Two competent Hollywood helmers—George Sherman of “Big Jake” and Henry Levin of “The Man from Colorado”--teamed up for the above-average Columbia Pictures’ release “The Bandit of Sherwood Forest,” yet another saga about Robin Hood and his merry men in their battle with an autocratic tyrant. Scenarists Wilfred H. Petitt of “A Thousand and One Nights” and Melvin Levy of “The Robin Hood of El Dorado” have adapted author Paul A. Castleton’s 1941 novel “The Son of Robin Hood” in a rustic outing that tampers with British history, specifically the Magna Carta. The chief difference here is Robin Hood is a gray-haired, old fart, and Will Scarlet, Allan-A-Dale, Little John and Friar Tuck appear a mite long in the tooth, too. Robin Hood, Earl of Huntington, has fathered a son with an unseen Maid Marian and the son--Robert of Nottingham--must now eclipse his father’s legendary standing. Whether he is romancing a lady-in-disguise or crossing swords with the dastardly foe, a mustached Cornel Wilde appears to be in his element. He has no end of self-confidence, and his superb skills as an archer, an equestrian, and a swordsman testify to his expertise with these weapons of warfare. Mind you, Wilde is no Errol Flynn. He lacks Flynn’s flamboyance. Moreover, he doesn’t have any scenes here that stand out from the rest of the heroics. Nevertheless, Wilde was a champion fencer on the U.S. Olympic fencing team during the 1930s, and he appears to be performing his own fighting in the finale when he clashes with bad guy Henry Daniell. Unfortunately, the dames here are nothing delectable. Wilde’s romantic interest--former Warner Brothers starlet Anita Louise--is no pin-up girl, but she is an adequate actress. Jill Esmond makes only a minor impression as the Queen Mother.
“The Bandit of Sherwood Forest” (**1/2 out of ****) opens with scores of green clad archers on horseback of every description assembling in the wilderness to hear an elderly Robin Hood (Russell Hicks of “Tarzan’s New York Adventure”) address them about imminent danger of tyranny that has loomed up in the personage of the Lord Regent, William of Pembroke (Henry Daniell of “The Sea Hawk”), who intends to repeal the Magna Carta. “Comrades,” Robin states, “I’ve called you together again because the people of England face a grave crisis. Many years ago, as Robin Hood, I led you as an outlaw band here in Sherwood Forest. Together, we resisted the tyrant King John. When he died, we dispersed because we believed that tyranny had died with him. But tyranny did not die, it merely slept. And now it has awakened again. It’s the same tyranny, different only in name. And its name is William of Pembroke, the Lord Regent. Now, the Lord Regent calls the Council of Barons to a special meeting at Nottingham Castle. As the Earl of Huntington, I will attend, but on one knows what the outcome will be. But if he dares do anything to destroy the rights given you by the Magna Carta, we must take up our swords again.”
Later, after Pembroke has rescinded the Magna Carta, Robin Hood delivers a passionate speech at the Council of Barons in Nottingham Castle against Pembroke’s actions. "I've sat here hardly believing what my ears hear or my eyes see. Have you forgotten that English blood was shed to gain the Magna Carta? Does it means nothing to you that thousands of men have died for the people's right to rule themselves, to tax themselves, to live in liberty and in dignity? Now, the Regent asks you to take away those rights, and you are ready to agree. How can you face your families, your friends, and all those people you will betray for one ambitious man? Or if you will not think of others, you must think of yourselves. Today, the Regent calls on you for help because without you he is powerless. If you grant the Regent what he asks, he will need you no longer and he will turn on you and destroy you, just as surely as today he is destroying those whose only protection is the Magna Carta. If you refuse the Regent what he asks, you'll be your country's heroes. But I warn you if you give into him, you'll be history's blackest traitors."
The other barons capitulate to Pembroke, but Robin refuses to accommodate him. Consequently, Pembroke banishes the former outlaw and confiscates his wealth. Robin warns the Queen Mother to watch over her son because Pembroke may try to kill him. Naturally, the Queen Mother refuses to believe that Pembroke could behave so monstrously. Nevertheless, Robin pledges his service to the King and Queen and then returns to Sherwood Forest. Meantime, the wily Pembroke plots his strategy. First, he separates the Queen Mother from the young King of England (Maurice Tauzin of “The Piped Piper”) and orchestrates the demise of the monarch at the castle. Pembroke plans to have the young king plunge to his death from the tower where he has arranged for the youngster to lodge. Pembroke’s best-laid plans go awry when the Queen Mother (Jill Esmond of “The White Cliffs of Dover”) and Lady Catherine Maitland (Anita Louise of “A Midsummer Night’s Dream”) escape from the castle. Pembroke dispatches search parties, but they return to the castle at dusk. Instead, Robert (Cornel Wilde of “High Sierra”) stumbles upon them in the woods. Lady Catherine and the Queen Mother try to masquerade as scullery maids. Robert doesn’t believe a word of it, especially after he gets a glimpse of Lady Catherine’s silk stocking. Eventually, our hero discovers the identities of the two women, and Robin sends Allan-A-Dale (Leslie Denison of "Desperate Journey") in the guise of a minstrel to the castle to perform. Allan-A-Dale eavesdrops on Pembroke and the Sheriff of Nottingham as they discuss murder.
Before this can happen, our heroes masquerade as religious figures who request shelter for the night at Nottingham Castle. Lady Catherine poses as the ill Prioress of Buxton. Initially, Fitz-Herbert (perennial villain George Macready of “Gilda”) believes that the appearance of church people will derail their plans. On the contrary, argues Pembroke, the church people will serve as “witnesses to the fact that the king died by accident.” Later, Fitz-Herbert leaves with a regiment to scour the countryside for the heroes when he runs into the real religious figures. Although they manage to rescue the king, Robert, Lady Catherine and Allan-A-Dale are captured. Pembroke plans to hang them, including Lady Catherine. Robert demands his right as a nobleman in the law of trial by combat. Pembroke accedes to Robert’s wishes and then locks the protagonist up with no food or water for three days. The sly Pembroke also orders Fitz-Herbert to assemble the archers and have them ready to fill Robert with arrows if he gains the upper hand. Little do the villains know that Lady Catherine has been sharing her food and drink with Robert while he maintains a starved attitude. Meantime, Robin and his men take the king to safety and infiltrate the castle while Robert and Pembroke clash swords. The villainous Sheriff of Nottingham intervenes and stabs Robert in the back during the sword fight. Robin Hood skewers the Sheriff and Pembroke is desperate for help. Robert is reduced to fighting with his other hand. Pembroke races up a staircase to a higher level and hurls his sword at the protagonist like a spear. Robert hurls his and it lands in Pembroke’s chest and he plunges off the wall to his death in the courtyard below. “The Bandit of Sherwood Forest” concludes with the young King knighting Robert as the Earl of Sutherland and seeing to it that Lady Catherine becomes his bride.
Clocking in at a trim 86 minutes, “The Bandit of Sherwood Forest” is a brisk swashbuckler on a budget. Presumably, neither Sherman nor Levin collaborated on this epic. The question is who replaced whom? Interestingly, when the arrow sinks into the screen credit for the two directors, it lands solidly on George Sherman’s name. Sherman may have been the alpha director. Occasionally, one or both of these helmers uses the shadows of the combatants on the walls as another way to depict the scene. Undoubtedly, Sherman and Levin helmed separate scenes, perhaps like director Michael Curtiz did after he replaced William Keighley on “The Adventures of Robin Hood.” Incidentally, lenser Tony Gaudio photographed not only the Flynn classic, but also he was one of three photographers on the Wilde version. Lensers George Meehan of “The Black Parachute” and William E. Snyder of “Creature from the Black Lagoon” also received credit as directors of photography on “The Bandit of Sherwood Forest.” Some of the casting choices are quite novel: western tough guy Ray Teal plays Little John and Edgar Buchanan portrays Friar Tuck. The scene where Buchanan’s Friar Tuck tangles with Robert has got to be the only time that Buchanan worked up a sweat on screen. Typically, Buchanan specialized in slippery, conniving, sedentary supporting characters, but here he displays incredible agility.
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.
Wednesday, July 7, 2010
Thursday, July 1, 2010
FILM REVIEW OF ''BUCHANAN RIDES ALONE" (1958)
Randolph Scott plays a rugged, happy-go-lucky, soldier-of-fortune in Budd Boetticher’s western “Buchanan Rides Alone,” and the eponymous character stirs up a lot of trouble with the powers-that-be in a corrupt little American border town in this brisk, well-photographed sagebrusher based on author Jonas Ward’s novel “The Name’s Buchanan.” Until Buchanan rides across the Mexican-American border into Argy Town, everything is rosy for our stalwart protagonist. He has spent enough time fighting in the Mexican revolution so that he has enough money to buy a ranch in West Texas. Buchanan is savoring a life of leisure when he clashes with the family Argy. Although this entertaining oater isn’t as memorable as either “Comanche Station” or “Ride Lonesome,” “Buchanan Rides Alone” (***1/2 out of ****) differs from those two straight-faced, dramatic dustraisers. Boetticher and “Decision at Sundown” scenarist Charles Lang put the accent on humor and the villains—while appropriately greedy with villainy—are neither as flawed nor narcissistic as most Boetticher foes. One of the third string villains played by L.Q. Jones is mildly reminiscent of the James Coburn villain in “Ride Lonesome.” At least one director who worshipped Boetticher believes that the feuding Argy clan that squabbles over the control of the town foreshadowed Sergio Leone’s similarly themed “Fistful of Dollars.” Scott and Boetticher teamed up for the fourth time as star and director of another compelling but low-budgeted horse opera.
