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Halloween: Resurrection (2002)

Halloween ResurrectionSo, over twenty years later Rick Rosenthal would return to the Halloween franchise for this entry.  I honestly have never liked Halloween: H20 for a multitude of reasons, and I don’t wish to sit through it again to review it.  Thus, I was so immensely glad that this film promptly retconned the ending of that movie, and allowed for Michael Myers to live again and not die like a punk.  I know there are those who disagree with that feeling, but so be it.  While I do find this sequel enjoyable to a degree, it does have valid issues to critique about it.

For the first broadcast of the new reality website Dangertainment, a group of college students are hired to explore the ruins of the house of infamous murderer Michael Myers.  Six cash-strapped friends decide to explore the home, but what they don’t know is that Michael is on his way home back to Haddonfield after a fateful confrontation with his sister Laurie Strode (Jamie Lee Curtis).  Now, being broadcast across the internet, these unsuspecting victims will fall prey to Myers’ methodical blade.

If this movie was made ten years later, it probably would have been a found footage horror movie.  Very little would have to change to accommodate that approach, but thankfully, that’s not the case here.  I can understand why this story idea was used.  This is the eighth movie in this franchise, including Season of the Witch, and a studio is going to feel like they need a fresh gimmick to drive in audiences.  Paramount felt the same thing when they made Jason Takes Manhattan.  The problem is that these ideas are usually not all that favorable with audiences.  I love slasher movies, but I do like someone doing something fresh with the formula every so often.  Frankly, I think Halloween: Resurrection executes this idea as well as it can be.  In fact, it has some strangely honest commentary on reality television.  Dangertainment mocks up the entire Myers house with false clues about Michael’s upbringing because they know actual reality is boring.  No one would watch a bunch of people wandering through an empty house.  The head of the company, Freddie Harris, has to dress it up and create an illusion and sell it as reality so to make it entertaining.  I like that the Freddie character does come around to denouncing that illusion and the using of Michael Myers as a sound bite to drive viewership up.  It shows an effort on the part of the filmmakers to make something of the premise, which is indeed dated.  Halloween: Resurrection might be far from the pinnacle of this franchise, but it’s far more consistent than the rushed mess of The Revenge of Michael Myers.

If you watched the trailer for this you might believe that Jamie Lee Curtis had a larger role in it than she really does.  Her story is confined to the opening sequence at a psychiatric hospital where she has her final confrontation with Michael.  A quick summation at the film’s start states that Michael Myers had switched outfits with a paramedic before the last film’s climax, and it was that poor soul with a crushed larynx that Laurie decapitated.  What ensues in this opening sequence with Laurie and Michael puts the storyline to rest.  I’m sure there are fans who did not like this at all, possibly as much as I hated the ending of H20, but taken on its own merits, it is a well done sequence that is to the point.  Laurie doesn’t go out in a blaze of glory, but really, you shouldn’t set your expectations that high for this movie.  It’s just not that ambitious.

I do really like the look of this sequel.  It makes great use of atmospheric lighting.  It has the polish of a major studio feature, but Rosenthal and his cinematographer just know how give it that shadowy, moody quality.  True to the John Carpenter roots, there’s some very solid use of blues and fine steadicam work.  The video camera footage of the internet broadcast is about what you’d expect in the pre-high definition digital era.  We get more and more of it as the film progresses, and you could take it or leave it depending on your disposition towards it.  It has some effectiveness in certain sparse moments for us to see things from the characters’ point of views, which is evocative of the found footage genre like The Blair Witch Project had already shown, but there’s nothing special to witness here in that regard.

The biggest highlight of this movie is that I absolutely LOVE the score by Danny Lux.  I honestly believe it is the best score of the sequels.  Lux adds a heavier punctuation to the familiar themes, and overall, he crafts a more haunting, partially gothic aura to the film.  It’s a score that really soars far above the quality of the film it is attached to.  Regardless of what you think of this movie, you should definitely give this score a standalone listen.  It is immensely effective.  Danny Lux does an amazing job with it.

Now, I don’t think this is a bad cast.  For the most part, they do come off as fairly standard slasher film fodder, but this cast does seem like they are putting forth an honest effort.  Each one tries to make their character enthusiastic, charismatic, and somewhat entertaining.  There’s no real standout, but everyone essentially delivers a performance of a consistent, equal level.  I wouldn’t say this new cast features anything approaching greatness, but it’s good for the expectations you would likely have.

Bianca Kajlich does well in making Sara a relatable and sympathetic lead.  There’s very little to the character, same with everyone, but there’s enough of a decent, vulnerable person in her performance for it to work.  She has this internet based relationship with the high school freshman Myles.  Through that, they’ve built a foundation of trust and friendship, and it plays fairly well into the movie near the climax.  Ryan Merriman is endearing as Myles.  He’s definitely the audience’s conduit into having sympathy for the victims.  He and his friends are at a Halloween party watching the online stream of the Myers house expedition, and witness the horror as it progresses with little to be able to do about it.  Despite Myles and Sara being strictly internet pals, Merriman does a fine job creating an emotional connection between both characters.  It’s almost a shame that the film never allows them to actually see each other face-to-face.

The role of Freddie Harris is indeed filled by Busta Rhymes.  Clearly, he didn’t need to be in this movie, but I will give him credit that he doesn’t slack off.  He portrays a role that’s within his ability as a charismatic salesman, but also does a fine job with the more fearful, regretful moments later in the film.  We surely could have done without the Kung Fu fight against Michael, but at least the filmmakers did enough to set it up earlier on.  In the fiery climax, he’s certainly played up for the sake of his fans, and it does feel rather out of place.  You might as well have Arnold Schwarzenegger charge in there for as much as its played like an action hero moment.  It would be essentially the same effect.

The role of The Shape is filled by Brad Loree who I feel does a decent job.  It’s definitely Dick Warlock inspired, but not quite so rigid.  His performance is simply okay.  It doesn’t standout, the same as the rest of the cast, but it works fine for the demands of this film.  Also, while he is listed as 6’2”, I think the baggy coveralls make him appear smaller in stature than he likely really is.  The mask for his Michael Myers could have done with a little less airbrushing detail, but really, no sequel has really gotten the mask to look right compared to the original film.  I’m not sure why that’s been so difficult.

The most important question, though, is if this film is scary.  Well, it has the potential to be depending on how weathered of a horror fan you are.  Rick Rosenthal really does a lot to set a strong visual atmosphere conducive to scaring an audience.  There are plenty of spooky moments of Michael Myers lurking in the shadows, only seen in glimpses.  It certainly has moments that could scare certain people, but generally speaking, it’s not going to do much for the seasoned horror fan.  Especially ten years on, with the far more intense films we’ve gotten in this genre, regardless of your preference, Halloween: Resurrection is fairly tame.  Even John Carpenter’s original is not really an effective horror film anymore to me, but I respect it immensely on every artistic level.  It is, after all, the movie review of mine that launched Forever Cinematic in the first place.

The Halloween franchise is kind of a mess.  There are a lot of subjective ups and downs depending on what storylines you enjoy.  For me, I really liked where things were potentially going with the sixth film, The Curse of Michael Myers, mainly in its Producer’s Cut form, but so much tanked that potential resulting in Halloween: H20.  I hated that film for killing the continuity and storyline that I loved, and intending to dispatch Michael Myers in an unimaginative, bullheaded fashion.  This sequel ultimately feels like a weak whimper trying to extend the bankability of the franchise just a little further without enough ambition or unique talent to elevate it.  It just tries to be a fun slasher flick, and if you take it as that, it’s fine.  I can sit down and burn ninety minutes with it on a whim, but it’s entirely forgettable and dismissible.  Aside from the potentially divisive opening with Laurie’s death, it really plays it safe with an either fun or lame premise.  Essentially, you can take this film or leave it.  If it’s on cable, and you’ve just time to kill, it’s a decent watch.  I would like to give it a better recommendation, but knowing that there are a some far stronger films in this franchise, I can’t give it any further credit than this.


Halloween II (1981)

Halloween IIThere has been one conspicuous omission from my reviews of the Halloween franchise, and it is this first sequel.  The reason for this is, one, I have never really written a full review of it before, and secondly, I’ve never really cared for it at all.  This stems from the fact that it has very little to offer me as either a fan of John Carpenter’s original or as a big slasher movie fan.  Simply said, so much of it just doesn’t appeal to me.  From the reworked score to the bland hospital environment to the clear shift from atmospheric horror to a reliance on gore, this isn’t the Halloween sequel that I want to see.  Even the ones that are technically worse films, they have an entertainment value that I can indulge in on some level.  There are many reasons why this film doesn’t even give me that much.

