So, 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.
There 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.
I 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.
Good 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.
In the early 2000s, Sylvester Stallone was struggling to rebuild himself from some of his cheesy action movies of the 90s, and these efforts didn’t all meet with much success. Get Carter is a remake of a 1971 film of the same name starring Michael Caine in the title role, and this remake was received with negative criticism and a poor box office take. However, I saw this film on opening weekend, and I have very much liked it ever since. Having still not seen the original movie, I imagine I have the ability to view it much more objectively. Still, almost any movie promising Sylvester Stallone in a fist fight with Mickey Rourke and a hilarious John C. McGinley is pretty cool to begin with, but I honestly feel the film has a lot of worthwhile merit in many regards.
His name is Jack Carter, and you don’t want to know him. When it’s your time to settle your debts, you pay what you owe, or Carter will make you pay. While working for the mob in Las Vegas, Carter (Sylvester Stallone) learns that his brother has died, and returns home to Seattle in order to learns the how’s and why’s. His brother left behind a wife, Gloria (Miranda Richardson), and a teenage daughter, Doreen (Rachel Leigh Cook), which Jack feels he must now take care of since he was not around when it mattered most. Though, when digging into the death of his brother, Jack comes to suspect that is was no accident, and that someone has to pay up.
Now, what even some of the middle of the road reviews gave credit to was that Stallone is solid as Jack Carter, and I enthusiastically agree. I really like that Jack is a guy who carries a weight of regret with him to where he has this post-facto sense of responsibility. He might be a guy who beats people up for a crime syndicate, but there’s a certain moral compass to Jack which Stallone grasps onto perfectly. There’s a lot of subtlety to his performance showing the superb reversal on the over-the-top action hero roles of Judge Dredd or Demolition Man. He brings with him a low key presence of intimidation, but still finds those moments of clever signature Stallone charm and wit. Jack Carter has a warm heart and compassion for those he cares about, and this comes so very naturally to Stallone. There’s such a great depth of dimension to what he does here. Sly gives us a complex character who intensifies the emotional drive of the film. It’s also amazing seeing how bulked up Stallone got for this movie. He’s larger than ever, and it really works for Jack’s tough, bad ass presence. Yet, it is that softer side of Jack Carter that really impresses as he shows a lot of pain after a certain point really hitting you deep in the heart, and that translates into a venomous vengeful determination in the film’s third act. It’s an awesome, compelling performance by Sylvester Stallone that amazingly reminds you that he can be a stunning, complex actor. I think it’s one of his best performances since First Blood.
A lot of the depth of heart and substance is carried on through Miranda Richardson and Rachel Leigh Cook. Richardson is great as Gloria who is in this constant uncertainty about Jack. At times she can confide in him about her problems with Doreen, but at other times, can condemn Jack for bringing further trouble upon them and being absent from their lives until Richie died. Richardson has pitch perfect chemistry with Stallone standing strong on her own while showing the emotional turmoil inside. Meanwhile, Cook very easily endears herself to Jack and an audience with some sad sweetness and sympathetic charm. As certain things are revealed, and far more tragic layers are peeled back from Doreen, Cook is really able to demonstrate the soul of her heartbreaking talent. It really ends up being the pulsating emotional core of this film.
I really like the scenes between Stallone and Mickey Rourke. These are two actors who genuinely seem like they enjoyed working off each other. They’ve got the right rhythm and chemistry that these two characters should have being old acquaintances and all. Rourke has the right charisma and air of sleaze as Cyrus Paice which makes him very entertaining to watch, but also, a real piece of scum that you want to see get busted up by the end. Rourke and Stallone are two buffed up bulls ready to lock horns regularly, and when they do finally trade punches, it’s a straight up bad ass brawl.
Anyone who loves John C. McGinley’s comedy work would also love him here. He plays Con McCarty, an associate of Jack’s in the Las Vegas syndicate, and I swear he ad-libbed the majority of his dialogue. It is just so brilliantly quick witted, off the cuff, and hilarious that he’s an utter, endless joy. It’s a performance like this which shows that this is a film that is interested in balancing the heavyweight drama with sharp beats of levity. And Alan Cumming is quite good as the geeky wet rag dot-com millionaire of Jeremy Kinnear who has gotten in way too damn deep with seedy individuals. He is a pleasure to watch in this role as Stallone looms over him with his brute intimidation. Of course, Michael Caine does a fine job in a somewhat small role as Richie’s now former employer, and Caine and Stallone have some solid scenes together. Apparently, even Caine endorsed Stallone as a respectable successor to his original role, and including him in this cast was a really nice touch.
I really adore the look of this film from director of photography Mauro Fiore. It’s soaked in this somber tone of overcast gloom of blues and greens that really absorb you into the tone of the movie. Director Stephen Kay really pushed hard to have this filmed in Seattle, and the beauty of the rain soaked city makes the film feel a little more unique. There’s also some unconventional style to Get Carter that might not work for many films, but all of the artistic flourishes really meld together beautifully, in my opinion. The strategic slow motion beats add a sense of grace to the photography, and Fiore moves the camera extremely competently with plenty of steadicam. I like that when Jack’s whole world turns upside down so does the camera accentuating a particularly unique filmmaking style that I really like here. There is some stylish editing with a few jumpy cuts, flash frames, and speed changes. I could see how some would find that irritating, but I really got absorbed into the mindset of this movie. Stephen Kay uses these stylistic choices to slip you into a character’s perception such as Jack’s world fracturing. Get Carter was edited by Academy Award winner Jerry Greenberg who also edited The French Connection, Apocalypse Now, Kramer vs. Kramer, and Scarface. Here, he superbly executes Stephen Kay’s vision right from the opening credits sequence onward.
There is a great, moody collection of music here in addition to Tyler Bates’ unique and stylish score. The original theme for the 1971 film by Roy Budd is utilized and remixed for this remake, and it is a beautiful composition that just tingles my senses. There are some techno tracks infusing some dance club style vibes into the movie. I particularly love the ethereal Moby track during the funeral scene. All of this music creates a very soulful or energized originality to this film that melds well with its visual stylings.
There is some really well put together action including a couple of very smart, tense car chases. Action directors who love their shaky cam could learn something from this film. Stephen Kay does make use of some unsteady photography and tight framing, but the editing is properly paced so to not confuse an audience. There are quick cuts, but because the lighting is clear, the compositions are just right using good angles, it all works. The latter car chase is really great, and it has a really cool stunt crash at the end. Yet, while there is exciting action, this film maintains that emotional and character based focus as Jack Carter delves further into the seedy underbelly of Seattle.
When Jack goes into full-on revenge mode, this movie gets dead-on bad ass. The grit really surfaces in the visual style and Stallone’s performance. Everything gets pretty dark and intense as Jack deals out his sense of personal justice in violent, sometimes lethal ways. This is a revenge movie driven by a lot of emotional depth and substance. Jack is going to clean out the trash, but the mending of emotional wounds is just as important to him, if not more so. It’s all wrapped up in his personal sense of obligation to the extended family he’s neglected, and a need to prove to himself and others that he can be a better man than his history has shown. There’s also a subplot where Jack Carter is involved with the syndicate boss’ woman back in Vegas, and this runs through the film a little. It’s another emotional tether that puts stress upon Jack especially when Con is sent to “take care of business” with much intended finality. Most revenge movies are just about the violent retribution, but this movie really delves you deeply into the hearts and souls of its sympathetic characters.
Get Carter is damn good, in my opinion, because it does take the time to develop its character and give you a dimensionality to connect with. You feel Jack’s pain and his need to put things right, and your sympathy easily flows for Doreen as the film progresses. Stephen Kay did do a really exceptional job with making these characters feel poignant, and have the consequences of everyone’s actions feel like they carry the weight of the world. This is really the kind of revenge thriller that truly captivates me because it’s not just gunning people down for ninety minutes, which does have its satisfying qualities. The substance of everything here saturates the film, and Stallone carries it all so amazingly well. The ending might have used a little more weight and veracity, but the payoff is satisfying regardless. I highly recommend this remake of Get Carter. If you’re a Stallone fan, like me, you should definitely give this a watch.
Michael 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.
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.
Every 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.
Many 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!
There are so many action movie classics that people call the best, but for me, Point Break is a special, unique film that is, without a doubt, my favorite action movie of all time. What compels me about this movie that beyond all others is the intense relationship between the protagonist and antagonist. It creates this amazingly unique dynamic that forges the entire electric, kamikaze adrenalin rush of this film. So, let’s delve into Kathryn Bigelow’s action classic.
Rookie FBI Agent Johnny Utah (Keanu Reeves) goes undercover to infiltrate a cache of Southern California surfers suspected of robbing banks. Utah, a former football player, is assigned to Los Angeles. There, four bank robbers, who wear rubber masks and call themselves “The Ex-Presidents,” have executed a series of successful robberies which embarrassingly have the FBI stumped. Utah, and his partner Angelo Pappas (Gary Busey) suspect that the robbers are surfers and hatch a plan for catching them, but the deeper Utah gets connected to the charismatic adrenalin driven Bodhi (Patrick Swayze) and the beautiful Tyler Endicott (Lori Petty) the harder it is for him to jump off this tidal wave of danger and excitement.
Point Break absolutely lives up to its premise as being 100% pure adrenalin. The surfing aspect is just the entryway into this, but it remains at the core of the whole film. That elevated experience shared by Bodhi and Johnny, specifically, is what fuses those two characters together, and is treated with great respect by the filmmakers. The skydiving sequences escalate that to another level with breathtaking cinematography that envelopes you in the experience, and make for a radically insane sequence where Johnny jumps out of the plane, without a parachute, to capture the escaping Bodhi. The earlier chase sequence is visceral and intense that really utilizes a rougher style of camera exceptionally well. And of course, the bank robberies are slam banged into a high gear that shows just how proficient and threatening the Ex-Presidents are. It is no wonder why the FBI has not been able to catch them after twenty-seven banks over three years. Wrap all of this up, and you’ve got a film that goes for the physical thrill of the moment over special effects spectacle. It’s really all about the character dynamics and these scenarios of extreme rushes that provide the high octane exhilaration of Point Break.
Beyond just the action, the core of this film’s compelling energy are the excellent arcs for both Johnny and Bodhi. You see Special Agent Utah at the start being this fresh from the academy FBI rookie all straight laced and green, but you can see the eagerness underneath that later fuels that adrenalin junkie urge. Johnny and Bodhi become genuinely intertwined in a naturally evolving way that inches Utah further towards that kamikaze impulse. Bodhi’s charisma and aura sucks Johnny right in, but it’s never manipulative. Everything Bodhi conveys is honest straight to his core, and every word of it energizes Johnny. Most action films have a clear delineation between the protagonist and the antagonist, but here, things are not so clean cut. Once Johnny is caught up in Bodhi’s tsunami of pure adrenalin, there’s no way out, and he has to ride it out all the way to its heart pounding, violent end. Bodhi will push everything to its absolute breaking point while risking everything and everyone in the process, and there is a price to pay for it.
Quite frankly, this would have to be the movie that made me a serious Keanu Reeves fan. A lot of people give him crap, but I give him a lot of credit. There’s a great deal of subtle development of Johnny Utah between Reeves’ performance and Bigelow’s direction. This all occurs as he further embraces the philosophy of Bodhi and his love for Tyler. Keanu Reeves and Lori Petty have very pure, heartwarming chemistry. Tyler is vibrant and full of brightness that adds glowing life to Johnny. Meanwhile, as the connection between Johnny and Bodhi intensifies, so does the performance of Reeves. Johnny becomes more confident, more determined, and less bound by rules as he is propelled out of control through Bodhi’s deadly thrill ride. I feel Reeves becomes more compelling as the third act shifts into high gear, and Johnny has to has to jump right off the deep end after Bodhi.
Kathryn Bigelow’s direction really envelopes you into Johnny’s mindset whether he’s mesmerized, haunted, elated, or burning with conviction. Through all of this Reeves is genuine and sincere in his emotions. You are kept very closely in tuned with Johnny’s mindset through successes, failures, and conflicts. Point Break is a film that drives everything right to the edge. Every danger, every extreme, every adrenalin rush is pushed to its insane limits at whatever cost imaginable. Bodhi embraces this without hesitation or a moral compass. He’s essentially a barreling freight train unwilling to put on the brakes regardless of what it will cost him.
Patrick Swayze is wickedly good as Bodhi. He envelopes the character entirely in philosophy, conviction, physicality, and spirituality. I love how Bodhi has this ethereal link to the sea, and gains a serenity from surfing while being an extreme adrenalin junkie. Yet, it’s not merely about the thrill with the bank robberies. He has a greater purpose by showing the shackled masses living their mundane, slave to the grind lives that the human spirit is thriving within his crew. Swayze is so electrifying with his natural charisma and intense commitment to the character. When I watch this film, I don’t perceive Patrick Swayze playing a role. I see Bodhi through and through. Swayze is stunningly excellent here, and I’m still a little sad that he is no longer with us. He was an amazingly talented actor, and this should stand as one of his best, most compelling performances.
Rounding out the main cast is Gary Busey in a great, entertaining role as Angelo Pappas. He can be hilariously funny and quirky, but solidly dramatic in the right moments. It’s a really well rounded character portrayed by an actor with the smart talent to balance those elements out perfectly. Plus, there’s John C. McGinley as FBI Director Ben Harp. Surely, he might seem like the stereotypical loud mouthed boss slinging insults around to his subordinates, but McGinley’s such a strongly talented actor that it never comes off as shallow or tired. Add in a touch of smug arrogance, and the character of Harp works dead-on-the-mark in McGinley’s hands.
The musical score by Mark Isham is really fantastic. For one, I love how he captures the enveloping spiritual sense of the sea with smooth, flowing compositions. It’s very beautiful work that reflects the philosophies of Bodhi long before he enters the film officially. There is another gorgeous cue that reflects the mystique of Bodhi that’s only a few chords, but it’s repeated a few times to very magical effect. The action cues are good, yet subtle. Isham never bombards you with pounding percussion.
The soundtrack is energized with songs that capture that Southern California feel from bands such as L.A. Guns, Concrete Blonde, Jimi Hendrix, Public Image Ltd., and capped off with my beloved “Nobody Rides For Free” by Ratt. That song perfectly concludes the film, and reflects the constant energy and excitement that runs through it.
The film really escalates to another level when Johnny realizes who the Ex-Presidents actually are, and that super charges every scene from there on out. The emotions hang on the razor’s edge. For Bodhi, it ups the stakes making the adrenalin rush and peril even more appetizing for him. For Johnny, it creates conflict as he has forged a very close bond and kinship with Bodhi, but is soon forced to do whatever is necessary as Tyler is put into imminent peril. Unlike most action movies such as Die Hard where it’s very straight forward that this is the bad guy and he’s going to die without question, Point Break makes it all far less certain because all of these emotions, some are unexplainable, cloud and complicate the issue. What all of this builds to is possibly my favorite movie ending of all time that entirely departs from all action film expectations.
