In the early 2000s, Sylvester Stallone was struggling to rebuild himself from some of his cheesy action movies of the 90s, and these efforts didn’t all meet with much success. Get Carter is a remake of a 1971 film of the same name starring Michael Caine in the title role, and this remake was received with negative criticism and a poor box office take. However, I saw this film on opening weekend, and I have very much liked it ever since. Having still not seen the original movie, I imagine I have the ability to view it much more objectively. Still, almost any movie promising Sylvester Stallone in a fist fight with Mickey Rourke and a hilarious John C. McGinley is pretty cool to begin with, but I honestly feel the film has a lot of worthwhile merit in many regards.
His name is Jack Carter, and you don’t want to know him. When it’s your time to settle your debts, you pay what you owe, or Carter will make you pay. While working for the mob in Las Vegas, Carter (Sylvester Stallone) learns that his brother has died, and returns home to Seattle in order to learns the how’s and why’s. His brother left behind a wife, Gloria (Miranda Richardson), and a teenage daughter, Doreen (Rachel Leigh Cook), which Jack feels he must now take care of since he was not around when it mattered most. Though, when digging into the death of his brother, Jack comes to suspect that is was no accident, and that someone has to pay up.
Now, what even some of the middle of the road reviews gave credit to was that Stallone is solid as Jack Carter, and I enthusiastically agree. I really like that Jack is a guy who carries a weight of regret with him to where he has this post-facto sense of responsibility. He might be a guy who beats people up for a crime syndicate, but there’s a certain moral compass to Jack which Stallone grasps onto perfectly. There’s a lot of subtlety to his performance showing the superb reversal on the over-the-top action hero roles of Judge Dredd or Demolition Man. He brings with him a low key presence of intimidation, but still finds those moments of clever signature Stallone charm and wit. Jack Carter has a warm heart and compassion for those he cares about, and this comes so very naturally to Stallone. There’s such a great depth of dimension to what he does here. Sly gives us a complex character who intensifies the emotional drive of the film. It’s also amazing seeing how bulked up Stallone got for this movie. He’s larger than ever, and it really works for Jack’s tough, bad ass presence. Yet, it is that softer side of Jack Carter that really impresses as he shows a lot of pain after a certain point really hitting you deep in the heart, and that translates into a venomous vengeful determination in the film’s third act. It’s an awesome, compelling performance by Sylvester Stallone that amazingly reminds you that he can be a stunning, complex actor. I think it’s one of his best performances since First Blood.
A lot of the depth of heart and substance is carried on through Miranda Richardson and Rachel Leigh Cook. Richardson is great as Gloria who is in this constant uncertainty about Jack. At times she can confide in him about her problems with Doreen, but at other times, can condemn Jack for bringing further trouble upon them and being absent from their lives until Richie died. Richardson has pitch perfect chemistry with Stallone standing strong on her own while showing the emotional turmoil inside. Meanwhile, Cook very easily endears herself to Jack and an audience with some sad sweetness and sympathetic charm. As certain things are revealed, and far more tragic layers are peeled back from Doreen, Cook is really able to demonstrate the soul of her heartbreaking talent. It really ends up being the pulsating emotional core of this film.
I really like the scenes between Stallone and Mickey Rourke. These are two actors who genuinely seem like they enjoyed working off each other. They’ve got the right rhythm and chemistry that these two characters should have being old acquaintances and all. Rourke has the right charisma and air of sleaze as Cyrus Paice which makes him very entertaining to watch, but also, a real piece of scum that you want to see get busted up by the end. Rourke and Stallone are two buffed up bulls ready to lock horns regularly, and when they do finally trade punches, it’s a straight up bad ass brawl.
Anyone who loves John C. McGinley’s comedy work would also love him here. He plays Con McCarty, an associate of Jack’s in the Las Vegas syndicate, and I swear he ad-libbed the majority of his dialogue. It is just so brilliantly quick witted, off the cuff, and hilarious that he’s an utter, endless joy. It’s a performance like this which shows that this is a film that is interested in balancing the heavyweight drama with sharp beats of levity. And Alan Cumming is quite good as the geeky wet rag dot-com millionaire of Jeremy Kinnear who has gotten in way too damn deep with seedy individuals. He is a pleasure to watch in this role as Stallone looms over him with his brute intimidation. Of course, Michael Caine does a fine job in a somewhat small role as Richie’s now former employer, and Caine and Stallone have some solid scenes together. Apparently, even Caine endorsed Stallone as a respectable successor to his original role, and including him in this cast was a really nice touch.
I really adore the look of this film from director of photography Mauro Fiore. It’s soaked in this somber tone of overcast gloom of blues and greens that really absorb you into the tone of the movie. Director Stephen Kay really pushed hard to have this filmed in Seattle, and the beauty of the rain soaked city makes the film feel a little more unique. There’s also some unconventional style to Get Carter that might not work for many films, but all of the artistic flourishes really meld together beautifully, in my opinion. The strategic slow motion beats add a sense of grace to the photography, and Fiore moves the camera extremely competently with plenty of steadicam. I like that when Jack’s whole world turns upside down so does the camera accentuating a particularly unique filmmaking style that I really like here. There is some stylish editing with a few jumpy cuts, flash frames, and speed changes. I could see how some would find that irritating, but I really got absorbed into the mindset of this movie. Stephen Kay uses these stylistic choices to slip you into a character’s perception such as Jack’s world fracturing. Get Carter was edited by Academy Award winner Jerry Greenberg who also edited The French Connection, Apocalypse Now, Kramer vs. Kramer, and Scarface. Here, he superbly executes Stephen Kay’s vision right from the opening credits sequence onward.
There is a great, moody collection of music here in addition to Tyler Bates’ unique and stylish score. The original theme for the 1971 film by Roy Budd is utilized and remixed for this remake, and it is a beautiful composition that just tingles my senses. There are some techno tracks infusing some dance club style vibes into the movie. I particularly love the ethereal Moby track during the funeral scene. All of this music creates a very soulful or energized originality to this film that melds well with its visual stylings.
There is some really well put together action including a couple of very smart, tense car chases. Action directors who love their shaky cam could learn something from this film. Stephen Kay does make use of some unsteady photography and tight framing, but the editing is properly paced so to not confuse an audience. There are quick cuts, but because the lighting is clear, the compositions are just right using good angles, it all works. The latter car chase is really great, and it has a really cool stunt crash at the end. Yet, while there is exciting action, this film maintains that emotional and character based focus as Jack Carter delves further into the seedy underbelly of Seattle.
When Jack goes into full-on revenge mode, this movie gets dead-on bad ass. The grit really surfaces in the visual style and Stallone’s performance. Everything gets pretty dark and intense as Jack deals out his sense of personal justice in violent, sometimes lethal ways. This is a revenge movie driven by a lot of emotional depth and substance. Jack is going to clean out the trash, but the mending of emotional wounds is just as important to him, if not more so. It’s all wrapped up in his personal sense of obligation to the extended family he’s neglected, and a need to prove to himself and others that he can be a better man than his history has shown. There’s also a subplot where Jack Carter is involved with the syndicate boss’ woman back in Vegas, and this runs through the film a little. It’s another emotional tether that puts stress upon Jack especially when Con is sent to “take care of business” with much intended finality. Most revenge movies are just about the violent retribution, but this movie really delves you deeply into the hearts and souls of its sympathetic characters.
Get Carter is damn good, in my opinion, because it does take the time to develop its character and give you a dimensionality to connect with. You feel Jack’s pain and his need to put things right, and your sympathy easily flows for Doreen as the film progresses. Stephen Kay did do a really exceptional job with making these characters feel poignant, and have the consequences of everyone’s actions feel like they carry the weight of the world. This is really the kind of revenge thriller that truly captivates me because it’s not just gunning people down for ninety minutes, which does have its satisfying qualities. The substance of everything here saturates the film, and Stallone carries it all so amazingly well. The ending might have used a little more weight and veracity, but the payoff is satisfying regardless. I highly recommend this remake of Get Carter. If you’re a Stallone fan, like me, you should definitely give this a watch.