Picking up exactly where the first film left off, it seems the inhuman Michael Myers is still very much alive and out for more revenge as he stalks the deserted halls of the Haddonfield Memorial Hospital for Laurie Strode (Jamie Lee Curtis). As he gets closer to his main target, Dr. Loomis (Donald Pleasence) discovers the chilling mystery behind the crazed psychopath’s actions

It might sound somewhat unfair, but the vast majority of my gripes with this film are in comparison to John Carpenter’s original.  However, with the fact that this film picks up exactly where the first left off, it demands that comparison because it is trying to convince us that this is a seamless continuation of that movie.  The problem is that it doesn’t feel seamless in many aspects, and they are largely on the technical side.  Still, there are issues with the quality of the script, and just the effectiveness of Halloween II as a horror movie that I wish to address.

To be straight up honest, I do not like the score for this movie at all.  Yes, they are the same themes with John Carpenter and Alan Howarth doing the score, but the overly saturated synthesizer sound has never been to my liking.  It doesn’t sound like a horror movie score to me.  It sounds silly and over bloated.  The first film’s score felt far more subtle and artistically applied.  To me, the score for Halloween II just evokes no sense of tension, suspense, or chilling atmosphere for me.  There are many instances where a strategic use of score could have been utilized to craft great suspense and nerve-racking tension, but instead, it’s dead silent.  This score relies more heavily on the musical stingers, and feels poorly implemented overall.  Carpenter’s scores usually craft a brilliant soundscape for a unique auditory experience, but there seems to be a significant lack of score in the moments where it should flourish.

Now, this is a very well shot movie, done so again by acclaimed director of photography Dean Cundey.  It has some very good lighting schemes in certain scenes, and the continued use of the Pana-glide camera work is excellent.  Director Rick Rosenthal does make an effort to emulate John Carpenter’s visual style, but I have always felt that the color palette of Halloween II was never quite right when compared to the first film.  The hospital interiors feature a terribly bland color scheme, as most hospitals do, and because of this, it doesn’t have any of the visual pop of the first movie.  There are no daytime scenes to soak in that late autumn feeling as this is all set at night, and really, it feels like it could be any night of the year.  The film also lacks the atmospheric blue tones that Cundey used in the original as well as several other films he’s shot.  Also, when I look at this film in certain instances, the lighting just doesn’t look quite right.  The feeling, the mood, the balance of light and dark, at times, doesn’t feel consistent with the first film.  This is especially evident when new footage is spliced into the revisited footage from the ending of Halloween.  It’s not even knowing that it is new footage married with old footage.  Back to the Future, Part II did this sort of thing seamlessly, and was also shot by Dean Cundey.  These issues, I think, also stem from the fact that the first movie was a late 1970’s independently produced film while this is an early 1980’s studio produced sequel.  It is inevitably going to have a slightly different visual feel due to extra money, studio mandates, a shift in filmmaking aesthetics, and a change of directors.

Even then, Rick Rosenthal’s film was tampered with by the studio and Carpenter as they felt it was too tame in comparison to other recent slasher films.  While I can see the clear evidence of that since there is a definite lack of suspense, although much of that is, again, due to the absence of a score in key scenes, this is a sequel that didn’t stay true to its predecessor.  Yes, of course, this is a slasher film that is going to follow many of the tropes of the genre which were originated in Halloween.  However, this sequel feels like it’s trying to fit in with the Friday The 13th style slasher film craze instead of staying true to the Halloween style slasher.  The genre exploded after the success of Friday The 13th, and it became very indulgent in gore and sexuality.  It essentially became exploitative in that regard, and this film embraced that mentality whereas Halloween was a film built entirely on suspense and atmosphere.  There is some suspense here, but it is especially sparse.  Instead of holding to what made Halloween successful and effective in the first place, Halloween II tries to conform to what was popular at the time, and thus, feels second rate to me.  Rick Rosenthal tries to match Carpenter’s style in many regards, but then, Carpenter comes in and tries to veer it away from what he originally did.  It’s certainly not a film that is one director’s vision, and even then, Rosenthal isn’t given much to work with to make this as good as the first movie.  I really didn’t get the feeling that there was enough creative effort put into this film to make it succeed in the creative vein.

One of the bigger problems here is that Halloween II feels scattered.  The first film had a distinct plot progression as elements gradually converged with one another in a tight, cohesive way.  This sequel is extremely loose in that regard.  Laurie is essentially a stationary target throughout the movie, spending a good chunk of it asleep or screaming, but Michael Myers roams about the hospital killing everyone else while Loomis is out scouring the streets for Michael.  No longer is Loomis in sync with his prey anticipating his psychology and instinctual impulses.  He’s tagging along with the police instead of driving the narrative forward.  Even the majority of his dialogue feels retreaded from the first movie as he re-explains the history of himself and Michael, and his talk about evil incarnate.  It entirely feels like it is only there in case someone watching this movie never saw the first one.  Even Donald Pleasance seems a tad monotonous delivering this reworked dialogue.  While his performance is still of a high quality, there’s just nothing new for him to do here.  The film also hardly feels like it’s building any momentum.  John Carpenter reportedly had a very difficult time coming up with a story for this film while writing the script, and it really does show.  Dr. Loomis and Laurie Strode have next to nothing to do here except uncover newly conceived secrets about Michael and Laurie’s past, which amounts to nothing.  There’s no mounting tension heading into the third act, and Laurie’s chase scene earlier on is very mild and slow paced.  This film doesn’t offer a sense of escalating threat until the last few minutes before Loomis engulfs himself and Michael in an inferno.  The pacing is very monotonous because the story is very loose and lacks directional momentum.

The supporting characters here are mostly a lot of interchangeable hospital staff going about their mundane duties getting killed, and an audience likely couldn’t care less about any one of them.  They feel like standard, hollow slasher film fodder, but without even the crutch of a stereotype to make them funny or entertaining.  Carpenter’s original was smartly and greatly cast filling out very lively characters, but here, there are just so many throwaway characters with very little personality that very little care was needed to put together a memorable supporting cast.  Even Sheriff Brackett vanishes from the film after learning of his daughter’s death, and so, we get new police officers who have really nothing fresh or pertinent to contribute to the story.

And it really is a shame that Jamie Lee Curtis got hooked into doing this film.  It is an utter waste of her talents.  She spends the majority of the film either laying in a hospital bed, running away from Michael Myers, or hiding in a parked car.  This is a sequel that brings people back to simply do nothing new or challenging.  To me, it’s another sign that there was a lack of creative drive behind this.  Every character feels either generic or wasted.  Also, since Jamie Lee Curtis had since adopted a shorter hairstyle, she had to be fitted with this blatantly obvious bad wig.  This just further adds to the nagging inconsistencies between the two films.

Now, I know there are people who are fans of Dick Warlock’s Shape, but I have never liked his lethargic, robotic movements at all.  If this movie is supposed to pick up at the exact moment the first left off, there should have been a demand for consistency.  Nick Castle’s Shape moved with a relentless fluidity.  He felt like a shark hunting his prey with a fierce single-minded focus.  Warlock is so horribly stiff that I see no ferocity or cunning intellect here.  Before, Michael’s actions had a clearly evident intelligence and deliberateness behind them.  He stalked his prey with patience and purpose.  He observed them before striking.  Here, he just shows up and starts killing like a mindless machine, and to me, that’s just not interesting or intriguing at all.  Warlock is a great stuntman, but as Michael Myers, he does nothing good for me.

I can appreciate some bad slasher movies because many of them at least show that they are trying.  Their end result might not be creatively successful, but the filmmakers put forth a visible effort to make a somewhat effective horror film.  For me, Halloween II doesn’t even give me that much.  I find it to be a very dull, bland, and boring slasher movie.  It has none of the atmospheric tension or magic that John Carpenter harnessed for the first movie, and the story is very lazy even for a slasher film.  I think Halloween 4: The Return of Michael Myers is the vastly superior sequel in every aspect.  Also, released the same year, I passionately believe that Friday The 13th, Part 2 is one of the best slasher films ever made.  I don’t hate Halloween II.  It just doesn’t do enough either way to motivate a passionate response from me.  Any other films in this franchise I don’t end up reviewing are simply because I don’t wish to subject myself to them again or even for the first time.


