When I see the name Platinum Dunes attached to a horror remake, I hang my head in a wholly disheartened state. While I did enjoy their remake of The Texas Chainsaw Massacre on its own merits, everything after that has been stuck in the mud sinking further and further into uninspired junk. I’ve given them fair chances, but they have failed in such colossal ways. The final nail in the coffin was this remake of A Nightmare On Elm Street. A cluttered, drab, plodding mess is what this film turned out to be, and even not comparing it to Wes Craven’s original classic, it’s still a poorly executed film.
Five teenage friends living on one street all dream of a sinister man with a disfigured face, a frightening voice and a gardener’s glove with knives for fingers. One by one, he terrorizes them within their dreams – where the rules are his and the only way out is to wake up. But when one among them dies, they soon realize that what happens in their dreams happens for real and the only way to stay alive is to stay awake. Buried in their past is a secret that has just begun to be revealed. To save themselves, they must plunge into the mind of the most twisted nightmare of all: Freddy Krueger
Okay, remaking A Nightmare On Elm Street is not an outright terrible idea. There are certainly ways to expand upon the original idea, enhance the effects, and execute it with a new, yet still effective style. Surely, a sequel could just as easily do the same, but for whatever reason, despite the massive success that was Freddy vs. Jason and the fact that Robert Englund could easily reprise his iconic role, New Line Cinema chose to just remake the original. However, no one involved in this film did anything to make this a film worth making. I think it’s easier for a franchise to recover from a bad sequel than a bad remake. With a bad sequel, you still have better moments in continuity and filmmaking efforts to build upon, and if the sequel is bad enough, like Highlander II bad, you can disassociate it from continuity. A bad remake stops progress dead in its tracks because the beginning of this new continuity is not well received, fans don’t like the direction the property was rebooted into, and the general fan base doesn’t want to see more of it. There’s next to nowhere to go, and that’s why you rarely see sequels to remakes.
Jackie Earle Haley is an excellent actor, and I have very much enjoyed him in a couple of roles. There was a potential for him to deliver something impressive and unique here. There are a few things he does that were new and original in terms of mannerisms. However, by no fault of his own, neither the script nor director gave him anything worthwhile to sink his talent into. Krueger is poorly developed as the filmmakers try to take him in a different direction, but the entire premise backfires in such a sloppy, brain dead way. Trying to suggest that Krueger was wrongfully accused and unjustly murdered could work under more talented screenwriters and filmmakers, but it’s just handled stupidly and with no forethought. However, the biggest issue, for me, was that Haley was too recognizable even under that very good make-up job. When I saw this theatrically, I had just seen Haley regularly on the Fox television series Human Target, and so, his face was very familiar to me. Even the voice he uses is essentially that of Rorschach from Watchmen with a slur. It feels like a half thought out package, at best, which is an accurate blanket statement for this entire movie.
A problem arises with the performances by its young leads. This film does quite a good job accurately portraying sleep deprivation with people being frayed, exhausted, drowsy, and essentially very drained of energy. Unfortunately, that also creates a set of performances that are drab, lifeless, and generally disinteresting. The thing is, in none of the previous Elm Street movies did I ever have a problem with the actors actually putting energy into their performances when they were meant to be sleep deprived. For one, the make-up department did their jobs in weathering the young actors to look the part, much the same is done here, but secondly, energy and conviction are exactly what are needed to make these performances not just good but engaging.
Honestly, I don’t even think the lackluster acting is the fault of the cast. There are some very strong talents here such as Rooney Mara as the film’s lead Nancy Holbrook and Thomas Dekker, who I know well from the Terminator: The Sarah Connor Chronicles TV series. I think the blame is entirely in the hands of director Samuel Bayer. My point of proof here is Clancy Brown. Let’s put The Kurgan aside. Go watch Kathryn Bigelow’s Blue Steel, and you will see a charismatic, lively, and excellent performance by Brown in a very grounded role. The main difference is that’s Kathryn Bigelow, an Academy Award winning director who has done increasingly incredible work over the years. Samuel Bayer is making his feature film directorial debut here after almost two decades of directing nothing but music videos. This movie does look fantastic, but beyond the great visuals, there is nothing here that impresses at all. That’s what I keep seeing from all of these Platinum Dunes directors – movies that have excellent visuals and polished cinematography, but are very hollow, uninspired, and unimaginative. Music video directors know how to make a good looking product, but have next to no experience working with actors to craft anything more than superficial performances. Surely, sometimes you get a Russell Mulcahy or David Fincher, but there are far more directors like Samuel Bayer and Jonathan Liebesman that come around who just have little to no talent working with actors and drawing out a strong performance from them. They are good visual storytellers, to a degree, but lack the multi-facetted skills required to be a full-fledged filmmaker.
I think the biggest shortfall of this film is the lack of genuine suspense and tension. I was only afraid of another jump scare coming out of nowhere, and frankly, it kept me too on guard. I kept bracing myself for another cheap scare. This film just throws jump scare after jump scare after jump scare at you. It takes no talent or skill to have someone jump out of the shadows with a loud musical stinger behind it. It’s cheap and worthless. And some of the gags are so blatantly setup that I called them before they even happened. The result of all this is the fact that Freddy doesn’t feel built up enough. He’s not a looming figure screwing around with you making you squirm. He’s the boogeyman jumping out at the shadows every chance he gets like a kid on Halloween, and that’s simply a hollow, go-nowhere idea that shows the difference between a blunt, shallow filmmaker and someone like Wes Craven or James Wan who knows how to build up atmosphere, tension, suspense, and manipulate the nuanced aspects of a film to truly scare you.
Aside from the respectable, moody cinematography, I will give credit to the film in that the tone is kept serious. There is no camp humor or jokey qualities to it. The filmmakers try to keep it very solid, focused, and dramatic. Sadly, the skill of the filmmakers is too thin to hold the weight that the film should have. The entire film does feel like a product designed to grab dollars and be forgotten. There is no artistic passion behind any of it, and the quality of the story suffers for it.
As I said in a previous Elm Street movie review, I do applaud that the various filmmakers always tried to introduce new, fresh ideas into the franchise, and never just laid back on carbon copy sequels. The downside is that the new ideas haven’t always worked, and the entire plot of misdirection regarding Krueger’s possible wrongfully accused back story is poorly handled. The way Krueger acts throughout the picture doesn’t lend credence to a man who was dealt a grave injustice, but an evil, sadistic man who enjoys torturing and slaughtering people. All the while, our lead characters are running around trying to unravel a mystery that ends up being a red herring, and thus, it was all just a giant waste of the audience’s time and attention. The idea is not executed well to misdirect an audience, and there is ultimately no pay-off for it, regardless. Not to mention, it’s an extreme plot contrivance that every single one of these kids blocked out the memory of Fred Krueger and their time at that school. So, it was a potentially interesting idea, but with how short-sighted every idea is in this film, it had no hope of actually developing into anything close to its potential. That is another easy, blanket statement to apply to everything in this film.
The visual effects of this remake are really not very good. For one, there’s no excuse whatsoever for CGI blood in an A Nightmare on Elm Street movie. NONE! It looks cheap and unconvincing. There are a number of effects here that are passable, but the bad stuff really just jumps out at you. Also, this movie proves that a simple practical effect and some artistic vision trumps digital effects. The scene of Krueger pushing through the wall, which was achieved in the original with Robert Englund literally pushing himself against a latex wall above Heather Langenkamp, looks like flat, uninspired garbage in this film as a digital effect that seems like a leftover from The Frighteners. And on a similar level is Platinum Dunes’ regular composer Steve Jablonski’s score. Where Charles Bernstein’s score for the original was fresh and inspired with a perfect nursery rhyme style theme, Jablonski’s score is forgettable and entirely typical. The original Elm Street theme appears only once, and that is when the film’s title card slams onto the screen. It’s never heard again, and once again shows how little reverence these filmmakers had for the property they were dealing with.
And while the supporting cast is decently well acted, no one stands out. No one really takes the stage and defines themselves apart from anyone else. I do think it was a poor decision to not have a John Saxon style character here. A mature adult character with compassion and a level head who could carry substantial weight with him. Yes, there are actors here with that capability, but the writing and directing take no advantage of the talents that it does have to make these characters anything but mediocre, drab, and shallow. The whole film does feel like it’s playing it a little too safe, including the acting. If they pushed the boundaries further, maybe it would be more engaging and potentially scary. Craven’s original film did things that were original, new, and innovative. This remake just comes off as a tired, passionless piece of merchandise.
Quite frankly, there was no one trying on this film. They followed the script like a blueprint and just created a film as flat as the paper that script was printed on. One of Platinum Dunes’ big problems is that they keep getting music video directors who have no experience with a script, actors, or crafting scenes, only in creating a three minute long marketable image for a band. They really need to get a real director who knows how to create an engaging ninety minute story with dimensional characters and coherent plotting. Not to mention, a filmmaker who can actually make a suspenseful, scary horror film.
