the film some mood where needed. I especially found some beauty in the Wolverine / Shingen fight with his dim blue backlight, and the ninjas converging upon Wolverine in the snowy landscape. The action sequences are essentially filmed very well keeping things steady and competent.
I can definitely say that the digital effects of The Wolverine are superior to those of X-Men Origins: Wolverine. Surely, there are places where it’s not superb, but it’s fairly on par with your general effects-heavy summer film. Believe me, I saw worse CGI in the trailers before this film, but there were areas for improvement at times. Frankly, I can forgive some undercooked CGI if the film surrounding it is damn good enough. That very much applies here because this is exponentially superior to its Gavin Hood-directed predecessor on every level.
The Wolverine might not reach the level of greatness, but I feel it is an almost perfectly solid piece of work. The film takes its time to explore its characters, and give us a sense of depth and emotion with its title character. Even the dream sequences with him and Jean Grey are very poignantly handled starting out as something that haunts Logan, but slowly reflecting his ability to absolve himself of the burden he has at the film’s beginning. As you can likely tell, I very much respect and like this film’s focus on character instead of action. It also doesn’t overload us with more and more mutants, trying to cram every last cameo it can into the runtime. It takes the characters it needs, and builds the story around them tightly. I can only imagine how insane X-Men: Days of Future Past is going to be with somewhere in the range fifteen to twenty characters populating the story. Speaking of such things, stick around for a few minutes after the end credits begin. There is a special scene that you will certainly not want to miss that sets up next year’s big sequel.
To me, there is no defending this movie. It is the worst film of this franchise, and a terrible supposed ending for Freddy Krueger. As the progression of these films showed, Freddy transitioned from being a chilling icon of horror into being a jokey, cheesy clown, and this film goes right off the deep end of comedy in the most wretched ways. Worse yet is that that’s just the beginning of this movie’s problems. It tries to do something quirky and new, but the ideas it runs with are just so stupid that I cannot fathom how anyone embraced them as good ideas. What stuns me more is that this film was written by the same person, Michael DeLuca, who wrote my favorite horror movie of all-time – John Carpenter’s In The Mouth of Madness. Of course, Freddy’s Dead: The Final Nightmare has nothing at all to do with the horror genre.
Dream monster Freddy Krueger (Robert Englund) has finally killed all the children of his hometown of Springwood. One amnesiac teenage survivor, known only as John Doe (Shon Greenblatt), is allowed to escape so that Freddy may expand his power beyond the town. John soon comes into the care of a youth shelter and Dr. Maggie Burroughs (Lisa Zane), who has a forgotten past of her own as Krueger’s own daughter. This revelation is what can facilitate Freddy’s freedom to engulf the world in nightmares. However, she discovers the demonic origin of his powers and meets him head-on in a final showdown.
This is a cluttered mess of a movie, but I’ll tell you what I like about it which isn’t much. Since Freddy’s Dead is set a decade in the future, there’s obviously a detailed history that we are unaware of, and thus, it creates an inherent mystery. It lays a foreboding mystique over Krueger’s motivations and schemes. Of course, this film squanders all of that hint of potential by not exploring any of that untold history at all. It concerns us solely with this bland, boring mystery about Freddy’s kid and Krueger’s origins. The misdirection of who is Freddy’s kid is terribly weak and completely uninteresting. John is a teenager, and it is stated in the movie that Freddy’s child was taken away from him in 1966 – thirty-five years before the time this film is set. Even then, Freddy was probably already dead by the time John was born. There was an early idea that John would have been Jacob, Alice’s son from The Dream Child, but that is clearly impossible as he’s too old. Maggie being Freddy’s daughter is also a completely new thing that comes out of nowhere. Obviously, this is a brand new thing created for this movie alone, but it doesn’t take into the thought that if Freddy had this child out there all this time that he would’ve taken advantage of her far earlier than now.
This is indicative of how this film presents ideas and questions, but the filmmakers put in no time or effort to think them through. They don’t pull from the established continuity or characters we’ve connected with through the previous five movies. While a few of the films have introduced new ideas to Freddy’s origins, they’ve been largely smart ideas that flow organically from what had come before. These filmmakers also don’t rationalize the motivations or thought processes of its characters to have anything really make any sense. Beyond that, it constantly embraces the ridiculous as if this was meant to be a horribly bad comedy. The story has a very shaky foundation, and anything built upon it is constantly crumbling apart. By the end, it’s an eye sore of a disaster.
Also, this film brings up an intriguing question of whatever happened to Alice from The Dream Master and The Dream Child? This character that defeated Freddy twice, and clearly had the power to keep him at bay is never eluded to once in this movie. Freddy’s wiped out the child population of Springwood, and turned it into a bizarre wasteland of delusional adults. Did Alice get killed, or did she just runaway and let it happen? If Freddy killed her, that would be an extremely pivotal thing for fans and audiences to know and actually see. If she turned her back on him, that’s also a story I’d like to see explored. Why would his biggest, most powerful nemesis not be there to combat him to the bitter end? These questions have no remote answer to them. Instead, we’re burdened with a couple of lead characters that I couldn’t give a damn about.
I cannot say that Shon Greenblatt was a very good casting choice. He’s not terrible, but he just has nothing charismatic or special to offer in this role. He has practically the same expression through every single scene regardless of he’s confident, angry, afraid, or confused. He fails to elicit any sense of caring from me. This is also due to how stupid and flat his character happens to be. He exercises no perceptive intellect, and kind of comes off as arrogant once he thinks he’s Freddy’s kid. He forms this conclusion based on nothing definitive, and just jumps around from one idiotic, self-important conclusion to another. Neither Greenblatt nor the direction do anything to make this a character you’re going to care about one way or another.
Lisa Zane’s character is also someone I couldn’t really care about. The film takes almost an hour before it starts going into any detail about Maggie, and even then, it’s extremely minimal stuff just to facilitate a weak connection between her and Freddy. Beyond that, I ask myself the questions of why am I supposed to care at all about this brand new character that this film takes next to time to develop? What’s so special about this character that she is meant to be the one to put the supposed final nail in Freddy’s coffin? And again, why the hell aren’t we following Alice Johnson charge headlong into a final, epic battle with Freddy? The filmmakers didn’t need to manufacture a child for Freddy in order to explore his back story, and even that idea is so lazily implemented. No one puts forth any effort to make that anything an audience should invest themselves in. Most importantly, Lisa Zane really does nothing with this character. The performance is very hollow, and like Greenblatt, she essentially has one facial expression for every emotion in every scene.
The only cool and bad ass member of this cast is Yaphet Kotto, and that’s because he is Yaphet Kotto. I don’t think it’s possible for him not to be awesome in any role. They should’ve made the film more about his character, who is only named Doc. He’s the one that figures everything out, and has the knowledge and perception to battle Krueger on his own ground. Unfortunately, he probably has the least amount of screentime, and his talent is almost entirely wasted opposite such bland characters and cast members. With this film, it seems that the less significant your character is, or the less screentime you are given, the better your performance will be.
For instance, this film’s new set of teens are pretty good characters filled by charismatic actors. The most notable among them is Breckin Meyer in his first feature film role. You can see all of his signature personality and talent on display here. Lezlie Deane is the most proactive of them all as Tracy showing a lot of fight and toughness. She doesn’t take much attitude from anyone. Ricky Dean Logan has a nice dash of attitude while still being quite likable as Carlos, the kid with the hearing aid. Freddy ends up screwing with him royally via his hearing aid by amplifying every little sound to deafening levels. It’s too bad that it’s so undermined by the absolutely cartoonish behavior of Freddy.
Knowing that even Englund himself agreed to make this movie like a Bugs Bunny cartoon makes my head hurt. Up until this point, he was able to maintain some integrity with the character, but here, it just all gets flushed right down the toilet. There is no menace, no sense of a frightening killer anywhere within this movie. Englund jumps the proverbial shark with this performance making Krueger a total, cringe inducing cartoon that really craps all over the entire franchise. The make-up job also follows that mentality with a horribly cheap and rubbery prosthetics job constantly exposed in bright light.
The visual effects, in general, are largely bad. They tried to use some low budget CGI, but it looks no better than mid-grade optical effects, at best. There are a few shots that are fine, but the visual effects do take an obvious nose dive decline in quality from the last few films. Mixed with the poor 3D sequence, it just becomes cringeable to look at. The dream demons themselves are horrendous and laughable in their brief appearance. The practical effects from master John Carl Buechler are very good in most respects, but the film is so terribly light on kills and good imagination that there’s hardly much of a showcase for Buchler’s brilliant talents.
I really like the soundtrack for this film to the point where I tracked it down years ago on CD. It has many great tracks mainly from the Goo Goo Dolls, and a solid end titles track from Iggy Pop. I can’t say I’m all that keen on how, early on, the film drives this soundtrack right into the blatant forefront. Every few minutes another song kicks in undermining the score. For certain types of films, this sort of thing works, but for what should be a horror movie, it doesn’t at all. Of course, even the score that this film has is almost entirely dismissible and hardly noticeable.
The third act of this movie is such garbage. First off, the horrible 3D gimmick of Maggie putting on 3D glasses to enter Freddy’s mind is face palmingly bad. Again, Freddy’s a horribly bad joke in this movie, and so, I don’t give a damn about his back story at this point. Maggie is a hollow, boring protagonist that I care even less about. So, I simply don’t care about her traversing through Freddy’s memories, or seeing how he became a serial killer or a dream demon. The only highlight is Alice Cooper appearing in a cameo as his father, but it’s nowhere near being a saving grace. The entire fight between Maggie and Freddy is just crap. It’s essentially a street fight with conventional weapons with absolutely no fantastical qualities whatsoever. After all of the supernatural, paranormal, metaphysical ways they’ve defeated Freddy in the past five movies, these filmmakers resort to a damn pipe bomb. Maggie pulls him into the real world, and blows him up with a pipe bomb. You have got to be kidding me. How creatively bankrupt must you be to go forward with that, and have it end with Maggie being all smug about it? I’ll take the toxic waste bath in Jason Takes Manhattan over this insulting garbage. At least that showed a semblance of imagination and effort.