No sooner has Tom Buchanan (Randolph Scott of “The Texans”) left Mexico and ridden into Agry Town than Sheriff Lew Agry (Barry Kelley of “The Tall Stranger”) and his deputy search him. The sheriff allows Buchanan in Agry Town but advises our hero not to “linger.” Buchanan reassures the sheriff: “I ain’t going to linger no place until I get back to where I belong.” After getting a $10 room at the Agry Hotel managed by Amos Agry (Peter Whitney of “Destination Tokyo”), Buchanan ambles over to the Agry Palace Saloon for whiskey and a steak. Earlier, the youngest Agry, Roy (William Leslie of “Return to Warbow”), had galloped into town from Mexico and gone into the saloon. Roy demands a drink. The bartender, Nacho (Nacho Galindo of “The Big Steal”), obeys Simon Agry’s strict orders not to let Roy drink. Initially, Buchanan knocks Roy down and disarms him. Later, Buchanan offers Roy a shot but Roy snatches the bottle. Roy swears that he’ll kill him. Roy gets so drunk that Buchanan walks out without a scratch. Not long afterward a Mexican, Juan de la Vega (Manuel Rojas of “The Magnificent Matador”), plunges into the saloon and kills Roy in a gunfight. Lew arrests Juan for Roy’s death and beats him up. When Buchanan tries to intervene for Juan, Lew throws Buchanan in jail, too. Initially, Lew doesn’t know Juan’s identity. Meanwhile, after his hired gunman Carbo (Craig Stevens of “Gunn”) contacts him about the death in the family, Roy’s father Judge Simon Agry (Tol Avery of “The Satan Bug”) refuses to let Lew string them up. Simon arrives in the nick of time to save them. Simon’s speech reeks of hypocrisy. Not only is wily Simon considering his future in politics, but he also is considering a suitable ransom that he could demand from the de la Vega clan for their son. The internecine strife between Agry brothers Simon and Lew puts them at loggerheads. Each man works at cross purposes when they hatch them individual schemes with their third brother Amos scrambling for crumbs.
At the trial, the jury clears Buchanan of any wrongdoing in the death of Roy Agry. They convict Juan, however, and Simon sentences him to swing an hour before sunset. Meanwhile, Buchanan discovers that Lew has looted his money belt that held $2000. Furthermore, Lew assigns Lafe (Don C. Harvey of “Utah Blaine”) and Pecos to escort Buchanan out of town. “I’m making sure you don’t show up in Agry Town again,” Lew says with relish. Of course, Lew plans to have Lafe liquidate Buchanan, but fellow West Texan Pecos finds this intolerable and he disposes of Lafe. While this is going on, Juan’s father sends an emissary, Esteban Gomez (Joe De Santis of “The Professionals”) to cut a deal with Simon. Gomez offers Simon 30 blooded horses in exchange for Juan, but instead Simon demands $50-thousand. Later, Lafe and Pecos take Buchanan out to the middle of nowhere. Lew’s two deputies aim their rifles at Buchanan and the crash of rifle fire fills the air as Buchanan dives to the ground. Pecos helps him up and they have to bury Lafe’s body on a tree because the gravesite filled with water. How many times do you see a western where they dig a grave and it fills up with water so they have to tie the corpse to a tree?
Anyway, Amos informs Lew about Simon’s plans to make Juan’s wealthy father fork over $50-thousand and he wants $10-thousand for helping him. The earlier reference to “Fistful of Dollars” holds from “Buchanan Rides Alone” and Amos is the equivalent of the bell ringer in Sergio Leone’s western. Lew sends Juan out of town with Waldo (Robert Anderson of “Mission over Korea”) his henchmen to stash him at an abandoned shack. Lew’s henchmen stumble onto Pecos at the shack as he is cooking bacon. Buchanan gets the drop on Waldo and company. Pecos and Juan tie up the henchmen and Buchanan heads back to Agry Town. Meantime, Pecos accompanies Juan to the border. Things become a little repetitive at this point. Waldo and his two gunmen untie themselves and ambush Pecos and Juan. Pecos dies and Juan is a prisoner again. At Simon’s ranch, Esteban shows up with the $50-thousand. Carbo goes to Agry Town to get Juan and discovers Lew’s perfidy. He leaves and Lew finds himself facing Buchanan. Our protagonist demands the return of his gunbelt and his money. Lew counts out all that is left of the loot: $1,700.
As Buchanan is leaving the jail, he runs into Waldo and company with Juan in their custody. Buchanan surrenders and Juan and he wind up in the hoosegow again. Carbo rides back into town with Simon and they find Gomez negotiating a deal with Lew. Carbo discovers that Juan is back in jail. Carbo misses Waldo and his henchmen as they head to see Lew. Carbo releases Juan and Buchanan. Meanwhile, Lew turns on Simon uses him as a shield to get into his own jail. Buchanan surprises them, takes Simon hostage, and Juan, Gomez, Buchanan and Simon flee. Gomez is wounded in the arm. Buchanan and Juan make it across the bridge at the border, but their vehicle overturns and the saddle bags with $50-thousand in them lay on the bridge. Buchanan negotiates the release of Gomez for Simon. Lew shoots Simon when he makes it to bridge and picks up the saddle bags. Buchanan scrambles for the saddle bags, but he runs out of bullets and Lew gets the drop on him. Simon musters his last breath to shoot his own brother. A fatally wounded Lew finishes off Simon. Buchanan retrieves the saddle bags and gives them to Juan. Carbo makes threats, but Buchanan points out that Agry Town now belongs to him. Carbo recommends that Buchanan ride.
Boetticher and “Prince Valiant” lenser Lucien Ballard shot “Buchanan Rides Alone” on location at Old Tucson so the film evokes a gritty, authentic feel for the old West. Nary a minute is wasted in this 78-minute, Columbia Pictures release that co-starred Craig Stevens as an elegant-looking gunman. If you are looking to a traditional, leathery-tough cowboy epic, “Buchanan Rides Alone” has more than enough action, irony, quotable dialogue and humor to keep you interested without wearing out its welcome.
No sooner has Tom Buchanan (Randolph Scott of “The Texans”) left Mexico and ridden into Agry Town than Sheriff Lew Agry (Barry Kelley of “The Tall Stranger”) and his deputy search him. The sheriff allows Buchanan in Agry Town but advises our hero not to “linger.” Buchanan reassures the sheriff: “I ain’t going to linger no place until I get back to where I belong.” After getting a $10 room at the Agry Hotel managed by Amos Agry (Peter Whitney of “Destination Tokyo”), Buchanan ambles over to the Agry Palace Saloon for whiskey and a steak. Earlier, the youngest Agry, Roy (William Leslie of “Return to Warbow”), had galloped into town from Mexico and gone into the saloon. Roy demands a drink. The bartender, Nacho (Nacho Galindo of “The Big Steal”), obeys Simon Agry’s strict orders not to let Roy drink. Initially, Buchanan knocks Roy down and disarms him. Later, Buchanan offers Roy a shot but Roy snatches the bottle. Roy swears that he’ll kill him. Roy gets so drunk that Buchanan walks out without a scratch. Not long afterward a Mexican, Juan de la Vega (Manuel Rojas of “The Magnificent Matador”), plunges into the saloon and kills Roy in a gunfight. Lew arrests Juan for Roy’s death and beats him up. When Buchanan tries to intervene for Juan, Lew throws Buchanan in jail, too. Initially, Lew doesn’t know Juan’s identity. Meanwhile, after his hired gunman Carbo (Craig Stevens of “Gunn”) contacts him about the death in the family, Roy’s father Judge Simon Agry (Tol Avery of “The Satan Bug”) refuses to let Lew string them up. Simon arrives in the nick of time to save them. Simon’s speech reeks of hypocrisy. Not only is wily Simon considering his future in politics, but he also is considering a suitable ransom that he could demand from the de la Vega clan for their son. The internecine strife between Agry brothers Simon and Lew puts them at loggerheads. Each man works at cross purposes when they hatch them individual schemes with their third brother Amos scrambling for crumbs.
At the trial, the jury clears Buchanan of any wrongdoing in the death of Roy Agry. They convict Juan, however, and Simon sentences him to swing an hour before sunset. Meanwhile, Buchanan discovers that Lew has looted his money belt that held $2000. Furthermore, Lew assigns Lafe (Don C. Harvey of “Utah Blaine”) and Pecos to escort Buchanan out of town. “I’m making sure you don’t show up in Agry Town again,” Lew says with relish. Of course, Lew plans to have Lafe liquidate Buchanan, but fellow West Texan Pecos finds this intolerable and he disposes of Lafe. While this is going on, Juan’s father sends an emissary, Esteban Gomez (Joe De Santis of “The Professionals”) to cut a deal with Simon. Gomez offers Simon 30 blooded horses in exchange for Juan, but instead Simon demands $50-thousand. Later, Lafe and Pecos take Buchanan out to the middle of nowhere. Lew’s two deputies aim their rifles at Buchanan and the crash of rifle fire fills the air as Buchanan dives to the ground. Pecos helps him up and they have to bury Lafe’s body on a tree because the gravesite filled with water. How many times do you see a western where they dig a grave and it fills up with water so they have to tie the corpse to a tree?
Anyway, Amos informs Lew about Simon’s plans to make Juan’s wealthy father fork over $50-thousand and he wants $10-thousand for helping him. The earlier reference to “Fistful of Dollars” holds from “Buchanan Rides Alone” and Amos is the equivalent of the bell ringer in Sergio Leone’s western. Lew sends Juan out of town with Waldo (Robert Anderson of “Mission over Korea”) his henchmen to stash him at an abandoned shack. Lew’s henchmen stumble onto Pecos at the shack as he is cooking bacon. Buchanan gets the drop on Waldo and company. Pecos and Juan tie up the henchmen and Buchanan heads back to Agry Town. Meantime, Pecos accompanies Juan to the border. Things become a little repetitive at this point. Waldo and his two gunmen untie themselves and ambush Pecos and Juan. Pecos dies and Juan is a prisoner again. At Simon’s ranch, Esteban shows up with the $50-thousand. Carbo goes to Agry Town to get Juan and discovers Lew’s perfidy. He leaves and Lew finds himself facing Buchanan. Our protagonist demands the return of his gunbelt and his money. Lew counts out all that is left of the loot: $1,700.
