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.
So, over twenty years later Rick Rosenthal would return to the Halloween franchise for this entry. I honestly have never liked Halloween: H20 for a multitude of reasons, and I don’t wish to sit through it again to review it. Thus, I was so immensely glad that this film promptly retconned the ending of that movie, and allowed for Michael Myers to live again and not die like a punk. I know there are those who disagree with that feeling, but so be it. While I do find this sequel enjoyable to a degree, it does have valid issues to critique about it.
For the first broadcast of the new reality website Dangertainment, a group of college students are hired to explore the ruins of the house of infamous murderer Michael Myers. Six cash-strapped friends decide to explore the home, but what they don’t know is that Michael is on his way home back to Haddonfield after a fateful confrontation with his sister Laurie Strode (Jamie Lee Curtis). Now, being broadcast across the internet, these unsuspecting victims will fall prey to Myers’ methodical blade.
If this movie was made ten years later, it probably would have been a found footage horror movie. Very little would have to change to accommodate that approach, but thankfully, that’s not the case here. I can understand why this story idea was used. This is the eighth movie in this franchise, including Season of the Witch, and a studio is going to feel like they need a fresh gimmick to drive in audiences. Paramount felt the same thing when they made Jason Takes Manhattan. The problem is that these ideas are usually not all that favorable with audiences. I love slasher movies, but I do like someone doing something fresh with the formula every so often. Frankly, I think Halloween: Resurrection executes this idea as well as it can be. In fact, it has some strangely honest commentary on reality television. Dangertainment mocks up the entire Myers house with false clues about Michael’s upbringing because they know actual reality is boring. No one would watch a bunch of people wandering through an empty house. The head of the company, Freddie Harris, has to dress it up and create an illusion and sell it as reality so to make it entertaining. I like that the Freddie character does come around to denouncing that illusion and the using of Michael Myers as a sound bite to drive viewership up. It shows an effort on the part of the filmmakers to make something of the premise, which is indeed dated. Halloween: Resurrection might be far from the pinnacle of this franchise, but it’s far more consistent than the rushed mess of The Revenge of Michael Myers.
If you watched the trailer for this you might believe that Jamie Lee Curtis had a larger role in it than she really does. Her story is confined to the opening sequence at a psychiatric hospital where she has her final confrontation with Michael. A quick summation at the film’s start states that Michael Myers had switched outfits with a paramedic before the last film’s climax, and it was that poor soul with a crushed larynx that Laurie decapitated. What ensues in this opening sequence with Laurie and Michael puts the storyline to rest. I’m sure there are fans who did not like this at all, possibly as much as I hated the ending of H20, but taken on its own merits, it is a well done sequence that is to the point. Laurie doesn’t go out in a blaze of glory, but really, you shouldn’t set your expectations that high for this movie. It’s just not that ambitious.
I do really like the look of this sequel. It makes great use of atmospheric lighting. It has the polish of a major studio feature, but Rosenthal and his cinematographer just know how give it that shadowy, moody quality. True to the John Carpenter roots, there’s some very solid use of blues and fine steadicam work. The video camera footage of the internet broadcast is about what you’d expect in the pre-high definition digital era. We get more and more of it as the film progresses, and you could take it or leave it depending on your disposition towards it. It has some effectiveness in certain sparse moments for us to see things from the characters’ point of views, which is evocative of the found footage genre like The Blair Witch Project had already shown, but there’s nothing special to witness here in that regard.
The biggest highlight of this movie is that I absolutely LOVE the score by Danny Lux. I honestly believe it is the best score of the sequels. Lux adds a heavier punctuation to the familiar themes, and overall, he crafts a more haunting, partially gothic aura to the film. It’s a score that really soars far above the quality of the film it is attached to. Regardless of what you think of this movie, you should definitely give this score a standalone listen. It is immensely effective. Danny Lux does an amazing job with it.
Now, I don’t think this is a bad cast. For the most part, they do come off as fairly standard slasher film fodder, but this cast does seem like they are putting forth an honest effort. Each one tries to make their character enthusiastic, charismatic, and somewhat entertaining. There’s no real standout, but everyone essentially delivers a performance of a consistent, equal level. I wouldn’t say this new cast features anything approaching greatness, but it’s good for the expectations you would likely have.