Any of the lesser grade sequels could at least be chalked up to poor execution, but this movie is a disaster from the concept and script onward. I don’t think this is a well directed movie by Rachel Talalay at all. It’s not well conceived, not well written, and it’s not well acted where it counts. Freddy’s Dead bares no resemblance to a horror movie at all. It doesn’t even put forth the smallest effort to establish a mood or atmosphere conducive to scaring even the most timid audience. There’s so much cartoony garbage stinking up the movie that you couldn’t break out of it if you tried. This movie SUCKS SO FUCKING BAD! I strongly avoid using that kind of profanity in my reviews, but when a movie elicits that strong of a negative emotion from me, there is no way I could express my vehement disdain any other way. It’s like a middle finger pointed straight at the audience in crappy 3D. This film also has no sense of transition. There are a few scenes that just abruptly end, jarring us into the next scene without a single mind towards a segue. You feel the scene is building towards something more, but it takes a sharp turn into a completely different scene. This is bad plotting, poor pacing, and just sloppy editing. Freddy’s Dead: The Final Nightmare has no qualities that could possibly redeem it because it was so royally screwed from its inception.
From here, the only salvation for Freddy Krueger was Wes Craven and Jason Voorhees. The first was a creative salvation, and the second was a financial salvation. Sure, this movie was a box office success, but there is nothing within this film that deserved that success. It is one of the absolute worst sequels I have ever seen, regardless of genre. I would log it next to Alien vs. Predator because it is that insulting in its ideas, and piss poor in its filmmaking competency. Also, this film absolutely did not need an obnoxious cameo by Roseanne and Tom Arnold. They standout like a sore thumb, but thankfully, it’s only for a minute. However, it’s just another stamp of the filmmakers not taking this film seriously or respecting where this franchise came from. Even separated from the franchise, this is still a terrible movie through and through. So many of those creatively involved with it should be ashamed that they did this to Freddy Krueger. Instead of shifting gears and bringing the icon back to his serious roots of horror, they plunge off the deep end, and drown him in a comedy sewage. I could go on and on calling this film every bad name in the book, but I think I’ve said plenty. Thank goodness that Wes Craven would bring respectability back to the franchise with New Nightmare, which I did review last October. Skip this movie and watch that one. It’s a massively, exponentially superior film on every level.
This is where the film franchise took a serious slip and fall misstep. Someone realized that Freddy Krueger was on the verge of becoming a bad punchline, and so, steps were taken to make this a darker, more mature sequel. Rushed out into theatres just under a year after The Dream Master, director Stephen Hopkins did all he could to deliver a solid film, but there was too many misconceived qualities to be what the studio desired. This was the lowest grossing film of the series up to that point, and the reasons why are evident here.
Having survived and seemingly defeated him, Alice Johnson (Lisa Wilcox) finds the deadly dreams of Freddy Krueger (Robert Englund) starting once again. This time, the taunting murderer is striking through the sleeping mind of Alice’s unborn child. His intention is to be “born again” into the real world at the expense of Alice’s new circle of friends. The only one who can stop Freddy is his dead mother, but can Alice free her spirit in time to save her own son?
For me, the biggest and most evident issue with The Dream Child is that it tries to tie campy, overblown humorous elements in with a gothic looking slasher film, and that just curls my upper lip in disgust. Stephen Hopkins certainly directs a very well shot movie, but that gothic production design is soaked in so much brown that it’s not inviting to look at. That visual style is really contained within the dream world, but that has always been the more fantastical and visually intriguing aspect of these films. Hopkins does have a great eye for stylish visuals, but it is a very drab film to look at in most cases. If it had a more subtle, realistic color palette like Craven’s original, or followed along the vibrant color schemes of Renny Harlin’s The Dream Master, this may have been a more visually exciting movie.
Lisa Wilcox is able to stretch out and expand upon her previous performance as Alice. She’s able to take that strong fighter, and add the emotional touches of heart and depth into her. It feels very organic from how she initially was in The Dream Master, but just melding that with her new found strength. Wilcox also brings out the heartache and inner turmoil of Alice with endearing charm and sympathy. She’s pushed to new limits, fighting to save not only her friends, but the life of her newly conceived son, which Wilcox embraces with a great deal of depth and motivation. All around, she leads this film with a lot of confidence continuing on as an inspiring hero for this franchise. I feel it’s unfortunate that she is never revisited again because Lisa Wilcox is such a solid and versatile talent, and really gave us a standout character to rival Nancy Thompson amongst fans.
Now, Alice’s new cast of friends are not filled by bad actors. They are quite good, but the characters just aren’t that appealing or entertaining. The closest we get is the comic book artist Mark. He’s decently fun, but is definitely downplayed. He has some good dramatic moments, and showcases some heart at times. It’s a shame that actor Joe Seely has nothing more to work with here because he seemed to have the potential to really breakout with a more entertaining performance. With Yvonne, I understand the idea of the friend that doesn’t always agree with you, but she is too abrasive too often. There is too much friction between her and Alice for my liking to where I just didn’t like the character. With all the teenagers that have been killed by Freddy in this town, you’d think she would actually wake up to the truth and start acting more open-mindedly. Instead, she remains a stubborn minded person dismissing her friends claims instead of trying to help them through most of the film. That’s a friend I wouldn’t care to have. Greta, the more upper class type friend, just doesn’t have much going for her as a character. The actress portraying Greta’s mother, however, is just terrible all the way through. She overacts the part to horrendously cartoonish levels. Her performance is very forewarning of some of what we’d get in Freddy’s Dead.
I found the kid who plays Jacob, Whitby Hertford, to be rather unappealing to look at and rather annoying. There was nothing about his performance that made me feel sympathy for him at all. Even worse is that the make-up department did all they could to make him look uglier, creepier. Surely, that was the intent, but part of the purpose of Jacob is to make him sympathetic; to make him someone you want to see saved from Krueger’s clutches. I couldn’t care any less about him if I tried. I really feel he should have been played more innocently, and have Freddy gradually corrupt him more and more to motivate sympathy from an audience and put more urgency upon Alice to act quickly.
Ten years ago, I was able to do an email based interview with Robert Englund, and from that, I gained insight into the shift in the tone and portrayal of Freddy Krueger from scary and serious to cheesy and comical. He said, and I quote, “I feel Freddy should be dark, but directors and fans like his dark humor. In many cases during the filming of all the movies I would give a dark and a comical take for certain scenes. Director liked the “button” that a laugh gives so they would often opt for the more comical take in the editing room.” The choice to take Freddy into comical territory was indeed outside of Englund’s control, and he simply gave the filmmakers the best performance he could based on what they wanted. This film delves deeply into the comical villain portrayal, and thus, the scare factor of Freddy Krueger is severely drained. He was turned into a twisted clown that might make some people laugh, but is almost guaranteed not to scare you at all. What is scary is that this is not the worst it would get to being.
The make-up work on Freddy does fall down in quality as he appears cheap and rubbery. This is a byproduct of the rushed production schedule. However, many of the various practical effects are impressive such as the motorcycle death sequence that seems straight out of Videodrome. There are some cool visual effects used when Mark gets sucked into his comic books, but it was far from anything new. It was mostly a retread of the classic a-Ha music video for “Take On Me.” The climax features effects and designs directly copying from M.C. Escher’s famous artwork Relativity with all the upside down staircases. It’s a fine idea, but it’s less surreal and just more whacky and silly. I’ve seen it done in Looney Tunes cartoons before, and so, I would hardly associate it with a frightening, vertigo-like nightmare. There are a number of very good visual effects in The Dream Child, but the ideas behind many of them aren’t all that great. Plus, they seem even more dated than those of The Dream Master.
And of course, since this film deals with a pregnancy, I honestly don’t think that A Nightmare On Elm Street movie is the proper platform to debate the issue of abortion. I am not going to inject my feelings on the issue here either. This film brings it up as a serious issue for Alice to contend with, but she remains strong in her decision to keep the child. People don’t go into a movie like this to have hot button socio-political issues debated. They are there to have a fun time being scared. Adding this sort of subject matter into the movie likely turned more than a few people off to it. While it is not an aspect of the film that really bothers me, it’s just not something that needed to exist in a slasher movie.
This sequel also feels uneven in its plotting, and rather thin in certainly places. The film is front loaded with establishing every element of this plot to where it leaves a lot of muddled meandering in the middle. It probably rushes us into the thick of the story quicker than necessary. Then, the film progresses past all of that to where it kind of goes through the slasher movie motions to rack up the body count. It’s not until the final act that any of these plot elements are actively dealt with, and even then, it becomes very repetitive just in order to fill in the remaining runtime. That’s odd to say since the film ends very quickly after Freddy is dispatched with, but still struggles to come in under the 90 minute mark. The third act confrontation with Freddy runs around in circles, both literally and figuratively, to where it just doesn’t feel exciting. Again, I didn’t care a thing for this creepy child Jacob to invest myself in Alice’s desire to protect him, and the filmmakers don’t really do anything to make him anyone to care about. So, having Alice and Freddy chase him around the dream world for the whole third act was just tedious. I generally like the further exploration of Freddy’s origins and bringing Amanda Krueger back into the fold from Dream Warriors. I just don’t think all of these elements have enough impact on the climax as they likely were supposed to. I understand not trying to close the door on Freddy, again, since he always comes back, but not trying to have a satisfying and solid ending to your movie is a terrible approach to have.
