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The Texas Chainsaw Massacre: The Beginning (2006)

As previously noted, I found the 2003 remake of the Tobe Hooper classic to be a solid horror film on its own merits.  It was a successful film, but due to how it left Leatherface, a sequel was less than likely.  Instead, the filmmakers chose to exploit an even worse trend in films – a prequel.  Generally, it wouldn’t make much difference due to the formulaic slasher style, but intending it to be a sort of origin story for Leatherface was an idea that should’ve been left alone.  I must warn you that this review will have some spoilers in it.  There are certain issues I will raise that cannot be explored without them.  While I will try not to be detailed in my spoilers, they do directly impact the fact of who dies and who survives.

The Texas Chainsaw Massacre: The Beginning takes place in 1969 – four years before the events of the previous film.  Dean (Taylor Handley) has been drafted into the United States Army in the midst of the Viet Nam War.  His brother, Eric (Matthew Bomer), has already had a tour in ‘Nam, and is going back to re-enlist.  Chrissie (Jordana Brewster) very much loves Eric, and doesn’t want him to go.  Unfortunately, he’s too gung-ho for the war and being a patriot to choose love over volunteering for the war.  What Eric doesn’t know is that Dean intends to dodge the draft by hopping the Mexico border with his girlfriend Bailey (Diora Baird).  The group of four must travel cross-state in Texas for the brothers to join the army.  Meanwhile, changes are occurring in the Hewitt household.  With the closing of the slaughterhouse, the family is all that’s left of this town.  Charles Hewitt (R. Lee Ermy) assumes the role of town sheriff, the family casually embraces cannibalism, and Thomas Hewitt (Andrew Bryniarski) begins his vicious killing streak.  Inevitably, these two stories converge, and total carnage and death ensues. I can’t say you’ll “witness the birth of fear,” but you will be a witness to a lot of visceral violence.

My first main gripe with this film is that the focus is on the wrong character, despite the great actor portraying him.  Leatherface is the icon of the franchise, and six films have been produced and released with him as that icon.  Whether you call him Bubba Sawyer or Thomas Hewitt doesn’t make a huge difference.  Either way, he’s still a cannibalistic homicidal maniac who wears human flesh as a mask, and kills people with a chain-saw in Texas.  So, my point is, when it comes time to tell of his origins, to explain to us why he is who he is, and why he does what he does, how come the focus of the film is diverted away from him?  Why is he treated as the secondary villain throughout the film when he is the icon of The Texas Chainsaw Massacre franchise?  He’s on all the posters, all the promotional materials, and has always been treated as the main attraction in the films.  In this film, R. Lee Ermey is given the reigns as Charles Hewitt / Sheriff Hoyt.  He has the brunt of the spotlight, and has more of his character explored than Leatherface.  As the matriarch of the Hewitt family, it is only natural he’s in a leadership role, but Leatherface is barely in this film.  Only when someone is to be brutally murdered, is he brought into frame.  We really learn next to nothing more about Leatherface than was explained in the 2003 remake.  In fact, far more of Leatherface’s origins were stated in that film than this supposed origins story.  This alone makes the idea of a prequel a wasted opportunity.  If you’re not going to explore the back story and origins of the franchise’s one and only constant star, then why bother doing a prequel?  The film sets itself up like it is making Leatherface the focus of the story, but once Ermey comes on screen, he’s given the spotlight.  Now, there’s a difference between stealing the spotlight, and being given it.  One occurs out of pure happenstance by an actor’s outstanding performance.  The other is fully planned by the filmmakers.  The filmmakers chose to put focus on Hoyt instead of Leatherface, and that honestly annoys me.  What further annoys me is that the brunt of the back story in this film is glossed over in the main title sequence!  A montage of Thomas Hewitt at different ages and some newspaper headlines is the meat of the “beginnings.”

My second gripe is that the ending is a victim of the film’s own trappings.  This is a prequel, and we’ve already seen the first film which is set four years after this one.  So, we already know who is not going to die in this film.  When the biker Holden (Lee Tergesen) has Hoyt at gunpoint, you want to get excited that the tables have turned, and this family may now get their deadly due.  Of course, that’s short lived since we already know that Hoyt isn’t going to die because he’s alive (and in one piece) four years later, as seen in the 2003 remake.  Thus, there’s no tension, hope, or suspense that the scene is obviously intent on provoking from an audience.  And the oh-so-clever way out of this is when Holden does pull the trigger, the gun doesn’t fire, and thus, leaving him defenseless to the subsequent attack upon him.  This happens despite two facts:  one being that he checked the gun chamber earlier on, and more importantly, he just successfully fired the gun at another of the Hewitt clan no more than a minute ago.  The gun works one minute, and then, doesn’t the next.  This is the first of two displays of stunted logic by the filmmakers.  The second comes from the ending – which is worse because you quickly realize that every potential victim will die.  Leatherface magically appears in the backseat of this getaway car stolen by our heroine, despite the fact that he was still trailing behind her when she got in the car.  Then, he also is able to maneuver that big ass chainsaw around in the back seat.  So, Leatherface must’ve contacted the starship Enterprise, had Scotty beam him into the backseat, and used a retractable chainsaw to kill the girl.  Of course, he still has to walk back home.  The film ends without a resolution, and thus, feels empty.  Even the brief narrated statements by John Larroquette are no real help.  This is honestly the flattest ending to a horror film I can recall seeing.

While this film is as intense, brutal, and grueling as everyone has been saying, it feels much less developed than the 2003 remake.  I found the young protagonist leads to be less endearing and sympathetic than those in Marcus Nispel’s film.  This foursome, more or less, felt like your standard slasher film cannon fodder with only some decent level of character development behind them.  I didn’t particularly feel for them because they lacked any degree of true emotional depth.  The brutality of their deaths, despite the great impact of their ferocity, did not draw any further empathy from me.  The less-than-engaging actors aren’t completely to blame for this because the screenplay doesn’t give them any real personalities to make their characters worth much of a damn – especially the girls.  They all seem too cliché and hollow.  There’s no emotional roller-coaster ride that these characters are subjected to, or even any straight out mindfuck material to screw with their sanity.  You don’t see any of them descend into hysterics or some pit of despair.  Nobody seems genuinely traumatized by the insanity and carnage they bare witness to.  Jordanna Brewster doesn’t come remotely close to what Jessica Biel was so rich with back in 2003.  Biel was exceptionally likeable, but also had a tomboy toughness to her, a touch of grittiness, and a real traumatic out-pouring of emotion.  I want to see tears and uncontrollable sobbing when a girl sees one of her best friends or boyfriend get savagely murdered right in front of her.  Brewster just doesn’t display the acting chops to pull off that level of overly intense emotional distress.  Even the tougher heroines of the franchise have shown a wider range of emotions than Brewster shows any hint of here.  Only Holden, the rebel biker, did I actually feel for, but that’s only because I have a real big fondness for Lee Tergesen.  He’s always done very exceptional acting, and it’s always an extra special treat when I see Tergesen on screen.

The final gripe is the audacity of these filmmakers to try to recreate the infamous “dinner scene” from Tobe Hooper’s original Texas Chain Saw Massacre film.  The version of this scene in this film is about as disturbing as your picnic in the park getting rained on.  A quickly slashed throat is as far as it goes to disturb you.  This family just doesn’t display enough erratic or demented physical behavior to tap into the raw, psychotic mania Hooper originally captured.  Director Jonathan Liebesman’s version is totally forgettable and dismissible.  Leatherface isn’t even present until the very end.  It’s as pussified as can be imagined without becoming totally laughable.  This just goes to show that you cannot recreate a classic, especially when you’re barely trying, and at least Marcus Nispel had the foresight not to attempt to recreate this scene in his film.

Now, after this massive tangent of gripes and negativity, you inevitably ask if there’s anything good here.  Well, there is some that goes a long way.  The acting from the returning cast remains solid as a rock, and the cinematography is quite good except when the end chase sequence turns into The Blair Witch Project with the shaky-cam bullshit.  When will filmmakers learn that this style of shooting is nothing but annoying, disorienting, and detracting to the effectiveness of a scene?  Beyond that, nothing in the camera work really stood out for me – good or bad, and honestly, didn’t appear noticeably any grittier to me than the 2003 remake.  It’s not as glossy in its lighting, but I personally wouldn’t state much more difference than that.  The look of the film is nearly identical to Marcus Nispel’s installment down to the faded, dry color scheme.  I’m really indifferent towards the musical score.  It doesn’t enhance the film much, but certainly doesn’t damage it.  It’s just one of those scores that’s just there.  On the editing side, the film cuts away, and ultimately holds back, when the most graphic imagery appears.  Whether this was an MPAA rating requirement, or the director’s prerogative is uncertain.  For whatever reason, I’m tempted to believe the latter especially after seeing what made the R-rated cut of The Hills Have Eyes earlier that same year, but one of the producers said that seventeen scenes had to be cut down to obtain an R rating.  An unrated cut was released on DVD, but the single theatrical viewing was enough for me.

The violence here is indeed more unrelenting and brutal than in the 2003 remake.  Every act of violence is so smash mouth that it will have you recoiling and cringing.  Flesh is slashed and shredded, bones are crushed, skulls battered, and blood is spattered.  It’s intense and tough to take.  The first kill, which is by sledgehammer, is so visceral and dead-on realistic that you may suffer whiplash from the impacts.  The first chainsaw kill is dramatic, and the sound of it is gut-wrenching.  Although, the focus is almost completely on the violence instead of the aftermath.  Seeing the end result of all this carnage usually goes a long way to building up the fear and emotional distress of our protagonists.  This film does indeed lack tension and suspense.  It’s just about making the most violent and barbarous film possible.  You can get the very same thing in most Quentin Tarantino films.  When I watch a horror film, I want tension and suspense racked up as far as possible, or at least have it delve into pure madness.  Director Jonathan Liebesman really makes no attempt at this.  He just wants violence upon violence.  He’s about the shock and impact which are merely momentary whereas the emotional roller-coaster that the build up and aftermath offer are long-lasting.  Still, the savagery of the film does make an impact that you won’t soon forget, but doesn’t do anything to keep you on the edge of your seat.  This film is purely about sadism, not terror.  It’s a blunt object lacking character or subtlety instead of the finely-crafted piece of terror, tension, and suspense that I was hoping for.  Furthermore, despite all this barbarism, this film lacks the whirlwind of insanity that has always been the high marks in these films.

Also, what The Beginning lacks that the 2003 remake had is bravado and an animalistic rage for Leatherface.  In Marcus Nispel’s film, Leatherface was like a tank barreling down on his prey, and smashing through whatever got in his way.  Here, he barely has any screen presence at all since Ermey’s given all the damn screentime.  There was no pay-off for all this hiding Leatherface in shadows and such.  By the end, he has less screentime here than Jason Voorhees in Jason Goes To Hell, something fans have always been quite vocal over in that film.  In 2003’s The Texas Chainsaw Massacre, Leatherface was a dominant physical presence, and that is sorely lacking here.  And where’s the bravado?  I was actually surprised and impressed by the 2003 remake because it was a real, straight up horror film that was very well-rounded.  I won’t say at all that it measures up on the same levels to Hooper’s classic, but I would hardly say it was a disgrace.  That film dared to be what exceptionally few horror films were actually trying to do at the time – be a real horror film.  It wanted to scare you, to make you feel the horror, and disturb you to some degree.  This prequel doesn’t even try to be that much beyond upping the bar for the intensity of the violence, but still doesn’t kick my ass.  Nispel’s film also had a certain consistent adrenaline rush to it, but this prequel lacks even that.  No momentum is ever built up.

