Friday, August 17, 2007
The Last Legion follows in the footsteps of Antoine Fuqua’s King Arthur in that it gives us Roman origins for the Arthurian stories, and sure there are historians who believe that Arthur may have been a Roman soldier, and who knows they might be right, but I for one would rather see the end of such movies that expand on this idea as these two attempts have seemed clunky, forced, and lacking in…what’s the word…oh yes, MAGIC!
Today's film is directed by Doug Lefler who is most notably a storyboard artist but has directed episodes of Xena and Hercules as well as the straight to video sequel to Dragonheart, and truly this movie could easily have been just an extra long episode of Xena as the Warrior Princess was constantly running into historical figures like Caesar, but the script provided for this film by Jez and Tom Butterworth wouldn’t even have made a particularly good episode. The movie does have its Xena equivalent character with the Eastern warrior woman Mira (a very hot Aishwarya Rai), and her fight scenes are one of the few good elements of this film, but not enough to save a film that is loaded with dialogue so cheesy that it wouldn’t be out of place in a Spanish sword and sandal flick. The cast is overall not that impressive with only a couple real “marquee” names in the credits, Colin Firth who plays the heroic General Marcus Aurelius (for those of you that have dying to see Mister Darcy wielding a Roman sword and spouting clichéd speeches, well this film is for you), and Sir Ben Kingsley (I really wonder how many bad films you have to do before they revoke your knighthood) who plays Ambrosinus, the young Caesar’s teacher, and not to spoil anything but….psst he’s actually Merlin.
The film starts with the usual ponderous narration by Kingsley about a sword of great power that was forged for the conqueror Julius Caesar and passed down the line of his descendants until it reached that of Emperor Tiberius, and on his death it was hidden away safe from evil men. For generations it lay hidden in a secret place and marked by the symbol of the pentangle and sword, under the Very gaze of Caesar, while many searchers, such as Ambrosinus, sought its mysterious location. Later we find out the sword was forged from a fallen star and given to Julius Caesar, and I must say it’s a shame my history teachers left out that cool factoid.
The story proper starts off with the coronation of the last descendant of Caesar, and to our dismay it turns out to be Romulus Augustus (a ten year old kid with the survival instincts of a lemming), and whose reign is cut short when the Goths, who claim to have been short changed by the Romans, storm the palace and capture the city. The capture of Rome is pretty easy and apparently only takes about 10 minutes. Odoacer, the Goth king (Peter Cullen), spares the young Caesar, and banishes Romulus to the island of Capri under the watchful I of the villainous Wulfila (Rome’s Kevin McKidd), and he’s the character I had most sympathy for as he wanted to kill the little snot.
General Marcus Aurelius survives the attack and with the help of Mira manage to rescue some of his men, and so this loyal band, which includes a large black Rastafarian and an Orlando Bloom wannabe, set off to rescue young Romulus. It’s while running around the island fortress that Romulus finds the secret chamber that holds the sword, which is located under the giant pentangle symbol that everybody seems to know represents the sword of power. That the fortress was created by the last person to own the sword makes you wonder how hard these searchers were looking. What is even more ridiculous is that after the kid activates the secret way in it’s revealed later that the chamber has so many entrances that I’m surprised they didn’t have a hotdog concession down there. One of the entrances was even a bloody grotto that opens onto the sea! Exactly how this place remained hidden for so long is the true mystery. Now the important thing is that on a plaque by the sword is prophecy (and really what kind of film would this be without a prophecy) that says “One edge to defend, one to defeat, in Britannia was I forged to fit the hand that is destined to rule.” It’s an easy prophecy to remember as it’s repeated a half-a-dozen times during the course of the film lest we forget.
Shortly after the escape from Capri they find out that the Senators have thrown in with the Goths and that the only chance our group of heroes has is to find the 9th Legion who are stationed in Britannia. Wow, who would have guessed they’d end up having to go there? Well that’s all the detail I’m going to go into for this review, but here are some highlights I just have to mention:
• Our heroes trek to Britannia has them crossing snow covered mountains in such a manner that I kept waiting for someone to complain it was too cold for the Hobbits.
• Wulfila manages to track them all the way across Europe (I bet he can track a hawk on a cloudy day), and teams up with Vortgyn, an evil bastard who is trying to conqueror Britannia. His most notable feature is a gold mask that he wears that has him coming across like a low rent Doctor Doom, right down to the burned face. The mask itself resembles that of Mordred’s from John Boorman’s Excalibur. Why do filmmakers insist on reminding us of better movies?
• During the final battle at Hadrian’s Wall, Romulus, the idiot everyone is fighting and dying to protect, actual wanders up onto the wall, scurries around the fighters, and believe it or not climbs down the other side, and right into the thick of the battle. And for no apparent reason. WTF!
• After the battle is won Romulus declares that there will be “No more blood, no more war,” and he chucks the sword through the air where it of course lodges itself into a stone.