Bianca Kajlich does well in making Sara a relatable and sympathetic lead. There’s very little to the character, same with everyone, but there’s enough of a decent, vulnerable person in her performance for it to work. She has this internet based relationship with the high school freshman Myles. Through that, they’ve built a foundation of trust and friendship, and it plays fairly well into the movie near the climax. Ryan Merriman is endearing as Myles. He’s definitely the audience’s conduit into having sympathy for the victims. He and his friends are at a Halloween party watching the online stream of the Myers house expedition, and witness the horror as it progresses with little to be able to do about it. Despite Myles and Sara being strictly internet pals, Merriman does a fine job creating an emotional connection between both characters. It’s almost a shame that the film never allows them to actually see each other face-to-face.
The role of Freddie Harris is indeed filled by Busta Rhymes. Clearly, he didn’t need to be in this movie, but I will give him credit that he doesn’t slack off. He portrays a role that’s within his ability as a charismatic salesman, but also does a fine job with the more fearful, regretful moments later in the film. We surely could have done without the Kung Fu fight against Michael, but at least the filmmakers did enough to set it up earlier on. In the fiery climax, he’s certainly played up for the sake of his fans, and it does feel rather out of place. You might as well have Arnold Schwarzenegger charge in there for as much as its played like an action hero moment. It would be essentially the same effect.
The role of The Shape is filled by Brad Loree who I feel does a decent job. It’s definitely Dick Warlock inspired, but not quite so rigid. His performance is simply okay. It doesn’t standout, the same as the rest of the cast, but it works fine for the demands of this film. Also, while he is listed as 6’2”, I think the baggy coveralls make him appear smaller in stature than he likely really is. The mask for his Michael Myers could have done with a little less airbrushing detail, but really, no sequel has really gotten the mask to look right compared to the original film. I’m not sure why that’s been so difficult.
The most important question, though, is if this film is scary. Well, it has the potential to be depending on how weathered of a horror fan you are. Rick Rosenthal really does a lot to set a strong visual atmosphere conducive to scaring an audience. There are plenty of spooky moments of Michael Myers lurking in the shadows, only seen in glimpses. It certainly has moments that could scare certain people, but generally speaking, it’s not going to do much for the seasoned horror fan. Especially ten years on, with the far more intense films we’ve gotten in this genre, regardless of your preference, Halloween: Resurrection is fairly tame. Even John Carpenter’s original is not really an effective horror film anymore to me, but I respect it immensely on every artistic level. It is, after all, the movie review of mine that launched Forever Cinematic in the first place.
The Halloween franchise is kind of a mess. There are a lot of subjective ups and downs depending on what storylines you enjoy. For me, I really liked where things were potentially going with the sixth film, The Curse of Michael Myers, mainly in its Producer’s Cut form, but so much tanked that potential resulting in Halloween: H20. I hated that film for killing the continuity and storyline that I loved, and intending to dispatch Michael Myers in an unimaginative, bullheaded fashion. This sequel ultimately feels like a weak whimper trying to extend the bankability of the franchise just a little further without enough ambition or unique talent to elevate it. It just tries to be a fun slasher flick, and if you take it as that, it’s fine. I can sit down and burn ninety minutes with it on a whim, but it’s entirely forgettable and dismissible. Aside from the potentially divisive opening with Laurie’s death, it really plays it safe with an either fun or lame premise. Essentially, you can take this film or leave it. If it’s on cable, and you’ve just time to kill, it’s a decent watch. I would like to give it a better recommendation, but knowing that there are a some far stronger films in this franchise, I can’t give it any further credit than this.
There has been one conspicuous omission from my reviews of the Halloween franchise, and it is this first sequel. The reason for this is, one, I have never really written a full review of it before, and secondly, I’ve never really cared for it at all. This stems from the fact that it has very little to offer me as either a fan of John Carpenter’s original or as a big slasher movie fan. Simply said, so much of it just doesn’t appeal to me. From the reworked score to the bland hospital environment to the clear shift from atmospheric horror to a reliance on gore, this isn’t the Halloween sequel that I want to see. Even the ones that are technically worse films, they have an entertainment value that I can indulge in on some level. There are many reasons why this film doesn’t even give me that much.