I’ve been looking for this movie on DVD in stores for months now. Today, I went out looking for one exploitation movie at the re-sale shop and came home with another. Savage Streets is a cult rape-revenge exploitation film from the late director of Friday The 13th, Part V: A New Beginning, Danny Steinmann. As previously documented, I have a low opinion of that sequel, but Savage Streets looked really good and promising via the trailer. I’ve heard some good things about it, and was very dogged about finding a copy of it. Sometimes, a good word of mouth is enough to convince you to take a impassionate chance on a movie. But now that I’ve seen it, does it live up to what I had hoped for it? Was it worth the months of anticipation and hunting I put into it? Well, let me impart a synopsis on you before answering that question.
Brenda (Linda Blair) is bad, bold and brash, but she absolutely dotes on her deaf-mute kid sister Heather (Linnea Quigley). After nearly being rundown by a gang known as the Scars, Brenda and her friends trash the car of their leader, Jake (Robert Dryer). Shockingly, he chooses to exact his revenge by getting his cohorts to gang-rape Heather. Caught up in her rivalry with the cheerleaders, Brenda is at first unaware of the Scar’s involvement, but is eventually shocked with the full truth. She then vows deadly vengeance in a skintight black suit as she searches out the gang members one by one.
Doing a blind buy of this movie was certainly taking a chance because I’ve had blind buys bite me in the ass before. However, that was not at all the case with Savage Streets. I did indeed greatly enjoy what I saw here. It is quite a low budget picture with only $1.2 million to its credit, but this was definitely a time where most filmmakers knew how to make an effective movie within their limited means. They could create something genuinely entertaining and worthwhile without needing a major budget. While his Friday The 13th movie came off like a cheap direct-to-video outing, director Danny Steinmann pulled off a really solid genre movie here that I’m glad he had been commended on long before his 2012 passing.
The main thing that I was impressed by on this film was Linda Blair’s performance. She strikes that perfect balance of a tough, attitude rich, yet still vulnerable and compassionate young woman. You see her make those subtle shifts early on as she defends her sister from an ill joke, but then, lightens the mood a moment later with some well place charm. Brenda will not back down from a fight, and doesn’t take any crap from anybody. She stands up to everyone from bitchy classmate Cindy to the sleazy school principal to, of course, this malevolent gang. She’s genuinely tough with the courage and mouth to back it up. Yet, these tragedies that befall her sister and friends have deep, emotional impact upon her. She cries, mourns, and grieves in her own harsh way while never veering away from her determination to find those responsible. Brenda is someone who has a surplus of strength to pull her through this violent series of events, and Linda Blair puts her all into this performance to make Brenda that great heroine. She’s also quite sexy and beautiful in this film, and her hard edged attitude is very attractive and exciting. Blair packs a lot of charisma and passion into what she does here, and she really makes Savage Streets the excellent piece of work it is. There’s not enough I can say about what she does in this role.
In the role of Jake, Robert Dryer does an exceptional job. This is the dead-on perfect villain for this film as Jake has zero redeeming qualities about him, and is a full fledged sleazy, violent, womanizing, severely intimidating thug. Just the look of the character gives you a very edgy impression with his slick backed hair, leather jacket, intense physical presence, and especially that razor blade earring. Dryer has some dark charisma which amps up the character to the utmost vilified levels. He definitely looks like someone who could snap your neck right after stabbing and slashing you to bits. Just as much as Linda Blair invests you in the story, Dryer invests you in the need to see Brenda exact her revenge. After all you see Jake do, and without an ounce of regret or mercy, you crave that violent comeuppance, and that is so much earned from Dryer’s performance.
The rest of the cast is very good putting a lot of enthusiasm and dedication to their roles. You’ll certainly find some over-the-top dialogue and line deliveries, but it wouldn’t be an exploitation film without them. John Vernon is excellent with his deep, intimidating, dramatic voice as Principal Underwood. He has this underlying sleaze factor that surely hits with a peculiar impact, but it’s all great. Johnny Venocur does some good work as Vince, the one guy in the gang who has a semblance of a conscience. You can progressively see the humanity taking a hold of him, and it adds a nice dash of remorse into this story. Lisa Freeman brings her own strength and spirit to Francine which shows she’s no pushover either, but you also get the tender side of her bride-to-be aspects. Genre star Linnea Quigley makes Heather very wholesome and sweet without ever saying a word. Linda Blair plays very sweetly opposite her bringing out that touching sisterly warmth and heart. On the darker side, Quigley achieves the moments of silent terror with visceral intensity. The entire sexual assault scene is powerful and disturbing, as it should be. The film does not glorify it at all as it is depicted as a traumatic, frightening experience, which is commendable. This is the darkest point in the film, but we are thankfully treated to some very enjoyable, entertaining elements throughout the rest of the movie.
What makes Savage Streets distinctly 80s is the awesome pop soundtrack. There are no big names that stick out for me, but the songs generally hit that excellent 80s vibe with strong vocals, vibrant keyboards, and a driving intensity. It also kills me that this soundtrack is available only on the original vinyl or audio cassette releases, and are rare collectors’ items. The only CD release was done independently in a very limited capacity. So, if you want these songs, you’ll have to turn to YouTube. The one notable track is “Nothing’s Gonna Stand in Our Way,” which is performed here by John Farnham, would later be covered by Canadian band Kick Axe (aka Spectre General) for Transformers: The Movie in 1986. The soundtrack for this movie really enhances the vibe all around making it a very rockin’ experience, but the original score is also very effective especially during the film’s climax.
The cinematography of Stephen L. Posey is very good and solid. It’s nothing amazing, but what he does entirely suits the gritty nature of this movie. The editing is also very tight never allowing the film to lag anywhere at all. The pace is kept consistent throughout, and has plenty of well put together sequences. On a technical level, this is a well shot, well made movie that is competently executed by knowledgeable talents. Furthermore, director Danny Steinmann does all around impress me with what he did here. There are a few minor critiques still pending, but on the whole, Savage Streets is a well written, well directed film for this genre. Steinmann really brought out a lot of strength and vibrancy from his cast, and crafted together an effective revenge movie that has emotional weight to it. It’s surely not one dimensional in the least, and I commend Steinmann and his co-writer Norman Yonemoto for that.
Now, the one thing that threw me off about the movie is that the trailer would make you believe that Brenda would be hunting these guys down through most of the movie. Instead, her armed quest for revenge begins in the final third of this 93 minute movie. I do not state this as a criticism, just as an expectations adjustment. The first hour of the movie is consistently and solidly paced as the Scars repeatedly terrorize Brenda’s friends and other unfortunate individuals. The film takes the time to build these guys up as increasingly more sickening people, and that’s saying quite a lot since their first act against Heather would be more than enough already. Yet, it layers the crimes and tragedies upon Brenda and the audience. It develops her character and her friendships so that you understand the importance these people have on her life and the lives of others. It also uses this escalation of violence to further drive a wedge between Vince and the other gang members, which is a smart idea. Now, once Brenda moves into full-on revenge mode, decked out in a sleek back jumpsuit and crossbow, I absolutely loved it! A great little montage ensues with a solid rock track behind it, and we’re into a pretty damn good final act.
The only criticism I have towards that final act is that while we do get blood and gore, it is not all at the right moments. Some of the deaths don’t have the desired satisfying impact because we don’t witness them in graphic or explicit enough detail. However, we do see the bodies displayed with their bloody wounds minutes later, but it wasn’t quite enough. Considering how explicit the film had been already up to that point with violence, language, and nudity, I figured we would get some graphic gore where it counted the most. Thankfully, this is not so for all the kills in the climax. It’s about fifty/fifty, but I really wanted to see those despicable scum meet some gruesome ends. Watching Brenda squaring off against Jake was thick with tension and emotion as that rage and pain within her really penetrates in this sequence. She is being blatantly sadistic, and you are really reminded of why she wants him to suffer so badly through her dialogue. Ultimately, we get a very tight climax with some great moments of suspense and dramatic pay-off.
Savage Streets is damn good! It’s especially gritty with visceral violence and a strong core of emotion by way of some solid performances. Linda Blair definitely stands out as an excellent lead giving us both the heartfelt compassion to be sympathetic and relatable as well as the brash attitude and confidence to be a convincing action heroine. I love the dialogue she gets on both ends of the spectrum which really reinforce the strength of Brenda. My favorite is the “double jointed” quip near the climax, which is also Linda Blair’s favorite. It hits me as one of the best lines in an action film, ever. Overall, Blair is just bad ass and awesome through and through. She delivers on all demands of the role in a very satisfying and entertaining performance. There’s a lot to enjoy in the tight 93 minute run time, and I really have to hand it to Danny Steinmann for the work he did here. This is a kind of movie that just doesn’t get made anymore, and even if they are, I imagine they aren’t made as good as this. I can entirely see here what brought Steinmann to doing a Friday The 13th movie. It’s only too bad that film was not remotely as cool and good as Savage Streets. This certainly may not be a film for everyone. As I said, it is very explicit and casual with its profanity, female nudity, and violence, but if that fits your tastes, I highly and strongly recommend checking out Savage Streets. While it was tough finding it in a store, it is easily obtainable on Amazon.com in a 2012 digitally remastered special edition DVD set.