My parting words are simply this, “Can we have magic back in our Arthurian stories, please?” Really, cause if filmmakers are going to make supposed “historical films” that are this ridiculous they might as well put in more fantasy elements. I mean come on, they cast Colin Firth as a great Roman general, how much more fantastical can one get?
Wednesday, March 14, 2007
As a genre Christmas movies are probably the most hit or miss, for every Miracle on 34th Street you have a dozen more like Santa Claus Conquerors the Martians. Now in 1985 the Salkinds decided to take a stab at it and with Supergirl director Jeannot Szwarc at the helm that’s exactly what we got….stabbed.
The movie starts our promising enough as we pan down from a starry sky to a snowy Scandinavian landscape and wood cottage full of people. They are all waiting for their beloved friend Uncle Claus (David Huddleston) to bring toys for all the children as he does every year. Many are impressed that Claus can cut wood for the whole village and still have time to carve all the wooden toys he provides each year, but it is his love of children that makes it possible. After giving out wonderfully hand carved toys to the children he and his wife Anya (Judy Cornwell) bid their friends goodbye as they have more stops to make, and even though the weather is getting bad they can’t think of disappointing the children who live on the other side of the forest. The storm intensifies and soon their reindeer collapse in exhaustion as the snow whips around them. Claus embraces his wife as the winter storm takes their lives.
The Northern Star appears and a cone of light descends on the frozen countryside and out of it steps a large contingent of elves. Claus, his wife, and reindeer all wake up as the group of colorfully dressed little people approach. They are led to their new home at the North Pole where they are informed by the Ancient Elf (Burgess Meredith) that Claus is The Chosen One and will fulfill the duties of the prophecy. That is live forever and give out toys to all the children of the world. And this is where the film runs of the rails and into a morass of boring maudlin scenes coated with syrupy crap.
At 108 minutes the film really drags with overlong montages of the elves making toys, endless shots of Santa flying around with his reindeer pulled sled, and it’s not until about the 40 minute mark that the real plot of the movie starts to rear its ugly head. A seemingly overworked Santa Claus promotes an elf named Patch (Dudley Moore) to assistant, but his radical ideas of mass production results in shoddily made toys and unhappy children on Christmas morning. A now disgraced Patch runs away to prove he is useful. Of course he ends up hooking up with the films villain B.Z. (John Lithgow) an evil toy manufacturer who is being investigated by a Senate committee for producing dangerous products. Throw in a poor little boy who lives on the street and the rich girl (also stepdaughter of B.Z) who befriends him and you may need to take a couple of insulin shots to survive a viewing of this film.
About the only real enjoyment I got out of this film was watching Lithgow hamming it up with the evil cranked up to eleven, but as his character doesn’t show up until the hour mark it’s really not worth the wait. Like Supergirl this Christmas disaster just seemed to meander around without purpose, now Jeannot Szwarc pretty much stopped directing movies after Santa Claus: The Movie but has made a decent mark for himself in episodic television (he even directed an episode of the excellent show Heroes). So if you’re looking good Santa Claus movie keep on moving as this one is not going to fill the bill.
Friday, February 2, 2007
La Belle et la Bête, Jean Cocteau’s version of Jeanne-Marie LePrince de Beaumont timeless tale, is one of the most purely enchanting films I’ve ever seen. It’s dreamlike qualities draw the viewer into a world of magic and wonder with out a singing teapot in sight. I really enjoyed the Disney version of Beauty and the Beast but now having finally seen this classic 1946 film and I must say the French really know how to tell a good fairy tale. As Disney-fied versions go their animated version is actually quite good (Hunchback of Notre Dame being one I can't even watch without cringing) but it left out much from the original story. Now even Jean Cocteau took some liberties with this classic tale but it is ruthlessly faithful in many areas, and it's because of this that I think it is the superior version, and only the wonderful songs in the Disney film make that one stand out in comparison.
Belle, played by a radiant Josette Day, is one of four children; she has two wicked sisters, Félicie and Adélaïde (who seem like they stepped right of Cinderella), and Ludovic, her brother, who is a bit of a wastrel who spends much of his time hanging out with his friend, and fellow scoundrel, Avenant. The once rich family has fallen on hard times, much to the chagrin of the Belle’s two sisters who believe they should have been married to Dukes and Princes, and Belle has been reduced to being basically a scullery maid. She is not forced into this position it’s just that if she doesn’t none of the work will get done, as her sisters spend all there time complaining about their lot in life while the brother drinks and loafs around with Avenant. The “friend” is constantly pushing himself on Belle and urging her to marry him, she begs off saying she must stay and help her father, but the real reason is plainly that he is a colossal jerk.