Howling II (1985)

Howling 2I don’t think any of the sequels to The Howling have a good reputation, and that’s quite clear from this very first one.  You cannot take this movie seriously, which goes under either the subtitle of Your Sister is a Werewolf or Stirba Werewolf Bitch, neither of which can be taken very seriously either.  However, you can have a vastly inferior sequel that is surely not a good film still be a greatly entertaining one.  If you want to trade scares for some stupid werewolf action then Howling II might be for you.

After countless millennia of watching, waiting and stalking, the unholy creatures known as werewolves are poised to inherit the earth.  After newscaster Karen White’s shocking on-screen transformation and violent death, her brother Ben (Reb Brown) is approached by Stefan Crosscoe (Christopher Lee), a mysterious man who claims that Karen has, in fact, become a werewolf.  But this is the least of their worries as to save mankind, Stefan and Ben must travel to Transylvania to battle and destroy Stirba (Danning), the immortal queen of all werewolves, before she is restored to her full powers!

I honestly don’t know how this film was approached as a sequel to The Howling.  Practically no effort is put into making it feel or look like a natural continuation of that story in that world with those characters.  Howling II can only be described as seemingly taking place in the B-movie alternate universe of the first movie to where artistic brilliance and visionary storytelling is replaced with as much “new wave” music inspired flash and cheesy goofiness as possible.  Just how they recreate the ending of the last film as a lost piece of news broadcast footage says enough with horrendous makeup effects and an actress who bares zero resemblance to Dee Wallace.  Sadly, that’s just a taste of what’s to come.

Some of the editing in this movie is just bad.  Certain sequences are choppy, have little coherence to the action that is occurring, and frankly, just comes off like a perplexed mess at times.  The plot is much the same.  Much of it is rather laughable changing werewolf lore for silly reasons.  These werewolves apparently have no vulnerability to silver, and titanium must be used.  Of course, stakes through the heart and holy water being some of the weapons of choice here clearly reek more of a botched up vampire screenplay than a werewolf one.  So, yeah, this wasn’t a screenplay with much thought put into it, but how stupid this thing is along with some of the performances simply turns this around to being entertainingly bad.  The first movie really did, reportedly, throw out a lot of what was in Gary Brandner’s novel, and if his work on the screenplay for this film is any indication, it was likely all for the best.  The quality of this sequel is not built on its execution, but the script itself and the ideas it conjures up.  You really can’t watch Joe Danté’s original movie followed by this and see any correlation of tone, concept, or artistic quality between them.  Howling II is simply pure 1980’s cheesy entertainment value.  Scares don’t factor into it, just a lot of jovial laughs because the movie is played so straight.

As ludicrous as the film makes itself out to be, when you have Christopher Lee unloading all of this exposition it’s hard not to buy into it all.  With Lee being as stoic and imposing ever, the silliness of the movie is simply enhanced to higher levels of awesomeness.  Whether he’s Count Dracula, a Dark Lord of the Sith, Saruman, or anything else, Lee sells every role he takes on with total earnestness and theatricality.  That is no different with his performance as Stefan.  Of everyone here, he plays it the most dead straight, and is the most awesome because of it.  However, when he was cast in Gremlins 2, Christopher Lee apologized to director Joe Danté for having starred in this silly sequel to his remarkable film.  That’s some class right there.

Mostly going for broke through his enjoyably non-dimensional acting talents is Reb Brown.  His reactions to Stefan’s exposition is probably the same as the audience’s – total, eye-rolling disbelief.  It makes for some funny moments, but it’s really when Reb delves headlong into his guttural screams as he blasts away with a shotgun at this film’s sad excuses for werewolves that his base level entertainment value comes to light.  A good performance?  Not by a long shot, but like so much here, it’s all a lot of bad junk that compiles into a raucous fun time.

Of course, rounding out the cult following cast is Sybil Danning who is here simply to add a busty sexy appeal, and she surely excels at that.  However, the werewolf sex scene in this film is purely gratuitous while being entirely unappealing to look at.  Whereas the first film made it a great melding of eroticism and primal terror, this sequel just throws in a sex scene for the hell of it and decides to glue a ton of cheap furry makeup on the actors.  Aside from Danning ripping off her top, there’s nothing worth seeing in this sequence, and you can stick around for the end credits to see that bare-breasted moment repeated a total of sixteen times.

The werewolf effects in this sequel are not close to being even second rate when compared to Rob Bottin’s amazing work on the first film.  They are cheap and often cheesy.  Most times, the filmmakers try to disguise them through all the terrible rapid fire, incoherent editing, or by having people be chased by a steadicam point of view shot.  Unfortunately, there’s no real hiding substandard quality like this.  These bad makeup effects, along with a couple of cheap visual effects, are yet another thing that makes this movie as enjoyably bad as it is.

I suppose the one genuinely good thing in Howling II is the new wave rock main theme by Babel, which is repeated every few minutes.  It’s a really catchy tune, and so, it’s not at all a burden to hear again and again and again.  However, what score there is beyond that isn’t much worth noting.  I’ll also say that the movie is fairly well shot with some good production values and art direction.  So, it’s not a poor film to look at.  It really is just some of the sloppy editing that makes so much look incompetent.

Like I said, there is nothing here that is remotely scary, but when the shotgun blasting, titanium stake stabbing, and magic wielding action begins, it’s quite enjoyable in all its over-the-top cheesiness.  Seeing Christopher Lee and Reb Brown standing back-to-back gunning down crappy looking werewolves is about as much fun as it sounds.  Howling II is a terrible sequel to the visionary original, but if you take it as it is in being a film that feels like it exists in an entirely different universe than the first, you can have a lot of fun watching it.  It’s just pure B-movie indulgence.


The Howling (1981)

The HowlingGood werewolf movies are difficult to come by.  Most just don’t find a way to make them interesting, alluring, or entertaining like vampire films are more easily able to do.  However, there are a few universally accepted classics of this subgenre, and this 1981 film from director Joe Danté based on the novel by Gary Brandner is indeed one of them.  For me, it’s a movie that’s taken some time to get into.  The first time I rented it on VHS I was working twelve hour shifts to the early morning hours, and fell asleep halfway through, same as with The Amityville Horror.  This time, I gave it my full attention and patience.

Severely shaken after a near-fatal encounter with a serial killer, TV newscaster Karen White (Dee Wallace) takes some much-needed time off.  Hoping to conquer her inner demons, she heads for “the Colony,” a secluded retreat where her new neighbors are just a tad too eager to make her feel at home.  Also, there seems to be a bizarre link between her would-be attacker and this supposedly safe haven.  And when, after nights of being tormented by savage shrieks and unearthly cries, Karen ventures into the forest to find answers, she makes a terrifying discovery.  Now she must fight not only for her life, but for her very soul.

The Howling is an extremely slow burn film.  Joe Danté gives you only the vaguest of teases early on hiding his ravenous creatures in the shadows and brief glimpses, which can be effective.  The best execution of this is in the first act of the film where Karen encounters Eddie, the supposed serial killer portrayed by Robert Picardo.  The use of darkness, suspense, and subtle backlight is a brilliant work of art.  However, my suspicions from way back on first viewing were right in that we don’t see a werewolf in all its full glory until well past the halfway point in the movie.  Until then, Danté takes the time to utilize some psychological aspects as Karen is haunted by her experience with Eddie.  She is hit with nightmares and startling visions that heighten her fear and paranoia.  This film is a bit of give and take.  You certainly go into this wanting to see the werewolves reeking havoc often, but you have to wait a very, very long time to get to that point.  However, once you do, the pay-off is excellent as Danté doesn’t hold back anything.

Many would know the special make-up effects work of Rob Bottin from John Carpenter’s The Thing, but that would be another year after this picture.  Here, he creates some of the most amazing werewolf effects ever.  Everything is so lifelike with very fine details and textures in addition to very elaborate methods used in the transformation sequences.  Today, it would all be digital effects, but in 1981, you needed a practical effects master to realize something of this stunning vision of horror.  The full size werewolves are wholly frightening as they tower probably at a good seven feet tall with every ferocious quality imaginable.  What Bottin accomplished here will truly unnerve and terrify many.  How he did it on a $1.5 million budget, even in 1981 dollars, just floors me.

