Outside of Star Wars, this is the film I grew up on, and loved with a severe passion. I never owned the VHS as a child. It was only by renting it incessantly over many, many years that I ever got to see it after the theatres. My dad actually took me to see this in 1986 at the discount theatre that actually closed down about a decade ago, much to my dismay. There were countless wonderful memories at that theatre in addition to the video arcade across the way in that mall. In the late 90s, I found a Canadian website selling new VHS tapes of the movie featuring the American version, and with the help of a friend, I was able to purchase it. I prized this tape, and you couldn’t imagine how excited I was when I happened upon a DVD release of it years later. So, what is it about this movie that has kept it a beloved favorite of mine for more than a quarter of a century? Read on and find out!
It is the year 2005, and the battle between the heroic Autobots, led by Optimus Prime, and the evil Decepticons, led by Megatron, has escalated all the way to their home planet of Cybertron, which the Decepticons have reclaimed. The Autobots secretly plan to retake the planet from secret outposts, but the Decepticons move to thwart their efforts by waging a full-on assault against Autobot City on Earth. Here, a new generation of heroic Autobots stand ready to fight including the young, impulsive Hot Rod, the consummate soldier Ultra Magnus, the elderly war veteran Kup, the compassionate Arcee, the triple changing Springer, and many more. However, a greater threat to them all looms closer in the form of the evil entity known as Unicron, who’s ready to consume anything that stands in its way, but the only thing that he fears is the Autobot Matrix of Leadership. Along the way, lives are lost, battles are fought, an old enemy is re-forged by Unicron, and a new Autobot leader is born as another dies.
This movie really was the pinnacle of any six year’s old life at the time. You had a big, epic story with huge consequences, and the most climactic final confrontation between the heroic Optimus Prime and the vile Megatron. To me, this was bigger than Luke Skywalker versus Darth Vader, bigger than anything else on the planet! Prime was the ultimate John Wayne style hero, always sticking to his principles and morality, but able to throw down with the best of them. Megatron was the most deceitful, ruthless villain around, and after two seasons of the television series, you finally got to see them collide like never before. The movie was even marketed as showcasing their final battle, and it did not disappoint. It starts with Prime proclaiming that, “Megatron must be stopped. No matter the cost,” and then, proceeds to plow down and blast away a whole slew of Decepticons. It firmly establishes that Optimus is a real bad ass worth rooting for. This is the big hero of the Autobots, and anyone who gets in his way has got a real problem. The fight between Megatron and Prime is them putting it all out on the line, and it couldn’t be more climactic. It’s also an awesome looking sequence with great dramatic angles, and an awesome Stan Bush song backing it up. Then, it ends on a wholly unexpected note. The filmmakers really hit you for a big one in more ways than one. Optimus Prime dies. However, it happens within the first third of the film creating a sense of ultimate peril for everyone. If Optimus Prime can perish in this movie, then, nobody at all is safe, and even before this, the Deceptions slaughter an entire ship of Autobots in fairly graphic fashion. This film tells you just about from the start that it’s taking no prisoners, and the danger is real and imminent. This creates huge odds for the surviving Autobots to overcome, especially in the face of Unicron.
With so many of the classic characters dying, the movie introduces us to a group of new Autobots which hooked me in immediately. I loved Hot Rod, and was really behind him all the way through the story. Judd Nelson did a great job voicing him giving the young, brash Autobot a lot of charm, charisma, energy, and humor. Yet, where it counted, Hot Rod was heroic, and did show some depth to really rise up and come into his own. The weathered and seasoned warrior Kup is given great texture by Lionel Stander making him a fun character with his incessant war stories, but also striking a good chemistry with Nelson’s Hot Rod. The older mentor and the young hero is nothing new, but here, it feels like these two were friends more than teacher and student, which makes for a fun pairing.
Springer feels like a solid lieutenant in the Autobot ranks as the reliable, capable soldier, and has strong characterization with dashes of levity. And you can say what you will about Ultra Magnus. He’s certainly not the inspiring leader that Optimus was, but he was voiced by the late, great Robert Stack. Being an old school Unsolved Mysteries fan, I could never slight Mr. Stack’s performance. He does give Ultra Magnus some humanity and a steady confidence, but I think, by design, the filmmakers didn’t want Magnus living up to Optimus’ stature. This becomes apparent by the film’s end.
The villains are given some new life with two impressive names added to the cast. First, there is Leonard Nimoy voicing Galvatron in amazing fashion giving the new Deception leader an even more vicious streak than he had as Megatron. After his brutal fight with Optimus Prime, Megatron is recreated as this far more powerful Galvatron, and that injects a far more menacing and cutthroat villain into the story. Nimoy pushed his voice into a deeper, more guttural place for this performance, and it really served the character beautifully. Galvatron is Megatron pushed to the next level, and I really love that idea. However, the real major name involved here is Orson Welles as Unicron. This was actually the legendary filmmaker’s final performance. His heart attack death occurred five days after finishing this voice work. Reportedly, Welles was pleased do the job stating an admiration for animated films. While Welles could be an intimidating man, I’ve seen interviews of him being very friendly, humble, and enjoyable. Still, that voice was gold, and there were not many actors who could’ve naturally given such a booming, massive presence to Unicron’s voice as Welles did.