In the early 2000s, Sylvester Stallone was struggling to rebuild himself from some of his cheesy action movies of the 90s, and these efforts didn’t all meet with much success. Get Carter is a remake of a 1971 film of the same name starring Michael Caine in the title role, and this remake was received with negative criticism and a poor box office take. However, I saw this film on opening weekend, and I have very much liked it ever since. Having still not seen the original movie, I imagine I have the ability to view it much more objectively. Still, almost any movie promising Sylvester Stallone in a fist fight with Mickey Rourke and a hilarious John C. McGinley is pretty cool to begin with, but I honestly feel the film has a lot of worthwhile merit in many regards.
His name is Jack Carter, and you don’t want to know him. When it’s your time to settle your debts, you pay what you owe, or Carter will make you pay. While working for the mob in Las Vegas, Carter (Sylvester Stallone) learns that his brother has died, and returns home to Seattle in order to learns the how’s and why’s. His brother left behind a wife, Gloria (Miranda Richardson), and a teenage daughter, Doreen (Rachel Leigh Cook), which Jack feels he must now take care of since he was not around when it mattered most. Though, when digging into the death of his brother, Jack comes to suspect that is was no accident, and that someone has to pay up.
Now, what even some of the middle of the road reviews gave credit to was that Stallone is solid as Jack Carter, and I enthusiastically agree. I really like that Jack is a guy who carries a weight of regret with him to where he has this post-facto sense of responsibility. He might be a guy who beats people up for a crime syndicate, but there’s a certain moral compass to Jack which Stallone grasps onto perfectly. There’s a lot of subtlety to his performance showing the superb reversal on the over-the-top action hero roles of Judge Dredd or Demolition Man. He brings with him a low key presence of intimidation, but still finds those moments of clever signature Stallone charm and wit. Jack Carter has a warm heart and compassion for those he cares about, and this comes so very naturally to Stallone. There’s such a great depth of dimension to what he does here. Sly gives us a complex character who intensifies the emotional drive of the film. It’s also amazing seeing how bulked up Stallone got for this movie. He’s larger than ever, and it really works for Jack’s tough, bad ass presence. Yet, it is that softer side of Jack Carter that really impresses as he shows a lot of pain after a certain point really hitting you deep in the heart, and that translates into a venomous vengeful determination in the film’s third act. It’s an awesome, compelling performance by Sylvester Stallone that amazingly reminds you that he can be a stunning, complex actor. I think it’s one of his best performances since First Blood.
A lot of the depth of heart and substance is carried on through Miranda Richardson and Rachel Leigh Cook. Richardson is great as Gloria who is in this constant uncertainty about Jack. At times she can confide in him about her problems with Doreen, but at other times, can condemn Jack for bringing further trouble upon them and being absent from their lives until Richie died. Richardson has pitch perfect chemistry with Stallone standing strong on her own while showing the emotional turmoil inside. Meanwhile, Cook very easily endears herself to Jack and an audience with some sad sweetness and sympathetic charm. As certain things are revealed, and far more tragic layers are peeled back from Doreen, Cook is really able to demonstrate the soul of her heartbreaking talent. It really ends up being the pulsating emotional core of this film.
I really like the scenes between Stallone and Mickey Rourke. These are two actors who genuinely seem like they enjoyed working off each other. They’ve got the right rhythm and chemistry that these two characters should have being old acquaintances and all. Rourke has the right charisma and air of sleaze as Cyrus Paice which makes him very entertaining to watch, but also, a real piece of scum that you want to see get busted up by the end. Rourke and Stallone are two buffed up bulls ready to lock horns regularly, and when they do finally trade punches, it’s a straight up bad ass brawl.
Anyone who loves John C. McGinley’s comedy work would also love him here. He plays Con McCarty, an associate of Jack’s in the Las Vegas syndicate, and I swear he ad-libbed the majority of his dialogue. It is just so brilliantly quick witted, off the cuff, and hilarious that he’s an utter, endless joy. It’s a performance like this which shows that this is a film that is interested in balancing the heavyweight drama with sharp beats of levity. And Alan Cumming is quite good as the geeky wet rag dot-com millionaire of Jeremy Kinnear who has gotten in way too damn deep with seedy individuals. He is a pleasure to watch in this role as Stallone looms over him with his brute intimidation. Of course, Michael Caine does a fine job in a somewhat small role as Richie’s now former employer, and Caine and Stallone have some solid scenes together. Apparently, even Caine endorsed Stallone as a respectable successor to his original role, and including him in this cast was a really nice touch.
I really adore the look of this film from director of photography Mauro Fiore. It’s soaked in this somber tone of overcast gloom of blues and greens that really absorb you into the tone of the movie. Director Stephen Kay really pushed hard to have this filmed in Seattle, and the beauty of the rain soaked city makes the film feel a little more unique. There’s also some unconventional style to Get Carter that might not work for many films, but all of the artistic flourishes really meld together beautifully, in my opinion. The strategic slow motion beats add a sense of grace to the photography, and Fiore moves the camera extremely competently with plenty of steadicam. I like that when Jack’s whole world turns upside down so does the camera accentuating a particularly unique filmmaking style that I really like here. There is some stylish editing with a few jumpy cuts, flash frames, and speed changes. I could see how some would find that irritating, but I really got absorbed into the mindset of this movie. Stephen Kay uses these stylistic choices to slip you into a character’s perception such as Jack’s world fracturing. Get Carter was edited by Academy Award winner Jerry Greenberg who also edited The French Connection, Apocalypse Now, Kramer vs. Kramer, and Scarface. Here, he superbly executes Stephen Kay’s vision right from the opening credits sequence onward.
There is a great, moody collection of music here in addition to Tyler Bates’ unique and stylish score. The original theme for the 1971 film by Roy Budd is utilized and remixed for this remake, and it is a beautiful composition that just tingles my senses. There are some techno tracks infusing some dance club style vibes into the movie. I particularly love the ethereal Moby track during the funeral scene. All of this music creates a very soulful or energized originality to this film that melds well with its visual stylings.
There is some really well put together action including a couple of very smart, tense car chases. Action directors who love their shaky cam could learn something from this film. Stephen Kay does make use of some unsteady photography and tight framing, but the editing is properly paced so to not confuse an audience. There are quick cuts, but because the lighting is clear, the compositions are just right using good angles, it all works. The latter car chase is really great, and it has a really cool stunt crash at the end. Yet, while there is exciting action, this film maintains that emotional and character based focus as Jack Carter delves further into the seedy underbelly of Seattle.
When Jack goes into full-on revenge mode, this movie gets dead-on bad ass. The grit really surfaces in the visual style and Stallone’s performance. Everything gets pretty dark and intense as Jack deals out his sense of personal justice in violent, sometimes lethal ways. This is a revenge movie driven by a lot of emotional depth and substance. Jack is going to clean out the trash, but the mending of emotional wounds is just as important to him, if not more so. It’s all wrapped up in his personal sense of obligation to the extended family he’s neglected, and a need to prove to himself and others that he can be a better man than his history has shown. There’s also a subplot where Jack Carter is involved with the syndicate boss’ woman back in Vegas, and this runs through the film a little. It’s another emotional tether that puts stress upon Jack especially when Con is sent to “take care of business” with much intended finality. Most revenge movies are just about the violent retribution, but this movie really delves you deeply into the hearts and souls of its sympathetic characters.
Get Carter is damn good, in my opinion, because it does take the time to develop its character and give you a dimensionality to connect with. You feel Jack’s pain and his need to put things right, and your sympathy easily flows for Doreen as the film progresses. Stephen Kay did do a really exceptional job with making these characters feel poignant, and have the consequences of everyone’s actions feel like they carry the weight of the world. This is really the kind of revenge thriller that truly captivates me because it’s not just gunning people down for ninety minutes, which does have its satisfying qualities. The substance of everything here saturates the film, and Stallone carries it all so amazingly well. The ending might have used a little more weight and veracity, but the payoff is satisfying regardless. I highly recommend this remake of Get Carter. If you’re a Stallone fan, like me, you should definitely give this a watch.
The year of 1995 is my favorite year in film giving us so many beloved favorites of mine such as Lord of Illusions, The Usual Suspects, Seven, In The Mouth of Madness, GoldenEye, The Prophecy, Strange Days, and more. This year also gave us a brilliant union of powerhouse talents when Michael Mann brought together screen legends Al Pacino and Robert De Niro in Heat. While I consider Manhunter my favorite, and The Insider to be Mann’s best film, I cannot deny that Heat is a crime saga masterpiece. It is finally Michael Mann refined and matured to a breath-taking level developing his signature concepts to perfection. I can think of no more appropriate film to hold the honor of the 200th review on Forever Cinematic than Heat.
Neil McCauley (Robert De Niro) is a master thief who lives by the simple discipline of “have nothing in your life you are not willing to walk out on in 30 seconds flat if you feel the “heat” around the corner.” His crew of career criminals is a high-tech outfit pulling off professional jobs that impress even the likes of Detective Vincent Hanna (Al Pacino). But Hanna, a man driven through life only by his work, becomes obsessed, at the expense of his private life, with bringing McCauley down. As McCauley’s crew prepare for the score of a lifetime, and Hanna’s team tries to bring him in, the two find that they are similar in many ways, including their troubled personal lives. Ultimately, they find themselves challenged by the greatest minds on the opposite side of the law that either one has ever encountered. With this much heat, the streets of Los Angeles are ready to sizzle and explode!