This is also one of the absolutely most beautifully shot horror films I’ve ever seen.  Joe Danté and his cinematographer John Hora utilize some very inspired camera angles and compositions.  However, the most gorgeous aspects are the brilliant backlighting and the use of colored gels to create a wonderful haunting atmosphere.  There are films that are simply shot in color, and then, there are films that utilize color in remarkable ways.  The Howling is truly the latter as these reds, blues, and greens highlight the creepy and eerie moments like fine brush strokes of artistic inspiration.

The Howling does more than simply give you werewolves slashing and gnawing on humans.  Firstly, it has some satire on the entire self-help movement.  Trying to aid those afflicted with being a werewolf with therapy and a push towards integration into society is handled with the right kind of wit without being comical.  Joe Danté definitely has that talent to fuse horror and humor such as with Gremlins, but he keeps things on point with the horror and barely diminishes that at all.  Furthermore, this film gives us a strange but perfectly executed mix of sensuality and terror in one sex sequence.  Once again, the artistic beauty of the film is on display as two people engage in sexual activity at a campfire, but as the act becomes more virile, the beats within are unleashed and they begin to transform.  What begins as very erotic turns into a frightening, primal act that still gets the heart pumping.  This is a very tantalizing and compelling sequence melding these two things together in a very provocative way.

The cast of this horror classic is jam packed with excellent acting talents such as Dee Wallace, Patrick Macnee, John Carradine, Kevin McCarthy, Robert Picardo, Noble Willingham, Dick Miller, and several others.  Every single one of them does a solid job bringing forth the distinct qualities of their characters’ personalities.  In particular, Dee Wallace leads the film with the right level of vulnerability and traumatic unease.  The fear the audience regularly feels is channeled through her performance, and the journey her character goes through in this results in a unforgettable conclusion.  Also very notable is Robert Picardo proving yet again that I know he’s a great actor.  What he does as the supposed serial killer Eddie is tremendous and dead-on-the-mark showing a very subtle intimidation factor with his restrained charisma and clear full fledged absorption of this character into himself.  He also acts through all the wickedly good make-up with exceptional ease.  He might have only a few brief scenes, but he really becomes one of the most memorable things about this cast.

The ending of The Howling is fantastic and frightening.  First off, the entire third act is just excellent every step of the way as we finally get our full helping of werewolf awesomeness in a hair-raising escape sequence.  However, what comes after that when Karen returns to the television studio for her news report is exceptionally tragic and clever.  What she sets out to accomplish with her live report is smartly turned on its head by these filmmakers.  Almost no one believes what they see and dismiss it as a high quality fabrication.  They believe it to be spectacle instead of the raw, chilling reality that it is.  The film concludes on a very signature Joe Danté beat of wit and humor.  He has always been a unique filmmaker infusing a special, unmatched blend of the bizarre and the humorous with excellent results.

Now, is The Howling a horror movie for everyone?  Maybe not.  I’m sure there are people who wouldn’t enjoy sitting around for fifty minutes before we get a real good look at a werewolf, which I honestly had an issue with.  After Karen’s early encounter with Eddie, there’s very little horror or suspense to engage you on the horror movie level until you’re more than halfway through the movie.  The characters and performances are perfectly fine to move the plot forward in the interim, but there’s hardly anything to get your heart pounding with terror in that time.  However, I appreciate the artistic brilliance of this film, and anything that doesn’t quite work for me is possibly more attributed to just not being quite my style.  I also wholly endorse teasing us with the werewolves, much like Ridley Scott did with his creature in Alien.  Build up suspense with it, and then, once you finally reveal it, you’ve got a great, startling moment of awe.  This is a remarkably well made movie, and one that absolutely has its rabid fan base that I entirely respect.  Whether or not the slow, slow build up and reveal is to your taste, this is one of those horror essentials you need to see.  The pay-off for that build-up is definitely well worth the wait, and seeing what practical effects could achieve back in the day will show you what CGI has almost never been able to replicate.


Get Carter (2000)

Get CarterIn 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.


Thief (1981)

ThiefMichael Mann is indeed one of my favorite filmmakers of all time.  Without him, I would not be the independent filmmaker that I am today dabbling in the neo noir world of crime thrillers.  For Mann, his theatrical career began here with this sleek and stylish picture headed up by an incredible performance from James Caan.  The cinematic visuals of Miami Vice were forged here, and the foundations of the thematic material that would be refined in Heat and Collateral were laid with Thief.  While Mann had directed and co-written the television movie The Jericho Mile before this, featuring some very familiar traits, Thief was the start of every signature quality that Mann is best known for, and it is a film that should be given its proper due respect and recognition.

James Caan plays Frank, a professional jewel thief who wants to marry Jessie (Tuesday Weld) and settle down into a normal life.  In order to achieve his dream of a family, Frank–who is used to working solo–has to align himself with a crime boss named Leo (Robert Prosky), who will help him gain the money he needs to begin his domestic life.  Frank plans to retire after the heist, yet he finds himself indebted to Leo and he struggles to break free.

I was captivated all over again by Thief just from the beginning as it enveloped me in the sheen of its rain soaked Chicago nighttime world, and the sleek, stylish score by Tangerine Dream.  This was the first film of Mann’s I ever saw, and I was blown away by it well over a decade ago.  One of the most lasting impressions is indeed Mann’s neo noir cinematic style.  Everything he does here really defined so much of the 80’s with the synthesizer score and the masterful visual storytelling.  When you see the sleek and rock solid camera work in Thief, it’s sad to see how horribly Mann has embraced the incessant handheld camera work as seen in Public Enemies.  The compositions here are dead-on-the-mark, and shots like pushing in through the drilled hole in the safe early on just show the enveloping visual brilliance of Mann.  He knew how to suck you into this world, and keep you hooked in for the long haul.  Thief was shot by first time cinematographer Donald Thorin who would go on to lens Purple Rain, The Golden Child, Midnight Run, and Scent of a Woman, to name a few.  There was clearly no one better for him to be under the direction of than Michael Mann, and Thorin did a stunning job shooting Thief.

This is undeniably James Caan’s movie through and through.  It is no mystery why this is Caan’s personal favorite performance of his.  He is simply excellent, intense, and touchingly dimensional here.  Frank is a man who’s had a lot of bad turns in his life spending a good chunk of it in prison, and is now struggling to reach a blissful goal of a happy home and family.  He is a definite tough guy able to be a threatening presence, and has the charismatic bravado to back it all up.  Frank’s not much of a subtle individual, but he’s a man who feels he has no time to dance around the subject.  Every word he speaks is carefully selected and clearly conveyed which makes him appear well-spoken even if he’s not the best educated man.  Caan injects the right amount of confidence into the role to mask Frank’s occasional naivety.  Caan’s favorite scene is the highway oasis diner scene where Frank details his life, hardships, and dreams to Jessie.  This scene shows the subtle emotional qualities of Frank to see the better man underneath all the bullheaded machismo, and this scene strips him down to bear his heart to her.  Frank shows that he is charming, sweet, and very human.  Despite the hardened criminal life he has had, all he wants is a simple, happy life, and that desire is much of what endears him to an audience.  However, in the end, he must return to his base, primal convict mindset to survive.

Tuesday Weld holds up very strongly opposite Caan with both an enduring spirit and a gentle tenderness.  Like Frank, Jessie is also a tough person who really now reveals in an ordinary life, and what begins as a very combative relationship soon warms up to very heartfelt levels.  There’s a solidly genuine chemistry between Weld and Caan that brings a lot of heart and depth into this very gritty, hard edged crime thriller.  Their final parting scene is powerful on so many heartbreaking levels, and shows, definitively, that Tuesday Weld was no lightweight acting talent.

There is a startling turn that Robert Prosky achieves as Leo that solidifies him as one of the best mob figures in cinema for me.  For so much of the film, he’s a fatherly figure giving Frank every means to achieve his goals, and being nothing but an agreeable, upbeat, friendly facilitator.  He gives Frank high line scores, an adopted child, a home, and much more.  The problem is that once Frank tries to sever ties with Leo, he’s given a very sobering reality check – everything Frank now has is essentially owned through Leo, and he can rip it all away.  This scene is where Prosky transforms into a cold, heartless, ruthless man who will have Frank’s friends killed, prostitute his wife on the street, and put Frank completely into indefinite servitude.  Prosky becomes flat out chilling in this scene as a man you utterly do not want to cross, but the price for having this comfortable life comes at too high a cost for Frank.  So, he has no choice but to retaliate by burning it all down.