Then good news comes, a merchant ship believed lost has come to port, and with the goods on board the family may be rich once again. When the father readies to depart Félicie and Adélaïde bombard him with request for dresses, jewels, and even a monkey. He asks Belle what she would like and all she wishes for is a simple rose as none grow in the area. Unfortunately when he arrives at the port city creditors have seized his goods and he must return home through the dark foggy forest at night, as he cannot even afford a single nights lodging. He is soon lost as high winds besiege him, and when the end seems near for the poor man trees magically part revealing a large castle. He walks his horse onto the castle grounds and is startled as the stable doors open on their own and his horse steps in freely. He calls out but gets no response. He approaches the castle and the main doors open onto a long hallway lined with candelabras. This the point where I would see about getting my horse back as the candelabras are held by arms that just jut out from the walls, and they point and guide him further into the castle. Belle’s father is a far braver man than I as he hits sits down at a dinner table that has an arm sticking out of it’s center, and which pours a glass of wine for him. He falls asleep in the chair under the watchful eyes of the castle’s living (and very creepy) statuary. Come morning he wakes up and wanders the castle grounds once again calling out for his host, it’s then he spots a rose push and remembers Belle’s wish, but the moment he plucks it the Beast appears and tells him he was free to take anything he liked but the roses as they are his most cherished possession (you’d think it would have been a good idea to maybe post a sign or something), and now for this breach the poor man must die. When he begs for his life and mentions he has three daughters to care for the Beast offers him a way out, he can leave now and send one of his daughters back to take his place, but if none want to die in his stead he must return on his own. He is given a magical horse (it is revealed later that the castle doesn’t quite exist completely in our world, and one wonders how the father stumbled upon it) that will take him too and from the Beast’s castle.
The horse quickly carries him home and there he regales his family with this latest turn of events. The sisters quickly blame Belle for this as she requested the rose in the first place, of course the father had no intention of sacrificing any of his children he only came back to say good-bye to them, but Belle is insistent that she takes his place, while Ludovic and Avenant want to slay the Beast. The father tells them the Beast is much too powerful, and then proceeds to pass out from some feverish illness. Taking this opportunity Belle mounts the magical horse and rides to the castle of the Beast, but instead of being killed and eaten she is made mistress of the house and any whim she has will be answered. She is provided a lavish room with a magical mirror that allows her to see anything she wishes, and the only stipulation is that every night at when she dines the Beast will appear. Each night he does and on each night he asks, “Belle will you marry me?” She of course declines the offer but slowly her feelings towards horrible looking creature turns from fear, to pity, to a deep caring. It is a lonely existence in the castle, though she has come to really look forward to her dinners with the Beast, but it isn’t enough as she misses her father and wishes to see him one more time. The Beast tells her that if she leaves and does not come back that he will surely die. She promises to return in one weeks time, and the Beast, to prove his faith in her, he gives her the gold key to his treasure trove and source of his power. The Beast than gives her one of his gloves which when put on will teleport her back home instantly, and though it be night here in the castle it will be day at her families home.
She bids the Beast adieu, puts on the glove, is transported back home (she comes through the wall of her bedroom in a rather cool in camera affect), and then places the key and glove on her nightstand. Of course not all are glad of her return, and upon seeing the bejeweled gown and tiara that Belle is sporting the sisters instantly start plotting against her. The two wicked sisters suck Ludovic and Avenant into their plot promising they will all be rich if they can get the Beast spoils. After rubbing onions into their eyes to work up some tears, the girls run to Belle and tell her how much they love her and can not bare the thought of her leaving again, and that they will die of she does (this the only part in the film where my sympathies for Belle waned, as anybody gullible enough to believe these two women deserves what ever she gets). While hugging and crying they manage to steal the gold key and get Belle to promise she will stay with them a little longer. Unfortunately the hiccup in their plans is that none of them know how to get to the Beasts castle, but lucky for them the lonely Beast has grown despondent for his missing Belle and has sent the magical horse to retrieve her. Avenant and Ludovic, golden key in hand, mount the horse and ride off to rob and slay the Beast. Unbeknownst of these events Belle checks on the Beast with the magic mirror and sees him lying still near the castles pond. She puts on the glove and instantly finds herself in her bedroom, but quickly realizes she has forgot the key, and she pops back home to get it. She frantically searches the room, but to no avail as the key is no where to be found, so she puts that glove back and rushes to find the ailing Beast.
Meanwhile Ludovic and Avenant arrive at the castle and spot the treasure room. When Ludovic sticks in the gold key the door is infused with a glow, and Avenant yanks it out fearing that if they open the door it may set off a trap (okay if you’re not going to use the key what was the big deal about getting it?), and so the scale the walls and peak down through the skylight. Below them is a glorious golden hoard, treasure worthy of a dragon, but no such serpentine creature guards it, just a statue of Diana goddess of the hunt, and so Avenant smashes the glass of the skylight and has Ludovic lower him down.
Over by the pond Belle finds the dying Beast who tells her that now that she has returned he can die happy. Belle will have none of that talk and tells him how much she loves him, and that she cannot live without him, that she will gladly be his wife.
Back in the treasure room the statue of Diana turns and fire her bow, and nails Avenant right in the back. He falls to the ground and as he dies he transforms into the visage of the beast.
