In the early 2000s, Sylvester Stallone was struggling to rebuild himself from some of his cheesy action movies of the 90s, and these efforts didn’t all meet with much success. Get Carter is a remake of a 1971 film of the same name starring Michael Caine in the title role, and this remake was received with negative criticism and a poor box office take. However, I saw this film on opening weekend, and I have very much liked it ever since. Having still not seen the original movie, I imagine I have the ability to view it much more objectively. Still, almost any movie promising Sylvester Stallone in a fist fight with Mickey Rourke and a hilarious John C. McGinley is pretty cool to begin with, but I honestly feel the film has a lot of worthwhile merit in many regards.
His name is Jack Carter, and you don’t want to know him. When it’s your time to settle your debts, you pay what you owe, or Carter will make you pay. While working for the mob in Las Vegas, Carter (Sylvester Stallone) learns that his brother has died, and returns home to Seattle in order to learns the how’s and why’s. His brother left behind a wife, Gloria (Miranda Richardson), and a teenage daughter, Doreen (Rachel Leigh Cook), which Jack feels he must now take care of since he was not around when it mattered most. Though, when digging into the death of his brother, Jack comes to suspect that is was no accident, and that someone has to pay up.
Now, what even some of the middle of the road reviews gave credit to was that Stallone is solid as Jack Carter, and I enthusiastically agree. I really like that Jack is a guy who carries a weight of regret with him to where he has this post-facto sense of responsibility. He might be a guy who beats people up for a crime syndicate, but there’s a certain moral compass to Jack which Stallone grasps onto perfectly. There’s a lot of subtlety to his performance showing the superb reversal on the over-the-top action hero roles of Judge Dredd or Demolition Man. He brings with him a low key presence of intimidation, but still finds those moments of clever signature Stallone charm and wit. Jack Carter has a warm heart and compassion for those he cares about, and this comes so very naturally to Stallone. There’s such a great depth of dimension to what he does here. Sly gives us a complex character who intensifies the emotional drive of the film. It’s also amazing seeing how bulked up Stallone got for this movie. He’s larger than ever, and it really works for Jack’s tough, bad ass presence. Yet, it is that softer side of Jack Carter that really impresses as he shows a lot of pain after a certain point really hitting you deep in the heart, and that translates into a venomous vengeful determination in the film’s third act. It’s an awesome, compelling performance by Sylvester Stallone that amazingly reminds you that he can be a stunning, complex actor. I think it’s one of his best performances since First Blood.
A lot of the depth of heart and substance is carried on through Miranda Richardson and Rachel Leigh Cook. Richardson is great as Gloria who is in this constant uncertainty about Jack. At times she can confide in him about her problems with Doreen, but at other times, can condemn Jack for bringing further trouble upon them and being absent from their lives until Richie died. Richardson has pitch perfect chemistry with Stallone standing strong on her own while showing the emotional turmoil inside. Meanwhile, Cook very easily endears herself to Jack and an audience with some sad sweetness and sympathetic charm. As certain things are revealed, and far more tragic layers are peeled back from Doreen, Cook is really able to demonstrate the soul of her heartbreaking talent. It really ends up being the pulsating emotional core of this film.
I really like the scenes between Stallone and Mickey Rourke. These are two actors who genuinely seem like they enjoyed working off each other. They’ve got the right rhythm and chemistry that these two characters should have being old acquaintances and all. Rourke has the right charisma and air of sleaze as Cyrus Paice which makes him very entertaining to watch, but also, a real piece of scum that you want to see get busted up by the end. Rourke and Stallone are two buffed up bulls ready to lock horns regularly, and when they do finally trade punches, it’s a straight up bad ass brawl.
Anyone who loves John C. McGinley’s comedy work would also love him here. He plays Con McCarty, an associate of Jack’s in the Las Vegas syndicate, and I swear he ad-libbed the majority of his dialogue. It is just so brilliantly quick witted, off the cuff, and hilarious that he’s an utter, endless joy. It’s a performance like this which shows that this is a film that is interested in balancing the heavyweight drama with sharp beats of levity. And Alan Cumming is quite good as the geeky wet rag dot-com millionaire of Jeremy Kinnear who has gotten in way too damn deep with seedy individuals. He is a pleasure to watch in this role as Stallone looms over him with his brute intimidation. Of course, Michael Caine does a fine job in a somewhat small role as Richie’s now former employer, and Caine and Stallone have some solid scenes together. Apparently, even Caine endorsed Stallone as a respectable successor to his original role, and including him in this cast was a really nice touch.
I really adore the look of this film from director of photography Mauro Fiore. It’s soaked in this somber tone of overcast gloom of blues and greens that really absorb you into the tone of the movie. Director Stephen Kay really pushed hard to have this filmed in Seattle, and the beauty of the rain soaked city makes the film feel a little more unique. There’s also some unconventional style to Get Carter that might not work for many films, but all of the artistic flourishes really meld together beautifully, in my opinion. The strategic slow motion beats add a sense of grace to the photography, and Fiore moves the camera extremely competently with plenty of steadicam. I like that when Jack’s whole world turns upside down so does the camera accentuating a particularly unique filmmaking style that I really like here. There is some stylish editing with a few jumpy cuts, flash frames, and speed changes. I could see how some would find that irritating, but I really got absorbed into the mindset of this movie. Stephen Kay uses these stylistic choices to slip you into a character’s perception such as Jack’s world fracturing. Get Carter was edited by Academy Award winner Jerry Greenberg who also edited The French Connection, Apocalypse Now, Kramer vs. Kramer, and Scarface. Here, he superbly executes Stephen Kay’s vision right from the opening credits sequence onward.
There is a great, moody collection of music here in addition to Tyler Bates’ unique and stylish score. The original theme for the 1971 film by Roy Budd is utilized and remixed for this remake, and it is a beautiful composition that just tingles my senses. There are some techno tracks infusing some dance club style vibes into the movie. I particularly love the ethereal Moby track during the funeral scene. All of this music creates a very soulful or energized originality to this film that melds well with its visual stylings.
