Most of the films in Ridley Scott’s filmography are fairly well known, but there are a few that are glossed over for whatever reason. For this film, the fact that it didn’t even make its money back at the box office is the likely reason, but it still garnered very positive reviews from critics. This is indeed a film of special, exceptional quality. Someone to Watch Over Me is not your typical Ridley Scott film, in most part. It’s story is definitely a cop thriller with a great urban atmosphere, but primarily, this is a romantic film done with great, beautiful artistic flare.
A stunning New York socialite and a down-to-earth city cop are caught in a deadly web of illicit passion and heart-stopping suspense. Newly-appointed detective Mike Keegan (Tom Berenger) finds his life turned upside down when he’s assigned to protect Claire Gregory (Mimi Rogers), the beautiful eyewitness to a brutal murder. Lured into danger and the dizzying heights of Gregory’s glamorous lifestyle, Keegan struggles to walk the line between protection and obsession – while trying to stay one step ahead of the psychotic killer Joey Venza (Andreas Katsulas), and not allow his happy marriage to fall apart over his affair with Claire.
I really like the vibe of this movie. It does have a very romanticized artistry to it, but with the moody subtlety that Scott is a master at. Oddly, while watching this, I got a very similar feeling as I got watching the John Badham romanticized version of Dracula, starring Frank Langella. It’s that foggy, subtle romantic visual quality with its greens and ambers which really struck me that same way. Someone to Watch Over Me is a finely crafted and gradually paced work of art that smartly blends the seductive beauty with the dangerous crime elements. By the trailer, you’d likely expect something a little more thrilling and exciting, but even then, this film easily roped me in. This is surely due to the great casting and excellent acting.
Michael Keegan is not the usual kind of movie cop. He’s surely streetwise, but he feels a little green and out of his element. Having just been promoted to Detective, he doesn’t have the consummate manner of those around him, and coming from Queens, he’s not accustomed to the high life sophistication of Claire’s world. So, he’s a bit of a blue collar style easy going guy, and Tom Berenger does a stellar job in this role. He’s extremely likable and fun loving early on, and progresses into a more serious, emotionally complex character as events unfold. You can see that Mike is very happy with his family, but as he gets deeper involved with Claire, everything begins to be torn apart within him. Berenger has great and distinctly different chemistries with Mimi Rogers and Lorraine Bracco, who portrays Michael’s wife Ellie Keegan. Both relationships have their own touching qualities, and work equally as beautifully. Ellie perfectly reflects the man he is, but Claire gives him something fresh and seductive. It’s an odd dynamic that you can feel so much for Mike and Claire, knowing they have something unique together, but also, view Mike as the bad guy opposite Ellie. That’s really a testament to Berenger’s talent. He makes Mike a very down to Earth guy with flaws, but never comes off as a reprehensible adulterer, just a man of sympathetic conflicts of the heart.
I was very pleased with what Mimi Rogers accomplishes in this role. The few moments where Claire is confronted by Venza are intensely fearful, and Rogers is greatly convincing. However, the majority of the film is focused on Mike and Claire becoming closer and more intimate. She proves to be a gorgeously romantic woman who is not a seductress. There’s nothing lurid about these two becoming involved. There is a genuine endearing attraction there that is quite touching, and the building of a chemistry and attraction with Claire is done quite subtly. She is charming, elegant, and vulnerable, but still exerts confidence. There’s a fine line between where she feels safe and self-assured and feeling very frightened that Rogers handles with delicate balance.
Through all this, you honestly feel for Ellie a great deal because she’s done nothing wrong to deserve this betrayal of her love. Lorraine Bracco is wonderful showing the agonizing pain of Ellie. She loves Mike so dearly, and that pours out so richly once she is scorned. This is really an exceptional performance as we see a full spectrum of emotion from Bracco from the loving and down to Earth woman to the deeply hurt wife and even beyond that in the film’s climax to utterly frightened to death. While the film is heavy on the Mike-Claire relationship, Bracco does such a strong job to keep Ellie’s end of the film relevant and emotionally impactful. By the end, that is the crux of the film’s resolution.
And I really adore Andreas Katsulas. He was taken from us far too soon. Many would know him as the one-armed man in The Fugitive, but my heart with him lies with the science fiction series Babylon 5. Here, his role is full-on in intimidating heavy mode. His screentime is fairly restrained, but his presence is almost always felt. That presence is very effective right from his first few minutes of screentime all the way through to the taut, thrilling climax. Katsulas takes that great talent of his and compounds it into a lethally threatening performance. Like with everything else here, the key word is definitely “subtlety.” Ridley Scott has such a great handle on tone with his visuals and actors that it is no surprise that everything is just pitch perfect throughout this cast. Of course, I couldn’t forget to mention the late and charming Jerry Orbach as the solid Lieutenant Garber. Orbach is always a bright pleasure to see in anything he ever appeared in.
It also put a smile on my face when Michael Kamen’s credit came on screen as the composer. I really, dearly love his work. There was always a real elegance and sophistication he brought to his scores, and Someone to Watch Over Me definitely gave him the opportunity to flesh out some lush, romantic cues. There’s the obligatory saxophone parts, but it’s done so very beautifully. It really is a lovely tapestry of romanticism that he weaves throughout this film while never remotely approaching over the top melodrama. He’s aided a little by a smooth jazz style arrangement of the title song by Sting, and some fine music tracks from Steve Winwood and Fine Young Cannibals early on. The work Kamen does with the tenser, more thrilling scenes is very effective and taut. This is the perfect score for this movie accentuating every subtlety with careful craftsmanship.
Also, it seems that no matter what cinematographer Ridley Scott works with, his visual style always comes through brilliantly. You could turn this movie on, not knowing anything about it, and know it is a Ridley Scott movie just by the rich atmospheric noir look of it. Someone to Watch Over Me is absolutely gorgeous re-crafting the looks of Alien or Blade Runner into a romantically effective package. The scenes early on in the night club and art gallery are brilliant, perfect examples of Scott’s signature style. Later on, inside Claire’s upscale apartment, the overall look is very seductive with soft, dim amber lighting. As usual, Scott uses very deep blacks and smoky, shadowy visuals to create a mysterious atmosphere, and even on the streets of New York, that works so stunningly well. If for nothing else, Scott is one of my favorite directors based on his gorgeous visual neo noir style.
Beyond all of the stunning aesthetics, the story played out in both the seductive romanticism and the dangerous crime thriller are perfectly interwoven. I found the balance just right for the film’s intended emotional direction. I would definitely imagine a film like this today being forced to be packed with a lot more action and excitement instead of developing the romance and subtle suspense. Thankfully, this was made in a time when someone like Ridley Scott, whose last couple of films had not done well at the box office, was able to make the movie he wanted to make. He does a fantastic job with Howard Franklin’s screenplay just enveloping it entirely in his articulate, detail oriented sensibilities and wonderfully inspired visual style. Yet, the visual awe is not used to mask any lack of substance, but to enhance the strengths of it all.
I really did enjoy Someone to Watch Over Me. If you enjoy a classic thriller with a twist of romance, which the film’s tagline boasts, you will certainly find some satisfaction here. Ridley Scott directs this film with class and a focus on the smooth moody atmosphere and gradual development of its characters. The cast is absolutely top notch featuring substantive and respectable work from everyone involved. This film is actually a very clear precursor to Scott’s next film, Black Rain, which was an excellent full-on thriller, but still with a lot of that romanticized atmosphere of danger. If you’re looking for the exciting flipside to this seductive film, Black Rain is absolutely that film. Just forego watching the trailer. It’s a little on the spoilery side. Anyway, Someone to Watch Over Me is a very beautifully crafted and executed film that I really do highly endorse.
This is one of those Sylvester Stallone gems that both seems like it’s gained a respected following, but has never become a high profile hit. It doesn’t fall into the light hearted fare like Tango & Cash or Demolition Man or the substantive drama of Rocky or First Blood. Instead, this is a very good gritty cop thriller with a definite 1970’s aesthetic boasting a great performance by Rutger Hauer that foreshadows his acclaimed work in Blade Runner and The Hitcher. Nighthawks has its definite merits, but surely demonstrates why it’s a lesser noted film for Stallone.
When Europe’s most feared terrorist known as Wulfgar (Rutger Hauer) explosively announces his presence in Manhattan, two elite undercover NYPD cops (Sylvester Stallone and Billy Dee Williams) are assigned to stop him before he strikes again. However, the ruthless terrorist has other plans for the city – and the detectives – as he begins to hold its citizens in the grip of fear.
In the wake of big blockbuster successes like the Rocky and Rambo movies, and films with more flash and crowd pleasing excitement, you can understand how Nighthawks kind of flies under the radar. It’s very grounded and much more low key. It is also a slow building film with a focus on the psychological aspects of its main adversaries, and capturing that gritty, urban New York street cop vibe. Still, within that context, you’ve got a very admirable crime thriller here lead by some strong casting choices across the board.
I really believe Stallone leads this film quite well. Detective Sergeant Deke DaSilva is a solid cop who doesn’t back down easily. He takes on crime with intensity and fierce dedication, even if it costs him his marriage or his well being. Stallone makes DaSilva a tough cop, but one with a morality and heart. Despite the fallout with his wife, Deke still desires that loving connection, and he won’t become the cold blooded assassin that the British counter-terrorism specialist wants him to become. Stallone does a solid job keeping DaSilva true to who he is sticking to his principals as a seasoned cop, doing his duty, but doing it his own way. We see him as a perceptive, smart cop that is dogged in his pursuit of Wulfgar.
As DaSilva’s partner, Detective Sergeant Matthew Fox, Billy Dee Williams entirely carries his own. Fox can be more even tempered and flexible than DaSilva, allowing for him to keep his more passionate partner grounded and focused. Billy Dee also has some playful moments adding a few minor moments of levity as, again, a counterbalance to Stallone’s harder edge intensity. Still, when the situation gets serious, Fox is as solid of a cop as anyone.
Rutger Hauer has shown his talent for brilliance, and Wulfgar is no exception. He brings a cold, calculating sophistication that forges his gravitas. When Hauer is on in a film, he captivates your attention with a electrifying presence, and he does that here. As Wulfgar, he can be frightening because as dedicated as DaSilva is, Wulfgar is equally so to his cause. You know he’s a sociopathic killer who is a vehement believer in these radical causes. He’s more than just a hired gun, and that makes him immensely more dangerous. It’s not about money for him. He inflicts this death and terror for a political purpose that he believes in, and he is not going to stop. As the British counter-terrorism specialist says, “He’s only beginning.”
I also have to give some praise to Joe Spinell who portrays Lieutenant Munafo. While his role is minimal, he’s damn good carrying a commanding weight and authority. He mainly works opposite Stallone, and keeps the somewhat hot headed DaSilva in line very convincingly. Of course, Persis Khambatta complements Hauer extremely well as the dangerous, cold-hearted Shakka. It’s a polar opposite turn from her role in Star Trek: The Motion Picture, and that is largely welcomed along with her rich, beautiful black hair.
Like I said, this feels entirely like a 1970’s cop film with the gritty style, Earth toned fashions, Stallone’s beard, and sort of a streetwise funky vibe of the score. It might be an early 80’s film, but you can find plenty of bleed over from the previous decade through to about 1983. Considering this started out as a second sequel to The French Connection, it’s easy to see why this works so well in that context. The pacing is methodical lending more towards the dramatic development than excitement. The film could probably use a little more excitement to ramp up the danger and stakes in the second act, but especially for its time, this was quite good.