As Buchanan is leaving the jail, he runs into Waldo and company with Juan in their custody. Buchanan surrenders and Juan and he wind up in the hoosegow again. Carbo rides back into town with Simon and they find Gomez negotiating a deal with Lew. Carbo discovers that Juan is back in jail. Carbo misses Waldo and his henchmen as they head to see Lew. Carbo releases Juan and Buchanan. Meanwhile, Lew turns on Simon uses him as a shield to get into his own jail. Buchanan surprises them, takes Simon hostage, and Juan, Gomez, Buchanan and Simon flee. Gomez is wounded in the arm. Buchanan and Juan make it across the bridge at the border, but their vehicle overturns and the saddle bags with $50-thousand in them lay on the bridge. Buchanan negotiates the release of Gomez for Simon. Lew shoots Simon when he makes it to bridge and picks up the saddle bags. Buchanan scrambles for the saddle bags, but he runs out of bullets and Lew gets the drop on him. Simon musters his last breath to shoot his own brother. A fatally wounded Lew finishes off Simon. Buchanan retrieves the saddle bags and gives them to Juan. Carbo makes threats, but Buchanan points out that Agry Town now belongs to him. Carbo recommends that Buchanan ride.
Boetticher and “Prince Valiant” lenser Lucien Ballard shot “Buchanan Rides Alone” on location at Old Tucson so the film evokes a gritty, authentic feel for the old West. Nary a minute is wasted in this 78-minute, Columbia Pictures release that co-starred Craig Stevens as an elegant-looking gunman. If you are looking to a traditional, leathery-tough cowboy epic, “Buchanan Rides Alone” has more than enough action, irony, quotable dialogue and humor to keep you interested without wearing out its welcome.
FILM REVIEW OF ''GROWN UPS" (2010)
“Happy Gilmore” director Dennis Duggan’s new ensemble feel-good comedy, “Grown Ups” (*** out of ****) is an Adam Sandler movie for people who hate Adam Sandler movies. The two times that I saw this comedy, the audience was made up people who were older than the characters in the movie. This entertaining, character-driven, middle-of-the-road reunion movie resembles “The Big Chill” minus its drama and recalls the Robin Williams comedy “The Best of Times” about old high school rivals looking for a game rematch. Chris Rock, Kevin James, Rob Schneider, and David Spade co-star as Sandler’s closest friends and boyhood pals, while Mexican beauty Salma Hayek plays his wife. Maria Bello, Joyce Van Pattern and Steve Buscemi round out this exemplary cast. The gross-out gags of earlier Sandler movies have given way here to family values, but the insults and putdowns are still hilarious.
Sandler has come a long way since he appeared in “Billy Madison” back in 1995. Typically, the former “Saturday Night Live” comedian plays either wise acres who flout responsibility to indulge themselves in the lap of luxury or underdogs. Usually, Sandler’s other movies concerned challenged individuals, such as the underdogs in both “The Water Boy” and “Little Nicky.” Over the years Sandler has gradually eroded this smart aleck image, starting with “Big Daddy,” another Duggan movie, where he found himself stuck with raising a child. Nevertheless, he took a turn in his career when he made “Punch Drunk Love” and later The Longest Yard,” and even publicized his support of gay rights with “I Now Pronounce You Chuck and Larry.” Indeed, Sandler has mellowed so much that he has made movies that make his “SNL” audiences want to puke, such as “Spanglish.” The comparative lightweight but amusing “Grown Ups” features a lot of affectionate wisecracking between the five stars. Sometimes they can be quite merciless with their ridicule of each other, but it is nothing like the heavyweight Judd Apatow comedy-drama “Funny People.” Whether you yearn for the earlier Sandler juvenile comedies or you prefer his rather mature epics, “Grown Ups” strikes a nice balance between the two types of Sandler films. Old school Sandler fans may abhor the fact that their hero has gone mainstream. “Grown Ups” definitely appeals to an entirely different demographic with its warm-hearted narrative about families, but even old school Sandler fans should find something redeeming about it.
Sandler plays powerful Hollywood film agent Lenny Feder who can pull the likes of a Brad Pitt or Julia Roberts off your picture. He is married to trophy wife Roxanne Chase-Feder (Salma Hayek of “Desperado”) who owns her own fashion line. They have two sons, Greg (Jake Goldberg of “The Ant Bully”) and Keithie (Cameron Boyce of “Eagle Eye”), and a daughter, Becky (Alexys Nycole Sanchez in her film debut), and a nanny Rita (Di Quon of “Pulse”), who struggles to keep up with their demands and the telephone. Greg and Keithie are hopeless snobs who spend their day on the sofa playing violent video games and texting Rita with their every wish and demand. The same weekend that the family had planned to fly off to Milan, Italy, to attend Roxanne’s fashion show, Lenny learns that his beloved basketball coach, Bobby 'Buzzer' Ferdinando (Blake Clark of “Intolerable Cruelty”), has died. Lenny and his best friends, Eric Lamonsoff (Kevin James of “Paul Blart: Mall Cop”), Kurt McKenzie (Chris Rock of “Lethal Weapon IV”), Marcus Higgins (David Spade of “Joe Dirt”), and Rob Hilliard (Rob Schneider of “Deuce Bigalow: Male Gigolo”) were members of Buzzer’s only undefeated junior high basketball team. These fortysomething, middle-aged crazy best friends forever attend Buzzer’s funeral in New England and then celebrate the Fourth of July together. Lenny is called on to eulogize the basketball coach, while the hypersensitive Rob warbles his version of “Ave Maria.” Each of these characters has their foibles and flaws. For example, Rob is a vegan who has been divorced three times, wears his thinning hair in a pompadour with a hairpiece, and is married to an old hippie, Gloria (Joyce Van Patten of “Something Big”), that everybody believes is his mother. Like Rob, Eric is married to Sally (Maria Bello of “Coyote Ugly”) with two kids, Donna (Ada-nicole Sanger of “BrainSurge”) and Bean (Frank and Morgan Gingerich). Although Bean is four years old, he continues to suckle at Sally’s breasts whenever he wants milk. Kurt McKenzie (Chris Rock) is a house husband whose wife Deane (Maya Rudolph of “MacGruber”) brings home the bacon to their two children and her flatulent mother-in-law Mama Ronzoni (Ebony Jo-Ann of “Kate & Leopold”). On the other hand, Marcus is an alcoholic single guy. These guys are so comfortable with each other that they can call each other derogatory names without getting upset.
Lenny spends his time trying to get his kids out of the house and into the open. Initially, Roxanne isn’t happy because they have to share a summer house on Lake Amoskeag. One day she discovers that she has forgotten how to skip a rock across a lake after she hurls it into her son’s stomach. She decides that the Feders must forego the fashion show and stick around. Lenny and company paddle off to a island where Rob spreads Buzzer’s ashes. Eventually, one of the basketball players from the 1978 championship, Dickie Bailey (Colin Quinn of “Crocodile' Dundee II”), induces them to play the game again. Lenny, who cannot miss a basket when he shoots, decides it is time for the Dickie Baileys of the world to start winning and muffs the shot.
“Grown Ups” alternates between the adults trying to get the kids out to play in the open rather than indoors with videogames and the slapstick humor that accompanies Eric. At the sight of a rope hanging for a tree by the edge of a lake, Eric tries his luck and swings out on it. Predictably, he doesn’t turn loose and swings back to smash into a tree and them plunge into the woods. One of the funniest gags in “Grown Ups” involves shooting an arrow into the sky. They call it ‘arrow roulette’ and the winner is the only guy left standing. Predictably, Rob remains standing and the arrow sinks into his foot.
Sandler has come a long way since he appeared in “Billy Madison” back in 1995. Typically, the former “Saturday Night Live” comedian plays either wise acres who flout responsibility to indulge themselves in the lap of luxury or underdogs. Usually, Sandler’s other movies concerned challenged individuals, such as the underdogs in both “The Water Boy” and “Little Nicky.” Over the years Sandler has gradually eroded this smart aleck image, starting with “Big Daddy,” another Duggan movie, where he found himself stuck with raising a child. Nevertheless, he took a turn in his career when he made “Punch Drunk Love” and later The Longest Yard,” and even publicized his support of gay rights with “I Now Pronounce You Chuck and Larry.” Indeed, Sandler has mellowed so much that he has made movies that make his “SNL” audiences want to puke, such as “Spanglish.” The comparative lightweight but amusing “Grown Ups” features a lot of affectionate wisecracking between the five stars. Sometimes they can be quite merciless with their ridicule of each other, but it is nothing like the heavyweight Judd Apatow comedy-drama “Funny People.” Whether you yearn for the earlier Sandler juvenile comedies or you prefer his rather mature epics, “Grown Ups” strikes a nice balance between the two types of Sandler films. Old school Sandler fans may abhor the fact that their hero has gone mainstream. “Grown Ups” definitely appeals to an entirely different demographic with its warm-hearted narrative about families, but even old school Sandler fans should find something redeeming about it.