I have no preface for this review except to tell you that Walter Hill and Sylvester Stallone are a blockbuster combination that have delivered an excellent, hard-as-hell and graphic action film that you MUST SEE! Simply said, this has Walter Hill’s vintage style all over it, and I love it! If Bullet to the Head signals a turning of the genre back to its best roots of hard edged bad assery, I’m all for it!
After the seasoned criminal Jimmy Bobo (Sylvester Stallone) and his partner Louis Blanchard (Jon Seda) carry out a hired hit, they are targeted by a mercenary named Keegan (Jason Momoa) who kills Blanchard, but fails in his attempt against Jimmy. With the mark for the hit being a former corrupt Washington D.C. cop, it brings Detective Taylor Kwon (Sung Kang) to New Orleans to investigate who he was hooked up with, and why he was killed. However, Kwon soon finds himself lethally targeted, and joins forces with Jimmy in order to weed out and bring down whoever wants them both dead. The unlikely duo soon take on all who stand in their way, but where Kwon wants procedural justice, Jimmy is ready to exact brutal, unforgiving revenge.
I revisited both 48 HRS. movies within the last two months, and so, Walter Hill’s classic style is really fresh in my mind. I am a longtime fan of The Warriors, but Bullet to the Head certainly follows more in line with that sort of buddy cop dynamic. I could really feel that vibe coming off this movie right from the start, and it had me hooked in by the end of the opening credits. I was loving this movie within the first five minutes, and it never disappointed me. Aside from the modern technology aspects, this feels right at home with a solid 1980s hard-hitting action film, but Hill does throw in some modern style to update it a little. Bullet to the Head has a neo noir edge to it, but it doesn’t go down the Michael Mann route. This vibe is mainly due to large chunks of the film taking place at night, and we get some very appealing cinematography out of it. There are some shaky cam tropes used every so often, but it’s far from being the worst I’ve seen. There’s some restraint used to keep the action scenes really satisfying, and while I would’ve preferred more restraint or at least wider compositions, it did work quite well for this film.
Stallone is excellent through and through. He shows that he’s still got what it takes to be a top tier action hero. He is really in phenomenal shape showcasing a lean, ripped physique that presents a man that can clearly rip you to pieces. Sly gets plenty of chances to show his physicality with some really bone crunching hand-to-hand combat in addition to all the brutal, graphic gun violence. Yes, indeed, there are numerous people getting their own bullet to the head throughout the movie. Acting wise, Stallone’s solid. He really carries the dramatic weight of Jimmy well, much in part to his grizzled voice. The film’s not dripping with emotional grief or anything, but you definitely feel Jimmy’s dead set determination in finding the people responsible for his partner’s murder. The scenes Sly shares with Sarah Shahi, who portrays Jimmy’s tattoo artist daughter Lisa, are really well done. There’s definitely a rocky relationship there, but not one of heavy friction. They play well off of each other creating a mature and honest father-daughter relationship that has some weight and grit.
The humor in the film is really played out nicely between Stallone and Sung Kang. The trailers did do it justice as it seemed a little low grade, but in the context of the film, it really had me laughing quite a bit. I like how Kang’s Detective Kwon keeps poking fun at Jimmy’s age, and it’s handled in an almost bad ass way when Stallone retorts that still sells a laugh. It’s nicely written and smartly performed. Both actors really grasped the tone and chemistry the film was going for, and it kept the tone light and fun when needed in between the slam bang action scenes. That is a perfect example of a 48 HRS. Walter Hill style and balance of tone. The humor works with the hardened action tone of the film, and invests you in the characters in how they contrast and complement one another. It’s certainly something not every director can do, but Hill proves he still has that skill.
I will admit that Sung Kang himself start out a little weak in the film. He wasn’t really selling me for the first few scenes, but once he clicked into the chemistry opposite Stallone, he really fit in quite well. Detective Kwon is a very by-the-book type of cop. He’s using Jimmy only as a means to an end, and is quite set in his ways of adhering to the law all the way through. So, there’s this tough, seasoned hitman paired with a rather mild mannered police detective who wants to keep what they do on the straight and narrow. However, they regularly clash in stellar fashion creating both some of that humor, but also, a fine building of a relationship that keeps forcing them back together. Still, despite Kwon being very conservative with his violence, he regularly impresses by having the skills to take down an adversary quite efficiently either by hand or by gun. So, Stallone doesn’t get all the action glory. Sung Kang has his fair chances to show us something unexpected and satisfying in that vein. There might be some that feel he wasn’t the absolute best choice for this role, especially since Thomas Jane was originally cast in it, but I think he earns his merit before the end. Beyond anything else, Kung and Stallone work very smoothly together making this a very entertaining film.
Now, I was extremely impressed by Jason Momoa. His role of Keegan is a very stern faced killer, but one that is simply a massacring bad ass. As his employers say in the film, he enjoys the work he does. He takes pleasure in killing, and he gets a ton of chances to indulge himself. He never just walks in to kill one person. He’s there to kill everyone in sight, and Momoa delivers to us a genuinely sadistic villain that you’d love to hate. He may only be a hired gun, a mercenary, but he fits right into that perfect role of like James Remar from 48 HRS or Andrew Divoff from Another 48 HRS. He may not be the mastermind criminal, but he is the number one force to contend with and is the one that we really want to see taken down. Momoa is really awesome in this role, and he seemed to have loved playing it. He makes Keegan intimidating and heavily threatening, despite his impressive muscle bound size of 6’5”.
Christian Slater has a nice turn as the somewhat sleazy Marcus Baptiste, a rich lawyer who enjoys his women and narcotics quite a bit. He only has a few scenes, but Slater does sell the antagonistic character with plenty of zeal. Baptiste is working with the actual mastermind of Morel, an African gentleman portrayed with sophistication, arrogance, and amoral villainy by Adewale Akinnuoye-Agbajeas. It’s a very subdued performance, but one that works quite well for the character. Both actors gives us some firm antagonists with realistic motives that solidly fit the film and story.
And indeed, this is a hard R rated action movie with plenty of bloody gunshots and some explicit female nudity. It’s been a long time since I’ve seen an action film be so casual and open with showing nudity, and it was very much a pleasing sight to my eyes. Baptiste has a masquerade party where many of the masked women are wearing little else but those masks. It was very titillating, but it does not distract the film away from its plot. It doesn’t indulge in anything gratuitous beyond that. Conversely, this may not have as much graphic violence as Dredd, but it surely lives up to that standard I just recently discovered. Just like in Dredd, and again, living up to its title, people get shot in the head continually. The film even sets up the need for it early on when a guy doesn’t go down until he’s shot in the head. So, Jimmy Bobo is dead-on-the-mark, accepting nothing but point blank kill shots to the cranium. While some of the blood splatter is likely CGI, it at no point did it distract from the awesomeness of this movie. We get some big explosions in this that kick ass, and tell you that this movie is taking no prisoners. It’s going to deliver that hardcore bombast that has been missing in most action films these days, and it’s gonna to do like only Stallone and Hill can. What I really loved was when Jimmy and Keegan duel with those axes. That is not something I believe I’ve seen in an action film before, and it seriously made for one really intense and suspenseful fight. On wrong move, and you could be missing a body part. It was a tremendously climactic and amazing action scene that amped up the level of tension and brutality that I wasn’t expecting. From the trailers, I knew it was going to happen, but I didn’t expect it to be that damn good of a scene. It was fuckin’ great!
I also really loved the score by Steve Mazzaro. It’s very bluesy with some hard electric guitar and prominent and beautiful use of harmonica, giving this a real seasoned and down to Earth feel. It sets a real down south vibe for this New Orleans set film that really just works amazingly well. However, most of the action scenes are very minimal on music. At most, you get a little underscore for a low end vibe, but mostly, you’re hearing the sound effects of guns firing, fists crunching bone, bodies slamming into hard surfaces, and axes clanging together. I think that worked excellently with this very hard edged action as there is a lot of impact with those sound effects. They really enhance the brutality of the movie, and I couldn’t have asked for anything better.