There is some really well put together action including a couple of very smart, tense car chases. Action directors who love their shaky cam could learn something from this film. Stephen Kay does make use of some unsteady photography and tight framing, but the editing is properly paced so to not confuse an audience. There are quick cuts, but because the lighting is clear, the compositions are just right using good angles, it all works. The latter car chase is really great, and it has a really cool stunt crash at the end. Yet, while there is exciting action, this film maintains that emotional and character based focus as Jack Carter delves further into the seedy underbelly of Seattle.
When Jack goes into full-on revenge mode, this movie gets dead-on bad ass. The grit really surfaces in the visual style and Stallone’s performance. Everything gets pretty dark and intense as Jack deals out his sense of personal justice in violent, sometimes lethal ways. This is a revenge movie driven by a lot of emotional depth and substance. Jack is going to clean out the trash, but the mending of emotional wounds is just as important to him, if not more so. It’s all wrapped up in his personal sense of obligation to the extended family he’s neglected, and a need to prove to himself and others that he can be a better man than his history has shown. There’s also a subplot where Jack Carter is involved with the syndicate boss’ woman back in Vegas, and this runs through the film a little. It’s another emotional tether that puts stress upon Jack especially when Con is sent to “take care of business” with much intended finality. Most revenge movies are just about the violent retribution, but this movie really delves you deeply into the hearts and souls of its sympathetic characters.
Get Carter is damn good, in my opinion, because it does take the time to develop its character and give you a dimensionality to connect with. You feel Jack’s pain and his need to put things right, and your sympathy easily flows for Doreen as the film progresses. Stephen Kay did do a really exceptional job with making these characters feel poignant, and have the consequences of everyone’s actions feel like they carry the weight of the world. This is really the kind of revenge thriller that truly captivates me because it’s not just gunning people down for ninety minutes, which does have its satisfying qualities. The substance of everything here saturates the film, and Stallone carries it all so amazingly well. The ending might have used a little more weight and veracity, but the payoff is satisfying regardless. I highly recommend this remake of Get Carter. If you’re a Stallone fan, like me, you should definitely give this a watch.
In the 1990’s, there were a lot of action movie stars popping up, but most didn’t have what it took to break out of the direct-to-video market. However, I think Thomas Ian Griffith really had the talents to make it, but never really did. This might be a simple fact of not having a breakout film or role like Steven Seagal or Van Damme had early on. Regardless, Griffith had two vital qualities of a successful action hero in the 90’s. First off, he was trained in Kenpo Karate and Tae Kwon Do, so, he could do far more than just shoot things up. Secondly, he had charisma to spare making for some fun, lively performances. All of this could be seen as the villain in The Karate Kid, Part III, of which he was the best thing about that movie. So, I want to explore some of Griffith’s action films and find out exactly what he had to offer. With Excessive Force, Griffith is supported by such solid actors as Lance Henriksen, James Earl Jones, Tony Todd, and Burt Young for something that looks very solid, but let’s see if it really holds up to that appearance.
When $3 million disappears during a drug bust, undercover Chicago cop Terry McCain (Griffith) is pitted against Sal DiMarco (Burt Young), a sadistic mob boss who will do anything to get his money back, and a conspiracy of corruption from within the police department. After McCain’s partner is brutally murdered and his ex-wife is threatened, he strikes back the only way he knows how – with force! Framed for a murder he didn’t commit and hunted by his own friends on the force, McCain finds refuge with his old pal Jake (James Earl Jones) and his ex-wife Anna (Charlotte Lewis) as he’s lead into a desperate showdown with dangerous forces.
This movie has a fairly straight forward plot with only a few clever turns, but it’s not intended to be a wickedly twisting and turning crime thriller. It starts out as a revenge movie, but then, shifts into a web of deceit as McCain goes on the run once people start gunning for him. The script by Thomas Ian Griffith really makes good use of Chicago to this effect. He really incorporates the crooked politics and mobbed up history of it in a couple of smart ways. There are corrupt cops and deceptive allegiances at play in this story, and it really feels like authentic Chicago organized crime. The story twists around enough to where Terry doesn’t know who he can trust, and thus, he feels betrayed by every friend he has left living. It’s never a very taut sort of plot thread that forces McCain into heavy paranoia, but its place in the story is dealt with quite well and where it’s most effective. It also has some good pay-off and turnarounds at the end.
Thomas Ian Griffith leads this film very solidly. Having wrote the script himself, the more personal depth of his performance is apparent. Early on, we see the driven, charismatic, and lively cop who can kick ass with the best of them. He sets the energy for the film from the start, and continues to keep it exciting and interesting. As events progress, we see the drama and emotion sink into Terry McCain with plenty of weight that propels him forward through the film. Griffith has great chemistry with everyone especially Charlotte Lewis, Tony Todd as a fellow cop Frankie Hawkins, and Lance Henriksen as the soon-to-be Police Chief Devlin. Terry and Anna gradually reconnect and spark off some steam later on, but it’s very brief. Surely, a hot, erotic sex scene would be gratuitous, but I would not have complained if they injected some of that.
And of course, Griffith delivers on the action. I was really impressed with the martial arts moves he employed, mainly the number of high and roundhouse kicks he dished out. He really kicks some guys silly, and bashes up a lot of heads on a regular basis. While its not as intense as what Seagal was doing at the time, Griffith has his moments of bone breaking bad assery. If there’s any one shortcoming is that there’s no adversary that’s a real physical challenge for him, and so, there’s not a great single fight that stands out. Regardless, the action scenes are all very competently shot, choreographed, edited, and solidly executed overall.
Burt Young is pretty impressive as a ruthless Mafioso. He’s bluntly violent killing someone with a pencil through the ear, and having peoples’ legs bashed in with a baseball bat. He’s quite convincing with the balancing of the supposed sophisticated businessman and the merciless big crime boss. However, his screentime is shorter than you’d expect, but it leads to more interesting plotlines.