Sandler plays powerful Hollywood film agent Lenny Feder who can pull the likes of a Brad Pitt or Julia Roberts off your picture. He is married to trophy wife Roxanne Chase-Feder (Salma Hayek of “Desperado”) who owns her own fashion line. They have two sons, Greg (Jake Goldberg of “The Ant Bully”) and Keithie (Cameron Boyce of “Eagle Eye”), and a daughter, Becky (Alexys Nycole Sanchez in her film debut), and a nanny Rita (Di Quon of “Pulse”), who struggles to keep up with their demands and the telephone. Greg and Keithie are hopeless snobs who spend their day on the sofa playing violent video games and texting Rita with their every wish and demand. The same weekend that the family had planned to fly off to Milan, Italy, to attend Roxanne’s fashion show, Lenny learns that his beloved basketball coach, Bobby 'Buzzer' Ferdinando (Blake Clark of “Intolerable Cruelty”), has died. Lenny and his best friends, Eric Lamonsoff (Kevin James of “Paul Blart: Mall Cop”), Kurt McKenzie (Chris Rock of “Lethal Weapon IV”), Marcus Higgins (David Spade of “Joe Dirt”), and Rob Hilliard (Rob Schneider of “Deuce Bigalow: Male Gigolo”) were members of Buzzer’s only undefeated junior high basketball team. These fortysomething, middle-aged crazy best friends forever attend Buzzer’s funeral in New England and then celebrate the Fourth of July together. Lenny is called on to eulogize the basketball coach, while the hypersensitive Rob warbles his version of “Ave Maria.” Each of these characters has their foibles and flaws. For example, Rob is a vegan who has been divorced three times, wears his thinning hair in a pompadour with a hairpiece, and is married to an old hippie, Gloria (Joyce Van Patten of “Something Big”), that everybody believes is his mother. Like Rob, Eric is married to Sally (Maria Bello of “Coyote Ugly”) with two kids, Donna (Ada-nicole Sanger of “BrainSurge”) and Bean (Frank and Morgan Gingerich). Although Bean is four years old, he continues to suckle at Sally’s breasts whenever he wants milk. Kurt McKenzie (Chris Rock) is a house husband whose wife Deane (Maya Rudolph of “MacGruber”) brings home the bacon to their two children and her flatulent mother-in-law Mama Ronzoni (Ebony Jo-Ann of “Kate & Leopold”). On the other hand, Marcus is an alcoholic single guy. These guys are so comfortable with each other that they can call each other derogatory names without getting upset.
Lenny spends his time trying to get his kids out of the house and into the open. Initially, Roxanne isn’t happy because they have to share a summer house on Lake Amoskeag. One day she discovers that she has forgotten how to skip a rock across a lake after she hurls it into her son’s stomach. She decides that the Feders must forego the fashion show and stick around. Lenny and company paddle off to a island where Rob spreads Buzzer’s ashes. Eventually, one of the basketball players from the 1978 championship, Dickie Bailey (Colin Quinn of “Crocodile' Dundee II”), induces them to play the game again. Lenny, who cannot miss a basket when he shoots, decides it is time for the Dickie Baileys of the world to start winning and muffs the shot.
“Grown Ups” alternates between the adults trying to get the kids out to play in the open rather than indoors with videogames and the slapstick humor that accompanies Eric. At the sight of a rope hanging for a tree by the edge of a lake, Eric tries his luck and swings out on it. Predictably, he doesn’t turn loose and swings back to smash into a tree and them plunge into the woods. One of the funniest gags in “Grown Ups” involves shooting an arrow into the sky. They call it ‘arrow roulette’ and the winner is the only guy left standing. Predictably, Rob remains standing and the arrow sinks into his foot.
Wednesday, June 30, 2010
FILM REVIEW OF "THE STRANGER AND THE GUNFIGHTER" (Hong Kong/Italian-1974)
This lightweight international co-production between Hong Kong's Run Run Shaw and Italian producer Carlo Ponti amalgamates chop-socky martial arts combat with gritty Spaghetti western violence. An Asian kung fu master teams up with an American gunslinger to find his uncle's treasure. Variously known as either "Blood Money" or "The Stranger and the Gunfighter," this tame 'East Meets West' oater is predictable but amusing nonsense. The humor that lies at the bottom of the plot is that four women have tattoos on their backsides that reveal the whereabouts of a fortune in gold. "Seven Deaths in the Cat's Eye" director Antonio Margheriti and scenarists Miguel De Echarri and Barth Jules Sussman have incorporated a sex comedy in this Kung Fu/Spaghetti western. The running joke is that our heroes must obtain permission from four women to eyeball their butts. Veteran western villain Lee Van Cleef twirls his six-gun, while the often outnumbered Lo Lieh performs gravity-defying kung fu. Incidentally, Lieh emerged as the first martial arts superstar before Bruce Lee. "Blood Money" came about during Van Cleef's career when he started wearing a hairpiece. Despite his age, the actor spends the last ten minutes baring his whiplashed chest. The production values are sumptuous.
Martial arts movies were increasingly going mainstream by the early 1970s, and "Blood Money" (**1/2 out of ****) exemplified one of a handful of Italian westerns with Kung Fu. Not only did producer Run Run Shaw co-produce this hybrid horse opera, but he also co-produced the Hammer vampire epic "The Legend of the 7 Golden Vampires" during the same year in 1974. Mind you, "Blood Money" premiered in Spain in 1974, but illuminated American screens two years later in 1976. Initially, the Tony Anthony western "The Silent Stranger" should have qualified as the first 'East Meets West' Kung Fu/Spaghetti western. Produced in 1968, "The Silent Stranger" was not released by MGM until 1975, so it beat "Blood Money" to the draw. Earlier, James Bond director Terence Young had helmed a European western with Charles Bronson as an outlaw who reluctantly joins up with Japanese samurai warrior Toshirô Mifune to recover the Nippon ambassador's valuable ceremonial sword. Director Mario Caiano's "Shanghai Joe" (1972) followed "Red Sun" and concerned a Chinese immigrant Chin How (Chen Lee) who helps Mexican laborers from their sadistic boss. Sergio Corbucci even got into this genre in 1975 with "Shoot First... Ask Questions Later" (1975) as a samurai warrior helps a lawman find a treasure.
Dakota (Lee Van Cleef of "Barquero") arrives in Monterey by train. A conductor confronts our protagonist as he slips out from under the passenger coach. Before the conductor can do anything to him, Dakota escapes in a cloud of steam. Breaking into the local bank, Dakota picks the lock to the safe but he finds only photographs of women. Meantime, one of those women alerts Wang (Al Tung), a short fat Asian fellow that somebody is in the bank. Wang scrambles over to the bank. Dakota relies on explosives to blow the vault. As the dynamite explodes, Wang is blown off his feet. Dakota finds a fortune cookie and the photographs. He queries Wang about the contents, but Wang has died. The authorities arrive and arrest Dakota. Meanwhile, in Asia, kung fu teacher Ho Chiang (Lo Lieh of "Five Fingers of Death") is escorted by the warlord's troops to his headquarters. The warlord questions Ho's father about his deceased brother who left behind nothing valuable. The warlord confronts Ho. "I was tricked by your uncle. Unwisely, I entrusted him with a vast fortune and all he did to repay me before he died was to send me that wooden figures." The warlord indicates the statue of a noble Plains Indian chieftain. Since nobody can satisfy the warlord’s curiosity, he gives Ho's sister to the guards. Ho intervenes but to no avail. Nevertheless, Ho’s martial arts skills impress the warlord. "You're brave and intelligent and I believe you can be useful in recovering my fortune," he informs Ho. "Find my gold in one year or all of you will --," the warlord completes his sentence with a slashing motion at his throat.
Ho arrives in Monterey. He meets with Wang’s lawyer and learns his uncle left behind a $1000 and four photographs of women. According to the lawyer, Wang's death was ruled accidental. Nevertheless, the authorities sentenced Dakota to swing. The lawyer (Paul Costello of “Cannibal Apocalypse”) adds that Dakota's trial lasted several months. Not surprisingly, Ho encounters racism in a saloon and defends himself against two gunslinging bouncers. The sheriff (Barta Barri of “Horror Express”) arrests Ho for hitting him. Ho lands in a cell next to Dakota. Dakota assures Ho that he didn’t murder his uncle. Moreover, Dakota acquired no fortune. The sheriff releases Ho. Later, the Asian rescues Dakota as he stands poised on the gallows’ trapdoor with his noggin in a noose. Together, Dakota and Ho embark on an unusual search for Wang's four mistresses. Along the way, they incur the wrath of a hypocritical preacher, Yancey Hobbitt (Julian Ugarte of “Autopsy”), who wears a long, black duster with a ridiculous hat. Yancey quotes scripture and wields a devastating six-gun. Yancey abducts the Chinese mistress (Karen Yeh of “The Iron Dragon”) with the aid of a Mexican bandit (Ricardo Palacios of “Return of the Seven”) and his gang. They take her to an old mission. Dakota and Ho follow, but they have a minor falling out when Ho refuses to let Dakota accompany him. Calico captures Dakota when the American tries to sneak into the mission. He uses a bullwhip on Dakota to loosen his tongue about Ho. Ho helps Dakota escape, and Dakota appropriates a Gatling gun. He places the Gatling gun between two horses in harness and rides through the mission firing the weapon and exterminates half of Calico’s gang, while Ho releases the Chinese mistress. Yancey has tried to torture her to translate the tattoos by suspending her in a metal cage and stoking blaze beneath to loosen her tongue. Fittingly, Dakota kills Yancey when the dastard lunges for a gun in a dead man's hand.
Margheriti directs with customary aplomb. Everything unfolds fluidly. Clocking in a 107 minutes, "Blood Money" looks like a Spaghetti western, but the sex comedy often undercuts the usual high body count violence. "Goliath against the Giants" lenser Alejandro Ulloa gives everything a larger-than-life grandeur. "Secret Agent Fireball" composer Carlo Savina drums up a snappy, non-western orchestral score. Savina's music has nothing in common with the quintessential Ennio Morricone Spaghetti western music with whistles, bells, and whipcracks. Interestingly, the mission that Calico and his bandits occupy is the same fortress that Lee Van Cleef and Jim Brown assaulted in "El Condor." Indeed, the fortress was constructed for "El Condor" and has appeared in other major films, such as "Conan the Barbarian" and "A Reason to Live, A Reason to Die." The ending may surprise those who aren't expecting it. It is a hoot to see Lee Van Cleef in a Chinese bamboo hat and robe in the final scene in Hong Kong.