While Stephen Hopkins tried to take this into a darker, grittier look, it is the script that fundamentally sabotages that effort. I’m even hard pressed to say if this is even a potentially good concept because it is executed so poorly from a clunky screenplay. This is what you get when you rush the movie into theatres fifty-one weeks after the original. Back in 1989, it took that long just to get a movie from theatres onto home video. When you slow down, and take your time to find the right story and refine the concept, you will get a better movie in the end. Instead, The Dream Child is enough of a mess to call this a major pothole in the steady road of success of this franchise. While it was profitable, it did fall especially below expectations. Thus, New Line Cinema decided to begin plotting Freddy’s supposedly ultimate demise with what would be the most horrendous movie of this entire franchise. As for this sequel, ultimately, neither the attempt at a darker, more mature tone nor Englund’s best efforts could save it. The film is watchable, but not especially satisfying.
With the strong success of the third movie, New Line Cinema struck their biggest gold with this 1988 sequel helmed by Finnish director Renny Harlin. The Dream Master takes a lot of what made Dream Warriors marketable and entertaining and amplified it. This is definitely the most mainstream film in the franchise with many pop culture sensibilities, and that resulted in the largest box office take until 2003’s Freddy vs. Jason. For many years I had formed a much more negative opinion of this film, but now that I’ve watched it again, I can say that this is a very well made movie. However, I cannot say that it’s a very effective horror movie.
Proving there’s no rest for the wicked, the unspeakably evil Freddy Krueger (Robert Englund) is again resurrected from the grave to wreak havoc upon those who dare to dream, but this time, he faces a powerful new adversary. As her friends succumb one by one to Freddy’s wrath, telepathically gifted Kristen Parker (Tuesday Knight) embarks on a desperate mission to destroy the satanic dream stalker and release the tortured souls of his victims. However, her power will have to be passed to her friend Alice Johnson (Lisa Wilcox) as she has the ability to overcome Freddy’s control, and absorb the power of her slain friends to end Krueger once and for all.
I do enjoy a couple of Renny Harlin’s movies. The Adventures of Ford Fairlane and Die Hard 2 are definite favorites of mine, and I am anxious to watch Cliffhanger very soon. However, I don’t think horror really is his strong suit, despite how gory his early films are. I will certainly hand it to him for having a great handle on gore effects, and his films usually look damn good on all levels. Still, this film is a long way removed from the brilliant execution of chilling suspense and the masterful enveloping experience of terror of Wes Craven’s original classic. However, on a technical level, this is probably the best made film of the franchise until New Nightmare. Harlin just knows how to move his camera in smart, cinematic ways. There seems to be more camera movement overall with some steadicam work, and smart, engaging camera angles. This is a very polished looking film having nearly triple the budget of Dream Warriors, and it shows through in all aspects. It has vibrant colors, but a good mix of light and dark. The whole movie feels just a little more theatrical in its lighting as well. Thus, the mood is a little more artistically crafted, visually, than Dream Warriors, but it does lack a good dose of suspense. The film has its gore, its violence, and its imagination in high gear, but doesn’t make itself all that scary.
This film loses a lot of potential emotional resonance having to recast Kristen Parker with Tuesday Knight. There was apparently a turbulent experience for Patricia Arquette on the previous movie, and for possibly other reasons as well, she chose not to reprise the role of Kristen. Knight does an okay job, but it really feels like a filler role to motivate the plot along quickly to put Alice in the lead role. It also comes down to how she is written. There is no motivation given for why she’s convinced that Freddy’s coming back to get her, and it feels like a large step backwards for the character. She seemed to evolve a little in last film to a stronger protagonist, and she feels regressed to a more timid, easily spooked person here.
Returning from Dream Warriors are Ken Sagoes and Rodney Eastman as Kincaid and Joey, respectively. They still deliver perfectly to what they did in the previous movie, but their chemistry with Knight is not as good as it was with Arquette. I really like that The Dream Master feels like a direct sequel by bringing back these surviving characters while segueing into a new cast. We spend the first act with them, fearing for their lives from Freddy’s imminent rampage of revenge, but then, it shifts into another gear that once again builds upon the premise of the series. It feels like Freddy is triumphing here as an nearly indomitable force, and we need a stronger hero with special powers to combat him.
This film greatly builds Alice up as our new heroine. We get glimpses into her emotional and mental state, both affectionate and angered, from under her meek appearance. The film nicely balances establishing her as a well rounded character in all aspects while keeping Kristen also in the forefront in a more troubled state. Lisa Wilcox proves to be a solid actress with fine range. We see her take Alice from this lowly, slightly introverted young woman to a vibrant, tough fighter. Yet, we get moments of endearing sweetness and heart making her easy to sympathize with. We follow Alice as she grows into this awesome character, and delivers in spades as an action hero that a film of this sort required.
I think the idea of Alice gaining the powers of her friends as Freddy kills them is great. It creates a fresh dynamic in the story that while Alice suffers the grief of her dying friends, she becomes stronger by them so that she can battle Freddy. He is savagely tearing through them at a fast rate making the situation all that more dire and seemingly insurmountable. It definitely moves the film along at a tight pace, and makes for an entertaining and original sequel. I will hand it to the A Nightmare On Elm Street movies for always seeking out new ideas so that no film feels like a carbon copy of another. The ideas might not always work, but there’s at least an effort put forth most times.
Since this film amplifies all of the entertaining qualities of the previous movie, we get a Freddy Krueger who cracks more jokes, throws out more one-liners, and has significantly more screentime. Robert Englund still does a very good job with this material maintaining his own standards of integrity as an actor. Unfortunately, the portrayal of Freddy in this film just falls further away from that frightening figure that stalks the dark recesses of your worst nightmares. For crying out loud, he is seen in broad daylight on a sunny beach with a pair of sunglasses on. That’s one of my least desirable images from this franchise. It’s the total stark opposite environment to place Fred Krueger in. The scene in question has Kristen going into her own idyllic dream, and then, Freddy crashes it in a very Jaws homage fashion. The better way to do this would be to have the sky go dark and stormy, and have Freddy invade her dream in a more ominous way. Keeping Freddy in the shadows is where he is the most effective, and while there is some of that here, the liberties taken just don’t work to maintaining him as a scary figure.
The effects work here is amazing and rather ambitious. The waterbed scene is great in both concept and execution as Joey tries to reach the naked beauty inside, but then, gets gutted by Freddy. The most shocking and disgusting effects are when Freddy goes after Debbie, and she is transformed into a insect piece by piece. Even for as much gross stuff as I’ve seen in horror movies, this sequence still makes me cringe and my stomach turn. It’s no wonder I haven’t worked up the nerve to watch David Cronenberg’s The Fly. The big ending to the climax where the souls are fighting to break out of Freddy is greatly elaborate and highly impressive. Many different effects were used to pull this off, and they cut together seamlessly and to fantastic effect. While some of the effects are dated and a little cheesy, they still work for the film’s overall style, and were certainly high grade for their time.
The music is very pop oriented with a mostly synthesizer style score creating a great ambient mystique. It is a perfectly 80’s soundtrack with a number of really good rock tracks from Billy Idol, Dramarama, Vinnie Vincent Invasion, and Tuesday Knight herself performing the opening title track “Nightmares.” I really like the sound of all of it because it gives the film energy, style, and a little bit of edge. It helps to energize the movie and the audience as events unfold and build up to a really great climax.
I now do really like this movie. It is fun, entertaining, exciting, and quite smart in a number of ways. Renny Harlin does a great job with the well developed screenplay. Unfortunately, where it fails is in actually in the horror department. I’m not sure what to classify this movie as because it does have gruesome, nightmarish imagery, and great effects along with a solidly put together cinematic atmosphere. There’s just not much here to scare an audience with outside of the graphic scenes of gore. There’s very little effort put into building up tension or suspense, which are key to roping an audience in tightly. It’s a fun, dark fantasy with a pitch perfect pop culture sensibility and excellent violent, gory moments. The Dream Master is a largely fun time spent with a very capable and enjoyable cast, and so, it is easy to see why this was such a big box office success. I just wish there was more to be potentially scared about in this tightly paced 93 minute runtime.
Sequels tend to be an inferior breed of movie, especially in the horror genre. However, sometimes, when you get the right mix of talent together, and especially getting the input of series creator Wes Craven, you can create one the most beloved films in the entire franchise. Freddy’s Revenge fell off-track with the ideas and mythos of Freddy Krueger, but this film, Dream Warriors, got it solidly back on track in stellar, awesome ways.
The last of the Elm Street kids are now at a psychiatric ward where Freddy Kruger (Robert Englund) haunts their dreams with unspeakable horrors. Their newest fellow patient is Kristen Parker (Patricia Arquette) who has the ability to pull others into her dreams. Their only hope is dream researcher and fellow survivor Nancy Thompson (Heather Langenkamp), who helps them battle the supernatural psycho on his own hellish turf.
From the beginning, you can see that this film is again embracing the atmosphere and surreal qualities of Craven’s original. It feels directly in synch on numerous levels. The opening dream sequence is very nerve-racking and visually captivating. The first ten minutes of this sequel is better than anything in all of Freddy’s Revenge. Overall, it features a great and imaginative collection of nightmare sequences that are all shot and lit in very interesting and moody ways to evoke mysterious and frightening feelings from an audience. This is also a greatly paced film balancing its attention amongst this ensemble cast exceptionally well, and moving the story forward tightly.
