I wouldn’t have thought of myself ever really checking out this movie out of self-ambition. However, I came across a video review of it from a usually trusted source. So, I gave it an honest chance, and to my pleasant surprise, I did indeed enjoy this movie a great deal. There are two main reasons why I write reviews. The first is because I love film in many of its forms, and I enjoy sharing my passions for it. The second is to open up others to films that I feel are worth discovering, and in turn, I enjoy other people opening up my horizons to new, good films. So, it’s great when others do the same for me. With Snow White & The Huntsman, there’s a really solid fantasy picture here worth giving a chance to.
Years ago, the noble King Magnus fell prey to the enchantment of the evil Ravenna (Charlize Theron) who killed him and took reign over his kingdom. Sustained by draining the life from others, Queen Ravenna remains forever young and beautiful, but the King’s daughter, left alive and imprisoned, has now come of age as the fairest of all in the land to threaten this darkness. Snow White (Kristen Stewart) soon escapes the castle, and the Queen sends a rugged Huntsman (Chris Hemsworth) to track her down. However, the Huntsman soon joins with Snow White on a journey to see her father’s kingdom reclaimed through a land of treacherous enemies.
While watching this, I was really pleased that it kept selling me on it all the way through. I liked the narration by the Huntsman who gracefully sets up the details of this story taking us through Snow White’s youth and the kingdom’s fall. The movie is tightly paced, propelling its story forward in a lean matter, but still with plenty of meat to the characters and their stories. In fact, despite watching the extended edition while writing this review, the film seemed to move along even faster than on my first viewing of the theatrical cut. The extended version has a few good, new scenes that add a little extra depth and detail here and there. There is a scene between the Huntsman and William, Snow White’s childhood friend and archer, in the extended cut that better sets up and pays off another scene with the obligatory poison apple. Of course, we also get some very good action sequences, which are also tight and to the point. They exist long enough to serve their purpose, and are solidly satisfying and exciting. It all feels real and consequential. The battles are never taken lightly, and there are casualties beyond just the obligatory background soldiers.
Now, really looking at this, I feel this is a fantasy film that could’ve hit in the 1980’s next to Highlander or Excalibur. This movie has some stunning imagery and inspired cinematography. Early on, I love how bold the blood reds are. They standout as really symbolic. Overall, this film has grit, murkiness, and dramatic weight. Many scenes are smoky and moody. It creates a tangible, grounded world that still allows for the fantastical to live and breathe. It’s a dark world reflecting the grim bleakness the Queen has cast over it, and that just creates a very engaging look for me. It has a lot of that same texture found in The Lord of the Rings movies, but with more of its own gritty mystical atmosphere and mood. Snow White and the Huntsman is a really beautifully shot film helmed by a director who clearly has vision.
Surely, for some, Kristen Stewart would be an obstacle for them due to her work in the Twilight movies. I have not subjected myself to those films for many reasons, but I believe this film shows that sometimes it’s not the actor but the material that should be questioned. I am very pleased to state that Kristen Stewart does a very wonderful job here. It did not take me long to see that she was a young woman of admirable talent. There is a lot of depth to this character, and there is a strong arc for her that Kristen Stewart conveys remarkably well. The fear is something she sells very realistically early on, but there is a hope and strength that grows out of that fear. As Snow White progresses through this adventure, you see her mature into a stronger, more active character. There is subtlety and beauty to what Stewart accomplishes here. She really shows a lot of heart, warmth, but also a tinge of sorrow along the way. And indeed, she has touching chemistry with Chris Hemsworth which also really drives this film forward on many great levels.
I am really a believer that Chris Hemsworth is on the verge of having an amazing career. While my exposure to him has been very minimal outside of Thor, he continues to demonstrate a powerful presence and great depth of talent in everything he does. Clearly, he handles the physicality here greatly. The Huntsman surely has his humor stemming from his attitude and Hemsworth’s rich charisma. Yet, there is a heartbreak to him stemming from being a widower, and Hemsworth really digs deep inside to evoke those potentially tear-jerking emotions. It’s a very dimensional character backed by a performance that quickly and easily endears himself to an audience. The only off thing comes from his accent, which I couldn’t place, but turns out it was supposed to be Scottish. In the least, he puts forth more effort into his accent than Sean Connery has with any other accent in his entire career.