Now, Nighthawks surely has a few action set pieces including a great foot chase through the New York streets and into the subway. However, it is very much a thriller built on suspense and tension. Stallone and Hauer create this electrifying connection which drives the entire film. The sequence on the Roosevelt Island tram is a great example of those personalities at conflict enhancing the peril of Wulfgar’s game. His terrorism is no longer just about a cause, but a game of wits between both men. Wulfgar toys with DaSilva, bringing him in so close, forcing the Sergeant to look him in the eye time and again, but denying him at choice to fight back. This results in a nicely solid and taut piece of work. The ending is superb focusing on a great deal of suspense and imminent peril, but I would think a modern audience might feel it’s not as climactic as it could be. This ending has become the most memorable aspect of Nighthawks, and it is executed with great care and a few inspired visuals.
As I said, this is a film build as a slow boil thriller than an exciting action ride, and I feel it succeeds at that. Surely, more could have been done to intensify the narrative and build more momentum going into its climax. Regardless, I’ve always appreciated and enjoyed Nighthawks. Stallone does a really solid job complemented well by Billy Dee’s supporting role, and greatly counterbalanced by Rutger Hauer’s chilling brilliance. If you enjoy the work of either Stallone or Hauer, I definitely believe this is one you should not overlook. Bruce Malmuth did a fine directing job here, but in a fourteen year career, he never had a breakout hit. His only other high point was the decently effective Steven Seagal action vehicle Hard to Kill. With Nighthawks, it’s a nicely solid film that likely won’t blow you away, but may indeed intrigue you through the high quality performances it offers.
My childhood fandom of the Ninja Turtles has not stayed with me into adulthood, except for this excellent live action film. When people talk about comic book adaptations I don’t think many trigger this film in their heads due to the property’s larger visibility as a cartoon. The cartoon was very goofy fun while the comic was very violent and dark. This movie met them somewhere in the middle giving us something that was gritty and violent with strong substance, but also maintaining a great sense of fun. Even more impressive is how these filmmakers brought the Turtles into live action in convincing fashion.
A mysterious, severe crime wave is gripping New York as thieves slip in and out even in broad daylight sight unseen. Television journalistic April O’Neil (Judith Hoag) believes it to be the work of a Japanese outfit called the Foot Clan, and she is soon targeted by them in order to silence her. However, from the sewers of the city come four mutated crime-fighting and fun-loving turtles – Leonardo, Donatello, Michelangelo, and Raphael – and their rat sensei Splinter who fight at her side. Joining them in their battle is Casey Jones (Elias Koteas), a vigilante that utilizes sports gear as weapons. At the head of the Foot Clan is the merciless Shredder who has revealing links to the origins of the Turtles and Splinter.
Now, I don’t care how evolved CGI will become, I cannot imagine anything outdoing the brilliant craftsmanship of Jim Henson’s Creature Shop team here. Henson, for those that don’t know, was the premiere innovator of puppetry and animatronics in the 1970s and 1980s. This film was indeed a pinnacle achievement for him and his company. Nothing at all is sacrificed with the use of these elaborate suits of foam rubber and animatronic mechanisms. They have a full, wide range of abilities in expression and movement creating Turtles that can perform all of the dynamic, agile action, and convey deep emotion and character. Even adjusted for inflation, no film today could achieve with CGI what this film did on $13.5 million. Each Turtle is given a distinct look, design, and feel with extraordinary detail. They have a very realistic texture that feels natural to the environment around them and of the film as a whole. Splinter is undoubtedly the most impressive accomplishment in all his articulation as there was no one in a suit portraying him. He’s purely from the result of expert animatronics operators, and he still has the value of humanity to him.
Leonardo is the strong leader of the group trusting and enveloping himself in Splinter’s spiritual teachings. He forges the soul of the team. Donatello is more laid back, less like his scientist cartoon counterpart, but still works very enjoyably in this dynamic. His voice is even provided by Corey Feldman. Michelangelo is the fun loving party dude, and a bit of the mischievous one of them all. However, my favorite is definitely Raphael with his more tough guy attitude. He’s the most strong willed, but also stubborn one of them all. He shows the most passion and frustration of the Turtles, and I really like his first encounter with Casey Jones. It’s very funny to both of their credits. It would be easy to drive this premise into silly territory, but this film takes these characters seriously. The filmmakers do make them fun, but they are dimensional characters with interesting family dynamics and deep, real emotions that are beautifully conveyed. It’s a masterful mixture of the live action performances, and incredible dubbing work by highly talented voice actors. It all feels totally seamless and cohesive for an ultimate Turtle Power experience!
Judith Hoag does a stellar job as April O’Neil. She’s a spirited, serious journalistic that is determined to crack open this crime spree, and even suspects the police of not doing their all to combat it. Hoag injects a lot of spunky personality into the character, and as the film progresses, we see her heart and humor in touching fashion. Hoag makes April a very energetic and fun character. It’s a terrible shame that she declined to reprise her role in the sequels due to substantial cuts to some of her scenes here. She does a wonderful job in this role through and through. I also believe Hoag has some endearing natural beauty that entirely fits the tone of the film, and more important than looks is that she’s a pitch perfect casting choice. She has wonderful chemistry with everyone she shares the screen with, and carries her own in every single scene.
The one person that I’ve always dearly loved in this movie is Elias Koteas as the hockey mask wearing Casey Jones. For one, Koteas is one of the best, most consistently awesome actors I’ve seen. As Jones, he’s greatly entertaining with a real hard edged but not-too-bright attitude. Koteas is more of a street fighter, but shows off some good moves against the Foot Clan. Casey is charming in a dunderheaded kind of way. He’s surely street smart, but not all that smooth socially. He means real well with his heart in the right place, but often his mouth and machismo screws him over. Koteas and Hoag have this great endearing friction that Donatello perfectly relates to Bruce Willis and Cybil Shepherd on Moonlighting, which had that classic argumentative romantic tension. By the end, however, you see Koteas has great comedic charisma, and has Casey show his heart to really win everyone over.
And of course, the portrayal of the Shredder is chilling and perfect. The filmmakers set the right tone keeping him shrouded in shadows at first, and giving him grand reveals that elevate his mystique. The role was the work of two performers. James Saito was the on-screen performer giving the character all of his theatrical and frightening presence, and showcasing some stellar martial arts abilities. However, his low, ominous voice was provided by David McCharen, and that’s a major cog in the Shredder’s overall power. The theatrical trailer actually features a different dubbed voice which isn’t as effective, and so, all the right choices were clearly made with the execution and presentation of this arch-nemesis for our heroes in a half-shell. And surely, I have to mention the really tough right hand man in Tatsu that leads the Foot into battle, and is a very solid complement to Shredder’s presence and character.
The action sequences are done remarkably well. All of the martial arts action is superb with the Turtle suits impairing none of the stunt players’ ability with the fight choreography. The violence holds nothing back, short of bloodshed, as weapons are used regularly, and the fights show plenty of inventive ideas to keep it fun and original. The Turtles’ shells are often employed in quirky, smart ways. It’s a great showcase of fun, dynamic, but also, gritty martial arts action. When the Turtles finally square off against the Shredder, it’s a great sequence which intensifies the villain’s indomitable skill and cold blooded viciousness. Yet, the climax still has some surprises and humorous beats to make it both a dramatic, perilous sequence, and something to elicit some chuckles and laughs from the audience. It’s stellar and memorable all around. It’s greatly satisfying.
It is immensely admirable how genuine this film is. Director Steve Barron pays honest respect to this material, and never treats these six foot tall ninja fighting mutant turtles are jokes. Of course it’s an absurd concept, but it’s only as convincing as how you present it. If you can make the audience connect with the characters on a genuine, emotional level, a serious tone with the film will work, and it does so amazingly here. Leo, Don, Mikey, Raph, and Splinter are given as much weight and poignancy as any other character you might find. It is their film and they carry it. And they carry it with tremendous success. These are the characters you absolutely must fall in love with, and all of the work that went into them from Jim Henson’s Creature Shop to the performers to the voice talents and beyond made that possible.
And this is one seriously catchy score by John Du Prez. These themes have been engrained my mind for over twenty years. He uses a strong urban flavor with electric guitars for most things, but there’s plenty of variation. For instance, the main theme is light-hearted and melodically catchy. Du Prez also gives us beautiful compositions in the more spiritual scenes with Splinter, and the tender moments out at the farmhouse where the Turtles, Casey, and April recover from their defeats. And even more so, his score accentuates moments of tension and danger for our heroes. It’s an awesome score that is filled with so much life and depth, but as with the rest of the movie, it never forgets the fun factor.
Teenage Mutant Ninja Turtles has excellent energy with spot-on rhythm and pacing. While it has lower key moments with lulls in the action to further develop the characters, it never drags. These filmmakers fill that 90 minute runtime tightly creating a film that is all kinds of fun while not skimping on the substance. This is due to the great action and charismatic humor that populates it. Every character is realized vibrantly and portrayed superbly. The balancing of tone between the serious drama and fun levity is greatly handled by director Steve Barron backed by a really solid screenplay It’s a shame this was at the end of the careers of both screenwriters. They seemed to have a real great knack for entertaining diversity, well developed characters, and cohesive storytelling.
Altogether, this is seriously one great movie! I really love it, and I think it holds up beautifully over the last twenty-three years. The gritty look of it really grabs me, and sets the Turtles in a unique world where it feels very real but their mere existence opens up the doors to far more fantastical possibilities. I think the spiritual qualities offered up are powerful as they add a further depth to these characters and concepts. I find it a real disservice that the sequels took a much more family friendly and lighter direction due to objections from parents about this film’s violent content. Neither sequel was received as well as this one resulting in declining box office returns for New Line Cinema. This first film was produced independently, and at that time, it became the highest grossing independent film of all time bringing in $200 million. That comes are no surprise to me because this is an excellent made film in every aspect striving to be more than just a fun flick. It gives you a weight of substance that is essential, in my view, to any successful comic book adaptation. Heroes will always battle villains, but it’s what you put into those heroes and villains that make it special. And to me, Teenage Mutant Ninja Turtles is a very special film to me. I give it a HUGE recommendation!
This film of magical heists and mystery looked like just a fairly fun outing from the trailers, and I’m glad to say that is what I received. Now You See Me has a great cast of talent that delivers, a script that is smart enough, and a premise that maintains your interest to see where the next twist will take you. It’s not brilliant, but it is well designed to entertain.
An elite FBI squad, led by Agent Dylan Rhodes (Mark Ruffalo), is pitted in a game of cat and mouse against “The Four Horsemen,” (Jesse Eisenberg, Isla Fisher, Woody Harrelson, David Franco) a super-team of the world’s greatest illusionists who a year ago were mere street performers. “The Four Horsemen” pull off a series of daring heists against corrupt business leaders during their performances, showering the stolen profits on their audiences while staying one step ahead of the law. Their sensationalistic crimes also ensnare the attention of Thaddeus Bradley (Morgan Freeman) who now debunks and exposes the tricks of magicians for his own gain. As the Horsemen’s grand game of misdirection and slight of hand escalates towards their grand finale, it’s a cunning game of wits for all to pull the curtain back to unveil the hidden truth behind it all.
Indeed, what sells this film in general is the excellent acting talents involved. Morgan Freeman is surefire as this former magician who now seeks to debunk the best in the business for higher fortune. He keeps the riddles twisting around the audience leading us on, but never fully revealing the next step. How he deconstructs how the Four Horsemen executed their tricks and heists is smartly done. Freeman does a wonderful job here bringing his usual intellectual savvy to this perceptive character.