Heat is filled with excellent performances from everyone involved that it’s hard not to touch upon most of them. Firstly, I am engrossed by the dynamic between Vincent Hanna and Neil McCauley. Hanna is a man whose life is wholly dedicated to his job, and thus, his home life is a disaster with multiple divorces to show for it. Meanwhile, McCauley has his life in control as he takes precision high line scores, but lives a disparate life of bare necessities allowing himself no attachments he cannot walk out on in thirty seconds flat if circumstances require it. Thus, despite these men being on opposite sides of the law, they find themselves in a near symbiotic relationship which fuels the compulsions of their lives. They are both driven by their jobs being out there on the streets in the middle of danger, and everything else in their lives is sacrificed for that. All they are is what they’re going after. That’s what fuels their existences, and Heat is all about that electrifying synergy.
Al Pacino has always been known as a passionate, charismatic actor, and Vincent Hanna surely has that energetic, sharp edge which makes him immensely entertaining here. However, it is the more subtle aspects of the performance that are where the real juice is. You see the razor sharp mind of Hanna when he arrives on the armored car robbery scene. He sees it, absorbs it, and hits all the marks deconstructing every detail of the crime. He doesn’t miss a beat, doesn’t overlook or dismiss anything. You see the proficiency of Neil McCauley and how his crew operates, and then, you see Hanna and his team operate on that same exact level only on the opposite side of that coin. Yet, the depth of Hanna comes to the surface when Vincent converses with his wife, Justine. The weariness and ugliness of his job forces an emotional rift between them, and Pacino’s performance reflects the inner angst and emotional toll that it wreaks on Hanna. These things do affect him, but he never becomes a jaded, pessimistic, desensitized person. Al Pacino absorbs all of that into a subtle and complex performance that energizes the screen.
And delivering a performance on an equal level of weight and intelligence is Robert De Niro. He’s entirely formidable making Neil McCauley a very serious and definitive threat to everyone who opposes him. De Niro has a serious, hard edged presence that dominates the screen, and every move, every word, every course of action he makes is efficient. There’s a full immersion into the character in all his nuances and textures. Sometimes, a great performance is seen in raw emotion, but other times, it’s all in the subtle complexities. That is what De Niro give us here showing the versatile diversity of this character from cold, hard criminal to the loyal, caring friend and lover. Despite being the antagonist in the story, we see a real heart when Neil becomes involved with Eady. It’s takes a masterful actor and filmmaker to take a character like McCauley who will sanction and be entirely sociopathic about the murder of innocent people, and do something so human with him to where you genuinely feel his depth of heart. Surely, that’s nothing you would want translated into reality, but in a fictional narrative, it provides a captivating dimensionality that Robert De Niro captures with pitch perfect substance.
Val Kilmer was really in his peak at this time after his stunning turn as Doc Holliday in Tombstone. Thus, he was filming Heat concurrently with Batman Forever, really capitalizing on two excellent opportunities. Here, his role might be overlooked by the presence of Pacino and De Niro, but that doesn’t mean he isn’t top notch. Chris Shiherlis proves to be a really intense character with his gambling addiction and marital strives, and Kilmer really absorbs the weary heart of Chris deeply into his performance. Despite infidelities on the part of Chris and his wife Charlene, portrayed tremendously by Ashley Judd, their final shared moment strikes deep within the heart to show just how much they both truly loved one another, but their marriage was never built to last. Kilmer hits all the marks to make this character standout solidly alongside De Niro, and to a lesser extent, Tom Sizemore does the same as the more action junkie sociopath Michael Cheritto. There’s a real strong brotherhood between Neil and Chris that shows through shiningly, and that relationship brings a lot of dimension to both characters.
I’m fascinated by the chain reaction of events here which create numerous exciting plot turns. Essentially, Waingro is the key cog who sets everything in motion. Without him going off the handle and facilitating the triple homicide, Vincent Hanna likely would not have been as dogged to track down McCauley and his crew. He’d be intrigued by the precision professionals, but it would just be another robbery. Then, Waingro betrays McCauley to his enemies, forcing the bank heist to turn into a violent, deadly shootout and propelling McCauley to make the irrational decision to go after him instead of escaping free and clear. Waingro turns the tide of the story at pivotal moments because he is a wild card with no loyalty to anyone but his own base, primal impulses. Furthermore, Kevin Gage is perfect in this role making for a wholly convincing hardened ex-convict sociopath who is dreadfully frightening and intimidating. It’s sadly poetic that less than a decade later he would become a federal convict for cultivating medicinal marijuana.
The other intriguing quality of Heat are the women. Michael Mann always makes the affectionate, strong women of his films vitally important to the arcs and stories of the male leads, and never objectifies them. The significant others of Hanna, McCauley, and Shiherlis are all passionate, loving women who desire a stable life. Justine Hanna grapples with Vincent’s internalized angst from the horrors he sees out on those streets, and just wants a husband who opens up to her instead of being distant, closed off, and vacant in their marriage. She wants a marriage with love not ragged leftovers of a man who drifts through their lives empty. Eady, portrayed by Amy Brenneman, is the most innocent of them all existing entirely outside the world of cops and criminals. She’s a simple, honest, warm person that unexpectedly opens up Neil’s world and gives him something to be affectionate about. For a man who lives with no attachments of any kind, it’s finally someone in his life that makes him care to have a life. Charlene, however, is the real gold for me as Ashley Judd is confident, heartbreaking and truly empathic as Chris’ wife. As I said, there is a deep down, genuine love between Chris and Charlene, but there’s so much addictive and combative garbage in the way that it was destined to crumble. For me, the Shiherlis dynamic is the most complex and substantive one of the film because of that real quality of conflict and adoration between them.
Without a doubt, Danté Spinotti is a remarkable cinematographer, and he does an excellent, stunning job with Heat. He composes so many carefully selected shots which tell a very visual story that holds weight. Just as Mann had fully refined and developed his artistic sensibilities so had Spinotti making this a very sophisticated looking and composed picture. There are pure moments of inspired artistry creating a masterful canvas that this story is told upon. This is also a film that feels very engrained and engrossed in the fiber of Los Angeles because of the visual vibe. Shots of the skyline in hazy daylight or glowing nighttime neo noir create that great backdrop that has substance and life.
Upon this watch of the movie, I picked up far more on Elliott Goldenthal’s amazingly original and pulsating score. A lot of what he does are subtle textures and melodies that nicely underscore various scenes. His score doesn’t fight for dominance in the audio mix. It complements everything that Mann is doing with the emotion, characters, and story. At times, Goldenthal’s score can be very powerful and striking such as the moment where Chris and Charlene are forced to abandon each other because of the police stakeout. The emotional pain swells into the score in a haunting swirl. Then, there’s the parting phone call between Neil and Nate that reflects the sorrowful feeling of two people, best of friends, saying goodbye for the final time, and Goldenthal’s score hits that mark so beautifully. Every single moment is so perfectly punctuated, and should be considered amongst his best work. Additionally, the two tracks by Moby are beautiful, superb, innovative tracks that saturate the power of their respective scenes, most notably being the ending with “God Moving Over The Face of The Waters.”
Of course, the big, electrifying selling point of this film was having two of America’s most celebrated actors, Al Pacino and Robert De Niro, collide in all their glory. That would not be complete without the excellent diner scene where Vincent Hanna and Neil McCauley have a very probing conversation. The very interesting quality of that scene is that this is the only point in time where these two men are able to be entirely open, honest, and reveal their inner workings. They are more intimately connected with each other than with anyone else in their lives. Again, the subtle performances of depth and honesty make this the absolute nexus of this entire film. Heat was previously made as a TV movie called L.A. Takedown by Michael Mann, and when you watch this scene performed by very second rate, stiff or hollow actors with almost identical dialogue, you realize the gold standard quality of Pacino and De Niro. In their hands, Vincent Hanna and Neil McCauley are brilliantly fleshed out and fascinating characters, and this is the scene that shows them stripped down. They show what haunts them and what drives them. There is no pretense between these men, and they realize that they are very similar despite being the flip side of each other. These are the only two people alike in this world of Michael Mann’s film that truly, undeniably understand one another. Furthermore, this scene is entirely integral to how the film’s climax unfolds.
Firstly, that shootout in the streets of downtown Los Angeles is one of the most ear-blistering sonic experiences ever, and that’s coming from a heavy metal fan. Michael Mann had considered using post-production sound effects for this, but realized that the realistic production audio created the true power and impact he wanted. It conveys the violent magnitude of real life gunfire and enhanced the danger of this sequence exponentially. The precision of every tactic is true to how Michael Mann approached his films. He made sure that every detail was accurate to life, and that mentality makes his films far more interesting to witness than the more over-the-top action sequences we get in the big, fun blockbusters.