Also, the role of the police commander can often fall into clichéd territory, but thankfully, Lance Henriksen does a very subtle, understated job with Devlin. While he and McCain aren’t the best of friends, they can have respect despite their friction, and it’s really that relationship which gives Henriksen something fresh to work with. I also especially like the turn he has about halfway through as he becomes a bit more sleazy and brazen. As he gets deeper into this character, Henriksen gets more and more awesome.
I dearly love Tony Todd. Many know him as the horror icon Candyman, but he has such a wide range of talent that he also excellently displays here. He has one great scene in this film of emotional depth and strain which really sets him apart as a special, standout actor. A lot of other actors wouldn’t have put as much real heart and passions into such a small supporting role, but Todd does nothing less than superb work in everything he does.
These characters are interwoven into this decently forged conspiracy effectively. There’s a surprise or two to be had, and the characters themselves are fleshed out by the performances even if the dimension isn’t written on the page. A really good actor can always add and enhance what’s written in the script into something special or at least entertaining. I’ve seen enough standard fare action movies where lackluster performances make the film nothing but mediocre. Yet, vibrant and solid ones can make all the difference, and that’s certainly the case here. Like I said, when I saw the cast list I was impressed and intrigued if that acting quality would show through, and I think it really, really did.
The score of this movie was surprisingly done by Charles Bernstein, who I’ve only known from A Nightmare On Elm Street. His work here is distinctly early 90’s action, but he mixes in enough dramatic cues and moments of tension in certain scenes to give it some personality. James Earl Jones’ character of Jake runs a jazz club, and so, we get some smooth, lively sounds out of that early on. Bernstein’s score surely isn’t going to stun and amaze you, but it does its job very, very well. I would suppose that’s a good summation of the whole movie.
Excessive Force is not a great action movie, but it’s a really good effort that I did like. The script is well written, and very well directed by Jon Hess, but it’s really the exceptional acting talents of its admirable cast that allows this movie to be as good as it is. If filled with lesser grade talents, this would really falter, but putting guys like Griffith, Henriksen, Todd, Jones, and more into it gives it some extra substance. Each of them really put a real dedicated effort into their roles, and it made the film enjoyable outside of the nicely put together action scenes, of which Excessive Force does have a nice even helping of. Something exciting does happen about every ten to fifteen minutes, but the pace overall is quite consistent and well balanced to make it feel natural. There’s never action just for the sake of action. It all flows from the slightly twisting story, and Griffith’s athletic talents really make it all work. He certainly shows a lot of potential here in all aspects, and he’s a really fun, exciting lead. While Excessive Force doesn’t have the makings of a blockbuster success, I think it deserved better than grossing less than half its $3 million budget at the box office. It’s not a big explosive thrill ride, but it’s quite an enjoyable piece of low budget action fare.
Poor Frank Castle. He can’t get a film franchise started to save his life. It’s just reboot after reboot. However, out of the three that have been made, I believe this is the one that gets the most right in the right places. I did see this theatrically, twice in fact, and I was really blown away by it. Regardless, it did poorly at the box office due to a lackluster marketing campaign by Lionsgate and an untimely December release date. Conversely, this was the same year that gave us Iron Man, The Incredible Hulk, and The Dark Knight. So, there was high caliber benchmarks set in 2008, and I would say that Punisher: War Zone did not disappoint, in most part. To me, Ray Stevenson is the best Frank Castle to date, but there are some glaring problems with the villain of Jigsaw that impact the quality of the overall movie.
Ex-Special Forces officer Frank Castle (Ray Stevenson) wages a one-man war on two fronts. While targeting the vicious mob boss, Billy Russoti (Dominic West), Castle horribly disfigures the gangster in a firefight that also claims the life of undercover FBI Agent Nicky Donatelli. Seeking terrible vengeance, Russoti takes the name “Jigsaw” and begins recruiting the underworld’s most notorious criminals while Agent Paul Budiansky (Colin Salmon) joins with the sole member of the NYPD’s Punisher Task Force, Detective Martin Soap (Dash Mihok), in order to avenge his partner’s murder. However, Frank’s lethal mistake weighs on his conscience, and he is nearly ready to pack it in until he realizes the danger Angela Donatelli (Julie Benz) and her daughter are in. Now, The Punisher must find a way to elude the law and decimate a deadly crime army before more innocent lives are tragically ended.
First off, I really like that the filmmakers didn’t make this film another retread of the Punisher’s origin story. They instead chose for the Punisher to have already been operating for five years at the time of this story. Although, they surely weren’t going to gloss over that origin considering this was another reboot. We get tragic flashbacks to the aftermath of the Castle family’s slaying, and the story is briefly, yet poignantly told by Detective Soap to Agent Budiansky. We get the details on what happened, and even more impactful is noting the Punisher’s track record and body count. The entire basement of the police station is filled with files on every case, every murder involving the Punisher. There are literally thousands of them. This was a brilliant direction to go in to join Frank further down the road, and allow some perspective and reflection to enter into the equation of his character. This is no longer a man in the heat of his passionate revenge. This is a grim, weathered individual who is driven by his disdain for injustice, and has buried his soul deep down underneath all that pain and grief. That’s a fascinating route to go, and it works directly and purposefully into the story.
Fan reaction was that this film was very faithful to the Punisher MAX and Marvel Knights comic series with its gritty, yet over-the-top violence and vibrant color scheme. While I cannot comment on the accuracy of that sentiment, what I can say is that this is really what I’ve always felt a Punisher film should be. It is unrelentingly brutal with a generous helping of blood, gore, and violence, but with proper depth to its characters. The action sequences are slam bang amazing, even if they can tend to defy the laws of physics, at times. However, Punisher: War Zone is clearly geared towards a very comic book style, just based on the gorgeous cinematography. It is so vibrant, moody, gritty, and saturated with all the right colors that it often looks like it came straight off the pages of a comic book, and the action is indeed jacked up with that mentality. Just in the opening sequence, we’ve got a good dozen mobsters getting shot, slashed, and just laid to waste in graphic fashion. It sets an awesome, aggressive, relentless vibe for the whole movie which never disappoints or eases up. It puts you in the world of Frank Castle, and delves you right into his bleak, graphic state of mind. This is an action film that pulls no punches, and goes straight for the hard R rating all the way.