The Horsemen themselves are vibrantly portrayed with Jesse Eisenberg being the strongest of them as J. Daniel Atlas. He really projects some smart, quick witted savvy that demonstrates Daniel’s leadership, and his humorous banter with his co-stars is quick and sharp. He definitely feels like the guy who could outsmart anyone in the room, and do it with style. Isla Fisher plays nicely off of Eisenberg as Henley and Daniel have some romantic fallout between them, but it’s kept light and smart. Woody Harrelson puts in a real good performance showing Merritt McKinley to be a very intuitive personality from his skills as a mentalist. He can read people up and down, inside and out to pull little hints of information from them, and Harrelson uses that to solid comedic effect. Dave Franco might seem like the weak link in the team, by design, but he eventually gets his moments to shine as street hustler Jack Wilder. Altogether, this is a great foursome of sharp talents that never upstage one another, but instead, complement each other in a cohesive fashion. They’re very fun to watch.
And of course, Mark Ruffalo is a charming treat as Dylan Rhodes. Ruffalo brings charisma and a rough edge to Rhodes, but maintains him as an enjoyable, smart guy that you can connect with. He is always portrayed as a competent and solid FBI Agent, but you see him trying to deconstruct all of these theatrics with regular investigative work. So, it’s a fun ride to see him weave through it all dealing with Thaddeus Bradley as well as French Interpol Agent Dray, who you’re given reason to suspect as being not entirely as she seems. Ruffalo has decent chemistry with Mélanie Laurent. There are never sparks flying between them, but it’s an honest and sweet pairing that has its light humor and genuineness. Basically, if you liked what Ruffalo did as Bruce Banner in The Avengers, I think you’ll enjoy the humor, heart, and charisma he brings forth here.
The visual effects throughout the film are very excellent. They sell the flash and style of the Horsemen’s illusions with stellar results. There might be one or two moments where the CGI isn’t as good as it is elsewhere, but in the vast majority, this is seamless and awesome work. It gives the film its visual flare and style. And it is an exceptionally well shot movie. Director Louis Leterrier really knows how to put together a visually solid movie as I did very much enjoy The Incredible Hulk, and the integration of visual effects into live action is superbly done under his direction. Leterrier beautifully utilizes all the rich talent he has at this disposal here, and executes this script with smart direction that kept me engaged and guessing.
And while I expected fun and flashiness, I was pleasantly surprised that the film had some nice action sequences. There’s a decently well stage foot chase through the crowded streets of New Orleans with some clever beats. Later on, when the FBI is closing in on the Horsemen, we get an extremely impressive and acrobatic fight scene with Franco and Ruffalo. There’s some great, fast, and fluid moves in this that just stunned me from Dave Franco. He’s combating people with swift actions like that of a ninja, and this sequence showcases smarts and sharpness in every second. Following this, there’s a really good car chase through Manhattan, New York. All of this action is very well done with only a few minor moments of shaky cam, but it ultimately came out to be very pleasing. The film’s climax isn’t really action based, but focused on the story and motives behind this elaborate magic trick. It unfolds nicely with fine dramatic beats, but surely, I won’t be spoiling any of these well written and executed reveals to you at all.
How the mystery all plays out is engaging and intriguing. I kind of view the movie, going in, as The Prestige crossed with Ocean’s Eleven, and that’s generally how to look at it in concept. It doesn’t match the brilliance of either of those films, but as I said, it’s a fun, entertaining experience. It is the twisting and turning puzzle that the Horsemen are constructing that make it interesting. You don’t know what the next trick will be, but it’s about even more than that. It’s not just the magic that they perform and how they did it, but the motives behind it keep you guessing. It’s cleverly designed through and through. How it’s all setup with a mysterious benefactor bringing together and enabling this foursome, even the Horsemen don’t know the full truth, and so, there is a layered mystery at hand. The FBI is just interested in catching these performers in the act of the crime, and Bradley is interested in burning them down for his own self-serving fame and fortune. So, everyone has their motives, and they all nicely interweave into the reveals at the film’s end. The ultimate twist is something I’m a little divided on. I liked the moment of the reveal as it is dramatically and beautifully played, but it wasn’t quite setup in the film. All of the other pieces are there to assemble the motives and interwoven storylines together. As a magic trick played on a grand canvas, this film does a really excellent job of doing that. The ultimate reveal just felt like it needed a little more punch. Something like a Keyser Söze reveal where the clues were there the whole time, but you couldn’t pick up on them. Something subtle, something between the lines that would strike you at just the right moment. I could figure out the why, but not entirely who amongst this cast or beyond would be the Horsemen’s ultimate benefactor. It’s far away from being a poor ending, but it could’ve benefitted from a little more setup.
Frankly, I think Now You See Me is just a fun time to have at the movie theatre. I’m sure if you went into it with a critical mind you could nitpick it apart, and see how really unbelievable the plot is in all its little nuances. Thankfully, I was enjoying myself consistently throughout this movie, and was able to sit back, relax, and just have a pleasant time with it. Just like magic, you have to let your mind go and just allow yourself to be entertained by the cleverness and spectacle at hand. The film is smartly written overall, in my opinion, and I found that there was plenty of subtle setup and pay-off for practically everything in here. This film captures the spirit of magic very well, and it’s almost refreshing to see a film of so many vibrant characters without a real villain in the mix. Everyone is enjoyable in their own ways, and next to no one is tinged with villainy. It’s just a fun ride that I think essentially anyone can enjoy if they’re willing to just embrace it.
I have LOVED this movie since I first saw it. I know this was met with mixed reactions upon release, and it was not a real lucrative success in theatres. Frankly, I am baffled by this. The Shadow, to me, is a marvelous film that is perfect Russell Mulcahy style, second only to Highlander. It’s also a film that was never given its due justice on home video, but thanks to iTunes, I can now enjoy this film in beautiful high-definition widescreen! I believe The Shadow to be a solid piece of work in every aspect as well as an immensely enjoyable superhero action film.
In 1930’s China, Lamont Cranston (Alec Baldwin) is known as Yin-Ko, a murderous opium warlord, who is reformed by a Tibetan mystic who teaches him how to use his keen mental powers to manipulate others. As penance for his past misdeeds, Cranston masquerades as a New York City playboy by day and secretly plays the heroic Shadow by night, staving off evildoers with a network of agents and a cab-driving sidekick (Peter Boyle). A greater challenge arrives when a new enemy presents himself in Shiwan Khan (John Lone), the final descendent of Genghis Khan, who has received training from the same Tibetan master who instructed Cranston. Khan desires to have the once savage Cranston join him in his conquest of the world through use of an atomic bomb, but finds only an adversary. Meanwhile, Cranston encounters the alluring and intriguing Margo Lane (Penelope Ann Miller) who also possesses unique psychic abilities that complicate his life, but soon, they join together to combat the powerful Shiwan Khan.
Mulcahy shrouds this whole film in this wonderful mystique and atmosphere that is perfect for this sort of character. The entire presentation of the Shadow reinforces the supernatural element of him – the smoke, illusions, and psychic perceptions. He’s enigmatic to a vibrantly fascinating degree bordering on frightening. I love the lighting trick of enveloping Cranston in shadow when he utilizes his psychic abilities. The mystical and surreal visions we get as we delve into his psyche are stunning. This film really envelopes an audience fully and deeply into Lamont Cranston’s mind which is endlessly fascinating, if not quite disturbing. It also doesn’t bog us down with a lengthy origin story. It’s quite succinct, telling us all we need to know, and even touching back upon it as the film goes on. This way, it can jump right into the meat of the story. While I’m sure something like a 120+ minute film could be made from this material, like a Batman Begins, walking us through Cranston’s change from the barbarous Yin-Ko to the heroic Shadow, I like the straight to the point mentality of this film.
I honestly believe Alec Baldwin was a dead-on perfect casting choice. He has the dapper charm and charisma for Lamont, but with a tinge of shadowy mystique at nearly all times. As Yin-Ko, he is a chilling, violent warlord who is hedonistic in his bloodletting. He never ceases to satiate his lust for barbarism. In the middle of Cranston and Yin-Ko, we find the Shadow where Lamont uses the darkness within to battle evil wherever it hides. I love that Baldwin embraces and envelopes himself in that darkness, and even adopts a bit deeper voice, at times, that is both haunting and unsettling. His eyes are also magnificently piercing with that intense, razor sharp stare. Overall, I think Alec Baldwin put together a stellar and dynamic package here with a darker tinged hero with charisma, charm, and an edginess. His performance here made me believed that Alec Baldwin could also have been a great Bruce Wayne / Batman. He takes a character of complex depth and grim history, and makes him a nearly larger than life entity of justice.
Baldwin has such great chemistry with Penelope Ann Miller forging a unique but very pleasing romantic, lively relationship. That Margo also possesses psychic abilities makes her an intriguing counterpart to Lamont Cranston. She’s not going to be manipulated by his powers, and she can see directly into his mind, picking up his thoughts. It forces them together, much to Lamont’s dismay, but this allows for a unique synergy between them. They never have a love scene, but their bond goes so deeply into their psyches that a love scene would seem almost unnecessary. Miller brings a great deal of spirit and assertion to Margo Lane making her both an elegant beauty and lovely character to invest your time in.
And oh, do I love John Lone as Shiwan Khan. He has such theatrical presence that commands every scene he appears in. He has such passion with his performance embodying Khan’s admiration for Yin-Ko, but also, the lust for violent conquest. He hungers at the thought of the power and the barbarism. He’s a perfect villain who reflects upon Lamont as the man he was and is still haunted by. Khan challenges Cranston as an equal tapping into the deepest, darkest parts of his being, and even being superior to him in certain ways. Shiwan Khan is an intelligent, calculating villain with patience and the merciless will to enact his plans of destruction. It is an immensely satisfying portrayal from a very talented actor.
Tim Curry does a wonderfully pleasant job as the weasely Farley Claymore. He embraces this sleazy, cowardly, power hungry character with great zeal. He’s loving every minute of it, and he creates this great second foil that an audience can’t wait to see get what’s coming to him. Curry is always just so much fun to watch in whatever he does, and this is no exception at all.
This film makes gorgeous use of both digital and optical effects. For one, the filmmakers do an amazing job seamlessly recreating 1930’s New York with various matte paintings, back lots, miniatures, and more. This creates a fully enveloping reality for the film’s setting that has the feel of something made in that time period of cinema. The visual effects used to cloak the Shadow in various instances, and even to morph Baldwin’s face from Cranston to the Shadow are simply fantastic. I can’t really recall any film marrying optical and digital effects. It was either one or the other all the way, but I think Mulcahy saw the value in both technologies utilizing each to their best results. Even Jurassic Park only used CGI dinosaurs when it was necessary, and relying on animatronics for the rest. Here, it all comes together for a stunning and masterful visual experience.
The production design on The Shadow is simply astounding. It has rich, detailed art direction and production values fashioning an elegant 1930’s look. Everything feels authentic to the time with beautifully dressed sets. Khan’s majestic room at the top of the hotel is gorgeously draped with bold Asian designs in fabric, and the Cobalt Club is so elegantly realized. The costumes are excellent, especially those for Penelope Ann Miller who looks classy and gorgeous in those dresses. The look of the Shadow is awesome with the long brimmed fedora, black cloak, overcoat, red scarf, and the twin shoulder holsters. It’s a solid, yet simple iconic look that makes a striking impression. I love how the cloak flows giving the Shadow a floating quality that reinforces the wraith-like glimpses we occasionally get of him. Even the atomic bomb has a great art deco design. This art department really did an amazing job here leaving no detail unpolished.
