Prolific filmmaker William Beaudine and horror icon Bela Lugosi worked together on four films, and "Voodoo Man" (** out of ****) was the third. Previously, they collaborated on "Ghosts on the Loose" (1943) and "The Ape Man" (1943), while their final outing occurred on the madcap comedy "Bela Lugosi Meets a Brooklyn Gorilla" (1953). In "Voodoo Man," Lugosi plays a deluded doctor, Dr. Richard Marlowe, who wrestles with spousal issues similar to those in the 1942 chiller "The Corpse Vanishes." Whereas he endeavored to restore his wife's beauty in the latter movie, he struggles to restore his wife's life in "Voodoo Man." Actually, Evelyn (Ellen Hall of "Lumberjack") looks well-preserved to have been kaput for over two decades. She ambles around in a trance but looks as if she hasn't aged a day since she died.
Dr. Marlowe is in cahoots with a Mobil gas station owner, Nicholas (George Zucco of "The Black Raven") to bring his poor wife back to life. "Return of the Ape Man" scenarist Robert Charles doesn't bother to explain how Nicholas and Dr. Marlowe became so tight aside from their mutual love of all things voodoo. Indeed, many things are left up to our imagination in this modest little Monogram thriller. Nicholas helps Dr. Marlowe kidnap women when they pull into his station on Laurel Road for directions to Twin Falls. Nicholas' filling station is the only one for miles. After the gals cruise away, Nicolas calls Marlowe on the telephone and alerts him to their impending presence, and the sinister scientist dispatches his two half-witted dolts, Grego (Pat McKee of "Waterfront") and Toby (John Carradine of "Stagecoach"), to block the road with a sawhorse, creating an official looking detour so the female motorists will have to drive off the main drag onto a side road concealed by a movable hedge. Grego and Toby simply pull back a hedge to allow vehicles to pass.
Bt this point in "Voodoo Man," three women have disappeared without a trace, and the authorities are completely baffled. Moreover, Marlowe also possesses an ingenious device which enables him to shut down the engine of an automobile. While the helpless woman sits mystified in her stalled car, Grego and Toby sneak up, seize her, and then usher her down into a tunnel into Marlowe's underground laboratory. Marlowe decks the women out in flowing white dresses and keeps them locked up in closets. Marlowe maintains them in a state of hypnosis. Later, during a ritualistic ceremony, Nicholas utters a chant called the Ramboona so they can transfer the spirit of the living girl into Evelyn. Unfortunately, Marlowe and his minions have not been able to get the perfect match for Evelyn.
The Banner Motion Picture Company wants to capitalize on these incidents and produce a movie about these vanishing women, but scriptwriter Ralph Dawson (Tod Andrews of "Hang'em High") refuses to pen the screenplay. Instead, he plans to get married and take a two week honeymoon. Dawson drives off for Twin Falls and pulls into Nicholas' gas station to tank up. Ralph refuses to buy a can of car polish and gets so frustrated with the well-meaning attendant, Sam (Ralph Littlefield), that Sam doesn't get a chance to pump the six gallons of fuel into his car that Ralph has paid for. Consequently, Ralph runs out of gas, but he encounters one of his future wife's bridesmaids, Stella Saunders (Louise Currie) who gives him a lift. Predictably, they see the detour sawhorse and take the wrong road. Stella's car mysteriously stops operating and Ralph goes off to search for a house. While Ralph is banging on the door to Dr. Marlowe's house, Grego and Toby abduct Stella. Ralph feels doubly frustrated when he finds both Stella and her car gone. An attempt to transfer Stella's life into Evelyn fails. Things go awry when Toby lets Stella escape, and the sheriff picks her as she wanders down on the highway. The sheriff takes Stella to Ralph's fiancée's house. Later, Marlowe discovers Stella's disappearance and rushes to Betty's house to ensure her silence. When they aren't watching Stella, Nicholas chants and Marlowe is able to bring Stella back to his secluded residence.
Eventually, Marlowe and Nicholas use their voodoo powers to attract Betty (Wanda McKay) who is poised to marry Ralph. Nicholas conjures up a chant that works so well that they are able lure Betty out to their roadside detour. In fact, Betty drives her car out to Laurel Road. Ralph convinces a motorist to give him a lift and they drive out to the sight of the detour. Meantime, the Sheriff (Henry Hall) and his reluctant deputy Elmer (Dan White) have grown suspicious about the good doctor and decide to break into Marlowe's house. Earlier, after the motorist had dropped Ralph off, he tried to intervene, but Grego dropped him stone cold in his tracks with a single blow. Ironically, Betty turns out to be the perfect match for Evelyn, and Dr. Marlowe achieves his long sought-after dream, only to have the sheriff barge in on them. Marlowe threatens the lawman with a knife, and the sheriff shoots him once. During his final dying moments, Marlowe learns that the ritual using Betty has worked. When Marlowe dies, not only does Evelyn finally bite the dust, but the four girls are released from their hypnotic trances.
Afterward, Ralph submits a screenplay about his adventures with Marlowe and calls it "Voodoo Man." Nobody takes anything seriously because the producer asks Ralph about the ideal actor to play the role of the mad scientist, and Ralph recommends Bela Lugosi for the role. Clocking in at a trim 62 minutes, "Voodoo Man" is as brisk as it is elemental, but there isn't a shred of horror in it. John Carradine takes top honors as one of Dr. Marlowe's slow-witted goons who admires the women. George Zucco is good, too, as Marlowe's chief conspirator. "Voodoo Man" should have been called "Voodoo Men." Lugosi appears in an evening suit with a goatee, but he isn't in the least menacing. In fact, he seems rather urbane. Again, the Richard Charles screenplay is lean on details so we know little about why Marlowe has a house in the woods or how his wife died. Nothing memorable occurs aside from the oddball voodoo ceremony. Nevertheless, Lugosi's presence is what makes "Voodoo Man" worth watching
CINEMATIC REVELATIONS allows me the luxury of writing, editing and archiving my film and television reviews. Some reviews appeared initially in "The Commercial Dispatch" and "The Planet Weekly" and then later in the comment archives at the Internet Movie Database. IMDB.COM, however, imposes a limit on both the number of words and the number of times that an author may revise their comments. I hope that anybody who peruses these expanded reviews will find them useful.
Friday, December 30, 2011
Friday, December 23, 2011
FILM REVIEW OF ''ALIEN ARMAGEDDON" (2011)
"Battlespace" writer & director Neil Johnson’s derivative, low-budget science fiction thriller “Alien Armageddon” (* out of ****) chronicles a breed of Martian invaders, ‘the Nephilim,’ who dominate planet Earth for 67 historic days. These hostile intruders establish their headquarters in Los Angeles after subjugating the Earth and then rely on our own scientists to modify our DNA so that we become fodder for them. You see, these ravenous monsters had to abandon their famine-stricken world. Actually, the villainous Nephilim have been quietly infiltrating Earth for many decades, acquiring knowledge about our character and culture. The computer generated special effects imagery of the alien armada during the first ten minutes looks like something out of a black & white graphic novel. This fleet of spacecraft, which resemble naval vessels, hover as if they were vultures over every major city. The lackluster battle sequences are comprised of ersatz mushroom cloud explosions and flashes inserted in photographs of California and other overseas locales. Johnson shakes his camera to give the fake explosions some impact. The Nephilim infantry look like distant cousins of the "Star Wars" robot C3PO. Decked out in metal football shoulder pads and breast-plates bristling with hoses, these soldiers shoulder deadly automatic weapons but they aren't too bright. When humans are struck by Nephilim ordnance, they dissolve into a splatter of blood and momentarily obstruct the camera lens. Not surprisingly, the nefarious extraterrestrials conquer and enslave humanity by the forty-fourth day or roughly the first half-hour of the action. Some of the treacherous humans, desperate to survive, turn into quislings, while the incarcerated humans are fed a diet of contaminated food which makes them edible to the aliens.