Seeing both this and Dredd within the same month really energizes me into believing that hardcore R rated action movies are making a genuine, high quality comeback. Talented filmmakers, both old and new, are delivering to us some really amazing movies lately that are giving the action genre that hard hitting adrenalin shot it needed. Stallone is in top form and clearly enjoying himself in this movie, and he was in masterful hands with Walter Hill as the director. I had a HELL of a great time watching this in the theatre, and if a friend of mine was going to see it later, I’d tag along for a second viewing. Bullet to the Head is a fun, exciting, ass kicking 90 minute thrill ride that is worth taking more than once. It keeps itself simple by not trying to complicate the plot with any big twisting narrative. It’s very straight forward and right to the point. This is one awesome movie that satisfied me from the very beginning to the very end. And this is literally a movie that starts with a bang! I give Bullet to the Head a definite SLAM BANG recommendation! This year now has a lot to live up to in terms of action movies for me, and I damn well hope it delivers. So, 2013 – you have been put on notice!
Bond gets revenge. Licence to Kill is likely the darkest, most gritty Bond film to date. This stems from the fact that this is a revenge film, and that requires some nasty stuff to happen to James’ friends and his sworn enemies. This is the film that earned Timothy Dalton his maligned criticism. Many felt it deviated too far from the familiar Bond style and formula, but the truth is, this was likely the most true to Ian Fleming’s character, as he was originally written. However, I have always liked this film.
CIA turned DEA Agent Felix Leiter (David Hedison) is aided by friend and British spy James Bond (Timothy Dalton) in apprehending sadistic drug lord Franz Sanchez (Robert Davi) on Felix’s wedding day. However, when Sanchez is broken out of custody, he murders Felix’s new bride, and leaves him for dead after being mauled by a shark. This drives Commander Bond to seek revenge, but M (Robert Brown), his superior in the British Secret Service, denies him this and revokes his licence to kill. This forces Bond to go rogue to exact his revenge on this merciless criminal. He is aided by one of Leiter’s contacts in the capable Pam Bouvier (Carey Lowell) as they attempt to crush Sanchez’s entire drug empire.
This film is definitely more violent than The Living Daylights, border lining on graphic. Bond holds nothing back, subjecting his enemies to gruesome fates. One man gets exactly what Leiter got as Bond maliciously throws him into the shark tank, but doesn’t survive. Others get quite severe deaths demonstrating that you don’t want to be on the bad side of Timothy Dalton’s 007. Bond goes after everyone hard and fast, but never sacrifices intelligence or savvy. He remains cunning but also deadly. Timothy Dalton slips into this harder edged 007 very comfortably and easily. He takes what he did in The Living Daylights, and just darkens it a few shades. He’s a little more intimidating and dramatically intense showing Bond’s passionate motivations in this personal story. Dalton might not have the opportunity to be very witty or suave, but he delivers on the dramatic weight and conviction that the story demanded. He also has small moments of pain and grief that do penetrate through the screen as he reflects on his maimed friend. The physical demands on Dalton are greater this time out, and he was more than up for the task. You can clearly see his face as he is lowered in a harness from a helicopter early on, or doing any number of daring stunts or fights. I can certainly understand why many never took well to this portrayal of the character. Definitely in this film, he is a fierce animal on a dead-set mission who doesn’t delve into light-hearted indulgences. He stays sharply focused on the matter at hand, and doesn’t allow anything to diverge him from that mission. In both of Dalton’s films, I find what he did with the character of James Bond to be very compelling and exceptionally intelligent.
Now, I am dead serious when I say that Franz Sanchez is one of the best Bond villains I’ve ever seen. Robert Davi is cutthroat and ruthless in this role, taking it also into a very dark and violent place. He’s a very realistic and threatening villain who is a fresh departure for the franchise being that he is a South American drug lord. That is a very identifiable villain for the 1980s in the era of Miami Vice. Davi makes a powerful impression right from his first scene proving Sanchez to be a very formidable villain. That solidifies him as a seriously dangerous adversary for James Bond. The fact that he’s not hesitant over getting his hands dirty makes him even more of an unnerving threat. Of course, having a young and sleazy Benicio del Toro as his main henchman Dario, and nicely villainous Anthony Zerbe as cohort Milton Keyes doesn’t hurt matters, either. Of course, I don’t know what the idea was behind his pet iguana, but chalk it up to Bond villain eccentricities.
The Bond girls of this film are fairly decent. Most would know Carey Lowell as Assistant D.A. Jamie Ross from Law & Order in the 90s. Here, she’s a nicely assertive and sexy female lead pulling enough of her own weight, but her performance doesn’t have that harder edge or strong spirit to measure up to Dalton’s Bond. It’s a good performance, but not a standout one. Talisa Soto is about the same, but with considerably less to do as Sanchez’s reluctant and intimidated woman Lupé Lamora.
It’s interesting to note that the character of Felix Leiter appeared in The Living Daylights portrayed by 36 year old actor John Terry. In this film, he is portrayed by 61 year old David Hedison. He had previously played the role in Live and Let Die, and considering the need for an audience to care strongly about Leiter, the filmmakers decided to bring back a better established, more memorable actor in the role. It goes to show the loose continuity the franchise once had where the same character can be played by two different actors with a quarter century difference in age in back-to-back films. I always found that rather amusing, if not confusing. Regardless of that, Hedison does a fine, admirable job in this outing definitely making Leiter an enjoyable and sympathetic character.
Unfortunately, there’s not much to say about the opening credits sequence of Licence to Kill. It’s even more generic than that of The Living Daylights with various female figures dancing around, and the image of a roulette wheel spinning behind them. The title song by Gladys Knight is fairly good. It has a bit of a sweeping romantic quality with a lot of soul in her vocals. It’s a nice change of pace from the previous two films, but probably not quite as memorable.
On the far better side of things, I really have to hand it to the action scenes of this film. The filmmakers really pushed them to a whole new level with amazing mid-air stunts, exhilarating water skiing getaways, and the spectacular finale with the Kensington trucks. The pre-credits sequence is excellent with Bond being lowered down from a Coast Guard helicopter to tether in Sanchez’s plane, and then, James and Felix parachute down to the front of the chapel for the wedding. Bond is put into plenty of lethal peril in some nicely imaginative ways. He even gets to tangle with some ninjas. The climax is full of fire and explosions during a tanker truck chase down a desert highway. It’s an awesome sequence giving us plenty of original and memorable moments. Bond and Sanchez fight on the moving tanker truck until there is one final dramatic moment which has a beautiful and brilliant personal touch of revenge.
There is a James Bond style maintained in this action-revenge storyline. He uses his skills of espionage to infiltrate Sanchez’s organization, getting in close to him to both discover in the inner workings of it, and to destroy it from the inside out. He turns Sanchez against his own men by laying the seeds of distrust and betrayal in him. It’s quite a skillful revenge with Bond using his intellect instead of pure brutality, but always knowing he’s at the edge of danger at every turn. James is well aware of this being a personal vendetta, and he consciously tries to keep his friends and allies out of the crossfire. Regardless, they choose to help him anyway because the danger is so high that he needs all the help he can get, and it’s great seeing that loyalty, especially from Q. Miss Moneypenny is even so worried about James that she cannot even do her job properly. All of these character elements and emotional attachments are nicely woven into the story, and gives the audience a chance to see James’ concern for them and vice versa. Despite his unwavering determination for revenge, Bond keeps enough of his senses about him to not seek it at the expense of others. This is his own mission, and no else need risk their lives for his own gratification. So, despite how dark this Bond appears to be, he hasn’t lost sight of his humanity.
Scoring duties for Licence to Kill were taken over by Michael Kamen, who was a brilliant composer through to his passing in 2003. I immensely enjoyed what he did on this film. His score has its own distinct style and sound while still adhering to the classic Bond themes and feel. He brought something more rousing and dangerous, matching the film’s tone exquisitely. I love his arrangement of the James Bond theme as it is used quite a bit in various action scenes. Again, it has a unique flavor without making a drastic change. The sprinkles of Latin musical flair for some of Sanchez’s best moments was a fine touch. Overall, it’s an excellent score.