Picking up exactly where the first film left off, it seems the inhuman Michael Myers is still very much alive and out for more revenge as he stalks the deserted halls of the Haddonfield Memorial Hospital for Laurie Strode (Jamie Lee Curtis). As he gets closer to his main target, Dr. Loomis (Donald Pleasence) discovers the chilling mystery behind the crazed psychopath’s actions
It might sound somewhat unfair, but the vast majority of my gripes with this film are in comparison to John Carpenter’s original. However, with the fact that this film picks up exactly where the first left off, it demands that comparison because it is trying to convince us that this is a seamless continuation of that movie. The problem is that it doesn’t feel seamless in many aspects, and they are largely on the technical side. Still, there are issues with the quality of the script, and just the effectiveness of Halloween II as a horror movie that I wish to address.
To be straight up honest, I do not like the score for this movie at all. Yes, they are the same themes with John Carpenter and Alan Howarth doing the score, but the overly saturated synthesizer sound has never been to my liking. It doesn’t sound like a horror movie score to me. It sounds silly and over bloated. The first film’s score felt far more subtle and artistically applied. To me, the score for Halloween II just evokes no sense of tension, suspense, or chilling atmosphere for me. There are many instances where a strategic use of score could have been utilized to craft great suspense and nerve-racking tension, but instead, it’s dead silent. This score relies more heavily on the musical stingers, and feels poorly implemented overall. Carpenter’s scores usually craft a brilliant soundscape for a unique auditory experience, but there seems to be a significant lack of score in the moments where it should flourish.
Now, this is a very well shot movie, done so again by acclaimed director of photography Dean Cundey. It has some very good lighting schemes in certain scenes, and the continued use of the Pana-glide camera work is excellent. Director Rick Rosenthal does make an effort to emulate John Carpenter’s visual style, but I have always felt that the color palette of Halloween II was never quite right when compared to the first film. The hospital interiors feature a terribly bland color scheme, as most hospitals do, and because of this, it doesn’t have any of the visual pop of the first movie. There are no daytime scenes to soak in that late autumn feeling as this is all set at night, and really, it feels like it could be any night of the year. The film also lacks the atmospheric blue tones that Cundey used in the original as well as several other films he’s shot. Also, when I look at this film in certain instances, the lighting just doesn’t look quite right. The feeling, the mood, the balance of light and dark, at times, doesn’t feel consistent with the first film. This is especially evident when new footage is spliced into the revisited footage from the ending of Halloween. It’s not even knowing that it is new footage married with old footage. Back to the Future, Part II did this sort of thing seamlessly, and was also shot by Dean Cundey. These issues, I think, also stem from the fact that the first movie was a late 1970’s independently produced film while this is an early 1980’s studio produced sequel. It is inevitably going to have a slightly different visual feel due to extra money, studio mandates, a shift in filmmaking aesthetics, and a change of directors.
Even then, Rick Rosenthal’s film was tampered with by the studio and Carpenter as they felt it was too tame in comparison to other recent slasher films. While I can see the clear evidence of that since there is a definite lack of suspense, although much of that is, again, due to the absence of a score in key scenes, this is a sequel that didn’t stay true to its predecessor. Yes, of course, this is a slasher film that is going to follow many of the tropes of the genre which were originated in Halloween. However, this sequel feels like it’s trying to fit in with the Friday The 13th style slasher film craze instead of staying true to the Halloween style slasher. The genre exploded after the success of Friday The 13th, and it became very indulgent in gore and sexuality. It essentially became exploitative in that regard, and this film embraced that mentality whereas Halloween was a film built entirely on suspense and atmosphere. There is some suspense here, but it is especially sparse. Instead of holding to what made Halloween successful and effective in the first place, Halloween II tries to conform to what was popular at the time, and thus, feels second rate to me. Rick Rosenthal tries to match Carpenter’s style in many regards, but then, Carpenter comes in and tries to veer it away from what he originally did. It’s certainly not a film that is one director’s vision, and even then, Rosenthal isn’t given much to work with to make this as good as the first movie. I really didn’t get the feeling that there was enough creative effort put into this film to make it succeed in the creative vein.