Johnson begins the action with a quotation from the Book of Enoch (10:9-10:15) out of the Apocrypha. "The Lord said to Gabriel: Proceed against the bastards, and the reprobates, and the sons of the fornicators, and destroy the sons of the Watchers from amongst men . . . bind them for seventy generations . . . Semyaza, the leader, will be destroyed with them. And destroy the Nephilim for they have wronged men." Following this quotation, Johnson employs horror icon Christopher Lee to provide some dramatic voice-over narration: "In ages past, the Nephilim Empire ruled the Earth, but they fell from grace. Once their slaves, Humanity rose up and defeated their gods. The Nephilim were purged from the earth and banished to the darkness. For centuries, they watched and waited. The Nephilim Empire would one day rise again." Afterward, Johnson introduces the hero, Cowboy (Don Scribner of "Slave Girls from Beyond Infinity"), who wears hair long and speaks through a grizzled beard. Cowboy is a convict at Folsom State Prison where he is serving time for the murder of his son and twenty-eight passengers on a bus. When a television reporter asks why he killed his son, Cowboy replies cryptically, "Boy had to die. He was cancer." Johnson cross cuts between this TV interview with Cowboy and the blitzkreig attack launched by the Nephilim against Earth. Later, dressed in an orange prison jump suit, Cowboy appears without explanation outside Folsom and takes the keys to an SUV from the corpse of its driver.
Our heroine is a feisty Jewish red-head, Jodie Elliot (British actress Katharine McEwan of "Sinners"), who operates a printing shop in contemporary Los Angeles. She is contending with a disgruntled customers who wants a discount when the alien ships appear over the city. The customer describes the ships erroneously as hot-air balloons, but Jodie fears the worst is about to happen. After the aliens have taken over Los Angeles and built a wall around the metropolis, Jodie joins an underground resistance movement. Eventually, the Nephilim ferret out her hiding place and capture her. Jodie shares a skyscraper prison cell with an African-American soldier, Markus (Benjamin J. Cain Jr. of "Dogma") and white, Catholic, B-2 Spirit bomber pilot Sheen (William David Tulin of "KingBreaker") who nuked Chicago before the Nephilim could make it their headquarters. An electronic force field substitutes for iron bars on the entrance of their cell, and she suffers a jolt when she tries to penetrate it. They dine on slop out of black plastic buckets and relieve themselves into a small foot locker. The meat that they are given is so vile that they puke it up, but this is all they are allowed to eat.
Meantime, Cowboy links up with another resistance unit. He sports a duster now with a Stetson riding low on his forehead. The Nephilim capture him after a firefight in the desert. Not long afterward, he winds up in the same cell with Jodie. Our heroine wants desperately to break out and rejoin her daughter who resides in the small town of Little Rock, California. She watches in horror as her cell mates are dragged off to become brunch. At one point, Jodie manages to escape briefly and witnesses a harrowing scene when a pregnant female inmate strapped down to a bed gives birth to several chunks of flesh. All along, two scientists Franci (Rochelle Vallese of "Scar") and Dr. Brenna (Julia Parker of "Girl Crazy") have been collaborating with the Nephilim to make humanity more palatable for their extraterrestrial taste buds. Once the Nephilim have used Franci, they stick her in the same cell with our heroes. The Nephilim take Markus and feed him to a flesh eating zombie like creature. Jodie, Franci, and Cowboy escape when Jodie stages a bout of illness. The girls head for Little Rock, but Jodie doesn’t find her daughter. Cowboy later rejoins them after commandeering an alien interceptor aircraft.
Meantime, Franci injects Jodie with some strange serum so that she becomes a bio-medical weapon against the Nephilim. Franci rhapsodizes about the pleasures of masquerading as a human and all the feelings that life has evoked for her. Predictably, she dies. Eventually, humanity triumphs over the Martian invaders. Before this occurs, we get to see revolting shots of giant, beady, orange slugs with pincers gnawing on the flesh and bones of decaying humans. Before Franci dispatches Jodie on her sacrificial mission to save mankind, they indulging in a lingering lesbian lip-lock. Jodie neither pukes nor repels Franci. Johnson concludes with another quotation from Enoch 16:1. "And the death of the Nephilim, and wherever the spirits have left their bodies, their flesh will be destroyed, before the judgement. They will be banished until the Day of the Great Consumption and this also will stand against the Watchers and all those who are impious."
"Alien Armageddon" qualifies as an abominable opus with shoddy storytelling, sketchy characters, second-rate special effects, subpar dialogue, and shallow acting. Little about this below-average sci-fi saga is either groundbreaking or sensational. The occasional clashes between Nephilim infantry and earthlings enliven the exposition heavy narrative, and the few revelations in this predictable, standard-issue invasion flick lack impact. The Nephilim chieftain looks menacing enough with his cadaverous, predatory complexion, but Johnson doesn't permit him adequate screen time to create more than a fleeting impression. Basically, this sci-fi actioneer spends more time on Earth than in the heavens. Clocking in at 95 interminable minutes, “Alien Armageddon” makes “Wing Commander” look like “Star Wars.”
Johnson begins the action with a quotation from the Book of Enoch (10:9-10:15) out of the Apocrypha. "The Lord said to Gabriel: Proceed against the bastards, and the reprobates, and the sons of the fornicators, and destroy the sons of the Watchers from amongst men . . . bind them for seventy generations . . . Semyaza, the leader, will be destroyed with them. And destroy the Nephilim for they have wronged men." Following this quotation, Johnson employs horror icon Christopher Lee to provide some dramatic voice-over narration: "In ages past, the Nephilim Empire ruled the Earth, but they fell from grace. Once their slaves, Humanity rose up and defeated their gods. The Nephilim were purged from the earth and banished to the darkness. For centuries, they watched and waited. The Nephilim Empire would one day rise again." Afterward, Johnson introduces the hero, Cowboy (Don Scribner of "Slave Girls from Beyond Infinity"), who wears hair long and speaks through a grizzled beard. Cowboy is a convict at Folsom State Prison where he is serving time for the murder of his son and twenty-eight passengers on a bus. When a television reporter asks why he killed his son, Cowboy replies cryptically, "Boy had to die. He was cancer." Johnson cross cuts between this TV interview with Cowboy and the blitzkreig attack launched by the Nephilim against Earth. Later, dressed in an orange prison jump suit, Cowboy appears without explanation outside Folsom and takes the keys to an SUV from the corpse of its driver.