Topped off with some excellent and solid cinematography by Alec Mills, who also shot The Living Daylights, this really is a solid, hard edged Bond action picture. Surely, it might not be palatable to all fans of 007, but I think it definitely has its audience. In light of the success of Daniel Craig’s run with the character, going back to a more grounded and realistic style and tone, I think many should give Licence to Kill a fair watch. Timothy Dalton really delivers a very dangerous and action-packed performance that impresses me. It’s only unfortunate that the franchise got stalled out after this due to legal and financial issues, and by the time they were resolved, Dalton chose to bow out of reprising the role. While both of his outings are particularly good, I don’t think he got the chance to do his quintessential Bond film. Licence to Kill was not well received, and in the hotly competitive summer of 1989 with Batman, Indiana Jones and the Last Crusade, Lethal Weapon 2, Back to the Future, Part II, and Ghostbusters II, it was difficult to be financially successful as well. Still, I continue to give Timothy Dalton credit for taking the franchise in a more serious and respectable direction which did set a good stage for Pierce Brosnan’s run. Thus, James Bond will return in GoldenEye.
At one time, this was to be the apparent final installment in the original Hellraiser film continuity, and there was a very real reason for that. Since the Weinstein’s have been unable to get their remake off the ground, they slap dashed another sequel together after this one which I will never see. Hellraiser: Hellworld is like The Matrix meets New Nightmare crossed with the worse entries in this franchise. Don’t be fooled by the presence of Lance Henriksen – he’s made plenty of bad movies. While it is nice to see Lance and Pinhead share a scene, it’s brief and doesn’t save the film one bit. In fact, it confuses the issue even further – what reality is this set in?
A young man named Adam (Stelian Urian) commits suicide after forging a deep obsession with the Hellraiser mythos and an internet game called Hellworld. His friends fail to act when Adam was spiraling out of control, aside from Jake (Christopher Jacot), who ultimately blames them for everything. This is all, supposedly, a reality where the films are real and everything else is fiction, but that’s not for certain. Adam’s friends grieve his death, and two years later, are invited to a mansion-filled Hellworld party by The Host (Lance Henriksen). They are greeted by the mysterious, cryptic gentleman, and are shown into his private, macabre collection to explore freely. Though, what they see and experience soon horrifies them. Somehow, they have entered into a manufactured hell, designed to take their sanity and their lives, but what is the true reality here?
What honestly drags the value of this film down into the dumps really is the story. Setting it in a world such as Wes Craven’s New Nightmare where Hellraiser is an actual film series and internet presence, and making it that the Cenobites, supposedly, are not real, they are just a device for which Henriksen’s character seeks revenge, sets itself up for failure. While New Nightmare was a very intelligent and effective film with a cleverly crafted premise, Hellworld just doesn’t have that ambition or creativity to coherently make the concept work. The story really has nothing to do with the mythology of the series, or anything of a personal hell. If this was produced as a film with no connection of any kind to Hellraiser, as it originally was written as, it might have been pretty decent, but you cannot follow this film’s logic. You cannot setup a world where the Cenobites, Leviathan, the Lament Configuration, and so forth are merely fictional creations, but then, turn around at the very end to show that they are completely real. New Nightmare handled it differently, and had actual explanations for how it was possible for Freddy, or a demon in the guise thereof, was able to transcend the realities. Hellworld’s ending has some satisfaction, but as I said, it’s too short-lived to make a real impact on the quality of the film.
Regardless of the plot or script, the film is as generally well-acted as any of the last few sequels – nothing spectacular, but just good enough. Henriksen, obviously, presents a strong performance that helps to gravitate the film’s events and characters. It’s pretty much what you’d expect from him in a villainous role. It is sad that Henriksen is such a damn good and very dedicated actor, but he continually stars in such poor quality films. I really think he should seek out new representation, and get himself back into better roles in better movies. Moving on, we still get faithful Doug Bradley in his usual role. Not much to say about it. Same old, reliable thing, as expected. Personally, I would have liked to see Doug Bradley have more to work with in this series, such as in the third film when the filmmakers were exploring Elliot Spenser. Give him somewhere new to go with the character and his acting talents. By this point, it felt like he was just playing it by-the-numbers, but at least he had enough sense to back out of Hellraiser: Revelations. The supporting cast of Hellworld is your usual horror film youngsters all looking pretty, and ready to get ripped to shreds. No one exceptional stands out, but they all hold their own well enough. I don’t mean to be cavalier about it, but it’s mostly your standard horror movie performances. There’s not a great deal of room for the actors to stretch their abilities, but it is comfortably above the cheap talent we’ve all occasionally endured in other horror films.
The effects here are about standard for the direct-to-video end of the series. There’s very little that will jump out and amaze you at its awesomeness. After watching all of these lower budgeted sequels, it’s difficult to conjure up anything substantive to say about the practical or visual effects. At times with Hellworld, there is fast cutting, trying to give the film a more disorienting experience, but I can’t say it’s all that favorable. It works as good as it can. Unfortunately, it does little but to confuse an audience. Computer generated imagery is, inevitably, made use of in this film. You can’t escape it, especially on the lower budgets of these direct-to-video films. It simply allows the filmmakers to do more while spending less, in comparison to practical, physical effects.
Now, despite the whole mixed bag of crap we have here, I do have to say that the cinematography and general look of the film is very good. It is probably one of the better entries to establish a visual self-identity. The use of dark and light along with a select color palette truly allow the imagery to pop out and be eye-catching. Granted, we’re not talking Blade Runner here, but it certainly lends itself towards a workable and generally effective atmosphere. While the production values are still rather sleek, the lighting helps to shadow almost anything that may, potentially, appear to be too cheap or fabricated. That’s something to credit director Rick Bota for since he has a solid career as a cinematographer, but the film’s actual director of photograph, Gabriel Kosuth, deserves the credit for realizing this style.
While I have left two prior sequels un-reviewed at this time, I might get around to them eventually for compeltist’s sake. In short, Inferno is one I’ve never liked at all, not one bit. It turns Pinhead into a figure of moral persecution in the extremely little screentime he has, and gives us a fully morally corrupt and unsympathetic character as a lead. I do own Hellraiser: Deader, but it’s been a long time since I’ve watched it. I do recall it being very surreal, but it manages to tie itself back into the mythology with connections back to Bloodline. I recall liking it enough to warrant a purchase when it was released, which was around the same time as Hellworld. The summation of this franchise seems to be that it started out with brilliance and progressively got diluted into a mess of inconsistency and frequent incoherence. It’s a very hit or miss franchise following Hellbound, but each entry, more or less, seems to have its fans. Perhaps, some sequels would have been better films apart from the Hellraiser name, or simply judged in a vacuum. However, it’s difficult to watch a lesser grade sequel knowing just how amazing and awe-inspiring its early predecessors were.
Taking all things into account with this sequel, there’s really too much going against it to make a recommendation for it. The franchise just fizzled out completely with Hellworld. Granted, there’s plenty of ways to rebound, but Dimension Films still seems like the wholly wrong studio to be controlling this franchise. They don’t seem to care about making the best movie they possibly can. They just want the most commercialized, wide appealing pile of incoherence they can put together. In any case, there are worthwhile qualities within this film, but the negatives bog it down far too much.
This is the first Batman movie I saw theatrically, and at twelve years old, I loved it. I think it’s a much more polished movie than Tim Burton’s 1989 film with a number of charismatic, excellent performances. I’ve never perceived the film as weird or strange like many do. I just see it as a damn good movie that I highly enjoy. I think Batman Returns is far more of a Tim Burton style movie than the first, but in my opinion, that doesn’t make it a lesser Batman movie.
Gotham City calls upon its greatest hero, Batman, to combat its newest threats. From the sewers, the deformed and hideous Penguin (Danny DeVito), head of the criminal Red Triangle Circus Gang, forges a fiendish alliance with the corrupt business mogul Max Shreck (Christopher Walken). Penguin is discovered to be Oswald Cobblepot, the outcast son of a wealthy Gotham couple, and Shreck looks to set him up as the city’s Mayor to force his deceptive power plant upon the city. However, the Penguin has his own schemes to wreak havoc upon Gotham. Meanwhile, Max Shreck attempts to murder his frumpy secretary Selina Kyle (Michelle Pfeiffer) after poking around too deeply into his shady business plans, but she is resurrected as the dangerous and sexy Catwoman who seeks revenge on him. Batman races into action to combat these villains, but as the caped crusader begins to put a dent in their plans, Penguin and Catwoman plot to discredit Batman, making him a criminal in the eyes of Gotham’s citizens. While the Bat and Cat are at odds, Bruce Wayne and Selina Kyle quickly become romantically involved which further strains Selina’s already fractured psyche. Batman must battle to stave off the treacherous, twisted plans of these eccentric villains before rampant destruction is inflicted upon Gotham City.