Michael Mann did a very clever thing in casting the supporting cops and criminals, and thus, made it very authentic to Chicago.  All of the cops were cast with ex-convicts including John Santucci who was the basis for Frank, and all of the criminals were cast with actual Chicago police officers such as Dennis Farina in his first on-screen role.  This way, we got very open and honest portrayals of the not-so-straight-and-narrow Chicago police of the time.  This sort of close knit connection to the authenticity of these sides of the law carry over into the intricacies of the heists.  None of the heists here are sensationalized or simplified.  We see the complex and highly involved process that Frank and his crew have to go through to take a single score, and this is achieved with great skill.  The depth of detail that Mann shows us allows for the audience to appreciate the triumph of the score.  Furthermore, all of the equipment featured was accurate to how they were used in the film, and considering the film is based on a novel by a convicted thief, none of this should be too surprising.  However, it demonstrates the intense attention to detail that Michael Mann consistently put into every project he took on, and that has always impressed me and has really set Mann’s work apart from all others.  Lesser filmmakers would gloss over the details and sensationalize the story, but the grit is in the details.

There is also a good but small performance by Willie Nelson who portrays a mentor of Frank’s that is dying behind prison bars.  Caan and Nelson have only one real scene together, but it really brings a lot of the life and philosophy of these criminal characters to the forefront.  And Thief really is built so much on personal philosophies such as lie to no one, be the boss of your body, or live your life on your own terms.  This all feeds into how Frank navigates this film.  He divulges everything to Jessie because his previous marriage fell apart due to his lies.  He is hesitant with going into business with Leo because he enjoys answering to no one and calling his own shots, and is ultimately why he makes the radical decisions he makes at the end of the film’s second act.

Frank’s actions in the third act might seem like those of a young man of heated passion, as they are somewhat impulsive and absolute, but they fit Frank’s “the boss of my own body” attitude.  He will not allow the terms of his existence to be dictated by another, and if that is the cost of having all the things he desires, then he’d sooner see it all turned to ashes.  Frank returns to that prison attitude of “nothing means nothing,” and it frees him to destroy it all and go after Leo without any attachments.  This is clearly a precursor to the philosophy of Neil McCauley in Heat that, “Allow nothing to be in your life that you cannot walk out on in thirty seconds flat if you spot the heat around the corner.”  All of this makes for one awesome, amazing finale that just certifies James Caan as a bad ass.  How Frank’s stalking through Leo’s house unfolds, with almost dead silence, is perfectly executed.  The quiet tension just unnerves you, and builds up that tingling anticipation until all hell breaks loose.  From there, it’s all scored with this excellent track from Tangerine Dream that I love.  And overall, their score is innovative and captivating.  It all reflects Michael Mann’s signature vibe perfectly with sleekness and edge.

Thief is an intensely exciting movie with a very grounded feeling.  Seeing Mann’s visual style unfold here is amazing, and James Caan puts on an excellent, versatile performance that enhances every compelling element of the movie.  It’s stunning to see how quickly Mann evolved in his career where so many of the ideas and visual storytelling here would be refined and matured within three years for the launch of Miami Vice, and the major leap forward taken in 1986 with Manhunter.  Whether you are a Mann or Caan fan, this is a film you cannot afford to overlook.  No one makes crime thrillers quite like Mann did as he made sure every quality and acting talent was superb and pitch perfect while always delving into the humanity of the story.  With Mann it’s always about the characters, and you see the depth of that care put into this movie.  If you want an even further in-depth look at the films of Michael Mann, I immensely endorse the video essay Zen Pulp: The World of Michael Mann.  It is remarkably insightful that really inspires me.


Heat (1995)

Heat The year of 1995 is my favorite year in film giving us so many beloved favorites of mine such as Lord of Illusions, The Usual Suspects, Seven, In The Mouth of Madness, GoldenEye, The Prophecy, Strange Days, and more.  This year also gave us a brilliant union of powerhouse talents when Michael Mann brought together screen legends Al Pacino and Robert De Niro in Heat.  While I consider Manhunter my favorite, and The Insider to be Mann’s best film, I cannot deny that Heat is a crime saga masterpiece.  It is finally Michael Mann refined and matured to a breath-taking level developing his signature concepts to perfection.  I can think of no more appropriate film to hold the honor of the 200th review on Forever Cinematic than Heat.

Neil McCauley (Robert De Niro) is a master thief who lives by the simple discipline of “have nothing in your life you are not willing to walk out on in 30 seconds flat if you feel the “heat” around the corner.”  His crew of career criminals is a high-tech outfit pulling off professional jobs that impress even the likes of Detective Vincent Hanna (Al Pacino).  But Hanna, a man driven through life only by his work, becomes obsessed, at the expense of his private life, with bringing McCauley down.  As McCauley’s crew prepare for the score of a lifetime, and Hanna’s team tries to bring him in, the two find that they are similar in many ways, including their troubled personal lives.  Ultimately, they find themselves challenged by the greatest minds on the opposite side of the law that either one has ever encountered.  With this much heat, the streets of Los Angeles are ready to sizzle and explode!

Heat is filled with excellent performances from everyone involved that it’s hard not to touch upon most of them.  Firstly, I am engrossed by the dynamic between Vincent Hanna and Neil McCauley.  Hanna is a man whose life is wholly dedicated to his job, and thus, his home life is a disaster with multiple divorces to show for it.  Meanwhile, McCauley has his life in control as he takes precision high line scores, but lives a disparate life of bare necessities allowing himself no attachments he cannot walk out on in thirty seconds flat if circumstances require it.  Thus, despite these men being on opposite sides of the law, they find themselves in a near symbiotic relationship which fuels the compulsions of their lives.  They are both driven by their jobs being out there on the streets in the middle of danger, and everything else in their lives is sacrificed for that.  All they are is what they’re going after.  That’s what fuels their existences, and Heat is all about that electrifying synergy.

Al Pacino has always been known as a passionate, charismatic actor, and Vincent Hanna surely has that energetic, sharp edge which makes him immensely entertaining here.  However, it is the more subtle aspects of the performance that are where the real juice is.  You see the razor sharp mind of Hanna when he arrives on the armored car robbery scene.  He sees it, absorbs it, and hits all the marks deconstructing every detail of the crime.  He doesn’t miss a beat, doesn’t overlook or dismiss anything.  You see the proficiency of Neil McCauley and how his crew operates, and then, you see Hanna and his team operate on that same exact level only on the opposite side of that coin.  Yet, the depth of Hanna comes to the surface when Vincent converses with his wife, Justine.  The weariness and ugliness of his job forces an emotional rift between them, and Pacino’s performance reflects the inner angst and emotional toll that it wreaks on Hanna.  These things do affect him, but he never becomes a jaded, pessimistic, desensitized person.  Al Pacino absorbs all of that into a subtle and complex performance that energizes the screen.

And delivering a performance on an equal level of weight and intelligence is Robert De Niro.  He’s entirely formidable making Neil McCauley a very serious and definitive threat to everyone who opposes him.  De Niro has a serious, hard edged presence that dominates the screen, and every move, every word, every course of action he makes is efficient.  There’s a full immersion into the character in all his nuances and textures.  Sometimes, a great performance is seen in raw emotion, but other times, it’s all in the subtle complexities.  That is what De Niro give us here showing the versatile diversity of this character from cold, hard criminal to the loyal, caring friend and lover.  Despite being the antagonist in the story, we see a real heart when Neil becomes involved with Eady.  It’s takes a masterful actor and filmmaker to take a character like McCauley who will sanction and be entirely sociopathic about the murder of innocent people, and do something so human with him to where you genuinely feel his depth of heart.  Surely, that’s nothing you would want translated into reality, but in a fictional narrative, it provides a captivating dimensionality that Robert De Niro captures with pitch perfect substance.