Our heroine is a feisty Jewish red-head, Jodie Elliot (British actress Katharine McEwan of "Sinners"), who operates a printing shop in contemporary Los Angeles. She is contending with a disgruntled customers who wants a discount when the alien ships appear over the city. The customer describes the ships erroneously as hot-air balloons, but Jodie fears the worst is about to happen. After the aliens have taken over Los Angeles and built a wall around the metropolis, Jodie joins an underground resistance movement. Eventually, the Nephilim ferret out her hiding place and capture her. Jodie shares a skyscraper prison cell with an African-American soldier, Markus (Benjamin J. Cain Jr. of "Dogma") and white, Catholic, B-2 Spirit bomber pilot Sheen (William David Tulin of "KingBreaker") who nuked Chicago before the Nephilim could make it their headquarters. An electronic force field substitutes for iron bars on the entrance of their cell, and she suffers a jolt when she tries to penetrate it. They dine on slop out of black plastic buckets and relieve themselves into a small foot locker. The meat that they are given is so vile that they puke it up, but this is all they are allowed to eat.
Meantime, Cowboy links up with another resistance unit. He sports a duster now with a Stetson riding low on his forehead. The Nephilim capture him after a firefight in the desert. Not long afterward, he winds up in the same cell with Jodie. Our heroine wants desperately to break out and rejoin her daughter who resides in the small town of Little Rock, California. She watches in horror as her cell mates are dragged off to become brunch. At one point, Jodie manages to escape briefly and witnesses a harrowing scene when a pregnant female inmate strapped down to a bed gives birth to several chunks of flesh. All along, two scientists Franci (Rochelle Vallese of "Scar") and Dr. Brenna (Julia Parker of "Girl Crazy") have been collaborating with the Nephilim to make humanity more palatable for their extraterrestrial taste buds. Once the Nephilim have used Franci, they stick her in the same cell with our heroes. The Nephilim take Markus and feed him to a flesh eating zombie like creature. Jodie, Franci, and Cowboy escape when Jodie stages a bout of illness. The girls head for Little Rock, but Jodie doesn’t find her daughter. Cowboy later rejoins them after commandeering an alien interceptor aircraft.
Meantime, Franci injects Jodie with some strange serum so that she becomes a bio-medical weapon against the Nephilim. Franci rhapsodizes about the pleasures of masquerading as a human and all the feelings that life has evoked for her. Predictably, she dies. Eventually, humanity triumphs over the Martian invaders. Before this occurs, we get to see revolting shots of giant, beady, orange slugs with pincers gnawing on the flesh and bones of decaying humans. Before Franci dispatches Jodie on her sacrificial mission to save mankind, they indulging in a lingering lesbian lip-lock. Jodie neither pukes nor repels Franci. Johnson concludes with another quotation from Enoch 16:1. "And the death of the Nephilim, and wherever the spirits have left their bodies, their flesh will be destroyed, before the judgement. They will be banished until the Day of the Great Consumption and this also will stand against the Watchers and all those who are impious."
"Alien Armageddon" qualifies as an abominable opus with shoddy storytelling, sketchy characters, second-rate special effects, subpar dialogue, and shallow acting. Little about this below-average sci-fi saga is either groundbreaking or sensational. The occasional clashes between Nephilim infantry and earthlings enliven the exposition heavy narrative, and the few revelations in this predictable, standard-issue invasion flick lack impact. The Nephilim chieftain looks menacing enough with his cadaverous, predatory complexion, but Johnson doesn't permit him adequate screen time to create more than a fleeting impression. Basically, this sci-fi actioneer spends more time on Earth than in the heavens. Clocking in at 95 interminable minutes, “Alien Armageddon” makes “Wing Commander” look like “Star Wars.”
Tuesday, December 20, 2011
FILM REVIEW OF ''SHERLOCK HOLMES: A GAME OF SHADOWS" (2011)
According to The Guinness World Records, Sir Arthur Conan Doyle’s illustrious literary detective Sherlock Holmes ranks as “the most portrayed movie character” in cinematic history. Indeed, Hollywood has been shooting movies about Sherlock Holmes since the initial one-reeler, “Sherlock Holmes Baffled,” appeared in 1900, as a 30-second silent epic. Since then a number of actors have taken up residence at 221 B Baker Street, ranging from the most vintage, Basil Rathbone during the 1940s, to the most bohemian, Robert Downey, Jr., who received a Golden Globe for his performance in director Guy Ritchie’s “Sherlock Holmes” (2009). Mind you, the Holmes character has made an enviable reputation for himself on television, too. Actor Jeremy Britt took top honors with the definitive interpretation of the notable consulting detective throughout 41 episodes of the Granada Television series. Most recently, the BBC-TV revived Doyle’s gumshoe for the contemporary series “Sherlock” with Benedict Cumberbatch making his deductions amid a modern-day London. Clearly, with as many as 211 movies featuring him, Sherlock Holmes qualifies as an enduring protagonist whose eternal popularity has not diminished in over a century.
Meanwhile, “Lethal Weapon” producer Joel Silver and Ritchie have brought back Holmes for a superior sequel, “Sherlock Holmes: A Game of Shadows” (**** out of ****), and “Paper Man” scenarists Michele and Kieran Mulroney have pitted him against his most diabolical nemesis, that Napoleon of Crime, Professor James Moriarty. Nothing less than the fate of Western civilization hangs in the balance during this taut 129 minute melodrama which sends Dr. Watson with our eponymous protagonist globetrotting across Europe after “Sherlock Holmes” had confined them to London. Although Lord Blackwood proved an audacious adversary in “Sherlock Holmes,” Moriarty emerges as a far more stimulating opponent in a sequel that surpasses its predecessor. This Moriarty may be the best in any Holmes adventure. Ritchie and the Mulroneys have put the Victorian Era sleuth through the paces with several exciting sequences, including a bullet-riddled shoot-out on a railway train to a challenging chess match in a scenic castle in Switzerland posed on a waterfall. Happily, “Sherlock Holmes: A Game of Shadows” preserves the formula of its predecessor in every detail and character, not only replaying the ingenious Holmes-O-Vision fisticuffs scenes but also ushering in new characters, such as Holmes’ brilliant elder brother Mycroft. My only complaint about this otherwise tour-de-force mystery thriller is the short shrift given to Holmes’ love interest, Irene Adler, who doesn’t garner her share of screen time.
“Sherlock Holmes: A Game of Shadows” takes place in the year 1891 as anarchy threatens to engulf Europe and ignite war between France and Germany. The press speculates either nationalists or anarchists are behind the violence, but Sherlock Holmes (Robert Downey, Jr. of “Iron Man”) believes Moriarty is to blame. Indeed, Moriarty is to blame! No sooner do his unwitting henchmen carry out a piece of his elaborate puzzle of murder and mayhem than a dishonorably discharged British sniper, Colonel Sebastian Moran (Paul Anderson of “A Lonely Place to Die”), kills them with extreme prejudice. Essentially, the sequel picks up where its predecessor more or less off as Dr. Watson is poised to wed Mary (Kelly Reilly of “Pride & Prejudice”) despite Holmes’ indefatigable efforts to derail matrimony. Holmes and Watson visit a London night club where Holmes was supposed to throw Watson’s stag party. Instead, Holmes runs into his brother Mycroft (Stephen Fry of “St. Trinian's”) and leaves a disgruntled Watson to gamble while he meets a gypsy woman, Madam Simza Heron (Noomi Rapace of the Swedish film “The Girl with the Dragon Tattoo”), who has been searching for her long lost brother named Rene. No sooner does Holmes read her fortune than a smelly Cossack warrior attacks them in an exhilarating scene. Later, after they escape, Holmes meets Moriarty at the university where he teaches mathematics. This is Holmes’ first encounter with Moriarty, and Moriarty tells him he plans to kill both Watson and his wife Mary on their honeymoon. Naturally, Holmes sets out to thwart him and all hell breaks loose.