With all these great characters, old and new, we are given endlessly quotable dialogue. Nary a scene goes by without a great line being said which became a classic amongst fans. These range from the dramatic to the comedic, and are all executed perfectly by this great voice cast. They really deserve a vast amount of credit for inhabiting the personalities of their characters, and meshing so well together. It sounds like every single one of them gave it their all, and likely had a real fun time working on this animated movie. The regular cast of voice actors maintain their usual high standards, especially Peter Cullen and Frank Welker, among others. The Dinobots are especially funny while still remaining formidable. This is some very exceptional casting and voice directing in my opinion.
What really strikes me about the movie today is how briskly paced it is. There is nary a slow point in the whole thing, and at 84 minutes long, one could hardly expect one. Surely, these days, I would’ve loved to have seen it reach a full 90 minutes because that third act really hits you before you know it. Regardless, the steady pace and rhythm of the movie creates so much excitement and fun. There is no shortage of action, and any scenes of exposition are very succinct. The regular progression of the story taking our heroes to new worlds and environments keeps it interesting. Both the planet of Junk and of the Quintessons are dangerous in their own unique ways with great visual designs. They give the film scope that was rarely offered on the television series. Everything about this movie is amped up substantially from the episodic cartoon, and the action is no exception. I don’t think I’ve ever seen a movie, animated or live action, jam pack this much stellar and original action into such a compact run time while still maintaining such a rich sense of character and competency in its plot. There’s so much energy pulsating through this movie it’s almost unreal, and it never becomes a mess. Screenwriter Ron Friedman did a rather admirable job on this script, and it was put into the right hands to make it a reality.
Now, granted, there’s hardly a major through-line plot for our heroes. In the most part, the Autobots are just trying to survive every new threat that surfaces in their path while Unicron sort of looms over everything in the background. The action really just pushes them along from one dire scenario to the next until they must confront Unicron. These are adventures which have the heroes proving their merit to the audience more than to each other. It’s about us learning about the characters, and coming to care about them instead of developing them at length. Transformers: The Movie doesn’t have the character growth or thematic exploration of something like Star Wars or The Lord of the Rings, but for what it is meant to be, a fun and exciting animated movie for kids, I think it is rather exceptional. It doesn’t go much into heavy subject matter, save for the deaths early on, but it doesn’t treat its young audience as stupid. It’s a smartly written story that keeps it simple enough to follow, but exciting enough to keep it interesting. This is definitely a film that can be entertaining from the age of six all the way through to thirty-two.
One thing that strongly helps in that aspect is that the animation style is still amazing to my eyes today. At the time of the film’s release, it was a style and quality not previously seen by mainstream American audiences. The detail, shading, and dramatic, epic imagery created a vast cinematic visual impact. The film remained vibrant and colorful despite having some very dark moments, and could have real moments of beauty. While there are occasional animation gaffes and shots of lower grade artwork, on the whole, the artistry on display is really stunning adding a sense of edge and texture to everything never before given to the cartoon series. This feels like a major motion picture event, and in comparison to the series, you can clearly see the vast amount of time and hard work put into the visual quality of this movie.
Probably the biggest thing that kept the film alive in my mind and heart between rentals was the amazing rock soundtrack! I cherished that audio cassette for over a decade. I made the vow to myself that when the tape eventually broke, I would buy the CD immediately, and that’s exactly what happened. Most of these acts were generally unknowns like Lion, N.R.G., and Kick Axe (who were credited as Spectre General by decree of the record company), but contributed very solid songs that gave a lot of hard and heavy excitement to the film. Of course, “Weird Al” Yankovic was quite well known at the time. He contributed his quirky track “Dare to be Stupid,” which fit the catch-phrase referencing Junkions perfectly. Stan Bush’s tracks have probably become the biggest hits amongst fans with the driving rock rhythm of “Dare,” and the inspirational “The Touch.” The latter is a song that has come to really be able to pull me through into a stronger, more determined mindset when I’m feeling down. It pushes me back up on my feet, and it does much the same within the context of the movie highlighting the biggest standing tall moment for our main heroes. This is one of my favorite soundtracks ever, and it is only enhanced further by Vince DiCola’s very dynamic, electronic style score.
The climax of Transformers: The Movie is just flat out amazing! I like the intercutting between the battle outside of Unicron as he fends off the attacks from Cybertron, and the multiple stories going on inside of him. However, it hits its great crescendo in glorious fashion when the Autobot Matrix of Leadership comes into the right hands, and signals a new era for the Autobots. The movie is filled with great, iconic moments such as this, but few as great as this. In retrospect, it’s only a shame that the movie ends so quickly after this, but I suppose, in that regard, it’s a film that leaves you wanting more. That’s rarely a bad thing, and it’s far better than overstaying its welcome or leaving itself open for any letdowns after such a great climax.
Despite the efforts of Michael Bay, this still remains the absolute best Transformers movie in existence. It features a tight, exciting, and heroic story centered on the Autobots and Decepticons themselves that is vibrant as well as genuinely funny and entertaining for the whole family. Of course, most versions contain a swear word or two that are surprising they made it into the PG rated film in 1986, but for fans, they wouldn’t want the movie any other way. This 1986 movie treats its characters with respect and integrity, and gives many of them poignant weight at their most pivotal moments. The new characters are just as exciting and colorful as the classic ones, and they give the film a real boost of energy and sense of discovery. You’re going along for the ride with them as they rise to the epic task before them. As I said, I was hooked in with Hot Rod from the start, and unlike many who saw the film as a kid, I actually didn’t cry during Optimus Prime’s death scene. It’s unheard of, I know, but I was just enjoying the living hell of this movie. At one time, I definitely would have listed this as my favorite movie of all time, and it is still among my favorites, as this review has undoubtedly shown. While the film bombed at the box office, it has gained immense popularity throughout the fan base, and remains a major high point in the franchise. All around, this is just a wildly fun movie that I will never get tired of. While the television series doesn’t hold up nearly as well, this movie feels damn near timeless to me, and I don’t believe I am alone in that feeling.