Val Kilmer was really in his peak at this time after his stunning turn as Doc Holliday in Tombstone.  Thus, he was filming Heat concurrently with Batman Forever, really capitalizing on two excellent opportunities.  Here, his role might be overlooked by the presence of Pacino and De Niro, but that doesn’t mean he isn’t top notch.  Chris Shiherlis proves to be a really intense character with his gambling addiction and marital strives, and Kilmer really absorbs the weary heart of Chris deeply into his performance.  Despite infidelities on the part of Chris and his wife Charlene, portrayed tremendously by Ashley Judd, their final shared moment strikes deep within the heart to show just how much they both truly loved one another, but their marriage was never built to last.  Kilmer hits all the marks to make this character standout solidly alongside De Niro, and to a lesser extent, Tom Sizemore does the same as the more action junkie sociopath Michael Cheritto.  There’s a real strong brotherhood between Neil and Chris that shows through shiningly, and that relationship brings a lot of dimension to both characters.

I’m fascinated by the chain reaction of events here which create numerous exciting plot turns.  Essentially, Waingro is the key cog who sets everything in motion.  Without him going off the handle and facilitating the triple homicide, Vincent Hanna likely would not have been as dogged to track down McCauley and his crew.  He’d be intrigued by the precision professionals, but it would just be another robbery.  Then, Waingro betrays McCauley to his enemies, forcing the bank heist to turn into a violent, deadly shootout and propelling McCauley to make the irrational decision to go after him instead of escaping free and clear.  Waingro turns the tide of the story at pivotal moments because he is a wild card with no loyalty to anyone but his own base, primal impulses.  Furthermore, Kevin Gage is perfect in this role making for a wholly convincing hardened ex-convict sociopath who is dreadfully frightening and intimidating.  It’s sadly poetic that less than a decade later he would become a federal convict for cultivating medicinal marijuana.

The other intriguing quality of Heat are the women.  Michael Mann always makes the affectionate, strong women of his films vitally important to the arcs and stories of the male leads, and never objectifies them.  The significant others of Hanna, McCauley, and Shiherlis are all passionate, loving women who desire a stable life.  Justine Hanna grapples with Vincent’s internalized angst from the horrors he sees out on those streets, and just wants a husband who opens up to her instead of being distant, closed off, and vacant in their marriage.  She wants a marriage with love not ragged leftovers of a man who drifts through their lives empty.  Eady, portrayed by Amy Brenneman, is the most innocent of them all existing entirely outside the world of cops and criminals.  She’s a simple, honest, warm person that unexpectedly opens up Neil’s world and gives him something to be affectionate about.  For a man who lives with no attachments of any kind, it’s finally someone in his life that makes him care to have a life.  Charlene, however, is the real gold for me as Ashley Judd is confident, heartbreaking and truly empathic as Chris’ wife.  As I said, there is a deep down, genuine love between Chris and Charlene, but there’s so much addictive and combative garbage in the way that it was destined to crumble.  For me, the Shiherlis dynamic is the most complex and substantive one of the film because of that real quality of conflict and adoration between them.

Without a doubt, Danté Spinotti is a remarkable cinematographer, and he does an excellent, stunning job with Heat.  He composes so many carefully selected shots which tell a very visual story that holds weight.  Just as Mann had fully refined and developed his artistic sensibilities so had Spinotti making this a very sophisticated looking and composed picture.  There are pure moments of inspired artistry creating a masterful canvas that this story is told upon.  This is also a film that feels very engrained and engrossed in the fiber of Los Angeles because of the visual vibe.  Shots of the skyline in hazy daylight or glowing nighttime neo noir create that great backdrop that has substance and life.

Upon this watch of the movie, I picked up far more on Elliott Goldenthal’s amazingly original and pulsating score.  A lot of what he does are subtle textures and melodies that nicely underscore various scenes.  His score doesn’t fight for dominance in the audio mix.  It complements everything that Mann is doing with the emotion, characters, and story.  At times, Goldenthal’s score can be very powerful and striking such as the moment where Chris and Charlene are forced to abandon each other because of the police stakeout.  The emotional pain swells into the score in a haunting swirl.  Then, there’s the parting phone call between Neil and Nate that reflects the sorrowful feeling of two people, best of friends, saying goodbye for the final time, and Goldenthal’s score hits that mark so beautifully.  Every single moment is so perfectly punctuated, and should be considered amongst his best work.  Additionally, the two tracks by Moby are beautiful, superb, innovative tracks that saturate the power of their respective scenes, most notably being the ending with “God Moving Over The Face of The Waters.”

Of course, the big, electrifying selling point of this film was having two of America’s most celebrated actors, Al Pacino and Robert De Niro, collide in all their glory.  That would not be complete without the excellent diner scene where Vincent Hanna and Neil McCauley have a very probing conversation.  The very interesting quality of that scene is that this is the only point in time where these two men are able to be entirely open, honest, and reveal their inner workings.  They are more intimately connected with each other than with anyone else in their lives.  Again, the subtle performances of depth and honesty make this the absolute nexus of this entire film.  Heat was previously made as a TV movie called L.A. Takedown by Michael Mann, and when you watch this scene performed by very second rate, stiff or hollow actors with almost identical dialogue, you realize the gold standard quality of Pacino and De Niro.  In their hands, Vincent Hanna and Neil McCauley are brilliantly fleshed out and fascinating characters, and this is the scene that shows them stripped down.  They show what haunts them and what drives them.  There is no pretense between these men, and they realize that they are very similar despite being the flip side of each other.  These are the only two people alike in this world of Michael Mann’s film that truly, undeniably understand one another.  Furthermore, this scene is entirely integral to how the film’s climax unfolds.

Firstly, that shootout in the streets of downtown Los Angeles is one of the most ear-blistering sonic experiences ever, and that’s coming from a heavy metal fan.  Michael Mann had considered using post-production sound effects for this, but realized that the realistic production audio created the true power and impact he wanted.  It conveys the violent magnitude of real life gunfire and enhanced the danger of this sequence exponentially.  The precision of every tactic is true to how Michael Mann approached his films.  He made sure that every detail was accurate to life, and that mentality makes his films far more interesting to witness than the more over-the-top action sequences we get in the big, fun blockbusters.

The climax of Heat narrows everything down to what the whole film has been about at its core – Vincent Hanna and Neil McCauley.  These two men, who exist in a world separated from the mainstream of society and defined by its own rules, are now pitted against one another in an electrifying, tense, and suspenseful cat and mouse sequence that is absolutely pitch perfect, and showcases the unequivocal skill of Michael Mann.  The moment where McCauley sees Hanna just as he is to ride off with Eady is beautiful, painful, and eloquent.  Neil invokes his “thirty seconds flat” rule turning away from Eady for his own survival, and the ensuing chase towards LAX is wonderfully and smartly plotted.  The climactic moment is excellent and poetic.  Then, after it’s all over, these two men are bonded together in a strikingly profound moment that ends the film on an astonishing stroke of pure brilliance.

I had always taken Heat for granted as that great crime saga pinnacle for Michael Mann, but until now, I never peered deeply enough into it to see the subtle brilliance of it.  Many of his films are easier to see the inspired breadth and depth, but Heat has so many fine brush strokes of detail, interwoven threads, and subtext that only a real immersion into it made me absorb it all.  This is truly a brilliantly written, directed, and acted film that did not get the recognition it deserved during awards season.  Michael Mann himself received no nominations for his screenplay or directing, and Pacino, De Niro, or Kilmer received no acting award nominations either.  It’s amazing to me that so many incredible, mold breaking, and standard setting films were released this year, and those I hold in highest regard barely got any recognition from any major awards organizations.  This is why I find it hard to put much weight into these organizations because they’d rather nominate a movie about a talking animatronic pig over brilliant masterpieces like Heat, Strange Days, The Usual Suspects, or Seven for Best Picture or Best Director.  Today, nobody talks about Babe, but people still endlessly praise those others films because they launched careers, took stunning risks, set new standards, and blew peoples’ minds.  And when Michael Mann finally got his just nominations, he didn’t win a single one for what no one will ever be able to tell me wasn’t the best movie released in the year 1999 – The Insider.  However, for the next review, I go back to the beginning of Michael Mann’s feature film career with Thief.


Prisoners (2013)

PrisonersEvery so often a movie comes around that just looks interesting, but you are not prepared for just how stunning it truly is.  It just seems like another good thriller that might be nicely satisfying, but this movie is far and beyond such meager expectations.  Prisoners attracted me because I really love Hugh Jackman.  He has such a genuine depth of humanity and intense screen presence in so much of what he does, but even then, I didn’t expect a performance and a film on this level of masterful brilliance.