Oscar-nominated actor Robert Downey, Jr., has another field day playing Sherlock Holmes. Some of his disguises make him virtually invisible. What may irritate die-hard Baker Street regulars are Downey’s undignified antics, particularly when he appears in drag to thwart the villains on the railroad out to murder Watson and his wife. Downey’s funniest scene has Holmes straddling a Shetland pony to the hilarious strains of Ennio Morricone’s music from the Clint Eastwood & Shirley MacLaine oater “Two Mules for Sister Sara.” Undoubtedly, Downey’s best dramatic scene occurs when he crosses analytical swords with Jared Harris’ Machiavellian Professor Moriarty. Mind you, Downey displays more personality than Harris. Nevertheless, Harris makes an undeniably menacing impression with a grand scheme to start a war. Jude Law reprises his role as Dr. Watson, and the chemistry between Law and Downey is still as charismatic as ever. Watson isn’t the bumbling oaf that Nigel Bruce was in the memorable Basil Rathbone outings in the 1940s. The mustached Law is as sharp with his wardrobe as he is with his revolver. For that matter, he is pretty good with military artillery. As Watson’s future wife, Kelly Reilly acquires more screen time here. Other supporting characters from the original, such as Inspector Lestrade (Eddie Marsan) and Holmes’ landlady Mrs. Hudson (Geraldine James), are back. One of producer Joel Silver’s better characteristics is his predilection for retaining the same characters as well as actors as he did in his quartet of “Lethal Weapon” blockbusters.
As usual, despite his revisionist handling of Holmes as a knuckle-smashing action hero, Ritchie makes sure that this lavishly produced thriller never wears out its welcome. Holmes and Watson find themselves up to their respective necks in danger. Happily, Ritchie and the Mulroney never fall back on the formulaic endangered woman plot with regard to Madam Simza and her part in the action. Unlike the first Ritchie “Holmes,” the sequel boasts a couple of tragic moments, but they don’t slow down the pace. Thanks to a lot of gorgeous computer-generated imagery and “Sommersby” lenser Philippe Rousselot photography, everything looks convincingly Victorian. Nothing about “Sherlock Holmes: A Game of Shadows” is merely elementary, but everything is wholly entertaining.
Meanwhile, “Lethal Weapon” producer Joel Silver and Ritchie have brought back Holmes for a superior sequel, “Sherlock Holmes: A Game of Shadows” (**** out of ****), and “Paper Man” scenarists Michele and Kieran Mulroney have pitted him against his most diabolical nemesis, that Napoleon of Crime, Professor James Moriarty. Nothing less than the fate of Western civilization hangs in the balance during this taut 129 minute melodrama which sends Dr. Watson with our eponymous protagonist globetrotting across Europe after “Sherlock Holmes” had confined them to London. Although Lord Blackwood proved an audacious adversary in “Sherlock Holmes,” Moriarty emerges as a far more stimulating opponent in a sequel that surpasses its predecessor. This Moriarty may be the best in any Holmes adventure. Ritchie and the Mulroneys have put the Victorian Era sleuth through the paces with several exciting sequences, including a bullet-riddled shoot-out on a railway train to a challenging chess match in a scenic castle in Switzerland posed on a waterfall. Happily, “Sherlock Holmes: A Game of Shadows” preserves the formula of its predecessor in every detail and character, not only replaying the ingenious Holmes-O-Vision fisticuffs scenes but also ushering in new characters, such as Holmes’ brilliant elder brother Mycroft. My only complaint about this otherwise tour-de-force mystery thriller is the short shrift given to Holmes’ love interest, Irene Adler, who doesn’t garner her share of screen time.
“Sherlock Holmes: A Game of Shadows” takes place in the year 1891 as anarchy threatens to engulf Europe and ignite war between France and Germany. The press speculates either nationalists or anarchists are behind the violence, but Sherlock Holmes (Robert Downey, Jr. of “Iron Man”) believes Moriarty is to blame. Indeed, Moriarty is to blame! No sooner do his unwitting henchmen carry out a piece of his elaborate puzzle of murder and mayhem than a dishonorably discharged British sniper, Colonel Sebastian Moran (Paul Anderson of “A Lonely Place to Die”), kills them with extreme prejudice. Essentially, the sequel picks up where its predecessor more or less off as Dr. Watson is poised to wed Mary (Kelly Reilly of “Pride & Prejudice”) despite Holmes’ indefatigable efforts to derail matrimony. Holmes and Watson visit a London night club where Holmes was supposed to throw Watson’s stag party. Instead, Holmes runs into his brother Mycroft (Stephen Fry of “St. Trinian's”) and leaves a disgruntled Watson to gamble while he meets a gypsy woman, Madam Simza Heron (Noomi Rapace of the Swedish film “The Girl with the Dragon Tattoo”), who has been searching for her long lost brother named Rene. No sooner does Holmes read her fortune than a smelly Cossack warrior attacks them in an exhilarating scene. Later, after they escape, Holmes meets Moriarty at the university where he teaches mathematics. This is Holmes’ first encounter with Moriarty, and Moriarty tells him he plans to kill both Watson and his wife Mary on their honeymoon. Naturally, Holmes sets out to thwart him and all hell breaks loose.
Oscar-nominated actor Robert Downey, Jr., has another field day playing Sherlock Holmes. Some of his disguises make him virtually invisible. What may irritate die-hard Baker Street regulars are Downey’s undignified antics, particularly when he appears in drag to thwart the villains on the railroad out to murder Watson and his wife. Downey’s funniest scene has Holmes straddling a Shetland pony to the hilarious strains of Ennio Morricone’s music from the Clint Eastwood & Shirley MacLaine oater “Two Mules for Sister Sara.” Undoubtedly, Downey’s best dramatic scene occurs when he crosses analytical swords with Jared Harris’ Machiavellian Professor Moriarty. Mind you, Downey displays more personality than Harris. Nevertheless, Harris makes an undeniably menacing impression with a grand scheme to start a war. Jude Law reprises his role as Dr. Watson, and the chemistry between Law and Downey is still as charismatic as ever. Watson isn’t the bumbling oaf that Nigel Bruce was in the memorable Basil Rathbone outings in the 1940s. The mustached Law is as sharp with his wardrobe as he is with his revolver. For that matter, he is pretty good with military artillery. As Watson’s future wife, Kelly Reilly acquires more screen time here. Other supporting characters from the original, such as Inspector Lestrade (Eddie Marsan) and Holmes’ landlady Mrs. Hudson (Geraldine James), are back. One of producer Joel Silver’s better characteristics is his predilection for retaining the same characters as well as actors as he did in his quartet of “Lethal Weapon” blockbusters.
