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Posts tagged “sam neill

Escape Plan (2013)

Escape PlanStallone and Schwarzenegger finally teaming up in a big action movie should be a major event, and Escape Plan seemed like it had that potential from the trailer and the general premise.  In the right hands, this could have been forged into a highly entertaining and exciting film.  Unfortunately, at no fault of Stallone or Schwarzenegger, Escape Plan falters in a lot of ways stemming from the fact that it’s backed by a director, screenwriters, editor, and cinematographer that really have nothing of good, special note to their credits, and that really shows.

Ray Breslin (Sulvester Stallone) is the world’s foremost authority on structural security. After analyzing every high security prison and learning a vast array of survival skills so he can design escape-proof prisons, his skills are put to the test. A new, shady job to test out a CIA prison facility goes awry when he is abducted and incarcerated in a master prison designed based on his analytical work.  Once inside, he finds an ally in fellow inmate Rottmayer (Arnold Schwarzenegger) who agrees to help him find a way out.  Now, Breslin needs to escape and find the person who put him behind bars.

This is not a bad movie, but it has a number of obvious flaws that prevent it from really capitalizing on its assets.  Escape Plan’s problems really begin with the screenplay.  I don’t think this movie is very well written, let alone well executed.  Firstly, the film becomes so pre-occupied over and over again with showcasing Ray Breslin’s long-winded analyses and exposition of his elaborate escape plan scenarios that it sucks up valuable, extensive screentime for it.  Screentime that could have been used to actually establish and develop some characters and personalities in this movie.  A good screenwriter could have deconstructed these moments far better and streamlined them for a much snappier, more succinct narrative.  Instead, screenwriters Miles Chapman and Jason Keller decide to overcomplicate matters to the detriment of the film.  For a while it seemed like Schwarzenegger’s character was merely there to give Stallone someone to dump exposition upon because it was so bluntly handled, and it doesn’t progress too far beyond that.  Anyone who has read my reviews before knows how in-depth I go into performances and characters, but there is really next to nothing to comment on about these performances.  It’s not a fault of the actors, but the material they are given.

I own a good thirty movies starring Stallone and/or Schwarzenegger with Rocky III and Predator being my respective favorites of theirs.  I’ve seen them in great movies and bad movies, but they’ve always delivered on their exceptional charismatic screen presences.  Here, there’s just extremely little material for them to inject any charisma into because it is so entrenched in exposition.  There are one or two sparks of fun chemistry between them, but it’s very fleeting when that’s exactly what should have been here in abundance.  What depth of character we get is merely a few lines of dialogue talking about a single aspect of their back stories, which is just more exposition and doesn’t give us much of a personality to grasp onto.  There’s more gained from Breslin than Rottmayer, but it’s very marginal.  The fact of the matter is that the script is very flat and unimaginative.  If Stallone and Schwarzenegger were not cast in this movie, I don’t think I’d care to maintain any attention on Breslin or Rottmayer at all because the screenwriters do nothing to actually create any characters to care about.

However, even if the characters aren’t all that interesting or dimensional like Marion Cobretti or John Matrix, if the film they are placed into is exciting and entertaining enough with clever, sharp dialogue, it can still work and bring out the better qualities of the actor.  Unfortunately, while Escape Plan maintains a solid pacing that doesn’t make it feel like a nearly two hour long movie, the action is very minimal.  There are some prison riots, a few beat downs, and an attempted prison break or two, but in terms of straight up action like shootouts and fights with the villains, there’s very little until the climax.  The film was a decent, easy watch, but never did anything ever come out and blow me away.  There are even points in time where it seemed like it was edging towards something purely awesome, but then, it comes up quite short.  So many things factor into that including some poorly structured and executed sequences.

To that point, the editing in many cases is very incoherent.  The prime examples are that there are montages of sorts showing Breslin getting tortured, or simply showing his plans going into motion.  These sequences are so sloppily edited that I couldn’t understand the narrative or linear flow through them at all.  They’re a real mess of chronology that was quite confusing.  Tying into that is the flat, bland direction that really never gives life to the proceedings of the plot.  Intercutting between The Tomb and Breslin’s team throughout the second act just felt clunky and uneven.  There’s little coherency or urgency put into what Breslin’s team is doing to give a crap about them.  They ultimately don’t do crap until the last three minutes of the movie, anyway.  And those characters are poorly conceived and flatly written to be either very obvious or simply not worth devoting your attention or interest in.  Again, the actors aren’t bad, they just have crap to work with.  Scenes are just strung together very haphazardly giving you a lack of context, narrative flow, or natural segues.  While I’m certain that a better editor couldn’t have radically improved this movie, it at least would have made it far more coherent and smoother.