One of the bigger problems here is that Halloween II feels scattered. The first film had a distinct plot progression as elements gradually converged with one another in a tight, cohesive way. This sequel is extremely loose in that regard. Laurie is essentially a stationary target throughout the movie, spending a good chunk of it asleep or screaming, but Michael Myers roams about the hospital killing everyone else while Loomis is out scouring the streets for Michael. No longer is Loomis in sync with his prey anticipating his psychology and instinctual impulses. He’s tagging along with the police instead of driving the narrative forward. Even the majority of his dialogue feels retreaded from the first movie as he re-explains the history of himself and Michael, and his talk about evil incarnate. It entirely feels like it is only there in case someone watching this movie never saw the first one. Even Donald Pleasance seems a tad monotonous delivering this reworked dialogue. While his performance is still of a high quality, there’s just nothing new for him to do here. The film also hardly feels like it’s building any momentum. John Carpenter reportedly had a very difficult time coming up with a story for this film while writing the script, and it really does show. Dr. Loomis and Laurie Strode have next to nothing to do here except uncover newly conceived secrets about Michael and Laurie’s past, which amounts to nothing. There’s no mounting tension heading into the third act, and Laurie’s chase scene earlier on is very mild and slow paced. This film doesn’t offer a sense of escalating threat until the last few minutes before Loomis engulfs himself and Michael in an inferno. The pacing is very monotonous because the story is very loose and lacks directional momentum.
The supporting characters here are mostly a lot of interchangeable hospital staff going about their mundane duties getting killed, and an audience likely couldn’t care less about any one of them. They feel like standard, hollow slasher film fodder, but without even the crutch of a stereotype to make them funny or entertaining. Carpenter’s original was smartly and greatly cast filling out very lively characters, but here, there are just so many throwaway characters with very little personality that very little care was needed to put together a memorable supporting cast. Even Sheriff Brackett vanishes from the film after learning of his daughter’s death, and so, we get new police officers who have really nothing fresh or pertinent to contribute to the story.
And it really is a shame that Jamie Lee Curtis got hooked into doing this film. It is an utter waste of her talents. She spends the majority of the film either laying in a hospital bed, running away from Michael Myers, or hiding in a parked car. This is a sequel that brings people back to simply do nothing new or challenging. To me, it’s another sign that there was a lack of creative drive behind this. Every character feels either generic or wasted. Also, since Jamie Lee Curtis had since adopted a shorter hairstyle, she had to be fitted with this blatantly obvious bad wig. This just further adds to the nagging inconsistencies between the two films.
Now, I know there are people who are fans of Dick Warlock’s Shape, but I have never liked his lethargic, robotic movements at all. If this movie is supposed to pick up at the exact moment the first left off, there should have been a demand for consistency. Nick Castle’s Shape moved with a relentless fluidity. He felt like a shark hunting his prey with a fierce single-minded focus. Warlock is so horribly stiff that I see no ferocity or cunning intellect here. Before, Michael’s actions had a clearly evident intelligence and deliberateness behind them. He stalked his prey with patience and purpose. He observed them before striking. Here, he just shows up and starts killing like a mindless machine, and to me, that’s just not interesting or intriguing at all. Warlock is a great stuntman, but as Michael Myers, he does nothing good for me.
I can appreciate some bad slasher movies because many of them at least show that they are trying. Their end result might not be creatively successful, but the filmmakers put forth a visible effort to make a somewhat effective horror film. For me, Halloween II doesn’t even give me that much. I find it to be a very dull, bland, and boring slasher movie. It has none of the atmospheric tension or magic that John Carpenter harnessed for the first movie, and the story is very lazy even for a slasher film. I think Halloween 4: The Return of Michael Myers is the vastly superior sequel in every aspect. Also, released the same year, I passionately believe that Friday The 13th, Part 2 is one of the best slasher films ever made. I don’t hate Halloween II. It just doesn’t do enough either way to motivate a passionate response from me. Any other films in this franchise I don’t end up reviewing are simply because I don’t wish to subject myself to them again or even for the first time.