Martial arts movies were increasingly going mainstream by the early 1970s, and "Blood Money" (**1/2 out of ****) exemplified one of a handful of Italian westerns with Kung Fu. Not only did producer Run Run Shaw co-produce this hybrid horse opera, but he also co-produced the Hammer vampire epic "The Legend of the 7 Golden Vampires" during the same year in 1974. Mind you, "Blood Money" premiered in Spain in 1974, but illuminated American screens two years later in 1976. Initially, the Tony Anthony western "The Silent Stranger" should have qualified as the first 'East Meets West' Kung Fu/Spaghetti western. Produced in 1968, "The Silent Stranger" was not released by MGM until 1975, so it beat "Blood Money" to the draw. Earlier, James Bond director Terence Young had helmed a European western with Charles Bronson as an outlaw who reluctantly joins up with Japanese samurai warrior Toshirô Mifune to recover the Nippon ambassador's valuable ceremonial sword. Director Mario Caiano's "Shanghai Joe" (1972) followed "Red Sun" and concerned a Chinese immigrant Chin How (Chen Lee) who helps Mexican laborers from their sadistic boss. Sergio Corbucci even got into this genre in 1975 with "Shoot First... Ask Questions Later" (1975) as a samurai warrior helps a lawman find a treasure.
Dakota (Lee Van Cleef of "Barquero") arrives in Monterey by train. A conductor confronts our protagonist as he slips out from under the passenger coach. Before the conductor can do anything to him, Dakota escapes in a cloud of steam. Breaking into the local bank, Dakota picks the lock to the safe but he finds only photographs of women. Meantime, one of those women alerts Wang (Al Tung), a short fat Asian fellow that somebody is in the bank. Wang scrambles over to the bank. Dakota relies on explosives to blow the vault. As the dynamite explodes, Wang is blown off his feet. Dakota finds a fortune cookie and the photographs. He queries Wang about the contents, but Wang has died. The authorities arrive and arrest Dakota. Meanwhile, in Asia, kung fu teacher Ho Chiang (Lo Lieh of "Five Fingers of Death") is escorted by the warlord's troops to his headquarters. The warlord questions Ho's father about his deceased brother who left behind nothing valuable. The warlord confronts Ho. "I was tricked by your uncle. Unwisely, I entrusted him with a vast fortune and all he did to repay me before he died was to send me that wooden figures." The warlord indicates the statue of a noble Plains Indian chieftain. Since nobody can satisfy the warlord’s curiosity, he gives Ho's sister to the guards. Ho intervenes but to no avail. Nevertheless, Ho’s martial arts skills impress the warlord. "You're brave and intelligent and I believe you can be useful in recovering my fortune," he informs Ho. "Find my gold in one year or all of you will --," the warlord completes his sentence with a slashing motion at his throat.
Ho arrives in Monterey. He meets with Wang’s lawyer and learns his uncle left behind a $1000 and four photographs of women. According to the lawyer, Wang's death was ruled accidental. Nevertheless, the authorities sentenced Dakota to swing. The lawyer (Paul Costello of “Cannibal Apocalypse”) adds that Dakota's trial lasted several months. Not surprisingly, Ho encounters racism in a saloon and defends himself against two gunslinging bouncers. The sheriff (Barta Barri of “Horror Express”) arrests Ho for hitting him. Ho lands in a cell next to Dakota. Dakota assures Ho that he didn’t murder his uncle. Moreover, Dakota acquired no fortune. The sheriff releases Ho. Later, the Asian rescues Dakota as he stands poised on the gallows’ trapdoor with his noggin in a noose. Together, Dakota and Ho embark on an unusual search for Wang's four mistresses. Along the way, they incur the wrath of a hypocritical preacher, Yancey Hobbitt (Julian Ugarte of “Autopsy”), who wears a long, black duster with a ridiculous hat. Yancey quotes scripture and wields a devastating six-gun. Yancey abducts the Chinese mistress (Karen Yeh of “The Iron Dragon”) with the aid of a Mexican bandit (Ricardo Palacios of “Return of the Seven”) and his gang. They take her to an old mission. Dakota and Ho follow, but they have a minor falling out when Ho refuses to let Dakota accompany him. Calico captures Dakota when the American tries to sneak into the mission. He uses a bullwhip on Dakota to loosen his tongue about Ho. Ho helps Dakota escape, and Dakota appropriates a Gatling gun. He places the Gatling gun between two horses in harness and rides through the mission firing the weapon and exterminates half of Calico’s gang, while Ho releases the Chinese mistress. Yancey has tried to torture her to translate the tattoos by suspending her in a metal cage and stoking blaze beneath to loosen her tongue. Fittingly, Dakota kills Yancey when the dastard lunges for a gun in a dead man's hand.
Margheriti directs with customary aplomb. Everything unfolds fluidly. Clocking in a 107 minutes, "Blood Money" looks like a Spaghetti western, but the sex comedy often undercuts the usual high body count violence. "Goliath against the Giants" lenser Alejandro Ulloa gives everything a larger-than-life grandeur. "Secret Agent Fireball" composer Carlo Savina drums up a snappy, non-western orchestral score. Savina's music has nothing in common with the quintessential Ennio Morricone Spaghetti western music with whistles, bells, and whipcracks. Interestingly, the mission that Calico and his bandits occupy is the same fortress that Lee Van Cleef and Jim Brown assaulted in "El Condor." Indeed, the fortress was constructed for "El Condor" and has appeared in other major films, such as "Conan the Barbarian" and "A Reason to Live, A Reason to Die." The ending may surprise those who aren't expecting it. It is a hoot to see Lee Van Cleef in a Chinese bamboo hat and robe in the final scene in Hong Kong.
Monday, June 28, 2010
FILM REVIEW OF ''ONE-EYED JACKS" (1961)
Academy Award Winning actor Marlon Brando directed one movie during his prestigious 50-year career in Hollywood. Brando's Pennebaker Productions decided that a western might be a worthwhile investment since westerns had been profitable during the 1950s. The company shelled out $40,000 for the rights to author Charles Neider’s seminal western novel “The Authentic Death of Hendry Jones” and several scenarists came and went before “One-Eyed Jacks” (***1/2 out of ****) was completed. Among the scenarists were a young Sam Peckinpah, but novelist Calder Willingham replaced Peckinpah. This amoral western melodrama dealt with the themes of friendship, greed, deception, betrayal, and revenge. The troubled production history of this splendid horse opera casts a shadow over its artistry. First, Brando created several legends about his use of six or more takes for a scene. Second, the story goes that the star waited for the most dramatic waves to break on the shore. Brando toiled for six months on “One-Eyed Jacks.” Initially, “Paths of Glory” helmer Stanley Kubrick started out as the director. Artistic differences arose between Brando and Kubrick that prompted Kubrick’s dismissal. Reportedly, Kubrick preferred Spencer Tracy over Karl Malden as the villainous Dad Longworth. Brando objected on the basis, however, that Pennebaker Productions had already paid Malden the sum of $300-thousand. Afterward, when nobody stepped forward to helm the film, Brando decided he would try. Paramount executives should have had their heads examined for letting a temperamental actor like Brando call the shots on a film.
Three American outlaws, Rio (Marlon Brando of “Julius Caesar”), Dad Longworth (Karl Malden of “Baby Doll”), and Doc (perennial character actor Hank Worden of “Red River”) hold up a Mexican bank. Dad and Doc ride off to shack up with prostitutes in a bordello, while Rio heads off to romance a refined lady at her hacienda. Mexican Rurale captain (Rodolfo Acosta of “Hondo”) leads a posse to the bordello and they kill Doc when they raid the place. Dad slips out by the window with his gun, but he forgets his boots. Dad rides off to alert Rio. Together they light out into desert with the Rurales on their trail. Rio loses his horse and has to double up on Dad’s mount. They take refuge on a hill and exchange gunfire with the Rurales. Our heroes decide that one of them must round up fresh horses so they can escape from the Rurales. Rio draws two bullets and grips them in his fist. Interestingly, our protagonist lets Dad win and Dad sets out for fresh horses while Rio holds up the Rurales. Dad rides into a tiny ranch and buys a horse. He is shifting the gold coins around in his fist when he decides to leave Rio to the Rurales. Eventually, the Rurales surround Rio and he surrenders. He spends the next five years in a stinking Sonora Prison, while Dad lives high off the hog in Monterey, California, where he has gotten himself elected sheriff. Moreover, Dad has married Maria (Katy Jurado of “High Noon”) and adopted Maria’s daughter, Louisa (Pina Pellicer of “Macario”) as his own. He owns a house about 10 miles out of town.
Rio and Chico Modesto (Larry Duran of “Viva Zapata!”) break out of the Sonora Prison. They are in a cantina when Bob Amory (Ben Johnson of “Rio Grande”) approaches Rio about robbing a bank in Monterey. Rio learns Dad Longworth is the town lawman. Rio visits Dad before Amory and his sidekick, Harvey Johnson (Sam Gilman of “The Young Lions”), show up in Monterey. Initially, Dad believes Rio has come to kill him for double-crossing him back in Sonora. Rio doesn’t want to shoot Dad. Rio explains he gave the Rurales the slip and eluded them. Dad introduces Rio to his family and Louisa takes an immediate interest in him. Later, Rio guns down a drunken man in a Monterey bar, Howard Tetley (Timothy Carey of “The Killing”), who was abusing a helpless woman. Dad has had enough of Rio. Primarily, Dad is angry because Louisa spent the night on the beach with Rio. Dad’s sleazy Deputy Lon Dedrick (Slim Pickens of “Rocky Mountain”) has had his eye on Louisa and hates Rio. Dad arrests Rio for killing Tetley. Disarming Rio, Dad lashes his wrists to a horse’s hitching rack. Wielding a bullwhip on Rio, Dad sends him to his knees. Dad reverses a shotgun and smashes the butt of the weapon against Rio’s right hand to destroy his hand.