Now, the only real shining quality of this movie, which is also the one person who seems to be having a delightfully fun time, is Jim Caviezel.  His villain of Warden Hobbs is very charismatic, smarmy, and particularly sadistic, but Caviezel avoids going over the top.  He keeps it low key and fairly subtle while still delivering an especially enjoyable adversary.  He definitely was putting his full commitment into this role, and he embraces it with plenty of imagination and zeal.  I love the little nuances he adds to Hobbs such as being very meticulous in his appearance and manner.  Caviezel is an actor I really like I lot from The Count of Monté Cristo to Outlander to Person of Interest, and seeing him as a villain here is wonderfully entertaining.  He made the movie particularly enjoyable, and Vinnie Jones does quite a charismatic job as Hobbs’ right hand man Drake.  There’s also an unexpected appearance by Sam Neill as the prison doctor.  He also does a fine job with what little he is given to do.  It’s clearly another case of having an actor I really like making the role any bit enjoyable or interesting for me.

Escape Plan attempts to have some semblances of plot twists or turns, but some are so obviously telegraphed or simply amount to nothing that you wonder what the point was.  I believe to have a good movie you really have to start with a good script, and this movie didn’t have one.  Even then, this film needed a far better, more talented director to maximize its potential.  If you handed this project over to a highly experienced action director like Renny Harlin, John McTiernan, Walter Hill, or, if he were still alive, George P. Cosmatos, I think this could have had some potential for success.  They would have molded and refined the story and given it the competency and life it needed.  They also would have tailored the script to the strengths of it leads so that charisma and personality could have lived and thrived on screen.  Alas, we are left with the movie we have, which is probably good for a rental, but not much better.  There’s no need to see Escape Plan on the big screen, unfortunately.


In The Mouth of Madness (1995)

What if you were nothing but a fictional character?  What if you were simply a figment of an author’s imagination?  What if reality, as you know it, ceased to exist?  What if you were the creation of horror writer Sutter Cane?  This is the premise for John Carpenter’s 1995 classic, In The Mouth of Madness.

Sam Neill stars as John Trent, a freelance insurance fraud investigator.  Trent is the best in the business, and has just debunked an insurance claim for his friend and colleague, Robbie (Bernie Casey).  After his job is done, Robbie wants Trent to investigate an insurance claim that has to do with the disappearance of best-selling horror novelist, Sutter Cane (Jürgen Prochnow).  Though, their meeting is cut short by an axe wielding maniac with a very bizarre look in his eyes.  This maniac nearly kills Trent, and he soon learns that this was Cane’s agent during a meeting with Jackson Harglow (Charlton Heston), the head man of the publishing company for Cane’s books.  Harglow introduces Trent to Cane’s editor, Linda Styles (Julie Carmen), who says that Cane’s writing tends to have a strange impact on its readers.  With the masses clamoring for Cane’s next novel, Harglow is desperate to find Cane, and more importantly, the complete manuscript for the novel, In The Mouth of Madness.  Grounded in reality, Trent believes this is all some elaborate publicity stunt by Harglow, and even concocts his own theory of it all.  Ultimately, he discovers a map built out of the Cane’s own book artwork that leads to the supposed fictional town of Hobb’s End, New Hampshire.  John is sent off with Linda to decipher this mystery, but slowly, reality begins to come undone as Sutter Cane starts to take control.  And no matter how much Styles tries to sway Trent’s perspective of everything that’s going on around them, he stands strong in what he believes to be real.  However, will this unraveling of reality around John Trent drive him straight into the mouth of madness?

Before I get into the meat of this film, I have to express my enjoyment of the film’s music.  As is well known, John Carpenter composes the music for his own films, and has a strong track record of excellent scores and main title themes.  Carpenter teams with Jim Lang to produce a fantastic score, and a very bluesy, yet extremely catchy main title theme.  If you like Carpenter’s score for Vampires, this theme will be right up there with it!  I have been a proud owner of the film’s original soundtrack album for many years, and that opening title theme is a true highlight for me.  Carpenter really kicks off this film right with this opening credits sequence, and really sets a great tone for the whole film.