Bringing back Nancy was a stroke of genius, and it continues her story purposefully and smartly. She’s grown and matured to a point where she can truly help these troubled kids band together and fight Kruger and their own fears. Heather Langenkamp does a lot of great work reprising this role bringing confidence and compassion to Nancy. Teaming her with Patricia Arquette results in a strong pairing that work excellently off one another. Kristen grows stronger through Nancy, as does everyone, but she is clearly the highlight. Nancy fully passes the torch to Kristen in many ways, and Patricia Arquette does a truly standout acting job here. I love that this movie isn’t just about Nancy. It’s about all of these great, dimensional characters coming together to combat Krueger as a force to defeat him in grand fashion.
One of those notably great characters is Dr. Neil Gordon. There is a lot of heart and compassion in Craig Wasson’s performance. You can see how much Dr. Gordon cares for these kids, and even Nancy to an extent. I like that he has an arc of sorts here having his mind open to new possibilities, and growing into a stronger character when he deals with Donald Thompson. He becomes more than just a caring doctor. He becomes one that will fight for what he believes in. The subtle subplot with Sister Mary Helena helps evolve his character in clever ways so he can believe in more than just science to lay Freddy Krueger to rest.
Also returning is John Saxon as a much more down-and-out Donald Thompson. No longer a Police Lieutenant, he’s a drunkard security guard who did go into a downward spiral after the events of the first movie. It’s a stark contrast of a performance, but Saxon is such an incredible actor that he achieves it remarkably well. The progression of the character is handled with appropriate weight and integrity. This film takes its characters seriously and treats them with respect. Thus, it makes for a film with serious weight and integrity on the whole, which I really respect.
The rest of this young cast is absolutely superb. They embody each character’s distinct personalities with a great deal of dedication and talent. It’s a golden example of putting together a great ensemble cast for a horror movie. While each character has emotional weaknesses, they have greater strengths which are expertly bonded together to become the titular Dream Warriors. It’s also a great treat seeing a fairly young and slender Larry Fishburne as the upbeat and charismatic orderly Max. He is very charming showing great energy and enthusiasm.
Now, this film was where Freddy started to become a little lighter in tone and throwing out a few wisecracks. Even the low, deep voice is not consistently present, likely to accommodate that variation in tone. However, he’s still an effective, threatening villain due to Robert Englund’s performance. He still commands the frame, and has a great, imposing presence. While there seems to be less screentime for Freddy here, the fear of him permeates throughout the film, and the threat of him is almost omnipresent. The movie builds him up, and in a way, gives him more impact when he does strike. He is far more powerful than ever before, and that makes for much more elaborate dream sequences and scenarios. Dream Warriors also begins to unveil a little of his back story in regards to being the “son of a hundred maniacs,” which is great stuff.
With the imagination back in full force, the practical and visual effects shine through excellently. There is plenty of gore on display that is effectively designed to unnerve. The most memorable work, both in make-up and visual effects, are when Freddy uses Phillip’s own tendons to walk him to his death like a marionette, and the full-on Freddy serpent that attempts to eat Kristen early on. Even in the climax, we get some really good stop motion animation, and some all around solid visual effects composites. Where the previous sequel was very lacking in imaginative nightmares, this film is packed with them, and they all tie in perfectly with the story. They are all crafted with solid suspense and smart scares. I will grant that this film has more of a fun factor than the first, and that does require a little loosening of the horror tone. However, this movie still delivers on the horror and frightening visuals due largely to the excellent effects work, and the talent of director Chuck Russell.
We are also treated to a greatly shot film. The cinematographer uses subtle camera movements highlighting poignant moments, and the dream sequences all have great visual vibrancy. Shadowy blues are used for the more haunting or mysterious scenes, and fiery reds are utilized when in the depths of Freddy’s surreal boiler room. The look of Dream Warriors is not as dark and frightening as the first film, but instead, uses visual atmosphere to great effect. Director Chuck Russell really approached this film seriously, not deteriorating it into silly, indulgent territory, and how it is photographed entirely reflects that intention.
Dream Warriors also features some great music, starting with the score from Angelo Badalamenti. He works in the Charles Bernstein theme very well, and builds a great atmosphere beyond that. He reflects the tone of dramatic weight and chilling horror with exceptional skill. It is such a damn good horror film score, as should be no surprise from David Lynch’s regular composer from Blue Velvet onward.
And of course, the classic songs from Dokken helped break the metal band into a wide audience. This film entirely exposed me to them between Into The Fire and the title track Dream Warriors. They are two excellent songs, and they complement this more MTV styled sequel that hits you with more vibrant and stylized visuals. You can definitely tell that Dokken was involved early on as Taryn is wearing one of their T-shirts in her first scene. Of course, there songs are a small part of the movie, and it is Badalamenti’s score that drives the atmosphere and weight of the picture.
This sequel is the proper follow-up to the original. Beyond just bringing back Nancy and her father, this just builds upon the original core ideas, and progresses them into a very exciting new place. Nancy learned how to overcome Freddy in the first movie, but now, she teaches others how to fight him with their own set of strengths. Some do parish, but others live to fight in another movie. Wes Craven did early drafts of the script, and thus, had some creative input on this sequel. Regardless of how much or little of his ideas made it there, I think his presence is still felt. It is a smartly written film with a great cast of stellar young talents, and it still delivers on the scares and horror aspects. Certainly none of the sequels measure up on a pure horror movie level to the original, but in terms of doing what a sequel should do, A Nightmare On Elm Street 3: Dream Warriors does exactly that. It expands the ideas and universe to have a fuller, more imaginative experience that entertains in new ways while still being respectful of where it came from. This is an undeniable classic to franchise fans, and is certainly one of the most well loved slashers of all time.
Horror film sequel subtitles are never all that clever, but it’s odd that this is called Freddy’s Revenge considering these are all brand new characters that Freddy has no past history with to seek revenge against. Nor is there any theme or hint at a revenge ideal here. That aside, this is a peculiar film in this franchise. As is no surprise, it was a rushed production since the first film was so financially successful for New Line Cinema. So, it really does lack all of the brilliance of Wes Craven’s film, but what makes it peculiar is a certain subtext that many are aware of by now. There are certainly detrimental qualities to this first sequel, but it’s not a terrible movie. Still, that doesn’t mean it’s particularly good or memorable.
Five years have passed since Freddy Krueger (Robert Englund) was sent howling back to hell. But now, Jesse Walsh (Mark Patton), a new kid on Elm Street, is being haunted every night by gruesome visions of the deadly dream stalker. And if his twisted soul takes possession of the boy’s body, Freddy will return from the dead to wreak bloody murder and mayhem upon the entire town.
The subtext in question is a rather obvious homoerotic subtext. It has been talked about at great length, and so, it’s nothing new I’m bringing up here. The 1980’s did have this bizarre homoerotic sensibility in the air, but this film, if any at all, seemed to have galvanized that all into a single 87 minute runtime. Screenwriter David Chaskin did write all of this into the script, but apparently, none were aware of it while making the film. There’s the constant bare-chested, sweaty scenes of Jesse every few minutes, there’s the S&M bondage club, the gym teacher getting stripped bare by Freddy, and the all too close relationship between Jesse and Grady. You’ve got, yet again, a bare-chested Jesse barging into Grady’s bedroom where he is asleep and mostly undressed to talk about Jesse’s sexual inabilities with Lisa. It is very obvious like a punch in the face, and that’s just the start of it. Jesse’s struggle with Freddy is supposedly a struggle with his own repressed sexuality. I will say it comes across loud and clear, but that’s not at all what Freddy is meant to be about. He’s not the manifestation of anything except your own fears, and this film doesn’t deal with that aspect of Krueger at all, ever.
I sort of like the idea of Freddy using someone else as a conduit into our reality. This is revisited in another way in The Dream Child and Freddy’s Dead, but it also doesn’t make a lot of sense for Freddy to transcend into our reality since he is essentially powerless outside of the dream world. The problem here is that Freddy kills no one in the dream world, and instead, goes after them in a slightly surreal waking world. Bringing Freddy into our reality, fully, feels wrong. The scene where he finally does this was so ridiculous to director Jack Sholder that he couldn’t direct it himself because of how hard he was laughing during it. The scene is not really scary at all, and is more silly than anything. Freddy just running around and randomly terrorizing teenagers at a pool party even sounds wrong in concept, and doesn’t work in execution either. Ideas like this are a big reason why Wes Craven stayed far away from this movie.
Even then, the kills are very forgettable and stock. One guy gets whipped to death, and another gets stabbed with Freddy’s razor glove. The rest are just slashed as the party. This grossly pales in comparison to the brilliantly imaginative kills in Wes Craven’s original. The innovative effects work created a darkly fantastical atmosphere of nightmarish deaths. That showed Freddy’s power and enhanced his menace. This film leans entirely on Freddy taking over Jesse as its sole hook of gruesome fantastical captivation, and it’s not remotely enough. There are a few nightmares, but there is not really any haunting or chilling imagery to crawl up under your skin.
What you absolutely have to credit this film with is holding true to the presentation of Freddy even if the concepts behind him are altered. Knowing how jokey and cheesy he became, it’s refreshing to see that this sequel didn’t start that trend. He’s still masked in shadows, and his voice still has that low, salacious quality. He feels concretely scary, and Robert Englund still puts his all into it. This is the most highly admirable aspect of this movie, and becomes more apparent in retrospect looking at the franchise overall. I just wish Englund had a better movie to complement that performance.
What make-up effects we do get are still great here. The best evidence of this is when Freddy crawls and tears his way out of Jesse in gruesome, frightening fashion. It is so excellently done. Also, the make-up on Freddy himself is still fantastic. Even in full light, it never appears cheap or rubbery like it would in later sequels. It’s all very admirable work that doesn’t slack off anywhere, and while there’s not much use of visual effects, they are of a comparable quality. I just wish there was a greater need for them to realize a more fiery imagination to rival the first movie.