Rio and company flee Monterey, but our protagonist is even more determined to kill Dad. Rio recuperates on the beach and gets back the use of his gun hand. Bob and company ride into town to rob the bank. The robbery is a bust, but a little girl dies during the shoot-out. Rio is riding back to town when Dad’s deputies arrest him. Although Rio had no part in the robbery, Dad locks him up and prepares the gallows for his inevitable hanging. Louisa tries to smuggle a derringer into Rio by hiding it in a bowl of soup, but Lon discovers the firearm. He escorts Louisa from the jail and Rio smashes up his bunk for a piece of wood attached to a strap thathe can use to sling out at the table in front of his cell. Lon has forgotten about the derringer and left it on the table. Brando generates some great suspense as Rio repeatedly tries to get the derringer. At the same time that Rio is trying to get the derringer, Dad is taking a liesurely ride along the beach back into town. Rio bluffs Lon with the derringer when he returns. What Lon doesn't know is that the derringer contains no bullets. Rio escapes from jail and shoots it out in the town plaza with Dad. They confront each other with a water fountain between them and Rio slips around behind Dad and shoots him in the back. After he rides out of town, Rio and Louisa rein up and discuss their future together. Rio must clear out of the territory, but he plans to return in the spring when Louisa gives birth to his child.
The striking locales set “One-Eyed Jacks” apart from most westerns. When Brando left the production, he had filmed about five hours of footage and assembled his own cut. Paramount whittled the unwieldy opus down to two hours and forty-one minutes. Interestingly, the title refers to the two sides of a jack rabbit's face. Rio brags that he knows who the real Dad is and he isn't the man who duped the town of Monterey. Financial woes aside, “One-Eyed Jacks” qualifies a good, often compelling western about two bad men who clash at the outset over stolen gold. One lands in a filthy Sonora prison, while the other one ends up in California with a badge on his chest. The cast is stupendous, particularly Malden who plays a thoroughly treacherous dastard. Ben Johnson, Slim Pickens, Katy Jurado, Timothy Carey, and Pina Pellicer all contribute memorable performances, but it is “The Magnificent Seven” lenser Charles Lang who makes the scenic Monterey coast with his crashing surf and the rugged Mexican locations look absolutely dazzling. Unfortunately, the studio shots involving back projection detract from Lang’s visual real-world composition. Indeed, Brando himself received a nomination for Best Director. Sadly, “One-Eyed Jacks” never recouped its negative cost, the amount that it took to produce this exotic western.
Three American outlaws, Rio (Marlon Brando of “Julius Caesar”), Dad Longworth (Karl Malden of “Baby Doll”), and Doc (perennial character actor Hank Worden of “Red River”) hold up a Mexican bank. Dad and Doc ride off to shack up with prostitutes in a bordello, while Rio heads off to romance a refined lady at her hacienda. Mexican Rurale captain (Rodolfo Acosta of “Hondo”) leads a posse to the bordello and they kill Doc when they raid the place. Dad slips out by the window with his gun, but he forgets his boots. Dad rides off to alert Rio. Together they light out into desert with the Rurales on their trail. Rio loses his horse and has to double up on Dad’s mount. They take refuge on a hill and exchange gunfire with the Rurales. Our heroes decide that one of them must round up fresh horses so they can escape from the Rurales. Rio draws two bullets and grips them in his fist. Interestingly, our protagonist lets Dad win and Dad sets out for fresh horses while Rio holds up the Rurales. Dad rides into a tiny ranch and buys a horse. He is shifting the gold coins around in his fist when he decides to leave Rio to the Rurales. Eventually, the Rurales surround Rio and he surrenders. He spends the next five years in a stinking Sonora Prison, while Dad lives high off the hog in Monterey, California, where he has gotten himself elected sheriff. Moreover, Dad has married Maria (Katy Jurado of “High Noon”) and adopted Maria’s daughter, Louisa (Pina Pellicer of “Macario”) as his own. He owns a house about 10 miles out of town.
Rio and Chico Modesto (Larry Duran of “Viva Zapata!”) break out of the Sonora Prison. They are in a cantina when Bob Amory (Ben Johnson of “Rio Grande”) approaches Rio about robbing a bank in Monterey. Rio learns Dad Longworth is the town lawman. Rio visits Dad before Amory and his sidekick, Harvey Johnson (Sam Gilman of “The Young Lions”), show up in Monterey. Initially, Dad believes Rio has come to kill him for double-crossing him back in Sonora. Rio doesn’t want to shoot Dad. Rio explains he gave the Rurales the slip and eluded them. Dad introduces Rio to his family and Louisa takes an immediate interest in him. Later, Rio guns down a drunken man in a Monterey bar, Howard Tetley (Timothy Carey of “The Killing”), who was abusing a helpless woman. Dad has had enough of Rio. Primarily, Dad is angry because Louisa spent the night on the beach with Rio. Dad’s sleazy Deputy Lon Dedrick (Slim Pickens of “Rocky Mountain”) has had his eye on Louisa and hates Rio. Dad arrests Rio for killing Tetley. Disarming Rio, Dad lashes his wrists to a horse’s hitching rack. Wielding a bullwhip on Rio, Dad sends him to his knees. Dad reverses a shotgun and smashes the butt of the weapon against Rio’s right hand to destroy his hand.
Rio and company flee Monterey, but our protagonist is even more determined to kill Dad. Rio recuperates on the beach and gets back the use of his gun hand. Bob and company ride into town to rob the bank. The robbery is a bust, but a little girl dies during the shoot-out. Rio is riding back to town when Dad’s deputies arrest him. Although Rio had no part in the robbery, Dad locks him up and prepares the gallows for his inevitable hanging. Louisa tries to smuggle a derringer into Rio by hiding it in a bowl of soup, but Lon discovers the firearm. He escorts Louisa from the jail and Rio smashes up his bunk for a piece of wood attached to a strap thathe can use to sling out at the table in front of his cell. Lon has forgotten about the derringer and left it on the table. Brando generates some great suspense as Rio repeatedly tries to get the derringer. At the same time that Rio is trying to get the derringer, Dad is taking a liesurely ride along the beach back into town. Rio bluffs Lon with the derringer when he returns. What Lon doesn't know is that the derringer contains no bullets. Rio escapes from jail and shoots it out in the town plaza with Dad. They confront each other with a water fountain between them and Rio slips around behind Dad and shoots him in the back. After he rides out of town, Rio and Louisa rein up and discuss their future together. Rio must clear out of the territory, but he plans to return in the spring when Louisa gives birth to his child.
The striking locales set “One-Eyed Jacks” apart from most westerns. When Brando left the production, he had filmed about five hours of footage and assembled his own cut. Paramount whittled the unwieldy opus down to two hours and forty-one minutes. Interestingly, the title refers to the two sides of a jack rabbit's face. Rio brags that he knows who the real Dad is and he isn't the man who duped the town of Monterey. Financial woes aside, “One-Eyed Jacks” qualifies a good, often compelling western about two bad men who clash at the outset over stolen gold. One lands in a filthy Sonora prison, while the other one ends up in California with a badge on his chest. The cast is stupendous, particularly Malden who plays a thoroughly treacherous dastard. Ben Johnson, Slim Pickens, Katy Jurado, Timothy Carey, and Pina Pellicer all contribute memorable performances, but it is “The Magnificent Seven” lenser Charles Lang who makes the scenic Monterey coast with his crashing surf and the rugged Mexican locations look absolutely dazzling. Unfortunately, the studio shots involving back projection detract from Lang’s visual real-world composition. Indeed, Brando himself received a nomination for Best Director. Sadly, “One-Eyed Jacks” never recouped its negative cost, the amount that it took to produce this exotic western.
FILM REVIEW OF "THE RETURN OF THE VAMPIRE" (1944)
This atmospheric World War II era horror chiller constitutes a rare treat. The filmmakers have skillfully intertwined serious, real-life serious events with supernatural fictional proceedings. Meaning, few monster movies appropriated the contemporary crisis of World War II and exploited it as a part of its storyline. Remember, during World War II, American and British films served as propaganda for the masses and touted democracy over fascism. Usually, these horror films skirted political ideologies, with only the most marginal references to the war. Men and women in uniform appear in several scenes, and the bombs fall three times so we see the savagery of Hitler's civilian bombing campaign. Mind you, “The Return of the Vampire” (*** out of ****) doesn’t weave World War II entirely into the fabric of its yarn, but the titular fangster does arise as a consequence of a German Luftwaffe bombing raid. Moreover, the evil that National Socialism posed to England is comparable to the evil that Armand Tesla poses to England. Like the autocratic Nazis that manipulated millions into submission, the vampire here exerts total control over its powerless prey. During a London air raid, bombs shatter the tranquility of a cemetery where the vampire has been consigned to oblivion with a stake in his chest. Director Lew Landers and “Mummy’s Hand” scenarist Griffin Jay have taken Kurt Neumann’s original story idea and done a splendid job of integrating the war with the vampire’s reign of terror. The cinematography of lensers L. William O'Connell and John Stumar creates a creepy feeling with its reliance on a fog machine and some graceful camera movement. Today’s audiences will probably find nothing scary about this old-fashioned ghoul fest with its use of expressionist shadows to tell a story. “The Return of the Vampire” is quite unusual as it foreshadowed the combo chiller that would bring together two supernatural creatures in one film. A vampire and the werewolf together conspire hand-in-hand for the first sixty minutes of this 70-minute, black and white film before they turn on each other in the end. “Twilight” fans may initially find this film disconcerting because the vampire wields power over the werewolf, but they will savor the ending.