How far would you go to protect your family?  Keller Dover (Hugh Jackman) is facing every parent’s worst nightmare.  His six-year-old daughter, Anna, is missing, together with her young friend, Joy, and as minutes turn to hours, panic sets in.  The only lead is a dilapidated RV that had earlier been parked on their street.  Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release.  As the police pursue multiple leads and pressure mounts, knowing his child’s life is at stake the frantic Dover decides he has no choice but to take matters into his own hands.  But just how far will this desperate father go to protect his family?

Brought to us by director Denis Villeneuve, Prisoners is undoubtedly the best film I have seen all year.  A tight, taut, suspenseful and engrossing thriller that hits powerful emotional chords everywhere.  If you thought the trailers gave too much away, you are very mistaken.  There is so much more substance and plot nuances that a trailer could never accurately convey.  Surely, I will not spoil anything for you, but the mystery of this film is cunningly devised with intelligent turns and a remarkable progression.  There are many fine layers of character, emotion, and story here that interweave perfectly and beautifully.  We are treated to so many well fleshed out characters inhabiting a story of very intense emotions and radical, unsettling violent actions with nerve racking consequences.  You feel every ounce of emotion from these characters, and Villeneuve’s direction shines gloriously in every detail.  I also love that nothing in this film is a red herring.  Every lead, every piece of evidence, every detail adds to the puzzle which is brilliantly plotted out from a stunningly well written screenplay by Aaron Guzikowski.  Prisoners is meticulously mapped out every step of the way, and Villeneuve utilizes all of that emotion and strategic, deliberate pacing to absorb you into the movie.

The cinematographer for this film was Roger Deakins, who also shot Skyfall which was immaculate work, and he does not falter here at all.  I was constantly struck by the quality of the compositions as they all hold so much weight.  Villeneuve has this shot and edited in a very conservative manner so that the substance of every frame soaks into the viewer so deeply.  Early on, I love how fairly brief scenes are played out in wide masters to give you a dramatic and stoic impact on the story.  The inspired cinematography constantly envelopes the screen translating the dramatic power of Villeneuve’s cinematic narrative in such exquisite detail and poignancy.  The quality of the visuals, how the film is shot, and the style of editing constantly made me feel like this was a very 1970’s thriller with a modern polish.  Even the Earth toned color palette reflects that, and the autumn / winter setting adds to the grim, somber atmosphere.  Every technical quality of this movie is used to suck you into the depth of what transpires.  Even the score is immensely effective, yet subtle.  Everything just works with such precision to excellent effect.

I honestly believe that Hugh Jackman could possibly earn himself some accolades come awards season time.  My faith in his talent has been paid off time and again, and I love seeing him in these gritty, hard hitting dramatic films.  Keller Dover is a man who believes in preparing for the worst while praying for the best, and so, he is used to doing everything possible to protect his family from all dangers.  When he feels he must take matters into his own hands, the emotional intensity of the film escalates drastically.  Jackman is intensely powerful in this role pushing himself to that extra level that separates great from extraordinary.  Pure, raw emotion pours out of him as Keller Dover struggles with doing the right thing for his daughter even though it is the worst, most unimaginable thing he’s ever done.  The absolute conviction of what he believes he must do penetrates right through the screen right into your soul.  This film constantly pushes this character into further emotionally and morally strained situations that challenge Jackman to deliver on higher and higher levels which he exceeds over and over again.  This is why I love Hugh Jackman and why I was drawn to seeing this movie.  He’s an incredibly relatable and engaging acting talent who pulls you in based on his depth of humanity, and that is gorgeously on display here in a masterfully crafted film.

Now, I haven’t seen Jake Gyllenhaal in anything since Donnie Darko, and it’s great seeing him in a mature, hard edge role.  He is really solid as this vehemently dedicated cop who maintains a level head while remaining fully committed to this case.  I love seeing how Detective Loki handles the strained, heated emotions of the Dovers and Birches, and how he manages everything with meticulous perceptiveness and a dogged mentality.  It’s a wonderfully written character that empathizes with these hurting people and conveys his confidence with sincerity.  Gyllenhaal is intensely compelling and intriguing to watch as the film progresses.  From the moment he’s introduced, eating alone at a Chinese restaurant on Thanksgiving, he is complex and unique.  I like the nuances added into his character such as the various small tattoos on his hands and neck.  They give him a darker, grittier edge along with Gyllenhaal’s sort of dark aura.  Yet, he is not a dark character, but is a riveting one that adds his own intensity to the narrative.  This is also a marvelous performance that only becomes more fascinating and gripping at the film progresses.

The rest of the cast is equally as powerful.  Mario Bello’s character of Grace Dover deals with this frightening tragedy of her abducted daughter by falling apart, relying on medication, and just becoming a mess.  It’s a pure visceral deterioration of a person torn apart by fear and pain for a loved one.  Terrence Howard is another actor I just love, and he delivers such vulnerability.  The struggle Franklin Birch faces when Keller pulls him into the abduction and torture of Alex Jones is a perfectly human conflict.  He wants his daughter back so badly, but almost can’t reconcile the morality of what he and Keller are doing to this man with the IQ of a ten year old.  The dynamics between all of these characters and their passionate, pained emotions is magnificent to behold.  Even Paul Dano makes you empathize so deeply for Alex.  You are never certain whether he is responsible for anything at all, or that Keller is torturing a completely innocent man.  The story twists around so beautifully wrapping everyone up in this complex tapestry that any truth is possible.  Even more so, nothing is all that clean cut for any suspect, and no one is completely innocent.  Everyone has something shameful, shady, or tragic which shows that these are real, textured, flawed people.  Every character is written and performed with such substance and rawness that you can never take anything for granted or predict where this story will lead you.

I was constantly pleased with the sophistication of storytelling here.  There were times I was a tad apprehensive that the pay-off of the mystery, or that the identity of the abductor would be spoiled too soon.  Instead, it was another element of the puzzle being laid out carefully with surprising, unexpected, yet entirely purposeful turns.  As I said, nothing is a swerve.  You’re not lead down a frivolous path to a false lead.  Everything introduced in this story is there for a substantial reason.  The ultimate reveal is great allowing for everything to really fall into place, and put certain characters into further, tenser jeopardy.  I loved how the final act unfolds.  There’s real danger at hand, and nothing proceeds remotely like a cliché.  This is a fresh, smart thriller that will captivate your attention for its entire 146 minute runtime.  One would think that a deliberately paced thriller with that kind of runtime would lag somewhere or feel drawn out, but Prisoners makes amazingly solid use of every minute of screentime to progress every element of story and character to its ultimate, immensely satisfying and brilliant conclusion.

Denis Villeneuve has just come out of nowhere for me, and now, he has my undivided attention.  Prisoners is absolutely perfect.  There is not a single aspect of it for me to criticize, only praise.  This is an incredible cast delivering amazingly powerful and raw performances in a rattling and haunting thriller.  I have never stated in a review of a newly released movie that it is the best one I have seen all year because you never know what else could surprise you in the remainder of that year.  However, I cannot imagine what else is possibly going to steal away that title from Prisoners because it is that stunningly impressive without a flaw in sight.  Do yourself a great favor and see this movie and support it.  I hope you are as enthralled with it as I was.


Strange Days (1995)

Strange DaysMany know Kathryn Bigelow from her Academy Award winning and nominated films of recent years.  However, her earlier work features some stunning films that showcase a brilliant visionary style, and no other movie reflects that better than Strange Days.  Released in my favorite year in film, 1995, it bombed at the box office, but gained quite a lot of praise.  Roger Ebert even gave it a four out of four stars, and it was nominated for several Saturn Awards including Best Science Fiction Film with Bigelow winning for Best Director.  Time has since allowed for this film to gain a wider appreciation from genre fans, and I’ve wanted to share mine with you for quite a while now.  Strange Days is essentially the Blade Runner of the 1990’s, but even Blade Runner doesn’t do to me what Strange Days does.

It’s the eve of the millennium in Los Angeles, December 31, 1999.  Lenny Nero (Ralph Fiennes) is an ex-cop turned street hustler who preys on human nature by dealing the drug of the future.  A new technology, called “wire tripping,” allows for anyone to re-live actual life experiences tapping directly into the cerebral cortex for the ultimate escapist high.  However, Lenny is soon tangled up in a deadly plot, alongside limousine driver and security specialist Mace (Angela Bassett), when a set of murderous and controversial wire trip recordings end up in his possession that could have radical implications upon the entire city.  It’s an environment that will lead him deep into the danger zone when he falls into a maze filled with intrigue and betrayal, murder and conspiracy.