The climax of Heat narrows everything down to what the whole film has been about at its core – Vincent Hanna and Neil McCauley. These two men, who exist in a world separated from the mainstream of society and defined by its own rules, are now pitted against one another in an electrifying, tense, and suspenseful cat and mouse sequence that is absolutely pitch perfect, and showcases the unequivocal skill of Michael Mann. The moment where McCauley sees Hanna just as he is to ride off with Eady is beautiful, painful, and eloquent. Neil invokes his “thirty seconds flat” rule turning away from Eady for his own survival, and the ensuing chase towards LAX is wonderfully and smartly plotted. The climactic moment is excellent and poetic. Then, after it’s all over, these two men are bonded together in a strikingly profound moment that ends the film on an astonishing stroke of pure brilliance.
I had always taken Heat for granted as that great crime saga pinnacle for Michael Mann, but until now, I never peered deeply enough into it to see the subtle brilliance of it. Many of his films are easier to see the inspired breadth and depth, but Heat has so many fine brush strokes of detail, interwoven threads, and subtext that only a real immersion into it made me absorb it all. This is truly a brilliantly written, directed, and acted film that did not get the recognition it deserved during awards season. Michael Mann himself received no nominations for his screenplay or directing, and Pacino, De Niro, or Kilmer received no acting award nominations either. It’s amazing to me that so many incredible, mold breaking, and standard setting films were released this year, and those I hold in highest regard barely got any recognition from any major awards organizations. This is why I find it hard to put much weight into these organizations because they’d rather nominate a movie about a talking animatronic pig over brilliant masterpieces like Heat, Strange Days, The Usual Suspects, or Seven for Best Picture or Best Director. Today, nobody talks about Babe, but people still endlessly praise those others films because they launched careers, took stunning risks, set new standards, and blew peoples’ minds. And when Michael Mann finally got his just nominations, he didn’t win a single one for what no one will ever be able to tell me wasn’t the best movie released in the year 1999 – The Insider. However, for the next review, I go back to the beginning of Michael Mann’s feature film career with Thief.
RavensFilm Productions presents the Forever Cinematic Friday The 13th movie retrospective covering all twelve films in the slasher franchise. Reviews by Nick Michalak.
Friday The 13th (1980)
Friday The 13th, Part 2 (1981)
Friday The 13th, Part 3 (1982)
Friday The 13th: The Final Chapter (1984)
Friday The 13th, Part V: A New Beginning (1985)
Friday The 13th, Part VI: Jason Lives (1986)
Friday The 13th, Part VII: The New Blood (1988)
Friday The 13th, Part VIII: Jason Takes Manhattan (1989)
Jason Goes To Hell: The Final Friday (1993)
Freddy vs. Jason (2003)
Reviews for this sequel have been pretty lukewarm, and while I don’t blame anyone for feeling as such, there are some high and not-so-high points. This is not a blanket mediocre film, but the averaging out of the varied content can leave one feeling that way. As documented recently here, I feel Pitch Black and The Chronicles of Riddick are really strong films in their respective, specific genres, with my preference being for the latter movie. Riddick does fall between the scale and premises of those films, but doesn’t live up to either one quite as well as it could have.
Betrayed by the Necromongers and left for dead on a desolate planet, Riddick (Vin Diesel) fights for survival against alien predators and becomes more powerful and dangerous than ever before. Soon, bounty hunters from throughout the galaxy descend on Riddick only to find themselves pawns in his greater scheme for revenge. With his enemies right where he wants them, Riddick unleashes a vicious attack of vengeance before returning to his home planet of Furya to save it from destruction.
There are three sections of this movie for me to critique which all have their distinct qualities. The first act of the film feels very sparse as it is just Riddick fending for himself on this desolate planet. There’s a few bits of narration from him and a flashback with the Necromongers that fill in some plot gaps from the aftermath of The Chronicles of Riddick. It also contains the only and very brief appearance of Karl Urban as Vaako. I had hoped for more from him here, but I figured it would be no more than a cameo. Anyway, this first act didn’t do much for me. It was kind of cool seeing Riddick wounded, vulnerable, and out in the wild getting back in touch with his animal side. However, it is quite sparse not giving you much beyond the survival action set pieces to get involved with. The film was starting to feel like an adventure that would play out in some prequel comic book – a very small scale transition piece story that is a stepping stone to something larger.
Thankfully, as I anticipated, once we get some bounty hunter characters injected into the mix, the film really started to entertain and engage me. Sure, the premise is quite stripped down and basic feeling more in line with Pitch Black, but if you’ve got a couple of vibrant, enjoyable characters to fill out that premise, you’ve got enough to make it worthwhile. It does take a few minutes to get them warmed up, but it’s the clashing dynamics between everyone that sparks it all off. Essentially, there are two teams of bounty hunters, or mercs as they are called. The first is lead by Santana, who is an enjoyably sleazy, down and dirty type with a very gritty, testosterone jacked team. The other is a more clean cut operation lead by actor Matt Nable’s character who has personal ties to Riddick and the events of Pitch Black. These two teams clash immediately causing a lot of conflict, and striking some very humorous, entertaining interactions.
Santana is portrayed very well by Jordi Mollà. I found him the most lively and charismatic character of the film. Mollà paints Santana as a very salacious individual with little respect for anyone else outside his team, and especially doesn’t like being ordered around by any of them when they’re forced to team up. Santana has definite smarts, but his attitude surely digs his own grave with many characters, especially Riddick. Also, former wrestler Dave Bautista is part of Santana’s team, and he does his part well, especially since Diaz doesn’t require much beyond being tough, formidible, and a little charismatic.
And color me majorly impressed by Katee Sackhoff. She portrays the exceedingly tough Dahl, part of the opposing team of mercs. She more than imposes her physicality upon Santana and others who try testing her, and has the attitude to go with that. This isn’t some stereotypical tough chick routine. Sackhoff kick ass as a bonafide hard edged, sharply skilled mercenary who has an extra distinctive flourish to her character. I’m sold on the actress and the character completely.
Now, Matt Nable’s character, of Boss who does have a bit of a reveal that I’ll not spoil for you here, is fairly okay. As I said, he adds a tether back to Pitch Black, but he’s really little more than that. The character is confident, authoratative, and intelligent, but compared to the colorful Santana, the tough as nails Dahl, or the nicely fun muscle bound hired guns of Santana’s gang, this is a rather mild character. He also sits on the fence never becoming an outright, reviled villain, and the ending reflects the reason why. There’s some intended depth with this character, but because he is so much on the fence, you don’t know if you’re supposed to sympathize with him or view him as a vengeful enemy. The film never galvanizes him into what kind of adversary he should be, and thus, comes off as quite forgettable and mild.
It is clear that Vin Diesel has a love for Riddick, and so do I. I think he is very fascinating type of anti-hero that has so many avenues of expansion, but this film really takes no ambition with Richard B. Riddick. The character is still written well by David Twohy, but that signature aura of mystique isn’t quite there. That ambiguity of what kind of hero he might choose to be, or the cunning way he manipulates events and perceives deeper into others isn’t really utilized here. Because the is a straight forward survival story with only bad guys and no potential good guys, you generally know how Riddick is going to deal with everyone. There’s no one of morality or sympathy like Imam, Carolyn Fry, or Jack / Kyra here to sway or alter Riddick’s actions. He’s out for himself, and will bargain however he can to escape this planet alive without being held captive. So, there’s no place for a lot of those more complex elements of Riddick to exist in this story, and that’s unfortunate. Diesel still does a really good job in the role, making him a fun, smart, highly capable, and entertaining protagonist. It just doesn’t feel like we’re getting every element of the character that I love. I kept perceiving something being missing from the performance or portrayal all throughout the movie, but couldn’t really put my finger on it. There is more to this character that we have seen in both previous movies, but this movie is just a little too stripped down to allow him to develop or be fleshed out. It also seemed like Vin Diesel didn’t wear contact lenses this time out, and instead, had Riddick’s “shine job” eyes digitally done.
I loved Graeme Revell’s score for both previous movies, but I wasn’t impressed with his work in this film. The familiar main theme does make some subtle appearances, but we never get a full fledged crescendo of it. Many of the action beats are scored appropriately well. Yet, the rest of the score feels very different in many places from Pitch Black or The Chronicles of Riddick. There were a number of cues which just didn’t strike the right chord with me, same as some of the humorous bits of Riddick and the silly tricks with his dog-like pet. Those were certainly there to forge an emotional bond with this animal, which seems to have a massive unexplaned growth spurt during the first act, but because it was such a poorly done CGI creation I just couldn’t care that much about it.
The digital visual effects are about on-par with those in The Chronicles of Riddick, but like with Pitch Black, it’s good that a large chunk of these effects appear during dark environments. The creatures that strike at nightfall are considerably better rendered than Riddick’s pet, which is the only CGI that I cringed at. Of course, there’s only so much you can do on a $38 million budget where entire landscapes are enhanced with digital effects, and thus, you’re stretching your dollars to their limit. Thankfully, the CGI is pretty good in large part, and added to the film a whole lot more than it detracted.