I don’t think any of the sequels to The Howling have a good reputation, and that’s quite clear from this very first one. You cannot take this movie seriously, which goes under either the subtitle of Your Sister is a Werewolf or Stirba Werewolf Bitch, neither of which can be taken very seriously either. However, you can have a vastly inferior sequel that is surely not a good film still be a greatly entertaining one. If you want to trade scares for some stupid werewolf action then Howling II might be for you.
After countless millennia of watching, waiting and stalking, the unholy creatures known as werewolves are poised to inherit the earth. After newscaster Karen White’s shocking on-screen transformation and violent death, her brother Ben (Reb Brown) is approached by Stefan Crosscoe (Christopher Lee), a mysterious man who claims that Karen has, in fact, become a werewolf. But this is the least of their worries as to save mankind, Stefan and Ben must travel to Transylvania to battle and destroy Stirba (Danning), the immortal queen of all werewolves, before she is restored to her full powers!
I honestly don’t know how this film was approached as a sequel to The Howling. Practically no effort is put into making it feel or look like a natural continuation of that story in that world with those characters. Howling II can only be described as seemingly taking place in the B-movie alternate universe of the first movie to where artistic brilliance and visionary storytelling is replaced with as much “new wave” music inspired flash and cheesy goofiness as possible. Just how they recreate the ending of the last film as a lost piece of news broadcast footage says enough with horrendous makeup effects and an actress who bares zero resemblance to Dee Wallace. Sadly, that’s just a taste of what’s to come.
Some of the editing in this movie is just bad. Certain sequences are choppy, have little coherence to the action that is occurring, and frankly, just comes off like a perplexed mess at times. The plot is much the same. Much of it is rather laughable changing werewolf lore for silly reasons. These werewolves apparently have no vulnerability to silver, and titanium must be used. Of course, stakes through the heart and holy water being some of the weapons of choice here clearly reek more of a botched up vampire screenplay than a werewolf one. So, yeah, this wasn’t a screenplay with much thought put into it, but how stupid this thing is along with some of the performances simply turns this around to being entertainingly bad. The first movie really did, reportedly, throw out a lot of what was in Gary Brandner’s novel, and if his work on the screenplay for this film is any indication, it was likely all for the best. The quality of this sequel is not built on its execution, but the script itself and the ideas it conjures up. You really can’t watch Joe Danté’s original movie followed by this and see any correlation of tone, concept, or artistic quality between them. Howling II is simply pure 1980’s cheesy entertainment value. Scares don’t factor into it, just a lot of jovial laughs because the movie is played so straight.
As ludicrous as the film makes itself out to be, when you have Christopher Lee unloading all of this exposition it’s hard not to buy into it all. With Lee being as stoic and imposing ever, the silliness of the movie is simply enhanced to higher levels of awesomeness. Whether he’s Count Dracula, a Dark Lord of the Sith, Saruman, or anything else, Lee sells every role he takes on with total earnestness and theatricality. That is no different with his performance as Stefan. Of everyone here, he plays it the most dead straight, and is the most awesome because of it. However, when he was cast in Gremlins 2, Christopher Lee apologized to director Joe Danté for having starred in this silly sequel to his remarkable film. That’s some class right there.
Mostly going for broke through his enjoyably non-dimensional acting talents is Reb Brown. His reactions to Stefan’s exposition is probably the same as the audience’s – total, eye-rolling disbelief. It makes for some funny moments, but it’s really when Reb delves headlong into his guttural screams as he blasts away with a shotgun at this film’s sad excuses for werewolves that his base level entertainment value comes to light. A good performance? Not by a long shot, but like so much here, it’s all a lot of bad junk that compiles into a raucous fun time.