Kathryn Bigelow was married to James Cameron for a time, and even after their marriage ended, they remained regular collaborators.  Cameron was a producer on this film, co-screenwriter, and an uncredited editor.  I can definitely see his creative influence at work.  It’s that real depth of humanity on display with all of these colorful characters, real penetrating emotion, exciting science fiction ideas, and the exciting energy of storytelling which harkens back to The Terminator.  His creative fingerprints are clearly here, and they are wrapped up in Bigelow’s razor sharp pacing, incredible direction, and mind blowing visuals.

The look of the movie definitely has that dystopian vibe with a lot of grit, smoke, neon, and seedy locales.  Yet, it doesn’t look depressing, but instead, it’s exciting and intense.  The cinematography is just simply stunning, and it will escape me to no end how Batman Forever got nominated at the Oscars for Best Cinematography this year while Strange Days was entirely snubbed as well as The Usual Suspects, Seven, and Twelve Monkeys.  All of those are vastly superior looking and shot films on every level, and Strange Days is really in a league all its own from the signature James Cameron blue tinge style to Bigelow’s really dynamic visual edge that absorbs us fully into this dark, vibrant, mind-twisting reality.  The camera work is amazingly dynamic, intriguing, and inspired.  It’s a visual feast that really embraces a kinetic energy without ever sacrificing artistic integrity.  If you took Blade Runner and hyper-charged it with adrenalin and a riveting edge of flash, you would get Strange Days.

The movie jacks you into a wire trip from the start to clearly convey the language of the experience.  People are buying these recordings to experience the forbidden pleasures in life like armed robbery or sexual desires.  It’s an extremely tempting thing that gives you all the rush and excitement without consequence, but it’s entirely illegal forcing Lenny to be the king of this underground business.  Thus, he comes into the center of two related criminal plots.  The first involves a pair of corrupt cops, portrayed by William Fichtner and Vincent D’Onofrio, tracking down a damning wire trip recording that could erupt the entire city in violence and outrage.  The second is someone who stalked, raped, and murdered a friend of Lenny’s, and now is focusing his sick and disturbing torment on Lenny himself.  All of this melds together into a larger conspiracy that engulfs these characters into a powerful dramatic story that rips and tears at emotions with severe risks and consequences.

Now, I absolutely love Ralph Fiennes as Lenny Nero.  He’s the real crux of this whole film energizing it with his slick charm and charisma.  He’s a mesmerizing salesman selling fantasies with the sensation of pure, raw reality.  Yet, he never comes across as sleazy.  Fiennes makes Lenny very genuine in everything he does, and thus, he is the perfect unlikely hero with a yearning broken heart, a life of down and out black market seediness, and a real vulnerable quality to him.  Ralph Fiennes is an incredible actor, and he makes this a very deeply human and emotionally vulnerable character that draws you completely into the film.  Lenny Nero is not a man who views himself as a hero, but the frightening descent that he is caught up in forces him to take action, especially with his former love Faith, portrayed greatly by Juliette Lewis, at the center of it.  Faith has fully fallen into the deep end of the sleaze as a rock singer hooked up with Michael Wincott’s wire trip addicted record label owner Philo Gant.  Lenny desperately wants to win her back, or at least, pull her out of that deep end.  As a side note, I really love the wardrobe of Lenny Nero.  It’s very stylish and flashy with plenty of unique personality, much like Lenny himself.

Angela Bassett is absolutely bad ass here in a very gritty, powerful way.  Mace is exceptionally tough not taking any crap from Lenny, who hustles and leeches favors off her when he’s down and out, and as a security specialist, she can back up every ounce of that attitude.  Bassett exudes energy and strength in every frame, and intensifies every moment.  I’ve always been impressed by Bassett’s mixture of tough exterior with a tender interior.  She definitely brings that out in Mace with all the raw emotional power possible.

Now, you talk about Academy Award quality work, I honestly believe that both Bassett and Fiennes achieved that in this film.  Had Strange Days not fallen under the radar, I believe it would have been heralded with that kind of reverence at the time.  Both Bassett and Fiennes deliver stunning, deeply powerful performances, and the script fuses Lenny and Mace together in a very personal way born out of tragedy and heartbreak.  Furthermore, the chemistry between Bassett and Fiennes is spectacular.  They spark off amazingly whether it’s sharp wit and humor, vehement conviction, or deep emotional drama.  They are an electrifying pair which forge a riveting gravitas around them, but also make it a fun ride with their great rhythm and heart.

This film is just filled with an array of exceptional acting talents putting forth their best.  From Tom Sizemore to Juliette Lewis to William Fichtner to Vincent D’Onofrio to Michael Wincott, the supporting cast is bursting with charisma, awesomeness, and solidarity.  Everyone is equally as compelling and vibrant creating a very electrifying ensemble.  Under Kathryn Bigelow’s direction, everyone delivers a powerful and intensely memorable performance.  Bigelow seems to very much favor Sizemore as he appeared in Blue Steel and Point Break with much smaller roles, but here, he’s given a very prominent role as Max, a friend of Lenny’s who is still on the police force that weaves himself tightly into this plot.

On top of having that mind-blowing, amazing cast, Bigelow delivers an exciting, riveting thriller.  The mysteries are wonderfully interwoven with all the character dynamics, volatile social climate, and science fiction tech elements.  There’s wickedly tight tension and heart-pounding excitement at every turn.  The powder keg of Los Angeles is building towards an explosion, and the lethality of the situation only builds as forces converge.  This is a movie that constantly pushes further and further along the razor’s edge of madness, suspense, and danger.  Surely, there is action here handled with the riveting intensity that Bigelow demonstrated with Point Break, but saturated with larger doses of style and exhilaration, if that’s even imaginable.  The two corrupt cops dousing Mace’s limo with gasoline and lighting it on fire forcing her to drive it into in the bay, and then, make a shotgun glass shattering escape to avoid drowning is superbly executed, as is everything here.  This film is soaked in emotion and thrilling, edge of your seat suspense, but still finds those moments of pure entertainment to make it a greatly fun experience.

Surely, the odd aspect of the film is that it was released in 1995 and takes place in the year of 1999 featuring a very radical decline in society.  It’s a very narrow jump into the future.  However, I really do like that it uses that “end of the millennium” sort of craziness and chaos to enhance every aspect of the film.  Strange Days also reflects a lot of early 90’s Los Angeles culture with the earthquakes, riots, and police brutality incidents, and so, it feels very encapsulating of what one could pessimistically feel the future of that Los Angeles could have been.  People are packing assault rifles, cops are wearing tactical riot gear, and the entire city looks like it’s on the edge of all our war.  This is the vibe and energy that Bigelow injects into the fiber of the film, and it really erupts in the film’s climax.  Strange Days is more than just a cyberpunk thriller, it has real social commentary on the darkest parts of society with shocking consequences.  The climax leaves me speechless.  I really don’t have the words reserved to describe it.  There is no easy road taken in this story, and nothing is handled lightly.  This is a hard hitting, gritty, visceral film that holds nothing back on any level.

Fueling all of that is a stellar score by Graeme Revell and a very aggressive soundtrack of mid-1990s electronic, heavy metal, and edgy music.  Every creative element of this movie is jacked into that kinetic, cyberpunk style that soars to magnificent heights.  It’s a pure encapsulation of a stunning vision by Bigelow built on the foundation of a rock solid, stunningly intelligent screenplay by James Cameron and Jay Cocks.

Strange Days is a brilliant, incredible movie with a lot of strong thematic material, wickedly amazing performances, and a spectacular visual style.  This is one of the best and most original movies I have ever seen.  My mind was blown all over again watching it for this review.  Kathryn Bigelow would not be nominated for an Academy Award until 2010, but the evidence of her shockingly amazing talent was evident in 1995 with Strange Days.  This is a film that deserves vastly more exposure, credit, and accolades than it has received.  Surely, Point Break fulfills every action film adrenalin rush satisfaction for me, but this is the remarkable, awe-inspiring film experience.  This is surely, without a doubt, the far superior film of the two, but both deliver on every promise and exceed expectations every step of the way.  My recommendation is that you must see this movie no matter what!


Point Break (1991)

Point BreakThere 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.