The relationship between Johnny Utah and Bodhi reaches its apex on a storm soaked beach. Their connection remains electrifying as these two clash, but it’s not the fist fight that makes this as great as it is. Johnny finally has Bodhi in handcuffs ready to put him in a cage for life, but it’s that spiritual kinship between the two that sparks off something unique. All the groundwork for this ending is laid early on in the film in one scene over a bonfire, and the pay-off is amazing to me. Point Break is my favorite action film not because it has the best action sequences, or because of its pleasantly memorable dialogue. It’s because of the culmination of this ending. Everything that these two characters have developed between each other throughout the movie is so smartly interwoven, setup, and punctuated here. It concludes an amazing arc for Johnny Utah who begins as this clean cut rookie FBI Agent who changes into someone driven by impulse, emotion, and that inexplicable sensation he gets out on those waves. He pursues Bodhi down around the world for months on end, but in those final moments with an honest plea from Bodhi that only Johnny can understand fully, you get an ending that breaks a lot of rules in all the right ways. This ending captivates me to no end that I have attempted to homage and replicate in many of my own scripts.
Karthryn Bigelow did not have any real box office success prior to this film, despite turning out some quite good films such as Near Dark and Blue Steel. With Point Break, she really came into fruition with a greatly exciting, fresh, and original summer action picture that really delivered. She shows a great visual style here that pinpoints emotion greatly and really envelopes you into every fiber of this film. Possibly less than half of Bigelow’s movies in her thirty year career have actually been box office successes, and that’s a horrible shame. I think she is an incredible director who showed a great deal of potential here, which she would capitalize upon in with stunning results in Strange Days. Her collaboration on both pictures with now ex-husband James Cameron really shows through in all the best ways. Point Break shares some common ground with Cameron’s work, and even he draws some parallels between the endings of this movie and Terminator 2. Regardless, I will take no credit away from Bigelow who gave us this excellent pure adrenalin rush of a movie which has not been replicated since. I think it goes without saying that I recommend this movie with great passion.
Reviews for this sequel have been pretty lukewarm, and while I don’t blame anyone for feeling as such, there are some high and not-so-high points. This is not a blanket mediocre film, but the averaging out of the varied content can leave one feeling that way. As documented recently here, I feel Pitch Black and The Chronicles of Riddick are really strong films in their respective, specific genres, with my preference being for the latter movie. Riddick does fall between the scale and premises of those films, but doesn’t live up to either one quite as well as it could have.
Betrayed by the Necromongers and left for dead on a desolate planet, Riddick (Vin Diesel) fights for survival against alien predators and becomes more powerful and dangerous than ever before. Soon, bounty hunters from throughout the galaxy descend on Riddick only to find themselves pawns in his greater scheme for revenge. With his enemies right where he wants them, Riddick unleashes a vicious attack of vengeance before returning to his home planet of Furya to save it from destruction.
There are three sections of this movie for me to critique which all have their distinct qualities. The first act of the film feels very sparse as it is just Riddick fending for himself on this desolate planet. There’s a few bits of narration from him and a flashback with the Necromongers that fill in some plot gaps from the aftermath of The Chronicles of Riddick. It also contains the only and very brief appearance of Karl Urban as Vaako. I had hoped for more from him here, but I figured it would be no more than a cameo. Anyway, this first act didn’t do much for me. It was kind of cool seeing Riddick wounded, vulnerable, and out in the wild getting back in touch with his animal side. However, it is quite sparse not giving you much beyond the survival action set pieces to get involved with. The film was starting to feel like an adventure that would play out in some prequel comic book – a very small scale transition piece story that is a stepping stone to something larger.
Thankfully, as I anticipated, once we get some bounty hunter characters injected into the mix, the film really started to entertain and engage me. Sure, the premise is quite stripped down and basic feeling more in line with Pitch Black, but if you’ve got a couple of vibrant, enjoyable characters to fill out that premise, you’ve got enough to make it worthwhile. It does take a few minutes to get them warmed up, but it’s the clashing dynamics between everyone that sparks it all off. Essentially, there are two teams of bounty hunters, or mercs as they are called. The first is lead by Santana, who is an enjoyably sleazy, down and dirty type with a very gritty, testosterone jacked team. The other is a more clean cut operation lead by actor Matt Nable’s character who has personal ties to Riddick and the events of Pitch Black. These two teams clash immediately causing a lot of conflict, and striking some very humorous, entertaining interactions.
Santana is portrayed very well by Jordi Mollà. I found him the most lively and charismatic character of the film. Mollà paints Santana as a very salacious individual with little respect for anyone else outside his team, and especially doesn’t like being ordered around by any of them when they’re forced to team up. Santana has definite smarts, but his attitude surely digs his own grave with many characters, especially Riddick. Also, former wrestler Dave Bautista is part of Santana’s team, and he does his part well, especially since Diaz doesn’t require much beyond being tough, formidible, and a little charismatic.
And color me majorly impressed by Katee Sackhoff. She portrays the exceedingly tough Dahl, part of the opposing team of mercs. She more than imposes her physicality upon Santana and others who try testing her, and has the attitude to go with that. This isn’t some stereotypical tough chick routine. Sackhoff kick ass as a bonafide hard edged, sharply skilled mercenary who has an extra distinctive flourish to her character. I’m sold on the actress and the character completely.
Now, Matt Nable’s character, of Boss who does have a bit of a reveal that I’ll not spoil for you here, is fairly okay. As I said, he adds a tether back to Pitch Black, but he’s really little more than that. The character is confident, authoratative, and intelligent, but compared to the colorful Santana, the tough as nails Dahl, or the nicely fun muscle bound hired guns of Santana’s gang, this is a rather mild character. He also sits on the fence never becoming an outright, reviled villain, and the ending reflects the reason why. There’s some intended depth with this character, but because he is so much on the fence, you don’t know if you’re supposed to sympathize with him or view him as a vengeful enemy. The film never galvanizes him into what kind of adversary he should be, and thus, comes off as quite forgettable and mild.
It is clear that Vin Diesel has a love for Riddick, and so do I. I think he is very fascinating type of anti-hero that has so many avenues of expansion, but this film really takes no ambition with Richard B. Riddick. The character is still written well by David Twohy, but that signature aura of mystique isn’t quite there. That ambiguity of what kind of hero he might choose to be, or the cunning way he manipulates events and perceives deeper into others isn’t really utilized here. Because the is a straight forward survival story with only bad guys and no potential good guys, you generally know how Riddick is going to deal with everyone. There’s no one of morality or sympathy like Imam, Carolyn Fry, or Jack / Kyra here to sway or alter Riddick’s actions. He’s out for himself, and will bargain however he can to escape this planet alive without being held captive. So, there’s no place for a lot of those more complex elements of Riddick to exist in this story, and that’s unfortunate. Diesel still does a really good job in the role, making him a fun, smart, highly capable, and entertaining protagonist. It just doesn’t feel like we’re getting every element of the character that I love. I kept perceiving something being missing from the performance or portrayal all throughout the movie, but couldn’t really put my finger on it. There is more to this character that we have seen in both previous movies, but this movie is just a little too stripped down to allow him to develop or be fleshed out. It also seemed like Vin Diesel didn’t wear contact lenses this time out, and instead, had Riddick’s “shine job” eyes digitally done.
I loved Graeme Revell’s score for both previous movies, but I wasn’t impressed with his work in this film. The familiar main theme does make some subtle appearances, but we never get a full fledged crescendo of it. Many of the action beats are scored appropriately well. Yet, the rest of the score feels very different in many places from Pitch Black or The Chronicles of Riddick. There were a number of cues which just didn’t strike the right chord with me, same as some of the humorous bits of Riddick and the silly tricks with his dog-like pet. Those were certainly there to forge an emotional bond with this animal, which seems to have a massive unexplaned growth spurt during the first act, but because it was such a poorly done CGI creation I just couldn’t care that much about it.
The digital visual effects are about on-par with those in The Chronicles of Riddick, but like with Pitch Black, it’s good that a large chunk of these effects appear during dark environments. The creatures that strike at nightfall are considerably better rendered than Riddick’s pet, which is the only CGI that I cringed at. Of course, there’s only so much you can do on a $38 million budget where entire landscapes are enhanced with digital effects, and thus, you’re stretching your dollars to their limit. Thankfully, the CGI is pretty good in large part, and added to the film a whole lot more than it detracted.
I do like that David Twohy put forth the effort to build in connections to both of the previous movies. Again, you’ve got some flashbacks with the Necromongers showing what happened after Riddick killed the Lord Marshal, and how it led to him being left for dead on this nearly barren planet. Yet, I know this was not the film Twohy nor Diesel intended to make when they laid out their plans for The Chronicles of Riddick, and so, this is a smaller scale story intended to be a springboard towards a larger scale adventure. As much as I absolutely want to see this franchise take off and allow these fimmakers to tell the Riddick stories that they want, I’m not sure this is the movie to get them there. Like I said, this story is probably stripped down too much in terms of character and conceptual development, and focuses more on the entertainment value of action sequences. While all of the action is very well executed making for a bloody, violent, and fairly exciting movie, it has one more major failing.
As I said, there are three sections of this film to critique, and the last one, clearly, is the ending. Riddick is an action / horror survival story putting this character into increasingly treacherous and deadly scenarios where he must fend for himself. People are going to betray him and attempt to kill him, possibly even stranding him on this planet to ensure their own survival. I won’t detail the ending of this movie, but frankly, it is a terribly weak ending that is a copout to the entire premise. There’s no dramatic punch to this ending, no rationale for the actions of the other characters involved with it, and leaves you hanging with an empty feeling. The film builds to a tense, riveting crescendo, and then, fizzles out. This film absoultely should have ended with a strong, impactful, emphatic statement for the character and franchise. I even sat there through the end credits hoping for an extra scene to appear, but once those credits roll, that’s all there is. Up until this point, I was enjoying myself, and was engaged in the excitement of the action. I was interested to see how the machinations of these deceitful characters would manipulate the fate of Riddick. It was a fun adventure with plenty of graphic violence pulling no punches, and just having a good, gritty time with itself. It’s just those last few minutes of the movie where you just don’t know how Riddick is going to get out of this at all, and the entire movie cheats you out of even a decent pay-off. I just felt letdown, and it’s worse yet because I know David Twohy can write something better than this. He wrote Warlock, co-wrote The Fugitive, and co-wrote both previous Riddick movies. It’s a whimper of a conclusion when it should have been amazingly awesome to re-energize audiences about the character of Riddick, and leave them wanting to see more bad assery from him.
I had been waiting for this movie for a long time, and I really wanted this franchise to be very successful. So, it really, honestly pains me to give any amount of negativity to jeopardize that success, but this really feels more like a movie many would rent instead of rushing out to the theatre to see. Even removing the ending from the equation, it is a fairly average sci-fi / action movie without the same stylized visuals or scope of Pitch Black or The Chronicles of Riddick. However, it has some extra punch in the graphic violence and some pleasing female nudity, and has some entertaining and well portrayed characters to liven up the uninspired story. You can potentially have a good time with this movie, but I don’t feel it’s a strong enough outing to give Riddick the new injection of box office life that he needs for David Twohy and Vin Diesel to do what they desire with him, unfortunately.
David Twohy is one of those talents who deserves better success than what he has achieved. He’s done some stellar screenwriting work with hits like The Fugitive and G.I. Jane, and many of his directorial efforts have received critical praise from genre fans. With Pitch Black, he struck a cult following chord that still, hopefully, resonates to this day. I’ve heard many say that Pitch Black is essentially a reworking of David Twohy’s rejected script for Alien 3, but my research does not confirm any correlation between the two projects especially since he co-wrote Pitch Black with two other writers in Jim & Ken Wheat. However, it is very easy to see how this could have been part of that franchise, but thankfully, this was its own thing that launched its own franchise that I am glad to say that I am a fan of. And yes, the director’s cut is the way to go for me.
When their ship crash-lands on a remote planet, the marooned passengers soon learn that escaped convict Riddick (Vin Diesel) isn’t the only thing they have to fear. Deadly creatures lurk in the shadows, waiting to attack in the dark, and the planet is rapidly plunging into the utter blackness of a total eclipse. With the body count rising, the doomed survivors are forced to turn to Riddick with his eerie eyes to guide them through the darkness to safety. With time running out there is only one rule: Stay in the light.
It’s interesting the structure that David Twohy goes for here. Once the crash occurs, most films would take on a gradual pace to establish many of these characters, and walk through the process of a slow burn build up to the lurking threats waiting for everyone. Instead, Twohy does a lot to jump forward beyond those gradual beats and goes for the tight, faster rhythm. He knows that the necessary focus is on Riddick, Fry, and Johns, primarily, and there are points that need to be hit with them before jumping headlong into the meat of the plot. We then learn more about these individuals as the conflicts and tensions escalate, which really works. Twohy keeps the pace very well balanced because of this approach. It starts out exciting, and continues to hold to that rhythm throughout. Danger is encroaching upon these characters, and that faster tempo is very essential to the effectiveness of the scenario.
The film has some very well crafted sequences that surely deliver on the suspense using silence, subtlety, and the darkness in very effective ways. While it doesn’t send chills up my spine to tingle me with terror, it is thrilling nonetheless. For me, I would veer this more towards an action vibe. The intention is survival horror, but there is enough intense action here to cater to anyone who isn’t so easily scared. Several characters are put into peril early on, some die, and that serves the tension later on knowing that anyone is expendable in this story. Anyone can fall prey to these quickly striking nocturnal creatures, and when they are charging through hordes of them with only minimal light to clear their way, it puts an audience on edge. Yet, little of this would mean anything if there weren’t well portrayed and written characters to involve yourself with.
I really like everything that David Twohy and Radha Mitchell do with Carolyn Fry, the now defacto commanding officer after the captain died during a hull breech. We know throughout the movie that she is not an altruistic hero as she tries to jettison the passengers to save her own life during the impending crash landing. So, there’s that condemnable quality that she works to redeem herself for through the film. She struggles to lead these people to safety as she constantly pushes that responsibility away, but she has to ultimately accept that leadership role in order to survive. Mitchell really stands strong in this role delivering a dimensional character that an audience can latch onto, emotionally, and invest themselves in as she grows and solidifies through this terrifying ordeal. Fry is vulnerable, but shows her strength by the end.
Cole Hauser makes the bounty hunter Johns a very good, subtly unstable foil here. He’s supposed to be a good guy considering he caught Riddick, but he’s a tough mercenary challenging everyone’s authority while feeding his drug habit. He’s a hostile wild card that could motivate people to safety, or more likely, jeopardize lives, including his own. He and Riddick are definitely set at odds, but the scenes between them are very interesting in the psychological aspect. Riddick is a guy who likes to play on peoples’ perceptions of him, and give them a certain amount of unpredictability to what he’ll do next. Johns knows plenty of Riddick’s tricks, and it’s interesting to see them subtly square off psychologically and physically.