Charlize Theron is perfectly cast as the evil Queen Ravenna. She plays it as someone on the frayed ends of manic obsession. Ravenna is insanely consumed with her outward beauty, but surely, inside, she is a horrible monster. Theron has more than proven her talent over the years, and this is an absolutely excellent performances. There is a tragic quality to this twisted character, and you see that soaked into every fiber of Theron’s performance. There’s complexity and depth to her that runs very deep. However, what sells it all the most is simply her eyes. The glaring, crazed, unflinching stare is downright scary. You can see just how far off the deep end she is between that and her explosive rants. Theron even tore a stomach muscle because she was screaming so intensely, and I can believe it.
And there are still dwarves in this tale. These roles are filled by great actors such as Bob Hoskins, Ian McShane, and Ray Winstone, among others. The same sort of techniques used for similar smaller statured characters in The Lord of the Rings films were used here, and done so with seamless results. Hoskins is essentially their leader, and has the most dialogue. However, while his line deliveries are quite good, I found it odd that he was practically stone-faced throughout. I don’t think he registered a single actual facial expression in his screentime. Regardless, the dwarves tend to add the needed levity to the heavier, dramatic story being told. They never make things silly, just a little fun and light-hearted at times in the latter half of the movie.
I would say that the only segment of the film that didn’t wholly appeal to me was the latter half of the Fairy Sanctuary. This is the land that has been untouched by Ravenna’s darkness, and it is flourishing with a lush landscape and fantastical wonders. However, there’s just a lot of peculiar CGI woodland creatures that simply weren’t to my liking. With so much gritty realism in the film, this just felt pushed too deeply into the vibrant, slightly cartoonish fantastical realm, but it’s not long before it shifts back into the dark, grittiness.
This does bring up the issue of the digital effects. Most are really good, especially in the Dark Forest with all the almost pitch black creatures that slither and crawl out of the darkness, but in the Fairy Sanctuary, it is very obvious CGI that feels like it came out of another film. That’s another reason why that sequence didn’t work too well for me. Also, the withering age make-up on Charlize Theron is especially good, but some of the more elaborate morphing effects shots on her have room for improvement. Generally, the digital effects are fairly good with some really good stuff, but there is some more prominently on display work that doesn’t come off all that well. Thankfully, this film has very practical stunt work, and the realistic locations like the castles were actually built for the film. The filmmakers didn’t rely on digital matte paintings.
This film, while taking a new approach to the material, still hits all the classic beats of the Snow White story, but uses them to propel this story into larger territory. The poison apple from Ravenna to Snow White gives Hemsworth his best scene pouring out his heart over the dead Snow White. When she returns from death, it inspires and motivates herself and everyone else to take up arms and charge into battle. Kristen Stewart delivers a strong, inspirational, rallying speech to these people The fire and passion she projects is great. It is the moment where the character comes into her own, and becomes a leader to take back the kingdom that was stolen from her father. Snow White and The Huntsman still has that fairy tale simplicity, but adds in significant depth to mature the content, which is what makes it work so well. Every character has their sense of realism and dimensionality, and they serve both the gritty realism and the fantastical elements of the movie.
This film’s exciting, entertaining, it has a good, solid story, fine substance, satisfying character arcs, and overall, just has a great look to it. Also, from the opening logos to the end credits, the score is just enveloping and moody. That comes as no surprise from James Newton Howard, one of the best film score composers around today. Directed Rupert Sanders simply does a very solid job with this material, and hones his actors into bringing this darker fantasy take to life. I would say this is a hell of a good feature film directorial debut, and I hope he continues to deliver this kind of tight, cohesive quality. I know a sequel has already been planned, and while there’s not much precedent for further Snow White adventures, I will be eagerly interested to see what story these filmmakers conceive for it. There’s a great set of characters here that were well developed and filled by strong, rich talents. So, there is potential there, but until then, I will be happy to revisit this adventure quite a few times. I highly recommend it!
For whatever reason, the Predator film franchise lied dormant after the release of Predator 2 in 1990. It wasn’t until 2004 that we got the highly anticipated Alien vs. Predator films. The first one I hated, and I still consider it the worst overall movie I’ve ever seen theatrically. The second film I did a rather positive review of as one of the last Forever Horror website reviews and one of the first Forever Cinematic reviews. However, the general consensus of both movies was decidedly negative, and thus, someone thought it was time to bring the Predator franchise back into its own. Such a person was producer Robert Rodriguez known best for making big scale action on tight budgets. Thus, twenty years after Predator 2, we are given another proper sequel. The question is, was it good enough to breathe life into a damaged franchise?