While the story is rather typical of a superhero film, bad guy wants to conquer the world, it’s really the characters and their motivations that make it different. I always wonder what exactly a villain would do once they’ve taken over the world. What’s left to do when everyone is your enslaved servant? For Shiwan Khan, it’s not about being the ruler of the world, but indulging in the barbarism that comes with that power. He doesn’t want to sit back and enjoy himself. He wants to see the world tear itself apart in savagery and war. He wants to strike terror into humanity, and see it descend into fear and butchery as he pits one army against another army. The added dynamic between Khan and Cranston makes the story all the more compelling to me. When you’ve got a hero and villain so tightly interwoven and connected like this, it creates a great sense of depth and intrigue. Lamont must battle an adversary who is his superior, but gradually, must grow his abilities to eventually match those of Khan.
The film also features some smart, timely, and appropriate humor. Mulcahy balances the darker atmosphere and peril with some quirky moments that never take you out of the vibe he’s running with. The rhythm and chemistry between Baldwin and Miller creates plenty of levity, and there are even a few jovial bits with the now late Jonathan Winters, who portrays Lamont’s Police Commission uncle. Mulcahy keeps the movie fun while still delivering thrills and intrigue on a grand tapestry.
The climax is just stunning from when the Shadow enters the Monolith Hotel to when he and Khan finally clash. It’s a visually awesome sequence with some great effects shots. All the shattering glass creates an amazing dramatically intense impact. There’s a great sense of triumph for Lamont here as he is now taking the fight directly to Khan instead of lagging behind him, and the touches of character growth are excellent. Alongside that, you’ve got some fun yet perilous moments with Margo and her scientist father, portrayed by Ian McKellan, trying to chase down and disarm the ticking time bomb that will nuke the city. It’s fun stuff that still maintains tension in this solid climactic sequence.
Top all of this with a fantastic Jerry Goldsmith score, and I personally believe you’ve got a great, fun film on your hands. I have never had any criticism for this film as I enjoy and love it thoroughly. It’s a solid superhero film with a retro feel that is realized with vibrant vision by Russell Mulcahy. He was the right choice for The Shadow bringing his great eye for cinematography and fantasy with an air of mystique to this very mysterious and fascinating character. Anyone who has not seen this film is someone I strongly urge to do so. I don’t understand where the negativity came from over this. I think it’s a grand example of Mulcahy’s best work, and what made him the filmmaker that I love. He gets great performances out of everyone in this cast, and just hit the style, tone, and atmosphere just perfect as far as I’m concerned. The Shadow feels like a film that should have been a surefire hit, and be held in great admiration to this day. Instead, it has merely a cult following, and has been saddled with a full screen DVD release. Fortunately, it will finally receive a widescreen Blu Ray release this June. Until then, you can rent it from iTunes or Amazon Instant Video.
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’ve really liked this film ever since its theatrical release. It didn’t get good reviews, and was a bomb taking in only $17 million out of its $25 million budget. It continues to show me that while I may love erotic thrillers, they are rarely marketable to a mass audience. However, the sexual aspects of this film are a backdrop for what I view as a fairly solid twisting thriller. What engages me about Deception are the performances of its leads in Hugh Jackman, Ewan McGregor, and Michelle Williams, and the rich, stunning neo noir cinematography by Danté Spinotti. The latter is no surprise as he has shot many Michael Mann films including Manhunter and Heat. I find Deception to be an intriguing thriller that is heavily aided by that striking visual atmosphere, and some smart directing from Marcel Langenegger.
Jonathan McQuarry (Ewan McGregor) is an auditor in Manhattan, moving from office to office checking the books of various companies. While working late, a smooth, well-dressed lawyer named Wyatt Bose (Hugh Jackman) chats Jonathan up, offers him a joint, and soon they’re pals. Jonathan is a very lowly, modest man, but Wyatt soon opens him up to a world of pleasurable desires and sexual confidence. When their cell phones are accidentally swapped, Jonathan answers Wyatt’s phone to a series of women asking if he’s free tonight. He soon discovers it’s a sex club where busy, powerful people meet each other anonymously in hotels for discrete encounters. However, he fully breaks all the rules when he falls for one of the club members, whom he knows only as “S” (Michelle Williams), whom he’s also seen on a subway. Yet, during an intimate night out, she goes missing, patterns emerge, and Jonathan faces demands involving violence, murder, treachery, and a large sum of money.
An excellent neo noir tone of mystery and isolation is struck right from the beginning with the quiet and moody opening title sequence. It’s just Jonathan sitting in a conference room, alone, late at night, but the vibe just sinks in very deeply to establish his isolated nature. He’s isolated from the world around him, always removed from the activity of the offices he’s working at, and has no real social life to speak of. The film is very regularly set in at nighttime inside clubs, hotels, offices, taxicabs, and elsewhere allowing for that dark, subversive tone to seep in. However, even the daytime scenes have a certain drained quality that maintain that atmosphere. The visual tone eases up just enough in those moments allowing you to not get bogged down by the visual darkness. What we get, overall, is a multi-toned film that moves from that lonely isolation to a lively and exciting world that is full of mysterious passion, but then, segues into a very heartfelt romantic connection that becomes the emotionally motivating element of the story. From there, it delves fully into the tense and threatening first, main twist of the film where our villain reveals his true colors.
Within only fifteen minutes, the film establishes a strong relationship between Jonathan and Wyatt. It hits all the right beats fleshing out their personalities with quick, substantive exchanges, and showing us how Wyatt just pushes Jonathan out far enough to take some chances. He opens Jonathan’s mind to being outgoing and perceiving the pleasures that one can indulge in, when the opportunities arise. This then sets Jonathan off on his own seductive, sexually charged encounters that really liven up his life. The sex and nudity are never raunchy. Everything has a beauty, vigor, and sensual quality that is very elegant and classy. We are given context for this anonymous sex club as it is something for the excessively busy successful person to gain “intimacy without intricacy,” as Charlotte Ramplings’ Wall Street Belle states to Jonathan. Still, for someone like Maggie Q’s Tina, there’s a compulsion to the danger of being with someone mysterious and anonymous. It has an attraction and outlet for almost anyone, and for Jonathan, it builds a more confident man. However, as I said, the erotic elements are merely a backdrop, a facilitating plot element that surrounds the film, but never dominates it. They tie directly back into the plot regularly, and the sex scenes are never gratuitous. They all serve a purpose towards the development of the story or characters. Most erotic thrillers use sex scenes as frivolously as many lower grade action films use action sequences. When they have relevance to the story, they work, but when they are just there to fill the skin quota, that’s when you’ve got a late night Skinemax flick. Deception surely and thankfully fits into the former category.
Furthermore, there is nothing wasted in the run time of this film. The pace is tight with an even rhythm and stellar editing. The plot develops very organically, and progresses without a hitch. It’s never too brisk to sacrifice character, but never lags at the cost of the story. Every aspect of the characters and plot fit in snugly, and propel the narrative forward in every scene. The filmmakers knew how far to weave their plot threads, and never stretched them out or rushed through anything. It’s all evenly balanced to achieve the right pace. The story is rather lean, and maybe some would prefer a little more proverbial meat on the bone of the script. However, it really didn’t require or demand more. What we are given works very well giving us enough substance to make this a full narrative, and avoiding any over complicated indulgences or dragged out sections of the film. We are given a few well placed twists that are well earned, and more importantly, are setup with care and intelligence. The little seeds of knowledge are laid out here and there to make the deceptions solid and convincing. All the qualities of the narrative flow together very smoothly and smartly. The second half of the film shows Jonathan’s development as he has the confidence to take action against Wyatt, and become a more capable protagonist when under pressure. I also think the development of the romantic relationship between Jonathan and S is done beautifully, and brings a warm levity to the right parts of the film. This really sets the film apart from other seductive thrillers as they rarely feature a genuinely decent and charming romantic storyline. Ultimately, it is this element that the film is most concerned with, and does continue to make it a point of importance for the characters.
Ewan McGregor is an actor that I have a true fondness for. While I haven’t seen many of his movies, I do find him an exceptional talent who always shows dedication and enthusiasm for his work. As Jonathan McQuarry, he demonstrates a very modest quality. He’s clearly a man of humble upbringings that’s never been adventurous or daring. His new sexual experiences do energize him, but don’t taint the man he is underneath. He matures into a fuller person not held back by his old timid hesitations, but never loses the decency and heart that define him. When he meets and gets to know S, he is genuinely enamored by her in a touching, heartfelt way. McGregor embodies these endearing qualities authentically and with all the kind-hearted charm possible. There’s nothing disingenuous about his performance. It all comes straight from the heart, and when Jonathan’s forced into the more adversarial aspects of the film, the tension and fearful weight of the plot are carried wonderfully by him. He makes for an engaging and sympathetic protagonist.
I am also highly impressed by Hugh Jackman here, as I usually am. He’s also an actor I believe has incredible talent, and he really sinks his teeth into this role. He starts out as a somewhat charming individual who enjoys indulging in all the lustful pleasures of life. He’s charismatic and quite the arrogant jackass, but he’s able to ensnare Jonathan out of his shell with temptations of new, daring experiences. Despite Wyatt’s abrasive ego, you are able to accept him as an intriguing instigator of excitement in Jonathan’s life. Now, I don’t believe I’ve seen Jackman portray a full-on villain before, but he is intensely intimidating as one here. His manipulative turn later in the film is dark and devilish. There’s enough mystery about his character to make him threatening, but when you find out what he is capable of, that only backs up and enhances the severe, frightening qualities of Jackman’s character and performance. Overall, I think he relished playing every facet of this character, and it really shows through while never betraying the grounded weight of the film. Being a producer on the movie I’m sure only benefitted the quality of his on-screen work.
Michelle Williams puts on a beautiful performance, reflecting her own gorgeous physical beauty. She brings out a warm, soulful depth of heart to S. She just glows on screen with her bright smile and sweet presence. She also presents a sexually confident woman who is sensual and seductive, but not aggressive. Williams has a sparkling, heartfelt chemistry with Ewan McGregor that is the shining quality of this film. They play off each other with such genuine loving emotion that you truly feel how special this is for both characters. She is able to convey a rich array of emotions that really forge a connection with the audience in relation to Jonathan. She is a vibrant ray of light that gives this film an endearing emotional weight that we are regularly reminded of, and really has resonance in the end.
The score was done by Ramin Djawadi, who also later scored the Denzel Washington-Ryan Reynolds thriller Safe House, and he is amazingly consistent in his style and quality. As I mentioned in my Safe House review, his compositions are very evocative of the scores heard in many Michael Mann films such as Collateral. Meshed with Spinotti’s cinematography, that couldn’t have created a more desirable result for me. Djawadi does an impeccable job layering in tension, suspense, and an alluring, elegant mystique to the film. It’s just a work of excellence, in my view, and I’m glad to experience his work regularly on the TV series Person of Interest. He puts so much depth and lush sensuality into the Deception score, and I highly recommend checking out the soundtrack release.
Deception was partially shot on digital video giving a bold, clear visual quality to all these dark environments, and this film pushes the visual darkness to a new, deep level. The strip club scene early on has rich, pristine colors. Yet, other scenes are more muted mostly utilizing soft greens and ambers to evoke a very inviting visual mood. Danté Spinotti’s cinematography just makes such gorgeous use of color, as he’s been doing since Manhunter, and his camera work and compositions are stunningly beautiful. This man makes art out of every frame using light, shadow, movement, and depth of field to masterful extent and detail. The Chinatown sequence is a special favorite of mine that motivated me to visit Chicago’s Chinatown shortly after the film’s release. The Chinese architecture and visual culture really creates a romantic mystique for Jonathan and S’s most engaging encounter. Deception has a visual style that really is a feast and a pleasure for my eyes. It sets my artistic filmmaking imagination on fire. Now, I will admit that the first few times I saw the movie, the scenes in Spain at the end left me wanting from a visual standpoint. The rest of the movie was so rich with seductive atmosphere and shadowy moodiness that the soft, muted quality of the daytime scenes in Spain didn’t do much for me.
