There are so many action movie classics that people call the best, but for me, Point Break is a special, unique film that is, without a doubt, my favorite action movie of all time. What compels me about this movie that beyond all others is the intense relationship between the protagonist and antagonist. It creates this amazingly unique dynamic that forges the entire electric, kamikaze adrenalin rush of this film. So, let’s delve into Kathryn Bigelow’s action classic.
Rookie FBI Agent Johnny Utah (Keanu Reeves) goes undercover to infiltrate a cache of Southern California surfers suspected of robbing banks. Utah, a former football player, is assigned to Los Angeles. There, four bank robbers, who wear rubber masks and call themselves “The Ex-Presidents,” have executed a series of successful robberies which embarrassingly have the FBI stumped. Utah, and his partner Angelo Pappas (Gary Busey) suspect that the robbers are surfers and hatch a plan for catching them, but the deeper Utah gets connected to the charismatic adrenalin driven Bodhi (Patrick Swayze) and the beautiful Tyler Endicott (Lori Petty) the harder it is for him to jump off this tidal wave of danger and excitement.
Point Break absolutely lives up to its premise as being 100% pure adrenalin. The surfing aspect is just the entryway into this, but it remains at the core of the whole film. That elevated experience shared by Bodhi and Johnny, specifically, is what fuses those two characters together, and is treated with great respect by the filmmakers. The skydiving sequences escalate that to another level with breathtaking cinematography that envelopes you in the experience, and make for a radically insane sequence where Johnny jumps out of the plane, without a parachute, to capture the escaping Bodhi. The earlier chase sequence is visceral and intense that really utilizes a rougher style of camera exceptionally well. And of course, the bank robberies are slam banged into a high gear that shows just how proficient and threatening the Ex-Presidents are. It is no wonder why the FBI has not been able to catch them after twenty-seven banks over three years. Wrap all of this up, and you’ve got a film that goes for the physical thrill of the moment over special effects spectacle. It’s really all about the character dynamics and these scenarios of extreme rushes that provide the high octane exhilaration of Point Break.
Beyond just the action, the core of this film’s compelling energy are the excellent arcs for both Johnny and Bodhi. You see Special Agent Utah at the start being this fresh from the academy FBI rookie all straight laced and green, but you can see the eagerness underneath that later fuels that adrenalin junkie urge. Johnny and Bodhi become genuinely intertwined in a naturally evolving way that inches Utah further towards that kamikaze impulse. Bodhi’s charisma and aura sucks Johnny right in, but it’s never manipulative. Everything Bodhi conveys is honest straight to his core, and every word of it energizes Johnny. Most action films have a clear delineation between the protagonist and the antagonist, but here, things are not so clean cut. Once Johnny is caught up in Bodhi’s tsunami of pure adrenalin, there’s no way out, and he has to ride it out all the way to its heart pounding, violent end. Bodhi will push everything to its absolute breaking point while risking everything and everyone in the process, and there is a price to pay for it.
Quite frankly, this would have to be the movie that made me a serious Keanu Reeves fan. A lot of people give him crap, but I give him a lot of credit. There’s a great deal of subtle development of Johnny Utah between Reeves’ performance and Bigelow’s direction. This all occurs as he further embraces the philosophy of Bodhi and his love for Tyler. Keanu Reeves and Lori Petty have very pure, heartwarming chemistry. Tyler is vibrant and full of brightness that adds glowing life to Johnny. Meanwhile, as the connection between Johnny and Bodhi intensifies, so does the performance of Reeves. Johnny becomes more confident, more determined, and less bound by rules as he is propelled out of control through Bodhi’s deadly thrill ride. I feel Reeves becomes more compelling as the third act shifts into high gear, and Johnny has to has to jump right off the deep end after Bodhi.
Kathryn Bigelow’s direction really envelopes you into Johnny’s mindset whether he’s mesmerized, haunted, elated, or burning with conviction. Through all of this Reeves is genuine and sincere in his emotions. You are kept very closely in tuned with Johnny’s mindset through successes, failures, and conflicts. Point Break is a film that drives everything right to the edge. Every danger, every extreme, every adrenalin rush is pushed to its insane limits at whatever cost imaginable. Bodhi embraces this without hesitation or a moral compass. He’s essentially a barreling freight train unwilling to put on the brakes regardless of what it will cost him.
Patrick Swayze is wickedly good as Bodhi. He envelopes the character entirely in philosophy, conviction, physicality, and spirituality. I love how Bodhi has this ethereal link to the sea, and gains a serenity from surfing while being an extreme adrenalin junkie. Yet, it’s not merely about the thrill with the bank robberies. He has a greater purpose by showing the shackled masses living their mundane, slave to the grind lives that the human spirit is thriving within his crew. Swayze is so electrifying with his natural charisma and intense commitment to the character. When I watch this film, I don’t perceive Patrick Swayze playing a role. I see Bodhi through and through. Swayze is stunningly excellent here, and I’m still a little sad that he is no longer with us. He was an amazingly talented actor, and this should stand as one of his best, most compelling performances.