Awakening in freefall, a collection of strangers find themselves dropped into an unfamiliar land with danger awaiting them. Royce (Adrien Brody) is a mercenary who reluctantly leads this group of elite warriors in a mysterious mission on an alien planet. Except for a disgraced physician, they are all cold-blooded killers – mercenaries, mobsters, convicts and death squad members – human “predators.” But when they begin to be systematically hunted and eliminated by a new Predator breed, it becomes clear that suddenly, they are the prey!
I will admit that I wasn’t sold on this film pre-release. I thought the premise of Predators abducting humans from Earth and dropping them on another planet to be hunted was against the idea of what a big game hunter would do. You don’t take a lion out of his natural environment and throw him in your backyard to hunt him. However, a positive reaction from a strongly opinionated friend of mine motivated me to see it theatrically. Indeed, I really liked Predators. I would still rank it third in my list of favorites, but all three films are ranked very tightly together. They are all extremely well made with their own unique ideas, visual styles, and approaches which all work superbly.
Much like with Predator 2, you must find it peculiar to cast Adrien Brody as the lead in an action movie. This film will entirely change your perspective on that. He delivers incredibly in this role. Brody can play tough bad ass with the best of them. He brings the charisma of a leader, but clearly shows Royce is a man of sketchy origins and doesn’t mind being a loner. Royce is also very smart and perceptive. He would be fine going at it solo, but he sees that even his own survival holds better odds sticking with them than without. You also see that he’s not a cold-blooded man, but he can be a savage, hardened killer when he needs to be. The film’s climax sells every awesome thing about Royce, and solidifies that I want to see more of him.
Brody has very touching and honest chemistry with Alice Braga, portraying the Israeli sniper Isabelle. They surely butt heads in certain circumstances, but they connect on an emotional level that does resonate. They build a mutual trust and respect as the film progresses. The rest of these trained killers, including the Rodriguez obligatory Danny Trejo, certainly don’t measure up to Dutch’s elite team from the first film, but they are a mismatched group that are weary to trust one another. My favorite, who has extremely little dialogue, is the Yakuza member Hanzo. He creates a very intriguing mystique around him through some interesting actions, and demonstrates a unique sense of honor. Topher Grace portrays the aforementioned disgraced physician Edwin, and surely, the film didn’t require the presence of this character. He just adds an extra wild card element late in the game which may or may not be easy to spot early on. I think I had this reveal spoiled for me before I initially saw the movie. The concept behind Edwin is a clever one, but probably not executed nearly as smartly as it could have been.
Laurence Fishburne makes a wickedly cool appearance as Noland, a soldier whose been trapped and has survived this planet for several years. The result of that is hat Noland’s gone quite crazy in a delusional, psychotic type of way. He’s more than skillfully dangerous, he’s psychologically dangerous. Fishburne is entertaining and awesome in this fairly brief, very off-kilter role. More than anything, this character is designed to sell the futility of an escape from the planet, and the idea of two rival tribes of Predators hunting out there, making it all the more difficult to survive.
The film’s first act of sorts might seem a little drawn out to some. I believe I felt that way upon first viewing. The characters are exploring this world, trying to understand where they are, and even the first action sequence is not until more than twenty-five minutes in. Strange alien animals are throw at these characters as a test first, and so, there is a prolonged wait before the first Predator is actually revealed. However, once that occurs, the film settles into a very familiar feel and tone. Rodriguez and director Nimrod Antal studied the first Predator in great detail to nail the vibe perfectly, and I think they got it just about dead-on while still adding to it. Antal focuses on building the atmosphere and tension so that there is a pay-off with the action.
The overall feel is great with some rich color schemes which still evoke a dark, ominous feeling. The cinematography gives this film scale and scope while still maintaining the isolated feeling. The night scenes look great with a more subdued color palette, but with an excellent use of light and shadow for a beautiful moody vibe. This really is a remarkably well shot movie with an abundance of artistic merit and dramatic visual weight.