The Living Daylights was the debut of Timothy Dalton as James Bond on the twenty-fifth anniversary of the franchise. It also marked a distinct shift in tone from Roger Moore’s more light-hearted approach, and brought Bond back closer to the core of Ian Fleming’s character. With Dalton came a more dangerous Bond who carried more weight and urgency with him, and it is a portrayal that I very much enjoy. While this first outing was generally well received, I believe Dalton’s two film run with the character was unjustly maligned, and I hope this review and that of the following film will detail why.
After James Bond (Timothy Dalton) helps Russian officer Georgi Koskov (Jeroen Krabbé) make a daring defection to the West, the intelligence community is shocked when Koskov is abducted from his remote hiding place. Bond leaps into action, following a trail that leads to the gorgeous Kara (Maryam d’Abo), who plays Bond as easily as she plays her Stradivari cello. As they unravel a complex weapons scheme with global implications, linking up with arms dealer Brad Whitaker (Joe Don Baker) and Russian General Pushkin (John Rhys-Davies), James and Kara escape first to Vienna, then to Morocco, finally ending up in a prison in Soviet occupied Afghanistan as they track down the elements in this mystery.
The opening action sequence is very smart and exciting. M sends three Agents to test the security of a military installation on Gibraltar, but are ambushed by an assassin. I’ve always liked the touch by the filmmakers to cast two other actors who resemble previous Bond actors George Lazenby and Roger Moore before revealing Dalton himself. Obviously, with marketing of the film and all, the trick loses its intended impact, but it’s a clever idea to keep an uninitiated audience guessing as these other agents fall by the wayside. Regardless, this sequence sets the tone for this more action packed and daring approach of this new Bond. It’s really a perfect start to a very promising film that does deliver in many satisfying ways.
The opening credits sequence for The Living Daylights is nothing special or distinct. Watery images and silhouettes really don’t have much to do with the title song from Norwegian pop group A-ha. It’s not particularly bad, just very uninspired. While this musical track doesn’t have as much punch as Duran Duran’s had for the previous film, the high pitched vocals and melodic quality are still catchy and appropriately Bond-esque. I like it quite a lot.
Timothy Dalton injects a seriousness into the role of Bond that I find very compelling. He carries himself with sophistication and integrity creating a strong screen presence. He firmly grounds Bond while still giving him charisma, wit, and a subtle depth of emotion. He can be humorous and charming while never betraying the dramatic intent of the portrayal. Dalton’s Bond is one that grasps the seriousness of situations, and acts with due intelligence and action. There’s definitely a gritty vigor he brings into Bond that makes the film instantly more energetic and exciting. It’s a dimensional performance that is thoroughly enjoyable, and creates a James Bond that can smartly weave in and out of the world espionage. Beyond everything else, Dalton makes 007 a character that can be taken seriously, and allow for serious stakes to be highlighted in his films. While there is room for fun, it is ultimately a better film when there’s real tension and risk at hand. I think Dalton did an excellent job stepping into this role bringing realism back into the fold. Timothy Dalton likely did many of his own stunts, and it really shows through, benefitting the quality of the action immensely.
The action of the film is excellent. The chase sequence through the snowy landscape with the Aston Martin showing many of its “optional extras” is very thrilling and fun. Plenty of explosive moments and clever twists and turns make it a memorable highlight of the film. The foot chase across the rooftops of Tangier was very well done, also. All of the action sequences are very fun and inventive using the unique locations, from the snow to the desert, to great effect. The climactic action scene where Bond hangs off the back of a cargo plane, set to explode in a matter of minutes, while battling the Russian mercenary Necros is very tense and exhilarating. Yet, it doesn’t end there as we get further explosions and a dangerous mid-air escape. Then, Bond still has to finish off Whitaker in a great firefight. It’s an immensely satisfying conclusion that does not hold back on the thrills.
Maryam d’Abo is probably not as alluring or sexy as most other Bond girls, but she is definitely a good actress that had a lot to bring to Kara Milovy. She’s very likable and relatable as an innocent and talented young woman deceived by her deceitful boyfriend Koskov. Maryam brings a strong will to the role, but also finds the vulnerability in Kara. Kara and James share some moments of strong emotion that d’Abo conveys remarkably well. She was a very good fit for this initial outing for Dalton as she satisfies on stronger levels than mere sex appeal.
I feel the only downside to the film are the villains. Joe Don Baker is decently charismatic, but never really develops into a serious threat. Opposite a more formidable acting talent in John Rhys-Davies, whose character is implicated as the true villain by Whitaker and Koskov, it’s even harder to perceive Whitaker as someone to contend with. He’s portrayed as a man who doesn’t take anything too seriously, but any hint of arrogance or ego that could have been there, simply is traded off for a character that’s lacking in formidable competence. Thankfully, he’s not a forefront villain. Jeroen Krabbé’s General Koskov does definitely go down the path of arrogance, but it takes quite a while before he becomes intimidating at all. He’s certainly the better quality villain of the two, ultimately, and at least has more of a detestable element to him due to how he eventually treats Kara. Yet, he still could’ve used a lot more work. I feel it’s more the near insurmountable odds that Bond faces which make the film tense and exciting than the villains he faces. They are nothing major to contend with. It’s just the forces they command are what create the danger the film needs.