As usual, despite his revisionist handling of Holmes as a knuckle-smashing action hero, Ritchie makes sure that this lavishly produced thriller never wears out its welcome. Holmes and Watson find themselves up to their respective necks in danger. Happily, Ritchie and the Mulroney never fall back on the formulaic endangered woman plot with regard to Madam Simza and her part in the action. Unlike the first Ritchie “Holmes,” the sequel boasts a couple of tragic moments, but they don’t slow down the pace. Thanks to a lot of gorgeous computer-generated imagery and “Sommersby” lenser Philippe Rousselot photography, everything looks convincingly Victorian. Nothing about “Sherlock Holmes: A Game of Shadows” is merely elementary, but everything is wholly entertaining.
Tuesday, December 13, 2011
FILM REVIEW OF ''THE SITTER" (2011)
Comedian Jonah Hill usually plays a goof-off in a group of guys. He appeared in director Judd Apatow's "Knocked Up" as well as "Funny People" as part of a bunch of guys. Although Hill took top billing in "Superbad," Michael Cera attracted the lion's share of attention in that Judd Apatow produced teen comedy. Hill shared the screen with Russell Brand in another Judd Apatow produced laffer "Get Him to the Greek," but Brand dominated that comedy with his hopelessly eccentric persona. Now, in "Pineapple Express" director David Gordon Greene's "The Sitter," Jonah Hill plays top dog. Not only does he star as the protagonist, but he also is the butt of most of the humorous jokes.
__looking_after_rodrigo_(kevin_hernandez),_blithe_%28landry_bender%29_and_slater_%28max_records%29.jpg)
Anybody who has seen the wonderful Christopher Columbus comedy "Adventures in Babysitting" (1987) might discern the palatable resemblance between "The Sitter"
(**** out of ****) and the former film. Freshman scribes Brian Gatewood and Alessandro Tanaka must have seen "Adventures in Babysitting," too, because Gordon's film involves a similar sequence of events. Circumstances compel our reluctant hero to serve as a babysitter. Later, he finds himself trapped between a rock and a hard place. Meaning, our hero must break rule number one of babysitting and leave the house. He must also break rule number two and take the children with him. Next, he breaks rule number three; he endangers their lives when he takes them in harm's way. The pay-off is that the kids learn some of life's harsh truths and experience a change in attitude about themselves. In fact, everybody, including the hero, learn something about themselves that they didn't know. The resemblance between the Chris Columbus movie and David Gordon Greene's movie ends at this point. "Adventures in Babysitting" qualified a mild PG-13 that skirted an R-rating, but kids and adults both can enjoy it. On the contrary, "The Sitter" deserves its R-rating for all of its profanity,
sexuality, and intense situations.
_tries_to_get_a_leg_up_on_thug-in-training_rodrigo_(kevin_hernandez).jpg)
The wild and chaotic evening which ensues is one of the most traumatic in Noah's life. Everything looks pretty simple until he encounters the Pedulla kids. First, 9-year-old Blithe (newcomer Landry Bender) wants to grow up to become a media 'celebutante' like either Paris Hilton oLindsay Lohan. She copious amounts of make-up. Second, Blithe's 13-year old brother Slater (Max Records of "Where the Wild Things Are") suffers from a sexual identity crisis. As a result, his psychiatrist keeps him heavily medicated. What Max refuses to recognize is he is a latent gay tendencies. The Pedulla's third child is an El Salvadoran refugee, Rodrigo (newcomer Kevin Hernandez) with an anger management problem. Whereas Slater is mild-manner and repressed, Rodrigo is a full-tilt anus who loves to toy with explosives. Rodrigo's favorite pastime is tossing cherry bombs into toilets. Rodrigo isn't happy because he keeps getting foisted off on one foster home after another because of his
destructive antics.
No sooner have the Pedullas and Noah's mom embarked on their dinner date than Marisa phones Noah. She informs him she is finally prepared to have sex with him if he can score some coke for a friend. Impulsively, Noah throws caution to the wind. He piles the Pedulla children into their mini-van and cruises into New York City with them to buy cocaine from a psychotic dealer, Karl (Sam Rockwell of "Cowboys and Aliens"), who surrounds himself with muscle-bound bodybuilders. Rodrigo purloins one of Karl's prized dinosaur eggs packed with $10-thousand worth of coke. When Rodrigo and Noah tangle in a tug of war over the egg, they crack it and cocaine covers Noah's face. Later, a group of African-American gangstas steal the Pedullas' mini-van that Noah commandeered for their Manhattan melodrama. Now, Karl wants to ice Noah if our hero doesn't pay for the cocaine, and Noah still wants to hook-up with Maria. Essentially, "The Sitter" constitutes a fish-out-of-water comedy where characters find themselves off their home turf at the mercy of merciless minions. Everything that can go wrong for Noah does go wrong. Miraculously, he manages to keep his bacon from getting fried, but in the process winds up running an incredibly hilarious gauntlet. The often profane but imaginative dialogue is as memorable as the diverse characters are crazy. These are the most grown-up urchins that you will ever see in a mainstream movie. Mind you, this is neither the kind of movie that you should take a child to see nor is it the kind you should watch if you like to sympathize with the protagonist. Aside from our Noah's mother and one of his college friends, virtually every character in "The Sitter" is fairly obnoxious. Our hero is the kind of guy who is not entirely trustworthy but he owns up to his mistakes and "The Sitter" ends on a positive note.
Tuesday, December 6, 2011
FILM REVIEW OF "THE TWILIGHT SAGA: BREAKING DAWN, PART ONE"
Superior sequels develop the plot of their predecessors rather than simply imitate them. "Gods and Monsters" director Bill Condon and "Twilight" scenarist Melissa Rosenberg have taken producer Stephenie Meyer's fourth novel "Twilight: Breaking Dawn" and raised the stakes as well as the rivalry. The rivalry here is not confined to just Edward and Jacob, but rather Jacob and his tribe. Mind you, if you've read the novels, you're in better shape to understand the storyline. Anybody walking into "The Twilight Saga: Breaking Dawn, Part One," however, may find themselves overwhelmed by a surplus of plot which is only comprehensible if they've seen the previous three outings. This holds true particularly for people who find vampire movies irresistible. Ostensibly, Meyers has rewritten the rules that govern conventional vampire conduct to the point that the "Twilight" movies emerge as vampire epics in name only. In "Breaking Dawn, Part One," vampires swim in streams as well as oceans. They can procreate like humans and sire offspring. They can cavort about in the daylight without any deleterious effects to their dermatology. They can admire their immortal beauty in a mirror. They even keep a cross in their house! Although their mortal enemies the werewolves can shape-shift from Native Americans to wolves, Meyer's vampires cannot convert themselves into either bats or wolves like Bela Lugosi's Count Dracula and his kind. Meyer's vampires can read minds, foresee the future, and race hither and yon in a flash, but they remain pretty much grounded. At one point in "Breaking Dawn," the vampires must run a gauntlet of werewolves so that they can feed, and the fleet-footed wolves make it nip and tuck the whole way. You'd think Edward and the Cullen clan would scale the trees and hurdle from one to the next, but then the werewolves wouldn't pose much of a problem? All nitpicking aside, "Breaking Dawn" is just as entertaining as "Twilight," "New Moon," and "Eclipse." Indeed, the characters continue to grow. Personally, I still prefer "Eclipse," because the villainous Victoria finally bit the dust. Mind you, "Breaking Dawn" is still splendid stuff with surprises galore for anybody who has enjoyed the franchise.