The way the action plays out is very intelligent focusing on tension and imminent danger. There’s plenty of intense gunplay, but it’s definitely used in conjunction with smart tactics and strategies by these characters. The ominous feeling of being stalked and hunted is executed with great skill. It’s a whole package of the visual style, stellar editing, and a music score that stays true to Alan Silvestri’s work. This film definitely takes the filmmaking style and techniques from John McTiernan’s movie, and gives it a little more polish. Nimrod Antal definitely puts his own stamp on the film, but was able to make this feel cohesive with the rest of the main Predator franchise. The action scenes definitely reflect this as there’s really none of that modern shaky cam mayhem. It’s well plotted, shot, and cut together for an extremely coherent and effective experience. Beyond anything else, this film enhances the ferocity and frightening quality of the Predators. They feel even more merciless and relentless than before, if you could even imagine such a thing.
I can’t help but love two fight scenes in Predators. The first has Hanzo squaring off with his katana against the Predator. This is beautifully setup, and is shot so gorgeously with a lot of wide angles and a wonderful overhead shot showing the wind blowing through the high grass. It’s a graceful work of art. What trumps it on the bad assery scale is when the New Predator battles the Classic Predator, which is portrayed by Derek Mears. While I didn’t care for the remake of Friday The 13th, Mears was an awesome Jason Voorhees, and he makes for an awesome Predator. Two Predators ripping and tearing at one another is pure gold, and the scene doesn’t disappoint at all. This is savage, gory, and everything you’d hope it to be.
And indeed, the creature effects are excellent. Oddly, neither Stan Winston Studios or Amalgamated Dynamics, Inc. – who were responsible for all of the previous Predator effects – returned to work on this film. Instead, the impeccable talents of KNB EFX were tapped, and they delivered on an amazing level. There are some familiar designs with the Classic Predator, but the newer, larger Predators are even more impressive. They do feel like a different breed, but are given a much better approach than what we saw in Alien vs. Predator. And of course, the gore returns in abundance, and no one better to also fill that task than KNB EFX. They’ve been the standard bearers for physical effects, especially those in the horror genre, for the last twenty years, and that quality is vastly on display here.
Predators does a great job of taking cues from the first movie, and adding its own flavor and ideas to them. The climax is a great example as Royce uses some of the same tactics as Dutch with the mud, but uses it in a different context. Instead of giving the Predator nothing to lock on to, he overloads the senses, and takes him on full boar while retreading some of Arnold’s quotable dialogue. It all really works greatly while delivering the graphic violence quota that fans crave from this franchise. The film ends on an excellent note that left me wanting to see where yet another sequel could go.
And thus, I do believe that Predators was indeed good enough to potentially breathe life back into this franchise. Everyone involved steered it back in the right direction where exciting new stories could be told, and even on its own, this is a very solid and satisfying science fiction action movie. However, with the same budget as Aliens vs. Predator: Requiem, it pulled in just about the same amount at the box office, but the reviews and reactions to this film were substantially higher. Predators set a good foundation for the franchise to build upon, but three years later, no news of a sequel has surfaced from Twentieth Century Fox. That is quite unfortunate, but I think there is a great deal of potential to tap with this series which is evident here. Nimrod Antal and Robert Rodriguez did an excellent job bringing everything back to its roots, and while they chose not to acknowledge Predator 2, they did nothing to contradict it either. Again, I’d love to see more of Adrien Brody as Royce. He’s flat out awesome. While I’m sure some will view the film as leaning a little too heavily on the first movie, I really believe that what it takes from that movie was largely to its benefit, and the filmmakers still injected their own ideas and creativity to allow the franchise to move forward. They expanded the universe and possibilities in a lot of very good and intriguing ways. I do really like Predators, and I give it a strong recommendation. If this film has slipped under your radar for the last three years, definitely give it your attention. This is a franchise that deserves to live and thrive again under the watch of some really sharp and talented creative individuals.
My childhood fandom of the Ninja Turtles has not stayed with me into adulthood, except for this excellent live action film. When people talk about comic book adaptations I don’t think many trigger this film in their heads due to the property’s larger visibility as a cartoon. The cartoon was very goofy fun while the comic was very violent and dark. This movie met them somewhere in the middle giving us something that was gritty and violent with strong substance, but also maintaining a great sense of fun. Even more impressive is how these filmmakers brought the Turtles into live action in convincing fashion.