Of course, the real star of the movie is Vin Diesel. The character of Richard B. Riddick is very much an anti-hero. He’s a convicted criminal who makes no excuses for himself, but knows how to use everyone’s fears and perceptions about him to his benefit. Diesel is very subtle in these moments speaking softly with a smirk showing that Riddick has people wrapped around his finger. Riddick knows just how far to push, and when to twist things back around. First and foremost, he is a survivor, and he knows that you can’t always do it alone. Vin Diesel injects confidence, intelligence, and cunning into the character, but also a very compelling mystique. Just like a Snake Plissken type, the less he says, the more interesting he becomes. His actions make him intriguing while what words he does speak weave a complex tapestry that simply sucks you in. You can gradually see this character becoming an iconic role as the film progresses, and even his opening narration sets the focus intriguingly upon Riddick right from the start.
There are a couple of notable supporting roles here including Keith David as the Muslim passenger Imam. He offers up a very solid character with strong beliefs and morality that add to the diverse personalities and attitudes of these characters. David is always a charismatic actor who can do tough everyman like in They Live or The Thing, but turn around and give you a substantive, cultured character such as Imam. Add to that is Jack, portrayed by Rhianna Griffith who comes to idolize Riddick, and forms some kind of attachment to him. There’s an odd twist to the character that seems fairly unnecessary, but it’s another trait to make Jack a slight bit more memorable. These are both well established, well portrayed characters which aid the film in very grounded, human ways.
Now, Pitch Black has a certain stylized look at times that never entirely sat right with me. I do like some of the over exposed daylight shots driving home the triple sun environment, but the rather monochromatic color washes don’t quite appeal to me. I just feel there must have been a better, more subtle way to color time these scenes to allow a slightly more varied color palette to shine through. Also, the inverted colors used in one false scare moment and a few cinematography and editing choices feel more akin to a flashy, stylized music video. These artistic choices just seemed more akin to stuff I had seen in the direct-to-video market than a theatrically released motion picture. That is sad for me to admit because beyond these off-beat moments, there is a lot of excellent cinematography to be had here. There’s a definite effort put towards production value with the cinematic camera moves and angles chosen. When the film gets into the darker and darker environments, it really takes on a very moody, atmospheric, and dangerous visual intensity. The whole planet eventually feels like a black, empty void perfectly reflecting the tense situation at hand. I also like that, in contrast to the overly exposed daytime scenes, the full-on night time scenes seem straining a little for exposure. You feel how dim the light is that these people have to work with and ward off these creatures, and that extra grain on the film stock just adds more gritty edge to the movie. Those issues I had are present only in the early part of the film. The remainder of it is shot, edited, and executed especially well.
Considering this was made on a $23 million budget in the early 2000s, I will say that the visual effects are fairly good based on those factors. In the grand scheme of CGI, Pitch Black has a LOT of room for improvement. These filmmakers were very ambitious with what they wanted to achieve on such a limited budget, and I can’t fault them for that. There are some better looking moments than others, and it is likely best, by design, that so many of these effects are played out in dark environments. In a brightly lit one, these creatures and digital effects would look really bad. While Riddick’s “shine job” vision allowing him to see in the dark is pretty damn cool, the creature vision is quite primitive like some cheap Photoshop radial blur effect. I hate to talk poorly about all of this because I see the ambition and visionary talent at work, but the budget could only be stretched so far to accommodate that, which is very unfortunate. If you doubled this film’s budget, the visual effects would be approaching excellent, I’m sure. As it is, if the characters and scenario pull you in, I think any shortcomings in the CGI will be forgivable in an audience’s eyes.
Another really exceptional quality here is Graeme Revell’s rich score. The main theme is excellent, thrilling, and rather triumphant. In an age of films that rarely attempt to forge a recognizable main theme of any kind, it’s refreshing to see especially a genre film crafting one that strikes a strong chord. Even though it had been several, several years since I had seen either this or The Chronicles of Riddick, I still recalled the theme fondly. Revell has done some stunning work when he really applies himself, such as on The Crow, Strange Days, and The Craft, and his effort really shows through here.
Surely, the basic concept of Pitch Black is not very original as I’m sure you can draw comparisons to the Alien franchise and various other science fiction / horror classics. However, like I said, even if this film does tingle you with terror, it has action and excitement to engage you. I definitely like the Riddick character. He’s very intriguing, and a solid anti-hero in cinema is always a fun concept. Vin Diesel was the right man for this role, and I love that he has had such a devotion to it alongside David Twohy. Pitch Black is definitely a cult classic which has plenty of merit and entertainment value. It’s a straight up type of film with certain plot conveniences to allow for this story to happen, but if it hooks you and you have fun watching it, none of it is gonna matter.
I’ve made some mentions of the Die Hard clone in recent months in reviews of Sudden Death, Olympus Has Fallen, and more. Now, just because you’re the first do something, or the one who sets the trend doesn’t always mean you did it best. However, in the case of John McTiernan’s blockbuster action film Die Hard, there is simply no equal. While I don’t list it as my number one favorite of all time, I cannot deny that this is likely the best action movie ever made, and there are a lot of qualities that go into making it that exceptionally awesome.
NYPD Detective John McClane (Bruce Willis) has come to Los Angeles to spend Christmas with his estranged wife Holly (Bonnie Bedelia) at her company’s holiday party. However, as he waits for the festivities to end, the entire building is taken over by a heavily armed team perceived as terrorists, but their sinister leader, Hans Gruber (Alan Rickman), reveals that his interest is purely in greed. As the hostages are rounded up, McClane slips away with only his service revolver and his cunning wits at his disposal. What begins as a perfectly planned crime quickly ignites into McClane waging a one man war to save everyone before they are all blown sky high.
There are many things that set Die Hard apart from everything else, but I think the biggest key of it are the characters. Beyond just the performances, this film takes its time to introduce them to you, and allow for their dynamics and personalities to play out before any of the action begins. This is mainly the development between John and Holly McClane. Their turbulent marriage is fleshed out in smart, subtle beats that never feel like exposition, just natural conversation. These are real, relatable people in a grounded reality with normal problems that are soon thrust into an extraordinary situation, and because we get to know these characters through levity and emotional conflict, we care greatly about them once peril befalls them. Even the villains are given their due time to feel fleshed out and dimensional such as how Hans Gruber discusses men’s suits, art, and culture with Takagi before threatening him with a gun for the password to his vault. These moments make Gruber an interesting and engaging villain who has a fairly equal amount of depth to John McClane. This way, it is also a battle of wits and personalities as much as it is a pure action conflict. This is so much due to the time director John McTiernan and his screenwriters took to slip those important character building moments into the film, and that makes it a greatly more substantive action film that you would regularly get in any decade.
Now, the 1980’s were filled with the larger than life, nigh indestructible action hero. Then, comes along John McClane. This guy who is as vulnerable as the rest of us that gets beaten up, his feet sliced up by glass, bleeds everywhere, feels fear, and gets progressively worse for wear as the film goes on. All the while, under the intense stress of a violent life or death scenario, he’s cracking wise with everyone left and right just doing what he can to cope and survive. Where a Rambo or John Matrix type would just burst in blazing a full arsenal to wipe out everyone, McClane has to be clever and cautious every step of the way against these extremely well-armed killers. All he has is his wits, and Bruce Willis’ well established comedic talents blended perfectly into the quick witted quips of McClane. I’m sure there was speculation abound leading up to this film’s release as to Willis’ ability to be an action hero because of doing so many comedies, but he was able to bring a completely unique identity to this role that is hard to match. While it is the wisecracks that we remember so much, the purely human moments of drama really sell this character as one that stands apart from so many others. Bruce Willis really shows that he could do the full spectrum of acting here as he leads this film with charisma, heart, and physical intensity. He brings a fresh dimension and grounded realism to McClane that makes him the beloved, very human, bad ass icon that we so love.
Just how McClane is a distinct departure from the action heroes of the day, Hans Gruber distinguishes himself from many of the over the top, cheesy villains of the 80’s. Alan Rickman is brilliant as Hans Gruber. What truly makes this so is that he’s not obvious at all. Gruber is a guy who is smart, charming, smooth, educated, and charismatic. Yet, he’s a calculated, clever, ruthless villain. You can see that Gruber had every single detail of this plan plotted out perfectly, and is able to outsmart and keep ahead of everyone except for the one wild card in his brilliant crime in John McClane. As much of an sociopathic, murderous villain as Gruber is, you can be thoroughly entertained by the charisma and intelligence Alan Rickman injects into him, but you still rejoice when McClane finally does him in.
A little unexpected humor arises from the less than sharp minded LAPD and FBI. Paul Gleason’s Chief Robinson is clearly in over his head exercising clear incompetence while thinking he’s got everything under control. Then, FBI Agents Johnson and Johnson, a joke in and of itself, are too full of themselves with their gung ho testosterone to be perceptive enough to know when they’re being played. Add in more competent, yet still funny characters like Argyle the limo driver and Theo, Hans’ charismatic safe cracker, you’ve got laughs for miles without damaging the serious integrity of the action and drama of the movie. This is seriously one of the most quotable action movies ever.
Yet, amidst all the explosive thrills and well-timed humor, we get the tether of humanity with Sergeant Al Powell. Reginald VelJohnson connects perfectly in this role bringing the tired, wounded, and alone McClane into contact with someone on the outside who can be a moral and emotional support. An action film is great when the thrills are exciting and bombastic, but you get something exceptional when this thread of humanity is so strongly in place. VelJohnson gives us the full spectrum from lovable and funny to heartfelt and compassionate to stern conviction. Powell is ultimately given some depth and substance showing that this film wasn’t going to take a shortcut anywhere at all. The very human moments between Powell and McClane are a special strength.
But indeed, the action is ultimately the driving force of this movie, and once that spark of excitement is lit, it runs on pure adrenalin with riveting intensity and masterful execution. This is big action with a real sense of gravity and peril. The scale makes it amazingly fun and exciting while the weight of the drama makes it suspenseful and electrifying. I love the subplot with Karl’s vendetta against McClane for the murder of his brother, and when the two finally clash, it’s awesome. After all of the heavy gunfire and explosions, the few minutes of visceral raw physicality are a breath of fresh air before the scale of the action escalates further with the roof exploding signaling the third act rocketing forward. Die Hard does nothing but amaze you at every turn. Every step of the way, we care about these characters in the thick of danger, and we gradually see it escalate as Gruber’s plan unfolds. It’s also great seeing McClane figure things out a little at a time, such as wondering why Hans was on the roof, and then, realizing he plans to blow it sky high with all the hostages on it.
I tend to write these reviews while watching the movie so to pick up on all the nuances, but Die Hard is so consistently engaging, thrilling, and entertaining that I could hardly tear my attention away to type anything up. Whether it is the absolutely wickedly awesome action, the touching character building moments, or the great laughs it elicits from an audience, Die Hard is the perfect example of executing an action film correctly. There’s not a moment wasted, and the editing is dead-on sharp and perfect in its pacing and timing. Moments are so excellently punctuated with the right cut, and even more so with Michael Kamen’s remarkably intense and spectacular score. His is a masterwork of brilliant, sophisticated action film compositions. Not to mention, this is an expertly shot movie using those beautiful anamorphic lenses and that cinemascope widescreen canvas to accentuate the scale of the action. And where many action films today can barely keep the camera steady long enough to understand the geography of a single scene, McTiernan and cinematographer Jan de Bont do so many subtle things to layout the geography of this entire building. Early on, they walk you through the entire central area of the Nokatomi Tower over the opening credits so you understand where the hallways, elevator, offices, and stairway are so we can navigate it as competently as the characters. As the film goes on, we revisit the conference room, the elevator shafts, and the roof to maintain a familiar environment for the action. As a film lover and a filmmaker myself, this movie just makes me gush from a technical standpoint as it is so perfectly executed in every moment. This film is exquisitely made from a massively talented team of filmmakers, sonic geniuses, and brilliant visual artists.
This film was adapted from the Roderick Thorp novel Nothing Lasts Forever, and many of the mind blowing and clever moments in the film are taken directly from the novel. McClane’s jump from the exploding roof with the fire hose wrapped around him, the C-4 bomb thrown down the elevator shaft, and more exist in Thorp’s novel. Apparently, it was a novel written as a sequel to The Detective, starring Frank Sinatra, but he declined the role. Years later, it was supposedly intended as a sequel to Commando, starring Arnold Schwarzenegger, before being re-fashioned into the action classic that we now know and love. Indeed, everything has its right time to come to fruition, and Die Hard happened in the right way at the right time with the right talent.
Between this and Predator, John McTiernan established himself as one of the premiere action movie directors of the time, and of course, this launched Bruce Willis into blockbuster super stardom. Despite how Willis now feels about doing action movies, saying he’s bored with them at this point, we will always have these pinnacles of the genre when Willis was in his prime and eager to do his absolute best. Die Hard is probably the most perfect action movie I have ever seen as it hits all of the beats of excitement and character just right with a spot-on mix of drama and humor to make it an undeniably memorable experience. For anyone who has only ever seen either the fourth or fifth film in this franchise, you are doing a horrible disservice to yourself in basing the quality of Die Hard on those films. As I said from the start, there is simply no equal.
So, this is the last film in my Thomas Ian Griffith triple feature, and it’s odd that in each successive movie his hair gets shorter and shorter. Also, each of these films have some very impressive names attached to the cast. This time, we’ve got John Lithgow and Donald Sutherland, so, there’s certainly talent on screen worth watching. Hollow Point sees Griffith going pretty crazy with a full charge of charisma in a film I wasn’t expecting to be what it was. Let’s see what it is that it happened to be.
FBI Agent Diane Norwood (Tia Carrere) is ready to do almost anything, even to spoil her own wedding, in order to bring down Livingston (John Lithgow), a major money launderer. In the course of her dogged investigation she runs into the audacious DEA Agent Max Parish (Thomas Ian Griffith) who also wants Livingston. After the two of them reluctantly join forces, they track down Garret Lawton (Donald Sutherland), one of Livingston’s disgruntled hitmen, to help bring him down.
After the conspiracy cop thriller and the Die Hard clone from Griffith, we now get something that tonally veers off in a wild direction. I went into this expecting a fairly serious action movie, but right in the first fifteen minutes, you’ve both Griffith and Sutherland being all kinds of off-the-wall crazy. A Russian Mafioso is smuggled around town, after slipping back into the country, in a casket, and the Max Parish character hijacks his hearse in an effort to interrogate him. In a chase down a stairwell after this, Sutherland’s assassin character Lawton practically cackles and prances around like a nutjob chased by Agent Norwood while Parish rides a window washer’s harness down spouting out jokes. I was laughing my ass off. This is all just plain nuts based solely on Griffith and Sutherland, and this is them just getting warmed up. This is a movie that just knows how to have fun with itself, and I was happy to indulge in it.