I also love how Castle moves and operates in the action scenes. It’s all very militaristic, but exceptionally nasty. No mercy, no prisoners – everyone dies. While the previous Punisher films had plenty of action and unique use of weaponry, this film employs tactics and strategy that feel very authentic. This is even more appropriate since this Frank Castle is actually revealed to have been a Marine. Dolph Lundgren’s was a former police officer, and Thomas Jane’s was a federal agent. I don’t know why it took a group of filmmakers so long to actually get Castle’s background correct, aside from the Vietnam aspect, but thankfully, it is well realized here in very subtle and clear details. It is very much ingrained in Frank’s mentalities and disciplines. Even his body armor reflects a man of vast wartime experience as it covers his torso up over his neck, and appears to be very heavy duty. Frank looks like a man waging a war as he’s always prepared with another weapon at hand, and has precise, razor sharp reflexes. This is a guy you’re going to have to massacre in order to stop, and he is not going to make that the least bit easy to do. I love the moment early on when he uses a pencil to reset his broken nose. That’s hardcore right there. Frank himself is immensely intimidating just by the sight of him. The slicked back black hair, beard stubble, and the obvious wear and age on Ray Stevenson’s face create a grim visage that says more than words ever could. And the signature white skull on the body armor is the final glorious touch to put the fear of death into any criminal.
Of course, I stand very firm in that Ray Stevenson was a brilliant casting choice for this character. I know Lundgren’s version had some sense of self-reflection, but I’m not familiar enough with Jane’s Punisher to know what he brought to it, depth wise. I just know that the film he starred in is one I cannot sit through. Here, Stevenson gives us every dimensional quality that could exist for Frank Castle. Yes, he is a hardcore bad ass that is unwaveringly lethal. Unlike most superheroes, The Punisher has no lines he won’t cross. If you’re a criminal, you will be punished. There is no gray area. It doesn’t matter if the cops are right there to arrest the criminal, he exacts his own brand of justice every time. The level of violence and carnage is absolutely appropriate for The Punisher. It is necessary to have in order to understand the emotional and psychological mindset of Frank Castle. The graphic violence he dishes out is the same which claimed the lives of his family. It explains why he is such a grim figure, what the definition of a vigilante truly is, why the cops and criminals fear him, and why neither want him on the streets. He is a man alone, and no one can truly understand him without seeing and feeling what it is he has gone through. Still, you see that he does feel things, and that he has a morality and a soul. Frank’s been emotionally shattered by the violent murder of his family, and that has resulted in a grim man with a lot of deep seeded pain, torment, and disdain. Ray Stevenson brings those powerful, realistic qualities to the surface, and it creates the real solid core of this film. The action, violence, and brutality are givens for a Punisher film, but it’s that serious depth of character which sets this film apart from its predecessors. You see the fractured remnants of the caring family man Frank once was, and it really penetrates for me. The story aspect of Frank accidentally killing an undercover cop instigates that deep exploration of his soul and heart, and creates an emotionally moving arc by the end with Julie Benz’s Angela Donatelli. Stevenson is absolutely everything that you’d want from your Frank Castle thespian. He handles the role with serious weight giving it credibility and humanity. It is the most three dimensional Punisher I have yet to be exposed to, and shows that the character is more than just a vigilante with a bad attitude. He has depth to spare, when put into the right creative hands.
Julie Benz is truly excellent as the grieving widow as she is not a wholly trembling mess. Angela is a cop’s wife, and has strength and conviction within her to survive through all she endures. There is a deep well of pain and emotion that pulsates through her performance. While she is strong, she is vulnerable nonetheless, and it’s a great mixture she puts together that can really be felt by an audience. I know Benz from her work as Darla on Buffy the Vampire Slayer & Angel, and so, her range of talent is not a surprise to me but is a great pleasure to witness. She shares some substantive scenes with Stevenson, and they both work beautifully together. The same goes for Stephanie Janusauskas who endearingly portrays the young and innocent Grace Donatelli. Stevenson’s scenes with her bring out Frank’s adoration he had for his own daughter, and is the most tender insights into Frank. Stephanie is wholly sweet showcasing some genuine talent that really forges an audience’s empathy for Grace.
Now, this film is easily divided up into two separate sections of quality. Everything that does not involve Jigsaw is tremendously bad ass and awesome. Unfortunately, almost everything that does involve Jigsaw is really ridiculous and silly. Now, Dominic West did a superb job with Billy Russoti. He was charismatic, threatening, a little intimidating, and a perfect fit for an Italian Mafioso. He had all the elements just right for this slick, underhanded villain. If he had remained as this character throughout the film, I think the tone would have been much more consistent and balanced. However, after he’s disfigured at the hands of the Punisher, that’s when we’re subjected to a very comical villain that poorly contrasts with the dark, heavy, serious tone of the film. Jigsaw becomes almost cartoonish in his behavior, attitude, and look through most of his screentime. He’s clearly overacting through those facial prosthetics, and it’s nothing but detrimental. There are better moments here and there, but in general, it’s the one major element that brings the film down for me. It’s not even like a Jack Nicholson Joker where he’s at least morbidly comical in his homicidal tendencies. Jigsaw is very much plucked out of a twisted cartoon concept where it’s difficult to take him seriously after a while. His criminal recruitment montage sequence is almost enough to force a face palm reaction. It’s not a purely bad performance, but there’s far more bad than there is good from Dominic West once he adopts the Jigsaw persona.
There is one semi-saving grace amongst the villains, and that’s Doug Hutchison as Looney Bin Jim. It’s a character strictly created for the movie, but his psychotic qualities really do help boost the threat level. He’s immensely agile and brutal, and thus, is able to take the fight right to Frank Castle near the film’s climax. In the least, the character gave Jigsaw someone to bounce off of, someone who feels like a trusted and capable right hand man, and that’s commendable for the filmmakers to have done. Hutchison is surely over-the-top in his own right, but for the character, it does work immensely better than for Jigsaw. It would have worked better had Jigsaw been a much more serious character and threat to create that contrast of Jim appearing far crazier.