I really like that the plot features a tangled web of deceit for Bond to unravel. He has to tread cautiously amongst those he encounters before he can determine who he can trust, if anyone at all. He works his way through a deceptive abduction, a faked assassination, opium trade, arms deals, and rebel fighters in the Middle Eastern desert to uncover the depth of this plot, and to stop it dead in its tracks. It’s an excellently crafted story that never falls into a lull. There’s a consistent development and progression of plot while never leaving our main characters of James and Kara in the dust. Their motivations remain clear, and their relationship develops very solidly. Despite James having to lie to her while attempting to determine her role in Koskov’s plan, Kara is able to eventually trust him, and they forge a convincing romantic relationship. Everything is smartly wrapped together in a very satisfying package making for an entertaining ride.
I was very pleased by John Barry’s score for this franchise entry. He gave a little more edge to the traditional Bond theme in a few of the action scenes, and nicely incorporated the melody of the opening title track into the score during the third act. It’s a very tight, very good piece of orchestration that complemented the film’s tone and pace strongly. It was a very fine and respectable final bow for Barry as this was the last James Bond film he worked on.
Ultimately, The Living Daylights is a very good film in this franchise. There is more than enough action to spare while still delivering a very smart and well plotted story. It brings espionage more skillfully back into Bond’s world, and the film is better off for it. The real cog of success was Timothy Dalton who made the character honest and real, again. Between his presence and beautifully deeper voice, you get that sense of dramatic tone from him throughout the film. He simply made the film more exciting and interesting. While there is a more gritty, dark style to this film, it still has plenty of fun moments to smile at that do not betray the tone veteran Bond director John Glen was going for. If the film had strong villains, or simply stronger performances from the villains, I could really give this a very strong endorsement. They just lack that edge of intimidating and formidability to push them over as a major threat on their own. The excitement and engaging narrative is due to the twisting and turning mystery Bond has to weave through, and it’s all done with expert quality and precision. The Living Daylights is definitely a big step up from A View To A Kill, and for those desiring a more traditional Bond film from Dalton, this is definitely the one to check out. I do very highly recommend the film despite any shortcomings it has with the villains. It’s a fun, thrilling ride that will entertain you. Next up, James Bond will return in Licence to Kill.
The Lost Boys is an excellent vampire film that perfectly reflects the time it was made in. The witty humor, the fearsome horror, and the amazing pop soundtrack create a purely 1980s vampire film with a lot of style. Director Joel Schumacher and executive producer Richard Donner hit it big with this film. It had everything going for it including a solid cast of amazing young talent, and has been a classic of the genre for a quarter of a century. Sleep all day. Party all night. Never grow old. Never die. It’s fun to be a vampire.
After a divorce, Lucy Emerson (Dianne Wiest) moves her two sons, Michael (Jason Patric) and Sam (Corey Haim), from Arizona to Santa Carla, California. They move into Grandpa’s place (Barnard Hughes), which is somewhat removed from the lively beachside town. The small family is trying to fit in with their new surroundings, but they’re a little put off considering that Santa Carla is dubbed “the murder capital of the world”. Lucy gets a job at the boardwalk video rental store owned by the kindly Max (Edward Herrmann), Sam meets Edgar (Corey Feldman) & Allen (Jamison Newlander), the Frog Brothers, at the comic book store, and Michael runs into a dangerous pack while chasing after the beautiful Star (Jami Gertz). The pack is led by David (Kiefer Sutherland) who takes Michael on a wild ride into a weird world. What both brothers will gradually come to realized that this boardwalk town is, to quote the Frog Brothers, “a haven for the undead.” Fangs, blood, and creatures of the night come out of the woodwork, and Michael and Sam are directly caught up in it.
This could’ve easily become a cheesy 80s vampire film, but with the brightly shining talent involved, it became a fantastic, fun vampire-filled thrill ride. Kiefer Sutherland’s name speaks for itself. He makes for a charismatic, dangerous, and enthralling villain that easily lures Michael deeper into the darkness. Jason Patric also demonstrates a great, gradual evolution for his character, and shows a very brotherly relationship with Corey Haim. You can definitely see the potential Patric had for later in his career for more dramatically challenging roles with a wide depth of emotion. He plays well off of everyone especially Kiefer and Jami Gertz. She demonstrates a wonderful vulnerability as Star trapped between the vampire world and her love for Michael. Gertz sells the threat of David very well through Star’s own fear, and has seductive chemistry with Jason Patric that is strong and passionate.
Corey Haim, Corey Feldman, and Jamison Newlander bring a sense of fun to the film that gives an extra dynamic to the film. Without them, it’s more a straight vampire horror-love story film, but with them, you get a younger adventurous Goonies type dynamic that brings in a wider audience. Each young actor puts a lot of heart and enthusiasm into their roles. Haim is very light-hearted and easily likable. Feldman and Newlander intentionally play up a gritty Clint Eastwood style archetype which, when put into a pair of young teens who run a comic book store and hunt vampires, it becomes delightfully humorous. The Frog Brothers are a smart highlight in the film which only complement and never dominate this fine ensemble cast.