Hollow Point ultimately is a buddy cop movie where, absolutely, neither Parish nor Norwood like each other in the least. They are adversarial to the point of sabotaging one another until they reluctantly agree to work together, but even then, they continually butt heads for many reasons. Parish is practically certifiably nuts doing nothing but unorthodox stunts every step of the way, and Norwood feels very dedicated and straight arrow, up to a point. So, it is the classic personality clash dynamic which stirs up friction and entertainment value. Hollow Point is, by very far, no Lethal Weapon, but it’s certainly a whole lot of fun.
As I already touched upon, Thomas Ian Griffith really cuts loose with all of his charisma. Max Parish is ultimately a guy working outside the bounds of the law to his own ends, and so, he’s going for broke at every turn. Thus, he’s greatly unpredictable and spontaneous which facilitates Griffith to throw everything into this performance to make it endlessly fun and exciting. There’s very little opportunity for drama to seep into the Max Parish character as the film really drives for the fun and laughs, but there are a few light, fleeting moments of seriousness that he slips in and out of smoothly.
Yet, as crazy as Griffith is here, Donald Sutherland is full blown whacky. There is not a scene where he isn’t grinning like he’s gotten a snout full of Nitrous Oxide, and just being the nuttiest hitman you’ve ever seen. Sutherland was clearly having an incredibly fun time playing this role with all the eccentricities and flare possible. The flipside of that is John Lithgow doing a fairy straight villain performance, but it’s rather middle of the road. He has lightly humorous moments along with grounded serious ones. After seeing him in both Cliffhanger and Ricochet, I know he can do bad ass bad guy wickedly, but this outing here is nothing special, yet I was glad to have him there. He made the character more interesting and entertaining just by him being in it, and goes the extra mile in the climax.
As you might expect, Tia Carrere is not the most convincing tough federal agent. She certainly plays the role to the best of her ability, and is competent in all the action scenes. However, despite her best efforts, I couldn’t be fully sold on the casting choice. The Diane Norwood role was better suited for someone with more inherent toughness, charisma, and savvy. Sandwiched in between Griffith and Sutherland chewing up scenery with full-tilt vibrancy, Carrere doesn’t really standout at all. She has some decent moments that gain her some credibility, though. Plus, she and Griffith have pretty good chemistry, and she handles the humorous moments sufficiently. I just think there was a stronger casting choice available somewhere for this character, but Carrere’s sex appeal is mildly on display, answering some of the questions of why she was chosen.
The story here is almost unimportant as most of the screentime is really devoted to the buddy cop style antics of Parish, Norwood, and Lawton. Lots of banter, silly moments, and mild scheming to plot against Livingston is all that’s really at play here. Some people want his money for their own gain, and someone else just wants to see him locked up in a jail cell. The movie does not intend to engage you with its story, and rightfully so. Hollow Point is all about its crazy personalities, fun action, and humorous tone.
Even the editing of this movie, with all of its cheesy wipes, goes for the comedy aesthetic, and ultimately, that’s the way you need to take this movie. It doesn’t really push for dramatic storytelling or really intense thrills. It is designed to just have fun with it, and that’s not a surprise from the director of The Taking of Beverly Hills, another B-movie Die Hard clone. However, that doesn’t mean there isn’t good action and plenty of explosions. Griffith doesn’t get more than two brief moments of martial arts action as it’s all gunplay and car chases, but the action has some very good production values. The climax really gives you a solid bang for your buck with a lot of fun scenarios, action-packed sequences, and a slightly quirky four-persona standoff. Of the Thomas Ian Griffith movies I’ve now reviewed here with Excessive Force and Crackerjack, this one is the most lively fun, but also, the stupidest of the lot in all the best ways.
Hollow Point just ends up being purely dumb fun that you might enjoy on cable some night. It’s good to have some laughs with and just enjoy the light-hearted action. By no means would this have been a box office success, but it’s perfect direct-to-video entertainment. Since this tightly focused look at Thomas Ian Griffith’s has been about assessing his action star potential, I think the only thing that kept him below the radar and mostly in the direct-to-video world was the quality of the scripts. It would seem like, even with the screenplay he did for Excessive Force, there wasn’t anything strong enough to jump out and grab attention. He also didn’t work with especially talented directors. Van Damme worked with Peter Hyams and John Woo, Steven Seagal worked with Andrew Davis and Dwight Little, Bruce Willis had John McTiernan, Renny Harlin, and Tony Scott, and the list goes on. Griffith got the director of Superman IV: The Quest For Peace and Iron Eagle I, II, & IV. He undoubtedly had every talent needed to be that breakout action movie star with the great martial arts skills, the acting ability to do straight, dimensional drama, charismatic wit, and really light-hearted humor. He had it all, but no one ever paired him up with the right filmmakers to encapsulate all of his potential in one explosive hit. As for Hollow Point, it’s certainly not a good movie, but it entertained me greatly with plenty of laughs. However, I’m eager to get back to reviewing some theatrically released action films.
Yep, I could make a whole month out of reviewing Die Hard clones before even getting around to reviewing Die Hard. Seagal, Van Damme, Snipes, Ford, and every other action star under the sun got their turn to grapple with this formula. So, Thomas Ian Griffith got his chance as Detective Jack Wild in this film that spawned two sequels, neither of which starred Griffith, but let’s see how Crackerjack stacks up to the competition.
Chicago cop Jack Wild (Thomas Ian Griffith) reluctantly aggress to join his brother’s family for a vacation at the exclusive Panorama Springs Hotel, high in the glacier-capped Rocky Mountains. But when a team of mercenaries determined to hijack over $50 million in diamonds descend on the resort, Jack strikes back. Now, together with beautiful hotel guide K.C. (Nastassja Kinski), Jack must race against the clock to stop their calculating leader Ivan Getz (Christopher Plummer) from getting away and exploding the glacier above the hotel to cover his tracks.
The burnt out cop is a very familiar trope in action movies, but if you get an actor who can really flesh out the character, it all works nicely. Thomas Ian Griffith again proves his quality as an actor showing Detective Wild to be relatable and interesting. Being a bit unhinged, he charges headlong into danger as if he does have nothing to lose, and that’s how he feels after his wife and kids were killed. When he’s dragged up to the ski resort, he’s restless and still potentially volatile, but after making a connection with Katia, you see him soften and begin to turn a corner. Griffith and Nastassja Kinski have some good, touching chemistry that translates really well on screen. The charisma he naturally brings into the film really enhances the clichéd material in the script, and makes Wild a dimensional and enjoyable character to follow.
The film really does a lot to build up the emotional investment in Jack Wild’s fractured situation. The flashbacks to the last moments of his family’s life are touching, and director Michael Mazo really takes the time for those emotions to sink in. The reveal of who actually killed his family is a rather unneeded additional motivation for Wild, but I’m hardly going to hold that against the movie. It’s not striving for fresh, original ideas as there is much lifted directly from Die Hard from the basic premise to very similar bits of dialogue, Getz’ right hand mercenary looking like a carbon copy of Karl, Getz threatening to kill an innocent man to motivate Wild to return the diamonds, and him planning to wipe out all the witnesses with a cataclysmic explosion. However, the filmmakers still manage to make this a very fun and entertaining ride despite how by-the-numbers and uninspired this script is. Much of this is due to some impressive action scenes, and the villain that we are given here.
I love Christopher Plummer. He’s an absolutely tremendous actor in so many compelling roles, but you know what? I think every serious, respectable actor deserves to take on a nicely cheesy villain role at least once. As Ivan Getz, I think he just eats up the fun quality of the role, and does make for an intimidating adversary even if so much is clearly lifted from Alan Richman’s Hans Gruber. The rather stereotypical German accent is the most obvious evidence, but it adds to the film’s B-movie charm. Getz separates himself from Gruber, though, by being a bit of a megalomaniac with delusions of grandeur akin to the Third Reich. It allows Plummer to have some intriguing monologues that kind of gives you flashbacks to him as General Chang in Star Trek VI, and that’s generally not a bad thing. Plummer and Griffith have some solid exchanges that build up the personal adversarial connection, mostly done over a two-way radio, and it’s enough fuel to keep the movie going at its consistent, good pace.
Crackerjack is indeed action packed, but features far more gunplay than Griffith’s martial arts skills, much like Van Damme in Sudden Death. However, this is still plenty exciting with big, explosive moments and fun thrills up and down this high altitude adventure. Despite being a direct-to-video feature, the action set pieces are quite impressive, especially when the helicopters blow up, and the finale has some really good miniature effects. For its time, this was a quite admirable action picture, but I would expect modern audiences to be left wanting more spectacle.
Now, if there’s one thing that makes Crackerjack feel distinctly direct-to-video it’s the synthesizer score. Absolutely, a completely synth based score can be excellent. I’m a Jan Hammer Miami Vice fan after all, but there’s a difference when you have a score that is primarily composed for an orchestral arrangement but is performed on a keyboard. After a while, it got to be almost distracting because I kept feeling like I was watching something from Full Moon Features like Subspecies. The score just sounds cheap in this context, and really detracts from the otherwise high production values here. If this score had been given an orchestral treatment, it would have been perfectly fine. There are times when the score works very well, but the obvious limitations do regularly show through.
You could maybe say the same for the cinematography as it is fairly point and shoot with very little in the way of special cinematic visuals. There’s nothing along the lines of crane shots, intriguing angles, or steadicam work, but compared to a lot of shaky cam action films today, I can find that more minimalist approach to be enjoyable. The action scenes are very competently shot, and you’re never confused as to what’s happening. The editing is conservative allowing the action to drive the cuts, and not forcing kinetic excitement by cutting to another shot every split second. Fast tempo editing definitely has its gold standards, but I do enjoy seeing a time when filmmakers did take their time to just allow the action to play out with more comfortable framing and stable camera work.
Crackerjack certainly doesn’t have the budgetary muscle to compete on the scale of its theatrical brethren, but I would say it’s good action B-movie indulgence. Griffith does a very good job in this role making him both an emotionally damaged man, but also a sleek, sharp, and savvy action hero. He brings his natural charisma into the mix to make Jack Wild a really enjoyable protagonist to follow through this perilous adventure. Again, if I’m examining this small window into his career, I can’t say that this could’ve been a breakout film even if it did have a theatrical release budget. The script is very derivative of possibly the best action movie ever made, aiming entirely for the low budget fare, and doesn’t inject anything fresh into the formula. You can definitely get entertainment value out of the film’s fairly well used clichés and the fun performances. If you need any further convincing, you can check out the very funny video that introduced me to this movie courtesy of TheCinemaSnob.com.
In the 1990’s, there were a lot of action movie stars popping up, but most didn’t have what it took to break out of the direct-to-video market. However, I think Thomas Ian Griffith really had the talents to make it, but never really did. This might be a simple fact of not having a breakout film or role like Steven Seagal or Van Damme had early on. Regardless, Griffith had two vital qualities of a successful action hero in the 90’s. First off, he was trained in Kenpo Karate and Tae Kwon Do, so, he could do far more than just shoot things up. Secondly, he had charisma to spare making for some fun, lively performances. All of this could be seen as the villain in The Karate Kid, Part III, of which he was the best thing about that movie. So, I want to explore some of Griffith’s action films and find out exactly what he had to offer. With Excessive Force, Griffith is supported by such solid actors as Lance Henriksen, James Earl Jones, Tony Todd, and Burt Young for something that looks very solid, but let’s see if it really holds up to that appearance.
When $3 million disappears during a drug bust, undercover Chicago cop Terry McCain (Griffith) is pitted against Sal DiMarco (Burt Young), a sadistic mob boss who will do anything to get his money back, and a conspiracy of corruption from within the police department. After McCain’s partner is brutally murdered and his ex-wife is threatened, he strikes back the only way he knows how – with force! Framed for a murder he didn’t commit and hunted by his own friends on the force, McCain finds refuge with his old pal Jake (James Earl Jones) and his ex-wife Anna (Charlotte Lewis) as he’s lead into a desperate showdown with dangerous forces.
This movie has a fairly straight forward plot with only a few clever turns, but it’s not intended to be a wickedly twisting and turning crime thriller. It starts out as a revenge movie, but then, shifts into a web of deceit as McCain goes on the run once people start gunning for him. The script by Thomas Ian Griffith really makes good use of Chicago to this effect. He really incorporates the crooked politics and mobbed up history of it in a couple of smart ways. There are corrupt cops and deceptive allegiances at play in this story, and it really feels like authentic Chicago organized crime. The story twists around enough to where Terry doesn’t know who he can trust, and thus, he feels betrayed by every friend he has left living. It’s never a very taut sort of plot thread that forces McCain into heavy paranoia, but its place in the story is dealt with quite well and where it’s most effective. It also has some good pay-off and turnarounds at the end.
Thomas Ian Griffith leads this film very solidly. Having wrote the script himself, the more personal depth of his performance is apparent. Early on, we see the driven, charismatic, and lively cop who can kick ass with the best of them. He sets the energy for the film from the start, and continues to keep it exciting and interesting. As events progress, we see the drama and emotion sink into Terry McCain with plenty of weight that propels him forward through the film. Griffith has great chemistry with everyone especially Charlotte Lewis, Tony Todd as a fellow cop Frankie Hawkins, and Lance Henriksen as the soon-to-be Police Chief Devlin. Terry and Anna gradually reconnect and spark off some steam later on, but it’s very brief. Surely, a hot, erotic sex scene would be gratuitous, but I would not have complained if they injected some of that.
And of course, Griffith delivers on the action. I was really impressed with the martial arts moves he employed, mainly the number of high and roundhouse kicks he dished out. He really kicks some guys silly, and bashes up a lot of heads on a regular basis. While its not as intense as what Seagal was doing at the time, Griffith has his moments of bone breaking bad assery. If there’s any one shortcoming is that there’s no adversary that’s a real physical challenge for him, and so, there’s not a great single fight that stands out. Regardless, the action scenes are all very competently shot, choreographed, edited, and solidly executed overall.
Burt Young is pretty impressive as a ruthless Mafioso. He’s bluntly violent killing someone with a pencil through the ear, and having peoples’ legs bashed in with a baseball bat. He’s quite convincing with the balancing of the supposed sophisticated businessman and the merciless big crime boss. However, his screentime is shorter than you’d expect, but it leads to more interesting plotlines.
Also, the role of the police commander can often fall into clichéd territory, but thankfully, Lance Henriksen does a very subtle, understated job with Devlin. While he and McCain aren’t the best of friends, they can have respect despite their friction, and it’s really that relationship which gives Henriksen something fresh to work with. I also especially like the turn he has about halfway through as he becomes a bit more sleazy and brazen. As he gets deeper into this character, Henriksen gets more and more awesome.