The ending in general, story wise, left me a bit unsatisfied for a while as well. I won’t spoil anything here, but I will say that the film deserved a stronger, more intense pay-off. It could’ve used a more personal and emotionally charged comeuppance in light of everything that Jackman’s character had done. On early viewings, it did lack an especially impactful punctuation to that aspect of the story. Ultimately, it’s focused on the relationship between Jonathan and S, and I can surely accept that as a vital part of the story. I just felt that the ending we got just didn’t have as much resonance as I would have wanted between McGregor and Jackman. I’m not sure what that resolution would be, but it seemed like it needed a little more build up and pay-off. Of course, on repeated viewings, I have been able to easily accept it by way of familiarity. I still would prefer a stronger resolution to the adversarial conflict of the film, but I can enjoy the film quite well as it is today.
Regardless of this, I still feel that screenwriter Mark Bomback, along with creative input by director Marcel Langenegger, put together a very well crafted and sharply written script. The characters are fully developed and vibrantly inhabit this world and the story, and the plot is tightly wrapped around them. I think the character of Jonathan McQuarry has a wonderful arc that allows him to fully break free of his meek shell, and into a bright world of possibilities. Yet, he has to trudge through a dangerous and seductive world to get there, but it’s an evolution that he earns. The deceptions that weave into the story are very cleverly threaded, and culminate in some chilling, intimidating moments that sell the danger Jonathan becomes trapped in. It’s surely not the greatest mystery of all time, but for someone that just cannot write a mystery to save his life, I have to commend someone when they achieve a rather intelligently written manipulative tale.
So, the big critics didn’t like it, and many didn’t care to give it a chance. I’m not saying it’s some unsung gem of cinema, but Deception is a fine film handled with care by a lot of exceptional filmmaking talents. I really like the narrative it tells, and the qualities of emotion and heart it focuses on in our loving leads. Unlike many dark, edgy, and dangerous thrillers, it doesn’t delve you into the gritty violence or erotic sleaze. It’s an elegantly made film enveloped in a very shadowy, sultry world of treachery and passion. If you have an appreciation for neo noir, I highly recommend this film for the gorgeous, brilliant cinematography alone. Still, there’s plenty to enjoy and find beauty in, and being a major fan of crime thrillers, I’m very pleased to see this film go into some different directions and find something other than fractured souls and tragic crimes. Of course, that clearly means I’m going to have to review some more Michael Mann movies shortly.
Coming three years after the disaster that was Highlander 2: The Quickening, this sequel absolutely plays it safe. It also demonstrates a lack of ambition or originality in how much it directly borrows from the first movie without even disguising it. The highly successful television series starring Adrian Paul as Duncan MacLeod was already on the air, but the producers of the franchise decided to give Connor MacLeod another theatrical outing. It surely doesn’t measure up to the first film, as it is a formulaic sequel, but it is an enjoyable film that did have some good potential.
In 16th century Japan, immortal Scotsman Connor MacLeod (Christopher Lambert) is mentored by the sorcerer and master of illusion Nakano (Mako). However, when an evil, ravaging immortal named Kane (Mario Van Peebles) raids a nearby village, and comes looking for the sorcerer, the ensuing quickening from Nakano’s death seals Kane and his minions in the mountain cave for the next four centuries. In present day, an excavation is underway to determine the truth of the legend of Nakano, headed up by archaeologist Alexandra Johnson (Deborah Unger). However, this excavation aids Kane in his escape from the cave, and immediately begins his search for MacLeod. Since his defeat of the Kurgan, Connor has adopted a son, but also, lost his wife Brenda to a car accident which he survived without a scratch. He’s known he was not the last immortal, and now, he knows that it is Kane who still lives. Both Connor MacLeod and Kane travel to New York, the site of the Gathering, to do battle and claim The Prize once and for all.
This story is fairly good, but would even be rather average for the television series. It’s nothing exceptional or stunning. It’s not trying to do anything original or break new ground for the franchise, and it knows it. It’s more playing around in the world of Highlander, having a little bit of fun, but not trying to build upon anything. As with the previous sequel, gone is the sense of magic and mystery. Connor MacLeod is still portrayed well by Christopher Lambert, still injecting some charm and confidence into the role. However, it really is that sense of world weariness that made him captivating to begin with. You could feel the weight and aura of centuries lived in Lambert’s performance. It gave the character depth and texture. Here, all that is absent, and instead, we get a much more standard protagonist who is enjoyable, yet lacks gravitas to really draw in an audience. The thing is with this movie is that it feels like a second rate version of Highlander, but in the least, it never takes itself too seriously for too long. This is mainly by way of the character of Kane.
Mario Van Peebles is an excellent talent in front of and behind the camera, and I know this is not representative of his highest acting qualities. There are both positives and negatives to say about his performance as Kane. How you take his performance is based on how you want to perceive the movie. In general, he’s basically a carbon copy of the Kurgan only not written as well, and portrayed with an especially over-the-top, tongue-in-cheek mentality. Van Peebles even puts on a very gravely Kurgan-esque voice as Kane, which bares next to no resemblance to his natural voice. As Kane, he certainly has formidable moments where we see how lethal and vile Kane truly is, solidifying his weight and threat as a villain. However, Van Peebles is entirely indulging himself in this role, and if you choose to view the film as a fun, lightweight flick, you can certainly find enjoyment from this performance. Mario Van Peebles is clearly enjoying living in the skin of this villain with his performance bordering on campy. He’s certainly a long way off from chewing as much scenery as Bruce Payne did in Highlander: Endgame, though. Still, Kane is written with some rather unrealistic dialogue. For a guy that’s been buried in a cave for the last four hundred years, he certainly has picked up late twentieth century slang quite swiftly in addition to learning how to drive a car. Throughout the film, even in the sixteenth century scenes, he entirely comes off like a modern villain instead of one displaced in time and culture.
Also, while the design of Kane is pretty awesome with the long hair, goatee, and tattoos, I think the nipple rings are just a tad too much. They are on both his armor and himself, and just make Kane more modern looking than he should be. Thankfully, we’re not exposed to them long as Kane adopts some very good looking Asian style threads. It again comes off as an attempt to emulate the style of the Kurgan, but with a 90s flavor. I really do believe Kane could’ve been taken in a much more credible direction, and made for a slightly more original and straightly serious villain. Instead, the filmmakers chose the route of levity. Still, there are other issues which hold the film down from being as good as it could have been.
Regardless, whether you call this The Final Dimension or The Sorcerer, this does feel more like the kind of sequel one would expect. It follows up on the police investigation threads from the first movie, and uses footage and dialogue from the original to further the story and character points forward. It might seem a little frivolous at times, but I don’t have much of a gripe with it. I like how this was done in Endgame as well. However, there is flashing back to the first movie for context, and then, there’s badly copying scenes from that same movie.
Such is the case when Kane goes on a psychotic joy ride with Connor’s adopted son. It’s a real poor excuse considering none of the danger is actually real, just an illusion generated by Kane. It’s a pathetic and blatant attempt to recapture something awesome from the first film while doing it with only a fraction of the talent. Even if done nearly as well, it would still be lame because it’s a retread instead of trying to do something original. Even kidnapping a loved one of Connor’s to force a final confrontation also emulates what the Kurgan did in the first movie. It is stuff like this which make this movie a pale imitation of the original Highlander.
I will give credit to the aspect of the police investigation. Lieutenant John Stenn remembers the original string of beheadings, and who the sole suspect was at the time. With MacLeod back in town with a new beheading, he immediately puts it all back together. It is a part of this story that makes the film feel like a continuation of the first, and I do feel it was well done. Stenn has an understandable contempt for MacLeod, and is quite dogged about his investigation. It is a pretty good performance by actor Martin Neufeld.
Deborah Unger is very good in her dual roles. However, I do find the entire aspect of Alex bearing a dead-on resemblance to a centuries past lost love of Connor’s to be unnecessary and a little forced. The romantic relationship between Alex and Connor could’ve easily worked without that odd connection, and possibly could’ve had more time to develop without those flashbacks. I think this idea was only there so that the filmmakers could have occasional flashback sequences to better resemble the style of the original movie. It’s not badly handled, but it does feel like a diversion from the actual relevant aspects of the plot.
Regardless, Unger does a very fine job as the film’s female lead. Her performance is very grounded showing a fine range of levity, passion, and dramatic weight. She carries herself very solidly, and works very well opposite Lambert. Also, Deborah Unger is probably the sexiest, most sultry looking woman of the Highlander films. She even insisted on not using a body double for the fully nude and steamy sex scene late in the film. While the romantic storyline between Connor and Alex doesn’t develop as strongly as other Highlander loves have, it is serviceable, and nicely played by both actors.
I will also hand it to this film’s cinematographer. This is a very well shot and well lit movie. The bowels of the hospital where Connor encounters Kane’s henchman has some gorgeous blues and oranges creating a beautiful atmosphere. Overall, we get some very cinematic camera angles and movement with stellar work when it comes to the action sequences and sword fights. While the film lacks the epic grandeur and sweeping visual quality that was a given with Russell Mulcahy, I will give it credit for looking quite a bit better than your usual 1990s fare from Dimension Films. This can possibly be credited to director Andy Morahan being primarily a music video director, same as where Mulcahy started out. He knows how to capture great visuals, and that is in no dispute here. Although, it seems Morahan never broke out from music videos. This was his first feature film, and he’s not done much of anything else outside of music videos ever since. He directs this film pretty well, handling the action, drama, and levity of it very evenly. It certainly isn’t an example of a breakout directorial debut, but there have been far worse action filmmakers out there who have had bigger careers making lower quality films. So, I will say that this is a decent first outing for Morahan.
As far as action goes, I actually think the film’s best sword fight is not the climax, but when Connor and Kane fight inside the former Buddhist temple. It’s a very dynamic fight with some great physical and dialogue exchanges. With the duel being on Holy Ground, it ends in a very startling way as the blades of Connor and Kane’s swords shatter. It shows one ominous way such betrayals of the rules are dealt with. The final climactic duel is a well executed sequence with great cinematography and good effects. It is very physically intense. However, it has one stinging point I will get to momentarily.
The orchestral score by J. Peter Robinson is very good. I particularly enjoyed the Japanese and Middle Eastern flourishes at the appropriate moments creating a unique musical atmosphere. The score is very thrilling and vibrant with a plenty of character. What I have a problem with is the clunky use of second rate hard rock songs in this film. With the original movie, Queen naturally brought an epic and emotionally rich depth to the film with their songs alongside Michael Kamen’s gorgeous score. Highlander 2 essentially focused only on Stewart Copeland’s grand, operatic score. With this film, these rock songs are just bad and obnoxious, and don’t complement Robinson’s score at all. The worst part comes in the climactic battle between Kane and MacLeod. Someone recorded a blatant knock-off of Mötley Crüe’s “Dr. Feelgood,” and it terribly degrades the entire climax. I’m sure Robinson could’ve composed something beautifully dramatic and triumphant instead of that schlock. Where the filmmakers get it right with the licensed music is with Loreena McKennitt’s version of “Bonny Portmore.” This is a gorgeous and deeply emotional song which would become a staple of the franchise from here on out. I really adore its beauty.
On the up side, the visual effects are very good. During the 90s, movie goers were treated to a lot of primitive CGI, but this movie really gives us some good quality effects. The illusions of Nakano and Kane are given a great, magical look that flow very smoothly with the on-screen action. There’s nary a bad effect anywhere in the film, save for the quickening flashing across the Moroccan desert sky. Otherwise, this really is some beautiful work.