This is truly one of the very few superhero films that is able to balance out having multiple villains. The plotlines are all interconnected smartly through the Max Shreck character. The Penguin is the main villain while Catwoman is more of a subversive wild card, as she should be. Her motives are more passionate while his are particularly methodical, but do later delve into the maniacal. This film seems more character driven than the first, and has some stronger emotional context. Selina has a wild ride that takes her through a slew of emotional states. She is very conflicted between her vengeful psychotic side, and the one that is gradually falling in love with Bruce Wayne. Michelle Pfeiffer just does a stunning job in this role ultimately making Selina grossly sympathetic. The Penguin is fueled by spite for society for being rejected by it all his life, and goes through a character arc himself. First, wanting to be accepted as man instead of a monster, but later, embraces the monster he has become to wreak havoc upon Gotham City.
I also love the plot of the villains launching an elaborate smear campaign against Batman. They frame him for murder and more to position Cobblepot as the new face of hope for the city. It makes for a more dire and interesting circumstance for Batman to deal with, but Bruce decides turnabout is fair play. It’s all an excellently crafted story progression. Daniel Waters and Sam Hamm really conjured up a great story that takes plenty of twists and turns that maintain excitement and interest in the characters. It’s not just some colorful madman terrorizing the city, it’s more complex and involved than that. There are numerous motivations at play with the main characters that create a more personal set of conflicts. The Penguin does provide the larger scale threat near the end, but it’s still perfectly in line with his agenda. He reaches a boiling point, and decides to let loose upon this city that has turned on him. Everything builds up to him becoming that monster, and I believe it’s all greatly executed. In general, the film is amazingly well paced always keeping a consistent energetic rhythm going. At no point does the film feel like it drags. There’s always something developing because of the multiple main characters and interwoven plots. It never gets confusing either. It’s all competently and tightly strung together.
I love the subtle detective aspects in Michael Keaton’s Batman. While everyone else is very much buying the altruistic façade of the Penguin, he sees something that just doesn’t fit right. Something nags at that inquisitive mind of his, and that is extremely faithful to the psychology of Batman. He hardly needs to vocalize his intellect. What is said is conveyed very succinctly as Keaton did a lot of trimming down of dialogue to keep Batman’s words sharp and telling. The film also shows a little technical prowess with Bruce both having the forethought to record the Penguin’s rantings to cleverly use against him later, and showing Bruce attempting to repair the damaged Batmobile. They are just subtle things which show that Bruce has these diverse skills.
This time out, Michael Keaton was given a wider canvas to stretch his talent across. He still executes Batman amazingly well. He is able to convey so much just through those intense eyes, and that sells the demeanor and intimidation of Batman so powerfully. Of course, with the Catwoman dynamic, Keaton has more chemistry to strike up under the mask, and a few appropriate humorous exchanges while fighting with her. Keaton has rich chemistry with the whole cast, and is able to offer up more as Bruce Wayne as well as Batman. His relationship with Michael Gough’s Alfred is a little more light hearted and open. One has to love the little jab about Alfred letting Vicky Vale into the Batcave. Opposite Christopher Walken, Keaton holds up quite well, but Walken never makes it easy for anyone to stand up to his charisma. Still, there’s a nice contrast in Keaton’s more grounded, respectable businessman to Walken’s wheeler and dealer type who definitely has skeletons in his closet. What really shines, though, is that Michael Keaton and Michelle Pfeiffer have electric chemistry both in costume and out. The romantic relationship is perfectly complicated as Batman and Catwoman are supposed to be. There’s always some ethical or moral divide between them that cuts the pinnacle of their love short. You can feel the affection Keaton puts into the performance to have the emotions strike deep within Bruce’s soul, and create the powerful connection Bruce and Selina are meant to have. Even as Batman, Keaton shows that sparkle of fascination and intrigue for this seductive and dangerous Catwoman. She, figuratively, hits him very close to the heart, and he sees someone possibly cut from the same jagged mold that he was. There is much less of a sense of the brooding lone man in Batman Returns, but with the stronger love interest aspect and the story ties with Max Shreck, it naturally pushes Bruce Wayne out of the shadows and into a more active situation. He no longer feels like the recluse he seemed to be in the first film. He feels both like a real executive businessman and a human being here. Bruce Wayne does have that dark shadow on his soul, but he has loved many woman in the comics and has been a responsible and quite public businessman. So, it’s all perfectly in line with the source material, and Keaton, nor anyone else, could have done it better.
Danny DeVito is fantastic in this grotesque version of the Penguin. In the comics, he’s just a short, stout crime boss dressed in a tuxedo and top hat with an affinity for birds. Here, he’s made into a freakish man in both appearance and psychology. DeVito just throws all of himself into this role making Penguin a disgusting, crude villain full of gross rage and despicable deceitfulness. It seems like he purely enveloped himself in the character, and had the time of his life with it. He puts on a sinister performance of a man who revels in his own vile intentions, and it couldn’t be better. DeVito is immensely entertaining and charismatic. The make-up design of the character is equally excellent creating a look that can be effectively unsettling. Still, DeVito is easily able to show the wide range of subtle and verbose emotions of the character through the prosthetics. It’s a masterful execution all around.
However, the absolutely stunning standout in this cast is definitely Michelle Pfeiffer. She passionately embodies all phases and mental states of Selina Kyle. From the meek and mousy secretary that awkwardly blends into the background to the bolder, more aggressive and seductive woman to the playful, sultry Catwoman to the ultimately fractured person whose emotions are strained between the love she has found with Bruce and the bloodthirsty vengeance she is driven towards with Shreck. When she is that more lowly woman at the start, there is such a timid, oppressed quality about the character that you can’t help but feel bad for her. Nothing seems to go right for Selina, and she couldn’t be more undeserving of Max Shreck’s intimidating and belittling treatment of her. Then, when that nervous breakdown occurs, Pfeiffer turns on a truly manic performance that shows the traumatic transformation Selina has now gone through. It’s the character violently breaking free of the restraints she’s had all this time, and out the other end of it comes this confident, aggressive woman. This is a Catwoman that excites. Beyond just the sizzling hot sexual aspects, she is electrifyingly dangerous between her ferocious fighting skills, the razor sharp claws, and the leather whip. Pfeiffer slinks very smoothly into being Catwoman lusciously embodying her feline grace. As Selina herself, she shows an amazing ability to subtly shift tone from humorous or casual to just plain dark and unsettling. That venomous dark side seeps through beautifully. Michelle Pfeiffer brings out such intense emotional pain and conflict which forges together an immensely fascinating and sympathetic character. There’s so much subtle texture and emotional range in her performance that one could go on all day detailing it all. Simply said, she put in a remarkably diverse and emotionally intense performance here, and greatly enhances the depth of the film. From what she did in this role, you can definitely see why Selina Kyle had such a strong emotional impact on Bruce Wayne by the film’s end. Pfeiffer absolutely left me wanting more in absolutely every good way imaginable.
Of course, you can never go wrong with casting Christopher Walken, and in Batman Returns, he’s definitely at his best. He has fierce charisma that forces the character of Max Shreck vibrantly into the meat of the film. He never gets lost or brushed aside in favor for the more fantastical villains. There’s just too much weight and excitement in what Walken brings to the role for an audience not to welcome his presence. Walken is massively intimidating when threatening Selina just before attempting to kill her. You feel like Max Shreck is a powerhouse heavy. He’s masterfully manipulative with a mesmerizing skill of twisting people’s minds with his words. Walken just has such a fascinating delivery of lines that is a signature for him, but I think he adds something specially dynamic to this role. He could carry this whole movie as the main villain if it had called for it. Shreck is not damaged goods like Batman, Catwoman, or the Penguin, and that probably makes him the most condemnable villain of the film. He’s a corrupt, deceitful, murderous human being wrapped up in the guise of a respectable businessman. He’s an unethical vacuum of morality that will go to any crooked lengths to further his agendas and strengthen his legacy in Gotham. He’s cutthroat to no end, and Walken embraces the unsettling, shrewd nature of the character powerfully.