Rounding out the main cast is Gary Busey in a great, entertaining role as Angelo Pappas. He can be hilariously funny and quirky, but solidly dramatic in the right moments. It’s a really well rounded character portrayed by an actor with the smart talent to balance those elements out perfectly. Plus, there’s John C. McGinley as FBI Director Ben Harp. Surely, he might seem like the stereotypical loud mouthed boss slinging insults around to his subordinates, but McGinley’s such a strongly talented actor that it never comes off as shallow or tired. Add in a touch of smug arrogance, and the character of Harp works dead-on-the-mark in McGinley’s hands.
The musical score by Mark Isham is really fantastic. For one, I love how he captures the enveloping spiritual sense of the sea with smooth, flowing compositions. It’s very beautiful work that reflects the philosophies of Bodhi long before he enters the film officially. There is another gorgeous cue that reflects the mystique of Bodhi that’s only a few chords, but it’s repeated a few times to very magical effect. The action cues are good, yet subtle. Isham never bombards you with pounding percussion.
The soundtrack is energized with songs that capture that Southern California feel from bands such as L.A. Guns, Concrete Blonde, Jimi Hendrix, Public Image Ltd., and capped off with my beloved “Nobody Rides For Free” by Ratt. That song perfectly concludes the film, and reflects the constant energy and excitement that runs through it.
The film really escalates to another level when Johnny realizes who the Ex-Presidents actually are, and that super charges every scene from there on out. The emotions hang on the razor’s edge. For Bodhi, it ups the stakes making the adrenalin rush and peril even more appetizing for him. For Johnny, it creates conflict as he has forged a very close bond and kinship with Bodhi, but is soon forced to do whatever is necessary as Tyler is put into imminent peril. Unlike most action movies such as Die Hard where it’s very straight forward that this is the bad guy and he’s going to die without question, Point Break makes it all far less certain because all of these emotions, some are unexplainable, cloud and complicate the issue. What all of this builds to is possibly my favorite movie ending of all time that entirely departs from all action film expectations.
The relationship between Johnny Utah and Bodhi reaches its apex on a storm soaked beach. Their connection remains electrifying as these two clash, but it’s not the fist fight that makes this as great as it is. Johnny finally has Bodhi in handcuffs ready to put him in a cage for life, but it’s that spiritual kinship between the two that sparks off something unique. All the groundwork for this ending is laid early on in the film in one scene over a bonfire, and the pay-off is amazing to me. Point Break is my favorite action film not because it has the best action sequences, or because of its pleasantly memorable dialogue. It’s because of the culmination of this ending. Everything that these two characters have developed between each other throughout the movie is so smartly interwoven, setup, and punctuated here. It concludes an amazing arc for Johnny Utah who begins as this clean cut rookie FBI Agent who changes into someone driven by impulse, emotion, and that inexplicable sensation he gets out on those waves. He pursues Bodhi down around the world for months on end, but in those final moments with an honest plea from Bodhi that only Johnny can understand fully, you get an ending that breaks a lot of rules in all the right ways. This ending captivates me to no end that I have attempted to homage and replicate in many of my own scripts.
Karthryn Bigelow did not have any real box office success prior to this film, despite turning out some quite good films such as Near Dark and Blue Steel. With Point Break, she really came into fruition with a greatly exciting, fresh, and original summer action picture that really delivered. She shows a great visual style here that pinpoints emotion greatly and really envelopes you into every fiber of this film. Possibly less than half of Bigelow’s movies in her thirty year career have actually been box office successes, and that’s a horrible shame. I think she is an incredible director who showed a great deal of potential here, which she would capitalize upon in with stunning results in Strange Days. Her collaboration on both pictures with now ex-husband James Cameron really shows through in all the best ways. Point Break shares some common ground with Cameron’s work, and even he draws some parallels between the endings of this movie and Terminator 2. Regardless, I will take no credit away from Bigelow who gave us this excellent pure adrenalin rush of a movie which has not been replicated since. I think it goes without saying that I recommend this movie with great passion.
This is an overlooked gem in Arnold Schwarzenegger’s filmography, in my opinion. It’s an action film that I’ve loved for many, many years back to when I bought the widescreen VHS in a nice clamshell case. Today, I’ve got the bare bones DVD which still presents the film beautifully. I had intended to devote January to being a Schwarzenegger month with a slew of reviews of his films, but let’s say I’ll be getting around to those throughout the year. Today, it’s a fun look at Raw Deal!
A Chicago Mafia is violently doing away with witnesses who were to incriminate them in court, making it clear to the FBI that they have a leak of information in their ranks. Mark Kaminsky (Arnold Schwarzenegger) is an ex-FBI Agent, a former FBI agent forced to resign from the Bureau due to excessive violence, is now a small town sheriff. FBI Chief Harry Shannon (Darren McGavin), whose son has been killed by a mobster named Petrovita (Sam Wanamaker), enlists Kaminsky in a personal vendetta with a promise of reinstatement into the FBI if Patrovita is taken down. Kaminsky eagerly accepts the challenge and is prepared to infiltrate and tear apart the Patrovita machine without the consent, knowledge, or protection of any law enforcement agency. But once he’s in, he can’t get out and when a gorgeous mole is paid off to betray him, he becomes trapped in a deadly game where loyalty means nothing and there is only one person he can trust. Using his own brand of justice, he begins an action-packed journey into the murderous world of the mob and will stop at nothing until he has successfully completed his mission.