I will indeed give this film high marks for its guts to not hold back on the violence and savagery, but I honestly feel it falls short in every other aspect.  There’s so much that seems carbon-copied from the previous film that it becomes difficult to focus on anything remotely original here.  Even the end chase sequence swings through the slaughterhouse, albeit only briefly.  In fact, the entire end chase is very brief, sacrificing (again) any attempt at building tension or a sense of imminent peril.  The screenplay wastes every opportunity to make Leatherface the focus of the movie, and to mainly explore his evolution from a deformed outcast child to a cannibalistic, psychotic, and vicious butcher, which I thought was the entire point of this prequel.  The director foregoes any attempt at creating tension, suspense, or even a passing sense of insanity in exchange for pure blunt brutality.  It’s just kill, kill, kill to no end.  Just an excuse for a body count.  The characters that we should have immense sympathy for really just fell flat for me.  I didn’t care if they lived or died.  There wasn’t nearly enough emotional depth or personality to them to forge any connection for me.  The girls are just there to scream and offer some eye candy.  I will also take issue with anyone who freely throws around the statement that this film is terrifying.  Unless a movie makes you scream out in terror, has you pissing your pants, or leaves you completely paralyzed with fear in your theatre seat, don’t dare say that this or any other film is terrifying.

Anyway, I have to ultimately say that this film is much less developed than the 2003 remake, but is indeed more intense where the violence is concerned.  I don’t see it as a good enough trade-off.  Reference Alexandre Aja’s The Hills Have Eyes remake to see how a film of this kind is done right.  That, my fellow horror fans, was the true best horror film of 2006.  It had all the fear, madness, empathy for characters, suspense, gore, and brutality that one looks for in a Texas Chainsaw Massacre film.  No sequel, prequel, rip-off, or remake has yet to do justice to Tobe Hooper’s original, unrelenting, and raw film from 1974.  This film is rather lifeless and lacks any genuine human element to connect with – something essential to any great horror film.  Ultimately, I cannot recommend The Texas Chainsaw Massacre: The Beginning all that much.  If you just want pure brutality with little else to scare or entertain, this is likely for you, but it’s surely not one for me.

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Star Wars: Episode III – Revenge of the Sith (2005)

So, it all came down to this.  Both  previous prequels were met with mixed reactions, at best, but the advocates for the negative seemed to shout much louder than the positive side.  As I have covered in my own reviews here, there were some improvements from the first to second film, but many glaring problems existed with lapses in logic and intelligence, to be brief.  Coming to Revenge of the Sith, it is difficult to be entirely objective as I have fond memories surrounding the release of this film.  I thought that might impact my review a good amount, but after some refreshers and a deep analysis of the film, I’m going at it just as hard as the last two.  Again, it’s not a stubborn stance of hate against something new or different, it’s an objective point of view of seeing what is good and what is wrong about the film.  One thing that irritates me with sequels is when the filmmakers don’t have enough objectivity to actually fix the obvious problems from one film to another.  So, you know I have a few axes to grind down even further, and there is some summation needed for the overall prequel trilogy.  So, get real comfortable because this is gonna be a lot longer than I expected it to be.

After waging the Clone Wars for three years now, the evil Separatist cybernetic commander General Grievous has boldly kidnapped Supreme Chancellor Palpatine (Ian McDiarmid) from the capital of the Republic.  Quickly sent into action on a rescue mission are Jedi Master Obi-Wan Kenobi (Ewan McGregor) and Jedi Knight Anakin Skywalker (Hayden Christensen) as a space battle is waged above Coruscant.  However, despite their ultimate success in this mission and the death of Count Dooku (Christopher Lee), more foreboding threats lurk ahead for the Jedi and the Republic.  Anakin reunites with his secretly wed wife Senator Padmé Amidala (Natalie Portman) who reveals she is pregnant.  This sparks repeated visions for Anakin of her death during child birth, and he becomes consumed with finding a way to avert this event.  As Obi-Wan is sent on a mission to track down and dispose of General Grievous on the planet Utapau, Chancellor Palpatine further manipulates Skywalker towards a dark path which is meant to see the fall of the Jedi and the Republic, and the rise of the Sith Lord’s Galactic Empire.

Let’s just get the bad out of the way first.  The film’s pivotal faltering crux is that Anakin’s turn to the Dark Side is exceptionally weak.  It stems from the foundation of a romantic relationship that made no sense to exist in the previous film, and never felt truly believable to begin with.  It came off more like teenagers in some glorified storybook romance with both having some delusion of what love really was instead of a naturally and organically developed relationship.  Anakin never matures, or really changes as a character at all.  I can take dark, troubled, and brooding, but the reasons behind it are just very one dimensional.  Yes, anyone who had a vision of their loved one that Anakin does here would have a flood of emotional reactions, but what Anakin does because of it and why he believes it will save Padmé comes off as naïve.  All of Anakin’s suspicions are unfounded.  He is disillusioned by his own built-in paranoia and distrust because he isn’t the all-powerful Jedi he was prophesized to become.  A prophecy that no one ever explains where it came from, or who created it.  A prophecy that causes a lot of damage to the conceptualization of the prequels.  Yes, Palpatine constantly puts ideas in his head, but remember what Ben Kenobi said in both A New Hope and Return of the Jedi.  “Vader was seduced by the Dark Side of the Force.”  Nowhere in this film does it seem as if Anakin is “seduced” into turning evil.  He’s a desperate man searching for a long shot desperate solution, and as always, is selfish enough to not care if hundreds or thousands of Jedi have to die for what he wants.  It doesn’t feel like he’s truly tempted or lured there by way of its power tapping into his darkest impulses.  While the opera scene surely tries to support that idea, Anakin clearly states that the only reason he’s joining the Sith is to save Padmé’s life.  That is all that matters to him.  If the Jedi could do the same as Palpatine claims he can do, he’d stick with the Jedi.  There is no seduction involved.

My personal belief is that Anakin should have been a mature, honorable, and confident man who is swayed and consumed by power.  A man who seeks the means to restore order in the galaxy, which aligns with Vader’s statements to Luke in The Empire Strikes Back.  I would expect that his motives are broader, encompassing a larger landscape instead of being manipulated into believing everything he does.  I surely have no qualms about the Emperor being manipulative as that’s always been part of who he is, but Anakin’s fall to the Dark Side is more a result of Palpatine molding him there through lies and deception instead of Anakin making these choices of his own free will.  Darth Vader was a confident, intimidating individual with a sense of self-control.  I would’ve expected to see those qualities reflected in a young Anakin Skywalker.  A man mature beyond his years, and amazingly proficient in the ways of the Force.  Someone to be admired, not tolerated.  His fall is meant to be tragic, but instead, it only comes off as selfish.  It’s difficult to care about a character when he is not likeable in the least, and that is a failing which extends to nearly every aspect of these prequel films.

Thankfully, Anakin’s growing paranoia and suspicions leave us with very few scenes of him and Padmé gushing over one another, but we do get one scene too many.  Personally, said scene is cringe inducing.  The dialogue is horrendous, and the acting from Portman and Christensen do nothing to make it more bearable.  Outside of said scene, Natalie Portman comes off a little more mature than her performance in the previous movie.  This is likely due to her not being forced into a poorly conceived romantic storyline.  However, I do wish the “Seeds of Rebellion” scenes were kept in the film because they actually give Amidala an active storyline to personally involve herself with.  In the film as it is, she essentially sits around her apartment waiting for people to inform her of the latest plot developments and get emotional over them.  Again, Natalie Portman is one of the most talented and diverse actresses around today, but you wouldn’t be able to tell from her performances in these films.  There is some improvement from the flat, hollow Queen Amidala back in The Phantom Menace, but even with strong emotions injected into her character, it still lacks depth.  The relationship between Anakin and Padmé only ever feels fabricated.  It’s presented to us with a minimum of effort put into making it feel earned.  What makes it worse is that Natalie and Hayden have no chemistry whatsoever.  A really good actor can take something not so good and turn it into something worthwhile, but everyone has their limits.  You can’t do it all on your own, and George Lucas seems to have a tough time conveying his ideas to actors.  That is all I can chalk this up to because, outside of these Star Wars prequels, I have yet to see anything less than great performances from Natalie Portman.  She really can do it all, and she always does it exceptionally well.  So, while it sounds redundant, it seems necessary to say that I have to attribute the sub-standard acting qualities in these films to Lucas’ inability to communicate the depth and detail of his characters to his actors.  Of course, the poorly written dialogue doesn’t help matters, either.

With Samuel L. Jackson, I can understand the marketing appeal of casting him in these films, but he wasn’t made for a role like Mace Windu.  The wise, seasoned Jedi Master role would be better filled by a Morgan Freeman, Forrest Whittaker, or even a Laurence Fishburne type.  Jackson does have plenty of talent, but he seems to shine in more passionate roles.  Characters that aren’t conservative with their emotions, but that’s exactly who Mace Windu is.  Windu could have been the elder Ben Kenobi allegory for the prequel trilogy, if written with more perceptive wisdom and cast with a more appropriate actor.  Alas, he comes off just as one dimensional and clueless as all the other Jedi.  Many of his line deliveries are as flat and hollow as they get, especially when confronting Palpatine.  Samuel L. Jackson can be a marvelous actor.  Probably my favorite performance of his is in Quentin Tarantino’s Jackie Brown, a film I love very much, and his Ordell Robbie is a performance filled with a lot of charisma, wit, and dramatic weight.  That’s the sort of role Jackson shines in, and shows what kind of talent he has to offer.  Mace Windu never offered that for Jackson because, unfortunately, it was never a role designed for him.

Fortunately, Ewan McGregor seems to pull through fine.  This is probably because he has full context of where Kenobi has been and where he will go to draw on.  He knows where to take his performance to sync the character up with Alec Guinness’ portrayal in the original films.  His heart wrenching performance at the start and conclusion of the final duel is everything it should have been.  It’s only too bad that the rest of the prequel films never earned those deep moments of character and emotion.  McGregor makes this younger, yet still wise Kenobi charming, compassionate, and overall a pleasure to spend time with.  He truly had a dimensional handle on the character, and filled it with personality and emotion to spare.  Ewan really gave it his all, and it shows through in every second he’s on screen.  The character might not have been written too greatly in these three films, but Ewan was able to rise above that more than anyone else.

Moving onto fresher ground, some of the lightsaber duels here are rather mixed.  The good ones are the opening duel with Dooku and the climactic Anakin versus Obi-Wan battle.  My main gripe is the sequence where the Jedi go to arrest Chancellor Palpatine.  Lightweight choreography between Samuel L. Jackson and Ian McDiarmid along with some bad editing to terrible close-up shots of cringable facial expressions make it tough to sit through.  Neither actor is convincing as a master swordsman.  Even before that, the editing of Palpatine slaying the other Jedi Masters is clumsy, shoddy.  It makes the movie feel like cheap B-movie schlock that couldn’t hire a competent choreographer or editor to make the sequence look decent.  Then, there’s the horrible line deliveries of bland dialogue at the latter end of the scene which makes the entire thing worse.  At times, it seems like Jackson, McDiarmid, and Christensen aren’t even trying as if the script drained the talent right out of them.  And this is the scene which directly leads to Anakin’s turn to the Dark Side.  I couldn’t ask for a worse build up to the saga’s most pivotal moment.  It encapsulates everything that is primarily wrong with the prequels – bad writing, bad acting, uninspired editing, and poor plotting.  Again, Anakin doesn’t strike out and join the Sith because of a sense of injustice at hand, it’s because Palpatine can maybe save the woman he loves.  He even shows regret and remorse over what he just did to Mace Windu, but still goes along with joining forces with Palpatine because of what he claims he might be able to do to save his wife.  Again, a desperate guy looking for a long shot solution.

Since I jut touched upon it, I do need to address the technical aspects of these three films, in retrospect.  What really strikes me is how dull the cinematography is.  There’s hardly ever any camera movement to punctuate emotional or dramatic moments, and scenes are blocked and plotted out with no originality.  While the action sequences are dynamically quite well handled, the dialogue scenes are very point-and-shoot, by-the-numbers work.  Very little effort is put into making them visually interesting aside from the CGI blue screened backgrounds.  I think not working on practical sets or locations greatly affected how these films were shot.  There are no environments to envelope the film in, to really move the camera around in to take advantage of what’s actually there.  Shooting in a tangible environment inspires a filmmaker to interact with it, and play with camera angles and movement.  Instead, everything is shot against a flat blue screen which inspires nothing for both the filmmakers and actors.  And as I said before, the editing is also very uninspired.  With the original Star Wars, George Lucas went for a less conventional method of editing the film by having the cuts drive the rhythm of the scene instead of it being dictating by the actors.  It created energy, pace, and urgency in the way scenes unfolded and how the story was told.  With the prequels, Ben Burtt approaches everything very conventionally, very clinically.  It’s just like the cinematography.  There’s nothing original about it, nothing creative in how anything is presented.  It’s all just there.