Now, this final installment in John Carpenter’s “Apocalypse Trilogy” (which also consists of The Thing and Prince of Darkness) features a fantastic cast!  In addition to Sam Neill (Jurassic Park, Event Horizon), Jürgen Prochnow (Beverly Hills Cop II), and Charlton Heston (Planet of the Apes), you’ve got the great character actors in David Warner and one of my personal favorites, John Glover.  Warner starred in the late 80’s horror classic, Waxwork, has had several parts in the Star Trek film & television franchises, and worked previously with Carpenter on the anthology TV movie Body Bags.  John Glover you may know from the 1999 Mel Gibson revenge actioneer Payback, as the Devil on the short-lived FOX series Brimstone, from Gremlins 2, or more recently, his role as Lionel Luthor on Smallville.  Carpenter character actor regular Peter Jason also has an appearance early on in the film, and he brings out one of his best performances opposite Sam Neill as an insurance scammer.  It’s just a stellar cast that I think only Carpenter could’ve culled together.  Every single actor puts in a great performance, and Julie Carmen (Fright Night, Part II) is no exception either.

Most prominently, Sam Neill puts in a superb performance, as he always does, and grounds Trent well into the bounds of reality.  Even when a normal person would’ve given into some form of dementia or hysteria, Trent continues to weed out the con, and Neill makes it truly convincing.  He inhabits the character beautifully.  He richly knows the character.  He knows his reasoning, and understands how the character’s mind works.  He’s so dead set on finding some level of a con in all that’s going on around him that to give into the illusion Cane is creating is not a possibility.  Of course, when Trent eventually does go past the brink of sanity, Neill sells it well, but not by playing it as a crazy, but as a fearful prophet of doom.  He knows the inevitable truth, can do what he wants to stop it, but knows that it’s all a futile effort – the world is going mad, the end is near.  Overall, it’s an amazing and deeply fleshed out performance fueled by a wonderfully written character.

That being said, I cannot overlook Michael De Luca’s fantastic script, and I give him monstrous praise for the imagination it took to conjure together such a well-woven story of surrealism..  He forges a very intelligent piece of horror storytelling with a smart structure and strong, memorable characters.  It’s an entirely compelling premise that is frightening to contemplate, and is the core reason why this is my favorite horror film of all time.  It’s not just the idea of reality as we know it degenerating into a horrific nightmare, but how it is masterfully woven together through Trent’s eyes that makes this such a brilliant piece of cinematic awesomeness.  Of course, bringing it to John Carpenter was simply inspired and perfect.

Some say John Carpenter had lost his style and talent by the 90’s, and there ARE examples of that – Village of the Damned, Memoirs of an Invisible Man, and eventually, Ghosts of Mars in 2000 – but this is not one of them.  He directs and shoots this film as well as Escape From New York, The Thing, Christine, or even Halloween.  Carpenter really entrenches you in the world of Sutter Cane, and presents Cane as the imposing, frighteningly powerful figure he’s been built up to be.  The cinematography by Gary B. Kibbe is fantastic here, and it fits well with Carpenter’s style.  It allows for dramatic tension, a foreboding atmosphere, and it nicely conveys the entire ‘unraveling of reality’ element that builds throughout the entire film.  This is one of John Carpenter’s best films ever, and it’s only a shame that it doesn’t get as greatly noticed or appreciated as it deserves to be.

The only detractor I find in the entire film are the ‘unspeakable abominations’ that are unleashed from ‘the other side’ late in the film.  Not to say anything bad about the usually fantastic makeup and creature effects of KNB EFX Group, but it may have played a little better if we never actually saw these creatures.  Keep them hidden, and left in shadow.  I just think that unspeakable abominations are better left to the imagination of the audience.  They just don’t sell well with me here, but their sequence is a quiet brief and only in quick cuts.  So, it’s nothing to ruin the film for you.  This is far too exceptional and frightening of a film to have such a minor thing like that overshadow it.  There are intensely horrific images within this movie that will disturb you, make you cringe.  One of the main influences for much of the film were the works of H.P. Lovecraft.  I have read a good deal of The Shadow Over Innsmouth, and the imagery and feel of this film truly conveys much of what Lovecraft expressed in his work.  Thank KNB EFX Group for creating such dead-on creations that really hold to that influence.  They proved their cutting edge talent here with amazing and unsettling make-up effects which bring the horror to intense life.

In The Mouth of Madness is, without a doubt, a Carpenter classic, and is as deserving of all the praise as his other classics.  He takes De Luca’s superb screenplay, and realizes it with the skill of a master craftsman.  Every nuance in this subtle, intricate horror story is brilliantly executed with a dead-on perfect cast.  Carpenter and De Luca weave a chilling story that is strong, setting up characters, a reality, a plot, and then, slowly deconstructing it piece by piece.  What remains in the end is madness, and a thought-provoking, but still entertaining horror movie.  There is only one other thing to say here, and that is, you need to go watch this movie!