This is definitely a bit of a different story than you would usually find Arnold in. Something about corruption in law enforcement and mobsters warring on the streets of Chicago is a little different than secret agents, commandos, or ass kicking cops. However, Arnold fits comfortably and sharply into this context. We usually see him in more straight up action roles, but Raw Deal required Schwarzenegger to be more slick and smart in how his character operates. That classic Arnold charm is what really propels him through most of it. A confident, smooth manner is what takes care of the rest. There’s enough wit and smarts in his performance to maintain that sly sensibility to keep Kaminsky likable and entertaining. Yet, Arnold is able to bring out the tough bad ass competently and effectively. As is no surprise, he’s excellent in every action scene with plenty of physical combat to get his hands dirty.
There are a lot of great one-liners from Arnold that I’ve considered solid classics. It’s smart, fun writing that makes Kaminsky an enjoyable hero while never damaging the dramatic qualities of the film. It’s a nice balance handled by director John Irvin. Without these moments, the film could get a little dry, but we get nice dashes of that charm and wit to liven it up where need be.
Schwarzenegger strikes up some great chemistry with Kathryn Harrold’s classy, yet assertive Monique. What’s nice about this film is that while it does have multiple plot threads and character relationships going on, both friendly and adversarial, it never gets complicated. This is well reflected between these two characters. It has its sweetness as well as its conflicts. They build an enjoyable relationship between affectionate charm and some heated disagreements, but ultimately, it’s a simple romantic storyline that allows Kaminsky to regularly show his humanity and compassion.
There’s also a fine performance by Darren McGavin who mixes the conviction of a man needing justice with that of a heartfelt friend and father. He pops in and out of the film, but his scenes have substance that hold the underlying plot together. Joe Regalbuto creates a nice counterbalance playing up the bureaucratic, slightly snide mentality of Special Prosecutor Baxter, the man who forced Kaminsky out of the FBI. We soon see that he is justifiably despicable, but also, surely lacking in backbone when things got hot.
The supporting cast has plenty of solid talents. Robert Davi is great as the somewhat blunt instrument of an enforcer in Patrovita’s organization. Davi always does top notch work, and he adds a good rough, arrogant quality to Max playing opposite Schwarzenegger’s smoother undercover persona of Joseph Brenner. Everyone from Sam Wanamaker to Steven Hill put in very authentic performances as Chicago mobsters. They have that refined, high class, yet detestably corrupt quality which Chicago residents are all too familiar with. Ed Lauter is damn good as Federal Agent Baker who showcases some wit, charisma, and levity to make him quite engaging and memorable. Overall, Raw Deal doesn’t have a single weak link amongst its highly talented cast.
The score has some nice qualities to it. The action scenes have a strong driving rock sound to them that really kicks some ass, and adds more punch to each sequence. The dramatic scenes are more subtle keeping them generally low key but decently effective. In one instance, where Kaminsky and Monique are indulging in some campaign, we are treated to a nicely elegant saxophone as it becomes a lightly sexy moment with a humorous beat at the end.
I also think Raw Deal is very well shot making fine use of the 2.35:1 aspect ratio. John Irvin and his cinematographer utilize very good camera movement and solid angles and compositions. These are good, intelligent filmmaker who know how to dramatically stage a scene with smart camera work and very good lighting. They show off some fine 1980’s elegant production design, and also give us some punch in a night club scene with vibrant colors. For whatever reason, Chicago in the 1980s and early 90s looks quite different on film than it does today. A good deal has changed since then with more development all over the place, and it’s kind of intriguing to look back on a film like this that shows off some good landmarks of the city. There’s an entire car chase that runs through Navy Pier, which is essentially a big amusement park area with a Ferris wheel, concert venue, attractions, and a movie theatre today. Here, it’s dead empty.
But yes, indeed, this film features some solid action scenes. As I mentioned, Arnold is great getting hands-on in the fight scenes, and that car chase is really damn good with mobsters trading gunfire at high speeds. There’s enough action to satisfy right from the beginning with a mobster raid on a safe house where a witness is executed. I also love Arnold plowing a truck through the front business of Lamansky’s casino. But for me, the absolute BEST action scene comes when Kaminsky assaults the quarry where he provides his own soundtrack by putting a cassette tape of the Rolling Stones’ “Satisfaction” on the convertible car’s stereo and blasting it as he drives around picking off bad guys. There’s just putting a cool song added onto the soundtrack, and then, there’s the character himself providing his own action scene soundtrack. That’s purely priceless and it is one of my favorite moments in a Schwarzenegger film. It’s just awesome! This scene even starts out with the standard “arming up” scene where Kaminsky unfurls his arsenal of high-powered firearms and dons a slick leather jacket.