"Breaking Dawn, Part One" (**** out of ****) is just what "Twilight" fans have been dying for from the start. Edward Cullen (Robert Pattinson of "Water for Elephants") and Bella Swan (Kristen Stewart of "Adventureland") finally tie the knot. They exchange vows in the woods surrounded by their friends and family. Unlike some franchises which whittle down the number of characters reprising their roles, the "Twilight" sagas keep bringing the principals as well as the peripherals back. Unfortunately, the lesser Cullens, who had bigger scenes in "Eclipse," merge with the background this time. The same is true for Bella's high school peers who show up for the beautiful wedding in the woods. Happily, the character of Jane who is a member of the Volturi, played by Dakota Fanning, doesn’t make appearance in this entry. Sadly, she will be back in the finale. The action unfolds with an angry and obviously jealous Jacob Black (Taylor Lautner of "Abduction") charging off into the wilderness to change into a werewolf when he receives his wedding invitation. Remember, the werewolves here look like overgrown wolves, not the genuinely ghastly creatures in the "Underworld" franchise. Meanwhile, Bella struggles to maintain her equilibrium in high heels as Alice (Ashley Greene of "Skateland") chides her about getting enough beauty sleep. No sooner have they wed than our couple caper off to Brazil and then Edward takes Bella for a boat ride to a gorgeous private island paradise that Dr. Carlisle Cullen has given to them as a wedding present. Talk about wish fulfillment! Edward's fangs are so pointy by this time that he literally tears the bed apart on their wedding night. Afterward, they play several games of chess until Bella gets the hang of it and defeats him. Meantime, Edward isn't proud of himself. Bella bears the bruises of his love tussling,but she isn't complaining. While Edward is away on the mainland assuaging his appetite for animal blood, our heroine finds it difficult to keep down her own. Oh, no, not morning sickness! This improbable turn of events surprises even Edward. Bella gets sick, and Edward flies her back to Forks so Dr. Carlisle Cullen (Peter Facinelli of "Can't Hardly Wait") can examine her. At the same time, Bella’s father Sheriff Charlie Swan (Billy Burke of “Drive Angry”) is worried about her, too. As it turns out, Carlisle has no solution, and the fetus is growing at such an alarming pace that it drains the life out of Bella.
Clocking in at 117 minutes, "The Twilight Saga: Breaking Dawn, Part One" spends the first hour getting the action underway with the wedding and then the comic honeymoon antics before Condon and Rosenberg take things to the dark side. The special effects that shrink poor Bella until she resembles a Nazi death camp inmate are truly groundbreaking. Nothing about the way that she deteriorates looks spurious. Since the "Twilight" saga is rated PG-13, the honeymoon and the battle with the werewolves isn't as horrific as it might have been in an R-rated opus. The werewolves look a little more believable, and they even get to drool saliva. Keep in mind, the "Twilight" franchise is a romantic fantasy so gravity rarely interferes with these shenanigans. Robert Pattinson and Kristen Stewart still qualify as a sympathetic Romeo and Juliet couple, but the real surprise of "Breaking Dawn" is Taylor Lautner who brings more gravitas to his role than in previous "Twilights" or the abysmal "Abduction" that he starred in earlier this year. Of course, Jacob came to Bella's aid in "Eclipse" when he wasn't competing with Edward for her affection. Jacob's character assumes greater significance in "Breaking Dawn." The fourth entry in the "Twilight" franchise packs a wallop, particularly near the end. True "Twilight" fans shouldn't bolt when the end credits roll because more comes after the end credits with the evil Volturi savoring the final moments.
"Breaking Dawn, Part One" (**** out of ****) is just what "Twilight" fans have been dying for from the start. Edward Cullen (Robert Pattinson of "Water for Elephants") and Bella Swan (Kristen Stewart of "Adventureland") finally tie the knot. They exchange vows in the woods surrounded by their friends and family. Unlike some franchises which whittle down the number of characters reprising their roles, the "Twilight" sagas keep bringing the principals as well as the peripherals back. Unfortunately, the lesser Cullens, who had bigger scenes in "Eclipse," merge with the background this time. The same is true for Bella's high school peers who show up for the beautiful wedding in the woods. Happily, the character of Jane who is a member of the Volturi, played by Dakota Fanning, doesn’t make appearance in this entry. Sadly, she will be back in the finale. The action unfolds with an angry and obviously jealous Jacob Black (Taylor Lautner of "Abduction") charging off into the wilderness to change into a werewolf when he receives his wedding invitation. Remember, the werewolves here look like overgrown wolves, not the genuinely ghastly creatures in the "Underworld" franchise. Meanwhile, Bella struggles to maintain her equilibrium in high heels as Alice (Ashley Greene of "Skateland") chides her about getting enough beauty sleep. No sooner have they wed than our couple caper off to Brazil and then Edward takes Bella for a boat ride to a gorgeous private island paradise that Dr. Carlisle Cullen has given to them as a wedding present. Talk about wish fulfillment! Edward's fangs are so pointy by this time that he literally tears the bed apart on their wedding night. Afterward, they play several games of chess until Bella gets the hang of it and defeats him. Meantime, Edward isn't proud of himself. Bella bears the bruises of his love tussling,but she isn't complaining. While Edward is away on the mainland assuaging his appetite for animal blood, our heroine finds it difficult to keep down her own. Oh, no, not morning sickness! This improbable turn of events surprises even Edward. Bella gets sick, and Edward flies her back to Forks so Dr. Carlisle Cullen (Peter Facinelli of "Can't Hardly Wait") can examine her. At the same time, Bella’s father Sheriff Charlie Swan (Billy Burke of “Drive Angry”) is worried about her, too. As it turns out, Carlisle has no solution, and the fetus is growing at such an alarming pace that it drains the life out of Bella.
Clocking in at 117 minutes, "The Twilight Saga: Breaking Dawn, Part One" spends the first hour getting the action underway with the wedding and then the comic honeymoon antics before Condon and Rosenberg take things to the dark side. The special effects that shrink poor Bella until she resembles a Nazi death camp inmate are truly groundbreaking. Nothing about the way that she deteriorates looks spurious. Since the "Twilight" saga is rated PG-13, the honeymoon and the battle with the werewolves isn't as horrific as it might have been in an R-rated opus. The werewolves look a little more believable, and they even get to drool saliva. Keep in mind, the "Twilight" franchise is a romantic fantasy so gravity rarely interferes with these shenanigans. Robert Pattinson and Kristen Stewart still qualify as a sympathetic Romeo and Juliet couple, but the real surprise of "Breaking Dawn" is Taylor Lautner who brings more gravitas to his role than in previous "Twilights" or the abysmal "Abduction" that he starred in earlier this year. Of course, Jacob came to Bella's aid in "Eclipse" when he wasn't competing with Edward for her affection. Jacob's character assumes greater significance in "Breaking Dawn." The fourth entry in the "Twilight" franchise packs a wallop, particularly near the end. True "Twilight" fans shouldn't bolt when the end credits roll because more comes after the end credits with the evil Volturi savoring the final moments.