The remainder of the cast is solid starting with Wayne Knight as Frank’s arsenal securing friend Micro. Knight does a fine job keeping the character enjoyable, but still dramatically poignant and sympathetic. He and Stevenson work very well together creating an honest, open relationship between Micro and Frank that feels genuine. Dash Mihok also does an exemplary job as the enthusiastic, innocent minded Detective Martin Soap. I liked the twist with the character about midway through the film. It’s very comical but terribly appropriate as it makes a fun kind of sense, and makes Soap appear more capable than he tends to appear. I really enjoyed the character, and Mihok made him endearing. On the more bad ass side, Colin Salmon is excellent as Agent Paul Budiansky. He’s a very take charge type of guy who doesn’t shy away from danger, and is deadest determined to haul in the Punisher no matter what. Salmon brings a lot of heart to the role, and the script gives him depth to work with as he owes Nicky Donatelli his life and career after Budiansky got hooked on narcotics. There’s a debt to repay, and he’s not going to take a backseat to anyone. Budiansky throws down with Frank, and with a guy of Salmon’s size at 6’4”, he absolutely looks like a guy who could hold his own against real bad dudes. Overall, this is a film with some mostly solid and dimensional performances that not enough comic book films strive for, but should. It’s easy for a lesser grade screenwriter or filmmaker to gloss over character depth in favor of spectacle or action, but that’s exactly when they’ve already failed. This film succeeds, and in many different ways.
I mentioned the cinematography a bit already, but I’d like to elaborate on it. While the film does have a very vibrant color palette, it is soaked in dark, shadowy environments. It has plenty of moodiness and atmosphere to spare. Even the daytime scenes are a little washed out to enhance that bleakness. The richest visual feast occurs in the church scene where Frank meets with Budiansky before the climax. This location is filled with brilliant colors, but has the added beauty of numerous lit candles. The scene has some exquisite depth of field and artistry to it that, while it fits solidly with the rest of the picture, gives this scene a special aura all its own. The action cinematography is excellent. There is absolutely zero shaky cam quick cut editing. The camera work is wholly competent going regularly for fluidity instead of chaotic motion. That shows there were some smart filmmakers behind this. They were able to give this film a unique style that is very comic book in nature while never becoming cliché or showy. It’s clever, sharp, and beautiful all around. Cinematographer Steve Gainer deserves a load of credit for making this film look so stunning, and director Lexi Alexander deserves credit for pushing for many of the stylistic composition choices. It all works to amazing effect.
And while this movie was shot in Québec, Canada, the filmmakers had enough perspective on the material to seamlessly integrate some excellent stock footage of New York. My favorite bit of this is when Frank’s standing on the rooftop and the Chrysler Building is over his shoulder in the distance. It was surely some sort of green screen shot, but when I saw this theatrically, I couldn’t tell that this movie wasn’t shot on location in Manhattan, New York. So far, this is the only Punisher film to actually have the film blatantly set in New York, and actually go to the extra effort to sell that illusion. That is something I cannot commend them enough. Nearly every Marvel superhero is based out of New York, but if there’s any one character from Marvel Comics that is a tonally perfect fit for the urban grit of New York, it is the Punisher.
Now, the music of the film is a bit divided for me. While I am a big heavy metal fan, I admit that it rarely has an appropriate place in a film. Most times, like in this film, it tends to be intrusive and a bit overblown. Maybe if these were songs from bands I actually liked, perhaps I’d be more welcoming of them. However, there is some great score performed by Michael Wandmacher. It brings out the dark, dangerous tone of the film, but also, highlights and enhances the moments of emotional depth and turmoil. It’s a very well rounded piece of work that perfectly complements this stellar film.
Aside from the comical elements of Jigsaw, I think Punisher: War Zone has a very solidly put together story and script. Every Punisher film that ever has and ever will be made is always going to have Frank unleashing an all-out assault on organized crime, but it’s what’s beyond that which makes such a film standout. Beyond the action and violence, this has some very strong emotional plot threads and character arcs. There are elements of guilt, grief, forgiveness, responsibility, revenge, and trust running through Frank, Angela, and Budiansky. These arcs are handled exceptionally well, and really flesh these characters out in a great way. Even Soap and Micro have their say in Frank’s struggle with his murder of Agent Donatelli. These aspects are treated with great care and are executed wonderfully. It’s also great seeing everyone’s different viewpoint on the Punisher. Some see him as a menace to be thwarted and condemned. Others consider what he does a service. The NYPD put together the “Punisher Task Force” as merely a public image joke as they mostly couldn’t care less about what trash the Punisher executes on the streets. This is evident by the fact that Detective Soap is the sole member of the task force, and the NYPD dumps Budiansky there just to brush him aside. How all these elements and characters converge and end up relying on the Punisher is smartly done, and really develop organically from the plotlines and character motivations.
The entire climax is just a magnificent onslaught. It’s the Punisher set loose massacring probably half the street criminals in New York, working his way through the Bradstreet Hotel to rescue Angela and Grace from Jigsaw’s clutches. The stunts are spectacular, and the sound design of all the different styles of gunfire and explosions as well as the crunching of bones and the splat of blood is just absolutely brutal. This is hardcore action all the way through. It is as unforgiving and merciless as the Punisher himself. Still, this climax has some emotional turmoil for Frank, but I won’t spoil a thing for you. Simply said, it has resonance and weight to it that add to the dramatic realism that the film is so rich with.