Following this up is the real big climax where Kaminsky goes for broke and unleashes a barrage of gunfire upon his enemies. There’s a great catalyst to all of this from the undercover operation to pure action revenge onslaught involving Harry. While it essentially negates all the attempted undercover manipulation and deception, it’s ultimately what you are waiting for. This is what makes it a Schwarzenegger action movie. Him spraying automatic gunfire in a stellar action climax that is awesomely shot, edited, and executed. Arnold goes into full bad ass mode taking something like the police station massacre in The Terminator and upping the action hero intensity with motivations of revenge and vindication. And it still has great, clever moments. It’s just an excellent climax to a rather fun film.
I will certainly say that Arnold has many greater movies than Raw Deal, but even then, it’s far from being a bad film. There are solid performances all around with a good, well put together plot that keeps it simple and straight forward while delivering plenty of entertainment value. It surely had enough plot potential to be a bigger, more complex and involved film than it was, but it sort of wisely avoids doing that knowing this is a Schwarzenegger vehicle. It’ll give you a good plot, but it’s going to keep it nicely focused on his character and maintain a good dosage of action. The film did fairly well upon release, but surely has been one of Arnold’s lesser regarded films. I think it’s fun while still providing some good dramatic and romantic qualities. Arnold himself does a fine job where he clearly was having a fun time. Like I said, it’s not entirely typical of his films with it’s more slick, dramatic tone and some sentimental qualities near the end, but it’s an enjoyable 104 minute action flick. It’s got enough entertainment value between everything Schwarzenegger is doing in this role and the solid action sequences delivered by director John Irvin. As something from De Laurentiis Entertainment Group, I think this nicely meets those expectations. I definitely recommend it for a fun time.
Poor Frank Castle. He can’t get a film franchise started to save his life. It’s just reboot after reboot. However, out of the three that have been made, I believe this is the one that gets the most right in the right places. I did see this theatrically, twice in fact, and I was really blown away by it. Regardless, it did poorly at the box office due to a lackluster marketing campaign by Lionsgate and an untimely December release date. Conversely, this was the same year that gave us Iron Man, The Incredible Hulk, and The Dark Knight. So, there was high caliber benchmarks set in 2008, and I would say that Punisher: War Zone did not disappoint, in most part. To me, Ray Stevenson is the best Frank Castle to date, but there are some glaring problems with the villain of Jigsaw that impact the quality of the overall movie.
Ex-Special Forces officer Frank Castle (Ray Stevenson) wages a one-man war on two fronts. While targeting the vicious mob boss, Billy Russoti (Dominic West), Castle horribly disfigures the gangster in a firefight that also claims the life of undercover FBI Agent Nicky Donatelli. Seeking terrible vengeance, Russoti takes the name “Jigsaw” and begins recruiting the underworld’s most notorious criminals while Agent Paul Budiansky (Colin Salmon) joins with the sole member of the NYPD’s Punisher Task Force, Detective Martin Soap (Dash Mihok), in order to avenge his partner’s murder. However, Frank’s lethal mistake weighs on his conscience, and he is nearly ready to pack it in until he realizes the danger Angela Donatelli (Julie Benz) and her daughter are in. Now, The Punisher must find a way to elude the law and decimate a deadly crime army before more innocent lives are tragically ended.
First off, I really like that the filmmakers didn’t make this film another retread of the Punisher’s origin story. They instead chose for the Punisher to have already been operating for five years at the time of this story. Although, they surely weren’t going to gloss over that origin considering this was another reboot. We get tragic flashbacks to the aftermath of the Castle family’s slaying, and the story is briefly, yet poignantly told by Detective Soap to Agent Budiansky. We get the details on what happened, and even more impactful is noting the Punisher’s track record and body count. The entire basement of the police station is filled with files on every case, every murder involving the Punisher. There are literally thousands of them. This was a brilliant direction to go in to join Frank further down the road, and allow some perspective and reflection to enter into the equation of his character. This is no longer a man in the heat of his passionate revenge. This is a grim, weathered individual who is driven by his disdain for injustice, and has buried his soul deep down underneath all that pain and grief. That’s a fascinating route to go, and it works directly and purposefully into the story.
Fan reaction was that this film was very faithful to the Punisher MAX and Marvel Knights comic series with its gritty, yet over-the-top violence and vibrant color scheme. While I cannot comment on the accuracy of that sentiment, what I can say is that this is really what I’ve always felt a Punisher film should be. It is unrelentingly brutal with a generous helping of blood, gore, and violence, but with proper depth to its characters. The action sequences are slam bang amazing, even if they can tend to defy the laws of physics, at times. However, Punisher: War Zone is clearly geared towards a very comic book style, just based on the gorgeous cinematography. It is so vibrant, moody, gritty, and saturated with all the right colors that it often looks like it came straight off the pages of a comic book, and the action is indeed jacked up with that mentality. Just in the opening sequence, we’ve got a good dozen mobsters getting shot, slashed, and just laid to waste in graphic fashion. It sets an awesome, aggressive, relentless vibe for the whole movie which never disappoints or eases up. It puts you in the world of Frank Castle, and delves you right into his bleak, graphic state of mind. This is an action film that pulls no punches, and goes straight for the hard R rating all the way.