I do like that David Twohy put forth the effort to build in connections to both of the previous movies. Again, you’ve got some flashbacks with the Necromongers showing what happened after Riddick killed the Lord Marshal, and how it led to him being left for dead on this nearly barren planet. Yet, I know this was not the film Twohy nor Diesel intended to make when they laid out their plans for The Chronicles of Riddick, and so, this is a smaller scale story intended to be a springboard towards a larger scale adventure. As much as I absolutely want to see this franchise take off and allow these fimmakers to tell the Riddick stories that they want, I’m not sure this is the movie to get them there. Like I said, this story is probably stripped down too much in terms of character and conceptual development, and focuses more on the entertainment value of action sequences. While all of the action is very well executed making for a bloody, violent, and fairly exciting movie, it has one more major failing.
As I said, there are three sections of this film to critique, and the last one, clearly, is the ending. Riddick is an action / horror survival story putting this character into increasingly treacherous and deadly scenarios where he must fend for himself. People are going to betray him and attempt to kill him, possibly even stranding him on this planet to ensure their own survival. I won’t detail the ending of this movie, but frankly, it is a terribly weak ending that is a copout to the entire premise. There’s no dramatic punch to this ending, no rationale for the actions of the other characters involved with it, and leaves you hanging with an empty feeling. The film builds to a tense, riveting crescendo, and then, fizzles out. This film absoultely should have ended with a strong, impactful, emphatic statement for the character and franchise. I even sat there through the end credits hoping for an extra scene to appear, but once those credits roll, that’s all there is. Up until this point, I was enjoying myself, and was engaged in the excitement of the action. I was interested to see how the machinations of these deceitful characters would manipulate the fate of Riddick. It was a fun adventure with plenty of graphic violence pulling no punches, and just having a good, gritty time with itself. It’s just those last few minutes of the movie where you just don’t know how Riddick is going to get out of this at all, and the entire movie cheats you out of even a decent pay-off. I just felt letdown, and it’s worse yet because I know David Twohy can write something better than this. He wrote Warlock, co-wrote The Fugitive, and co-wrote both previous Riddick movies. It’s a whimper of a conclusion when it should have been amazingly awesome to re-energize audiences about the character of Riddick, and leave them wanting to see more bad assery from him.
I had been waiting for this movie for a long time, and I really wanted this franchise to be very successful. So, it really, honestly pains me to give any amount of negativity to jeopardize that success, but this really feels more like a movie many would rent instead of rushing out to the theatre to see. Even removing the ending from the equation, it is a fairly average sci-fi / action movie without the same stylized visuals or scope of Pitch Black or The Chronicles of Riddick. However, it has some extra punch in the graphic violence and some pleasing female nudity, and has some entertaining and well portrayed characters to liven up the uninspired story. You can potentially have a good time with this movie, but I don’t feel it’s a strong enough outing to give Riddick the new injection of box office life that he needs for David Twohy and Vin Diesel to do what they desire with him, unfortunately.
RavensFilm Productions presents the Forever Cinematic Star Trek Classic Movie Retrospective. Covered are the first six films of the franchise featuring the full original cast and crew of the Starship Enterprise. Starring William Shatner, Leonard Nimoy, DeForest Kelly, James Doohan, George Takei, Walter Koenig, and Nichelle Nichols. Also starring Stephen Collins, Persis Khambatta, Ricardo Montalban, Kirstie Ally, Robin Curtis, Christopher Lloyd, Laurence Luckinbill, David Warner, and Christopher Plummer. Reviews by Nick Michalak.
You don’t know how excited I was to watch this movie again, and then, wonder to myself why in the HELL haven’t I watched this frequently over the years. Of course, I speak of the director’s cut which I feel is a vastly superior and richer story. From every fan I’ve heard from, they are hardcore about Pitch Black, but not so much about this one. I am really more the reverse. The more expansive science fiction epic traveling to various unique worlds, and facing multiple dangers with colorful characters is right in my cinematic sweet spot.
After years of outrunning ruthless bounty hunters, escaped convict Riddick (Vin Diesel) suddenly finds himself caught between opposing forces in a fight for the future of all races. An army of fearsome world ravagers known as Necromongers are “cleansing” and forcibly converting other species in their goal of universal conquest, but Imam (Keith David) and the Elemental Ambassador Aereon (Judi Dench) believe Riddick holds the key to a prophecy that could bring down Necromonger Lord Marshal (Colm Feore). Now, waging incredible battles on fantastic and deadly worlds, this lone, reluctant hero will emerge as a champion, and the last hope for a universe on the edge of annihilation.
Vin Diesel and David Twohy really develop the character of Riddick further and in more depth. There’s more emotional texture on the surface now, especially when conversing with Imam. I absolutely love how this film expands this character without ever betraying what made him fascinating to begin with. He’s placed into a larger story and a larger world which delves further into who he is, where he came from, and that’s exactly what a sequel should do. Every bad ass, intriguing quality of him is intact, but circumstances force him to make choices he never thought he’d be faced with. Diesel does an excellent job stretching Riddick out into this wider universe. He still carries the air of mystique with him, but there’s more emotional weight and tethers to the character. The connection with Imam is quite cool, if only for having two of the deepest, smoothest voices in Hollywood trading dialogue, but honestly, these are especially good scenes. Diesel also gets more dynamic action sequences to shine in, and galvanizes Riddick into a bigger, smarter, more clever bad ass than before. I also love the light touches of wit and humor that we are given. Riddick has some clever, fun dialogue making him just as funny as he is threatening and dangerous.
Building upon his character is the relationship with Jack, who now goes by Kyra and portrayed by Alexa Davalos. She’s grown into a jaded version of Riddick because she feels he abandoned her. She’s a convicted criminal willing to kill for pleasure or to survive. Davalos does a very good job in this role making a solid emotional connection with the audience, and shows her physicality is in prime shape. Some might know her from her three guest appearances on Angel as the electricity powered Gwen Raiden, where she also showed she could throw down. Davalos is a great successor to this role, and the film pulls no punches in tearing these characters away from Riddick, forcing him to stand more and more on his own. I like that Kyra and Imam become involved in the Necromonger storyline, albeit in different ways, and so, all threads tie tightly back into the main plot.
The director’s cut absolutely makes this an excellent film. The theatrical version cuts out the real meat of the Furyan subplot including the character of Shirah who comes to Riddick in visions and unlocks his power as a Furyan. All of that is rather critical to the entire driving factors of the movie. It gives motivation and purpose to Riddick and Lord Marshal, and propels them forward with more weight and depth. Without all of that, the story becomes thinner and more basic. I remember seeing moments in the trailer from this subplot, and being upset when they didn’t appear when I saw the film theatrically. This aspect of The Chronicles of Riddick gives depth, purpose, and poignancy to Riddick, and simply makes it a more substantive story that I really, strongly endorse.
There’s also amazing action everywhere in The Chronicles of Riddick. From the mercs chasing Riddick on the frigid ice world to the race against the scorching, lethal sunrise on the prison planet Crematoria, we get wickedly conceived and executed set pieces. There’s plenty of violence, especially in the unrated director’s cut, as Riddick really cuts deep into his adversaries, and we get plenty of bang for our buck. The stunt work is amazing, and the imagination on display is rich and refreshing. David Twohy creates some very dynamic acrobatic moments that do strain physics, but it fits just fine into the hyper stylized intensity. He absolutely goes for an expansive scope that stunningly sucked me into the film. The entire look of the movie is just awesome with excellent cinematography and a brilliant, epic vision from Twohy himself.
The Chronicles of Riddick has a very lavish production design that I could compare to a big Dino De Laurentiis 1980’s science fiction / fantasy epic like Flash Gordon or David Lynch’s Dune. This really goes all out in detailed costume designs, big sprawling landscapes, and simply elegant sets filled with depth and nuance. Twohy really went for broke making this an exquisitely high grade production, and I think it immensely pays off at every turn. Some of the visual effects are exceptional, but there are a number of moments that are quite noticeably less than excellent. Regardless, the vast, stunning vision of David Twohy is realized impressively, and with stronger resources than what he had on Pitch Black. The visual effects are a MAJOR upgrade from that movie allowing for Twohy’s vision to thrive on screen. There might be a green screen effect here or there that could be a notch or two better, and the animals set loose in the Crematoria prison are the most obvious undercooked CGI elements, but the visual effects spectacle is very strong creating a fully realized and enveloping universe. I thoroughly love every aspect of the look of this film. It’s what hooked me from the trailers, and it’s what continues to excite me. And yes, Graeme Revell does return to reprise his themes from the first movie, and does a remarkable job capturing the feel of this more action / adventure-centric sequel.
What I absolutely, deeply love in this film is Nick Chinlund as the bounty hunter Toombs. He is a massive upgrade in entertainment value over Johns in Pitch Black. Toombs is a rugged, sleazy, charismatic joy to be had all through his screentime. He’s an excellent, fun adversary for Riddick. Chinlund and Diesel have great adversarial chemistry to the point that I had always wanted Toombs to return for a sequel, but you can’t always get what you want. This role made me an enthusiastic Nick Chinlund fan.