All in all, this is definitely the Punisher movie that strived to do the most with its characters and concepts, and it succeed in nearly every regard. I do love the movie very much, but the fact that Jigsaw is a ridiculously comical villain you can almost never take seriously does negatively impact the film. It doesn’t kill Punisher: War Zone, however, because everything outside of Jigsaw is so amazingly good that it’s near impossible to topple it with one bad performance. Ray Stevenson is hugely blockbuster in his portrayal of Frank Castle. He brings so much depth and pure bad assery that it would be a steep mountain to climb to top or rival him. He makes the Punisher a character that could thrive on the big screen, and that is also largely due to director Lexi Alexander. She showed a massive wealth of talent here as well as the ability for a vibrant, hard-hitting, and compelling vision. So many action films today come off as lackluster carbon copies of the last big theatrical hit that it’s invigorating to see someone inject some fresh style and depth into the genre. We’ve been treated to many great comic book movies over the last several years, and so, the standards have gotten pretty high. In my mind, I truly believe that Punisher: War Zone just about reaches that standard. The only major element that a Punisher movie needs at this point is a rock solid villain that’s worthy of squaring off against the Punisher. So far, I don’t feel we’ve gotten that, and it is the only real failing of this movie. For my parting words, let me just say that the last moments of the film are just flat out bad ass! The very final shot is perfectly iconic and foreboding. Ray Stevenson is my quintessential Punisher, and there is just not enough I can say about his detailed and awesome performance to do it justice. Punisher: War Zone gets a damn strong recommendation from me.
I have a tendency to miss out on great films in the theatre due to an uncertainty about them. I can get so used to how mainstream films are marketed that when I see something distinctly different, it’s hard to be sold on it. Thankfully, better late than never, some trusted word of mouth finally got me to check out Drive. To my sensibilities, this is an astonishing, flat out amazing film. This feels like if Michael Mann made a movie between Thief and Manhunter, and was scored by Tangerine Dream. This is fully evocative of a 1980s neo noir crime thriller with its sense of tone and atmosphere and using a magnificent soundtrack to envelop an audience into its emotion. Beyond that, I feel Drive is also brilliant.
Ryan Gosling stars as a Hollywood stunt driver by day that moonlights as a wheelman for criminals by night. He’s employed and aided by Shannon (Bryan Cranston), a former stuntman who is propositioning the shady Bernard Rose (Albert Brooks) to invest in a race car venture with this “Driver” as their star. Though a loner by nature, the Driver can’t help falling in love with his beautiful neighbor Irene (Carey Mulligan), a young mother dragged into a dangerous underworld by the return of her ex-convict husband. After a heist goes wrong, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals including Rose himself and the bull-headed Nino (Ron Perlman). Soon he realizes the gangsters are after more than the bag of cash, and is forced to shift gears into a brutal, unrelenting head-on collision.
I will grant that the film is not heavy on plot. It’s fairly simple and straight forward keeping itself contained to a small collection of characters. Some might find that a letdown. However, the substance of this film is in the presentation. Ryan Gosling’s character is very minimal on dialogue allowing his presence and the atmosphere of the film to carry the Driver’s weight. The performance alone is very understated and low key, but not skimping on intensity or humanity. His carefully chosen words hold purpose, and Gosling’s soft spoken delivery forces an audience to focus their attention closely. Sometimes, a lack of dialogue can bring a mystique and an intriguing quality to a character, and Gosling sparks that magic. His performance allows you to read more into the man instead of him telling you about who he is, and that’s not an easy thing to pull off. The scenes where the Driver and Irene are together bring a subtle charm and heart to the surface. You see the brightness in the soul of this character that contrasts, and later, compliments his grittier, darker side. When he has to become that more intimidating, brutal person later on, Gosling has no problem being convincing. You can feel his visceral intensity permeating the screen. I was impacted hard by those razor sharp moments, and this all comes together in a rock solid piece of work by Ryan Gosling. This is my first exposure to his talent, and I couldn’t be more blown away. Also, wrapping him in that Scorpion jacket is just wickedly cool.
Carey Mulligan puts in a gracefully beautiful performance. She and Gosling have a fine chemistry that gives the film its warmth and purpose. Their performances reflect nicely off of one another with heart and subtlety. She never has to say a word to reflect Irene’s emotional conflict over her feelings between her husband and the Driver. Mulligan touchingly shows that in her eyes and expressions, and how she gravitates to this new charming, under spoken man in her life. It’s an engaging and inviting piece of work.
Albert Brooks is a shocking powerhouse heavy here. He’s intimidating as all hell while still having his light hearted, humorous moments. Still, I never stopped getting that shady feeling from him that he was a mob boss that could slash your wrist or stab you in the eye with a fork without batting an eyelash. There’s such a fine line the character treads that Brooks walks with ease. Even when he’s being friendly, there’s still that sense of unease behind everything he says, and even before you know he’s a mob boss, you get the feeling that there’s something not entirely straight about Bernie Rose. For me, he ranks amongst the best like Christopher Walken in True Romance or Robert Prosky in Thief. He can turn from being your best friend to your absolute worst enemy in half a heartbeat without even seeing a shift in the character’s manner. It’s all rather matter of fact with him, and Brooks carries the appropriate weight to achieve these character traits throughout the picture. I love Albert Brooks’ performance supremely.
The supporting cast is also finely textured. Bryan Cranston has a broken down heartfelt sympathy as Shannon, the mechanic and former stuntman that aids and endorses Gosling’s character. He’s a good natured person who gets in too heavy with the wrong people, and you can’t help but feel for him when things turn worse. Ron Perlman’s gangster character of Nino is interesting. He’s a Jewish man trying to make himself out to be an Italian mobster. It’s not an overt part of his performance, but it ties into Nino’s motivations for being a “belligerent asshole,” as Bernie Rose puts it. Nino has plenty of bravado and ego, but not a lot of good sense. Perlman nicely inhabits those qualities with plenty of enthusiasm. Oscar Isaac does well as Irene’s husband Standard. The character clearly stands out as a person stuck in a number of unwanted situations. These criminals are violently pressuring him to do this job for him to pay back his debt, and it’s subtlety obvious that his wife does not want to be with him, anymore. Isaac shows the character’s regret well, and comes off more of a sorry man than a sympathetic one. He’s a guy that’s made a mess of things, and knows nothing will ever be okay ever again. The damage is done, and he’s just trying to sweep it under the rug as neatly as possible. However, he’s endangered the lives of his wife and son, and the Driver has no sympathy for the man. He only helps him out for the benefit of Irene and Benicio. These actors all add a strong array of emotion to the film which heightens the tone and atmosphere.