I also love how Castle moves and operates in the action scenes. It’s all very militaristic, but exceptionally nasty. No mercy, no prisoners – everyone dies. While the previous Punisher films had plenty of action and unique use of weaponry, this film employs tactics and strategy that feel very authentic. This is even more appropriate since this Frank Castle is actually revealed to have been a Marine. Dolph Lundgren’s was a former police officer, and Thomas Jane’s was a federal agent. I don’t know why it took a group of filmmakers so long to actually get Castle’s background correct, aside from the Vietnam aspect, but thankfully, it is well realized here in very subtle and clear details. It is very much ingrained in Frank’s mentalities and disciplines. Even his body armor reflects a man of vast wartime experience as it covers his torso up over his neck, and appears to be very heavy duty. Frank looks like a man waging a war as he’s always prepared with another weapon at hand, and has precise, razor sharp reflexes. This is a guy you’re going to have to massacre in order to stop, and he is not going to make that the least bit easy to do. I love the moment early on when he uses a pencil to reset his broken nose. That’s hardcore right there. Frank himself is immensely intimidating just by the sight of him. The slicked back black hair, beard stubble, and the obvious wear and age on Ray Stevenson’s face create a grim visage that says more than words ever could. And the signature white skull on the body armor is the final glorious touch to put the fear of death into any criminal.
Of course, I stand very firm in that Ray Stevenson was a brilliant casting choice for this character. I know Lundgren’s version had some sense of self-reflection, but I’m not familiar enough with Jane’s Punisher to know what he brought to it, depth wise. I just know that the film he starred in is one I cannot sit through. Here, Stevenson gives us every dimensional quality that could exist for Frank Castle. Yes, he is a hardcore bad ass that is unwaveringly lethal. Unlike most superheroes, The Punisher has no lines he won’t cross. If you’re a criminal, you will be punished. There is no gray area. It doesn’t matter if the cops are right there to arrest the criminal, he exacts his own brand of justice every time. The level of violence and carnage is absolutely appropriate for The Punisher. It is necessary to have in order to understand the emotional and psychological mindset of Frank Castle. The graphic violence he dishes out is the same which claimed the lives of his family. It explains why he is such a grim figure, what the definition of a vigilante truly is, why the cops and criminals fear him, and why neither want him on the streets. He is a man alone, and no one can truly understand him without seeing and feeling what it is he has gone through. Still, you see that he does feel things, and that he has a morality and a soul. Frank’s been emotionally shattered by the violent murder of his family, and that has resulted in a grim man with a lot of deep seeded pain, torment, and disdain. Ray Stevenson brings those powerful, realistic qualities to the surface, and it creates the real solid core of this film. The action, violence, and brutality are givens for a Punisher film, but it’s that serious depth of character which sets this film apart from its predecessors. You see the fractured remnants of the caring family man Frank once was, and it really penetrates for me. The story aspect of Frank accidentally killing an undercover cop instigates that deep exploration of his soul and heart, and creates an emotionally moving arc by the end with Julie Benz’s Angela Donatelli. Stevenson is absolutely everything that you’d want from your Frank Castle thespian. He handles the role with serious weight giving it credibility and humanity. It is the most three dimensional Punisher I have yet to be exposed to, and shows that the character is more than just a vigilante with a bad attitude. He has depth to spare, when put into the right creative hands.
Julie Benz is truly excellent as the grieving widow as she is not a wholly trembling mess. Angela is a cop’s wife, and has strength and conviction within her to survive through all she endures. There is a deep well of pain and emotion that pulsates through her performance. While she is strong, she is vulnerable nonetheless, and it’s a great mixture she puts together that can really be felt by an audience. I know Benz from her work as Darla on Buffy the Vampire Slayer & Angel, and so, her range of talent is not a surprise to me but is a great pleasure to witness. She shares some substantive scenes with Stevenson, and they both work beautifully together. The same goes for Stephanie Janusauskas who endearingly portrays the young and innocent Grace Donatelli. Stevenson’s scenes with her bring out Frank’s adoration he had for his own daughter, and is the most tender insights into Frank. Stephanie is wholly sweet showcasing some genuine talent that really forges an audience’s empathy for Grace.
Now, this film is easily divided up into two separate sections of quality. Everything that does not involve Jigsaw is tremendously bad ass and awesome. Unfortunately, almost everything that does involve Jigsaw is really ridiculous and silly. Now, Dominic West did a superb job with Billy Russoti. He was charismatic, threatening, a little intimidating, and a perfect fit for an Italian Mafioso. He had all the elements just right for this slick, underhanded villain. If he had remained as this character throughout the film, I think the tone would have been much more consistent and balanced. However, after he’s disfigured at the hands of the Punisher, that’s when we’re subjected to a very comical villain that poorly contrasts with the dark, heavy, serious tone of the film. Jigsaw becomes almost cartoonish in his behavior, attitude, and look through most of his screentime. He’s clearly overacting through those facial prosthetics, and it’s nothing but detrimental. There are better moments here and there, but in general, it’s the one major element that brings the film down for me. It’s not even like a Jack Nicholson Joker where he’s at least morbidly comical in his homicidal tendencies. Jigsaw is very much plucked out of a twisted cartoon concept where it’s difficult to take him seriously after a while. His criminal recruitment montage sequence is almost enough to force a face palm reaction. It’s not a purely bad performance, but there’s far more bad than there is good from Dominic West once he adopts the Jigsaw persona.