And damn, does Karl Urban not do his best in everything he does? He’s a hardened, menacing threat as Vaako who schemes against the Lord Marshal to succeed him as leader of the Necromongers. This might seem like a subplot that is a bit extraneous, but it has strategic impact on the main plot. And Urban’s strong presence and dramatic weight really helps enhance Vaako and his role in this film. As I always say, Karl Urban is an actor with a rich depth of talent who never gives anything but his absolute best every time he takes on a role. He does rock solid, consistent, high quality work, and that has made him a wholehearted favorite of mine since The Lord of the Rings and The Bourne Supremacy.
And it’s odd to speak of the film’s main villain after all of these supporting characters, but Colm Feore is great as the Lord Marshal. He adds the right balance of militaristic conqueror and haunting specter. He is a man of supposed ultimate power seeking universal domination, and is fully consumed by his radical faith. His unwavering mindset makes him immensely dangerous like a barreling down freight train, and Feore has the right eerie quality to sell all of this. He fills the role just right making him a seemingly insurmountable enemy fueled by these fantastical powers of the Underverse. He doesn’t have the entertainment value of Toombs, or the fierce intensity of Vaako. However, he is the dominant presence that none can contend with, but you do get the subtle feeling that, whether it’s Riddick or Vaako, someone is going to take him down by the end. The climax entirely plays upon that expectation, and executes it in a very clever way.
Pitch Black was the one-off adventure that introduced us to Riddick, and just allowed us a small glimpse into the potential of this character. The Chronicles of Riddick was clearly the start of a larger, epic story that I have been excited to see continued for nine years. David Twohy establishes a great, exciting, and vast universe for endless possibilities with this movie. I love taking a character like Riddick and injecting him into a different kind of film. So many sequels aren’t a tenth as ambitious as this film strives and succeeds to be. Many would do the same old thing, playing it safe with audience expectations, but Twohy engages us with Riddick and develops him further in a story that forces that to happen. It puts Riddick into the bigger picture of the universe, and sets the stage for something even more fascinating and expansive to occur.
With the third film, Riddick, hitting theatres this weekend, it’s great to see another chance being taken here with a franchise of ripe potential. The Chronicles of Riddick was not profitable upon its theatrical release, and that was a terrible shame. Twohy and Diesel had well plotted plans for two more films, but would need that larger budget to realize them. So, I don’t expect Riddick to expand as wondrously and amazingly upon the concepts of this film, but more a fusion of the styles of Pitch Black and The Chronicles of Riddick. Finding a middle ground between them seems like it could generate success and appeal to fans of both films. Again, my preference is towards the second film as it just breaks open the universe in a stunning realization of imagination, and is fueled by some great action sequences that have always stuck with me through the years. The Chronicles of Riddick is greatly exciting, immensely enjoyable, and simply fascinating to see unfold with its fantastical ideas and purposeful spectacle. If you haven’t been exposed to these films, I strongly encourage you to do so, and I hope that Riddick lives up to the years of anticipation. Even if it’s smaller scale, I’m greatly pleased to see a solid, imaginative franchise get another chance at success.
David Twohy is one of those talents who deserves better success than what he has achieved. He’s done some stellar screenwriting work with hits like The Fugitive and G.I. Jane, and many of his directorial efforts have received critical praise from genre fans. With Pitch Black, he struck a cult following chord that still, hopefully, resonates to this day. I’ve heard many say that Pitch Black is essentially a reworking of David Twohy’s rejected script for Alien 3, but my research does not confirm any correlation between the two projects especially since he co-wrote Pitch Black with two other writers in Jim & Ken Wheat. However, it is very easy to see how this could have been part of that franchise, but thankfully, this was its own thing that launched its own franchise that I am glad to say that I am a fan of. And yes, the director’s cut is the way to go for me.
When their ship crash-lands on a remote planet, the marooned passengers soon learn that escaped convict Riddick (Vin Diesel) isn’t the only thing they have to fear. Deadly creatures lurk in the shadows, waiting to attack in the dark, and the planet is rapidly plunging into the utter blackness of a total eclipse. With the body count rising, the doomed survivors are forced to turn to Riddick with his eerie eyes to guide them through the darkness to safety. With time running out there is only one rule: Stay in the light.
It’s interesting the structure that David Twohy goes for here. Once the crash occurs, most films would take on a gradual pace to establish many of these characters, and walk through the process of a slow burn build up to the lurking threats waiting for everyone. Instead, Twohy does a lot to jump forward beyond those gradual beats and goes for the tight, faster rhythm. He knows that the necessary focus is on Riddick, Fry, and Johns, primarily, and there are points that need to be hit with them before jumping headlong into the meat of the plot. We then learn more about these individuals as the conflicts and tensions escalate, which really works. Twohy keeps the pace very well balanced because of this approach. It starts out exciting, and continues to hold to that rhythm throughout. Danger is encroaching upon these characters, and that faster tempo is very essential to the effectiveness of the scenario.
The film has some very well crafted sequences that surely deliver on the suspense using silence, subtlety, and the darkness in very effective ways. While it doesn’t send chills up my spine to tingle me with terror, it is thrilling nonetheless. For me, I would veer this more towards an action vibe. The intention is survival horror, but there is enough intense action here to cater to anyone who isn’t so easily scared. Several characters are put into peril early on, some die, and that serves the tension later on knowing that anyone is expendable in this story. Anyone can fall prey to these quickly striking nocturnal creatures, and when they are charging through hordes of them with only minimal light to clear their way, it puts an audience on edge. Yet, little of this would mean anything if there weren’t well portrayed and written characters to involve yourself with.
I really like everything that David Twohy and Radha Mitchell do with Carolyn Fry, the now defacto commanding officer after the captain died during a hull breech. We know throughout the movie that she is not an altruistic hero as she tries to jettison the passengers to save her own life during the impending crash landing. So, there’s that condemnable quality that she works to redeem herself for through the film. She struggles to lead these people to safety as she constantly pushes that responsibility away, but she has to ultimately accept that leadership role in order to survive. Mitchell really stands strong in this role delivering a dimensional character that an audience can latch onto, emotionally, and invest themselves in as she grows and solidifies through this terrifying ordeal. Fry is vulnerable, but shows her strength by the end.
Cole Hauser makes the bounty hunter Johns a very good, subtly unstable foil here. He’s supposed to be a good guy considering he caught Riddick, but he’s a tough mercenary challenging everyone’s authority while feeding his drug habit. He’s a hostile wild card that could motivate people to safety, or more likely, jeopardize lives, including his own. He and Riddick are definitely set at odds, but the scenes between them are very interesting in the psychological aspect. Riddick is a guy who likes to play on peoples’ perceptions of him, and give them a certain amount of unpredictability to what he’ll do next. Johns knows plenty of Riddick’s tricks, and it’s interesting to see them subtly square off psychologically and physically.
Of course, the real star of the movie is Vin Diesel. The character of Richard B. Riddick is very much an anti-hero. He’s a convicted criminal who makes no excuses for himself, but knows how to use everyone’s fears and perceptions about him to his benefit. Diesel is very subtle in these moments speaking softly with a smirk showing that Riddick has people wrapped around his finger. Riddick knows just how far to push, and when to twist things back around. First and foremost, he is a survivor, and he knows that you can’t always do it alone. Vin Diesel injects confidence, intelligence, and cunning into the character, but also a very compelling mystique. Just like a Snake Plissken type, the less he says, the more interesting he becomes. His actions make him intriguing while what words he does speak weave a complex tapestry that simply sucks you in. You can gradually see this character becoming an iconic role as the film progresses, and even his opening narration sets the focus intriguingly upon Riddick right from the start.
There are a couple of notable supporting roles here including Keith David as the Muslim passenger Imam. He offers up a very solid character with strong beliefs and morality that add to the diverse personalities and attitudes of these characters. David is always a charismatic actor who can do tough everyman like in They Live or The Thing, but turn around and give you a substantive, cultured character such as Imam. Add to that is Jack, portrayed by Rhianna Griffith who comes to idolize Riddick, and forms some kind of attachment to him. There’s an odd twist to the character that seems fairly unnecessary, but it’s another trait to make Jack a slight bit more memorable. These are both well established, well portrayed characters which aid the film in very grounded, human ways.