The characters here are a divided issue for me. I do feel that Mark Patton does a fine job as Jesse. He’s fairly well written making him vulnerable and relatable. He’s definitely the kind of teenager that doesn’t quite fit in, and is easily picked on. Jesse has definite internal conflicts, but for a horror movie protagonist, he is terribly weak. He is both the intended hero and the main victim. That makes him difficult to invest yourself in because he is the furthest thing from a heroic figure. He is not strong willed at all, and essentially, is the polar opposite of Nancy Thompson. He’s not introverted like Tommy Jarvis in Friday the 13th, Part V, but it’s almost as bad having a main character who is nothing but troubled and full of angst when we’re looking for an inspiring hero. The fact that Jesse is absent from the third act, and it is his girlfriend who releases him from Freddy’s control shows how out of whack the concept here is. There’s really no one here to connect with as a hero or heroine.
Now, no one among this cast is really a poor actor, but the characters don’t really pop out at you. They are fine, but they don’t have that special quality of personality and chemistry to really come to vibrant life. Kim Myers is a potentially decent romantic interest, but despite a few moments of affection, she hardly feels like Jesse’s girlfriend and more like the best friend. There’s no hot spark between Patton and Myers to sell this the way it’s supposed to be by the time they’re making out at the party. The rest of the cast is essentially forgettable. They’re not bad performances, but it all does just feel flat and disposable all on its own. These just aren’t especially entertaining characters to spend time with.
The film deals with Jesse’s psychological elements very well. Mark Patton does put in a solid effort selling the terror and torment that Freddy puts him through. If this film kept true to Wes Craven’s ideas, I think it could have been a more effective and creatively satisfying movie. Making the struggle psychologically based could be very intriguing instead of a physical or ideological battle. Patton clearly showed he had the talent for the role, but even then, as I said, he’s never put into a position of strength to become our hero. He never really fights back, and is constantly running away from every confrontation with Krueger. Even at the film’s end, he’s still afraid and prone to Freddy screwing with him again.
Freddy’s Revenge is not a bad movie, and there are far, far worse entries in this franchise. However, it really is a misconceived sequel taking things in the wrong direction. It takes Freddy out of the dream world so much that you remove so much o the appeal of the original. All of the dream-like qualities are downplayed with only a few nightmarish images, and extremely few actually occur when someone’s asleep. The dream world is Freddy’s domain where he holds the power, and you want to see someone go into that world and battle Krueger on his own ground at his own game. This is Fred Krueger royally screwing with the film’s lead character, and turning him into his own puppet. That’s not very appealing. It’s just an example of rushing a film into production with talents that didn’t have much reverence for Craven’s material or ideas. It’s also not very pleasing that Christopher Young’s score does not include a single appearance of Charles Bernstein’s Elm Street theme, and is rather forgettable. Even if this was its own standalone movie, and not a sequel to a horror classic, I don’t think this would be regarded as very good, regardless.
For whatever reason, the Predator film franchise lied dormant after the release of Predator 2 in 1990. It wasn’t until 2004 that we got the highly anticipated Alien vs. Predator films. The first one I hated, and I still consider it the worst overall movie I’ve ever seen theatrically. The second film I did a rather positive review of as one of the last Forever Horror website reviews and one of the first Forever Cinematic reviews. However, the general consensus of both movies was decidedly negative, and thus, someone thought it was time to bring the Predator franchise back into its own. Such a person was producer Robert Rodriguez known best for making big scale action on tight budgets. Thus, twenty years after Predator 2, we are given another proper sequel. The question is, was it good enough to breathe life into a damaged franchise?
Awakening in freefall, a collection of strangers find themselves dropped into an unfamiliar land with danger awaiting them. Royce (Adrien Brody) is a mercenary who reluctantly leads this group of elite warriors in a mysterious mission on an alien planet. Except for a disgraced physician, they are all cold-blooded killers – mercenaries, mobsters, convicts and death squad members – human “predators.” But when they begin to be systematically hunted and eliminated by a new Predator breed, it becomes clear that suddenly, they are the prey!
I will admit that I wasn’t sold on this film pre-release. I thought the premise of Predators abducting humans from Earth and dropping them on another planet to be hunted was against the idea of what a big game hunter would do. You don’t take a lion out of his natural environment and throw him in your backyard to hunt him. However, a positive reaction from a strongly opinionated friend of mine motivated me to see it theatrically. Indeed, I really liked Predators. I would still rank it third in my list of favorites, but all three films are ranked very tightly together. They are all extremely well made with their own unique ideas, visual styles, and approaches which all work superbly.
Much like with Predator 2, you must find it peculiar to cast Adrien Brody as the lead in an action movie. This film will entirely change your perspective on that. He delivers incredibly in this role. Brody can play tough bad ass with the best of them. He brings the charisma of a leader, but clearly shows Royce is a man of sketchy origins and doesn’t mind being a loner. Royce is also very smart and perceptive. He would be fine going at it solo, but he sees that even his own survival holds better odds sticking with them than without. You also see that he’s not a cold-blooded man, but he can be a savage, hardened killer when he needs to be. The film’s climax sells every awesome thing about Royce, and solidifies that I want to see more of him.
Brody has very touching and honest chemistry with Alice Braga, portraying the Israeli sniper Isabelle. They surely butt heads in certain circumstances, but they connect on an emotional level that does resonate. They build a mutual trust and respect as the film progresses. The rest of these trained killers, including the Rodriguez obligatory Danny Trejo, certainly don’t measure up to Dutch’s elite team from the first film, but they are a mismatched group that are weary to trust one another. My favorite, who has extremely little dialogue, is the Yakuza member Hanzo. He creates a very intriguing mystique around him through some interesting actions, and demonstrates a unique sense of honor. Topher Grace portrays the aforementioned disgraced physician Edwin, and surely, the film didn’t require the presence of this character. He just adds an extra wild card element late in the game which may or may not be easy to spot early on. I think I had this reveal spoiled for me before I initially saw the movie. The concept behind Edwin is a clever one, but probably not executed nearly as smartly as it could have been.
Laurence Fishburne makes a wickedly cool appearance as Noland, a soldier whose been trapped and has survived this planet for several years. The result of that is hat Noland’s gone quite crazy in a delusional, psychotic type of way. He’s more than skillfully dangerous, he’s psychologically dangerous. Fishburne is entertaining and awesome in this fairly brief, very off-kilter role. More than anything, this character is designed to sell the futility of an escape from the planet, and the idea of two rival tribes of Predators hunting out there, making it all the more difficult to survive.
The film’s first act of sorts might seem a little drawn out to some. I believe I felt that way upon first viewing. The characters are exploring this world, trying to understand where they are, and even the first action sequence is not until more than twenty-five minutes in. Strange alien animals are throw at these characters as a test first, and so, there is a prolonged wait before the first Predator is actually revealed. However, once that occurs, the film settles into a very familiar feel and tone. Rodriguez and director Nimrod Antal studied the first Predator in great detail to nail the vibe perfectly, and I think they got it just about dead-on while still adding to it. Antal focuses on building the atmosphere and tension so that there is a pay-off with the action.
The overall feel is great with some rich color schemes which still evoke a dark, ominous feeling. The cinematography gives this film scale and scope while still maintaining the isolated feeling. The night scenes look great with a more subdued color palette, but with an excellent use of light and shadow for a beautiful moody vibe. This really is a remarkably well shot movie with an abundance of artistic merit and dramatic visual weight.
The way the action plays out is very intelligent focusing on tension and imminent danger. There’s plenty of intense gunplay, but it’s definitely used in conjunction with smart tactics and strategies by these characters. The ominous feeling of being stalked and hunted is executed with great skill. It’s a whole package of the visual style, stellar editing, and a music score that stays true to Alan Silvestri’s work. This film definitely takes the filmmaking style and techniques from John McTiernan’s movie, and gives it a little more polish. Nimrod Antal definitely puts his own stamp on the film, but was able to make this feel cohesive with the rest of the main Predator franchise. The action scenes definitely reflect this as there’s really none of that modern shaky cam mayhem. It’s well plotted, shot, and cut together for an extremely coherent and effective experience. Beyond anything else, this film enhances the ferocity and frightening quality of the Predators. They feel even more merciless and relentless than before, if you could even imagine such a thing.
I can’t help but love two fight scenes in Predators. The first has Hanzo squaring off with his katana against the Predator. This is beautifully setup, and is shot so gorgeously with a lot of wide angles and a wonderful overhead shot showing the wind blowing through the high grass. It’s a graceful work of art. What trumps it on the bad assery scale is when the New Predator battles the Classic Predator, which is portrayed by Derek Mears. While I didn’t care for the remake of Friday The 13th, Mears was an awesome Jason Voorhees, and he makes for an awesome Predator. Two Predators ripping and tearing at one another is pure gold, and the scene doesn’t disappoint at all. This is savage, gory, and everything you’d hope it to be.
And indeed, the creature effects are excellent. Oddly, neither Stan Winston Studios or Amalgamated Dynamics, Inc. – who were responsible for all of the previous Predator effects – returned to work on this film. Instead, the impeccable talents of KNB EFX were tapped, and they delivered on an amazing level. There are some familiar designs with the Classic Predator, but the newer, larger Predators are even more impressive. They do feel like a different breed, but are given a much better approach than what we saw in Alien vs. Predator. And of course, the gore returns in abundance, and no one better to also fill that task than KNB EFX. They’ve been the standard bearers for physical effects, especially those in the horror genre, for the last twenty years, and that quality is vastly on display here.