Although, I think the filmmakers kind of took a wide liberty with the term “illusion.” An illusion shouldn’t allow Kane to transform into a bird and fly away. Even the ability to create solid objects from either Kane or Nakano is arguable as an illusion. They should’ve just came out and said it was straight up magic. Although, I know even that gets into a muddled area in that, if it is full-on magic, why would it be that either man can do only so little with the power. Nether of them is exactly Merlin casting spells and unleashing epic, fantastical wizardry. So, it’s a real strange line to walk, and is probably best not to scrutinize it. Still, this is a review, and that’s what I’m meant to do.
I think what this film lacks the most is depth. Emotions don’t run very deep, and we don’t really get much under the skin of these characters. Again, Connor doesn’t feel like the same textured and fascinating character we had from the first Highlander. I hate to continually make comparisons back to the first movie, but this film begs so much comparison that it is impossible to avoid it. Nakano is a decent character, but has really no depth of any kind to offer. The late Mako was very beloved in certain fandoms, but I don’t find his performance here very inspiring. Whether or not you compared him to Sean Connery’s Ramirez, he is quite forgettable. The film does have its moments of touching beauty and decent depth, but it does entirely feel like the filmmakers playing it safe. They are not trying to dig into the soul of their characters, and that’s really a major mistake. Case in point would be the French Revolution flashbacks would have worked so much better if there was more substance to grasp onto. We get only glimpses of Connor and Sarah being in love. It’s very weakly presented, and since it bares no relevance or impact upon the main plot with Connor and Kane, the filmmakers don’t spend great amounts of time on it. I’m certainly not saying this is a terrible script, just a mediocre one that could’ve had better potential in more talented and motivated hands. It worked for a fun action adventure film, but against the brilliant standards set with the original movie, it’s undoubtedly mediocre.
I had intended to offer some comparison between the director’s cut and the European cut of the film, but any differences are very minor. The director’s cut adds in some more effects shots to enhance Kane’s sorcery, most notably with his arrival in New York being via a portal instead of just walking out on the docks as if he traveled by ship. At the end, the European version excises the reuse of effects shots from Connor winning The Prize in the first Highlander that were present in both the theatrical and director’s cuts. Sadly, the only change in the soundtrack comes at the end credits where the director’s cut has another bad hard rock track while the European cut features “Bonny Portmore” once again. Both cuts are available on Region 1 DVD. The original 1998 DVD has the true director’s cut, but the 2005 and 2011 DVDs, which claim to also be the “Special Director’s Cut,” are actually the European version only with the opening title card changed from Highlander III: The Sorcerer to Highlander: The Final Dimension. I would lean towards buying the newer DVD since the film is given the anamorphic widescreen treatment resulting in vastly superior picture quality. The image is clearer and colors are much more vibrant. So, I am glad to have purchased it, regardless of there being no dramatic differences in the content of the film.
Ultimately, Highlander III is that sequel in the franchise that doesn’t get much attention. The others have very notable issues that are hotly contested amongst fans, but this one keeps a low profile despite also having its fair share of mild problems. While it surely doesn’t re-ignite the magic that the original movie captured, it’s a fun, disposable film that has its merits, but ultimately, can be forgotten about without a problem. As is the difficulty in making a sequel to the original, where it ended definitively, the filmmakers had to indulge in a cheap end-runaround to make a sequel where there are still immortals out there. Again, if you’re looking just for a fun movie that’s not going to take itself too seriously, then you can enjoy this movie. I do find it entertaining but lacking in substance. In my opinion, it’s a step in a better direction than Highlander 2: The Quickening, but not as good as what was being done on the television series at the time.
By happenstance, it seems that I prefer the even numbered Paramount Pictures’ Friday The 13th films over the odd numbered ones, and this is no exception. I won’t deny there are large flaws with this film, but it basically comes to whether or not I have an enjoyable time watching the film. For Jason Takes Manhattan, I find a great deal of enjoyment from this, and tend to find myself watching this one most often when I just need a fun, easy slasher to watch.
The graduating class of Lakeview High is setting out on a cruise to New York, but after a late night diversion by two students out on Crystal Lake, Jason is electrified back to life for an unexpected journey. Rennie Wickham (Jensen Daggett) is among the classmates with her uncle and biology teacher Charles McCullough (Peter Mark Richman), her caring literature teacher Colleen Van Deusen (Barbara Bingham), and boyfriend Sean Robertson (Scott Reeves). Unfortunate for everyone on board is that Jason has hitched a ride on this ship which is sailing straight into a storm. Jason stalks through the ominous, closed quarters of the S.S. Lazarus until the survivors are forced to abandon ship, but even the harbor of Manhattan, New York is not safe for them. Jason Voorhees continues his muderous rampage through the streets of New York as Rennie continually gets chilling flashes of a young Jason which will lead to a personal revelation from her past.
The reason why I like this entry while so many trash it is because it’s quite fun. There plenty of enjoyable characters portrayed by actors who do seem like they were having a fun time making this film. I also truly like the idea of trying out some new ideas and breaking free of the old environments. Unfortunately, there was vast potential wasted due to the film’s budgetary constraints. Writer / director Rob Hedden explains in the film’s DVD commentary track that his original script had sequences taking place at numerous New York landmarks including Madison Square Garden and the Empire State Building, and the New York part of the story would dominate the film, leaving a much abridged section on board the S.S. Lazarus. Regardless of what might’ve been, the film we are left with has definite problems which have to be addressed.
The lack of gore is obvious. Too many off-screen kills make for a more bland slasher movie, but at the time, the MPAA were being very unrelenting with horror films. Filmmakers had to hack n’ slash the gore from their films so badly, the entire genre suffered. Granted, these slashers becoming more campy and less scary attributed to their lack of effectiveness, but the low gore levels didn’t help matters. Still, this film has a few memorable kills with both the electric guitar and boxing decapitation kills. It really is more in their inventiveness that make them memorable than any use of blood or gore. Of course, the entire toxic waste flood taking out Jason with the intent of this being last Friday The 13th movie, ever, is very cringe inducing. Some of the greatly more horrid footage from this scene was very thankfully discarded. New Line Cinema does have to be thanked for not allowing this to be the ultimate cinematic demise of Jason Voorhees.
I will surely admit there is some bad acting in this film, but I feel it’s limited to a few minor roles. Our main array of characters are very lively and amusing. I highly enjoy spending time with someone like Julius who has some bravado and charisma, even if the performance can be a little over the top at times, but I don’t view that as a negative in this film. Saffron Henderson’s J.J is a vibrant 1980s hot rocker who I felt departed the film far, far too early. Wayne, the aspiring filmmaker, is also nicely geeky without becoming stupid or obnoxious. These are characters that just add charm and a little bit of heart to the film. Peter Richman’s stern, uptight McCullough is a great foil in the film that you can love to hate, and his veteran acting skills really benefit the role nicely. Barbara Bingham brings some heartfelt motherly concern to Ms. Van Duesen as she tries to be an emotional counsel to Rennie. Scott Reeves meshes decently well with the film’s female lead in Jensen Daggett. Of the whole main cast, he’s probably the least noticable likely due to not having as much on the page to work with.
I do strongly feel that Jensen Daggett is among the best heroins of the series. Rob Hedden gives her a very nice psychological storyline to deal with that ties into her own personal history, and links it up with Jason at the same time. This gives her a sense of personal determination later on to defeat Jason. Daggett gives Rennie a nice breadth of innocence and likability without losing her strength. At the time of this film, she felt like a fresh faced young woman with a lot of potential and warmth. There’s a fine range of emotions built into the character of Rennie, and Jensen Daggett proved to be a nicely talented choice to handle those demands. I’ve always enjoyed what she had to offer in this role, and I feel she carries the forefront of the film very well.
Kane Hodder steps into the Jason role for the second time, and does what he does. He surely looks more into the performance than in his later outing where he would over-accentuate certain character traits. The only thing I think makes this return performance a little inferior to the debut one is just the trappings. The violence is not as hard edged, the tone is not as heavy, and the appearance of Jason is scaled back a great deal. So, it is a consistent Hodder performance, and a rather effective one, regardless. I do have to say that the “teleporting Jason” style of editing does not strike me very well. It simply succumbs to no logic. The dance floor scene could be explained by an artistic license to reflect the disorientation of Kelly Hu’s character amongst the blaring music and flashing lights, but Jason consistently shows up in places ahead of other characters were he should be lagging far behind. It does tend to bother me when watching the film, but only in those brief instances.
Regardless of such facts, I do feel Rob Hedden did an admirable job directing this film. He had the imagination and initiative to try something new with transplanting Jason into new locations, and it feels refreshing. Eight films in, and you need some new ideas to keep it interesting. Of course, you can take it into really bad territory, such as with Jason X, but I digress. I know Hedden could’ve made the film one thousand times better if he had the budget to realize his original script and ideas. Not to mention, a chance to retain more of the blood and gore in the final cut. Unfortunately, what’s done is done, and you’ve gotta live with it. The suspense in the film is decent, but is compensated for by a nice array of exciting or startling sequences. Instead of the usual third act chase through the woods, we get Jason stalking Rennie and Sean through the urban landscape of Manhattan on the streets, in the subway, and ultimately, through the sewers. That money shot of Jason standing in the middle of Times Square is just priceless. Even though most of the film was shot Vancouver, British Columbia, this moment in the film truly adds a sense of credibility and scope to the film.
Fred Mollin takes full reins as composer for this film, and like his work in The New Blood, I find it very good with a heavier, more haunting and relentless style than Manfredini’s work. Both Mollin and Rob Hedden worked together on television’s Friday The 13th: The Series, and I think that helped their creativity to jibe well together. The tone of the film is definitely enhanced by the score, offering one of the better works of the series. Manfredini’s work has never really impressed me. It tended to feel very one-dimensional, ringing the same bell over and over again. There would be beautiful moments on rare occasion, but Mollin’s work seems to have a bit more depth, accentuating different styles of tension, suspense, and horror with more effectiveness. Mollin also co-wrote the two songs that J.J. jams on early in the film, but it’s been revealed by his collaborator Stan Meissner that pretty much everything that was recorded for those tracks appear in the film. That’s a bit of a shame since they are very stellar hard rocking tunes with a great 1980s pop sensibility. They really have “hit song” written all over them, and I would buy them up in an instant if they were released as complete songs. Mollin would reuse one of these tracks when he scored the pilot episode of Forever Knight a few years later. The track “The Darkest Side of the Night” by Metropolis is one that I really love, and sets a good, yet different tone for the opening and closing of this film. It is commercially available from their “Power of the Night” album, but not widely or easily so.
While there are instances of a lighter tone sort of playing up Jason’s iconic status, much of the film has a rather haunting and unsettling tone due to the psychological and hallucinatory aspects of the story. Rennie’s visions of the young, deformed Jason are creepy, and give the film some dramatic weight. Rennie herself doesn’t know what’s happening, and the audience has to learn the reasons why alongside her. I just find the tone fresh and inviting along with much of the ideas Rob Hedden mixes into the old Friday The 13th formula.
All in all, the film really is entertaining and enjoyable. It offers some good brutality, but lacks the proper gore level for a Friday The 13th film. By today’s standards, these severely cut down slasher flicks are rather tame. They could almost pass for a PG-13 rating these days, but there are enough creepy and unsettling moments to sway it otherwise. In any case, despite the poorly conceived ending for Jason, I do find this to be a good, worthwhile way to spend a fun, laid back 90 minutes. With the consistently shrinking box office takes for the franchise, Paramount Pictures decided that this would be the end of Jason for them. I’m sure anyone anticipating a glorious swan song for the character would’ve been grossly disappointed even more than the failure to widely deliver on the film’s New York-based premise.