Again, the look of Batman Returns is much more polished than the 1989 movie. There is not as much grit in the visuals, and instead, has a stronger contrast. Blacks are thick and rich. They maintain a striking appearance as the shadows are nicely balanced with the light. Burton and his Edward Scissorhands director of photography Stefan Czapsky give this movie its own visual identity. I very much like the blue tones seen throughout which offer up a very complementary tone. Batman Returns certainly doesn’t have quite as much iconic imagery as its predecessor, but it surely has its dramatic moments that are beautifully captured. The snowy appearance of the film was a gorgeous choice as it further adds to the visual contrast and beauty. It’s strange that while the subject matter is definitely darker than the first, Batman Returns actually doesn’t look nearly as dark as the 1989 movie. It appears to be generally brighter and more inviting. It has plenty of moody visuals, but moves away from the muted color schemes and grim aesthetics. It’s definitely a pleasant experience for the eyes.
The production design is much sleeker, and that is reflected in the redesigned Bat suit. It has a cleaner, more art deco armored design which makes sense. Batman would likely evolve his suit into something generally more durable. From a production standpoint, it just looks more refined and streamlined. Gotham City looks more updated with a generally more modern feeling, but still showcasing an gothic industrial look as well as some 1930s or 1940s artistic mentalities. It’s a beautiful city no longer tainted by grime and trash, but still has its darker qualities. Even the Batcave gets a fine upgrade with more up-to-date technology and refined lighting schemes. Plus, the Bat-Ski boat is a sleek addition which gives the film a little extra something near the climax. The wardrobe is just wonderful all around. The gorgeous pinstriped suits of Max Shreck have an excellent 1900s turn of the century class to them. They make him feel like an iconic captain of industry, and the full grey head of hair was a nice touch to his look. The Catwoman outfit could not be sleeker or more sexually charged. It’s absolutely perfect for a character of this slinky nature, but also, reflects her fractured psyche with the stitched together look. Even Penguin’s more upscale outfits, somewhat reflective of Shreck’s style, still have a grungy feel to them. It creates a nice texture and contrast for the character. Penguin’s lair is exceptionally moody, decrepit, and dank perfectly reflecting the striking image of the character.
Danny Elfman really broadens the musical landscape of the franchise with this film. With more main characters come some very distinctive and marvelous themes that richly reflect the complicated natures of these characters. Catwoman’s theme is so wonderfully complex representing the chaotic and unbalanced nature of the character, and throwing in a dash of sorrow and sympathy here and there. Elfman adds a chorus into the score to enhance the operatic sense of everything, and the slight rearrangement of the main title march is very pleasing. It is a heavily and finely textured score that is vibrant and epic. The Christmas season setting of the film truly weaves its way into the score every so often, and makes for a very colorful and haunting listen. While I’ve never seen A Nightmare Before Christmas, I have to imagine there’s some correlation between those musical styles from Elfman.
There is also a vast improvement in visual effects work here. Before watching the featurettes on the Special Edition DVD, I never knew that the opening title sequence was entirely done with miniatures and effects work. It always looked entirely natural to me. Matte paintings are still great, but have a little more life to them with some extra color and integrated motion. Since digital effects had progressed into the forefront, we definitely get the benefit of that higher end work here. Being released in 1992, it was sandwiched right between 1991’s Terminator 2 and 1993’s Jurassic Park. While the digital effects are not used on a massive scale, they are very seamless with both something like the armored shields on the Batmobile, and more so with the digital replication of the penguin soldiers late in the film. Overall, it’s a very fine accomplishment from the visual effects department. Stan Winston also provided his studio’s talent with creating numerous animatronic penguins that seamlessly blend in with the real life ones.
Tim Burton continues to show a great sense of action in this sequel. Every single action sequence is choreographed and shot amazingly well. They are smartly scripted making sure each one is organically different without forcing it. With the eccentric nature of the Red Triangle Circus Gang, Batman has plenty of gimmickry to combat from the sword swallower to the fire breather and many more. He handles each one with originality packed with some ironic entertainment value. Igniting the Batmobile’s flaming turbine engine upon the fire breather is just too priceless. Then, things get more interesting when Batman combats Catwoman. She’s immensely skilled and agile making for a dynamically dangerous adversary that gets some stinging shots in. Mixing that in with the sensuous aspects of their peculiar relationship, it creates a great twisting psychological unpredictability to their confrontations. The climax of the film just blows me away. There’s so much slam bang awesomeness packed into it which Burton handles with so much competency and balance. The race to halt the Penguin’s missile attack on the city creates the fast paced excitement with the Bat Ski boat rocketing to its desination. The explosive and poignant conclusions to the Penguin’s storyline are nicely balanced on either side of Selina Kyle’s own emotionally charged climax. This entire sequence is tightly paced, and hits all the plot and character beats perfectly on the mark. Everything is powerfully wrapped up to a highly satisfying degree. Many superhero films with so many villains usually end up in a mess, but Batman Returns handles all of them exceptionally well all the way through to the end.
The film certainly has more impact upon Bruce Wayne than Batman, but it all ties in very nicely. The parallels of Batman and Catwoman versus Bruce Wayne and Selina Kyle was an excellent idea. How both are tied into one is exceptionally strong. Just a simple unassuming line of dialogue is what triggers the revelation to them both, and injects a much stronger emotional element into the climax. It also does create a fine arc for Bruce Wayne / Batman. Seeing him connect with this woman that is very much like him, and how he ultimately wants to be able to save her from the vengeance that’s eating her alive is wonderfully done. The Batman / Catwoman relationship has always been one of the most fascinating and complex ones in comics, and I believe Tim Burton and his screenwriters did an excellent job bringing that to the screen while Keaton and Pfeiffer made it exceed any expectations.
After watching Batman Returns again, I think this might be my new favorite Batman movie. While it’s not really faithful to all the characters as, in the comics, Catwoman is just a cat burglar with no mystical type powers or psychological unbalances, and Penguin is just a sort of quirky, non-freakish crime boss, I really like what was done with these characters, and all the concepts were executed with depth and intelligence. If it was all done poorly or just fell short of its potential, I would surely have some gripes with it all, but everyone involved just couldn’t have done a better job. The tight pace is really what excites me about the movie. It’s constantly moving somewhere with one character or another, and they are all logically and organically tied in together instead of some slap dashed plot to force multiple villains into the same movie. It’s this tightly wrapped sordid web of interconnected characters and plotlines that are smartly interwoven. I will say that there was a slight missed opportunity by Batman not having to really deal with being framed for murder by Penguin and Catwoman. It is an unresolved plot point that is brushed aside rather effortlessly, and it’s a shame too. It’s a storyline that could be very fascinating to explore, but the film just didn’t have room to resolve it. Any such resolution can only be implied, likely through Batman’s rescue of the children from the Red Triangle Circus Gang. However, for the trade off we get for it, I can generally overlook this issue. I enjoy Batman Returns thoroughly now, and I think it’s gotten some bad press over the years. People seem to act like 1989’s Batman was this bright, happy, fun adventure film for the whole family in comparison, but like I said in that review, at nine years old, my parents did not let me see it in the theatre. It was a dark movie that could be unsettling to a young audience. Batman Returns at least has a bit more levity via light, appropriate humor and great chemistry to balance out the dark characters and subject matter. I would venture to say that this sequel is more fun and more exciting than the first movie. I just find this more satisfying on numerous levels. It has a stronger, more layered story with more rousing action, and a tighter rhythm and pace held together by an incredible cast. I believe Batman Returns is an amazing movie, and a great sequel. I won’t say it’s perfect, or that it will give you everything you want from a Batman movie, but it’s a damn good one, regardless. I know it almost certainly will never happen, but I would be very interested in seeing Tim Burton and Michael Keaton return to the franchise with a proper sequel to their Batman movies. I think they could still do a great job if collaborating with the right creative talents, and Burton could likely use a change of talents these days.
The Bourne Supremacy is one of the hardest hitting action films I have ever witnessed, and it has far more to offer than just action set pieces. There is no fat here like most action films have. All of its lean meat and muscle is reserved for its visceral action and dramatic emotional story. Supremacy was loosely based on the novel by Robert Ludlum, and whenever you’re basing a motion picture off of an international best-selling novel, chances are, you’re gonna have the potential for a very meaty story. This is definitely the truth here. This movie is very tight, very taut, deeply dramatic, and firmly rooted in reality. It takes everything that was built in The Bourne Identity and capitalizes on it.