I dearly love Tony Todd. Many know him as the horror icon Candyman, but he has such a wide range of talent that he also excellently displays here. He has one great scene in this film of emotional depth and strain which really sets him apart as a special, standout actor. A lot of other actors wouldn’t have put as much real heart and passions into such a small supporting role, but Todd does nothing less than superb work in everything he does.
These characters are interwoven into this decently forged conspiracy effectively. There’s a surprise or two to be had, and the characters themselves are fleshed out by the performances even if the dimension isn’t written on the page. A really good actor can always add and enhance what’s written in the script into something special or at least entertaining. I’ve seen enough standard fare action movies where lackluster performances make the film nothing but mediocre. Yet, vibrant and solid ones can make all the difference, and that’s certainly the case here. Like I said, when I saw the cast list I was impressed and intrigued if that acting quality would show through, and I think it really, really did.
The score of this movie was surprisingly done by Charles Bernstein, who I’ve only known from A Nightmare On Elm Street. His work here is distinctly early 90’s action, but he mixes in enough dramatic cues and moments of tension in certain scenes to give it some personality. James Earl Jones’ character of Jake runs a jazz club, and so, we get some smooth, lively sounds out of that early on. Bernstein’s score surely isn’t going to stun and amaze you, but it does its job very, very well. I would suppose that’s a good summation of the whole movie.
Excessive Force is not a great action movie, but it’s a really good effort that I did like. The script is well written, and very well directed by Jon Hess, but it’s really the exceptional acting talents of its admirable cast that allows this movie to be as good as it is. If filled with lesser grade talents, this would really falter, but putting guys like Griffith, Henriksen, Todd, Jones, and more into it gives it some extra substance. Each of them really put a real dedicated effort into their roles, and it made the film enjoyable outside of the nicely put together action scenes, of which Excessive Force does have a nice even helping of. Something exciting does happen about every ten to fifteen minutes, but the pace overall is quite consistent and well balanced to make it feel natural. There’s never action just for the sake of action. It all flows from the slightly twisting story, and Griffith’s athletic talents really make it all work. He certainly shows a lot of potential here in all aspects, and he’s a really fun, exciting lead. While Excessive Force doesn’t have the makings of a blockbuster success, I think it deserved better than grossing less than half its $3 million budget at the box office. It’s not a big explosive thrill ride, but it’s quite an enjoyable piece of low budget action fare.
Ensemble casts are a sweet pleasure. When you bring a wonderfully talented group of actors together that spark a unique chemistry, you’ve got cinematic gold piled to the ceiling. Sneakers is one of those great films that blends and balances comedy, drama, and action successfully. Robert Redford, Dan Aykroyd, Ben Kingsley, Mary McDonnell, River Phoenix, Sidney Poitier, and David Strathairn populate this highly entertaining film that is truly charming.
Computer expert Martin Bishop (Redford) heads a team of renegade hackers – including a former CIA employee (Sidney Poitier), a gadgets wizard (Dan Aykroyd), a young genius (River Phoenix) and a blind soundman (David Strathairn) – who are routinely hired to test security systems. But Bishop’s past comes back to haunt him when government agents blackmail the “sneakers” into carrying out a covert operation: tracking down an elusive black box. Along with his former girlfriend (Mary McDonnell), Bishop’s team retrieves the box and makes a stunning discovery – the device can break into any computer system in the world. With factions from all sides willing to kill for the powerful box, Bishop and his team embark on their most dangerous assignment ever which will lead him to confronting a contentious specter from his past.
Sneakers truly is rich with talent, and is a hell of a lot of fun! The comedy is handled with such sharp wit and smart savvy. There’s a lot of charm and heart put into this film that maintains a nice light chemistry and upbeat pace. Everyone surely seems like they had a fantastically enjoyable time making this movie. Our heroes are like boys in a clubhouse. They are a playful and slightly immature bunch with their childish disagreements, especially between Aykroyd’s conspiracy theorist character and Poitier’s ex-CIA Agent Crease. Martin holds them together with his smart, level head, but it’s fun seeing them kind of stumble here and there through unexpected situations. They have to think on their feet, and the results are usually hilarious. These guys are clever and quick witted enough to slip on through some tight scenarios. They’re not some Mission: Impossible style crack team, but they have the mismatched skills to really pull off some impressive, unorthodox feats.
No one amongst the cast embodies the delicate balance of light-hearted wit and solid drama better than Robert Redford, and that should come as no surprise. It really all comes down to the natural heart and grounded sensibility he brings to a role. It’s great seeing that he might be a man in his fifties here, but he’s able to bring that youthful, teenage energy at the right times. This can be seen greatly between him and Mary McDonnell early on, who are beautifully sweet and genuine together. Redford makes Martin a very endearing person with a touching depth. There are a lot of subtle qualities he adds in that allow for the humor and drama to mesh seamlessly. It’s surely not an easy thing to pull off, but he makes it appear effortless, which is a testament to his natural charisma and talent.
And Mary McDonnell really demonstrates confidence, grace, and smarts as Liz. She’s really a vibrant, mature cog in this rather playful ensemble. It’s nice to see that dynamic, which does rub off in places. There is a real, genuine spark between her and Redford that builds as the film goes on, but never overtakes the tone or focus of the film. Yet, she gets to partake in some of the fun, too, and it’s really enjoyable. The best thing to see in an ensemble cast is when no one gets short changed. In this film, everyone gets their fair share of screentime to shine brilliantly, and Mary McDonnell is only one of many getting that chance here.
The rock solid core of the group is indeed Sidney Poitier’s Donald Crease. The moment he knows they’re all in danger, Crease exercises his CIA instincts, and shows he’s a tactically sound professional. Poitier definitely shows he can be a solid bad ass in this role, but still delivers on the fun and humor. Of course, for the role of Mother, there was no more perfect choice than Dan Aykroyd. The rapid fire conspiracy theory dialogue, and the sharp wit completely fit his talent. David Strathairn is wonderfully exuberant really doing a remarkably fun job as Whistler. Watching this blind sound expert be the wheelman for their escape in the climax, driving the team’s van full speed through a parking lot, is just a brilliant, joyful moment. And the late River Phoenix shows the charming innocence of Carl adding the authentic youthful naivety to this team.
Cosmo is really smartly handled by Ben Kingsley. It’s an especially great idea having the film’s antagonist being an old friend of Martin’s, and to see how these two have diverged down different paths. Cosmo became swallowed up by the criminal underworld, and held onto his youthful beliefs of radically altering the world through crooked computer activities. Wiping out world economies and collapsing the system started out as youthful idealism, and grew into a rather disillusioned ruthless criminal. However, Kingsley so wisely plays things down and subtly serious. He has a lot of the same wide eyed wonder as the rest of the cast, but it’s tempered by this man who has felt abandoned and betrayed by his best friend. By the end, there’s something sad about this character as Martin pretty much pities him. Ultimately, the film is about Martin and Cosmo resolving their pasts, but it’s Martin who has been able to move beyond it into a brighter future.
The score by James Horner is really delightful. The light melodies he sprinkles into the film to maintain the sense of fun and adventure are the true highlight. However, the more dramatic scenes, especially when the film gets perilous or tightly suspenseful, are intensely excellent. Horner’s execution of the score is directly in line with Phil Alden Robinson’s superb and intelligent direction. He enhances what Robinson does on screen with great inspiration in all musical aspects of his work.
Beyond anything else, Sneakers is especially clever. The sequence where the guys discover what the black box is, and Martin decodes “Setec Astronomy” with the help of a Scrabble board game is just so smart and a little whimsical. And when Martin goes to the Russian delegate for answers, there’s a brilliant moment where he steps out of the light and into the shadows to say, “Trust me.” It’s artistic flourishes like that which show Robinson just knew how to weave the dramatic weight of an espionage thriller into this light-hearted adventure. This really is some of the smartest direction I have seen because both the lighter and heavier aspects of the film are executed with equally brilliant skill.
It’s quite striking that the ideas of the world being controlled by information presented here are even more relevant now than they were twenty years ago. It’s surprising how much of what’s discussed and brought up in Sneakers rings true to what we hear in the news every day. Now, more than ever, does information and knowledge equal power, and people wield information like a sword. Cosmo believes in that with absolute certainty, and wants to be the one who can shut it all down with a keystroke. Yet, you will absolutely walk away from Sneakers with a plentiful feeling of enjoyment because it is such a charming experience.
Still, I find it so difficult to accurately categorize this film in a predominant genre because all of the humor is wonderfully delightful, the drama is perfectly nailed, and the action is purely thrilling. Most importantly, Sneakers just has a lot of heart in it through and through. There’s plenty of fun to be had with it while still getting a substantive story, a touch of heartfelt emotion, and a set of great performances out of it. The cast is a joyful delight with chemistry and charisma to spare. There’s really so much to love and adore about this film. If you enjoy Steven Soderbergh’s Ocean’s Eleven or even this year’s Now You See Me, I think you will fall totally in love with Sneakers. It is so amazingly well executed that I wish Phil Alden Robinson, the director also behind Field of Dreams, would direct even more films of this superb quality. There will always be a place in cinema for something that can deliver on the dramatic excellence while providing us a great breadth of clever humor. If any one word does sum up Sneakers for me, it is “delightful.”
I wouldn’t have thought of myself ever really checking out this movie out of self-ambition. However, I came across a video review of it from a usually trusted source. So, I gave it an honest chance, and to my pleasant surprise, I did indeed enjoy this movie a great deal. There are two main reasons why I write reviews. The first is because I love film in many of its forms, and I enjoy sharing my passions for it. The second is to open up others to films that I feel are worth discovering, and in turn, I enjoy other people opening up my horizons to new, good films. So, it’s great when others do the same for me. With Snow White & The Huntsman, there’s a really solid fantasy picture here worth giving a chance to.
Years ago, the noble King Magnus fell prey to the enchantment of the evil Ravenna (Charlize Theron) who killed him and took reign over his kingdom. Sustained by draining the life from others, Queen Ravenna remains forever young and beautiful, but the King’s daughter, left alive and imprisoned, has now come of age as the fairest of all in the land to threaten this darkness. Snow White (Kristen Stewart) soon escapes the castle, and the Queen sends a rugged Huntsman (Chris Hemsworth) to track her down. However, the Huntsman soon joins with Snow White on a journey to see her father’s kingdom reclaimed through a land of treacherous enemies.
While watching this, I was really pleased that it kept selling me on it all the way through. I liked the narration by the Huntsman who gracefully sets up the details of this story taking us through Snow White’s youth and the kingdom’s fall. The movie is tightly paced, propelling its story forward in a lean matter, but still with plenty of meat to the characters and their stories. In fact, despite watching the extended edition while writing this review, the film seemed to move along even faster than on my first viewing of the theatrical cut. The extended version has a few good, new scenes that add a little extra depth and detail here and there. There is a scene between the Huntsman and William, Snow White’s childhood friend and archer, in the extended cut that better sets up and pays off another scene with the obligatory poison apple. Of course, we also get some very good action sequences, which are also tight and to the point. They exist long enough to serve their purpose, and are solidly satisfying and exciting. It all feels real and consequential. The battles are never taken lightly, and there are casualties beyond just the obligatory background soldiers.
Now, really looking at this, I feel this is a fantasy film that could’ve hit in the 1980’s next to Highlander or Excalibur. This movie has some stunning imagery and inspired cinematography. Early on, I love how bold the blood reds are. They standout as really symbolic. Overall, this film has grit, murkiness, and dramatic weight. Many scenes are smoky and moody. It creates a tangible, grounded world that still allows for the fantastical to live and breathe. It’s a dark world reflecting the grim bleakness the Queen has cast over it, and that just creates a very engaging look for me. It has a lot of that same texture found in The Lord of the Rings movies, but with more of its own gritty mystical atmosphere and mood. Snow White and the Huntsman is a really beautifully shot film helmed by a director who clearly has vision.
Surely, for some, Kristen Stewart would be an obstacle for them due to her work in the Twilight movies. I have not subjected myself to those films for many reasons, but I believe this film shows that sometimes it’s not the actor but the material that should be questioned. I am very pleased to state that Kristen Stewart does a very wonderful job here. It did not take me long to see that she was a young woman of admirable talent. There is a lot of depth to this character, and there is a strong arc for her that Kristen Stewart conveys remarkably well. The fear is something she sells very realistically early on, but there is a hope and strength that grows out of that fear. As Snow White progresses through this adventure, you see her mature into a stronger, more active character. There is subtlety and beauty to what Stewart accomplishes here. She really shows a lot of heart, warmth, but also a tinge of sorrow along the way. And indeed, she has touching chemistry with Chris Hemsworth which also really drives this film forward on many great levels.
I am really a believer that Chris Hemsworth is on the verge of having an amazing career. While my exposure to him has been very minimal outside of Thor, he continues to demonstrate a powerful presence and great depth of talent in everything he does. Clearly, he handles the physicality here greatly. The Huntsman surely has his humor stemming from his attitude and Hemsworth’s rich charisma. Yet, there is a heartbreak to him stemming from being a widower, and Hemsworth really digs deep inside to evoke those potentially tear-jerking emotions. It’s a very dimensional character backed by a performance that quickly and easily endears himself to an audience. The only off thing comes from his accent, which I couldn’t place, but turns out it was supposed to be Scottish. In the least, he puts forth more effort into his accent than Sean Connery has with any other accent in his entire career.
Charlize Theron is perfectly cast as the evil Queen Ravenna. She plays it as someone on the frayed ends of manic obsession. Ravenna is insanely consumed with her outward beauty, but surely, inside, she is a horrible monster. Theron has more than proven her talent over the years, and this is an absolutely excellent performances. There is a tragic quality to this twisted character, and you see that soaked into every fiber of Theron’s performance. There’s complexity and depth to her that runs very deep. However, what sells it all the most is simply her eyes. The glaring, crazed, unflinching stare is downright scary. You can see just how far off the deep end she is between that and her explosive rants. Theron even tore a stomach muscle because she was screaming so intensely, and I can believe it.
And there are still dwarves in this tale. These roles are filled by great actors such as Bob Hoskins, Ian McShane, and Ray Winstone, among others. The same sort of techniques used for similar smaller statured characters in The Lord of the Rings films were used here, and done so with seamless results. Hoskins is essentially their leader, and has the most dialogue. However, while his line deliveries are quite good, I found it odd that he was practically stone-faced throughout. I don’t think he registered a single actual facial expression in his screentime. Regardless, the dwarves tend to add the needed levity to the heavier, dramatic story being told. They never make things silly, just a little fun and light-hearted at times in the latter half of the movie.