Of course, rounding out the cult following cast is Sybil Danning who is here simply to add a busty sexy appeal, and she surely excels at that. However, the werewolf sex scene in this film is purely gratuitous while being entirely unappealing to look at. Whereas the first film made it a great melding of eroticism and primal terror, this sequel just throws in a sex scene for the hell of it and decides to glue a ton of cheap furry makeup on the actors. Aside from Danning ripping off her top, there’s nothing worth seeing in this sequence, and you can stick around for the end credits to see that bare-breasted moment repeated a total of sixteen times.
The werewolf effects in this sequel are not close to being even second rate when compared to Rob Bottin’s amazing work on the first film. They are cheap and often cheesy. Most times, the filmmakers try to disguise them through all the terrible rapid fire, incoherent editing, or by having people be chased by a steadicam point of view shot. Unfortunately, there’s no real hiding substandard quality like this. These bad makeup effects, along with a couple of cheap visual effects, are yet another thing that makes this movie as enjoyably bad as it is.
I suppose the one genuinely good thing in Howling II is the new wave rock main theme by Babel, which is repeated every few minutes. It’s a really catchy tune, and so, it’s not at all a burden to hear again and again and again. However, what score there is beyond that isn’t much worth noting. I’ll also say that the movie is fairly well shot with some good production values and art direction. So, it’s not a poor film to look at. It really is just some of the sloppy editing that makes so much look incompetent.
Like I said, there is nothing here that is remotely scary, but when the shotgun blasting, titanium stake stabbing, and magic wielding action begins, it’s quite enjoyable in all its over-the-top cheesiness. Seeing Christopher Lee and Reb Brown standing back-to-back gunning down crappy looking werewolves is about as much fun as it sounds. Howling II is a terrible sequel to the visionary original, but if you take it as it is in being a film that feels like it exists in an entirely different universe than the first, you can have a lot of fun watching it. It’s just pure B-movie indulgence.
Good werewolf movies are difficult to come by. Most just don’t find a way to make them interesting, alluring, or entertaining like vampire films are more easily able to do. However, there are a few universally accepted classics of this subgenre, and this 1981 film from director Joe Danté based on the novel by Gary Brandner is indeed one of them. For me, it’s a movie that’s taken some time to get into. The first time I rented it on VHS I was working twelve hour shifts to the early morning hours, and fell asleep halfway through, same as with The Amityville Horror. This time, I gave it my full attention and patience.
Severely shaken after a near-fatal encounter with a serial killer, TV newscaster Karen White (Dee Wallace) takes some much-needed time off. Hoping to conquer her inner demons, she heads for “the Colony,” a secluded retreat where her new neighbors are just a tad too eager to make her feel at home. Also, there seems to be a bizarre link between her would-be attacker and this supposedly safe haven. And when, after nights of being tormented by savage shrieks and unearthly cries, Karen ventures into the forest to find answers, she makes a terrifying discovery. Now she must fight not only for her life, but for her very soul.
The Howling is an extremely slow burn film. Joe Danté gives you only the vaguest of teases early on hiding his ravenous creatures in the shadows and brief glimpses, which can be effective. The best execution of this is in the first act of the film where Karen encounters Eddie, the supposed serial killer portrayed by Robert Picardo. The use of darkness, suspense, and subtle backlight is a brilliant work of art. However, my suspicions from way back on first viewing were right in that we don’t see a werewolf in all its full glory until well past the halfway point in the movie. Until then, Danté takes the time to utilize some psychological aspects as Karen is haunted by her experience with Eddie. She is hit with nightmares and startling visions that heighten her fear and paranoia. This film is a bit of give and take. You certainly go into this wanting to see the werewolves reeking havoc often, but you have to wait a very, very long time to get to that point. However, once you do, the pay-off is excellent as Danté doesn’t hold back anything.
Many would know the special make-up effects work of Rob Bottin from John Carpenter’s The Thing, but that would be another year after this picture. Here, he creates some of the most amazing werewolf effects ever. Everything is so lifelike with very fine details and textures in addition to very elaborate methods used in the transformation sequences. Today, it would all be digital effects, but in 1981, you needed a practical effects master to realize something of this stunning vision of horror. The full size werewolves are wholly frightening as they tower probably at a good seven feet tall with every ferocious quality imaginable. What Bottin accomplished here will truly unnerve and terrify many. How he did it on a $1.5 million budget, even in 1981 dollars, just floors me.