There is one semi-saving grace amongst the villains, and that’s Doug Hutchison as Looney Bin Jim. It’s a character strictly created for the movie, but his psychotic qualities really do help boost the threat level. He’s immensely agile and brutal, and thus, is able to take the fight right to Frank Castle near the film’s climax. In the least, the character gave Jigsaw someone to bounce off of, someone who feels like a trusted and capable right hand man, and that’s commendable for the filmmakers to have done. Hutchison is surely over-the-top in his own right, but for the character, it does work immensely better than for Jigsaw. It would have worked better had Jigsaw been a much more serious character and threat to create that contrast of Jim appearing far crazier.
The remainder of the cast is solid starting with Wayne Knight as Frank’s arsenal securing friend Micro. Knight does a fine job keeping the character enjoyable, but still dramatically poignant and sympathetic. He and Stevenson work very well together creating an honest, open relationship between Micro and Frank that feels genuine. Dash Mihok also does an exemplary job as the enthusiastic, innocent minded Detective Martin Soap. I liked the twist with the character about midway through the film. It’s very comical but terribly appropriate as it makes a fun kind of sense, and makes Soap appear more capable than he tends to appear. I really enjoyed the character, and Mihok made him endearing. On the more bad ass side, Colin Salmon is excellent as Agent Paul Budiansky. He’s a very take charge type of guy who doesn’t shy away from danger, and is deadest determined to haul in the Punisher no matter what. Salmon brings a lot of heart to the role, and the script gives him depth to work with as he owes Nicky Donatelli his life and career after Budiansky got hooked on narcotics. There’s a debt to repay, and he’s not going to take a backseat to anyone. Budiansky throws down with Frank, and with a guy of Salmon’s size at 6’4”, he absolutely looks like a guy who could hold his own against real bad dudes. Overall, this is a film with some mostly solid and dimensional performances that not enough comic book films strive for, but should. It’s easy for a lesser grade screenwriter or filmmaker to gloss over character depth in favor of spectacle or action, but that’s exactly when they’ve already failed. This film succeeds, and in many different ways.
I mentioned the cinematography a bit already, but I’d like to elaborate on it. While the film does have a very vibrant color palette, it is soaked in dark, shadowy environments. It has plenty of moodiness and atmosphere to spare. Even the daytime scenes are a little washed out to enhance that bleakness. The richest visual feast occurs in the church scene where Frank meets with Budiansky before the climax. This location is filled with brilliant colors, but has the added beauty of numerous lit candles. The scene has some exquisite depth of field and artistry to it that, while it fits solidly with the rest of the picture, gives this scene a special aura all its own. The action cinematography is excellent. There is absolutely zero shaky cam quick cut editing. The camera work is wholly competent going regularly for fluidity instead of chaotic motion. That shows there were some smart filmmakers behind this. They were able to give this film a unique style that is very comic book in nature while never becoming cliché or showy. It’s clever, sharp, and beautiful all around. Cinematographer Steve Gainer deserves a load of credit for making this film look so stunning, and director Lexi Alexander deserves credit for pushing for many of the stylistic composition choices. It all works to amazing effect.
And while this movie was shot in Québec, Canada, the filmmakers had enough perspective on the material to seamlessly integrate some excellent stock footage of New York. My favorite bit of this is when Frank’s standing on the rooftop and the Chrysler Building is over his shoulder in the distance. It was surely some sort of green screen shot, but when I saw this theatrically, I couldn’t tell that this movie wasn’t shot on location in Manhattan, New York. So far, this is the only Punisher film to actually have the film blatantly set in New York, and actually go to the extra effort to sell that illusion. That is something I cannot commend them enough. Nearly every Marvel superhero is based out of New York, but if there’s any one character from Marvel Comics that is a tonally perfect fit for the urban grit of New York, it is the Punisher.
Now, the music of the film is a bit divided for me. While I am a big heavy metal fan, I admit that it rarely has an appropriate place in a film. Most times, like in this film, it tends to be intrusive and a bit overblown. Maybe if these were songs from bands I actually liked, perhaps I’d be more welcoming of them. However, there is some great score performed by Michael Wandmacher. It brings out the dark, dangerous tone of the film, but also, highlights and enhances the moments of emotional depth and turmoil. It’s a very well rounded piece of work that perfectly complements this stellar film.
Aside from the comical elements of Jigsaw, I think Punisher: War Zone has a very solidly put together story and script. Every Punisher film that ever has and ever will be made is always going to have Frank unleashing an all-out assault on organized crime, but it’s what’s beyond that which makes such a film standout. Beyond the action and violence, this has some very strong emotional plot threads and character arcs. There are elements of guilt, grief, forgiveness, responsibility, revenge, and trust running through Frank, Angela, and Budiansky. These arcs are handled exceptionally well, and really flesh these characters out in a great way. Even Soap and Micro have their say in Frank’s struggle with his murder of Agent Donatelli. These aspects are treated with great care and are executed wonderfully. It’s also great seeing everyone’s different viewpoint on the Punisher. Some see him as a menace to be thwarted and condemned. Others consider what he does a service. The NYPD put together the “Punisher Task Force” as merely a public image joke as they mostly couldn’t care less about what trash the Punisher executes on the streets. This is evident by the fact that Detective Soap is the sole member of the task force, and the NYPD dumps Budiansky there just to brush him aside. How all these elements and characters converge and end up relying on the Punisher is smartly done, and really develop organically from the plotlines and character motivations.