A mysterious, severe crime wave is gripping New York as thieves slip in and out even in broad daylight sight unseen. Television journalistic April O’Neil (Judith Hoag) believes it to be the work of a Japanese outfit called the Foot Clan, and she is soon targeted by them in order to silence her. However, from the sewers of the city come four mutated crime-fighting and fun-loving turtles – Leonardo, Donatello, Michelangelo, and Raphael – and their rat sensei Splinter who fight at her side. Joining them in their battle is Casey Jones (Elias Koteas), a vigilante that utilizes sports gear as weapons. At the head of the Foot Clan is the merciless Shredder who has revealing links to the origins of the Turtles and Splinter.
Now, I don’t care how evolved CGI will become, I cannot imagine anything outdoing the brilliant craftsmanship of Jim Henson’s Creature Shop team here. Henson, for those that don’t know, was the premiere innovator of puppetry and animatronics in the 1970s and 1980s. This film was indeed a pinnacle achievement for him and his company. Nothing at all is sacrificed with the use of these elaborate suits of foam rubber and animatronic mechanisms. They have a full, wide range of abilities in expression and movement creating Turtles that can perform all of the dynamic, agile action, and convey deep emotion and character. Even adjusted for inflation, no film today could achieve with CGI what this film did on $13.5 million. Each Turtle is given a distinct look, design, and feel with extraordinary detail. They have a very realistic texture that feels natural to the environment around them and of the film as a whole. Splinter is undoubtedly the most impressive accomplishment in all his articulation as there was no one in a suit portraying him. He’s purely from the result of expert animatronics operators, and he still has the value of humanity to him.
Leonardo is the strong leader of the group trusting and enveloping himself in Splinter’s spiritual teachings. He forges the soul of the team. Donatello is more laid back, less like his scientist cartoon counterpart, but still works very enjoyably in this dynamic. His voice is even provided by Corey Feldman. Michelangelo is the fun loving party dude, and a bit of the mischievous one of them all. However, my favorite is definitely Raphael with his more tough guy attitude. He’s the most strong willed, but also stubborn one of them all. He shows the most passion and frustration of the Turtles, and I really like his first encounter with Casey Jones. It’s very funny to both of their credits. It would be easy to drive this premise into silly territory, but this film takes these characters seriously. The filmmakers do make them fun, but they are dimensional characters with interesting family dynamics and deep, real emotions that are beautifully conveyed. It’s a masterful mixture of the live action performances, and incredible dubbing work by highly talented voice actors. It all feels totally seamless and cohesive for an ultimate Turtle Power experience!
Judith Hoag does a stellar job as April O’Neil. She’s a spirited, serious journalistic that is determined to crack open this crime spree, and even suspects the police of not doing their all to combat it. Hoag injects a lot of spunky personality into the character, and as the film progresses, we see her heart and humor in touching fashion. Hoag makes April a very energetic and fun character. It’s a terrible shame that she declined to reprise her role in the sequels due to substantial cuts to some of her scenes here. She does a wonderful job in this role through and through. I also believe Hoag has some endearing natural beauty that entirely fits the tone of the film, and more important than looks is that she’s a pitch perfect casting choice. She has wonderful chemistry with everyone she shares the screen with, and carries her own in every single scene.
The one person that I’ve always dearly loved in this movie is Elias Koteas as the hockey mask wearing Casey Jones. For one, Koteas is one of the best, most consistently awesome actors I’ve seen. As Jones, he’s greatly entertaining with a real hard edged but not-too-bright attitude. Koteas is more of a street fighter, but shows off some good moves against the Foot Clan. Casey is charming in a dunderheaded kind of way. He’s surely street smart, but not all that smooth socially. He means real well with his heart in the right place, but often his mouth and machismo screws him over. Koteas and Hoag have this great endearing friction that Donatello perfectly relates to Bruce Willis and Cybil Shepherd on Moonlighting, which had that classic argumentative romantic tension. By the end, however, you see Koteas has great comedic charisma, and has Casey show his heart to really win everyone over.
And of course, the portrayal of the Shredder is chilling and perfect. The filmmakers set the right tone keeping him shrouded in shadows at first, and giving him grand reveals that elevate his mystique. The role was the work of two performers. James Saito was the on-screen performer giving the character all of his theatrical and frightening presence, and showcasing some stellar martial arts abilities. However, his low, ominous voice was provided by David McCharen, and that’s a major cog in the Shredder’s overall power. The theatrical trailer actually features a different dubbed voice which isn’t as effective, and so, all the right choices were clearly made with the execution and presentation of this arch-nemesis for our heroes in a half-shell. And surely, I have to mention the really tough right hand man in Tatsu that leads the Foot into battle, and is a very solid complement to Shredder’s presence and character.