Bela Lugosi doesn’t appear during the opening 23 minutes. Nevertheless, when Lugosi does show up, nobody can steal a scene from him. The first scene where a werewolf, Andreas Obry (one-time actor only Matt Willis), enters a gloomy Priory cemetery and awakens the vampire at dusk is mildly spooky. Andreas serves as the equivalent of Renfield from "Dracula,” because Lugosi’s vampire possesses his soul. Admittedly, Willis appears rather ridiculous in his hirsute make-up, but this scruffy canine look may have been frightening to early twentieth century audiences. Anyway, Landers and his lensers pay tribute to German Expressionist filmmakers when they present the vampire as a shadow against a wall as he emerges from his coffin. The only flesh and blood shot is a close-up of the bloodsucker’s hand as it raises the coffin lid. Similarly, they stage the action of a man driving a stake into the vampire’s heart in silhouette against a wall. Initially, use of silhouettes was a Hollywood method of depicting violence without nauseating the audience. The vampire, Armand Tesla (Bela Lugosi of “Dracula”), differs considerably from Count Dracula. A depraved Romanian scientist who lived 200 years ago in 1744, Tesla published an authoritative text about vampires. He fell victim to his obsession with the undead and turned into one after his death. No, the filmmakers never explain what specifically turned Tesla into a vampire. Tesla is preying on young women in the year 1918 when the action unfolds and the werewolf acts as his servant. Meantime, Dr. Walter Saunders (Gilbert Emery of “The House of Rothschild”) and Lady Jane Ainsley (Frieda Inescort of “Mary of Scotland”) track Tesla down to his tomb and hammer a spike through his heart. Ironically, everything that Dr. Saunders knows about vampires he has learned from Tesla’s writing. Landers and his scenarists use Dr. Saunders as a mouthpiece throughout these early scenes so that non-horror movie audiences would not be left in the dark about the procedure for killing a vampire.
The second act of “The Return of the Vampire” occurs in 1940 before America had entered World War II with the British. Dr. Saunders has died in a plane crash and left behind a manuscript of his fantastic exploits, principally the destruction of Armand Tesla. Scotland Yard’s Chief Commissioner, Sir Frederick Fleet (Miles Mander of “South of Suez”), has read the manuscript and has no alternative but to exhume Tesla’s body to substantiate what appears to be murder. Of course, Sir Frederick flatly refuses to believe in the existence of vampires. Later, a bomb devastates the graveyard where Saunders and Lady Jane buried Tesla's body in an unmarked grave between the Fairchild grave and the Smithley grave. Two laborers stumble upon Tesla’s unearthed coffin and mistakenly believe that the bomb hurled a spike into the corpse. The conversation that they have between themselves about this grisly incident serves as amusing comic relief. Dutifully, one of the laborers, Orace (Billy Bevan) removes the spike and they regret this action. Ultimately, Tesla arises again and Andreas reverts to his werewolf days. Since Tesla’s demise, Andreas has been a tireless laboratory assistant to a now older Lady Ainsley. Lady Ainsley’s son John (Roland Varno of “Zanzibar”) has grown up. A former Royal Air Force pilot, he has now become a concert pianist, while the late Dr. Saunders’ daughter Nicki (Nina Foch of “Illegal”) serves in the women’s corps. The two plan to marry. Tesla enters Nicki’s bedroom and bites her. Later, Nicki bites John. Nothing that Lady Jane tells Sir Frederick about Tesla convinces him that Tesla is a supernatural being. Meanwhile, when his detectives question Andreas, Andreas turns into a werewolf and escapes from them. The detectives show Sir Frederick the wolf hairs that they collected in their brief struggle with Andreas, but Sir Frederick remains dubious.
Meanwhile, Lady Jane has been asked to help a scientist fleeing from the Nazis. Dr. Hugo Bruckner has escaped from Axis-occupied France with the help of the Resistance. He comes to London to meet our heroine. Tesla has Andreas dispose of Bruckner, and Tesla assumes the scientist’s identity. Eventually, Sir Frederick discovers this deception. Tesla visits Lady Jane. Since she knows his true identity, he decides it is time for him to exact his revenge against her and turn Nikki into a vampire. She exposes a cross and Tesla flees. Later, Lady Jane has another of her futile arguments with Sir Frederick about the reality of vampires. Before Tesla can carry out his morbid plan, Andreas kills him. The ending of “The Return of the Vampire” is both clever and amusing. Despite everything that has transpired, Sir Frederick remains adamant in his disbelief about vampires. The Scotland Yard commissioner queries his two plainclothes detectives. “You two fellows don’t believe in vampires, do you?” They are just as convinced that vampires exist as Lady Jane is. Sir Frederick then breaks the fourth wall and addresses the audience. “Do you people?”
All vampire movies establish their own set of criteria governing the behavior of the bloodsuckers. “The Return of the Vampire” is the kind where the vampire can enter a residence without the permission of the owner. Nevertheless, the filmmakers take advantage of a strong wind to get around the 'thou shalt not enter a room rule' without a proper invitation. This occurs when Tesla sweeps into Nicki's room with a smoke screen. This may have been the first time that a character shines a mirror on a vampire and the mirror reflects the vampire's apparel but not the vampire. Typically, in these scenes, the vampire's image along with his apparel is not reflected in the mirror. Lady Jane contends that Armand Tesla's body should still be in his coffin if the spike is still in his body. When Sir Frederick sets out to examine the corpse, she hopes that the Scotland Yard Commissioner will find the body intact. According to Lady Jane, if Tesla were a vampire, then his body should not decompose. This characteristic doesn't hold true in the Hammer "Dracula" movies. What is amusing here as it is with the vampire mirror shots is the fact that the Armand Tesla's wardrobe would have deteriorated somewhat over the intervening years, but there is no sign of wear.
Bela Lugosi doesn’t appear during the opening 23 minutes. Nevertheless, when Lugosi does show up, nobody can steal a scene from him. The first scene where a werewolf, Andreas Obry (one-time actor only Matt Willis), enters a gloomy Priory cemetery and awakens the vampire at dusk is mildly spooky. Andreas serves as the equivalent of Renfield from "Dracula,” because Lugosi’s vampire possesses his soul. Admittedly, Willis appears rather ridiculous in his hirsute make-up, but this scruffy canine look may have been frightening to early twentieth century audiences. Anyway, Landers and his lensers pay tribute to German Expressionist filmmakers when they present the vampire as a shadow against a wall as he emerges from his coffin. The only flesh and blood shot is a close-up of the bloodsucker’s hand as it raises the coffin lid. Similarly, they stage the action of a man driving a stake into the vampire’s heart in silhouette against a wall. Initially, use of silhouettes was a Hollywood method of depicting violence without nauseating the audience. The vampire, Armand Tesla (Bela Lugosi of “Dracula”), differs considerably from Count Dracula. A depraved Romanian scientist who lived 200 years ago in 1744, Tesla published an authoritative text about vampires. He fell victim to his obsession with the undead and turned into one after his death. No, the filmmakers never explain what specifically turned Tesla into a vampire. Tesla is preying on young women in the year 1918 when the action unfolds and the werewolf acts as his servant. Meantime, Dr. Walter Saunders (Gilbert Emery of “The House of Rothschild”) and Lady Jane Ainsley (Frieda Inescort of “Mary of Scotland”) track Tesla down to his tomb and hammer a spike through his heart. Ironically, everything that Dr. Saunders knows about vampires he has learned from Tesla’s writing. Landers and his scenarists use Dr. Saunders as a mouthpiece throughout these early scenes so that non-horror movie audiences would not be left in the dark about the procedure for killing a vampire.
The second act of “The Return of the Vampire” occurs in 1940 before America had entered World War II with the British. Dr. Saunders has died in a plane crash and left behind a manuscript of his fantastic exploits, principally the destruction of Armand Tesla. Scotland Yard’s Chief Commissioner, Sir Frederick Fleet (Miles Mander of “South of Suez”), has read the manuscript and has no alternative but to exhume Tesla’s body to substantiate what appears to be murder. Of course, Sir Frederick flatly refuses to believe in the existence of vampires. Later, a bomb devastates the graveyard where Saunders and Lady Jane buried Tesla's body in an unmarked grave between the Fairchild grave and the Smithley grave. Two laborers stumble upon Tesla’s unearthed coffin and mistakenly believe that the bomb hurled a spike into the corpse. The conversation that they have between themselves about this grisly incident serves as amusing comic relief. Dutifully, one of the laborers, Orace (Billy Bevan) removes the spike and they regret this action. Ultimately, Tesla arises again and Andreas reverts to his werewolf days. Since Tesla’s demise, Andreas has been a tireless laboratory assistant to a now older Lady Ainsley. Lady Ainsley’s son John (Roland Varno of “Zanzibar”) has grown up. A former Royal Air Force pilot, he has now become a concert pianist, while the late Dr. Saunders’ daughter Nicki (Nina Foch of “Illegal”) serves in the women’s corps. The two plan to marry. Tesla enters Nicki’s bedroom and bites her. Later, Nicki bites John. Nothing that Lady Jane tells Sir Frederick about Tesla convinces him that Tesla is a supernatural being. Meanwhile, when his detectives question Andreas, Andreas turns into a werewolf and escapes from them. The detectives show Sir Frederick the wolf hairs that they collected in their brief struggle with Andreas, but Sir Frederick remains dubious.
Meanwhile, Lady Jane has been asked to help a scientist fleeing from the Nazis. Dr. Hugo Bruckner has escaped from Axis-occupied France with the help of the Resistance. He comes to London to meet our heroine. Tesla has Andreas dispose of Bruckner, and Tesla assumes the scientist’s identity. Eventually, Sir Frederick discovers this deception. Tesla visits Lady Jane. Since she knows his true identity, he decides it is time for him to exact his revenge against her and turn Nikki into a vampire. She exposes a cross and Tesla flees. Later, Lady Jane has another of her futile arguments with Sir Frederick about the reality of vampires. Before Tesla can carry out his morbid plan, Andreas kills him. The ending of “The Return of the Vampire” is both clever and amusing. Despite everything that has transpired, Sir Frederick remains adamant in his disbelief about vampires. The Scotland Yard commissioner queries his two plainclothes detectives. “You two fellows don’t believe in vampires, do you?” They are just as convinced that vampires exist as Lady Jane is. Sir Frederick then breaks the fourth wall and addresses the audience. “Do you people?”