Predators does a great job of taking cues from the first movie, and adding its own flavor and ideas to them. The climax is a great example as Royce uses some of the same tactics as Dutch with the mud, but uses it in a different context. Instead of giving the Predator nothing to lock on to, he overloads the senses, and takes him on full boar while retreading some of Arnold’s quotable dialogue. It all really works greatly while delivering the graphic violence quota that fans crave from this franchise. The film ends on an excellent note that left me wanting to see where yet another sequel could go.
And thus, I do believe that Predators was indeed good enough to potentially breathe life back into this franchise. Everyone involved steered it back in the right direction where exciting new stories could be told, and even on its own, this is a very solid and satisfying science fiction action movie. However, with the same budget as Aliens vs. Predator: Requiem, it pulled in just about the same amount at the box office, but the reviews and reactions to this film were substantially higher. Predators set a good foundation for the franchise to build upon, but three years later, no news of a sequel has surfaced from Twentieth Century Fox. That is quite unfortunate, but I think there is a great deal of potential to tap with this series which is evident here. Nimrod Antal and Robert Rodriguez did an excellent job bringing everything back to its roots, and while they chose not to acknowledge Predator 2, they did nothing to contradict it either. Again, I’d love to see more of Adrien Brody as Royce. He’s flat out awesome. While I’m sure some will view the film as leaning a little too heavily on the first movie, I really believe that what it takes from that movie was largely to its benefit, and the filmmakers still injected their own ideas and creativity to allow the franchise to move forward. They expanded the universe and possibilities in a lot of very good and intriguing ways. I do really like Predators, and I give it a strong recommendation. If this film has slipped under your radar for the last three years, definitely give it your attention. This is a franchise that deserves to live and thrive again under the watch of some really sharp and talented creative individuals.
There seems to be an idea out there somewhere, I don’t know where it came from, that Predator 2 is a markedly inferior sequel. This is wholly unjustified. Surely, everyone has their own opinions on how this measures up to the original classic, but to me, this is a great follow-up which expands on the ideas and premise in exciting new ways. Predator 2 contains numerous admirable qualities, and is helmed by a director with a great eye for sleek visuals. Anything it doesn’t recreate from the original it replaces with a higher energy and larger scale action.
In the urban jungles of Los Angeles, Detective Lieutenant Mike Harrigan’s (Danny Glover) police force is at war with drug lords and gangs. But just as Harrigan admits he’s losing the fight, one by one, gang lords are killed by a mysterious, fierce adversary with almost supernatural powers – the Predator. Before long, the vicious creature begins to hunt the hunters – Harrigan’s men. Now, Harrigan doesn’t just want to bring the creature in – he wants to bring it down. However, he is hindered along the way by government Special Agent Peter Keyes (Gary Busey) who has a shady motive to his secretive investigation who knows more about this ultimate hunter than Harrigan even suspects.
Surely, you would think going from Arnold Schwarzenegger to Danny Glover would be a strange swerve. I always imagined that if this was made a few years later that it would be Wesley Snipes as Mike Harrigan, but I’ll be damned if Glover doesn’t deliver here. The character is designed as a seasoned cop who’s been fighting this unrelenting war on the Los Angeles streets for a long time. He’s dogged, inventive, and is a cop who plays by his own rules, taking a backseat to no one. Glover portrays this with the rugged determination of a consummate street cop. He doesn’t like the politics that get rammed down his throat, and he slickly, yet passionately sticks it back in their faces. However, he is wholly loyal to his team, and treats them with respect as comrades in arms because they are fighting a war. Glover also demonstrates the emotional depth of Harrigan when his closest friend, Danny Archuleta portrayed by Rubén Blades, is gruesomely killed by the Predator. The flashes of enraged vengeance, and the heartfelt moment at the gravesite show Glover had the talent and skill for this role, which also demanded a lot from him physically. He greatly delivers on that end, too. I think making him a distinctly different protagonist than Dutch was the right way to go.
Many will indeed enjoy Bill Paxton’s performance as the jokey Jerry Lambert. He’s the newest member of Harrigan’s team known as “The Lone Ranger.” He’s a guy that’s gotten a lot of ego stroking and glory, but he quickly becomes an enthusiastic team player. This is Paxton at his full charismatic and comedic richness. He adds the levity to break up the grisly heaviness of the film. The rest of the supporting cast is filled out by Rubén Blades and Maria Conchita Alonso as the seasoned members of Harrigan’s team. Both bring their top level enthusiasm and talent adding to the cast’s vibrancy. Then, we get the late, great original king of trash television Morton Downey, Jr. as the appropriately cast tabloid sleaze-miester Tony Pope. He’s puts in a fantastically entertaining performance.
Now, Arnold Schwarzenegger was approached to return for this film, but he turned it down to do Terminator 2. Thus, his role was rewritten as Peter Keyes and re-cast with Gary Busey. I think this was an equally beneficial turn of events. The story works supremely better not knowing what Keyes’ agenda is, and allowing for him to be an adversary and foil for Harrigan. Busey does an excellent job bringing forth his signature energy and leaning Keyes towards the smarmy, shady side. He’s smart and cunning, but still a self-serving government agent who cares more about his findings for the military than Harrigan’s war on violent gang crime.
Also, I love the Jamaican gang here. They are totally savage and chilling with King Willie being fantastically awesome. He brings the mysticism into the fold with a wickedly cool scene opposite Harrigan, but also, a greatly visualized confrontation with the Predator. Calvin Lockhart is so awesome in this role. The theatricality, mystique, and powerful presence he brings entirely does justice to his Royal Shakespeare Company roots. He delivers my favorite performance of the movie. Knowing that director Stephen Hopkins was born in Jamaica, it doesn’t surprise me how rich and memorable these characters are here.
The visual effects are distinctly improved from the first movie. The Predator vision is the most obvious example as the infrared and other modes have more distinct color separation and possibly are of a higher resolution. The optical effects of the Predator’s cloak are used more dynamically and are integrated into more complex environments. We see it in more motion and detail. My favorite effects shots in the whole movie are when the Predator squares off with King Willie. First off, the tracking shot of the cloaked feet walking through the water is brilliant work, and then, the reveal of the Predator in the rippling puddle is awesome. Seeing how these are done in the featurettes on the Special Edition DVD are astounding and what I’ve always loved about movie magic. These striking, innovative images are largely due to do director Stephen Hopkins’ great visual style.
Teamed with regular director of photography Peter Levy, Hopkins gives Predator 2 its own unique visual sleekness. It has a great use of dynamic, intriguing angles. The action is captured remarkably well, and we even get a few scenes of atmospheric, moody lighting. Two of the best shot scenes are, first, inside the slaughterhouse bathed in blue light where the Predators assaults Keyes’ team, and then, the entire climax inside the Predator spacecraft. Counterbalancing that blue with a largely orange color scheme there is another sign of Hopkins’ great visual sensibilities. Beyond just the color schemes, these sequences have great use of sweeping cranes and steadicams shots enhancing the production and artistic value of the film.
This new Predator is recognizable, but has a bit different look and feel to him. He feels more brazen. He’s taking bigger chances, and taking on greater numbers. Hunting in a major metropolitan area means he’s attracting more attention to his work. So, he’s not as calculated, in general, but when he finds a prey he really likes, such as Harrigan, he takes his time to study him. He also taunts Harrigan as if he’s issuing an honorable challenge. I very much like that the filmmakers did this to show, even subtly, that this is another unique individual with his own personality, but with the same objective. It’s also great seeing the arsenal expand with the telescoping spear, the projectile net, and the flying disc. It gives the impression of a larger safari at hand where he’s equipped for bigger game. Kevin Peter Hall, yet again, does an awesome, exceptional job overall. He defined this role so perfectly, and it is a terrible shame that his life ended only a few years later. However, what he did laid the template for others to succeed him in this franchise.
The strengths of Predator 2 is that it is much more energetic and diversely entertaining than the original. The pace is faster as there is more going on here between the gang wars, Peter Keyes’ shady dealings, and Harrigan’s own dogged investigation. The action sequences are bigger and more dynamic allowing for a higher body count, but not as much gore. The film originally gained an NC-17 rating, but likely, Fox panicked and did more aggressive editing to secure an R rating. There is still blood abound and plenty of violence, but far less cadavers begin ripped apart. What we do see in that regard is obscured or done in heavy shadow. So, it ups the energy and action, but reduces the graphic content a little.
I would agree that these characters are not quite as captivating as those in the original. Neither film delves deeply into their characters, but it’s just the nature of battle hardened soldiers in a ominous jungle versus tough, seasoned cops on the streets of Los Angeles. One if inherently more intriguing than the other. There’s a little more levity in this film akin to a wisecracking John McClane in areas as Harrigan’s fear manifests in a few humorous quips. Since the film focuses more on an energetic pace with a more divided focus, there’s little mystique about the Predator himself. Again, he’s much more blunt and brazen, but you do lose that intensely dramatic build up to the third act. The Peter Keyes subplot sort of veers the emotional drive of Harrigan off-track, and the climax just becomes about having to stop this alien one way or another. There’s no more survival aspect, just hero versus villain. There is some peril throughout the third act, but none of it rivals the dire lethality and immediacy of the first film.
Still, the little teases we get at the end with both the Alien skull in the trophy room, the reveal of the half dozen other Predators onboard the spacecraft, and the flintlock pistol with the engraving of the year 1715 on it lay big seeds for a follow-up. However one might have felt about this movie, it surely left you intrigued to see how the next film could expand on these concepts further, but a proper third movie would not see fruition for another twenty years.