Another lackluster lightsaber duel is the overly long battle between Kenobi and General Grievous.  There’s some dramatic license taken at the beginning as Obi-Wan just stands there waiting for Grievous to throw off his cape, talk trash, and unfurl four lightsabers before even getting into a fighting stance.  Then, the scene goes on and on from a duel to a ridiculous chase to a more straight up fight.  There is something to be commended for a short, straight to the point action sequence.  Long and elaborate can work when it leads to a point, but the end result is the same here no matter the length.  The Yoda / Emperor duel is entirely pointless, and just sucks up time that could’ve been used to better story-driven effect.  It’s more of that ridiculous action hero posturing from Yoda which is entirely out of character.  Removing this fight sequence from the film would have no effect on the story or characters, and that is the very definition of a frivolous action sequence.

While the Anakin versus Obi-Wan battle is well choreographed, and I enjoy the action quite a lot, the dialogue exchanges within it also terribly lack passion and depth.  One would think it would be the most impassionate confrontation in the entire saga, but it just lacks that visceral emotional intensity.  The entire sequence could have benefited from being a shorter fight with more substantive interactions like the original trilogy duels.  The biggest difference with lightsaber duels in the prequel trilogy versus the original trilogy is the over reliance on high speed fight choreography instead of character-based conflicts.  You can only maintain interest in a high speed fight for so long before it has to boil down to substantive moments with the characters.  This is an impressive sequence, but Anakin and Obi-Wan are so evenly matched that there’s barely any back-and-forth peril.  While Anakin might be more powerful, Obi-Wan has the experience and discipline to compensate, and that’s what ultimately allows for him to defeat Anakin.  The sequence has plenty of merit with the magnificent digital effects, the changing location of the battle, and the slow descent into a hellish environment.  John Williams’ music reaches a major apex here with “Battle of the Heroes,” one of my favorite prequel trilogy cues.  Ewan and Hayden showcase immense physical ability and discipline making this an action highlight of the entire saga.  Despite any flaws, this confrontation has added so much more depth to the Ben Kenobi / Darth Vader duel in A New Hope for me.  It does feel like “the circle is now complete.”  The context now given offers up a more epic atmosphere to it like two old Samurai from an era long past battling for the last time.  Both men have been through this personal history that no one else in the film is really aware of, and so, that adds to the personal strength of it all.

The opening space battle sequence has always impressed me.  I know there are those out there that have their gripes with the entire rescue mission section of the film, and I can understand their issues with it.  There’s some extraneous humor that really isn’t needed with R2-D2, and a few bits and pieces in the space battle that could have been trimmed up or cutout for a tighter sequence.  Plus, it is extremely difficult to discern what ships are fighting on what side of the battle.  There’s no visual context to apply to it, and the scene is very jam packed with all kinds of crossfire and visual depth.  That’s how a space battle should be, but it really just becomes random background to the main action with Skywalker and Kenobi.  I can entirely advocate for all of that criticism, but with the sentimentality I have for the film, it does not bother me.  I enjoy nearly every moment of it because it does feel very Star Wars to me, and I think it’s a welcomed change to start one of these films out with an action sequence like the original film.  For a few of the films in the saga, a slow start works nicely by establishing an appropriate dramatic tone, but others like The Phantom Menace or Return of the Jedi just seem to drag along before anything exciting or interesting occurs.  For Revenge of the Sith, it definitely needed an energetic, dark, and dangerous tone set from the start, and I truly love that aspect of the movie.  Of course, the tone does become rather inconsistent with the humorous bits intercut with the darker or more perilous moments here, and tone has gotten more inconsistent with each subsequent prequel film.

Also, one has to beg the question of what the purpose was of abducting Chancellor Palpatine.  If this was a plot devised by Palpatine and Dooku, I can’t see how that particularly benefits Palpatine’s overall master plan.  Him being abducted removes him from his seat of power in the Republic to manipulate events towards his agenda, and gives the leverage of power to the Separatists in the war.  It’s kind of a long way to go to assume that it was an elaborate scheme meant to result in Anakin killing Dooku.  No guarantees that it would be Anakin being part of the rescue since he and Obi-Wan only just returned from assignments in the outer rim of the galaxy, and no definite guarantee that Obi-Wan would get knocked out for Anakin to potentially give in to killing Dooku.  If it was Grievous’ plan, that makes more sense since he doesn’t seem to know that Sidious is Palpatine, but then again, Grievous is depicted as being fully subservient to Darth Sidious and Dooku.  So, it’s highly unlikely he’d launch an offensive without their approval especially since Dooku is on board the ship.  Of course, as usual, these prequels hardly adhere to any sort of storytelling logic.  Characters do what they do because that’s what the script needs them to do.  This really harkens back to the nonsensical story of The Phantom Menace where the surface plot does not align with the behind the scenes machinations of Palpatine.  If Palpatine is not manipulating events to his benefit, all of this makes good sense, but George Lucas seems to not think beneath the surface of what he’s writing.  He approaches the story from the wrong perspective, and thus, it results in these different elements at play not aligning with one another.

George Lucas leaves a lot to be desired in this film because of many hanging plot threads, character motivations that are not explained, the lack of character development, and the stupidity of certain characters.  For instance, while I am a very knowledgeable Star Wars fan, and even own the Star Wars Encyclopedia, the average movie-goer never has a single thing explained to them about who the Sith are and why they are seeking revenge.  Everything about them is taken for granted as if you just happen to know this, or worse yet, don’t need to know this.  Because I am a knowledgeable fan of this franchise, I generally know that the Sith were driven to near extinction by the Jedi a thousand years ago.  Also, they have had only had a single master and a single apprentice since then because the Dark Lords of the Sith were too power hungry and deceitful to co-exist as a large organization.  They would all backstab one another for their own personal agendas to be furthered, and that contributed to their extinction as well.  However, none of this is ever mentioned or hinted at, let alone explained in these films.  In the original trilogy, the term “Dark Lord of the Sith” is never mentioned either.  So, even the term is brand new to those who’ve followed nothing but the films.  It is a gross oversight that the history of the Sith is never explored or implied in these films to give context to their motivations, and those motivations are the real crux of the entire prequel trilogy storyline.  In The Phantom Menace, the Jedi Council mentions that the Sith had been extinct for a millennia, but go into no detail as to why or how.  It’s a revenge movie that never says what the person is getting revenge for.  Quite frankly, that’s utterly ridiculous.

And of course, several characters go grossly undeveloped.  Count Dooku used to be a Jedi and Qui-Gon Jinn’s mentor, but no one ever gives any background on why he left the Jedi Order.  Just implying that he might’ve had contrasting opinions isn’t enough.  What kind of man was he really before he became a deceitful Sith Lord?  What we see of him is generally an act put on to fool everyone into following him to secretly benefit the agendas of the Sith.  Possibly the only honest scene we see of him is when he has Obi-Wan imprisoned in Attack of the Clones, and he is truly a fascinating character in that scene.  However, we are never given any further true insight into the man.  He’s just another pawn of Palpatine, and with such a talented actor in Christopher Lee, it was a deeply wasted opportunity to not flesh out his character more.

Also, Padmé Amidala might seem to have character development, but in reality, she’s a hollow vessel made to be whatever the plot needs her to be at any moment.  In Attack of the Clones, she consoles Anakin after his Tusken Raider mass murder confession, saying “to be angry is to be human,” and then, later marries him despite this cold blooded act of violence.  In Revenge of the Sith, she learns he killed Jedi Younglings, is shocked and dismayed at hearing this because she can’t believe that he’d do something like that, and then, says she can’t follow Anakin to the dark places he is going.  These are entirely contradictory behaviors and reactions that cannot be reconciled in my mind.  Padmé should be one of the most level headed, clear minded, and intelligent people in these films, but instead, she is written with so many incompatible and contradictory character traits that she should have canceled out her own existence.  Also, her dying of a broken heart or having “lost the will to live” comes off as terrible in this because of this.  Not to mention, she can’t find the will to live so she can raise and love her newborn twins?  Seriously, Lucas could’ve had her dying of a crushed windpipe or hemorrhaging or any number of medical complications from Anakin’s Force choke, but he chose “she’s lost the will to live.”  That puts an ugly nail into a so-called romance that was contrived and ridiculous to begin with.

Back to Anakin himself, it is hard to actually say he has “fallen to the Dark Side” when he’s still the whiny, selfish, impulsive, bratty person he always was.  He’s no different a character when he was a Padawan to when he becomes a Sith Lord.  All his turn to the Dark Side really does is free him up to not have to apologize for being the arrogant jerk he’s always been.  And of course, he contradicts himself as well.  His entire reason for joining the Sith is to find a way to save Padmé from dying in child birth, but once his megalomaniacal streak kicks in on Mustafar, he goes right ahead and tries to kill her himself while jumping to another unfounded conclusion.  There’s just no motivational consistency with these characters.  In many films, I’ve seen someone striking someone they love, but then, they quickly snap out of it when they realize the horrible thing they just did.  They come back to their senses.  Here, Anakin just keeps being an disillusioned arrogant jackass.  Again, this is not the Darth Vader we know from the original trilogy who is confident, intimidating, and in control.  Anakin is the direct opposite of that.

Fortunately, I can give a lot of praise to the Order 66 sequence.  From the newly dubbed Darth Vader assaulting the Jedi Temple to the Clone Troopers turning on their Jedi Generals, the sequence is rich with sorrow, dread, and ominous imagery.  The moment of Jimmy Smits’ Bail Organa witnessing a young Padawan being gunning down on the landing platform is tragic and unsettling.  Right from the start of Anakin marching the troops into the temple to the final shot of smoke billowing out of it the next morning, the whole sequence is really well done.  It’s only a shame that, one, some bad child actor has to have a line of dialogue in it, and two, we don’t get to know any of these Jedi that are murdered.  There was an opportunity in these films to do something with a few of these characters so that an audience could come to care about them to some extent.  While the sequence itself earns my general praise, these are just interchangeable background characters being killed off who never had any emotional resonance on the story or audience.  It’s ultimately less about those who are killed, and more about those either doing the killing or who have to deal with the repercussions of these events.  That’s not necessarily bad or wrong, but it’s just a missed opportunity to have the sequence hit the audience harder on an emotional level.

A rather pointless character comes in the form of General Grievous.  He makes no independent decisions like a General would.  He demonstrates no tactical proficiency or command authority.  He just mindlessly carries out the orders of Dooku or Sidious, and is really just around as a plot convenience.  He’s also a comedic “mustache twirling” type of villain giddily laughing when he cowardly sneaks off to escape, or likes to strut around boasting his unearned ego.  It probably would have been better to have Dooku hang around for a while, and give more weight and purpose to his death instead of burning run time on this CGI waste of a villain.

The Jedi themselves consistently display an almost willful ignorance to what’s going on around them.  Maybe Lucas was trying to present them as having become overly confident in their perception of the absolute clarity and power of the Force, but so much blatantly unfolds right in their face that one would have to be willfully ignorant to not take action.  Every major negative event that impacts the Republic strategically comes to greatly and solely benefit Chancellor Palpatine, and none of the Jedi seem to find it all that suspicious until the war is over and Anakin actually tells them that Palpatine is a Sith Lord.  And of course, by this point Palpatine has almost indomitable control over the entire galaxy.  It’s even worse that it takes them well over a decade to perceive that there is a plot to destroy them at work.  I understand Palpatine is using his Sith powers to cloud peoples’ minds, but I doubt he’s so powerful that he can cloud the minds of every single Jedi throughout the galaxy every hour of every day.  Even then, they hardly need to use the Force to perceive this threat as the obvious evidence right there in front of them.  It never seems like anyone followed up on the investigation into Darth Maul’s origins after his death, or discover any allies he had that could further threaten the Jedi.  Even Obi-Wan’s investigation into the Clone Army is never resolved.  The Jedi never truly discover the hard facts on how or why Jedi Master Syphadias ordered the army, if it actually was him, how Jango Fett got tied up into it, who erased Kamino from the Jedi Archives, or anything else that weaves into and out of that mystery.  The Jedi remain willfully blind to these unanswered mysteries which are clearly ominous signs of a conspiracy that could threaten them and the Republic.  Fett himself says he was hired by a man named Tyranus, who is later revealed to the audience to be Count Dooku.  It’s likely to speculate that Dooku impersonated Syphadias after he was killed, and ordered the Clone Army himself in conjunction with hiring Jango Fett.  So, if the Jedi actually followed the investigation to full conclusion, they would’ve uncovered an elaborate conspiracy against them.  Instead, the plot requires them to be stupid so that these obvious hanging plot threads can come back to bite them in their collective posteriors.