Belle is startled when her dying Beast suddenly turns into a handsome prince. (Jean Marias of course played the Beast, Avenant, and Prince Charming). At first she is quite taken aback by this change and comments, “You remind me of a friend of my brother,” and not as if that is a good thing. Belle has realized that the beauty within is much more important than any outward appearance. The Beast then tells Belle that he will now take her to his home, and they ascend into the clouds. Where they are going is left to the imagination.
Now the one thing you won’t get from my rather long-winded review is just how beautiful this glorious black and white film is. From the spooky forest, to the haunted halls of the castle the look of the film never ceases to be anything but a perfect fairy tale, with some of my favorite moments of Belle running in slow motion as if in a dream like state, and her letting the Beast drink from her cupped hands. I just can’t recommend this film enough.
I was kind of hoping this film would be about Jane Fonda going on a killing spree or maybe Susanne Summers knocking people off with her killer thighs, but this unfortunately is not the case; instead we’re treated to over a dozen deaths with most of them being committed with a giant safety pin. Yes you heard me right, you’ll find no chainsaws, axes, or gardening implements dripping in blood in this movie, nope the makers of this film went for the most original weapon they could think of, it’s just too bad the writers never actually came up with a reason for the killer to use this particular device.
This is going to be a rather spoiler filled review so for those of you who don’t want the twist and turns and shock ending ruined for you please refrain from reading further until you’ve seen the film, of course all the surprises in this film are so over telegraphed and obvious that they would have a hard time shocking a five year old. But who am I to deprive others of the joy and pain I suffered while watching this flick. Well now that you’ve been duly warned let’s get into the meat of this baby.
The film starts off decently enough with a woman returning home and checking her answering machine. One of the messages states she has landed a modeling assignment in
We now jump ahead five years (we aren’t actually informed that five years has elapsed until much later in the film, my guess is they couldn’t afford the “Five Years Later” superimposed graphic) and find ourselves at Rhonda’s Work-Out. We are introduced to Rhonda Johnson the co-owner of the gym, she is a witch with a capital “B” and between chewing out employees and fending of advances by Jimmy the gym’s resident sexist pig she just stomps around scowling at everyone. The gym itself is full of people dressed like they escaped from Olivia Newton John’s Physical video, and are happily doing their aerobic workout with smiles verging on the insane plastered to their faces, and get use to those smiles because even as the death toll rises the smiling and exercising just never stops.
Before we get on to discussing the killings I should mention the music and songs written for this film, to call them 80’s bubble gum pop is an insult to most of the crap that came out in that time period as these songs are truly horrendous with such great lyrics as “She's a knockout, you better watch out, She'll take you out!” and from my personal favorite song entitled Aerobicide chants “Working out until you die!” over and over again. Not much in the way subtlety are they?
Now we best move on to the murders in this film before you, my gentle readers, nod off. If this movie is lacking anything it’s certainly not in the body count area. And our first victim is an attractive black woman who is taking a nice long shower while her fellow health nuts call it a day and head off to wherever pretty people go when they’re not exercising. In this scene I’ll give props to the filmmakers for avoiding what dozens of cheap slasher films have done in the past, by not ripping off shots from Hitchcock’s Psycho. Mind you the scene is so poorly edited, and shot that they would have been better off stealing a bit from Hitchcock. The girl is brutally stabbed to death with aforementioned giant safety pin, and what’s truly amazing is the amount of blood that can be generated without there being any wound actually visible. Maybe it’s some magical property of the safety pin? One of the employees later finds the body stuffed in a locker, but not before a lame fake scare involving a resuscitation dummy in another locker.
Enter Detective Lieutenant Morgan to solve the case, but he’s got competition as Chuck Dawson, the gyms new employee, is actually an undercover private investigator, hired by the gym’s senior partner to see what’s going on. Unfortunately as the death toll climbs they both prove to be about as effective as the water tight doors were on the Titanic.
Aside from safety pin stabbing, we are treated to throat cuttings, a hanging, and heads caved in by barbells, all handled in such a way as to not let us get a good look at the killer, even though it’s obvious it has to be a woman as all the men in the film look like models for steroid abuse, and the hands and physique of the killer are rather slender.
At one point the coroner comments, “I’m running out of body bags.” I’m not an expert on the law or police procedures, but I find it hard to believe that the place is not only allowed to open the morning after a body is found on the premises, but that it isn’t closed down after the fifth or tenth victim. My only guess is that the never seen senior partner must be the mayor of the city. And of course these horrible murders will certainly not stop the customers from showing up every day, with smiles firmly in place
Chuck “Super Sleuth” Dawson suspects sexist pig Jimmy of being the killer, and breaks into his place where he finds a rather cheesy shrine to Rhonda. Jimmy, who is incredibly jealous of Rhonda, eventually kills our “hero” Chuck, and is soon on the lamb as everyone now believes he’s the killer. Things start to come to a head as we are treated to exciting fisticuffs, thrilling foot chases, and nail biting gun play (oh dear my sarcasm meter just broke). Until Rhonda blows poor Jimmy away and of course is treated by the media as a hero.