Now, Pitch Black has a certain stylized look at times that never entirely sat right with me. I do like some of the over exposed daylight shots driving home the triple sun environment, but the rather monochromatic color washes don’t quite appeal to me. I just feel there must have been a better, more subtle way to color time these scenes to allow a slightly more varied color palette to shine through. Also, the inverted colors used in one false scare moment and a few cinematography and editing choices feel more akin to a flashy, stylized music video. These artistic choices just seemed more akin to stuff I had seen in the direct-to-video market than a theatrically released motion picture. That is sad for me to admit because beyond these off-beat moments, there is a lot of excellent cinematography to be had here. There’s a definite effort put towards production value with the cinematic camera moves and angles chosen. When the film gets into the darker and darker environments, it really takes on a very moody, atmospheric, and dangerous visual intensity. The whole planet eventually feels like a black, empty void perfectly reflecting the tense situation at hand. I also like that, in contrast to the overly exposed daytime scenes, the full-on night time scenes seem straining a little for exposure. You feel how dim the light is that these people have to work with and ward off these creatures, and that extra grain on the film stock just adds more gritty edge to the movie. Those issues I had are present only in the early part of the film. The remainder of it is shot, edited, and executed especially well.
Considering this was made on a $23 million budget in the early 2000s, I will say that the visual effects are fairly good based on those factors. In the grand scheme of CGI, Pitch Black has a LOT of room for improvement. These filmmakers were very ambitious with what they wanted to achieve on such a limited budget, and I can’t fault them for that. There are some better looking moments than others, and it is likely best, by design, that so many of these effects are played out in dark environments. In a brightly lit one, these creatures and digital effects would look really bad. While Riddick’s “shine job” vision allowing him to see in the dark is pretty damn cool, the creature vision is quite primitive like some cheap Photoshop radial blur effect. I hate to talk poorly about all of this because I see the ambition and visionary talent at work, but the budget could only be stretched so far to accommodate that, which is very unfortunate. If you doubled this film’s budget, the visual effects would be approaching excellent, I’m sure. As it is, if the characters and scenario pull you in, I think any shortcomings in the CGI will be forgivable in an audience’s eyes.
Another really exceptional quality here is Graeme Revell’s rich score. The main theme is excellent, thrilling, and rather triumphant. In an age of films that rarely attempt to forge a recognizable main theme of any kind, it’s refreshing to see especially a genre film crafting one that strikes a strong chord. Even though it had been several, several years since I had seen either this or The Chronicles of Riddick, I still recalled the theme fondly. Revell has done some stunning work when he really applies himself, such as on The Crow, Strange Days, and The Craft, and his effort really shows through here.
Surely, the basic concept of Pitch Black is not very original as I’m sure you can draw comparisons to the Alien franchise and various other science fiction / horror classics. However, like I said, even if this film does tingle you with terror, it has action and excitement to engage you. I definitely like the Riddick character. He’s very intriguing, and a solid anti-hero in cinema is always a fun concept. Vin Diesel was the right man for this role, and I love that he has had such a devotion to it alongside David Twohy. Pitch Black is definitely a cult classic which has plenty of merit and entertainment value. It’s a straight up type of film with certain plot conveniences to allow for this story to happen, but if it hooks you and you have fun watching it, none of it is gonna matter.
This is one of those movies I haven’t watched since the 1990’s, but I remember liking it a lot. In watching it again, it’s amazing just how much of it I remember, which is a hell of a lot. This might seem like an under the radar action movie, especially since it couldn’t even earn back half of its $8 million budget upon its theatrical release, but boasting a cast of Christopher Lambert, Mario Van Peebles, Denis Leary, and Patrick Stewart, it’s got respectable muscle. That’s one thing that always struck me strongly about Gunmen in addition to Lambert and Van Peebles teaming up as buddies in this, and then, portraying enemies the following year in the third Highlander movie. So, let’s see what Gunmen has to offer that I find so vastly entertaining.
A bounty hunter, Cole Parker (Mario Van Peebles), and a con man, Dani Servigo (Christopher Lambert), each have half the clues to the whereabouts of a $400 million treasure of stolen drug money. Against their wills they are forced to team up to battle an elite squad of mafia assassins employed by the wheelchair bound Loomis (Patrick Stewart), and led by the ruthless Armor O’Malley (Denis Leary). If Cole and Dani survive a relentless chase across a jungle and two continents, they will have to face each other because a half billion dollars is not enough to share.
Gunmen is a fun action film, but one with heart, character, and dramatic weight. This all comes to us from Deran Sarafian, the director of Death Warrant, and screenwriter Stephen Sommers, who would go on to director Deep Rising, The Mummy, and various other fun big action movies. This seems to be a really good pairing. Sommers’ writing creates a fun concept with strong characters and his signature dashes of fun and humor. Sarafian grounds the movie with a real grit which mixes serious consequence with a thrilling ride. He makes it a harder edged action movie than Sommers typically would make, and that style perfectly works for this film. Plus, I like that the film hits the ground running dropping us into events already in motion as everyone is already on the trail of Dani and the money. That rhythm and tempo remains constant throughout the film propelling every event forward briskly. There’s very little slowing down in Gunmen, and because of that, these filmmakers are able to tightly pack a lot of exciting content into the 90 minute runtime.
I also really like that this film is a bunch of criminals, mercenaries, thieves, and bounty hunters running amuck. There’s not a law enforcement presence anywhere at all. Lots of betrayals, distrust, and personal agendas twist the plot around making it fun and interesting. This keeps every character on their toes, and allows for some spontaneous moments of drama and humor to occur that just add to the fun factor. At its core, Gunmen is a buddy action film headed up by an incredibly perfectly pair of actors who give it vibrant life.
Frankly, any movie where Christopher Lambert is having a good time is a winner for me just on entertainment value alone. His character of Dani Servigo is full of laughs all the way. Where Mario Van Peebles is the straight arrow and dramatic anchor of the duo, Lambert is the comedy, but is not farcical. These two have excellent chemistry together, and Van Peebles is able to get his fair share of humor into the mix. Once they spark off that chemistry, the film becomes more and more fun. The banter between them made me laugh so much. It’s a real delight. And Van Peebles really shows a lot of worth leading this film with a strong weight, charisma, and edge. Cole Parker is a definite tough bounty hunter able to hold his own against anyone, and is portrayed as a very smart, sharp, and cunning professional. Yet, while there’s a lot of fun, Gunmen still finds those quiet moments of character building and heart-to-heart scenes to maintain substance. Cole and Dani solidly bond together, but they still have their fun adversarial moments such as Dani shooting Cole in the leg to keep him from running off with the money and Cole later returning the favor to sharp, clever comic effect.
I severely love Denis Leary. He is a great comedian, but he has always impressed me with his dramatic work. I especially love his turns in Judgment Night and Suicide Kings, and here, he plays vicious bastard immensely effectively. Leary’s cynical humor is perfectly molded into an edgy, charismatic, sadistic, and bad ass villain. Armor O’Malley is a perfect mercenary out for himself, and willing to double-cross anyone for his own betterment. Leary’s sarcastic charisma fuels the performance and makes Armor an entertaining enemy all the way through.
Patrick Stewart’s role as Loomis is not expansive, but by no doubt, is solidly portrayed. You see this feeble man in body and mind ordering around Armor and his hired guns, and you can perceive someone who once had a strength and authority to him. However, age and circumstance have diminished him, and his sad double-cross departure in the film seems only inevitable. With Stewart in this role, it certainly adds a special notoriety to the character which elevates Loomis’ importance in the plot.
Lambert, Van Peebles, and Leary, along with many of their supporting co-stars, prove to be very action capable actors. As the title suggests, there is a very generous amount of intense gunplay and shootouts packed into the film, but there’s plenty of physicality and stunt work to behold. There’s loads of excitement throughout especially when helicopters are involved. That tight pace I mentioned before completely adds to the exciting momentum of the action. It just keeps on coming allowing for very little time to slow down, but it does have it s well timed breaths between the blazing thrills. The climax has everyone in a sort of cat-and-mouse game aboard a luxury motor boat, and it is very cleverly and sharply executed. I love how this is all shot keeping this a little shadowy to give the sequence some visual edge. Overall, the film is really damn well shot in the cinemascope anamorphic format from the director of photography of Star Trek VI: The Undiscovered Country. The quality of the cinematography really enhances every fun, thrilling moment of Gunmen.
I also really enjoyed the score by John Debney. Since the film is set in South America, we get some Latin flavor in the music that blends in beautifully with Spanish guitars and percussion. The action scenes have some very good and original driving beats which hold to that musical style. It’s really a wonderful piece of work from the man who would later score Sudden Death, Sin City, Predators, and Iron Man 2. This film also incorporates a lot of early-to-mid 90’s hip hop / rap music very well. It’s surely not my genre of music, but they are all very good songs which aid the vibe the film is going for. After all these years, the opening title track of “Bite The Bullet” by Kid Frost has stuck firmly in my mind, and I think that says quite a lot.
I honestly think I enjoyed Gunmen more now than I did years ago. It really is a solid, fun, enjoyable action movie with a fully charismatic cast that doesn’t disappoint. There’s near wall-to-wall action with a full helping of laughter between Lambert and Van Peebles’ superb chemistry. There are only a few films that really exemplify my preferred style of 1990’s action films, and this is definitely one of them. Really tight pacing with a grounded sensibility that still has its tone opened up for great fun. The film doesn’t get cheesy or diminish the grit of its action by adding in those humorous elements. It all works very cohesively for a well-rounded piece of entertainment. This is just a movie of pure enjoyment right from the start and it only builds as it progresses. While Gunmen got the shaft on DVD in the United States as a pan-and-scan edition, I was very pleased to find it on iTunes in its proper widescreen format for purchase or rental in standard or high definition. If you’re looking for a really solidly made action film with intense excitement and a lot of laughs, you really cannot go wrong with Gunmen. I give it a very strong recommendation.