Going both ways on the issue of character is Palpatine.  He is given a good amount of depth and a hint of back story to give him some dimension.  Ian McDiarmid has generally done a good job in the role, but there can be too many instances of disingenuous emotion that just make the character’s façade horribly transparent.  It’s only by way of everyone else being dumb as a post that no one ever notices how obvious Palpatine is every time he opens his mouth.  Also, when he unveils himself as Darth Sidious, McDiarmid starts hamming it up like crazy.  I don’t view that as a good thing.  How he portrayed the Emperor in Return of the Jedi is vastly different in tone than how he is in the prequels.  In Jedi, he was a deeply serious and intimidating villain who was creepy and ominous.  McDiarmid’s chilling portrayal penetrated deep into an audience’s consciousness, and deeply into the heart and soul of Luke Skywalker.  He had a grim, imposing aura to him that was more dreadful than Darth Vader which elevated the psychological threat in the situation.  He was over confident but subtle, and that’s what is missing here – subtlety.  McDiarmid’s performance in this movie is far too obvious and overt.  While he has solid low key, compelling scenes, such as his telling of the story of Darth Plagueis, he simply allows Palpatine’s ego to increasingly overflow throughout the movie.  Instead of transitioning into that fearsome character we experienced in Return of the Jedi, he becomes a cackling, over the top madman.  McDiarmid’s performance in The Phantom Menace was actually far superior and more consistent with his original portrayal.  It was a more serious, dramatic approach to the character with subtlety and intelligence.  Unfortunately, it only went downhill after that.  Also, it’s never explained why Palpatine becomes deformed from the Force lightning.  Nothing of the sort happened when the Emperor unleashed it on Luke Skywalker in Return of the Jedi.  With these prequels, George Lucas seemed more interested in having things cosmetically align with the original trilogy instead of conceptually.  He really can’t have it both ways.

When you go ahead with a prequel you can’t change your mind on the established back story and representation of the characters.  You can only flesh out what’s already there, and bring clarity to the more vague areas of these histories.  George Lucas just failed at that.  Everything about an honorable, noble, and admirable Anakin Skywalker that Ben Kenobi spoke about in those original three films is entirely eradicated in favor of this selfish, egotistical, and violent person that never seems like a hero.  The Jedi never seem like an order of wise protectors of peace and justice.  They come off like short-sighted, dumb as dirt, full of themselves fools who never follow through on any course of action they set out on.  Yoda continually acknowledges a swirl of negative and even violent vibes coming from Anakin, but he continually ignores the severity of what Anakin’s going through.  Considering that the Jedi had a bad feeling about Anakin from the start, one would think they would keep a close watch on him to make sure he doesn’t go off the rails.  Also, after Mace Windu learns that Palpatine is a Sith Lord, he originally goes to arrest him, but then, he insists to Anakin that Palpatine must be killed on the spot.  Beyond just the conceptual inconsistencies in these films, the writing itself can’t keep a character’s motivations and intentions consistent throughout a single scene.  It really is atrocious on so many levels.  Again, the problem is that there is no one to challenge George Lucas’ creative direction.  Whatever he wants, he gets even if it doesn’t make any blasted sense.

Some people say that the anticipation and hype built up for these films could never be lived up to.  I say that’s a pithy excuse for churning out substandard movies.  Plenty of films have been able to live up to immense hype time after time.  You can’t tell me that The Empire Strikes Back didn’t have massive hype around it leading up to its release, and that clearly exceeded all expectations.  It comes down to talented, competent filmmakers putting care and intelligence into what they do to produce a high grade feature film.  Over time, it seems that some filmmakers lose their focus or ambition to be as good as they once were, or in some cases, certain filmmakers lose sight of the fact that film is a collaborative process and they reject anyone’s attempt to offer an alternate point of view to potentially improve the film.  I am a filmmaker myself, and my stance has always been, “I know I have not thought of every great idea in the world.”  I encourage my cast and crew members to always help in the creative process so that we can make the best film possible.  However, George Lucas seems intent on his word being the only one that counts, and that is the first step towards creative failure.

As I’ve alluded to, I have a lot of fond memories from the theatrical experiences I had with this movie.  I saw it twice on opening night with a glorious digital projection screening the following week.  I went to see this in the theatre, at least, four times in 2005, and even did a DVD marathon of the entire saga when Revenge of the Sith came to home video.  I highly enjoyed this movie, and I still find good qualities in it that I continue to enjoy.  However, while all of these fond memories project some sentimentality onto the film for myself, they do not excuse the critical analysis it deserves.

The original Star Wars trilogy captured the imagination and wonder of people all over the world, and for me, it still inspires and entertains me greatly.  Unfortunately, these prequel films have not done the same for me.  They lack the vibrant, memorable, and iconic characters that came to define Star Wars, and are plagued with amateurish screenwriting wrought with underdeveloped concepts.  Lucas was trying to tell a story he didn’t have the skill to competently write.  There were too many elements at play that he could not put into a cohesive whole, nor was he able to flesh these ideas out so they had some depth and relatability.  I have no problems with telling a more complex Star Wars story with political aspects, but it has to make sense.  All three of these films are excellent examples of terrible screenwriting, or in the least, a screenwriter’s ambition outreaching his skill.

There was no ambition behind these movies, or creative drive to make them original or innovative.  More effort was put into advancing the technology of digital effects than crafting a solid, sensical, and lively screenplay.  Everything just reflects a lack of passion from most everyone involved – the wooden acting, the dull dialogue, the clinical non-action sequence cinematography, the by-the-numbers editing, and the clunky plotting.  There are a few positives to credit the films for such as mostly great lightsaber fight choreography, some good action sequences, John Williams’ incredible music, and a few bright spots with the casting such as Ewan McGregor, Christopher Lee, and even Jimmy Smits, for what little he was given to work with.  However, these few highlights are grossly overshadowed by all the poorly executed elements of these movies.  I hope that I never commit myself to reviewing films requiring this deep of an analytical deconstruction, again.  However, I had to complete what I started so that I could move onto the praise heavy reviews of the original trilogy in their original theatrical versions.  Those will come in time, but for now, it’s time to rest my mind.  Thanks for bearing with these excessively long, in depth reviews of these disappointing movies.


Prometheus (2012)

For those not in the know, Prometheus was developed as a prequel to Ridley Scott’s 1979 science ficition / horror classic Alien.  While it still is that, Scott admitted a long time ago that it evolved into something more than that.  After seeing the film, I certainly see the broader canvas that this story is told upon, and how it can branch out beyond that far more narrow storyline of Alien.  I can’t say I was expecting anything specific with this film, just that I anticipated something amazing.  It’s hard to say if I exactly got that, overall, but let’s break it down a little at a time.

In the late twenty-first century, a team of scientists lead by Drs. Charlie Holloway (Logan Marshall-Green) and Elizabeth Shaw (Noomi Rapace) discover clues to the origins of mankind on Earth.  With the aid of the Weyland Corporation, headed by the elderly Peter Weyland (Guy Pearce), they launch a journey into deep space aboard the spaceship Prometheus.  Cave paintings from various ancient civilizations that had no contact with one another point to a distant star system where these scientists believe the answer to our origins lie.  Among the ship’s crew and other specialists in various scientific fields, the voyage is aided by the advanced Weyland Corporation android David (Michael Fassbender) who is caretaker of the craft who has been learning countless languages in order to potentially communicate with these alien “engineers,” if and when they find them.  Meredith Vickers (Charlize Theron) is a liaison for the Weyland Corporation itself, and is overseeing the mission to make sure its interests are maintained.  As they explore this alien planet, dubbed LV-223, they face discoveries both amazing and frightening.  Eventually, what they seek becomes not what they hoped for, and they must battle a horrifying reality in order to save the future of the human race.

Before the review starts, which is in the next paragraph, two things about my theatre experience to note are that, one, there were no trailers screened ahead of this.  It went right into the Twentieth Century Fox fanfare, and that was it.  No time was given to let the audience settle in and get ready for the movie once the lights went down.  It was exceptionally strange, and it took several minutes beyond the opening credits to sink myself into the movie. Why the theatre did this, I have no idea.  I’m very interested to know if this was an isolated incident or more wide spread.  Someone even had to run out of the theatre to grab a theatre employee because the curtains were drawn for a 1.85:1 aspect ratio when this was the wider 2.40:1 format.  So, for part of the opening credits, the partially drawn curtains were distracting.  The second thing is that I like sitting all the way in the back of the theatre.  Last row, top of the stadium seating.  When I saw The Avengers, the sound was a little low even sitting further down into the theatre.  This time, the surround sound speaker right next to me was very loud, and at times, the film’s score was louder than the dialogue.  And with all the reverb rich environments in the film, it made for a strange audio experience at times.  This certainly got better as the film went on, but early on, it was difficult to understand all of the dialogue sitting where I was.  Because of this, it took a long time to actually catch all of the main character’s names.  Thankfully, for this review, I have website resources to inform me better.  So, now, on with the review of Prometheus.

This is a film with a deliberate, methodical pace.  It certainly takes a while for the film to really get into the meat of the story.  It will certainly require your patience.  I surely do not mind a slow build, but the first act of a story is designed for you to get to know the characters and connect with them.  However, learning their names or not, I really didn’t start feeling much of a connection or distinction with anyone until the final act.  I think this is partly because there are so many characters populating the early half of the film that no one really stands out, aside from David, and so, it’s hard for the film to spend a lot of time with any particular character for long.  For at least the first hour of the film, no one is an obvious protagonist.  In Alien, it felt more like an ensemble piece, and you generally latched onto and cared about all of these characters.  Here, it’s not at all handled that way.  The film feels like it’s waiting for the heard to thin out before giving anyone a moment of prominence, and that contributes to a lack of character driven focus.

Something that contributes to this issue is that no one is explored in any real depth until the panic starts driving the story.  For instance, Dr. Shaw states what she believes this mission is all about, but at no time does she tells us why she believes this.  We’re just supposed to take it for granted that she does, and not ask those questions, yet the entire purpose of the movie is to ask questions.  It’s a scientific exploration, and science is all about being inquisitive.  She wears a holy cross necklace, and I’m not sure if that’s meant to imply that her scientific beliefs should have no more definite explanation than religious faith.  Scientists should be able to explain what they believe, especially when you’re dragging a good dozen or more people on a two year voyage into deep space.  It would add so much more depth and purpose to the character if she actually explained why she believes that the human race was birthed from an alien species to justify this large expedition.

On the stronger side, Michael Fassbender’s android character of David is remarkable.  His performance is the real highlight here.  In him, you see wonder, awe, foreboding, sinister intent, and child-like innocence.  He maintains a nice through line with the performances of Ian Holm and Lance Henriksen as the other droids of the Alien series, but makes David all his own.  He is clearly not human with a unique off-center performance.  No authentic emotion comes from him, but he can still appear personable, thoughtful, and courteous.  He is designed to be indistinguishable from humans, but over time, he clearly becomes well aware of his superior brilliance, making him truly feel superior to them in every way.  He has fascination with everything he observes and consumes.  He is, partially, a character we can see things through, experience them through his sense of amazement.  However, as the film goes on, you see ulterior motives surface in him, and that kept me highly intrigued as I did not know where they were coming from.  Were they his own personal twisted perversions, or part of someone else’s agenda?  The answer was quite satisfying to me, and cohesively tied in with the overall storyline.  Fassbender is truly the standout talent in this film, and David is an impressive creative achievement.