Dianne Wiest plays a perfect mother to two teenage boys, and an endearing daughter to old Grandpa – which Barnard Hughes plays with a lot of comedic enthusiasm. Edward Herrmann also plays his part very well in an assuming fashion, and is very convincing at the film’s conclusion. As far as the other vamps – they add a lot of life to Kiefer’s gang. They all have the 1980s hair metal look going on which couldn’t be more dead-on perfect for 1987. It’s also cool to see Alex Winter here prior to his Bill & Ted films.
Cinematographer Michael Chapman crafted some awesome imagery throughout the film, but my favorite sequence is definitely the motorcycle chase scene. Beyond just the energizing action aspects of the sequence, it has amazing atmosphere through shadowy lighting and dynamic angles. This makes me wish the sequence lasted longer as well as allowing Lou Gramm’s awesome “Lost in the Shadows” to play longer. Chapman has shot many great films from Taxi Driver to Raging Bull to The Fugitive. He’s proven his talent for powerful imagery time and time again, and there’s no shortage of visual artistry in The Lost Boys.
The soundtrack is flat out amazing. You have excellent tracks from INXS, Echo & The Bunnymen, The Who’s Roger Daltrey, Foreigner’s Lou Gramm, Tina Turner’s saxophonist Tim Cappello, and the haunting theme of “Cry Little Sister” from Gerard McMann. While they are not all original tracks, they do all come together as a cohesive sound that reflects the best qualities of 1987’s popular music. These songs nicely highlight and punctuate numerous scenes in the film greatly, and create a dense, awesome atmosphere for this film. There are so many pop songs in the film that, frankly, they overshadow what fine and ominous work composer Thomas Newman did for The Lost Boys. While there are sequences with full, gorgeous score, his music mainly fills in the blanks as more transitional music or an accompaniment to the lyrical tracks. I definitely do not view that as a negative mark. Mainly utilizing these songs over a score resulted in a great filmmaking style that only makes the film far more entertaining and colorful.
Joel Schumacher shows he has a great depth of talent here despite some of his later critical failures. He balances out the characters and their stories very well as no single story dominates over another. This also results in a very well balance tone between the lighter fare with Sam and the Frog Brothers, and the heavier toned horror and love aspects of Michael’s side of the film. Schumacher really brought out some wonderful performances from a lot of young, eager talent, same he did in the brilliant St. Elmo’s Fire. This is definitely a film one could grow up with from childhood into teenage years to adulthood, and constantly find something that appealed to them. In my late teens, I probably loved the lighter toned material and the straight horror stuff best, but now, many years later, I definitely have a deep appreciation for the sexy and seductive aspects of the film. They are beautifully executed from the acting to the cinematography and editing to the perfect choice of music. It has such a wealth of depth and sensuality that I don’t get enough of in cinema.
Schumacher never allows the horror or dramatic aspects to fall behind the humorous adventure. When all storylines converge, this becomes a very strong horror film with plenty of frights, action, and intense special effects. The showdown between Michael and David is powerfully done in every aspect. The ferocity of their clash is perfect, and is given a very dark and ominous lighting scheme. While the visual effects were quite limited in allowing vampire flight, Schumacher wisely limits the screentime of those effects. They are there only to service their moments in the film, and instead, the scene focuses in on Sutherland and Patric closely. However, the special make-up effects are flat out amazing. The striking and rather iconic vampire designs are realized with great detail and skill. When David reveals that vampiric visage, it is frightening. They look like fierce, vicious creatures that will feast with a smile on their fanged faces. One could definitely see an inspiration here for the vampires of Buffy The Vampire Slayer and Angel with the pronounced, thick foreheads, yellow eyes, and long fangs. It truly is a masterful job that I think is one of the best, most fearsome vampire designs ever put to film.
The only aspect of the movie that maybe a little ill-taken is the very end. The ultimate master vampire is dispatched with in a way that works for the quirky, humorous tone of the film, but many are likely to desire a more dramatic conclusion especially after the Michael and David throwdown being so climactic. It’s a hair splitter. Repeat viewings allow for a fan to enjoy it more, but a first time viewer might be left somewhat unsatisfied. This ending does pay-off something established earlier in the film, but it’s a very subtle setup that one would likely not take lasting notice of if not for this ending. Obviously, I have no desire to spoil anything for those who have not seen the film, and I don’t think this aspect of the film should at all deter you from experiencing an excellent, vibrant, and entertaining vampire flick!
While Joel Schumacher has made some severely maligned films in his career, he has also had a number of incredible films to his credit, and The Lost Boys is absolutely ranked among them. For most anyone, if you say “1980s vampire film,” The Lost Boys is what jumps into their minds, and for exceptionally good reasons. It’s perfectly stylish in all the right ways with excellent performances, a killer soundtrack, and a solid script that balances all its varies tones just right. This film is designed to please on multiple levels, and does so immensely well. This is definitely a classic of the vampire genre that will frighten and amuse you in a very satisfying film experience.
I have a tendency to miss out on great films in the theatre due to an uncertainty about them. I can get so used to how mainstream films are marketed that when I see something distinctly different, it’s hard to be sold on it. Thankfully, better late than never, some trusted word of mouth finally got me to check out Drive. To my sensibilities, this is an astonishing, flat out amazing film. This feels like if Michael Mann made a movie between Thief and Manhunter, and was scored by Tangerine Dream. This is fully evocative of a 1980s neo noir crime thriller with its sense of tone and atmosphere and using a magnificent soundtrack to envelop an audience into its emotion. Beyond that, I feel Drive is also brilliant.