The action sequences are done remarkably well. All of the martial arts action is superb with the Turtle suits impairing none of the stunt players’ ability with the fight choreography. The violence holds nothing back, short of bloodshed, as weapons are used regularly, and the fights show plenty of inventive ideas to keep it fun and original. The Turtles’ shells are often employed in quirky, smart ways. It’s a great showcase of fun, dynamic, but also, gritty martial arts action. When the Turtles finally square off against the Shredder, it’s a great sequence which intensifies the villain’s indomitable skill and cold blooded viciousness. Yet, the climax still has some surprises and humorous beats to make it both a dramatic, perilous sequence, and something to elicit some chuckles and laughs from the audience. It’s stellar and memorable all around. It’s greatly satisfying.
It is immensely admirable how genuine this film is. Director Steve Barron pays honest respect to this material, and never treats these six foot tall ninja fighting mutant turtles are jokes. Of course it’s an absurd concept, but it’s only as convincing as how you present it. If you can make the audience connect with the characters on a genuine, emotional level, a serious tone with the film will work, and it does so amazingly here. Leo, Don, Mikey, Raph, and Splinter are given as much weight and poignancy as any other character you might find. It is their film and they carry it. And they carry it with tremendous success. These are the characters you absolutely must fall in love with, and all of the work that went into them from Jim Henson’s Creature Shop to the performers to the voice talents and beyond made that possible.
And this is one seriously catchy score by John Du Prez. These themes have been engrained my mind for over twenty years. He uses a strong urban flavor with electric guitars for most things, but there’s plenty of variation. For instance, the main theme is light-hearted and melodically catchy. Du Prez also gives us beautiful compositions in the more spiritual scenes with Splinter, and the tender moments out at the farmhouse where the Turtles, Casey, and April recover from their defeats. And even more so, his score accentuates moments of tension and danger for our heroes. It’s an awesome score that is filled with so much life and depth, but as with the rest of the movie, it never forgets the fun factor.
Teenage Mutant Ninja Turtles has excellent energy with spot-on rhythm and pacing. While it has lower key moments with lulls in the action to further develop the characters, it never drags. These filmmakers fill that 90 minute runtime tightly creating a film that is all kinds of fun while not skimping on the substance. This is due to the great action and charismatic humor that populates it. Every character is realized vibrantly and portrayed superbly. The balancing of tone between the serious drama and fun levity is greatly handled by director Steve Barron backed by a really solid screenplay It’s a shame this was at the end of the careers of both screenwriters. They seemed to have a real great knack for entertaining diversity, well developed characters, and cohesive storytelling.
Altogether, this is seriously one great movie! I really love it, and I think it holds up beautifully over the last twenty-three years. The gritty look of it really grabs me, and sets the Turtles in a unique world where it feels very real but their mere existence opens up the doors to far more fantastical possibilities. I think the spiritual qualities offered up are powerful as they add a further depth to these characters and concepts. I find it a real disservice that the sequels took a much more family friendly and lighter direction due to objections from parents about this film’s violent content. Neither sequel was received as well as this one resulting in declining box office returns for New Line Cinema. This first film was produced independently, and at that time, it became the highest grossing independent film of all time bringing in $200 million. That comes are no surprise to me because this is an excellent made film in every aspect striving to be more than just a fun flick. It gives you a weight of substance that is essential, in my view, to any successful comic book adaptation. Heroes will always battle villains, but it’s what you put into those heroes and villains that make it special. And to me, Teenage Mutant Ninja Turtles is a very special film to me. I give it a HUGE recommendation!
Blade II is a distinctively different animal than the original Blade. This is practically all due to the change in directors from Stephen Norrington to Guillermo del Toro (The Devil’s Backbone, Hellboy). He brings a much more colorful canvas to the film, and a bit bigger sense of fun. Cinematographer Gabriel Beristain helps del Toro achieve this to the fullest extent. Also, as is another trademark of Guillermo’s films, he brings in the wonderful Ron Perlman to the main cast as a token bad ass. The film definitely takes a lot of new turns and fleshes out established ideas. Though, it lacks the dramatic weight and emotion that Stephen Norrington’s film was quite rich with.