Now everyone’s happy, that is everyone but Detective Morgan whose investigations led him to discover that Rhonda Morgan is in fact Valeria Johnson the woman who we saw burned in the tanning bed accident. She now wears a wig and a full body Lycra suit to hide the burns that cover seventy percent of her body. Morgan believes she killed all those people because they are all beautiful and perfect like she use to be, and it eats her up that nobody can ever look at her body again without feeling sick. With the murders resting on the deceased Jimmy it appears that Rhonda/Valeria has gotten away with it and there’s nothing are hapless flatfoot can do about it…or is there? On the pretense of police business he lures Rhonda out into the middle of the woods to “show” her something, and she never questions why he’s carrying a shovel. After trudging for awhile through the woods she refuses to go any further and Morgan’s response is, “This will do just fine.” He sticks the shovel into the dirt and starts in a monologue on how is dad was a great cop and how he was forced to cross the line between good and bad when a serial killer got off on a technicality. The murders resumed until one day the killer simply vanished never to seen again, and Morgan knew that his dad had killed him. Now he is going to follow in his dad’s footsteps to keep Rhonda from killing again. Stupidly he turns his back on her during his speech and she grabs the shovel and kills him.
Cut to the gym where Rhonda has shown up to pick up her keys. An employee tells her how business is booming since the city has made her a hero, and that by mid week this place will be packed to the walls with beautiful people. When the employee leaves we see Rhonda pull out her key chain which is surprise, surprise, a giant safety pin. She smiles evilly at the camera, and roll credits.
The people involved in the making of this film must have seriously thought that if the had enough deaths, and plenty of T & A on camera that nobody would notice how completely lame the so called plot was. It seemed that almost every scene was preceded by shots of women working out at the gym, with some shots veering right into Airplane type parody by just showing close-ups of the breasts bouncy up and down. As for the acting…well if I was told they just grabbed people off the street and had them reading off cue cards I wouldn’t be in the least bit surprised. So if you’re a true film masochist feel free to check this flick out, if not your better off watching any number of the Friday the 13th movies.
When it comes to horror movies the werewolf has always been treated like the vampires ugly stepsister. Where the vampire are often portrayed as a suave, mysterious, and charismatic creatures of then night, the werewolf is usually just a slobbering monster that will either tear out your throat or maybe piddle on your carpet. When you’re turned into a wolf you don’t get to spout lines like, “Listen to them. Children of the night. What music they make.” At the most a werewolf gets to do growl and howl at the moon a lot. So you are not going to get Tom Cruise or Brad Pitt type actors clamoring for these types of roles, instead you get B-list movie actors, or in the case of Cursed you also get refugees from Dawson’s Creek and Gilmore Girls.
The number of good werewolf films can probably be counted on one hand, for every Howling and An American Werewolf in
The film starts with two gorgeous women Jenny and Becky (Mya/Shannon Elizabeth) wandering the midway of a fairground where Mya spots a gypsy fortune teller and wants to find out if Shannon’s love interest is ever going to call again. But instead of getting a bunch of expected hokum about their true love they are both told their future is full of BLOOD!
Meanwhile Jimmy (Jesse Eisenberg) the school nerd is making moves on the typical school princess who though nice is always dating the school jock/asshole. We then jump to Jimmy’s sister Ellie (Christina Rici) who is having relationship problems of her own with Jake (Joshua Jackson) a seemingly nice guy who appears to have commitment problems.
Later Ellie picks up her brother and its while driving home that things take a turn for the worst. Something big and hairy bounces off their windshield and their car careens out of control, sideswipes another vehicle and sends that one of the road and down a wooded embankment. Trapped in the car is Becky, and she is a little freaked out because she smells gas and is afraid the car may explode…if only she were so lucky. Just as Jimmy and Ellie are about to get her free something hairy and with a whole mess of teeth grabs her and drags her into the woods. The brother and sister try in vain to save the girl but are only rewarded with bites of their own.
For those of you who have seen the Jack Nicholson film Wolf you won’t be surprised that are two leads start developing some new characteristics. They become more confident; their senses are heightened, as well as increased strength and agility. The brother, being a geek, quickly figures out that it was a werewolf that bit them, that they have been cursed, and that it’s only a matter of time before they start sprouting hair from unwanted places.