Now, I was rather put off by the fact that Guy Pearce appears here as only an elderly Peter Weyland.  He is only ever seen under heavy make-up and prosthetics to make him appear to be of advanced age.  It seems like an odd choice, but putting that aside, Pearce is excellent.  He has remained a captivating talent through the years, and really brings some poignant gravitas to the role.  Weyland’s motives behind supporting this expedition are entirely relatable, and Pearce’s grounded strength keeps it from being anything obsessive or off-kilter.  When he enters the story, he gives it an injection of weight and dread as his agenda motives everything forward from then on.

Again, later in the film, I really came to enjoy and connect with Idris Elba’s Captain Janek.  The actor himself described the characters as, “a longshoreman and a sailor, with a military background,” and that sums it up nicely.  He has that laid back style of confidence while also only minding the business of the ship and its crew, but clearly has the experience to make decisions like a military man.  As he forms a friendship with Dr. Shaw, you get to see some of his heart and soul, and that’s what clicked for me with him.

Noomi Rapace is the lead of the film as Dr. Elizabeth Shaw.  I don’t want to say she’s a Ripley allegory.  She’s definitely her own character with her own strengths and vulnerabilities, but I’m sure there will be those that try to make that comparison.  Again, it would have drawn me into the character earlier on if I had gained an understanding of her scientific beliefs, and why she is so committed to this expedition.  Just get more into her heart and mind a little.  However, when things start to become unhinged and chaotic, that is when Shaw becomes truly sympathetic and a powerful standout.  She comes to understand the truth of what they have discovered, but few others care about that except Janek.  She’s put through some hell when she has to cut an alien organism out of her own body in an intensely frightening and unsettling scene.  I love what that organism evolves into later on, and you certainly cannot put the pieces together until that later point.  Rapace brings a very compassionate, likeable quality to Elizabeth Shaw.  She’s fascinated by this discovery, at first, and continues to show enthusiasm and curiosity until things go awry.  Rapace is solid in this role showing heartfelt moments with Charlie, and carrying the more intense sections of the film with great skill and composure.  She fights through the maddening fear and physical strain, not giving up at any point.  She’s going to see everything through to the end, and that is the real gravitas Rapace brings to the film.  A very solid lead that does take a while to move into the forefront of the film, but when she does, she easily becomes someone to invest yourself into.

What didn’t grip me much was Logan Marshall-Green’s Dr. Charlie Holloway.  He seems either a little one dimensional or too concerned with himself to allow an audience to get into his character.  It’s partly how the character is written, but still, the actor doesn’t do much to show a real dimensional performance that could make him accessible.  We never come to know much about him, and all we know is what he hopes to find, not why he’s fascinated or compelled by the prospect of it.  We get the evidence that sparks the intrigue, but not why it means so much to him personally.  There’s no context given to Dr. Holloway to make him anything to think much of, and that’s definitely a big negative considering all that happens to him later on in the movie and how it affects Elizabeth.  Much of the supporting cast is the same.  Maybe a little quirk added to them here or there, but ultimately, they are nothing more than what the script needs them to be for the benefit of the story.  Again, there are so many characters in the first half of the film that it would be impossible to dig deeply into all of them, but sometimes, it doesn’t take too much.  Just the right hint of an endearing character trait, and the right actor to convey those elements of humanity.  However, I’m not going to mark this as a negative critical element.  Just a thought that could be used to enhance them further, but considering this is a horror film where much of the supporting cast is going to not survive, anyway, I can give it that concession.

Moving on, the production design maintains aesthetic touchstones with the Alien films, but upgrades them.  Considering we’ve never truly seen a state of the art vessel meant for scientific exploration, this makes sense.  The Nostromo was a freighter, requiring nothing more than the bare minimum technology to do its job.  The Sulaco was a military transport ship which didn’t need anything special to complete its missions.  However, the Prometheus is a science vessel needing the most sophisticated technology available to thoroughly accomplish its mission.  That is a welcomed way for the filmmakers to take advantage of modern day technological advances, and apply them to what a vessel of this sort would be like in eighty years without betraying what was established in the other films (which chronologically take place after this film).  The ship’s interiors as very reminiscent of the Nostromo, but with a little better living conditions and a generally more inviting appearance.  All of the alien technology and architecture is definitely in line with the franchise as H.R. Giger was brought back to expand upon some of his ideas and world.  That absolutely helped to create a wider and richer culture for this species, and yes, the Space Jockeys are extremely integral and vital to the story here.  That had always been one of the big things Ridley Scott had wanted to explore about this mythos, and I’m glad that is the major focus of Prometheus.

The visual effects are truly awe-inspiring.  Nothing low grade here.  They can be very enveloping, and key sequences are likely stunning in a 3D presentation.  As usual, I stick with the standard 2D theatrical experience.  Ridley Scott really allowed the visual effects to live up to his more than three decade long standards.  The more intense effects are immensely effective.  The various life forms they encounter are startling, frightening, and impressive.  They share some design elements with the franchise’s facehuggers and Xenomorphs themselves, but they keep it subtle.  This is clearly a different ship with a different engineering of these creatures.  So, that gave the filmmakers freedom to do more with their ideas, and present something more varied, yet still related to what is familiar.  The more environmental effects of space and the planet LV-223 greatly add to the film’s atmosphere setting the tone for the entire film.  Ridley’s not afraid to make the visuals dark and very shadowy lighted really only with flashlights, and that only enhances the creepy, unsettling nature of the alien structure’s interior.

The cinematography of Dariusz Wolski is very much in line with Ridley Scott’s visual sensibilities.  It’s even more surprising since he’s never worked with Ridley before, but has done some notable work.  He was cinematographer on The Crow, Dark City, Crimson Tide, and all of the Pirates of the Caribbean movies.  The lighting and camera is very solid, atmospheric, and effective.  Light and shadow mixed with some of Ridley’s signature smoky environments make for an incredible visual tone.  They create the sense of danger and mystery that these characters are engulfed, but it doesn’t stop with just the visual aspects.

The musical score by Marc Streitenfeld was amazing and enveloping, much like some of the visual effects.  The theme he composed for Prometheus is heard quite often, and it is haunting, enchanting, mysterious, and wondrous.  It sets a perfect tone for the film, and the remainder of the score is equally as rich and effective.  I would highly recommend purchasing the soundtrack which contains nearly an hour of the film’s amazing music.  This really feels like a musical masterpiece as it complements the complex tone of the film so well.

Now, the big question is if this really is a good prequel to Alien.  I believe it is an excellent pseudo-prequel, and I use that terminology because Prometheus is so much more than just a prequel to Alien.  As you’ve probably figured out by now, Prometheus does have more than its fair share of graphic horror and scares.  While Ridley Scott has made a film that has a far larger scope than Alien, he entirely keeps it within the same tone as that film while adding to and expanding upon it.  It’s even more frightening of a film at times because it’s not just alien organisms using human bodies for gestation, we’re dealing with genetic engineering.  Things that can infect your body and transform you into something inhuman.  The film does explore the origins of humanity as a species created by a far more advanced race of beings, and the desire for answers as to why.  This opens the film up to some philosophical discussions amongst its characters that are decently explored, but don’t weigh down the film.  Prometheus is a film that can stand on its own aside from the franchise.  It has its own strength, its own direction, and its own motivations to follow through on that are bigger than the franchise has ever explored.  This could easily branch out into a whole other franchise leaving the facehuggers, chestbursters, aliens, and so forth to their own machinations.

The other question is, well, does this answer the questions one would have walking into this film knowing it is an Alien prequel.  Partially.  It answers a few questions, but leaves many hanging in suspense, capturing, at least, my compelling interest.  Let it be known that this film does not have a definitive ending.  It is truly setup for another dangerous and fascinating adventure with the surviving characters which is far more likely to explore the ideas and questions raised in this film, and hopefully, bring us many of those answers.  I knew this walking in, and that took the edge off an ending which could’ve been a little sour and cheated in my mind.  It’s not an abrupt end as it does segue way nicely into a conclusion, but getting there does feel a little rushed.  In a film that took a gradual pace with establishing everything, the setup for the sequel segue ending is run through with a much faster pace than expected.  It works well mixed in with some frightening action, and maintains character motivation and determination.  The pace was just a little throwing.  This might’ve been because I kept expecting a hanging conclusion to the film, and feared for an abrupt cutaway to credits every so often.  Thankfully, that did not happen.  The ending does have me enraptured to know where this storyline can go, and how a further fleshed out exploration of these ideas and characters can be enhanced through another film.  I surely think a second viewing, more evenly positioned in the theatre, will feel smoother for me.  I have no doubt that a sequel would answer these questions, and not leave the Alien prequel connection unsatisfied.

The only truly spoiler section of this review will be this paragraph, and so, skip over it if you wish to remain free of them.  The film reveals that the human race was created and descended from the Space Jockeys, who have a very pale and human appearance beneath the “exoskeleton” style space suits we saw in Alien.  It is eventually learned that they decided to eradicate humanity with ships full of organisms designed for that very purpose.  It is not answered why they decided on this course of action, which was halted two millennia ago when these organisms broke loose and killed the crew.  However, the thought that ran through my head was echoing Ash’s statement in Scott’s original film – “perfect organism.”  Perhaps, the Space Jockeys finally achieved perfection in genetic engineering, and decided that all inferior life forms they engineered should be wiped out to make way for their ultimate creation.  Still, there does seem to be more rage, more visceral determination with this motive from just how the one still living Jockey acts.  He’s violent, murderous at the sight of human beings, and immediately begins to kill them all.  He appears dead-set determined to complete this mission at all costs, and leave no human living anywhere.  So, while my speculation might have some validity, there certainly appears to be a more personal, primal motivation to their agenda.  And while we don’t get to see the classic title character of the Alien franchise, the Space Jockey does give birth to a similar being.  I would likely call it a prototype Alien.  There are similarities in the design, but it’s much less developed and more angular.  This is the image that closes out the movie, and gives a little fan service that is nicely placed.  Like much of the film, it leaves you hungering for more.  It would have been amazing to see the original creature appear on screen, but if Ridley Scott wants to save that for a sequel to give that film the big pay-off, I can subscribe to that idea.

I think the best compliment I can give Prometheus is that, even sixteen hours after seeing it, my mind is still alive thinking about it.  Synapses are still sparking, and I think I need to see this again.  There is so much to absorb and process that additional viewings are certainly needed to let it all settle into my mind.  Even as long as this review is, I don’t think it thoroughly covers every thought I should have about it.  However, for allowing a reader to determine whether it’s worth their while, I’m sure I’ve said plenty.  While there are aspects that could have been done better in terms of making the characters stand out more and allow the audience to get to know them better sooner, overall, I think this is an exceptionally successful film.  It is a very intelligent work of science fiction and horror that screenwriters Jon Spaihts and Damon Lindelof and producer / director Ridley Scott should be commended for.  It’s been too long since we’ve gotten a science fiction film of this caliber with some sophistication, artistry, imagination, and intellect.  I’m sure there will be many mixed reactions out there, and again, I’m still uncertain of my final perception on it, but I am definitely hooked into what Prometheus has to offer.  It’s only unfortunate that it appears to be only one half of a whole, and with Ridley Scott already having two other film productions upcoming, including the sequel to Blade Runner,  it’s going to be a good couple of years before we get a continuation for Prometheus.  Thankfully, Ridley seems to churn out films pretty quickly.  There’s rarely more than a two year gap between his films, sometimes all of a single year, but by no means, do I desire for him to rush anything along.  Prometheus was a film a long time coming, and I think it was a generally worthwhile wait.  We’ll just have to see if that second half of the whole makes good on the potential shown here.