Predator 2 may not hit all the great qualities of the film first, but has entertaining trade-offs making it a more lively, faster paced action film. It again has a solid cast filling their roles with vibrancy. The violence and intense action are enhanced by stylish, sleek visuals and excellent editing. The optical visual effects are stunningly impressive pushing the ambition further, and with more time to plan, Stan Winston Studios developed the Predator further with great new weaponry and a fresh look. Alan Silvestri also returns adding some new flavors to his original themes, and adapting some of the feel to this film’s style and content. I would like to pay tribute to Kevin Peter Hall, Calvin Lockhart, and Stan Winston who have all passed on since this film’s release. All three did stunning work here that deserves notable credit and praise. This franchise, outside of the AVP films, has maintained a fairly steady stream of quality. The screenwriters of the first movie returned to expand on their own concepts, and it was executed very well by a competent and capable director. Predator 2 s definitely worth your while. It’s not as slam bang amazing as the first, but it’s a largely worthy sequel.
I think it goes without me saying that Predator is one of the best action films, ever. More importantly, this is my favorite Schwarzenegger movie. Smartly directed by John McTiernan, who would helm Die Hard the following year, this is an excellently plotted and cleverly devised concept utilizing a stellar cast to great effect. With an alien hunter designed by the masterful Stan Winston, and backed by some of the best visual effects of the time, Predator was an instant classic that truly solidified Schwarzenegger’s career as a blockbuster action star.
Recruited by the CIA to rescue hostages held by guerrilla fighters in a Central American country, Major Dutch (Arnold Schwarzenegger) and his elite team encounter an enemy unimaginably more deadly than any on Earth – because the Predator is not of this Earth.
The film starts out wasting no time by keeping the exposition succinct, and allowing for this team to progress to their objective quickly while still relating these characters to us. No one’s explored in depth, but you get a clear, personality rich snapshot of each man. Blain’s a hard ass, Hawkins is kind of a joker, Billy’s the stoic warrior, and so on. The entire first act sets up who these guys are, and what they are capable of. We see this is an expertly efficient team able to wipe out a legion of about thirty Central American soldiers within a few minutes. They are tactically sound striking hard and fast using the element of surprise. When Dutch’s team is referred to as “the best” early on in the briefing scene, we see that is not at all an exaggerated statement. They prove they are the elite, but even then, you can see these guys are spooked by this jungle. “Makes Cambodia look like Kansas,” sets the tone for how unnerved they are by its terrain and ominous feeling. Encountering the previous team’s skinned corpses surely rattles them a bit, but they never lose their wits. In fact, it practically heightens them for the more lethal danger that is stalking them.
Schwarzenegger shines here as Dutch. In addition to everyone else, this is possibly his most quotable movie. Arnold’s got that charisma going here with energy and authority. I love that Dutch is a soldier with a code of ethics for his men. He states straight out that his men are not assassins, merely an elite rescue team, and we see that conviction arise when he learns of Dillion’s deception. Schwarzenegger shows Dutch to be an honorable and sharply intelligent soldier commanding his men with precision. He proves himself to be a cunning warrior gradually picking up on the Predator’s methods, and adapting to them in order to survive. He’s perceptive and level headed, which is undoubtedly the sign of a great soldier. I think this definitely one of Schwarzenegger’s finest performances demonstrating the ability to realize a very authentic, dimensional, and smart character. Not to mention, I don’t think he’s looked so awesome on-screen without delving into a cheesy or campy tone.
Bill Duke especially does a touchingly effective job. Early on, he is a hardened soldier, but after Blain is lost, you see the grief and turmoil wash over him. Carl Weathers is great here as well portraying a man who was once a trusted friend of Dutch’s that has been corrupted by the “everyone’s expendable” mentality of a pencil pushing desk jockey. He’s lost sight of the qualities of a soldier and the value of life. However, we see him turning the corner as he rushes into his final battle, and I really like seeing that small character arc. Overall, this is a rock solid cast flexing both their acting muscles and their real ones in pure 80’s action movie bad assery. They all exhibit distinct personality that are vibrant, memorable, and straight up killer.
What it is that we lose with CGI monsters as opposed to a real life performer is exquisitely evident here. Kevin Peter Hall inhabited that beautifully textured and crafted Stan Winston suit, and created a character to live and breathe through it. Compare it to the personality deprived CGI creatures from Cowboys & Aliens. They were, as I said in that review, “just creatures designed to fill up the plot, and serve as a physical enemy to combat.” They had no distinct characteristics that made them any better than the Imperial Stormtroopers in Star Wars. The Predator has nuanced qualities that reflect an intelligence and cunning behavior. He’s a unique individual amongst a unique race. How he moves, reacts, and assesses a situation bring a subtle and intriguing depth created by Kevin Peter Hall’s amazing performance. It has all the traits of a talented performer crafting a character, and I am so tremendously glad that this franchise has never abandoned the performer in the suit approach.
As I’ve said in many previous reviews, the work of Stan Winston is legendary, and stands the test of time. He clearly revolutionized the creature effects industry with his artistic craftsmanship and captivating imagination. The Predator is an astonishing creation in all facets. The original creature the filmmakers put together for this film was ridiculous and was quickly jettisoned after only a few days of filming. Winston was called in, and with a little input about mandibles from James Cameron, this iconic, ferocious, and frightening creature was born. Beyond that, this is a very graphic and brutal film showing you skinned human bodies, spinal cords ripped from carcasses, and a disemboweled Jesse Ventura. Everything feels so grisly and textured for a greatly realistic feeling. This is some of the best gore effects I’ve ever seen.
And these visual effects essentially still hold up to this day. Certainly, the sequels have shown how digital effects can be used to improve and enhance them, but this is impressive work that hardly feels dated. This is mainly between the Predator’s cloaking technology where he appears as transparent ripples, and the laser sighting and discharges from his plasma cannon. There are some especially impressive shots featuring the cloak with more dynamic camera angles and motion where you get the real three dimensional quality of it. You see it’s not some animated effect, but a real optical composite of a real performer. These are all excellent visual effects.
This all blends perfectly with the gritty, sometimes smoky atmosphere of the film’s look. I think John McTiernan’s great eye for composition, interesting angles, and well constructed action shines through. In this jungle, we get the feel of the dangerous terrain and mysterious qualities of the dense foliage. The grit grounds this science fiction premise in a visceral reality where consequences are severely violent and lethal. Great camera movements and stylish, dramatic imagery highlight the artist merit of the cinematography, and it is all expertly edited together for a tight film which propels itself forward from the get go. .
Alan Silvestri put together one amazing score for Predator that has endured for the whole franchise. He incredibly blends a militaristic march and drive with a primal tribal, jungle beat. He builds a sense of ominous foreboding reflecting the reality that there is something out there stalking these men. For the majority of the climax, there is next to no dialogue of any sort. It is carried along by the action, the visuals, and the exhilarating score which enhances all of the tension, apprehension, and danger that is unfolding. It is perfect, superb work.
The action hits you at a regular clip, and the first main sequence is majorly explosive. It sets the bar high for the remaining runtime, and McTiernan is able to meet that challenge. It’s the mix of tension, the unknown, and the sheer scale of this rapid fire, big gun toting, grenade launching explosiveness that makes that possible. Yet, McTiernan knows how to build it up, and work the subtle strings of an audience’s anticipation. The danger escalates, and the peril becomes more immediate as the Predator moves in closer and closer to its prey. He starts out attacking from a distance, but gradually engages his ultimate trophy – Dutch – in close combat because the Predator views him as a highly worthy adversary
And that entire third act where it’s just down to Dutch and the Predator is a masterpiece. The strategy and makeshift tactics that Dutch puts together play out brilliantly. He uses the Predator’s own method of invisibility and striking from a distance to his advantage. However, it all elevates when the two finally meet face-to-face in a straight physical confrontation. Everyone knows that Arnold is a BIG guy, but next to this hulking seven foot tall alien beast, he looks small and nearly ineffectual. It’s only by his smarts and wits is he able to survive.
Predator is filled with chest pounding action and excitement wrapped in a smart concept and script. Backed up by an excellent action director, and a vibrant, colorful cast lead by Arnold Schwarzenegger, it was a surefire formula for success. This is why I love Predator. It never lags anywhere as the pacing is tight and the rhythm is consistent throughout right from the start. It’s really a near brilliant structure which constantly keeps you invested and intrigued by what’s developing here. You also can’t not quote the living hell out of this movie. It’s sharp, witty, but never betraying the serious tone of danger and lethality it sets from the beginning. It’s an absolute success that holds up incredibly well over time. I entirely intend to give you reviews on both Predator 2 and Predators sooner than later. Until then, revisit this classic.
Man of Steel was my most anticipated film of the year. Not for an instant did I doubt it from any piece of marketing that came out. Each trailer and TV spot just got increasingly better raising my excitement for this more and more. Everything kept giving me hope for an amazing film experience. I know there’s a full spectrum of opinions out there right now, but take it from someone who grew up on Christopher Reeve as Superman, whose main inspiration in life has been Christopher Reeve, from some who loved Smallville, and feels Superman is the most epic and emotionally powerful superhero of all time – I really liked this movie A LOT! There’s plenty to get into here, and you can count on zero spoilers.
On the planet Krypton, renowned scientist Jor-El (Russell Crowe) discovers the hope for his seemingly doomed society in his newborn son Kal-El, but it is nearly thwarted by an attempted insurrection by General Zod (Michael Shannon), who is later sentenced to the Phantom Zone before the planet’s demise. Years later, on Earth, a young boy learns that he has extraordinary powers and is not of this Earth. As a young man, Clark Kent (Henry Cavill) journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation by the now freed Zod and become the symbol of hope for all mankind.