Now, speaking of atmosphere, the score constantly hit me as something very akin to Tangerine Dream’s score for Risky Business. It has that very light, dreamy quality to it most times, but does delve into very dark, heavy territories. There are foreboding, tense moments in this score that are just mesmerizing. Cliff Martinez crafts a deeply enveloping auditory experience which soaks into nearly every fiber of the film, but the filmmakers pick key moments where silence holds more weight than a soundtrack. The collection of songs in this film retain that 1980s ambient synth-pop quality, but have a modern quality that is beyond my ability to articulate. From my own independent filmmaking experiences, I know how insanely difficult it is to find modern original music that sounds like it came from the 1980s. So, the fact that music supervisors Eric Craig and Brian McNeils discovered and assembled music of this amazing style and quality impresses me to no end. I purchased the CD soundtrack, and it now ranks as one of my absolute favorites of all time.
The chase scenes of Drive are masterful. The first one is exceptionally smart being tactical in evading the police instead of going for outright action. That aspect come later after the botched robbery. It’s short and to the point being very slam bang intense, and not over indulging in itself. The opening sequence is exceptionally refreshing by being intelligent. On top of being realistic and smart, it is an excellent introduction to our main character showing his precision as a getaway driver. These scenes are expertly shot accentuating the distinct tones and tensions of both sequences.
When this film gets brutal, it holds nothing back, and hardly goes in predictable directions. The Driver never relies on a gun, and instead, goes with blunt force trauma to inflict violence upon people. The scene where he goes into the strip club wouldn’t be nearly as effective if he just brandished a gun the guy’s face. When you see the Driver pull out a hammer, you know this is going to be dead serious business, and it’s not going to be pretty. It’s a startling, powerful sequence which further propels the character’s threat level. He’s not just some cool headed amazing driver, he’s a dangerous man not worth crossing. The violence overall is graphic and gory, and shockingly unsettling. Emotion just pours through these scenes.
I am further floored by the cinematography talents of Newton Thomas Sigel. I’ve previously reviewed his work on The Usual Suspects and Fallen – both gorgeous films with their own identities. Drive is no different. No shot is ever wasted, and every composition is chosen with purpose. How the film is shot reflects the artistic vision realized with the music, acting, and editing. The film has inspired moments of absolute cinematic beauty due to Sigel’s artistic brilliance. The elevator scene late in the film is a magnificent example of this. The lighting and color tones used throughout create rich visuals which enhance the film’s atmosphere further.
This is a film where every element is cohesively used to create a powerfully enveloping experience. The conservative editing style of Matthew Newman allows Sigel’s shots to hold their weight, and establish a somber or rich tone that draws an audience into every moment. The music enhances those moments to create a wonderfully vibrant sonic quality for even the most still or fluid sequences. I haven’t seen a film like this since Manhunter. The music plays such a prominent role in creating a rich atmosphere that is as in the forefront of the picture as the actors. Each aspect is integral towards what is a wonderfully engrossing motion picture.
Drive is something which shows what independent film can do. It takes chances. It goes for a filmmaking style that has not really been around in more than twenty years. It takes an immensely effective way of crafting and presenting a film that a major studio would likely not embrace. It’s an intelligent, fresh, and creative film that feeds the senses. It gives you white knuckle action, a heartfelt romantic storyline, strong character drama, graphic brutality, gorgeous cinematic moments, intelligent writing, amazing performances, and a beautiful, exciting soundtrack. It’s hard to imagine all of these phenomenal visual and auditory elements coming across in a screenplay, but Hossein Amini clearly wrote something truly inspiring on those script pages to inspire the amazing film we ultimately got. I know nothing of the James Sallis novel this was based on, but clearly, the written word captured the vibrant imagination of these filmmakers. I will admit that Drive is not a mass audience movie as it requires an appreciation for a certain filmmaking style, but for those that love a slick 1980s style crime thriller that utilizes strong atmosphere and a prominent synth-pop soundtrack to wrap you up in its story and characters, this is absolutely for you. In my view, Drive is a meticulously crafted masterpiece of cinema born out of a bold vision from director Nicolas Winding Refn. I love this film thoroughly, and I cannot give it a higher recommendation than that.
Marvel Comics had a long history of trying to get their popular superhero properties onto the big screen. Of course, it wasn’t until 1998’s Blade that they finally achieved some success, and it opened the door to the boom we’ve had since then with X-Men, Spider-Man, Iron Man, Captain America, and so on. However, in the late 80s, they were truly going about it all the wrong way. Where DC had Warner Bros. backing their prospects (since they had an ownership of DC Comics), Marvel was going to low budget B movie production companies to adapt their heroes into feature films. Many were planned, but very few got a final product. None of them were successes, and for rather good reasons. The Punisher might seem like an unusual choice when they had such family friendly characters to choose from, but in the era of the action heroes in Stallone, Schwarzenegger, and Willis, this does make sense. In the right hands with the right budget, it could have been a contender. But for those unaware of who the Punisher is, how about a brief synopsis?
Frank Castle (Dolph Lundgren) was once a cop with a wife and children until that family was murdered in a mob hit. Faced with this horrific tragedy, and believe dead himself, he became the unrelenting, homicidal vigilante known as the Punisher. His mission is to punish the criminals and the corrupt without mercy or hesitation, but he remains the most wanted target of the police. Over a five year period, he has racked up a triple digit body count, and has weakened the city’s organized crime outfits. However, this has prompted Gianni Franco (Jeroen Krabbé), one of their most powerful bosses, to come into town to take control, and bring them back to prominence. Unexpectedly, this move has gained the attention of the Yakuza, the most dangerous and powerful criminal organization in Asia. They decide to take brash actions to force the mafia’s allegiance to them. Many innocent lives are soon put into jeopardy from this, and the Punisher is coxed into taking action by his sole ally and street informant, Shake (Barry Otto). Meanwhile, Frank Castle’s former partner, Detective Jake Berkowitz (Louis Gossett, Jr), remains vigilant on finding the Punisher, and bringing an end to his blood soaked crusade against injustice.