It’s two years after the events of The Bourne Identity, and ex-CIA assassin Jason Bourne (Matt Damon) is still suffering from a broken mind. His memories are fractured, and is awakened in the middle of the night more frequently than not. Jason & Marie (Franka Potente) are now living in Goa, India, but meanwhile, Jason Bourne is about to be framed for two murders in Berlin, Germany. A CIA team, headed by Pamela Landy (Joan Allen), is attempting to purchase classified Russian documents, but a Russian assassin named Kirill (Karl Urban) killed both men and stole the documents. A planted fingerprint implicates Jason Bourne for all this. Then, Kirill shows up in Goa, India to kill Bourne himself in order to erase any evidence to the contrary in framing Bourne. Kirill believes he has completed his mission, but unknowingly, Bourne still lives. However, Bourne believes that it is the CIA who sent a man to kill him, and this sends Jason on a dead set mission to find and take out those who he told to leave him alone. The trail of planted evidence leads Pamela Landy to Operation: Treadstone, the elite team of assassins lead by the late Alex Conklin (Chris Cooper) of which Jason Bourne was the top operative. Landy brings Ward Abbott (Brian Cox), Conklin’s boss, into the mix as she attempts to unravel the mystery of Jason Bourne, and why he has come out of hiding. Now, Jason Bourne is coming down hard and fast on the CIA while the Agency is attempting to hunt down Bourne.
To their dismay, Bourne has been trained too damn good, and when Landy and the CIA believe they are completely on top of the situation, Bourne shows them that they are MILES behind him. Bourne is like a mechanism – once you set it into motion, it cannot be stopped. He lives up to his threat from the first film that there would be no measure to just how hard and how fast he would come down on these people if he even felt someone coming down on him. Everything builds to explosive, intense levels to where the wrong move could get anybody killed.
All the action sequences top any of those in the first film. Although, I have to say that director Paul Greengrass has far too much favoritism towards the notorious “shaky-cam” style of shooting. I’ve never seen any of Greengrass’ previous work, and so, I can’t make any comparisons in that vein. I don’t believe any blame is to be set on director of photography Oliver Wood as he handled the cinematography on The Bourne Identity in a very different fashion. I’ve also seen numerous films he has shot including Die Hard 2, The Adventures of Ford Fairlane, Bill & Ted’s Bogus Journey, Face/Off, and TV’s Miami Vice. So, I have to say that it was mainly Greengrass’ creative direction to use so much of this style of shooting and editing. In some action sequences, between the shaky-cam photography and the fast-paced editing, it can become very difficult to discern what is happening. You can literally get confused what is happening to whom. You don’t know if that was Jason Bourne who’s getting smashed into walls or the other ex-Treadstone assassin. Bad lighting is also to blame as some sequence take place in backlit locales making the actors bleed together. This is my only gripe with the film, and despite its abundance, this film is just too intense and powerful to knock it down because of that.
This film’s car chase sequence is, at least, twice the sequence of the first film’s. Mainly because it is the climactic action sequence of the film as Jason Bourne & Kirill turn the streets of Moscow into a demolition derby the likes of which you have never seen! The car crashes are violent and visceral, and anyone who has ever been in a car crash – like myself – will be able to seriously feel it. This car chase is beyond any I have ever seen put to film. What makes the action in the Bourne films so impactful is just how grounded in gritty reality they are unlike how extravagant and fantastical the James Bond franchise had once become. These films are very adult in manner and context.
Jason Bourne still struggles with the remnants of his past life, and must deal with who he once was. He must come to terms with the pain and death he has inflicted upon others in order to move on with his new life, and to absolve those he has pained of the lies that have damaged their lives. It is powerful and dramatic. It’s the bigger, needed step towards the further evolution of the character of Jason Bourne. He can never live in peace with himself until he is able to come to terms with the blood he has shed. There’s just so much to say about this film that it’s difficult to find the right words to do so. When you see it and are able to absorb it all, you will surely understand. It’s a dramatic and painful journey of discovery for Jason Bourne. Whether redemption will ever come is unknown, but I believe Bourne certainly takes the hardest first step towards that end by the film’s conclusion. However, the film ends on a sly, upbeat note, and that is a sign of very fine and consistent storytelling. I also like the consistency and continuity here from the first film with the reuse of the same passports and identification photos of Jason Bourne to the reuse of Moby’s very catchy tune “Extreme Ways” for the end credits.
John Powell delivers another fantastic score here that tops everything he did in The Bourne Identity. That’s just about the decree with everything here (except for the aforementioned shaky-cam / editing gripes). Matt Damon really delivers like you’ve never seen. Until you see Damon in the role of Jason Bourne, you might have grossly underestimated his worth, ability, and quality as an actor. Until this point, I had only seen Damon in mostly comedic roles in films like Ocean’s Eleven and Dogma before watching The Bourne Identity shortly before the release of this sequel. In this film, however, Damon demonstrates just how powerful of a dramatic actor he can be. You can see emotion in his face, in his eyes, and in his body language. Simply put, his performance is deeply human, and will hit you deep within. As Bourne’s true nemesis, Karl Urban was very impressive. After seeing him in the latter two Lord of the Rings films and The Chronicles of Riddick, it was refreshing to see him in a more gritty, grounded film instead of a setting of fantasy. The character of Kirill does not have much dialogue, but Urban has a strong, intense presence that just leaves you hungering for more. The native New Zealander does nearly all of his dialogue in Russian, and even through a foreign language and subtitles, you still get a grim tone from him that is very potent. Both Bourne & Kirill are like ciphers when they’re in their element, but when the action gets intense, Bourne becomes more focused while Kirill becomes even more enraged. Regardless, they are both determined to burn the other into the ground.
I also have to say that I cannot get enough of Brian Cox. I have loved his wide range of roles in Manhunter, The Ring, Super Troopers, X-Men 2, The Bourne Identity, and now, The Bourne Supremacy. He’s a great actor with an abundance of natural charisma and always, at least, a hint of humor. Words just cannot explain how enthralled I am with him. He is tough to keep up with, and if you’re going to be sharing a scene with him, you’d best be on the very top of your game. Considering how great and engaging of an actor he is, I find it surprising that he’s said to not view any of his own work. Whatever the case, Brian Cox is absolute pure gold in my honest opinion.
Playing opposite Cox is Joan Allen, and she is strong and stern here. As Pamela Landy, she doesn’t allow Abbott (Brian Cox) to shovel any bull her way. She cuts through all the crap, and gets to the truth and the core of the matter. She takes firm control of this entire situation and handles it with confidence. Where others in her situation have faltered and fell, she holds strong. Even when things start to go awry, she still holds onto a degree of solidarity. You can write a character that way, but it takes a strong female talent to bring that sort of role up to its utmost potential. Joan Allen is that talent. Everyone else, up and down the line, puts in everything they’ve got here, and I could not find even one moment of weak acting. A very admirable job to everyone including those involved with the casting of the film.
The only dent in the chiseled armor of this film is the shaky-cam, fast editing style. I believe the same level of kinetic energy could have been sustained in these action sequences using more stable photography. If that’s how it had been shot, then I would have no problems with the editing, but when you can’t discern what’s happening in these shots, cutting quickly from one to another does not help you to comprehend the visual storytelling any better. Of course, with just how slam-bang amazing this movie is, I just can’t allow that to be much of a hindrance to my critique of it. Dramatically, on levels of storytelling and acting, I don’t see how anything can be topped here, but I highly encourage future filmmakers of the franchise to give it every effort.
If you loved or even just liked The Bourne Identity, I believe The Bourne Supremacy will easily exceed all of your expectations. In the context of the currently existing three films – Identity, Supremacy, & Ultimatum – this entry is the best! It entirely launches itself far above the potential of Doug Limon’s first film, which was an excellent film in its own right. While The Bourne Ultimatum was not a real down slope, Supremacy was such a massive step forward that the third film couldn’t achieve the same. Plus, Supremacy seemed more dogged and relentless in all its aspects to create a far more hard hitting film that never let up. Also, the ending of The Bourne Supremacy with Bourne and Landy had a lot of its meaning and character building strength diluted when it was revisited in The Bourne Ultimatum. To say it simply, this is one of the best action thrillers of the last decade, and it helped launch the genre into a grittier direction that was timely and very welcome.