Star Wars: Episode II – Attack of the Clones (2002)

With Attack of the Clones there was some improvement in the prequels, but many of the stinging problems from The Phantom Menace still exist here.  The pace is generally improved with some more action sequences, some better characters, and more interesting locales to explore.  However, the supposed “love story” between Anakin Skywalker and Padmé Amidala couldn’t be more contrived or agonizingly acted.  Of course, there are frivolous character and story elements peppered throughout which have no bearing on anything at all.  So, let’s jump into it, and deconstruct Star Wars: Episode II – Attack of the Clones.

Set ten years after the events of The Phantom Menace. Padmé Amidala (Natalie Portman) is now the Senator of the planet Naboo, and is leading the opposition to creating an army of the Republic.  This is in response to a faction of political separatists, led by former Jedi Count Dooku (Christopher Lee), who want to breakaway from the Republic.  After an assassination attempt on the Senator’s life, Jedi Knight Obi-Wan Kenobi (Ewan McGregor) and his Padawan learner Anakin Skywalker (Hayden Christensen) are sent to protect her.  After the assassin strikes again with the Jedi thwarting the attempt, they capture the assassin, but she is killed by a bounty hunter named Jango Fett (Temuera Morrison) before they can obtain any answers.  The Jedi Council then send Obi-Wan and Anakin on separate missions with Chancellor Palpatine (Ian McDiarmid) fearing for Senator Amidala’s safety.  Anakin is sent with Padmé to Naboo as a protector.  However, their feelings for one another slowly stir to the surface causing emotional conflicts for them.  Worse yet, nightmares of his mother trouble Anakin enough to return to Tatoonie in an attempt to save her from dire peril.  Meanwhile, Obi-Wan’s investigation ultimately leads him to the planet Kamino where he uncovers a deeper conspiracy involving this assassination plot, the Separatist movement, and a Clone Army which could lead to all-out galactic war.

While there are various negatives I wish to point out here, let me counter-balance the review of Episode I by starting out with some positive aspects of this film.  Mainly, the visual effects are far improved and much more consistent than what The Phantom Menace offered.  It’s hard to believe that CGI evolved so much in such a short span of time, but the industry required it.  Bigger films were being made now because filmmakers saw what could be accomplished, and the technology and artistry of these effects houses simply pushed hard to match up with the demand.  Everything is generally more detailed in Episode II, and the story allowed for a more vast and diverse set of locations, vehicles, props, and alien creatures.  So, there was more of a canvas to apply the improvements in digital filmmaking.  Still, the movie is starved for more practical locations.  Granted, many don’t exist in reality, but the constant filming against blue screens begins to wear thin.  It takes away from the potential depth of the frame, and the tangibility of the environments they inhabit.  So much of it just feels fake because it is fake.

On a better note, George’s decision to shoot in high definition digital video was something I was supportive of, same as with Robert Rodriguez.  That evolution in video camera technology has actually allowed for my independent filmmaker career to exist.  Unfortunately, I did not see Attack of the Clones in a digital projection theatre.  That experience would have to wait for Revenge of the Sith.

Another positive is that there is more life with a few characters.  Ewan McGregor steps into the mentor role of Obi-Wan Kenobi well injecting some nice dimension into his scenes.  He feels more fleshed out and comfortable this time around.  A little chuckle here, some urgency there go a long way to show the depth and personality of his matured Kenobi.  He truly feels like a good leader, a fine Jedi, and an interesting character to follow now.  His single scene opposite Kenobi’s alien friend Dex shows more intelligible and relatable character traits from him than most anything displayed in The Phantom Menace.  It shows both a jovial, friendly side, but also, the inquisitive mind of the character.  McGregor is surely an excellent actor with a wide range, and I am glad that his talent was allowed to be more in the forefront here.  Of everyone in the prequels,  his performances feel the most natural and dimensional.  I feel he sells Anakin’s downfall more that Hayden Christensen does.

The legendary Christopher Lee gives us a villain with some substance in Count Dooku.  I only find it unfortunate that he doesn’t show up until half way through the film.  This would be better if he was built up more to create mystery or anticipation around him, but he’s barely mentioned in that first half of the movie.  And where Darth Maul had nothing to say for himself, Dooku has plenty, and Lee works his scenes very well.  There’s enough ambiguity about Dooku to build suspicion and doubt over what he claims to be truth.  Lee’s performance rides the fence of a man who could either be a straight out villain or a controversial strong leader who has a valid point of view.  He’s just shady enough to keep it all uncertain.  His scene opposite the imprisoned Kenobi is quite rich with juicy character interactions.  It is a pleasure indeed.

Unfortunately, from there, the quality of the performances start to get more one dimensional and hollow.  Natalie Portman, again, is reflected as a far lesser grade acting talent than she truly is with poor characterization and awkward, ineffective emotions.  While she has a generally good show of emotions, they seem to lack depth or realism.  The romance, of sorts, between Padmé and Anakin never feels earned, only forced.  For the life of me, I cannot rationalize why a young woman dedicated to peaceful, intelligent solutions would ultimately marry a man who confessed to a rage filled slaughter.  Tusken Raiders or no, Padmé has always sought out the way of peace in all situations.  She never comes off as someone in favor of blind hatred or rage, and in all other instances, appears to have a distaste towards unwarranted violence.  She didn’t murder Nute Gunray at the end of the last film.  She retook her throne and put him into the custody of the authorities.  She believes in justice, and resolving conflicts with negotiation and rational thought.  However, she marries a man who is volatile, insubordinate, emotionally unstable, immature, and supports tyrannical political ideals.  There is no rational reason they would be attracted to one another side from the physical aspect.

Now, I really don’t know any of Hayden Christensen’s other work to offer a perspective on his talents.  Granted, the characterization of Anakin Skywalker is not his fault at all.  He played the character that was on the page.  There’s nothing different he could’ve done with what he was given to make Anakin a better character.  Still, there are many moments where he comes off as wooden.  Much of his intended “serious” or “mature” dialogue is delivered with a drab, downtrodden empty quality.  As with Portman, there’s no depth behind what is said.  Anakin Skywalker should have been a rich character with many sides from the brave and honorable to the conflicted and troubled.  Considering the entire saga is ultimately his story from innocent child to conflicted Jedi Knight to the evil Darth Vader to redemption through his son, Anakin Skywalker should have been the most fascinating character of all six films, but he ultimately comes off as one of the least interesting and most annoying in these prequels.  So, what Lucas gives us is a very immature and flat character who has little for an audience to emotionally invest themselves in.

There are other characters which I do have things to say about, mainly the Jedi Masters, but they are best left for my summation in the Revenge of the Sith review to avoid redundant criticisms.  However, to briefly touch upon those thoughts, I have to say that if Yoda has nothing intelligent or pertinent to say, he ought to keep his mouth shut.  So much of his dialogue ultimately makes him seem like a short-sighted fool.  He has plenty of opportunities to act upon the bad vibes coming off of Anakin, but he never takes any action in response to them.  And I do believe having Yoda engage in frivolous lightsaber battles is a terrible idea.  Instead of criticizing the cringe inducing visual of Yoda flying around like a video game character and acting like some dim-witted action hero parody, I want to point out the purpose of lightsaber battles in the Star Wars saga.  They are a plot device used to twist the storyline into a new direction, and that is not at all a negative thing.  However, that is not the case with Yoda’s duels.

For example:  the climactic saber duel in The Phantom Menace results in the death of Qui-Gon Jinn which gives way to Anakin being less-than-well trained by Obi-Wan.  The death of Darth Maul opens the way for Dooku to become the new Sith apprentice, and setup the circumstances for the Clone War.  In Attack of the Clones, Anakin charges into battle, gets his arm chopped off, and begins to lose more of his humanity from this loss.  This motivates him to kill Dooku in Revenge of the Sith, and his death makes way for the rise of Darth Vader.  Then, Obi-Wan destroys Grievous, and thus, motivates the end of the Clone War, the attempted arrest of Palpatine, and Anakin’s turn to the Dark Side of the Force.  Vader versus Obi-Wan in that same film results in the half-man, half-machine Sith Lord, destroying Anakin Skywalker further.  Ben Kenobi’s death in A New Hope allows him to become “more powerful than you can possibly imagine” by becoming one with The Force, and helping to guide Luke anywhere at anytime.  The duel in The Empire Strikes Back clearly sets up a whole host of character and plot twists to the point where in Return of the Jedi, the final duel between Luke Skywalker and Darth Vader becomes the catalyst for Luke to put down his arms, and ultimately, instigate the event that turns Darth Vader back into Anakin Skywalker.  So, you see, lightsaber duels are never gratuitous action scenes.  They serve a very specific plot purpose.  That is except for all of Yoda’s lightsaber battles.

They do absolutely nothing to further the saga along.  Here, he fights Dooku, only to lose.  In the following film, he fights the Emperor, only to lose.  By showing that Yoda is unable to defeat a Sith Lord in battle makes it difficult to believe he’s the right one to train Luke in The Empire Strikes Back.  Not to mention, in that marvelous film, Yoda talks entirely about how the physical is inconsequential to one’s power with the Force, but in Attack of the Clones, he does nothing but resort to physical means of combat when a few minor Force tricks do nothing against Dooku.  And once he has lost, he is apparently so worn out from the battle that he has to strain his Force abilities to lift a piece of machinery from crashing down on Obi-Wan and Anakin.  In Empire, Yoda lifts the whole X-Wing fighter from the swamp and onto land with amazing grace and ease.  There, all that mattered was the will and confidence to achieve such a feat.  This is another obvious example of George Lucas’ change in philosophy that occurred between the creation of the two trilogies.  Yoda’s physical strength should not have an effect on his power with the Force.  If Yoda can only call on his Force powers in short bursts and it exhausts him to do so, that only shows that his power is very limited.  This is in direct contrast to Yoda’s teachings in Empire that, because the Force is his ally, he is powerful beyond physical strength.  By failing to defeat any Sith he opposes, and straining to do what should be easy for him with his purported Jedi mastery, it only proves that he’s no more capable than any other Jedi.  Yoda is supposed to be the most accomplished and powerful Jedi around, but if this is the extent of their power and wisdom, it is no wonder the Empire was able to wipe them out.

Another thing that is eradicated, again, is intelligence.  I mentioned in The Phantom Menace the absurdity of how the Senate was run in that one outspoken statement from any one representative immediately causes sweeping change in the Senate.  That returns here, and in cringe inducing fashion.  As Senator Amidala returns to Naboo to hide from her assassin she leaves Jar Jar Binks to act in her place with her Senatorial power.  Representative Binks is then manipulated into going before the Senate and propositioning the Senate to vote emergency powers to the Chancellor so he can authorize the creation of a Clone Army.  This one vote from one STAND-IN for a Senator immediately allows for it to happen.  Meanwhile, throughout the rest of the film, the Senate is entrenched in conflict over whether to create an army or not, and Amidala has been the leader of the opposition to this.  I find it highly improbable that the majority of the Senate and Amidala’s supporters would suddenly roll over because this dim-witted fool speaks up.  I mean, it’s not like they didn’t just have Padmé on a holonet transmission where she could speak on her own behalf in front of the Senate.  Not to mention, why is everyone talking about going to war the whole film when, until Obi-Wan uncovers the Separatist’s plans, no hostile action had been taken against the Republic?  As far as the Republic knows these people simply want to become a separate autonomous alliance of worlds.  Sure, the Republic being split in two would cause some controversy and unease, but immediately jumping to the prospect of war is a little rash when they have no evidence of violent intentions from the Separatists.

I also have issue with what was done to Boba Fett in Attack of the Clones.  I’m a general fan of the character, and I find him interesting and exciting.  However, Lucas does another frivolous, pointless change to a character.  Making Boba Fett a young clone of Jango Fett is inane as it serves no purpose towards the plot or the characters of Jango or Boba.  There is no reason Boba Fett couldn’t have been a regular offspring of Jango, and be given his own unique identity instead of being just another clone out of thousands or millions.  I also find it quite creepy that Jango is raising a clone of himself.  It almost sounds like the strange machinations of a mad scientist to being doing such a thing.  Speaking of pointless things, the assassin Zam Wessel had no purpose to being a shape shifter.  Again, it serves no purpose to the character or plot.  It actually could have been used intelligently with Zam changing form and escaping into the crowd, and creating an actual challenge for Obi-Wan and Anakin.  Instead, it’s just there to make her more “alien” and to show off another little visual effects gag.