Wednesday, November 23, 2011
FILM REVIEW OF ''TOWER HEIST'' (2011)
The Ben Stiller & Eddie Murphy thriller “Tower Heist” (**1/2 out of ****) amounts to an entertaining but harebrained morality play about a gang of amateur thieves. Mind you, “Rush Hour” director Brett Ratner’s ninth film is a splendid example of contemporary class rivalry; responsible working class city dwellers tangle with a ruthless irresponsible millionaire who uses the system to shield himself. This shallow often silly snapshot of our times makes it plain that the have-nots want everything that they can haul off from the haves. Although Ratner and “Ocean’s Eleven” scenarist Ted Griffin & “Rush Hour 2” scribe Jeff Nathanson have contrived an innocuous, occasionally suspenseful caper with a few surprises, the overall result remains is bland and colorless. Sometimes, the filmmakers contradict themselves with psychic FBI agents who are easily fooled by the most obvious prank. Happily, despite its clumsy narrative lurches, “Tower Heist” doesn’t wear out its welcome. Ratner and company have done a good job of establishing the characters and setting up the heist. At one point, Casey Affleck concisely summarizes the predicament that they find themselves in and the gauntlet of obstacles that they must negotiate. Stealing what they wind up stealing turns out to be no picnic for our intrepid heroes. In some ways, “Tower Heist” is reminiscent of last summer’s hit comedy “Horrible Bosses” where amateur murderers sought advice from a professional hit man. The heist that our heroes plan during the Thanksgiving Day Parade under everybody’s noses recalls a similarly audacious crime committed in New York City during Labor Day in director Sidney Lumet’s “The Anderson Tapes” (1971) with Sean Connery. Meantime, the production values of “Tower Heist,” itself budgeted at a hefty $75 million, are impeccable. “Heat” lenser Dante Spinotti’s dazzling cinematography makes Ratner’s Manhattan based melodrama a feast for the eyes. The opening aerial shot atop a skyscraper looking down at Benjamin Franklin’s face on a $100 dollar bill at the bottom of a huge swimming pool is something to remember! Incidentally, the actual edifice itself is The Trump International Hotel & Tower overlooking Central Park.
Hardworking Josh Kovacs (Ben Stiller of “Meet the Parents”) serves as the general manager of the Tower where he reigns as the top gofer who ensures that all his residents enjoy the best of everything. The owner of the Tower, Arthur Shaw (Alan Alda of TV’s “M.A.S.H.”) , is an investment mogul who attended the same public school that Josh attended in Astoria. Josh and Shaw play chess on a regular basis with Shaw teaching him about the minutiae of the game. During the opening moments, Ratner provides us with a tour of the Tower and some of its notable workers and residents. We meet Josh as well as the adored doorman Lester (Stephen Henderson of “Everyday People”), the harried concierge Charlie (Casey Affleck of “Drowning Mona”), Josh’s immediate superior Mr. Simon (Judd Hirsh of “Independence Day”), new elevator operator Enrique (Michael Peña of “Shooter”) and a destitute stockholder, Mr. Fitzhugh (Matthew Broderick of “Ferris Bueller’s Day Off”), who Josh must evict. Aside from Mr. Fitzhugh, Josh keeps everything under control, until he learns the Feds have charged his old friend Shaw with securities fraud. Poor Lester tries to throw himself under a subway train because he has lost everything. An angry Josh storms into Shaw’s penthouse apartment and smashes Shaw’s most prized possession, a red Ferrari that Steve McQueen once drove. Later, Josh meets FBI Special Agent Claire Denham (Téa Leoni of “Bad Boys”) in a bar. She mentions that bigwigs like Shaw have a contingency safety net of millions to fall back on in case of a contingency. Josh assembles a motley crew of disgruntled employees who Shaw took to the cleaners, and they decide to ransack Shaw’s apartment for the loot. Josh enlists the aid of a former school mate, Slide (Eddie Murphy of “48 Hrs”), who knows something about committing crime. Predictably, nothing goes as planned, and our heroes find themselves in a real quandary when they discover where Shaw has stashed his money.
“Tower Heist” benefits from Alan Alda’s stellar performance as a slippery Bernie Madoff-style Wall Street villain. He steals a fortune from his gullible clients who have no clue that they’ve been defrauded. The supporting cast, including Matthew Broderick, Casey Affleck, Stephen Henderson, Judd Hirsh, Gabourey Sidibe, Téa Leoni, and Michael Peña, has flawless timing. Michael Peña is particularly funny. The flaw in the ointment of “Tower Heist” is the incompatible casting of Ben Stiller and Eddie Murphy. These two are accomplished comedians but their comedic styles and rhythms clash. Indeed, Stiller makes a sympathetic protagonist who commits an unfortunate mistake which not only costs his employees but also himself their life savings. Essentially, Stiller is playing a variation of his “A Night in the Museum” hero. Meanwhile, a hammy Murphy chews the scenery. The former “Saturday Night Live” comic emphasizes caricature over character in a role that Martin Lawrence could easily have pulled off without the histrionic antics. Murphy acts like he is in a “Norbit” spin-off, while everybody else plays it straight and narrow. The best comics behave as if they don’t know that they are being hilarious. Inexplicably, the producers delay the integration of Murphy into the action for about 40 minutes. Meantime, “Tower Heist” suffers from a bad ending that punishes our hero, apparently for his good intentions. The villain’s utter treachery, however, sanctions the efforts of our woebegone heroes to recover their stolen money. Shrewdly, the filmmakers have confined the larceny strictly to the characters who the villain has duped. No innocent bystanders are caught up in the calamity, and nothing in the PG-13 rated “Tower Heist” comes off as offensive. As polished as “Tower Heist” appears, the plot stumbles through its paces after everything has been carefully set up during the opening forty-five minutes. Nothing about "Tower Heist" qualifies it as a towering heist caper.
Hardworking Josh Kovacs (Ben Stiller of “Meet the Parents”) serves as the general manager of the Tower where he reigns as the top gofer who ensures that all his residents enjoy the best of everything. The owner of the Tower, Arthur Shaw (Alan Alda of TV’s “M.A.S.H.”) , is an investment mogul who attended the same public school that Josh attended in Astoria. Josh and Shaw play chess on a regular basis with Shaw teaching him about the minutiae of the game. During the opening moments, Ratner provides us with a tour of the Tower and some of its notable workers and residents. We meet Josh as well as the adored doorman Lester (Stephen Henderson of “Everyday People”), the harried concierge Charlie (Casey Affleck of “Drowning Mona”), Josh’s immediate superior Mr. Simon (Judd Hirsh of “Independence Day”), new elevator operator Enrique (Michael Peña of “Shooter”) and a destitute stockholder, Mr. Fitzhugh (Matthew Broderick of “Ferris Bueller’s Day Off”), who Josh must evict. Aside from Mr. Fitzhugh, Josh keeps everything under control, until he learns the Feds have charged his old friend Shaw with securities fraud. Poor Lester tries to throw himself under a subway train because he has lost everything. An angry Josh storms into Shaw’s penthouse apartment and smashes Shaw’s most prized possession, a red Ferrari that Steve McQueen once drove. Later, Josh meets FBI Special Agent Claire Denham (Téa Leoni of “Bad Boys”) in a bar. She mentions that bigwigs like Shaw have a contingency safety net of millions to fall back on in case of a contingency. Josh assembles a motley crew of disgruntled employees who Shaw took to the cleaners, and they decide to ransack Shaw’s apartment for the loot. Josh enlists the aid of a former school mate, Slide (Eddie Murphy of “48 Hrs”), who knows something about committing crime. Predictably, nothing goes as planned, and our heroes find themselves in a real quandary when they discover where Shaw has stashed his money.