I fondly remember catching Jason Takes Manhattan late night on the USA Network in the early 90s, and it was always great when there would be a Joe Bob Briggs MonsterVision marathon of the films in the late 90s. Despite all the ups and downs, strengths and weaknesses throughout the Friday The 13th films to this point, they are all classics of the genre, and sparked the whole 1980s slasher film trend that it rode out to the very end of the decade. By 1989, it was hard to call any franchise the reigning king of the genre, but Friday The 13th surely was the juggernaut and iron man of the bunch. While Jason Takes Manhattan is not the strongest film one could’ve hoped for, it’s a decent entry with a few flaws that I can generally overlook. Kane Hodder maintained Jason as a force to be reckoned with, and unlike a character like Freddy Krueger, the integrity of the character can never be damaged by humorous or off-beat approaches. Jason will always be as bad ass as he ever was no matter what type of film you put him in. Of course, it’s still hard to get over Jason X, but thankfully, I have one more favorite in the franchise to spotlight before confronting that film, again.
The year of 1995 was a great one for the crime genre, and one of my favorite years in movies. This year saw the release of Michael Mann’s Heat, David Fincher’s Se7en, and this, Bryan Singer’s The Usual Suspects. In my opinion, all three films are exceptional, unique, and standard bearers of their subgenres of crime. The Usual Suspects falls very much into that film noir category. It is a great film, but some say it has no re-watchability due to the twist ending. I happen to disagree. This is a film that has more than just story to satisfy, and I hope my insights here will help you see that.
San Pedro, California is the stage for the aftermath of a fiery mystery on a ship in the bay. Law enforcement discovers 27 bodies and $91 million worth of drug money, and has attracted the interest of the FBI and U.S. Customs. The only survivors are a severely burned Hungarian and the crippled con man Roger “Verbal” Kint (Kevin Spacey). Verbal tells the story of how he and four other felons were rounded up and put into a line-up six weeks ago in New York for a trumped up charge about heisted gun parts. They are the wisecracking hijacker Todd Hockney (Kevin Pollack), the short tempered and egotistical professional thief Michael McManus (Stephen Baldwin), his accent-heavy partner Fred Fenster (Benicio del Toro), and the real prize for the NYPD is Dean Keaton (Gabriel Byrne), a corrupt former cop who has supposedly given up a life of crime. However, U.S. Customs Agent Dave Kujan (Chazz Palminteri), who has a deep, invested interest in determining the fate of Dean Keaton, is not willing to let Verbal go without digging deeper into his story. He learns that the five men forge a loose accord to engage in a series of daring, highly profitable heists that lead them out to Los Angeles into an unforeseen, threatening situation. As Kujan probes Verbal for the truth, FBI Special Agent Jack Baer (Giancarlo Esposito) discovers that the Hungarian says he saw the devil, he saw Keyser Soze. He is the most feared and mythic of crime figures, and no one has been able to identify him, until now. Verbal’s story unfolds as Kujan and his colleagues slowly assemble the fragmented pieces of this puzzle which may lead directly to the identity of Keyser Soze.
I’m starting with the cinematography and music here because they are where the atmosphere of the film thrives. Newton Thomas Siegel was the director of photography, same as the later made Denzel Washington film Fallen. I previously reviewed that here, and highly praised the look, feel, and cinematography of that film. This film further solidifies Siegel’s rich talent in my view. He does absolutely brilliant work in evoking such strong and mysterious moods throughout the film with both his camera work and the lighting. It is a gorgeous example of film noir visuals in the color medium. Light and shadow are indeed key, but the subtle color temperatures give the right tinge of atmosphere and tone in key scenes. The compositions are very well plotted out to have, sometimes, double meanings upon first and second viewings. The staging and angles of the scenes between Spacey and Palminteri are amazingly well handled to never make it feel like the same old thing every time. There’s a new angle, a new composition, a new way the scene is played out in that limited physical space every time the film cuts back to it, and it all feels natural from the development of emotions and storytelling. Much of this is indeed a well planned out idea from the filmmaking team as a whole, but Siegel executes it with amazing skill and artistry.
John Ottman, who was also the editor, created a fantastic score that lives and breathes on its own. Listening to the soundtrack is a brilliant, vibrant pleasure. It has character and personality while maintaining the subtle style of the storytelling. The theme itself is great and is instantly recognizable when it hits, and it really drives the story forward in certain parts. There’s a nice flourish in the opening arrest montage where some steel drums chime in once Fenster is introduced. Just that little bit of Caribbean flavor conveys something to the audience about the character before he ever says a single word. That’s such a smart piece of work. Overall, Ottman’s score brings all the mysterious, suspicious, suspenseful, and dramatic elements of the film together in a powerful and vibrant way. As with the cinematography, it evokes a strong film noir style while still feeling contemporary.
Furthermore, Ottman’s editing is some of the best I’ve ever seen. Not just in how each scene itself is cut together, but how everything flows together. How the film transitions from present time to flashback and back again. I don’t know how much of it was in the script, but the execution is what truly matters. Things are well punctuated in these transitions allowing for the dramatic narrative to hit the right beats in the right context. Ottman knows when to pull us into and out of a flashback, and exactly how to do it. That also feeds much into the sound editing and design. It all feels organic and entirely in sync to create a cohesive flow and objective in pinpointing these moments. There is so much one can learn of good structural flow of a narrative by watching this film. I also love how there are many moments where Ottman and Singer just let the camera roll on the actor. They don’t cut away or mess with anything. They just let the actor work the moment, and that is so important in a film with this kind of cast and enveloping dramatic story.
And this film does have an immensely powerful and amazing cast! Everyone is great, but I think Chazz Palminteri is my favorite. As Dave Kujan, he’s smart, sharp minded, and subtly charismatic. The range he shows here is impressive. Kujan can be laid back talking friendly with Sergeant Rabin or Agent Baer, but then, he can shift into the probing investigative mind trying to deconstruct Verbal’s story and psyche. Yet, he can turn it up further getting right into Verbal’s face, and trying shake him up with his intense, confrontational words. Kujan is a driven law enforcement agent, but he never lets his invested interest in Dean Keaton get the better of him. He keeps it all in check, and works the case to the very best of his ability. He just wants the full truth so he can lay that interest to rest. Chazz balances all these elements of Kujan perfectly. He shows wonderful chemistry with everyone he shares the screen with further solidifying his role as main protagonist. He really commands the screen, but Spacey owns it just as much with a more subtle performance.
Kevin Spacey truly deserved the numerous awards he received for this performance. It is very intelligent, but underplayed. Verbal is a little quirky and socially awkward. He rambles on, but Spacey works all these elements into every moment of the performance. It’s never an abrupt shift in focus for the character. It’s a cohesive whole of Verbal’s personality. It all has purpose, even more so on repeat viewings. The body language of Verbal is also greatly realized as Spacey did extensive research for the character’s cerebral palsy to get all of it right. It adds further to Verbal’s perceived weakness. His physical weakness begets his weakness of will. The splashes of emotion with fear, self-pity, and pain are very powerful making Verbal appear to be a very sympathetic character. Still, the moments of sharp intellect slip through Verbal’s more cowering exterior, and really help sell that he’s not as foolish or naive as he sometimes appears to be.
Gabriel Byrne is excellent as well. He greatly reflects Keaton’s struggle between the ex-convict and the man trying to be legitimate. How the system won’t let him be that better man now, and how it drives him back into being the man they expect him to be. While he tries to deny that he is not the man Dave Kujan claims he is anymore, he quickly falls back into being that man. It is who he is, and Byrne is able to show how Keaton is unable to contently balance those two parts of his being. It’s a man fighting his nature who seems more comfortable and confident as the man he doesn’t want to be. It’s a fascinating dynamic that Gabriel Byrne pulls off with great ease and a dark, mysterious, and foreboding depth. He’s electric on the screen, and is entirely compelling. You can never quite get a handle on what his objective or intentions are, and that makes Dean Keaton terribly intriguing. As Bryan Singer says on the commentary, “Gabriel is the most easily complex actor.”
The supporting cast adds further flavor to the film. Stephen Baldwin’s McManus is an arrogant, hard-up man with attitude and ego to spare. As he himself says, he believes that “there is nothing that can’t be done.” He truly believes that the reward is worth the risk, every time. He plays off of Benicio del Toro’s Fenster beautifully. Benicio takes a character that was, admittedly, nothing special on the page, and gave him a memorable, standout quality. He created a whole character out of next to nothing, and the performance really put him on the map. Kevin Pollack adds plenty of levity, but not without his own bolstering attitude as Todd Hockney. How he and McManus clash constantly gives the team dynamic some needed conflict and turbulence. These are guys who joined up out of happenstance, not because they’re friends. Even Keaton and McManus have conflicts like when meeting Peter Greene’s wonderful character of Redfoot. He’s a fence, a guy who can move and sell stolen goods to discrete buyers. Greene gives him a fine Los Angeles quality with his slightly flashly entourage and charismatic style. Still, he’s a tough guy who doesn’t take any crap when McManus starts chewing him out after a job goes awry. For whatever reason, Greene didn’t take a screen credit for this film. Regardless, I really love the vibe he brings with him. He adds a shady element into the story as he can appear friendly, but under the surface, he’s all about his own agenda. He doesn’t mind manipulating anyone or putting other people in danger as long as he gets what he needs in the end. John Ottman even throws in a distinct musical cue for his two appearances that I also love.
The late Pete Postlethwaite always delivered fantastic performances giving them his all. As Kobayashi, he is a great conduit for the mythic Keyser Soze. He conveys authority without force or confrontation. His words and tone carry all the weight that is needed. Kobayashi knows that what he has to say is enough to rattle these men, and doesn’t have to dress it up at all. He’s very straight forward and matter of fact, but still with a questionable quality. He seems legit enough, but he leaves enough suspicion and truth with these men to keep them on edge. Enough to scare them, but not enough to for them to leverage their way out. Postlethwaite underplays the role just enough making him threatening and foreboding enough without betraying the professional manner of the character. He is exceptionally effective.
Another great addition to the supporting cast is Giancarlo Esposito as FBI Agent Jack Baer. He has a very fine charisma and upbeat attitude along with a nice feel for old style film noir sensibilities. He fits in here smoothly. Dan Hedaya is entertaining and enjoyable as Sergeant Rabin. He’s a bit strung out, but that just adds a more hectic element to the character dynamics in that police station. He adds to the texture of a film already rich with great characters.
Keyser Soze is one of the most brilliant cinematic creations of all time. A crime lord that purports his own myth through the fears and exaggerated stories of others. He just lays the seeds for it, and allows it to grow to service his own advantage. He works from the shadows, never allowing anyone but an extreme few to ever see his face. Anyone else who works for him almost never knows that they are doing so, and anyone who thinks they are can never be certain that they are. As Kobayashi says, “One cannot be betrayed if one does not have any people.” A spook story for criminals is perfectly film noir. Soze is an urban legend. Something that is so hard to grasp the truth about that you doubt it, but you dare not dismiss it in case any of it might be true. I also love that the subject of Keyser Soze doesn’t even appear until nearly an hour into the film, but the mystery of him exists from the start. This allows the story, characters, and the world they inhabit to be firmly established and grounded in reality before this mythic figure is truly introduced. With the introduction of him, it elevates the tension and danger for everyone.
The story structure is also quite fascinating. You have both a mystery happening in the present time while the supposed back story of the mystery is being told by one character. However, the one character, Verbal Kint, is constantly challenged on information he held back from the District Attorney. Verbal is shown to be not entirely forthcoming, and abridging his tale to protect his own self. So, Kujan has to keep probing to get the full disclosure. Thus, while you are getting engrossed in Verbal’s story, every once in a while, the audience has to question just how authentic his storytelling is. However, as the pieces of the puzzle are slowly put together by Kujan, Baer, and Rabin, you can see there is some truth in what Kint is saying. A lie is most convincing when it’s wrapped in some truth, and that is the screenwriting brilliance of this film. Lies and truth get so intermixed that it is nearly impossible to separate them. I also love that the film opens with that docks scene which is objectively presented. It’s not part of Verbal’s narrative to Kujan, and so, you know that this did happen as you see it. It’s just a matter of how they got there.