Digging into Jango Fett a little more, I did enjoy what Temuera Morrison brought to this role.  He’s both a cunning, dangerous bounty hunter and a smooth gentleman.  Morrison has some restrained charisma in this role allowing Jango to come off as a smart and savvy villain that is confident without being arrogant.  He has a very nicely played scene opposite McGregor as Fett and Kenobi size each other up in a stand-offish exchange of words.  It’s a strong first true impression of Jango that really sparks an interest, and Morrison handles the overall demands of the role exceptionally well.

On the technical side of things, Ben Burtt should be ashamed of some of the editing in this film.  The one part that stands out is the saber duel between Anakin and Dooku.  The close-up shots of the two swinging their blades around actually have no continuity to them at all from one shot to another, and hardly look like they’re clashing blades.  It looks more like an interpretive dance than an aggressive battle.  It’s shoddy work.  There are other instances where editing should’ve been tightened up to maintain immediacy in character reactions, or maintain rhythm in certain action sequences.  However, the sound design in the film is excellent.  The sonic charges deployed by Jango Fett in the asteroid field create one of the most awesome speaker blasting sound effects I’ve ever heard.  The city sounds on Coruscant are excellently crafted to create a nicely enveloping world, and the end battle scenes are well balanced for fine clarity where the sound effects don’t simply become an indiscernible onslaught.

What I also do like about this film is the added atmosphere tying in with the mystery elements of the story.  The various night scenes create a neo noir visual aesthetic that really appeal to my tastes greatly.  The stormy environment of Kamino was an excellent choice that further heightened the mood of the film.  As Kenobi gets deeper into the mystery, the more treacherous his surroundings become, and it culminates in a stellar fight between Obi-Wan and Jango.  The slippery aspect of the landing platform added a different dynamic which keeps the sequence exciting and unpredictable.  Obi-Wan doesn’t get to rely on the lightsaber as much, and has to be more innovative and cunning to survive.  This is more akin to classic Star Wars were characters were made intelligent to figure their way out of tight situations.

Of course, pulling directly from the original trilogy is not entirely the most successful approach as the end duel between Anakin and Dooku demonstrates.  It tries to recreate some of the smoky light and shadow effect of the climactic duel in Empire, but it comes off as forgettable and mild.  It really comes down to a buildup of characters, emotions, and plot points.  In Empire, the visual of the carbon freezing chamber with its smoke and orange and blue lighting enhanced the tone of the story being told.  It is dark, mysterious, foreboding, and ominous.  Everything built up to this, and it sends a chill down the spine of many viewers.  Here, it’s just a nice visual.  There’s nothing inherently bad about it, but it’s just another hollow throwback to a better film.  The duel itself is not that impressive, either.  Conversely, I’ve never had an issue with the asteroid field battle in this film.  It’s entertaining and exciting.  While it is a throwback to Empire, it works for me as it is a logical progression of the plot, and showcases some of Obi-Wan’s cunning combat skills.

While the plot is more sensical than The Phantom Menace, there is both padding to make up for a lack of plot developments and hanging plot threads that never get tied up, ever.  Obi-Wan’s investigation into the poison dart should really end with the scene where he meets Dex who tells him its from Kamino.  Instead, it goes on for another two scenes where he investigates the planet in the library, and then, since he can’t find it there, he goes to Yoda for answers.  Yoda has none, but the little kids he’s training do.  This not only unnecessarily pads out the film, but also makes Obi-Wan Kenobi look stupid because he can’t figure out something a five year old who can’t act could.  It’s never explained who deleted Kamino from the Jedi Archives, or how they did it.  Also, everything about Jedi Master Sifo Dyas ordering the Clone Army despite having died around the same time is never cleared up or resolved.  I could speculate on the truth, but that is all that can be done.  Lucas lays no clues to come to a confident answer, and no one in the film tries to figure it out.  It’s entirely forgotten by the next action sequence.  It is also curious that the Sandpeople would hold Shmi Skywalker captive when they’ve always been murderous scavengers, and there is fan conjecture over this saying it was orchestrated by a third party.  However, there is hardly anything within the context of the films to perceive it as anything more than it appears to be.

Again, the romance storyline between Anakin and Padmé really doesn’t hold together.  The dialogue is stilted, the performances are wooden, and the entire interaction is more like a screenwriter’s naive perception of love.  The Han Solo and Princess Leia relationship worked because these were two well developed characters with strong personalities and honest, realistic emotions.  It felt like a natural, organic relationship that evolved and grew between them.  Plus, they didn’t fall in love and get married within the course of a few days.  Anakin and Padmé feel like an immature teenage high school couple who over dramatize their so-called romance because they have no genuine grasp on what real love truly is.  They think that what they have is love, but they would be wrong.  What they have, at best, is the illusion of love built upon teenage style angst and physical attraction.  And again, Padmé is subjected to Anakin whining about Obi-Wan, blaming him for everything that’s wrong in his life, being insubordinate to his superiors, bitching her out in front of the current Queen of Naboo, and confessing to the mass murder of not just the Tusken Raider men, but the women and children, too.  Quite frankly, in any other film, Anakin Skywalker would be the psychotic villain, and Padmé would be running away from him screaming in horror.  I can’t imagine that she is meant to be a moronic idiot, but that’s exactly how she continually comes off considering all of this nonsensical madness.  No woman in her right mind would be so eager to love and marry a man like this.  It also makes no sense to me why Padmé is so vehemently opposed to just being involved with a man.  She keeps saying she loves Anakin, but then, says she can’t love him because she’s a Senator.  That doesn’t compute in my brain.  No other reason is ever given.  She’s a Senator, and so, she can’t go out on a date.  That’s her entire reason.  No expansion on that at all.  It’s ridiculous.

Never minding all of that, Attack of the Clones has plenty of good action sequences.  While not all come off as rational, like Obi-Wan uncharacteristically jumping out the window to grab the assassin droid (couldn’t he have just used the Force to disable it and bring it to him?), the scenes are well structured and choreographed.  They are all different and maintain good momentum, to a point.  The previous movie had a serious lack of compelling action scenes, and traded them off with long, drab dialogue scenes.  Here, it seems like they have to milk the action scenes for as much as they’re worth because the plot lacks enough threads to weave throughout the 120+ minute run time.  While the droid factory sequence is decent, it is ultimately another piece of run time padding.  It could be a much tighter sequence, if you had to have it, but it needs to be long to stretch the story out.  This is the case with most of the action scenes especially the speeder chase through the nighttime of Coruscant.  It’s not a bad action sequence, but an action scene is best when it’s tightly paced and gets straight to the point.  If you’re going to have a chase scene, make it count with a solid pay-off.

Again, there are some cringable attempts at humor here, but this time, it falls on R2-D2 and C-3PO.  I won’t get into it.  It’s brain dead idiotic slapstick gags that would even be bad in some television program for kindergarteners.  This crap has nothing to do with anything in story, action, or character development.  It’s gratuitous garbage filled with horrible puns, and that’s all I’m going to waste my time mentioning it because this review is too long as it is already.

I really hoped to say more positive things about this movie, but the more I dug into it, the more flaws I saw.  It’s frustrating to me that I want to enjoy more about this movie, but it’s designed to backfire on me.  I’m not going into these films with the intent of tearing them down, and I hope the praise I have offered up reflects that mentality.  I don’t have any memories that stick out about my theatrical experiences with this movie, unlike the other two prequels, and so, I can’t recall my early feelings on it.  I did purchase the John Williams score CD the same day, and so, that says something.  Of course, regardless of the quality of the films, I do own all of the soundtrack CD sets.  Anyway, while Episode II makes some improvements from Episode I, some problems are exchanged for others, and some of the biggest ones are never fixed.  Again, I don’t want to hate on George Lucas, but the man is not helping me to avoid doing so.  I can forgive certain underdeveloped aspects of a film depending on various factors, but the rampant stupidity of some characters and the horribly contrived love story are too much to forgive.  Thankfully, I do have very fond memories of Star Wars: Episode III – Revenge of the Sith, and so, I have more sentimental leeway to offer it.  But that’s another review for another time.  As Attack of the Clones stands, it’s a long way from greatness, but at least, I can sit through it.  I can’t say the same for The Phantom Menace.


Final Destination 5 (2011)

I joined the party a little late with Final Destination.  I didn’t see the first film in theatres as I was more interested in the then-ending of the Scream trilogy, but once I did see it, I became a fan of the franchise.  However, while I thoroughly enjoyed the first two films, the following sequels signaled an ill decline in quality and tone.  The third film felt like a direct carbon copy of the first, and the fourth was a big failure, in my eyes.  I even saw it in 3D, and that was the last 3D movie I will ever see.  So, that comes to the latest entry in this modern horror franchise.  I believe I was skeptical at first, but reviews for FD5 were quite positive.  A friend of mine even highly enjoyed it, but time was not my ally as I could not get to seeing it theatrically.  So, I had to wait a few months for the home video release.  An iTunes rental it was, and now, the DVD is part of my ever expanding collection.  So, what did Final Destination 5 do right that the last few sequels got wrong?  There are many answers to that inquiry.

Death is unleashed after Sam Lawton (Nicholas D’Agosto) has a premonition that saves himself and several of his coworkers from a disastrous suspension bridge collapse.  Now, they are marked by death to correct this wrinkle in its plan.  Federal Agent Jim Block (Courtney B. Vance) comes in to investigate this incident, and to probe into how and why these few survived.  The survivors are chilled by the haunting, foreboding words of coroner William Bludworth (Tony Todd) about how death doesn’t like to be cheated, and all he has to say comes to shape everyone’s fates in how they attempt to cheat it further.  Sam is joined by his uncertain girlfriend Molly (Emma Bell), his self-assured but soon grieving friend Peter (Miles Fisher) and his gymnast girlfriend Candice (Ellen Wroe), the attitude-heavy office assistant Olivia (Jacqueline MacInnes Wood), the not-so-slick Isaac (P.J. Byrnes), the young factory foreman Nathan (Arlen Escarpeta), and their boss Dennis (David Koechner).  They are all on the top of Death’s list, and time is not on their side as they frantically attempt to find a way to escape its sinister agenda.

Firstly, everything starts with the tone.  The last two movies delved into dark humor, or more appropriately, bad humor.  The more serious, suspenseful tone of the first film had been forgotten.  FD5 revitalizes that approach to the franchise, and not just in direction or acting.   Cinematographer Brian Pearson filmed this movie with a lot of dramatic character.  The lighting alone has a great deal of weight and beauty.  Just because it’s a horror movie doesn’t mean it can’t have artistic integrity, and I feel Pearson gave the film plenty of that.  The visual style strongly compliments the direction of the movie.  While none of the actors will really win any awards here, they generally hold up well.  Those who need to be sympathized with are nicely cast.  Those that are meant to be reviled or disliked seemed to work right for me, but it’s hard to tell if P.J. Byrne’s Isaac was supposed to be a misogynistic ass to like or dislike.  I chose the former.  Nicholas D’Agosto is a decent lead handling the more vulnerable side of Sam well, but he doesn’t have quite as much to work with as previous leads in the series.  I feel Miles Fisher had the most to carry as the film went on with his grief morphing into something unforeseen.  Coincidentally, Fisher bares a resemblance to Tom Cruise, and I certainly read a lot into that facial similarity.  However, seeing beyond that, he confidently shoulders a lot of emotional weight by the film’s end, and he handles himself very well in both dramatic and action oriented scenes.  Courtney B. Vance certainly shows his worth handling Agent Block with the right amount of uncertainty and inquisitive sense about him.  He doesn’t buy into the supernatural explanations at first, but as things develop, he becomes willing to believe there is something more at work here than he can deduce.  It’s quite original from the other law enforcement figures the series has offered us before.