Okay, I really, really enjoyed this movie, but I just want to get my one big critique out of the way right up front. It’s nothing damaging, just a structural issue. The film does follow a linear storytelling structure except for all of the scenes of Clark growing up, and everything with Kevin Costner as Jonathan Kent, who does a fine, heartfelt job here. These scenes are all very good, but I really think the film needed for us to go on that journey with Clark instead of flashbacking to isolated moments in his upbringing. I didn’t feel as much build up as I wanted to with Clark discovering his origins and donning the costume. We don’t get to see the linear development of Clark struggling through the pain, the adversity, the fear, and the doubt in his youth to see how he really overcomes and grows stronger through that. If there’s any one major flaw with this film, it’s simply that. It worked wonderfully in Batman Begins because we still saw Bruce Wayne develop and find his way in the world as an adult before dedicating himself to becoming Batman. Here, it feels a little short on that emotional journey and impact, and the film would feel a little stronger if that played out linearly instead of through flashbacks. Clark dons the Superman costume within the first, probably, thirty-five minutes of the movie.
Of course, I suppose the main question for everyone is with Henry Cavill. By no doubt, the film lives or dies by his performance. For me, he does a great job. He gives us a grounded portrayal that feels real and genuine. The somewhat familiar Clark Kent secret identity is not fleshed out until the end, and so, it is a story of Clark deciding what kind of man he wants to be. Cavill does embody an honest sense of hope, and has a strong physical presence. He trained extremely hard to achieve this physique, and it makes all the difference when you see him walking down the street in that suit. He just exudes power. When he is not being Superman, he feels very grounded and honest. He stays true to Clark’s Kansas farm boy roots being a man of morality and admirable strength of character. Clark is developing throughout the film, and continues to push his limits of what he can do, not just in terms of powers but in terms of determination. Superman is a hero who never gives up regardless of the odds, and here, the odds are tremendously against him. Yet, through hell and back, Cavill’s Superman shows us an icon of power that can inspire others to greater heights than ever imagined. While he doesn’t usurp Christopher Reeve’s inspiring magic, this feels like a Superman for a modern era that still has potential for further development in the already greenlit sequel. I feel Henry Cavill is a great successor to the mantle of the Last Son of Krypton, and he gives us plenty of humanity that shines through on the screen.
And this film is going to challenge many people on their long held preconceptions of the traditional Superman mythos. I’m sure there will be some that are resistant to this approach, but it ultimately laid my apprehensions to rest. The relationship with Lois Lane is built up very differently as she is closely associated with Clark / Superman throughout the film, and they develop a great, emotionally intimate connection. Amy Adams does a wonderful job as Lois Lane, and what she and Cavill have together is purely stunning. There’s an honest depth of emotion and understanding between them that shines through beautifully. Lois is not a damsel in distress either. Yes, she gets into perilous situations, but she is an active part of this story and plot. She’s very integral to stopping Zod’s genocide of humanity. Because she becomes so closely tied to Superman, she remains relevant to everything that’s happening. Of course, most pertinent of all, we see her as a dogged yet relatable journalist. Adams swirls a lot of different qualities into Lois from her determination as a reporter to her compassion and strength. She was a pleasure to witness here, and I think she also brings this character into a grounded, modern age that still remains true to the core, classic aspects of Lois Lane.
Having no easy shoes to fill himself, Michael Shannon takes General Zod and runs with him in his own way. There’s absolutely no catering to fan service here. He’s built up as his own character through Shannon’s awesome portrayal. He’s a bonafide bad ass villain bred as a warrior to protect Krypton at any cost, and he’s given solid depth. You understand what he’s doing, and why he’s doing it. Everything Zod does is for the sake of the people of Krypton, but he is a megalomaniacal, genocidal madman willing to eradicate our planet to fulfill his inherent purpose. This is no weak or generic adversary. Shannon has great presence that really commands your undivided attention, and he delivers a chilling General Zod that can be frightening by his sheer mercilessness. This is a Zod who’s going to kill everyone in his path without a moment’s hesitation, and that’s just awesome.
There’s a great supporting cast here, but in short, here are the heavy hitters. Laurence Fishburne is a damn solid Perry White. I know there are people bothered by the classic character’s change in race, but Fishburne is a tremendously awesome actor who delivers the goods with strength, nuance, and passion. Diane Lane is a lovely Martha Kent bringing a subtle, tender touch at the right moments in Clark’s story. Antje Traue portrays Zod’s second-in-command Faora-Ul fantastically. She’s extremely imposing and lethal. Anyone who thought this was just Ursa revamped, don’t do that. She’s not given as much development as Zod, but she’s a hardcore ass kicking machine. Beyond that, there’s just a lot of really quality performances throughout this film that does what a supporting cast is meant to do – build a solid foundation for the leads to springboard off of and launch the film into the stratosphere.
And indeed, lest I forget, we get Russell Crowe portraying the great Jor-El. I found his performance quite admirable with a unique sophistication, compassion, and depth. The real Jor-El is seen only on Krypton at the start, and it’s great seeing Crowe doing some action oriented work alongside some inspiring emotional beats. Later on, we see Jor-El as merely a projection through Kryptonian technology, and there is indeed still that strength and emotion present when meeting with Kal-El or confronting Zod. Yet, since he also works as sort of a computer program, there’s a more clinical portrayal of him in those instances where analytical guidance is needed. While I don’t wish to draw comparisons for my own sake, I know people are interested in the comparison to Marlon Brando. I do feel Brando wins in this situation. I think Crowe is an amazing actor demonstrating his best performance in what I consider Michael Mann’s best film, The Insider. However, Brando will always stand as one of the finest, most powerful actors of all time when he was in his prime. Crowe’s Jor-El is more fallible and vulnerable, by design, where Brando’s was inspirational and infallible through and through. For this Jor-El, Crowe hits it right on the mark, and I wouldn’t ask for him to change a thing.
Man of Steel also features plenty of action, and the more we get, the bigger and badder it gets. It just builds and builds to flat out epic proportions! We get moments where Superman has to push himself so hard to destroy Zod’s terra-forming machine that it becomes pure epic Superman awesomeness. Earlier on, there are some brutal knock down, drag out fights between the Kryptonian soldiers and Superman. While it almost seems futile for beings of seemingly equal strength and invulnerability to just keep pummeling one another, it generally works very satisfactorily. What’s more impressive is when Faora is using her super strength and speed to just blitz through a dozen soldiers at a time. This is all the kind of stuff Superman II couldn’t do because of the limitations of effects at the time, but this delivers in full throttle mode.
And I’m sorry, but The Avengers be damned with this climax. Superman versus Zod is the epic throwdown of the decade! They beat the living hell out of one another, smashing up Metropolis from top to bottom with full on ferocity. While some of the CGI can get to appearing somewhat obvious at some times, you knew this was going to be a CGI-heavy affair from the start to achieve extremely fantastical feats. So, aside from those small moments, this is some stunning and awesome digital effects work! It integrates so beautifully and realistically with the grounded, slightly gritty feel of the film in my eyes. The design of Krypton is very alien and somewhat bleak, but still stunning and enveloping.
And Zack Snyder has well proved he is a brilliant visual director. I’m a big fan of the Watchmen movie he made, and it’s amazing how much his visual style shifted for the material here. Indeed, I think the Christopher Nolan touch as a producer influenced that, but this is indeed Snyder’s film. Director of photography Amir Mokri has clearly not done anything that would suggest a film of this visual depth and emotion, but he does a remarkable job realizing Snyder’s vision. And again, that translates fully into the visual effects on every level. Every moment reflects a film of epic scope in terms of size and emotion.
By no doubt, the score by master composer Hans Zimmer is perfect for this movie. Yet again, separating this film from that iconic John Williams theme wasn’t easy for even Zimmer, but he honed his talent and found the sound for Man of Steel. His main theme has weight and emotion creating a driving rhythm from twelve of the world’s best drummers. When the scene is rousing and building towards something big and drama, the score is just powerful. Still, he has a touching piano version of that theme which really plucks the heartstrings in the more tender, lower key moments. It’s a stunning piece of work he crafted here, and this is a score that I will treasure to own right alongside that original John Williams score from the 1978 film. Both work on the right epic and inspirational levels for the types of the films they accompanied, and I love them both!
Man of Steel does feature a certain amount of depth that I felt was very good. Clark finding his purpose and learning who he wants to be has very apt and meaningful. Although, I do feel there was one missed moment for a little more character development and reflection. After learning his origins and having a discussion with Lois about Jonathan Kent, Clark returns home, and shortly thereafter, Zod’s message is transmitted around the world forcing that plot forward. I feel a scene or two of reflection and development right before that plot is introduced would have been perfect. It would’ve allowed Clark’s journey of discovery to settle in more, and understand where his mindset is at this point in time before being propelled into the public eye. We do get a number of very good introspective scenes following this in regards to Zod’s ultimatum for Kal-El to reveal himself, but a short lull would’ve felt right to me. But that’s just me.
Of course, once Zod arrives in Earth’s orbit, the film just propels forward at a very consistent pace. It’s not break neck, but it certainly doesn’t slow down much for character building. We do get moments of emotion, passion, and insight into Clark, Lois, and Zod at certain points. Still, I feel that there is room for further development in a Man of Steel sequel. I think there’s still much to explore about this Superman, and an even further distance for him to mature and grow. The foundation is strongly and solidly laid out here, and director Zack Snyder and screenwriter David Goyer can launch everything into a even vaster and deeper place next time.
This is the best film of the year for me by a long shot! Man of Steel might show some room for improvement, but it delivers on so many epic and powerful levels that I give this a wholehearted recommendation. If you are a Superman fan willing to embrace a fresh approach that still carries on the spirit of everything that encapsulates the greatest superhero of all time, this is your film to see. I have no problem with the redesigned suit now that I see it in full bombastic action, and this film has plenty of inspiring imagery. While we came to believe a long time ago that a man could fly, today, we can believe that Superman can once again live and thrive on the big screen once again. My hope is restored in full.