The film has a lot of fun with the genre much in the way Craven and Williamson had fun with Scream series. The film isn’t really frightening, and only provides you with the occasionally jump scare, but it is very entertaining, with few nice story turns, and many good laughs. My only real complaint would be the lack of the rules. In every vampire or werewolf film it is important for your audience to know which rules from the canon of film history are going to apply in this one. In An American Werewolf in
First off this film does not star Val Kilmer and Christian Slater, despite what the ads may imply, they possibly worked a couple of days, cashed their cheques, and then took off as fast as they could to the nearest strip club or casino. This is truly another Renny Harlin masterpiece and moves him closer into the realm of Uwe Boll, as there isn’t an ounce of originality in a single frame of this film. The rest of the cast consists of relative unknowns with the exception of LL Cool J and Jonny Lee Miller. The story revolves around a young group of FBI agents who desire to be profilers (that’s people who try to get inside the heads of serial killers and the like), and Val Kilmer plays Jake Harris an eccentric teacher at the academy who takes the group to an isolated island for their final training exercise. The film wastes no time in turning into just another run of the mill slasher flick, (that is if Jason or Freddy were into Rube Goldberg type death traps) where we are dished out the old Agatha Christie routine of “and then they’re were none” as each character is knocked off one by one, and everyone suspects everyone else. If you’ve seen My Bloody Valentine, April Fools Day, or any of the psycho killer flicks from the seventies or eighties then you won’t find anything new here. Characters constantly walk off alone when off course the most sensible thing to do when you don’t know who the killer is to just all stay in one room together until help arrives in the morning. No, instead we are treated with great dialogue such as, “You stay here and watch him while we check this out.” The moments that follows that kind line never bodes well for the characters. There is one scene in particular that just had me rolling my eyes in disbelief; while examining a staged crime Christian Slater activates one of the Rube Goldbergian traps that is in the form of a series of falling dominoes. The fact that the entire group just stands dumbstruck as they watch the dominoes click-clack their way across the room is truly astounding as not one of them has the brains to think, “Hey if a psycho killer set this up maybe it would be a good idea to…oh I don’t know…stop them?”
Now in all fairness there were some pretty suspenseful scenes, and the acting overall was more than adequate, but the fact that I had guessed who the killer was at about the fifteen minute mark made enjoying the rest of the film that much more difficult. Even if you don’t figured out from the first subtle clue Mister Harlin provides there’s a few more that are served up like beach balls. So all the finger pointing an accusations made by each of the characters just comes off as annoying when it’s so obvious who the killer is.
That this film was originally planned to be released in 2003, then postponed, and then lost for a time isn’t surprising. Why it didn’t just go straight video is what I can’t quite understand
For those of you that are fans of the Frank Miller graphic novels you are in for a treat as this the most faithful translation of a comic to screen that has ever been done, and for those people who haven’t read the original Millar stories get ready for movie that grabs by the lapels and drags you kicking and screaming into a world of sex and violence and style.
Robert Rodriquez and Frank Millar have created a modern day film noir classic. Their use of black and white with the rare infusion of colour is simply gorgeous to behold. And I’m sure guest director Quentin Tarantino had a ball playing around in this world. The movie contains four stories from the Frank Millar graphic novel; Sin City, which was the first book and featured the Frankenstein like anti-hero Marv played beautifully by Mickey Rourke, That Yellow Bastard which stars Bruce Willis a one of the few good cops in Sin City, Clive Owen plays the killer with a new face in The Big Fat Kill, and Josh Hartnet brackets the movie with a bit I believe is from The Babe Wore Red.
For those who haven’t read the book I’ll give you a quick breakdown in the three main stories.
Hartigan (Bruce Willis) is an honest cop in a city full of corruption, and it’s his last day before he’s forced to retire due to heart condition. He could just take it easy but there’s a little girl out there that needs his help, a pedophilic murderer has her and time is running out. Hartigan’s partner (Michael Madsen) wants him to just hang back and wait for back up as the rapist (Nick Stahl) is the son of Senator Roark (Powers Boothe) a very powerful man, and it’s best to let things go. All I’ll say is he doesn’t. The second story revolves around Marv (Mickey Roarke) who spends the night with a woman named Goldie (Jamie King) who takes him to heaven and back, but when he wakes up from his drunken stupor she’s dead and the police are closing in. Realizing he’s been set up he literal burst into action and the carnage that ensues on his quest to avenge her death is awe-inspiring. The third story is about Dwight (Clive Owen) a murderer that had his faced change to keep out of the gas chamber. He’s hooked up with Shelly (Brittany Murpy) a girl with a past who has problems with her ex-boyfriend Jack Rafferty (Bencicio Del Toro) who likes to smack women around. Dwight falls right into the roll of Lancelot and chases Rafferty and his pals into Old Town (The area of Sin City ruled by the prostitutes) where they run into trouble with the girls, and it’s all Dwight can do to prevent a war from breaking out.
Now the women of
The film plays with time, much in the way that Pulp Fiction did, the stories overlap, as you’ll see one character in the background that we saw dead in an early story, and this is much in keeping with the books in that aspect. The film is very Rated R and the violence is extreme, and I believe the only reason it won’t get an NC-17 is that much of the gore is in black and white. So those of faint heart beware as it’s a pretty intense film, but it’s one hell of a ride.
"Faster than a speeding bullet!
More powerful than a locomotive!
Able to leap tall buildings at a single bound!"