So, okay – the acting is good, the thing is shot well.  How good of a horror flick is it?  Very good!  As the end credits song from AC/DC says, “If you want blood, you’ve got it!”  Final Destination 5 has a hefty helping of blood and gore that will satisfy any fan’s splatter craving.  The deaths remain original and inventive.  They become more elaborate with misdirection by laying out elements that take a little longer to pay off.  While that is usual for the series, I feel this entry pushes it further towards more unique results.  Every little element that Death sets into place is simply part of a chain reaction of events that don’t lead you to the death you are anticipating.  This helps to enhance the suspense and tension throughout certain sequences by leaving you wondering how that loose screw the gymnast didn’t step on will factor into the scene later.  You think she avoided the imminent danger, but the actual danger has yet to fully show itself.  These scenarios slowly develop hooking your attention in more and more until the pay-off hits you like a punch in the teeth.  This also shows that the screenplay is smartly written.  That’s a good upswing from the screenwriter of the atrociously dim-witted A Nightmare on Elm Street remake.  The brilliance of this franchise has been using a force of nature as the killer itself.  There’s no personality to tap into, and no way to just turn around to see the maniac with the machete, butcher knife, chainsaw, or claws coming up behind you.  It forces the characters to be more intelligent and aware for them to survive, and it also forces the screenwriters to become more inventive in how to setup each death.  No longer can they rely on an off-screen kill or someone just getting stabbed in the blink of an eye.  So, I am glad that Eric Heisserer has stepped up his game with FD5.  Now, I won’t spoil anything for anyone, but I very much loved the turn in the film’s climax.  The story elements laid out by the returning Tony Todd’s William Bludworth are tied up into a very original and enjoyable departure for the franchise.  The climax twists things around a little bit creating a more physical confrontation than we’ve had before, but it doesn’t all end there.  As with all the Final Destination films, there’s an extra added punctuation after the climax just when the characters feel everything is fine.  For those not in the know, it is a hell of a turn that the film only lays extremely subtle clues at throughout the picture.

Now, director Steven Quale appears rather interesting.  He’s only had a sparse list of credits stemming back to 1988, and I seriously mean sparse.  This is the fourth film he’s directed in 23 years.  I don’t know why that is, but I would hope that success with Final Destination 5 would open doors to push his career forward with more velocity.  I say this because he displays a lot of great talent here in handling and balancing horror, drama, and action into a highly entertaining film.  Apparently, Quale has worked with James Cameron on The Abyss, Terminator 2, True Lies, Titanic, & Avatar.  So, it is no surprise that the apparent 3D effects shots look great even in 2D.  They still have visual and visceral impact without the three-dimensional effect.  Begrudgingly, if I had the choice to now see this in 3D, I’d take the opportunity.  In the past, the tech has not worked for me.  I have no optical impairments.  It’s mainly due to the fact that when images jumped out at me they became misaligned, like seeing double, and thus, ruined the illusion.  I saw My Bloody Valentine 3D as well earlier in 2009, and that offered no better results than The Final Destination.  So, I swore it off vowing I would never see another 3D film, but when things look this good in 2D, I’d have to concede that the proper three dimensional presentation would likely be quite impressive, to say the very least.

In regards to the visual effects, right from the opening title sequence, in both visuals and music, this movie made me feel like I was in for something ready to kick my ass.  The credits sequence is awesome and original giving an audience some eye candy right up front to prepare them for the visual intensity of Final Destination 5.  Again, since the only time I saw the previous two films were in their original theatrical runs several years ago, I cannot compare improvements in CGI, but from many accounts, it is superior here.  The entire opening bridge collapse is massively successful, and CGI never entered into my thoughts while watching it.  All effects were seamless and convincing meshed with some amazing cinematography.  Quale clearly took a lot of time to construct this sequence to give it the visual scope and unnerving urgency it needed in every aspect.  Each film in the series does try to top the opening disaster sequence of the previous, and I would be very intrigued to see if a sixth film can keep up that trend because this is a very intricately plotted out sequence.  Much attention to detail was given.  Now, the CGI in the rest of the film is as perfectly seamless, but it is very good.  There is never any visual effects shot that takes you out of the motion picture.  The quality is quite consistent and nicely integrated into the live action surroundings.  It’s just how in your face they are that bring out any less than perfectly realistic qualities about them.

The make-up effects can sometimes be overlooked because of the CGI gore, but when I take a minute to think of them, they are immensely important to the strength of this film.  Most of the gore in the film appears as a combination of special make-up and visual effects elements, but scenes like the acupuncture mishap perfectly display the quality of the practical effects.  Of all types of films, it is the horror genre where I thoroughly enjoy seeing the behind the scenes look at how these things are done.  Being able to marry the computer generated and practical effects work impresses me, and a film like this makes me appreciate the hard work that goes into it all because the use of the effects is never subtle.

While the characters may try to cheat death, fans are certainly not cheated with this movie!  This is a winner!  Final Destination 5 hits all the right marks, and delivers some bloody good horror.  It’s possibly the best shot film of the franchise with a lot of high quality given to it in both large and quiet moments.  Steven Quale deserves a lot of credit for delivering something so solid, impressive, and entertaining.  I enjoyed this on many levels, and it gives fans what they basically desire as well.  The entire series comes full circle with a smartly written screenplay that brings the right story elements together and wraps them up and around the characters very nicely.  Everything flows easily without complicating the story.  I am very impressed by this entry in the franchise, and I would hope that another Final Destination movie could come along to maintain this level of quality.  Horror has taken many turns in the last decade that I haven’t cared for, and that has diminished my interest in the genre.  However, that could change if this movie is a sign of things to come, if only for the franchise.  Final Destination 5 receives a strong, positive recommendation from me!  It is a reassuring return to form for the franchise that gives you more than you ever expected.  Thoroughly satisfying is what this is!


Underworld: Rise of the Lycans (2009)

The problems with a prequel are many.  With Underworld, the biggest is that so much back story has already been detailed throughout the previous two films that we already know what led to what, and the motivations behind everyone’s actions.  All making a prequel can do is flesh out these ideas and show us something deeper, and possibly previously unrevealed to make it worthwhile.  Unfortunately, prequels are hardly ever that imaginative or worthwhile.

The other detractor is that we are already familiar with these characters at the end of their lives.  We’ve seen their emotional states after centuries of turmoil, conflict, and deceit.  So, in a prequel, one must strip all that emotional depth and history away.  These are not the characters as you’ve come to know or enjoy them, and that can make them far less interesting or entertaining.  Basically, in a prequel, there is less to explore because we already know the outcome, and that’s worst thing to go into a film knowing.

Underworld: Rise of the Lycans takes place centuries ago telling the tale of how Lucian (Michael Sheen) came to be, and his eventual struggle to break out of the oppressive tyranny of the vampire elder Viktor (Bill Nighy).  Lucia is a lycan, the first of a new species able to retain human form, and change to a wolf at will.  As he is brought up under Viktor’s vampiric regime, Lucian becomes passionately in love with Viktor’s beautiful and strong willed daughter Sonja (Rhona Mitra).  However, they must keep their love a secret as Viktor would never allow such a union to exist, but it is only a matter of time before secrets are uncovered and a lycan revolt is sparked.

Michael Sheen is clearly at the forefront of this film as Lucian.  It’s his story to ascension from slave to lycan leader.  He fills the role well as a strong, bold, and passionate warrior.  He is clearly a deeply talented actor with wide range that understands the character completely.  Sheen is able to take what Lucian was in the first film, and wrangle him back to a more impulsive, youthful man driven by his passions instead of being methodically driven by sorrowful vengeance.  Of course, Bill Nighy returns as Viktor, and is much more in the forefront of the story.  He commands his scenes with his usual intensity and venom, but also brings forth the pain of a hurt father when needed.  His subtlety of emotion gives Viktor his gravitas.  I couldn’t imagine anyone else bringing this much theatricality and impact to Viktor.  I just wish Nighy wasn’t so gung ho for those blue contact lenses.  They get to be distracting after a while.

The one thing this film allows us to freshly explore is Sonja, portrayed by the always fantastic Rhona Mitra.  She has spirit to spare.  Sonja won’t be held down by anyone as she is a brash, capable, and proud warrior.  She lacks no confidence, but is emotionally torn between the man she loves in Lucian and her beloved father, Viktor.  Rhona plays the heartbreak very well showing it troubling Sonja beneath the surface.  She is absolutely a strong lead, and entirely convincing as the kind of strong, bold woman that Lucian would devote his heart to.  Simply due to Sonja’s confidence, strength of character, and emotional context, she can prove to be an even stronger lead than Kate Beckinsale at times.  She is a finely textured character that makes it easy to see how a war could breakout over her by two men who deeply loved her.  However, it is Viktor who allows his disdain for the lycan species to eclipse his love for his own daughter.

Steven Mackintosh reprises the role of Tanis.  I absolutely loved his uninhabited weasely personality in Underworld: Evolution.  Here, it’s much more restrained because Tanis cannot risk Viktor knowing of his shady dealings.  So, Mackintosh never gets a chance to really flesh out the character.  He plays it quite straight and low key.  It’s a shame that is necessary since, as we’ve already seen, Tanis can be an immensely entertaining character.  It’s almost a disservice to the film and the actor to have him play the character as so subservient.  He was always a bit of a coward, but at least he had some bravado before.

On a side note, I had hoped that Kraven would appear in the film.  I had seen Shane Brolly in the IMDb credits prior to seeing the film, and expected his despicably deceitful character to grace this film.  Unfortunately, his credit is merely for the re-use of dialogue from the first Underworld at the film’s end.  While Shane Brolly did overplay Kraven at times before, I still enjoyed the character in general.  He was fun because, while surrounded by characters full of honor, dignity, and respect, he was an entirely straight forward self-serving, egotistical, and reliably disloyal delight.  What you saw was what you got, and he never wrapped himself up in a web of facades to cloak his dishonorable actions.  Truly a character you loved to hate.  Unfortunately, it is doubtful we’ll ever get to see him, again.

Patrick Tatopolous takes over the directing reins from Len Wiseman, and does a fine job.  He maintains a consistency for the franchise in all aspects.  To his credit, he handles every dramatic moment as if this was the first film in the series.  He doesn’t allow foreknowledge from the previous films to diminish the dramatic integrity of what he’s putting on screen here.  He surely makes it so that any newcomer can watch this film first, and still feel the weight it deserves to give the other films their proper context.  And quite seriously, the drama can be heart wrenching and deeply impactful.

The film does lack in the CGI area.  Where the previous two films had quite seamless effects, here, it’s not quite as smooth.  The first film had a $22M budget while Evolution had $50M.  This falls in between with $35M.  Still respectable, but with larger effects sequences featuring more lycans running amuck and so forth, the filmmakers probably had to stretch the dollar thinner to accommodate it all.  The practical effects are still consistent with the rest of the franchise, but the screenplay required CGI visual effects to take a more prominent role this time out.

The music here is an expectedly more traditional film score.  While that’s not entirely new for the series, it clearly wouldn’t be peppered with industrial rock remixes.  As with Tatopolous’ direction, the cinematography also maintains a consistent cinematic quality throughout.  It’s very well shot and edited.  Much of the same techniques are used with momentary slow motion action beats, and the desaturated blue tones.

Ultimately, what we have here is a hard film to sum up.  There’s solid talent up and down the line on both sides of the camera.  The screenplay is executed very well by deeply talented individuals.  The CGI is a bit dodgy here and there, but the real stinging point that damages the film is that there’s nothing new to be had here.  From the first film, we knew all of this story, and more importantly, the end results of it all.  The screenplay, while well conceived, offers nothing that we weren’t already told two films ago.  It simply takes that spoken back story, and shows it to us.  No new layers are added to the Underworld mythology, and no new perspective can be really had by watching this film.  Maybe there’s a little more emotional context seeing who Lucian was, and then, who he came to be centuries later.  So, you see it’s not a bad movie at all, but it just is a generally unnecessary one.  You can take it or leave it because, quite frankly, there’s very little to gain if you’ve seen the first two Underworld movies.  I like a good, solid back story to be fleshed out, but if a prequel isn’t going to flesh anything out to show us something new to the storyline, it fundamentally fails.  That could launch me into a whole different rant about another film franchise’s prequels, but who really has the time for that sordid mountain of madness?