I would say that the only segment of the film that didn’t wholly appeal to me was the latter half of the Fairy Sanctuary. This is the land that has been untouched by Ravenna’s darkness, and it is flourishing with a lush landscape and fantastical wonders. However, there’s just a lot of peculiar CGI woodland creatures that simply weren’t to my liking. With so much gritty realism in the film, this just felt pushed too deeply into the vibrant, slightly cartoonish fantastical realm, but it’s not long before it shifts back into the dark, grittiness.
This does bring up the issue of the digital effects. Most are really good, especially in the Dark Forest with all the almost pitch black creatures that slither and crawl out of the darkness, but in the Fairy Sanctuary, it is very obvious CGI that feels like it came out of another film. That’s another reason why that sequence didn’t work too well for me. Also, the withering age make-up on Charlize Theron is especially good, but some of the more elaborate morphing effects shots on her have room for improvement. Generally, the digital effects are fairly good with some really good stuff, but there is some more prominently on display work that doesn’t come off all that well. Thankfully, this film has very practical stunt work, and the realistic locations like the castles were actually built for the film. The filmmakers didn’t rely on digital matte paintings.
This film, while taking a new approach to the material, still hits all the classic beats of the Snow White story, but uses them to propel this story into larger territory. The poison apple from Ravenna to Snow White gives Hemsworth his best scene pouring out his heart over the dead Snow White. When she returns from death, it inspires and motivates herself and everyone else to take up arms and charge into battle. Kristen Stewart delivers a strong, inspirational, rallying speech to these people The fire and passion she projects is great. It is the moment where the character comes into her own, and becomes a leader to take back the kingdom that was stolen from her father. Snow White and The Huntsman still has that fairy tale simplicity, but adds in significant depth to mature the content, which is what makes it work so well. Every character has their sense of realism and dimensionality, and they serve both the gritty realism and the fantastical elements of the movie.
This film’s exciting, entertaining, it has a good, solid story, fine substance, satisfying character arcs, and overall, just has a great look to it. Also, from the opening logos to the end credits, the score is just enveloping and moody. That comes as no surprise from James Newton Howard, one of the best film score composers around today. Directed Rupert Sanders simply does a very solid job with this material, and hones his actors into bringing this darker fantasy take to life. I would say this is a hell of a good feature film directorial debut, and I hope he continues to deliver this kind of tight, cohesive quality. I know a sequel has already been planned, and while there’s not much precedent for further Snow White adventures, I will be eagerly interested to see what story these filmmakers conceive for it. There’s a great set of characters here that were well developed and filled by strong, rich talents. So, there is potential there, but until then, I will be happy to revisit this adventure quite a few times. I highly recommend it!
Many attribute the birth of the slasher genre to John Carpenter’s Halloween. However, a small Canadian film from 1974 laid the groundwork for the genre and especially Carpenter’s seminal classic. Black Christmas is likely known to younger horror fans by way of the remake that I never saw. You do yourself a serious disservice if you have never seen the original because it is still a greatly effective piece of horror filmmaking with a collection of surprisingly notable talents involved. Who would have ever thought that the director of the beloved family film classic A Christmas Story would have once done a Christmas-themed slasher movie?
The college town of Bedford is receiving an unwelcome guest this Christmas. As the residents of sorority house Pi Kappa Sig prepare for the festive season, a demonic stranger begins to stalk the house. A series of grisly obscene phone calls start to plague the residents of the sorority and soon they will each meet their fate at the hands of the psychotic intruder. As the Police try to trace the phone calls, they discover that nothing is as it seems.
Watching this film you will see right from the start its influence. The killer, Billy, as he refers to himself, is hidden almost entirely throughout the film through the use of a point of view camera. Clearly, this trick would be re-used in both Halloween and Friday The 13th, but neither achieves it quite as well as Black Christmas. That’s because of what more is added to it in terms of the killer’s psychotic behavior. Director Bob Clark creates an amazing sense of unease with the point of view camera work. The wide angle lens coupled with the slightly unsteady camera movement reflects the psychosis of this killer. The completely deranged phone calls are still frighteningly disturbing. They got right under my skin from the start, and continue to escalate as the film progresses. The radically unhinged psyche of this deranged killer is manically on display throughout the film, and Clark wastes no time establishing the nerve-racking suspense and horror. The fact that we know there is a crazed killer hiding out in the attic, unknown to everyone in the film, immediately injects suspense and terror into nearly every scene in that house. I will admit, it’s been a very long time since I’ve watched this film, and damn is it still insanely creepy and effective.
Black Christmas was an especially low budget film, and so, it has a rough, grainy quality. However, it is photographed very solidly showing the talent involved, and even then, the rugged quality of the film stock adds to the dark, unsettling tone. The pacing might feel slow to a certain audience, but this is not a film that drags along. Every methodically paced moment is used to great suspenseful effect, and Bob Clark knows so immensely well how to elicit these spine tingling feelings. Each scene builds story, character, or towards the terror of the picture. Yet, the film still features a few fine moments of levity to give it a needed contrast on a rare occasion. It also has a collection of stunningly solid talents in front of the camera.
Olivia Hussey is a wonderful lead portraying Jess with a lot of compassion and vulnerability. Hussey has a sophistication and warmth to hear in addition to maturity and intelligence. This builds Jess into a relatable character to worry about on multiple levels, and she plays terrified exquisitely well. She also does feel like a woman coming into her own as Jess deals with her boyfriend Peter. He wants to have a baby with her, but she’s against the idea creating a troubling friction between them. You might think this is a frivolous subplot, but it directly ties into the mystery and paranoia about the film’s killer moving forward. Keir Dullea, most well known from 2001: A Space Odyssey, is quite superb in this very conflicted and emotionally aggressive and unstable role. He’s very intriguing to watch as the relationship between Peter and Jess is torn apart, and begins to become a perceived menacing threat. Dullea and Hussey work exceptionally well with one another laying out the drama between them smartly and poignantly.
And yes, this film has John Saxon. That automatically increases its coolness factor. I just love the authority and weight he brings with him in anything I see from him. As Lieutenant Fuller, he’s everything you’d expect – confident, level headed, and concise. He really echoes this performance in A Nightmare On Elm Street, but surely builds upon that. As Fuller, he’s rock solid, just the way I want my John Saxon, but still has a moment of two of levity that is very much welcomed.
Margot Kidder puts in a surprising performance. Sorority sister Barb is meant to be rather crass and heartless, and Kidder hits that right on the mark. Add in the constant smoking and drinking, and you’ve got a character that is not endearing. Yet, she makes a definite impression. The rest of the cast is not particularly notable, but everyone does a very solid job with their distinct characters. They make this a horror film with likable characters who you can easily fear for as lethal danger stalks them from the shadows.
Black Christmas definitely feels like a 1970’s horror film. Beyond the aforementioned dark, grainy look and the obvious fashion and hairstyles, this film has almost a similar style as The Exorcist. There’s very little score except in exceptionally key moments as Bob Clark uses the silent unease of the house to great effect. The phone calls are jarring enough without overcompensating with a score. The use of the Christmas music sets the tone wonderfully using the serene sound in an unexpectedly haunting way. Scenes like when our killer is stalking through the house while Christmas carolers sing outside is simply brilliant. Juxtaposing these angelic voices with a moment of suspense and violence is truly inspired, and is filmed gorgeously.
There are terribly creepy moments all throughout such as seeing just a shadow creeping into the background while Jess is on the phone with the police, or simply anytime the POV shot has our killer spying on these young ladies from upstairs. And the shot of the eye through the door jam has become iconic and chilling as it sets off the film’s final act. And the climax is brilliantly crafted with a great use of shadow, misdirection, and taut tension. Just when you believe all is laid to rest, this ending gives you one final ominous moment of terror. Wrapping it all up together, you see the brilliant touches that Clark and screenwriter Roy Moore put into this film. In later years, it likely would’ve been a film of high body count, gratuitous sex, and little character. However, in the same year that brought us The Texas Chain Saw Massacre, you get a film that is very well written that connects you with these characters, gives you something to care about with them, and then, set them against a very deranged and unseen killer. It is a film of great suspense and ratcheted up tension that will leave prone audiences choked up in their seats, and wanting to turn all the lights on in the house while checking every room and locking every door when its all over.
From Black Christmas, you can definitely see evocative elements for Halloween and When A Stranger Calls. This is absolutely one of the most influential slasher films without many people knowing it. Maybe the influence was a time or two removed, but this was the genesis of that genre in a clearly defined form. This is a classic that doesn’t get the recognition it so very much deserves. This was director Bob Clark’s final foray into the horror genre, and it’s odd to see his career veer into comedy in the 1980’s, then very silly and wretchedly received kid’s films in the final years of his life. Regardless, we will always have this amazingly effective horror and suspense film to scare us on a dark, quiet evening. As this film’s tagline says, “If this movie doesn’t make your skin crawl… It’s on too tight!”
For whatever reason, the Predator film franchise lied dormant after the release of Predator 2 in 1990. It wasn’t until 2004 that we got the highly anticipated Alien vs. Predator films. The first one I hated, and I still consider it the worst overall movie I’ve ever seen theatrically. The second film I did a rather positive review of as one of the last Forever Horror website reviews and one of the first Forever Cinematic reviews. However, the general consensus of both movies was decidedly negative, and thus, someone thought it was time to bring the Predator franchise back into its own. Such a person was producer Robert Rodriguez known best for making big scale action on tight budgets. Thus, twenty years after Predator 2, we are given another proper sequel. The question is, was it good enough to breathe life into a damaged franchise?
Awakening in freefall, a collection of strangers find themselves dropped into an unfamiliar land with danger awaiting them. Royce (Adrien Brody) is a mercenary who reluctantly leads this group of elite warriors in a mysterious mission on an alien planet. Except for a disgraced physician, they are all cold-blooded killers – mercenaries, mobsters, convicts and death squad members – human “predators.” But when they begin to be systematically hunted and eliminated by a new Predator breed, it becomes clear that suddenly, they are the prey!
I will admit that I wasn’t sold on this film pre-release. I thought the premise of Predators abducting humans from Earth and dropping them on another planet to be hunted was against the idea of what a big game hunter would do. You don’t take a lion out of his natural environment and throw him in your backyard to hunt him. However, a positive reaction from a strongly opinionated friend of mine motivated me to see it theatrically. Indeed, I really liked Predators. I would still rank it third in my list of favorites, but all three films are ranked very tightly together. They are all extremely well made with their own unique ideas, visual styles, and approaches which all work superbly.
Much like with Predator 2, you must find it peculiar to cast Adrien Brody as the lead in an action movie. This film will entirely change your perspective on that. He delivers incredibly in this role. Brody can play tough bad ass with the best of them. He brings the charisma of a leader, but clearly shows Royce is a man of sketchy origins and doesn’t mind being a loner. Royce is also very smart and perceptive. He would be fine going at it solo, but he sees that even his own survival holds better odds sticking with them than without. You also see that he’s not a cold-blooded man, but he can be a savage, hardened killer when he needs to be. The film’s climax sells every awesome thing about Royce, and solidifies that I want to see more of him.
Brody has very touching and honest chemistry with Alice Braga, portraying the Israeli sniper Isabelle. They surely butt heads in certain circumstances, but they connect on an emotional level that does resonate. They build a mutual trust and respect as the film progresses. The rest of these trained killers, including the Rodriguez obligatory Danny Trejo, certainly don’t measure up to Dutch’s elite team from the first film, but they are a mismatched group that are weary to trust one another. My favorite, who has extremely little dialogue, is the Yakuza member Hanzo. He creates a very intriguing mystique around him through some interesting actions, and demonstrates a unique sense of honor. Topher Grace portrays the aforementioned disgraced physician Edwin, and surely, the film didn’t require the presence of this character. He just adds an extra wild card element late in the game which may or may not be easy to spot early on. I think I had this reveal spoiled for me before I initially saw the movie. The concept behind Edwin is a clever one, but probably not executed nearly as smartly as it could have been.
Laurence Fishburne makes a wickedly cool appearance as Noland, a soldier whose been trapped and has survived this planet for several years. The result of that is hat Noland’s gone quite crazy in a delusional, psychotic type of way. He’s more than skillfully dangerous, he’s psychologically dangerous. Fishburne is entertaining and awesome in this fairly brief, very off-kilter role. More than anything, this character is designed to sell the futility of an escape from the planet, and the idea of two rival tribes of Predators hunting out there, making it all the more difficult to survive.
The film’s first act of sorts might seem a little drawn out to some. I believe I felt that way upon first viewing. The characters are exploring this world, trying to understand where they are, and even the first action sequence is not until more than twenty-five minutes in. Strange alien animals are throw at these characters as a test first, and so, there is a prolonged wait before the first Predator is actually revealed. However, once that occurs, the film settles into a very familiar feel and tone. Rodriguez and director Nimrod Antal studied the first Predator in great detail to nail the vibe perfectly, and I think they got it just about dead-on while still adding to it. Antal focuses on building the atmosphere and tension so that there is a pay-off with the action.
The overall feel is great with some rich color schemes which still evoke a dark, ominous feeling. The cinematography gives this film scale and scope while still maintaining the isolated feeling. The night scenes look great with a more subdued color palette, but with an excellent use of light and shadow for a beautiful moody vibe. This really is a remarkably well shot movie with an abundance of artistic merit and dramatic visual weight.
The way the action plays out is very intelligent focusing on tension and imminent danger. There’s plenty of intense gunplay, but it’s definitely used in conjunction with smart tactics and strategies by these characters. The ominous feeling of being stalked and hunted is executed with great skill. It’s a whole package of the visual style, stellar editing, and a music score that stays true to Alan Silvestri’s work. This film definitely takes the filmmaking style and techniques from John McTiernan’s movie, and gives it a little more polish. Nimrod Antal definitely puts his own stamp on the film, but was able to make this feel cohesive with the rest of the main Predator franchise. The action scenes definitely reflect this as there’s really none of that modern shaky cam mayhem. It’s well plotted, shot, and cut together for an extremely coherent and effective experience. Beyond anything else, this film enhances the ferocity and frightening quality of the Predators. They feel even more merciless and relentless than before, if you could even imagine such a thing.
I can’t help but love two fight scenes in Predators. The first has Hanzo squaring off with his katana against the Predator. This is beautifully setup, and is shot so gorgeously with a lot of wide angles and a wonderful overhead shot showing the wind blowing through the high grass. It’s a graceful work of art. What trumps it on the bad assery scale is when the New Predator battles the Classic Predator, which is portrayed by Derek Mears. While I didn’t care for the remake of Friday The 13th, Mears was an awesome Jason Voorhees, and he makes for an awesome Predator. Two Predators ripping and tearing at one another is pure gold, and the scene doesn’t disappoint at all. This is savage, gory, and everything you’d hope it to be.