The film picks up five years after the events of the first film. In that time, Blade (Wesley Snipes) learned that his old friend and mentor Abraham Whistler (Kris Kristofferson) eventually did turn into a ‘suckhead,’ but the vampire nation has kept him hidden. Though, Blade soon rescues him, and returns to his new lair in Prague. A cure of some sort to administered to Whistler, and only time will tell if it takes fully.
Meanwhile, it isn’t long before the vampire nation comes looking for Blade with a unique offer of a truce. A new mutated species of vampires, called reapers, have become a serious threat to them and potentially all of humanity. They are overall a more advanced species with abilities and strengths beyond any other vampire, and a hunger that is like a drug addiction – they have to feed constantly. Anyone bitten is immediately infected. Also, Nomack (Luke Goss) is the original reaper who holds secrets that could bring down the vampire nation. Thus, vampire princess Nyssa (Leonor Varela) has come to enlist the aid of the Daywalker to lead this hunt for them. Blade teams up with a death squad named the Blood Pack that have been trained to kill Blade himself, but are focused on eliminating the reapers for the time being. At the head of this group is Reinhardt (Ron Perlman) who shows immediate distaste and opposition to Blade, but he’s soon put in his place the way only Blade can do. There is also pure blood elder Damaskinos (Thomas Kretschmann) who is Nyssa’s father, but also holds secrets of his own that he refuses to take responsibility for. These sorts of things come into play later in the film.
The hunt for the reapers and Nomack is only half the story here, and thus, only lasts through about half the film. Members of the Blood Pack are lost in the hunt, but the main characters survive it. Along the way, a bond is formed between Blade and Princess Nyssa while the relationship between Blade and Whistler seems to fade deep into the background. It almost seems like Whistler needs protecting, like he can no longer hold his own. Though, the hunt to destroy the reapers is really only half of the film, and barely scratches the surface of the overall plot which Blade hardly sees coming when he and Whistler are taken captive and a traitor is revealed along with buried truths with threaten everyone.
I would like to say that I actually feel this is NOT a sequel that surpasses the original, but that doesn’t mean it’s a bad film. I enjoyed the more dramatic, serious tone of the original Blade with its balance of action, vampire lore, and interesting, entertaining characters. Blade II offers up a more fun, multi-colored visual style with jacked up action sequences, but lighter on character depth and lacking a coherent plot progression. The first half of the film sets up a really strong threat in the Reapers, but all the setup and very detailed exposition is dashed when all but Nomack are wiped out halfway through the film. After that, it’s all personal agendas and vendettas to sustain the film from there. A far less sympathetic Frankenstein’s Monster tale of a creation turning against its creator ensues, and Blade is just there to clean up the mess. The final fight between Blade and Nomack, while intense and entertaining, is mostly a CGI affair like something out of The Matrix Trilogy forcing it, by default, to lack a needed visceral element. The fight mainly happens because the film needs a climax. The only real justification for it is a last minute act of violence that fires up Blade to throw down – an act that has no real purpose to have happened. There’s no build up of personal disdain between the two as there was between Blade and Deacon Frost in the 1997 film. Ultimately, Nomack is not the real villain of the film, but is left as the only remaining threat by the film’s end.
I also think Guillermo del Toro imbued this film with a bit too much cheesiness and levity. While Snipes, Perlman, and the other actors pull it off well, I feel we lose the weight of the story overall. First and foremost, Blade just doesn’t come off as imposing or as threatening as before. While Blade was quite the antisocial, brooding, edgy, blunt, and internal personality before, here (amongst enemies no less) opens up his thoughts and sense of humor significantly more. Snipes still plays the role exceptionally well, it just seems to go against Blade’s established personality – especially since he retains that cold, stone-faced facade when he’s amongst his established allies.
Speaking of which, Norman Reedus appears as Scud, a new ally of the Daywalker. He essentially took over Whistler’s role in his absence, but now that he’s back, there is friction. Though, where Whistler was allowed to be his own strong, solid character in the previous film, he becomes little more than an object of abuse by the Blood Pack here. This is deeply unfortunate considering that Kristofferson is a spectacular actor, and Whistler had such a wealth of potential for serious exploration before. Instead, he’s made into a weaker character overall that Blade has to protect whereas he could hold his own before. I really liked his gruff cowboy style mentality from the first film, and to see it be depleted here throughout the film for no major reason is just sad. You don’t get to see Whistler kick anyone’s ass, at all, ever in this whole film. That’s a greatly negative mark against this film, in my eyes.