Ryan Gosling stars as a Hollywood stunt driver by day that moonlights as a wheelman for criminals by night. He’s employed and aided by Shannon (Bryan Cranston), a former stuntman who is propositioning the shady Bernard Rose (Albert Brooks) to invest in a race car venture with this “Driver” as their star. Though a loner by nature, the Driver can’t help falling in love with his beautiful neighbor Irene (Carey Mulligan), a young mother dragged into a dangerous underworld by the return of her ex-convict husband. After a heist goes wrong, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals including Rose himself and the bull-headed Nino (Ron Perlman). Soon he realizes the gangsters are after more than the bag of cash, and is forced to shift gears into a brutal, unrelenting head-on collision.
I will grant that the film is not heavy on plot. It’s fairly simple and straight forward keeping itself contained to a small collection of characters. Some might find that a letdown. However, the substance of this film is in the presentation. Ryan Gosling’s character is very minimal on dialogue allowing his presence and the atmosphere of the film to carry the Driver’s weight. The performance alone is very understated and low key, but not skimping on intensity or humanity. His carefully chosen words hold purpose, and Gosling’s soft spoken delivery forces an audience to focus their attention closely. Sometimes, a lack of dialogue can bring a mystique and an intriguing quality to a character, and Gosling sparks that magic. His performance allows you to read more into the man instead of him telling you about who he is, and that’s not an easy thing to pull off. The scenes where the Driver and Irene are together bring a subtle charm and heart to the surface. You see the brightness in the soul of this character that contrasts, and later, compliments his grittier, darker side. When he has to become that more intimidating, brutal person later on, Gosling has no problem being convincing. You can feel his visceral intensity permeating the screen. I was impacted hard by those razor sharp moments, and this all comes together in a rock solid piece of work by Ryan Gosling. This is my first exposure to his talent, and I couldn’t be more blown away. Also, wrapping him in that Scorpion jacket is just wickedly cool.
Carey Mulligan puts in a gracefully beautiful performance. She and Gosling have a fine chemistry that gives the film its warmth and purpose. Their performances reflect nicely off of one another with heart and subtlety. She never has to say a word to reflect Irene’s emotional conflict over her feelings between her husband and the Driver. Mulligan touchingly shows that in her eyes and expressions, and how she gravitates to this new charming, under spoken man in her life. It’s an engaging and inviting piece of work.
Albert Brooks is a shocking powerhouse heavy here. He’s intimidating as all hell while still having his light hearted, humorous moments. Still, I never stopped getting that shady feeling from him that he was a mob boss that could slash your wrist or stab you in the eye with a fork without batting an eyelash. There’s such a fine line the character treads that Brooks walks with ease. Even when he’s being friendly, there’s still that sense of unease behind everything he says, and even before you know he’s a mob boss, you get the feeling that there’s something not entirely straight about Bernie Rose. For me, he ranks amongst the best like Christopher Walken in True Romance or Robert Prosky in Thief. He can turn from being your best friend to your absolute worst enemy in half a heartbeat without even seeing a shift in the character’s manner. It’s all rather matter of fact with him, and Brooks carries the appropriate weight to achieve these character traits throughout the picture. I love Albert Brooks’ performance supremely.
The supporting cast is also finely textured. Bryan Cranston has a broken down heartfelt sympathy as Shannon, the mechanic and former stuntman that aids and endorses Gosling’s character. He’s a good natured person who gets in too heavy with the wrong people, and you can’t help but feel for him when things turn worse. Ron Perlman’s gangster character of Nino is interesting. He’s a Jewish man trying to make himself out to be an Italian mobster. It’s not an overt part of his performance, but it ties into Nino’s motivations for being a “belligerent asshole,” as Bernie Rose puts it. Nino has plenty of bravado and ego, but not a lot of good sense. Perlman nicely inhabits those qualities with plenty of enthusiasm. Oscar Isaac does well as Irene’s husband Standard. The character clearly stands out as a person stuck in a number of unwanted situations. These criminals are violently pressuring him to do this job for him to pay back his debt, and it’s subtlety obvious that his wife does not want to be with him, anymore. Isaac shows the character’s regret well, and comes off more of a sorry man than a sympathetic one. He’s a guy that’s made a mess of things, and knows nothing will ever be okay ever again. The damage is done, and he’s just trying to sweep it under the rug as neatly as possible. However, he’s endangered the lives of his wife and son, and the Driver has no sympathy for the man. He only helps him out for the benefit of Irene and Benicio. These actors all add a strong array of emotion to the film which heightens the tone and atmosphere.
Now, speaking of atmosphere, the score constantly hit me as something very akin to Tangerine Dream’s score for Risky Business. It has that very light, dreamy quality to it most times, but does delve into very dark, heavy territories. There are foreboding, tense moments in this score that are just mesmerizing. Cliff Martinez crafts a deeply enveloping auditory experience which soaks into nearly every fiber of the film, but the filmmakers pick key moments where silence holds more weight than a soundtrack. The collection of songs in this film retain that 1980s ambient synth-pop quality, but have a modern quality that is beyond my ability to articulate. From my own independent filmmaking experiences, I know how insanely difficult it is to find modern original music that sounds like it came from the 1980s. So, the fact that music supervisors Eric Craig and Brian McNeils discovered and assembled music of this amazing style and quality impresses me to no end. I purchased the CD soundtrack, and it now ranks as one of my absolute favorites of all time.