The entire climax is just a magnificent onslaught. It’s the Punisher set loose massacring probably half the street criminals in New York, working his way through the Bradstreet Hotel to rescue Angela and Grace from Jigsaw’s clutches. The stunts are spectacular, and the sound design of all the different styles of gunfire and explosions as well as the crunching of bones and the splat of blood is just absolutely brutal. This is hardcore action all the way through. It is as unforgiving and merciless as the Punisher himself. Still, this climax has some emotional turmoil for Frank, but I won’t spoil a thing for you. Simply said, it has resonance and weight to it that add to the dramatic realism that the film is so rich with.
All in all, this is definitely the Punisher movie that strived to do the most with its characters and concepts, and it succeed in nearly every regard. I do love the movie very much, but the fact that Jigsaw is a ridiculously comical villain you can almost never take seriously does negatively impact the film. It doesn’t kill Punisher: War Zone, however, because everything outside of Jigsaw is so amazingly good that it’s near impossible to topple it with one bad performance. Ray Stevenson is hugely blockbuster in his portrayal of Frank Castle. He brings so much depth and pure bad assery that it would be a steep mountain to climb to top or rival him. He makes the Punisher a character that could thrive on the big screen, and that is also largely due to director Lexi Alexander. She showed a massive wealth of talent here as well as the ability for a vibrant, hard-hitting, and compelling vision. So many action films today come off as lackluster carbon copies of the last big theatrical hit that it’s invigorating to see someone inject some fresh style and depth into the genre. We’ve been treated to many great comic book movies over the last several years, and so, the standards have gotten pretty high. In my mind, I truly believe that Punisher: War Zone just about reaches that standard. The only major element that a Punisher movie needs at this point is a rock solid villain that’s worthy of squaring off against the Punisher. So far, I don’t feel we’ve gotten that, and it is the only real failing of this movie. For my parting words, let me just say that the last moments of the film are just flat out bad ass! The very final shot is perfectly iconic and foreboding. Ray Stevenson is my quintessential Punisher, and there is just not enough I can say about his detailed and awesome performance to do it justice. Punisher: War Zone gets a damn strong recommendation from me.
This film was not what I had hoped it to be. At the time of release, I couldn’t have been more disappointed. However, over time, I have gained some appreciation for it, at least, for what it had the potential to be. I had not watched the television series during the 1980s. I grew up on cartoons, sitcoms, the WWF, and Knight Rider. However, I blind bought the first season of Miami Vice on DVD in 2005, and was immediately hooked. It seemed like good timing with news of the feature film hitting at that time, and the trailer coming a few months later.
What I love about the television show was its way of using popular music as a dramatic storytelling device, and the strong chemistry amongst the cast. The five seasons of Miami Vice redefined what could be achieved on television. Its use of cinematic visuals, gritty crime themes, and action packed, violent stories changed the medium forever. It was slick, colorful, exciting, dramatic, and compelling. Unfortunately, this 2006 feature film lacks all of that.
In this new Miami Vice, roles of James “Sonny” Crockett and Ricardo Tubbs are portrayed by Colin Farrell and Jamie Foxx, replacing Don Johnson and Philip Michael Thomas from the original series. Crockett & Tubbs get pulled away from a local undercover operation to deal with the deterioration of a interagency task force. As Tubbs says, “Your ‘op sec’ (operational security) is blown.” How it links to them is by way of an old informant who got in over his head, and now, pays a dire price. So, to bring down this Colombian crime kingpin, Jesus Montoya, Crockett & Tubbs go deep undercover where they have no back-up, and Crockett gets in close with Isabella (Gong Li), Montoya’s woman.
The real problem of this film is that it lacks chemistry and momentum. The plot moves along very straight forward allowing for no unexpected twists or turns to create exciting plot developments. The first 15-20 minutes of the film (theatrical cut) are wrought with potential for a very exciting, fast-paced feature. Things develop quickly creating urgency for everyone to act quickly, and for a dangerous premise to be setup with agents being gunned down. Action ensues, things blow up while maintaining a hard edged, realistic Michael Mann style. However, it soon slows to a dull pace. The plot moves from one thing to another just establishing elements and relationships and characters, but none of it really means anything. Nothing develops beyond the surface. It’s procedural to a fault. It’s more like watching a documentary of undercover vice cops than an engaging narrative with relatable characters.