The special and visual effects are superior than those in the original film, but with a span of four years between films, it’s not surprising. Guillermo does use a great deal more CGI than Norrington did, but it still works well for the film (even if it might be a slight bit obvious, at times). While I believe del Toro makes very good films, and excels with the more fantastical material, I simply believe he veered certain aspects of this film into incorrect directions. I like a good dash of humor in my films as much as anyone, but I don’t like it when the essence of an established character is lost within it. That’s what I see happened here with Blade. His character is too light, and loses some of his dark, mysterious edge. Whistler is handled in a pretty pathetic fashion which doesn’t roll for me. Anyone who casts Kris Kristofferson does so for his strength of character and natural presence of authority – that is totally wasted in this sequel.
Also, overall, I feel the vampire nation is presented in a very inconsequential light in this film. Whereas in the first film, they seemed like a powerful underground global organization, here the vampire nation seems terribly smaller and less influential with the weak and cowardly Damaskinos heading everything. He carries himself with no weight, and hardly seems like a threat to anyone. The only thing that makes him powerful is his personal influence and armed guards. When danger comes his way, he retreats like a little old lady – literally. Nomack really is a greater threat (and proves it), but is terribly downplayed by the second half of the film. This is all why del Toro’s film is marginally inferior to Norrington’s original film – mishandling of characters and plot. This might be attributed to David Goyer’s writing (lord, I know what it’s like when there’s no around to fix it up), but it is the director’s job to balance these things out. I simply feel like there was more consistent storytelling and character continuity with the original Blade. I’ve seen Hellboy, and I feel it suffers from the exact same problems as Blade II. It is a fine film, but could use some definite improvements as could this sequel.
And I just have to say the biggest mishandling of a talent in this film is in Donnie Yen. I’ve only seen him in Highlander: Endgame, but DAMN, was I impressed by his talent and abilities. The man is a premiere martial artist that rivals the likes of Jet Li and such. He is simply an amazing athlete and martial artist. The fact that he’s barely utilized in this film should be a crime. Maybe the filmmakers were afraid he’d out-shine Wesley Snipes? I don’t know, but it’s just wrong to have under-utilized him in this picture. Honestly, if you cast a talent the caliber of Donnie Yen, it’s for a very specific reason, and that reason is blatantly obvious. To not make use of his most prominent talents is simply stupid. Of what I’ve seen of him, I’d definitely look forward to seeing more of his talents.
This film has new music composers in Marco Beltrami and Danny Saber, but the difference isn’t strikingly different. In the least, the music fits well with del Toro’s tone and style. The soundtrack still features some techno-style music, but also rap / hip-hop music is present with the likes of Cypress Hill. Not at all my taste in music, but it’s good within the context of the film. Simply put, I have no qualms about the musical score or soundtrack for the film.
The film does indeed look fantastic with a rich color scheme, and the stellar cinematography. The camera moves and angles definitely lend a sense of scope and power to the images. The production design is top-notch creating various distinct sets and locales with bring a European flavor to the film. With all the more diverse settings in this film, it easily makes it look more elaborate than the American urban setting of the first film. But whatever the case, it all looks amazing!
Overall, taking in all the good and not-so-good of the film, I would have to give Blade II a score slightly below that of the first film. Guillermo del Toro is an awesome filmmaker, but with this film, I just don’t feel his style lent itself best to this film. I would’ve preferred more dramatic and emotional weight overall, and a stronger consistency in the characters of Blade and Whistler. They are the only franchise mainstays, and they’re the ones we follow from film-to-film. I feel their characters were weakened, and their potential strength was drained by excessive levity in the film overall. Also, the CGI is good, but during the action scenes, you know when it’s CGI, making it not all that great. It certainly helped the filmmakers achieve things that they couldn’t do otherwise, but also took away from the effectiveness of the times it was used. It becomes a toss up, but never the less, I count it as a mark against the film, to a small degree. Simply put, I give Blade II an 8.5/10. It’s a good film, but it could’ve been stronger and more coherent in its storytelling progression and character development.