I’ve made some mentions of the Die Hard clone in recent months in reviews of Sudden Death, Olympus Has Fallen, and more. Now, just because you’re the first do something, or the one who sets the trend doesn’t always mean you did it best. However, in the case of John McTiernan’s blockbuster action film Die Hard, there is simply no equal. While I don’t list it as my number one favorite of all time, I cannot deny that this is likely the best action movie ever made, and there are a lot of qualities that go into making it that exceptionally awesome.
NYPD Detective John McClane (Bruce Willis) has come to Los Angeles to spend Christmas with his estranged wife Holly (Bonnie Bedelia) at her company’s holiday party. However, as he waits for the festivities to end, the entire building is taken over by a heavily armed team perceived as terrorists, but their sinister leader, Hans Gruber (Alan Rickman), reveals that his interest is purely in greed. As the hostages are rounded up, McClane slips away with only his service revolver and his cunning wits at his disposal. What begins as a perfectly planned crime quickly ignites into McClane waging a one man war to save everyone before they are all blown sky high.
There are many things that set Die Hard apart from everything else, but I think the biggest key of it are the characters. Beyond just the performances, this film takes its time to introduce them to you, and allow for their dynamics and personalities to play out before any of the action begins. This is mainly the development between John and Holly McClane. Their turbulent marriage is fleshed out in smart, subtle beats that never feel like exposition, just natural conversation. These are real, relatable people in a grounded reality with normal problems that are soon thrust into an extraordinary situation, and because we get to know these characters through levity and emotional conflict, we care greatly about them once peril befalls them. Even the villains are given their due time to feel fleshed out and dimensional such as how Hans Gruber discusses men’s suits, art, and culture with Takagi before threatening him with a gun for the password to his vault. These moments make Gruber an interesting and engaging villain who has a fairly equal amount of depth to John McClane. This way, it is also a battle of wits and personalities as much as it is a pure action conflict. This is so much due to the time director John McTiernan and his screenwriters took to slip those important character building moments into the film, and that makes it a greatly more substantive action film that you would regularly get in any decade.
Now, the 1980’s were filled with the larger than life, nigh indestructible action hero. Then, comes along John McClane. This guy who is as vulnerable as the rest of us that gets beaten up, his feet sliced up by glass, bleeds everywhere, feels fear, and gets progressively worse for wear as the film goes on. All the while, under the intense stress of a violent life or death scenario, he’s cracking wise with everyone left and right just doing what he can to cope and survive. Where a Rambo or John Matrix type would just burst in blazing a full arsenal to wipe out everyone, McClane has to be clever and cautious every step of the way against these extremely well-armed killers. All he has is his wits, and Bruce Willis’ well established comedic talents blended perfectly into the quick witted quips of McClane. I’m sure there was speculation abound leading up to this film’s release as to Willis’ ability to be an action hero because of doing so many comedies, but he was able to bring a completely unique identity to this role that is hard to match. While it is the wisecracks that we remember so much, the purely human moments of drama really sell this character as one that stands apart from so many others. Bruce Willis really shows that he could do the full spectrum of acting here as he leads this film with charisma, heart, and physical intensity. He brings a fresh dimension and grounded realism to McClane that makes him the beloved, very human, bad ass icon that we so love.
Just how McClane is a distinct departure from the action heroes of the day, Hans Gruber distinguishes himself from many of the over the top, cheesy villains of the 80’s. Alan Rickman is brilliant as Hans Gruber. What truly makes this so is that he’s not obvious at all. Gruber is a guy who is smart, charming, smooth, educated, and charismatic. Yet, he’s a calculated, clever, ruthless villain. You can see that Gruber had every single detail of this plan plotted out perfectly, and is able to outsmart and keep ahead of everyone except for the one wild card in his brilliant crime in John McClane. As much of an sociopathic, murderous villain as Gruber is, you can be thoroughly entertained by the charisma and intelligence Alan Rickman injects into him, but you still rejoice when McClane finally does him in.
A little unexpected humor arises from the less than sharp minded LAPD and FBI. Paul Gleason’s Chief Robinson is clearly in over his head exercising clear incompetence while thinking he’s got everything under control. Then, FBI Agents Johnson and Johnson, a joke in and of itself, are too full of themselves with their gung ho testosterone to be perceptive enough to know when they’re being played. Add in more competent, yet still funny characters like Argyle the limo driver and Theo, Hans’ charismatic safe cracker, you’ve got laughs for miles without damaging the serious integrity of the action and drama of the movie. This is seriously one of the most quotable action movies ever.
Yet, amidst all the explosive thrills and well-timed humor, we get the tether of humanity with Sergeant Al Powell. Reginald VelJohnson connects perfectly in this role bringing the tired, wounded, and alone McClane into contact with someone on the outside who can be a moral and emotional support. An action film is great when the thrills are exciting and bombastic, but you get something exceptional when this thread of humanity is so strongly in place. VelJohnson gives us the full spectrum from lovable and funny to heartfelt and compassionate to stern conviction. Powell is ultimately given some depth and substance showing that this film wasn’t going to take a shortcut anywhere at all. The very human moments between Powell and McClane are a special strength.
But indeed, the action is ultimately the driving force of this movie, and once that spark of excitement is lit, it runs on pure adrenalin with riveting intensity and masterful execution. This is big action with a real sense of gravity and peril. The scale makes it amazingly fun and exciting while the weight of the drama makes it suspenseful and electrifying. I love the subplot with Karl’s vendetta against McClane for the murder of his brother, and when the two finally clash, it’s awesome. After all of the heavy gunfire and explosions, the few minutes of visceral raw physicality are a breath of fresh air before the scale of the action escalates further with the roof exploding signaling the third act rocketing forward. Die Hard does nothing but amaze you at every turn. Every step of the way, we care about these characters in the thick of danger, and we gradually see it escalate as Gruber’s plan unfolds. It’s also great seeing McClane figure things out a little at a time, such as wondering why Hans was on the roof, and then, realizing he plans to blow it sky high with all the hostages on it.
I tend to write these reviews while watching the movie so to pick up on all the nuances, but Die Hard is so consistently engaging, thrilling, and entertaining that I could hardly tear my attention away to type anything up. Whether it is the absolutely wickedly awesome action, the touching character building moments, or the great laughs it elicits from an audience, Die Hard is the perfect example of executing an action film correctly. There’s not a moment wasted, and the editing is dead-on sharp and perfect in its pacing and timing. Moments are so excellently punctuated with the right cut, and even more so with Michael Kamen’s remarkably intense and spectacular score. His is a masterwork of brilliant, sophisticated action film compositions. Not to mention, this is an expertly shot movie using those beautiful anamorphic lenses and that cinemascope widescreen canvas to accentuate the scale of the action. And where many action films today can barely keep the camera steady long enough to understand the geography of a single scene, McTiernan and cinematographer Jan de Bont do so many subtle things to layout the geography of this entire building. Early on, they walk you through the entire central area of the Nokatomi Tower over the opening credits so you understand where the hallways, elevator, offices, and stairway are so we can navigate it as competently as the characters. As the film goes on, we revisit the conference room, the elevator shafts, and the roof to maintain a familiar environment for the action. As a film lover and a filmmaker myself, this movie just makes me gush from a technical standpoint as it is so perfectly executed in every moment. This film is exquisitely made from a massively talented team of filmmakers, sonic geniuses, and brilliant visual artists.
This film was adapted from the Roderick Thorp novel Nothing Lasts Forever, and many of the mind blowing and clever moments in the film are taken directly from the novel. McClane’s jump from the exploding roof with the fire hose wrapped around him, the C-4 bomb thrown down the elevator shaft, and more exist in Thorp’s novel. Apparently, it was a novel written as a sequel to The Detective, starring Frank Sinatra, but he declined the role. Years later, it was supposedly intended as a sequel to Commando, starring Arnold Schwarzenegger, before being re-fashioned into the action classic that we now know and love. Indeed, everything has its right time to come to fruition, and Die Hard happened in the right way at the right time with the right talent.
Between this and Predator, John McTiernan established himself as one of the premiere action movie directors of the time, and of course, this launched Bruce Willis into blockbuster super stardom. Despite how Willis now feels about doing action movies, saying he’s bored with them at this point, we will always have these pinnacles of the genre when Willis was in his prime and eager to do his absolute best. Die Hard is probably the most perfect action movie I have ever seen as it hits all of the beats of excitement and character just right with a spot-on mix of drama and humor to make it an undeniably memorable experience. For anyone who has only ever seen either the fourth or fifth film in this franchise, you are doing a horrible disservice to yourself in basing the quality of Die Hard on those films. As I said from the start, there is simply no equal.