Superman has seen many incarnations from movie serials to cartoons to blockbuster movies, and now Bryan Singer is about to unleash his version of this iconic hero with Brandon Routh donning the cape, but when it comes to a live action version of Superman there is, in my humble opinion, only one actor who truly owns that role, and that would be Christopher Reeve. Now if asked who is the best
The Adventures of Superman was definitely low budget television, and the effects and sets certainly make that pretty obvious, but what really stands out is how violent a show it was. This was no Saturday morning show for the kiddies as mainly dealt with gangsters and their ilk. People were beaten up, tortured, drugged, and murdered on a weekly basis on this show. In the episode “The Stolen Costume” a gangster and his moll discover that Clark Kent is Superman, and when they threaten to expose his secret to the world he takes them way up north to the top of a mountain. He tells them that he’ll be back with food but that they will have to stay here until he can figure away to protect his secret. They don’t trust Superman so when he flies off they try and climb down, and end up falling to their deaths. In the episodes denouement
Now a little bit about the supporting players;
Now don’t get the wrong impression that these “issues” in anyway take away from enjoyment of the series, in fact quite the opposite, they just add an extra level of entertainment. When
Three legendary heroes get me to the theatre every time no matter how good or bad the reviews are, and those characters would be Robin Hood, Tarzan, and Zorro. Now it was way back in 1998 when Martin Campbell brought us The Mask of Zorro, and it is rather odd for a studio to wait this long to bring us a sequel to a hit film. The reason most given for the delay was that they were waiting for a perfect script…well they should have waited a little longer. I will tell you right off that it isn’t terrible film and that there is entertainment to be had in this outing, Antonio Banderas is still damn good as Zorro, and Catherine Zeta-Jones has lost none of her beauty in my opinion, but the plot they’ve hinged these two quite likable characters on is it’s main failing. Now before I get into the story the other thing that really bothered me about this sequel was the reducing of them film from its previous outing as PG-13 rated film to this much tamer PG version. I have nothing against films that are “Fun for the whole family!” but when the main character is a world-renowned swordsman and yet he never actually stabs anybody with his sword is rather idiotic. In Raiders of the Lost Ark Indiana Jones shoots, stabs, and tosses villains to their deaths and I still consider that film good for most ages (melting faces could scare the little ones), and it was rated PG. So why they made The Legend of Zorro with such a softer touch is a mystery to me. Most of the fights in this film go along the way of clang, clang, punch, clang, clang, kick and so on. Which of course had me wondering, “Wouldn’t he end these fights quicker if it went more like clang, clang, stab?” I’m not asking for Zorro to be lopping off limbs (you really can’t do that with the type of foil Zorro uses anyway), nor do I need to see arterial blood spraying out in bright red fountains, but what is wrong with a quick stab, and then move on to the next bad guy?
Okay now onto the story. In this sequel, which takes place I think six or seven years after the original, we find California voting for Statehood and of course Zorro must prevent evil nasty people from fooling around with votes (and no Jeb Bush does not make an appearance in this film), so once again we see Zorro ride to the rescue in the name of democracy. His people love him and cheer him as he thwarts the bad guys, and rides off into the sunset, but it’s back out home where he runs into problems. You see Diego had promised to Elena (Catherine Zeta-Jones) that once
Even some of the cool action sequences slide right into comic-ridiculous moments. At one point the train Zorro is chasing speeds up so he is unable to board it, so he takes his horse up a rise, follows the train along a raised ridge, and then jumps the horse to land safely on the train’s roof. How veering away from the train to ride up a hill would somehow compensate for a trains increased speed is beyond me, and should be left to professors of physics, and I won’t even go into the consequences of landing a horse on the roof of a moving train.
There are a lot of worse films out there, and as I said earlier there are some cool entertaining moments, but none that I could recommend them being worth the trip the theatre for.
This film is what you get when you have two very talented actors in service of a really bad script. The movie starts our very promising, letting us get to know our two leads with only a little heavy handed foreshadowing. In the opening shot of the film the camera pans along a desk topped with photos of our heroine Lisa Reisert (Rachel McAdams) and in one of these photos she is playing field hockey…so take a guess at what item she gets her hands on to fight the bad guy for the films climax.
The major problem with the film is the plot that the villains have concocted would be so easily thwarted by our heroine if she had used any common sense at all. And she is supposed to be some uber-hotel manager so you’d think she’d be able to think fairly fast on her feet.
The basic story is that Lisa Reisert is taking the red-flight back to
Instead we are treated to her running around being chased and fighting off
My advice to you is don’t even bother to rent this one, it’s ninety minutes of filler trying to pretend to be a thriller.