And indeed, the creature effects are excellent. Oddly, neither Stan Winston Studios or Amalgamated Dynamics, Inc. – who were responsible for all of the previous Predator effects – returned to work on this film. Instead, the impeccable talents of KNB EFX were tapped, and they delivered on an amazing level. There are some familiar designs with the Classic Predator, but the newer, larger Predators are even more impressive. They do feel like a different breed, but are given a much better approach than what we saw in Alien vs. Predator. And of course, the gore returns in abundance, and no one better to also fill that task than KNB EFX. They’ve been the standard bearers for physical effects, especially those in the horror genre, for the last twenty years, and that quality is vastly on display here.
Predators does a great job of taking cues from the first movie, and adding its own flavor and ideas to them. The climax is a great example as Royce uses some of the same tactics as Dutch with the mud, but uses it in a different context. Instead of giving the Predator nothing to lock on to, he overloads the senses, and takes him on full boar while retreading some of Arnold’s quotable dialogue. It all really works greatly while delivering the graphic violence quota that fans crave from this franchise. The film ends on an excellent note that left me wanting to see where yet another sequel could go.
And thus, I do believe that Predators was indeed good enough to potentially breathe life back into this franchise. Everyone involved steered it back in the right direction where exciting new stories could be told, and even on its own, this is a very solid and satisfying science fiction action movie. However, with the same budget as Aliens vs. Predator: Requiem, it pulled in just about the same amount at the box office, but the reviews and reactions to this film were substantially higher. Predators set a good foundation for the franchise to build upon, but three years later, no news of a sequel has surfaced from Twentieth Century Fox. That is quite unfortunate, but I think there is a great deal of potential to tap with this series which is evident here. Nimrod Antal and Robert Rodriguez did an excellent job bringing everything back to its roots, and while they chose not to acknowledge Predator 2, they did nothing to contradict it either. Again, I’d love to see more of Adrien Brody as Royce. He’s flat out awesome. While I’m sure some will view the film as leaning a little too heavily on the first movie, I really believe that what it takes from that movie was largely to its benefit, and the filmmakers still injected their own ideas and creativity to allow the franchise to move forward. They expanded the universe and possibilities in a lot of very good and intriguing ways. I do really like Predators, and I give it a strong recommendation. If this film has slipped under your radar for the last three years, definitely give it your attention. This is a franchise that deserves to live and thrive again under the watch of some really sharp and talented creative individuals.
There seems to be an idea out there somewhere, I don’t know where it came from, that Predator 2 is a markedly inferior sequel. This is wholly unjustified. Surely, everyone has their own opinions on how this measures up to the original classic, but to me, this is a great follow-up which expands on the ideas and premise in exciting new ways. Predator 2 contains numerous admirable qualities, and is helmed by a director with a great eye for sleek visuals. Anything it doesn’t recreate from the original it replaces with a higher energy and larger scale action.
In the urban jungles of Los Angeles, Detective Lieutenant Mike Harrigan’s (Danny Glover) police force is at war with drug lords and gangs. But just as Harrigan admits he’s losing the fight, one by one, gang lords are killed by a mysterious, fierce adversary with almost supernatural powers – the Predator. Before long, the vicious creature begins to hunt the hunters – Harrigan’s men. Now, Harrigan doesn’t just want to bring the creature in – he wants to bring it down. However, he is hindered along the way by government Special Agent Peter Keyes (Gary Busey) who has a shady motive to his secretive investigation who knows more about this ultimate hunter than Harrigan even suspects.
Surely, you would think going from Arnold Schwarzenegger to Danny Glover would be a strange swerve. I always imagined that if this was made a few years later that it would be Wesley Snipes as Mike Harrigan, but I’ll be damned if Glover doesn’t deliver here. The character is designed as a seasoned cop who’s been fighting this unrelenting war on the Los Angeles streets for a long time. He’s dogged, inventive, and is a cop who plays by his own rules, taking a backseat to no one. Glover portrays this with the rugged determination of a consummate street cop. He doesn’t like the politics that get rammed down his throat, and he slickly, yet passionately sticks it back in their faces. However, he is wholly loyal to his team, and treats them with respect as comrades in arms because they are fighting a war. Glover also demonstrates the emotional depth of Harrigan when his closest friend, Danny Archuleta portrayed by Rubén Blades, is gruesomely killed by the Predator. The flashes of enraged vengeance, and the heartfelt moment at the gravesite show Glover had the talent and skill for this role, which also demanded a lot from him physically. He greatly delivers on that end, too. I think making him a distinctly different protagonist than Dutch was the right way to go.
Many will indeed enjoy Bill Paxton’s performance as the jokey Jerry Lambert. He’s the newest member of Harrigan’s team known as “The Lone Ranger.” He’s a guy that’s gotten a lot of ego stroking and glory, but he quickly becomes an enthusiastic team player. This is Paxton at his full charismatic and comedic richness. He adds the levity to break up the grisly heaviness of the film. The rest of the supporting cast is filled out by Rubén Blades and Maria Conchita Alonso as the seasoned members of Harrigan’s team. Both bring their top level enthusiasm and talent adding to the cast’s vibrancy. Then, we get the late, great original king of trash television Morton Downey, Jr. as the appropriately cast tabloid sleaze-miester Tony Pope. He’s puts in a fantastically entertaining performance.
Now, Arnold Schwarzenegger was approached to return for this film, but he turned it down to do Terminator 2. Thus, his role was rewritten as Peter Keyes and re-cast with Gary Busey. I think this was an equally beneficial turn of events. The story works supremely better not knowing what Keyes’ agenda is, and allowing for him to be an adversary and foil for Harrigan. Busey does an excellent job bringing forth his signature energy and leaning Keyes towards the smarmy, shady side. He’s smart and cunning, but still a self-serving government agent who cares more about his findings for the military than Harrigan’s war on violent gang crime.
Also, I love the Jamaican gang here. They are totally savage and chilling with King Willie being fantastically awesome. He brings the mysticism into the fold with a wickedly cool scene opposite Harrigan, but also, a greatly visualized confrontation with the Predator. Calvin Lockhart is so awesome in this role. The theatricality, mystique, and powerful presence he brings entirely does justice to his Royal Shakespeare Company roots. He delivers my favorite performance of the movie. Knowing that director Stephen Hopkins was born in Jamaica, it doesn’t surprise me how rich and memorable these characters are here.
The visual effects are distinctly improved from the first movie. The Predator vision is the most obvious example as the infrared and other modes have more distinct color separation and possibly are of a higher resolution. The optical effects of the Predator’s cloak are used more dynamically and are integrated into more complex environments. We see it in more motion and detail. My favorite effects shots in the whole movie are when the Predator squares off with King Willie. First off, the tracking shot of the cloaked feet walking through the water is brilliant work, and then, the reveal of the Predator in the rippling puddle is awesome. Seeing how these are done in the featurettes on the Special Edition DVD are astounding and what I’ve always loved about movie magic. These striking, innovative images are largely due to do director Stephen Hopkins’ great visual style.
Teamed with regular director of photography Peter Levy, Hopkins gives Predator 2 its own unique visual sleekness. It has a great use of dynamic, intriguing angles. The action is captured remarkably well, and we even get a few scenes of atmospheric, moody lighting. Two of the best shot scenes are, first, inside the slaughterhouse bathed in blue light where the Predators assaults Keyes’ team, and then, the entire climax inside the Predator spacecraft. Counterbalancing that blue with a largely orange color scheme there is another sign of Hopkins’ great visual sensibilities. Beyond just the color schemes, these sequences have great use of sweeping cranes and steadicams shots enhancing the production and artistic value of the film.
This new Predator is recognizable, but has a bit different look and feel to him. He feels more brazen. He’s taking bigger chances, and taking on greater numbers. Hunting in a major metropolitan area means he’s attracting more attention to his work. So, he’s not as calculated, in general, but when he finds a prey he really likes, such as Harrigan, he takes his time to study him. He also taunts Harrigan as if he’s issuing an honorable challenge. I very much like that the filmmakers did this to show, even subtly, that this is another unique individual with his own personality, but with the same objective. It’s also great seeing the arsenal expand with the telescoping spear, the projectile net, and the flying disc. It gives the impression of a larger safari at hand where he’s equipped for bigger game. Kevin Peter Hall, yet again, does an awesome, exceptional job overall. He defined this role so perfectly, and it is a terrible shame that his life ended only a few years later. However, what he did laid the template for others to succeed him in this franchise.
The strengths of Predator 2 is that it is much more energetic and diversely entertaining than the original. The pace is faster as there is more going on here between the gang wars, Peter Keyes’ shady dealings, and Harrigan’s own dogged investigation. The action sequences are bigger and more dynamic allowing for a higher body count, but not as much gore. The film originally gained an NC-17 rating, but likely, Fox panicked and did more aggressive editing to secure an R rating. There is still blood abound and plenty of violence, but far less cadavers begin ripped apart. What we do see in that regard is obscured or done in heavy shadow. So, it ups the energy and action, but reduces the graphic content a little.
I would agree that these characters are not quite as captivating as those in the original. Neither film delves deeply into their characters, but it’s just the nature of battle hardened soldiers in a ominous jungle versus tough, seasoned cops on the streets of Los Angeles. One if inherently more intriguing than the other. There’s a little more levity in this film akin to a wisecracking John McClane in areas as Harrigan’s fear manifests in a few humorous quips. Since the film focuses more on an energetic pace with a more divided focus, there’s little mystique about the Predator himself. Again, he’s much more blunt and brazen, but you do lose that intensely dramatic build up to the third act. The Peter Keyes subplot sort of veers the emotional drive of Harrigan off-track, and the climax just becomes about having to stop this alien one way or another. There’s no more survival aspect, just hero versus villain. There is some peril throughout the third act, but none of it rivals the dire lethality and immediacy of the first film.
Still, the little teases we get at the end with both the Alien skull in the trophy room, the reveal of the half dozen other Predators onboard the spacecraft, and the flintlock pistol with the engraving of the year 1715 on it lay big seeds for a follow-up. However one might have felt about this movie, it surely left you intrigued to see how the next film could expand on these concepts further, but a proper third movie would not see fruition for another twenty years.
Predator 2 may not hit all the great qualities of the film first, but has entertaining trade-offs making it a more lively, faster paced action film. It again has a solid cast filling their roles with vibrancy. The violence and intense action are enhanced by stylish, sleek visuals and excellent editing. The optical visual effects are stunningly impressive pushing the ambition further, and with more time to plan, Stan Winston Studios developed the Predator further with great new weaponry and a fresh look. Alan Silvestri also returns adding some new flavors to his original themes, and adapting some of the feel to this film’s style and content. I would like to pay tribute to Kevin Peter Hall, Calvin Lockhart, and Stan Winston who have all passed on since this film’s release. All three did stunning work here that deserves notable credit and praise. This franchise, outside of the AVP films, has maintained a fairly steady stream of quality. The screenwriters of the first movie returned to expand on their own concepts, and it was executed very well by a competent and capable director. Predator 2 s definitely worth your while. It’s not as slam bang amazing as the first, but it’s a largely worthy sequel.
I think it goes without me saying that Predator is one of the best action films, ever. More importantly, this is my favorite Schwarzenegger movie. Smartly directed by John McTiernan, who would helm Die Hard the following year, this is an excellently plotted and cleverly devised concept utilizing a stellar cast to great effect. With an alien hunter designed by the masterful Stan Winston, and backed by some of the best visual effects of the time, Predator was an instant classic that truly solidified Schwarzenegger’s career as a blockbuster action star.
Recruited by the CIA to rescue hostages held by guerrilla fighters in a Central American country, Major Dutch (Arnold Schwarzenegger) and his elite team encounter an enemy unimaginably more deadly than any on Earth – because the Predator is not of this Earth.
The film starts out wasting no time by keeping the exposition succinct, and allowing for this team to progress to their objective quickly while still relating these characters to us. No one’s explored in depth, but you get a clear, personality rich snapshot of each man. Blain’s a hard ass, Hawkins is kind of a joker, Billy’s the stoic warrior, and so on. The entire first act sets up who these guys are, and what they are capable of. We see this is an expertly efficient team able to wipe out a legion of about thirty Central American soldiers within a few minutes. They are tactically sound striking hard and fast using the element of surprise. When Dutch’s team is referred to as “the best” early on in the briefing scene, we see that is not at all an exaggerated statement. They prove they are the elite, but even then, you can see these guys are spooked by this jungle. “Makes Cambodia look like Kansas,” sets the tone for how unnerved they are by its terrain and ominous feeling. Encountering the previous team’s skinned corpses surely rattles them a bit, but they never lose their wits. In fact, it practically heightens them for the more lethal danger that is stalking them.
Schwarzenegger shines here as Dutch. In addition to everyone else, this is possibly his most quotable movie. Arnold’s got that charisma going here with energy and authority. I love that Dutch is a soldier with a code of ethics for his men. He states straight out that his men are not assassins, merely an elite rescue team, and we see that conviction arise when he learns of Dillion’s deception. Schwarzenegger shows Dutch to be an honorable and sharply intelligent soldier commanding his men with precision. He proves himself to be a cunning warrior gradually picking up on the Predator’s methods, and adapting to them in order to survive. He’s perceptive and level headed, which is undoubtedly the sign of a great soldier. I think this definitely one of Schwarzenegger’s finest performances demonstrating the ability to realize a very authentic, dimensional, and smart character. Not to mention, I don’t think he’s looked so awesome on-screen without delving into a cheesy or campy tone.
Bill Duke especially does a touchingly effective job. Early on, he is a hardened soldier, but after Blain is lost, you see the grief and turmoil wash over him. Carl Weathers is great here as well portraying a man who was once a trusted friend of Dutch’s that has been corrupted by the “everyone’s expendable” mentality of a pencil pushing desk jockey. He’s lost sight of the qualities of a soldier and the value of life. However, we see him turning the corner as he rushes into his final battle, and I really like seeing that small character arc. Overall, this is a rock solid cast flexing both their acting muscles and their real ones in pure 80’s action movie bad assery. They all exhibit distinct personality that are vibrant, memorable, and straight up killer.
What it is that we lose with CGI monsters as opposed to a real life performer is exquisitely evident here. Kevin Peter Hall inhabited that beautifully textured and crafted Stan Winston suit, and created a character to live and breathe through it. Compare it to the personality deprived CGI creatures from Cowboys & Aliens. They were, as I said in that review, “just creatures designed to fill up the plot, and serve as a physical enemy to combat.” They had no distinct characteristics that made them any better than the Imperial Stormtroopers in Star Wars. The Predator has nuanced qualities that reflect an intelligence and cunning behavior. He’s a unique individual amongst a unique race. How he moves, reacts, and assesses a situation bring a subtle and intriguing depth created by Kevin Peter Hall’s amazing performance. It has all the traits of a talented performer crafting a character, and I am so tremendously glad that this franchise has never abandoned the performer in the suit approach.