This is also one of the absolutely most beautifully shot horror films I’ve ever seen. Joe Danté and his cinematographer John Hora utilize some very inspired camera angles and compositions. However, the most gorgeous aspects are the brilliant backlighting and the use of colored gels to create a wonderful haunting atmosphere. There are films that are simply shot in color, and then, there are films that utilize color in remarkable ways. The Howling is truly the latter as these reds, blues, and greens highlight the creepy and eerie moments like fine brush strokes of artistic inspiration.
The Howling does more than simply give you werewolves slashing and gnawing on humans. Firstly, it has some satire on the entire self-help movement. Trying to aid those afflicted with being a werewolf with therapy and a push towards integration into society is handled with the right kind of wit without being comical. Joe Danté definitely has that talent to fuse horror and humor such as with Gremlins, but he keeps things on point with the horror and barely diminishes that at all. Furthermore, this film gives us a strange but perfectly executed mix of sensuality and terror in one sex sequence. Once again, the artistic beauty of the film is on display as two people engage in sexual activity at a campfire, but as the act becomes more virile, the beats within are unleashed and they begin to transform. What begins as very erotic turns into a frightening, primal act that still gets the heart pumping. This is a very tantalizing and compelling sequence melding these two things together in a very provocative way.
The cast of this horror classic is jam packed with excellent acting talents such as Dee Wallace, Patrick Macnee, John Carradine, Kevin McCarthy, Robert Picardo, Noble Willingham, Dick Miller, and several others. Every single one of them does a solid job bringing forth the distinct qualities of their characters’ personalities. In particular, Dee Wallace leads the film with the right level of vulnerability and traumatic unease. The fear the audience regularly feels is channeled through her performance, and the journey her character goes through in this results in a unforgettable conclusion. Also very notable is Robert Picardo proving yet again that I know he’s a great actor. What he does as the supposed serial killer Eddie is tremendous and dead-on-the-mark showing a very subtle intimidation factor with his restrained charisma and clear full fledged absorption of this character into himself. He also acts through all the wickedly good make-up with exceptional ease. He might have only a few brief scenes, but he really becomes one of the most memorable things about this cast.
The ending of The Howling is fantastic and frightening. First off, the entire third act is just excellent every step of the way as we finally get our full helping of werewolf awesomeness in a hair-raising escape sequence. However, what comes after that when Karen returns to the television studio for her news report is exceptionally tragic and clever. What she sets out to accomplish with her live report is smartly turned on its head by these filmmakers. Almost no one believes what they see and dismiss it as a high quality fabrication. They believe it to be spectacle instead of the raw, chilling reality that it is. The film concludes on a very signature Joe Danté beat of wit and humor. He has always been a unique filmmaker infusing a special, unmatched blend of the bizarre and the humorous with excellent results.
Now, is The Howling a horror movie for everyone? Maybe not. I’m sure there are people who wouldn’t enjoy sitting around for fifty minutes before we get a real good look at a werewolf, which I honestly had an issue with. After Karen’s early encounter with Eddie, there’s very little horror or suspense to engage you on the horror movie level until you’re more than halfway through the movie. The characters and performances are perfectly fine to move the plot forward in the interim, but there’s hardly anything to get your heart pounding with terror in that time. However, I appreciate the artistic brilliance of this film, and anything that doesn’t quite work for me is possibly more attributed to just not being quite my style. I also wholly endorse teasing us with the werewolves, much like Ridley Scott did with his creature in Alien. Build up suspense with it, and then, once you finally reveal it, you’ve got a great, startling moment of awe. This is a remarkably well made movie, and one that absolutely has its rabid fan base that I entirely respect. Whether or not the slow, slow build up and reveal is to your taste, this is one of those horror essentials you need to see. The pay-off for that build-up is definitely well worth the wait, and seeing what practical effects could achieve back in the day will show you what CGI has almost never been able to replicate.
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.