I feel Lundgren makes for a fine Frank Castle. He’s not the best of the lot, but he easily holds the film strongly on his shoulders. He hones in nicely on the fractured soul of Frank, and adds some sense of self-reflection as a man seeking a reason for the injustice that has shattered his life. He’s not just a raging vigilante, he has an emotional core that is clouded with contempt. He’s a man with vulnerabilities, but chooses to bury them deep down beneath the hardened exterior. On the action side, Dolph handles that with ease, and does essentially all his own stunt work. He makes the Punisher a very practical threat as both a physically intimidating individual, and as a one man arsenal. Visually, after dying his naturally blonde hair jet black and throwing in some five o’clock shadow, he fits the role dead-on, aside from the absent white skull T-shirt or body armor. The motorcycle is a nice fit as well. It re-enforces the gruff loner aspect of the Punisher, and allows him to move quickly when action needs to be taken.
The supporting cast is decent enough. Everyone plays their roles with competent talent, but no one jumps out at an audience to make a memorable mark. Both allies and enemies of the Punisher make the story dynamics work, and the story itself moves along with a consistent pace and balance. Louis Gossett, Jr. probably has the most to work with as Frank’s former partner who happens to be tracking the Punisher. He has some emotional conflicts to deal with that Gossett does a fine job with, but the focus of the film’s emotional context really is with Frank Castle. So, the supporting cast doesn’t get nearly as much meat to sink their teeth into as Lundgren.
Jeroen Krabbé had previously played a Bond villain in the Timothy Dalton 007 film The Living Daylights, and this role as Franco is not much different. He plays it fairly well, but he never entirely sells Franco’s stature as a high ranking Mafioso. He’s too laid back. I would’ve preferred a stronger character or actor that could offer a more authoritative presence. I’ve seen some awesome crime bosses on film before that could likely leave Gianni Franco creaming his pants. There are a lot of enemies for the Punisher to combat in this film, but no one ever stands out as a major threat for him to conquer. No one ever appears to be more than he can handle. It’s only ever a numbers game that tends to ever overwhelm him.
In general, the action sequences are nicely conceived and executed. Numerous shootouts, chase sequences, hand-to-hand combat, and a few explosions make for a decently satisfying string of thrills. At times, Frank is given the image of a stealthy, covert soldier who can get into a location with ease, and attack with swift efficiency. That is another key for the character to pin down, and it was done well here in both concept and execution.
The story itself is sort of generic in terms that it doesn’t really adapt anything directly from the comics, and features no villains from the Punisher’s classic rogues gallery. Partially using the Yakuza was nice, but I’ve seen the Japanese criminal outfit used to better effect elsewhere. From what I’ve been exposed to of the Punisher, it seems that his stories work best when there’s a non-violent emotional motivation that propels him through the narrative. What some writers don’t seem to get is that the Punisher is not just some angry guy with a bad attitude and a nasty mean streak. There’s a deeper emotional turbulence to him stemming from the tragic, violent slaying of his family. He has a lot of deep down pain which he cannot overcome. Everything that he loved in life was violently robbed from him, and he can never get that back. Since society has failed to punish these people who victimize the innocent with due severity, the Punisher will do it for us. Frank Castle is indeed the very definition of a vigilante. He has no consideration or respect for the laws of society. He’s here to do what no one else can or will do, and our laws be damned. That’s not from a jaded or cynical sensibility, but an attitude from a man whose soul has been irreparably broken by gruesome tragedy. The best comic book adaptations are the ones that understand the core concept of the character. The ones that understand what makes them who they are, and what aspects have made them timeless, beloved icons of pop culture. They are built on ideals and themes that resonate with their audiences.
So, does this film hit that mark? Decently so. I’m sure it’s not the Punisher movie that hardcore fans were waiting for, but it hardly does anything to betray the core of the character. Various aspects of his history are changed like being a former cop instead of a Vietnam veteran, but he’s still entirely recognizable as Frank Castle. What we see is quite true to his more popular interpretations in comics.
Ultimately, what hampers this film is indeed the low budget. Sets that would otherwise be big and impressive are small, dark, and limited. Cinematography has nothing all that special going for it, especially the lighting. Every scene is lit about the same with full, flat lighting lending nothing to atmosphere or mood. This basically looks like a low rent television series pilot. And while this is vaguely meant to be New York, no effort is given to even purchasing stock footage, as was later done with Punisher: War Zone, to sell that idea. The film itself was shot in Australia. Surely, the Punisher is the one Marvel Comics character who benefits the most from the urban environment of Manhattan, New York. So, I feel getting the location aesthetics right is very pivotal. Yes, that is also a knock on the Thomas Jane Punisher film. Seriously, a black leather trench coat in Southern Florida? I don’t think so. Here, at least we do get gritty, grimy city streets at night to offer some contrast to the uninspired lighting throughout the rest of the feature. The screenplay seems like it works, but the budget limits how fleshed out the concepts, tone, action, and visuals could have been. Even then, a stronger villain would’ve elevated the quality of the movie like Frank Langella had done in another Dolph Lundgren movie, Masters of the Universe.
Simply said, it was a good try that stuck to the basics, but it didn’t have the financial muscle to make it everything that it could have been. Nor did it have a quality director behind it. This was the last film Mark Goldblatt ever directed, and only his second ever. It is a good watch, worthy of killing 90 minutes with, but it’s far from being a success. This was released the same year as Tim Burton’s Batman. That shows the huge contrast in handing a property to a major studio with a generous budget and a visionary director, and handing it to a low budget production company about to go bankrupt helmed by an editor-turned-second time director. Frank Castle would get another two runs at a fresh start on a film franchise, but neither would achieve what the studios needed them to. Hopefully, the future can have better fortunes for the Punisher.