As I’ve said in many previous reviews, the work of Stan Winston is legendary, and stands the test of time. He clearly revolutionized the creature effects industry with his artistic craftsmanship and captivating imagination. The Predator is an astonishing creation in all facets. The original creature the filmmakers put together for this film was ridiculous and was quickly jettisoned after only a few days of filming. Winston was called in, and with a little input about mandibles from James Cameron, this iconic, ferocious, and frightening creature was born. Beyond that, this is a very graphic and brutal film showing you skinned human bodies, spinal cords ripped from carcasses, and a disemboweled Jesse Ventura. Everything feels so grisly and textured for a greatly realistic feeling. This is some of the best gore effects I’ve ever seen.
And these visual effects essentially still hold up to this day. Certainly, the sequels have shown how digital effects can be used to improve and enhance them, but this is impressive work that hardly feels dated. This is mainly between the Predator’s cloaking technology where he appears as transparent ripples, and the laser sighting and discharges from his plasma cannon. There are some especially impressive shots featuring the cloak with more dynamic camera angles and motion where you get the real three dimensional quality of it. You see it’s not some animated effect, but a real optical composite of a real performer. These are all excellent visual effects.
This all blends perfectly with the gritty, sometimes smoky atmosphere of the film’s look. I think John McTiernan’s great eye for composition, interesting angles, and well constructed action shines through. In this jungle, we get the feel of the dangerous terrain and mysterious qualities of the dense foliage. The grit grounds this science fiction premise in a visceral reality where consequences are severely violent and lethal. Great camera movements and stylish, dramatic imagery highlight the artist merit of the cinematography, and it is all expertly edited together for a tight film which propels itself forward from the get go. .
Alan Silvestri put together one amazing score for Predator that has endured for the whole franchise. He incredibly blends a militaristic march and drive with a primal tribal, jungle beat. He builds a sense of ominous foreboding reflecting the reality that there is something out there stalking these men. For the majority of the climax, there is next to no dialogue of any sort. It is carried along by the action, the visuals, and the exhilarating score which enhances all of the tension, apprehension, and danger that is unfolding. It is perfect, superb work.
The action hits you at a regular clip, and the first main sequence is majorly explosive. It sets the bar high for the remaining runtime, and McTiernan is able to meet that challenge. It’s the mix of tension, the unknown, and the sheer scale of this rapid fire, big gun toting, grenade launching explosiveness that makes that possible. Yet, McTiernan knows how to build it up, and work the subtle strings of an audience’s anticipation. The danger escalates, and the peril becomes more immediate as the Predator moves in closer and closer to its prey. He starts out attacking from a distance, but gradually engages his ultimate trophy – Dutch – in close combat because the Predator views him as a highly worthy adversary
And that entire third act where it’s just down to Dutch and the Predator is a masterpiece. The strategy and makeshift tactics that Dutch puts together play out brilliantly. He uses the Predator’s own method of invisibility and striking from a distance to his advantage. However, it all elevates when the two finally meet face-to-face in a straight physical confrontation. Everyone knows that Arnold is a BIG guy, but next to this hulking seven foot tall alien beast, he looks small and nearly ineffectual. It’s only by his smarts and wits is he able to survive.
Predator is filled with chest pounding action and excitement wrapped in a smart concept and script. Backed up by an excellent action director, and a vibrant, colorful cast lead by Arnold Schwarzenegger, it was a surefire formula for success. This is why I love Predator. It never lags anywhere as the pacing is tight and the rhythm is consistent throughout right from the start. It’s really a near brilliant structure which constantly keeps you invested and intrigued by what’s developing here. You also can’t not quote the living hell out of this movie. It’s sharp, witty, but never betraying the serious tone of danger and lethality it sets from the beginning. It’s an absolute success that holds up incredibly well over time. I entirely intend to give you reviews on both Predator 2 and Predators sooner than later. Until then, revisit this classic.
The late 1980’s was the debut of a new action star – Steven Seagal. By the dawn of the 90’s, he had already done Above the Law and Hard to Kill, but he was still finding his footing. However, Marked For Death finds him successfully planting his feet and launching forward with a gritty, hard edged action blockbuster. Helmed by Dwight H. Little, who I’ve found to be a very solid director starting with Halloween 4, this delivers qualities that I find severely lacking in modern action cinema. Here, Dwight Little demonstrates his merit alongside Seagal in excellent fashion. This is my best friend’s favorite Steven Seagal film. So, I hope I do it justice for him.
Burned-out after losing his partner on the job, Drug Enforcement Agent John Hatcher (Steven Seagal) hopes to find some calm and serenity by returning to his hometown. But things at home have changed and not for the better. Jamaican drug lords, led by a black-magic high priest named Screwface (Basil Wallace), have completely infiltrated the small town. But this gang soon learns that they’ve met their match in John Hatcher, and all the mystical voodoo in the world won’t be enough to stop Hatcher’s wrath!
I think this would be a great double feature with Predator 2 due to the Jamaican drug gangs in both. The spooky ritualistic and mystical atmosphere around them is very compelling. Screwface, a hell of a weird name if I’ve ever heard one, is a scary, psychotic bad guy. He’s right off the deep end, and like something from your darkest, twisted nightmare. His piercing eyes are haunting, and the fact that he almost never blinks when that fiery intensity is burning inside him enhances that quality. He masterfully builds this aura of mystique around him with a very effective and authentic Jamaican accent. This is a wickedly awesome villain that adds so much horrific danger to this film.
I will admit that Seagal has never been a very dynamic actor, but he carries the dramatic weight and emotional drive of this film well. Along with Dwight Little’s direction, you see the subtle emotion surface when he sits at the hospital bedside of Hatcher’s niece portrayed by Danielle Harris. Seagal can bring some charm and light charisma to the screen in the right moments. Then, when he gets into the heat of the action you see that ass kicking wisecracking bad ass that made Seagal the action star that he was. He’s entirely confident and sharp in this outing showing that this is his signature style, and it couldn’t have been showcased in a better, smarter action picture.
Teaming him up with Keith David just makes everything more bad ass. He brings a wealth of charisma and weight to Max, Hatcher’s old army friend. He’s a tough guy who is ready to take back his community because he cares for the children he teaches every day. So, there’s the light-hearted friend, but also, the skilled soldier ready to unleash a maelstrom on these gangs that are decaying his neighborhood. David’s wide range of talent from the tough bad ass to the heartfelt humanity makes Max a strong complement to Seagal’s more cool, calm, reserved, yet dead-set, bone breaking violent style.
If you want to see Seagal in his most violent, hard edged prime, this is it. These Jamaicans are ruthlessly and graphically violent, and so, John Hatcher has to be a man who is equally as severe. The action highlights are many, but I really enjoy the shootout and fight in the high end department store. It starts as a car chase that crashes into an awesome assault with guns and martial arts violence. And this film keeps upping the action, peril, and explosive caliber. As Screwface becomes more dangerous, so does Hatcher. This is sharp, sleek action with tons of punch that will leave thoroughly satisfied and then some. It’s all evenly paced allowing the story’s momentum to build up tightly while delivering something fresh, dynamic, and exciting at a regular interval. It’s really damn good stuff.
I also find it admirable that this film makes a point to show that they’re not making a stereotype out of Jamaicans. There’s a Jamaican police assistant who is an honest guy that aids Hatcher later on. The film even takes us into Jamaica where we see the people in their vibrancy and hardships. While it was not necessary for the filmmakers to do this, I find it the mark of a well developed and fairly balanced crafting of ideas. If they are going to delve so much into the culture for these abhorrent criminals and killers, it adds more depth and richness to show it in context to the reality of the Jamaican people. The score by the incredible James Newton Howard blends those Jamaican sounds and beat into the film appropriately. His music highlights and drives a fair amount of the action, and brings the flavor of the narrative to just as much life as the visuals.
It’s oddly appropriate that the director of photography on Marked For Death also shot the last film I reviewed, Cobra. Here, Ric Waite gets the chance to work with the wider scope format, and he does a remarkable, rock solid job. He crafts a great atmosphere when Screwface is in his element through smoke, candles, and just excellent moody lighting. The action is perfectly framed with some occasionally intriguing angles, and all around, it’s a greatly lit and photographed film.
And this film has an amazing twist at the end with Screwface’s perceived magic. Not at all would I spoil this for anyone because it’s stunning moment of awe when it happens. Just when you think Hatcher has all things vanquished, it turns around on everyone, and results in another fantastically executed action sequence. I mean, who doesn’t love a good swordfight? It’s one bad ass ending the trumps even what came ten minutes before, and solidifies the hard hitting, take-no-prisoners action intensity of this picture.
Pack all of this in tightly to a 90 minute runtime, and you’ve got an action film that strikes out with killer excitement. This is undoubtedly one of Seagal’s absolute best films, if not the best. He pulls no punches, takes no prisoners, and delivers a performance that adds some sly wit in between the emotional fire underneath and the up front bone-cracking bad assery. Adding further to that bad ass quota, the opening sequence features a small role by Machete himself Danny Trejo. Backed by a director who I’ve always thought deserved a more high profile career because he is that damn good, Marked For Death delivers it all. Today, you got a lot of ridiculously over-the-top action films that devolve into cheesy and even campy indulgences. In this film, you get a lean, hard hitting movie that never softens the blow with those silly distractions. They can have their place in the genre, but we do not get action films like this anymore. Not this well made, and not going straight on for the throat leaving no blood un-spilled. Just go watch it, now!
If you love Stallone’s bonafide action films, then Cobra is absolutely one of his signature outings. It also has an interesting origin. It originally started out when Stallone was cast as the lead in Beverly Hills Cop, but instead of the action comedy we got with Eddie Murphy, Sly did rewrites to essentially change Axel Foley to Marion Cobretti. When he and Paramount couldn’t agree on this, they parted ways, and Cobra was born. This is also an adaptation of the novel Fair Game by Paula Gosling, which was the basis for a William Baldwin film in 1995 of the same name. I’ve never seen that film, but this one, it is a really damn good one.
Lt. Marion Cobretti (Sylvester Stallone) is a one-man assault force whose laser-mount submachine gun and pearl handled Colt 9mm spit pure crime-stopping venom. Cobretti finds himself pitted against a merciless serial killer called the Night Slasher (Brian Thompson). The trail leads to not one murderer but to an army of psychos bent on slashing their way to a “New Order”- and killing the inadvertent witness Ingrid (Brigitte Nielsen) to their latest blood spree. Fortunately, Cobra is her protector intent on bringing down these brutal maniacs.
Very notably, Cobra was helmed by director George P. Cosmatos who also did Rambo: First Blood, Part II and the absolutely amazing Tombstone. Under his skills, this is an excellent action movie! Primarily, the quality of the cinematography and editing is amazingly superb. I see a lot of good quality films of this sort on the filmographies of the editors and cinematographer that prove to me that this was not a one-off shining moment. This film does have a gritty style with a strong sense of mood and atmosphere for the urban environment. I took special note of just how well visualized this film was, which would have turned out very generic in much lesser hands. With Cosmatos, Cobra has real bite and punch. He also executes the high tension and suspense sequences with remarkable ability. The parking garage scene where the Night Slasher is stalking Ingrid is a gorgeous example of this.
The Cobretti character is surprisingly understated in most cases. Sure, when he’s in the heat of action, he’s bad ass and intense, but outside of that, Stallone plays it cool. He’s calm and collected handling urgent scenarios with confidence and sharp action. Stallone also brings his usual heart and charm, adding a little charisma and levity to Cobra, but overall, he’s a hard edged cop that’s ready to kick ass at a moment’s notice. The entire look of Cobra with the five o’clock shadow, black overcoat, mirror aviator glasses, and the wicked cool 9mm just certifies the character as awesome. Its not a character that jumps off the screen, but with that great look and a couple of cool one-liners, Marion Cobretti drives forward an entertaining film.
Brigitte Nielsen might be regarded very poorly today, but early in her career, she was particularly good. Her performance as Ingrid is soft and gentle in the most part, but she also handles the terrified moments in the film exceptionally well. Not surprisingly, she and Stallone have real good chemistry. They would later marry and divorce within a few years. Here, you can see their real life affectionate for one another shine through on the screen making for a heartfelt connection that adds more depth to both characters.
The use of Brian Thompson as the Night Slasher, our main villain, is just right. I honestly have never felt he was a particularly good actor outside of his powerful physical presence. However, the script and Cosmatos wisely utilize his imposing figure and psychotic killer look instead. He has extremely little dialogue until the climax where he monologs his creed about his New Order, and he does an exceptional job with this dialogue letting his deep voice carry its weight.
And I love Andrew Robinson in everything I’ve seen him in. He beautifully plays the smarmy Detective Monte who likes to throw his weight around, and dig his ego into Cobretti like a thorn in your side. You can’t wait to see this guy get what’s coming to him by the end.
By no doubt, there is a lot of excellent action here. Stallone gets plenty of chances to get physical with some hard edged fight scenes. Then, there’s an adrenalin pumping car chase with some great car stunts and rapid gunfire. Add in some tense, scary moments of Ingrid fighting for her life from the Night Slasher, and you’ve got a very intense, exciting action movie from a director who just knew how to film it with masterful vision. The editing on these action sequences is so perfectly tight. This is especially exemplified in the amazingly dynamic shootout and chase sequences that kick start the climax. The rhythm, pacing, and impressive choice of angles are just excellence on display. Cosmatos was a brilliant action sequence visionary, and everything in that climax is bad ass and awesome. It starts out hard and fast, and then, gets tough and brutal inside the industrial factory. The final confrontation between Cobra and the Night Slasher is really damn good. This is a great, tense, climactic moment that Stallone and Thompson play dead-on-the-mark in this fiery, industrial setting aided by the excellent cinematography and Cosmatos’ razor sharp direction. It’s wicked cool.
Further showcasing that this is an 80’s movie is the rock soundtrack. It starts with a sweet montage sequence fueled by “Angel of the City” by Robert Tepper, who also contributed “No Easy Way Out” for Rocky IV. We then get a couple of other tracks that are catchy, upbeat, and energizing to the vibe of the movie. This helps keep the film lively and little more memorable. The actual score by Sylvester Levay here serves its purpose right fine, but doesn’t standout as anything exceptional.
Cobra is a fun, entertaining, exciting film packed with action. It has a moody, serious tone with the door comfortably open for levity, but it never gets especially cheesy. This is a really good action movie that will satisfy even today. The standard fare script by Stallone is entirely elevated by George Cosmatos’ stylish directing talents. Cobretti himself is not all that fascinating as it’s the attitude and look that sets him apart including the cobra emblem Colt 9mm and the custom 1950 Mercury. It’s not a character that puts a challenge on Stallone, but he likely enjoyed the experience. I certainly would have enjoyed seeing a sequel, but this was also a time where Sylvester Stallone’s ego started swelling a lot. So, I can imagine there could have been some behind the scenes conflicts. Regardless, check out Cobra! It’s a solid piece of action cinema!