For me, the re-watch value of The Usual Suspects comes, primarily, from the fantastic performances, but also, the strong film noir tone. This is an excellent example of film noir in a contemporary movie. The mystery elements are still compelling upon repeat viewings due to how well constructed and presented they are. It’s a film that allows to see new things and put new pieces together every time you watch it. They are subtle things, but if you’re watching it with a probing mind like Dave Kujan, you can weed out a little more of what is truth and what is not. Even the seemingly most throwaway expression or action can turnaround with a new meaning. However, it is a film I wish I could watch again for the first time. Partly because I don’t recall what my reaction to the film was originally watching it on VHS in 1996, but because it is so effectively structured and executed that I’d love to have that feeling of tension and apprehension which comes from a fresh first viewing. Plus, I believe I fell asleep in the middle of watching it the first time. So, that sort of spoils the experience.
The chemistry amongst the cast is just electrifying. Everyone slips nicely into their characters, and the dynamics between them are rich and vibrant. Everyone makes a firm impression that is quite memorable. That is not an easy feat with an ensemble cast, but Bryan Singer handled these heavyweights extremely well. When one has the talent for being an exceptional director, it will always shine through, and this could not have been a better first major impression for Singer to make. He had done some smaller films before this, but they were not truly in the public eye. This was his first major motion picture with serious, high profile acting talents. While he had only a $6 million budget, the talents involved elevate the overall technical and artistic quality of the picture. Looking back, while it doesn’t have quite as much scale as some are accustomed to, it’s not really a film that requires much. The action is conservative because it services the plot, but it is nicely handled. The entire sequence on the boat is expertly shot, choreographed, edited, and paced. Nothing gets lost in the process of bullets and explosions. Again, the plot and characters maintain control of the film’s focus throughout.
The Usual Suspects is just an excellent crime thriller that is atmospheric, exciting, and enthralling. There are very distinct and dimensional characters everywhere you look that make it an entertaining and intriguing narrative. Everyone behind the camera came together to create one amazing film that flowed beautifully and coherently allowing the pieces of the puzzle to slowly slip into place, but not give you a full picture. It leaves you thinking and wondering, and that is an excellent accomplishment for any mystery. You need not answer all questions for the story to be satisfying. It merely has to keep you hooked in with a cleverly written plot, and that is the foundation for what made this a great film. I give much respect to Christopher McQuarrie for writing such an intelligent script, and to Bryan Singer for crafting a film that remains entertaining and interesting no matter how many times I watch it.
The Bourne Supremacy is one of the hardest hitting action films I have ever witnessed, and it has far more to offer than just action set pieces. There is no fat here like most action films have. All of its lean meat and muscle is reserved for its visceral action and dramatic emotional story. Supremacy was loosely based on the novel by Robert Ludlum, and whenever you’re basing a motion picture off of an international best-selling novel, chances are, you’re gonna have the potential for a very meaty story. This is definitely the truth here. This movie is very tight, very taut, deeply dramatic, and firmly rooted in reality. It takes everything that was built in The Bourne Identity and capitalizes on it.
It’s two years after the events of The Bourne Identity, and ex-CIA assassin Jason Bourne (Matt Damon) is still suffering from a broken mind. His memories are fractured, and is awakened in the middle of the night more frequently than not. Jason & Marie (Franka Potente) are now living in Goa, India, but meanwhile, Jason Bourne is about to be framed for two murders in Berlin, Germany. A CIA team, headed by Pamela Landy (Joan Allen), is attempting to purchase classified Russian documents, but a Russian assassin named Kirill (Karl Urban) killed both men and stole the documents. A planted fingerprint implicates Jason Bourne for all this. Then, Kirill shows up in Goa, India to kill Bourne himself in order to erase any evidence to the contrary in framing Bourne. Kirill believes he has completed his mission, but unknowingly, Bourne still lives. However, Bourne believes that it is the CIA who sent a man to kill him, and this sends Jason on a dead set mission to find and take out those who he told to leave him alone. The trail of planted evidence leads Pamela Landy to Operation: Treadstone, the elite team of assassins lead by the late Alex Conklin (Chris Cooper) of which Jason Bourne was the top operative. Landy brings Ward Abbott (Brian Cox), Conklin’s boss, into the mix as she attempts to unravel the mystery of Jason Bourne, and why he has come out of hiding. Now, Jason Bourne is coming down hard and fast on the CIA while the Agency is attempting to hunt down Bourne.
To their dismay, Bourne has been trained too damn good, and when Landy and the CIA believe they are completely on top of the situation, Bourne shows them that they are MILES behind him. Bourne is like a mechanism – once you set it into motion, it cannot be stopped. He lives up to his threat from the first film that there would be no measure to just how hard and how fast he would come down on these people if he even felt someone coming down on him. Everything builds to explosive, intense levels to where the wrong move could get anybody killed.
All the action sequences top any of those in the first film. Although, I have to say that director Paul Greengrass has far too much favoritism towards the notorious “shaky-cam” style of shooting. I’ve never seen any of Greengrass’ previous work, and so, I can’t make any comparisons in that vein. I don’t believe any blame is to be set on director of photography Oliver Wood as he handled the cinematography on The Bourne Identity in a very different fashion. I’ve also seen numerous films he has shot including Die Hard 2, The Adventures of Ford Fairlane, Bill & Ted’s Bogus Journey, Face/Off, and TV’s Miami Vice. So, I have to say that it was mainly Greengrass’ creative direction to use so much of this style of shooting and editing. In some action sequences, between the shaky-cam photography and the fast-paced editing, it can become very difficult to discern what is happening. You can literally get confused what is happening to whom. You don’t know if that was Jason Bourne who’s getting smashed into walls or the other ex-Treadstone assassin. Bad lighting is also to blame as some sequence take place in backlit locales making the actors bleed together. This is my only gripe with the film, and despite its abundance, this film is just too intense and powerful to knock it down because of that.
This film’s car chase sequence is, at least, twice the sequence of the first film’s. Mainly because it is the climactic action sequence of the film as Jason Bourne & Kirill turn the streets of Moscow into a demolition derby the likes of which you have never seen! The car crashes are violent and visceral, and anyone who has ever been in a car crash – like myself – will be able to seriously feel it. This car chase is beyond any I have ever seen put to film. What makes the action in the Bourne films so impactful is just how grounded in gritty reality they are unlike how extravagant and fantastical the James Bond franchise had once become. These films are very adult in manner and context.
Jason Bourne still struggles with the remnants of his past life, and must deal with who he once was. He must come to terms with the pain and death he has inflicted upon others in order to move on with his new life, and to absolve those he has pained of the lies that have damaged their lives. It is powerful and dramatic. It’s the bigger, needed step towards the further evolution of the character of Jason Bourne. He can never live in peace with himself until he is able to come to terms with the blood he has shed. There’s just so much to say about this film that it’s difficult to find the right words to do so. When you see it and are able to absorb it all, you will surely understand. It’s a dramatic and painful journey of discovery for Jason Bourne. Whether redemption will ever come is unknown, but I believe Bourne certainly takes the hardest first step towards that end by the film’s conclusion. However, the film ends on a sly, upbeat note, and that is a sign of very fine and consistent storytelling. I also like the consistency and continuity here from the first film with the reuse of the same passports and identification photos of Jason Bourne to the reuse of Moby’s very catchy tune “Extreme Ways” for the end credits.
John Powell delivers another fantastic score here that tops everything he did in The Bourne Identity. That’s just about the decree with everything here (except for the aforementioned shaky-cam / editing gripes). Matt Damon really delivers like you’ve never seen. Until you see Damon in the role of Jason Bourne, you might have grossly underestimated his worth, ability, and quality as an actor. Until this point, I had only seen Damon in mostly comedic roles in films like Ocean’s Eleven and Dogma before watching The Bourne Identity shortly before the release of this sequel. In this film, however, Damon demonstrates just how powerful of a dramatic actor he can be. You can see emotion in his face, in his eyes, and in his body language. Simply put, his performance is deeply human, and will hit you deep within. As Bourne’s true nemesis, Karl Urban was very impressive. After seeing him in the latter two Lord of the Rings films and The Chronicles of Riddick, it was refreshing to see him in a more gritty, grounded film instead of a setting of fantasy. The character of Kirill does not have much dialogue, but Urban has a strong, intense presence that just leaves you hungering for more. The native New Zealander does nearly all of his dialogue in Russian, and even through a foreign language and subtitles, you still get a grim tone from him that is very potent. Both Bourne & Kirill are like ciphers when they’re in their element, but when the action gets intense, Bourne becomes more focused while Kirill becomes even more enraged. Regardless, they are both determined to burn the other into the ground.
I also have to say that I cannot get enough of Brian Cox. I have loved his wide range of roles in Manhunter, The Ring, Super Troopers, X-Men 2, The Bourne Identity, and now, The Bourne Supremacy. He’s a great actor with an abundance of natural charisma and always, at least, a hint of humor. Words just cannot explain how enthralled I am with him. He is tough to keep up with, and if you’re going to be sharing a scene with him, you’d best be on the very top of your game. Considering how great and engaging of an actor he is, I find it surprising that he’s said to not view any of his own work. Whatever the case, Brian Cox is absolute pure gold in my honest opinion.
Playing opposite Cox is Joan Allen, and she is strong and stern here. As Pamela Landy, she doesn’t allow Abbott (Brian Cox) to shovel any bull her way. She cuts through all the crap, and gets to the truth and the core of the matter. She takes firm control of this entire situation and handles it with confidence. Where others in her situation have faltered and fell, she holds strong. Even when things start to go awry, she still holds onto a degree of solidarity. You can write a character that way, but it takes a strong female talent to bring that sort of role up to its utmost potential. Joan Allen is that talent. Everyone else, up and down the line, puts in everything they’ve got here, and I could not find even one moment of weak acting. A very admirable job to everyone including those involved with the casting of the film.
The only dent in the chiseled armor of this film is the shaky-cam, fast editing style. I believe the same level of kinetic energy could have been sustained in these action sequences using more stable photography. If that’s how it had been shot, then I would have no problems with the editing, but when you can’t discern what’s happening in these shots, cutting quickly from one to another does not help you to comprehend the visual storytelling any better. Of course, with just how slam-bang amazing this movie is, I just can’t allow that to be much of a hindrance to my critique of it. Dramatically, on levels of storytelling and acting, I don’t see how anything can be topped here, but I highly encourage future filmmakers of the franchise to give it every effort.
If you loved or even just liked The Bourne Identity, I believe The Bourne Supremacy will easily exceed all of your expectations. In the context of the currently existing three films – Identity, Supremacy, & Ultimatum – this entry is the best! It entirely launches itself far above the potential of Doug Limon’s first film, which was an excellent film in its own right. While The Bourne Ultimatum was not a real down slope, Supremacy was such a massive step forward that the third film couldn’t achieve the same. Plus, Supremacy seemed more dogged and relentless in all its aspects to create a far more hard hitting film that never let up. Also, the ending of The Bourne Supremacy with Bourne and Landy had a lot of its meaning and character building strength diluted when it was revisited in The Bourne Ultimatum. To say it simply, this is one of the best action thrillers of the last decade, and it helped launch the genre into a grittier direction that was timely and very welcome.
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.