The chase scenes of Drive are masterful. The first one is exceptionally smart being tactical in evading the police instead of going for outright action. That aspect come later after the botched robbery. It’s short and to the point being very slam bang intense, and not over indulging in itself. The opening sequence is exceptionally refreshing by being intelligent. On top of being realistic and smart, it is an excellent introduction to our main character showing his precision as a getaway driver. These scenes are expertly shot accentuating the distinct tones and tensions of both sequences.
When this film gets brutal, it holds nothing back, and hardly goes in predictable directions. The Driver never relies on a gun, and instead, goes with blunt force trauma to inflict violence upon people. The scene where he goes into the strip club wouldn’t be nearly as effective if he just brandished a gun the guy’s face. When you see the Driver pull out a hammer, you know this is going to be dead serious business, and it’s not going to be pretty. It’s a startling, powerful sequence which further propels the character’s threat level. He’s not just some cool headed amazing driver, he’s a dangerous man not worth crossing. The violence overall is graphic and gory, and shockingly unsettling. Emotion just pours through these scenes.
I am further floored by the cinematography talents of Newton Thomas Sigel. I’ve previously reviewed his work on The Usual Suspects and Fallen – both gorgeous films with their own identities. Drive is no different. No shot is ever wasted, and every composition is chosen with purpose. How the film is shot reflects the artistic vision realized with the music, acting, and editing. The film has inspired moments of absolute cinematic beauty due to Sigel’s artistic brilliance. The elevator scene late in the film is a magnificent example of this. The lighting and color tones used throughout create rich visuals which enhance the film’s atmosphere further.
This is a film where every element is cohesively used to create a powerfully enveloping experience. The conservative editing style of Matthew Newman allows Sigel’s shots to hold their weight, and establish a somber or rich tone that draws an audience into every moment. The music enhances those moments to create a wonderfully vibrant sonic quality for even the most still or fluid sequences. I haven’t seen a film like this since Manhunter. The music plays such a prominent role in creating a rich atmosphere that is as in the forefront of the picture as the actors. Each aspect is integral towards what is a wonderfully engrossing motion picture.
Drive is something which shows what independent film can do. It takes chances. It goes for a filmmaking style that has not really been around in more than twenty years. It takes an immensely effective way of crafting and presenting a film that a major studio would likely not embrace. It’s an intelligent, fresh, and creative film that feeds the senses. It gives you white knuckle action, a heartfelt romantic storyline, strong character drama, graphic brutality, gorgeous cinematic moments, intelligent writing, amazing performances, and a beautiful, exciting soundtrack. It’s hard to imagine all of these phenomenal visual and auditory elements coming across in a screenplay, but Hossein Amini clearly wrote something truly inspiring on those script pages to inspire the amazing film we ultimately got. I know nothing of the James Sallis novel this was based on, but clearly, the written word captured the vibrant imagination of these filmmakers. I will admit that Drive is not a mass audience movie as it requires an appreciation for a certain filmmaking style, but for those that love a slick 1980s style crime thriller that utilizes strong atmosphere and a prominent synth-pop soundtrack to wrap you up in its story and characters, this is absolutely for you. In my view, Drive is a meticulously crafted masterpiece of cinema born out of a bold vision from director Nicolas Winding Refn. I love this film thoroughly, and I cannot give it a higher recommendation than that.
This has always been one of my absolute favorites of this franchise. It delivers largely on entertainment value, and a far superior script and cast than A New Beginning had to offer. This wraps up the Tommy Jarvis trilogy of films with a very satisfying climax, and there is so much that goes into making it such a great film.
Crystal Lake has been renamed to Forest Green in order to distance the town from its blood soaked past, but Tommy Jarvis (Thom Mathews) is not yet free of his past. Tommy and his friend Allen Hawes (Ron Palillo) return to the town to dig up Jason’s corpse and cremate it to eradicate the nightmare that’s plagued Tommy since childhood. However, an iron rod and a lightning strike resurrect Jason as an undead juggernaut, and he immediately resumes his killing spree. Tommy attempts to motivate the local police into action, but knowing of Tommy’s institutionalization, Sheriff Mike Garris (David Kagen) writes him off as disturbed and has him locked in a holding cell. However, the Sheriff’s daughter, Megan Garris (Jennifer Cooke), becomes intrigued and invested in Tommy while she and her friends re-open Camp Forest Green for the weekend to host a bus load of kids. As Jason closes in on the camp and builds up his body count, Megan chooses to aid Tommy in bringing an ultimate end to Jason’s reign of terror.
Slasher films of the mid-to-late 1980s were getting tamed down by the MPAA requiring a lot of gore to be cut to gain an R rating. That hurt the quality and effectiveness of so many horror movies at this time, but Jason Lives was able to offer more entertainment value beyond the gore. Writer / director Tom McLoughlin approached this film with a love for classic horror, but also, a desire to add some appropriate humor to liven up the movie. Bringing Jason back from the grave required a bit of leap for the franchise, but it was handled very smartly with the use of some classic monster movie ideas. Jason being resurrected by a lightning bolt much like Frankenstein’s Monster is a clear example of that. The atmosphere McLoughlin added stands out amongst the franchise. The whole film has this wonderful blue tone with shadow and fog which sets a great visual atmosphere that is evocative of those old noir like Universal monster movies. Unfortunately, the Deluxe Edition DVD of the film screwed up the color timing so the blue tones are now green, and if this ever gets a Blu Ray release, this is possibly the transfer they will use.