In the television series, the clashing personalities of the slick, smooth New Yorker of Ricardo Tubbs and the weathered, cynical Miami Vice cop of Sonny Crockett created a classic chemistry. They didn’t always mesh well, but the chemistry Johnson & Thomas struck was what made the show work. They connected on an emotional level. You saw how these two went from reluctant partners to trusted brothers in arms. You felt it between them, and they played it well. Here, the script keeps the characters in an ‘all business’ mode for so long that you don’t get a moment where it’s just Crockett & Tubbs being themselves. There are little touches that are reflective of the original characters as I know them such as Crockett charming a female bartender at the start, or Tubbs offering his compassionate condolences to interagency commander Fujima, “Sorry about your men.” Regardless of that, you don’t get to know the men personally. It’s all on the surface because that’s what the script demands of them. There is only one such personal scene, but it comes so extremely late in the film, it does nothing to enhance the characters for the audience’s benefit. Also, Lieutenant Martin Castillo, who was one of the most fascinating and textured characters of the original series, portrayed amazingly well by the always fantastic Edward James Olmos, is now just another random character. Simply said, if you changed the names of all these characters, and slapped a different title on the film, you’d never know it was supposed to be Miami Vice.
The attempted romance between Sonny and Isabella just fell flat for me. Part of it is that Gong Li doesn’t speak English very well, and so, she has to spend more time just trying to pronounce the words instead of putting character and emotion behind them. You can see this relationship is having a conflicted effect on Sonny since he’s playing the undercover role of Sonny Burnett, a criminal and smuggler, and has to be close to her without actually being Sonny Crockett. He loves this woman, but as I said, the chemistry isn’t there. I felt no spark between them. No heat. Like so many things in this movie, it just doesn’t click.
The music is also dark and brooding. Aside from a few dance club scenes, the music is not lively. The music itself is not bad at all, I own the soundtrack, but it just further drags down the emotional weight of the film. I know the pop music of today is not like that of the 1980s, but this 2006 movie seems to make every effort to be in stark contrast to everything that defined the name Miami Vice. Thus, why I was so disappointed at the time of release. Michael Mann approached this film with the intention of realism. Make everything feel real, and do nothing that is not comparable to the true operations and people of this world. However, making it too realistic drains out the entertainment value, and the depth to the story being told. Because of this, as I said, the movie comes off more like a documentary.
On a positive note, the cinematography is mostly gorgeous. The shots over the open water as Sonny & Isabella speedboat to Havana are wondrous and sprawling. I live near Chicago, and so, the only large body of water I can enjoy is Lake Michigan. Still, staring out into that endless horizon, to the edge of the world is so perfectly tranquil, and that sense is captured here, exponentially. The film has a large amount of handheld work. A lot of it is handled well, but it can get to be too much. However, it’s nowhere near as bad as Mann’s next film Public Enemies. That was the perfect example of a badly shot movie. Collateral was amazing in every aspect to me, and I embraced the HD digital video look of it. It was shot fantastically. Miami Vice is the downward step between Collateral and Public Enemies in many ways, not just in camera work.
Characters in Michael Mann films went from deep, textured, and complex people to far more stoic people who Mann does not allow to show their depth. While Manhunter is my favorite Mann film, it is The Insider that I feel remains his best film to date. That was the clear definition of character depth, and a well written dramatic film. And Mann did it all without a single action sequence or gunshot. People conflicting with other people on an emotional, psychological, and ideological level. While based on true events, it shows that Mann can bring those qualities out in his films. Where it has gone in the last few years is beyond me.
Miami Vice was marketed as a slick, dangerous, edgy, sexy, and exciting summer action film. That is not the film Michael Mann made, and the film I got was not the one I expected to see on an August midnight showing in 2006. However, after listening to his director’s commentary, and allowing the passage of time, I at least have appreciation for the film it could have been. I understand what Mann was going for, and I love the ideas behind it. I just don’t feel it all successfully came together in this movie. The worst part of the film was the ending. As the movie progressed, I felt there hadn’t yet been a climax. There was a big shootout, but it felt like a precursor to the real climax. Nothing had yet been resolved on a plot development or emotional level. Jesus Montoya was still out there, at large, and I felt like the film would lead into Crockett & Tubbs going after him to shut him down. This was because the same thing happened in the episode “Calderone’s Return.” The villain from the pilot episode escaped, and now, Sonny & Rico had the chance to get him for good. They speedboat to the Bahamas for a final confrontation. None of that happened here. There’s a montage sequence, Crockett walks into the hospital, and the movie cuts to black. Roll credits. There was no resolution to any plot or character elements in the film. The bad guy gets away, he will rebuild his empire, and life goes on. All the Miami Vice squad achieved was killing a bunch of thugs with guns. Expendable, replaceable people in Montoya’s employ. You can pull that off on a television series because there’s always next week, sometimes next season to revisit the storyline, and tie it off at a later time (just like “Calderone’s Return”). In a feature film, you have only 90-120 minutes to establish, develop, and resolve a story. There was no satisfying resolution to Miami Vice 2006. Had there been, maybe I could forgive a lot of the negative marks by there being an exciting ending that actually resolved something that the audience decided to invest their time in.
The worst thing to do going into this movie is to anticipate anything resembling the 1980s television series. Going into it expecting a Michael Mann film might be more suitable, but that doesn’t mean you’ll be pleased. It’s been five years since this film was released, and while I have an appreciation for the ideas behind it, and enjoy much of the cinematography, I don’t view it as that good of a film. The lack of chemistry amongst the cast, momentum within the story, and the grim overall sense just doesn’t allow for much to invest in, unfortunately.