In 1998 we were treated to two big disaster movies, both involving a comet heading for Earth. Now many people took great joy in poking fun at the ridiculous
The film starts with an amateur astrology group scanning the heavens, and it’s while doing this that Leo Beiderman (Elijah Wood) discovers a new comet. They quickly notify a local professional astronomer Marcus Wolf (Charles Martin Smith) who with just this one spotting can miraculous predict that it’s going to hit the Earth. When in fact it would take several viewings over time to discern the path of the comet. Well let’s move on to one of my favorite bits of plot ineptitude, unable to contact anybody by phone or email Dr. Wolf jumps into his jeep and heads down the mountain where he is killed by one of the worst telegraphed car crashes in film history. But what is truly annoying is the fact that his death serves no real purpose to the plot. We jump ahead a year and find that the government has been working all this time on what to do about the approaching catastrophe. They found the disk in the wreck and named the comet after the two discovers Wolf-Beiderman. (For some strange reason they believed Beiderman died in the crash as well) We are not told that the death of Marcus Wolf delayed the government in finding the comet or had any effect whatsoever. It was just filler and has no bearing on later events.
Meanwhile reporter Jenny Lerner (Tea Leoni) has accidentally uncovered the comet story and she blackmails the President (Morgan Freeman) into getting her a better position at the press briefing, the world maybe ending put at least her career is on track. We of course have to ignore the fact that with the size of this comet it would have been visible to every two-bit yahoo with a telescope, and that there is no way the government could have kept this a secret.
Now on to the plan! They decide to send a group of astronauts up to the comet, plant some nukes, and blow it to kingdom come. When in fact given the time frame they had it would have been more beneficial to try and nudge the comet off its course instead of blowing it up. But that’s just a minor quibble; we’ll get into the problems of blowing it up later. One scene in the film that really angered me was when the young hotshot astronauts give the senior member of their crew, played by Robert Duval, a hard time for being to old and only being on board as a publicity stunt. I can’t believe for a minute that real astronauts would show this kind of disrespect to somebody who has actually landed on the moon. Of course things go wrong and the comet is just broken into two pieces and both are still headed for Earth.
Meanwhile back on Earth the President moves right on to the back up plan, which involves a lottery and moving a crap load of people underground to ensure that mankind survives. Elijah Wood and his family have been pre-selected because he was one of the comet discoverers, but his girlfriend and her family have not been. So what does are stalwart astronomer do? He marries her and is told that now her whole family can come. But on the fateful day when the army buses come to pick them up the girl’s name is on the list but not her family. She refuses to get on the bus and watches as her true love rides away. This scene is almost more idiotic than the one with the disrespectful astronauts, could you for a minute believe any parent would let their kid stay behind and face sudden death? Later when Elijah Wood shows up on a dirt bike as the girl and her family are stuck in a traffic jam, she tearfully hops on behind him, and leaves her parents in the dust. What changed? Did she somehow grow a brain in the last 24 hours?
Back in space the astronauts have come up with a new plan, to nobly sacrifice themselves by flying inside the comet and blowing it up with their remaining nukes. This will take care of the big piece, but the little one will still smack the Earth. Of course blowing up the big one would still doom the Earth; instead of one big piece hitting you will have millions of pieces raining down with same kinetic energy of the original comet creating an explosion with more power than all the world’s nuclear bombs combined. Yeah team! But no, we see a nice little fireworks display kind of like the one at the end of Independance Day. And the World is saved!
We aren’t cheated completely out the carnage we paid our ten bucks to see. The smaller piece does impact somewhere in the
From Time magazine, "Numbers" section:
Estimated annual cost for a 10-year program that would identify large asteroids most threatening to earth.
Budget for "Deep Impact", a film about the devastation caused when a comet hits earth.
Wednesday, January 31, 2007
It had been years since I last set eyes on Son of Kong, and I had forgotten just how disappointing this film actually is, but it does go to show us that quick cash grab sequels are as old as the film industry itself. Released a mere eight months after the blockbuster King Kong this sequel pales in comparison on practically every level. RKO decided on two key factors that would insure it made a ton of money; first cut the budget in half (cause that always results in bigger profits), and make it more “kid friendly” as the youth market is where the money is, though during the depression I’m not sure what disposable income kids had, but then again I’m not a big movie exec so what do I know. Ruth Rose, Son of Kong's script writer, made no attempt to make a serious film out of this sequel on the grounds that there was no way it could surpass the success of the original, stating, "If you can't make it bigger, make it funnier."
The film starts out promising enough with Carl Denham (Robert Armstrong) hiding out in a boarding house from process servers, because everyone and his aunt is suing him for the carnage caused by the escaped Kong. Eventually he hooks up again with Captain Englehorn (Frank Reicher) and Charlie the ships cook (Victor Wong) as the only other returning cast members from the original. They set sail just ahead of a Grand Jury indictment and then try to make a go of it by shipping cargo in the Dutch Indies. It’s in the port of Dakang that we meet our other two key players; Hilda (Helen Mack), daughter of a drunken ex-circus ringmaster, who helps her father make a living by singing badly while playing the guitar, and Helstrom (John Marston) who in a drunken brawl kills Hilda’s father, and burns down the tent. Now Helstrom has a connection with the original film as he is the man who provided Denham with the map to Kong’s Island, and now that he really needs to get out of Darkang, what with Hilda threatening to tell to the magistrate that he murdered her father, he convinces the incredibly gullible Denham and Englehorn that there is treasure on Skull Island.