“Tower Heist” benefits from Alan Alda’s stellar performance as a slippery Bernie Madoff-style Wall Street villain. He steals a fortune from his gullible clients who have no clue that they’ve been defrauded. The supporting cast, including Matthew Broderick, Casey Affleck, Stephen Henderson, Judd Hirsh, Gabourey Sidibe, Téa Leoni, and Michael Peña, has flawless timing. Michael Peña is particularly funny. The flaw in the ointment of “Tower Heist” is the incompatible casting of Ben Stiller and Eddie Murphy. These two are accomplished comedians but their comedic styles and rhythms clash. Indeed, Stiller makes a sympathetic protagonist who commits an unfortunate mistake which not only costs his employees but also himself their life savings. Essentially, Stiller is playing a variation of his “A Night in the Museum” hero. Meanwhile, a hammy Murphy chews the scenery. The former “Saturday Night Live” comic emphasizes caricature over character in a role that Martin Lawrence could easily have pulled off without the histrionic antics. Murphy acts like he is in a “Norbit” spin-off, while everybody else plays it straight and narrow. The best comics behave as if they don’t know that they are being hilarious. Inexplicably, the producers delay the integration of Murphy into the action for about 40 minutes. Meantime, “Tower Heist” suffers from a bad ending that punishes our hero, apparently for his good intentions. The villain’s utter treachery, however, sanctions the efforts of our woebegone heroes to recover their stolen money. Shrewdly, the filmmakers have confined the larceny strictly to the characters who the villain has duped. No innocent bystanders are caught up in the calamity, and nothing in the PG-13 rated “Tower Heist” comes off as offensive. As polished as “Tower Heist” appears, the plot stumbles through its paces after everything has been carefully set up during the opening forty-five minutes. Nothing about "Tower Heist" qualifies it as a towering heist caper.
Sunday, October 30, 2011
FILM REVIEW OF ''THE THREE MUSKETEERS"
"Resident Evil" producer and director Paul W.S. Anderson should stick to making either science fiction horror chillers, like "Event Horizon" and "The Soldier," or brawny actioneers, like "Mortal Combat," and "Death Race." These genres thrive on larger-than-life characters performing heavy-handed histrionics in over-the-top situations. Gadgets and gimmicks proliferate in both genres, typically with the combatants defeating their enemy because they display greater competence with their weapons. Now, Anderson has ventured outside of his usual bailiwick with "The Three Musketeers." The immortal Alexander Dumas novel emphasized court intrigue, chivalrous romance, and colorful swordplay in a 17th century setting. Indeed, "The Three Musketeers" has been a favorite of filmmakers since the French produced the first cinematic version in 1903. Since that long lost classic appeared over a century ago, more than 30 remakes and various sequels have followed. Hollywood conjured up two unusual adaptations. First, Mascot Pictures released a serial in 1933 which cast ten-gallon hero John Wayne as a one of the three eponymous protagonists in the Arabian Desert as French Foreign Legionnaires. Second, Universal Studios shifted the storyline to the Texas-Mexican border for the short-lived 1960s’ western television series "Laredo" which swapped six-guns for swords, but captured the essence of the Musketeers' tongue-in-cheek shenanigans. Anderson and scenarists Alex Litvak and Andrew Davies have tried to update “The Three Musketeers” (** OUT OF ****) for contemporary audiences by adding anachronistic elements which are often found in steampunk science fiction and fantasy. Instead, had Anderson imitated the latest literary trend that Quirk Books launched with Seth Grahame-Smith in 2009 in his parody of Jane Austin’s “Pride and Prejudice” entitled “Pride and Prejudice and Zombies,” he might have fared better.
The best "Musketeer" movies have been frivolous, light-hearted swashbucklers with nimble swordplay and charismatic characters. “A Hard Day’s Night” director Richard Lester made the most memorable remake that emerged as two films “The Three Musketeers” (1973) and “The Four Musketeers” (1974). Although Anderson's take on the chivalrous Dumas tale qualifies as ambitious with impressive costumes and production values, the overall treatment is nevertheless uneven and ultimately uninspired. Anderson lacks the light touch and helms this period outing with a heavy hand. In a misguided effort to revitalize this venerable yarn of derring-do for contemporary audiences, he has resorted to outlandish gadgets such as scuba gear, complex vaults, and airborne galleons. Basically, Anderson seems to be imitating swashbucklers like Terry Gilliam's "The Adventures of Baron Munchausen" (1988) and Mathew Vaughn's "Stardust" (2007). Meantime, he has forsaken the essence of any good "Musketeer" movie, the camaraderie among Athos, Aramis, Porthos, and D'Artagnan.
Mind you, Anderson's "Three Musketeers" doesn't qualify as a complete fiasco. This $90-million international production is a triumph of Pierre-Yves Gayraud's extravagant costumes and Paul Denham Austerberry's sophisticated production designs. Although Anderson filmed this epic on location in Germany, the sprawling Castle Herrenchiemsee in Bavaria stands in splendidly for the actual Palace of Versailles. If showy costumes, production values, and a handsome cast constituted a good movie, then this "Three Musketeers" would qualify as a stunner. Unfortunately, this is simply not the case. Sadly, nothing about the use of 3-D distinguishes "Rambo" lenser Glen MacPherson's impeccable widescreen cinematography. Meantime, Anderson must have been tugged in two directions by his writers who were as different as Dr. Jekyll and Mr. Hyde. Alex Litvak, who penned the horror opus "Predators," and Andrew Davies, who wrote the two chick flick "Brigit Jones" romancers, seem to alternate between a diamond heist and sword fighting without any time out for romantic interludes. The chief differences between this “Three Musketeers” and previous remakes is the use of airships to accelerate the momentum of the plot. Whereas our heroes galloped on horseback in the earlier epics, Anderson and his scenarists rely on gimmicks to speed up the action. Anderson doesn’t have a clue about how to wield comedy and all the jokes and pranks fall flat, particularly with Planchet who serves as the butt of the humor. Matters aren't helped that the actors cast as the leads. They are hopelessly overshadowed by a stronger supporting cast, principally Milla Jovovich, Orlando Bloom, Mads Mikkelsen, and Oscar-winner Christoph Waltz who are better known to audiences. “The Three Musketeers” never generates the zest that either the silent Douglas Fairbanks’ classic or the famous Richard Lester version with Michael York, Richard Chamberlain, and Oliver Reed had. Altogether, “The Three Musketeers” buckles because it doesn’t swash!
Subscribe to:
Posts (Atom)