All vampire movies establish their own set of criteria governing the behavior of the bloodsuckers. “The Return of the Vampire” is the kind where the vampire can enter a residence without the permission of the owner. Nevertheless, the filmmakers take advantage of a strong wind to get around the 'thou shalt not enter a room rule' without a proper invitation. This occurs when Tesla sweeps into Nicki's room with a smoke screen. This may have been the first time that a character shines a mirror on a vampire and the mirror reflects the vampire's apparel but not the vampire. Typically, in these scenes, the vampire's image along with his apparel is not reflected in the mirror. Lady Jane contends that Armand Tesla's body should still be in his coffin if the spike is still in his body. When Sir Frederick sets out to examine the corpse, she hopes that the Scotland Yard Commissioner will find the body intact. According to Lady Jane, if Tesla were a vampire, then his body should not decompose. This characteristic doesn't hold true in the Hammer "Dracula" movies. What is amusing here as it is with the vampire mirror shots is the fact that the Armand Tesla's wardrobe would have deteriorated somewhat over the intervening years, but there is no sign of wear.
FILM REVIEW OF ''KNIGHT AND DAY" (2010)
“Walk The Line” director James Mangold and television scenarist Patrick O’Neill must have watched a bunch of European espionage thrillers from the 1960s before they made the new Tom Cruise & Cameron Diaz movie “Knight and Day.” This predictable but entertaining international actioneer brings Cruise and Diaz together as two people on the lam from Federal agents and a trigger-happy Spanish arms dealer. The first time that Cruise and Diaz worked together, they made the murky “Vanilla Sky” (2001) with Kurt Russell. Indeed, “Knight and Day” (**1/2 out of ****) qualifies as a big improvement over “Vanilla Sky.” Furthermore, “Knight and Day” surpasses the similar themed “Killers” with Ashton Kutcher and Katherine Heigl. Nevertheless, this breathlessly paced, Alfred Hitchcock style, thriller lacks the flair of Cruise’s “Mission Impossible 2” that Hong Kong action maestro John Woo turned into a slow-motion bullet ballet with our hero surviving some pretty incredible predicaments. “Knight and Day” boasts its share of hair-raising, cliff-hanger scenes. Most of them, however, have been performed before without blue screens and Mangold cannot substitute momentum for imagination. This is one of those improbable shoot’em up sagas where the virile hero is mighty handy with any fully automatic weapon in sight. He knows a thing or two about riding on the hood of a careening car while firing at multiple villains pursing him. In fact, some of the scenes here look as if they were lifted from “Tomorrow Never Dies,” “Wanted,” “Moonraker,” and “Charade,” not to mention all those Euro-thrillers. Audiences looking for something different may enjoy this above-average but contrived travelogue with fantastic photography and a credible cast.
Tom Cruise plays Roy Miller. This Roy Miller has nothing in common with the Roy Miller that Matt Damon portrayed in the superior Iraq thriller “Green Zone.” Cruise’s Roy works for the CIA. He has stolen a small, D-sized battery that is "the first perpetual energy source since the sun." He explains to June (Cameron Diaz of “The Box”) that the Zephyr “isn’t your average Duracell." In fact, this is one battery that never has to be recharged. The darned thing runs forever. In the Hitchcock thrillers, the object that motivates the plot is referred to as a MacGuffin. Basically, a MacGuffin is something that the good guys and the bad guys are prepared to kill each other for to acquire. FBI agent Fitzgerald (Peter Sarsgaard of “Orphan”) heads up the team of gun-toting agents nipping at Roy’s heels. At the Wichita, Kansas, airport, Roy spots pretty June and slips the Zephyr into her luggage packed with spare car parts so that it will make it through airport security. Initially, when she tries to board the plane, the airline attendant informs June that she will have to take a later flight. Savvy Fitzgerald spotted the switch in the terminal and allows June to get a seat on the flight. Roy was hoping that this wouldn’t happen. Naturally, June is surprised when she finds more than three-fourths of the seats aboard empty. Roy and she strike up a conversation. She reveals that she restores old cars. The jetliner hits turbulence and Roy catches her falling luggage before it smashes into her. All of this happens so quickly that June spills her drink into her lap. She heads off to the restroom to clean up. While she is in the restroom, she wonders about this mysterious guy. Meanwhile, Roy has his hands full with several tough customers who try to kill him, including the pilots. He dispatches them all as if he had been trained by James Bond and Jason Bourne. When June emerges from the toilet, everybody—including the pilots—lay dead, and Roy crash lands the jetliner in a cornfield in the middle of nowhere at night. Predictably, as they are trudging away from the crash, the fuselage bursts into flames and several terrific explosions ensue.
Roy explains to June that some suspicious people are going to visit her. They are going to tell her a lot of bad things about him. For example, they are going to call him a rogue agent with little regard for life and no qualms about killing. They are also going to tell her that they are going to take her to a safe and secure place. Roy warns June not to climb into a vehicle with these liars. Moreover, whenever they mention the words ‘safe’ and ‘secure’ they are planning on killing her. Afterward, he knocks her out with a drugged drink so he can get her out of the line of fire. Keeping June out of the line of fire is somewhat more difficult than Roy envisaged. He has to abduct her at gun point in broad daylight from a Boston diner to clear her name. During this abduction, Roy has to shoot her ex-boyfriend, Boston firefighter Rodney (Marc Blucas of “Animals”), in the thigh to dissuade him from following them. If June appears to be Roy’s hostage, then the authorities—principally the CIA's director of counterespionage, Ms. George (Viola Davis of “Law Abiding Citizen”)—won’t think that she is a conspirator. Meanwhile, Spanish arms dealer Antonio Quintero (Jordi Mollà of “The Alamo”) dispatches hordes of gunmen dressed like an army of SWAT riot patrolmen to descend on our heroes.
Clocking in at 110 minutes, “Knight and Day” lunges from one outlandish predicament to another like a hyperactive James Bond thriller. The audience will find itself in the same shoes that June—the ultimate innocent bystander without a clue—wears because both the good guys and the bad guys parcel out information piecemeal to make sure that it doesn’t interfere with the slam-bang stunts, reckless high speed car and motorcycle stunts, and the exploding SUVs that somersault through the air. Cruise musters his boyish “Risky Business” charisma and Diaz flaunts her terrific body. They are both sympathetic characters, and director James Mangold has the good sense to slap on layers of comedy to undercut some of the high body count shoot-outs. Nevertheless, “Knight and Day” seems too incoherent and second rate to top even Cruise’s worst “Mission Impossible” thriller—“Mission Impossible 3”—and the surprises aren’t very surprising in the long run.
Tom Cruise plays Roy Miller. This Roy Miller has nothing in common with the Roy Miller that Matt Damon portrayed in the superior Iraq thriller “Green Zone.” Cruise’s Roy works for the CIA. He has stolen a small, D-sized battery that is "the first perpetual energy source since the sun." He explains to June (Cameron Diaz of “The Box”) that the Zephyr “isn’t your average Duracell." In fact, this is one battery that never has to be recharged. The darned thing runs forever. In the Hitchcock thrillers, the object that motivates the plot is referred to as a MacGuffin. Basically, a MacGuffin is something that the good guys and the bad guys are prepared to kill each other for to acquire. FBI agent Fitzgerald (Peter Sarsgaard of “Orphan”) heads up the team of gun-toting agents nipping at Roy’s heels. At the Wichita, Kansas, airport, Roy spots pretty June and slips the Zephyr into her luggage packed with spare car parts so that it will make it through airport security. Initially, when she tries to board the plane, the airline attendant informs June that she will have to take a later flight. Savvy Fitzgerald spotted the switch in the terminal and allows June to get a seat on the flight. Roy was hoping that this wouldn’t happen. Naturally, June is surprised when she finds more than three-fourths of the seats aboard empty. Roy and she strike up a conversation. She reveals that she restores old cars. The jetliner hits turbulence and Roy catches her falling luggage before it smashes into her. All of this happens so quickly that June spills her drink into her lap. She heads off to the restroom to clean up. While she is in the restroom, she wonders about this mysterious guy. Meanwhile, Roy has his hands full with several tough customers who try to kill him, including the pilots. He dispatches them all as if he had been trained by James Bond and Jason Bourne. When June emerges from the toilet, everybody—including the pilots—lay dead, and Roy crash lands the jetliner in a cornfield in the middle of nowhere at night. Predictably, as they are trudging away from the crash, the fuselage bursts into flames and several terrific explosions ensue.
Roy explains to June that some suspicious people are going to visit her. They are going to tell her a lot of bad things about him. For example, they are going to call him a rogue agent with little regard for life and no qualms about killing. They are also going to tell her that they are going to take her to a safe and secure place. Roy warns June not to climb into a vehicle with these liars. Moreover, whenever they mention the words ‘safe’ and ‘secure’ they are planning on killing her. Afterward, he knocks her out with a drugged drink so he can get her out of the line of fire. Keeping June out of the line of fire is somewhat more difficult than Roy envisaged. He has to abduct her at gun point in broad daylight from a Boston diner to clear her name. During this abduction, Roy has to shoot her ex-boyfriend, Boston firefighter Rodney (Marc Blucas of “Animals”), in the thigh to dissuade him from following them. If June appears to be Roy’s hostage, then the authorities—principally the CIA's director of counterespionage, Ms. George (Viola Davis of “Law Abiding Citizen”)—won’t think that she is a conspirator. Meanwhile, Spanish arms dealer Antonio Quintero (Jordi Mollà of “The Alamo”) dispatches hordes of gunmen dressed like an army of SWAT riot patrolmen to descend on our heroes.
Clocking in at 110 minutes, “Knight and Day” lunges from one outlandish predicament to another like a hyperactive James Bond thriller. The audience will find itself in the same shoes that June—the ultimate innocent bystander without a clue—wears because both the good guys and the bad guys parcel out information piecemeal to make sure that it doesn’t interfere with the slam-bang stunts, reckless high speed car and motorcycle stunts, and the exploding SUVs that somersault through the air. Cruise musters his boyish “Risky Business” charisma and Diaz flaunts her terrific body. They are both sympathetic characters, and director James Mangold has the good sense to slap on layers of comedy to undercut some of the high body count shoot-outs. Nevertheless, “Knight and Day” seems too incoherent and second rate to top even Cruise’s worst “Mission Impossible” thriller—“Mission Impossible 3”—and the surprises aren’t very surprising in the long run.
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