Thom Mathews is my favorite Tommy Jarvis. He’s finally a full fledged hero taking action to combat Jason directly. Mathews has plenty of diversity to easily handle the dramatic, action, and lightly humorous demands of the script. Tommy’s presented as a stronger character than before, but still with an underlying twinge of obsession. Still, he is ultimately driven to destroy Jason in order to prevent him from killing more innocent people. That is the right turnaround from the previous film where Tommy just stood around and did next to nothing. He’s still haunted, but is taking action to rid himself of this waking nightmare once and for all. Thom Mathews is a strong lead that really shines through, and sparks up a wonderful chemistry with his female lead Jennifer Cooke. She provides a very spirited and strong willed young lady that is hard to handle for her father or Tommy. Cooke has charisma, energy, and allure to spare. She carries herself very well amongst this fun and talented cast – always standing out but never eclipsing anyone. Megan Garris is a tremendous lively addition to the formula as a smart, fun, assertive, and sexy female lead.
David Kagen is very impressive as Sheriff Garris. He’s smartly written to be a well-rounded character that is never dumbed down for convenience’s sake. Kagen makes a big impression right from the start as an assertive man of authority. Yes, he’s antagonistic to Tommy Jarvis, but anyone would be hard pressed to buy his story of Jason rising from the grave. Looking at it from Garris’ perspective, he’s acting entirely properly since he doesn’t know what we know as an audience. He’s an excellent protector for the people of Forest Green and his daughter. Kagen does a great job making him both a realistic hard ass that you don’t want to mess with, and a rational and often fatherly man with a heart. It’s wonderfully diverse from McLoughlin’s writing to Kagen’s acting. Certainly by the third act, he becomes a solid heroic figure that you’re rooting for all the way.
The rest of the cast is a lot of fun. They feel very much of the 1980s with their fashions, haircuts, and just their general personalities. Each character has plenty of richness to them to feel like fully realized people, and the cast have plenty of chemistry and charisma to remain entertaining and pleasant to spend time with. This is one of the most talented casts of the whole franchise, and truly the most fun of them all.
The role of Jason Voorhees eventually fell to C.J. Graham in this film. However, there are a few scenes, most notably the paintball one, where Jason is portrayed by someone else, but he was quickly replaced with Graham. That was a very good choice because C.J. truly defined the undead Jason. He gave the slasher a more menacing body language that was just enough zombie while still being aggressive and intimidating. He’s definitely one of my favorites.
To aid Graham’s notable turn behind the hockey mask, Jason Lives offers up a slew of creative kills and substantial gore. While a good deal of graphic content still had to be cut, the horror aspects still sell very well. Hawes getting punched through the chest, and Jason ripping out his heart is very shocking early on. It’s an excellent first impression of the strength of this resurrected Jason. Tom McLoughlin definitely showed he had fun conceiving and creating this film with all the original kills, and indulging in some nice action sequences. An RV gets flipped on its side driving down the road, and there’s a nice car chase between the cops and Megan’s classic red Camaro. It’s all very exciting and new stuff injected into a franchise that needed a breath of fresh air at this point. The addition of several great Alice Cooper tracks from his Constrictor album was just brilliant. It gave the film an additional promotional boost, and for Cooper, it gained him me and many others as fans. However, the song “Hard Rock Summer” didn’t see release until the 1999 “The Life & Crimes of Alice Cooper” box set along with the Movie Mix of “He’s Back.”
I’m sure the dark humor of the film turned a number of people off in 1986. The box office takes of the films steadily declined after Part 3 until the big success of Freddy vs. Jason, and so, this was no bigger of a hit than A New Beginning. However, since its release, Jason Lives has gained a strong standing in the franchise. It’s regularly praised as one of the best, and it is easy to see why. Again, it’s very exciting and filled with a strong visual atmosphere. Of course, it’s the story and its pacing that are the strongest. The film has almost a constant urgency about it with Tommy facing the obstacles of Sheriff Garris and the police while Jason is out slaughtering people. There’s enough going on with the Tommy / police conflict to keep it exciting with him being escorted out of town, getting apprehended in the car chase, and then, having to breakout of his cell with Megan’s help. It’s a very solid build up to a especially fresh, strong, and fiery climax. Intercutting between two stories is usually the most surefire way to maintain momentum and rhythm in a film, and McLoughlin shows a great sense of both. Editor Bruce Green deserves a lot of credit for also keeping the pacing tight and sharply to the point.
Composer Harry Manfredini’s music changed distinctly with this sequel. I’m sure there are those that would have preferred him sticking with the classic sound of Friday The 13th, but I have no particular preference either way. It’s become part of the overall identity of the film which tonally sets it apart from most of the other films. While I’m sure a first time viewer might have difficulty adjusting the new sound, I still feel it’s appropriate for the film Tom McLoughlin made.
While Friday The 13th Part 2 is my favorite of the classic formula, Jason Lives really is my favorite of the undead Jason era. I believe writer / director Tom McLoughlin put together a thoroughly satisfying sequel which strongly wraps up the Tommy Jarvis storyline, and is filled with a fun 1980s style. After the creative failure of A New Beginning, he gave us a film that felt lively and entertaining with some highly memorable and enjoyable characters. The self-referential humor is nicely balanced with the horror aspects, and careful avoids falling into self-satire or parody. It remains light and realistic, never making the characters appear dumb or foolish. It is a very smartly written film that is executed with an equal level of intelligence. I give this film glowing praise all around, and I highly recommend it.